Janet Fox's Blog, page 26
February 12, 2014
January/February Launches!
A few books on my TBR pile...
February 4, 2014
Multicultural Books: CHILDREN OF THE TIPI
My friend Nancy Bo Flood writes wonderful multicultural books, and has a deep interest in Native American issues. I invited her to submit a guest post, and she chose to feature CHILDEN OF THE TIPI. Although we just missed the Multicultural Book Day on January 27th, it's never too late to celebrate the rich heritage of this country. Here's Nancy:
CHILDREN OF THE TIPI: LIFE IN THE BUFFALO DAYS
Edited by Michael Oren Fitzgerald
CHILDREN OF THE TIPI is a treasure. The book shares both images and words that accomplish so well what Michael Fitzgerald describes in his Editor's Note - that we can "learn the wisdom of the olden-day Indians directly from the source...we can still glimpse the spirit of that irreplaceable world directly through their words and photographs."
Yes, in this book we have a unique opportunity – an exciting opportunity - to listen to the voices of Native American leaders, both men and women, and to see their images in authentic, archival photographs. The creator of this book, Michael Fitzgerald, identifies himself as “editor.” All the dialogue and descriptions – every word - are quotes from American Indian men and women born before 1904. What an opportunity for children and adults to read observations, descriptions, and wisdom by the very people who spoke them. I greatly appreciate Michael Fitzgerald’s goal to "show not tell." He chose topics of high interest to all children – the games played, story-telling, mud fights in the snow, daily camp life, making dolls out of corn cobs, sleds out of buffalo ribs, hunting, riding horses…. Fascinating and fun to read! The quotes describe with surprising detail but they also allow the reader to become aware of underlying wisdom..."including the emphasis they [American Indians] placed on moral character and the sacred quality of virgin Nature." CHILDREN OF THE TIPI brings the reader full-circle to now, contemporary times, with photographs of today's Native children continuing the very traditions described in earlier pages.
During the past several years as I have written and spoken about the need for children's books about and by Native Americans. Less than 1% of published books for children are written by or about American Indians. I have emphasized the need to show individuals, not stereotypes, and historical accuracy, not myths, exaggerations, or misrepresentations...or silent omission. We need books written from the Native perspective. What an amazing book Michael Fitzgerald has created that is accessible and understandable by young readers.
CHILDREN OF THE TIPI was published by Wisdom Tales Press, an imprint of World Wisdom and Wisdom Tales. This year Wisdom Tales is sponsoring the first annual Multicultural Children's Book Day, January 27th. They will be giving away sets of their children’s books on both their Facebook and Pinterest pages in conjunction with the event. Take a look – their books are wonderful.
https://www.facebook.com/WisdomTalesPresshttp://www.jumpintoabook.com/2014/01/multicultural-childrens-book-day-coming/
http://www.pragmaticmom.com/2013/11/multicultural-childrens’book-day/
CHILDREN OF THE TIPI: LIFE IN THE BUFFALO DAYS
Edited by Michael Oren Fitzgerald
CHILDREN OF THE TIPI is a treasure. The book shares both images and words that accomplish so well what Michael Fitzgerald describes in his Editor's Note - that we can "learn the wisdom of the olden-day Indians directly from the source...we can still glimpse the spirit of that irreplaceable world directly through their words and photographs."
Yes, in this book we have a unique opportunity – an exciting opportunity - to listen to the voices of Native American leaders, both men and women, and to see their images in authentic, archival photographs. The creator of this book, Michael Fitzgerald, identifies himself as “editor.” All the dialogue and descriptions – every word - are quotes from American Indian men and women born before 1904. What an opportunity for children and adults to read observations, descriptions, and wisdom by the very people who spoke them. I greatly appreciate Michael Fitzgerald’s goal to "show not tell." He chose topics of high interest to all children – the games played, story-telling, mud fights in the snow, daily camp life, making dolls out of corn cobs, sleds out of buffalo ribs, hunting, riding horses…. Fascinating and fun to read! The quotes describe with surprising detail but they also allow the reader to become aware of underlying wisdom..."including the emphasis they [American Indians] placed on moral character and the sacred quality of virgin Nature." CHILDREN OF THE TIPI brings the reader full-circle to now, contemporary times, with photographs of today's Native children continuing the very traditions described in earlier pages.During the past several years as I have written and spoken about the need for children's books about and by Native Americans. Less than 1% of published books for children are written by or about American Indians. I have emphasized the need to show individuals, not stereotypes, and historical accuracy, not myths, exaggerations, or misrepresentations...or silent omission. We need books written from the Native perspective. What an amazing book Michael Fitzgerald has created that is accessible and understandable by young readers.
CHILDREN OF THE TIPI was published by Wisdom Tales Press, an imprint of World Wisdom and Wisdom Tales. This year Wisdom Tales is sponsoring the first annual Multicultural Children's Book Day, January 27th. They will be giving away sets of their children’s books on both their Facebook and Pinterest pages in conjunction with the event. Take a look – their books are wonderful.
https://www.facebook.com/WisdomTalesPresshttp://www.jumpintoabook.com/2014/01/multicultural-childrens-book-day-coming/
http://www.pragmaticmom.com/2013/11/multicultural-childrens’book-day/
January 28, 2014
WEIRD ROCKS Rocks!! Plus a Giveaway
When I was a kid my first hobby was rock collecting. It all started with one of those little sampler boxes that we picked up at a museum. Then my parents took us rock-hounding: searching for gems in places open to the public. Then my sister found (and subsequently lost, sadly) a lovely ruby. Then I got my masters in geology. Then I married a geologist...well, you get the drill.
What I would've given for a copy of this book when I was young! Michele Corriel has written a truly fun exploration of some of the weirder rocks on the planet. Today she's here with a guest post, plus she's giving away one copy of WEIRD ROCKS. It would be a great addition to any library. All you need to do is comment and I'll put you in my random giveaway generator!
Sometimes it’s easy to think of a non-fiction picture book (or any non-fiction book) as a way to get information across to young readers. But for me, it’s much more than that. It’s an opportunity to understand language. It’s a new door opening for a poetic perspective. A new inlet to creativity.
For example, you can’t say the “obsidian black sky” before you know what obsidian is. You can’t say “the granite feeling of winter” without knowing how old and stubborn granite can be.
There is also something empowering about being able to name things. (Think about Voldemort and how by never saying his name everyone became even more afraid.) For me, non-fiction is more empowering than the Hallow's elder wand.
So when I’m sitting down to write a non-fiction picture book, I think very hard about the words I’m using and how to embracing the language in a way that can open the door for young readers to use those words and to understand the concepts, not just in the scientific way, but in a poetic way as well.
In the same way, non-fiction books can used in the classroom as a means to seeing vocabulary not only as definitions but to hear how melodic words can be, how close beauty is to an idea. And, of course, as a way of avoiding the dreaded clichés.
Another way to use non-fiction for creative writing is to use the old “what if” scenario. What If the continents never drifted apart? What kind of world would we live in? Would we be a single country?
I also like to try to think out of the box when I approach a subject that has the potential to be very dry. I try to come up with a new way to introduce the reader to something as boring as, say, a simple rock. For every rock we come across there is a history as ancient the earth itself. Sometimes, even older (I’m thinking of meteorites). I think of star dust and mysteries. I think of cities destroyed by volcanoes. Or inland oceans whose only signature is the fossils they left behind.
Besides the words themselves, besides the story behind the subject, there are the people whose lives are dedicated to sorting out a single question.
The world is such a fascinating place, and it is the job of the non-fiction writer to get that point that across to the reader.
Check out the WEIRD ROCKS trailer, and then comment to win a copy!
What I would've given for a copy of this book when I was young! Michele Corriel has written a truly fun exploration of some of the weirder rocks on the planet. Today she's here with a guest post, plus she's giving away one copy of WEIRD ROCKS. It would be a great addition to any library. All you need to do is comment and I'll put you in my random giveaway generator!
Sometimes it’s easy to think of a non-fiction picture book (or any non-fiction book) as a way to get information across to young readers. But for me, it’s much more than that. It’s an opportunity to understand language. It’s a new door opening for a poetic perspective. A new inlet to creativity. For example, you can’t say the “obsidian black sky” before you know what obsidian is. You can’t say “the granite feeling of winter” without knowing how old and stubborn granite can be.
There is also something empowering about being able to name things. (Think about Voldemort and how by never saying his name everyone became even more afraid.) For me, non-fiction is more empowering than the Hallow's elder wand.
So when I’m sitting down to write a non-fiction picture book, I think very hard about the words I’m using and how to embracing the language in a way that can open the door for young readers to use those words and to understand the concepts, not just in the scientific way, but in a poetic way as well.
In the same way, non-fiction books can used in the classroom as a means to seeing vocabulary not only as definitions but to hear how melodic words can be, how close beauty is to an idea. And, of course, as a way of avoiding the dreaded clichés.
Another way to use non-fiction for creative writing is to use the old “what if” scenario. What If the continents never drifted apart? What kind of world would we live in? Would we be a single country?
I also like to try to think out of the box when I approach a subject that has the potential to be very dry. I try to come up with a new way to introduce the reader to something as boring as, say, a simple rock. For every rock we come across there is a history as ancient the earth itself. Sometimes, even older (I’m thinking of meteorites). I think of star dust and mysteries. I think of cities destroyed by volcanoes. Or inland oceans whose only signature is the fossils they left behind.
Besides the words themselves, besides the story behind the subject, there are the people whose lives are dedicated to sorting out a single question.
The world is such a fascinating place, and it is the job of the non-fiction writer to get that point that across to the reader.
Check out the WEIRD ROCKS trailer, and then comment to win a copy!
January 21, 2014
Julie Berry's Gorgeous Novel ALL THE TRUTH THAT'S IN ME
I've known Julie Berry for quite a few years now, ever since she came back to Vermont College of Fine Arts as an alum and we met while I was a student. She's smart and savvy and a good friend, and she's written some wonderful, fun novels, but my favorite is her most recent, ALL THE TRUTH THAT'S IN ME. It's a fascinating story that I'm recommending to everyone as one of my 2013 top reads. Here's a synopsis:"Four years ago, Judith and her best friend disappeared from their small town of Roswell Station. Two years ago, only Judith returned, permanently mutilated, reviled and ignored by those who were once her friends and family.Unable to speak, Judith lives like a ghost in her own home, silently pouring out her thoughts to the boy who's owned her heart as long as she can remember--even if he doesn't know it--her childhood friend, Lucas.But when Roswell Station is attacked, long-buried secrets come to light, and Judith is forced to choose: continue to live in silence, or recover her voice, even if it means changing her world, and the lives around her, forever.This startlingly original novel will shock and disturb you; it will fill you with Judith's passion and longing; and its mysteries will keep you feverishly turning the pages until the very last."
Congratulations, Julie, on your stunning new novel, ALL THE TRUTH THAT’S IN ME. That second person address is such a twist – well done! Please tell us how you were inspired to write this story.
This project began by accident. I was working on my critical thesis, a lengthy research paper assigned during the third semester at Vermont College of the Fine Arts, and I read some material in a craft book about second person point of view. I wondered, could I write something in that voice? I reached for my laptop, flipped it open, pondered for a bit, then wrote the first page in one sitting. Very little of it has changed to the present day. The voice appeared from that moment, and it remained throughout the process. It was one of those little miracles you pray for as a writer. Looked at another way, though, it was an act of homework procrastination.
One of the reasons for the novel’s appeal, I think, is that your setting feels both real and timeless. Can you comment on that?
The setting unfolded gradually. I saw it, at first, in a somewhat misty focus, swirling into view only as needed around Judith, as if she were walking through a cloud. I knew from the outset that I could not set this in a historically known place and time, because I didn’t want Judith’s story overshadowed one smidgeon by the expectations we bring to standard historical fiction (much as I love them where they properly belong). At some point I needed to make some decisions about what era to pattern this time period after, and the early modern period is a useful one in that the world still feels antique, pastoral, and pre-technological – which is where I think that nostalgic sense of timelessness resides -- but society has already begun to confront issues of philosophy, politics, reason, religion, and ethics that feel recognizable and relevant to us today.
The way that you handle Judith’s mutilation is deft and realistic. Was this something you had to research?
I wanted desperately to research it, but I couldn’t find any sources at all. I did consult informally with a practicing speech therapist, but most of my research came from personal practice and imitation. I spent a lot of time talking as I believed Judith would attempt to do, and documenting the sounds and sensations I observed. After the book came out, I met a reader at a book club meeting who was also a speech therapist. She had worked with a patient who, for medical reasons, ended up in a physical plight much like Judith’s. She told me that the depiction of Judith’s journey toward speech rang true to her own experiences with her patient. I felt so relieved and grateful to know it.
Above everything else, for me this novel is a moving love story. Is that how you would describe it?
I think so. I hope so! I wanted very much for readers to fall in love with this love story the way I did. It’s nice to know you felt that way.
I’m in awe of the way that you handle time – short, back-and-forth passages and no chapters. Somehow it works – not only is it not confusing, it adds power. How did you craft the story?
Strange as it may seem, the structure, the ordering, the length of chapters, the non-linear movement through chronological time, just happened that way. I wish I could say I architected it all in keeping with a brilliant master plan, but this is simply how Judith’s story unfurled. It was a singular experience.
Anything else you’d like to add? What do you have coming next?
I have a middle grade murder mystery coming out this fall from Roaring Brook which I’m really excited about, titled The Scandalous Sisterhood of Prickwillow Place. It’s three parts murder and two parts farce, and, of course, one part Victorian schoolgirl hijinks. It’s very different from All the Truth That’s in Me, but I like to keep things interesting.
Thanks so much, Julie!
Thank YOU!
Twitter @julieberrybooksFacebook /julieberrybookspageTumblr: www.allthetruththatsinme.comHomepage: www.julieberrybooks.com
Book on Indiebound: http://www.indiebound.org/book/9780670786152
Congratulations, Julie, on your stunning new novel, ALL THE TRUTH THAT’S IN ME. That second person address is such a twist – well done! Please tell us how you were inspired to write this story.
This project began by accident. I was working on my critical thesis, a lengthy research paper assigned during the third semester at Vermont College of the Fine Arts, and I read some material in a craft book about second person point of view. I wondered, could I write something in that voice? I reached for my laptop, flipped it open, pondered for a bit, then wrote the first page in one sitting. Very little of it has changed to the present day. The voice appeared from that moment, and it remained throughout the process. It was one of those little miracles you pray for as a writer. Looked at another way, though, it was an act of homework procrastination.
One of the reasons for the novel’s appeal, I think, is that your setting feels both real and timeless. Can you comment on that?
The setting unfolded gradually. I saw it, at first, in a somewhat misty focus, swirling into view only as needed around Judith, as if she were walking through a cloud. I knew from the outset that I could not set this in a historically known place and time, because I didn’t want Judith’s story overshadowed one smidgeon by the expectations we bring to standard historical fiction (much as I love them where they properly belong). At some point I needed to make some decisions about what era to pattern this time period after, and the early modern period is a useful one in that the world still feels antique, pastoral, and pre-technological – which is where I think that nostalgic sense of timelessness resides -- but society has already begun to confront issues of philosophy, politics, reason, religion, and ethics that feel recognizable and relevant to us today.
The way that you handle Judith’s mutilation is deft and realistic. Was this something you had to research?
I wanted desperately to research it, but I couldn’t find any sources at all. I did consult informally with a practicing speech therapist, but most of my research came from personal practice and imitation. I spent a lot of time talking as I believed Judith would attempt to do, and documenting the sounds and sensations I observed. After the book came out, I met a reader at a book club meeting who was also a speech therapist. She had worked with a patient who, for medical reasons, ended up in a physical plight much like Judith’s. She told me that the depiction of Judith’s journey toward speech rang true to her own experiences with her patient. I felt so relieved and grateful to know it.
Above everything else, for me this novel is a moving love story. Is that how you would describe it?
I think so. I hope so! I wanted very much for readers to fall in love with this love story the way I did. It’s nice to know you felt that way.
I’m in awe of the way that you handle time – short, back-and-forth passages and no chapters. Somehow it works – not only is it not confusing, it adds power. How did you craft the story?
Strange as it may seem, the structure, the ordering, the length of chapters, the non-linear movement through chronological time, just happened that way. I wish I could say I architected it all in keeping with a brilliant master plan, but this is simply how Judith’s story unfurled. It was a singular experience.
Anything else you’d like to add? What do you have coming next?
I have a middle grade murder mystery coming out this fall from Roaring Brook which I’m really excited about, titled The Scandalous Sisterhood of Prickwillow Place. It’s three parts murder and two parts farce, and, of course, one part Victorian schoolgirl hijinks. It’s very different from All the Truth That’s in Me, but I like to keep things interesting.
Thanks so much, Julie!
Thank YOU!
Twitter @julieberrybooksFacebook /julieberrybookspageTumblr: www.allthetruththatsinme.comHomepage: www.julieberrybooks.com
Book on Indiebound: http://www.indiebound.org/book/9780670786152
January 12, 2014
Knit One, Purl Four: On Patience
After a hiatus of some years, I've recently taken up knitting again. It was one of those spur-of-the-moment things, looking in a shop window at all the brilliant yarn colors and thinking, well, why not? A small investment.
Plus, I really needed a way to disconnect.
Those who know me well know that I am not a patient person. I'm also something of a workaholic. I love writing and when I spend more than a couple of days away from it, I become very unhappy, anxious, fretful. I guess I’m a little compulsive about my work. I want to get the story out, put it on the page, open it to the world.
But much of writing requires patience. For one thing, the best stories are those with depth and nuance, and those things take time to craft. Like the best stews must simmer, the best writing needs to simmer both on the page and in the brain. Simmering requires time.
When I finish a draft, I’m impatient to get it out there, somewhere, but that’s a poor strategy, isn’t it? Yes, we all know how tempting it is to hit “send” way too soon. (It can be equally destructive to keep rewriting the same story over and over and over, but that’s a discussion for another post.) It takes time and distance – simmering – to recognize the flaws in a work.
One of my fingerless gloves...
Then there’s the whole legendary waiting game within the industry. Waiting to hear from an agent. Waiting to hear from an editor. Waiting for the marketing people to okay the project, waiting for the edits, waiting for the book to come out. Waiting for the artwork. Waiting for the reviews. Waiting for the sales. Waiting for the check. From novel idea to book in hand can take years.
So, knitting. I’ve discovered that knitting is very meditative. Anything I knit that is complicated requires counting, and at least a minimal attention to what’s occupying my hands. I can listen to something but it’s hard to carry on a conversation. Other voices in my head go quiet. Even my nagging little internal editor shuts up.
Now I know why so many authors I’ve met are knitters. As the brain goes quiet the subconscious wakes up, and the subconscious knits the next story thread, the next character, the next scene. While my hands are occupied with creating something tangible, my brain is occupied with the intangible.
Plus, I'm learning to slow down and become patient.
I’d love to hear from some fellow knitters – or, do you have another strategy for developing patience?
Plus, I really needed a way to disconnect.
Those who know me well know that I am not a patient person. I'm also something of a workaholic. I love writing and when I spend more than a couple of days away from it, I become very unhappy, anxious, fretful. I guess I’m a little compulsive about my work. I want to get the story out, put it on the page, open it to the world.
But much of writing requires patience. For one thing, the best stories are those with depth and nuance, and those things take time to craft. Like the best stews must simmer, the best writing needs to simmer both on the page and in the brain. Simmering requires time.
When I finish a draft, I’m impatient to get it out there, somewhere, but that’s a poor strategy, isn’t it? Yes, we all know how tempting it is to hit “send” way too soon. (It can be equally destructive to keep rewriting the same story over and over and over, but that’s a discussion for another post.) It takes time and distance – simmering – to recognize the flaws in a work.
One of my fingerless gloves...Then there’s the whole legendary waiting game within the industry. Waiting to hear from an agent. Waiting to hear from an editor. Waiting for the marketing people to okay the project, waiting for the edits, waiting for the book to come out. Waiting for the artwork. Waiting for the reviews. Waiting for the sales. Waiting for the check. From novel idea to book in hand can take years.
So, knitting. I’ve discovered that knitting is very meditative. Anything I knit that is complicated requires counting, and at least a minimal attention to what’s occupying my hands. I can listen to something but it’s hard to carry on a conversation. Other voices in my head go quiet. Even my nagging little internal editor shuts up.
Now I know why so many authors I’ve met are knitters. As the brain goes quiet the subconscious wakes up, and the subconscious knits the next story thread, the next character, the next scene. While my hands are occupied with creating something tangible, my brain is occupied with the intangible.
Plus, I'm learning to slow down and become patient.
I’d love to hear from some fellow knitters – or, do you have another strategy for developing patience?
December 30, 2013
Walking! My Treadmill Desk
My Christmas present this year was something I’ve been thinking about ever since Jessica Dils, a fellow alum of
Vermont College of Fine Arts,
presented her graduate lecture in January 2010, and talked about treadmill desks.
I’d never heard of such a thing, but it sounded like a great idea. A writer’s sedentary lifestyle? Check. Difficulty getting to the gym some days? Check. Recipe for weight gain and other health issues? You got it. The idea of being able to move and write at the same time was very appealing.
Shortly following Jess’ lecture I was surprised to sense a movement afoot (!), with the appearance of articles on treadmill desks in both SCBWI (January 2011) and Romance Writers ’ (April 2013) magazines.
All during that time friends began to blog about their tread-desks and report weight loss and increasing productivity. The final swing vote came from a persuasive article in The New Yorker in May 2013, and I decided that I’d save my pennies for the purchase of a tread-desk.
While I’m relatively new to the experiment, I couldn’t be happier. I'm writing this article on the treadmill now. Here are a few thoughts and tips in case you are curious.
After research and reading I decided to buy a complete adjustable desk/treadmill combination made for this purpose by LifeSpan . This is not an exercise treadmill; it can’t go faster than 4 miles an hour. It’s smaller and lighter weight than the one you find at the gym, and has fewer bells and whistles, although it’s pretty slick. And it doesn’t have arms, which would get in the way of the desk.
close-up of the desk and controls - very simple!
I chose the LifeSpan because they had great customer reviews, excellent warranty, and a decent price: $1500 including shipping for both desk and treadmill, plus the floor mat underneath. I could have purchased the treadmill alone for under $1000, but then I would have had to find or build a suitable high desk for my computer, and I’m not clever enough for that, and I’m not convinced it would have been much cheaper. I couldn’t convert my existing desk for a number of reasons.
I’m really pleased with this product that appears both well-made and is attractive enough to fit into our home, and requires only the occasional application of silicone.
However, if you are handy, you can probably purchase a second-hand treadmill and configure a desk and have the whole package for less than $500. Just make sure that the treadmill can go as slow as 1 mile per hour, and that you can adjust your desktop height because it won’t be perfect the first time out.
Here are a few other things I’m learning as I go:
- The first hour I walked I wore my usual shoes – leather slip-ons. I quickly discovered that I need to wear a better-cushioned walking shoe, so I keep a pair of supportive workout shoes next to the tread-desk for that purpose.- Don’t try to work and walk at more than 1.5 miles per hour. I’m typing this at 1 mile per hour and that seems about right.- I was so enthusiastic that I just jumped right on and walked for an hour. Although I get to the gym 5 times a week and am relatively fit, I was stiff and sore. This was different. Ease into it, and take breaks.- I’m getting better at typing fast as I walk but it has taken me a few hours of practice. I need to keep my fingers closer to the keyboard to avoid constant errors.- The rocking motion of walking/working is odd at first, but as I got back into my story I forgot where I was and pretty soon had written a couple of thousand words while walking 2 miles.- My LifeSpan comes equipped with a Bluetooth-enabled fitness sensor, but the reviews on that software were poor and I’m a Mac user, so I haven’t bothered. Besides, my goal is just to get out of the chair more.- I’m lucky with space but be sure to factor in that the treadmill must be plugged directly into a grounded wall socket – not a GFI nor an extension nor a surge protector – and comes with only a six foot cord.- The same company produces a bike desk, so if for any reason you can pedal but walking is difficult, that is another option.
the entire treadmill-desk, right behind my sitting desk
I would say this is one heck of a great Christmas present. I’ll update on my experiences, especially if I lose those five pounds I seem to gain at this time of year!
I’d never heard of such a thing, but it sounded like a great idea. A writer’s sedentary lifestyle? Check. Difficulty getting to the gym some days? Check. Recipe for weight gain and other health issues? You got it. The idea of being able to move and write at the same time was very appealing.
Shortly following Jess’ lecture I was surprised to sense a movement afoot (!), with the appearance of articles on treadmill desks in both SCBWI (January 2011) and Romance Writers ’ (April 2013) magazines.
All during that time friends began to blog about their tread-desks and report weight loss and increasing productivity. The final swing vote came from a persuasive article in The New Yorker in May 2013, and I decided that I’d save my pennies for the purchase of a tread-desk.
While I’m relatively new to the experiment, I couldn’t be happier. I'm writing this article on the treadmill now. Here are a few thoughts and tips in case you are curious.
After research and reading I decided to buy a complete adjustable desk/treadmill combination made for this purpose by LifeSpan . This is not an exercise treadmill; it can’t go faster than 4 miles an hour. It’s smaller and lighter weight than the one you find at the gym, and has fewer bells and whistles, although it’s pretty slick. And it doesn’t have arms, which would get in the way of the desk.
close-up of the desk and controls - very simple!I chose the LifeSpan because they had great customer reviews, excellent warranty, and a decent price: $1500 including shipping for both desk and treadmill, plus the floor mat underneath. I could have purchased the treadmill alone for under $1000, but then I would have had to find or build a suitable high desk for my computer, and I’m not clever enough for that, and I’m not convinced it would have been much cheaper. I couldn’t convert my existing desk for a number of reasons.
I’m really pleased with this product that appears both well-made and is attractive enough to fit into our home, and requires only the occasional application of silicone.
However, if you are handy, you can probably purchase a second-hand treadmill and configure a desk and have the whole package for less than $500. Just make sure that the treadmill can go as slow as 1 mile per hour, and that you can adjust your desktop height because it won’t be perfect the first time out.
Here are a few other things I’m learning as I go:
- The first hour I walked I wore my usual shoes – leather slip-ons. I quickly discovered that I need to wear a better-cushioned walking shoe, so I keep a pair of supportive workout shoes next to the tread-desk for that purpose.- Don’t try to work and walk at more than 1.5 miles per hour. I’m typing this at 1 mile per hour and that seems about right.- I was so enthusiastic that I just jumped right on and walked for an hour. Although I get to the gym 5 times a week and am relatively fit, I was stiff and sore. This was different. Ease into it, and take breaks.- I’m getting better at typing fast as I walk but it has taken me a few hours of practice. I need to keep my fingers closer to the keyboard to avoid constant errors.- The rocking motion of walking/working is odd at first, but as I got back into my story I forgot where I was and pretty soon had written a couple of thousand words while walking 2 miles.- My LifeSpan comes equipped with a Bluetooth-enabled fitness sensor, but the reviews on that software were poor and I’m a Mac user, so I haven’t bothered. Besides, my goal is just to get out of the chair more.- I’m lucky with space but be sure to factor in that the treadmill must be plugged directly into a grounded wall socket – not a GFI nor an extension nor a surge protector – and comes with only a six foot cord.- The same company produces a bike desk, so if for any reason you can pedal but walking is difficult, that is another option.
the entire treadmill-desk, right behind my sitting deskI would say this is one heck of a great Christmas present. I’ll update on my experiences, especially if I lose those five pounds I seem to gain at this time of year!
December 26, 2013
Ring Out The Old
Some thoughts on the year just passing…
…for the first time in three years I did not launch a book…
…my first little non-fiction GET ORGANIZED is now in six languages and at least as many countries and still sells at an amazing rate…
…my second novel – my middle child, FORGIVEN – has gone out of print…
…but her sisters are selling well, with FAITHFUL in its third, maybe fourth, printing…
…I’ve parted company with my wonderful agent of eight years, amicably, but with great sadness…
…I have steadfast fans who write me beautiful notes, and I treasure them and their words…
…I have a critique circle of people gifted with keen insight and brutal honesty…
…I’m lucky to have the freedom to write every day in a place of perilous beauty…
…I’m writing projects that bring me such joy that there are days when it’s hard to stop working.
The writing life is refuge and terror, both. It is euphoria and heartbreak. I would not trade it for anything, though some years may be more euphoric, or more heartbreaking, than others.
I wish for you a rich and rewarding 2014 with as much euphoria as you can stand.
…for the first time in three years I did not launch a book…
…my first little non-fiction GET ORGANIZED is now in six languages and at least as many countries and still sells at an amazing rate…
…my second novel – my middle child, FORGIVEN – has gone out of print…
…but her sisters are selling well, with FAITHFUL in its third, maybe fourth, printing…
…I’ve parted company with my wonderful agent of eight years, amicably, but with great sadness…
…I have steadfast fans who write me beautiful notes, and I treasure them and their words…
…I have a critique circle of people gifted with keen insight and brutal honesty…
…I’m lucky to have the freedom to write every day in a place of perilous beauty…
…I’m writing projects that bring me such joy that there are days when it’s hard to stop working.
The writing life is refuge and terror, both. It is euphoria and heartbreak. I would not trade it for anything, though some years may be more euphoric, or more heartbreaking, than others.
I wish for you a rich and rewarding 2014 with as much euphoria as you can stand.
December 14, 2013
Big River's Daughter: Historical Fantasy by Bobbi Miller
Today on the blog I'm delighted to welcome Bobbi Miller, talking about her acclaimed historical fantasy, BIG RIVER'S DAUGHTER. I'm a total sucker for historical fantasy, so take a look at this wonderful tale...
Raised by her pirate father on a Mississippi keeler, River is a half-feral river rat and proud of it. When her powerful father disappears in the great earthquake of 1811, she is on the run from buccaneers, including Jean Laffite, who hope to claim her father's territory and his buried treasure. But the ruthless rivals do not count on getting a run for their money from a plucky slip of a girl determined to find her place in the new order.
Hi Bobbi! First, can you tell us about how you came to write this particular tale?
“This here story is all true, as near as I can recollect. It ain’t a prettified story. Life as a river rat is stomping hard, and don’t I know it. It’s life wild and woolly, a real rough and tumble. But like Da said, life on the river is full of possible imaginations. And we river rats, we aim to see it through in our own way. That’s the honest truth of it.”
So says River Fillian as she begins to tell her story in my book, Big River’s Daughter. River’s story is an historical American fantasy, a blend of the tall tale tradition that captures so much of the American identity, and a unique form of fantasy. I have long been a student of tall tales, epitomized in the exploits of Annie Christmas and Mike Fink -- two important characters in River’s life. In true rough and tumble fashion, the heroes and heroines of tall tales mocked and defied convention. Even their language was as wild and unabashed as the circumstance and landscape that created these characters. And that describes my character, River.
I’m also an avid student of American history. David McCullough, two-time Pulitzer Prize winner, wrote, “We are raising a generation of young Americans who are by and large historically illiterate…We have to know who we were if we’re to know who we are and where we’re headed…If you don’t care about it –if you’ve inherited some great fortune, you don’t even know that it’s a great work of art and you’re not interested in it – you’re going to lose it…” History is literature, McCullough says. And our history is full of amazing stories.
The setting of my book was an extraordinary time in American history. We were embroiled in the War of 1812. While the War of Independence set us free of British rule, the War of 1812 ultimately defined us as a force in world power. My story is also grounded in many historical personalities, such as the Pirates Laffites, as well as events. In December 1811, a series of earthquakes shook the Mississippi River basin. Three of these earthquakes would have measured at magnitude of 8.0 on the modern-day Richter scale. Six others would have measured between 7.0 and 7.5. The quakes were felt as far away as Canada. It shook so hard, it forced the Mississippi River to run backwards, changing the very landscape. It also sets into motion River’s story.
Congratulations on being nominated for the Amelia Bloomer list. FAITHFUL was a nominee as well. Please talk about what that means for you, and for your novel.
What an honor this is! The Amelia Bloomer Project is an annual annotated book list in association with American Library Association , and features “well-written and well-illustrated books that empower girls by providing role models of strong, capable, creative women.” These personalities and characters were my inspirations when I was a young reader. Isn’t that the goal of every writer to inspire a young reader to become more than they imagined themselves possible? The characters in these books, both real and imagined, defied the social convention of their day –past and present – to become fully realized, astonishing individuals doing great things. http://www.ala.org/awardsgrants/amelia-bloomer-book-listAnother honor is being listed at the site, A Mighty Girl, with its tag line, “The world's largest collection of books, toys and movies for smart, confident, and courageous girl.” And you can see this at: http://www.amightygirl.com/
I know that you believe that historically accurate language use is especially important to you (as it is to me) so please tell readers how you went about researching and using language
With my studies in folklore, I have long studied the rhythms and patterns in speech and how they influence the storytelling process. I also listened to storytellers tell their stories, too, and the best ones – like Eric Kimmel, Rafe Martin and Ashley Bryan – enrapture the audience. Theirs is the process of storytelling as old as human communication. We are homo narratus, story animals, suggests Kendall Haven (Story Proof: The Science Behind the Startling Power of Story, 2007). We have told our stories for over 100,000 years. Not every culture has developed codified laws or written language, but every culture in the history of the world has created myths, legends, fables, and folk tales.To capture the language in River’s story, I also studied many readings, like DavyCrockett’s Almanacs (1835 – 1856), which included much of the language used by storytellers of that day. Of course, these were the days before the dictionary and so people spelled words according to how they pronounced the. And deferent pronouncements produced different spellings. And one cannot write about the Mississippi River without reading Mark Twain. I read most, if not all, of his books, annotating, deciphering, pulling apart words and sentences. Of course, whenever river men, like the western mountain men, gathered, they told their tall tales. They used songs and signals to call to each other. One of my favorites was from Mark Twain, which goes, “Who-op!” It mean’s, “I’m here! Look at me!”
What are you working on now?
My next book is Girls of Gettysburg, due from Holiday House in Fall 2014. This book tells of the battle of Gettysburg using three different perspectives: a young woman disguised as a Confederate soldier; the young daughter of a free man and farmer; and the daughter of the town butcher, and the harrowing three days in which Gettysburg explodes and the lives of these three young girls intersect in unexpected ways. The inspiration came from finding an old newspaper clip dating from that time, in which a union general noted the presence of a fallen Confederate soldier, a girl, at the bottom of his report. His words “one female (private) in rebel uniform” became her epitaph. Her story remained a mystery. And to get the feel of the landscape, I not only walked the length of the Gettysburg battle several times over three trips to the area, I visited the reenactors, and made a pest of myself in the bookstores.
But that's what it means to me to write historical fiction: doing everything I can to bring that historical moment alive.
For more information about the historical American Fantasy and tall tale characters in my book, please see my article, Big River’s Daughter, at: http://www.childrensliteraturenetwork.org/blog/radar/?p=827
For more information about why historical fiction is important, and how teachers might use them in their classrooms, see A Conversation of Many: Why is Historical Fiction Important? http://www.childrensliteraturenetwork.org/blog/radar/?p=856
For a wonderful educator’s guide on how to use Big River’s Daughter in the classroom, see: http://www.holidayhouse.com/docs/Big_Rivers_Daughter.pdf
Raised by her pirate father on a Mississippi keeler, River is a half-feral river rat and proud of it. When her powerful father disappears in the great earthquake of 1811, she is on the run from buccaneers, including Jean Laffite, who hope to claim her father's territory and his buried treasure. But the ruthless rivals do not count on getting a run for their money from a plucky slip of a girl determined to find her place in the new order.
Hi Bobbi! First, can you tell us about how you came to write this particular tale?
“This here story is all true, as near as I can recollect. It ain’t a prettified story. Life as a river rat is stomping hard, and don’t I know it. It’s life wild and woolly, a real rough and tumble. But like Da said, life on the river is full of possible imaginations. And we river rats, we aim to see it through in our own way. That’s the honest truth of it.”
So says River Fillian as she begins to tell her story in my book, Big River’s Daughter. River’s story is an historical American fantasy, a blend of the tall tale tradition that captures so much of the American identity, and a unique form of fantasy. I have long been a student of tall tales, epitomized in the exploits of Annie Christmas and Mike Fink -- two important characters in River’s life. In true rough and tumble fashion, the heroes and heroines of tall tales mocked and defied convention. Even their language was as wild and unabashed as the circumstance and landscape that created these characters. And that describes my character, River.
I’m also an avid student of American history. David McCullough, two-time Pulitzer Prize winner, wrote, “We are raising a generation of young Americans who are by and large historically illiterate…We have to know who we were if we’re to know who we are and where we’re headed…If you don’t care about it –if you’ve inherited some great fortune, you don’t even know that it’s a great work of art and you’re not interested in it – you’re going to lose it…” History is literature, McCullough says. And our history is full of amazing stories. The setting of my book was an extraordinary time in American history. We were embroiled in the War of 1812. While the War of Independence set us free of British rule, the War of 1812 ultimately defined us as a force in world power. My story is also grounded in many historical personalities, such as the Pirates Laffites, as well as events. In December 1811, a series of earthquakes shook the Mississippi River basin. Three of these earthquakes would have measured at magnitude of 8.0 on the modern-day Richter scale. Six others would have measured between 7.0 and 7.5. The quakes were felt as far away as Canada. It shook so hard, it forced the Mississippi River to run backwards, changing the very landscape. It also sets into motion River’s story.
Congratulations on being nominated for the Amelia Bloomer list. FAITHFUL was a nominee as well. Please talk about what that means for you, and for your novel.
What an honor this is! The Amelia Bloomer Project is an annual annotated book list in association with American Library Association , and features “well-written and well-illustrated books that empower girls by providing role models of strong, capable, creative women.” These personalities and characters were my inspirations when I was a young reader. Isn’t that the goal of every writer to inspire a young reader to become more than they imagined themselves possible? The characters in these books, both real and imagined, defied the social convention of their day –past and present – to become fully realized, astonishing individuals doing great things. http://www.ala.org/awardsgrants/amelia-bloomer-book-listAnother honor is being listed at the site, A Mighty Girl, with its tag line, “The world's largest collection of books, toys and movies for smart, confident, and courageous girl.” And you can see this at: http://www.amightygirl.com/
I know that you believe that historically accurate language use is especially important to you (as it is to me) so please tell readers how you went about researching and using language
With my studies in folklore, I have long studied the rhythms and patterns in speech and how they influence the storytelling process. I also listened to storytellers tell their stories, too, and the best ones – like Eric Kimmel, Rafe Martin and Ashley Bryan – enrapture the audience. Theirs is the process of storytelling as old as human communication. We are homo narratus, story animals, suggests Kendall Haven (Story Proof: The Science Behind the Startling Power of Story, 2007). We have told our stories for over 100,000 years. Not every culture has developed codified laws or written language, but every culture in the history of the world has created myths, legends, fables, and folk tales.To capture the language in River’s story, I also studied many readings, like DavyCrockett’s Almanacs (1835 – 1856), which included much of the language used by storytellers of that day. Of course, these were the days before the dictionary and so people spelled words according to how they pronounced the. And deferent pronouncements produced different spellings. And one cannot write about the Mississippi River without reading Mark Twain. I read most, if not all, of his books, annotating, deciphering, pulling apart words and sentences. Of course, whenever river men, like the western mountain men, gathered, they told their tall tales. They used songs and signals to call to each other. One of my favorites was from Mark Twain, which goes, “Who-op!” It mean’s, “I’m here! Look at me!” What are you working on now?
My next book is Girls of Gettysburg, due from Holiday House in Fall 2014. This book tells of the battle of Gettysburg using three different perspectives: a young woman disguised as a Confederate soldier; the young daughter of a free man and farmer; and the daughter of the town butcher, and the harrowing three days in which Gettysburg explodes and the lives of these three young girls intersect in unexpected ways. The inspiration came from finding an old newspaper clip dating from that time, in which a union general noted the presence of a fallen Confederate soldier, a girl, at the bottom of his report. His words “one female (private) in rebel uniform” became her epitaph. Her story remained a mystery. And to get the feel of the landscape, I not only walked the length of the Gettysburg battle several times over three trips to the area, I visited the reenactors, and made a pest of myself in the bookstores.
But that's what it means to me to write historical fiction: doing everything I can to bring that historical moment alive.
For more information about the historical American Fantasy and tall tale characters in my book, please see my article, Big River’s Daughter, at: http://www.childrensliteraturenetwork.org/blog/radar/?p=827
For more information about why historical fiction is important, and how teachers might use them in their classrooms, see A Conversation of Many: Why is Historical Fiction Important? http://www.childrensliteraturenetwork.org/blog/radar/?p=856
For a wonderful educator’s guide on how to use Big River’s Daughter in the classroom, see: http://www.holidayhouse.com/docs/Big_Rivers_Daughter.pdf
December 2, 2013
Plotting Along: A Diagram of Key Plot Points
I have always had trouble with plotting, so I’m a big fan of collecting working solutions to planning the plot. Today I’m posting the latest in my personal collection of plot diagrams, something I’ve put together based on the best plot diagrams I’ve found and used. Here it is with some explanation…
The black line at the top is, of course, the classic Aristotelian 3-act structure, where Act 2 is twice as long as Acts 1 and 3, and the form is set-up, confrontation, and resolution.
Below that in green are the stages of the Hero’s Journey as outlined by Christopher Vogler in his now-classic writer’s guide The Writer’s Journey , based upon the research of Joseph Campbell.
In brown are the turning points defined for screenplays by the late Syd Field; they also apply perfectly to novels. You can find out more about these points in his books and DVDs here.
In blue, I’ve placed the plot line defined by Martha Alderson in her Plot Whisperer books and workbooks. What I particularly like about this plot line is that it shows how tension increases to two high points, the Crisis and the Climax.
And in red, I’ve added the 14 “Signpost Scenes” defined by James Scott Bell; check out his Write Great Fiction: Plot & Structure . I like the way that these signpost scene definitions are more colloquial than Vogler’s and add a few nuances, like “care package” and “pet the dog.”
I hope this diagram and these links are useful to you!
The black line at the top is, of course, the classic Aristotelian 3-act structure, where Act 2 is twice as long as Acts 1 and 3, and the form is set-up, confrontation, and resolution.
Below that in green are the stages of the Hero’s Journey as outlined by Christopher Vogler in his now-classic writer’s guide The Writer’s Journey , based upon the research of Joseph Campbell.
In brown are the turning points defined for screenplays by the late Syd Field; they also apply perfectly to novels. You can find out more about these points in his books and DVDs here.
In blue, I’ve placed the plot line defined by Martha Alderson in her Plot Whisperer books and workbooks. What I particularly like about this plot line is that it shows how tension increases to two high points, the Crisis and the Climax.
And in red, I’ve added the 14 “Signpost Scenes” defined by James Scott Bell; check out his Write Great Fiction: Plot & Structure . I like the way that these signpost scene definitions are more colloquial than Vogler’s and add a few nuances, like “care package” and “pet the dog.”
I hope this diagram and these links are useful to you!
November 24, 2013
When A Workshop Works
A couple of weeks ago I went to a workshop - StoryMasters - that was one of the best I’ve ever attended. It was a four-day affair, run by three of the giants of the writing world: Christopher Vogler, James Scott Bell, and Donald Maass.
Vogler is renowned as the man who brought to the writing world the mythic structure identified by Joseph Campbell in Vogler’s fabulous book The Writer’s Journey. Bell, in addition to being an award-winning fiction author, is also author of a couple of my staples, Plot & Structure, and Conflict & Suspense. Maass, a high-powered agent, has written what I consider to be the best revision guide on the market, Writing the Breakout Novel Workbook, plus a couple of other great craft books, The Fire in Fictionand Writing 21st Century Fiction.
I felt as if I’d ascended Mount Olympus. (I confess to having a fangirl moment meeting the very friendly and warm Vogler, whose book was the first I read when I began to write. And, by the way, all three of these guys were friendly and warm and totally accessible.)
Each of these masters of the craft took one entire eight-hour day to dissect and explain all aspects of story-telling. They used examples from books and movies – the entire fourth day was devoted to a scene-by-scene analysis of To Kill a Mockingbird. Their approaches were radically different and meshed perfectly (they’ve been friends for a long time, and Maass is Bell’s agent.) And they sprinkled, or in Maass’s case larded, their lectures with exercises.
It would be impossible for me to distill what I heard: I took forty-two pages of notes. I can only encourage you to check the schedule for a future workshop by one or all of these guys. The StoryMasters Workshop was sponsored through
Free Expressions
, and they host a number of workshops and intensives.
This workshop resulted, once I returned home, in a frenzied revision of my WIP, and I couldn’t be more pleased.
Some workshops really do rise above. I’d love to hear from anyone who’s had a similar experience – let’s share!
Vogler is renowned as the man who brought to the writing world the mythic structure identified by Joseph Campbell in Vogler’s fabulous book The Writer’s Journey. Bell, in addition to being an award-winning fiction author, is also author of a couple of my staples, Plot & Structure, and Conflict & Suspense. Maass, a high-powered agent, has written what I consider to be the best revision guide on the market, Writing the Breakout Novel Workbook, plus a couple of other great craft books, The Fire in Fictionand Writing 21st Century Fiction..jpeg)
I felt as if I’d ascended Mount Olympus. (I confess to having a fangirl moment meeting the very friendly and warm Vogler, whose book was the first I read when I began to write. And, by the way, all three of these guys were friendly and warm and totally accessible.)Each of these masters of the craft took one entire eight-hour day to dissect and explain all aspects of story-telling. They used examples from books and movies – the entire fourth day was devoted to a scene-by-scene analysis of To Kill a Mockingbird. Their approaches were radically different and meshed perfectly (they’ve been friends for a long time, and Maass is Bell’s agent.) And they sprinkled, or in Maass’s case larded, their lectures with exercises.
It would be impossible for me to distill what I heard: I took forty-two pages of notes. I can only encourage you to check the schedule for a future workshop by one or all of these guys. The StoryMasters Workshop was sponsored through
Free Expressions
, and they host a number of workshops and intensives. This workshop resulted, once I returned home, in a frenzied revision of my WIP, and I couldn’t be more pleased.
Some workshops really do rise above. I’d love to hear from anyone who’s had a similar experience – let’s share!
