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by Tammi Sauer
Over the years, I have shared all sorts of ways to come up with ideas for the Storystorm crowd…start with a title, celebrate the weird stuff in life, mine your childhood, play with structure….
When Tara asked me to write a post this time around, I was worried. Did I even have another idea on getting ideas?!
Then I realized that both of the books I have coming out February 2022 serve as a fresh way to come up with new ideas. Yay me for inspiring me!
LOVEBIRD LOU (Sterling), illustrated by Stephanie Laberis, is about the appreciation of self, family, and community. NO BUNNIES HERE! (Doubleday Books for Young Readers), illustrated by Ross Burach, is about not making assumptions about others. Both books are filled with humor, heart, and ridiculously adorable characters.
But these books have another thing in common! They each have a holiday hook! LOVEBIRD LOU is a perfect fit for anytime of the year—but it’s especially lovely for Valentine’s Day. NO BUNNIES HERE! is a super fun read on any day—but it’s especially wonderful for Easter.
Did I set out to write a Valentine’s Day book or an Easter book? NOPE! Do these books tie in nicely with those holidays? YUP!
**Please note the more hooks your book has, the more likely it will snag an agent/editor/book buyer/reader!**
In addition to these sorts of books landing in seasonal displays in bookstores, there’s another bonus to having a book with a holiday hook. Sometimes these very same books will get picked up by Scholastic and appear in Scholastic Reading Club Flyers. MOSTLY MONSTERLY, illustrated by Scott Magoon, was in October flyers. The monster stuff made it a nice addition to Halloween books. A LITTLE CHICKEN, illustrated by Dan Taylor, made it into March/April flyers. Why? Well, that little chicken was a nice fit for spring/Easter books.
THIS IS MY CHALLENGE FOR YOU:
Choose three holidays or seasons. Brainstorm characters or situations that have some sort of connection to each of those holidays or seasons.
TIP:
To give your book idea even more of a hook, try not to include the mentioning of the specific holiday in the title. We want people to want your book all year long.
TO EARN BONUS POINTS FROM ME:
Have a book idea hook into two holidays and/or a season. MOSTLY MONSTERLY, for example, ties into Halloween and Valentine’s Day. Read the book to see what I mean. MY WORKING MOM, written by Peter Glassman and illustrated by Tedd Arnold, is another example. It ties into Halloween and Mother’s Day. Want another example? Okay! Check out COLD TURKEY written by Corey Rosen Schwartz and Kirsti Call and illustrated by Chad Otis. It ties into Thanksgiving and winter.
Happy holidays, everyone!
Tammi Sauer, a former teacher and library media specialist, is a full-time children’s book author who presents at schools and conferences across the country. She has more than 30 published picture books and has many others on the way. Her books have received awards, earned starred reviews, made lists, been made into musicals, and been translated into many different languages. Most importantly, kids really like her books! To learn more about Tammi and her books, please visit tammisauer.com and follow her on Twitter at @SauerTammi.
Tammi is giving away three prizes to three separate random winners—a copy of each of her new books and a picture book critique!
You’re eligible to win if you’re a registered Storystorm participant and you have commented once below.
Prizes will be distributed at the conclusion of Storystorm.
by Hoity-Toity Otter (and not Abi Cushman)
A little birdie told me something recently that was otterly preposterous. Apparently there are women who… get this… make funny books for kids.
“Really?” I said. “Well this is the first I’ve heard of this and I’ve read many articles about funny kids’ books in major newspapers and magazines, and I don’t recall mention of female authors and illustrators in any of them.”
I continued about my day, chuckling at the very notion. A funny woman?? Who writes for KIDS?? Ho! Ho! Now THAT’S a funny idea for a picture book. For a man to write, of course.
But then something happened. I couldn’t shake this feeling. What if that little birdie was right?? I had to know for sure, so I decided to throw myself into deep research.
Well wouldn’t you know, there ARE funny female authors and illustrators! Quite a few actually. Dare I say, LOTS. I decided to reach out to some of these creators and gain more insight into this phenomenon. Interestingly, for my first question I got the exact same answer from every single person I asked.
So I felt compelled to dive deeper and learn more about their process for creating really funny books. Here are the results.
- From where do you draw your humor?
From Dev Petty, author of CLAYMATES:
“Life is funny and occasionally (if not often) somewhat absurd. I draw humor from those uncomfortable and weird bits of absurdity around us and how we humans cope with them. Sometimes I crack jokes when I’m nervous or uncomfortable and that friction, that discomfort, can create a lot of room for humor. I also grew up around a lot of funny, creative people and learned how humor connects people. Basically, if I was entertaining, my family let me stay up late.”
From Melanie Ellsworth, author of CLARINET AND TRUMPET:
“For me, individual words and the way we string certain words together can be very funny. So I’m always on the lookout for a silly turn of phrase – sometimes stolen from my daughter and occasionally something I have misheard. I love playing around with puns and idioms and common expressions and seeing if there’s a story there!”
From Julie Hedlund, author of OVER, BEAR! UNDER, WHERE?:
“I get a lot of ideas from movies, comedy shows, books, and even signs and advertisements. When something makes me laugh out loud, I ruminate on WHY it’s funny and brainstorm on how I could make that concept work for kids. I also often get a funny/punny title first and build a story from there.”
- How do you know if your joke will be funny to kids?
From Isabella Kung, author-illustrator of NO FUZZBALL!:
“First, I would like to acknowledge I am very fortunate that my main character—a cat—is already beloved by many adults and kids. (The internet is obsessed with cat pictures and videos for a reason!) So just getting the character design, attitude, and body language right made a lot of adults and kids laugh. NO FUZZBALL! is very much inspired by my own furbabies, Bubo and Bella. Honestly, I just wrote and illustrated what I found funny and what made me laugh about them. I also drew a lot of inspiration from books and cartoons I loved as a kid. I enjoyed when characters made a mess, and found it hilarious when characters had grand personalities while being completely unaware or misunderstand their surroundings like PINKY AND THE BRAIN. I found that embracing my inner child is the key to writing humor for children.”
From Marcie Colleen, author of the SUPER HAPPY PARTY BEARS series:
“For me, being attuned to what kids are currently watching in cartoons helps a lot to know what they are laughing at today. When I was writing The Super Happy Party Bears chapter book series my editor asked me to infuse my storytelling with random, absurd humor like in Adventure Time, a popular Cartoon Network show at the time. I sat down and watched several episodes (cool job, right?) and took notes on how jokes were set up, the rhythm of the jokes, and basically the essence of what was considered funny. I was then able to recreate that type of humor when writing my books. Truth is, I’ve never grown up and I LOVE watching kids television. It’s a quick and easy way to see what’s funny to today’s kids. And it’s hella fun.”
From Sam Wedelich, author-illustrator of CHICKEN LITTLE AND THE BIG BAD WOLF:
“When I’m writing, I try and make myself laugh. That’s the first test. The second test is to read it to kids… I have two kids, so I don’t have to go far, but I also send early drafts or jokes to other friends with kids and get their feedback. Did they laugh? Did they want to hear it again? To me, the highest praise I could ever get on my work is that a kid wants to read it ‘again.’”
- What’s your trick to creating a really funny scene or moment?
From Julie Falatko, author of YOURS IN BOOKS:
“Once I have the story down, I work to shoehorn in as many jokes as I can. I do a revision where all I’m doing is adding as much specific hilarious weirdness as possible. I look at every line and think of how it can either set up a joke or be a joke, and then I make it as silly and weird as I can. Always make it weirder. I have a book with a discarded shoe who likes to sing, one where the main characters wear pizzas on their heads, and one where a dog gives a dramatic speech about a sponge. All those things were added in the “make it weirder” revision.”
From Julie Rowan-Zoch, author-illustrator of I’M A HARE, SO THERE!:
“More often after I get a drawing or sketch to a point where I am satisfied I take a step back (or hold my iPad further away!) and ask, what can I do that would lift the story – or character look? Especially something that happens to everyone, so viewers can relate, or to evoke an emotion – but something that is not in the text! Add a few lines, move them, or REmove them? A shoe on the wrong foot, perhaps? Gum stuck to it? An eye roll? Maybe with juxtaposition: over-sized ears, a tiny stuffie for a bristly character, an exaggerated mouth wide open on a quiet personality! Would the situation, like a haircut, be more interesting in a kitchen or in a classroom? Unexpected color: purple clouds, mis-matched socks, or green eggs! Even something dark, like a random grimace in a crowd, or a pothole in the character’s path. Or just plain silly, like baby ants in diapers? I suppose it helps having a mind that is always looking for a bit of trouble!”
From Kjersten Hayes, author of THE ELEPHANTS’ GUIDE TO HIDE-AND-SEEK:
“My favorite way to create funny scenes is through brainstorming and not stopping with my first idea but pushing myself until I’ve come up with quite a few possibilities. I often set a goal, like I’ll say I need ten different options for how a part will play out and then I’ll brainstorm until I make it to ten. I usually have to get pretty silly to make it that far, which makes things funny. I especially like to use this method to brainstorm how the words and the pictures could show two different points of view or two different parts of the story. Like maybe the character thinks one thing is happening, but reality is a bit different. I also always ask myself after writing a part if this is really the best and funniest possibility I can come up with. I often realize the answer for early drafts is no. Even if I like it, I realize it could be even better. So I try again, and things get funnier. Another small tip—when in doubt, go for drama and exaggeration. Drama and exaggeration are often funny in picture books.”
From Heather Fox, illustrator of LLAMA DESTROYS THE WORLD:
“For me, it’s all about facial expressions and body language- specifically the eyes! That being said, you might notice that a lot of my silly book characters have really big eyeballs.This proves useful in scenes that don’t have dialog (and even ones that do!) with conveying a character’s expressions, emotions, and thoughts. Humor often comes from not just a situation, but the reaction of the character in that situation.”
From Joana Pastro, author of LILLYBELLE, A DAMSEL NOT IN DISTRESS:
“My favorite line in LILLYBELLE, A DAMSEL NOT IN DISTRESS belongs to the witch. When she says: “It’s a monstrosity! I love it!” It’s a simple line, but I find it hilarious—especially when read aloud—because she uses the word monstrosity in an unpredictable way, as a compliment. So, when I’m working on a funny story, I always aim for the unexpected by searching for out-of-the-box situations or the unfiltered honesty that young children have. If I want to amp the humor, I will make a list of predictable outcomes and then a list for absurd ones. I love a good twist, a great surprise. That’s what I always aim for.”
From Tammi Sauer, author of NOT NOW, COW:
“I think every writer has different strengths, and one of mine is humor. Most of what I write just comes out funny. Even so, I don’t settle. When I’m working on a manuscript, I keep toying with each word, each line, and each scene until I get that YESSS feeling. The YESSS feeling usually involves me laughing and crying alone in my office but whatever. It’s the best.”
- What do you do if your editor/agent/art director doesn’t ‘get it’?
From Doreen Cronin, author of THE CHICKEN SQUAD series:
“Ha! This happens all the time. I can get in a groove where I think everything is funny. When I hear back that I am alone in that — I re-write. It’s like writing any other genre, not everything you think is coming across (humor, emotion, plot) is coming across clearly. Re-write, re-write, re-write. Comedians work out their material in a room with an audience and sharpen it until it really works. Writers do the same. Your audience becomes your agent, editor, art director, etc. (My kids tell me how “not funny” I am all the time!) It’s usually more about sharpening than deleting all together. For every 30 jokes you write, three of them might actually be ready. Rewrite! The punch-line is there, it just might be circling and you haven’t really brought it in for a landing.”
Well to quote Baby’s father in Dirty Dancing, a movie all sea otters love quoting, “When I’m wrong, I say I’m wrong.” I was absolutely bowled over by those responses and give those creators my otter-most respect.
And guess what! It gets even better. I have a special bonus round with the fabulous host of this blog and the author of many funny kids’ books including the upcoming picture book, BLOOP, illustrated by Mike Boldt. It’s the one and only, Tara Lazar! Thank you, Tara, for making my research project extra otterrific.
So Tara, where do YOU draw your humor from?
My father had a dry wit with zingy one-liners. I grew up with his humor, so it was bound to rub off. We watched funny movies together (his favorite was “My Cousin Vinny”) and he let us stay up late to watch Saturday Night Live. What’s especially funny is that he had a very serious, boring job (at least in my opinion) as a chemical patent attorney. I think his humor provided much needed comic relief at work! But he was obsessed with MAD Magazine as a kid—hiding cut-outs of Alfred E. Neuman all over his house to surprise his parents—so I think he was always funny.
My dad, circa 1979
How do you know if your joke will be funny to kids?
Well, I’m still in second grade, so if I laugh, I’m pretty sure kids will, too. I laugh at silly things my own kids roll their eyes at—but they’re teenagers, so, like, pinch of salt.
What’s your trick to creating a really funny scene or moment?
There’s no trick, really. Humor comes from surprise. Sometimes I’m shocked at what spills out because I wasn’t expecting it, either!
What do you do if your editor/agent/art director doesn’t ‘get it’?
I’m lucky in that my agent does GET IT. But sometimes an editor doesn’t. If they provide comments that resonate and ask for a rewrite, I’ll do it. But those that don’t GET IT just don’t and there’s nothing I can do but move on to the next editor. Humor is subjective.
Well, I don’t know about you, but this hoity-toity otter sure learned a lot! And you know what? I just got a wild idea! Maybe someone should tell those newspapers and magazines they’re missing out and should include funny women in their articles! Why hasn’t anyone else thought of this?? I’m going to go do that right now. Ta-ta!
Hoity-Toity Otter is not only the author of this article, he also plays the small but pivotal role of “Taxi Cab Passenger Who Eats a Three-Course Meal While Sitting in Traffic” in the upcoming picture book, ANIMALS GO VROOM!, which rolls onto shelves on July 13, 2021 from Viking Children’s Books.
Abi Cushman is the author-illustrator of ANIMALS GO VROOM! and SOAKED!, which was a Kids’ Indie Next Top Ten Pick for Summer 2020. She has also worked as a web designer for over 15 years, and runs two popular websites of her own: MyHouseRabbit.com, a pet rabbit care resource, and AnimalFactGuide.com, which was named a Great Website for Kids by the American Library Association. In her spare time, Abi enjoys running, playing tennis, and eating nachos. (Yes, at the same time.) She lives on the Connecticut shoreline with her husband and two kids.
If you’d like to learn more about Abi and her books, you can visit her website at AbiCushman.com. For special giveaways, sneak peeks, and more hoity-toity otter musings, subscribe to her newsletter.
by Tammi Sauer
I have been doing this Storystorm business since the very beginning. Oh, people. I have loved the experience, and it has served me well.
More than a dozen of my books got their start in Storystorm. These are just a few of them:
Over the years, I have not only participated in the wonder that is Storystorm, but I have shared all sorts of idea-getting strategies as well. Today, I have a new one to pass along.
It’s simple.
Embrace the opening of a certain soap opera.
But I don’t want you to think about just any days. I’m talking those early days. Let’s go back to childhood.
Mine was spent on a farm.
When I was a kid, my family had a horse, cows, chickens, geese, ducks, dogs, cats, and hundreds of pigs. Is it any coincidence that many of my books feature barnyard animals?
Even my August 2020 release stars my favorite kind of cast. See?
My childhood included more than just animals, though. I also had an assortment of relatives with varied dispositions. Remember Mr. Duck? That bird is actually my great aunt Florence.
I want you to take a moment to think about your childhood. What was it like? Did you live in a bustling city? Did you grow up with siblings? What sorts of things did you do with your free time? Who made an impression? Did you have an imaginary friend? Did you want to name your baby brother PeePee Garbage? My niece Madison sure did. Did you ever run away from home? If so, why, what did you pack, and how far did you get? What sorts of things did you stash under your bed? What was your most embarrassing moment? What did you want more than anything?
Jot down a few of your childhood memories, hopes, and/or snippets of the funny stories your uncle Bob told each Thanksgiving. Remember what it felt like to be a child…the joys, the frustrations, the fact that the world is designed for people twice your size.
Let the days of childhood open you up to some new ideas.
Keep in mind, though, that when you are ready to shape some of those ideas into stories, you shouldn’t lock yourself into making them historically accurate. Nope, nope, nope. Use those memories as a starting point. I mean, I’m pretty sure our barnyard animals never held a talent show after my family had gone to bed, but I’m not going to lie. I sure hope they did.
Tammi Sauer, a former teacher and library media specialist, is a full-time children’s book author who presents at schools and conferences across the nation. She currently has 29 published books, but many more are on the way. Getting kids excited about reading and writing is Tammi’s passion. Her other passion is mango tea.
To learn more about Tammi and her books, visit her on the web at tammisauer.com and at picturebookbuilders.com. You can also find her on Twitter at @SauerTammi.
Tammi is giving away a picture book critique to one winner AND a copy of A LITTLE CHICKEN to another.
Write one comment below to enter.
You’re eligible to win if you’re a registered Storystorm participant and you have commented once below.
Good luck!
by Tammi Sauer
In the spring of 2013, two unlikely friends swam onto the picture book scene—Nugget and Fang. From the start, Nugget & Fang, written by me and illustrated by Michael Slack, did really well. I was proud of our standalone. It never even occurred to me to write a sequel.
Then in 2017, my new editor at Clarion, Lynne Polvino, asked if I’d be interested in revisiting a certain underwater world.
Now, all these years later, my favorite fishy friends are back in the SEA-quel, NUGGET & FANG GO TO SCHOOL.
When Fang the shark is invited by his friends to attend Mini Minnows Elementary, he thinks it’s a great idea! But then his first day of school arrives . . . and suddenly, he’s not so sure. He’s not very good at reading or math. He doesn’t exactly fit in with his classmates. And the teacher looks crabby! Can Fang’s best friend, Nugget, and the other minnows help him discover that school really is FANG-TASTIC?
When a publishing house asks you to write a sequel, please know this situation comes with advantages and disadvantages.
Advantages:
- You already know your characters.
- You already know the tone.
- You already know the style.
- You already know the voice.
- You already know the general setting.
- You already know the basic pacing.
Disadvantages:
- The book needs to be written.
- The book needs to be at least as good as the original, preferably better.
- The book needs to appeal to fans of the original as well as to people who have never read it.
- The book needs to meet a deadline.
- The book needs to get approval from the publishing house, and, if the book does not get this approval, you can’t submit it elsewhere. Plus, you, um, still have to write a sequel that gets approval.
- The book needs to be similar to the original. Oh. But it needs to be different, too.
But how do you actually write a sequel????? In my experience, such a task involves gallons and gallons of tropical tea, endless quantities of chips and salsa from Torchy’s Tacos, and a critique group that reminds you that you can do this.
These are the three things that were most helpful to me as I wrote Nugget & Fang Go to School:
- I read the original. Then I read it again. And again. And again. After that, I read it again. This not only helped me to dive back into Nugget and Fang’s world, but it helped me to rediscover the rhythm of their story.
- I typed out the text of the original and paginated it. This gave me a clear and concise visual of my pacing and page turns. I kept the paginated text of book 1 right next to me as I worked to create the text for book 2.
- I played with words. (Book 1 incorporated lots of wordplay so book 2 had to have that as well.)
First, I compiled a list of the wordplay that I had used in book 1:
- Holy mackerel!
- Swim for your lives!
- Sounds fishy to me.
- Oh, my algae!
- I feel seasick!
- Have you lost your gills?
- Catch of the day
- Fang’s heart sank.
- You’re fintastic.
- Fanned his gills.
- Wrung his fins.
This served as a cheat sheet. I knew what wordplay absolutely could not go into book 2. I then wrote a long list of different potential wordplay to use in the sequel. These are the items that made their way into book 2:
- Other fish in the sea
- Oh, my starfish!
- Swim for cover!
- Cool as a sea cucumber
- School of fish
- Crabby
- Sea of faces
- Fang-tastic
- Best friend in the whole underwater world
- Made a splash
- A fish out of water
- There was nothing fishy about that.
Having lots of new wordplay to choose from allowed me to give book 2 a similar feel to book 1, but it helped me to make the new book fresh as well.
Overall, writing a sequel is quite a challenge, but, if my editor asks me to write another book about Nugget and Fang, well, wild seahorses couldn’t pull me away!
Luckily, wild seahorses aren’t pulling away our giveaway—a copy of the chummy SEA-quel to one lucky blog reader. Leave a comment below to enter. A winner will be randomly selected in a couple weeks!
Good luck!
Tammi Sauer is a full-time author who presents at schools and conferences across the nation. She has 28 published picture books with major publishing houses including HarperCollins, Houghton Mifflin Harcourt, Penguin Random House, Scholastic Press, Simon & Schuster, and Sterling. Her book Your Alien, an NPR Best Book of the Year, was recently made into a musical that is currently touring planet earth. (Well, the United States anyway.) Visit her at tammisauer.com and follow her on Twitter at @SauerTammi.
by Meredith Mundy (from 2015)
I recently celebrated my 20th anniversary as a children’s book editor. (Still loving it as much as ever!) One of the questions I am still asked most often is why an author and illustrator so rarely collaborate directly. Why WOULDN’T it be a great thing for the two creative parents to discuss and brainstorm? Why don’t I encourage lengthy Skype chats about their amazing book-to-be? What’s up with those control-freak publishers anyway?!
Most people assume the worst: surely author and illustrator are kept apart so the publishers can hold all the cards, hoard all the power. But I am here to tell you this couldn’t be further from the truth! The reason editors and art directors keep the wordsmith separate from the artist is to allow for maximum inspiration and creative freedom on BOTH sides. Authors needn’t weigh down their manuscripts with descriptions of scenery or characters, and illustrators are allowed unencumbered freedom to conjure with paintbrush or pixels the story’s characters and surroundings without trying to match an author’s vision of them.
I’d like to share three very recent examples of how well it can work out when an author trusts an illustrator and refuses to define how a character should look or how a plot should unfold visually:
When Tara Lazar sent in her hilarious picture book manuscript for NORMAL NORMAN, in which a scientist attempts to pin down a definition for the word “normal,” I needled her to tell me more. Who exactly is this scientist? And who—or what—is Norman?? But Tara could not be persuaded—she had complete faith that illustrator Stephan Britt (AKA S.britt) would know exactly what to do with the scientist narrator and his or her mysterious test subject. It was fascinating to see Stephan experiment.
.
First Norman looked a bit like a lion.
Then he looked more like a friendly monster.
Finally Stephan found exactly the right Norman.
Who knew he would be a purple orangutan in square-frame glasses?!
And much to our surprise, the scientist turned out to be a young Latina girl in black Mary Janes and a stylish bob. This certainly would NOT have been the case had Tara (or art director Merideth Harte or I) attempted to sway Stephan in some definite direction.
Tammi Sauer is another author who very rarely includes illustration notes in her manuscripts. When I acquired YOUR ALIEN, I asked Tammi what the lost extraterrestrial in her story might look like, and all she would say is that she hoped it would be so adorable that readers everywhere would wish for an alien to crash land in THEIR front yards.
By giving illustrator Goro Fujita complete carte blanche to imagine the cutest alien in the whole universe, Tammi got exactly what she’d hoped for. See for yourself!
My final example of an author bravely allowing an illustrator’s inspiration to take the driver’s seat is Kim Norman and her charming THIS OLD VAN, sung to the tune of “This Old Man.”
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Not only did she boldly leave wide open what exactly the characters should look like . . . she also left the entire ending up for grabs! In this rollicking picture book road trip, a pair of hippie grandparents receive a very important invitation from their grandson. Soon they are zipping cross-country in their trusty old van, which must deliver them to their destination in time for The Big Event. But WHAT IS THAT EVENT?, I kept asking Kim. She assured me that illustrator Carolyn Conahan would come up with something PERFECT, but I was too anxious. Surely an illustrator would want some guidance from the author on something as crucial as the ending, wouldn’t she?? Reluctantly, at my insistence, Kim brainstormed a few ideas—perhaps the grandson was starring in the school play or had a big solo in a recital? Carolyn wisely ignored the illustration notes and surprised us with a grand finale so clever that any alternative is unthinkable now: of course the grandson is racing his own miniature version of the old van in the Downhill Derby!
For those of you writing picture books, I challenge you to leave 50% of the inspiration to an illustrator. You are not alone and by no means have to do all the heavy lifting. Write the story and then step away. And for those of you illustrating picture books, I challenge you to ignore any illustration notes that don’t inspire you! Trust one another from afar, inspire one another at a distance, and then get together AFTER the book is printed to celebrate what your wonderful, individual, untainted visions brought into the world.
Meredith Mundy was formerly Executive Editor at Sterling Children’s Books. She now serves as Executive Editor of the Appleseed imprint at Abrams.
At the conclusion of Storystorm, prize packs will be given away (books, swag, writing tools). Comment once on this blog post to enter into the prize pack drawing.
You’re eligible to win if you’re a registered Storystorm participant and you have commented once below.
Good luck!
by Tammi Sauer (from 2012)
In past PiBoIdMo posts, I’ve encouraged you to…
This time around, I want to focus on structure.
Just like houses and dinosaurs, every story needs an underlying framework.
Most of my books follow the Classic Picture Book Structure:
- MC has a problem
- MC faces obstacles that escalate
- MC encounters a dark moment in which things can’t possibly get any worse
- MC figures out how to solve the problem
- MC grows/changes by the book’s end
My book PRINCESS IN TRAINING is an example of this.
Behold!
Princess Viola is great at skateboarding and karate-chopping, but she’s lousy at the royal wave, walk, and waltz. The king and queen are not pleased. What’s a princess to do? Attend the skill-polishing Camp Princess, of course. In the end, it’s a good thing Viola is made of tougher stuff. Who else will save the day when a hungry dragon shows up?
This is how the Classic Picture Book Structure works with PRINCESS IN TRAINING:
- Princess Viola Louise Hassenfeffer has a royal problem. She is not an ordinary princess and the kingdom is unhappy about it.
- Princess Viola faces three obstacles at Camp Princess (she is unable to properly master the royal wave, royal fashions, and royal dancing).
- A hungry dragon shows up at Camp Princess.
- Princess Viola uses her unique skill set to save the day.
- Princess Viola may not be an ordinary princess, but she is deemed the darling of her kingdom anyway.
Although the Classic Picture Book Structure is my super-favorite way to frame a story, there are a variety of other options. Below are many of them along with some examples.
Circular:
The story’s ending leads back to the beginning
If You Give a Mouse a Cookie; When a Dragon Moves In
Concept:
The story focuses on a single topic or category
All the World; Kindergarten Rocks; Hello Baby!; The Quiet Book
Cumulative:
Each time a new event occurs, the previous events in the story are repeated
My Little Sister Ate One Hare; I Know an Old Lady Who Swallowed a Fly
Mirror:
The second half of a story echoes what occurred in the first half of the story
Old Bear and His Cub; Boy + Bot; A Sick Day for Amos McGee
Parallel:
Two storylines are taking place at the same time
The Dog Who Belonged to No One; Meanwhile Back at the Ranch
Reversal:
Character and/or plot is portrayed in a way that is opposite from the norm
Bedtime for Mommy; Children Make Terrible Pets; Little Hoot
This month, I’m challenging myself to come up with at least one story idea for each of those frameworks. C’mon, groovy Storystorm people. Who’s with me?
Tammi Sauer has been a guest blogger for every year of Storystorm, even when it was called that thing no two people pronounced the same, PiBoIdMo. Learn more about Tammi at her super-snazzy new website tammisauer.com.
At the conclusion of Storystorm, prize packs will be given away (books, swag, writing tools). Comment once on this blog post to enter into the prize pack drawing.
You’re eligible to win if you’re a registered Storystorm participant and you have commented once below.
Good luck!
by Tammi Sauer
Back in 2009, Tara first prompted us to join her on her challenge to generate 30 ideas in one month’s time. That year, I wrote a blog post about an idea-getting strategy that worked for me, and I have written about a different approach every year since.
In the spirit of Posts of Storystorm Past, however, I wanted to revisit one of my favorite strategies for brainstorming ideas. It’s something I share at writing conferences and school visits. It’s simple.
Celebrate the weird stuff in life—it’s good material for stories.
Many of my books got their start by some weird thing that happened to me.
One day, for example, I was hard at work and under a deadline. Everything was going well until, in the course of less than 30 minutes, the FedEx guy knocked on my door, the phone rang, the doorbell rang, the dog barked, and someone added me to a group text which included approximately 827 people who suddenly had lots to say.
All of these distractions made it hard for me to concentrate, and I just wanted Calgon circa 1980 to take me away.
That evening, I got to thinking I needed to write a book about a character who grew more and more frustrated by distractions. After all, frustration was a relatable experience.
This led to KNOCK KNOCK (Scholastic Press), illustrated by Guy Francis. The story is told almost entirely through knock-knock jokes and the art. It stars a bear named Harry who is all set to hibernate. Then, just after he tucks himself into bed, a friend unexpectedly shows up at his door. Then another. And another. Soon Harry’s house is filled with friends, and, just when he is about to flip his over-exhausted lid, Harry realizes his pals are there for a very good reason. They’re throwing a surprise happy hibernation party for you-know-who.
Another example of a weird thing in my life that led to a book involved the fine art of procrastination. One morning, while I should have been writing but I was aimlessly scrolling through my Facebook feed instead, I clicked on the link to Jama Rattigan’s latest blog post. On that particular day, Jama was featuring the wonderful work of artist James Ward.
See for yourself:
Well! The second I saw that big, hairy bear in those giant red underpants standing in a pile of cake crumbs, inspiration hit. I had to write a story about a character who loved cake as much as this guy did.
The result? That bear became Moose in I LOVE CAKE! (HarperCollins), illustrated by Angie Rozelaar.
So yay for procrastination!
Think about the weird stuff in your life. These things can be big or small. Jot down a few examples.
1.
2.
3.
Later, choose one for a story starting point. Keep in mind that this idea should just serve as the seed for a story rather than a factual recount of every little detail about a particular weird thing.
I say we celebrate annoying times, sightings of big, hairy bears in giant red underpants, and everything else in between. You never know where those weird moments might take you.
Tammi Sauer is a full-time children’s book author who presents at schools and conferences across the nation. Her 25th picture book was recently released. She has many more books on the way as weird stuff seems to happen to her all the time.
Tammi is happy to report that, at long last, she has a real-deal, fancy website courtesy of her very first writing friend, Flora Doone of somethingelseinc.com.
Please check out Tammi’s new site at tammisauer.com and follow her on Twitter at @SauerTammi.
Tammi is giving away copies of two of her upcoming books! There will be one winner for each title.
Simply leave ONE COMMENT below to enter.
You’re eligible to win if you’re a registered Storystorm participant and you have commented once below. Prizes will be given away at the conclusion of the event.
Good luck!
Disclaimer: These are not Tammi’s abs.
by Tammi Sauer
People go to the gym for various reasons. Some want to stay fit. Some want to lose weight. Some want to fulfill the dream of getting a six-pack.
But that six-pack doesn’t just happen. It requires a lot. I can think of at least six things that need to go into the mix:
- fuel,
- a personal trainer,
- consistency,
- stretching,
- a workout buddy, and
- some rest and recovery.
This is my 2018 six-pack:
Wordy Birdy (Doubleday Books for Young Readers)
“Sauer’s fun-to-read text and Mottram’s detailed and hilarious illustrations seamlessly meld into a cohesive whole.”—School Library Journal
But the Bear Came Back (Sterling)
“There is plenty of humor in the details of the colorful, fine-lined art, but this is largely a poignant story, one that could add a nice variety of flavor to storytime.”—Booklist
Go Fish! (HarperCollins)
“A fun summertime romp—hook, line, and sinker.”—Kirkus
Knock Knock (Scholastic Press)
”Saturated colors, animated characters, and silly jokes will ensure repeated readers. An appealing read aloud choice on hibernation and friendship.”—School Library Journal
Quiet Wyatt (Clarion)
“A humorous friendship story with a little bit of an ironic twist.” —Kirkus
Making a Friend (HarperCollins)
“A sure recipe for making a friend…real or snow.” —Kirkus
While I didn’t set out to have six books published in one year (that would be bananas), those same six things—fuel, a personal trainer, consistency, stretching, a workout buddy, and some rest and recovery—played a big role in making this six-pack happen.
Fuel:
Your body needs water and the proper foods to reach its potential. To write a picture book, you must have fuel, too. You need to feed your muse and writing ability. But how? Read and analyze(!!!) other picture books! Go to the bookstore or the library, grab a pile of books (mostly ones published in recent years), and STUDY them. Break them apart and figure out what makes them work. And once you finish that? Well, grab another pile.
Personal Trainer:
Getting guidance from an expert in the field can prove beneficial in achieving this fitness goal. As a writer, you can gain valuable insight from others as well. Attend conferences. Take a class. Watch a webinar. Find a mentor. Study resources on how to write picture books—my personal favorite is Linda Ashman’s The Nuts & Bolts Guide to Writing Picture Books.
Consistency:
Acquiring that toned set of muscles requires regular effort. When I first decided to try writing picture books, I’d write for a couple of month, take a break for a few weeks, write for a few days, take a break for half a year…. This didn’t help me to improve as a writer. It was only when I made writing a priority that I acquired noticeable gains. You need to show up to the page (even when you don’t feel like it—maybe especially when you don’t feel like it) and be willing to put in the work.
Stretch:
Some pre-workout stretching can help you to avoid muscle strains and cramping. Stretch as a writer, too. Instead of writing the same sort of story over and over again, attempt new approaches. Try different points of view. Try different structures. Try to tell a story entirely in dialogue or a story that’s told almost completely through the art or one that is (gasp!) a rhymer.
Workout Buddy:
A workout buddy joins you at the gym and knows firsthand what you’re going through because he or she is going through it, too. This person can motivate you to keep at it and get better. As a writer, critique partners and critique groups not only cheer you on as you do the work, but, even more importantly, they push you to improve your craft.
Rest and Recovery:
You can’t go to the gym every minute—your body needs time for rest and recovery. Writers need these times, too. Go for a walk. Meet a friend for lunch. Visit the beach or a museum or your great aunt Mildred. Take time to experience life and refill the well.
This six-pack of writing tips has served me well over the years. In the words of Hans and Franz, I hope they PUMP YOU UP.
Tammi wants to share her six-pack with you.
For a chance to win one of these books, leave a comment on this post. (One comment per person, please.)
SIX WINNERS will be randomly selected in two weeks.
Good luck!
Tammi Sauer is a full-time author who presents at schools and conferences across the nation. She has 25 published picture books with major publishing houses including HarperCollins, Houghton Mifflin Harcourt, Penguin Random House, Scholastic Press, Simon & Schuster, and Sterling. In addition to winning awards, Tammi’s books have gone on to do great things. Nugget & Fang was made into a musical and is currently on a national tour, Wordy Birdy was named a Spring 2018 Kids’ Indie Next pick, an Amazon Best Book of the Month, and a Barnes & Noble Best Book of the Month, and Your Alien, an NPR Best Book of the Year, was recently released in Italian, Spanish, Korean, and French which makes her feel extra fancy. Visit her at tammisauer.com.
by Tammi Sauer
Over the Storystorm years, I have shared many of my idea-getting strategies.
This time around, I want to focus on using a familiar song, nursery rhyme, or chant as a starting point.
While I had heard of this writing exercise many times before, it wasn’t until I saw it presented in Linda Ashman’s (super amazing!!!) resource, THE NUTS AND BOLTS GUIDE TO WRITING PICTURE BOOKS, that an idea popped into my head.
This is what I saw in Linda’s book:
Rework a song or chant. Try rewriting a familiar song, chant, nursery or jump rope rhyme. Here are a few suggestions, but feel free to come up with your own:
- Twinkle, Twinkle, Little Star
- Baa Baa Black Sheep
- She’ll Be Coming Round the Mountain When She Comes
- I’ve Been Working on the Railroad
- Mary Had a Little Lamb
- You Are My Sunshine
- Row, Row, Row Your Boat
And this was my idea: Mary Had a Little Glam.
I knew I had to write that story. And, once I felt brave enough to tackle rhyme, I did. Lucky for me, Vanessa Brantley-Newton agreed to illustrate the book.
There are many great examples of books that have sprung from this approach. These are just a few of my favorites:
- HUSH, LITTLE DRAGON by Boni Ashburn, illustrated by Kelly Murphy
- I AIN’T GONNA PAINT NO MORE! by Karen Beaumont, illustrated by David Catrow
- THERE WAS AN OLD DRAGON WHO SWALLOWED A KNIGHT by Penny Parker Klostermann, illustrated by Ben Mantle
- TEN ON THE SLED by Kim Norman, illustrated by Liza Woodruff
- THIS OLD VAN by Kim Norman, illustrated by Carolyn Conahan
In February, the adorable TWINKLE, TWINKLE, LITTLE CAR written by Kate Dopirak and illustrated by Mary Peterson will zoom onto the scene. (And both ladies will be guest blogging for Storystorm later this month.)
In March, MARY HAD A LITTLE LAB written by Sue Fliess and illustrated by Petros Bouloubasis will prove quite inventive.
While these books follow the same basic rhythm and rhyme scheme as the song, nursery rhyme, or chant they were based on, keep in mind that you don’t have to marry yourself to this approach. You can use one of those things to simply trigger the basic idea for a story as well.
My upcoming book with Dan Taylor, BUT THE BEAR CAME BACK, for example, got its start when I was listening to NPR. They played the old song “But the Cat Came Back.”
Right away, I thought about what it would be like if a rather large and completely unexpected animal would show up at a kid’s house and decide to make himself at home.
While I didn’t mirror the actual song in my book, I used its title as a stepping stone.
BUT THE BEAR CAME BACK debuts this April from Sterling.
So give it a try. Think about those familiar childhood songs, nursery rhymes, and chants then brainstorm a few picture book title possibilities of your own.
Tammi Sauer is a full time children’s book author who presents at schools and conferences across the nation. She has sold 30 picture books to major publishing houses including HarperCollins, Houghton Mifflin Harcourt, Penguin Random House, Scholastic, Simon & Schuster, and Sterling. Her book WORDY BIRDY, illustrated by Dave Mottram, debuts on February 6. This book got its start in StoryStorm. It was idea number 19 on her 2014 list.
You can learn more about Tammi at tammisauer.com, read her posts at picturebookbuilders.com, and follow her on Twitter at @SauerTammi.
Tammi is giving away a copy of the soon-to-be-released WORDY BIRDY to one lucky duck commenter.
Tammi is also giving away a picture book critique. Ooh.
Leave ONE COMMENT below to enter. You are eligible to win if you are a registered Storystorm participant and you have commented once on this blog post. Prizes will be given away at the conclusion of the event.
Good luck!
by Tammi Sauer
When writing picture books, I like to challenge myself to try new things. With TRUCK, TRUCK, GOOSE!, for example, I wanted to tell a real deal story for the younger crowd that incorporated a wide variety of trucks and as few words as possible. I also loved the idea of framing a story using the familiar kids’ game “Duck, Duck, Goose.”
Three things in particular helped me to create this 45-word story about a silly goose who, unbeknownst to him, creates—then fixes!—a terrific truck traffic jam. Those three things were mentor texts, art notes, and flexibility.
- Mentor Texts:
I studied the books RAIN! and NO DOGS ALLOWED! by Linda Ashman. Linda is a master at creating books with limited text. She even shared the manuscripts for these books on her website, lindaashman.com.
One thing I learned from Linda’s examples was that it was helpful to paginate my limited-text story. Not only did paginating my story allow me to better visualize each spread, but it pushed me to establish the necessary pacing of the story and provide compelling page turns as well.
- Art Notes:
In TRUCK, TRUCK, GOOSE!, the pictures convey the bulk of the storytelling. Many spreads contain only one word. Three spreads are wordless. But here’s the thing. Each spread in this 40-page book is necessary for the story to build to a climax and an eventual resolution. This means Zoe Waring, the oh-so-awesome illustrator, had to present a truckload of information in her art.
Typically, I only include a few art notes in my manuscripts. This was not the case withTRUCK, TRUCK, GOOSE! In my notes, I had to share what was not readily obvious in the text…which was A LOT.
These are the original opening spreads for TRUCK, TRUCK, GOOSE! (The art notes are presented in brackets. The text is presented in boldface type.):
End Pages
[A roundabout is filled with bustling traffic. Its central island is a lovely area.]
Title Page
[Goose is packing a big picnic lunch for himself. A map shows his intended destination is the center of a roundabout. It looks like the perfect spot for a picnic.]
4-5
[At roundabout.]
Truck . . . [pickup truck]
6-7
Truck . . . [dump truck]
Truck . . . [mixing truck]
8-9
GOOSE!
[Goose interrupts the flow of things to get to the center of the roundabout. He’s holding a picnic blanket, umbrella, goose crossing sign, etc. He has so much stuff he can’t carry it all at once.]
- Flexibility:
After Zoe completed the first couple of rounds of sketches, it was obvious that some things weren’t quite working. Jill Davis, the editor, Rachel Zegar, the art director, Zoe, and I did lots of brainstorming to make this seemingly simple story less complicated.
One suggestion I made, for example, was to set up the story a bit more specifically in the very beginning. Now, before we even see the first truck, we see Goose holding a to-do list.
This is the new text addition:
PICNIC TO-DO LIST:
Choose picnic spot.
Pack a big lunch.
Take everything I need.
Not only does this addition clearly let us know what Goose’s goal is from the start, but we know a little bit about his personality right away, too. He’s a guy who tends to go a little overboard. The art shows that he packs everything from bananas to a swim floatie to a giant red piano for his picnic that takes place just a few feet from his house.
TRUCK, TRUCK, GOOSE! sold in a two-book deal to HarperCollins. Goose and company return for more mayhem next summer in the companion book, GO FISH!
Tammi Sauer is a full time children’s book author who presents at schools and conferences across the nation. She has sold 29 picture books to major publishing houses including Disney*Hyperion, HarperCollins, Houghton Mifflin Harcourt, Penguin Random House, Simon & Schuster, and Sterling. Tammi and her family live in Edmond, Oklahoma, with one dog, two geckos, and a tank full of random fish. She wants you to know that no geese were harmed in the making of this book. Visit herr at tammisauer.com.
Tammi is giving away a copy of TRUCK, TRUCK, GOOSE! to one lucky duck commenter.
Leave a comment below to enter. A random winner will be selected in about two weeks.
Good duck! (Err, LUCK!)
Writing for Kids (While Raising Them) 