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Having been involved in the craft of storytelling since my own elementary days, and having visited classes as a professional author to discuss writing techniques, I’ve developed what I believe to be the perfect guide to creating innovative characters and dynamic action that will both tweak the imaginations of advanced writers AND jumpstart or encourage the most reluctant young writer. Now available in a lower-cost e-book format (simply use your own notebook to answer the prompts listed in the e-version).

INVENT YOUR OWN SUPERHERO: A BRAINSTORMING JOURNAL uses creating a new “superhero” as an enticement for young writers. This is more than just a fun exercise, though, as it introduces writers to the recognized elements of solid storytelling: conflict, character motivation, backstory, foreshadowing, etc.

The workbook also introduces young authors to the importance of crafting solid characters who grow and change throughout their stories. The journal also provides insight into how “heroes” and “arch-enemies” can even find common ground.


While journals and workbooks are often geared toward individual use, INVENT YOUR OWN SUPERHERO would also make a great ongoing classroom project. After reading each prompt aloud, teachers could instruct their students to brainstorm either on their own or collectively (in small groups or as a class). Individual brainstorming allows students to rely on their own creativity, of course, but less creatively-inclined students might benefit from group brainstorming—after the group brainstorming is complete, each student can then write his or her own stories. It’s much easier to write a story once you have a roadmap (it would be a fantastic confidence-builder), and it would also be a fascinating exercise for the students to see how each one of them takes the same basic characters and / or storyline and turns it into something different from the other young writers in their class!


INVENT YOUR OWN SUPERHERO is available as an e-book here: and as a print book here:

I would also love to hear how this workbook benefits your class or young writers’ group. You can contact me at any time at hollyschindlerbooks (at) gmail (dot) com.

Happy writing!



I’ve said it before, and I’ll say it again: If you’re writing for young readers, your old stuff is just a goldmine. And by “old stuff,” I mean anything that allows you to connect with who you were as a teen or fifth grader or college freshman, etc.

When I wrote my first YA, A BLUE SO DARK, I dug through all the old spiral-bound notebooks I filled with poetry throughout high school. Not only did it help me get back into the right teen voice, a few of those poems actually worked their way into the finished book (tweaked a bit to fit the events of the novel).

Last year, I bumped into this gem–it appears to be an old school project (I’m thinking I was about 8 when I did this, since that’s when I learned cursive) in which I invented a superhero. My creation?



Check out that impressive glitter work–and that’s real yarn hair! Pretty super, if I do say so myself.

When Susan is not being super, she is mild-mannered Susan Crawford:


I’m not sure what Susan Crawford does, exactly. Maybe librarian? I probably would have liked a librarian.

Here I am brainstorming Super Susan’s abilities:


And here’s my short piece on Super Susan:


Susan’s true superpower? According to that last paragraph, it’s kindness.

I got such a kick out of this, and I wanted to give other young writers an opportunity to invent a superhero of his or her own. The end result? A brainstorming journal:

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In this journal, young writers will not only create a new superhero, they’ll also learn the basics of crafting strong characters, building solid conflict, and finding an emotionally satisfying story conclusion.

The journal also asks writers to consider how their characters change. Taking a page from the Super Susan book, the journal encourages writers to give their heroes a chance to show kindness to their enemy. By showing kindness, writers can see how those heroes and enemies can actually find common ground, maybe even join forces.

I hope your young writers come up with something amazing. Well–actually, I don’t hope. I know they will. Snag your own copy here.


I’ve released my first writing how-to book for kids!


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Create a brand-new superhero with never-before-seen powers and the perfect arch-enemy. Learn to tell an exciting story!

Psst: And it’s fun, too!
Award-winning author Holly Schindler turns her attention to helping young writers learn the craft of storytelling. Yes, this activity book is a guide for creating a new superhero, but it also uses brainstorming prompts to take young authors through the process of constructing a story with solid characters, plenty of pulse-pounding conflict, and a satisfying ending. Great for individual or classroom use. Suggested grades: 3-8.


Okay, okay, it’s my first writing how-to book for anybody, regardless of age. But this is specifically geared toward young writers. I’d suggest it for grades 3-8, but since every child develops at their own rate, of course it could also work for someone slightly older or younger, as well.

What does this writing journal offer?

Help creating a brand-new superhero with never-before-seen powers and the perfect arch-enemy.
A step-by-step guide that teaches kids to tell an exciting story.
Most importantly, it’s fun, too!

Yes, this activity book will guide users through creating a new superhero, but it’s so much more! This journal uses brainstorming prompts to take young authors through the process of constructing a story with solid characters, plenty of pulse-pounding conflict, and a satisfying ending.

Really, by using the hook of creating a new “superhero,” I’m introducing kids to the concept of “pre-writing,” or planning out a story before writing it. This journal gives them a starting point for how to become a “plotter” rather than a “pantser.” (A plotter outlines a story first, and a pantser literally flies by the seat of their pants, or wings every single book they write.) The farther along I get, the more I think the worst thing a writer could ever be is a lifelong pantser. There’s no way I could meet every single deadline writing that way. Professional writers need to master the art of outlining, brainstorming, and pre-writing in order to organize their thoughts BEFORE writing the first draft. Otherwise, they’re quickly overwhelmed. Projects gets delayed or even sidelined completely.

How does it work?

The journal contains both informative text and numbered brainstorming prompts. These prompts take young authors first through the process of creating a solid hero and worthy opponent (arch-enemy). Once the young authors understand their characters, they can then begin to craft the conflict and story resolution, as well.

Sneak peek:

As you can see from these sample pages, the journal introduces young writers to concepts like “foreshadowing” and “backstory,” and provides thoughts on how to “flesh out” characters and find an ending in which not only good prevails but characters change and grow as well.

What will young authors create?

Anything they want! Students can take all the ideas they generate here to then write a short story or book, illustrate a comic, even devise a script for a movie or play that can be acted out. The journal includes several blank pages in the back to get started with their projects, but after all this brainstorming, they might find they need far more paper to finish…maybe even a whole spiral-bound notebook!

Great for both individuals and classrooms!

Available at Amazon:

Best wishes in writing!



Piggybacking on last week’s post on retyping revisions, I wanted to share another technique I’ve found to be particularly powerful during the revision process: the letter of authorial intent.

Sometimes, it’s hard to know where to get started with a revision. And while it’s true that consulting beta readers or critique groups can offer authors some great guidance, it’s also unfortunately true that conflicting advice (or advice you don’t 100% agree with) can leave you feeling more confused or lost than ever…in the darkest of times, you can even wonder if your project’s hit a dead-end.

At this point, I’d recommend writing what I’ve come to refer to as a letter of authorial intent.


It is in no way a query. A query is short and it’s jacket copy. It tries to entice someone else to read your book. This is a letter to yourself. In it, you’re literally describing what you intended, as the author, for this book to be. The important thing to remember is that this letter has nothing to do with the book you actually wrote. Not at this point. This letter is describing the book you dreamed of. The book you intended to write. Reconnect with your just-inspired self. What got you excited in the first place? What was the initial spark?

Spiral out from there. Let yourself go. Don’t worry if your thoughts hop around. Just get them down at this point. This is a total brain-dump, a stream-of-consciousness freewrite. What themes did you want to include? What about the characters? Who did you imagine they would be?

Get every last thing you wanted this book to be down on paper. Write it in longhand, type it, dictate it. Whatever it takes to let all the ideas flow naturally.


Now that you’ve got it all down, organize it. Remember, this is a letter for you, so there really are no hard-and-fast rules. It’s all about what works best for you—and for this project! I do shuffle all my thoughts by topic (Character, Theme, etc.) Really, this step is more of a logical reordering than it’s technically a revision. You don’t care how the letter is phrased; you’re actually creating a kind of checklist.

Once I’ve gotten my own letter of authorial intent organized, I usually:


And the pitch is based solely on the letter, not the manuscript. If the book you described in your own letter actually existed, how would you pitch it in one sentence?


This is the fun part (at least, I think it’s fun). Put your authorial letter of intent (and that one-sentence pitch) next to your manuscript. Does the manuscript live up to the pitch? Does the manuscript accomplish what you originally set out to do? Do not go easy on yourself! Identify the areas where you feel you didn’t hit the mark. Why? What separates the current WIP’s main character from the character you originally imagined? Are the themes and messages present in this WIP? Are they present but perhaps not in the way or to the extent you planned? Why?

By comparing your original goals to the current manuscript, you can begin to identify holes or weaknesses. From there, you can begin to brainstorm ideas on how to fix those weaknesses.


I’ve found that by reconnecting with what originally inspired me, I often find myself reinfected with that original excitement and the high of the initial spark of inspiration. The kind of excitement that can help a writer power through a tough revision…


We’ve all got manuscripts we’ve had forever. Perhaps they haven’t sold, or we just don’t feel they’ve ever really found their way. We’ve written and rewritten them again.

At this point, one of the best things you can do for your manuscript is retype it.

I’ve offered this suggestion before to fellow writers. As soon as I do, they gasp with utter, complete, total horror.

But I’m serious. I’ve done it before, many times. Print your current manuscript, put it on the desk or table next to you, and start retyping.


Because by trying to save time with a quickie cutting and pasting job, we can wind up spending (or wasting, depending on your point of view) far more time (multiple rewrites + multiple submissions + multiple wait times). We can often get to the best manuscript in a shorter period of time by just giving a manuscript a fresh re-type.

Here’s what I mean:


The speed of reading is fast. Without realizing it, our eyes zip through sentences, paragraphs, whole chapters when we re-examine our manuscripts. Often, they zip too quickly for us to fully reconsider if that’s what we want to say.

The speed of writing is slow. And even though I’m a fast typist, I’ll admit, retyping is just plain not fun. You don’t want to type anything that’s not the highest quality. We’re far more willing to delete during this process. We’re far more anxious to get to the good stuff. To cut to the chase. It leads to a far tighter story.


By now, you know that “retyping” doesn’t literally mean just doing secretarial work. When you retype, you shouldn’t be mindlessly copying text. You should be rethinking every line in your book.

When we cut and paste and “spot-revise” (tackle specific scenes or chapters, leaving the rest of the manuscript in place), the voice of the book stops feeling cohesive, especially if those revisions took place over several months—maybe even years. An author is in a different mindset every single time he or she sits down to work on a manuscript. If you’re retyping—and rethinking every single word, tweaking and revising along the way—the voice of the book begins to tighten. It’s being told by a person in the same mindset from front to back.


This goes back to the slow pace of writing. Retyping and rethinking along the way means that you’re now rethinking literally everything about your book. Two or three chapters in, you often get hit with new revelations—not just about phrasing or line edits, but about structure and plot. And because you’re already retyping, you won’t think twice about an overhaul. The chapter in the middle suddenly becomes the opening scene. It doesn’t matter—you’re already committed to retyping every single word, so you’re actually less worried about the implications of making such sweeping changes.


New scenes, new chapters. Fresh characters. New plot twists. A more satisfying ending. You can wind up writing large swaths of the book. It can, occasionally, become a completely different project. A better one. A more cohesive, tighter one. All because you simply sat down to retype.



51jn4uqtjkl-_sx412_bo1204203200_I’ve been seeing this topic show up repeatedly–in conversations on Facebook as well as on Reddit during my recent Ask Me Anything session: How do you deal with frustration and the feeling that what you’re writing is garbage?

I’m a big advocate of (for lack of a more sophisticated term) “fun days.” These aren’t days off from writing; instead, they’re days in which you push aside your current WIP to write something only for you. Could be anything–a poem, short story, anecdote, picture book text. But it’s short, and it’s never intended to see the light of day, and its sole purpose is entertaining you.

This technique is basically a spin on Dr. Seuss’s “Midnight Paintings”–works he created with the intention of never showing them in his lifetime. Because they wouldn’t be critiqued, he was never guilty of self-censoring, and he could let his imagination run wild.

I find “fun days” can do wonders for your outlook. It literally does bring the fun back to writing. It reminds you of why you ever thought you could make it as a professional writer.

These “fun days” can also accidentally help inform your own WIP (the one that’s currently giving you fits). This is also true of Seuss’s Midnight Paintings; now that Seuss’s late-night works are available to the public, it’s easy to recognize how they inspired or contributed to the Seuss books we’re all familiar with.

If you’d like a little more inspiration for your own “fun days” or “midnight works,” try to snag a copy of THE CAT BEHIND THE HAT (the title appears to be out of print, but I did manage to grab an affordable copy on eBay).


I’ve published books with both real settings (New York / Queens; Peculiar, Missouri; Fair Grove, Missouri; my hometown of Springfield, Missouri, Lake of the Woods, Minnesota) and fictional cities (“Willow Springs” Missouri). Even in my real settings, though, I take plenty of liberties—especially in my YA, FERAL, in which I completely fictionalized the town of Peculiar, Missouri. (I just had to use that name!)

While many authors gravitate toward setting their books in regions or cities that they’re familiar with, I’ve discovered some definite advantages to placing my work in fictional cities:

  1. You don’t get mired in research. As I said, many authors prefer to write about locations they’re already familiar with. But if it’s a new-to-you location, or if you’re writing about a different time period, you can get lost in learning the details—which streets intersected, which businesses were present, names of schools, etc. It can take some serious time away from actually getting your writing on the page.
  1. Your town becomes a character. If you aren’t relying on what already is, you have to craft your town or location just as you would a main character. This can help add a new, often metaphorical dimension to your novel as well.
  1. Your reader isn’t pulled out of the story. If you pick a real location, you’re bound to have readers who live in (or are well-versed with) the area where your book takes place. Bloggers and reviewers always mention the spots in which my own fictional world deviates from the real world when I pick actual cities for my novels. But if your location is fictional, your readers will be immersed in the story only, and won’t be comparing your own setting to the city they know.