Greek Mythology has long been a fascination with readers of every age level. Have you ever wondered what a Greek god or goddess was like as a child? Wait until you learn about Jennifer Buchet’s debut picture book, Little Medusa’s Hair Do-Lemma, illustrated by Cassie Chancy. We will have a whole new understanding on what it means to have a bad hair day!
ME: Jennifer, thank you for visiting our blog today! We are so excited to hear the behind the scenes details in creating this most adorable “Tiny Medusa”!
JB: Thank you for having me! Throughout my various careers, I‘ve always been writing–everything from advertising copy to radio ads, websites to magazines and more. And since every medium has its own approach to words, I’m always learning something new! For example, the other week I heard the phrase “hedge words.” Are these bushy evergreens laden with colorful verbiage? Not exactly, but I did learn why these hedges need trimming!
ME: I am always fascinated with the background of a writer! So interesting. Whether drafting or revising, how do you know when it is necessary to show action, scene and sensory elements?
JB: As picture book authors, every word counts. But that doesn’t mean our stories have to be “no frills.” Rather, each word and every sentence must move the story along. In my debut picture book, Little Medusa’s Hair Do-Lemma, I originally began with this opening:
Little Medusa finally got her very first snake on her birthday. She was so excited, she danced and twirled around her room.
This does set the stage, but it’s also wordy and rather bland (yucky first draft 101!). After several revisions, the opening now contains more action.
Little Medusa was delighted when she got her very first snake.
I love including sensory elements beyond what the character sees, like tasting, hearing and touching. For example, Little Medusa discovers she doesn’t like having her new serpentine friend slither through her hair (can’t really blame her!) This sets up the character’s challenge, but I knew I needed to expand on that feeling, so I added these lines:
“…she couldn’t fathom was so great about traditional Gorgon hair.
It was itchy.
It was buggy
And it was positively scaly when Addie shed her skin.”
This is much more relatable and if the reader squirms even just a tiny bit, my job is done!
ME: You even succeed in hooking the reader with great suspense in your revised opening line. What a wonderful story line. Are there specific strategies, tools or resources you use to incorporate more showing/descriptive language?
JB: I allow myself to write wordy, adjective-filled, too-long, early drafts! Most of my drafts easily begin at 700w. Once I’m satisfied with the arc and character development, my inner editor comes out to play with all her highlighters.
Bam, change passive words to present! Bam, remove adverbs! Bam, delete hedge words, AKA those pesky filler words such as “usually; very; suddenly; almost.”
I’ve also discovered that contests have helped me become a stronger writer. Contests challenge the muse and for those with limited word counts or quirky themes, they really challenge the brain! In fact, I love them so much that last year, I co-created the non-fiction contest #SunWriteFun.This challenge included both minimal word count and a summertime theme. Reading all those entries certainly inspired me and I know the contest inspired others!
ME: I completely agree. Reading others’ writing is such great exposure to styles, structures, and just plain sensational stories. Would you like to share an example of a before and after where you needed to show more and found the right words to paint the image for the reader?
JB: In the climax of Little Medusa’s Hair Do-Lemma, my heroine makes a really big decision. Like many of us, she begins to second-guess herself. Rather than describe how she’s feeling with emotive adjectives (she was happy, sad, confused, doubtful, etc), I wrote the scene using physical actions.
Little Medusa bounced around the room.
Until the bouncing slowed to a jump, the jump to a hop
And Little Medusa became still as a statue.
Not only did this drill down big emotions for little readers, it also provided the illustrator (the talented Cassie Chancy) with oodles of room to work with. Bonus—that last phrase ties neatly into the whole Gorgon statue-turning talent!
ME: Oh my gosh, we are so excited to see the finished product! The illustrations are just precious! Writing is about balance. How do you know you’ve got it just right? What tips or suggestions do you have for writers in terms of striving for that balance of showing versus telling?
JB: If someone invented a timer for creatives that trumpeted “perfecto,” they’d be rich! Sometimes it’s hard to know when your story is just so. There are definitely fantastic checklists to use that ensure one has incorporated all the “write” elements, but I think in the end, it’s a gut reaction. You know when your story is ready to share, whether with your critique group, your agent or editor, etc. As for finding that balance between show and tell, I believe it’s an acquired skill for most. Read a lot and write even more, for as you hone your craft, you learn when those beautiful rosy words are really just hedges needing a trim.
ME: You have made so many valid points, Jennifer! Working on the craft of writing is definitely a rewarding journey we all make time for.
Learn more about Jennifer:
Jennifer Buchet is an award-winning author, pre-kindergarten educator and self-proclaimed foodie. Her kid lit career officially started in 2011, writing for Cricket Media. Today, she is a regular feature contributor for Faces magazine while also creating new picture books and chapter books.
Spare time is a rather elusive creature in her home, but when Jennifer does find it, she enjoys creating exotic meals, creating writing contests, crushing her family in games of Catan and searching for fey in the woodlands. Her debut picture book, LITTLE MEDUSA’S HAIR DO-LEMMA (Clear Fork Publishing) slithers onto shelves May 2021.
You can swap tales & recipes with Jennifer here: