Writing

How to Start a Creative Writing Club for Kids

By on October 6, 2017   /   For Kids, For Librarians, For Parents, For Teachers, For Writers, Writing  

When school started last year, I got the crazy idea that the students at my daughter’s elementary school might like a forum in which to do creative writing. Although they get some in the classroom, I was thinking of a completely non-judgmental environment where I guide them but they ultimately do what they want, where there are no wrong answers or points off for misspelling a word. Really, I wanted for them the kind of club I would have loved myself as a child.

I pitched the idea to a friend of mine, a professor of creative writing, who very graciously shared with me exercises she does with her grad students. It took some work but I brought them down to a level I thought would work with 4th-6th graders.

Next I had to get buy in from the school principal to run an after school club and use the library. She loved the idea but reminded me I needed a ‘baby sitter’ because I’m not a credentialed teacher. The librarian agreed to keep me on the straight and narrow and I promised to keep his library in good working order.

From there, I got myself invited to a PTA meeting to see if they would throw me some funds to run the club. Really all I wanted were notebooks, pencils and a few other little things here and there to help with the writing exercises. They said yes and I was off.

We meet once a month for an hour. We have two rules for Writing Club. The first is we are respectful of everyone’s ideas; if a fellow student is reading his/her work aloud, we are quiet and listen closely. The second is no one has to read if they don’t want to. No pressure. I also give away middle grade books I’m done reading. Winners beam like they’ve just won the lottery.

September’s giveaway books

At our first meeting this year fifty students showed up! I ran out of everything – notebooks, pencils, seats, table space – but seeing these kids, scribbling away, giving voice to the stories in their heads, gave me hope for the future.

(for specifics on the writing exercises, please visit my website)

 

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Kersten Hamilton and the Book of Half a Lifetime

By on September 22, 2017   /   Author Interviews, Book Lists, Fiction, For Kids, For Librarians, For Parents, For Teachers, For Writers, New Releases, Publishing & Promotion, Writing  

I’m very pleased today to feature a long time friend of mine.

Kersten and I have critiqued each other’s work, we’ve gone on writing retreats together, attended conferences, and enjoyed group meet-ups with other local authors over the years. Kersten Hamilton is an incredibly talented writer, deep thinker, and a selfless, giving person.

Here at From the Mixed up Files, we’re excited to show off the gorgeous cover for her middle-grade novel, DAYS OF THE DEAD, which will launch into the world this coming summer.

Enjoy a little bit about Kersten’s inspiration and an excerpt from the novel.

~Kimberley Griffiths Little, one of your MUF’s authors and bloggers~

From Kersten Hamilton:

“When I first saw the art created by Merce Lopez  for the cover of Days of the Dead I wanted to shout, “LOOK AT THIS! IT IS THE BEST COVER EVER!!!” because Merce had captured the magic and mystery at the heart of my story. Having a cover means the book is real! It is almost here!

Some books take half a lifetime to write. Days of the Dead is one of those books. I can’t remember when the story started to grow in me. When I was six, and my mother left? When I was a teen sitting in a chill of a lava tube, breathing in darkness so deep it was almost alive?  The day my heart broke so badly I thought I would die. I know the roots of this story reach back through that day. But the story took years of drafts and re-writes to form.

Slowly, it settled into a time: the Days of the Dead, when the border separating the living from the dead grows thin.  And a place, Puerta de la Luna, where strange things happen. Things that science isn’t big enough to explain. And a girl, Glorieta Magdalena Davis y Espinosa, whose choices would destroy her family – and whose courage would make it whole again.

Days of the Dead will be coming from Sky Pony Press this August of 2018, but I can’t wait one minute longer to introduce Glorieta. I hope she will find a lot of friends and help them pick themselves back up when they have made a terrible mistake.”

LOOK AT THIS STUNNING COVER!

And here’s Glorieta in her own words:

“Every bowl of Alpha-Bits starts out with hundreds of words. But the power is in the last spoonful.

“Dios mio, Magdalena!” Mamá’d said as she’d pointed to my spoon, “Your spoon says ‘libros’. Books!’ Now, you choose. If you swallow it down, then you will learn about books!” I swallowed it, and that year I’d been the first kid in class who learned to read. I learned about big books, thick books, their smell, their feel, the letters gathering into words and the words into stories. Mamá and I read together every night, in English and in español, Spanish.

In third grade I’d had to find the word in my Alpha-Bits myself. I used an extra big spoon, one that could fit all of the letters of mother, if Mamá wasn’t enough. Or even Mamá, come home.

The word had been hoggs. I’d known that was too many ‘gees’ for a real word. I’d swallowed it anyway, and cried because I thought my Mamá’s magic had gone away with her.

Then, one month into the school year, a new editor for the Epoch Rattler came to my school to interview me about a poem I’d written for the paper. His name was Hogg. That hadn’t made me feel any better. You can’t knock off one letter and say it’s close enough. That’s not magic. It’s cheating.

But just after Christmas my teacher Miss Dotson, who’d met Mr. Herbert Hogg the day he interviewed me, married him and became Mrs. Hogg. Two Hoggs. Pieces fitting together. The magic worked.

I shook the box, and something rattled inside.

I got a bowl, and turned the box upside down. Letter pieces and cereal powder rained out. I poured in some milk, and three perfect letters bobbed to the surface.

“Are you looking for a word in your Alpha-Bits? Seriously?” Lilith was leaning over my shoulder.

“Go away.”

Lilith laughed. As she walked across the room and picked up the phone again, one more letter struggled to the surface of the sludge. I stared at the bowl. It couldn’t be right.

I’d wanted the magic to help me keep my promise to Mamá. I hadn’t wanted this.

Now you choose, Glorieta…

“We’re on hold, B,” Lilith said into the phone. “I’ve got to work out something with my stupid step-tard first. See you at school.”

Lilith saw me still staring at the bowl and leaned over to see what I was looking at.

“O.D.I.O.?” She laughed. “That isn’t even a word, loser.”

It was a word. Lilith just didn’t know it because she couldn’t speak español.

You choose, Glorieta.

If it had been about anyone else, it would have been wrong. But I knew it wasn’t about anyone else. It was about Lilith. Somehow she had gotten in where she didn’t belong and messed everything up. Even the magic.

I could feel her breathing on the back of my neck as I scooped the word onto my spoon and lifted it to my mouth. I would learn it like I’d learned to read, learn the pieces and the parts and how they fit together and it would keep Lilith away from me.

Lilith took a step back, and I couldn’t feel her breath anymore. It was working already.

Shivers raced up my spine as I chewed.

Odio. Hate.

My magic word for the sixth grade.”

Thank you for letting me share, Mixed-Up Files!

Kersten Hamilton

Website: www.kerstenhamilton.com

Pre-order DAYS OF THE DEAD

Email: Kersten@kerstenhamilton.com

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Writing While White

By on September 11, 2017   /   Diversity, For Writers, Writing  

I am a white author. When I write about social justice online, I use phrases like “fellow white people” or “we white women.” I do this intentionally. And yes, like @helloalegria says in the tweet above, it was weird and uncomfortable at first. But you know what? The more I used language that was precise, the easier it got. Plus I began to have much more productive conversations online about dismantling racism and white supremacy.

What does this have to do with middle grade books?

As a white author who has grown up with white privilege and who has benefited from the racism inherent in most (all?) American institutions, I am accustomed to being the “norm” or the “default.” If I read a book, where a character is described as having brown, curly hair (like for example Hermione Granger), I will mostly likely assume that the character is also white.

Because I am “used to being the default definition of ‘people’” as @helloalegria says, I also need to be aware of how I might perpetuate the white default definition of ‘people’ in my books.

This happens if I make a point of describing the skin tone or ethnicity of characters of color but don’t describe the skin tone or family background of light-skinned characters. Doing this makes anyone who is not white into “the other.” And that, fellow white authors, no matter your intentions, is white supremacy at work.

Martha Brockenbrough is a white author who was very intentional in her approach to writing about race in the novel The Game of Love and Death. I asked her to share with us what she was thinking during the process. Here’s what she said:

In college I learned about “marked” language. This was language that assumed male as the standard, and it’s why we say things like “female lawyer” and “male nurse.” (Nurses are stereotypically female, so “male nurse” even works as a punchline.)

With The Game of Love and Death, I didn’t want to center whiteness, and particularly not in the chapters told from the viewpoint of Flora, who is a Black pilot. Where race is observed, blackness is the default. So race is only seen when it is not Black. 

This is part of the empathy we need to cultivate when we are writers. To authentically inhabit characters and understand how their lives feel given our power structures, which favor white people, men, and white men in particular. 

Language is powerful. We build the world with it in so many ways, and as writers, we have the opportunity to build worlds that change the way readers think. And this is what art is supposed to do. It’s supposed to make us feel, and as we process those feelings, we develop a point of view on what it means to be alive.

I love what Martha is saying here. We owe it to our readers—all of our readers—to consider the world from their point-of-view, and to do that, we white writers must be willing to consider that our own point-of-view should not be the “norm” or “default” way to the see the world.

*The title of this post — “Writing While White” — is a shout-out to a blog that I highly recommend called “Reading While White.” Definitely check it out!

** After writing this post, I found another excellent post of the same title by Marianne Modica. Click here to read it.

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