From the Desk of co-RA, Monica Harris:

Happy New Year, my fellow SCBWI Michigan members!  Hasn't it been a glorious winter so far?  (Well, if you're not too fond of snow anyway.) I've been using the added sunshine as energy and inspiration. I hope your projects are blooming as well.

Back in January of 2008, Leslie and I took on the positions of co-Regional Advisors for this great state.  Hard to believe it's been just over 3 years, yes? It's been quite a learning curve, but I hope that our hard work has been apparent in such areas as inspirational conferences, effective communications, and efficient recruitment of volunteers. One of the policies that we agreed to change is the transition of co-RAs.  We felt it would be more efficient if one stayed on to mentor the newer incoming co-RA. Once the new recruit felt steady enough, he or she would then recruit a companion co-RA. This serves as a great advantage for the chapter because at no point is Michigan left floundering with two "newbies." (And yes, we did feel like we were floundering at first - heehee.)

So, at this point in time, the time has come for me to step down. My last SCBWI event will be the spring conference on May 12th in Grand Rapids. Your new co-RA will be the wonderful and extremely experienced Rachel Anderson.  Rachel has been a member since 1989 and served on the Advisory Committee for 7 years, so you're in great hands. She is currently learning the RA ropes and helping AdCom for upcoming events. Please take a moment to congratulate her and thank her for her time, efforts, and dedication to this great organization. In order for you to get to know Rachel a bit more, she is our featured member for this newsletter issue. Check it out!

My deepest gratitude for the wonderful 3+ years and the grand adventure working with Leslie. It's been a pleasure serving you and I look forward to Michigan's bright future ~

Monica A. Harris,

co-Regional Advisor

MEMBER PROFILE:  Rachel Anderson

Rachel Anderson

Interviewed by: Monica A. Harris

Editor's Note: This issue, our outgoing co-RA interviewed our incoming co-RA. We hope you have a chance to thank Monica for her time at the helm, and also welcome Rachel as she transitions.

MH: When did you first start writing for children? Was there a catalyst that initiated this process? 

RA: Once upon a time there was a young woman who wanted to write romance. She tried; she failed. She looked at her two girls, who were very young then, and said, "I can write for them and about them." That's when I started writing for children, and I won't say how many (many) years ago that was!

MH: What styles/genres do you write?

RA: Picture books (fiction only right now), MG, and YA.Over the past year I worked on five picture book manuscripts (all fiction) during my mentorship with Crystal Bowman; I've almost finished my MG historical novel for ages 7 - 10; my next project in the wings is a contemporary YA novel. And on the back burner? A YA fantasy adventure novel. I'm all over the place with ideas and challenges. Characters beg to have their story told and I aim to please.

MH: How do you stay motivated as a writer?

RA: I have my ups and downs like everyone else. One day I'm writing like crazy and loving the words on the page, and the next, I review what I wrote and dislike it all. It's best for me to stay connected with my critique group, and others who get what I'm trying to do and who support me. I need a pat on the back, or "chin up" talk to assure me that I'm on the right track. And it really boosts my ego when they tell me I'm a good/great/wonderful writer. 

MH: What are some of the best features of being a member of SCBWI Michigan?

RA: Our listserv is wonderful. We really need each other in this business. I love reading answers to the questions posted by our members. I've learned so much, and our members are so giving of their time and knowledge. And the talent we bring to our conferences is really fantastic. Publishing house doors are opened to us from attending SCBWI-MI conferences. A manuscript just might be picked up by an agent or editor simply by having a critique, or some face-to-face time with an editor/agent/art director who speaks at one of our conferences. I urge people to not miss out on those opportunities.  

MH: What goals do you wish to achieve while in the position of coRA of Michigan? 

RA: I'll have a better idea on what I'd like to see happen now that I'm starting back on the advisory committee (AdCom) prior to taking the co-RA reins. You and Leslie have done a great job at organizing our chapter, and I certainly want to keep that going. I want to continue offering superb conferences, and I like changing things up to meet the needs of the members.

MH: What else do you want the membership to know about you?  

RA: When I was considering taking the co-RA role, a co-worker asked me if I wanted to write stories or help others to write stories. And my answer was, "Both!" So I'm here to help our Michigan members get their work critiqued and sold, and I believe that, in the process, I'll be helped along the way as well. We are the mitten state, and it takes a hand to make a mitten work.

Monica Harris lives in Kalamazoo where she writes in her purple office. It matches some of her belly dance costumes. But that's another story.  

CLUES FOR THE CLUELESS   

Shutta Crum

ABOUT THE WRITING LIFE 

by Shutta Crum

1. There is no substitute for good writing (Having "connections" in the publishing world won't help if the writing is not good.) The most useful thing you can do to push your publishing career forward is to hone your craft. That means practice writing-and yes, despite what you might have heard-grammar, syntax and punctuation are important.

2. You need to be a reader in the area in which you wish to write. Read! Compare readings, take notes, and read like a writer. Could you do brain surgery if you did not study the body? ('Nuff said.)

3. No one can do your homework for you. You need to research children's publishing and current award winners. You need to know what is already out there so you won't waste your time, and so it will inform your writing. You'll be building a base of knowledge about your craft. That knowledge cannot reside in the mind of someone else. And remember, these are "current" books you will be studying because you will be writing for the millennial (today's) child, not the child you were fifty years ago.

4. No author will refer you to his/her agent or editor without falling in love with your manuscript. Relationships of this type are built on trust. No author would do damage to his or her agent/editor relationship without first reading and loving your manuscript. (Agents and editors are already inundated by thousands of manuscripts.) See # 5 for more info on this point.

5. Few authors have the time to mentor/read your manuscripts. (Thus they will have no time to fall in love with your writing.) This is because they are squeezing every second they can out of the day to work on their own books, and still retain a bit of a family life, and sanity. And don't forget, many authors must write in the middle of the night, or early in the morning, because they hold down day jobs. (See #9 for how much writing pays.) Teachers/instructors and contest judges will, generally, read your whole manuscript. A few authors offer manuscript critiques for a fee. Also, you can hire an independent editor or book doctor. (Do NOT use a book doctor referred to you by an agent that you are not completely sure is on the up-and-up. There could be kick-backs involved.)

6. Everyone gets rejected. This applies to well-known authors, who may have just gotten a rejection from the same agent/editor to whom you are seeking an introduction. There are many reasons for rejections. Get used to it. A lot of authors had hundreds of rejections before an acceptance. (I did!)

7. No one is interested in your memoir unless you are in the public light already, or did something amazing that few know about. The only exception to this is your immediate family.

8. No one is interested in the family tales your grandchildren love. (The exception to this is #7.) That is, unless you have crafted elegant stories from these through the hard work of plotting and revising. Remember, just because something really happened a certain way is no indication that the story should be written to follow the facts. Unless you're writing non-fiction, most good children's books require shaping through plotting. (See #1.)

9. The majority of authors make very little money. Surprised? Do the math. The basic contract for a novel is 10%. That's $1.50 for a $15 novel. Generally, first or second print runs are only few thousand copies. For picture books, it's worse! 10% must be shared with the illustrator. (No one magically comes up with another 10% for the illustrator.) Thus, 5% of a $16 hard-cover picture book is only 80¢! So event organizers: most authors will not travel long distances for "the opportunity" to sell a few copies of their books--the price of gas would eat up any royalties made on sales. (Exceptions to this are bookstore signings/conferences when networking is of more importance than selling.)

10. Authors are rewarded in many other ways, however. The best things that happen to authors are often NOT quantifiable. Children write letters to us. These are fun! And sometimes moving. One child collected over $500 to donate to the Blind Babies Foundation in San Francisco after reading my novel, Spitting Image. And you never know the places you'll go because of your books. I've been invited to the White House and to do a month-long tour of Japan. Wow! And of course, there is always the reward of a job well-done and recognition from people you admire. What more could anyone want from life?

I hope this list has given you some insight into a writer's life. It's not all rosy, but it is rewarding.

 Be true to your talent. 

Copyright by Lucy Ingels

EXPAND YOUR CONFERENCE HORIZONS

by LuAnn Kern 

I suspect that, like me, many of you have varied writing interests. Mine go beyond children's literature to include women/family magazines and faith-based writing.  I figure the more varied my interests, the more experience I get and the stronger my writing becomes.  Often, what I learn in one arena translates into another. Take for example, this past July when I was one of 700 attendees of the She Speaks conference hosted by Proverbs 31 Ministries.

Don't let the name fool you.  The conference, now in its 10th year, featured an incredibly impressive writing track, powered by more than a dozen established and new Christian authors, such as Mary DeMuth, Susan Meissner, and New York Times best seller, Lysa TerKeurst. They and others generously shared their experiences with the hundreds of writers, like me, trying to find their voice, strengthen their craft, and build their audiences. The sessions covered fiction, magazine writing, memoirs, devotionals, branding, and marketing. While there I had the opportunity to meet with a publisher face to face to pitch my picture book manuscript, bypassing the submission and slush pile process. They passed on it, but said they were interested in hearing from me again (encouraging) and now I have a personal connection at that publishing house--a golden opportunity! And, through a connection I made at the conference, a devotional I wrote was featured on a web site with a substantial national audience. 

Here are just a few of the things I learned during my She Speaks weekend in Concord, NC:

10,000 hours There's a theory (put forth by Malcolm Gladwell) that it takes 10,000 hours of practice to truly master something, be it basketball, piano playing, or writing. So, every minute you spend reading and researching, every blog you read, every minute with your critique group, every conference you attend, it all adds up. Working full time and raising two young daughters, I often get frustrated that I can't find the time I want/need to write. To me this figure isn't daunting, but a reminder that it's a long journey and every moment I can steal away for my writing adds to the whole effort.

Really, really know your characters. Make a list of their flaws and virtues, habits and quirks. Give them a history. Can you give them a two-three word descriptor?  For example, if I say "miserly Christmas hater" you know instantly whom I'm talking about.

The mighty search function.  If you struggle with "show don't tell," try this trick: search for the word "was" in your document, determine if it's passive or past tense, and replace as necessary. Do the same with "it" and replace "it" with something better. Do the same with  "-ly" -- instead of  "the radio played loudly," try "the radio blared."  Ah, much better.    

Keep a writer's notebook. Don't assume you'll remember every brilliant idea you come across, or even have--write it down, along with the source.  Things to include: favorite words, book title ideas, character names, quotes about writing, plot ideas, research, cool lines that beg to be used, dreams, etc. I had notes scattered about, but this challenged me to get them organized and my writing has benefited from the effort.

WHILE WE'RE WAITING:

Patti Richards

FINDING SUCCESS BEFORE

YOUR FIRST BOOK DEAL             

By Patti Richards

Let's think of something to do while we're waiting,

While we're waiting for something new to do.

Let's try to think up a song while we're waiting,

That's liberating and will be true to you.

--Mr. Rogers

Who doesn't love Mr. Rogers? With him, even the not-so-fun process of waiting becomes a catchy, sing-it-in-your-head-all-day tune as you trudge through notes, revisions and edits. But what does a hard working writer for children do when the revisions are finished and the envelope is sealed and in the mail (or attached to an email)? We've often heard the best thing to do is move right on to the next project rather than eat way too many peanut M&Ms and check your email every fifteen seconds. But if you're drained of fresh ideas, need a little pocket money, or in my case money to pay the bills, or if you'd like some credits to add to your resume, consider looking outside of kid lit for some boot-camp-style writer's experience.

Write Locally

One of the first places I got my writer's feet wet was through the local newspaper. Local newspapers often look for freelance writers to cover charity events, school news, local heroes and outstanding volunteers. Assignments are not quite as plentiful now due to smaller budgets, but there may still be work available for writers wanting to add credits to their resume by covering a story well for a small amount of money.

Another resource for local writing is regional magazines. Groups like MetroParent Publishing have several print magazines as well as online content. These groups take queries and, if you can establish a relationship with an editor, will put you on a list for future assignments.

In each case, query the managing editor or look for submission guidelines in the fine print. For these types of publications you are an independent contractor and invoice for your work for an agreed-upon price.

Internet and SEO Writing

Another place to cut your publishing teeth is through Internet and SEO writing. Websites are always looking for great content writers, and companies will pay freelance writers to keep their blog content fresh and "green" (not constrained by dates and times). Websites like FreelanceWriting.com let you pitch for posted jobs. Writer Access provides writers to companies at per-word prices and gives hired writers an account where jobs are claimed. Complete the work to the style guide in the allotted time and you get paid. Good ratings on Writer Access can get you on client "love" lists for future projects. Bright Hub, Demand Media, and Suite 101 are also good content channels.

Search Engine Optimization writing is incredibly specific, focusing on keywords that drive traffic to a website through search engines. SEO content writers have a list of keywords that must be used a certain number of times in an article. SEO content writing hones skills quickly due to the limited number of words allowed to write a readable, informative piece.

Benefits of Different Writing Experiences

Having to find some paying work a few years ago was truly one of the best things that ever happened to me as a writer. Mr. Rogers teaches children there are ways to improve, learn and grow during times of waiting. Here are just a few things I've learned:  

• Editors--Working with editors before you get a book contract teaches you how to look at your work honestly and grow a thick skin when it comes to making changes. You learn to slash, burn and not look back.

• Word Count--Writing to a word count makes you choose only the best words. You can't get this anywhere else. I've learned you can write about almost anything in 500 words or less.

• Publishing Credits--Getting publishing credits for your resume is important. Having a list of places where editors and agents can read your work, even if it's outside of children's literature, lets them know you are a hard-working professional worth a second look.

• Increased Confidence--To a writer, getting published means everything, even if it's just a short article buried on the Internet. It boosts your self esteem and gives you the courage to keep trying. Getting your name in print, no matter how insignificant it may seem, helps you move forward.

So, if you find yourself in the waiting zone, like Mr. Rogers says, "Think of something to do." You'll probably find that even the smallest writing assignments teach some big writing lessons.

Author Kristen Simmons

AUTHOR INTERVIEW

by Kristin Lenz 

Article 5, Kristen Simmons' new book, was released on January 31. Kristen is busy with her full-time day job and writing book 3 of Chase and Ember's story, but she graciously took a time-out to answer some questions for me.  

KL: Congratulations on your debut novel, Article 5! Tell us about your path to publication. Who is your agent?

KS: Oh the path to publication! It hasn't been an easy journey, that's for sure. I've had some low points, times when I almost gave up, but also some really wonderful, life-changing moments.

I wrote my first manuscript in 2002. And okay, maybe it was terrible, but at the time I didn't know that. I thought it was pretty good. I mean, it was a book wasn't it? That's all you needed to be a published author, right? Wrong. I wrote a query letter, sent it out feeling hopeful. And then the rejections started rolling in. I was devastated.

But I wrote another book, and then another, and then another. I didn't know anything about writing groups or critique partners. I told no one I wrote. I thought I was doing what everyone was doing, sending out letters to agents, getting the same form rejections back. I kept telling myself that. For...um...seven years.

And then I wrote Article 5, and even though I knew I was setting myself up for heartbreak, I tried one more time. I told myself if this didn't work out, I was done. No more querying.

I got lucky. I met Joanna MacKenzie, from Browne and Miller Literary Agency. She's an editing agent, and helped me shape up the manuscript. (I always love the term "shape up." They should actually call it "boot camp" or "survival training" or something like that.) Through that process I learned so much: what I was capable of, the importance of good feedback, what I needed from an agent. Someone who was supportive, who never treated me like I was an idiot, who was easily accessible. She is truly one of my favorite people in the world and I'm so, so grateful to have her on my team. There simply would be no Article 5 without her. 

KL: One of the reasons this book resonated with me so much is that I'm a social worker like you, and I recognized many of the issues that we face in our practice.  Your compassion really came through in this story.  In what ways do you think your social work career or values influenced this story?

KS: Thank you! I've learned a lot from a career in social work, but perhaps the most important thing is the incredible tenacity of the human spirit. In our field we often see people at their most difficult moments. Our job is to help them rise up, reclaim their strength. As you know, Kristin, witnessing someone recover after they've stumbled is the kind of thing that makes you believe in almost anything. It changes the way you look at the world.

When I write, I'm aware of the mental health of my characters - they've been through some traumatic things, and as a result, are dealing with some pretty hefty emotional consequences. Things that anyone might feel after experiencing what Chase and Ember have. But they're resilient. Like with anyone struggling with a hardship, there is hope, as long as they can learn to trust and support each other.

KL: Resilience is such a strong theme in your book, and you're right, it has shaped my worldview and inspired me throughout my social work career.  Some of the scenes in Article 5 must have been extremely challenging for you to write.  There were times when I thought, "Oh please no, just let them escape, please don't let anything else awful happen to them!"  But of course, things go from bad to worse, the suspense builds, and the stakes continue to rise.  Tell us about your experience writing these difficult scenes.

KS: You know, it's funny. I didn't mind putting Ember in a bind, but it was really hard making Chase suffer. I hated it. I'd avoid writing those scenes as long as I could, and then when I did, I was constantly apologizing to him in my head. "I'm sorry, I'm sorry, we'll get through this together, I'm sorry!" A therapist could have a field day with this discrepancy, I'm sure. 

Also, I'm sort of a fixer, and had a strong inclination to immediately resolve whatever problems they encountered, including in their relationship. But, my agent and editor moved me past that. Apparently suspense isn't so suspenseful if you take out all the tension. Who knew?

KL: What was your favorite scene to write?

KS: I don't want to give too much away...but there's a certain scene involving a farm and a motorcycle and possibly (maybe) a kiss. That was my favorite.

KL: [Sighs] That was one of my favorites, too! Tell us about your revision process with your agent and editor. How is the final version of Article 5 different from the manuscript you originally submitted? How did your novel change or develop further through the editing process?

KS: Let's see, revisions were cake. No problem. Took me ten minutes, tops.

Okay, maybe that's a bit of an understatement. 

I went through revisions with my agent before we signed a contract. Three rounds of revisions, to be precise, in which the entire story was restructured and lost 60,000 pounds. Ahem, words. A lot changed during this time. I mean, Ember was actually dating Tucker Morris in the first draft (I know. Thank goodness for good agents).

Then, after we found my editor (Melissa Frain, Tor Teen), I went through another round of revisions in which an additional fifty pages were cut (Are you getting the feeling Article 5 was loooong? It was. It was 154,000 words when I queried. And to think it took me seven years to find an agent). For those of you who have read Article 5, those fifty pages became flashbacks, but in the original version all those events took place before chapter 1. Then came line edits, where more detailed problems were worked out, like how did she get outside when two sentences ago she was in the bedroom? Then came copy edits, like did you know you use the word "grasp" 64 times in chapter 2? Then came the first page pass, the last chance to make any final corrections. And the rest is history.

Thanks for letting me tell my story, Kristin! And thank you SCBWI! If you have published, I salute you, and if you're on your way there, I wish you all the best. If I can do it, you can. Don't lose hope.

Want a chance to win a copy of Article 5?  Of course you do! SCBWI-MI member Natalie Aguirre is interviewing Kristen Simmons and giving away a copy of her book at the Literary Rambles blog (caseylmccormick.blogspot.com) on Monday, February 13th. 

For more about Kristen Simmons and her books, visit her website at www.kristensimmonsbooks.com.

By Kristin Lenz

Article 5

by Kristen Simmons

Tor Teen, 2012

Kristen Simmons has written a powerful young adult novel about the devastation of war and the resilience of the human spirit. Not just the physical destruction, but the emotional crumbling of a society and its humanity. If that sounds bleak, have no fear. While the story is full of hold-your-breath suspense and horrific threats, there is tenderness, deep love, and a ray of hope guiding you through to the very satisfying ending.

I'm biased, I'll admit it. Kristen Simmons is one of my blog partners at YA Fusion, and she's a social worker like me. To be honest, I might not have picked up this novel otherwise. Realistic contemporary fiction is my preference, and while I loved The Hunger Games, dystopian isn't my thing. Article 5 is set in an imaginary future U.S., but the characters are struggling with very real issues that will make you ponder your worldview. For me, it emphasized that our world is full of choices that are not black and white, but shades of gray, subject to re-evaluation as circumstances change and evolve over time.    

The main characters, Chase and Ember, didn't always behave in the ways I wanted them to, but their actions and reactions were true to the story. It takes time to illuminate those shades of gray, and you'll pray and root for them along their treacherous journey. This book moved me to tears, and I hugged it tightly when finished. 

Kristin Lenz lives in Royal Oak and contributes to the YA Fusion blog, which you can visit here.

12 THINGS TO DO WITH  

REJECTION LETTERS

by Betty Westra 

Don't you hate when the mail person brings yet another rejection letter or form? You  snatch up the daily mail, maybe right from the startled mail carrier's hand, only to rip it open and read, "Dear Author: Thank you for submitting your manuscript to Never Say Die Books for Young Readers.We apologize for using this form letter [I'll bet], but.... Your work was given careful consideration and we are sorry to say [oh, yeah].... We are grateful to you for thinking of us [sure] and wish you the best of luck..."

After gnashing your teeth, sobbing, or stuffing your face with chocolate, what do you do with the rejection letters? Do you shred them and scatter them over your dog run? There are more creative and interesting things that you can do with rejection letters/forms. Here are 12 things that you can do with them that might help you feel better.   

1. Use them for kindling to start a healthy fire either in your fireplace or at your campground. While you watch the smoke waft upward, you can imagine it as a signal to the editor about his/her opinion of your work.
2. Speaking of camping, why not pack them into your backpack to use if you run out of toiler paper? 
3. Use them to drain your breakfast bacon. While you watch the grease seep into the paper, you can think of the ten other manuscripts out there in the "Writer's Never, Never Land" that still have a chance. Besides, the grease will help fuel your camp fire.
4. Or, if you have an infant in your house, use them as diaper liners. Some of their wisdom might impart to your baby, but then, he/she is on your side.
5. If you have a bird or other pet at home, why not line the bird cage or paper train the puppy on them?   
6. After thinking about these options, you might want some less vindictive or yucky choices for your rejections. So, let your kids make airplanes with them and fly them around the yard, or...
7. If it happens to be winter, make snowflakes and decorate the house.
8. If you send a package to someone, use them as packing material, but only after you obliterate any personal information. You wouldn't want anyone to think you get this kind of letter often. Now, you say, isn't there some way I can use them to further my writing career? Of course. 
9. You can recycle them when printing a manuscript for your critique group, hoping that members won't read the other side. 
10. Next time you lecture on writing for children, you can use them as proof that this career isn't for the thin skinned or faint hearted.
11. If you own a shredder, you can also turn them into confetti for your next bowl game.
12. As a helpful option, do as a friend of mine once did and paper your writing room with rejection letters as a constant incentive to keep working and improving. They will bring laughs when your manuscripts do sell, maybe even to one of the rejecting editors.

Happy writing and have fun with your rejection letter/forms.

Betty writes short stories, poetry, and articles, has had an early reader published, and taught at the Institute of Children's Literature for years. She hopes that she soon runs out of excess rejection letters. 

Photo Courtesy Flagstaffotos

THE SUBVERSIVE WEAVER 

By Katherine Higgs-Coulthard

Orange Orb Weaver.

With its large body and candy-corn tipped legs, the spider that has taken up residence in the window above my writing desk causes my mind to drift from the novel I'm revising to picture books ideas. Her name could be Charlie, after another more famous spider. She could be the muse for a young poet. Maybe . . .

"Whatcha doin'?"

My hands jerk back to the keyboard.

"Writing."  

I nod at the screen which dutifully displays the latest version of my story. Editorial notes pepper pages strewn across my desk. Evidence of a writer at work.

Hannah looks unconvinced. "Wanna play Barbies?"

I consider enlightening her on daydreaming's essential role in the revision process, but then I'd have to introduce her to my orange orb weaving friend. Knowing her terror at confronting even the tiniest ant, I opt for distraction.

"Tell Chris to get you a popsicle."

I grab a pen to jot down my idea about the spider muse but now Laura's at my door holding up her feather-topped pen.  

"I'm ready," she announces.  

I rack my brain for whatever promise I'd made. Laura plops her journal on my desk (sending the pages of my novel into further disarray) and drags over a stool.  

"Our book?" she prompts. "The one you said we could write together?"

"Look! The dreaded spee-i-der!" I cry.

Hannah would have dashed to find Daddy, Conqueror of All Things Scary, but Laura grins.  

"Let's draw it."

After twenty minutes of sketching and writing about spiders, Laura says she's hungry.  

"Go remind Dad to feed the hungry beasts," I tell her.  

She darts upstairs.

I turn to my editor's notes. Inconsistent tone. Emotional whiplash. I stare at the scene in question, sure that I should know how to fix it. But guilt is a dam on the creek of creativity and I can't get past the pile of sticks and muck that represents me, holed up in the basement shuffling words around, while my children go hungry upstairs.

I go back to staring at the spider.

I know it's not blowing off. Not procrastination. This emptying out is as much a part of writing as dragging pen across paper. Watching the spider stretch and pull its silk into slender lines allows me to hold the fine strands of my story between my fingers and draw them out of the tangle. Daydreaming allows my mind to drift out of focus just enough to imagine a new scene, a character's unexpected reaction. What if my character. . .?

Upstairs feet pound, doors slam, and the mower drowns out the girls with their scooters and sidewalk chalk. I wonder what they had for lunch--if they had lunch--and then I pick up the pen and jot a few options for the scene. Halfway down the page, my eyes are drawn back to the window as my son's black Nikes step into view.

"Hi, Mom," Chris mouths, saluting me with the weed whacker.  

I tap my finger against the glass to show him my gorgeous new muse. Chris bends down, momentarily transformed into the little boy we'd called "Bug" because of his devotion to rescuing each stuck-on-its-back beetle. We share a moment of awe at the spider's stunning beauty and complex web, then my gentle son with the poet's soul gets to his feet and weed whacks it to death.

I flinch. My eyes fall on the binders that line one shelf--completed, but not yet published, novels. Seven of them. How many webs had this spider built, only to have them destroyed? And what did she have to show for all that work?

Suddenly, I am exhausted. I trudge up the stairs and give over the rest of my day to laundry and dinner preparation, homework and baths, bedtime stories and prayers. I fall into bed and stare at the ceiling, grieving the loss of one small spider that has somehow become a metaphor of my writing life.  

In the morning I get the kids off to school, brush aside strands of self pity, and trudge back to my writing desk. I can't help glancing at the silver threads dangling in the window. A slight movement in the window's topmost corner catches my eye. Charlie. Alive and well and already at work on her next masterpiece.

The poet Adrienne Rich once suggested that the constant juggling of work, childcare, and household duties prevents many women from attaining the sustained silence necessary to harness the "subversive function of the imagination." I'd often hidden behind that quote, used it as an excuse for entire weeks when I wrote not one single word.

I wonder what Charlie, my orange orb weaving muse, would think of that.

Kathy Higgs-Coulthard is director of Michiana Writers' Center, where she facilitates writing workshops for adults and children. Their website is www.michianawriterscenter.pbworks.com.