Tending the Garden

In this week's Storyteller's Inkpot post alum Donna Jones Koppelman* talks about how gardening and writing have a lot more in common than one might think.


One beautiful spring day last week, I got impatient about planting my garden. Impatience turned to impulse, as if often does, and I bought a rototiller!  I love it.  It’s petite as a hummingbird but does the job like a bulldog. I love to plan my garden, plant my garden, tend my garden, and harvest my garden, but many of those aspects of gardening are vulnerable to conditions I can’t control—like weather. Tilling up the soil is something I can control, and with my own rototiller, I am unstoppable.

Gardening is a perfect metaphor for writing. I reflect on the parallels as I wait for the seed of an idea to germinate, as I edit out the weeds that impede the growth of my prize plant, and as I pray the hailstorm of my insecurities don’t ruin that last chapter. So what is the rototiller in this metaphor?

A rototiller prepares the soil for a luscious garden. It stirs up all that’s hidden, so I can spot weeds, roots, and shells I couldn’t see before. It makes my garden inviting. It beckons me to come and plant, and I like to think well-tilled soil is a glorious, comfortable place for tiny growing seeds.

In writing, my rototiller is my routine. My daily routine makes my work space a fertile place for ideas to grow and blossom. I have a friend who says she cannot write until her whole house is clean. That is not true for me (or I wouldn’t have written a word in twenty years). I just need a clean surface on my desk. I need white paper and a really good pen. I need brushes and paints or drawing pencils close at hand. I need my favorite craft book, THE WAR OF ART by Steven Pressfield, from which I read a chapter every day. I need a poetry book, from which I read a poem every day, and lastly, I need a scented candle.

Whew. Sounds really neurotic, right? But the process of gathering all these things and placing them just so gives my brain the time it needs to shift from who is driving sports carpool to what story I will tell today. Clearing my desk clears my mind. Setting up brushes and drawing pencils signals my brain that it’s time to get creative. It’s time for fun. Mr. Pressfield reminds me it’s time to WORK, and poetry shows me that work should be lovely. Lastly, I choose a scented candle with a smell that fits my work for the day. Smells are powerful stimulants for my memory and thought process. I like to think E.B. White chose a cotton candy scented candle to write those marvelous scenes at the fair. Or maybe it was a pig scent? Or perhaps he had a completely different routine.

In graduate school, I studied routine in schoolchildren, particularly homework routines. Students who followed the same routine at homework time every day had significantly higher grades than students without routines. They finished their homework much more quickly than students without routines, so I know routines are effective.

What is your routine? Be intentional as you till up the garden of your mind. Get the pesky weeds out of the way, so you can nurture those good ideas. Harvest day will come.



*Donna Jones Koppelman graduated from Hamlin's Masters in Fine Arts in Writing for Children and Young Adults in 2015. She is represented by Alyssa Eisner Henkin at Trident Media, and she adores her new rototiller. 

Scene It

This week author and MFAC faculty member Marsha Qualey* examines the importance that scene can play in her own upcoming projects.  Read on as she reflects on a few poignant excerpts from Sandra Scofield’s The Scene Book and how they have have informed her process.

I’ve got two writing projects going right now and for the first time that I can remember neither one is a new (conventional) novel. One of the projects involves revisiting a novel as I adapt it into a screenplay. The other is a possible graphic novel for young readers.

I am thinking a lot about scenes. Not that I didn’t before, but when writing my traditional novels it was always the connective tissue between scenes that consumed most of my attention and energy.

Sandra Scofield’s The Scene Book is rich in pithy reminders that help me keep to the task at hand. Here are a few that are bulletin-board worthy:

From “The Focal Point”
“[the focal point] is not the epiphany, that old standby moment when the sky opens and meaning shines down on the protagonist” (54).

(Huh. I once ended a scene exactly that way—with literal sunshine breaking through and the protagonist thinking, “Illumination.” Should I go back and see if there’s an actual focal point prior to the epiphany?)

From “Tension”
“Tension doesn’t have to be negative” (86).

(Scofield is writing about sex scenes here, but still, a good reminder)

From “Scene Openings”

“…the scene may be entirely fresh action, requiring a more fundamental orientation” (142). One way to provide this orientation, she later explains, is to “comment on character, setting, or event” (145).

(An editor once told me she hated scenes that opened with dialogue, and ever since I have been hesitant to do just that. Such is the power of our editors.)

From “Scene Activity and Character Response”

“A good scene lets us know the spatial relationship of people and things” (126).

(Hmm. Maybe that’s why my editor hated the dialogue-opened scenes—she’d seen too many that delayed grounding the reader in the physical setting.)

From my bulletin board to yours.

Marsha Qualey has been a faculty member in Hamline's MFAC program since it began. She is the author of several YA novels, one novel for adults, and several work-for-hire books for younger readers. For more information please visit her website.

Poetry 101

In today's post, author and MFAC faculty member Ron Koertge* explores the ancient and venerable tradition of courtly love in his own, uniquely poetic way. Read on to find out how those romantic rules apply to today's world.

Chris Heppermann and I recently finished the third book of the Witch trilogy, and I wanted to write something that had another kind of magic: Poetry. Muses can be jealous, so I invited Erato to dinner. She scolded me about Prose but warmed up after a few drinks and we kissed goodnight. Chastely. 

I’d been reading about Andreas Capellanus, the guy who pretty much made up the rules for courtly lovers. I found myself wondering what it would be like to apply those rules to somebody in the 21^st century:

Courtly Love 

I prowl the city until a window opens
and a pale arm emerges. Beautiful,
slender fingers. 

I stand there every day, right after my
lute lesson. 

Rain soaks my pointy green-and-gold shoes. Snow gathers on my velvet hat.

I strum and sing, paying no attention to the couples all around me, their arms
entwined. 

I don’t sleep well, so I’d lie in bed and wonder about things like what’s my soul doing out of my body at 3:00 a.m., do enough people even know what courtly love is to make that little poem attractive and could that title be more maladroit?

Since I’m a fan of the prose poem and of a writer named Lydia Davis, I tried another version (title pending):

All our friends are getting divorced: infidelity at the Hilton, assignations in the Corn Maze. My wife and I keep busy: she with Cooking & Wine classes. I thrive in Lute II, practicing every day. My longer and more flexible plectrum is a godsend. Nevertheless, Saturday nights can bring turmoil and disquiet. Also Friday nights. Sometimes Thursday. At those moments, we dress and leave the house separately. My custom leatherwork boots are comfortable as are my doublet and jerkin. I go directly to the Tudor Inn on Main Street. A window on the second floor opens to reveal my good wife, fetching in a fine twill bodice. I begin to strum and sing, even if passersby jeer at my velvet hat, even if my song is almost drowned out by the bickering of couples on their way home from the therapist.

Hmmm. There are a couple of giddy things in here that I like – the flexible plectrum for sure. And the modern-leaning last line. On the other hand, the much shorter version has some visual punch and some general concentration that appeals to me.

Like a lot of life, this one is a work-in-progress. Looks like I’ll keep mulling things over in the night and hoping my soul gets back before the alarm goes off!

*Ron Koertge is a faculty member at Hamline's MFAC program.  He writes poetry for everyone, fiction for young adults, and recently co-authored a young reader series. You can discover Ron's literary work by visiting his author's website or visit his faculty page to learn about him as a professor at Hamline University.

Publication Interview - Mary Cassatt: Extraordinary Impressionist Painter

Author and MFAC alum Barbara Herkert* talks with us about her newest book, Mary Cassatt: Extraordinary Impressionist Painter. Learn about her writing process for this picture book biography on the life of Mary Cassatt, one of the most celebrated female artists of all time.

Tell us about your new book?

Mary Cassatt: Extraordinary Impressionist Painter is a picture book biography, illustrated by the extraordinary Gabi Swiatkowska. It was released in October, 2015 by Christy Ottaviano/Henry Holt.

Do you have a favorite part of the book or a favorite character?

I love the first page. That look on Mary’s face is priceless.

When did you first begin work on it? When did you finish?

I think I started it in 2012. It took about two years to complete.

As the work progressed from inception to copy-edited version, what were the major changes? How did those changes come about?

The book was originally entitled Mary and Edgar. It was about the friendship between Mary Cassatt and Edgar Degas, which fascinated me. When I started working with Christy Ottaviano, she asked for it to focus on Mary. So I cut out Edgar’s side of the story. He’s still in there a bit, because he was such a huge influence on Mary.

What research did you do before and while writing the book?

I read and read and read some more! I took copious notes. I met with a Cassatt expert at the Cleveland Museum of Art, who took me on a private tour of Mary’s prints.

Where did you do most of your writing for this book?

At home on the Oregon Coast—my favorite place to write! I also spend writing time at a log cabin in Central Oregon.

Any final thoughts on the book you'd like to share?

Always stay open to revision! I think the book became much stronger after eliminating Edgar’s point of view. I adore Gabi’s paintings. They capture the essence of Mary perfectly.

*Barbara Herkert has been a fan of Mary Cassatt every since she stood in front of Mary's original paintings. She received an MFA from Hamline University, a biology degree from the University of California, Santa Barbara and she studied art and art history at Oregon State University. 

Picture book biographies are her passion—Barbara loves both the research and finding hidden gems that will appeal to young readers. For more information, visit her author's website at www.barbaraherkert.com.

Writers v. Artists in the Ring

Greetings Inkpot readers! This week MFAC alum *Polly McCann writes to us on dystopian politics, where to write, and her new artistic community/gallery, Paper Birch Landing.

Dear Hamline MFAC-ers & Friends,

Last night my ten year old said, “Do you know what we like to talk about at lunch on Wednesdays? Politics.” What followed was a brief conversation about a rather awkwardly groomed politician who used to be the richest man in America. I gleaned from the following conversation that even ten-year-olds think building a wall to keep people out is an evil political plot that must be punished over chicken nuggets and instant mashed potatoes. Some of the political thoughts in our country seem to remind the local fifth graders of their favorite dystopian novels like The Unwanted by Lisa McMann.

I said, dastardly politicians who build hypothetical walls of hatred hadn’t read any good children books when they were kids. “That’s why we write for kids,” I said. Because we are hoping a generation of people grow up already knowing that forcing people to be the same, or forcing people to stay out, or forcing them to live in fear just leads to dystopia. It ruins our world, our creativity, then our hearts. Well, I wasn’t that poetic aloud, but how much can you say at bedtime?

Last week, I wasn’t there on Wednesday to tuck in the kids. I drove downtown and parked myself in a folding chair in the back room of the Uptown Arts Bar. I wanted to find out about the other poets and artists in my hometown. Pound Slam is spoken word poetry: 30 poets, three minutes each, three rounds. Three hours of in-your-face-poetry. So now I know what poets care about; what they are angry about. I know about their spiritual lives, their jobs, their loves, their politics. They are angry about dystopia too, they say something about it in a rhythm no political figure except Martin Luther King Jr. could probably imitate.

Monday, January 18th was Martin Luther King Jr. Day. I didn't have the day off. I was working downtown. How did I get out of the burbs? In the 2014-2015 school year I sat at home and wrote a novel alone in my grandma’s old dining room chair. In the 2015-2016 school year I left my house and rented a studio space in the city. It’s made all the difference. Maybe 20 years of creating in a small room finally got to me. Maybe I’m just rolling in a current of events I have no control over. Whatever the reason, I’m not alone anymore. I have two other artist/writers with me at the studio space we share. From the third floor studio I have a view of KC’s midtown and all of King’s dreams echoing about in the street.

My work is better with a view and coworkers. I need other writers. I can’t sit alone, building awkwardly groomed antagonists to fight on paper, with accidental walls around my writing space. Artists experience the same thing. The walls are up. Having been an artist and a writer exclusively - and now trying to do both - I want to bring the two groups together. So I’m doing something new. It’s formed out of the community I met when I left my desk at home. Now it’s turned into an art gallery of sorts.

What will happen there? We are trying to figure that out. Writers can meet in our art gallery for critique groups. Spoken word poetry might be nice on the terrace for our June Street Art show. “…merely posing,” a quote from a poem by the new poet laureate, sounds like a great name for a juried art show with a photography theme. Novelists without an office could use the study for a space to get away. We can throw awesome book launch parties, build websites, make cakes. I’m thinking if we work together as creatives - a rather new term I’m fond of - then we can inspire each other to keep going. Someone has to make sure kids read good books with good old common sense for what's a bad idea. Someone has to make sure writers get recharged. Artists need other creatives to experience their art. Maybe we could meet in the middle. Step over the walls. There’s a lot of work to do. As one of my new artist friends says, “We’re stronger together.” I'm calling it #ArtLocal.

*Polly McCann, artist, writer and mother, earned her MFA in writing from Hamline University. Tea with Alice is the working title for her first collection of autobiographical poems; three generations of stories retold in free verse. She has been published in Naugatuck River Review and Arc 24. She is the owner of NewThing Art Studio in Kansas City. She loves to grow basil and explore unexpected surprises in her free time.

Agenting Tips of the Month - February 2016

Today MFAC alum and agent extraordinaire Jodell Sadler* is set to share insights and secrets about the world of agents. This time she will answer your submitted questions from the last month, and a few extra ones submitted by the Inkpot.


Q: If an agency doesn’t post a timeframe for their response times, what is an appropriate length of time after you haven’t heard from one agent at a specific agency to query another agent at the same house? Of course, I know that you NEVER query two agents at the same house at the same time, but the “rule” for successive queries is pretty murky.

My best advice is to email and ask. I often get queried with unrealistic timelines. For example, a writer might write that I have one week as an exclusive prior to a conference and in reality, if I am in contract negotiations or working on a timeline for another writer, I may not read submissions that week. Plus, there are critiques to complete prior to conferences so time fills with that as well. Most important: follow posted guidelines.

What we know is that agents know the preferences of their colleagues and if your manuscript might be more suited to another agent in that house, they will likely share it. 

I would also encourage you to continue to write, stay focused on craft, seek nonfiction projects to fill time gaps, and really stay focused on what you passionately want to share in print. These ideas rise up and garner attention. What I see is that often times manuscripts are shared too soon, and may not have the emotional depth needed to carry readers to the end. 

What we know is that the direction of your novel and main character’s views and world view need to happen immediately and of don’t happen in a first draft. These types of edits really happen on your forth, fifth or twenty-first draft. 

It’s really important for you to explore your work and be tough on yourself in regard to characterization, setting, plot points and the emotional journey as well as the pacing of you manuscript. That final edit will include a look at musicality and language and how well you are alerting your reader as you move through your plot. You should be sure to set your work aside and then pull it back out to review and think about the visual story. Are you showing and making active scene shifts dramatic and clear?

Q: I don't have a very active social media life. Is it necessary to have a platform in order to attract an agent? If so, what are some tips that I can use to start building up an online presence?

It’s more imperative for an illustrator to maintain a platform, but we live in a world of social technology and every writer will need to embark on that journey at some point. It’s nice to set yourself up as a writer for author visits so when the time comes, you preparedness meets opportunity. I Google every submission I enjoy and try to see what their online presence includes.

As far as illustrators, so often I receive a PDF of a few images and that is not enough to represent someone from. Agents will be looking for movement and energy and fluidity of your work. How well do you show off your visual storytelling? Is there a reason for the many things that are pictured in a particular scene? 

Q: Are agents more interested in an author who has a series of books? Is there still a place for stand-alone fiction?

An agent is interested in great writing and a marketable manuscript. I am sure this will vary from agent and agency. We all have focuses and are as unique and diverse as writers. Agents are not cookie-cutter and are as unique as you are as a writer. Some writers plot stories out; others string their work from scene to scene but both end up with a quality piece of writing. Some writers outline; others do not. But it’s all a process and there’s not a right way or a wrong way—everyone’s process is different. In this same way, some might look for series because they’ve successfully placed a few and enjoy working with them. Others might look for that one book that’s fresh, literary, or commercial. I have represented series projects as well as stand-alones and do not have a preference as long as I am passionate about the project.

Q: How much time do you spend looking at each query? I know for most agents it's not much - so how long DO we really have to hook an agent before they move on to the next person?

When I read: “I know for most agents it’s not much,” I do not believe this to be true. Agents seriously consider quality submissions that follow guidelines, present a great cover letter, especially when you share a bio that shows your commitment to children’s literature and writing. For me, I’d have your MFA placed after your name in the subject line. You’ve earned it and it shows your commitment. Think about your submission as a package that shows your professionalism. I’ve had some crazy submissions in my short time agenting and here are some things to remember:

• Take into consideration how your email reads, how you sign off, and your Google image if you share one. 
• Be sure to address the agent by full name and give reasons for contacting that particular agent/agency.
• Include your contact information on your cover letter as well as the manuscript if you have been asked to submit a Word doc. 
• Be sure your focus is on your manuscript itself as it really is all about the writing. 

The submission bin is a funny thing and I’ve missed some great writers and illustrators and there have been times when I would have loved to have read something that interests me but have been too busy with other things to do so. It’s just vital for you to stay working and producing and remaining positive about your work and career as a children’s literature professional.

If you are lucky enough to be asked to submit a full manuscript or a revision based on feedback, do not make hasty revisions and resubmit in a few minutes. Give it time to digest and really let the suggestions soak in. This marks your opportunity to make your piece the best it can be.

Q: What does a typical day in the life of an agent look like?

I can’t speak for all agents. I only know how I work, and the focus it takes me to place a piece of writing. A typical day includes tending to the manuscript and writer I happen to be working with, requests, and contracts and responding to editors, and then also fitting in time to review work on new submissions while also tending to in-bound submissions and reading new projects. 

Q: What inspired you to create KidLit College? 

I wanted to share craft learning when it comes to writing. I’ve learned so much from other writers and industry professionals and it made sense to me to help writers improve craft and make connections. I’m a huge advocate for craft and learning it and webinars and classes and critiques help coach a writer towards a great product deliverable and that’s the mission of KidLit College.

Here’s an overview of upcoming events.

Q: What should writers and illustrators look for in attending conferences: online or in person? 

Register for a critique, follow up, and submit your work. Really delve into craft. Attend webinars and lectures and apply it. Stay involved and get involved with a quality critique group. If you have the opportunity to submit, to an editor or agent, please present your best work. Write that strong cover letter and present a short pitch for your project. When you submit, it really is about getting to know you are and your work.

Please comment with your questions below as our next posting will include feedback from other agents as well.

Happy Writing, Everyone!

*Jodell Sadler is an Editorial Agent at Jill Corcoran Literary Agency and founder/contributor at KidLit College. She also teaches and presents on "pacing a story strong" nationwide.You can join KidLit College on facebook, register for their newsletter, or follow Jodell on Twitter @kidlitcollege.

Meet the Grad: Jennifer Coats

On January 17, 2016 the MFAC program hosted a Graduate Recognition ceremony to honor the Hamline students who have completed their studies and will be receiving an MFA from Hamline University. 

During the month of January we will be featuring our new alumni as they look back on their time at Hamline University. Our last new graduate is Jennifer Coats.



What do you do when you’re not working on packets?

I have two daughters, Carly and Cassidy, at different colleges, so I spend a lot of time parenting through text messages. Lola and Isabelle, my two cats, keep my head clear through mandatory cat breaks, and my dog, Bear; well, I’m not sure what Bear does but I know I can’t live without it. I’m a teacher—this year I took on a new age group after many years of teaching grades K-8, and I’m having a blast seeing the world through the eyes of three year olds. I play baritone horn in the local concert band, and the church choir allows me to sing along periodically. I love going on new adventures and field trips, and Minneapolis continues to surprise me. My various friend groups keep me sane, and I’ve spent a lot of time this year streaming Dead & Company concerts and dancing in my living room. Hamline MFAC has fed my addiction to books, and I’ve often said I might be the fourth pig, building a house of books.

How did you hear about the Hamline MFAC Program?

That crazy crawler on the side of your web pages that knows everything about you? I was on a “what next?” journey of exploration, and I looked at various grad school programs. The Hamline MFAC ad followed me for days, then went away, then came back until I agreed to go to an info session. I went to the session “just to see,” kind of like going to the pound “just to look” at puppies. Many of us own dogs we fell in love with when we were “just looking;” I have a grad school I fell in love with when I was “just checking it out.” 

What was your writing experience prior to entering the program?

To keep me from reading books under my desk instead of listening to the lesson, my fourth grade teacher pulled me and several other kids out of class to participate in “Reading, Writing, and Radio,” where students from outlying towns listened to a radio broadcast from Springfield, IL and responded to the weekly topics, sending in our responses, which were then sometimes READ ON THE RADIO!! That first publication experience left me hungry for more. I wrote poetry in high school (is it bad poetry? I don’t care; I still love it so) and tucked away words, phrases and ideas that caught my fancy for years. In college, I took creative writing classes, but nothing stuck and I chose to teach reading and writing to children rather than do it myself. The piece I wrote to apply to the program was the first writing I’d really done since college.

What do remember most about your first residency?

In the montage of that crazy ten days, I remember meeting the members of our class (there were nine of us then—before some defected to the regular MFA), and immediately there was a click so loud you could almost hear it. We went to sit unobtrusively in the back row of GLC100 and we were told “Hey, these are OUR spots!” by fourth semester students. So we looked at each other and nodded our heads in sync (I think there was a soundtrack playing in the background) and said, “Fine. WE will sit in the FRONT ROW.” And we’ve been there ever since. We went to lunch together and laughed and laughed and The Front Row was born. I was so overwhelmed with learning the language of writing (psychic distance? Inciting incident? WTF?), and so excited to be learning the tools of writing for children, that, just as the Grinch’s heart grew three sizes, I think my brain had to grow three sizes that first residency to accommodate all the new information.

Have you focused on any one form (picture book, novel, nonfiction, graphic novel) or age group in your writing? Did you try a form you never thought you’d try?

I came to the program to learn how to write picture books, and I have not really written a single one. I worked on a MG fantasy for a while, and then my keyboard was hijacked by Young Adult novels. I wrote a contemporary YA novel and a YA fantasy novel, and I just finished a MG fantasy/folk tale.

When I get better at writing, I will maybe know enough to write and revise a picture book. Claire’s lectures always get me excited about nonfiction, so I’d like to try that some time, but fiction is what’s been coming out on the page.

Tell us about your Creative Thesis.

Seventeen-year-old Bliss Walker has been dumped in a nowhere world of corn and bean fields in Central Illinois. Before Mama left Bliss behind in Illinois with her cousin Patsy’s family, all Bliss ever wanted was to be important in Mama’s life. Now, Bliss has given up on wanting anything for herself, other than keeping her boyfriend River happy, whether at endless parties or in the back seat, and keeping her cousin Patsy off her back. Then Bliss meets Blake Wu. Blake helps Bliss out when River’s truck gets stuck, and he doesn’t even put up a fight when River gets jealous. He shows Bliss a glimpse of what it feels like to be seen as herself, a real person who might even be allowed to want things. Bliss takes a job walking beans at Blake’s family farm, and working with Blake stirs up new desires and possibilities for Bliss. Patsy and River are both furious about Bliss’s growing relationship with Blake, and each tries to make Bliss prove her love and loyalty. When Mama shows up with a plan to sweep Bliss off to Japan as part of a mother-daughter modeling team, Bliss must choose between keeping her friends and family happy or taking charge of her own life.

What changes have you seen in your writing during your studies? Any thoughts for entering students or for people considering the program?

I recently re-read part of the MG fantasy I wrote my first semester and it’s hard to believe I’m the one who wrote it. It wasn’t terrible; but it was SO different from what I’d write now.

I had a lot of trepidation about this program before I applied. Time requirement? Expense? Could I really do it? Was it practical? All of these  proved to be manageable. I have gotten so much more out of MFAC than I put into it. Lifelong friends, incredible faculty, and a vibrant, passionate, community that is constantly learning and growing, pushing and pulling me to grow in many ways.

At every step of the way, Hamline MFAC has boosted me up. I’ve left every workshop and residency feeling as if I have so much yet to learn, but I always have hope that I can do it. Participants are praised for where they are, for the good things they are doing, and given wings to keep going, hope that they can soar and the confidence that they can do it.