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STEM Tuesday — Pair Up! Comparing Nonfiction Titles — In the Classroom

By STEM Tuesday on September 11, 2018 / Cross-Curricular, Curriculum Tie-in, For Librarians, For Teachers, Nonfiction Titles, STEM Tuesday

Today is the 11th–a 1-1 pair-up. It’s an especially apt day for continuing with our Nonfiction Pair-up theme. One thing seems sure: You’ll double your impact if you pair nonfiction reading and writing with STEM lessons!

Ideas Worth Spreading

Fatal Fever and Terrible Typhoid Mary highlight the social, personal, and epidemiological stories around Mary Mallon, AKA Typhoid Mary. Exemplifying how science and society intersect and examining the difficulties of clashing social and individual interests, this pair offers high drama and nearly endless entry points for curriculum learning.

Does the government have the right to imprison someone to keep that person from infecting others?
Do students think Mary was “terrible?
- Students can develop charts with reasons for answering yes and no–then take a stand with mock op-ed pieces.
- Form student committees to answer “What to do about Mary?” Make sure they consider how any decisions impact Mary and the community.
- Expand into current day concerns: “What to do when one of us gets sick?” Students might research the school’s policy regarding teachers and students with the flu or other infectious diseases. What options are available to keep everyone safe and able to work and learn?

Looking for infectious enthusiasm? Try these science learning ideas.

DragonFly TV’s five-minute GloGerm video offers information, an experiment, and visuals including a powder that glows under UV light and spreads throughout a kids’ bowling party.
- Show the video to accompany their reading.
- As an alternative, if you have the resources to purchase GloGerm and a UV light, use the video as an inspiration for a lesson plan. Demonstrate the spread of disease. Then challenge students to design their own experiments.
In this lesson using water, baking soda and a simple acid/base indicator, one student unwittingly becomes the source of an “infectious disease”, which then spreads to classmates. The indicator ultimately reveals “infected” students. As an extension, track down the source student–your classroom’s counterpart to Mary Mallon in 1906, someone who unknowingly spreads disease.
- What does the student feel like?
- How would the class feel if all of the infected students now had to stay quarantined despite feeling well, or could no longer do whatever job they would like?
Students become disease detectives with an engaging interactive from PBS’s NOVA resource, which allows them to “interview” subjects, collect and review data, and explore possible sources of the new Dizzy Disease. Students might also compare and contrast their methods to those used by the typhoid tracker who found Mary Mallon, George Soper.

And Now, Some Rotten Ideas

Students can become decomposers as they break down Rotten and Death Eaters, into their essential content and structure. For example, Elementary Nest’s lesson provides suggestions on conducting a compare/contrast of the facts in paired nonfiction titles.

Of course, this topic screams for a scavenger hunt! Send students searching for nonfiction text features. Check out these scavenger hunts and, presto! You’ll gather your own list of features in no time. Follow up with a look at how these features help or detract from the reading experience.

How do various features help engage and explain information to readers?
Are there places in either book where the reader’s experience would have been enhanced by the addition or omission of a given feature?

After students digest the books in these lessons, they can recycle the morsels of information and insight into new, lively texts, composing short pieces based on the facts that they collected and incorporating the nonfiction text features to help readers engage with or grasp content.

Hands-on science experiences can add to the detail of student writing. Start with this worm bin building activity and related resources from National Agriculture in the Classroom.

This Trash Talk’s OK

Heighten student awareness of different styles and purposes of informational text with this trio. This Book Stinks is full of small bits of text and splashy graphics. Contrast it with Tracking Trash and Plastic Ahoy!, which combine storytelling, exposition, and characters into a cohesive whole. Challenge students to take passages from each book and turn them into the style and format of the other.

For science experiences, tie these books in with the decomposition books above (pair the pairs!). Or:

Explore the decomposition of different fruits.
Conduct a longer-term investigation to explore what does and does not decompose.
5 Gyres Institute’s Plastic Pollution Curriculum and Activity Guide will help you focus more deeply on marine plastic pollution, with numerous lessons for different grade levels.

There’s so much you could do with this month’s theme, maybe you, too, should pair up; find a teaching partner to develop some of these ideas into great experiences for your students, or create your own.

What other book pairings can you suggest?
Which activities work for you?

Drop a comment to let us know!

****** BREAKING NEWS!!****

STEM Tuesday is now a monthly PODCAST! Tune into Jed Dougherty’s Reading With Your Kids Podcast on iTunes to listen to your favorite STEM Tuesday posts! The first airing is right here: STEM Tuesday Podcast #1

Be sure to join us the second Tuesday of every month for a podcast update!

Carolyn Cinami DeCristofano pairs writing nonfiction STEM books for kids with STEM educational consulting work. Running on Sunshine: How Does Solar Energy Work? celebrates the innovative spirit and challenges behind engineering solar technologies, and received a starred review from Kirkus.

Author Interview: Amanda Rawson Hill

By Jennifer Swanson on September 10, 2018 / Articles, Author Interviews, Giveaways, New Releases

Happy Monday, everyone!

I’m excited about this author interview because it gives me a chance to introduce our Mixed-Up Files community to one of my favorite middle-grade writers, Amanda Rawson Hill. Her debut novel, THE THREE RULES OF EVERYDAY MAGIC (Boyds Mills Press), drops on September 25.

And what’s more …. we get to give one lucky reader a copy of THE THREE RULES OF EVERYDAY MAGIC! After you read our interview with Amanda, scroll down and enter the Rafflecopter to win.

Author Interview with Amanda Rawson Hill

My son and I read THE THREE RULES OF EVERYDAY MAGIC at the same time, which allowed us the fun of collaborating on an author interview with Amanda about the amazing Kate and how her brand of magic came to be.

MUF: How did you come up with the concept for the Three Rules of Everyday Magic? And by that, we mean the theme of the book AND the three rules themselves?

Elizabeth Gilbert is a best-selling author and she wrote a book called BIG MAGIC that talked about the theory that ideas are actual THINGS that exist outside of a person and are just waiting to be found. That’s sort of what finding the theme and the three rules felt like. When I started writing the book, I didn’t know it was going to be about connecting with others through giving. I just knew it was about a girl and her grandma. When Grammy taught Kate how to knit a hat, that’s when I realized that the book was about giving. I actually worked on the book for about ten months before I did a major revision that added in the THREE RULES OF EVERYDAY MAGIC. I was writing while on a cross-country drive and all of a sudden my fingers typed out Grammy saying, “That’s the first rule of Everyday Magic. You have to believe.” It wasn’t in my head before I wrote it, but all of a sudden it was there on the paper. And I thought, “What are the other rules?” That’s when it all came to me. Like it was one of those ideas just floating around in the air waiting for someone to latch onto it.

So I guess that’s a long way of saying, “I don’t know.” Sometimes…most of the time…I don’t feel like I did come up with the rules. I feel like they kind of exist outside of me and were just waiting to be discovered.

MUF: Did you conceive of Kate before the book? Or did she grow along with it?

A bit of both. There are certain things about Kate that haven’t changed at all since the very first words of the first draft. Her love of karate, her hatred for the color pink, her secret crush on Parker. But there was a lot of her that I felt like I really didn’t know after the first draft. So I opened up a blank document and completely rewrote the entire book trying to really tap into WHO KATE IS. I ended up writing that version in epistolary format. The whole thing was told in letters to her dad. It didn’t stay that way, but doing so allowed me to really get to know Kate because letter writing requires a certain vulnerability which Kate didn’t really want to show me (and I still struggled to get her to open up to me all the way, even in much later drafts.) That’s what the symbolism of the pink is all about. Kate becoming comfortable with being vulnerable.

MUF: The poetry in this book is simply lovely and we just loved the way Kate’s teacher structured the history lesson with poetry and self-expression. Have you done this yourself as a homeschooling mother?

I’ve done poetry with my kids before, but I haven’t done this specific kind of poem with them yet. I got the idea for it at a writing conference I went where George Ella Lyon herself was presenting about how to write a ‘Where I’m From” poem and how to help children write one. It was such a great class, and everyone shared lines of their poems and I loved it so much that I knew I had to use it in my book.

MUF: Another special piece of the poetry in this book is that Jane’s poem was written by Joan He, a friend who is also a writer. How did you come by her poem?

I actually asked Joan and paid her to write it just for this book. It was important to me that Jane’s poem was authentic to her experience as a Chinese American, and I just didn’t feel like I could do that justice, even if it was just a few lines. I felt Joan’s knowledge and authenticity would really add something that I couldn’t bring to it, and I definitely think I was right about that because the poem is amazing and beautiful.

MUF: The themes of loss and depression are tough to write about – and poor Kate has to cope with some terrible losses. How did you approach writing these themes for a middle-grade audience?

I started out approaching them much more simply, with Kate simply referring to her father’s depression as “the sadness” and describing it all about his eyes and just lying in bed all day. But when it sold, my editor made me get much more specific about it. She had me refer to it by name, call it a sickness every time. She wanted me to show the slow development of it, other ways it manifested, etc. Which meant that I then went and talked to a lot of different people who had experienced it, so that I could show it in several true ways. I think that’s important. There are lots of kids dealing with depression, whether in their parents or themselves, and so naming it and accurately portraying it is absolutely vital, even if it’s hard because we’d like to just simplify and shield kids from it, right? But that doesn’t end up doing anyone any favors.

However, I did still have to filter all this information through the eyes of a child. I think that’s where the hope comes in. That quiet, undying hope that everything can and will get better eventually. And when you let hope color these hard topics, even when you face them and the pain head-on, it makes it approachable for a middle-grade audience. That’s the number one rule. Hope. Always.

MUF: What is your favorite passage?

Oh man! What a hard question! There are so many that I love. I think my absolute favorite though is, “Grammy said that magic happens when love becomes visible, when you give people something they can hold. But I think she was wrong about that. Because some things you can’t hold, not really. Like a firm squeeze that says it’s okay, or a song that makes you feel better. Like a family that’s always, always a family no matter what. You can’t knit that, or cook it, or draw it, or write it. But all those things are magic.”

Followed closely by this one that always makes me cry. “I’ve waited five months and twenty days to hear Dad say my name again, to say it like he knows me for real and forever, and when he does, it’s like somebody shaking up a root beer and pouring it over ice. All the foam comes spilling out from inside of me. ‘Daddy, please come home. Please come home. I can make you happy again. Mom will understand. I know you’re sad. But I’m sad too. And Mom’s sad. She needs you. We need you.'” (This passage hasn’t changed since the very first draft, which is kind of miraculous.)

MUF: We got chills AND tears in our eyes when we read that part, Amanda.

MUF: Congratulations to you, and good luck with your launch. And — thank you so much for offering to give away a copy of THREE RULES OF EVERYDAY MAGIC!

Amanda Rawson Hill

Amanda Rawson Hill grew up in Southwest Wyoming with a library right out her back gate. She got a degree in Chemistry from Brigham Young University and now lives in Central California with her husband and three kids. THE THREE RULES OF EVERYDAY MAGIC is her first novel.

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Hero, Mentor, Trickster: Thinking about Archetypal Character Roles in MG

By Jenn Brisendine on September 7, 2018 / For Writers

Despite having been an English major in college, I don’t recall learning about archetypal story roles before my graduate writing program. When I finally read Christopher Vogler’s The Writer’s Journey for a grad class, it was like seeing through a suddenly-acquired magic spyglass that gave all stories a layer of extra interest and added meaning. Vogler establishes that his thoughts on character and plot archetypes stem from those put forth in the psychological and mythic studies of Carl Jung and Joseph Campbell. Vogler is able to take the archetypal theories of The Hero’s Journey (described in detail in Campbell’s The Hero with a Thousand Faces) and relate them to the craft of writing with popular story examples (from Star Wars to James Bond to Odysseus, and many others).

The general theory is that our story-brains are somewhat hardwired to recognize the ways in which characters fulfill certain roles, because the duties of these archetypal roles remain common over time, genre, length, style, and intended audience of stories. For example, a Mentor character in one story will have something in common with a Mentor character in another story, because their duty as a Mentor will be similar (to help some other character do something/go somewhere for some reason).

These character archetypes can be helpful to us as writers, as teachers, as librarians, and as parents of MG readers. For example:

An understanding of archetypal roles can promote discussion of character traits among students in the lit classroom.
Family read-aloud time (or movie night) gets a brain boost when we recognize an archetypal character role and make comparisons to characters in other films and stories we’ve shared together.
Archetypal role descriptions and examples can help writers to analyze their own characters in works in progress.

Below, I’ve listed some common character archetypes and given some examples from all sorts of MG fiction—recently published to modern classics, realistic to fantasy. Keep in mind that archetypal roles are not static, and that they are rarely “cast” by a writer in a simple, one-to-one list like parts in a play. Good writers and storytellers at all levels allow for an ebb and flow of character growth, change, and development; consequently, a character fulfilling the role of a Shadow in the beginning of the book might be recognized as a Mentor by the end.

This dynamic movement of archetypal roles might be especially notable and important in MG, where readers start grasping the complexities of human interaction perhaps for the first time.

Some common archetypal character roles in stories:

A Hero is usually our protagonist, though other characters can certainly step in and out of the Hero role. The Hero often experiences some kind of journey (physical, spiritual, emotional) and may or may not (but usually does) experience some kind of change as a result. Two key Hero elements are learning or practicing self-sacrifice in helping others, and learning or practicing the ability to take action. Hero and main character Chantel in Sage Blackwood’s Miss Ellicott’s School for the Magically Minded demonstrates this element of self-sacrifice as she puts herself in danger and works to secure safety for the younger girls at the school and all the people of Lightning Pass.

A Mentor is a character who serves to help, teach, train, or lead the Hero in some way as he or she makes the journey. A Mentor might “step in” and be the voice of the Hero’s true conscience when the Hero is conflicted and cannot “hear” his or her own heart. Mrs. Whatsit in A Wrinkle in Time serves many Mentor-duties for Hero Meg.

A Herald is a character who brings some kind of news to the Hero. Usually the news raises the stakes for the Hero—makes things more challenging, or changes the conflict in some unexpected way. Sometimes the Herald helps a character make a connection or see a clue, like when Lola texts Valencia in Hello, Universe by Erin Entrada Kelly. The message from Lola triggers Valencia’s deduction on the missing Virgil’s whereabouts, and launches a rescue mission.

A Threshold Guardian is a literal or figurative guard at a doorway or transition point, whom the Hero must get past in order to progress from one place in his or her journey to the next. Usually the Threshold Guardian serves as an obstacle, and might hold some truth or bit of info the hero needs. Stew Mitchum in Lemony Snicket’s Why Is This Night Different from All Other Nights? is a Threshold Guardian as he impedes young investigator Snicket’s progress in solving the case and in moving about the train.

A Shapeshifter is a character who isn’t necessarily the person he or she seems to be, or a character whom the Hero (or the reader) may not be able to trust. A Shapeshifter can surprise the Hero with unexpected actions, reveals, or switches of loyalty. Characters (and readers) of the Harry Potter series may not realize that Moaning Myrtle holds clues Harry needs several times in the series. Her sudden changes of emotion and her switch of interest in Harry to interest in Draco are Shapeshifter behaviors as well.

A Shadow is the antagonist, the villain, the “bad guy.” This character or group stands in the way of the Hero, works to defeat him or her, and often utilizes the Hero’s own flaws. In Natalie Babbitt’s Tuck Everlasting, the Man in the Yellow Suit is a Shadow force as he pursues the Tucks and plans to use Winnie for his own immoral gains.

A Trickster is often a funny sidekick character or a comedic relief character; sometimes this character’s sarcasm or verbal irony reveals truth, like a witty jester or a class clown. Examples of mythological tricksters can be seen in many cultures and backgrounds, such as Loki (Norse), Coyote (Native American), and Maui (Polynesian).

There are many other archetypes, and many, many variations on those listed here (for example, according to Vogler, there are anti-heroes, loner heroes, trickster heroes, willing and unwilling heroes, the hero group…). Mentors may not be good teachers, may be on their own journey, or may learn from other characters even as they teach. Shadows often have redeeming qualities and brilliant moments. And a character can fulfill two or more roles in a story; for example, a Threshold Guardian is often also a Herald of information.

Consequently, archetypal roles are not meant to serve as simple labels for the characterizations we see in stories, but instead, provide us with some vocabulary and ideas for use in thinking about and discussing the stories we read.

Thanks for reading and considering these theories on characterization! I’m interested in your thoughts on archetypes, and characters from MG who might fulfill these roles—please share in the comments!

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STEM Tuesday — Pair Up! Comparing Nonfiction Titles — In the Classroom

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Author Interview: Amanda Rawson Hill