 20 years of Master Class to Masterpiece |
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PRESS REVIEWS Our workshops have been featured in several print and online publications. These pages include the following articles, from earliest to most recent:
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How and when did PCCWW 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 writers? 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 PCCWW distinctive among writers’ 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 youth novels slant? [Youth novels aren’t just a longer version of picture books. They must resonate with themes, issues, immediacy and a voice that speak to today’s adolescents.] 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. [“Living inside a character’s head, vicariously experiencing the consequences of his or her actions, helps teens better understand real people,” notes Barbara Shoup, former PCCWW faculty and the award-winning author of four young-adult novels. “One high school class read my Stranded in Harmony (Hyperion). We engaged in a spirited discussion, especially about where the main character believes that his girlfriend is pregnant. As my visit ended, one girl admitted, ‘I’m pregnant, and reading your novel helped me understand how my boyfriend reacted when I told him.’”] What’s the current literary scene for people trying to break into youth 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 250-page youth novel, and it’s actually good. Then what do I do? 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. [Study the pros and cons of obtaining an agent.] If you are accomplished enough to sign 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. [Sensel adds, “Don’t write or market your work based only on the knowledge of books you’ve read as a young person; read what’s selling today...The learning curve is well mapped out. Determination and hard work can make it happen.”] — Christa Martin (2008) in GOOD TIMES, a regional newsmagazine based in Santa Cruz, CA. |
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Nancy Sondel is a writer—through and through. With her own young-adult novel in the works and a brimming resume full of freelance gigs, she’s the brains (and brawn) behind a classy, high-end but down-to-earth gathering for writers to be held in August. It’s the sixth time around for the Pacific Coast Children’s Writers Workshop (PCCWW), which will woo a top-notch agent, an executive editor from HarperCollins and a novelist to the event where youth-novel writers will gather to delve deep into what makes their writing tick (or not tick)... It’s a rarity to find a workshop of this caliber in our county. PCCWW can boast of bringing reputable professionals in the industry who offer a windfall of information to participants. GT recently interviewed Sondel, a long-time local, to get the scoop on why writers’ workshops are so invaluable.