The Inkpot Interviews: Tamara Will Wissinger

Tamara Will Wissinger's novel-in-verse Gone Fishing was published this past March by Houghton Mifflin Harcourt. Tamara lives, writes, and fishes in Vero Beach, Florida.

Please describe the book in under 50 words.
Gone Fishing is a humorous father-and-son fishing adventure and sibling rivalry middle grade novel in verse for children ages six and up that includes a section of poetry information called “The Poet’s Tackle Box.” 

Would you tell us a bit about the story’s development?
Here is the timeline for developing GONE FISHING:

2007: I wrote one poem called Night Crawlers. It was published in Wee Ones Magazine and would become the first poem in the story.

2008: More fishing poems followed and developed into a short collection. I worked on these “on the side” while I was a student at Hamline.

July 2008: Nikki Grimes visited Hamline and lectured on how she uses a traditional story arc to write her books in poetry. Nikki’s lecture lit a spark in my brain about how I might be able to do that with my poetry. 

Fall 2008: I introduced more conflict into my fishing poetry and developed a stronger story arc.

December 2008: Phyllis Root, my faculty advisor during my final semester at Hamline, asked me to submit something that I would continue working on after graduation. I submitted Fish Tales, my fledgling story in poems.

2009/2010: As Phyllis had suggested, I worked on my poem story, including with fellow Hamline grads in person and online, and at a Hamline alumni weekend in the summer of 2010. Dear friend and Hamline alum Jamie A. Swenson critiqued my poetry story and suggested that I label the poetic forms that I was using. I did.

2010/2011: I submitted Fish Tales as a picture book story in poems. I received many rejections.

March 2011: I received a magical note from my editor at Houghton Mifflin: Yes, she was interested in publishing it!
Remainder of 2011/early 2012: We revised from picture book length to short verse novel length, expanding the poetry from about 20 poems to over 40. We changed the name from Fish Tales to Gone Fishing: A Novel In Verse. My editor had the great idea of adding end matter to discuss the poetic forms that I used. Matthew Cordell signed on to illustrate. Copy edits arrived in a beautiful shade of purple ink.

How did it come to the attention of its editor?
I sent an unsolicited manuscript and my editor pulled it from her slush pile. A note on this: My editor first came to my attention when she visited Hamline during a residency. I actually met her at lunch that day and when she spoke I remember thinking that based on what I understood of her sensibilities and taste, she might like to read my stories when they were ready.

Catfish

What research was involved?
The story itself came mostly from childhood memories, fishing experiences, and my imagination, so that part didn’t require research. I did research the specific details of catfish and bluegills to make sure those elements were just right, and the poetry forms and definitions took a great deal of research and care. I wanted to be sure that I was expressing the correct information in the right way.

Did you ever workshop this story at Hamline?
Yes, at the summer alumni weekend in 2010. I was with the workshop group that was made up of alums with last names in the second half of the alphabet.

What was your critical thesis on?
For my critical thesis I studied picture books to understand how authors successfully develop their texts either by following or varying from the classic story arc and word/picture balance principles.

What was your creative thesis?
My creative thesis included a combination of poetry, picture books, and a portion of a middle grade historical fiction novel.

Janet Burroway

Did you discover and fall in love with any books while in the MFAC program?
Many books, including those written by the fabulous Hamline MFAC faculty! And I happily rediscovered old books that I hadn’t read in years, and of course, the craft books are wonderful as well. How can you not fall in love with John Gardner, Janet Burroway, and Donald Maas?

Without naming names, tell us who your first readers are. (e.g., live-action writing group; online writing group; editor; agent). When do you share a piece of writing?
I’m fortunate to have a combination of live-action and online readers. Depending on what I’m working on, I generally try to make something as polished as possible before I share it with anyone. (Much more easily done with picture book-length work.)

Can you briefly describe your writing life? How has it changed since you graduated?
I’m a fan of regular writing with big blocks of time and staying on a schedule. Mornings are my favorite time to write, and I was fairly disciplined at that while I was a student. Keeping a schedule hasn’t always been possible since the book’s release in March. I feel lucky to have been welcomed into bookstores and classrooms this season already, and I have more events scheduled over the summer, into fall, and for poetry month next April. Reading and writing poetry with children is one of my new favorite things to do; they’re so welcoming and full of energy! I’ve also embraced social media and online marketing – something that, until recently, I avoided. Marsha Qualey helped me over that hurdle last summer when she shared her social media philosophy with me, something to the effect of “being part of the conversation.” (Note: It’s never too late to go to Hamline and learn something new!) Despite these changes, I’m trying to write each day, even if it’s only for a short burst of time.  And if I don’t produce something one day, I try to the next.

What are you working on now?
I’m working on a couple of quirky picture books, more poetry, and a middle grade novel. I recently learned that one of my concept picture books, This Old Band, will release in 2014 from Sky Pony Press.

What would you like to say to current or prospective students?
If you haven’t already done so, learn to love the critical essay, embrace the critical thesis, and find a way to comfortably speak to an audience and read your work in front of groups. These are as important stepping-stones to developing fully as a writer as the creative aspects. Once you are graduated from the program, your critical thinking skills will help you figure out the answer to any literary question you may have. And if you publish your work, pursue teaching – or any writing role that involves working with others – speaking and reading what you wrote will likely be part of your position. You will never find a more enthusiastic and supportive audience than the one you have at Hamline. Be bold – You can do this!

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You can learn more about Tamara and her work at any of these places:

Website
Blog

Facebook author page  (Like it!)
Amazon author page

Pre-Residency Heebie Jeebies?

     Incoming Hamline students, if you’re nervous about the upcoming residency, at least one Hamline faculty member has  pre-residency jitters, too -- ME.

     Despite forty-plus years of  professional writing, speeches, author school visits, national and international reading and writing conferences, storytelling festival presentations, church communion -- I still get the heebie jeebies.

    I start to tremble as soon as our dear director Mary Rockcastle sends out her call for our lecture and workshop titles. This summer’s focus is on character.  

     Oh Lawd, do remember me and character!

     What to pack???  Checked luggage is limited to 50 pounds.  I used to laugh at the thought that I could pack 50 pounds of anything to take airborne until I began packing books and student manuscripts. 50 pounds right there! Which laptop to bring? Why bring one at all? Eleanora, didn’t you finish your lecture at home? What about a thumb drive? Which one? The  4, 8 or 16 gig? The 50 gig? Which files to bring? Will my spider solitaire game fit on a thumb drive?

     Oh Lawd, do remember me, lectures and workshopping!

     What else to pack:  my blue, green and black suits? Or just the skirts? Which shoes, socks, nylons, long underwear, boots? No, scratch long underwear and boots. This is July, not January. My sexy red blouse? (For whose eyes, for goodness sakes??)  Scratch the red blouse. Which slacks, jeans, and shorts? What to wear for my reading? For my lecture? For graduation? Which pajamas? Which medicines to bring? Do I dare take my teddy bear this time?

     Oh Lawd, do remember me, clothes and meds!

     What and where to eat while I’m there? Salads? Breakfast? The dining hall? The corner gas station? That little sandwich shop?  Or just stock up on chocolate?

     Oh Lawd, do remember us all. Take heart, nervous students. You’re not alone. Your fears -- and hopefully mine -- will leave as soon as you hit campus! Welcome to Hamline!

The Inkpot Interviews: Jamie Swenson

Jamie Swenson is a July ’09 graduate of the MFAC program. Her first book, Boom! Boom! Boom! was released in May. Currently serving as the RA for the Wisconsin chapter of the SCBWI, Jamie lives and writes in Janesville, Wisconsin. You can find out more about Jamie on her website.
 

Please describe the book in under 50 words.

Here’s what the publisher wrote:
“Flash! Crash! Boom! Boom! Boom! One rainy night, in the midst of a storm, a brave little boy is cozy and warm. He’s all snuggled up, safe in his room—when ‘Arrooo,’ howls dog, ‘is there room?’ Of course there’s room—and all is well—until … Flash Crash Boom! Boom! Boom! What happens when too many friends start to squish in? That’s when the fun is sure to begin.”

Would you tell us a bit about the story’s development?
Boom! Boom! Boom! was actually one of the very first picture book manuscripts I ever wrote. I believe I wrote it about two years before entering Hamline. It is most certainly one of the most revised of my books—and it traveled through every single Hamline advisor I had—each giving it a little suggestion (or a big one)—and each leaving a mark on it and me! The major change from my very first draft was the introduction of a real main character. I believe it was Marsha Chall who wondered, “Who is telling this story?” At the time she saw it, it was little more than a rhythmic poem—it was not yet a real story. The manuscript had received at least three glowing rejections, but something was missing. There was no one for the reader to relate to—not really. Just a floating voice. It started: “Flash Crash Boom Boom Boom! A beagle jumped onto my bed.” After Marsha’s suggestion I revised the opening to, “One stormy night, I jumped into bed. Safe with a book and my bear named Fred.” Of all of the tweaks, nudges, and overhauling of this story—that one line probably did the most work in making this a story with a main character. It might not seem like a big change—but the idea that a real person, with a book, and a bear named Fred, seemed to make all the difference.

While this book did go through revisions during the writing process, none were made with my editor at FS&G. It’s a little different, I think, with rhyming text. Either it’s working and you don’t need to change it—or it’s not and you do. Janine liked it the way she acquired it—and I think that is due to all the work that I had already put into the text.

Chris Raschka

How did it come to the attention of its editor?
About six months after graduation (Oct. 2009), I sent a different manuscript out to four or five houses as a simultaneous submission—simply based on which houses were open and accepted picture books. That manuscript, If You were a Dog was eventually fished from the slush and acquired by Janine O’Malley. That book has the wonderful good fortune of being illustrated by Caldecott Medalist, Chris Raschka—which was actually doubly good luck for me—because Mr. Raschka is a very busy man and couldn’t start that project until 2012 at the earliest. So, Janine said, “What else do you have?” Again, lucky me—I happened to have eight picture books ready from my Creative Thesis. I sent her an additional three or four—and in spring of 2010 she picked Boom! Boom! Boom! (Hoorah! Hoorah! Hoorah!) and David Walker, who is also a talented illustrator, was able to get started on it right away—so it only took from about March 2010 to May 2013 for this one! GRIN.

What research was involved?
I researched publishing houses! I relied heavily on the Children’s Writers Market. I highlighted every possible house that was open and listed the names of the acquiring editors. I sent the manuscript to around five houses, and I’ve yet to hear from the other four.

Did you ever workshop this story at Hamline?
No, I never workshopped this manuscript—at least—not that I recall. I did work on it with Marsha Chall and Phyllis Root—not as much with Lisa Jahn-Clough or Marsha Qualey (because we worked on novels instead of picture books).

What was your critical thesis?
"What Haunts You?: Elements of the Middle Grade through Young Adult Ghost Story"

What was your creative thesis?
A combination of part of a supernatural middle grade novel and about eight picture books. 

Did you discover and fall in love with any books while in the MFAC program?
Oh my goodness, yes. I work in a library so I was already deeply in love with so many books; still, through required reading at Hamline I found some titles that I had either missed, or judged by the cover and hadn’t read (oh, the horrors!). After hearing M.T. Anderson speak at a residency I went back and re-read Feed with a greater appreciation for the crafting of that book. I also found books by my fabulous advisors that I love—including Marsha Qualey’s Come in from the Cold, Lisa Jahn Clough’s ALICIA books, Phyllis Root’s Kiss the Cow, and Marsha Wilson Chall’s Prairie Train.

Without naming names, tell us who your first readers are. When do you share a piece of writing?
My first readers are my critique group members, two of whom also graduated (in different years) from Hamline’s MFA program. We were already together as a critique group when our first member headed off to Vermont, and then switched to Hamline. I was second to go—and then one more of us went and finished the program. The other three writers laugh and say that they’ve lived through THREE MFA programs now, so surely they deserve some type of honorary status!

I share a manuscript when I feel it has a voice and some form of direction—but it still needs input from another person. If I share too soon, they cannot help. If I share too late, that ship has sailed and I might not hear what they tell me. Sometimes, I will share, revise, share, revise, share, revise—until they say, “STOP!” And then it’s either ready to go to my agent who will likely make me revise again anyway—or—it just isn’t there and I put it away and hope that I figure it out someday. 

Can you briefly describe your writing life? How has it changed since you graduated?
The major change in my writing life since graduation is the lack of a real deadline. I floated for about six months after the program—and then I started being more intentional about my writing time again. Because I work part-time, I have to make good use of my non-work days. I schedule my writing time just like I schedule my work time—I have to be there at a set time and stay for a set number of hours—whether or not I FEEL LIKE IT—just like my ‘other’ job!

What are you working on now?
My first book is just out, my second book is scheduled for January 2014, and my third book is still with Mr. Raschka (take all the time you need, Mr. Raschka!). I continue to play with picture book ideas, and I am working on my first early chapter book. I haven’t done very much with my novels since leaving Hamline—but all in good time!

What would you like to say to current or prospective students?
Keep at it. Listen to all those bits of wisdom that float out of your advisors’ mouths. Ron [Koertge] is right—MFA students spend way too much time thinking and not enough time writing. Writers “on the outside” do that too! Quit analyzing everything or waiting for the perfect time in your life to write. It will never come. WRITE it now! You will never be perfect. Your writing will never be perfect. But if you never write anything—I guarantee you won’t get any better AND you’ll have nothing to show for it! I am as far from perfection as can be, but I love writing and I love storytelling and I love playing with words. I don’t plan to stop any time soon—and neither should you. I think if I excel at anything, it’s listening to revision suggestions and revising my work. Don’t fear the revision process.

Now, don’t you have a packet due soon? Scoot.

Strong as Steel?

My first book.
Beamer was at least
semi-strong, I think.

It’s been over 20 years since my first YA was published. Back then and continuing today one hears frequent call outs for “strong female characters.” Hard to argue with the goal; still, I’ve always kind of wondered about this, frankly. A voracious reader once I actually started reading, I never felt the lack of strong female characters. My reading roamed over all sorts of books, fiction and nonfiction, and I was more concerned with being engaged by a good book than whether there was a strong female character.

Yes, I know…I shouldn’t extrapolate from my limited experience and decide that there’s no problem in the content of the books we create for and provide to children. But what do we mean when we say we want more “strong female characters?” Or more African-American characters? Or more LGBT characters?  We want them to all be strong, no doubt. But do we even know what we mean by that?

This post by Alyssa Rosenberg raises an interesting question about female strength in fiction. It’s worth reading.