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WNDMG Author Interview with Elle McNicoll

By on October 23, 2024   /   Author Interviews, Diversity  

WNDMG Author Interview with Elle McNicoll

My reading sweet spot is MG fantasy, so give me dragons, witches, spells, and curses any day of the week. Like A Curse by Elle McNicoll delivered on them all, plus more including a new creature I haven’t read about before! 

I had the esteemed pleasure of sitting down to interview Elle. Here’s the inside scoop on both the author and her book…

About the Author

Elle McNicoll is a bestselling and award-winning novelist. Her debut, A Kind of Spark, was a Schneider Family Honor title, an overall winner of the Waterstones Children’s Book Prize, and a Blackwell’s Book of the Year. She has been nominated for the Carnegie Medal and was shortlisted for the Books Are My Bag Readers Awards, the Branford Boase Award, and the Little Rebels Children’s Book Award. Her second novel, Show Us Who You Are, was a Blackwell’s Book of the Month title and one of the Bookseller’s Best Book of the year. She is an advocate for better representation of neurodiversity in publishing and currently lives in London.

Interview with Elle McNicoll

Kate: Our Mixed-Up-Files readers would love the inside scoop on book 2 in your Like a Charm series. Can you tell us a bit about neurodivergent tween Rayma and her role in becoming a witch?

Elle: Ramya is a witch in training. She’s a little too emotional when it comes to her magic and, while a lot of fantasy heroes need to be convinced that they’re the chosen one, Ramya needs people to remind her that she can’t do everything by herself.

Kate: Beyond casting spells, there are other magical abilities to read about in your book as well. I absolutely love the notion of Glamour! This one’s new to me. Is this something you created? And, if I were to go about daydreaming this was my magical power, what are the rules around using it?
Elle: I wish!! Glamour is a fae creation, and it’s popular in Scottish mythology. It’s a kind of disguise, and Ramya is lucky (or unlucky) in that she can see through it. The rules of glamour are fairly simple. It can turn you into anything to just about anyone. It’s like a magical filter. It helps you edit or reinvent yourself.

Kate: Let’s talk setting. Edinburgh has been on my bucket list for years, so I thank you for bringing it to life for me! How important was it for you to place your story inside a real world vs a created one?
Elle: So important. As a Scot, I want the kids I write for to touch the places in the book. I’ve done a few sold out walking tours in Edinburgh and the kids adore being able to take pictures in the real locations.
Kate: Rayma comes into contact with many interesting creatures such as Hidden Folk – Hulders, Blue Men, selkies, and kelpies – just to name a few. When choosing who to add to your storyline, were any of these mythological creatures based on research? Or do they stem from part of your cultural folklore?
Elle: They’re all part of my culture, in stories that have been handed down. I liked using childhood memories of Scotland to craft the world Ramya lives in.
Kate: It’s often fun to read about the baddies of a book, and Portia is certainly up there on that list! How fun is it for you to write the antagonist?
Elle: It’s fun! I like her. There’s lots about her to like. And she’s got a big wound, one that’s much more personal than her enemies realise. I love that!
Kate: Other important characters include many of Rayma’s family members. In what ways do these multiple generations impact how you developed Rayma as a character?
Elle: I love the whole wild bunch. I like the three sisters, I think that’s such a witchy number. They’re all sort of a coven, and their disapproval of Ramya’s impulsivity make the dynamics fun to write. She feels like a bad witch compared to her aunts.
Kate: You and Rayma share many things in common, I’m sure, one in particular is dyspraxia. Can you tell MUF readers about dyspraxia and how this connection to Rayma helped you in your story development?
Elle: Dyspraxia is a learning difficulty that can impact coordination, balance, processing and memory. Amongst many other things. I wanted Ramya to be dyspraxic, like me. I’m also autistic. I thought a neurodivergent witch would be fun. Also, ND kids are forced to be really resilient so we make good protagonists, I think.
Kate: Like a Curse leaves readers with such a great message. Without revealing spoilers, can you describe your writing process: in organizing your duology, did you have this ending for book two in mind when you set out to write book one? And, can you give us an example of something you cut, changed, or reworked from draft to publication?
Elle: I knew I wanted to see Ramya and Opal’s relationship develop in Like a Curse and I wanted more of Portia. Everything was planned, I didn’t need to make big cuts. It was enough stories for a tight duology and I’m glad it panned out that way.
Kate: You write for multiple age ranges. Do you set out knowing before you write a book whether it will be MG or YA? And for Like a Curse in particular, how did you nail that MG voice?
Elle: I always know which age the book is for, usually because the main character’s age dictates it. It’s important to know, I think. I remember being 12. It’s very close to my mind at all times, so it’s easy to get back in those shoes.
Kate: Thank you for taking the time to share the inside scoop on Like a Curse. Is there something beyond Rayma’s world you can hint at? Perhaps a new project in the works?
Elle: I’ll be writing witches again. Without a doubt!
Kate: Where can readers best find you if they want to reach out?
Elle: @ellemcnicollofficial on Instagram
Or ellemcnicoll.com

And of course, no MUF interview is complete without a lightning round, so…

Favorite place to write? At home.Dark chocolate or milk chocolate? White chocolate.

Superpower? Glamour

Rollerblades or bike? Neither, I’m dyspraxic.

Dream job when you were a kid? This.

House pet? My dog, Cheeseburger.

Favorite piece of advice? Take the work seriously, but not yourself. And if you’re different from the herd, you gotta be tough.

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STEM Tuesday — Bioluminesence– Author Interview

By on October 22, 2024   /   Bioluminescence, STEM Tuesday  

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

Why are author interviews such an important part of STEM Tuesday? For one, it’s fun for kids (and adults!) to read about doing research and writing from the person doing the work. Plus, getting a glimpse into what it’s like to be an author can get kids (again – and adults!) excited about doing their own writing!

Now, let’s meet Stephen Aitken, who’s written or illustrated dozens of nonfiction books for kids! His newest book is Living Light: Conserving Bioluminescent Plants and Animals (Orca Book Publishers 2024), which explores the amazing world of creatures that generate their own light.

Andi Diehn: I didn’t realize that bioluminescence had evolved independently in different species with different chemicals working to produce the light. This is fascinating – does this make it more complicated to study?

Stephen Aitken: Bioluminescence has evolved independently in many different species, insects, jellyfish, fungi, etc. And yes, it does make their study more complicated – but it also helps us understand more about evolution. Bioluminescence is an example of convergent evolution, the phenomenon whereby different organisms evolve similar traits independently of each other. Animals and plants that make their own light need two things: a chemical reaction between a light-emitting molecule known as luciferin and another substance that sparks it, luciferase. It’s kind of like a match stick that needs a match box to set it alight. There are at least five different types in different organisms: fireflies, insects, and marine animals use several different types, and fungi and bacteria have their own type of luciferin and luciferase. To study these animals in their wild habitats – oceans, forests and caves – can require specialized equipment such as deep-sea submersibles and other equipment.

AD: Living art – I love the idea of incorporating bioluminescence into the art world. What can young readers gain from this merging of science and art?

Stephen: The natural world is a very inspiring source of creativity. Architects use the principles of natural structures to build, fine artists are inspired by colors and designs found in plants and animals from around the world. Bioluminescence shows the stunning visual displays of the natural world. When artists incorporate this into their work, it can help young readers see science as more than just facts and figures, as a world of beauty and wonder. This broadens their understanding of how deeply connected humans are to the environment, foster a sense of awe, and make science feel more accessible and engaging. By observing how artists use bioluminescence in creative ways, young readers may begin to think about how scientific knowledge can help solve problems in innovative ways. For example, it might inspire solutions for sustainable lighting or the creative uses of light in design. It may also teach them about sustainability in both science and art and reinforce the importance of protecting the environment.

I encourage young readers to imagine new ways of combining many different disciplines, in this case blending scientific knowledge with their artistic talents. Merging science and art encourages STEAM learning (Science, Technology, Engineering, Art, and Math), combining technical knowledge with creative thinking. This integration can be particularly motivating for young readers who might be more drawn to one subject but find new interest in the other. The intersection of science and art through bioluminescence provides young readers with an engaging, multi-sensory way to explore both creativity and the natural world, ultimately deepening their appreciation for both.

AD: I love your sidebars – life-saving plankton, tiny trackers to see how infections spread, and so much more. Why did you include these stories of how bioluminescent organisms can help humans?

Stephen: I think we humans are always looking for applicability. Stories of how nature inspired amazing scientific breakthroughs is always uplifting. The sidebar examples spark curiosity, develop problem-solving skills, and demonstrate that even small discoveries can make a big impact on our world, encouraging kids to explore the natural world around them.

AD: I love learning about the different uses of bioluminescence – bomber worm, dragonfish hunting with light, attracting mates. And the ones we need to guess about! Is it good for young readers to learn how much we don’t know?

Stephen: Great question. Short answer: YES! Science moves forward through building on the discoveries of the curious minded scientists that came before us. I think it’s important to show young readers how investigating what we don’t know is how great discoveries are made. But also, it’s vitally important to show that there is so much we DON’T know. There is a big world of question marks out there just begging to be turned into exclamation marks by young readers with curious minds.

AD: Your story about local schoolchildren helping collect fireflies – I love this early example of Citizen Science and also love your note about conservation. Why is it important that we continue to adjust the way we do science as we learn more about the repercussions of our actions?

Stephen: In the 1950s there were only two and half billion people in the world. There were more trees, healthier ecosystems, larger populations of animals and insects. Times have changed. The limits of the Earth we live on are becoming more evident. It’s important to keep improving how we do science because as we learn more, we discover new ways our actions can impact the planet, people, and animals. By adjusting our methods, we can avoid harming the environment, make better inventions, and solve problems like pollution or disease. Science is about learning, and we get better at protecting the world when we change how we do things based on what we’ve learned. This helps us create a safer, healthier future for everyone. Our oceans and skies are not infinite and cannot handle everything that we throw into them. Science does not have all the answers and we have to keep questioning the repercussions of all our meddling in the natural world.

AD: A lot of the creatures in your book work together, either in a colony of the same species or in smaller symbiotic relationships. How might kids see this reflected in the human world they’re a part of?

Stephen: Yes, in nature, creatures work together to survive, like ants in colonies or microbes like bacteria helping animals through symbiotic relationships. We see this in the human world too—people working together as teams in school, sports, or communities. When we cooperate, we solve problems faster, share skills, solutions, and support each other. Teamwork can help everyone succeed and make life better for everyone!

AD: Your story about refusing to experiment on live dogs – why is it important to include that kind of anecdote in a science book for kids? What do they learn from it?

Stephen: All living creatures have feelings. We can only imagine what they are experiencing. When I was studying physiology, the paradigm was that animals only functioned through instinct and lived in a programmed way. Anyone who has spent time with animals knows in their heart that this is not true. Animals have feelings and can be incredibly intelligent and intuitive at times. We need to honor this and have respect for all life on Earth. Since those years in the physiology lab, society has changed, science has changed. Animal rights now have a voice. Concerned citizens have started to defend them. We have no right to torture or treat animals as inanimate objects, valuable only for our own purposes. This is an outdated way of looking at the natural world.

AD: The tension about science that can both harm the world and help it – why is it important to have these conversations with students?

Stephen: It’s important to talk with students about how science can both help and harm the world because it teaches them to think carefully about the choices we make. Science can lead to amazing things, cure diseases and protect the environment, but it can also cause problems like pollution or harming animals. By having these conversations, kids learn to ask important questions, make responsible decisions, and understand that using science wisely can lead to a better future for everyone. It helps them see that their actions matter in making the world a better place. It also teaches them that we can make discoveries while still being responsible and respectful to all life forms.

AD: Are there any questions I didn’t ask that you’d like to answer?

Stephen: “What’s my next book and how do you come up with your ideas?” Thanks for asking 😁.  Researching Living Light was really inspiring for me ­– bioluminescence is magical. I got the chance to interview scientists, biochemists, marine biologists and taxonomists, all of whom were doing incredible work in this field. The more I study the natural world, the more treasures I find. Also, I continue to find links between scientific disciplines and I love that! Discovering that bioluminsecent animals produced different colors of light, that florescence in some reptiles and insects is different from bioluminescence, and the principles of iridescence in bird feathers, chameleon skin and fish scales. All this made me stop and think about why animals use color and how does it help them to survive. That was the spark that lit the fire for my upcoming book, Nature’s Palette: Color and Survival in the Animal Kingdom scheduled for publication next year.

Writing books is my life. It’s my way of understanding the fascinating world around me. I love it and I’m pretty darn sure I will never ever run out of things to write about for young readers.

 

Stephen Aitken is a biologist, artist and author. Despite an early brush with nyctophobia (fear of the dark), he became fascinated with bioluminescence while researching a book he wrote on the dangers of light pollution. Stephen’s books fulfill (and sometimes feed) his longing to conserve the living creatures that share and enrich our planet. He has written and illustrated many picture books, chapter books and close to a dozen nonfiction books for middle-grade readers on topics including the climate crisis, the impact of artificial lighting on ecosystems (Saving the Night), the role of sound in conservation (Listen Up!) and other topics that encourage living in harmony with life on Earth. Stephen is the cofounder and executive secretary of Biodiversity Conservancy International, a registered Canadian charity, and is editorial director of the science journal Biodiversity, published in partnership with the Taylor & Francis Group. To see more of his books and art, please visit stephenaitken.com.

 

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Use Four Acts to Get Through the Murky Middle

By on October 21, 2024   /   For Writers, Writing  

Focus on the Midpoint

When I outline a novel or graphic novel, I love to reference Save the Cat. If you’re not familiar with this plotting method, it’s based on screenplays and breaks a movie into Act 1 (the first 25% of the book), Act 2 (the next 50%), and Act 3 (the last 25%).

I more or less stick to this, except I put even more emphasis on the midpoint.

A strong midpoint not only gives the reader a high-impact scene to break up the long slog of the middle, but it’s a great chance to change up gears. In fact, I try to make this moment so huge that it effectively breaks that long Act 2 into two acts, so each of the four acts is 25% of the book.*

Act=Goal

To do that, I think of each act as a goal for the MC. Act=goal.

So, in a sense, the flow of a novel could look like this:

  • Act 1: the MC is pursuing a goal, one that makes sense for their ordinary world. Then a catalyst happens to either put that goal in jeopardy or catapult it forward.
  • Act 2: Reacting to that catalyst, the MC sets forth to achieve a new goal. Then another catalyst happens (the Midpoint) that either puts that goal in jeopardy or catapults it forward.
  • Act 3: repeat, bringing us to the All is Lost moment, which is the catalyst for the last act.
  • Act 4: reacting to the All is Lost, the MC makes a final goal.

Sometimes the catalyst in each act is subtle. Sometimes it’s an accumulation of things learned in the act up to that point. Sometimes it’s huge, like a bombshell of information. Whatever it is, each catalyst prevents the MC from continuing to pursue the goal that they are currently on; they have to change gears.

Examples

Star Wars

Let’s look at how this works in Star Wars: A New Hope.

Act 1

  • Goal: Set up droids on the farm.
  • Catalyst: Ben Kenobi asks Luke to go with him to Alderaan and Luke’s aunt and uncle are killed, making his Act 1 goal of getting the droids set up on the farm irrelevant.

Act 2

  • Goal: Get the plans to Alderaan.
  • Catalyst: The Death Star blows up Alderaan and captures the Millennium Falcon.
image from Star Wars: A New Hope. Standing behind Han Solo, Obi Wan looks tense, gazing at something in front of them, saying "That's no moon."

Our Star Wars heroes are about to discover that they cannot achieve their Act 2 goal.

Act 3

  • Goal: Rescue the princess from the Death Star
  • Catalyst: They escape, but the Death Star follows them to the hidden rebel base.

Act 4

  • Goal: Destroy the Death Star to save the rebel base.
  • Result: Luke destroys the Death Star.

Other Examples

Movies:

  • Raiders of the Lost Ark (this goal shift is huge, as Indy’s goal goes from finding the Ark to getting it back from the Nazis; in fact, the entire second half of the movie is Indy trying to get and keep the Ark from the Nazis)
  • Monsters, Inc. (this is subtle, but Sully switches from wanting to save his career to wanting to save Boo, a goal shift that causes conflict with Mike)
  • Lion King
  • Up

Books: The Last Mapmaker and A Wish in the Dark by Christina Soontornvat are great examples of the main character’s goal shifting in at the midpoint.

Does It Really Matter?

I don’t think it matters to the reader whether you outline your story with a goal change in the middle, as long as the story moves along. But as the writer, I find splitting up that long middle to be incredibly helpful for getting through the murky middle. Basically, it’s chunking up a huge task into two more manageably sized tasks.

For example, imagine you’re writing Star Wars. Woud it be easier to plot if you had a list of goals for Luke that were:

  1. Set up droids on the farm
  2. Get plans to the rebel alliance
  3. Destroy the Death Star and save the rebels

Or:

  1. Set up droids on the farm
  2. Get plans to Alderaan
  3. Rescue the rebel princess and escape to the rebel base
  4. Destroy the Death Star and save the rebels

You could interpret Star Wars either way, but personally, I would find the second to be much easier to build a story around. The specificity helps me to keep the middle of the book moving along. It would give me something more concrete to write toward.

I can think of many stories that do not approach the Midpoint this way. (I can think of many that don’t even really have a Midpoint shift). But if you’re stuck in the murky middle, try breaking that long Act 2 into two goals, and give each a catalyst that disrupts that goal.

*For more information on four-act stories, click here to read about Joyce Sweeney’s plot clock.

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