Given all that, you can imagine how I felt when a therapist-turned-coach told me about creativity coaching. Now I’m surfing these waters and enjoying how this field fits with my love of writing and education and my desire to partner with artists and other creatives in order to achieve their artistic goals, supplement their incomes, or to add more joy and meaning in their lives.

If you want to create, you’re going to roar your terrible roars and gnash your terrible teeth. You’ll get blocked, hit walls, claim you can’t do it, and you’ll even hear voices say things like, “Who do you think you are?” I wish I would have had a creativity coach when I started writing instead of thinking that no one else struggled like me, and that there was no way out. We have limited perspective when it comes to all that. We can only judge others by their outsides, but we judge ourselves by our insides. Believe me, the writers, musicians, and artists I support all have insecurities and second (and 372nd) thoughts about their purpose and meaning.

So, if you’re questioning your path, be your own creativity coach this week. I challenge you to sit yourself down and ask yourself some questions…

What gives you energy?

What are your greatest accomplishments?

When were you happiest in the past?

What insights from your answers to the above questions can you incorporate into your current reality?

Feeling differently now?

As conference goers file into my picture book session, I have a quote by Mem Fox on the screen: “Books for young children are usually short. Young children themselves are usually short. This leads to an assumption that children have small brains and that writing for them is easy. The reverse is true.”

If you’ve tried writing picture books, you know what Mem says is true!

And if you’ve studied anything about picture books, you’re probably also aware of these bits of information:

• Published picture books are usually 32 pages long (that’s including all the pages, not just the ones telling the story), due to the physical aspects of the publication process. When they’re not 32 pages, they’re usually in increments of eight, such as 40, 48, etc. Those numbers don’t mean too much to me as I write, but when I revise, especially my rhyming texts like my dinobooks and Monsters on Machines, I think of my manuscript placed into 14 double-spreads (two pages facing each other).
• Most editors will tell you to keep your words under 1000 (or much less). My manuscripts range from about 250 to 600.
• Pictures tell the story, too. If you’re not an author/illustrator, leave room for the illustrator. There’s no need to describe every physical detail. I often eliminate many words and phrases depicting items that will be shown in the illustrations. Once a manuscript has been accepted for publication, it will be turned over to the illustrator. At that point, it becomes the illustrator’s book, too. You don’t select the illustrator, and you almost never include notes about what should be in the pictures.
• Picture books are meant to be read aloud. You’re not writing for beginning readers. You’re writing for people who will be reading the text to young children. When I did a library presentation once, a librarian said, “At our house, your books were never ‘behind the couch’ books.” When I asked her what she meant, she said they never got tired of reading my books, but whenever they did get tired of reading the same book over and over, they would reach their arms up and back and drop the book behind the couch. She said it would take her kids weeks to find the books again. Yes, you’re writing picture books for children, but you also need to consider the people reading to those kids.
• Illustrators make dummies of books, putting together the artwork and text to see how it will best fit together. Making a dummy (I wish I’d do it more often) will give you all kinds of information. It’s helped me see where I don’t have enough variety for the illustrator, where I’ve been redundant, and where I need to add something. You can create your own type of dummy in many ways, either making books of various sizes by cutting and pasting your manuscript text and doodling possible illustrations, or create dummies with several spreads on each sheet of paper, or just thumbnail pictures and partial text to see many dummy pages on one sheet. What matters here is what works best for you, because you’re not sending it in. It’s just for your own use, which means those stick figures you tend to hide from others can finally have their special place to shine!

So, what else does a picture book need? Here’s a little list:

A good picture book has:

• Characters we care about
• Problems solved by characters
• Joy and Heart moment(s)
• A universal theme
• No preaching or teaching
• Unique and surprising language
• The right words in the right places
• The 3 R’s for youngest: Rhyme, rhythm, repetition
• Kids begging More! More! More!

And if you’d like a little nudge to get your picture book ideas going, check out Julie Hedlund’s 12×12 picture book challenge. That’s the banner for it at the top of this post. Let’s do it together. You let me know how you’re doing, and we can support each other along the way.

There’s so much more I could tell you about picture books, and I will, but you see, I still haven’t done my January picture book draft, so I’ve got work to do. I promise to give you more later. Happy writing!

Writers, if you live in the northwest, you probably already know about these TWO great conferences. Now tell your teacher friends to come along with you and sign up for credits or clock hour options this coming spring. Whether you’re a teacher who wants to write, or you just want to better understand the processes of writing and publishing for children, you won’t regret attending the Western Washington and Oregon SCBWI (Society of Children’s Book Writers & Illustrators) conferences.

Western Washington’s information is above. The Oregon SCBWI conference will be held May 18 & 19 at the Shilo Inn Conference Center—Airport, in Portland.

When I was teaching, I attended these conferences year after year, and applied what I learned to my classroom teaching and my work as a librarian. I loved meeting authors, agents, and editors, and the stories I told my students about the people I met made the books my students read more interesting to them and the writing process more relevant for them. There was no option to get credits or clock hours in those days, so I’m grateful to these SCBWI chapters for supporting teachers in this way. I’m not in the classroom any more (except when I get my kid fix at school visits), so this gives me a chance to hang out with my teacher peeps.

If you want credits or clock hours, you’ll need to register for the conferences separately, then email me for a syllabus or for more information. Clock hour (or PDU) participants have no required assignments, but the meeting times and bibliography listed in the syllabus may be helpful. We’ll all get together during the conference registration time on the first morning to complete the paperwork. You’ll register for clock hours (18 for $70) or credits (two 400 or 500 level for $120) with me when you get there. Then you’ll all meet with me later in the day, and also twice during the second day.

Treat yourself. See why many of your peers return every year!

As an author and creativity coach, dealing with various forms of rejection comes up over and over. Some of my clients choose to create a rejection ritual. This could include anything you want it to include, from lighting candles, reciting an affirmation you’ve prepared, reading a list of positive reviews you keep handy for just that purpose… Or, your ritual can include elements to make your writing better.

A very important step is to acknowledge that not everyone loves the same things. If the writing is good and the idea unique, the reason for a negative review may simply be that the material is not something that particular reviewer enjoys.

My favorite negative review came from a librarian who was horrified that the sea-sick dinosaurs in my picture book DINOSAILORS actually puke off the side of the boat. The illustrator showed it from afar with a lovely sunset in the background. Even I was taken aback when I first saw the preliminary sketches, but I have no say over the art (that’s the editor’s job). However, I got over that almost immediately, and was validated by future readings with kids. They either burst out laughing or yell out “Ewww….!” (and they love to do either). My reaction to that review was to picture the librarian. In my mind, she looks just like my vision of my inner critic (imagine that!). But, there may be positive outcomes from negative reviews as well.

Here’s a list of steps to make use of the information in a negative review:

1.    Give the review some breathing room, especially if the comments are overwhelming.
2.    Determine which comments resonate with you and keep them in mind as you work on your next project.
3.    If a comment points to a specific element of your craft, consider it a gift and use it as an opportunity to focus on learning more about that aspect.
4.    Take it to your critique group or a writing partner for feedback on the validity of the review.
5.    View it as an opportunity for letting go, and put your focus elsewhere.

If you feel your reaction to a negative review is too strong, you might want to ask yourself what that reaction is really about. A friend once told me “If you want to know who you are, look in a clean mirror.” Reviewers can’t define who you are unless you take in what they say. That goes for both negative and positive reviews. Once your writing is out there, it takes on a life of its own. You can’t revise it any more. You can support it in other ways, but as the parent, you send it off to begin a life of its own. Focus on a new project, and give that newborn the attention it deserves. Best wishes, everyone!

In addition to a gourmet dinner, there will be silent and live auctions, including a fabulous dessert auction. Don’t miss it!

Tickets are $60 and can be purchased individually or by tables. And please, stop by and say hi at our table. You’ll figure out who we are…

Get your tickets here!

When I first heard about creativity coaching, my heart started racing. I knew right away it was a field that combined my passions and used my skills. I also knew it would be a great help for my own creative projects. Studying with Eric Maisel and taking classes from the Creativity Coaching Association has validated my choice to pursue this path, connected me with others who enjoy supporting artists, writers, and musicians, and given me a framework, techniques, and tools for what I already informally do in my teaching and consulting.

Being conscious about creativity coaching as I go through my days gives me lots of practice whether I’m with clients or not. This reminds me of my early days of taking my writing seriously. The more intentional and dedicated I became to my writing, the less I had to hunt for ideas. Everything became ideas for writing. That’s how it’s been with the creativity coaching. Because it’s on my mind so much now, I find those moments (without really looking for them) when I might be able to ask the right question or say the right thing to encourage someone.

I’ve always included coaching about the creative process and helped people get through their blocks when working on manuscripts with clients, which is a main reason I decided to start this program. But now it feels like more and more of my time with clients is creativity coaching. Recently I met a woman who had emailed me about critiquing her stories. I told her I didn’t have time at the moment, but we began an email exchange that focused on creativity coaching. I’m not focusing on her manuscripts at this point in time, and what she actually needed more than that was an understanding and development of her own writing process. I wouldn’t have known that about her if we had jumped right into a manuscript consultation. It’s often our insecurities, our hunting for the “right way” to do something, and our judging what we think “real” authors do that gets us stuck, not the words themselves.

As far as my own work goes, I’ve had conversations with myself, asking and answering myself questions, and it’s amazing what can be learned from the process of listening for your own truths. And what I recently learned is that I’m procrastinating putting my organizational plan in place because it’s too daunting, too complex. My goal now is to take one little step at a time, like clearing off the top of my desk. Baby steps. There. I said it. Thanks for keeping me accountable!

So, get quiet. Ask yourself questions, and be honest with your answers. And then, take that first step. What will you do this week to move toward your goals? What baby step will you take?

SKYPE AUTHORS DEBUTS, PLEDGING 25% OF VIRTUAL SCHOOL VISIT FEES TO EDUCATIONAL CHARITIES

SKYPE AUTHORS connects noted children’s book authors to schools and book clubs while benefiting Camfed in 2011-2012.

September 12, 2011 (Seattle, Wash.) – noted authors Suzanne Williams, Martha Brockenbrough, Dia Calhoun, Janet Lee Carey, Mary Casanova, Lorie Ann Grover, Joan Holub, Deb Lund, Claire Rudolf Murphy, and Trudi Trueit have launched Skype Authors (http://www.skypeauthors.com), an author-visit-booking site that will aid schools, book clubs, and educational charities.

Inspired by Skype An Author Network, Skype Authors desires to provide similar services while additionally targeting philanthropic causes.

“We believe children benefit from the chance to talk with authors about books and reading, and we also believe in supporting educational efforts in impoverished countries,” said founder Suzanne Williams.

In these difficult economic times, schools have limited access to funds for traditional author visits, which can cost 10 times as much–if not more. Virtual visits offer a low-cost method for classrooms and authors to connect. Students can directly inquire about book characters, a current work in progress, or a story’s inspiration.

Additionally, a portion of the proceeds from each visit will benefit Camfed, an organization that educates girls in Africa.

The idea was born when Williams’s adult son challenged her to “think global” about her charitable giving and to find a way to magnify her support for a cause she felt passionate about.

“I was convinced that if I felt passionate about supporting education in the developing world, I could find other like-minded authors who felt the same way,” she said. This is how they chose Camfed, which educates and empowers girls in rural Africa, helping break the cycle of poverty and disease.

Skype Authors includes the novelist and poet Lorie Ann Grover, founder of readergirlz, a National Book Award-winning organization that promotes teen literary.

“Skype Authors is directly in line with the philanthropic focus of readergirlz. Not only is there a rich author/reader exchange, there’s life changing outreach through the fee donation,” says Grover.

In celebration of the launch of Skype Authors, a Half and Half Contest is open now. The entire fee for two half-priced virtual visits will be donated to the 2011-2012 charity, Camfed.

With the intention to expand, current Skype Authors include:

Martha Brockenbrough (http://marthabrockenbrough.com) is author of the forthcoming picture book, The Dinosaur Tooth Fairy, and the forthcoming novel, Ten Commandments for the Dead. She is a teacher who founded National Grammar Day and the Society for the Promotion of Good Grammar.

Dia Calhoun (http://www.diacalhoun.com) won the Mythopoeic Award for Children’s Literature (Aria of the Sea). and has authored 5 YA fantasy novels. She will make her debut as a middle grade verse novelist in 2012.

Janet Lee Carey (http://www.janetleecarey.com) author of seven YA novels including The Dragons of Noor & Dragon’s Keep. Her blog (http://LibraryLionsRoar.blogspot.com) Roars for youth library programs.

Mary Casanova (http://www.marycasanova.com) has written more than 25 books for children, from picture books to series, from books for American Girl to adventure novels.

Lorie Ann Grover (http://lorieanngrover.blogspot.com/) has authored three young-adult novels (On Pointe) and three board books (Bedtime Kiss for Little Fish). She co-founded readergirlz and readertotz.

Joan Holub (http://www.joanholub.com/) is the author and/or illustrator of over 130 children’s books (Goddess Girls series; Vincent van Gogh: Sunflowers & Swirly Stars).

Deb Lund (http://www.deblund.com) wrote Monsters on Machines, her celebrated dinoseries, and many more children’s books.

Claire Rudolf Murphy (http://www.clairerudolfmurphy.com)

Trudi Trueit (http://www.truditrueit.com) is the author of more than 70 fiction and nonfiction children’s books, including the Julep O’Toole series (Penguin) and Secrets of a Lab Rat series (Aladdin).

Suzanne Williams (http://www.suzanne-williams.com)is the author of more than 30 books for children (Goddess Girls series with Joan Holub; Library Lil, Ten Naughty Little Monkeys, Fairy Blossoms and Princess Power series.)

Here are a couple of pages from the publisher’s catalog…

When I think of my writing gang down in the Portland area, I could almost pack up and move down there. They’re such a friendly, down-to-earth, supportive crowd, but then, that’s what you find when you write for children. Consider joining me at this conference in May. And if you’re a teacher, ask me about how to get credits, clock hours, or PDU’s for attending.

See you there!

May 13 & 14, 2011 Shilo Inn Conference Center – Airport, Portland, Oregon

Featuring two full days of writing and illustrating intensives, first page sessions, keynotes, workshops, and individual critique sessions!
Just for illustrators: You asked for it, you got it! How to create a Book App, Photoshop Tips, and Homework! Maybe you didn’t ask for that last thing…

Click here to register!

COST: Saturday $155 for members; Friday $100 for members; Critiques are $35.00

Our May 2011 Faculty:

Sandy Asher, Author and Editor
Bonnie Bader, Editor-in-Chief of Grosset & Dunlap and Price Stern Sloan (Penguin Young Readers)
Pamela Smith Hill, Author
Ward Jenkins, Illustrator and animator
Richard Dean Johnson, Developer: InteractBooks.com
Deb Lund, Author
Martha Mihalick, Associate Editor at Greenwillow
Diane Muldrow, Editorial Director at Golden Books (Random House)
Susan Sherman, Art Director, Charlesbridge Publishing
David Michael Slater, Author
Emily Whitman, Author