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by Ariel Bernstein
One of my favorite parts of the writing process is wondering which line will lead my friend and critique partner, the author Ali Bovis, to comment that a character is ‘a piece of work.’ She doesn’t quite mean it in the same way as Merriam-Webster’s definition of ‘a complicated, difficult, or eccentric person.’ She means it in the kidlit way of saying THIS is a kid character (human, animal or other), the good and the bad. Because there is nothing I love better in a book than seeing a kid character reflect young readers on their level, accepting them for who they are.
The first time I remember seeing a piece of work character was in that most iconic of children’s books, Maurice Sendak’s WHERE THE WILD THINGS ARE. Many people understandably comment on the Caldecott-winning art and the indelible images of the wild things as reasons for why the book has endured for each new generation of readers. But I think what children most respond to is the subtle message that Max, who acts badly and never actually apologizes, is not seen as a ‘bad child’ but as a child who is still learning about lashing out and seemingly unfair consequences and above all, is a child who is still deserving of love (and what is love but a parent who leaves their child a hot supper after a tantrum).
In my new early reader, OLIVE & OSCAR: THE FAVORITE HAT, illustrated by Marc Rosenthal, I knew Olive would be the “piece of work” character. Her first act is actually kind as she gifts her friend Oscar the aforementioned hat. But as the day goes on and the friends find themselves in need of objects (something to dig sand with, something to hold groceries when a bag breaks, etc.), Olive volunteers Oscar’s new hat without hesitation and without much thought as to whether it’s an appropriate use of Oscar’s hat or if Oscar himself wants to use his new hat for such purposes. Some people (adults) would recognize this behavior as less than ideal as Olive is being rather presumptuous. But at a kid level through a kid lens, it makes sense. If you don’t have a shovel for sand, why not use a hat? It’s there. Why should a kid be expected to think first of the consequences of a sand filled hat? Just because Olive is making a bad decision doesn’t mean she’s a bad kid. She’s just a kid. A work-in-progress kid. Who also happens to be a “piece of work.”
Of course not every children’s book needs a piece of work character, and I would say most children’s books don’t have one at all. But when a book has one and it works, it can create a story full of understanding, humor, endearment and emotional resonance.
Some more of my favorite books with such wonderful characters include Kelly DiPucchio and illustrator Greg Pizzoli’s DRAGON WAS TERRIBLE, Ryan T. Higgins’ WE DON’T EAT OUR CLASSMATES, and Katrina Moore and illustrator Zoe Si’s TEENY HOUDINI series.
I would add my picture book MABEL WANTS A FRIEND, also illustrated by Marc Rosenthal. It was suggested that I remove the scene where Mabel stole a child’s toy in case it made Mabel too unlikeable. I decided to keep the scene because I felt the reader needed to see who Mabel truly was, warts and all, before a friendship helped changed her desires and priorities. Mabel did a particularly bad thing, and while she deserved her friend Chester’s condemnation, she also deserved a chance to learn and grow from her mistake.
These piece of work characters of course can and should learn from their mistakes as kids eventually do. Max decides to leave the wild things and return home. Olive offers to replace Oscar’s ruined hat. They haven’t suddenly become different characters and the expectation isn’t that they will never make a bad decision again. But they’ve learned a little and understand a little more. The fact that they were seen and accepted—the mom still loves Max and Oscar still loves Olive—make it easier for these characters to grow at their own pace. And a young reader can see that when they too make a mistake, they should also still be loved and understood.
My writing prompt for you is this:
Create a character and then think…what it is about them that makes them a “piece of work”?
- Is there a scene where they are impulsive, presumptuous, angry, greedy, overwhelmed, bossy?
- How do you make these traits into something relatable to a young reader?
- How do you make the readers feel seen through your character rather than judged?
Ariel Bernstein is an author of picture books including WE LOVE FISHING! (starred review Publisher’s Weekly), YOU GO FIRST (starred review Kirkus Reviews), and MABEL WANTS A FRIEND (starred reviews Kirkus Reviews and Publisher’s Weekly), all illustrated by Marc Rosenthal. She also wrote the WARREN & DRAGON chapter book series, illustrated by Mike Malbrough. Honors include a Publisher’s Weekly Best Book of 2024, Charlotte Zolotow Highly Commended Title, Junior Library Guild Gold Selections, CCBC Choices, and Bank Street College Best Book of the Year. Ariel lives in New Jersey with her family and you can find her online at arielbernsteinbooks.com.
by Trisha Speed Shaskan
During the summer of 2005, because I had taught creative writing classes to children, I was hired to teach mystery writing. The catch was: I didn’t have a clue as to how to teach it. But I loved Sherlock Holmes. And I had a motive: I needed the income. So, I read a craft book on mystery writing and studied a book on how to teach the subject to kids. One approach was to write the mystery backwards (plotting vs. pantsing). You decide who committed the crime, figure out who the suspects are, plant clues, then circle back to the start and begin writing. Kids wrote about runaway chickens, flying robots, and a shapeshifting bear!
That year, I was also a student in an MFA program where I studied creative writing. I sold my first book, THE TREASURE MAP, an easy reader to Capstone Press. Afterwards, the editor asked me to write books-for-hire, meaning I’d be paid a flat fee to write them, but wouldn’t own the copyright or receive royalties. I wrote educational-based books such as IF YOU WERE ONOMATOPOEIA.
Several years later, an editor at Capstone who knew my husband Stephen was working on becoming an illustrator asked us to collaborate on the book-for-hire, Art Panels, BAM! Speech Bubbles, POW! Writing Your Own Graphic Novel. The format was new to me, but I deduced Stephen could help guide me because he’d been reading comics since he was a child. From craft books, I learned about panels, splash pages, and emanata, which are the visual elements that emanate from a character or object in a comic, such as stink lines!
Afterward, Stephen and I taught graphic novel classes to elementary students based on that book. We witnessed how much kids loved creating comics!
A couple years later, Stephen celebrated the release of his first traditionally published picture book. We both had agents. Together, we were invited to pitch an illustrated early chapter book series to a publisher. For the first time, we brainstormed fictional story ideas together. Because of the summer class I’d taught, we had a breakthrough: We created Q & Ray a mystery series about a hedgehog and rat who solve mysteries at Elm Tree Elementary. The characters are forest animals. Q is a hedgehog because they’re found in England where Sherlock Holmes originated. Ray, a rat, is her best friend.
We had fun naming characters. Q is short for Quillan since she has quills. Q & Ray is a riff on Q & A, questions and answers, which is the heart of a mystery. The media specialist is Mr. Shrew based on the media specialist extraordinaire (now author) Mr. Schu. The main teacher is Ms. Boar!
Coming up with a story, pitch, and sketches took 2 months. When our agents submitted the series: Plot twist. It was rejected. The editor “liked it, didn’t love it.” We loved the idea, but the format was very specific. We wondered: What to do?
At my job as a literacy coach, the students wanted to read Baby Mouse and Lunch Lady, but those graphic novels were too difficult. We suspected kids might like a young graphic novel series. To learn how to write the format, I reread Story by Robert McKee since graphic novels are similar to screenplays.
A couple months later, our agents sent it out on submission. Suspense! And…rejections. Publishers weren’t as familiar with younger graphic novels as they are now. Finally, we sold the 3-book series. We had proof that all our work wasn’t lost.
While working on the series, I could hear Stephen in the next room laughing while drawing. He’d found utter joy in the format! And because of Q & Ray, Stephen created the young graphic chapter book series, Pizza and Taco, which has resonated with children all over the world. The 10th book in the series was published this month:
Has the story you’re creating had plot twists or cliffhangers? Perhaps a new experience that’s come your way might help inform it? Or maybe trying a new format might help shape it? I’m no detective, but I have a hunch you’ll close the case on your story soon!
Stephen and Trisha at their launch for Q & Ray at Red Balloon Bookshop
Questions for You:
- Is there a new genre you want to try?
- Is your story fresh? If not, can you take bits–a title, phrase, character, etc.–and use it in another story?
- Is there a fun way to play with the characters’ names in your story?
- Have you tried brainstorming story ideas with a close friend or family member?
- What are the children reading? Excited about? Is there something they want to read that hasn’t been created?
- Last, but not least: Are you having fun?
Trisha Speed Shaskan has written fifty books for children, including her latest picture book The Itty-Bitty Witch illustrated by Xindi Yan. Trisha and her husband/author/illustrator Stephen Shaskan have created the picture book Punk Skunks and Q & Ray graphic novel series. They love to visit elementary schools and libraries where they share their passion for creating books for children. Trisha has taught creative writing to students at every level from kindergarten to graduate-school. She has an MFA in creative writing from Minnesota State University. Trisha and Stephen live in Minneapolis, MN with their beloved dogs, Beatrix and Murray. Visit Trisha at trishaspeedshaskan.com or on Instagram @trishaspeedshaskan.
by Casey W. Robinson
As an English major, I wrote A LOT of papers in college. Whenever I’d get stuck, I’d pull E.E. Cummings: Complete Poems 1904-1962 off the shelf, flip open to any random page, and point. I loved e.e. cummings because he threw words together in unexpected combinations, often smooshed together with no spacing, or dangling one letter at a time in between hard returns
d
o
w
n
the page.
There was something about his word choice though, the jolt of the unexpected, that almost always jostled me out of my creative funk and got me back to writing. I think this little trick worked because it did two important things: it changed my visual surroundings and it asked me to pay attention.
When I’m looking for new manuscript ideas, the first thing I do is change my surroundings. More often than not, I go for a walk around my neighborhood. Even a well-worn familiar path can show you something new if you are committed to the mindset of observation. I remember reading about one celebrated author (pretty sure it was Hilary Mantel, but I couldn’t find the reference) who went for a walk every morning and tried to write one sentence in her head to describe what she observed. Maybe something about the slanted morning light, or the crisp snow underfoot, or the windchime of icy tree branches. Anything to practice noticing and capturing. It’s more challenging than you think! But when I’ve remembered to do this—first, looking for something noteworthy and in the process really noticing everything around me—I’ve come home with the start of a poem, or an interesting phrase. At the very least, I come home clear-eyed and ready to write.
You can also change your literary surroundings. Read something by someone new, and if you can, read it aloud. This works particularly well with picture books, thanks to their brevity and musicality. But the beginning of a novel or a poem can work as well. Pay attention to how the words sound, how they make you feel, the images they conjure. How and when does voice emerge? I’ve started spending Wednesday mornings at my local library, and my first order of business is gathering a stack of 5 or so new picture books to read. If one of them really strikes me, I’ll retype the text into a Word doc, studying as I type the author’s word choice, the page turns, the pacing and narrative arc. By the time I’ve finished the stack, I am in the right mindset to start playing around with an idea or two of my own. Kind of like listening to the right playlist to get you in the mood for creativity.
Most writers I know are, by nature, endlessly curious, questioning creatures. I think we are collecting ideas all the time, even when we’re not meaning to. I wrote my first draft of SMALL THINGS MENDED after a chat with my friend Heidi Stemple.
We had been talking about comfort TV shows to counter our pandemic blues. She mentioned a British show called “The Repair Shop,” and I got off the phone wondering whether someone would ever accidentally start a repair shop. And if they did, what would they fix? What would kids consider treasures worthy of repair? I sat down and wrote the first draft in one go. I never even watched an episode of that BBC show!
Most of what I need to do to bring new ideas to the page is get out of my own way. Our unconscious brains are full of trickery and potential if we would just let them play! What is that Mary Oliver quote we all love . . . “Instructions for living a life: Pay attention. Be astonished. Tell about it.” Well that’s good advice for us creatives, too. Notice, wonder about things, and see where it takes you.
Casey W. Robinson’s latest picture book, SMALL THINGS MENDED, illustrated by Nancy Whitesides, was a New England Book Award winner, a Christopher Award winner, a Crystal Kite Award winner, and received a 2025 Massachusetts Book Award Honor. Casey’s debut picture book, IVER AND ELLSWORTH, illustrated by Melissa Larson, was a finalist for the Crystal Kite Award and Pennsylvania Young Reader’s Choice Award. Her next book, THE SHARING HOUSE, illustrated by Mary Lundquist (Rocky Pond Books/Penguin), will be out in May 2027.
Casey grew up in Maine and used to keep a shoebox of favorite words and phrases under her bed. She now lives with her family just west of Boston, in a yellow house overflowing with books. When she’s not writing, Casey manages book events for her local indie bookseller, The Silver Unicorn Bookstore in Acton, MA. Find Casey on Instagram @cwrobinson or at caseywrobinson.com.
by Courtney Pippin-Mathur
A character and the plot are fundamental parts of a story. But what about emotion?
I often tell my students to find the Universal Emotional Connection. Love, jealousy, pride, curiosity, acceptance (to name just a few), these are the emotional heart of your story and what will make a reader connect with your book.
I especially like to draw emotions. I don’t always have an idea of what to draw, but if I start with an emotion, it flows a bit more easily.
Often it will reflect how I’m feeling in the moment, something like…
Anger:
Joy:
Loneliness:
These are fun (and give me the buzz of creation), but they don’t always lead to an idea, so sometimes I add another character:
Grief:
or an interesting setting:
Or my personal favorite, two individuals in that quiet but simmering form of disagreement. (I think I just like to draw grumpy people.)
Sometimes an idea will pop into my head as soon as I draw the character, but sometimes the art will serve as my list of ideas that I can return to later for story inspiration.
And if you don’t draw, (or need some emotional inspiration) no problem!
Start with a list of emotions like this one I found on the American Psychological Association site.
Now try adding a noun (person, place or thing) to an emotion and see how that works.
For instance:
- Comfortable cow
- Daring rat
- Flabbergasted chef
- Cautious kid
Keep playing around with the words or sketches until you find something that makes you giggle or think, “I could write a story about that!”
Courtney Pippin-Mathur is the author and or illustrator of several picture books including Dinosaur Days (author), Maya was Grumpy, and Dragons Rule, Princesses Drool. She makes lots of other types of art including paper machè, clay and acrylic painting. She teaches online (and occasionally in person) at The Highlights Foundation and through personal mentorships.
You can see more of her work at http://www.pippinmathur.com/ or on Instagram or Bluesky @pippinmathur.
by Kirsten Pendreigh
For today’s nonfiction authors, there’s an ocean of fascinating topics at our fingertips—in magazines, documentaries, nonfiction books and social media. But which ones are picture book worthy? Which ones merit long months of research with no guarantee of publication? Which ones will sustain your interest—for years!—as you prepare and later share the book with kids?
When I’m drawn to a potential nonfiction topic, I ask myself two quick questions:
- Would this appeal to kids? and
- Has it been done before?
Then I do some cursory research, let it percolate for a week, and if I’m still excited, run the idea through a more rigorous checklist before diving in.
I’ll take you through how that worked for my recent nonfiction book WHAT FISH ARE SAYING: Strange Sounds in the Ocean, beautifully illustrated by Katie Melrose and published by Sourcebooks Explore.
One morning, my local radio station interviewed a marine scientist about a new library of fish sounds. A library of what now? I put down my coffee and listened closer. When he played some of the bizarre fish recordings, I was hooked. (Pun intended!) Fish can talk? Each species makes its own unique sound? We can study those sounds and use them to protect marine life?
I broke my own rule of letting the idea percolate and began my checklist while my coffee was still hot!
- Would this topic interest kids?
My gut told me yes. Like me, I imagined kids would be delighted to learn that fish “talk” and in such bizarre and funny ways. (I later surveyed kids at school visits and got a resounding thumbs up.) An especially kid-friendly aspect is that one of the loudest—and most important—sound makers in the sea is also one of the smallest: the snapping shrimp. It sounds are like popcorn popping, and noisy shrimp are a key indicator of reef health. (Also, there are fish that make sound by farting and burping. Crowd-pleaser!) - Has this topic already been done?
Nope! There was no other fish-sound specific kids book published. And the science of marine acoustics is so cutting-edge, new discoveries and recordings are being made daily.
*If a topic has been done before, can you approach it in a new way or add significant new insights?
I moved on to more questions:
- Does this topic have curriculum connections?
Yes. Elementary students typically do units on ocean ecosystems and organizations like Blue Schools run ocean education programs in many US and Canadian schools. I knew I could link sound libraries and lots of kid-friendly research sites for educators to further explore. - Do you have a unique approach in mind?
Yes! I could have taken a straightforward “here are some fish and these are the sounds they make and why they make them” approach. But in today’s competitive commercial nonfiction market I needed something more engaging. The fact that the story is about sounds dictated my direction. Onomatopoeia and rhyme swam into the mix! Right off the bat, I jotted down simple rhymes based on sound descriptions assigned by scientists: Boop! Whoop! Moan! Groan! So fun! I realized this could become an amazing read-aloud. (Later, I added a refrain, (It’s Noisy Down Below!), some direct questions to engage young readers, and recurring cameos by the amazing snapping shrimp—a little “Easter Egg” on each spread. Lots to explore visually and lyrically and encourage re-reads!)
Can you spot the snapping shrimp?
- Are there layers?
Yes. To me, the best nonfiction books have many layers, and different entry points for different ages. The simple, fun, rhyming text was plenty for little ones. But for older readers the text and backmatter are a launching pad to discuss reef restoration, the impact of human noise, symbiotic relationships and so much more. (From the start I knew I’d be able to provide links to recordings and more amazing fish sound resources—feel free to check them out on my website). There’s also a literacy layer—teachers report that reluctant readers love sounding out the fish noises and become excited to read further. Finally, there’s a layer of scientific discovery and hope as sound mitigation is proving an affordable and practical way to help protect marine life. - Will my book inspire curiosity and further learning?
I think this is a great guiding question for any nonfiction author. Are you only interested in teaching kids about a specific topic or do you want them to enjoy engaging in your book so much that they seek out more information about the topic and more nonfiction books to read? As I was preparing this post, WHAT FISH ARE SAYING made a Best of the Year list in the category of Books that Build Curiosity. The reviewer said: “These are the stories that make kids ask questions, wonder about the world, and see things in a whole new way.” What nonfiction author could ask for more?
I encourage you to dive into topics you really love and find your unique way to engage kids. But first, protect your precious research and writing time by running a checklist!
I’ve abandoned many nonfiction picture ideas when they don’t make it through my checklist. That’s part of the process. Each time, I still learn amazing things and become better at figuring out what topics and treatments will sell. WHAT FISH ARE SAYING hit all the marks for me, and I’m delighted it received starred and glowing reviews. But the best reward is when I read it aloud, hear kids yell the refrain, and see them stretching their hands up high to ask me all their fishy questions!
Conducting the refrain at the Vancouver Writers Fest. Chopsticks double as sound makers and batons!
Kirsten Pendreigh is a poet, journalist and children’s author from Vancouver. Her books celebrate our early instincts to care for the creatures that share our planet. Kirsten’s nonfiction titles, WHEN A TREE FALLS and WHAT FISH ARE SAYING use lyrical language, onomatopoeia, rhyme, and other poetic devices to engage children in the cutting-edge science of underwater species communication and the crucial role fallen trees play in regenerating the forest.
Kirsten’s fiction picture books include MAYBE A WHALE, LUNA’S GREEN PET and the forthcoming CAMPING IS A TERRIBLE IDEA. Find out more (and listen to the fish!) at kirstenpendreigh.com and follow Kirsten on Instagram @kirstenpendreigh.
by Rob Sanders
Have you ever been told, “Just wait and inspiration will strike”? The adage gives the impression that inspiration is out of our control, and we have to wait on its arrival, no different than waiting for lightning to strike. Then there’s the opposite side of the coin when we’re told, “Inspiration is everywhere. If you can’t find it then you’re not looking.” That saying makes me feel as if there’s something lacking in my creative spirit if I’m searching for ideas, writing solutions, or inspiration and they’re elusive. Perhaps the root of inspiration lies within the creative spirit itself, or as I like to call it—the creative muse.
You may have met your creative muse without even realizing it. Have you ever had a serendipitous moment when the perfect word or phrase came to mind? Ever been on a walk and quite literally could see the tree rather than the forest for a new project? Ever visited a museum and found the impact of the work gave you creative energy for days? That, my friend, is your creative muse at work.
Your creative muse is not some magical being that waves a wand indiscriminately or something that you conjure up by dancing around a fire with your critique partners. Your creative muse is an ever-present part of you—sometimes active, sometimes silent, always waiting to be fed and nourished.
In The Miracle of the Artist’s Date Julia Cameron explores what I think is the key to feeding your creative muse—the artist’s date. Long before I read Cameron’s book, I went on what I called creative encounters. My encounters included museums, musicals, one-day trips, hikes, and more. Those creative encounters did exactly what Cameron says an artist’s date does, they nourished my creative spirit, my creative muse.
I recommend treating your muse to a creative encounter at least once a month. What ignites your creative energy and inspires your writing muse will be unique to you. For some it may be live theater, a concert, or another kind of performance. For others it may be touring an art installation, gallery, or museum. Others may benefit from a trip to the beach or time to think during a walk through the woods. Scouring cookbooks, trying out a new recipe, or recreating a family meal from years gone by may inspire someone else. Whatever you choose, I recommend that you let your creative encounter be something out of your normal routine, something special for you, and not something related to research for an upcoming project. I have found that creative encounters are most effective for me when I experience them alone—but that may vary from person to person.
The teacher in me also thinks there’s a need to reflect after a creative encounter to help your logical self realize what has impacted your creative self. Whether it be the day after, the next week, or a month later, think back on the creative encounter, what you enjoyed about the experience, and what changes you noticed in your creativity following the experience. Don’t get hung up on results since your muse may be inspired by an encounter months later, but do reflect so you can determine which creative encounters are most meaningful and helpful to you.
Here’s a goal for you—how about planning one creative encounter each month in 2026? Feed your creative muse and see what results come from it. Don’t wait for inspiration to strike—though it might. If inspiration is everywhere, grab it and hold on to it. But feed your creative muse, too. Now, go enjoy a creative encounter!
Rob Sanders, from Brandon, Florida, is a teacher who writes and a writer who teaches. He is known for his funny and fierce fiction and nonfiction picture books and is recognized as one of the pioneers in the arena of LGBTQ+ literary nonfiction picture books. Rob’s nonfiction books continue to break new ground, including the first picture books about the Pride Flag, the Stonewall Uprising, a transgender Civil War soldier, a gay presidential candidate, and the first gay marriage in America. His work also continues to introduce readers to heroes of the LGBTQ+ community—from Harvey Milk to Gilbert Baker, from Cleve Jones to Bayard Rustin, and more. His fiction explores friendship, relationships, standing up for others, and being allies. Blood Brothers, his first middle grade novel, written in powerful, raw verse released in July 2022 and was named an NCTE 2023 Notable Novel in Verse. 2025 releases included the warm-hearted story, Book Comes Home: A Banned Book’s Journey and André: André Leon Talley—A Fabulously Fashionable Fairy Tale, co-authored with Carol Boston Weatherford. 2025 will see the release of A Family of Readers (Charlesbridge) and Play Proud: Fiercely Fabulous Queer Athletes (Beaming Books). Rob believes in paying it forward. He serves on the SCBWI Impact and Legacy Fund Steering Committee and is a frequent speaker, teacher, mentor, coach, and critiquer. Rob is represented by Rubin Pfeffer and Amy Flynn of Aevitas Creative Management. Visit him at robsanderswrites.com and on Instagram @RobSandersWrites.
by Lisa Tolin
When Tara asked me to contribute to this year’s Storystorm, my initial response was panic. Who am I to give advice? What do I know?
There’s a reason I had that response. We’ll call her Brenda.
Brenda is the judgy editor in my brain who tells me my ideas are bad. She’s not very nice, and she’s there all the time.
You need a Brenda, or you wouldn’t get anything done. But you also need her to pipe down so your goofy side can come up with ideas.
The humor writer Scott Dikkers calls these two sides the editor and the clown. But there’s a real basis for this in the brain, where two main systems are at play. One of them—the default mode network—is responsible for mind-wandering and imagination. The other—the executive control network— supports focused attention and goals.
You need both, and you need them to talk to each other. But some of us have overactive executive networks that may help us achieve our goals, but also shut down our dreamier side.
Dikkers suggests writing stream-of-consciousness morning pages to quiet the editor. Julia Cameron, who popularized the idea of morning pages in THE ARTIST’S WAY, told me she calls her inner critic Nigel and when he’s getting mouthy, she thanks him for sharing and moves on.
Shutting Brenda (or Nigel) up is basically the whole point of Storystorm—allowing yourself to be creative and jotting down ideas without judgment. So go ahead and name your inner critic, tell him to take a vacation, and try these sort-of science-backed techniques to bring out your inner wild child.
- Guided daydreaming.
Walking or showering can get your mind wandering. Instead of doing it aimlessly, start with a simple idea or thought-starter, like “a character who is a fish out of water” or “what would happen if…?” Let your mind wander and jot down ideas. (You can even invest in a waterproof notepad for those shower ideas.) - Procrasti-clean.
There’s no motivation for cleaning quite like having something else you should be doing. Fortunately, cleaning is a “mildly engaging” task (like walking) that psychologists say boosts creative thinking. The idea for my last book, CAN YOU IMAGINE? THE ART AND LIFE OF YOKO ONO came during Storystorm while I was clearing out the basement and found a clip of an old interview I had done with Yoko Ono. Maybe you’ll discover some treasures in that clutter. - Think different.
Okay, that’s a grammatically questionable Apple slogan. But if you want to think of a new idea, it helps to get out of your usual patterns. The legendary producer Brian Eno created an “oblique strategies” deck to goose creativity that he used with artists including David Bowie and David Byrne. Some of the suggestions are specific to music, but try out a digital version and let your creative brain try something new. - Play.
If you have kids who are young enough to still want to play with you, get on the floor! Or maybe playing for you looks like doing a puzzle, sketching, or trying an improv exercise. They say Einstein came up with his best ideas while playing violin. - Mix it up.
Take a look at some books on your shelf, or a magazine. Pick a few words from different book spines or headlines that intrigue you and combine them into something new. What would that story be? (You can take that question on a walk or to the shower.) - Rest.
There is something magical about that moment before sleep, or the calm mind that follows meditation. But you can also benefit from just a few minutes of unstructured time staring at the ceiling. Apparently doing nothing is trendy now.
I hope something here knocks an idea loose—but if not, at least you’ll have a clean basement. (Thanks, Brenda.)
Lisa Tolin is a children’s book writer and the editorial director of PEN America. Her debut picture book, HOW TO BE A ROCK STAR, with Daniel Duncan, was a Junior Library Guild gold standard selection. CAN YOU IMAGINE? THE ART AND LIFE OF YOKO ONO won the Society of Illustrators Silver Medal for illustrator Yas Imamura. Find Lisa on Instagram @ltolin or BlueSky @lisatolin.bsky.social or sign up for irregular updates on Substack.
by Laura Gehl
I am a HUGE fan of brainstorming. Generate a whole bunch of ideas, and at least one of them is bound to be worth pursuing? YES! I believe this with all of my heart and soul!
Except…when do you need to brainstorm? When you don’t have any ideas. And when you don’t have any ideas, do you feel extremely energized, your brain positively fizzing and whizzing with brilliance, ready to generate, generate, generate? NOPE.
This is why I love to brainstorm two-word lists. No matter how exahusted you are, no matter how much the rest of your life is getting in the way of your writing, no matter that your brain feels like month-old tapioca pudding, you can come up with two little words. Right? Right!
One of my favorite two-word brainstorming activities is to generate a list of verb-noun combinations and then see where my imagination leads.
For example:
- Throw donuts (Hmm…a donut fight? Why? Wouldn’t everyone rather eat donuts than throw them? Are there rival donut shops involved? Or a donut shop competing with an ice cream shop? Is there a character who hates donuts and just wants to eat carrots? Is someone throwing donuts over a squirrel’s head like a ring-toss game? Or using a donut as a life preserver?)
- Zoom capybara (A capybara race car driver? Or motorcycle enthusiast? Or skateboarder? Or maybe the capybara just falls asleep in a comfy spot but then discovers himself zooming across the country in a pickup truck?)
- Bushwhack pickles (Okay, these are two of my favorite funny words, but this pair led to absolutely no ideas. That happens. It’s fine!)
A few years ago, one of my verb-noun pairs led to a book that will be published next month. I’m super excited about this book! It features two bunnies named Carrot Cake and Pufftail who must defend their beloved forest from a troublesome fox (or is he?).
Another two-word brainstorming activity I love is to come up with rhyming pairs of words and then see where those words take my thoughts.
- Mountain fountain (Ooh, I like this one…maybe there’s a mysterious fountain found deep in the mountains. Who built it? Who uses it? Is it a water fountain or a chocolate fountain? Is the fountain drying up? Who is affected by that?)
- Small Paul (Who is Paul? Why does it matter that he is small? Is being small getting in the way of his dreams? Is there a Tall Paul? How do Small Paul and Tall Paul relate to one another? Are they friends? Enemies? Frenemies?)
- Sailboat mailboat (Is the mailboat delivering mail to people on an island? Is the sailboat a mailboat? Or are Sailboat and Mailboat two boats who are buddies? Is Mailboat sick and so Sailboat has to deliver the mail, but he’s much slower than mailboat, because Mailboat has a motor and Sailboat doesn’t?)
Sometimes, pairs of rhyming words can lead not just to book ideas but also to book titles. I have lots of books with rhyming words in the titles!
And it’s not just me! What about our fearless leader Tara Lazar?
Here are a few other ideas for two-word brainstorming.
Brainstorm words that don’t naturally go together.
Pillow revolution
Ballet potato
Foot party
Brainstorm words that start with the same letter.
Saturday school
Towering trees
Bicycle blues
Brainstorm words that start with the same TWO letters.
Frilly friends
Stinky stampede
Princess pride
Brainstorm words in different categories. For example, beach words and sports words.
Sand goal
Umbrella champion
Seagull race
Brainstorm words of different lengths. For example, 1-syllable and 3-syllable words.
Stop sniveling
Fuzz bonanza
Pup tornado
Of course, most of the ideas you come up this way will lead absolutely nowhere! Let’s be honest, “ballet potato” sounds like an idea that I might scribble on a post-it note in the middle of the night thinking it’s the most ingenious picture book idea ever. I will then inevitably stare at the Post-it in the morning trying to figure out what on earth I was thinking. BUT…for every 10? 20? 50? ideas that have no potential, one of them will lead you to write a fabulous book. And I, for one, can’t wait to see that book on my bookshelf soon!
Laura Gehl is the award-winning author of more than fifty books for kids, from board books to picture books to early readers. Her 2026 titles include ATTACK BUNNIES (Beaming Books), PUPPIES KNOW AND GROW and BUNNIES KNOW AND GROW (Barefoot Books), ODD BUGS (Abrams), and BUBBE AND BECCA’S BUCKET LIST (Penguin Random House). You can often find Laura in an ice cream shop, or in the woods in Maryland, where she lives with her husband and four kids. You can also visit her online at lauragehl.com or on instagram @authorlauragehl. Subscribe to her newsletter (with a giveaway in every issue!) here: https://lauragehl.com/contact/.
by Heidi E. Y. Stemple
I’m a big fan of flavor. Besides writing, I love cooking. And eating. I know that some dishes are best served right out of the oven and some should rest. Some, like soups and stews, bolognese, and even the cranberry sauce I make at thanksgiving—those dishes need to sit. The flavors become deeper, richer, more complex. The waiting gives it time to build layers.
Oh, I also love a good metaphor.
Like the flavors of food, some ideas need time to sit. Though writing can be immediate gratification, usually it takes time and fresh eyes to really get the best out of a story. I collect ideas. Tons of ideas. Often I have many of them in notebooks, post-it notes, and in a file aptly named “ideas” on my computer. Sometimes one pops like a starting pistol and I am off at a run—trying to follow that first blush of infatuation about a character or situation. But, usually that is a sprint with no destination. (More metaphor!) Lucky, my many years of experience has mellowed me. If I cannot find the story or plot, I don’t worry. Time to let that idea marinate. Sometimes all it takes is a hot shower, a walk in the woods, a car ride… and the story untangles, a plot reveals itself, or my brain starts following paths until my fingers on the keyboard find the right one. But, this isn’t always the case. Sometimes, like that metaphorical casserole, you need to cover that idea with a tight lid, put it in the back of the fridge, and let it marinate on its own. Sometimes for a long long long time.
OK, that’s not a perfect metaphor. Maybe it’s tin foil? Maybe it’s the freezer? But, you see what I’m getting at…
I live on a farm so there is always something interesting out there—a predator alarming the crows and blue jays (they made it into my verse novel THE POETRY OF CAR MECHANICS), a nest with baby birds squawking and parents flitting in and out (WREN’S NEST), a friend’s backhoe digging up the farmland for a new crop (Book #2 of The AVIAN ADVENTURERS)… but sometimes, even though the idea is obvious, the story doesn’t preset itself right away. One day, around 2014, I looked out my window, across the expanse of the back acres of our farm. There are always deer back there and a regular bobcat. I also have fox and coyote and some really fat groundhogs. But, on that day I saw something completely different. Bigger. MUCH bigger. A young moose! I had never seen a moose in the wild before—let alone in my own backyard. I grabbed my binoculars and raised them to my eyes yelling what everyone yells when they see a moose, “that thing is ENORMOUS!” My writer brain, though, was not satisfied with that. It started playing around with the word.
Enormous…
Enorm-Moose…
E-Norm-Moose…
E. Norm Moose…
Now THAT sounded like a title!
But a title is not enough.
Who is E. Norm Moose?
Hmmmm… her full name is… let me think.
Ernestine Norman Moose. Her family didn’t intend to name her after her uncle Norman, but when she was born, she just looked so much like him—all knees and knuckles.
I’m finding my character.
Just like Uncle Norm, she is a klutz.
So, what is true about moose? After a year or two, they leave their mother and start a more solitary life. My daughter had just left for college and I worried about her out on her own. And I missed her so much. But, this isn’t Norm’s mother’s story… maybe I’m too close to that emotionally right now. Oh, and I’ve always read stories in the local newspapers about young moose showing up in cow pastures trying to make friends with the cows. How do the cows feel about this?
I’ve got some fun ideas here… but no real story. Is the story Norm? Is it about a cow? Is it about growing or loneliness? I didn’t know. I set it aside.
That’s fine. I wasn’t ready for it. Norm would have to wait until I was ready.
I checked back in on Norm every once in a while over the next bunch of years. Nothing sparked. I’d tweak the beginning and rewrite a bit. Then set her aside promising to come back soon. I felt a bit bad that I didn’t know what Norm wanted to do yet. But, she was patient. I was patient.
Then one day, I opened E.NormMoose.doc on my computer and I read the beginning. This time, Norm became quite clear. She took her first steps out into the world with me leading and following her. We fell into a mud puddle and off a boat. We found our way into a pasture… I won’t tell you more because E. Norm Moose comes out in fall 2026 with art by Annie Gregoire—her first book! I’m so excited to be part of her illustration journey! It took the right editor to love the story and then bring Annie on board. If I had just written Norm’s story that very first day, none of this would have happened. I am glad that I am patient with myself and my stories. Beautiful things happen when you wait and bring new eyes, a fresh take, and, because time away means you have grown as a writer—become more seasoned, if you will—better writing skills to a story. Don’t be afraid to step away. You may be surprised what flavors and layers you can bring out of your own writing if you are just willing and patient enough to let them marinate.
OK—all this talk of marinating is making me hungry. You go write and I’m going to make some pasta!
Heidi E. Y. Stemple didn’t want to be a writer when she grew up. In fact, after she graduated from college, she became a probation officer in Florida. It wasn’t until she was 28 years old that she gave in and joined the family business, publishing her first short story in a book called FAMOUS WRITERS AND THEIR KIDS WRITE SPOOKY STORIES. The famous writer was her mom, author Jane Yolen. Since then, she has published more than 50 books (a few of which are still in the pipeline) and numerous short stories and poems, mostly for children.
Heidi lives and writes on a big old farm in Massachusetts that she shares with a dozen deer, a family of bears, three coyotes, two bobcats, a gray fox, a red fox, tons of birds, and some very fat groundhogs. Once a year she calls and counts owls for the Audubon Christmas Bird Count.
by Brian Gonsar
Good morning Storystormers! Today, let’s talk about the most creatively stimulating thing there is: rejection.
I know, I know, no one likes rejection. Not in love. Not with work. And certainly not with the book you’ve been pouring your heart and soul into. But what if I told you rejection was the best thing to happen to me?
In 2015, I participated in Storystorm (well, PiBoIdMo) for the first time. Within my 30 ideas was the concept––how did the Headless Horseman choose a pumpkin for a head? A little odd? Perhaps.
But with the help of my critique group, I spent the next year writing and revising this origin story, which helped me land my agent, the wonderful Stacey Graham of 3 Seas Literary. We sent the picture book out on submission, but got a series of similar rejections:
- Really funny, but the topic seems too old for a PB audience.
- Have you thought about making this more of a chapter book?
Now, I’m not one to be turned off from rejection, just ask my wife, who once tried to set me up with a friend before eventually agreeing to give me a shot. So I channeled that resilience, switched genres, and crafted the Horseman idea into one of many short stories that twisted the tales of spooky characters like vampires, werewolves, and bigfoot. I thought it was genius and just what editors would be looking for.
We went back on submission in 2019 and received a ton of positive responses for these creepy, yet funny stories. But each positive response was followed by more rejection. And once again, the most common feedback was questioning if this was the right genre for these stories.
- “I liked the concept of a compilation of not-so-scary stories, but I ultimately wanted the stories themselves to do a little more work to make a more satisfying re-telling.”
- “I love the idea of hilarious twists on traditionally scary stories, and Brian’s interpretations were freshly imagined. However, I’m not convinced that a short story collection is the right format for this project.”
- “I found that the expository approach wasn’t quite working for me—I wanted more characterization, more nuance! I almost thought some of these could lend themselves to an entire novel.”
After seeing this common feedback, I said to my agent:
Me: What about a chapter book?
Stacey: Have you ever thought about graphic novels?
Me: I don’t read comics.
Stacey: Graphic novels are a little different than comics.
Me: I don’t know—it seems foreign to me.
Stacey: They’re written like screenplays. Don’t you read scripts all the time as a producer?
Me: Well, yeah, but…
Then she gave me a book called CAMP MIDNIGHT by Steven T. Seagle.
I read it, loved it, and decided to go for it. I planned on expanding one of my short stories as a graphic novel, but which one? A couple editors called out one or two specifically, but it was Samantha Gentry’s comment that locked it in for me: “This is a really intriguing idea and I love the voice. I particularly liked the story about Dracula and the donut, as I know Brian is a donut aficionado.”
So I decided to write about what I loved: donuts.
Small problem, I had never written a graphic novel before. So, I took a nose-dive into researching this genre by reading tons of middle grade graphic novels. Learning this new format really energized me. It inspired me to think differently. After two rounds of rejections and years of writing, I felt I was finally hitting my stride.
The dialogue-driven format of a graphic novel came easier to me than writing for younger audiences. The visual aspect of the book was something I could easily envision and explain. And the humor I could inject into a middle grade book was exactly my vibe (#dadjokes). But I wouldn’t have gotten here had I given up after receiving rejections. I wouldn’t have taken a chance at another genre if I didn’t listen to the feedback and respond to it.
After a full year of writing, I finished the graphic novel in 2021. My illustrator, Keenan Gaybba, and I signed the contract with Oni Press in 2022. And in August of 2025, Dracula’s Brunch Club finally came out after years of living (or unliving) in various formats.
And it has been doing pretty well! Scholastic picked it up for their book fairs, it made Comics Beat’s Best of the Year list, and I’ll have more exciting news to announce later this month with it. All of this came from a seed of a Storystorm idea that wouldn’t give up, despite rejection.
I hope this can be your encouragement—when rejection comes, don’t stop. Adapt. Shift perspective. Rethink your story or reshape the format. It may be writing in third person instead of first. It may be changing your setting or characters. Or it may be turning your picture book into a completely different format…twice.
Today, take a look at your past rejections and jot down ways it can take on a new life. It may inspire something even better! Because rejection isn’t failure, it’s fuel for stronger work. It’s an invitation to think differently and learn something new. Use it to your advantage.
Thank you, Tara, for hosting this for so many years and providing a place for ideas to be created.
Brian Gonsar is an award-winning producer with a resume of feature films, music videos, art installations, and even a Super Bowl commercial. He is also a self-proclaimed donut aficionado, who has traveled the world to find the best donut. DRACULA’S BRUNCH CLUB (Oni Press, 2025) is Brian’s debut graphic novel. When he’s not writing and creating, Brian’s most likely reliving his glory days on the soccer field. He is a proud #girldad and lives with his wife and daughter in New Jersey. You can find more about him at bgonsarbooks.com, on Instagram at @bgonsar, BlueSky at bgonsar.bsky.social, or writing about donuts at thedonuthunter.com.
Writing for Kids (While Raising Them) 