Final #KidlitSummerSchool Updates, Webinars, and THANK YOUS!

Hello, Summer Schoolers! Week 4 has sadly ended, but we still have a few treats left for you. Think of it as Afterschool for all of you overachievers.badge final 4x4-brighter heart

We want to bring your attention to what is to come in the week ahead, including TWO great Summer School webinars! Here we go!

#KidlitSummerSchool Afterschool Webinars:

This coming Thursday, August 11th, at 8pm EST we will be hosting our very special Author Roundtable webinar with Authors Crystal Allen (MG), Josh Funk (PB) and Jo Whittemore (MG) who will share their expertise on children’s books and their own personal writing journeys. Details on getting a link to watch this webinar and how to submit your questions for the panel were sent out yesterday. Please check your inbox and refer to that email for further information.

Questions for the Author Roundtable must be submitted by midnight EST on Tuesday, August 9!

And that’s not all! Stay tuned for a very special upcoming webinar with folks from the publishing world. We will announce when we have details to share!

Both webinars are going to be a clucking good time, filled with lots of Nerdy Chick knowledge. You will not want to miss out.

blue-star-thumbPerfect Attendance Award: Did you leave a comment on every author post within the first twenty four hours that it was posted? If you did, you are eligible for the perfect attendance award! If you qualify, just leave a comment right here on THIS blog post. Start your comment with the words “Perfect Attendance” (So we can easily pick you out from others commenting about Summer School.) One name will be drawn from all of the contenders to win the Perfect Attendance Prize.

What about the other prizes? The #30mdare prize? The individual post prizes? The pre-registration prize? The grand prizes? All of the other great stuff? We will have details about all of the other prizes and how they will be awarded in a separate post on the blog. That’s something to look forward to!

smiling-gold-star-thumbLastly, a sincere thank you to each of you for joining us these past four weeks. #KidLitSummerSchool is for YOU and we hope that you have enjoyed yourself, met a few friends, and learned a craft-tip or two. We’re proud of you! You get a gold star!
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Thanks also to our awesome faculty of bloggers and all of our webinar participants. It really was a fantastic summer, right?!
Now go forth, you heart and humor-filled geniuses.

The Kidlit Summer School Board of Education
@dawnmyoung @kamikinard @leezaworks @marciecolleen @sudiptabq

Week 4 POP QUIZ

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Alright, are you ready to show off all that you have learned in our LAST Pop Quiz? We know you’re all going to nail it and will surely show off your heart and humor! Take this quiz to see what you learned during the fourth and final week of Kidlit Summer School.

 

 

1. On Monday, Terra McVoy encouraged us to add heart to our stories through the following:

a) Developing character relationships to better understand motivation.

b) Learning specific details about character in order to make them more complete and real.

c) Understanding that building character is the hardest and most complicated aspect of writing, but is worth the time.

d) All of the above

2. On Tuesday, Kelly Starling Lyons’s prompts writers to create soulful stories by…

a) Putting yourself in your characters’ shoes.

b) Studying writers who do it well.

c) Look for internal cues within yourself. Make yourself feel.

d) All of the above

3. On Wednesday, Jason Kirschner made us laugh by adding the following to his stories…

a) Funny sounding words.

b) Exaggeration.

c) Visual gags and fart jokes.

d) All of the above

4. On Thursday, Mimi Cross demonstrated how she uses the following to “listen” to her character’s heart:

a) Interviews with the character.

b) Meditation to prepare yourself to really listen to what the character is saying.

c) Listening to yourself as a writer and connecting on a deeper level.

d) All of the above

5. On Friday, Bonnie Adamson’s case studies illustrated what lessons she has learned to add heart to her stories?

a) Find your star player and make it *all* about him.

b) Draw on real people you’ve known to flesh out tropes like “the class clown,” or “the homecoming queen.”

c) Energize your characters with something totally unexpected.

d) All of the above

Hip, hip hooray, you got an A right? 100%? If you’re unsure, go back and check out the posts from Week Four. This is an open blog test. (And you don’t even have to turn it in. Grade yourself and then pat yourself on the back!)

You did it! Now you get a chance to kick back, and enjoy the rest of your summer…or if you didn’t get a chance to go through all the KLSS posts yet, no worries, you can go back anytime and catch up!

 

Does Your Story Need a Heart Transplant? by @BonnieAdamson and #GIVEAWAY

Three case histories

Sometimes I have what I think is a great idea for a story. I plot it out, polish the text, start thumbnailing scenes and begin working on character design. And then I hit a wall. Many of the elements are there, but the story just won’t come to life. This happens most often when there’s something in the way of the characters.

Character = engagement = heart. When I haven’t fully engaged with my characters, there’s no heart and the project flatlines. In that case, the task is to give the characters some breathing room. Maybe the plot has taken over, or  there’s too much detail choking the story—or maybe I simply haven’t given the characters enough to do.

AdamsonB_post art 1

Whose story is it?

For a long time, I didn’t know who the main character was in this story. I didn’t *care* who the main character was. A fellow who has accumulated enough points to win the big prize at the rodeo, doesn’t.  Misunderstandings ensue, plus slapstick humor and a surprise at the end. I liked it. I really, really liked it. But the story wasn’t breathing on its own.

The fix

A critique partner read the manuscript to her daughter. She reported that the daughter was sad when the fellow at the beginning didn’t win the trophy. Sad??? This was only a minor plot point! What about the funny stuff and the twisty ending? What did it mean?

It meant this young listener had found the heart I wasn’t even aware was missing.  Eventually, after much whining and thrashing about,  I realized I had to commit to the trophy-less cowboy. The immediate solution was to switch from a storyteller’s voice to close third person. The opening went from something like “Have you heard the one about . . .?” [plot-centered] to “Pete never met a trophy he didn’t like.” [character-centered]

Bam.

The lesson

Find your star player and make it *all* about him.

Read your manuscript to an actual child.

AdamsonB_post art 2

The lock-up.

I thought I had this one nailed—a classic underdog-saves-the-day story with heart built right into the concept. Yay! But was saving the day enough? What if readers didn’t care about my little bumbling bee from the start? I was also having a lot of trouble coming up with a visual identity for her main rival. Worse, this seemed to be the main character’s only story. I know you’re not supposed to think in terms of sequels, but I had a character I liked who was totally boxed in by a dead-end plot.

The fix

The Miss Marple Trick. Agatha Christie’s famous sleuth solves mysteries by observing behavior she can relate to that of inhabitants of her tiny village. One day while trying for the umpteenth time to come up with a sketch for my main character’s nemesis, I suddenly thought of two girls I had known in high school. One was better at *everything* that ensures popularity in that environment. The other was not so much an underdog as simply and thoroughly eclipsed by her friend. Eureka! Once I understood the dynamics  the story became more about the relationship than saving the day, and future story possibilities opened up.

The lesson

Draw on real people you’ve known to flesh out tropes like “the class clown,” or “the homecoming queen.”

Read vintage British murder mysteries.

AdamsonB_post art 3

A thicket of details.

For this story, I did oodles of research to make sure the setting was authentic, accumulating notes upon notes about jungle habitats. I had a hook and a decent text and even some quirky character traits for the main character. But the obsession with the setting and the research had used up the energy that should have gone to showcasing the characters. My quirky crocodile didn’t have enough to do and came off as merely  part of the scenery.

The fix

Pure serendipity. In  organizing a list of portfolio pieces by project, this one happened to be followed by a wordless story that had its own problems. How about a mashup? What if the protagonist in the wordless story showed up in the jungle? Bingo! The crocodile leapt at the chance to reveal himself as a method actor, uncovering motivations I had not been aware of. The text hasn’t changed, but now there’s a much richer subtext playing out in the illustrations, and the secondary characters have gotten into the act as well.

The lesson

Energize your characters with something totally unexpected.

Have more than one idea in your portfolio.

If  *your* stories lack heart due to characters that are hidden in plain sight, boxed in by the plot, or smothered by the scenery, check out the download for exercises that will help you find the right treatment.

Meanwhile, the stories above are all off life-support and should be up and around soon. Stay tuned!

BonnieAdamson-2016 b&wBonnie Adamson is the illustrator of Bedtime Monster and the “I Wish” series of picture books for Raven Tree Press, as well as Rutabaga Boo!, written by the lovely and talented Sudipta Bardhan-Quallen and due in Spring 2017 from Atheneum. Visit Bonnie at www.bonnieadamson.com.

If you are registered for Kidlit Summer School, you can download a worksheet of Bonnie’s writing exercise at our Exercise Book. This is a password-protected area—only members allowed! Please check your email for the password.

GIVEAWAY! Bonnie is kindly giving away a Kidlit Summer School tote bag, featuring her fabulous design. For a chance to win, please leave a comment below.

Don’t miss your chance to get perfect attendance! Leave a comment on this post within the first 24 hours. Moderators have to approve first-time commenters, so your comment may not show up immediately.

Listening to Your Characters by @mimicross and #GIVEAWAY

“She’s gonna listen to her heart
It’s gonna tell her what to do.”

— Tom Petty

And it’s going to tell you, the writer, what to do. Listening to your main character’s heart—is going to tell you what to write.

But how do you listen to a fictional heart?

CrossM_bookcoverPartway through writing Shining Sea I realized that the voice of my main character, 17-year-old budding singer-songwriter Arion Rush was becoming harder to hear. Her heartbeat was growing faint. Soon I began to understand, it was because I didn’t know her heart.

Whenever there was a ‘musical moment’ in the story, Arion explored her feelings through songwriting, and her lyrics definitely showed what was in her heart. But everywhere else in the novel, her feelings, her wants, her needs—were hidden.

I decided I should speak to her.

But when I tried to interview Arion the first time, I didn’t get very far.

EXCERPT, INTERVIEW 1:

Me: Hey Arion, how are you? And, where are you?

Arion: I’m in my room at the lighthouse.

Me: Cool. So . . . you probably know, I’m having a little trouble figuring out what’s up with you.

Arion: Yeah, I know. I also know you want me to be nicer than I really am.

Me: Okaaay . . . How about I ask you a few questions?

Arion: Sure. Doesn’t mean I’ll answer.

Me: That’s . . . fine. Let’s start with basics. What’s your favorite color?

Arion: Red. That’s the only thing you got right about me.

Me: Huh. Well . . . that’s something. How do you like Maine?

Arion: I love Maine. I feel like, I belong in the woods. There’s a certain kind of wildness here. It makes me—I can’t believe you just stopped to fix a typo, are you even listening?

Was I even listening?

Most of us take listening for granted. We believe we’re good listeners, and that everyone knows how to listen. But many people aren’t accustomed to listening on a deep level, and that’s very often where characters speak to us.

In preparation for a second interview, I practiced specific meditation exercises that encouraged me to listen to my body, and focus awareness on my breath and emotional flow.

The next time I interviewed Arion, I was much more prepared to listen.

I heard about Arion’s relationship with her mother, and learned it was a source of pain. I found out Arion experienced anxiety due to her sister’s accident, but also that her sister had treated Arion badly in the past. As a result, Arion had closed her heart off to others, including me. She worked on her songs alone, and at the start of Shining Sea, she hadn’t sung for many people.

But by the end of the book, Arion is well on her way to becoming a performer, and more. I’m convinced her transformation occurred not only because I started listening on a deeper level, but because I’d spent some time with my own heart.

EXCERPT, INTERVIEW 2:

Me: I’d like to talk a little more about your mom.

Arion: Look at her canvases.

Me: Um . . .

Arion: Look at the brush strokes. The colors. See all that freedom? All that wild self? See her letting go of control, of normal? She’s not worried about what people think—I’m tired of worrying about what people think. It wears on me. When I’m in the woods, or when I feel the salt air on my skin—

Me: Slow down. Wears on you? Isn’t that kind of an adult thing?

Arion: I’ve been taking care of myself for a while, in case you haven’t noticed. Dad’s got his boats, Mom’s got her art, and Lilah—even before the accident, Lilah was mom’s favorite. She sees Lilah’s wildness, that’s part of it. She thinks it’s like her own. She doesn’t get my wildness. Hey, how about a cup of coffee?

Me: ???

Arion: I need caffeine. Arion RUSH—hello?

Me: I’m here.

Arion: Are you?

Me: Yes, I’m listening.

Arion: I’m becoming an artist.

Me: (Stunned) I’m impressed you know that.

Arion: It hurts.

Me: (Floored) Why?

Arion: I’m different.

Me: Every adolescent feels that way. Every person feels that way.

Arion: Different, like—there’s something wrong with them?

Me: Well there is something wrong with you. You’re not afraid of Bo, and he’s a Siren.

Arion: That makes him wild. I am too—inside. I’m wild, in my heart. Can you write that?

Mimi Cross is an author, singer, and songwriter. Grammy award–winning artist Rosanne Cash has described Cross’s writing and singing as “Fusing delicacy and power, heart and gut. Inspiring, evocative, and refreshing.” Cross received a bachelor of music from Ithaca College and an MA from New York University and is the creator of Body of Writing, a practice combining yoga and writing that boosts creativity. Her novels, Before Goodbye, and Shining Sea are published by Skyscape. She resides with her young son in New Jersey. Visit her online at mimicross.com

If you are registered for Kidlit Summer School, you can download a worksheet of Mimi’s writing exercise at our Exercise Book. This is a password-protected area—only members allowed! Please check your email for the password.

GIVEAWAY! Mimi is kindly giving away a copy of Shining Sea, the paperback or MP3 audiobook version. Winner’s choice! For a chance to win, please leave a comment below.

Don’t miss your chance to get perfect attendance! Leave a comment on this post within the first 24 hours. Moderators have to approve first-time commenters, so your comment may not show up immediately.

Go Big Or Go Home with The Funny by @jason_kirschner and #GIVEAWAY

Not too long ago,  I was talking to a fellow author about a beautifully poetic manuscript that a friend had written. I commented that I could never have written something so lyrical. She turned to me and said “That’s not what you do. You do funny.”

Kirschner_diagramIt was a bit of a revelation. I really love and admire those almost songlike 100-word-or-less manuscripts that are super popular right now. But that’s not what I do  well. I do funny. And once I leaned in to that, it became much easier and more fun to write. It should have been obvious. I’ve worked on late night comedy shows for almost two decades—not as a writer but as a designer. But that sensibility seeps into your consciousness. You tend to look at things a little sideways to find the funny in it.

So given my skewed view of the world,  I try to write things that make me laugh and hope that kids will laugh along with me.  For me, it’s virtually guaranteed because, as my wife will tell you, I am essentially an 8-year-old boy.

But I understand that funny isn’t easy. To that end I’ve been working for several months on a prototype of a machine that helps infuse comedy into a manuscript.  I call it the Fun-E-Tron 6950 and it gives you access to my favorite seven satire supplies.

Word Choice

Certain words just sound funny.  Like “persnickity”. I love that word. Ooh..or “bumfuzzle.” Why would anyone ever write “confuse” when they could write “bumfuzzle.” I would always rather write “blubber” than “cry”.  I also like the word “squeegee” but you never see one in a picture book.

Exaggeration

It’s not real life—it’s picture books. When your 5-year-old character is having a hissy fit (more great words) and screams, have her blow the roof off the joint. Literally. The rules of physics don’t apply here. Don’t build a sorta tall sandcastle—build a tower that touches the clouds. Go big or go home.

Understatement

You can also go the other way. If your character does blow the roof off her house and it crumbles to bits, it gets even funnier if the text reads something understated like “She might have caused a bit of damage.”

Visual Gags/Slapstick

Obviously both of these will rely heavily on your best friend, The Illustrator, but it all starts in your script. It’s up to you to set up situations where “physical comedy” can take place. Someone somewhere wrote scripts for The Three Stooges. (I bet in real life, Moe was a pussycat.) And even though The Stooges were the ones that executed the comedy, a scenario was written down in a script for them to follow. Likewise, an illustrator can execute what you’ve initiated for them. The same goes for visual gags— large guys named “Tiny” for instance. Gets me every time.

Puns 

OMG, do I love puns. Jokes that play on the fact that different words sound the same are perfect for picture books. My son loves them too but he’d never admit it publicly. Once, in the market, I made a joke about nacho cheese being “not your cheese” (say it fast) and he laughed for hours. I love that moment when we’re reading together and we come across a pun. Sometimes I can actually see the wheels turning in his head until he gets it and lets out a loud guffaw (yet another great word.) Once he understands it, he feels like he’s in on the joke and that’s a great feeling. Be punny.

Repetition

Repeating similar scenarios throughout your book is a great way to infuse some humor.  In comedy, there’s usually a rule of threes. Repeating a line or event three times can build a scenario where you can either meet expectations on that third go-round or defy expectations which can be hilarious. Another great use of repetition is the “callback” where an earlier phrase or event can be used as a punchline later in the book. A good callback is the best.

Fart Jokes

Not much of an explanation needed here. Farts are funny to anyone less than eight years old or anyone with a Y chromosome.

Kirschner_bookcoverMy challenge to you is to take a look at your latest manuscript and see how many of these tools you’re using. Then adjust the dials on the different comedy contraptions available to you depending on the story you’re trying to tell. Use some or all of them—if you think you can handle it. Some of them will require a great illustrator to help execute them but there’s no reason you can’t provide the setup in your script. Use them wisely and be funny. And the next time you see someone holding cheese that’s not theirs you walk right up and tell them “That’s nacho cheese.” (Callback. Nailed it.)

KirschnerJ_headshotJason Kirschner is a set designer for television with credits that include Late Night with Conan O’Brien and The Late Show with David Letterman.  He’s also the author and illustrator of Mr. Particular: The World’s Choosiest Champion from Sterling which you can now find in bookstores everywhere. See more of Jason’s work at jasonkirschner.com. Follow him on Twitter by clicking HERE.

If you are registered for Kidlit Summer School, you can download a worksheet of Jason’s writing exercise at our Exercise Book. This is a password-protected area—only members allowed! Please check your email for the password.

GIVEAWAY! Jason is kindly giving away a copy of Mr Particular. For a chance to win, please leave a comment below.

Don’t miss your chance to get perfect attendance! Leave a comment on this post within the first 24 hours. Moderators have to approve first-time commenters, so your comment may not show up immediately.

Writing with Heart and Soul by Kelly Starling Lyons

KLSS_Lyons_bookcover_001Before I became a children’s book author, I wrote newspaper and magazine articles. I looked forward to feedback from editors that would help my stories shine. But one day, I received a note that made my shoulders slump in shame. “This has no soul.” I don’t remember what the story was. But I remember that critique.

I prided myself on being a writer who put her all into her work. But my editor was right. Technically, the story did the job. I included the who, what, where, when, why and how. My beginning worked. I wrapped the story up with a bow. But my piece didn’t make you feel. It had “no soul“ – no beating heart.

When I think about how to describe heart, I hear my favorite songs. I love ballads. Full of emotion, they make you smile or tear up in remembrance, catch your breath or sigh. As you listen or sing along, you feel everything that’s happening. You connect to the songs, because they speak to something deep inside.

How do you create stories with heart and soul? You start by putting yourself in your characters’ shoes and using your words to make music that will linger. Remember the joy of singing with abandon as a child. We didn’t worry about being on key or who was listening. We let it all out. Give yourself permission to feel everything. Use your senses. Show with your words. Go where the story takes you and bring your reader there too.

Creating stories with heart can be tough. Early drafts of my historical fiction picture book, Hope’s Gift (G.P. Putnam’s Sons), were so focused on accuracy that the pulse was missing. I forgot to make readers long for freedom with Hope, feel her pain, root for her and her family. My editor reminded me that stories fall flat without feelings. She told me to put the history aside for a moment and just focus on Hope’s emotions. She’s enslaved. Her father has run away to help liberate their people. He gives Hope a conch shell and a promise that freedom is coming. All she has left are that gift, her mother and brother and her faith.

As I revised, Hope and her family became real. I pictured her looking into her papa’s tear-stained face as he said goodbye. I imagined her clutching the conch shell he gave her, listening to the swooshing and hearing the echo of his words: “Nothing can keep freedom from coming.” I saw her comforting her little brother Henry like I used to comfort my younger brother Kevin when something made him cry or shudder. I immersed myself in her emotional journey of sorrow, hope, disappointment and joy. The characters lived not just on the page, but in my mind.

Another way to create heart and soul in stories is by studying those who do it well. Check out the work of gifted authors like Jacqueline Woodson, Angela Johnson, Sharon G. Flake and Carole Boston Weatherford to name a few. Read their work for the joy of their stories first. Then, analyze their books and glean tips to help your characters spring to life.

A last tip is to consider your own reaction. If you’re not welling up as you write, feeling a knot in your chest or your heart pounding, readers may not either. Look for internal cues that you’re making music that will resonate and play on.

kellyheadshot (1)Kelly Starling Lyons is a children’s book author whose mission is to transform moments, memories and history into stories of discovery. Her books include chapter book, NEATE: Eddie’s Ordeal; CCBC Choices-honored picture book, One Million Men and Me; Ellen’s Broom, a Coretta Scott King Illustrator Honor book, Junior Library Guild and Bank Street Best selection and Tea Cakes for Tosh and Hope’s Gift, Notable Social Studies Trade Books for Young People. Her latest picture book is One More Dino on the Floor. Learn more about Kelly at kellystarlinglyons.com. And follow her on Facebook by clicking HERE.

If you are registered for Kidlit Summer School, you can download a worksheet of Kelly’s writing exercise at our Exercise Book. This is a password-protected area — only members allowed! Please check your email for the password.

Don’t miss your chance to get perfect attendance! Leave a comment on this post within the first 24 hours. Moderators have to approve first-time commenters, so your comment may not show up immediately.

From Paper to Pulse: Character with Heart by @TerraMcVoy 

Creating a character with real heart is hard.

It isn’t like slapping a wristwatch into a Tin Man and telling him he suddenly has one.

Writing a character who possesses true heart requires the same amount of dedication, the same kind of connection and patience, that a relationship with someone else who actually HAS a heart takes. It requires time, and honesty, and sometimes conversations you don’t think you can bear to get through. It demands understanding, and knowing, and letting yourself fall a little in love. (Even if  you aren’t, you know, romantic about them in That Way.)

thisisallyourfaultFiguring out how to  do this—how to write a character whose heart is real—is one of the most important things to me when it comes to writing. But it’s also one of the most complex. How do you do it? How do you really get in to someone in such an intimate way? How do you become more than Victor Frankenstein—not merely assembling the body parts and bringing the lighting, but also make something live?

When I step back to think about it, I —as I’m sure you do, too— get really, really intimidated.

So instead of getting overwhelmed by the Big Picture, I try to recall my poetry background and focus on the details.

Because, while we are all much more than the sum of our parts, those small parts—what we listen to, where we go, the things we care about day to day—can give others (and ourselves, really) a better idea of Who We Are.

So I start very, very basic. Asking the kinds of questions of my characters that I would ask anyone else I’m first getting to know. What is your favorite color? A movie that moves you? What you like to eat when you’re sad? It may seem silly (especially when you’re only trying to develop the stepmom who only appears three times in a story), but sometimes the best devil really is in these details.

To get you started with these questions, here’s a worksheet I give my students when we’re in the early stages of developing character, and ultimately story. You may not have answers to every single question, and some of them might seem irrelevant, but I find, for me, that asking what my character carries with him or her every day really can shine a light on bigger matters of heart.

 

McVoy_Diagram

But another thing I think a lot about when it comes to character, and heart, is relationships. Who are the most important people to my character? Best friend? Parent? Romantic love? Boss? Coach? Who is on their radar but to a lesser degree? A friend’s mom? A teacher? A sibling who now lives far away? Thinking about the important relationships in your character’s life will help determine their actions during the course of their story. For whom are they willing to fight? Who inspires them to hatred that leads to mistakes? The great Harry Potter, after all, may not have been moved to do what he did if it weren’t for his friends, his teachers, his parents, too.  Dobby.

indeepcoverpbSo here’s a map I draw for myself, connecting my main character (in the center) to the
Most Important People, and then the Second Most, while also connecting those Most Important People to each other. Because your mom certainly has an opinion of your girlfriend. Your best friend has thoughts about your evil boss. And those connections might influence your decisions when it comes to all of them.

Of course I understand these two exercises may not be enough to fully animate a corpse. To do that takes a lot more time and practice than I can address in one lesson, but I do find that these detail exercises at least get the muscles twitching. Get my characters acting and speaking in more complete ways so that I can see better who they really are. How they move. What they love.  It at least gets the two of us out the door on our first date together, where, I hope, with more questions and more conversations, we’ll both ultimately see each other’s real hearts. And fall in love.

TAKEAWAYS:

  • Developing character relationships to better understand motivation.
  • Learning specific details about character in order to make them more complete and real.
  • Understanding that building character is the hardest and most complicated aspect of writing, but is worth the time.
McVoyT_headshot

photo credit: Jamie Allen

Terra Elan McVoy is the author of six acclaimed YA novels and two middle grade, most recently This Is All Your Fault, Cassie Parker from Katherine Tegen Books. She is also an independent bookseller and creative writing instructor, and lives in Atlanta GA with her husband and a lot of shoes. To learn more about Terra and her books visit terraelan.com.

You can also find her on Facebook by clicking HERE. Or find her on Twitter = @TerraMcVoy, or Instagram = terraelanmcvoy

If you are registered for Kidlit Summer School, you can download a worksheet of Terra’s writing exercise at our Exercise Book. This is a password-protected area — only members allowed! Please check your email for the password.

Don’t miss your chance to get perfect attendance! Leave a comment on this post within the first 24 hours. Moderators have to approve first-time commenters, so your comment may not show up immediately.