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Author Archives: johannaharness

About johannaharness

Johanna Harness writes middle grade and young adult stories set in both The American West and fantastic worlds (often forgetting which is which). She created the #amwriting community on Twitter and is represented by The Carolyn Swayze Literary Agency.

Crashing, Connecting, and Creating by Johanna Harness

Sometimes big, ugly events crash into our lives and stomp through the marrow of our being, breaking everything in sight.

There’s nothing we can do about it.

Over twenty years ago, an ultrasound tech bubbled with excitement, telling us we’d soon be seeing our baby for the first time.  When she abruptly stopped the scan and wouldn’t make eye contact, our world collapsed.

Five years ago, I walked out to my garden and ten minutes later there were phone messages from every member of my family except my dad.  We buried him that next week.

A year ago, I took my mom into the ER and a doctor casually informed us her cancer had spread.  Our response: what cancer?  I’m now my mom’s primary caregiver, through chemo and whatever hell and heartbreak it takes to choose life.

A few nights ago, I woke in darkness with severe pain. Another trip to the ER and an emergency surgery and I’m back on my feet.

Every time we experience one of these massive life changes, our personal paradigm shifts.  Our understanding of who we are and how we are situated in the world, in connection or not in connection with others, shifts.

The earth shakes beneath our feet and our teeth rattle deep in their sockets—and we once again search for meaning.

Because that’s what we do:  we create meaning.

As writers, we’re in the daily business of creating meaning.  We tell stories not randomly, but with purpose.  Sometimes we understand that purpose before we begin writing but, more often, we know the narrative and we add the meaning as we go along.  We sense it, lurking there in the plot, sometimes subtle and layered, sometimes set to spring forth and startle us awake to life.

In reaction to paradigm shifts:

  • Sometimes our writing stops altogether.  After that first miscarriage, it took years before I wrote anything else.  Creating meaning for my daily life was difficult enough without creating meaning in stories.
  • Sometimes our writing speeds up.  In the weeks after my dad died, I became very aware that my life had limits, that I wouldn’t live forever, that I needed to make my dreams take flight right that moment.  There was no time to lose.
  • Sometimes our writing slows to a crawl.  After my mom’s diagnosis, I continued revising a manuscript about a character who recently lost her mom, but every line eked from keyboard to screen with the excruciating slowness of an IV drip.

That night I was lying in the emergency room, with some heavy narcotics dripping into my blood stream, I saw it all for a brief moment.  A family to our left lost a father to a heart attack, a family to our right lost a pregnancy—and I wept.  I mean, I truly wept.  I felt such pain—both for their losses and for my own—but mostly I wept for the fact that we all experience so much together and yet feel so alone.

Waking up in the recovery room, my first impulse was not to rush to my keyboard to write down my story. My first impulse was to ask the nurse her story.  Where did she grow up? How did she get into nursing? How many generations of her family lived in Owyhee County?  When she wheeled me back to my room, she squeezed my hand and another nurse asked if we knew each other.  She smiled and said, “Not before tonight, but now we’re old friends.”

Big, ugly things do crash into our lives from time to time.  There’s nothing we can do about it.  And yet, in the worst of our pain, sometimes a story fills the gap, reminding us we’re not alone.  When we tell our stories, when we listen to the stories of others, we find connections.  We may begin the story as strangers, but we part as old friends.

Returning to my keyboard this morning, my writing speeds up.  It’s no longer about my dream or my grief. It’s about the story that needs to be told.

 
40 Comments

Posted by on June 6, 2012 in writing

 

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I Dream Of LeakyCon by Johanna Harness

I wrote a blog post a few weeks ago in praise of small conferences—great opportunities not just for workshops, but also for getting involved with your local writing community.  No matter what genre you write or where your dream conferences take you, I hope that you will always return to your local writing groups and take care of each other.

That said, today I want to talk about going to the conferences of your dreams.  You know the ones? The ones that increase your heart rate, the ones that make you hyperventilate a little?

Some of you are murmuring the names already.  I can hear you.

The places on my list are  LeakyCon, ALA, Big Sur, SCBWI.  I could easily slip onto a plane headed for Comic-con or Bouchercon.

Someone else’s list will look like a pile of letters.  Your own list will feel like poetry.

But what about those of you who have yet to define your dream?  This post is for you.

Keep in mind that conferences don’t just cost lotsa dollars.  They also cost lotsa energy and require a time shift away from things like Actual Writing and Sustaining Relationships.

Before you dump all your available resources into a conference, please take time to consider whether you’re following your heart or someone else’s.  This may sound obvious, but it’s amazing how many writers don’t know what they want for themselves. They’ll go along because their writing group is going.  They’ll go along because online friends are going. They’ll go along because they went last year. They’ll go along because they haven’t done the research or the soul-searching to know what they want instead.

Not sure if you’re being true to yourself, true to your own dreams?  Ask yourself these questions:

  • Which living authors inspire you?  Are those authors participating in any conferences, workshops, or mentoring programs?
  • What books do you love?  Where do other fans of these books congregate?
  • Do the books you love ever win awards?  Who gives those awards? Does that organization host a conference?
  • Do the authors you love belong to professional writing groups?  Which groups?  Do those groups host conferences?
  • Who works with the authors you adore? Think about agents, editors, publishers.  Are those professionals speaking or doing workshops?

Take your list and look for overlap at points of awesomeness. We’ll call these POA. Any single POA might be a wonderful thing.  Where many POA overlap, you’ve got yourself a dream.

Please note that there is no need to discount another person’s dream in order to follow your own.  You’re not looking for reasons a conference is wrong for you. You’re not arguing that your conference is right for everyone. You’re simply looking for overlapping POA that make you grin like crazy.

Those are your people.  That’s where you belong. A recitation of those names will sound like poetry. They’ll also keep you focused on your dreams and they’ll keep you putting money into your conference savings account.

I’ll be going to LeakyCon this year.  Just saying it makes me hyperventilate a little.

The POA overlap at LeakyCon?  Holly Black, John Green, Hank Green, Lev Grossman, Maureen Johnson, Jennifer Laughran, Stephanie Perkins, Rebecca Sherman, Margaret Stohl, Laini Taylor, Kate Schafer Testerman, Robin Wasserman, Evanna Lynch, Scarlett Byrne, Team Starkid, MuggleCast, Meghan Tonjes, Tonks and the Aurors, Alex Carpenter, Ministry of Magic, Gred and Forge, Lauren Fairweather, The Whomping Willows, Harry and The Potters.  Mmm.  Yeah.  Serious POA.

Where are your dreams taking you?  How long will it take you to get there?

 
16 Comments

Posted by on May 23, 2012 in conferences, writers

 

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Disappointed Writers by Johanna Harness

Baxter the houselamb, sheepI’ve heard it said that sheep spend their time at pasture looking for ways to die.  They’re relatively stoic creatures, so by the time they act sick, it’s often too late. They seem fine one day and they’re dead the next.

Writers are apparently the same way with disappointment.  While not writing, we look for ways to feel bad about ourselves.

Last week I attended a conference with a wildly-successful writer who just turned in her eighteenth book.

“Wow,” I said.

She held thumb and forefinger barely apart. “They’re thin,” she answered.  “I’m actually getting dumber with every passing day.”

She’s not, of course, but she swears she is.

Another writer on twitter tells stories that tunnel right through to my heart.  I laugh out loud.  I cry.  His explorations change the way I see life and enrich my perceptions of my Kansas heritage.

And yet he worries about apostrophes and sentence structure.  He thinks he’s not good enough to be a “real writer.”  I tell him that he damn well is and that writing is so much more than a sum of grammatical parts.  Any editor can fix those tiny things.

And I’m sure he thinks I’m humoring him–because he is, after all, a writer.  The only thing we fear more than rejection is false praise.

Another friend confesses that, despite glowing reviews, she worries because she’s been often nominated, but never selected, for any prestigious award.

Another with a Ph.D. worries she’ll look stupid because she does not have the vocabulary to talk about novel writing.

I can shake my head, but who am I kidding?  I’ve been writing long enough to survive multiple episodes of dark days and doubt.  My last had me wondering about famous writers and that stroke of genius that makes them who they are.  No matter what they write, we hear that quality in their voice and we love them.  And so, just like a sheep contemplating lethal ways to get her head stuck in a fence, I ask myself, “What if my writing has an opposite effect on readers?  What if that thing that makes me special is the one thing no one wants?”

And yet we persist.

This week at Idaho Writers and Readers Rendezvous, Mary Clearman Blew reiterated the importance of tenacity for writers.  She said you can often tell when writers are going to give up.  ”You can just feel them veering off and thinking they’d rather have a life.”

I laugh because I’ve cornered myself into such a negative ending.  As a writer primed for disappointment, having a life sounds amusing and fun. So what was my point?

Oh yes.  Not every stoic sheep is dying.  And not every disappointed writer wants to quit.  Some of us are just really good at getting our heads stuck in fences and wailing about it. It’s what we do. And then we write about it.

 
54 Comments

Posted by on May 9, 2012 in conferences, writers, writing

 

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In praise of small conferences by Johanna Harness

SCBWI Regional Conference in Boise

Big conferences provide excellent opportunities for brush-with-greatness stories. Sitting behind that famous agent, saying hello to a dream editor, sharing an elevator and small talk with a big-name author: these are certainly moments to remember.

Small conferences offer more than moments.

In 2009, I attended my first little gathering and ended up having a long chat with Lin Oliver, one of the two founders of the Society for Children’s Book Writers and Illustrators (SCBWI).  She listened while I awkwardly described my book and then assured me I belonged. Remembering that conversation still brings tears to my eyes.  It would have been a thrill just to hear her speak.  At the local gathering, she changed the trajectory of my career.

The next fall, I traveled to Utah for the SCBWI conference in Salt Lake City.  Not only did I have wonderful conversations with Laurent Linn, Elizabeth Law, and Royce Buckingham, but I also attended my first workshop with Terri Farley, an author I now count among my writing friends.

You’re seeing the pattern, yeah?

At bigger conferences, I’ve been thrilled to see wonderful authors across the room.  At these smaller events, we talk.

A couple years ago I talked with Chris Crutcher at a local conference in Boise.  This last winter he was keynote speaker for the big SCBWI conference in New York.

That same year in Boise, I met Kelly Milner Halls, Jill Corcoran, and Cheryl Klein.

Kate Testerman of KT Literary

Does it seem like I’m name dropping?  Because it should. There may not be a surplus of big names at each conference, but the quality of time spent with each guest and the cumulative effect over time?  Wow.  Just wow.

Last weekend, I attended at my 4th local SCBWI conference and my teenage daughter attended her first.

We learned so much from Alane Ferguson’s workshop and from talks given by Gloria Skurzynski (Alane’s uber-talented mom) and Matthew Kirby (who looks like Alane’s son, but we’re assured the Edgar-nominated author is not). We talked with Kate Kae Myers and Sarah Tregay. We sat at a table with Kate Testerman, Amy Cook, Miriam Forster, and maybe the most important person there:  Neysa Jensen, the new Regional Advisor for the Utah-Idaho Region of SCBWI.  Together with Sydney Salter, Neysa has been instrumental in bringing all these iconic authors, agents, and editors within driving distance of my Idaho home.

Alane Ferguson, Matthew Kirby, and Gloria Skurzynski

Alane Ferguson, Matthew Kirby, and Gloria Skurzynski

If you write for kids or young adults, you owe it to yourself to find out what’s happening in your SCBWI region.  If you write romance, find out what Romance Writers of America has to offer in your region.  If you write mysteries, check out Mystery Writers of America.  Whatever your genre, there’s probably a professional organization that’s right for you—and they just may have a conference coming up in your area. You should go!

 

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Plot Arc by Johanna Harness

I recently had the great pleasure of speaking to the Coeur du Bois Chapter of Romance Writers of America.  I couldn’t ask for a warmer audience.  They were wonderful!  My topic:  using timed writing to make use of small bits of time throughout your day.  I held up my own writing notes as examples and took a leap of faith when someone asked if I would pass them around.  It’s not so much that I have any great secrets in them.  It’s just that they contained my very raw, very undeveloped ideas—my working thoughts.  They were not in any way polished.  I was even more confused when a few people started taking notes.  And then a few more did.

I didn’t know what to make of it. These were my boring, day-to-day, throw-my-thoughts-together notes.

Then someone explained:  they were copying down my plot arc.  And they would love to have a copy of it if I would put it up somewhere, perhaps on a blog.  Maybe one for Idaho writers.  Gem State Writers, perhaps.

Okay, so here it is:  my oddball, everyday, yes-I-really-work-with-this Plot Arc—the one that captured their attention.

This arc is heavily influenced by Blake Snyder’s beat sheet as well as Michael Hauge’s 6-stage plot, but it’s also neither of those.  It’s a weird conglomeration of what works for me.  If my arc somehow works its way into your own weird conglomeration of what works for you, this would make me very happy.

 
28 Comments

Posted by on April 11, 2012 in Idaho

 
 
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