The Nitty Gritty of Children’s Writing – Page 50

The Sandwich of Critique

Posted on March 17, 2010October 31, 2019 by Susan Uhlig

sandwich You may be wondering how a critique group works. There are many methods and styles of critiquing. Some are face-to-face, some online. Some face-to-face groups read the manuscript out loud and then discuss. Some send manuscripts ahead of time, so that the time together is only spent discussing. Online groups might send attached documents so the “commenting” option in MS Word can be used. Others exchange manuscripts and comments directly in email.
Whatever method used, there should always be a sandwich approach to comments. Simply stated: say something good first, talk about problems, end with something positive. It’s good to keep in mind the purpose of critique, which is to help improve writing–not be a mutual admiration time or an opportunity to tear down another person or their writing.

Let me demonstrate using a SANDWICH as an analogy.

BREAD represents positive comments that hold the sandwich together.

- Sometimes you have…
  …thin slices, or a single slice – not much to say
  …a big fat roll – lots to say
  …whole wheat or white – more detailed or general comments
- This might include marketing suggestions

CONDIMENTS are a thin spread of the “nitpicky” variety of comments or questions.

- These can be added anytime during the sandwich making process
  …a specific word that doesn’t work for the listener
  …such things as: “could you name characters with more dissimilar names?–I’m getting confused”
  …remove “that” from your 2nd sentence

VEGETABLES are those healthy comments to improve the story or article.

- Warnings of off-putting patterns
  …weasel words (those words that just slip in, such as “very” or “seems”)*
  …passive verbs
  …excessive adverbs or adjectives
  …unvaried sentence structure
- Requests for more
  …”What is the character thinking or feeling?”
  …”I’m having difficulty picturing this scene. Can you put in more details of setting and action?”

MEAT/CHEESE are questions and comments that reach to the heart of problems in a piece.

- These may be in depth, but mainly deal with “big” issues
  …story is not plausible
  …article doesn’t make sense
  …character doesn’t feel real
  …telling versus showing
  …references don’t support point
  …confusion on who or what the story is about

Since these are tough for the writer to hear, it is important to say what IS working

* I love agent Rachelle Gardner’s list of words to cut. Do you have more that slip into your manuscripts? Feel free to share them in the comments here.

Critique Groups: Go for It!

Posted on March 10, 2010August 18, 2026 by Susan Uhlig

The best thing I ever did for my writing was to get involved with a critique group. It happened because I attended my first ever writer’s conference, one put on by the Society of Children’s Book Writers and Illustrators in Seattle. There, when the opportunity was offered, I signed up to be in a critique group. Not long afterwards, I got a call telling me where and when to go, and even an offer to carpool.

To this day, I remember how scared I was to read my piece out loud. I just knew those other writers–some published, some not–were going to tell me to give up and go home. But they didn’t. Yes, my picture book, or was it a short story?–I didn’t even know the difference then–needed work. The group members were kind to me and pointed out what I was doing right as well as what I was doing wrong. And, they invited me back. That was in the spring of 1990.

In 1992 my first short story came out in Jack and Jill magazine. No, it wasn’t that first piece I took to the critique group–it has never sold–but it definitely was one they critiqued. Since then I’ve sold over 130 magazine pieces and two books. The middle grade novel was inspired by my critique group. So many of the others were writing novels for children, I became interested in the process. I learned from what they did right. I learned from their critiques of my manuscript.

Groups change. People quit or move to a different group or to another town or state. My needs as a writer change. However, I think I’ll always need the feedback of a critique group.

SO HOW DO YOU FIND ONE?

Local Writing Groups
Of course, SCBWI is a good source for children’s writers. That organization has grown internationally since my first association with them. Go to www.scbwi.org and see what events might be near you by clicking on your state and following the links. If you join the organization, you can do manuscript exchanges with other members through the mail or online.

Look at other writer organizations in your area. They may not have many members focused on children’s writing per se, but you can still learn a lot from “adult” writers.

Writing Classes
Sign up for a writing class at a community college or university. Even if they don’t offer in-class critiques, you may connect with several other students to form your own group, or the teacher may have recommendations.

Online Writing Groups
There are online writer’s groups that offer critique exchanges as well. Some are two-way list serves – designed as a place to chat, but you can ask for feedback on a manuscript. Here’s one group that focuses on critiquing: Writing.com. And go here for 41 Places to Find a Critique Partner to Improve Your Writing.

CRITIQUE RESOURCES

Articles on the Net
Join a Critique Group to Get Your Writing Moving
Starting Your Own Critique Group

Do you need a critique group? My answer is “yes.” You won’t regret it when you find the right group. (more on that later)

The Nitty Gritty of Children's Writing, You Are Not Alone

Organizations and Groups

Posted on March 3, 2010June 17, 2019 by Susan Uhlig

Writing is such a solitary event that it can feel as if you’re all alone. But you don’t have to be. There are writer groups for a variety of genres. Organizations may have instructional events, guest speakers, workshops, retreats, conferences. They’re a good place to learn AND to network with others who “get” what you’re doing. For me the best thing I did for my writing was being involved with some groups, and along the way I’ve made great friends, too.
Here is a sampling of groups and organizations, with some focus on Kansas, since that’s where I currently live. I strongly believe every children’s writer should check out the first one!
Society for Children’s Book Writers and Illustrators – an international organization that offers conferences world-wide, publications, discussion boards, grants.
www.scbwi.org
Institute of Children’s Literature – a school that offers correspondence courses with published authors as instructors, plus they have chats, web articles, a great enewsletter, and a podcast.
www.institutechildrenslit.com
Christian Children’s Writers List – an online group where you can meet others writing for the Christian children’s market.
http://groups.yahoo.com/group/CCWL
Heartland Writers for Kids and Teens – a local Kansas City group with a renowned Wednesday critique group.
http://heartlandwriters.com
Heart of America Christian Writers Network – a local Christian group who offers monthly meetings and an annual conference.
http://www.hacwn.org/
Kansas Author’s Club – welcomes creative, technical, academic and journalistic writers.
https://kansasauthorsclub.weebly.com/
The Kansas City Writers Group – a local group that meets in Shawnee, Kansas and offers workshops and critique groups.
http://www.kansascitywriters.com/kcwritersgroup.htm
Missouri Writer’s Guild – a statewide group that offers annual conferences.
http://www.missouriwritersguild.org/
The Writer’s Place – a local Kansas City group who offers workshops, speakers, and does art displays.
http://www.writersplace.org/
Association of Authors’ Representatives – has information on questions to ask an agent, a member’s list, and more.
http://aaronline.org/
The Author’s Guild – a national organization open to published authors writing for adults and children.
http://www.authorsguild.org/
The Children’s Book Council – a trade association for children’s publishers. They create a lot of useful publications. Also, includes meet the author/illustrator pieces.
http://www.cbcbooks.org/

Market Prep, The Nitty Gritty of Children's Writing

Writing a Novel? Where Does It Fit?

Posted on February 10, 2010 by Susan Uhlig

A few years back another writer and I did a novel writing retreat. These questions are ones I developed for attendees to consider about their novels. Perhaps the updated version will be helpful for you, too.
Where will your novel be shelved after it has been published? Not just shelf, but picture what authors you will be placed between. If you don’t know, take a field trip to the bookstore and see.
What is the category and genre of your novel?
Middle Grade
• Adventure
• Animal
• Biographical
• Contemporary
• Early Middle Grade
• Fantasy
• Graphic
• Historical
• Horror
• Humor
• Multicultural
• Mystery
• Problem
• Religious
• School
• Science Fiction
• Sports

Young Adult
• Adventure
• Biographical
• Chick Lit
• Coming-of-age
• Contemporary
• Dystopian
• Edgy
• Fantasy
• Graphic
• Hi-Lo
• Historical
• Horror
• Humor
• Multicultural
• Mystery/Suspense
• Novel in Verse
• Paranormal
• Problem
• Religious
• Romance
• Science Fiction
• Sports
• Steam Punk
• Urban
• Western
I doubt these are exhaustive lists, but they should help you think about what type of novel you’re writing.
What three stories are similar in some way to yours? The first 3 books or movies that come to mind when you think of your story are? What makes them similar? What is different?
Think about the books you most enjoy reading. What subgenre(s) are they? Don’t know? Check out reviews, talk to booksellers and librarians.
Does what your writing fit one of the areas you love to read? If yes, keep reading those subgenres. If no, consider writing in a different subgenre–something you love to read. If you never read, how can you know what today’s kids are reading?
Feel free to comment on these lists and questions.

Market Prep, The Nitty Gritty of Children's Writing

Meeting Editors and Agents – In Person

Posted on January 26, 2010August 20, 2026 by Susan Uhlig

Nothing is better than actually meeting an agent or editor in person. (Although long term following of someone on twitter is close.) By listening to an editor or agent talk at a conference, not only do I learn about their house, their agency, their tastes, and perhaps how they work with authors, I discover something of their personality. I’ve gone away with “Wow, I’d love to work with __________.” I’ve also experienced, “We just wouldn’t mesh.” They’ve also taught me about craft, given me insights into my own weaknesses in writing, made me think, inspired me, encouraged me, and challenged me. Whew!

This past year I was privileged to meet quite a number of editors and agents–all at SCBWI conferences. (If you’ve never gone to one, I really encourage you to do so.) Two agents that pop to mind with no reference to notes from the LA conference last August are: Marietta B. Zacker, Nancy Gault Literary Agency, and Sarah Davies (pronounced Davis), The Greenhouse Literary Agency.

I loved Marietta‘s straight forward, no nonsense approach–this was especially noticeable in the Q&A time. She’s passionate about what she does. She advised when writers are looking for an agent that they consider these questions: “Who will share your vision? Who will share your passion?” Marietta recommends writers find the passion that each has – whatever that may be.

At the beginning of her speech Sarah answered the questions on everyone’s minds. She also told her audience that writing is like being a violin player. “Would you expect to be on a world stage when you just learned to play scales?” she asked. Sarah finds it thrilling as an agent to have the opportunity to change someone’s life and help them reach their dreams.

At the Iowa and Illinois SCBWI Conferences I met Candlewick Editor, Yolanda Scott, who besides being a good editor is also a singer! Which reminds me, Ted Malawer at Upstart Crow Agency, used to sing opera (Kansas SCBWI conference.) Back to Yolanda who reminded us, she and other editors do what they do because they love it. She wants to know we’ve checked out her publishing house when we submit.

I’ve heard lots of agent talks, but in Kansas Ted gave some very practical advice about what we should be asking agents. He also advised, “Think about the query letter as the bait.” He believes comparisons–i.e. your manuscript to other books–are his job, not yours, which is different than what I’ve heard others say. (Again, why we should be out listening to these professionals speak!)

In Illinois I met Alisha Niehaus from Dial Books for Young Readers. She did a fantastic and fascinating workshop using Savvy by Ingrid Law. With permission of Ingrid she gave us insights into how the book changed–wow! When talking about middle grade readers in another session, Alisha said, “Though they wish they could make out with a vampire, they are still trying to figure out how to fasten their training bra.”

I met other editors and agents in 2009, but this post is growing too long to mention them all. Over the years my knowledge of the publishing world has grown by listening to agent and editor talks, panels, critiques. I’ve learned how dedicated these professionals are. Best yet, I’ve improved my odds of finding the right home for my manuscripts.