Ahoy!

Well, today is the start of one of the biggest conferences in the children's book world, the SCBWI Summer Conference in Los Angeles...and I'm hanging out with the Muses and thousands of other awesome kid-lit folks in Beverly Hills. Plus, this year is mega-sized since it's the 40th birthday. Can you say, "Legend - wait-for-it- Dary"? *High-five*

If you like the new blog design or the Muses in general and are in LA, feel free to say 'hi' (we look like the cartoon avatars on the left). Also, head over to the free swag table and grab a bookmark or sweet button. Here's a sneak peek of the bookmark:

So in honor of this event, I selected my first ever post - back when I was merely a guest blogger (I know, I avoid remembering those days too...sad, lonely times). For those of you who've read this many times, I've added new pics of the Muses at various conferences over the last year for spice.

Oh, and don't forget to check in next week for highlights from SCBWI - LA, plus a chance to win an ARC of Veronica's UNDER THE NEVER SKY. (I'm seriously peeved that I can't win - this book is truly awesome.) Here's the details for those that missed it:

Contest Rules

To enter, receive one ticket for the following:

· a blog follow

· tweet with a @yamuses

· a blog comment

Limited to one ticket per action, each day until contest ends. Current followers are 

automatically entered once. This contest is open internationally.

Contest Dates: August 4 to August 21

Winner will be announced on August 22nd! Good luck!

Without further banter, here's my"Best of..."

CONFESSIONS OF A CONFERENCE JUNKIE

Posted February 2, 2011

Ahem. [tap tap tap]. Is this thing on? Can you hear me?

Ok. Good. Thanks.

I’ll get started then.

My name is Bret. And I’m a Conference Junkie.

Whew. That felt good to get out. Now, onto to my uber-special-YA-Muses-guest-blog post.

As most of the readership knows, SCBWI Winter Conference occurred this last weekend in New York. Of course, I wasn’t going to miss it. I signed up on the day the registration went online, madly clicking to get into the intensives, quickly deciding which breakout sessions to attend, and tapping in my credit card number from memory.

I couldn’t wait.

Now, I’m sitting on a plane on my way back home. I can barely keep my eyes open. My mind and soul are all the colors-of-a-bruise rainbow. I spent almost a whole paycheck, braved one of the biggest blizzards in NYC this winter, rode an emotional roller coaster, and slept the number of hours in four days that I shoot for on a normal Saturday night.

What fun, right?

So why am I a Conference Junkie? What’s so great about these things?

As a Junkie, I generate so many reasons to go: An idol is speaking, a friend is guilting me, and/or the is venue right in my backyard. However, at first, the strongest pull for me as a “pre-published” writer (don’t you love that term), was simple: The shot.

Conferences are where things happen. Chance meetings with editors on elevators that lead to bestsellers. Drinks with famous authors where they drop your name to a couch full of agents. Critiques where agents DEMAND to see your full manuscript as fast as you can get to a computer. Even as pooped as I am, I just got chills.

I confess, it hasn’t happened for me yet. (I’ll pause for the collective sob – done? Great. Moving on). In fact, the chance of being that super-star are super-slim. At the international conferences a handful, among thousands, get chosen. At a local conference, they probably are better with fewer attendees, but there are fewer of the big-wigs there, so it’s a trade-off.

Yet, I still subject myself to so much pain/exhaustion with so little hope. And I won’t lie, until I achieve that next level, I probably still wonder if the next time is the time. But it’s not really why I go anymore. I go because every conference has been a milestone in my writing life. I come out a different writer than I went in.

These conferences have defined my career in so many, unexpected ways. And since the Muses will no doubt expect a bulleted list from me, here’s a sampling of what I mean:

• One horrible critique sent me into all-night rewrite frenzy. The revision blew the critiquer’s mind (or so, I believe). I consider this as the defining moment where I stopped being a hobbyist and started being a writer.

• A presenter flashed a tool J.K. Rowling used to help shape one of her books. The image appeared for less than a minute, but it rocked my world, and now is a my own very powerful/very geeky tool.

• At few of these conferences, some very smart people gave me some solid encouragement. I keep these compliments close to my heart so they generate that critical, but elusive, “butt-in-chair” glue.

• I’ve used conferences as landmarks to finish a draft or force myself to polish something for a critique.

• And most importantly: Through a series of “coincidences,” I’ve connected with the most wonderful people (yes, including the Muses). Now, I consider them my most trusted of trusted in writing and life. (I totally think of us a Crash of Hippopota-Muses…see, we even have inside jokes).

There are so many more “random” run-ins, tidbits of knowledge, and inspirational networking that have come from my conference experience that I could go on for another 600 or 6000 words. But the flight attendant is on the speaker, demanding I power off my laptop.

So before she slams it closed for me, I’m a Conference Junkie because they’ve shaped me to become who I am in my writing life. They are the chapter breaks

in my story. I never know what’s going to happen, but it’s always something. And a high like that is worth every penny and travel-related headache.

I’ll sleep tonight. I’ll get another paycheck. I’ll recover from the mental bruises with the help of my friends. And I’ll be first in line for the next conference.

How do you guys like the new look? Pretty cool, huh? Shout-out to Bret for putting it together. (Does my hair really look like that? Maybe I should get bangs?)

It's a busy Thursday here at the Muses. Here's what's in store:

· Contest news!

· A Bookanista review of WILDEFIRE by Karsten Knight!

· Best of the archives!

Ready? Here we go...

YA MUSES Blogoversary Contest

Win an ARC of UNDER THE NEVER SKY

I'm sitting here at the Century Plaza Hotel in Los Angeles reminiscing. Tomorrow, the rest of the Muses arrive for the fun and craziness of the SCBWI Annual Conference. But for now it's easy to recall last year's memories.

In August of 2010, none of the Muses had book deals. We were all in various stages of the hunt, from preparing to query agents to being on submission to editors. None of us had any assurance that our manuscripts would ever be published. Now, a year later, we will have eleven books published over the coming years between the four original Muses. And we haven't even added our newest Muse's tally to the total yet. Bret will undoubtedly bring us a few more chips soon.

In celebration of the YA Muses Blogoversary and of a truly stellar year together, we will be holding a contest. The prize? A signed ARC of UNDER THE NEVER SKY.

UTNS won't be available until February 7th of next year, so it's a very early look at my debut novel, a post-apocalyptic-adventure-romance. (An apocomance, if you will.)

Contest Rules

To enter, receive one ticket for the following:

· a blog follow

· tweet with a @yamuses

· a blog comment

Limited to one ticket per action, each day until contest ends. Current followers are automatically entered once. This contest is open internationally.

Contest Dates: August 4 to August 21

Winner will be announced on August 22nd! Good luck!

#

Bookanista Review

WILDEFIRE by Karsten Knight

Recently, I read Karsten Knight's debut novel WILDEFIRE. What a ride! Here's a brief description, followed by my thoughts.

Ashline Wilde is having a rough sophomore year. She’s struggling to find her place as the only Polynesian girl in school, her boyfriend just cheated on her, and now her runaway sister, Eve, has decided to barge back into her life. When Eve’s violent behavior escalates and she does the unthinkable, Ash transfers to a remote private school nestled in California’s redwoods, hoping to put the tragedy behind her. But her fresh start at Blackwood Academy doesn’t go as planned.

Just as Ash is beginning to enjoy the perks of her new school—being captain of the tennis team, a steamy romance with a hot, local park ranger—Ash discovers that a group of gods and goddesses have mysteriously enrolled at Blackwood…and she’s one of them. To make matters worse, Eve has resurfaced to haunt Ash, and she’s got some strange abilities of her own.

With a war between the gods looming over campus, Ash must master the new fire smoldering within before she clashes with her sister one more time… And when warm and cold fronts collide, there’s guaranteed to be a storm.

My thoughts:

WILDEFIRE is a great combination of a fast-moving plot, action and humor. I loved watching Ash find her friends and discover her abilities. She's a strong female lead who more than holds her own in just about any situation. When I say she kicks butt, I mean it literally.

This novel reminded me of John Green's LOOKING FOR ALASKA in its humorous and authentic portrayal of life in a private boarding school. Blackwood felt utterly real to me. Ash's supporting cast were also a treat; I especially looked forward to scenes that featured Rolfe. This one gets better and better as you turn the pages, until you're blazing a trail through it.

action + gods/goddesses + badass protagonist + romance + snap-crackling dialogue = WILDEFIRE

Check out what the rest of the Bookanistas are reading this week:

Elana Johnson and Scott Tracey find wonder in The Near Witch

LiLa Roecker sing out about Where She Went

Christine Fonseca adores A Scary Scene in a Scary Movie

Corrine Jackson delights in The Unbecoming of Mara Dyer

Stasia Ward Kehoe marvels at My Life, the Theater & Other Tragedies

From the Archives - Finding the Writing Groove

This post was originally shared November 9th of last year when I found myself in the midst of an extraordinarily busy time. Well I'm busier than ever, so these tips for making the most out of your writing time are still valuable to me. I hope they are to you, too. Enjoy!

Finding the Writing Groove

For the past two weeks, I've been revising my manuscript for Barbara Lalicki, my wonderful editor at HarperCollins. One thing became abundantly clear when I received her notes: Barbara is a total, top-notch, scary-good pro. She's taken my story and put it under a microscope, weighing character, plot, setting, word choice, etc. I can't tell you what a relief it was to see such a close eye on my pages. It really made me feel like I've got a partner - and I do in Barbara. I know she wants to see UNDER THE NEVER SKY rise to its greatest potential, just as I do.

What does that have to do with finding the writing groove? Well, the revisions I'm doing now have jumped to a whole new level. Much of the time it's difficult work. Yes, I said work. Important work. My husband tells me that the last 10% of any undertaking is always the hardest part and I'd say that's true here (although I can't be sure I only have 10% to go... Might be closer to 15%) The point is that lately as I begin my writing days I feel a bit as I'm going into battle. It's something of a new phenomenon for me. Usually, I'm slavering to get to writing. (Yes, I did just use the word slavering. That's another side effect of revision brain. Random word choices.)

So I've developed a few habits that help get me going. I'm sharing them with you in case you find yourself in a slow groove, when getting started is tough.

1) Leave home - In general, at my house these days, there's more laundry in the hamper and less food in the refrigerator. One day, I didn't even make the beds. (This is unheard of for me.) I am a stay at home mother, but what's happened in becoming a professional writer (OMG I can't believe I just said that) is that, well, I have to be a pro. Just like my editor. This is my priority now. It's always been up there. But now, I'm a writer first and foremost. The laundry and groceries will get done. But until the revision is complete and returned, the writing needs to take precedent. By leaving home and going to my parent's house or a coffee shop, I don't see all the tasks that could suck me away from important time on my manuscript. (Side note: I used to work full time, as I am now on this revision, but I've never done it before as a mother. And I have to say, I want to give all you working mothers out there a giant hug and then a day at the spa. You're all amazing. Oh, and p.s. any tips on juggling home and work are greatly appreciated.)

2) Music - Quite simply, it puts my head in the right place. For this story, I've been gorging on Kings of Leon, Bach's cello concertos, and opera. Yes, opera. It's a long story... about 365 pages or so. You can read it sometime in early 2012.

3) Walks - When I'm struggling, a walk around the block does wonders to shake things loose. Reminds you there's a big world out there, with lots of other things happening, and you know. Don't take yourself so seriously! You're going to sit down to WRITE, for goodness sakes! How lucky are YOU???

4) Freedom - This is a downloadable program that lets you set a timer in which your computer is taken off line. No facebook or twitter = productivity. I think a simple google search will pull it up. Or you can just turn off your wi-fi.

5) Photos - I have a file for all my research photos for UNDER THE NEVER SKY. There are pictures of people who remind me of characters, places that look like the settings I'm trying to create, etc. Browsing through these can help me get in the zone.

6) Reading - Sometimes, picking up a research book will get me excited or spur a fresh idea. Also, I have what I like to call an author-trainer. He has no idea he's my trainer. But he is. His name is Justin Cronin and he wrote THE PASSAGE, which was out this summer (along with several other award-winning books.) I love Justin's third person voice. Something about it really resonates with me. When I read a few pages, I get inspired. It's like Justin is going, "Come on. You know you want to write like this. Get moving, V. You got this. Blood, sweat and tears, V! Get off your lazy---" OK, actually I'm sure Justin is much nicer than this. But that's the feeling I get when I read a bit of his writing. So thank you, Justin.

7) Indulge in a little self congratulation - When it's really tough, I go digging for all the positive comments I've received on my writing. It's like the opposite of a pity party. I look for my editor's praising comments. I'm so fortunate to find these readily in my emails and notes with Barbara. Those comments can give me a real shot of confidence to get back to work. I might throw out an email to good friends or the Muses, looking for a little validation (Muses & dear writer friends - you rock). And I might, just maybe, make a little comment on the phone with my super-agent, Josh Adams, who's always ready and willing to dispense with some encouragement. Folks, we all need a little dose of the positive here and there. Don't be afraid to remind yourselves of the progress you've made. Feeling good never hurt anyone.

8) Read something that's yours but fresh - This one I just remembered, but I'm going to try it this morning. When I dig up old projects that are forgotten and dusty (virtually dusty) with age, I see that, yes, I can in fact write something decent. I know that sounds silly, but when you get as close to a manuscript as I am now with UTNS, you're looking for all the mistakes and weaknesses. You get so close that these are the only things you see. Reading old writing can remind you of the point, which is to tell a good story. To string together words in such a way that some kind of magic happens, and they aren't words anymore. They become a person with a particular kind of personality. A person with a problem, or a need. They exist in a place that you can see and smell and even feel with your hands. That's good stuff, knowing you can do that. And if you've managed it once, well, you can do it again.

All right. Those are my tricks. I meant to wrap this post up nicely, but honestly, just writing about getting inspired has gotten me inspired. It's time to get to work.

Go forth and write!

The Revision Checklist originally "aired" on December 10, 2010.  This system for revision is still a work in progress, but I find that I use all nine steps at various stages.  I hope this is helpful!

I’m in the middle of revising my second novel as I write this.  While my process for writing a first draft is still a work in progress, my revision process is coming into its own.  I have a confession to make.  I LOVE revision.  First drafts are hard.  Overwhelming.  There are hundreds of blank pages to be filled.  It’s scary.

But with revision, I already have a book to work with.  I get to play with concepts, characters, plot points and themes.  I’m going to lay out my own revision checklist with all the usual disclaimers:  this is what works for me. Feel free to discard, expand upon or ignore any or all of it.  And please share what works for you.

1.       1.The Outline:  I don’t usually use an outline when writing the first draft, but I always do one immediately after the first draft is written.  Instead of reading through the entire first draft, I do a skim-through, creating a separate document that will become my map for big picture revisions.  I create a table, with a row for each chapter, a column describing (in 1-3 short sentences) the major plot points/scenes in the chapter, and a column for notes of things that I already know need to be added (more setting details, conflict or character development).  

Chapter 1	Short description of action/scenes in chapter in 2-3 short sentences	Notes for revisions
Chapter 2	Short description of action/scenes in chapter in 2-3 short sentences	Notes for revisions

2.            2.  The Big Picture Plotting Revision:  Now that the outline is done, I read through the scene descriptions in order, to see how the story flows from a plotting standpoint.  Does the story build to a climax?  Are the major plot points resolved?  What about subplots?  Do they carry through the entire novel?  Do major characters disappear for long stretches?  Are their chapters or scenes that aren’t moving the story forward?  The outline takes up less than two pages and it’s much less intimidating than a 300 page book.  I’m also a visual learner, and the outline really helps me visualize the plot trajectory of the book.  At this stage I look for scenes that need to be cut or rewritten, and also look for scenes that are missing or need to be added.  I then add rows for new chapters or scenes and describe them in bold, so I know I still need to write them.  I cut scenes that aren’t working and add new suggested scenes within the outline, until I have a plot that I’m happy with.  This is all done is broad strokes within the two page outline, and saves me having to actually cut or revise scenes until I’m satisfied with the big picture.

3.              3.  Plot Revision-Back to the Manuscript:  Now that I’m comfortable with the plotting, I go back into the manuscript and make the revisions I’ve noted in the outline.  I add scenes in the places noted , and take out any scenes slated for cutting. 

4.             4.   Pacing/Conflict Revision:  Now that I’ve done a big picture plotting revision and gotten the plot/scenes that I want in the book, I scale back to a scene by scene revision for conflict and pacing.  I’ve described the process as revising for suspense here.   I use the outline again, but this time, I create a new column next to each chapter where I identify 2-3 conflicts for each scene.  Now I revise the chapter with those conflicts in mind and make sure that there are some setbacks and tension builds in each individual scene.

5.              5.  Setting Revision:  Now that the scenes are working from an overall plot and tension standpoint I go through the entire book to add sensory details in each scene.  My rough drafts are usually dialogue heavy and sparse on descriptions.  If you write a lot of descriptive passages, you might want to take out some setting details.  In either case, this is a great time to look for ways to use setting to emphasize themes or add tension to the scene.

6.             6.   What the MC is thinking Revision:  I write in first person, but that doesn’t mean that the reader knows what the main character is thinking in every scene.  I go through each scene and look for ways to give clues to the main character’s reaction, whether it’s through thoughts, actions or physical reactions.  A little telling is sometimes beneficial here, if used sparingly.  This is one of the last revisions I do, and I always love the book so much more after this one.  It will add depth to your characters and story.

7.                7.  Line edits:  Now we’re getting into minutia.  I try to do line edits as I go through each scene in the prior revisions, but now is the time to use the find function on your word processor to look for overused words and descriptions, eliminate passive voice (not all-just what doesn’t need to be there) and cut back on gratuitous adverbs and adjectives.  This a great time to think about first lines, dialogue tags and make your characters sing.  This also the place for the big read through.  I read the entire manuscript through from beginning to end, on paper, making edits with a pencil.

8.             8.   Send to trusted readers:  This part of the process can’t be skipped.  A reader who you trust to be honest and give constructive feedback is priceless.  This could be a critique partner, an agent, a family member or friend.  I rely on other writers (hi Muses) because I know I will get more than a vague I liked or didn’t like something, and they will point out plot holes, pacing and voice issues that I am too close to see (or have been avoiding).  Some writers only want the criticism; they want to know what needs to be fixed.  I need readers who will point out what is working as well.  I don’t know about you, but I am a fragile, needy writer who constantly seeks validation.  And I know I can trust my readers to encourage me as well as help me improve the story.  Listen to the feedback, but keep it in perspective.  You can't please everyone all the time.  Trust your gut and your vision, but accept what rings true.

9.              9.  Repeat:   With valuable feedback in hand, the process starts again.  The only exception is that I think it’s important to have a new set of trusted readers when you get back to step 8.  This is especially true if you had plotting or pacing issues the first time around.  You need fresh eyes who won’t be influenced by what they’ve read before.

That’s my process.  Of course it’s all subject to revision.

And don't forget to check back tomorrow for details on our new contest!

We're all busy packing (or still shopping for something other than a tatty Humboldt State University sweatshirt), planning get-togethers and preparing our families for our absence this week.  Oh, yes, and I'm warming up my elevator pitch.  I know I'll have to answer the question, "So what's your book about?" and I can't just mumble, "It's about the fifth wife of Henry VIII."  Even though I posted this blog quite a while ago, I have to keep coming back to it to get my pitch straight.  I hope it continues to help some of you, too!

Elevator Pitch.  Logline.  Single sentence synopsis.  They are not necessarily the same thing, but all boil down to one essential problem:  How to distill your 80,000+ word novel into a single sentence?  30 seconds.  140 characters.

Conferences are coming up (and many have already happened), do you have your elevator pitch ready?  No?  Why not?  Because it's impossible? 

I always thought so, too.

I have a confession to make.  I never had one.  Not for one single conference I have ever attended.  Not for queries.  Not for unintentional run-ins with editors.  Not for Twitter.  If anyone asked what my book was about, I would say:  Well, it's the story of the fifth wife of Henry VIII told from the point of view of her best friend.  Yawn.  Good thing only my friends asked.  At least they pretend to be interested.

But lucky for me I now have a brilliant editor in Kendra Levin, and a few weeks ago she shared with me  some ideas for writing a logline.  She learned it herself at an SCBWI conference.  This is what she said:

--Try using "what if" statement.  As in, "What if an ordinary girl became the Queen of England?"

--Logline formula:  "After [inciting incident], a [character description, without name] must [primary action] or risk/while risking [stakes] in order to [end goal].

--The parts of the logline can be juggled around in an order that suits the statement/story

Using the formula and a few insightful suggestions from Kendra, I came up with the following logline/elevator pitch for GIRL IN A DIAMOND COLLAR:

When her best friend marries Henry VIII, a previously disregarded maid-in-waiting must learn to walk the fine line between secrets and treason, knowing her life and that of the Queen could be threatened by any wrong word spoken (and those left unsaid).

Still a bit wordy, perhaps.  But much more interesting.  I found that having a formula -- and thinking precisely about what is most important to the story -- helped me get over my fear of the single-sentence sales pitch.  This can then be tweaked to fit your needs more particularly -- add the character's name, the objective of the quest, etc.  Play with it.  Sure, it's not as fun as the 80,000 words, but for me it wasn't nearly as dire as I expected it to be.  

I'll be practicing my elevator pitch in LA on Friday.  But if you ask me about it, don't be surprised if I say, "My book is about the fifth wife of Henry VIII."  Because for me, even the most carefully prepared pitch flies straight out of my head under pressure.  Wish me luck.

*****And don't forget about our big blogoversary contest!  Check back on Thursday, and I hope to see you at a conference soon!*****


And please come back next Tuesday, when I'll turn my day over to Kjersten Anna Hayes, who will be giving an Illustrator's Perspective from the SCBWI Summer Conference.

How do you like our new look here at YAMuses? Thanks to Bret for the exciting new design. As Katy mentioned on Thursday, all of us are heading to the SCBWI conference in LA (If you're there, please say hello!). So we are taking this week off. But that doesn't mean you'll have nothing to read. We will each be reposting our most popular posts. We see it as a kind of “best of" week. The week after next, we'll be posting "Top Conference Moments" -- our view of the best parts of the 40th Anniversary of the SCBWI annual summer conference.

So here's my "Greatest Hits" in case you missed it the first time around:

NINE STEPS TO PLOTTING FICTION by Donna

I usually start a book with a general idea of the major plot points. I know what the big conflict will be and probably how it will resolve. I often don't know much else. This time, however, I wanted a little more guidance--especially when it came to sub-plots and tying it all together. I've never been an outliner, but I found this terrific visual exercise for plotting and thought I'd share it with you. I used it about one fourth of the way into my new manuscript and it really helped clarify major plot points, flesh out the subplots, and connect everything together.

This is not my original idea. I read about it on Cynthia Jaynes Omololu’s blog. (Cynthia is the author of Dirty Little Secrets, published by Walker Books). Cynthia mentions the method first appeared on the always resourceful Verla Kay Message Boards. and I know it's also been featured on QueryTracker. Whoever came up with the idea, it was definitely helpful for me, so thanks!

9 Steps for Plotting Fiction

Start with a piece of paper. It should be large enough to write on. You can use a 11x14 for a little more room, but 8x11 is fine. Draw two parallel lines both vertically and horizontally across the page, creating 9 comparable boxes, as if you were starting a game of tic-tac-toe. These boxes represent chapters, scenes, or sections, depending upon your book's intended length.

Number the boxes, starting from the upper left: 1, 2, 3.
Next row, starting from the left: 4, 5, 6.
Last row: 7, 8, 9.
Title each box…

1. Triggering Event

First things first. What happens? Why have you bothered to write a book, and more importantly, why should a reader invest time flipping through its pages? Your triggering event is the answer to these questions, so make it a good one. Also, don't make the reader wait very long for it. First page, first paragraph, first sentence. These are good spots for a triggering event.

2. Characterization

Generally, books succeed or fail on the strength of their characters, more so than on the strength of their plots. Box 2 is where you explore what makes your protagonist tick. No, this isn't an excuse for drawn out exposition, history, or back story. If your triggering event is captivating, the reader will discover enough about the protagonist in Box 2 simply by reading how he or she reacts to the event.

3. First Major Turning Point

By now, your plot is picking up steam, and because of Box 2, the reader is invested in the ride. Time to throw a curve ball. This turning point can be either a positive event for your protagonist, or a negative one, but it should lay the groundwork for the negative turning point in Box 6. There is a reason these boxes are touching one another; they interrelate. For example, Box 3 may introduce the motivation of the antagonist, which then justifies the events in Box 6.

4. Exposition

You've earned some time to fill the reader in on important data. Since this box touches Box 1, here's where you shed some light on that triggering event. Since it also touches Box 7, you get to foreshadow your pro-tagonist's darkest hour. Box 4 often reveals a relationship, character flaw, or personal history that contributes to the dark times ahead.

5. Connect the Dots

Here is where many plots fall apart. Box 5 represents the trickiest part of fiction, and since it is the center of the diagram (and book) it must connect to all the boxres around it. (2, 4, 6, & 8.) Kind of like the nucleus at the center of a bomb, Box 5 should tick systematically upon elements introduced in Boxes 2 and 4. And like the calm before the storm, Box 5 should give the false impression of resolution before heading like a freight train to Box 6. Most importantly, it needs to provide foreshadowing for the protagonist's revelation in Box 8. That's a lot for a little box to do, but focus on efficient prose to get it right. Your plot depends upon it.

6. Negative Turning Point

Here's where that bomb explodes and all (word censored) breaks loose. Good thing you laid the groundwork in Box 3. Good thing, too, that Box 9 will deliver some just desserts.

7. Antagonist Wins

The protagonist is defeated here, and the antagonist apparently wins. How the protagonist deals with the darkest hour of defeat depends upon the traits and/or story developed in Box 4, which leads to his or her revelation in the next square.

8. Revelation

Of course! The protagonist's revelation turns the tide. Here is where the protagonist connects the dots and overcomes the obstacles of Boxes 6 and 7 via the device introduced in Box 5.

9. Protagonist Wins

The negative turning point in Box 6 is rectified while the character's resolve from Box 8 is brought into full bloom. Congratulations! Another great tale told greatly.


But wait! There's more! The best is yet to come...

Be sure to check here on Thursday for the announcement of the incredible prize in a fabulous new contest. It not only celebrates our blogoversary, it also celebrates the payoff of all the hard work that goes into writing a novel for young adults.