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STEM Tuesday– Naturalists– Author Interview: Danna Staaf

Welcome to STEM Tuesday: Author Interview, a repeating feature for the last Tuesday of every month. Go Science-Tech-Engineering-Math!

Today we’re featuring Danna Staaf, a marine biologist and author of several science books. Her book The Lady and the Octopus: How Jeanne Villepreux-Power Invented Aquariums and Revolutionized Marine Biology garnered these reviews:

  • Notable Award Children’s Book Committee at Bank Street College Best Children’s Book of the Year, 2023
  • Booklist Top 10 History for Youth, 2023
  • Booklist Top 10 Science and Technology Books for Youth, 2023
  • Cooperative Children’s Book Center (CCBC) Choices, 2023
  • Booklist Top 10 Biographies & Memoirs for Youth, 2023
  • School Library Journal Best Book of 2022

 

Andi Diehn: I love your sidebar in the first few pages about historic accuracy and doing our best with what we know until we can add to that knowledge. Why include this?

Danna Staaf: Honesty really is the best policy, especially when talking to children. Both the historical and the scientific record are intrinsically incomplete—there are open questions, missing data points, ambiguous findings. I felt it was very important to acknowledge that uncertainty up front, and not to pretend that I had all the answers. At the same time, I spent years researching this book, and I did have a lot of information, which gave me the ability to make guesses in good faith about missing pieces. This is how we build a trusting relationship with readers, by saying, “I don’t know everything. I’ll tell you what I do know, and how I know it. When I have to make guesses, I’ll tell you why those guesses are reasonable. And I’ll admit that they might turn out to be wrong later.”

I think about all the dinosaur books I read when I was a little kid, and the old misinterpretations of what dinosaurs looked like and how they lived. Most of those authors were doing the best they could with the available research—and they inspired the next generation of scientists to go out and do more research, to show which guesses were right and which were wrong. That’s the iterative nature of knowledge. It’s beautiful.

AD: I like how you made it clear that Jeanne was able to study and practice science because of her privileged position as a married woman with no children – why is this important for readers to be aware of?

DS: It’s a really interesting topic! When I first began to read about Jeanne, I thought her story would be strongly impacted by sexism, both during and after her life. And she absolutely did have to contend with sexism. A man who wasn’t even a scientist tried to take credit for her work, and although she managed to join several scientific societies as their first female member, the Royal Society (the UK’s national science academy) refused to admit women until 1945! Sexism likely also played a role in how quickly her work was forgotten after her death. However, as I read more of her writing and her peers’ writing about her, I became very impressed by how successfully she advocated for herself. Now I think that the reason we know as much about her as we do, and indeed the reason I had enough material to write this book, was her own determination to publish her research and get credit for it.

But Jeanne’s ability to research and advocate effectively was greatly enhanced by her privilege. In addition to being married and childless, she was white and wealthy. Before her marriage, she struggled to support herself and couldn’t devote time to natural history, but afterward, she had the resources and the leisure to pursue her curiosity. Wouldn’t it be great if everyone had that freedom? How many more wonderful discoveries and inventions could be made? I hope it helps readers think about who has been left out of history, and why, and what we can do to create a more just society.

AD: I love your phrase on page 43 about studying “marine life instead of marine death” – why does this distinction matter?

DS: I actually think about it even more now than I did while I was writing this book! When Jeanne started working in natural history, especially in the field we now call marine biology, most people were very focused on studying dead specimens. They killed and dissected animals; they preserved skeletons and furs and shells. Even setting aside the ethics of doing science like that, they missed so much by not looking at living animals. Especially in the ocean, an animal can look completely different when it’s alive in its natural habitat—think of a jellyfish swimming gracefully through the water, which dissolves into goo if you kill it and try to preserve it. And behavior! The only way to really see how animals move, hunt, court, mate, and so forth is to observe it.

Science has come a long way from the days of pickling and dissecting everything in order to study it, in large part thanks to people like Jeanne and inventions like her aquariums. And yet there are still some stubborn remnants of this attitude. To describe a new species, it’s generally accepted that a dead specimen needs to be put in a museum somewhere. Now, I don’t want to discount the importance of museum collections in any way—those historical specimens are absolutely vital to our understanding of life, and even to the conservation and protection of living organisms, because scientists use the knowledge from those specimens to figure out things like which species are left in a coral reef or a rain forest, and how many are new to science. But now that we have high-resolution video capabilities, 3D scans, CT scans, and so forth, maybe we can shift toward identifying species without needing to kill individuals so often.

AD: She’s a scientist but also an inventor – how does scientific inquiry and invention go hand in hand?

DS: Scientists are always inventing gadgets to help them figure out the answers to their questions, from high-tech to low-tech and everything in between. When I was in graduate school studying squid, I wanted to know how temperature affected the development of squid eggs, so I worked with a really skilled technician to design a little incubator that could keep dishes of seawater at a range of different temperatures. It had a bunch of carefully machined metal pieces, all very precise. Then I took it on a research boat in Mexico in very hot weather, and I had to improvise a combination of bubble wrap and a desk fan to keep the whole assembly from overheating! Then, I also learned how to write computer programs to analyze the data I gathered. I’d say those are both forms of invention. Sometimes scientists’ inventions are very specific to a particular need, like my incubator, and sometimes they find more general applications, like Jeanne’s aquariums. You never know!

AD: What was your favorite thing you learned from your research?

DS: How can I pick just one?? I learned that that the tides in the Mediterranean Sea are more impacted by the local geography than by the moon, so when it’s high tide on one side of the Strait of Messina, it’s low tide on the other side, just a few kilometers away. I learned that an engineer named Charles Condert developed a type of scuba gear a hundred years ahead of Cousteau’s Aqua-Lung, and made many successful dives before dying in a tragic underwater accident–the first known scuba fatality. I learned that Benjamin Franklin carried around a little container of oil in his walking stick, so he could impress people by pouring it on rough water and calming the waves. But, if I have to pick, I think my favorite research gem was learning about Anna Thynne. She’d studied geology for years, and fell in love with corals because she saw them as living rocks. I love her account of collecting corals, which I didn’t have room to include in the book: “With a needle and thread I fixed the Madrepores [corals] on a large sponge, that there might be no damage from collision, and then placed them in a glass jar filled to the brim with water, and tied down with a bladder….During the journey [home from the seashore], I had the great pleasure of seeing them expand their tentacula most happily; and they arrived both at Clifton and London in a most flourishing state.”

AD: What did you like best about writing a biography? Was there anything frustrating about the project?

DS: I have to confess that history was my least favorite subject in school. I struggled to memorize the names and dates of monarchs and battles, while I had no trouble memorizing octopus species. So the historical research for this book was the biggest challenge for me. I had to read the timeline of the French Revolution and the Napoleonic Wars over and over again to make sure I was getting everything right.

That said, it might also be the thing I liked best. I found that world events became much more interesting to me when I could link them with Jeanne’s life. Writing a biography actually kindled my interest in history, and helped me see how seemingly abstract monarch names and battle dates affected real people’s lives, even impacting the course of science. Now I can remember that Napoleon was defeated at Waterloo in 1815, because it led directly to Jeanne sewing a royal wedding gown in 1816, which led in turn to her meeting her future husband, and the beginning of her career in marine biology!

 

Danna Staaf is a science communicator and marine biologist who earned a PhD from Stanford University with her studies of baby squid. Her writing has appeared in Smithsonian, NautilusAtlas Obscura, and Science, and she is the author of Monarchs of the Sea: The Extraordinary 500-Million-Year History of Cephalopods (named one of Science Friday’s best science books of the year), The Lady and the Octopus: How Jeanne Villepreux-Power Invented Aquariums and Revolutionized Marine Biology (a best book of the year of the School Library Journal and the Children’s Book Committee), and Nursery Earth: The Wondrous Lives of Baby Animals and the Extraordinary Ways They Shape Our World (hailed as “a gobsmacking delight!”). Her newest book is The Lives of Octopuses and their Relatives: A Natural History of Cephalopods. Staaf lives in San Jose, California, with her husband, children, cat, and innumerable plush octopuses.

 

Andi Diehn

Andi Diehn works as an editor for Nomad Press and has written many STEM books for kids!

Interview With Debut Author Karen McCoy

I am thrilled to welcome author Karen McCoy to the Mixed-Up Files to discuss her debut novel, The Etiquette of Voles (Artemesia Publishing), available June 10th. I first met Karen when she interviewed me about my debut novel, OLLIE OXLEY AND THE GHOST, for her blog. She has always been such a huge supporter of mine and the writing community, so interviewing and celebrating Karen feels especially poignant. This is truly a full-circle moment, and I could not be more delighted. 

Summary: The Etiquette of Voles

Book cover of The Etiquette of Voles

Life is lonely in Queen Victoria’s London, especially for a talking vole. Chains may be the equal of any human detective, but there’s one case he can’t solve: where he came from and why he can speak.

Luckily, he has the help of Eldridge, the retired investigator he lives with. Their latest job–a shipload of missing fish destined for experimentation–might provide some needed answers. But when Eldridge is kidnapped, Chains is left without sanctuary at a time he badly needs friends. Especially with profiteers, scientists, and pirates from London’s mad scientific underbelly after his hide.

The more clues Chains unearths, the more certain he is that finding Eldridge will also unlock the mystery of how Chains originally came to be, and might even offer him a place to truly belong. But someone he thought he could trust doesn’t want that to happen. A talking vole may offer a significant breakthrough, but a silenced one is preferred.

Lisa: Tell us about The Etiquette of Voles

Karen: The Etiquette of Voles centers on a talking vole named Chains who solves mysteries to figure out why he can talk. His story takes place in Victorian London, in the mid-1890s. After Eldridge, the man he lives with, is kidnapped, Chains searches for clues that end up leading toward information about his past. He befriends an orphan boy who agrees to help, and even has a run-in with some pirates! The more clues Chains unearths, the more certain he is that finding Eldridge will also unlock the mystery of how Chains originally came to be, and might even offer him a place to truly belong. But someone he thought he could trust doesn’t want that to happen.  

Lisa: How did you come up with the idea? 

Karen: The vole came to me very clearly one day, demanding to be written down. I knew that he called himself “Chains” because of Charles Darwin’s misinterpreted “missing link” theory (and because he was made this way, and not a result of evolution). I also knew that part of Chains’s journey would involve him figuring out the mystery of his origins, and the story kind of grew legs from there. The Victorian London setting was inspired by my annual trips to The Great Dickens Christmas Fair, which is held in Daly City, CA every year during the holidays. 

Lisa: Did you base any characters on people you know? If yes, spill the beans! 

Karen: The fact that Eldridge has problems with his memory is actually inspired by my interactions with my older family members who are starting to struggle with this kind of thing. It’s really tough to see someone you care about experience this first-hand. Most everyone else was pretty much found on the page as I wrote them. Though a few names came from people I know. Eldridge is the last name of a friend of mine, for example. 

Lisa: How much of your real-life experiences play a role in the stories you tell? 

Karen: A lot of my stories contain characters who end up learning about lives, places, and worlds they’ve been shielded from. I think this is because I was pretty over-protected as a kid and teen. As a result, I learned a lot of things late, and all at once. I firmly believe that kids can handle most kinds of information, as long as it’s presented in a kid-friendly way. I was also kind of a late bloomer, and I had trouble with social skills for a long time. As a result, it was often hard for me to make and keep friends, at least until I got to college. This is why, I think, a lot of my writing also involves found families; in particular, characters finding a community where they can be themselves, and people who understand and accept them for who they are. 

Lisa: What books did you like to read when you were a kid? Do those books influence your writing? 

Karen: I loved books so much as a kid, and I was a very avid reader! Books were the perfect escape. I really enjoyed The Mouse and the Motorcycle by Beverly Cleary, Matilda by Roald Dahl and The Babysitters Club series by Ann M. Martin. Authors like these continually influence my writing, and I love stories with wit, snark, and adventure!

Lisa: Do you have a favorite chapter? If yes, why? 

Karen: The chapter, “A Parcel of Pirates” was a lot of fun! I had a great time coming up with quirky characters for my vole to interact with.   

Lisa: What was the hardest part about writing this book?

Karen: Same chapter with the pirates, ha. Battle scenes have a lot of logistics that require an attention to detail and attention to the space the characters are in. I often struggle with spatial relations stuff, both in real life, and in the stories I write. 

Lisa: Why did you choose to write children’s books? 

Karen: I remember as a seven-year-old, pointing to the middle of a Babysitters Club book and thinking, “I want to do this.” Even though that was as much as my kid self could comprehend at that point. Some of my first fully drafted novels were YA, or at least I thought they were, until I discovered that my voice was a lot more suited to the middle-grade space. I am most passionate about writing books for children who feel invisible. 

Lisa: What is your writing process? Are you a plotter or a pantser? 

Karen: Um…a plantser? Definitely some of both. I was a shameless pantser for a long time…until I revised for five years in the wrong direction on a project. Yikes. I took outlines a lot more seriously after that, but they’re still pretty loose, since I still discover a lot on the page. I tend to follow a three-act structure model, like the one found in Save the Cat, and I like to at least know general benchmarks of where the plot is going before I get started.

Lisa: What advice would you give 12 year-old Karen? 

Karen: That people’s perceptions aren’t necessarily an accurate depiction of who she really is. That she has good instincts she can trust. And yes, even though those essays she has to write in history class are hard, they will serve her very well going forward, and that same history teacher will be instrumental in her life journey. And, most importantly, that being different can be a good thing, and she should be proud of the healthy sense of empathy she is developing.

Lisa: Thanks for visiting the Mixed-Up Files to discuss your debut novel. I can hardly wait to celebrate your launch on Sunday, June 15th, from 1:00 to 2:30 at Ruby’s Books, where we will be in conversation!  To all our readers, be sure to add The Etiquette of Voles to your Goodreads list and pre-order at your favorite local indie. 

About Karen McCoy:

Karen McCoy

Karen is an author, librarian, and tea enthusiast. She maintains a blog, The Writer Librarian, where she interviews other authors. She has also reviewed books for Library Journal and Children’s Literature, wrote a feature article for School Library Journal and contributed a chapter to Now Write! Science Fiction, Fantasy, and Horror. She currently lives in Northern California with her husband and two very opinionated cats. This is her first published novel. Lena has been drawing since childhood and filled her school notebooks with doodles. But life took me Lena in other directions, and she stopped drawing for many years. She moved to beautiful British Columbia from Saint-Petersburg, Russia, in 2017, and was so inspired by that beautiful place that she started drawing again and fell in love with art even more and in a completely different way. She loves spending her creative days inventing characters and worlds for them. She’s addicted to children’s book illustrations and loves to give warmth and joy to children through her illustrations. For more information, please visit her website.

“Rich in intrigue and adventure, The Etiquette of Voles is a heart-pounding mystery about identity, belonging, and what it means to have a voice—even from one so small but mighty!” ~Lisa Schmid



Writing Exercises to Bring Back the Fun, Break Out of a Rut, and More

u Writing regularly is one of the best ways to improve as a writer. Doing the same thing over and over, however, can be a prime recipe for writer’s block. Regardless of what season of writing life you are in at the moment, flexibility and exploration are key. With that in mind, below are five ideas for ways to bring some play into your own writing and that of the young writers in your life.

  1. Switch up the genre or form

We all tend to have genres and forms with which we feel more comfortable writing. That doesn’t mean, however, that you always need to or ought to write in that vein. Do you typically write prose? Try a form of poetry. Do you typically write fiction? Spend 20 minutes writing creative non-fiction or journaling. Writing the inverse of what you usually do can freshen up your practice. It can also help you acquire and strengthen skills that you can use in your main work. For example, even though I write primarily in prose, I spent years studying and practicing poetry. As a result, I employ poetic techniques in almost everything I write.

 

  1. Try out a new craft element

Take a look at your current read, or an inspiration for your writing project and pick one or two writing techniques the author employs that you admire. Study how the author goes about using the technique in the work.  Then try it out in your draft or current project somehow—maybe in just one scene or on just one page. Emulation is a great way to break through a writing rut and to expand your writing prowess.

 

 

  1. Re-read your favorites

Whether they are your favorites in the genre in which you’re writing or just your overall favorite books, revisiting books that have shaped you as a writer and reader is important. Spend time taking notes as a reader and as a writer and really sit with the books. What techniques do you find especially effective in connecting with you as a reader?  How can you emulate those techniques in your own work? This is an especially useful practice for grounding yourself as a writer if you’re feeling lost or stuck.

 

  1. Do some observation adventures

Pulling from lived experiences, overheard conversations, and other observations is a classic writing tip, but maybe it’s been some time since you let yourself take in your surroundings with your writer’s eye. With this in mind, go outside to a park, a mall, a restaurant or wherever is most appealing and take a notebook with you. Write down as many observations as possible, no matter how obvious or random. Even ten minutes in your neighborhood is enough to fuel an abundance of ideas. This is great to jumpstart your creativity on days when you’re feeling restless or uninspired.

 

  1. Change point of view

No matter what genre in which you’re writing, perceptive is key. Try rewriting your current project (or a part of it) from a different perspective—or even more than one. If you’re feeling as if you need to get to know a character more, rewriting a scene from a different perspective can reveal new things about that character. You may be feeling like the structure of the scene isn’t working. In that case, this exercise can break it into new directions. If you’re feeling like the tone of your piece is flat or ineffective, a new perspective can drastically change that. In other words, don’t be afraid to try playing with this core element—it can help you with numerous issues.

 

Wherever your writing is taking you right now, I hope this list can bring some exploration and fun into your process. And, maybe it’ll inspire you to come up with other writing exercises too!