by Hillary Homzie

Sometimes a picture book manuscript begs to become a chapter book. This has happened to me. Several years back, I wrote a picture book about an exuberant kid’s attempts to become class flag leader. Yet I couldn’t make the story viable. Even when I took out the set up or made the dialogue pithier

It was like trying to wedge my size-nine feet into size-six shoes on the sale rack. No matter how hard I tried, the story felt constricted.

This is not an uncommon experience.

Picture book Author Pat Zietlow Miller (Be Kind) told me recently that: “There was one time I started writing what I fully intended to be a picture book, only to discover it really wasn’t. There was too much stuff to be contained in the limits of a picture book. So I turned it into a chapter book.”

Author Candice Ransom (Amanda Panda) has also successfully turned part of a picture book into a novel. But it wasn’t obvious that it was something that she should do right away. “It’s never easy to tell,” she reports. “Picture books require a Big Idea to differentiate them from a magazine short story—a pleasant interlude, but nothing that lingers afterward. Even then, sometimes the idea is too big.”

Too big. Yup. I understand what “too big” feels like. That’s exactly why I turned Ellie May on Presidents’ Day into a chapter book, and it’s coming out this December (squeeee!), along with a companion novel, Ellie May on April Fools’ Day (more squeeee!)

   

The question becomes—how do you know when you have “too much stuff”?

In other words, how do you tell when your picture book manuscript actually wants to grow some words and turn into a chapter book?

I’ve been thinking about this, and I’ve come up with five central questions that will help writers discover the answer.

 

1. Is your exposition illustration-independent?

Picture books almost always require an interplay between words and pictures. Chapter books don’t. If you find yourself leaning towards exposition that doesn’t require illustration, you might have a chapter book on your hands.

As a quick explanation or reminder, exposition is the introduction of important background information. For example, setting, characters and events.

But wait, you’re saying. Don’t chapter books have illustrations?

Yup. And some are heavily illustrated. Jeffery Ebbeler created close to thirty interior illustrations for Ellie May on Presidents’ Day. They add to the story, but a reader doesn’t require one of Jeff’s illustrations in order to decode the text. The pictures are additive versus essential. Of course, that doesn’t make them not awesome, because they are (and yes, I’m heavily biased)!

For example, in Ellie May on April Fools’ Day, we have this illustration of the second grader and her family about to go out birdwatching:

Here’s a sentence that encapsulates the scene: “Dad reappeared with a pair of binoculars.” The illustration shows Dad in the doorway with a pair of, well, binoculars. The text helps readers to visualize and understand the scene, but there aren’t visual cues that move the story beyond the words. In a chapter book, an illustration doesn’t usually act as an ironic statement.

For clarification, here are some strong examples of visual irony that one typically sees only in picture books.

A page in Doreen Cronin’s Diary of a Worm, reads:

Fishing season started today. We all dug deeper.

We learn important background info about the season. However, the text doesn’t tell us how this time of year affects worms. We need to see the illustration in order to glean the meaning.

A cutaway illustration reveals a giant shovel (with an empty pail labeled “bait”) and the worried worms sequestered in their underground home. This creates a sense of irony. The worms aren’t digging deeper to find bait, but instead to escape from being bait. In order for the humor to work, the reader requires visual cues.

We see the same thing in Anne Marie Pace’s Vampirina Ballerina. On one of the early pages, we have:

If you’re worried about meeting the other dancers, bring along a friendly face or two.

The text on its own suggests that the young dancer is bringing along a friendly looking family or some pets. However, the illustration reveals that Vampirina (who could easily be an Addams Family cousin) brings along a green-skinned, Lurch-ish looking companion, a black cat and a bat. At first, none of these characters appear conventional friendly.

Yup, more visual irony.

In sum, chapter book texts don’t usually offer up visual irony opportunities (I say usually because every rule is meant to be broken, but that’s a topic for another post). Instead, they are much more prescriptive.

In the picture book version of Ellie May on Presidents’ Day, I was overwriting and not allowing room for the illustrator. In other words, I was acting like a chapter book writer. Here’s a few lines from my manuscript that just don’t work as a picture book text:

I scooped my hands into the box, and tossed worms and mulberry leaves across the room. “Be Free!” I said. Worms landed on the floor. One landed on Ms. Silva’s head.

For a picture book, there’s going to be an illustrator. That means she or he will draw the worms and the mulberry leaves, and yes, the worm landing on the teacher’s head. If the above lines were more picture book text appropriate, they would read something like this:

I scooped my hands into the box. The worms must be set free!

So ask yourself, do you want to step aside and allow the illustrator to do his or her job? Or do you really—in your heart-of-hearts—want to create more of the visual narrative work? I guess, in my inner core, for the Ellie May books, I wanted to paint the complete scenes with my words.

Side note: none of the above text actually appears in the chapter book version of Ellie May on Presidents’ Day because of how much I revised. Ah, revision. How wonderful and yet how hard it is to throw away your darlings, but you never know—you might get to show them off in a blog post.

 

2. Does your picture book manuscript cry out to be longer?

In today’s picture book market, texts are short, averaging about 500 words. Now that doesn’t mean in the nonfiction market we aren’t seeing 700-page manuscripts or that someday the 1200- word picture book won’t make a comeback, but, on average, short is the operative word.

If you must heartily chop in order to get your picture book manuscript down to the golden 500 words and it’s mightily upsetting, you might consider taking your story into a longer form, such as the chapter book. Maybe you want to be more expansive. Perhaps you want to write 3,000 – 8,000 words or even more. Allow yourself this. If you really want to write a picture book manuscript, please, go ahead. But, maybe, somewhere deep down, you don’t want to go on the picture book diet. You want to expand a bit, or even a lot.

 

3. Does your picture book manuscript have a subplot?

Picture books should typically contain one plot stream. I’ve critiqued picture book manuscripts where a secondary character steals the show and we learn about his or her wants and needs. This is not a good idea. In picture books, the protagonist is the star. There just isn’t enough real estate for you to truly explore other characters’ goals.

However, this can be done in a chapter book. But not a whole lot. Chapter books can only handle very small subplots that don’t take up a lot of space.

Simply think about how other characters’ needs interrupt or illuminate the main character’s goals. For example, in Ellie May on April Fools’ Day, Lizzy, Ellie May’s best friend, sometimes slows her down. We find out that Lizzy doesn’t feel very confident in athletics and really wants to win at something.

Lizzy thumped the red ball into Mo’s square. He slammed it into another square.

“I’m not out yet,” Lizzy said. This was a surprise, considering how she normally plays.

“Okay, I’ll cheer for you.” I raised my hands in the air, pretending to wave swishy pom-poms. “Way to go, Lizzy!”

Owen smashed the ball into Lizzy’s square. She missed the return.

“Out!” yelled Pablo.

Lizzy pushed up her glasses and harrumphed. “I never win.”

Later, in the book, you can bet that I’m going to have Lizzy win at something. Learning how to lose and how to win gracefully is one of the themes in Ellie May on April Fools’ Day. Remember, in a picture book, you’re not going to want to use subplots. That means if you really want to employ them, maybe you should try out longer form fiction.

 

4. Is your protagonist over the age of six?

Most picture books protagonists are preschool through early primary school-aged children, although there are exceptions, especially for non-humans. But when you are dealing with people, if your protagonist is seven or eight, it’s likely a chapter book. If the main character is nine or ten, then it’s probably a middle grade novel.

Author Saadia Faruqi created a picture book featuring spirited Yasmin, and was very content with her story. In fact, she says she would have been “perfectly happy with it as picture book.” However, her publishing company was excited about bringing Saadia’s story to older kids, and that’s how Meet Yasmin, a much-lauded chapter book came to fruition. Sometimes this all comes about in a rather surprising but auspicious way. The lesson here is to be open!

 

5. In addition to having a big idea, do you have a larger-than-life character?

In general, chapter books are not sold as individual titles, but as a series of four (to start). Picture books, on the other hand, are usually sold as individual titles. That doesn’t mean you can’t get an entire series going. Witness the Vampirina books. The Fancy Nancy books etc. But usually, authors don’t sell a picture book series. They sell one book that does so well that readers demand more. However, if have a really appealing and distinctive character who just calls out—please make me into a series–then you might want to think about writing a chapter book because that’s how they usually roll—in multiples.

The basic message here is that you have options. You can revise your overstuffed manuscript and refine it so that you’re within picture book conventions or, just maybe, you have a chapter book on your hands, or even a middle grade novel.

So many possibilities! Isn’t it all exciting? Okay, I admit it. I still, to this day, will forget my shoe size and try to squeeze my foot into a sleek pump that’s a size too small, as long as it’s on the 75% off blow-out sale rack.

After all, a girl can try.


Hillary Homzie is the author of the forthcoming chapter book, Ellie May on Presidents’ Day (Charlesbridge, Dec.18, 2018), which is about a second grader navigating honesty and leadership. Hillary promises she didn’t set up the current political climate to tie-into her book. As a former sketch comedian, she (hopefully) knows a thing or two about how to be funny and not hurt feelings, which is the theme of Ellie May on April Fools’ Day (Charlesbridge, Dec.18, 2018).

As the author of the chapter book series, Alien Clones From Outer Space (Simon & Schuster/Aladdin), she particularly enjoys collecting antennae to occasionally wear to school visits. Hillary has also written middle grade novels, including the Queen of Likes (Simon & Schuster/Aladdin M!X) The Hot List, (Simon & Schuster/M!X), Things Are Gonna Get Ugly (Simon & Schuster/M!X), Pumpkin Spice Secrets (Sky Pony/Swirl), and the forthcoming Apple Pie Promises (October 2, 2018, Sky Pony/Swirl).

Hillary teaches chapter book and middle grade writing online at the Children’s Book Academy. During the summers, she teaches in the children’s Writing and Illustrating MFA Program at Hollins University. 

Check out her chapter book course here and her middle grade course here.

She loves answering questions about all things chapter book. You can reach her at HillaryHomzie.com.

@HillaryHomzie

“A big story is about a small moment.” ~Matthew Dicks

Think about that for a moment (not a small one).

Every book you have ever read is about a small moment—an epiphany when a character realizes an emotional truth with complete clarity.

Let me provide examples:

THE MONSTORE is not just about a store that sells monsters. It’s about a brother and sister who learn to appreciate one another and cooperate.

 

7 ATE 9 is about number 9 realizing his worth.

 

LITTLE RED GLIDING HOOD is about not judging someone before you get to know them.

 

Before I read Matthew Dicks’ STORYWORTHY, I used to phrase this “small moment” concept differently. I would explain that a story, especially a picture book, required an emotional core. Now I realize that is an amorphous blob of a statement.

In other words, not very helpful.

Likewise, if I told you my manuscript was about siblings who learn to get along, that doesn’t sound very enticing, does it? Sounds preachy and boring—been there, done that.

However, frame that sibling story in a shop of misbehaving monsters and suddenly it’s a must-read.

Small moments. They are what make your story BIG.

You may ask, do I set out writing about small moments? NEVER. I begin with an appealing, kid-friendly premise about dolphins or aliens or robots or puppies. If I am doing my job correctly, my main dolphin is not going to be the same dolphin by the end of the story. That dolphin has changed. Not from a bottlenose to a pantropical spotted, but from a mean dolphin to a nice one. Or one who doesn’t believe in narwhals to one who does. That small moment of emotional transformation is what makes the journey through the waves (and the story) meaningful. Otherwise, it’s just splashing in the ocean.

Your small moment appears with the story’s organic evolution. Often, if you begin with a small moment you end up sounding like a big know-it-all. Why? Because you can unknowingly force that theme into being. Never do I write in THE MONSTORE, “Zach and Gracie learned to appreciate one another and cooperate.” SNOOZEFEST. Instead, they open another Monstore together. That’s a lot more fun, and the small moment of transformation shines through.

While STORYWORTHY by Matthew Dicks is about crafting personal storytelling narratives, it contains nuggets of writing gold applicable to picture books. I had a small moment myself when I read about small moments.

So examine your manuscript. Does it contain a small moment? If you hear from an editor that your story requires another layer, that emotional epiphany could be the big answer.

 

 

 

Fangirl moment. THE Carin Berger is on my blog today. A children’s book creator I have long admired, Berger’s cut-paper illustrations bring delightful whimsy to books by former U.S. Children’s Poet Laureate Jack Prelusky, as well as imbue her own stories with a joyful spirit.

 

When I read her newest release, ALL OF US, I thought, “This is a perfect book for today—for right now.” So of course, I had to ask her about it. Thankfully, she agreed to an interview.

Carin, ALL OF US feels so timely, however I know it can take years to create a picture book. How did you decide upon the theme (and when)?

While it is true that it can take years to bring a picture book into the world, I wrote ALL OF US, in a single burst, in response to the turmoil in our country, especially in the lead up to the election. In fact I wrote it while I was in Germany, the country that my family was forced to flee in the 1930s because of unrelenting racism, hatred and violence directed against vulnerable minorities. I had actually voted on Election Day and then flown to Germany that afternoon. I landed to the news of the election results. The juxtaposition of the events in our country against my own family’s history of forced displacement was upsetting and surreal. I wanted to do something to make a difference, to remind those that felt unbalanced or ostracized or alone, that community, diversity, inclusion and love are powerful and will ultimately triumph. This idea of wanting to do something dogged me for days. Or maybe it was months. In any case, there in Germany, with such a stew of feelings inside, I woke up in the middle of the night with the words to the book almost like a song or refrain in my head. I scribbled them down and made thumbnail drawings in my sketchbook. The next morning I took a picture of this on my phone and then emailed to my publisher, Greenwillow Books. And, in a terrific leap of faith, Greenwillow agreed to put this project ahead of one that was about to go to final art in order to get ALL OF US out into the world quickly.

You are known for your cut paper illustrations. Was there any special consideration of the paper you chose for this project?

I do think a lot about the paper that I use in my illustrations. I work with found ephemera in part because I love that each piece of paper comes with its own history…like secret stories…that inherently add another layer of depth to the books. I intentionally gather really diverse papers from around the world, so if you look closely at the illustrations in ALL OF US, you might see a bit of Chinese or Spanish or Japanese or Hindi or Russian.

I know you surreptitiously include your daughter’s name “Thea” in every book. Did you hide any messages in ALL OF US? Or is your message out in the open?

I love that you remember that I put “Thea” in all of my books.

It is true, in ALL OF US, there are some covert messages. Others are right out in the open.

Some examples of hidden messages are:

Thea’s name appears on the hand that is on the “know that I am here, as steady as stone” page.

Elsewhere in the book, my brother’s name, Daniel, appears in one heart.

Additionally, there are two self portraits in the book. One appears on the wordless “love wins” page holding a heart that says “thea”.

A second family portrait is on the lowest row of the left hand side of the 2nd “love wins” page. There you will find me, my husband, Max, Thea, and our pet rabbit, Pearly.

Finally, on all of the pages in the book that have illustrations of people, I have included images of family and friends within the crowds.

Also, if you look closely, you will find my daughter’s black cat, Cosette.

What’s more, there is a gentle, unspoken story going on in the book.

There are two characters that reoccur, the little girl in the yellow boots and the little boy with the red kite. The girl starts the book with a heavy heart and an unsure step. The little boy is on the page with the unclear path and his kite appears on the stormy past page.

They first appear together on the “hazy future” page, and they don’t notice each other.

Eventually, as we make our way through the book, they notice each other and join together as friends in part of the larger community.

allofusspread

allofuslovewins.jpg

(Click to enlarge spreads.)

Carin, what do you hope readers will connect with? What do you hope they will take away after reading ALL OF US? 

Hope is a great word. I HOPE that the message of HOPE in ALL OF US will resonate with readers.

I HOPE that the book makes readers feel more connected, that it opens up conversations about inclusion and community and the power of HOPE and love in the face of adversity.

Children face so many challenging moments in growing up…they are figuring out who they are, and how they fit it. They are trying to make sense of the world and navigate through all sorts of new situations. I really HOPE that ALL OF US can be a tool to bring people together and to offer empathy and light and HOPE in difficult times.

Thank you, Carin, for bringing us such a beautiful book for our uncertain times. I know I will treasure my copy.

Blog readers, if you would like your own copy to treasure, plus ALL OF US bookmarks and swag, please comment once below.

A winner will be randomly selected in September.

Good luck and thank you for reading.

 

 

In one month, The Carle Museum of Picture Book art will hold its annual Carle Honors, awarding four people/entities who have made significant contributions to the art form.

Also that evening, September 27th, final bids are accepted on original artwork by picture book masters. The auction goes live on August 31, and you can browse and bid here: https://501auctions.com/carlehonors2018.

If you could ask the Carle Honorees one question, what might it be? My question is here—

“Why are picture books an art form to enjoy not only in childhood, but through every age, every stage of life?”

 

—and the answers are diverse and delightful, just like picture books themselves.

 

Paul O. Zelinsky
2018 Carle Honors Artist

“Why are pictures an art form to be enjoyed by people of all ages?  Well, that has to be a function of what picture books exist in the world to be enjoyed. Some, aimed at children in a pedantic and condescending way, are no fun at all for adults, and might be appreciated by only the most deluded or idiosyncratic child. But the world has come to contain an increasingly large number of picture books created by genuine artists, addressing the full extent of their humanity. These books may not look the same through the eyes of a four-year-old as they do to an adult of ninety-five (even putting aside questions of cataracts), but they somehow charm and enrich the thoughts and the vision of both.  Picture books can be appreciated by people of all ages because there are picture books that deserve this kind of appreciation. One of the best ways to prove this is to visit The Eric Carle Museum of Picture Book Art!”

 

Dr. Rudine Sims Bishop
2018 Carle Honors Mentor 

“Picture books are indeed an art form, and enjoyment of art is not limited by age. With their unique combination of interdependent visual and verbal art, picture books speak to readers and viewers on a fundamental level. In addition to their aesthetic appeal, their thematic content often evokes universal emotions and experiences. Picture books also offer opportunities for older students to examine and learn about artistic styles, media, and technique. Picture book texts, in their conciseness, are often poetic, and can evoke the same kinds of responses as poetry. And because many literary genres come in picture book format, picture books can be a rich source of information as well as entertainment. Like other art forms, picture books are never outgrown.”

 

Dona Ann McAdams
(and Lynn Caponera),
representing The Sendak Fellowship & Workshop
2018 Carle Honors Angel

“I never assume a picture book is just for children. When a picture book works it marries images and words in a way few other mediums can. Each time we revisit an old beloved picture book we discover something new within its covers and new within ourselves.”

 

Elena Pasoli
The Bologna Children’s Book Fair
2018 Carle Honors Bridge

“The language of illustration is borderless not only in terms of cultural and geographical heritages, but more and more often also in terms of the age of the readers. Who could describe ‘The Arrival’ by Shaun Tan as simply a children’s book? This is the same for most of the wordless books which have been sharply growing in production and sales in the last few years all over the world. Illustrations speak clearly to everybody; they tell stories and leave people free of traveling across pages and thoughts; they are powerful and add emotions to the words; they can engage the readers’ memories as well as accompany them to discover new worlds.”

 

Andrea Davis Pinkney
Children’s Book Author, Editor &
2018 Carle Honors Presenter

“Come, little one. Climb onto my wings. Nestle, settle, celebrate. My feathered pages take you to places only the clouds can touch. Up, up! Here we go, soaring through words and pictures that fill you with my unforgettable flutter. Do you see the view from where my colors paint themselves into your quietest places, into the deep-down knowing that brings you comfort, giggles, wonder, discovery?

“Listen to my wisp of words spinning stories that will someday become your heart’s memories. Yes, child, I am a picture book. Our journeys—yours and mine, together—will last your whole life. This is what we picture books do—we lift you. We let you rise to skies filled with wonder. This, the awakening of your soul, starts from the day our wings hug your imagination. From there, we beckon you higher. Child, young or old, I am a picture book. No matter your age, stage, time or place, I give you the power to fly!”

 

Thank you, Honorees, The Carle Museum…and picture books!

What question would you ask the Honorees? Please tell us in the comments…

Thanks to Jarrett Lerner for asking me to kick off his new feature. (And I am happy to talk cheese on Twitter.)

Jarrett Lerner

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My name is… Tara Lazar. Not Tara Laserbeam, but that would be pretty awesome if it were.

I am a… weird person. At least that’s what my kids say.

As a kid, I was… a budding inventor, a neighborhood entrepreneur, a creative writer, a voracious reader, weird and odd, loud and annoying, a fiercely loyal friend.

Writing is… the best way to be me.

Reading is… as necessary as cheese. (I cannot live without either.)

Books are… my favorite friend.

Did you know… I used to be a competitive figure skater? I got married in Hawaii? I have two daughters and a hamster? I have Multiple Sclerosis? I choose cheese over chocolate? I despise coffee? I live in New Jersey? I make the best meatballs in the world? I have a five-foot stuffed purple orangutan named Norman who lives on my stairway?

You can find me… somewhere in my imagination.

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Skipping around the interwebs, I stumbled upon a magical discovery. Kate DePalma, Senior Editor at Barefoot Books, tweeted about their new Build-A-Story-Cards, and I gasped at the adorableness.

Always on the lookout for tools to create better stories, I immediately seized the opportunity to investigate.

I’m a fan of Rory’s Story Cubes and Storybird, as both improve literacy skills without children even realizing BECAUSE THEY’RE SO MUCH FUN. Barefoot’s Build-a-Story Cards snap right into this category, too.

Aimed at kids aged 3-10 (or, obviously, 48), Build-a-Story Cards help create an engaging story with all the essential elements—character, emotion, setting—and a little sprinkle of magic.

Kate put me in touch with the product team: Lisa Rosinsky, Senior Editor, and Stefanie Wieder, Senior Director of Product and in-house early childhood development expert.

Stefanie and Lisa, on my blog I talk a lot about how ideas originate. What was the genesis of the Build-a-Story-Cards?

Stef: Before we developed our own deck of story cards, we tested the existing cards on the market with kids of various ages, and we discovered something interesting. Whether they were 3 years old or 7, kids had trouble creating stories that made sense. This left kids frustrated and limited their attention span. We thought, how can we improve on this?

With our story cards, we wanted kids to have fun with storytelling, while also learning about the structure of stories because this was going to help them create stories that make sense and become better writers. So we asked the illustrator, Miriam Latimer, to create these adorable pictures of a magical world filled with unicorns, dragons, castles and potions. We divided the images into three categories: characters on red cards, objects on blue cards, and settings on yellow cards. We also created a robust instructions booklet full of activities for learning about and playing with these three key story elements.

Lisa: We knew we wanted to work with beloved Barefoot illustrator Miriam Latimer for this deck, so we could tie it in with two popular series Miriam also illustrated: our Ruby series (Ruby’s School Walk, Ruby’s Baby Brother, Ruby’s Sleepover) and the Prince books (The Prince’s Bedtime, The Prince’s Breakfast). We asked her to start with those characters, and then we added in lots of classic fantasy/fairy tale elements—witches, dragons, and unicorns, oh my—for extra storytelling potential!

  

Stef: At Barefoot Books we always like to have multiple layers of learning in our products, and so we also included a social-emotional element as well. Our Magical Castle Build-a-Story Cards includes character pairs. Each pair shows different emotions for kids to identify and build stories around. In the instructions we encourage kids to create stories about friendship and conflict resolution. So, in a nutshell, this product was born of us wanting to improve on existing story cards out there by creating a product that teaches early writing skills while also reinforcing social emotional learning. And, by the way, this is only the first in a series of these Build-a-Story Cards. Future decks will feature different imaginative themes and other key early learning skills.

That’s smart to include emotions—every writer knows it’s a required element for successful stories. Your audience must feel the character’s struggle and develop empathy for them.

What else (besides these cards) do children need to become successful storytellers?

Lisa: Story time! Reading to children helps them build early literacy skills, and when kids listen to stories, that helps them learn how to tell their own stories. Stefanie has created a series of story time videos for us that model engaging storytelling by asking questions, modeling predictions, and noticing elements of the artwork. You can check out a few of our most popular story time videos on our Facebook page.

Do you have any sneak peeks at images from future decks?

Lisa: Yes! We are working on two more decks right now, due out Spring 2019. Both will feature artwork by classic Barefoot illustrators, and both will follow the same basic setup as the first deck: 36 wordless story cards, including 12 characters, 12 objects, and 12 settings. One has an “Ocean Adventure” theme and includes ideas for lots of different math games, ranging from early counting and sorting skills to more advanced word problems. The oceans deck is illustrated by Debbie Harter.

Well, being that it’s Shark Week…let’s debut this guy’s sketches…

 

The other is titled “Community Helpers” and is illustrated by Sophie Fatus. The Community Helpers deck includes all sorts of community heroes, from service dogs and firefighters to teachers and janitors, plus games that help kids learn about people and places in a city.

      

I know these cards are aimed at kids, but how do you think they will be valuable for adults, too? 

Lisa: The cards are quite versatile! They’re great for engaging kids in solo play, whether at home, in a classroom, or traveling on a family trip. They’re also helpful tools for educators and curriculum creators, from preschool to upper elementary. Writers of any age, at any stage of their career, can use them as story starter prompts. And finally, in our experience, adults have a lot of fun with these cards, too. We even used them as an icebreaker at a company event recently, and everyone really got into it!

Ha, I’m going to try that at my next barbeque! “Pass the ketchup—and the message-in-a-bottle card.”

Plus, I can easily create additional cards using your red/blue/yellow model. (Did I say “I”? I meant “kids”.)

Thank you Kate, Lisa & Stefanie for introducing me to Barefoot’s Build-a-Story Cards. Learn more about them here.

And now let’s introduce my blog readers to them. Comment below to enter a giveaway for a pack of Magical Castle Cards. (One comment per person, please.)

A winner will be drawn at random next week.

Good luck!
 

Congratulations to…

Katie Engen

for winning a critique from MOUSELING’S WORDS author Shutta Crum!

LeeAnn Rizzuti

for winning a copy of Denise Fleming’s THIS IS THE NEST THAT ROBIN BUILT!

Sheri Radovich

for winning FIRST SNOW signed by Nancy Viau!

Lenora Rougeou Biemans

for winning a copy of TERRIFIC TONGUES by Maria Gianferrari!

Rosie Russels

for winning Lydia Lukidis’s A REAL LIVE PET!

An email will be coming to y’all soon!

Shutta Crum wrote one of my all-time favorite Storystorm posts a few years ago about crafting an irresistible picture book opening. Her “four W” technique grounds the reader in time and place with the character, leaving just enough detail unanswered so one must turn the page to discover why. WHY????

When I learned Shutta the word whisperer released a new book celebrating words, I just knew she’d have lots of wonderful words to say about it.

Shutta, you know I’m a “wordie”—that’s a new word in the Merriam-Webster Dictionary this year and it means “a word lover”. Words bring Mouseling great comfort and belonging in this story. Which words foster those same feelings in you?

You ask a great question that I had to ponder quite a while. I mean, there are so many wonderful words that can engender feelings of comfort and belonging, like family and chocolate. So I thought about what I’ve lost and miss the most. And that would be my parents. They both died in 2008. Anyway, I bear my father’s nickname as my legal first name, Shutta. But he never called me that. He gave me a nickname, Shud. What I wouldn’t give to hear that word in his voice again! And thinking about my mother, I think of food. Specifically, biscuits and gravy, a Southern breakfast staple. It’s real comfort food, and makes me think of home and all the wonderful smells of Mom’s cooking.

So circling back to your childhood, did words give you comfort then? Were you an avid reader and writer even as a little girl?

Was I an avid reader?—hah! I read everything I could get my hands on, especially as we did not have many books in our home. I remember Mom telling me to put my books down and go outside and play. My siblings were real outdoor lovers and I think she thought I was a bit unusual. I also remember being proud when I could finish a book in a day. Sometimes I’d hide them in my textbooks at school as I read. Words were comforting, and amazing! Whole worlds were opened to me. As an avid reader I was also an avid day-dreamer. I’d play out scenes in my head all the time. I still do. It’s made me a very visual thinker and, I believe, a better writer.

A funny story: if I found a book, I’d pick it up and start reading it. One time, when I was in high school I found a rather salacious book at a bus stop. I opened it up in geometry class when we had a few extra moments to read and my teacher just about had a stroke. He came bounding over to me and ripped The Story of O out of my hands in an apoplectic manner yelling, “Where did you get this?” I’d only read the first page, or so, but my, oh my! However, most of my reading material was adventure, mystery and science fiction.

Why is learning tough (but fun) new vocabulary words important to young readers?

Humans have been communicating since the time we could only point and grunt. There is an instinctive desire to communicate—even with our first breath we communicate—we cry when we’re birthed. It means: Hey it’s cold out here! What’s happening to me? Where am I? And, This doesn’t feel right. Communicating is like breathing; it is part of our basic nature. And miscommunication can be disastrous. Deadly, even. So finding the right word or the right way to say something is important. When we build our vocabularies we have more skill at pinpointing exactly what we mean.

This is always important to writers! But for people who love words it goes beyond meaning to the music created by the sound of words, and even the way words sound in our mouths. We use all our senses to communicate.

In MOUSELING’S WORDS, Mouseling feels the whirr of “fur” in his throat when he says it. He sees the two round vowels that look like mouse tummies in the middle of the word “float.” He tastes the word “milk.” He smells “perfume.” And he hears the loud crinkling and crackling of the word he balled up to throw at the cat. I really wanted young readers to know that when we communicate we use our whole bodies—not just vocabulary words. But it’s also handy to have a large vocabulary to choose from. It’s like having lots of pairs of snazzy socks to wear. You wouldn’t want to wear the same old white ones every day. That’s the fun of words!

Obviously, you’re a “wordie” too. Any special hints for writers about word choice?

Well, I’ve just had an article published at the RYS site about wielding the right words and using the right journals that goes into this question in detail. I can sum it up by saying that when I think about word choice I think of words like people. Words have personalities, and like any person there is always more than what meets the eye. Words have emotional baggage, a cultural upbringing, physical sensibilities and an historical demeanor. Considering all of these factors is critical when writing for young readers. I only have so many words to play with—very few in the case of my picture books. Those words have to be weighed, analyzed and found to slot perfectly into its place.

I should also mention that I keep special “word” journals. I do not just journal generally. I note words I find, or phrases I love, from my reading. I keep an onomatopoeia journal and other specific journals. These help me keep the focus on word choice. The full article with examples from great writers can be found by going to this link at my blog.

Thanks, Tara, this has been fun…keep those lovely words coming!


Shutta Crum is the author of thirteen picture books, three novels, and numerous poems and articles. Her THUNDER-BOOMER! was an American Library Association and a Smithsonian Magazine “Notable Book” of the year. MINE! was listed by New York Times as “one of the best board books of the year.” Many of her books have made the Bank Street Best Books lists and have been short-listed for state awards. Her newest picture book MOUSELING’S WORDS is garnering glowing reviews. PW says: “…a tribute to the way books can unite even the unlikeliest of friends.” Booklist says, “This earnest and encouraging title fits on the shelf of books for book-lovers…” And Kirkus Reviews sums it up as, “Encouraging, lovely words.” For more, visit Shutta.com.

Shutta is giving away a picture book critique (less than 1000 words)—what an awesome opportunity! Just leave a comment below mentioning you want the crit (in other words, use your words).

A random winner will be selected at the end of the month.

Good luck!

Author-illustrator Denise Fleming gave the keynote at the NJ-SCBWI conference a few years ago and she said something that has stuck with me: “My internal age is five. So I make books for five-year-olds like me.”

I had an ah-ha moment, complete with a hovering lightbulb. I’m eight, I thought. No wonder I write what I do.

Denise’s newest book was recently released, and if you’re familiar with her work, it looks a little different. I learned that Denise has changed up her style. So, of course, I wanted to chat about it.

Denise, you are well known for your innovative illustrations created with paper pulp. THIS IS THE NEST THAT ROBIN BUILT looks a little different—still gorgeous and unique—but I understand you decided to reinvent your style with this book. Why did you feel the need to change up your technique?

I have been illustrating my books with pulp painting for over 25 years. While I love paper making, I felt it was time for a change for several reasons. The small company where I bought my pulp had changed hands and the new pulp was causing me problems. The board I used for stencils was no longer available. I had tried substitutes but none worked as well for detail and some were difficult to cut. Then, there were the hours of standing bent over the paper vat which was affecting my health. These were all a part of my decision to experiment with new techniques.

Gelatin printing and foam printing along with collage were the techniques that really interested me. These provided more freedom and the ability to create more detail, which is difficult with paper making. I also felt I needed a bit of reinvention. I have been around for a long time, I wanted readers to take a second look at my art. I am fascinated with printmaking. Before I created books I studied printmaking, mostly etching, lithos and mono-prints. I am excited to try new styles and techniques in upcoming books.

How does this new style contribute to and enhance this story?

With the new style I am able to create more detail in the illustrations. Printing the background and collaging the foreground gives the feeling of more depth. I also am able to make papers with the textures of feathers and grasses which enhances the art and adds a feel of realism.

 

Has your new style given rise to ideas for books you would have never thought of before?

Actually, I will be experimenting with several new styles in upcoming books. And yes, these new styles will allow me to more ably illustrate several manuscripts I had put in the back of my file due to the fact that I couldn’t figure out how to illustrate them in my pulp painting technique. People are difficult to do in pulp painting. Up until this point I have illustrated people as large graphic shapes. Hands and fingers were stressful as the pulp would fill in spaces between figures. Ugh. So maybe more figures and details in upcoming books. And maybe even white space.

Can you tell us about any upcoming projects?

As to future books, I have been on a sort of sabbatical. Working out how I want books to look. Manuscripts have not been submitted, so I would rather not reveal any of the books until they are under contract. But, I will let you know about them as soon as I send them out and am offered contracts. I agent myself, so I have to give myself a push. Unfortunately, I love experimenting, so I am slow to get back to the business of books.

If I were to edit your reply, I would delete “unfortunately”. Readers are lucky that you keep innovating and creating even more beautiful art!

THIS IS THE NEST THAT ROBIN BUILT is available now from Beach Lane Books.

You can win a copy here by leaving a comment below. A winner will be randomly selected in a couple weeks.

Good luck!

by Nancy Viau

Hey there, readers of this wonderful blog!

Betcha can’t wait for hot, hot summer days, right? I know I’m looking forward to lots of sunshine and NO SNOW!

WAIT.

A.

MINUTE!

I canNOT say that because I am all about snow these days. The reason? In September, my fourth picture book makes its way into the world, and it’s called FIRST SNOW (Albert Whitman & Co.). So, put on your clunky boots and funky hats, think chilly thoughts … instead of OMG, it’s summer and it’s ridiculously hot, and please check out:

What does this cover reveal about the book? Simple. Snow. Is. Fun! If you’re an adult, do you remember the hours spent building igloos, having snowball fights, sledding, and that feeling of cozy warmth from a cup of hot chocolate? (Yeah, I know, dear grown-ups, you’ve gotta put aside the snow shoveling, buried cars, bad roads, etc. for a minute. I haven’t forgotten about you. When the book comes out, look at my funny dedication!)

As with my other picture books, this story is written in rhyme. Before I even thought about being a writer, I loved to read rhyming books. The words seemed to roll off my tongue, yet I never really understood why until I tried my hand at rhyme. It was much harder than I ever imagined! With rhyme, there is so much to consider—the rhyming words, internal rhyme, meter, length of phrases, length of stanzas, vocabulary, and more. Still, I love it. I love that every single word counts. It often takes me weeks to find that perfect word—the one that fits for all the right reasons. When that happens, it’s magical, trust me. If you write in rhyme, you know exactly what I’m talking about!

As far as finding a topic for a rhyming picture book, nature has always been my inspiration. I enjoy every season and the weather that comes with each one—warm, breezy, rainy, super-hot and humid, or freezing cold. While some may grumble, growl, and complain about a pending snowstorm, I’m a little kid again. There is something about the crunch of snow under my feet; its clean smell; that blanket of white; the cheery voices of children playing; and at night, the quiet peacefulness it brings.

Puffy jackets. Scarves in place.

Extra mittens, just in case.

In FIRST SNOW, you’ll see the kids scramble to see those first snowflakes, then head outside for adventure. Illustrator Talitha Shipman has done an amazing job of showing how beautiful snow is. (It’s not easy to paint white snow on white paper, right?) The colors she has chosen are varied and bright, and the expressions on the kids’ faces are priceless. Seeing how an illustrator works with my words is one of my favorite things about writing picture books.

So, next winter when meteorologists predict a big winter storm, I hope you’ll curl up with a copy of FIRST SNOW and think back to a time when snow meant serious, crazy fun. Then bundle up and go out and play!


Nancy Viau is the author of five picture books: PRUETT AND SOO (Two Lions, TBA), FIRST SNOW (Albert Whitman), CITY STREET BEAT (Albert Whitman), LOOK WHAT I CAN DO! (Abrams Books), and STORM SONG (Two Lions). She also writes middle grade and has several published with more forthcoming. Look for her latest, BEAUTY AND BERNICE, at the end of August! During the summer Nancy works as a librarian assistant at a public library and is the first to check out the travel books, searching for adventures out-of-state and out of the country. It’s in nature where she finds inspiration and whether it’s navigating mountain trails or riding her bike, she’s always writing stories in her head. Visit her at NancyViau.com.

Nancy is giving away a signed copy of FIRST SNOW in September. Comment now to be entered into the random drawing. A winner will be selected…on the first day of summer…? (Oh, the irony.)

Good luck!

 

 

 

 

7ate9
Winner of the 2018 Irma S. Black Award and the SCBWI Crystal Kite!
black kite

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

COMING SOON:

THE WHIZBANG WORDBOOK
illustrator TBA
Sourcebooks Jabberwocky
Early 2019

YOUR FIRST DAY OF (CIRCUS) SCHOOL
illus by Melissa Crowton
Tundra/PRH Canada
Summer 2019

THE UPPER CASE:
TROUBLE IN CAPITAL CITY
illus by Ross MacDonald
Disney*Hyperion
Fall 2019

FOUR WAYS TO TRAP A LEPRECHAUN
illus by Vivienne To
HarperCollins
Spring 2020

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