Podcast Archive
Writing Mental Health and Other Difficult Topics with Rocky Callen
Anne-Marie talks with Rocky Callen, author of A Breath Too Late, about writing about difficult topics, including suicide, suicidal ideation, and domestic violence. We cover what to consider in drafting and revision, as well as how to take care of yourself as an author.
Developmental Edits with Denise Santomauro
Anne-Marie welcomes freelance editor Denise Santomauro to dig into the when, why, and how of a developmental edit. We cover everything from different types of editing (editorial assessments, developmental edits, copyedits, proofreads) to what to expect in a contract, from how to find an editor to how to know if that editor is right for you.
Writing Retreats with Lindsay Lackey and Kristi Wright
Anne-Marie is joined by middle grade author Lindsay Lackey and KidLit Craft co-editor Kristi Wright to talk all things writing retreats! What conditions make it possible to get work done, how to plan your own writing retreat, and favorite writing retreat snacks.
Everything MFA—and Michael Leali’s MFA in Writing for Young Readers Boot Camp
Anne-Marie sits down with middle grade author Michael Leali to talk everything MFA: what programs are out there, why you might want one, our MFA stories, how to apply, and Michael's new MFA in Writing for Young Readers Bootcamp, offered through University of San Francisco.
Thieves' Gambit, Ep. 12: The END, a satisfying ending that sets up a sequel
In our final episode of season 2, Erin and Anne-Marie take a closer look at THE END of Thieves’ Gambit, specifically, how Kayvion Lewis creates a satisfying ending for this novel and at the same time sets up the sequel.
Thieves' Gambit, Ep. 11: How to Plan a Heist
We’re gathering the people with essential skills, making a plan, anticipating obstacles, doing reconnaissance, and pulling off a heist. Erin and Anne-Marie break down the elements needed for a heist and analyze how Kayvion Lewis designed and executed the (writing of the) sarcophagus heist in Thieves’ Gambit.
Thieves' Gambit, Ep. 10: Chapter and Scene Pacing
Pacing scenes and chapters in an action/thriller might seem to be all about how to move through the story as fast as possible, but in this episode Anne-Marie and Erin focus on controlling the pace, why you want slower moments, and how to move fast without sacrificing clarity or emotional resonance.
Thieves' Gambit, Ep. 9: Overarching Pacing
The pacing of a story determines how a story feels to read, and writers get to control that pacing by placing story elements at certain moments in the book and by how they move from chapter to chapter or scene to scene. In this episode, Anne-Marie and Erin explore how Kayvion Lewis keeps the pace fast and the tension high.
Thieves' Gambit, Ep. 8: Action Scenes
Action scenes in a thriller novel need to be fast-paced, but fast-paced means more than lots of really quick actions in a row. Erin and Anne-Marie break down three different kinds of action scenes in Thieves’ Gambit to find tips and tricks for hitting the perfect sweet spot of pacing.
Thieves' Gambit, Ep. 7: Relationship Arcs
Like character arcs and story arcs, relationship arcs can span the course of the novel, explore themes, reveal and challenge the main character, and complicate plot lines. In Episode 7, Erin and Anne-Marie examine Ross’s friendship arc with Noelia and her romance arc with Devroe.
Thieves' Gambit, Ep. 6: Introducing a Big Cast of Characters
Introducing a lot of characters can lead to a muddle in readers’ minds. Erin and Anne-Marie explore why you may want to use a big cast, identify pitfalls to avoid, and break down how Kayvion Lewis introduces the nine teen thieves in Thieves’ Gambit in a way that draws readers in rather than confuses them.
Thieves' Gambit, Ep. 5: Complicated Family Relationships
In Episode 5, Erin and Anne-Marie examine the complicated family relationships in Thieves’ Gambit and explore why to use them, how to introduce them for maximum effect, and how to leverage those relationships to create more tension without taking away the main character’s agency.
