character

Using Psychological Principles to Plot Your Characters

by Brooke McIntyre

Author Jessica Bayliss worked as a psychologist for years before beginning to write in her spare time. As her writing projects grew into novels, she discovered that the same principles she used as a therapist helped her more deeply understand her characters. At the May Professional Series, Bayliss explained the core model she uses as a psychologist, and how writers can use that model to write more believable characters.

Our stories include both an action plot–what is happening in the character’s external world– and an emotional plot–what is happening to the character internally. The Cognitive Behavior Therapy (CBT) model relates the two. In the CBT model, a character has thoughts about their particular situation. Their thoughts generate emotions. Their emotions, in turn, drive behavior.

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Be the Hero of Your Writing Process with Kendra Levin

by Leah Heilman Schanke

Kendra Levin, Executive Editor at Viking Children’s Books, author of The Hero Is You, and the September speaker in the SCBWI-Metro NY Professional lecture series, shared how writers can use the hero’s journey model to create a “holistic, healthy, creative writing process.” Many writers struggle with process and experience dark moments where they wonder, “Why am I writing this?” Levin said. “Writers need to find ways to work organically and be their best selves.”
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First Pages with Agent Saba Sulaiman and Editor Kate Prosswimmer

by G. Myrthil

SCBWI Metro’s On-the-Road series returned to the First Baptist Church of White Plains, NY on Saturday, May 13, for a positive and informative First Pages workshop. Saba Sulaiman, literary agent at Talcott Notch Literary, and Kate Prosswimmer, associate editor at Sourcebooks, teamed up to critique a dozen or so first pages, ranging from picture books to YA, chosen at random from audience members’ submissions. Saba and Kate were lucky—all the first pages were really strong. Yet they still had helpful feedback and advice to share.

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Novel Writing: Soup to Nuts

by Lauren Shapiro

Perhaps because Stacey Barney was formerly an English teacher, her presentation seemed to flow from a lesson plan on successful novel writing at the Tuesday night SCBWI Metro NY Professional Series.

Ms. Barney says there are only seven stories she’s been told – Overcoming the Monster; Rags to Riches; The Quest; Voyage and Return; Comedy; Tragedy and Rebirth – and the writer’s challenge is to make these stories feel fresh. Her advice on how to do that is, “Voice is always the first place to start. If the voice isn’t working, nothing else is. Establish the voice right away. Voice is paramount and character is a close second. Character and voice go hand in hand.” There are many things she can help with as an editor, but “I can’t give an author a voice.”

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Pixels to Platform: Marketing for Creative People

by Divya Chand

“Author Platform” is a phrase that is often heard but seldom understood. It generates an unlimited number of questions for all writers. Luckily for the crowd at the SCBWI Metro NY Professional Series, Pixels to Platform, Gabriela Pereira was on hand to answer those questions and demystify the core tenants of any successful author platform.

Gabriela Pereira is an MFA graduate from the New School and the founder of diymfa.com, a website that provides authors of all stages a place to delve deeper into the “how to” of writing  and “gain knowledge without the college””. While undercover as a graduate student, she learned the inside scoop on MFA programs, invented a slew of writing tools all her own, and developed a new, more effective way for writers to learn their craft.

On Tuesday, Gabriela shared her knowledge and showed the crowd the building blocks of a strong and successful platform. She shared with us the basic purpose of a platform as well the ABCs of creating one. Per Gabriela, the platform is a marketing structure meant to the connect the author with the readers and the fan base.

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First Pages with Heather Flaherty and Maggie Lehrman

By Orel Protopopescu

Heather Flaherty, a Literary Agent at the Bent Agency, and Maggie Lehrman, a Senior Editor at Abrams Books for Young Readers, (as well as a YA novelist) addressed a rapt crowd at the Huntington Public Library on October 16, 2016 as part of SCBWI Metro NY’s On-the-Road series.   Rapidly making their way through a pile of first pages, ranging from picture books to YA fiction, they were in remarkable accord, zeroing in on what made (or detracted from) an opening that worked.  Published writers and beginners benefited from their expertise.

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The Ins And Outs Of The Graphic Novel: Calista Brill, Judy Hansen and Andrew Arnold in Conversation About Graphic Novels, From Concept to Published Book

by K. Marcus

Judy Hansen of the Hansen Literary Management, LLC, a literary agent specializing in graphic novels, strongly recommends that “if you want to learn how to create graphic novels and comics, both known as ‘sequential art’, the best resources to begin with are:”

Understanding Comics by Scott Mcloud

Making Comics by Scott Mcloud

Comics and Sequential Art by Wil Eisner

Then move on to “cutting edge” graphic novels and focus on their lettering and ballooning:

Amelia Rules! (series) and The Dumbest Idea Ever by Jimmy Gownley to look at paneling, ballooning & lettering and Hereville (series) by Barry Deutsch to see paneling & ballooning. And continue to read, read, read. Calista Brill, senior editor at First Second Books, added, “Sometimes people think of comics as ‘books light’ but they are very sophisticated and kids who read comics learn to pick up on these flourishes.”

Andrew Arnold, designer at Roaring Brook Press/FSG and a comics/graphic novel author/illustrator has “learned to never underestimate how smart kids are.”

Judy Hansen went on to say that “kids comics have commercial viability and have a great possibility for ancillary rights development.”

But graphic novels aren’t only for children. There is a market for adults as well. In both age groups, Calista Brill said, “the text and art should combine to make something greater than itself.” “A panel in a comic book doesn’t want to be perfect, something should be missing so it then directs you to the next panel.” The author/illustrator needs to think about text placement and how that leads the reader through the story.

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