Where a children's fantasy came from

-->

Writers are sometimes asked, "How do you come up with your ideas for stories?" Here's one where all the credit doesn't fall on me.

When old guys start kid stories

With the help of literary patrons, last week I enrolled in SCBWI's Big Sur In The Rockies, an intensive three days of Children's Book Writing Workshops, held in Boulder's Chautauqua Park. I took three of my manuscripts--two Young Adult novels and a children's story--with me, in hopes of learning how to improve them. I'm two years into transitioning from writing stories for adults to writing for younger people.

Over three days, through four workshops and some panels I learned a lot about what USican authors, publishers and literary agents consider good or great children's literature. Mine didn't always meet their criteria.

Being a writer of my own making, I understand I need to learn "The Rules." Gatekeepers of the children's literary world determine which books are picked up and published, as well as made into movies. That's where financial success and fame are determined.

Add caption

Story #1 – Sleeping, a children's story

This first story was critically shredded by a panel because it begins by centering on an old man, Grand Ta, who's climbing a mountain with a bunch of small kids, all unnamed.

The Rule is that such books should begin with and center on a kid or kids, not grown-ups. There was total agreement that my story needed working to bring specific kids into the opening chapter.

I agreed at the time, and may still follow that Rule. However, relegating Grand Ta to a later part of the story felt and feels wrong. Pinocchio and How The Grinch Stole Christmas are just two children's stories whose opening pages don't begin with the young characters. Geppetto and The Grinch, assumedly, would not see publication today, if the Rule was in force.

I'm not claiming to be the next Dr. Seuss, but it seems to me he tapped something that the Rule doesn't recognize. Children's inherent love for older members of their family--grandparents, aunts and uncles, and others. Their compassion for old people can't be assumed, but neither should it go untapped. Perhaps it should even be nurtured.

Ollin aztec to watch over grandkid

Once upon a time it was. Reverence for the elders was inherent to the survival not just of the family, but also, of the tribe. The shamans, the wisdom of ancestors and the cultural and historical lore of peoples enabled tribes to prosper and survive difficult times.

Of course, publishing in the USican children's stories industry is a different jungle. Children's fiction that begin as mine does, do get published, despite the generic Rule that I broke. We'll see in time how my Sleeping story ever gets rewritten. Or not. My other YA novels were critiqued or praised on different aspects, and I'll incorporate whatever I think would improve them.

Story #4 – When the mouth roared louder than the manuscripts

Drawing of Aztec cradle, different from mine

In the course of the weekend, I related to other writers the news about my new grandson and the rocking cradle I was building. [Almost a month ago, I wrote about that.]

On the final morning, one of the writers suggested that the entire narrative might make for another children's story--Abuelo's Cradle. A second well-published author jumped in and added her agreement and suggestions. I was stunned.

My three completed stories didn't generate as much excitement as my talking about the grandkid/cradle experience. Go figure, I said to myself.

Now, a week later, I'm three thousands words into the new story called A Cradle for Abuelo. Since I'm not into writing children's nonfiction, I transformed the writers' suggestions into a fantasy story. Taking the Rule to heart--just this once--I began Cradle with a kid as the hero-protagonist.

On my cradle & in the story

Why a book about an old man building a cradle for his grandkid is called A Cradle for Abuelo, is the plot twist that I can take credit for. The story's almost completed in first-draft form, so it will be some time before anyone hears about it again. When it makes it past the Gatekeepers, you may read it.

To my knowledge, this is the only time a story of mine came from other people, rather than simply my own head. Next time I'm on a panel and am asked the question about where my ideas come from, this is the one I'll use. If Cradle is published, it'll make for a great response.

Keep writing, but stay alert for strangers strangely provoking strange story ideas.

Es todo, hoy,

RudyG, a.k.a. the rule-breaking El Abuelo en A Cradle for Abuelo

How to write a novel in 66 days

by RudyG

I post this hoping it might be of use to aspiring or struggling or caught-in-a-rut writers. It's not the final word or the expert's advice; it's simply one author's experience.

I just composed the final pages of a dark Young Adult fantasy novel with Chicano protagonists, villains and secondary characters. 27 chapters. 91,000 words. First draft, done.

The novel-in-MS-form is not going to a publisher or agent, yet. Nobody's going to bang on my Facebook wall for a copy. Because the story reached its end but is not complete.

Definitely weeks, possibly a couple of months--hopefully, not more--of redrafting the MS will follow. I won't list all that it needs or that I have to improve, but it's chingos. Below is how I got to this milestone where I've got a near-complete MS to work on, at all.

How to do it

It's easy if you follow this recipe, or create one more tailored for your personal tastes and lifestyle.

I. I began writing approx. Nov. 1st. That coincided with my Texas book tour of the Chicano fantasy novel The Closet of Discarded Dreams, which occurred the first two weeks of Nov.

I wrote every day. Weekends included. No matter what my schedule was. No matter whether I was in a motel or staying with family, on a plane, or between flights. I plugged my little laptop into outlets behind flight gates, sat on the floor or watched for an empty seat by an outlet.

I wrote on a Megabus between San Anto and Houston, which has outlets for every seat. I wrote on my brother's or mother's or sister's porch until the battery ran out, and then I ran an extension cord to keep going. I wrote hung-over--like now--or sober, it didn't matter.

And when I returned to Denver, I continued. Every day. For me, 5am is a good start time. Some days, the book in my head had me up at 4 or even 3:30am. That's what writing does to you when it takes over your life: your brain must follow.

II. I began each writing session by revising and editing down the new material I'd composed the day before. Always. In the flurry of creating, too much superfluous wording shows up in my writing, at least. To not let the build-up of dross get too out of hand, this daily gleaning serves me well. (Critics may say, not enough, but that's a different topic.)

III. Every day I would add new material. Sometimes, just a passage of four pages. Sometimes, a passage here and another there. Sometimes, half a chapter. Rarely, a whole chapter of approx. 10 pp.

This consistency helps me, at least, to keep the story flowing, pacing, developing.

IV. I never wondered if I'd have writer's block. I don't believe in it. I think it's a cucui created by others that may apply to them, but I strive to be an idealist and assume it won't get me.

Critics may say it shows in weaknesses of my writing, but I write the plot, the dialogue, the scenes and character development, as it comes flowing out of my head onto the keypad. IOW, I don't stop to over-think what it is that I'm doing, where the story's going or whether I've taken care of everything. The next period is when all that will be dealt with.

V. I let my imagination and hard-brain take care of questions. Where's the heroine going next, what will he find there, who's going to be in the next scene and how will things be resolved--are things I take to bed with me or file in my frontal lobes when I take a nap. Somehow, when I wake up, the psyche has taken care of enough to go into the next chapter, etc.

VI. I try to remember to rest every 1.5 hours, more or less. I go outside, check the weather and the birds, eat a small burrito, drink some orange juice and smoke a vacha. Then I go back.

I take naps. Whenever I'm tired. I don't put them off; I don't say, "Later when I finish this chapter." I answer my old body's call and give it what it needs to keep going at some more or less optimum rate.

I never work when the body or mind gets tired. I'm not being paid by the hour or punching any clock, so I'm not obligated to "just show up."

VII. I work up to some breaking point in the story. The end of a scene, chapter, etc. I try not to start something new that can't be completed in a short amount of time.

So, I'll stop my writing day anywhere after six to nine hours at the computer.

That's my story, style and approach. Writers are as different as leaves on a tree, but we're also similar. You don't have to do it like I did. You can write one page a day, and after a year, you've got a novel.

I wrote the first draft of my first published novel in 45 days. (John Nichols wrote the first draft of The Milagro Beanfield War in less time than that.) Then it took me years of revising. But, I'm better and won't need so much time this go-around.

To emphasize my opening statements, I only intended to describe elements I've used to finish a first draft in 66 days. If any of this helps, I'm very glad I helped. If none helps, I'm happy if you toss this into the Delete folder. Whatever.

If you love writing, just do it. Enjoy it. And always remember what you owe your future readers: un chingón libro, not just worth their time and money, but worth reading and passing along.

Es todo, hoy,

RudyG, aka author Rudy Ch. Garcia, holder of a few hundred pages of YA fantasy, to appear sometime this year on your slush pile.