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Swing Sideways!

By on September 27, 2016   /   Author Interviews, Book Lists, Fiction, Giveaways  

 

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Swing Sideways is a story about love, friendship, and hope that takes place when two girls meet at the exact moment when they need each other the most. They quickly develop a friendship that will rival that of Tom and Huck, Jess and Leslie, or Charlotte and Wilbur. It is a book that will make you want to call your best friend, then go out and pick a basketful of wild berries and dip your toes in the cool water of a creek. It is a book that will show you how your life can change in one instant when the truth of a well kept secret is revealed. School Library Journal said, “This is a summer neither Annabel nor readers will ever forget.”

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Amie: Welcome to The Mixed-Up Files, Nancy! We’re so glad to have you hear today and learn more about you and your books. What lead you to become a children’s author? And why middle-grade books?

Nancy: When I was four we lived in England. Our neighbor gave me a vinyl record of Vivien Leigh (think Scarlett O’Hara) narrating the story of Peter Rabbit. I played that record over and over so many times, my older brother broke it in two so he didn’t have to listen anymore. (I have since forgiven him). Within minutes (like as soon as I stopped crying) I asked my mother to write down a story I wanted to tell, because I knew that by creating it myself, no one could take it away. I wrote my first “novel” when I was nine, and still have it, complete with crayon drawings of a wild horse. That same year, I read Black Beauty and when I closed it after reading the last page, I knew I would become an author someday.

It is such an honor to write for middle grade readers. Try this: ask an adult what their favorite book was when they were a kid. Don’t specify age. Nine times out of ten, they will give you the name of a book they read between the ages or 8 – 13. Why? Because those are the books that make or break us as readers. How awesome is it to be the author who changes a child’s life that way?

Another major factor for me was because I wanted to be able to teach kids about writing, and encourage them to tap into their own creativity. I can do this through presenting workshops in schools and libraries, which is something that makes my heart swing sideways.

Amie: Wow! Older brothers can be tough like that, can’t they? Admittedly, so can moms. I remember when my children would insist on listening to a song or watching the same movie repeatedly, I’d hide the cd or dvd so I wouldn’t have to endure it just “one more time.” I know, I know. *hangs head in shame*

I love that you recognize how important middle-grade books are and their lasting impact on readers. Why are you the perfect person to tell Annabel’s story in Swing Sideways?

Nancy: Annie is a dreamer who was being stuffed into a mold by outside influences (Mom, Dad, teachers, school friends, Tommy, a resort community, etc). In order for Annie to discover who she truly is as a person, and in order for her to have the strength and courage to break free and fly solo, the person who told her story had to know how it felt to be her from the inside. There had to be a friend like California to give her “permission” to be herself, to accept her for who she was and not what someone else wanted her to be, to show her how it looked to march to her own beat. We all need a California in our lives at that age. Perhaps part of Swing Sideways was written out of my need to go back and change some of the things I didn’t like about myself at that time in my own life, and who else can do that but me?

Amie: Change has to come from within. It’s important for readers to recognize that at every age. If you could visit any place on earth where would it be?

Nancy: Scotland. I know that probably sounds unimaginative to some, but my ancestors come from Scotland. There is a remarkable story about one of them, Robert St. Clair, who, as a little boy, was kidnapped by gypsies and taken by ship . . . oh, wait, I can’t tell you that story just yet. Anyway, I am now living in the place where I was always meant to be, so I would love to see some of the old castles and craggy cliffs and shores of Scotland where part of my family’s history originates.

Amie: I think that would be an incredible place to visit! Last question, Nancy. It’s an important one so pay attention. Mashed potatoes and gravy or rice and beans?

Nancy: Totally mashed potatoes and gravy. And, if I’m not feeling too terribly fat, a nice big pat of sweet cream butter between the potatoes and the gravy would be like digging in to a piece of Heaven.

Amie: I’m suddenly very hungry. Maybe I’ll cook up some…*focus, Amie, focus!* Oh, I mean, thanks for joining us here at The Mixed-Up Files, Nancy!

 

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Nanci Turner Steveson writes for middle grade readers and is an active member of the Society of Children’s Book Writers and Illustrators. She studied under the mentorship of award winning authors Kathi Appelt, Patty Lee Gauch, and Bethany Hegedus.

At home in Wyoming, Nanci is on the Board of Directors of the Jackson Hole Writers Conference, and is the Teen Creative Writing Instructor at the Teton County Library in Jackson Hole. She works as a Stage Manager for Off Square Theatre Company, with her heart tied closest to the annual Youth Musical Production. One of Nanci’s greatest ambitions is to work with kids and inspire them to become two-fisted readers, like herself, and allow their own creativity to soar through the beauty of creative writing.

A life-long horse girl, Nanci lives in a historic meadow cabin in the shadow of the Teton mountains with two horses, two dogs, and an assortment of elk, moose, great gray owls and the occasional black bear who wander down from the national forest outside her back door. After a profound experience in 2009, Nanci is dedicated to getting books into the hands of homeless people, especially in shelters that house children, through her Literacy for Hope Project.

Swing Sideways (HarperCollins), Nanci’s debut novel has received stellar reviews from important publications and was launched in May, 2016. Her second novel, Georgia Rules, is scheduled for publication May 2, 2017. She is represented by Al Zuckerman, the founder of Writers House, LLC. www.writershouse.com, and can also be reached through her website at www.nanciturnersteveson.com

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Would you like to win a copy of Swing Sideways? Well, all you have to do is fill out the rafflecopter form and you’re automatically entered!

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Amie Borst is the author of Cinderskella, Little Dead Riding Hood, and the soon-to-be-released, Snow Fright. You can find her on twitter, facebook, and her website.

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Subtext in MG

By on September 26, 2016   /   For Writers, Writing  

(For study purposes and maybe a potential future post, I am putting together a list of middle grade books that excel in the use of subtext. Please feel free to add any titles in the comments section that you feel belong on this list. Thanks!) 

We recently had a #MGLitChat on the topic of subtext. I signed up to co-host and was scared to death of this chat. My concern was embedded in the fact I felt I didn’t know enough about subtext and figured I needed to do a lot of research to be able to hold my own. Lo and behold, I harkened back to my own middle school days and didn’t study. Fortunately, I was able to play the comic relief to the intellect of my co-host for the night, Lee Gjertsen Malone. When the chat was over, not only did I feel a whole heckuva lot smarter, but I had a whole new appreciation for subtext, especially in middle-grade literature.

What exactly is subtext? The important part that is not there is what subtext is. The stuff which exists in space between what we perceive and is there without being told or shown it is there. I came across a cool quote from Ernest Hemingway about subtext:

“If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of the movement of the iceberg is due to only one-eighth of it being above water. The writer who omits things because he does not know them only makes hollow places in his writing.”

With the iceberg image painted firmly in our reader and writer mind, we get a solid idea of what subtext is. The words we read in a story are the part floating above the water. The tips of the story icebergs act as the guideposts, while the space in between the guideposts, Hemingway’s 7/8ths, becomes the meaning and character and flavor existing below the surface which makes for a richer narrative. Subtext gives us stories that are more than they appear to be on the surface. Subtext gives us satisfying stories with more of everything.

The four basic types of subtext.

  • Privilege – The reader has information the characters don’t.
  • Revelation – Reveals a certain truth over time.
  • Promise – The story goes the way a story supposed to go and the way the reader expects it to go.
  • Question – As a story advances, the reader begins to ask questions about where the story is going.

K.M. Weiland did a recent Helping Writers Become Authors post and podcast about subtext. It is an excellent resource to assist the writer or the reader through the literary dark forest that is subtext. She presents five steps to work subtext into your writing.  

(1) Story subtext arises from the space between to known, fixed points. The writer builds a framework of dots and lets the reader connect the dots as they read. When the reader connects all the dots, a rich and full story picture emerges. The writer should tell the reader what they need to know, not tell them everything single thing. That’s not very entertaining.

(2) Story subtext must exist below the surface and (3) remain existing under the surface. The writer needs to know the whole iceberg in order to design the tip that paints the picture of the whole iceberg in the reader’s mind with telling every single detail.

(4) Story subtext is created by the dichotomy between the interior and exterior behavior. Once something rises to the exterior, it can no longer be considered subtext. In practice, it’s simply, as K.M Weiland says,  “avoid presenting characters and situations for exactly what they are”.

(5) Subtext exists in the silent spaces. Use your character’s silence to leave out things in order to make sure they don’t tell each other every single thing.

Maybe the most important thing we can do when working on the skill of subtext is to trust the reader. The reader will be able to put together the shape and scope of the submerged story information iceberg. The reader will be able to connect the dots and then put these connections together to reveal the story picture to themselves. Even a middle-grade reader is deserving of this trust and can rock at the art of subtext, as long as the subtext relates to the reader while remaining appropriate for the characters and the story.

Experiment with subtext in your writing. Learn how to spot it being used in your reading. Most of all, learn to trust your reader to connect the dots you place and see the pictures you intended them to see.

That is reading and writing magic.

CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=730855

CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=730855

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Barbara Dee has a few “Small Moments” with Author Beth Ain

By on September 23, 2016   /   Author Interviews, Book Lists, Fiction, For Teachers  
Beth Ain

Beth Ain

 

Can you describe the fourth grade teacher’s assignment that inspired IZZY KLINE HAS BUTTERFLIES?
Yes! My daughter’s fourth grade teacher had each of the kids pick a moment or a memory to write about and they worked on drafts and went through a pretty involved editorial and peer critique process and in the end they each had a complete and well-drawn piece of writing about a moment in their lives. The teacher had the collection bound into a book called “The Stories on Our Minds,” and I was really moved and entertained by the stories. From my own daughter’s zip lining piece, “Zip, Zip, Ziiip!” to someone else’s (hilarious) “No Good, Very Bad Dentist,” to another favorite of mine, “Tia Claudia Comes to Visit, ” they displayed humor and heart and the stories were reflective and interesting. I loved also that it was called The Stories on Our Minds, because that’s just it. It was all there. They didn’t have to go very far to find their stories.
How do you think that encouraging kids to write about “small moments” helps them grow as writers? Do they have difficulty thinking “small?”
I actually think the opposite. I think they have trouble thinking big, or at least trouble writing big, which is why zeroing in on smaller moments gives them access to their own stories and their own memories and therefore gives them a jumping off point for their writing.  I think kids sometimes think writing means they have to invent a whole fictional universe out of thin air, which I suppose if you’re writing high fantasy, it is. But usually, writers access their own memories at the very least as a prompt. Most of us get our ideas from our own lives. Even if we aren’t stealing those moments directly, we are inspired by them. They trigger feelings worth writing about, or perhaps just the ambiance of the moment itself is inspiring in some way. The smell of the fresh air on the beach, the sound of the sled hitting the snow after a blizzard, the sadness of saying goodbye to Tia Claudia after a visit.
Writing can really stump some kids, but when they are reminded that the answer is likely right in front of them, it relaxes them. It’s like taking an open book test.
izzy_kline_cvr_1.11.inddSo many MG kids gravitate towards big, high-concept fantasy novels. Do you think embracing and exploring “small moments” naturally leads kids to realistic fiction?
I think in some ways, yes. I was a realistic fiction reader myself and found fantasy a bit alienating because I was searching for familiarity and I was rather practical and therefore unwilling to believe in magic of any kind–still am. (That said, my favorite book of elementary school was The Trumpet of the Swan.  Give me talking animals all day long!)
At any rate, I always credit Paula Danziger as being my mirror when I was grown up. Seeing myself in her books was helpful. Judy Blume’s characters, too, of course. Discovering characters whose lives were a bit imperfect like mine, or whose worries felt familiar, that was comforting to me. Oh look, her dad left, too. And her brother is a little testy, too. And yes, her best friend has gotten distant, etc, etc. To be fair, though, I think fantasy books can do the very same thing because the best ones truly do transcend genre. Part of the Harry Potter appeal has to do with the fact that Harry’s concerns and those of his friends are not so different from yours or mine. They’ve just been shipped off to a fantasy land where the limits of the physical world and been lifted and where Rowling could play with darkness and light in more literal ways. Almost never does the emotional world shift, even in high fantasy. There’s always magic in the small moments, whether you are in your classroom in suburbia, or your dorm room at Hogwarts. Childhood is childhood.
IZZY KLINE HAS BUTTERFLIES is a novel in verse. Can you explain the impulse to write it that way? Do you think the focus on “small moments” is especially well-suited to verse-writing? Why aren’t more MG novels written in verse?
I really do think small moments writing and verse writing are intertwined. I didn’t set out to write a novel in verse, honestly. I set out to write a novel in small moments, meaning that I wanted the language to be clear, and spare, and meaningful. I didn’t want it to be weighed down by plot and logistics. I think a kid’s day kind of happens in small moments more so than in plot points, if that makes sense. Art class. Recess. Dinner with dad. Fight with brother. Throw up. It isn’t always so linear!
As I wrote, a lot of word play started to happen and a lot of little tricks that some kids might miss and other kids (and teachers especially) will pick up on and feel really in the know. Writing that way was very exhilarating. Thinking to myself, “I know the kid who’s gonna catch that reference or see what I did there” was just very exciting. Poetry really gives a writer (and a reader for that matter) the opportunity to zero in on an experience and get deep. It can be meaning of life type stuff or small stuff, but all of it calls for artistry and evocative language and hopefully a healthy dose of humor. Somewhere in there you can get to the bottom of things. So, yes it turned into free verse as I dug deeper, as a I saw that there is so much poetry in the interior life of a child. There’s so much poetry and rhythm in the school day alone–the sights and smells and sounds and feelings of elementary school are very nostalgic for me and I feel so lucky that I get to re-live it a little through Izzy’s eyes.
What are you working on now? Is it in verse? Inspired by a “small moment?”
 
I am happy to report that I’m busy writing the sequel to Izzy Kline has Butterflies and lucky for me it’s another novel in verse. It has a lot to do with that transition out of the younger, more innocent part of childhood and into the complicated spaces of early adolescence. So, yeah. I get to smell those childhood smells a little while longer…one of these days I’ll be ready for middle school.
Barbara Dee’s sixth middle grade novel, TRUTH OR DARE (Aladdin/S&S), publishes this month.
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