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Odin’s Promise is historical fiction for middle-grade readers depicting the first year of German occupation of Norway during World War II. Eleven-year-old Mari relies on her elkhound, Odin, and her family for comfort and protection. Mari draws on love, humor, and inner strength to confront danger, find her voice, and endure hardship and heartache.

Amie: Hi Sandy! Welcome to the Mixed-Up Files. Tell us why you enjoy writing middle grade fiction.  

Sandy:  Middle grade fiction hits a “sweet spot” for me as a reader and a writer. The stories and characters offer infinite opportunities for change, challenge, growth, and discovery. Anything is possible; each page turn holds the potential for surprise. I’m never able to name “favorites” from among the books I’ve read, yet many of the ones I reread and treasure most are middle grade books.

Amie:  What’s special about Odin’s Promise and why would kids love it?

Sandy:  Odin’s Promise allows the reader to experience the impact of war from an unusual perspective. Germany invaded Norway claiming to be “friends”, but the threats and dangers surrounding Mari, Odin, and her country were no less real. Young readers with pets will recognize Mari’s relationship with Odin. They’ll also recognize the confusion and frustration of adult secrets, conflicting expectations, and uncertainty about who can be trusted. Readers who enjoyed Mary Casanova’s KLIPFISH CODE and Margi Preus’s SHADOW ON THE MOUNTAIN will enjoy comparing all three titles. We each researched extensively and incorporated humorous details from wartime journals.

Amie:  We’re always looking for fantastic historical fiction here at MUF. Sounds like your book will really fit the bill!  Tell our readers a bit about Norway and why it’s an inspiration to you.

Sandy:  I’m not Norwegian, but I visited Norway twice with a friend who is. We stayed with her relatives each time in the small village of Ytre Arna, which is where the story takes place. The physical beauty of the country was breathtaking: spectacular mountain views; crystal clear water; structures, stories, and history that predated the Vikings. Even more memorable to me were the hospitality, generosity, and stories of the people I met there. These memories never left me, and some fictionalized versions eventually found their way into my book.

Amie:  Sounds lovely.  If forced to eat only one thing for the rest of your life, what would it be?

Sandy:  Hmmmm… what a tough question! Allow me a few moments to grieve the loss of dark chocolate and ice cream.

Amie: You still there?

Sandy:  Still grieving here… a moment , please.

Amie:  Just one moment…

Sandy:  Okay, I’m back.  It must be pizza. That’s hedging my choice, since pizza can be made into unlimited varieties, but still, pizza is pizza!

Amie:  Great choice!

 About Sandy Brehl:

I’ve been an elementary educator and a writer in Wisconsin for many years. I also have file drawers full of rejection letters. Then I joined SCBWI (Society of Children’s Book Writers and Illustrators), which helped my writing immeasurably and led to this publication. When I’m not writing, I’m reading, gardening, and volunteering. Website Blog Facebook Twitter1 Twitter2 Goodreads

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Amie Borst co-authors the Scarily Ever Laughter series with her middle-grade daughter, Bethanie. Cinderskella is their first book and the sequel, Little Dead Riding Hood, releases October 2014.

A book about writing can be, for a writer, a lot like an early romance.  There’s a lot of excitement and promise in the beginning  (“This book will help me fix my plot problems!” “Finally, I’m going to get this character right!”), but then there might be some disappointment (“I didn’t understand the section on voice”).  Some books will stand the test of time, while others might become a faint memory.

I was fortunate enough to have one excellent book recommendation early in writing, which served as my go-to reference as I struggled through my first novel.  The Writer’s Guide to Crafting Stories for Children by Nancy Lamb was my rock and reference, reminding me that action had to spring from the character and to increase the stakes gradually.  This book is well-organized, so that writers can easily dip in and dip out, to get the information and reassurance they need and get back to writing quickly.

Now working on my third book, I was lucky enough to discover a new (to me) wonderful reference at the library.  Writing Fiction for Children: Stories Only You Can Tell by Judy K. Morris (University of Illinois Press) can be enjoyed by writers at any stage, but I think is of particular benefit to writers who are comfortable with structure but are looking for ways to deepen their stories.  Also, unlike many books for children’s writers which usually cover all genres, this book was written particularly for middle-grade authors in mind.  Morris’ book is divided into six aspects of story: Plot, People and their Places, Making Your Story Whole, Reader as Storyteller, Nitty-Gritty Matters and Finally (Ending).  Each section has 2-4 subjects within that topic, told in a warm, thoughtful manner, with many examples from Morris’ own experience and other books, particularly The Wonderful Wizard of Oz, Stone Fox and Roll of Thunder, Hear My Cry.

Morris writes intelligently about subjects that I have not seen in other books about writing for children but as writers, we intuit should be there.  There is a section, for example, on Setting as a Context for Meaning, where Morris reminds us that every time and place has a cultural, social, political and moral context, and the way the character behaves and thinks will be guided by these rules and expectations, whether it’s the first day of school or a holiday at a grandparent’s house.  Great books do this with great subtlety, and Morris breaks down this idea to allow writers to analyze these factors explicitly and allow the plot and character to strengthen as a result.

I must admit, guiltily, that I am not usually one to do the exercises in writing books because I am doubtful of their actual benefit.  However Writing Fiction for Children’s exercises set the book apart as they are particularly creative and well-thought out.  For example, as the first exercise based on your manuscript, Morris urges writers to describe their story for three audiences – the writer, a potential editor or agent, and a child as way to remind yourself that all three people are critical to the story.  Morris then notes, with thoughtfulness and encouragement typical of the book, when each description may be useful to you:

At moments when your writing is going badly or your energy flags, the first description can help you get back to your story’s core…The second description is likely to include something about character and setting.  Editors like an interesting, appealing central character in a new and intriguing situation.  The third description of your story will probably be centered on plot.

As you might have guessed, it didn’t take long after borrowing the book that I decided that I needed to make Writing Fiction for Children a permanent part of my writing library!  It’s true love!  What books have helped you the most?