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.
