Mary Quattlebaum's Blog, page 36
October 24, 2011
HOPPING OFF HISTORY
by Mary Quattlebaum
As writers (and teachers of writing), we're all familiar with that old adage "write what you know." Sometimes, though, that advice can limit or just plain bore a writer. How might we challenge students to try writing what they don't know or, in other words, to write to discover more?
One approach might be to have them explore the intersection of family history with larger historical events. How was my family involved in the Civil Rights era? What did Grandpa do during the time of the Vietnam War? Why and how did Lola emigrate to the United States?
This approach works especially well for ages 12 and up, and is one I've used with advanced and adult writing students.
1. Share children's and YA books that portray young people involved in historical events. Some of my favorites encourage readers to take a closer look at an era or event not widely known or studied in school. Many include author's notes about the author's tie to the story and how she came to research and write the novel.
* The Great Migration by Eloise Greenfield. A series of poems about African Americans, including the author's parents, who left the South between 1915 and 1930 for the greater freedom they hoped they would find in the North.
* The Great Wall of Lucy Wu by Wendy Shang. Contemporary novel, set in America, about a smart, funny 12-year-old girl who learns about China's Cultural Revolution from an elderly relative.
* The Red Umbrella by Christina Diaz Gonzalez. Historical fiction about two Cuban children who emigrate alone to the United States as Castro clamps down on their middle-class parents in the early 1960s. Based on experiences of author's parents and mother-in-law.
* A Troubled Peace by L. M. Elliott. Historical fiction focused on the chaotic years in Europe just after World War II. Inspired by the author's father's experiences as an American pilot during the war.
2. Encourage students to choose a relative and think about what they would like to ask him or her. Have them jot down questions about a given 5-year span in the relative's life. What was your favorite item of clothing? Food? What did you and your friends like to do? What was your favorite book or TV show? Why? What did you like best about living during that time and in the place you did? What did you like least? What was the biggest lesson you learned? What were three historical things that happened during this time and what do you remember about them? Is there something you can show me (photo, memento) from that time period?
3. Have students interview their relative and write down the answers. Then have them shape their material into a coherent piece of writing entitled something like "What Grandpa liked about this time period" or "Grandma comes to the United States."
4. Share pieces with the class and have students discuss what they may have learned and been surprised by.
www.maryquattlebaum.com
As writers (and teachers of writing), we're all familiar with that old adage "write what you know." Sometimes, though, that advice can limit or just plain bore a writer. How might we challenge students to try writing what they don't know or, in other words, to write to discover more?
One approach might be to have them explore the intersection of family history with larger historical events. How was my family involved in the Civil Rights era? What did Grandpa do during the time of the Vietnam War? Why and how did Lola emigrate to the United States?
This approach works especially well for ages 12 and up, and is one I've used with advanced and adult writing students.
1. Share children's and YA books that portray young people involved in historical events. Some of my favorites encourage readers to take a closer look at an era or event not widely known or studied in school. Many include author's notes about the author's tie to the story and how she came to research and write the novel.
* The Great Migration by Eloise Greenfield. A series of poems about African Americans, including the author's parents, who left the South between 1915 and 1930 for the greater freedom they hoped they would find in the North.
* The Great Wall of Lucy Wu by Wendy Shang. Contemporary novel, set in America, about a smart, funny 12-year-old girl who learns about China's Cultural Revolution from an elderly relative.
* The Red Umbrella by Christina Diaz Gonzalez. Historical fiction about two Cuban children who emigrate alone to the United States as Castro clamps down on their middle-class parents in the early 1960s. Based on experiences of author's parents and mother-in-law.
* A Troubled Peace by L. M. Elliott. Historical fiction focused on the chaotic years in Europe just after World War II. Inspired by the author's father's experiences as an American pilot during the war.
2. Encourage students to choose a relative and think about what they would like to ask him or her. Have them jot down questions about a given 5-year span in the relative's life. What was your favorite item of clothing? Food? What did you and your friends like to do? What was your favorite book or TV show? Why? What did you like best about living during that time and in the place you did? What did you like least? What was the biggest lesson you learned? What were three historical things that happened during this time and what do you remember about them? Is there something you can show me (photo, memento) from that time period?
3. Have students interview their relative and write down the answers. Then have them shape their material into a coherent piece of writing entitled something like "What Grandpa liked about this time period" or "Grandma comes to the United States."
4. Share pieces with the class and have students discuss what they may have learned and been surprised by.
www.maryquattlebaum.com
October 17, 2011
WHAT IF? and WHAT ELSE?: Helping Young Writers Expand Their Stories
by Jacqueline Jules
What if your character was pursued by a wolf? How could she save herself?
What else could you add to make the reader feel your main character's fear?
"What if?" and "What else?" These two short questions can help young writers get into the habit of expanding and resolving their fiction stories. Post them with a cute graphic and remind your budding writers to brainstorm throughout the creation of their stories, particularly when they find themselves stuck in the middle. Young writers are often unable to end their stories because their main character doesn't have a problem to solve. Asking WHAT IF—the character wanted something, the character was afraid of something, the character was in danger, etc.—naturally leads to a problem in need of resolution.
The question WHAT ELSE? opens the conversation about adding details.
A great picture book for modeling this process is The Plot Chickens by Mary Jane and Herm Auch. In this book, Henrietta, a book-loving chicken, writes a story with the help of her three chicken aunts. Together, they brainstorm an adventure entitled, "The Perils of Maxine," about a hen who ventures into the woods and is pursued by a wolf. Henrietta follows a set of "Writing Rules" which includes the very wise advice of developing your plot by asking the question, "What if?"
After reading The Plot Chickens with several groups of students, I've had a humorous frame of reference for asking the question "What if?" during writing conferences. Brainstorming should never be restricted to pre-writing. It is an essential part of plot and character development and the best way to move a stalled story forward. Questions fuel stories like gasoline powers cars. Help your students keep their pencils moving by asking "What if?" and "What else?"
http://www.jacquelinejules.com/
What if your character was pursued by a wolf? How could she save herself?
What else could you add to make the reader feel your main character's fear?
"What if?" and "What else?" These two short questions can help young writers get into the habit of expanding and resolving their fiction stories. Post them with a cute graphic and remind your budding writers to brainstorm throughout the creation of their stories, particularly when they find themselves stuck in the middle. Young writers are often unable to end their stories because their main character doesn't have a problem to solve. Asking WHAT IF—the character wanted something, the character was afraid of something, the character was in danger, etc.—naturally leads to a problem in need of resolution. The question WHAT ELSE? opens the conversation about adding details.
A great picture book for modeling this process is The Plot Chickens by Mary Jane and Herm Auch. In this book, Henrietta, a book-loving chicken, writes a story with the help of her three chicken aunts. Together, they brainstorm an adventure entitled, "The Perils of Maxine," about a hen who ventures into the woods and is pursued by a wolf. Henrietta follows a set of "Writing Rules" which includes the very wise advice of developing your plot by asking the question, "What if?"
After reading The Plot Chickens with several groups of students, I've had a humorous frame of reference for asking the question "What if?" during writing conferences. Brainstorming should never be restricted to pre-writing. It is an essential part of plot and character development and the best way to move a stalled story forward. Questions fuel stories like gasoline powers cars. Help your students keep their pencils moving by asking "What if?" and "What else?"
http://www.jacquelinejules.com/
October 10, 2011
WRITERS AS READERS AND VICE VERSA
by Laura Krauss Melmed
From Reader to Writer, Teaching Writing Through Classic Children's Books by Sarah Ellis provides a fascinating glimpse into the childhood experiences and reading choices of seventeen well known children's writers past and present. Ellis describes a childhood incident from each author's life and then shows how that author might have been influenced by the books he or she loved as a child. She suggests short writing exercises and longer-term projects for children to tackle after reading one of the author's books. For further reading, she also gives annotated reading lists of books by other authors in the same spirit or genre.
In the first chapter we learn that Robert Louis Stevenson's fragile health as a child often confined him to the house or even to bed, while his fertile imagination carried him far afield. "He could make a whole world out of anything—a toy theater, lead soldiers, Bible stories, tales his nanny told him, his own terrifying nightmares." With his cousin Bob, Stevenson constructed imaginary kingdoms called Nosingtonia and Encylopedia. Not surprisingly, his favorite book was The Coral Island, a castaway story inspired by Robinson Crusoe.
Years later and all grown up, Stevenson was vacationing in a small cottage with his wife and stepchildren. When bad weather confined everyone to the house, nerves began to fray. Stevenson produced some watercolor paints and suggested that his stepson draw a map of an island. To keep the child company, Stevenson made a map, too. This exercise so kindled his imagination that it became the springboard for a fifteen-day writing marathon producing the first fifteen chapters of Treasure Island.
Ellis gives detailed suggestions for having students envision and describe their own imagined island. For children not ready to tackle Treasure Island, or for additional reading, there is a list of other books set on an island, including Island of the Blue Dolphins, The Goats, Jacob Have I Loved, The Secret of Roan Inish, and Baby.
Chapters follow on other writers such as P.L. Travers, C.S. Lewis, Katherine Paterson, Susan Cooper, Louisa May Alcott, and L.M. Montgomery. Many of these were authors I was drawn to as a child and who clearly influenced my own work. My love of writing in verse was nurtured by a well thumbed copy of A Child's Garden of Verses illustrated by the Provensens, a favorite from which my mom often read to me at bedtime. The mystery and magic of (the pre-Disney) Mary Poppins helped nurture a love of fairy tales that led me to write The Rainbabies, Moishe's Miracle, Little Oh and Prince Nautilus. Jo March and Anne Shirley, Louisa May Alcott and L. M. Montgomery respectively gave me two imaginative, high spirited, resourceful girls I could admire, identify with, and draw inspiration from.
Sarah Ellis writes in the introduction to From Reader to Writer, "(This) group of classic children's writers that I have come to know through their essays, journals, letters, memoirs and autobiographies…are excellent company, and they can provide for children a pageant of variety—variety of motivations, method and personality." Good jumping off points for any developing writer!
http://www.laurakraussmelmed.com/
From Reader to Writer, Teaching Writing Through Classic Children's Books by Sarah Ellis provides a fascinating glimpse into the childhood experiences and reading choices of seventeen well known children's writers past and present. Ellis describes a childhood incident from each author's life and then shows how that author might have been influenced by the books he or she loved as a child. She suggests short writing exercises and longer-term projects for children to tackle after reading one of the author's books. For further reading, she also gives annotated reading lists of books by other authors in the same spirit or genre.
In the first chapter we learn that Robert Louis Stevenson's fragile health as a child often confined him to the house or even to bed, while his fertile imagination carried him far afield. "He could make a whole world out of anything—a toy theater, lead soldiers, Bible stories, tales his nanny told him, his own terrifying nightmares." With his cousin Bob, Stevenson constructed imaginary kingdoms called Nosingtonia and Encylopedia. Not surprisingly, his favorite book was The Coral Island, a castaway story inspired by Robinson Crusoe.
Years later and all grown up, Stevenson was vacationing in a small cottage with his wife and stepchildren. When bad weather confined everyone to the house, nerves began to fray. Stevenson produced some watercolor paints and suggested that his stepson draw a map of an island. To keep the child company, Stevenson made a map, too. This exercise so kindled his imagination that it became the springboard for a fifteen-day writing marathon producing the first fifteen chapters of Treasure Island.
Ellis gives detailed suggestions for having students envision and describe their own imagined island. For children not ready to tackle Treasure Island, or for additional reading, there is a list of other books set on an island, including Island of the Blue Dolphins, The Goats, Jacob Have I Loved, The Secret of Roan Inish, and Baby.
Chapters follow on other writers such as P.L. Travers, C.S. Lewis, Katherine Paterson, Susan Cooper, Louisa May Alcott, and L.M. Montgomery. Many of these were authors I was drawn to as a child and who clearly influenced my own work. My love of writing in verse was nurtured by a well thumbed copy of A Child's Garden of Verses illustrated by the Provensens, a favorite from which my mom often read to me at bedtime. The mystery and magic of (the pre-Disney) Mary Poppins helped nurture a love of fairy tales that led me to write The Rainbabies, Moishe's Miracle, Little Oh and Prince Nautilus. Jo March and Anne Shirley, Louisa May Alcott and L. M. Montgomery respectively gave me two imaginative, high spirited, resourceful girls I could admire, identify with, and draw inspiration from.
Sarah Ellis writes in the introduction to From Reader to Writer, "(This) group of classic children's writers that I have come to know through their essays, journals, letters, memoirs and autobiographies…are excellent company, and they can provide for children a pageant of variety—variety of motivations, method and personality." Good jumping off points for any developing writer!
http://www.laurakraussmelmed.com/
October 3, 2011
PIECING TOGETHER A MYSTERY
by Pam Smallcomb
Kids love mysteries. I love mysteries, too. It's one of the first genres I latched on to when I was young, and it has followed me into adulthood. In many elementary schools, children study the mystery genre and try their hands at writing them as well. It's not easy to explain to kids how to go about writing a mystery. It's a rather mysterious thing, when it comes right down to it.
At its core, a mystery is a puzzle. Just like a puzzle, a mystery story has pieces. A mystery starts with a question. The more puzzling the question, the better. This question will be what you solve in the story.
For example:Who took the jewels from the sealed tomb?What if my best friends stopped talking to me and I didn't know why?And of course, the traditional…Who is the murderer and how did they do it?
Another piece of your mystery is your main character. He is the one who solves the mystery. He is your detective (whether amateur, accidental or professional). He's the one who will figure out the clues in your mystery. In other words, he's your hero.
When developing your main character, consider giving him/her unique character traits. Set him apart from the pack. Eccentric habits are great. Remember, Hercule Poirot was a fastidious neat freak who loved his waxed moustache, and Sherlock Holmes played his violin to relax.
Kids can have eccentric habits, too (as we parents well know). For example, your main character could:Chew gum constantly.Never go anywhere without her stuffed yellow cat.Talk to his pet tarantula about the clues in the mystery.
Another way to "build" your detective/main character is to give him special skills.
Maybe your hero:Knows baseball history inside and outPlays the piano brilliantlyLikes to collect coins
But how can you use this special skill when you write your mystery?
If you know the ending of your mystery - what your hero/detective is searching for - what he needs in order to solve the mystery, you can go back and lay in a special skill that will help. A special skill that will be useful in solving the mystery.
Here's a simple example: let's say that your mystery involves a valuable coin (maybe a rare penny!) that has been stolen. The bad guy takes the coin and stashes it in a penny jar where he hopes to come back and get it later. Make your hero a coin collector. He is the one that recognizes it from all the coins in the jar. Use your hero's skills to help solve the mystery.
Expertise in a subject is just one kind of special skill. Here are a couple of examples of different special skills from other authors:
Cam Jansen: Her photographic memory comes in very handy when she has to solve a mystery. She can remember everything she sees, including all those visual clues.
A Series of Unfortunate Events: Each Baudelaire orphan has a special skill, even little Sunny with her strong bite. Sister Violet is an inventor; brother Klaus reads everything he can get his hands on, and remembers what he's read.
Artemis Fowl:Artemis is an Irish child prodigy and a ruthless master criminal who has amassed his family's fortune using his special talents in crime. He is an eccentric anti-hero.
You might want your hero to have a sidekick as well. The advantage of having a sidekick is your hero can discuss the mystery with him. Best friends make good sidekicks. Lots of times sidekicks can be funny. They can comment on the action in your story. But remember, your main character must solve the mystery in your story. Dr. Watson just helped out.
Of course, there is a lot more to writing a mystery including: victims, villains, clues, suspects, alibis and motive. Beginning your mystery with an intriguing question and a protagonist that has eccentric habits and special skills will give you (or your student) two important pieces of the puzzle.
To find out more about writing mysteries (and fill in some of those other puzzle pieces), take a gander at Writing Mysteries: A Handbook by the Mystery Writers of America by Sue Grafton. There is a specialties section that focuses on mysteries for young people and short story mysteries.
OUR SEPTEMBER BOOK GIVEAWAY WINNER IS: M.G. King. I'll contact you soon about sending you the signed copy of I'm Not.
http://www.pamsmallcomb.com/
Kids love mysteries. I love mysteries, too. It's one of the first genres I latched on to when I was young, and it has followed me into adulthood. In many elementary schools, children study the mystery genre and try their hands at writing them as well. It's not easy to explain to kids how to go about writing a mystery. It's a rather mysterious thing, when it comes right down to it.
At its core, a mystery is a puzzle. Just like a puzzle, a mystery story has pieces. A mystery starts with a question. The more puzzling the question, the better. This question will be what you solve in the story.
For example:Who took the jewels from the sealed tomb?What if my best friends stopped talking to me and I didn't know why?And of course, the traditional…Who is the murderer and how did they do it?
Another piece of your mystery is your main character. He is the one who solves the mystery. He is your detective (whether amateur, accidental or professional). He's the one who will figure out the clues in your mystery. In other words, he's your hero.
When developing your main character, consider giving him/her unique character traits. Set him apart from the pack. Eccentric habits are great. Remember, Hercule Poirot was a fastidious neat freak who loved his waxed moustache, and Sherlock Holmes played his violin to relax.
Kids can have eccentric habits, too (as we parents well know). For example, your main character could:Chew gum constantly.Never go anywhere without her stuffed yellow cat.Talk to his pet tarantula about the clues in the mystery.
Another way to "build" your detective/main character is to give him special skills.
Maybe your hero:Knows baseball history inside and outPlays the piano brilliantlyLikes to collect coins
But how can you use this special skill when you write your mystery?
If you know the ending of your mystery - what your hero/detective is searching for - what he needs in order to solve the mystery, you can go back and lay in a special skill that will help. A special skill that will be useful in solving the mystery.
Here's a simple example: let's say that your mystery involves a valuable coin (maybe a rare penny!) that has been stolen. The bad guy takes the coin and stashes it in a penny jar where he hopes to come back and get it later. Make your hero a coin collector. He is the one that recognizes it from all the coins in the jar. Use your hero's skills to help solve the mystery.
Expertise in a subject is just one kind of special skill. Here are a couple of examples of different special skills from other authors:
Cam Jansen: Her photographic memory comes in very handy when she has to solve a mystery. She can remember everything she sees, including all those visual clues.
A Series of Unfortunate Events: Each Baudelaire orphan has a special skill, even little Sunny with her strong bite. Sister Violet is an inventor; brother Klaus reads everything he can get his hands on, and remembers what he's read.
Artemis Fowl:Artemis is an Irish child prodigy and a ruthless master criminal who has amassed his family's fortune using his special talents in crime. He is an eccentric anti-hero.
You might want your hero to have a sidekick as well. The advantage of having a sidekick is your hero can discuss the mystery with him. Best friends make good sidekicks. Lots of times sidekicks can be funny. They can comment on the action in your story. But remember, your main character must solve the mystery in your story. Dr. Watson just helped out.
Of course, there is a lot more to writing a mystery including: victims, villains, clues, suspects, alibis and motive. Beginning your mystery with an intriguing question and a protagonist that has eccentric habits and special skills will give you (or your student) two important pieces of the puzzle.
To find out more about writing mysteries (and fill in some of those other puzzle pieces), take a gander at Writing Mysteries: A Handbook by the Mystery Writers of America by Sue Grafton. There is a specialties section that focuses on mysteries for young people and short story mysteries.
OUR SEPTEMBER BOOK GIVEAWAY WINNER IS: M.G. King. I'll contact you soon about sending you the signed copy of I'm Not.
http://www.pamsmallcomb.com/
September 26, 2011
Constructive Critiques
by Joan Waites
Seasoned writers and artists know that one of the most helpful ways to improve your work is to receive critiques from trusted colleagues and critique partners. Having a fresh "eye" to evaluate a project you have worked on in solitude for days, weeks, months or even years can bring to the surface glaring mistakes you have overlooked, along with some new ideas for improvement.
Learning how to evaluate your own work or someone else's in a way that offers positive help is the essence of a constructive critique. Offering only positive comments, (for example: "that's great!", "terrific!" or "wonderful!), so as not to hurt someone's feelings, does not contribute anything useful. Offering only negative comments, ("I don't like it", "It's just bad", or "It will never sell") without any suggestions for improvement also offers nothing to concrete.
Engaging students in a constructive critique session can be a useful teaching tool. Students will hopefully learn how to accept criticism graciously, as well as offer suggestions Have students begin the critique with a positive comment. If critiquing student artwork, some suggestions for comments are as follows:
Do they admire the artist's skill? The choice of colors? The subject matter? The composition and perspective? Does the work leave an emotional impact?
Next move on to how the work could be improved, instead of asking for negatives. For example:
What different color choices, subject matter, composition or perspective might make the artwork more visually appealing? What changes could be incorporated into the existing piece without starting over?
If critiquing student writing, break the class into smaller groups and have them critique each other's work. Depending on the age and level of the students, comments can be simple or deal with more complex concepts.
What did they like most about the story?Did the story have interesting and believable characters?Is there a clear story arc?Was there a satisfying ending?
Next, ask how all of the above could be improved upon instead of offering negative remarks.
Have the students write down some of the comments they received in their critiques. Ask them to take a few days to really think about what was said, then revisit their artwork or writing and incorporate some of the suggestions. Have the students present their revised work to the class and talk about what comments they found helpful, what changes were made, and if they decided not to change something, explain why.
Learning how to accept constructive criticism as well as give it is an important lesson for students of all ages to learn. Criticism is sometimes bitter medicine to swallow (and to give out), but if the dose is given with a pinch of sugar, it's a lot easier to take!
http://www.joanwaites.com/
P.S. Don't forget to leave a comment to enter our signed books giveaway for the month of September! Don't delay. Only a few days left!
PENCIL TIPS GIVEAWAY!
Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy. 
Seasoned writers and artists know that one of the most helpful ways to improve your work is to receive critiques from trusted colleagues and critique partners. Having a fresh "eye" to evaluate a project you have worked on in solitude for days, weeks, months or even years can bring to the surface glaring mistakes you have overlooked, along with some new ideas for improvement.
Learning how to evaluate your own work or someone else's in a way that offers positive help is the essence of a constructive critique. Offering only positive comments, (for example: "that's great!", "terrific!" or "wonderful!), so as not to hurt someone's feelings, does not contribute anything useful. Offering only negative comments, ("I don't like it", "It's just bad", or "It will never sell") without any suggestions for improvement also offers nothing to concrete.
Engaging students in a constructive critique session can be a useful teaching tool. Students will hopefully learn how to accept criticism graciously, as well as offer suggestions Have students begin the critique with a positive comment. If critiquing student artwork, some suggestions for comments are as follows:
Do they admire the artist's skill? The choice of colors? The subject matter? The composition and perspective? Does the work leave an emotional impact?
Next move on to how the work could be improved, instead of asking for negatives. For example:
What different color choices, subject matter, composition or perspective might make the artwork more visually appealing? What changes could be incorporated into the existing piece without starting over?
If critiquing student writing, break the class into smaller groups and have them critique each other's work. Depending on the age and level of the students, comments can be simple or deal with more complex concepts.
What did they like most about the story?Did the story have interesting and believable characters?Is there a clear story arc?Was there a satisfying ending?
Next, ask how all of the above could be improved upon instead of offering negative remarks.
Have the students write down some of the comments they received in their critiques. Ask them to take a few days to really think about what was said, then revisit their artwork or writing and incorporate some of the suggestions. Have the students present their revised work to the class and talk about what comments they found helpful, what changes were made, and if they decided not to change something, explain why.
Learning how to accept constructive criticism as well as give it is an important lesson for students of all ages to learn. Criticism is sometimes bitter medicine to swallow (and to give out), but if the dose is given with a pinch of sugar, it's a lot easier to take!
http://www.joanwaites.com/
P.S. Don't forget to leave a comment to enter our signed books giveaway for the month of September! Don't delay. Only a few days left!
PENCIL TIPS GIVEAWAY!Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
September 19, 2011
CRAFTING STORIES TOGETHER
by Pamela Ehrenberg
We're all social creatures—even, or maybe especially, writers. I remember this each time I see the other Pencil Tips bloggers and a few dozen other "book people" at meetings of the Children's Book Guild of Washington, DC. The social hour at the beginning of each meeting looks something like a bee hive: dozens of authors, illustrators, and librarians, otherwise content to putter away on their own, are suddenly set free in a room buzzing with social energy, and we need to absorb enough to last through the coming weeks of solitary creation.
For young writers, various types of group story exercises can channel some of that social buzz, directing it in a way that's productive for writing and helping writers build enough trust to feel comfortable giving and receiving feedback. Writopia workshops, with three to six participants each, use this form of the group story exercise to create fiction stories:
First, participants brainstorm several possible settings and several possible problems for the story, selecting one of each. Together, they flesh out the characters, making sure to choose the same number of characters as there are workshop participants. They think through what each character looks like, what each character wants, and what the characters are likely to do to try to get what they want. The students determine an outline of the plot, along with beginning and ending lines for each section—then each person writes a section of the story, from one character's point of view.
Hilarity often ensues. Surprisingly strong writing often ensues too. But most importantly, kids who didn't even know each other an hour earlier have now shared the intimate process of crafting a story—giving them courage to support each other as they move forward with their own work.
It can be a challenge for us as teachers, and writers, to break down our ideas of writing as a universally solitary activity. But exercises like group story can help students get their first tastes of what it's like to be part of a writing community. Now there's something worth buzzing about.
http://www.pamelaehrenberg.com/
P.S. Don't forget to comment for a chance to win a copy of Pam Smallcomb's I'm Not!
PENCIL TIPS GIVEAWAY!
Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy. 
We're all social creatures—even, or maybe especially, writers. I remember this each time I see the other Pencil Tips bloggers and a few dozen other "book people" at meetings of the Children's Book Guild of Washington, DC. The social hour at the beginning of each meeting looks something like a bee hive: dozens of authors, illustrators, and librarians, otherwise content to putter away on their own, are suddenly set free in a room buzzing with social energy, and we need to absorb enough to last through the coming weeks of solitary creation.
For young writers, various types of group story exercises can channel some of that social buzz, directing it in a way that's productive for writing and helping writers build enough trust to feel comfortable giving and receiving feedback. Writopia workshops, with three to six participants each, use this form of the group story exercise to create fiction stories:
First, participants brainstorm several possible settings and several possible problems for the story, selecting one of each. Together, they flesh out the characters, making sure to choose the same number of characters as there are workshop participants. They think through what each character looks like, what each character wants, and what the characters are likely to do to try to get what they want. The students determine an outline of the plot, along with beginning and ending lines for each section—then each person writes a section of the story, from one character's point of view.
Hilarity often ensues. Surprisingly strong writing often ensues too. But most importantly, kids who didn't even know each other an hour earlier have now shared the intimate process of crafting a story—giving them courage to support each other as they move forward with their own work.
It can be a challenge for us as teachers, and writers, to break down our ideas of writing as a universally solitary activity. But exercises like group story can help students get their first tastes of what it's like to be part of a writing community. Now there's something worth buzzing about.
http://www.pamelaehrenberg.com/
P.S. Don't forget to comment for a chance to win a copy of Pam Smallcomb's I'm Not!
PENCIL TIPS GIVEAWAY!Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
September 12, 2011
LOOPY LETTERS
by Mary Quattlebaum
We tend to take the letters of the alphabet for granted. Face it, we've sung the ABC song umpteen times as parents or teachers. We use letters daily to construct words; we're familiar with their basic shape.
But take another look. Letters are amazing! Check out the delightful "oo" sound and waggly tail of the round, capital "Q," the explosive, breath-puff of "P," which looks like a flag.
Letters and alphabet books might be a jumping off point for playful writing explorations for folks of all ages.
Sound and (Non)sense. In 1871, Edward Lear published an alphabet book that tickled the ear and the funny bone. Using Lear's book as a model, you might have students each choose and embellish a favorite letter. For example, Lear's poem for "C" reads "C was once a little cake,/Caky/Baky/Maky/Caky/Taky caky/Little cake" in An Edward Lear Alphabet by Edward Lear, illustrated by Vladimir Radunsky (HarperCollins).
Letters and Things. As a tot, my daughter loved the short rhymes and photographs of everyday things in John Updike's A Helpful Alphabet of Friendly Objects, with photographs by David Updike (Knopf). After sharing this book with students, you might have them bring in a photo of something that begins with a particular letter and write a short poem or description. Updike's "V for Vacuum Cleaner" begins with sound and action: "In goes dirt,/out comes noise!/Rumpling the rug/and scattering toys…"
Mischevious Alphabet Books. Tired of the staid, predictable "A is for apple" type of alphabet book? Shake things up with An Alphabet of Rotten Kids by David Elliott, illustrated by Oscar de Mejo (Philomel) and Bad Kitty by Nick Bruel (Roaring Brook). Such books encourage larking about. Students of all ages might write poems or silly descriptions of their own names or create a naughty human or critter character.
Who knows what wild, wacky, and wonderful writings these four alphabet books might inspire—for your students and yourself? Have fun!
http://www.maryquattlebaum.com/
P.S. Don't forget to enter our Pencil Tips Book Giveaway!
PENCIL TIPS GIVEAWAY!
Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
We tend to take the letters of the alphabet for granted. Face it, we've sung the ABC song umpteen times as parents or teachers. We use letters daily to construct words; we're familiar with their basic shape.
But take another look. Letters are amazing! Check out the delightful "oo" sound and waggly tail of the round, capital "Q," the explosive, breath-puff of "P," which looks like a flag.
Letters and alphabet books might be a jumping off point for playful writing explorations for folks of all ages.
Sound and (Non)sense. In 1871, Edward Lear published an alphabet book that tickled the ear and the funny bone. Using Lear's book as a model, you might have students each choose and embellish a favorite letter. For example, Lear's poem for "C" reads "C was once a little cake,/Caky/Baky/Maky/Caky/Taky caky/Little cake" in An Edward Lear Alphabet by Edward Lear, illustrated by Vladimir Radunsky (HarperCollins).
Letters and Things. As a tot, my daughter loved the short rhymes and photographs of everyday things in John Updike's A Helpful Alphabet of Friendly Objects, with photographs by David Updike (Knopf). After sharing this book with students, you might have them bring in a photo of something that begins with a particular letter and write a short poem or description. Updike's "V for Vacuum Cleaner" begins with sound and action: "In goes dirt,/out comes noise!/Rumpling the rug/and scattering toys…"
Mischevious Alphabet Books. Tired of the staid, predictable "A is for apple" type of alphabet book? Shake things up with An Alphabet of Rotten Kids by David Elliott, illustrated by Oscar de Mejo (Philomel) and Bad Kitty by Nick Bruel (Roaring Brook). Such books encourage larking about. Students of all ages might write poems or silly descriptions of their own names or create a naughty human or critter character.
Who knows what wild, wacky, and wonderful writings these four alphabet books might inspire—for your students and yourself? Have fun!
http://www.maryquattlebaum.com/
P.S. Don't forget to enter our Pencil Tips Book Giveaway!
PENCIL TIPS GIVEAWAY!Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
September 5, 2011
Hiking Through the Writing Process
by Laura Krauss Melmed
The other day my husband and I climbed a mountain. It wasn't a Himalayan peak or even part of the Rockies, but a 1,000-foot forested slope of the Allegheny range. The mountain, marked on a hiking brochure pulled from our "activities" file, is located not far from our vacation home in Western PA. Sure, the trail traversed a state hunting preserve, but we were (almost) sure August wasn't hunting season, and the description of the hike promised lovely views along the crest of the mountain.
After a short and scenic ride, we located the deserted and overgrown parking lot where we left our car, grabbed our backpack, and started in the direction of the orange markers blazed on the trees. The brochure warned that we would soon come to an unmarked part of the trail; not to worry, though, because after traversing about three tenths of a mile of open forest, it would be easy to pick up the trail again. Well, maybe for some, but for these urban adventurers, things were to take (literally) a different turn. Not immediately picking up on the blazes again, we set forth fearlessly up the mountain. Unfortunately, we were traversing a thorn forest. Thorny creepers clutched at our legs. Thorny trees repelled our grasp. Undaunted, we persevered, slogging ever upward, but never actually finding the trail.
At last, shards of sunlight penetrating the dusky foliage above us indicated that we might be nearing the top of the mountain. Did I mention that all during this climb, we had been hearing intermittent gunshots in the distance? At this point it seemed prudent for me to lean against a tree and consult my Smartphone to ascertain the dates of hunting season in Pennsylvania. My husband insisted on climbing ahead to reconnoiter. Returning to me at my resting spot, where I had determined that hunting season was not yet in force (we surmised that the gunshots were those of a neighboring farmer taking target practice), he reported that the top of the mountain was indeed close above us but that he could not locate the trail along the ridge.
We decided to call it a hike and start down. After another thorny adventure, only this time going downhill, we made landfall on a farmer's private property (not the one who was taking target practice, we prayed) and had to climb over a cow fence. My GPS then came in handy in locating the road along which we had parked our car.
The moral of this story is, maybe those extra fees for my smart phone are actually worth it. But beyond that, what does the story of this hike have to do with writing? Actually, a lot. Beginning a new story is the start of an adventure, much like undertaking a hike into unknown territory. The trail may seem to be clearly marked, if you have mapped out the story in your head or written an outline, but once you begin the writing process, you often go off the trail. This may be for the best, as it is the process of writing itself that points to sometimes thrilling new vistas and possibilities to which the writer must be open. But sometimes while working on a manuscript, I feel that I have gotten lost in the woods. Often a session of hard work may result in taking a path that leads nowhere, or to a place I don't really want to be. Then it is my job to try to find the path that will lead me to the top of the mountain—a finished poem or story that shines.
If I don't find that path, I may have to give up on this story for at least a while and start another. But it is important to keep sight of the fact that in the process itself, there are always lessons to be learned and skills to be gained. In climbing the mountain, my husband and I still had the chance to take a brisk climb together on a beautiful day in the woods. We had the feeling of accomplishment that comes with knowing that we ascended 1,000 feet. We had a shared adventure, and the most delicious peanut butter and jelly sandwiches and fresh peaches waiting for us to devour at our post-hike tailgate picnic. Plus, this adventure gave me a subject for this blog!
In the same way, when considering your own work or your students, remember that losing one's way is not always the worst thing that can happen. It can open new vistas, offer new lessons, and may even lead, eventually, to the top of the mountain!
http://laurakraussmelmed.com/
P.S. Don't forget to comment and enter September's giveaway!
PENCIL TIPS GIVEAWAY!
Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
The other day my husband and I climbed a mountain. It wasn't a Himalayan peak or even part of the Rockies, but a 1,000-foot forested slope of the Allegheny range. The mountain, marked on a hiking brochure pulled from our "activities" file, is located not far from our vacation home in Western PA. Sure, the trail traversed a state hunting preserve, but we were (almost) sure August wasn't hunting season, and the description of the hike promised lovely views along the crest of the mountain.
After a short and scenic ride, we located the deserted and overgrown parking lot where we left our car, grabbed our backpack, and started in the direction of the orange markers blazed on the trees. The brochure warned that we would soon come to an unmarked part of the trail; not to worry, though, because after traversing about three tenths of a mile of open forest, it would be easy to pick up the trail again. Well, maybe for some, but for these urban adventurers, things were to take (literally) a different turn. Not immediately picking up on the blazes again, we set forth fearlessly up the mountain. Unfortunately, we were traversing a thorn forest. Thorny creepers clutched at our legs. Thorny trees repelled our grasp. Undaunted, we persevered, slogging ever upward, but never actually finding the trail.
At last, shards of sunlight penetrating the dusky foliage above us indicated that we might be nearing the top of the mountain. Did I mention that all during this climb, we had been hearing intermittent gunshots in the distance? At this point it seemed prudent for me to lean against a tree and consult my Smartphone to ascertain the dates of hunting season in Pennsylvania. My husband insisted on climbing ahead to reconnoiter. Returning to me at my resting spot, where I had determined that hunting season was not yet in force (we surmised that the gunshots were those of a neighboring farmer taking target practice), he reported that the top of the mountain was indeed close above us but that he could not locate the trail along the ridge.
We decided to call it a hike and start down. After another thorny adventure, only this time going downhill, we made landfall on a farmer's private property (not the one who was taking target practice, we prayed) and had to climb over a cow fence. My GPS then came in handy in locating the road along which we had parked our car.
The moral of this story is, maybe those extra fees for my smart phone are actually worth it. But beyond that, what does the story of this hike have to do with writing? Actually, a lot. Beginning a new story is the start of an adventure, much like undertaking a hike into unknown territory. The trail may seem to be clearly marked, if you have mapped out the story in your head or written an outline, but once you begin the writing process, you often go off the trail. This may be for the best, as it is the process of writing itself that points to sometimes thrilling new vistas and possibilities to which the writer must be open. But sometimes while working on a manuscript, I feel that I have gotten lost in the woods. Often a session of hard work may result in taking a path that leads nowhere, or to a place I don't really want to be. Then it is my job to try to find the path that will lead me to the top of the mountain—a finished poem or story that shines.
If I don't find that path, I may have to give up on this story for at least a while and start another. But it is important to keep sight of the fact that in the process itself, there are always lessons to be learned and skills to be gained. In climbing the mountain, my husband and I still had the chance to take a brisk climb together on a beautiful day in the woods. We had the feeling of accomplishment that comes with knowing that we ascended 1,000 feet. We had a shared adventure, and the most delicious peanut butter and jelly sandwiches and fresh peaches waiting for us to devour at our post-hike tailgate picnic. Plus, this adventure gave me a subject for this blog!
In the same way, when considering your own work or your students, remember that losing one's way is not always the worst thing that can happen. It can open new vistas, offer new lessons, and may even lead, eventually, to the top of the mountain!
http://laurakraussmelmed.com/
P.S. Don't forget to comment and enter September's giveaway!
PENCIL TIPS GIVEAWAY!
Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
August 29, 2011
Revision Advice from My Summer Reading
by Jacqueline Jules
"Ultimately, the quality of a good piece of writing is determined by the amount of revision a writer is willing to do." —Marcia S. Freeman, Teaching the Youngest Writers: A Practical Guide.
Personally, I enjoy revision. It's writing the first draft that feels like cutting the lawn, one blade at a time. Lots of authors agree with me on this. However, many students find revision extremely painful. How can we help? In my last post, I shared two famous revision stories and one of my own in the hopes of encouraging young writers that revision is well worth the effort. Now, at the beginning of the school year, I'd like to share some advice about revision from my summer reading. I read three books: Reflections by Ralph Fletcher from the Richard C. Owen Author at Work series, Drop Everything and Write: An Easy Breezy Guide for Kids Who Want to Write a Story by Linda Leopold Strauss, and Teaching the Youngest Writers: A Practical Guide by Marcia S. Freeman.
Ralph Fletcher in Reflections readily admits that sometimes he gets defensive when editors suggest revisions to his work. He wants to shout like a four year old, "I'm not going to change a single comma!" But after he settles down, he tries to find a way to "own the advice" as he works on the suggested changes. Fletcher says that more often than not, "seeing my story through another person's eyes has helped me untangle a tricky plot or story structure." Calling his editors "co-creators" of his published work, Fletcher says that his editors have strengthened his writing and taught him many things. Page 44 of Reflections has a nice example of an edited page from Fletcher's memoir, Marshfield Dreams, complete with crossed out lines, suggestions, and sticky note that would be great to show to students.
Drop Everything and Write by Linda Leopold Strauss has a number of exercises that can help young writers add sensory details to their writing. One activity is a "Listening Walk," in which the writer records all the sounds heard on the street such as shoes on the sidewalk or a car driving over a manhole. Her example of her own "Listening Walk" would be a great read aloud model in the classroom. With entertaining anecdotes, Strauss warns against letting subplots or minor characters overrun a story and distracting the reader's attention. She defines many important writer's terms such as flashback, transitions, black moment, and voice. In a chapter entitled, "Show, Don't Tell," Strauss explains the advantages of including details rather than summarizing the action. She encourages young writers to spice up their writing by describing an angry character's actions rather than simply saying he was angry or setting a scene with images from all five senses. Finally, she says that stories benefit from "drawer time" and gives a checklist for polishing a draft that teachers and students should find very useful.
Marcia Freeman's Teaching the Youngest Writers addresses the kind of revisions done on the primary level. She provides concrete advice on what teachers can reasonably expect from kindergarteners and first graders, accepting that emergent writers are more capable of adding material than reorganizing a narrative told out of chronological order. Young students are encouraged by the opportunity to share their work. This in turns leads to a consideration of the reader and incentive to revise. "A writer's first responsibility is to his reader," says Freeman. Teachers can word compliments with this in mind. For example, "Your readers will like the way you told about your sister." Reinforcing the reader's needs can also be used in suggested revisions, such as telling young students that the repetition of a word "puts the reader to sleep." Freeman defines the important distinction between revision and editing. Revision helps the writer make sure his message is "clear and interesting" while editing is focused on conventions like grammar and spelling. But the reader is still important in the editing process, since punctuation helps the reader understand the text. Finally, while Freeman advises teaching the youngest writers to avoid seeing their work as something that can be finished in one sitting, she cautions against expecting perfection.
All three of these summer reading books enriched my own approach to teaching and writing. I hope they will be useful to you as well.
http://www.jacquelinejules.com/
P.S. Don't forget to enter our Pencil Tips Book Giveaway!
PENCIL TIPS GIVEAWAY!
Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
"Ultimately, the quality of a good piece of writing is determined by the amount of revision a writer is willing to do." —Marcia S. Freeman, Teaching the Youngest Writers: A Practical Guide.
Personally, I enjoy revision. It's writing the first draft that feels like cutting the lawn, one blade at a time. Lots of authors agree with me on this. However, many students find revision extremely painful. How can we help? In my last post, I shared two famous revision stories and one of my own in the hopes of encouraging young writers that revision is well worth the effort. Now, at the beginning of the school year, I'd like to share some advice about revision from my summer reading. I read three books: Reflections by Ralph Fletcher from the Richard C. Owen Author at Work series, Drop Everything and Write: An Easy Breezy Guide for Kids Who Want to Write a Story by Linda Leopold Strauss, and Teaching the Youngest Writers: A Practical Guide by Marcia S. Freeman.
Ralph Fletcher in Reflections readily admits that sometimes he gets defensive when editors suggest revisions to his work. He wants to shout like a four year old, "I'm not going to change a single comma!" But after he settles down, he tries to find a way to "own the advice" as he works on the suggested changes. Fletcher says that more often than not, "seeing my story through another person's eyes has helped me untangle a tricky plot or story structure." Calling his editors "co-creators" of his published work, Fletcher says that his editors have strengthened his writing and taught him many things. Page 44 of Reflections has a nice example of an edited page from Fletcher's memoir, Marshfield Dreams, complete with crossed out lines, suggestions, and sticky note that would be great to show to students.
Drop Everything and Write by Linda Leopold Strauss has a number of exercises that can help young writers add sensory details to their writing. One activity is a "Listening Walk," in which the writer records all the sounds heard on the street such as shoes on the sidewalk or a car driving over a manhole. Her example of her own "Listening Walk" would be a great read aloud model in the classroom. With entertaining anecdotes, Strauss warns against letting subplots or minor characters overrun a story and distracting the reader's attention. She defines many important writer's terms such as flashback, transitions, black moment, and voice. In a chapter entitled, "Show, Don't Tell," Strauss explains the advantages of including details rather than summarizing the action. She encourages young writers to spice up their writing by describing an angry character's actions rather than simply saying he was angry or setting a scene with images from all five senses. Finally, she says that stories benefit from "drawer time" and gives a checklist for polishing a draft that teachers and students should find very useful.
Marcia Freeman's Teaching the Youngest Writers addresses the kind of revisions done on the primary level. She provides concrete advice on what teachers can reasonably expect from kindergarteners and first graders, accepting that emergent writers are more capable of adding material than reorganizing a narrative told out of chronological order. Young students are encouraged by the opportunity to share their work. This in turns leads to a consideration of the reader and incentive to revise. "A writer's first responsibility is to his reader," says Freeman. Teachers can word compliments with this in mind. For example, "Your readers will like the way you told about your sister." Reinforcing the reader's needs can also be used in suggested revisions, such as telling young students that the repetition of a word "puts the reader to sleep." Freeman defines the important distinction between revision and editing. Revision helps the writer make sure his message is "clear and interesting" while editing is focused on conventions like grammar and spelling. But the reader is still important in the editing process, since punctuation helps the reader understand the text. Finally, while Freeman advises teaching the youngest writers to avoid seeing their work as something that can be finished in one sitting, she cautions against expecting perfection.
All three of these summer reading books enriched my own approach to teaching and writing. I hope they will be useful to you as well.
http://www.jacquelinejules.com/
P.S. Don't forget to enter our Pencil Tips Book Giveaway!
PENCIL TIPS GIVEAWAY!
Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
August 22, 2011
Writing Humor: Parallels with Advertising
by Pam Smallcomb
Hello, my name is Pam Smallcomb, and I have been hitting my head against the writing wall for twenty years (even more, but that would make me feel really old to admit). I have the dents in my forehead to prove it. I work really hard at coming up with ideas that don't make me cringe. Maybe some of you have that problem, too, or your students do. So, in the spirit of piggybacking on to Joan Waites' great post about Story Starters, I thought I would share part of a presentation I did for an SCBWI workshop.
My inspiration for the workshop came when it occurred to me that writing a humorous picture book has some parallels to advertising. The original brain jiggling thought I had was this: advertisers cram a lot of story into a short amount of time and space.
Advertisers are highly creative and innovative. They get a message across in a fresh way. Advertisers love humor and are very good at it.
So how do they go about making their advertising magic?First, they decide on their target market. They define who their product is for.
As a picture book writer, our target is a young child. But we have another target, too, because it is an adult that buys the book. Having something in your humorous picture book for a parent or an adult to chuckle over is a big bonus.
Think about Knufflebunny by Mo Willems. Both target markets are touched with this story. If you are a little kid and you lose your lovey, it's like the world has ended. If you are a parent, and your kid loses his lovey, you know you are in for a rough ride.
Advertisers also focus on the message they want to get across.As writers, we should think about our 'message' or theme, too.
Here are some things to ask yourself when developing the theme of your humorous picture book:Is my story of value to a young child (will it resonate)?What are the worries of young kids?What are some things that parents have to help their kids with (sleeping through the night, etc.)Is the humor something a child will 'get'?Did you leave a little nugget for that parent/adult who is reading the book to the child?
Another thing that advertisers do when they get a new project is to brainstorm ideas. We can brainstorm to generate ideas for humorous picture books as well. There are lots of ways to brainstorm. One way is to blend two unlike things.
Think of the Geico Caveman ad: cavemen and insurance. Not at all alike, which is why it is funny. Make two lists of items (just let your imagination run wild!). Then draw lines between unlike things. Connecting unlike things can help you find a jumping off point for a funny story. There is humor in incongruity. Take two things that are incompatible and build a relationship between them.
Here are some picture books that blend unlike things:
Is Your Buffalo Ready for Kindergarten? by Audrey VernickThis is a fun book about the first day of kindergarten with one's own buffalo. Buffalo and kindergarten – couldn't be more different!
Todd's TV by James ProimosAn affable TV takes over the parental duties of busy parents with hilarious results.
Shark vs. Train by Chris BartonAn humorous imaginary battle between a shark and a train. Two unlike things pitted against each other, and two things that boys will especially love.
So the next time you get stuck trying to come up with an idea for a funny picture book, break out a pencil, make two lists, draw lines between unlike things and see what happens! All our brains need a good jiggle now and then.http://www.pamsmallcomb.com/
P.S. Don't forget! To enter our book giveaway, just leave a comment here. A winner will be picked on September 30th!
PENCIL TIPS GIVEAWAY!
Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
Hello, my name is Pam Smallcomb, and I have been hitting my head against the writing wall for twenty years (even more, but that would make me feel really old to admit). I have the dents in my forehead to prove it. I work really hard at coming up with ideas that don't make me cringe. Maybe some of you have that problem, too, or your students do. So, in the spirit of piggybacking on to Joan Waites' great post about Story Starters, I thought I would share part of a presentation I did for an SCBWI workshop.
My inspiration for the workshop came when it occurred to me that writing a humorous picture book has some parallels to advertising. The original brain jiggling thought I had was this: advertisers cram a lot of story into a short amount of time and space.
Advertisers are highly creative and innovative. They get a message across in a fresh way. Advertisers love humor and are very good at it.
So how do they go about making their advertising magic?First, they decide on their target market. They define who their product is for.
As a picture book writer, our target is a young child. But we have another target, too, because it is an adult that buys the book. Having something in your humorous picture book for a parent or an adult to chuckle over is a big bonus.
Think about Knufflebunny by Mo Willems. Both target markets are touched with this story. If you are a little kid and you lose your lovey, it's like the world has ended. If you are a parent, and your kid loses his lovey, you know you are in for a rough ride.
Advertisers also focus on the message they want to get across.As writers, we should think about our 'message' or theme, too.
Here are some things to ask yourself when developing the theme of your humorous picture book:Is my story of value to a young child (will it resonate)?What are the worries of young kids?What are some things that parents have to help their kids with (sleeping through the night, etc.)Is the humor something a child will 'get'?Did you leave a little nugget for that parent/adult who is reading the book to the child?
Another thing that advertisers do when they get a new project is to brainstorm ideas. We can brainstorm to generate ideas for humorous picture books as well. There are lots of ways to brainstorm. One way is to blend two unlike things.
Think of the Geico Caveman ad: cavemen and insurance. Not at all alike, which is why it is funny. Make two lists of items (just let your imagination run wild!). Then draw lines between unlike things. Connecting unlike things can help you find a jumping off point for a funny story. There is humor in incongruity. Take two things that are incompatible and build a relationship between them.
Here are some picture books that blend unlike things:
Is Your Buffalo Ready for Kindergarten? by Audrey VernickThis is a fun book about the first day of kindergarten with one's own buffalo. Buffalo and kindergarten – couldn't be more different!
Todd's TV by James ProimosAn affable TV takes over the parental duties of busy parents with hilarious results.
Shark vs. Train by Chris BartonAn humorous imaginary battle between a shark and a train. Two unlike things pitted against each other, and two things that boys will especially love.
So the next time you get stuck trying to come up with an idea for a funny picture book, break out a pencil, make two lists, draw lines between unlike things and see what happens! All our brains need a good jiggle now and then.http://www.pamsmallcomb.com/
P.S. Don't forget! To enter our book giveaway, just leave a comment here. A winner will be picked on September 30th!
PENCIL TIPS GIVEAWAY!
Win a signed copy of I'm Not by Pam Smallcomb
To enter, leave a comment on a Pencil Tips blog post
Random winner contacted September 30th
"...a fresh take on friendship/reassurance stories and is, for sure, not boring" - starred review Kirkus Reviews December 2010
Leave a comment at any Pencil Tips blog post between now and September 30th
for a chance to win a signed copy.
Mary Quattlebaum's Blog
- Mary Quattlebaum's profile
- 22 followers
Mary Quattlebaum isn't a Goodreads Author
(yet),
but they
do have a blog,
so here are some recent posts imported from
their feed.
