GT finds the ‘plot’ in local writers workshop 

GT recently caught up with Sondel, a long-time local, to get the scoop on why writers’ workshops are so invaluable.

HOW AND WHEN DID YOUR CHILDREN’S WRITERS WORKSHOP GET ITS START?

Our annual seminar is the fruit of a story-spinner’s questions: “What if?” and “Why not?” I pondered these for years while attending events for children’s writers. My vision first materialized in summer, 2003. Northern California writers seemed hungry for this grassroots event, which features the unusual “master class” format. Since its inception, our area faculty has grown to include East Coast editors and agents, with nationwide and Canadian attendees—an intimate, inspiring group.

HOW CAN A WRITING WORKSHOP BENEFIT A WRITER?

Writing is a solitary pursuit. Workshops can be a writer’s lifeline—a connection to the “real” world that provides creative, social, professional and educational experiences, which in turn nurture the solitary pursuit.

For both aspiring and published authors, workshops offer craft and marketing tips, faculty manuscript critiques, camaraderie, motivation, inspiration. Workshops also provide invaluable networking (“a foot in the door”) with editors and agents who often aren’t otherwise accessible.

WHAT MAKES THE PACIFIC COAST CHILDREN’S WRITERS WORKSHOP DIFFERENT FROM OTHER WORKSHOPS?  

We’re a small, personalized, hands-on seminar that applies literary concepts to attendees’ and published novels. Our workshop offers innovative “master classes.” We replace single-faculty, one-on-one critiques with team-taught, open-clinic critiques—for those willing and/or selected. This “fishbowl” scenario allows a warm, supportive group of peers to benefit from professional instruction that is typically revealed behind closed doors. An open clinic allows less experienced writers to observe the processes of published (or nearly-published) authors, observing how advanced writers may overcome hurdles. Since our enrollees critique fiction samples in advance, the master class format can sharpen their self-editing skills. Master classes also show how editors and agents differ—hence, a judgment by one expert is never the final word.

Another critical distinction: We focus only on youth novels, rather than tackling the gamut of children’s literature.

WHY THE YOUNG ADULT NOVELS SLANT?

Our novels-only workshop allows writers to explore in-depth character development and multi-layered plots, unified with a meaningful (yet not didactic) message.  

Our main purpose is to offer novelists steppingstones to publication. But the “story” doesn’t end with craft and marketing tools. Simultaneously, we hope to enhance the lives of impressionistic young readers.

WHAT’S THE CURRENT LITERARY SCENE FOR PEOPLE TRYING TO BREAK INTO YOUNG ADULT NOVELS?

A cutting-edge response from one of our enrollees who did break in: Joni Sensel, author of “Reality Leak” and “The Humming of Numbers” (Henry Holt), says, “Youth novels are booming, but the competition is fierce, and the pace, action content and sophistication of stories must be higher than ever, given increasing competition from other media for readers’ attention. Plus, writers for young people must please two audiences: their readers, and the adults who manage publishing and serve in some measure as gatekeepers.”

SO, HOW HARD IS IT TO GET ONE’S NOVEL PUBLISHED?

Children’s books are judged by the highest standards of scrutiny, often more than are adult novels. Traditional children’s book agents and editors receive thousands of manuscripts every year, and usually publish 5 to 15 percent new authors annually. One common reason for rejection is that submissions are inappropriate. To improve your odds, research the market then submit only to agents and editors most likely to be receptive to your novel (genre, theme, age group). Adhere to the publisher’s submissions guidelines. Caveats: The journey from contract to publication typically takes one to two years. Self-publishing is faster, but lacks the traditional editor’s quality control. “Overnight” successes often camouflage years of invisible work. Publishing children’s literature, even picture books, may look deceptively simple.

SAY I WRITE A YOUTH NOVEL AND IT’S ACTUALLY GOOD. WHAT DO I DO NEXT? WHAT’S THE PROCESS FROM FINISHED MANUSCRIPT TO PUBLICATION?

To determine if it’s “actually good,” first obtain feedback from savvy peers, a target audience (kids who don’t know your identity), and paid professionals (at workshops or privately). Fine-tune the novel as often and as extensively as needed, staying true to the story you want to tell. If you are accomplished enough to sign on with an agent—not always essential—he or she will facilitate your journey from well-crafted manuscript to published book.

To rise above the “slush pile” of unsolicited or non-viable manuscripts, continually do your homework. Use internet search engines to find writers’ organizations and publications, chat boards and critique groups, online and low-residency courses, publishing and professional etiquette tips. Read books in your genre, as well as in others. (Novelists can learn imagery from picture books and poems; structure and dialogue from plays.) Read purposefully, pinpointing why certain techniques and themes resonate for you—or not. Research writers’ workshops, targeting those that specifically address your needs.

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