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STEM Tuesday– Awesome Animal Antics– In the Classroom

Help! Help! We need your help! We want to know what would help you most in our second-Tuesday-of-the-month posts.

In case you haven’t noticed, there is a regular structure to our STEM Tuesday posts.

  • The first Tuesday of the month is the book list.
  • The second (this one!) is classroom information.
  • Week three covers writing craft, for writers and teachers of writing.
  • Week four is an author interview and book giveaway.

A different team of writers works on each week. Our second-Tuesday team is trying to figure out what type of classroom support would be most helpful to you, our readers. Would you please take just a moment to answer 4 quick questions  for us? Your survey responses will help us write super-useful classroom guides for you!

****Take Survey Here. Thank You!****

And now, I interrupt this blog post to give you…

The Interruption Construction!*

Sometimes, readers don’t enjoy STEM writing because they find it difficult. STEM writing can be dense, with lots of ideas packed into a single sentence. Fortunately, some of those sentences follow patterns that can help readers sort out the information. One very common structure in science writing is called the interruption construction. This month’s books contain some great examples of the construction using high-interest topics (and high-interest topics are always the best way to teach useful reading skills!)

Consider this sentence, from page 41 of Animal Zombies, which describes the Frilled Shark:

Its 300 teeth, with multiple spikes arranged in 25 rows, are pointed like arrows toward the creature’s throat.

Show that sentence to students, and then block out the “interruption” found between the commas:

Its 300 teeth, with multiple spikes arranged in 25 rows, are pointed like arrows toward the creature’s throat. 

Point out that the information surrounding the commas make a complete thought. The “interruption” consists of extras that the author is throwing in as a freebie, like when you buy a big lotion pump and get an extra little bottle for free. If a sentence with an interruption construction is  overwhelming them with new information, they can read around the comma and then look back to find out what extras the author wanted to add.

Death Eaters has a wealth of these sentences. At the bottom of page 18, there’s an intriguing passage that describes hyenas and wolves. It would be a great text for a class talking about scavengers, and you could throw in a quick introduction to the interruption construction. The first paragraph reads:

Wolves, found in Africa, northern Asia, Europe, and North America, prefer colder climates. Hyenas, which are native to Africa and southern Asia, thrive in warmer areas. These two death eaters are very similar.

Two interruptions in a row! And if students keep reading that short section, they’ll come across two more. You can discuss the first one as an example, have students talk about the next one, and then have them watch for the others as they read.

Finally, Little Monsters of the Sea illustrates a second form of the interruption construction–one that uses dashes instead of commas. Often–but not always–dashes are used to show that the interruption is restating or clarifying the information that came just before. Consider these sentences:

If you require a very specific habitat—if you can’t call just anywhere home—it’s nice to have young’uns who can get up and go find a fresh spot. (page 26)

Animals inherit their DNA—and therefore their characteristics—from their parents. (page 44)

Once again, if a sentence with extras offset by a dash gets too long or too dense, readers can skip the middle part, and go back to it after they have digested the main part of the sentence.

The interruption constructions in these books are fairly short. But in academic text, that “extra” information can get quite long. If students get used to observing the structure in easier, interesting text, they will have the confidence to tackle it when it shows up in more difficult text.

*I believe the phrase “interruption construction” was coined by Zhihui Fang in: The Language Demands of Science Reading in Middle School, International Journal of Science Education, 28:5, 491-520, 2006. (DOI: 10.1080/09500690500339092). If you ever come across Zhihui, please let him know I appreciate his contribution. It’s a great descriptor and helps students grasp the idea quickly!

 

For more great ways to use these books in the classroom, see the links below for online educator guides and supplementary material.

Eavesdropping on Elephants

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Teachers guide with supplementary videos and activities http://www.birdsleuth.org/eavesdroppingonelephants/
The SuperPower Field Guide: Beavers

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A free unit on beavers for grades K-3 that incorporates the book http://www.discoverunitstudies.com/blog/freebie-beaver-unit-study-for-k-3rd-grade
Backyard Bears

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Teachers guide with prereading, discussion, and extension activities http://www.sciencemeetsadventure.com/wp-content/uploads/2018/10/SITF-Cherrix_BackyardBears.pdf
Penguins vs. Puffins

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Videos and more to go with the book https://kids.nationalgeographic.com/explore/books/penguins-vs-puffins/
Smart About SharksSupport Independent Bookstores - Visit IndieBound.org Video describing the creation of the book cover https://vimeo.com/192643792
Animal Zombies

Support Independent Bookstores - Visit IndieBound.org

Teachers guide with some unique activities that only require students to read parts of the book https://fromthemixedupfiles.com/wp-content/uploads/2019/01/Lesson-plans-for-ANIMAL-ZOMBIES-1.docx
Little Monsters of the OceanSupport Independent Bookstores - Visit IndieBound.org A description of the origin of the book and some quick teaching ideas https://fromthemixedupfiles.com/wp-content/uploads/2019/01/Teaching-Ideas-for-Little-Monsters-of-the-Ocean.docx

Jodi Wheeler-Toppen is a former science teacher and the author of the Once Upon A Science Book series (NSTA Press) on integrating science and reading instruction.  She also writes for children, with her most recent book being Dog Science Unleashed: Fun Activities to do with Your Canine Companion. Visit https://OnceUponAScienceBook.com for more information on her books and staff development offerings.

Kids Are Thirsting For Blood

The ever-present desire for scary Middle Grade books

I do a lot of school visits–both virtual and in person–over the course of the year. It’s always fun to meet the students, talk books with them, and hear their stories. Every visit is different and unique, but there is one thing that is always the same (other than, you know, me).

It goes something like this:

 

TEACHER/LIBRARIAN/EDUCATIONAL PROFESSIONAL

We love that you write spooky stuff. The students are always asking for more scary stories to read!

ME

That’s great. What sort of Spooky Middle Grade books do you have in your classroom/library?

 

TEACHER/LIBRARIAN/EDUCATIONAL PROFESSIONAL

We have Goosebumps, of course.

ME

Of course. What else?

TEACHER/LIBRARIAN/EDUCATIONAL PROFESSIONAL

(stares blankly at me for a few seconds)

We have Goosebumps.

While the Goosebumps series is awesome, there appears to be a dearth of other spooky middle grade books in our nation’s schools and libraries. I’m not sure why this is. Kids have always liked a good, scary story. They tell them to each other at sleepovers, birthday parties, camping trips, midnight Mahjong tournaments, and any other late-night gathering. Why, then, is the genre of Middle Grade Horror defined by Goosebumps, some newer Goosebumps, and some older, classic Goosebumps?

The intense popularity of the Goosebumps books, with kudos to good writing and a great marketing team, have unwittingly exacerbated the problem. Since there are so many of them and they are so popular, it is understandable that people see them as representative of the entire genre. However, they are a very visceral type of horror- in your face, gore and blood and nasty, festering wounds with bugs crawling in and out of empty eye sockets–all of which I adore. However, the books are not for everyone. They’re like an R-rated slasher flick told in a PG-13 or PG way. Even the book covers often have more in common with a poster for the latest R-rated horror movie than they do with anything aimed at children. Again, the genre suffers- some parents may see these covers and walk away from the books and the entire genre.

But Middle Grade Horror can be so much more.

Middle Grade Horror is the shiver up your spine. It is the strange creak in the floorboards. The weird smell coming from under your bed (the one you THINK is just your dirty socks). Vampires with bad personal hygiene. Monsters that only go bump in the dark because they can’t see where they’re going. Misunderstood ghosts. Were-ducks. Maybe a possessed-yet-cuddly stuffed animal or two.

The fact is, Spooky Middle Grade is anything and everything spooky, and kids are desperate for it. Spooky middle grade books allow children to dip their toes into the darkness without fear of repercussion. Life is not all unicorns and rainbows and these books can help build up a child’s ability to handle some of the things that might come their way down the road.

I also think we underestimate children’s ability to handle darker material. One of my school visit presentations deals with defining and exploring the genre of horror. I do this for grades 4-8. I have never had any issues, and in fact, most teachers tell me they’ve rarely seen their students so engaged. We talk about classic horror literature, horror movies, and the four main horror storylines. The kids may not have seen A Nightmare on Elm Street (I certainly hope the 4th graders haven’t seen it), but they all know who Freddie Kruger is. When I explain that Jurassic Park is a haunted house story (trust me, it is), they jump over themselves to share their thoughts on the subject.

One student, at the end of one of my visits, came up to me and the teacher, a look of pure joy on his face.

 

“I can’t believe we just talked all about Micheal Myers and Jason and Goosebumps and evil clowns and stuff! In school! That was so great!”

 

Children in the 8-12 age range are ready to be (slightly) scared and can handle a lot more than we give them credit for. More than that, they WANT to read these books.

So if you are a librarian or a teacher or a parent, give your Middle Grade-aged students/children the gift of something spooky to read every now and again.

In addition to Goosebumps.

Interview with S&S editor Sarah Jane Abbott

I’m so excited to be doing my first post for the From The Mixed Up Files website. When I was coming up with my topic, I was thinking about what readers might like to know, and it got me thinking about all the blog posts I devoured before I signed with my agent and sold my first book. I read everything I could find on the publishing industry, living vicariously through the authors, yes, but also trying to seek out any snippets of information that could help me be a better writer and move my career forward.

Reading, writing, repeat was the formula that ultimately got me a book deal, but one of the things I really loved — and still love — is reading authors interview their agents and/or editors. Having that insight to the process and relationship helped me understand a lot before I got the chance to step into those shoes myself.

Sarah Jane Abbott, editor at Simon & Schuster/Paula Wiseman Books

Sarah Jane Abbott, editor at Simon & Schuster/Paula Wiseman Books

So, for my first From The Mixed Up Files post, I thought I’d do just that — interview my editor, the lovely Sarah Jane Abbott with Simon & Schuster imprints Paula Wiseman Books and Beach Lane Books. I didn’t want to focus on the work we did together on my book, so I asked her about herself, her job, and aspects of her work that seem a bit of a mystery to us writers. I hope you enjoy her answers as much as I do…

Samantha: Sarah Jane, thank you so much for letting me interview you for this blog post! What made you want to be a children’s book editor and how did you get started?

Sarah Jane: I found my way to children’s books through a bit of random serendipity. I studied creative writing in college and knew I wanted to go into publishing, but thought I wanted to edit adult literary fiction.  So I started applying for editorial assistant positions only in that category.  After many months of no success, I had an informational interview with HR at S&S, who wisely advised me to cast my net wider. So I started applying for any open entry level publishing job I could find and ended up in children’s book publicity. At that point, I hadn’t read a picture book since I was a small child, but rediscovering the incredible artistry and literary talent in them made me want to work on them. So when a new position opened up with Paula Wiseman Books and Beach Lane Books, two imprints whose picture books I so admired, I jumped at the chance.

Samantha: Can you tell us about the work you do for the Paula Wiseman Books and Beach Lane imprints at Simon & Schuster?

Sarah Jane: I assist both imprints with administrative tasks, like routing contracts, processing invoices, and preparing sales materials.  For Beach Lane, since they work remotely from California, I also get to be the in-house representative for the imprint and assist with tasks that have to be done in person like color correcting, which is the process of matching the digital scans of artwork to the colors in the original art.  Since Paula Wiseman Books is based in New York, I am more involved in their acquisitions process, reading and evaluating manuscripts and giving editorial suggestions. And of course, I edit my own list of books under the Paula Wiseman Books imprint.

Samantha: Do you have any favorite parts of your job?

Littler Woman by Laua SchaeferSarah Jane: I love writing, so I enjoy writing up sales materials as well as flap copy for our books. I also really enjoy the collaborative parts of my job, like talking through edits and ideas with authors or meeting with the art director to talk through our notes on a new round of sketches. It’s so satisfying to help an author work out the perfect solution for a narrative problem or to help an artist find just the right way to illustrate a tricky moment in a picture book.

Samantha: Any parts you would avoid if you could?

Sarah Jane: Like most everyone’s job, there are tedious administrative tasks on my plate that I wish could be done by little elves at my desk while I’m home at night. I also never enjoy rejecting manuscripts—having received lots of rejections for my own writing, I know the disappointment of it, even if it is an encouraging rejection. I empathize!

Samantha: Tell us about some of the books you’ve worked on as an editor.

Sarah Jane: I’m so lucky to work with the wonderful authors and illustrators on my list. My recent middle grade novels include Littler Women by Laura Schaefer, a sweet modern day re-telling of the beloved classic, with a craft or recipe at the end of every chapter.  I also had the pleasure of working on a book the interviewer knows quite well, The Boy, the Boat, and the Beast by Samantha M. Clark. [Quick interruption from Samantha: Eep! 🙂 ] It’s a gripping blend of mystery, survival story, and the supernatural that explores themes like courage, self-esteem, family, and toxic masculinity. In the picture book realm, I am currently editing The Sea Knows by Alice McGinty and Alan Havis, illustrated by Stephanie Laberis, a lyrical exploration of the wonders of the ocean and marine life, as well as a forthcoming picture book biography of a groundbreaking female athlete.

Samantha: Those sound wonderful. When you’re reading a manuscript for acquisition, what do you look for?

THE BOY, THE BOAT, AND THE BEAST by Samantha M ClarkSarah Jane: I always look for a story that grabs me immediately, that I don’t want to put down and find myself thinking about even when I’m not reading it. I love when a story is imaginative and unique, when it surprises me. Editors read so many stories that are slight variations of the same theme or idea, so something truly fresh is a pleasure. In middle grade, I look for a strong voice that feels singular and specific to the character, one that’s quirky and endearing. In picture books, I want heart—a story that is going to leave its mark on the reader and give them something to think about. A story can be completely hilarious, but if there isn’t a layer underneath that, it may be a one-time read. If a picture book is moving enough to make me tear up at my desk, that is a good thing!

Samantha: What happens in the acquisition process at these imprints?

Sarah Jane: Like a lot of publishers, our acquisitions process has several steps. First, of course, I read all of my submissions. Then I send the manuscripts that stand out to me on to my colleagues and we discuss them at a weekly editors’ staff meeting. Manuscripts that make it through that meeting as well go on to the last layer of acquisitions approval, before I am given the go-ahead to make an offer.

Samantha: If you couldn’t be an editor, what would you want to be?

Sarah Jane: As I’ve said, I love writing, so I would probably be pursuing a career as a freelance writer or journalist. I started college majoring in international relations, looking to work at a non-profit or NGO in the area of third world development with the hopes of making the world a better place. If I hadn’t taken a creative writing elective on a whim and decided to change my major because of it, I would probably be working in that field today. I’m grateful that on my current path, I still get to make the world a better place—through books!

Samantha: Yes! Books can change the world. Thank you, Sarah Jane.

And dear readers, I’ll add one more thing about my early publishing research: One of the best ways to get to know an agent or editor is through the books they worked on. So, while I don’t mean for this to be a plug — I really don’t! — if you think the Paula Wiseman Imprint could be a good place for you, read the books Sarah Jane mentioned here. They’re now on my to-read list. 🙂 And you can follow Sarah Jane at one of the best names on the Twitterverse: @sarahjaneyre.