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Covid, Quarantine, Cookies and a Quest

Thanks for stopping by!

The past few months have been history-making and challenging. For more than 9 months, we’ve been living in the midst of a pandemic. Everything has changed. There are no concerts, theater performances or poetry readings – except on zoom. We’re staying apart from friends and family. We need something to cheer us, to take us into a different world – and what’s better than a good book? Between the covers we enter a world where we learn, meet the characters, and empathize with them.

2020 marks the 100th anniversary of the passage of the Nineteenth Amendment giving women the right to vote. We just had a national election – and chose a woman of color for the Vice Presidential position. With differing perspectives, our United States has become very divisive, making the months of campaigning and debates stressful for many.

One of the most powerful and moving picture books about voting is Lillian’s Right to Vote by Jonah Winter ; illustrated by Shane W. Evans. (Schwartz & Wade, 2015.) Through the eyes of an old woman climbing a hill to vote at her polling place, the reader is introduced to the history of voting in America from the fifteenth amendment that gave African American men the right to vote to the present.

Between the pandemic, the election, and daily troubles of life, we experience waves of fear, waves of disappointment, waves of exhaustion, waves of unease, waves of joy, waves of hope. Books can help us make sense of our changing world.

Walkout by Tina Shepardson; illustrated by Terry Sirrell. (Spork, 2020) shows young readers what it means to take action, to take a stand, to make your voice heard. This important book looks with sensitivity at what it means to stand up for your beliefs.

With all this going on, I have been preoccupied, and found it hard to focus or find time to write. Instead, I’ve turned to cooking healthy meals – and baking cookies. And the pounds pile on…

Healthy food has long been a passion of mine. For many years I’ve written a weekly food column for my local paper, the Adirondack Daily Enterprise that encompasses everything from collards to cookies. And who doesn’t like cookies?

As writers, we try to inspire. In my column, I try to motivate people to prepare healthy meals with products from our local farms. We’re on a quest: we want our words to touch lives. The world needs us to do that.

November is the month of gratitude. December ushers in the winter holidays. Even in times of pandemic, this is the time we think about family connection.

Sadie’s Shabbat Stories by Melissa Stoller; illustrated by Lisa Goldberg (Spork, 2020) is all about family ties and traditions. Telling stories about family heirlooms is a beautiful way to make family connections and learn your family’s history. No matter what our heritage, everyone has stories that are important and inspirational.

Melissa Berger Stoller brings the reader inside the special relationship between Sadie and grandma. Sadie learns to tell her own stories, bringing the past and future together. This book is especially important now, when many children cannot spend time with grandparents due to quarantine restrictions.

After the holidays comes a whole new year. What will it bring?

What are your hopes for the year to come? What brings you joy?

Uncategorized

A story within a story…

Thanks so much for stopping by! Let’s chat about literary devices!

Over the last twelve weeks, I have feverishly written the first draft of my new novel.  Right now, I am pleased to say it is the crappiest first draft I have ever written-but at least it is written!  When all is said and done, I hope to have a best-selling middle grade space opera.  At the very least I will be happy to have a published novel.

As my journey progresses, I have been reading, researching, and learning about a variety of genres and writing styles.  One literary device I want to incorporate is frame story.

Literarydevices.net defines frame story as “a story set within a story, narrative, or movie, told by the main or the supporting character. A character starts telling a story to other characters, or he sits down to write a story, telling the details to the audience. This technique is also called a “frame narrative,” and is employed in storytelling and narration.  It may be referred to as an embedded narrative as well.

A perfect example of this device is the 1986 novel, FORREST GUMP by Winston Groom.  It tells the life story of Gump (the narrator).  With the help of Hollywood, Forest Gump has endeared himself to movie goers when the movie version was released in the United States in 1994.

The Chronicles of Narnia is another example of frame story.  The 7-book series, written by  C. S. Lewis, “narrates the adventures of various children who play central roles in the unfolding history of the Narnian world.”  Titles included in the series are The Lion, the Witch and the Wardrobe, Prince Caspian, The Voyage of the Dawn Treader, The Silver Chair, The Horse and His Boy, The Magician’s Nephew, and The Last Battle.

This device provides the reader with a main story that leads to further stories.  Chronicles of Narnia begins with siblings moving to the country during the war when London was in danger of being bombed for their safety and survival.  It would have been a different beginning in The Lion, the Witch, and the Wardrobe if the children had already gone through the wardrobe to find themselves in Narnia.  This device allows for the writer to give more character information to the reader without it being “an information dump”.

Stephen King’s Dark Tower series is my favorite example of frame story.  The series follows Roland Deschain’s journey as he goes in search of the dark tower.  I can only surmise why he feels he must find it (and I don’t want to research it too much as not to spoil it for myself!).

I am currently enjoying the works in order (and have found a website that suggests all Stephen King’s works that may be intertwined with the Dark Tower series).  Since I am in the middle of the third Dark Tower book, I am going to read  The Stand: Complete and Uncut Edition (1990) and The Talisman (1984) before moving on to  The Dark Tower IV: Wizard and Glass (1997).

For more information on a variety of literary devices, visit https://literarydevices.net/ .

Thanks so much for stopping by.  I hope you enjoyed learning (or revisiting) frame narratives.

One last comment before I sign off.  One of our favorite places is the beach on Chincoteague.  One day, this past summer, I happened upon this, and immediately envisioned The Dark Tower.  It was the inspiration for me to start my own quest (much like Roland) to read the entire Dark Tower series. 

Until next time, Write On!

Until we meet again, Write On!

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Showing Through Heart, Sensory Details, and Wordplay: Featuring Gabi Snyder

When writing for a variety of ages, showing looks different. For younger audiences, often simple language is used while for older audiences more detailed language is selected. The reader’s experience is shaped depending on the topic. Sit back and enjoy this marvelous interview with the very talented and experienced Gabi Snyder who has two beautiful picture books that do just this! Talk about Best In Show! Tails are wagging everywhere over her debut picture book:

TS: We are so thrilled to have you with us today. I really enjoyed your virtual launch with Robin Rosenthal. Your audience had a terrific snapshot into what you both contributed in creating TWO DOGS ON A TRIKE. The story is so clever and the wording so precise. Whether drafting or revising, how do you know when it is necessary to show action, scene, and sensory elements?

GS: Great question! I think the answer depends in large part on what type of story you’re writing and who your intended reader is. When writing picture books for the very young, you may want to keep your text super simple and rely on the illustrations to convey most of the action and imagery. For example, the text in my debut picture book TWO DOGS ON A TRIKE, illustrated by Robin Rosenthal and recently out from Abrams Appleseed, is very simple. The first two spreads read:

One dog stands alone.

Two dogs on a trike.

As we move through the story, a new dog is added with each new form of transportation. A sneaky cat follows the dogs, but the cat is not mentioned in the text. So when reading the story with a child, the child might notice something (the cat following) that the adult (the reader), seems unaware of. That can add a fun twist to reading! 

If I’m writing for an older picture book audience, I might add more imagery and strong active verbs, but it will depend on the story I’m trying to tell. In my second picture book, LISTEN (illustrated by Stephanie Graegin and out in spring 2021 from S&S/Wiseman), the focus is on listening and mindfulness. The story begins with the noise of a busy morning and draws the reader closer as it encourages listening to quieter and quieter sounds. So when drafting and revising LISTEN, choosing the perfect sensory details was vital. At the start of the story, I use sound words like “BEEP! WOOF! ERNT-ERNT! VROOM!” to convey the overwhelming noise the child faces when she steps out into the world. In contrast, later in the story, as we move to quieter sounds, I include the more lyrical lines, “brush-rush-hush/Wind through trees/Listen.”

TS: You raise so many great points. And these examples are priceless. As writers, we have to be so present as to what benefits the topic and reader most. Are there specific strategies, tools, or resources you use to incorporate more showing/descriptive language?    

GS: One strategy I like to use is thinking about how the story can appeal to every sense. Often, with a picture book, the illustrations convey many if not all of the visual details. So, unless it’s central to the plot, I’ll probably leave out visual details like the color of shirt a character is wearing. Instead, I’ll focus my text on appealing to other senses. I’ll consider whether I might incorporate sound words, especially onomatopoeia. And I’ll ask, can I add smells, tastes, and sensations? All of those sensory details paint a more vivid picture for the reader and bring them closer to the action. 

TS: You are right! I share this thought process with my students regularly. 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?

GS: Here are a few spreads from the first draft of LISTEN:

Listen…

…to learn.

…to understand.

…to feel.

Listen for new words, new sounds, new songs.

I revised to add more specific, vivid imagery. Here’s how those lines read in the final version:

Listen past the crunch of gravel and the scrape of chalk.

Can you hear new words? Listen to each sound.

Some pop, like quick and snappy, while others stretch, like

looong and leisurely.

Listen.

TS: Wow! The language following your revision is gorgeous. The sensory details take the reader on such a great experience! And this is no easy feat! It takes time to revise even just one section. I can’t wait to read LISTEN!!! 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?

GS: I recently attended the SCBWI Summer Spectacular (virtual conference), and listening to all the amazing panels, I was struck by how many creatives mentioned the importance of finding the “heart” or “essential truth” in your manuscript. I also noted that a few creatives mentioned the importance of putting yourself back into your child mind and remembering what’s real and true for a child. I think the balance of show versus tell will often be easier to find if you’ve first zoned in on the heart of your story, a heart that is real and true for a child. Further, if you’re writing a picture book, the text should feel incomplete without the illustrations. In other words, you should leave much of the showing to the illustrator. The illustrator is your co-creator and gets to tell at least half of the story! 

I also find that reading my story aloud helps me get the rhythm and pacing right. It can be even more helpful to have someone else read the story aloud to you so you can hear where they stumble over your words or phrasing. Even having your computer read aloud can help! As you ‘relisten to the complete text, think about the continuity of your imagery and language. If, for example, your manuscript is a humorous story about dogs, maybe you’ve included some silly dog-related puns. If so, you might consider whether there’s a way to push the dog wordplay even further. 

And, of course, it can be extremely helpful to gain feedback from trusted critique partners. Finally, if you’re stuck or uncertain about any aspect of your manuscript, put it away for a week – or even a month. Coming back to your manuscript after time away will allow you to approach it with a fresh perspective. Happy revising! 

Gabi’s Bio:

Gabi’s debut picture book, TWO DOGS ON A TRIKE, illustrated by Robin Rosenthal, released May 19, 2020 from Abrams Appleseed. Her second picture book, LISTEN, illustrated by Stephanie Graegin, is due in spring 2021 from Simon & Schuster/Wiseman.

Gabi studied psychology at the University of Washington and creative writing at The University of Texas and is a member of SCBWI. When she’s not writing, she loves taking nature walks, visiting Little Free Libraries, and baking sweet treats. She lives in Oregon with her family. Learn more at gabisnyder.com.

Learn more about Gabi and her latest books at:

Website: gabisnyder.com

Twitter: https://twitter.com/Gabi_A_Snyder

IG: https://www.instagram.com/gabi_snyder_writer/

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How Illustrations “Show” the Story: featuring Terry Sirrell

Happy Fall Everyone! I hope the new season finds everyone safe and healthy. As authors, we spend precious time searching for the right words to show our characters and their emotions. What does this journey of storytelling look like for an illustrator? I never fully understood until I had the honor of observing the illustration process as the talented Terry Sirrell brought WALKOUT to life. From the early stages, I marveled at every step, the time required, and the unwavering talent Terry displayed on every page. His years of experience bring a deep and rich perspective to showing a story through art!

*I added my middle initial since we have the same initials!

TMS: Terry, it’s such an honor to have you here today! WALKOUT is a beautiful book. Your dedication, talent, and expertise have brought Maddie and Stella’s story to life in a way readers will never forget!

Whether drafting or revising, what are the initial steps you take in creating characters and scenes from a manuscript? 

TS: After reading the manuscript, I first start creating the characters with a lot of very loose thumbnail sketches to get a feel for what they will look like. When I like the way the characters are looking, I’ll then do a larger, tighter sketch to show the art director. Once approved, I’ll start working on the scenes of the book with loose thumbnail sketches. This is when I break down the manuscript to separate spreads throughout the book to match the story with the pictures.

TMS: Watching these steps unfold was so exciting! Meeting Maddie and Stella for the first time was such a special moment. I loved opening your emails with the newest developments! These steps alone show your impeccable attention to the planning and details involved. Are there specific strategies, tools, or resources you use? Do you have any favorites?

TS: I have a specific style to my illustration work, but my strategy is to tweak my style a bit to match a story depending on if it’s a more serious story or if it’s a funny story.The tools I used to use were pencils, pens, ink, Dr. Martin Dyes, and watercolor paper. These days I’m strictly digital. I work on a 22″ Wacom Cintiq attached to my iMac computer. I love it! A Cintiq is a digital drawing board. Instead of drawing on paper, you draw on a glass monitor.

My resources are on the internet. I’ll do a Google search if I need to see what something looks like, I used to go to the library for picture references. Plus, you can learn so much on the internet. I’ve been illustrating for many years, but I haven’t illustrated a children’s picture book since I started working on the computer. So I thought I would take an online course to brush up on my book illustration skills and to explore to see if there was anything different I needed to do to get work again in this market. My friend told me about an online course he was taking named the Children’s Book Academy, owned by Dr. Mira Reisberg.

So I signed up and took her children’s book illustration course. Mira was great, I really learned a lot of new stuff and was reminded of some things that I already knew. I really liked that she encouraged me to use textures in my work. Thanks, Mira!Here’s a link to Mira’s website in case you’re interested in learning more about writing or illustrating a children’s book. I give it an A+!

The Children’s Book Academy

The Children’s Book Academy: The best places for children’s book writing and illustrating courses for complete beginners to award-winners.

TMS: I agree Terry! Mira’s classes offer so much to students at every stage of their journey. I love her classes too! How do you decide to make changes or maintain what you have created? Are other professionals involved like an editor and/or publisher?

TS: Working on a computer makes it a lot easier for changes compared to working traditionally using paper and paint. I’m pretty good about making changes if the art director, editor, or publisher wants them. I trust their eye and the art usually turns out better.

TMS: Would you like to share an example of a before and after of a character or scene for the reader?

TS: Sure, here’s a before and after example.

TMS: This is so interesting to see how the features of characters change throughout the process. How do you know you’ve got it just right? What tips or suggestions do you have for illustrators in terms of striving for that balance in creating images that best portray the story?

TS: For me, it’s a gut feeling, I just know what I’m looking for in my work. Of course, the art director, editor, and publisher will let you know also. Read the story a few times so you get to know the characters and where the story takes place. My tip for illustrators, new and the seasoned pro would be to keep drawing and keep learning wherever you can.

Mastering the Right Shades

TMS: Yes, because you never know where it will take you! In this case, Maddie and Stella’s story! What a pleasure to have watched you take this project from start to finish! I learned so much about illustrating! Thank you for sharing your process with us, Terry!

Terry’s Bio:

Cartoonist and illustrator Terry Sirrell has been in the creative business for many years. His first job out of art school was an assistant art director at the Field Newspaper Syndicate where he put together sales kits to promote all of the cartoon strips to newspapers around the world. Later, he became an art director in advertising, then moved on to his illustration career. You may have seen his work on the back of Cap`n Crunch and Kellogg’s Corn Flakes cereal boxes. His cartoons and characters also have appeared in the advertising of numerous major corporations and in dozens of publications including Reader’s Digest, Newsweek, Highlights Magazine, Clubhouse Magazine, Boys’ Life, Girls’ Life, Woman’s Day, National Geographic Kids, Family Fun/Disney, The New York Daily News, and The Chicago Tribune. Terry also illustrates children’s books and cartoon maps. The most recent book he illustrated is WALKOUT, which can be purchased in book stores, on Amazon, and other online bookstore websites. 

Learn more about Terry and his amazing illustrations at:

Website: http://www.tsirrell.com

Facebook: https://www.facebook.com/TerrySirrellBooks

Instagram:  https://www.instagram.com/tsirrell/

Twitter:  https://twitter.com/TSirrell

Pitch It to Me, Uncategorized

~THE PITCH IT TO ME CHALLENGE~

pitch-it-to-me-challenge-9.12.20Welcome back, everyone! The next Pitch It to Me Challenge is here! It’s incredible how fast time flies when you are having fun (or … when you have two kids at home doing remote instruction, which isn’t fun, but it does leave me wondering what happened to the hours in a day).

Before moving on to our new challenge, let’s revisit the results of the last challenge where author Laura Roettiger pitched her work against guest pitcher Tina Shepardson (yes, our very own Tina, who is now a published author with her debut picture book, WALKOUT), and me. I am proud to say that my pitch hit a home run and took first place. But the real winner here is Laura, who now has three wonderful pitches to choose from. Thank you to Laura and Tina for participating!

For this round, we have author Natalie Cohn pitching her imaginative work-in-progress, GRAND DUCHESS TANGLED GALORE. I just learned that Natalie lives fairly close to me, so I am excited to have a fellow Kentuckian featured here on our blog. Welcome, Natalie!

As if Natalie hadn’t made it hard enough, up at bat as our guest star pitcher is Lisa Rogers, author of two awesome picture books you don’t want to miss out on. Her debut, 16 WORDS: WILLIAM CARLOS WILLIAMS AND “THE RED WHEELBARROW” is a Junior Library Guild selection and won a Bank Street Best Book of the Year 2020. So you know what that means … Lisa knows a thing or two about pitches!

And now for the challenge! Take a look at the three pitches in the voting box. They are in no particular order so you’ll never know whose is whose (the author’s, mine, or our special guest-star pitcher). Vote for your favorite, and if you are so inclined, leave a comment, too. We love hearing from our readers!

You have until October 31, 2020, to cast your vote. Please vote only once, but feel free to tell your friends about us and get them in on the action.

About Natalie:

Natalie Cohn attended the University of Louisville, majored in Art History and Humanities. Natalie is a 2nd year member of the SCBWI, joined Story Storm 2019, two years in 12×12, a recurring graduate of Children’s Book Academy, and is taking a Writing Barn class. She’s a part of the KidLit community, SubClub, and several other social writing groups on Facebook and Twitter. Natalie attended the MidSouth SCBWI conference in 2019, and she is part of five critique groups. Natalie loves being creative, crafty, and getting messy, and her goals are to inspire kids to read. She reads a lot of children’s books and enjoys bringing imagination to life through her stories. Fiction books have always been her favorite, and now she enjoys reading with her three minions.

Connect with Natalie on Twitter @CohnNatalie, and on her website: https://mady1230.wixsite.com/natabook

About Lisa: 

Lisa is a children’s author, elementary school librarian and former reporter and editor. Her debut picture book, 16 WORDS: WILLIAM CARLOS WILLIAMS AND “THE RED WHEELBARROW” (Schwartz & Wade, 2019), received starred reviews from Kirkus & Publishers Weekly, is a Junior Library Guild selection, a Bank Street Best Book of the Year, and an SCBWI Crystal Kite Award Finalist. Her second picture book, HOUND WON’T GO (Albert Whitman & Company, 4/2020), is also available through the link provided below.

A native of the New Jersey shore, Lisa lives outside Boston with her family and is a four-time runner of the Boston Marathon. She loves to garden, kayak, paint, and have adventures with her trailblazing coonhound, Tucker.

Connect with Lisa on her website at: lisarogerswrites.com

Or follow her on Twitter @LisaLJRogers

Support Lisa by ordering her books! Just click on the image to go directly to the publisher’s website!

 

 

 

 

 

CLOSING REMARKS:

Thanks once again to all of our Pitch it To Me participants! You keep bringing your best to the plate and make us all winners. Until next time . . .

Uncategorized

A Parade of Palindromes

Palindromes, for some, are pesky rather than pleasant but for this “word geek” as some would call me, I find them quite palatable, albeit quite the challenge to include in a kidlit story!

According to Miriam Websters on-line dictionary, a palindrome is “a word, phrase, or number that reads the same backward or forward.”  I had never considered palindromes to be anything other than numbers but a whole new world opened with my research for this blog post!

Words or sentences that when read forward or backward have the same meaning are palindromes.

A great example of a name palindrome is ABBA (a musical group from the seventies).  A common name palindrome is Bob but a quick google search (if you want to your characters to have palindrome names) brings up other names including Otto and Hannah.  Even the shape shifter from Star Trek Deep Space Nine is named Odo…a palindrome!

A search on Good Reads for books with Palindrome in the title,  offers quite a variety of books across all genres, including:

momanddadpalindromes

MOM AND DAD ARE PALINDROMES by Mark Shulman

ifyouwereapalindrome

IF YOU WERE A PALINDROME by Michael Dahl

salamipalindrome

GO HANG A SALAMI! I’M A LASAGNA HOG! By Jon Agee

My favorite example of a palindrome is a poem titled Doppelganger written by James A. Lindon

“Entering the lonely house with my wife

I saw him for the first time

Peering furtively from behind a bush …

Blackness that moved,

A shape amid the shadows,

A momentary glimpse of gleaming eyes

Revealed in the ragged moon …

A closer look (he seemed to turn) might have

Revealed in the ragged moon

A momentary glimpse of gleaming eyes

A shape amid the shadows,

Blackness that moved.

Peering furtively from behind a bush,

I saw him, for the first time

Entering the lonely house with my wife.”

 

It took me several reads to realize there were two stories going on here.  Do you see them?

Of course, this would certainly (in my opinion) be a great idea for a writing challenge.
To further pique your interest in palindromes, check out the following links:

 Encyclopedia Britanica   https://www.britannica.com/art/palindrome

 Good Reads   https://www.goodreads.com/search?q=palindromes&qid=aE5rxqUi4R.

 

Thanks for stopping by!  Hope you enjoyed my post on Palindromes!  Feel free to leave a comment.

 

Write On!

 

Book Reviews, Uncategorized

Neurodiversity in Children’s Picture Books

Yes, I know Autism Awareness Month is April – not August. But they both begin with the letter ‘A’. And autism is a lifelong condition. It does not go away when spring ends and summer begins. It does not go away when a child grows up and turns 18. Approximately 1 in 59 children has been diagnosed with some form of autism spectrum disorder, according to the CDC.
I am neuro-diverse. I recall the day I stumbled on the website nldline.com while helping a library patron search for books on learning disabilities for math rather than language. My eyes opened wide. There were people with the same issues as me! What joy!
My own neurologically atypical existence was complicated by the fact that I am an immigrant. By the time I was ten, I had lived on three continents, and spoke three languages. That could be why my issues and challenges were not taken seriously and sometimes attributed to cultural difference.
When I was growing up in the 1960s, little was known about neurodiversity. I had difficulty in group conversations, so I tended to stay to myself – and came to believe I was shy. (I’m not). Even as an adult, group conversations still pose a problem. I don’t read body language well so I don’t know when it’s ok to speak – so I either stay quiet or interrupt.
I was told I was immature and would grow up eventually, or that I was lazy and not trying hard enough. Now I know that I have slow processing speed, and that is why everything takes longer.
Yet no matter how hard I tried, I kept failing at certain things. I never learned to ride a bike, or to throw and catch a ball. We tell our kids, “You can do anything if you try.” But this is not true. Not only will I never be a brain surgeon – I’ll never be a ballerina because I have dyspraxia. I’m a klutz.
We’re all different – and that makes for an interesting world. No matter which spectrum we belong to, everyone has strengths, and everyone has challenges. All humans are equal. All have dignity.
I have gathered some recently published books that feature neurologically diverse characters. Most are fiction. The last two are nonfiction biographies About Temple Grandin, a neuro-diverse woman whose contributions to science and inventions resulted in groundbreaking improvements for farms worldwide.


A Friend for Henry

by Jenn Bailey, ill by Mika Song. Chronicle Books 2019. 32 p. ; 535 words.
2020 Schneider Family Honor Book.
In this story about searching for a friend in a new classroom that is too loud and too close, Henry’s analytical, literal personality comes through. A touching story that will appeal to anyone looking for friendship but especially to those with neurological differences.


How to Babysit a Logan

by Callie Metler-Smith, ill by Cindy Vattathil. Clear Fork Publishing 2019. 32 p; 407 words.
What a great message about how a pet can be a best friend. Such a wonderful bond between the cat and the boy! Shows we all need and can give support. Beautiful illustrations and a great story for all kids! The cat, Thunderbolt, explains how he spends his time making sure Logan is safe and loved. A beautiful bond between a pet and an autistic boy. encourages discussion and understanding about what life is like with autism. informational in such an easy, conversational tone

This Beach Is Loud

by Samantha Cotterill (au/ill), Dial Books, 2019. 32 p.; 318 words.
Even fun things can feel overwhelming. For all children – but especially children on the spectrum – new things and things with sensory overload can be overwhelming. This book does an excellent job of portraying this feeling, and the tension is resolved joyfully at the end. This book also shows the use of calming activities like breathing and counting. As a word nerd rather than a picture person I found some of the circular text that goes off the page very difficult to read.

Too Sticky! Sensory Issues with Autism

by Jen Malia ill by Joanne Lew Vriethoff. Albert Whitman, April 1, 2020. 32 p.; 1,005 words.

The own-voices book portrays sensory issues and Holly’s struggle well. We see the MCs feelings and the support she gets from her family. The slime science experiment relates to STEM concepts. It shows empathy. However, I thought for a picture book at over 1,000 words it was a bit too long. Also, the child-protagonist is constantly prodded by adults and does not solve her own problem.

Noah Chases the Wind

by Michelle Worthington ill by Joseph Cowman. Redleaf Lane (an imprint of Redleaf Press), 2015. 32 pages; 449 words.
Winner of the silver medal in the Moonbeam Children’s Books Award in the Picture Book 4–8-year-old category from Independent Publisher ; Winner of the Gelett Burgess Children’s Book Award
The first two lines say it all: “Noah knew he was different. He could see things that others couldn’t.” The rest of the story shows the beauty of being different. This is a story for every child who feels different or sees the world through a different lens – not just those on the spectrum or with sensory integration disorder. This whimsical story also highlights Noah’s special interest in weather.

The boy who said nonsense

by Felicia Sanzari Chernesky ill by Nicola Anderson. Albert Whitman & Company, 2016. 32 pages; 862 words.
Celebrates diversity. Because Tate doesn’t communicate like other children, it takes time to recognize is special gift for math. Shows we’re all unique and need to be valued for our gifts in spite of challenges we may have.


Cy Makes a Friend

by Ann Marie Stephens ill by Tracy Subisak. Boyds Mills Press, 2019. 32 p.; 252 words.
A wonderful, fun read! Many children have trouble making friends because they are shy or different. This is a great book for everyone who feels vulnerable and is afraid to reach out to make friends.

Benji, the Bad Day and Me

by Sally J. Pla, Ill by Ken Min. Lee & Low Books, 2018. 32 p.
Everyone has a bad day occasionally. This story reminds me of the classic Alexander and the Terrible, Horrible, No Good, Very Bad Day. But here, the main character Sammy’s brother Benji, who comforts him, is autistic. The book touches on the feelings not just of those who are neuro-diverse, but their siblings. The author notes, “It’s important to note that no two autistic kids are alike, and their needs and behaviors will always be different.”


Uniquely Wired

by Julia Cook, ill by Anita DuFalla. Boys Town Press, 2018, 32 p.
In this first-person narrated story, Zak, a boy who is autistic, shares his quirks, interests and view of life. However, the author fails to address uniqueness – because no two people on the spectrum are alike – and describes some autistic traits as gifts, confusing many readers. The author needs to learn more about the subject before attempting to write about it.

All My Stripes: A Story for Children with Autism

by Shaina Rudolph (Author), Danielle Royer (Author), Jennifer Zivoin (Illustrator). Magination Press, 2015. 40 p. Gold Medal, Mom’s Choice Awards
Zane the Zebra has many stripes! The book brings an important message about accepting our differences.
After a troubling day at school when his autistic qualities – sensory issues, inability to communicate with his classmates, wanting to do a project differently and not understanding figurative language – make him feel different, his Mom explains that only one of his stripes is autism. He has many other excellent stripes, like honesty, curiosity, caring, and navigation. Zane feels better about himself and comes to understand that all the stripes together make him who he is. There are many pages of helpful information in the backmatter.
The problems with the book are that some of the incidents would not really happen. No teacher would leave a kid behind during a fire drill, cowering under the desk until the firemen arrived.

A Manual for Marco: Living, Learning, and Laughing With an Autistic Sibling by Shaila Abdullah, ill by Iman Tejpar. Loving Healing Press, 2015. 36p.
This book is written from the point-of-view of an eight-year-old girl learning how to deal with her autistic brother Marco. Presented in a notebook format, she writes down the things her brother does. The reader sees the importance of acceptance and love.
Backmatter contains a list of of things to remember to make life with an autistic sibling easier. Also included are resources for more information about autism.

How to Build a Hug: Temple Grandin and Her Amazing Squeeze Machine by Amy Guglielmo , Jacqueline Tourville , and Giselle Potter et al. Atheneum Books for Young Readers , 2018 ; 48 p.
A wonderful story about overcoming obstacles, especially emotional and sensory ones.
A wonderful story about overcoming obstacles, especially emotional and sensory ones. The story begins with a problem and shows how Temple felt as a child, how she found her own unique and creative solution from experiencing the world around her. The backmatter author’s note shares more about Temple Grandin and her amazing scientific contributions as a pioneer in her field.

The Girl Who Thought in Pictures: the Story of Dr. Temple Grandin By Julia Finley Mosca Ill by:Daniel Rieley. The Innovation Press, 2017. 40 p.
Written in rhyme with beautiful illustrations, this account addresses Temple’s challenges and accomplishments. The story shows how being inclusive makes a positive impact on everyone. Backmatter includes a letter from Temple Grandin, interesting details from the author’s interviews, a timeline and a two-page prose biography.

Uncategorized

Welcome to Debut Author Jolene Gutiérrez

Hello Everyone,

We hope this blog post finds you all safe and healthy during this very uncertain time. Recently, I had the opportunity and privilege to speak with Jolene Gutiérrez about her two debut books. I first met Jolene in the Children’s Book Academy where we both took Mira Reisberg’s amazing picture book course. For both for us, this class has changed our lives. Jolene’s first release is the adorable picture book entitled Mac and Cheese and the Personal Space Invader, releasing on August 11, 2020, with Clear Fork Publishing. Her second is Bionic Beasts, a middle-grade nonfiction book releasing October 6, 2020, with Lerner/Millbrook Press. What an exciting time for this very hardworking mother and full-time librarian who, by the way, is also remotely teaching at this time.

TS: Welcome Jolene! Thank you for taking the time to share some of your writing strategies. Whether drafting or revising, how do you know when it is necessary to show action, scene and sensory elements?

JG: What a great question! When I’m revising my story, if I can’t visualize a scene or if the story is “sagging” in some way, I look at these elements. Action, scene, and sensory elements might show up in my writing when I’m drafting, but I try to focus on them during my various rounds of revision. With middle-grade fiction where I have the luxury of using more words, I work to make sure scenes are very sensory in order to connect readers to the story—so that students who might struggle to visualize things have some sensory connection that will draw them in. With picture books, though, I think some of the scene and sensory elements can be left to the illustrator.

And action is so important! I’m the school librarian at a school for diverse learners and have a large ADHD population. When I’m writing, I think of the action-packed, information-filled, or funny books that hook my students as readers and try to emulate that style. When I’m revising, I tend to set my manuscript aside a bit and work on other projects. When I come back to my manuscript with fresh eyes, I read chapters aloud to myself and try to ensure that there is a purpose to every character, every setting, and every scene—that they are all working together to move the story forward.

TS: Are there specific strategies, tools, or resources you use to incorporate more descriptive language?

JG: I try to put myself in my character’s shoes even if the story isn’t first-person, I try to involve the senses as much as possible, and I like to use dialogue to put the reader (and myself) in the scene. I also use passive verbs a lot in early drafts and try to catch that in revision and switch to active verbs.

TS: Could you 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?

JG: Sure! Our words are so limited and the story is so dependent on illustrations in picture books, so finding an example was a little challenging, but here’s a scene we can compare:

Early draft of Mac and Cheese and the Personal Space Invader:

During snack time, I sit next to Nina. When I lean close to see what she’s eating, she moves away.

Published version of Mac and Cheese and the Personal Space Invader:

At snack time, I sit next to Nina, squeezing in close, just like Mac and Cheese do. Nina frowns and leans away.

We’re in first person for both of the scenes, but I think the published version is more powerful because language like “squeezing in close” puts the reader in the scene. We’re also reminded that Oliver, our main character, gets close to Nina because squeezing in next to a friend is something classroom guinea pigs Mac and Cheese would do. Also, in the old version, Nina “moves away,” but in the published version, she “frowns and leans away,” which is more descriptive and hints at her emotions.

TS: 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?

JG: I’d say show us as much as possible—put us in that scene so we feel like we’re experiencing the story! But there are some things you just have to tell us or your book will be unnecessarily long. We don’t need to experience every hour of every day with characters, for example, or showing would become tedious. Telling is a great way to quickly impart information to the reader, and sometimes that immediacy is needed to keep the momentum going in a story.

TS: Thank you so much Jolene for sharing your tips and strategies. I love how writers have such a variety of different techniques to convey their stories.

Below is Jolene’s contact information, bio, and links to preorder her terrific new books! Congratulations Jolene!

Bio: Jolene grew up on a farm in northeastern Colorado and now lives in a suburb of Denver, where she’s been a school librarian for 25 years. She spends her days sharing children’s books and her nights writing them. She’s a wife of 21 years and a mama to two teenage humans and three preteen dogs. Jolene is an active member of SCBWI and The Author’s Guild, a We Need Diverse Books mentorship finalist and a Writing with the Stars mentee. She is the author of Mac and Cheese and the Personal Space Invader (Clear Fork, 2020) and Bionic Beasts: Saving Lives with Artificial Flippers, Legs, and Beaks (Lerner, 2020). Learn more at www.jolenegutierrez.com.

Facebook: facebook.com/writerjolene

Twitter: twitter.com/writerjolene

Instagram: instagram.com/writerjolene

LinkedIn: linkedin.com/in/writerjolene

Pinterest: pinterest.com/writerjolene

 

Preorder Links:

Mac and Cheese and the Personal Space Invader:

https://www.clearforkpublishing.com/store/p149/personalspaceinvader.html# 

Bionic Beasts:

https://www.amazon.com/Bionic-Beasts-Saving-Artificial-Flippers/dp/1541589408/ref=sr_1_2?dchild=1&keywords=bionic+beasts+jolene&qid=1587390720&sr=8-2

Uncategorized

Shel Silverstein

Sultan of Spoonerisms

By Gabrielle Copeland Schoeffield

I recently had cause to read two more of Shel Silverstein’s children’s books (I have been slowly going through his entire collection). I found Runny Babbit and Runny Babbit Returns delightful, nonsensical, and thought-provoking. Both books are written using a literary device called a spoonerism.


According to the Meriam Webster dictionary, a spoonerism is defined as “a transposition of usually initial sounds of two or more words (as in tons of soil for sons of toil).”
As the story goes, Reverend William Archibald Spooner, a clergyman and educator in Britain was nervous when it came to public speaking. He often twisted up the words as they fell from his mouth. As a result, things like ‘a crushing blow’ came out as ‘a blushing crow.’ Soon enough his name inspired the term which is still used today.

Each book, a collection of Shel Silverstein poems, accompanied by Silverstein artwork, are written in the spoonerism fashion. The first poem in Runny Babbit gives the simplest of explanations. “…instead of saying “purple hat,” they all say “hurple pat…”

My favorite is BEDDY TEAR STETS GUCK.
Runny Babbit went to see
His good friend Beddy Tear,
Who had some nice heet swoney
That she was glad to share.
They slobbled it and gurped it—
It gluck to them like stue.
Said Beddy Tear to Runny,
“I think I’m thuck on you.”

Other examples of spoonerisms include a well-boiled icicle rather than a well-oiled bicycle, Its roaring pain instead of its pouring rain, or I bit my hunny phone instead of I hit my funny bone.
Let’s have some fun! Can you figure out what the spoonerisms below are?

Kugs and Hisses       Gocks and Saloshes       Cat and Hoat

How many can you come up with?

 

Best in Show, Uncategorized

The Wonder of the Littles, a Board Book Series

Hello Everyone!

Welcome to our February 2020 blog post! We have such a special treat today! I have always wondered how authors of board books create their craft with such limited space and word count. I am excited to present author Julie Abery to you and her wonderful strategies for writing and showing in her books. Her adorable series, entitled Little Animal Friends, is precious in the hands of readers at every age level.

TS: Hi Julie, Congratulations on your upcoming releases this month with Amicus Ink. Thank you for spending time today sharing your new board books and the process you use to create them.

JA: Thank you for having me on your blog today. I am thrilled to share a little about the Little Animal Friends board book series with you. The next two Littles, Little Hippo and Little Monkey, illustrated by Suzie Mason and published by Amicus Ink launch in a few short weeks, 25 February 2020.

TS: Whether drafting or revising, how do you know when it is necessary to show action, scene and sensory elements.

JA: My first board book, Little Tiger, started life as a list of tigerish vocabulary. When I sat down to write a story for Vivian Kirkfield’s 50 Precious Words contest in 2016 (www.viviankirkfield.com), this is what I saw:

Paper Tiger

roaring/stomping

stalk

pounce/play

jump

hunt

chuffing

growling/prowling

grrrrr

Don’t you love ‘chuffing’ – it’s a snorting sound that tigers make! Sadly, it didn’t make the final story, but what I saw in this list was lots of action, visual, and sensory words. Paper Tiger became Little Tiger and the -ing verbs became rhyming lines two and three of my quatrains.

Little Tiger

prowling,

growling,

on the jungle floor.

Each book is based on the principle that baby animals act just like our human little ones – all about action and exploring, and sometimes overstepping the line, so these action words are key!

The books have a consistent structure, but each animal has its own adventure. They have a maximum of 80 words over the 10 spreads. The first line of each quatrain is fixed, Little Tiger, Little Panda, Little Hippo, Little Monkey etc. Then each spread follows a similar pattern with the problem climax on spread 6 and Mama to the rescue on spread 7. I know that generally we aim for the protagonist to solve their own problem, but I felt that as young animals and children grow, they need a helping hand from time to time.

 TS: This is really fascinating. We read board books often yet I do not think we are fully aware of the structure. Are there specific strategies, tools or resources you use to incorporate more showing/descriptive language?

JA: I research each animal before I begin, maybe in the library or online. I also try and find animals from different environments to change the kind of action verbs needed too, and where possible I look for animal specific vocabulary to make my text as authentic as possible. I can often be found with rhymezone.com open on my computer when writing, both as a thesaurus and a rhyming dictionary.

TS: That is definitely a great resource. Would you like to share an example of before and after where you needed to show more and found the right words to paint the image for the reader?

JA: Absolutely! Little Hippo meets an Oxpecker in his search for a playmate. In real life hippos and oxpeckers have a symbiotic relationship, so this felt like a good match. Spread 3 started life as

Little Hippo

puzzling,

nuzzling,

finds a playful bird….TELLING

So I changed it too…

Little Hippo

puzzling,

nuzzling

finds a red-billed bird…

…much more visual and lovely alliteration. ‘Red-billed bird’ rolls off the tongue, sounds great and describes an Oxpecker beautifully.

TS: You work through this with such preciseness and clarity. What a challenge. 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?

JA: This is a tricky question. You can never be certain that you have everything right, after all editors often ask for revisions. However, with the Littles I know I have a pretty good balance when each stanza moves the story along, the rhyme and rhythm flow fluidly, and the words leave lots of room for the illustrator.

TS: Thank you very much for sharing your gift of words, and I know I for one am excited to try this type of writing. Wishing you every success with the adorable Littles!

Check out Julie’s bio, social media, and find her books on Amazon and Barnes and Noble.

Julie Author Bio:

Julie Abery is a children’s author and former Pre-K teacher. Originally from England, she has spent half of her life living in Europe, bringing up her three (now grown up) children and experiencing new languages and cultures. She now calls Switzerland home.

Julie’s debut board books Little Tiger and Little Panda illustrated by Suzie Mason, published in March 2019 with Amicus Ink. Little Hippo and Little Monkey joined the Little Animal Friends series in February 2020; a nonfiction picture book biography entitled Yusra Swims, Creative Editions, illustrated by Sally Deng in February 2020; a true story THE OLD MAN AND THE PENGUIN, Kids Can Press (Fall 2020) and nonfiction picture book bio SAKAMOTO AND THE SUGAR-DITCH KIDS, Kids Can Press (Spring 2021).

Julie is represented by Essie White of Storm Literary Agency.

Where to find Julie:

Website: https://littleredstoryshed.wordpress.com/

Twitter: @juliedawnabery

Facebook: julieabery

Instagram: juliedawnabery