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by Ame Dyckman
Hi, guys! Need picture book ideas? Me, too. So, I’m not going to be a grown-up today.
Today, I’m going to be a kid.
Wanna play? Go grab a towel. Tie it around your shoulders like mine.
Got your cape on? It’s time to:
Open all the cereal boxes—search for hidden passageways—whisper secrets to a dog—attempt a world record—pick up pennies—make a newspaper hat—sit on top of the monkey bars—build a fort—get fooled by pyrite—try to fool someone else with pyrite—sneak up on pigeons—blow a kazoo—roll down a hill—split your pants—eat a crust-less sandwich—pop bubble wrap—taste paste—rescue worms from puddles—draw the sky as a stripe—pee-pee dance—forget to flush—break a geode—spell Mississippi—beg a cookie—give sticky kisses—staple things—juggle oranges—throw a tantrum—wiggle a tooth—catch a frog—fall down laughing—wear olives on your fingers—race a friend—declare Backwards Day—cross your heart—mix baking soda and vinegar—collect pebbles—spin in circles—lose a sock—thumb wrestle—demand a do-over—run from bees—spray the hose—wish for stilts—build another fort—slide down the stairs—beat pots and pans—dig for buried treasure—help a robot friend who accidentally turned himself off—deny being tired—
Whew! I’m tired. I’ve got some ideas, though. Hope you do, too. Feel free to borrow from the list above. (Except the second-to-the-last-one. I already used that one.)
You can take your cape off now.
No? You’re going to wear yours a little longer?
Me, too!
Ame Dyckman is represented by Super Agent Scott Treimel, Scott Treimel NY. Her debut picture book, BOY AND BOT (illustrated by Dan Yaccarino), will be released by Knopf in Spring, 2012. Ame loves cryptozoology, peanut butter, and screaming at Japanese game shows on TV. She lives in New Jersey (“Go, NJ SCBWI!”) with her husband, daughter, black cats, hermit crabs, fish, and obnoxious-yet-endearing pet squirrel.
As a prize, Ame is offering a chat about… ANYTHING! From getting an agent/book contract to advice on love, money, and your manuscript, Ame answers ALL! (For entertainment purposes only.)
by Pam Calvert
So, today you’re supposed to be eating lots of turkey, stuffing, mashed potatoes, dressing, pies (emphasis on the plural here)…AND talking (not fighting) with your relatives. Enjoying your day! But still…it IS Picture Book Idea Month and so you’re also supposed to be thinking of a blockbuster picture book idea today as well. But I’m not thinking about today. No. I’m thinking about tomorrow.
BLACK FRIDAY!
Mwahahahaaaa!
And in honor of Black Friday, I’m going to veer off from the normal “how I get my ideas” blog post to a more material slant—something all picture book writers should have sitting with them when they’re about to brainstorm. Something you should ask for Christmas so you can weave all those good ideas into editor-loving stories. It’s something I bought myself (SPLURGED on) several years ago and it helped me brainstorm two of my upcoming picture books.
It’s called the Magna Storyboard Pad (pictured). Notice it has three areas where you can draw and lines for writing. “But WAIT!” you say. “I’M NOT AN ILLUSTRATOR!”
Well, I’m not either, but if you’re going to be a picture book author, you better be visualizing your story even before you start writing. This pad forces you to think in pictures. A lot of times, it’s easy for me to get swept away by my words when I should be visualizing my story first. And since I bought this pad, thinking in pictures has never been easier. And another secret?
No one has to see your pictures!
But I’ll show you some of mine so you’ll feel better about your artistic talent (because it’s gotta be better).
When I started on the sequel to my math adventure, MULTIPLYING MENACE, my editor told me I needed to meld one of my contracted stories with an earlier version of the sequel, MULTIPLYING MENACE DIVIDES. The contracted story was entitled, THE FROG PRINCE IN FRACTIONLAND. That meant I had to apply frogs throughout my original (that didn’t even have a frog in the background.) And I had to apply fractions throughout. This required pictures. Oh yeah, and I needed another villain. Panicking, I grabbed my math books, desperately searching for an idea. But then I remembered the storyboard pads. I hadn’t used them (even though it was at the top of my things to do list). I started with the new villain…
Her name was Diva Divine in a feeble attempt to use a play on words with division. Of course, through revision her name ended up being Matilda, but this is what she ended up looking like in the book:
There’s quite a bit of resemblance and I never had a talk with the illustrator, Wayne Geehan, about the witch. He suspected what she’d be like from her actions. But without my visualization on paper, her character may not have come out so well.
Now, the witch was the easy part. So much fun. I had her reading In Stye magazine and wearing Jimmy Ooze shoes (um…that never made it in the book…ha!).
The next part was thinking in fractions. So, I plotted out every element. Here’s one page example when I had to show how the division magic worked with dividing twelve kittens. I brainstormed some ways I could show this on the storyboard paper:
Not only did I brainstorm dividing the kittens into frogs, but I had to divide things by fractions, which makes a larger number. In the storyboard picture I used frogs, but they ended up being pigs. Here’s the finished page of the kittens.
After I completed this story, I was hooked! I would never again brainstorm without my storypad.
Here’s another example using my newest PRINCESS PEEPERS book entitled, PRINCESS PEEPERS PICKS A PET. These are the initial thoughts. Notice, I’m terrible at illustrating, but the ideas flow much more freely when I use it, and I can tell if my story would lend itself well to illustration. You need at least sixteen different scene changes for a picture book.
Here is Peepers trying to find a pet for the pet show:
She’s frustrated because she can’t find anything (that’s a frog on her head!) In the finished book, she does find the frog and it looks like this:
Before I leave you with your Black Friday find, I’ll show you my newest picture book idea brainstorm.
HAPPY THANKSGIVING!
Pam Calvert has written picture books and stories for over ten years. Her picture books include MULTIPLYING MENACE: THE REVENGE OF RUMPELSTILTSKIN and PRINCESS PEEPERS, a Scholastic Book Clubs selection and listed as a Texas Mockingbird picture book pick. Her newest picture books will be out in the spring of 2011 entitled, MULTIPLYING MENACE DIVIDES and PRINCESS PEEPERS PICKS A PET. She’s writing new picture books as well as longer stories from her home in Houston, Texas.
by Jannie Ho
I saw this quote the other day and it had a powerful effect on me. Whether you are a writer, illustrator, or both—in order to create something, you must follow through. It is almost towards the end of the challenge and most of you already have plenty of ideas on your list. Sometimes ideas are a dime a dozen. The hard part is spending the time to sit with it and flesh it out, finish it, and get it out there into the world.
I participated in the PiBoIdMo last year and came out a with a few ideas. I even started a picture book dummy with one, but it is half way completed. My goal is to get that finished up, no matter what happens to it. Perhaps giving the time and attention to one idea will lead to many others.
Good luck to all!
Jannie Ho, also known as chicken girl, is an illustrator/designer specializing in the children’s market, with her work appearing in books, magazines, toys, crafts, and digital media. Her books include The Haunted Ghoul Bus (2008), and The Great Reindeer Rebellion (2009), both written by Lisa Trumbauer, published by Sterling. She is currently working on a picture book with Viking entitled Road Work Ahead, written by Anastasia Suen (2011), and a sequel to The Great Reindeer Rebellion (2012).
Jannie is generously giving away her signed illustration above. Leave a comment to enter. A winner will be randomly selected one week from today. A signed copy of The Great Reindeer Rebellion will be given away at the conclusion of PiBoIdMo 2010.
by Tammi Sauer
One of the ways I come up with picture book ideas is to push myself to put a twist on the familiar. This technique worked out well for me with my latest book MOSTLY MONSTERLY (Simon & Schuster, 2010) and my upcoming book ME WANT PET (Simon & Schuster, 2012).
The initial seed for MOSTLY MONSTERLY came from my editor wanting a young, funny Valentine’s Day book about friendship. She encouraged me to try to write one. Oh, the thrill! Oh, the pressure. I went to the library and read Every Valentine’s Day Picture Book Ever Written.
I discovered that most of those books were about cutesy things like kittens and puppies and mice. I knew my story had to be different, so I thought as un-cutesy as possible. And came up with monsters. Bernadette is an ordinary monster on the outside, but, underneath her fangs and fur, she has a deep, dark secret. She—gasp!—has a sweet side.
Even though my editor and I eventually decided to tweak out the Valentine’s Day references and make the book marketable year-round, the story is still very much the same. But it never would have come about if I wasn’t trying to find a way to make my story stand out from the competition.
ME WANT PET sprang from my desire to write a book about a kid who really wanted a pet. There was only one problem. Every publishing house already had a pet book. Once again, I knew my story had to be unique if I wanted any chance of selling it. So I brainstormed. And read, read, read, read, read, read. And thunked my head on the keyboard.
One day, it hit me. My pet story wasn’t going to be about a typical kid who wanted a typical pet. Mine would star a cave boy in pursuit of the perfect prehistoric pet. Ooga!
So give it a try. Come up with a basic topic (Valentine’s Day, pets, siblings, pirates, first day of school, etc.). See what else is already out there. Then brainstorm a way that sets your story apart.
Tammi Sauer spends the bulk of her free time hanging out with cowboys, chickens, monsters, ducks, princesses, three disgruntled chipmunks, and the occasional cave boy. Her next book, MR. DUCK MEANS BUSINESS (Simon & Schuster, 2011), debuts in January. To learn more about Tammi, please visit her at www.tammisauer.com.
Tammi will be giving away a signed copy of MOSTLY MONSTERLY at the conclusion of PiBoIdMo.
by I’ll let you in on a secret—I’m not really an author. Actually, I’m a poet who has managed to trick a bunch of people (including some very nice editors and a terrific agent) into believing I’m an author. I’m sneaky like that.
For me, the work of writing prose is hard. All those words! My novels tend to shrink a lot, before they grow. I revise and edit myself so heavily that the pages melt away. My background in poetry, and my love of precise language, doesn’t lend itself well to the mad dash—the word-sprint—you have to do when you draft a novel.
But picture books? Ahhhhhh, picture books! Picture books are so much like poems. With their economy of language and their image-heavy text, picture books do much the same work poetry does. I actually enjoy the feeling of trying and failing and shelving an idea, because with picture books, you can just start over again with something else. I love seeing art come in from my illustrator, finding out what my words looked like inside an artist’s head. But best of all, I love the beginning of a picture book, the burst of a new project.
I have a huge junk file on my laptop called JUNK, and it is absolutely filled with documents that are “new beginnings.” Empty documents with only a title or a single line in them.
See, as a poet, I don’t really come up with “ideas for picture books” so much as I dream up little spurts of language, lines of text from which a picture book can grow. For me, the beginning is more about the way a few words sound together than it is about an “idea.”
Let me explain. I’ll use as my example my first book. INSIDE THE SLIDY DINER grew out of my career as a waitress, so if I had begun with an idea, I’d have written down, “make a picture book about a diner.” Instead I wrote down, “Inside the Slidy Diner, the Greasy Spoon of stuck.” I didn’t even know it was a picture book when I began it. At first I thought of it as the first line of a prose poem. I had no idea that I’d invent a character named Edie, or that the diner would be a kind of pseudo-magical place, or that there would be a funny cast of characters. I only had the internal rhyme of “sliiiiiiidy diiiiiiner” and the alliteration of “ssssssspoon of sssssstuck.” But the story sprang from that language.
Likewise, the JUNK file I mentioned earlier is full of lines that I’m not sure about yet. In each case, I don’t know what my idea is exactly, or what the story is about. I only know that I liked the way a few words sounded in my head. Maybe you can help me puzzle them out. Here are a few:
1. Doctor Delete
2. The spoon of wishful thinking
3. What the wind wants
4. The Boring Book
5. My Iffiest Scritch
6. Dirty Curls
7. Boy Who Caught His Death
See what I mean? These are not ideas. They could still head off in a million different directions. They’re just words, that sound nice, in the right order.
So now, as an exercise, for other folks who are equally language driven, I might suggest that instead of trying to think up a picture book idea every day, you can also try to revisit the way you describe things each day. You could spend the entire month describing the same thing differently, day after day.
Because each description might, in the end, give way to a different book! Language drives tone and voice, and those things can drive your idea and your story instead of things happening the other way around. For me, it’s much easier to make up a story to match a voice than it is to find a voice for a story.
Make sense?
Try it right now! It’ll only take a second. Go look at something—a squirrel, maybe, or the ground at your feet, or your closet door, and instead of trying to think of the idea it might lead to, try to think of different sets of words for what you see.
That squirrel? How might you describe him? Don’t try to be smart, just think of different ways to talk about him. Using as many different words as you can. It’s okay if they’re lame. Maybe that squirrel is:
1. A fidgety bit
2. A tree rat
3. Too loud
4. Fluffytail, the adorable poufypie
5. The fattest squirrel in the tree
6. The squirrel who lost his tail
7. A nut-thief
8. A nuisance
9. The one who wouldn’t leave
10. Harold
See what I mean? By the time you revisit your titles, Fidgity Bit might be a funny board book about a kid who can’t sit still, and Tree Rat might be about a rat who moves from New York to the country and wants to fit in with the squirrels, and Harold might be about a geeky squirrel who wants to study for the LSAT instead of finding nuts all fall.
For me, it is hard to think of new ideas, and far simpler (and more fun) to think of new ways to say things, and then figure out what they might mean.
Give it a try! Or a whirl! Or a go! Or set your pen scratching! Or dive into your dictionary! Or head off into the word mines! Or take a dip in the language lake.
Or… or… or…
Oops! There I go again…
Laurel Snyder is the author, most recently, of a picture book, BAXTER, THE PIG WHO WANTED TO BE KOSHER, and a novel, PENNY DREADFUL. Her next book, Nosh, Schlep, Schluff: BabYiddish will be out in January. She is also the author of a book of poems (for grownups), THE MYTH OF THE SIMPLE MACHINES. Laurel lives in Atlanta and online at http://laurelsnyder.com and she tweets obsessively, if haphazardly. Follow her @laurelsnyder!
BAXTER art by David Goldin, SLIDY DINER art by Jaime Zollars (who also did the cover for MYTH). PENNY DREADFUL cover by Abigail Halpin, NOSH art by Tiphanie Beeke
by I wish I could tell you some great strategies I use to brainstorm picture book ideas. I really do. Unfortunately, most of my best ideas don’t work that way.
No, my best ideas are more like a butterfly flitting by. They’re beautiful and they’re fast and, if I have a butterfly net handy and I’m really quick, I just might be lucky enough to catch one for a closer look.
So here’s how catching an idea works for me (and how you can try it too):
Are you listening?
(Yes, I know you’re listening to me, but that’s not what I meant. 🙂 )
Are you listening… to yourself?
Yes, that’s the way I come up with many of my best ideas. By listening, to myself.
Here’s how it works:
I’m talking to my husband or my son or a friend and suddenly I hear myself say something curious or funny or thought provoking or odd.
Before I took myself seriously as a writer, those comments used to just “fly away”, but now…
“That sounds like a picture book,” I exclaim, and use my handy dandy “idea net” to catch it and store it in my ideas with possibility pile.
Now if you want to be even more effective at catching promising ideas before they fly away, here’s another hint:
It can really help if the people around you start to listen for picture book ideas too. (My husband and I were in the middle of a wacky conversation, when he pointed out that the silly topic we were discussing just might make an interesting picture book idea. It hadn’t even occurred to me. But, guess what? He was right!)
Now, maybe because many of my best ideas start out sounding like picture books, I often seem to catch titles. That’s what happened with my upcoming picture book, WHERE DO DIGGERS SLEEP AT NIGHT?
I was talking to my almost-three-year-old about his favorite topic, trucks, when I heard myself saying, “Where do diggers sleep at night?”
“That sounds like a picture book!” I exclaimed, and I had my idea. Hurray!
But just because I had my idea didn’t mean I knew what to do with it. For me, that’s when the brainstorming really starts going in earnest. So I decided to go just a bit further with this post, to trace what happened to this idea after I caught it.
Should a book called “Where Do Diggers Sleep at Night?” be a nonfiction book, factually explaining where a variety of trucks slept at night?
I definitely considered that possibility. After all, my truck-loving son had exposed me to many wonderful informational books. I eagerly began researching where trucks truly spent the night. Somehow, though, this direction didn’t feel right to me. Nonfiction is awesome, but the title I had caught felt more fanciful.
So, I went back to the drawing board. What else could I do with this title? I wondered. It should be a bedtime book, I thought, and I started to draft a rather sweet book about a bunch of trucks getting ready for bed.
Right direction, but this new version still had one major problem. It just wasn’t “truck-y” enough. The getting ready for bed story I was writing could have been about airplanes or clowns or elephants (or little boys).
The whole reason I was intrigued, and that I thought my young readers would be intrigued, was that this story would be about trucks. So I headed back to the drawing board once again. This time, I made sure that each stanza contained something about bedtime and something about trucks. Bingo! I finally knew where to go with my idea.
Then came lots and lots of revisions, but that’s another story.
So, good luck with Picture Book Idea Month! Listen to yourself closely and you just might catch an idea. And once you catch it, good luck with brainstorming until you know just what to do with it. 🙂
Brianna Caplan Sayres has taught students ranging in age from kindergarten to graduate school. Now she’s busy writing and raising two kids of her own. Brianna’s writing has been published in magazines including Highlights for Children and Cobblestone, and she’s super excited that her first picture book, WHERE DO DIGGERS SLEEP AT NIGHT?, is scheduled to be published by Random House in Summer 2012. Brianna and her critique group chat about writing for children at The Paper Wait. Brianna is represented by Teresa Kietlinski of Prospect Agency.
by Jo Swartz
The expression “A picture is worth a thousand words” for me, is very true. Sometimes inspiration comes from an idea, sometimes the words just come, but mostly the idea creeps up on me and surprises me when I least expect it out of something else. The only scary feeling accompanying it is “can I pull it off?”. Will the finished product turn out as fabulous as I imagine it?
Lately I have been quite surprised by the source of 3 of my newest picture books—all ‘works in progress’. They each began as a simple, single drawing. One was for a licensing line I am hoping to develop, another was just a portfolio sketch based on a fairy tale, and my shiniest new idea began while trying to think of a single picture to show my illustrative abilities for the upcoming SCBWI conference in New York. Aaack! Since, only one picture is allowed. I had to create one that would encapsulate my style and ability which for me meant I needed to create a concept where I showed beautifully costumed people, and talking animals. (At least I think so…who knows if this will be the image I use).
As I was working out what the picture should look like, my family became the source of inspiration for the theme, and suddenly there it was—the whole picture book. Right now, it is just all pictures in my head and very few words…but they are on their way. And I hope I can ‘pull it off’.
I don’t know how authors who don’t draw plan out a picture book. I don’t think I could without pictures early on in the process, even sketching out a rough stick figure dummy about what is going on in each page really helps me.
Even if you don’t draw—collage can do the trick. Just one picture can give you so much. Setting, characters, emotions.
This post is pretty late in the PiBoIdMo challenge, and if you are doing well with it—you have probably found that the more ideas you get, the more ideas you get! I think the challenge is great for training the mind to see opportunities for a story. Suddenly you find something humorous—whether it is a picture or a comment you heard while eavesdropping, the juxtaposition of something, irony, all these things can create a wonderfully original story, and sometimes something you never thought or intended to become a story—suddenly does.
I would also like to add for the illustrators out there—that not all picture books need to have words, either.
The story idea that I got while working on the licensing project has no words. I think of it like a silent movie. I just found that the illustrations told it all and words added nothing.
So, whether you draw, write, or both, don’t wait for your muse. If the one for writing isn’t showing up that day for work, try calling on one that handles the pictures to guide you. And if you are too scared to work with her—try the one for song, history, and so on. Or, do something completely different…but keep your mind ready for when the idea pops in. Mine likes to wake me in the middle of the night—so it is a good idea to always have a pen and notebook nearby!
The thing with inspiration is you never know what you’re going to get. None of the stories I am most pleased with, I intended, or planned, or saw coming. And whatever you do…have fun with the whole process—it will show in the work.
Jo Swartz is a writer/illustrator in Toronto. She works with both traditional media (mainly watercolor & ink) and digitally. She has several WIPs at various stages of completion. Jo is a former fashion designer, and has worked internationally in ready-to-wear and haute-couture in Paris, and a former creative director/graphic artist. This is her 3rd career. Jo’s work can be found at www.littlejolit.com and you can follow her on twitter http://www.twitter.com/littlejolit. She has recently been featured at Smith Micro’s Manga Studio site.
by Carol Rasco, CEO, Reading is Fundamental
At first glance, it seems almost too simple, offering children the opportunity to choose the books they want to read and own. But since 1966, choosing books has been the key feature of RIF programs where children often select multiple books per year. Does it make a difference?
In late September of 2010 results were released from a RIF-commissioned, rigorous meta-analysis conducted by Learning Points, an affiliate of the American Institutes for Research. Those results showed that giving children access to print materials is associated with positive behavioral, educational, and psychological outcomes. I invite you to study the results more fully as these results then move us to the importance of picture books in the early years of the children targeted by RIF. Detailed information about the study and its results can be found on the RIF website: www.rif.org.
How exciting it has been to learn more this year about PiBoIdMo by following carefully the informative guest posts each day as well as looking back over past year’s PiBoIdMo materials. Reading Is Fundamental deals more with picture books than any other genre, and this is all the more reason I appreciate this opportunity to visit with those of you participating in PiBoIdMo this year. I sincerely hope this opens a dialogue between you and RIF as I know you have ideas and information that could be of benefit to RIF.
Our coordinators in the field who might be teachers, reading specialists, PTA parents, Kiwanis Club members—volunteers of all stripes and professions—tell us repeatedly they seek more of three types of picture books: nonfiction that is “eye and mind catching”, bilingual books, and multicultural books. And at RIF, we do not necessarily see these three as mutually exclusive.
One example I have found of a book that certainly combines the nonfiction and multicultural features is HOW MANY SEEDS IN A PUMPKIN? by Margaret McNamara. I have shared this book numerous times in classrooms across the country and almost without fail, each time I read it some student or even multiple students will talk about the magic in the book. They have no idea they are learning math and science. At the same time the illustrations are clearly multicultural in portraying the world around the students – but would most people label it at first glance a ‘multicultural book’? No. It is a natural portrayal of the real world of mirrors and windows we stress in our Multicultural Literacy Campaign.
As part of our commitment to motivate young readers, RIF has increased efforts through our Multicultural Literacy Campaign to reach more African American, Hispanic, and American Indian children at risk of academic failure. We are deeply concerned about the growing number of quality reports and research studies showing the large gaps in literacy accomplishments too often found between these children and their peers. We know one aspect of promoting improvement is to provide more culturally diverse books so that children nationwide can discover the value of their own heritage while learning about the importance of others. You can learn more about our Multicultural Literacy Campaign at http://www.rif.org/us/about/literacy-issues/multicultural.
Choice is a key reading motivator. Allowing children control over what they read can help them build a lifelong, life-changing love of reading. We also believe choice is power. For underserved children, who have fewer opportunities than more advantaged children to make positive choices in life, offering a choice of books provides a taste of the dignity of personal autonomy. Even such small opportunities and encouragements to choose can inspire children to make greater choices: to choose learning, to choose success in school and life, to choose a brighter future. Quite simply, given the power to choose what they will read, children will chose to read to learn.
In addition to choice of book, RIF has two other key components to our book distribution program: motivational activities during the distribution (and nothing is more exciting than an author or illustrator coming to read!) and parent engagement.
I invite you to visit with us at RIF regarding ideas you have about how we can provide more books like those I reference and other inputs you may have on our various program components. I also encourage you to determine if there is a RIF program in your community where you might give one reading/presentation a year as part of our effort. Use the locator map (www.rif.org/maps) where you can easily access program sites near you; should you need assistance in making contact with a program(s) or you have questions/suggestions of any type for RIF, please contact me at crasco[at]rif.org.
My interest in PiBoIdMo has escalated over recent weeks, and I have started my own beginning short list of books I wish I could write. Who knows, I may figure out how to allocate the time to learn even more about this process over the next year and actually sign up—book one is one I have carried for three years in my head and there are two more beginning to take root. I want to take the excitement I have seen in children at the sea organ in Croatia and the pure awe I witnessed on the faces of students as they watched the making of smoke by an American Indian as he rubbed sticks together at a recent RIF distribution in DC and figure out how I can share those experiences with children who may not the opportunity to visit with an American Indian visit or take a trip to Croatia.
Children’s interests matter at RIF. We strive to develop their freedom to ask and answer questions, to experience adventures and new ways of perceiving the world around them through the books they choose. We are honored to have played a part in offering the millions of choices connected to the more than 366 million books provided to children since our founding…and we look forward to providing millions more.
Happy Reading!
Reading Is Fundamental, Inc. (RIF), founded in 1966, motivates children to read by working with them, their parents, and community members to make reading a fun and beneficial part of everyday life. RIF’s highest priority is reaching underserved children from birth to age 8. Through community volunteers in every state and U.S. territory, RIF last year provided 4.4 million children with 15 million new, free books and literacy resources. For more information and to access reading resources, visit RIF’s website at www.rif.org.
by James Burks
It’s day 18 of PiBoIdMo and I’m here to give you inspiration or at least a small push towards the finish line. I’m sure that, at some point in your life, most of you have put together a puzzle. It could have been a small puzzle with only a hundred pieces, or a ginormous puzzle with a bazillion pieces. Regardless of the size, if you can put together a puzzle then you can put together a story. So let’s get started.
To put together a story puzzle, the first things you need are the pieces. That’s where your ideas come in. Every single idea you come up with is a piece of the story puzzle. This includes characters, settings, or lines of dialogue; you name it, they are all pieces of the puzzle. And here’s the best part: there are no wrong pieces. If a piece doesn’t seem to fit into the puzzle you’re working on, you can set it aside to use later.
Here’s an example of a recent story puzzle that I put together:
About a year ago, I sat down and tried to come up with my next great idea. I had just sold my first two stories to different publishers and was trying to come up with a third story that my agent could send out. I had the first piece of my story puzzle: a squirrel. I spent the next few days creating more pieces. I gave the squirrel a name (another puzzle piece), and I came up with a bunch of stuff that he loved to do (more puzzle pieces). After a few days I took all the pieces and arranged them into a simple story, drew some rough drawings (for illustrators, these are more pieces), and sent it off to my agent. My agent thought it needed something more, though, and at the time I didn’t know what that was. So I set the entire puzzle aside and went off to work on another project.
After about a month, my agent called and asked if I had come up with any new ideas. I hadn’t. Or at least that’s what I thought. After hanging up the phone I started running through a bunch of random ideas while surfing the internet. I remember contemplating Amelia Earhart (I think the biopic was coming out or had just came out), went from there to Penguins, then to the South Pole, and from there to a bird migrating south for the winter. (It’s always a good idea to let your brain off its leash once in a while and let it run free. You never know what it might bring back.) Something about a bird flying south for the winter ended up sticking with me.
I didn’t know it just yet but I had just found another piece to my story puzzle.
From there, everything seemed to magically fall into place. I took the bird migrating south for the winter and stuck him with the squirrel from my earlier story. A small part of my story puzzle took shape.
Then I started to ask myself a series of questions to fill in the rest:
Why do they have to migrate south together for the winter? There had to be a reason and it had to be big. I asked myself what would happen if Squirrel was forced to go along after he unintentionally sacrificed his entire winter stash of food to save Bird from an attacking cat. He would have no other choice; if he didn’t go with Bird then he’d starve.
But, where was the conflict? What was going to make my story interesting? Maybe they were like the odd couple. I imagined Bird as a total free spirit who just wanted to have fun, while Squirrel was a bit neurotic and was all about responsibility. Squirrel can’t stand Bird, but they’re stuck together. A natural conflict of personality that would provide for some humorous scenes.
This left one last question. How would the two characters change by the end of the story? What would their character arc be? In the case of this story, I decided to have Bird learn to be a little more responsible and Squirrel learn to have a little more fun. The story, at its heart, would be about finding a balance between having fun and being responsible. And by the time the journey ended, they might even become friends.
At that point I could pretty much see the overall structure of my puzzle. The edges were complete and all the major parts were coming together. All I had to do was fill in the missing pieces in the middle, which solidified as I wrote the outline and got to know the characters better. Two weeks later I sent it off to my agent, we made some minor tweaks, and eventually sold it to a major publisher. (Deal announcement pending; I’m drawing and writing the book for release sometime in 2012.)
I hope you find inspiration in my recent experience and are able to put together some great story puzzles of your own. Just remember that there are no wrong pieces. You may not use every idea or piece you think of right now, but every piece (used or not) helps you build your puzzle. Now go forth and conquer the book world!
James Burks has spent the last 15 years working in the animation industry on various movies and television shows, including The Emperor’s New Groove, Atlantis, Treasure Planet, Home on the Range, Space Jam, The Iron Giant, Wow Wow Wubbzy, and most recently on Fan Boy and Chum Chum. His first graphic novel for kids, GABBY AND GATOR, was published by Yen Press in September 2010 and is a Junior Library Guild selection. James is currently working on a picture book with Lerner/Carolrhoda entitled BEEP AND BAH (2012), and the graphic novel mentioned above.
James is giving away a signed copy of GABBY & GATOR! Leave a comment to enter. A winner will be randomly selected one week from today.
Thanks to James for the PiBoIdMo 2010 logo and badges!
by Mark Ury
Blogging always seems to include sharing some sad truth about yourself, whether it’s your obsession with trash TV or one too many trips to the freezer for more mint chocolate chip ice cream (P.S. these are examples and any resemblance to my life is coincidental). So here’s my share: I can’t draw.
Admitting you can’t draw isn’t much of anything, really. Over 90% of the world can’t draw. But context is everything. Admitting I can’t draw to my bowling friends isn’t worth a second glance (P.S. I don’t bowl), whereas sharing it with picture book writers and illustrators is like asking your bowling friends to switch to five-pin balls since your wrist is to weak to use the grown-up sizes (P.S. this has never happened). It’s kinda sad and wimpy.
Now, don’t feel embarrassed for me (P.S. you are not my mother). I have at my disposal an entire platform to compensate for my lack of artistic skills. With it, I can inspire myself to great heights and pen imaginative stories that kids everywhere read and love. But, sleazily cross-promoting my venture is not what this post is about (P.S. unless you find my venture intriguing and possibly useful, in which case we should have coffee and be friends). No. This blog post is NOT about (shameful) marketing or even (sad) admissions of inferior uses of pencils. It’s about music. Or, more specifically, it’s about how music helps me get the feeling of a story long before (and sometimes after) I’ve seen the images or typed the words.
It’s quite possible you are already familiar with how music can shape your work. If so, perhaps you might be better off reading Sarah Dillard’s post—it has cute bunnies. But if you’re like me (P.S. heaven help you), you may only be modestly aware of how music can be used to give your story the tone or pitch your characters are longing for (and, eventually, if you score that deal with HarperCollins, your readers).
For the longest time, I *thought* what was inspiring the tone of my writing were the images I would paper on my walls, stash in my notebook, or hide under my pillow (P.S. the images under my pillow were not at all being hidden from my mother). Weathered photos of Sid Vicious and Marianne Faithful propelled my early poetry. An image of Kate Spade holding one of her early designs became the central figure in one of my (wretched and unfinished) screenplays, and a stark image of Vanessa Redgrave has been taunting me to start my graphic novel (P.S. yes, you read correctly that I can’t draw).
But, upon reflection (.PS. while searching for a theme for this blog post), only recently did I notice that while images were influencing *what* I was writing about, the actual tone came from the music around me.
This story, about memory and love, was shaped by This is the Kit’s Two Wooden Spoons—an earthy and lush little song that I couldn’t get off of replay on my iPod. And my story about a gruesomely self-centered girl rose from the the chill of Radiohead’s There There (P.S. This is ironic since Thom Yorke wrote the song as a kind of bedtime story for his son. P.P.S. I am glad I am not Thom Yorke’s son).
Music has shaped my copywriting and creative direction, too. Commercials, ads—even the design of products and services—have musical DNA from bouncy ABBA tunes, 80s Brit-pop, and recently, the alt-country acoustics of Kathleen Edwards. And why not? Music is this perfect mix of math and emotion, logic and passion. It’s the ideal stimulant for a tired mind and great whip to a lazy idea (P.S. my ideas need constant flogging). Mostly, it’s a great friend to writers, who need to balance structure and character with some sort of texture or flavor that they can’t quite articulate.
So here’s my suggestion: include music in your work. Better yet—let it muscle itself between your sketches and copy. Replay favorites and dig up old tunes. Drift through lyrics and free associate. Use sound to create new stories (don’t you WANT the East-End boys and West-End girls to meet?), vivid places (just what does the town in Simon & Garfunkel’s My Little Town look like?), and beguiling characters (surely Tom from Suzanne Vega’s Tom’s Diner is worth examining?). Most of all, let music do what it’s meant to do: alter your rhythm. Great stories don’t come from staid patterns.
As for me, I’m wrapping this post feeling less insecure about my poor pencilmanship. (This is quite possibly because I’m listening to The Wild Strawberries and thinking of pie rather than having stared down my limitations (P.S. It is.).) Either way, music saved the day, again.
Mark Ury is the cofounder of Storybird, an occasional writer, and almost always nibbling chocolate.
Writing for Kids (While Raising Them) 