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by Mark Ury

Blogging always seems to include sharing some sad truth about yourself, whether it’s your obsession with trash TV or one too many trips to the freezer for more mint chocolate chip ice cream (P.S. these are examples and any resemblance to my life is coincidental). So here’s my share: I can’t draw.

Admitting you can’t draw isn’t much of anything, really. Over 90% of the world can’t draw. But context is everything. Admitting I can’t draw to my bowling friends isn’t worth a second glance (P.S. I don’t bowl), whereas sharing it with picture book writers and illustrators is like asking your bowling friends to switch to five-pin balls since your wrist is to weak to use the grown-up sizes (P.S. this has never happened). It’s kinda sad and wimpy.

Now, don’t feel embarrassed for me (P.S. you are not my mother). I have at my disposal an entire platform to compensate for my lack of artistic skills. With it, I can inspire myself to great heights and pen imaginative stories that kids everywhere read and love. But, sleazily cross-promoting my venture is not what this post is about (P.S. unless you find my venture intriguing and possibly useful, in which case we should have coffee and be friends). No. This blog post is NOT about (shameful) marketing or even (sad) admissions of inferior uses of pencils. It’s about music. Or, more specifically, it’s about how music helps me get the feeling of a story long before (and sometimes after) I’ve seen the images or typed the words.

It’s quite possible you are already familiar with how music can shape your work. If so, perhaps you might be better off reading Sarah Dillard’s post—it has cute bunnies. But if you’re like me (P.S. heaven help you), you may only be modestly aware of how music can be used to give your story the tone or pitch your characters are longing for (and, eventually, if you score that deal with HarperCollins, your readers).

For the longest time, I *thought* what was inspiring the tone of my writing were the images I would paper on my walls, stash in my notebook, or hide under my pillow (P.S. the images under my pillow were not at all being hidden from my mother). Weathered photos of Sid Vicious and Marianne Faithful propelled my early poetry. An image of Kate Spade holding one of her early designs became the central figure in one of my (wretched and unfinished) screenplays, and a stark image of Vanessa Redgrave has been taunting me to start my graphic novel (P.S. yes, you read correctly that I can’t draw).

But, upon reflection (.PS. while searching for a theme for this blog post), only recently did I notice that while images were influencing *what* I was writing about, the actual tone came from the music around me.

This story, about memory and love, was shaped by This is the Kit’s Two Wooden Spoons—an earthy and lush little song that I couldn’t get off of replay on my iPod. And my story about a gruesomely self-centered girl rose from the the chill of Radiohead’s There There (P.S. This is ironic since Thom Yorke wrote the song as a kind of bedtime story for his son. P.P.S. I am glad I am not Thom Yorke’s son).

Music has shaped my copywriting and creative direction, too. Commercials, ads—even the design of products and services—have musical DNA from bouncy ABBA tunes, 80s Brit-pop, and recently, the alt-country acoustics of Kathleen Edwards. And why not? Music is this perfect mix of math and emotion, logic and passion. It’s the ideal stimulant for a tired mind and great whip to a lazy idea (P.S. my ideas need constant flogging). Mostly, it’s a great friend to writers, who need to balance structure and character with some sort of texture or flavor that they can’t quite articulate.

So here’s my suggestion: include music in your work. Better yet—let it muscle itself between your sketches and copy. Replay favorites and dig up old tunes. Drift through lyrics and free associate. Use sound to create new stories (don’t you WANT the East-End boys and West-End girls to meet?), vivid places (just what does the town in Simon & Garfunkel’s My Little Town look like?), and beguiling characters (surely Tom from Suzanne Vega’s Tom’s Diner is worth examining?). Most of all, let music do what it’s meant to do: alter your rhythm. Great stories don’t come from staid patterns.

As for me, I’m wrapping this post feeling less insecure about my poor pencilmanship. (This is quite possibly because I’m listening to The Wild Strawberries and thinking of pie rather than having stared down my limitations (P.S. It is.).) Either way, music saved the day, again.

Mark Ury is the cofounder of Storybird, an occasional writer, and almost always nibbling chocolate.

Cheaper by the Dozen
by Mark Ury

Ideas are not a dime a dozen. They’re closer to $0.0001. That’s because they’re commodities. Everyone has them, everyone can think of them, and, as a culture, we’re saturated with them. Like most raw materials, ideas are worthless unless you turn them into something else, something of greater value.

How do you add value to ideas? With other ideas.

The concept of wit—one of our most enjoyable forms of ideas—is premised on taking one cliché and combining it with another to make something unexpected and remarkable.

An arrow pointing right is a cliché for a courier company. But burying it between the negative space of the “E” and “x” of FedEx makes it new. It makes the image memorable, if not surprising, and the idea valuable.

“You can’t teach an old dogma new tricks” is the written equivalent of the FedEx logo, as are many of Dorothy Parker’s best quips. “Take care of luxuries and the necessities will take care of themselves” and “It serves me right for keeping all my eggs in one bastard” whip two lazy ideas into shape and keep them marching for decades.

The economics of wit are 1+1=3. When your ideas are competing for a publisher’s or reader’s attention, those are valuable numbers to have on your side.

How do you create wit? The simplest technique is to tinker with clichés since they contain recognizable patterns that your audience can latch onto. For example, the cliché “ideas are a dime a dozen” gives you three things to mess about: ideas, money, and—thanks to the word “dozen”—eggs. If you were drawing, you might play with the notion of ideas as light bulbs and then substitute them for the eggs in a carton. You now have a new image to play with and the shadows of a scene. Who needs ideas? Inventors. But why cheap ones? Well, perhaps this inventor is down on his luck. Can’t you see him there at the register, digging into his empty pockets looking for a dime? Around him are other wealthy inventors, buying cartons of the stuff. But he can only afford one bulb for his last, terrible experiment…

The key to playing with clichés is to think visually AND conceptually. Sometimes the images line themselves up, like the example above. Other times, the concept is unlocked through narrative interplay. For instance, you might start with the visual of ghosts, creeping around in a mansion and scaring people. But then you flip to the narrative pieces and start toying with their DNA: the ghosts aren’t the antagonists. The ghosts don’t know they’re ghosts. The audience doesn’t know they’re ghosts. Before you know it, you’re in Spain with Nicole Kidman filming The Others.

In fact, if you want to study the blending of routine ideas into something fresh, Hollywood has a not unsuccessful record. Alien is the fusion of the shark thriller (Jaws) and outer space (Star Wars). Mad About You was pitched as thirtysomething, but funny. The Sixth Sense, Unbreakable, The Village—many of M. Night Shyamalan’s films—rely on flipping everyday ideas to produce entertaining new ones that “unpack” their meaning as you watch.

That’s the benefit of folding two ideas into one. The audience experiences it in reverse: one idea unfolds into two and the brain has the joy of connecting the dots to find the hidden meaning.

Don’t worry about great ideas. Look for everyday, unbankable ones. If you invest and repackage them, they’ll outperform your reader’s expectations.

That’s my two cents.

Mark Ury is the co-founder of Storybird.

Come visit a new website that lets kids spread their storytelling wings.

Storybird is “collaborative storytelling for family and friends.” When I first heard the tagline, I scratched my head. What is this all about? Then I got the beta tester invite. And I played on the site for hours. Days. My daughter begged, “Mommy, can we make another Storybird?”

So what is this high-flying new creature?

Storybird helps you create a tale with an intuitive book-like interface and a whimsical selection of artwork. (We’re not talking stick-figures here. These are high-quality images from some of the most talented “undiscovered” children’s illustrators today, like Irisz Agocs and Victoria Usova.)

storybirdscreen

Select an artist’s work to begin. A page appears in the center of the screen, surrounded by thumbnail images. Simply drag and drop an image onto a page, then write text to accompany the picture. Add as many pages as you like and you’ll soon have a bonafide book—one that looks professional, one that can be read online over and over again. You can choose to keep your Storybird private, or you can share it with the Storybird community. And they can read it online over and over again.

But the smartest feature of Storybird brings family and friends together. Is Grandma in Gary, Indiana? Cousin Kate in Kalamazoo? You can invite them to write a page in your story. Or two pages. There’s no limit…and what’s better, there’s no fee to join Storybird. According to CEO Mark Ury, “Making, sharing, and reading Storybirds online will always be free. Printing and premium services—when we introduce them later this year—will have a fee associated with them.”

runawayrabbit

Read this Storybird

(Uhh, Mark, could you please hurry up with that? My daughters want a copy of The Runaway Rabbit in their hands right away.)

Other planned features include the ability to: choose artwork based upon theme, upload your own images, and record your voice to accompany Storybirds. For those on the go, an IPhone app is coming, too.

What’s more, Storybird wants your ideas to improve and enhance the service. The site has only been live for 6 days, but educators in over 100 countries have already asked for a multi-user platform to help teach literacy skills in classrooms. Ury says his company is working on a teacher log-in that would enable students to work under that account without having to submit their information. Storybird be nimble, Storybird be quick.

And Storybird be popular! Some stats from their not-quite-a-week online:

  • 1,000 users in 100+ countries
  • 8,000 unique visits
  • 76,000 page views
  • 7-minute average visit
  • some Storybirds viewed 325+ times each

Families and teachers will see enormous benefits in Storybird, as will artists. Storybird creates a marketplace to share your work and develop a fan following. If you’re an aspiring children’s illustrator, I encourage you to sign up.

So what are you waiting for? Slide a kid onto your lap and flap your wings on over to Storybird. (Or, if you’re like me, you don’t even need a kid. The child inside you will have plenty of fun on her own!)

Follow Me on Pinterest As a children's book author and mother of two, I'm pushing a stroller along the path to publication. I collect shiny doodads on the journey and share them here. You've found a kidlit treasure box.

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My Picture Books


Available now at:

Coming Soon:


I THOUGHT THIS
WAS A BEAR BOOK
illustrated by Benji Davies
Aladdin/Simon & Schuster
August 2015

LITTLE RED GLIDING HOOD
illustrated by Troy Cummings
Random House
October 2015

7 ATE 9: THE UNTOLD STORY
illustrator TBA
Disney*Hyperion
2016

NORMAL NORMAN
illustrated by S.Britt
Sterling Children's Books
2016

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