Posts Tagged fiction

Painting with an Allegorical Brush

The messages we convey through our storytelling are important and lasting, and those that are evident but not directly stated offer readers plenty to think about. One way to get those deeper-meaning messages across while offering middle graders real opportunities to engage with stories is through allegory.

What an allegory can do (and how it’s different from symbolism and metaphor)

It’s easy to confuse allegory with metaphor and symbolism—they are closely related literary devices with some overlap between them.

Metaphor – A comparison of two unlike things that points out how they, in fact, are alike: That girl is a night owl. The sun was a golden coin.

Symbol – Usually an object, character, event, or idea that has its own literal role in the story but also represents some important idea on a figurative level: The green light on Daisy’s dock, the raven perching on a statue of Athena.

Allegory – A little more didactic, allegories point the reader in a particular direction of thought or behavior with more comprehensive lessons about or inspired by life, morals, politics, religion, history, myth, or other big ideas. An allegorical character or situation might extend through the whole work, or a whole work can be an allegory with multiple meaningful elements.

You’ll recall allegories from studying adult lit. In the allegorical medieval morality play Everyman, for example, main character Everyman (that’s his name) doesn’t want to go on a journey of reckoning with Death (someone Everyman meets), and he is surprised that his buddies Fellowship, Kindred, and Goods won’t go along with him to the afterlife. He discovers, though, that Good Deeds will follow him on his journey, though he’s been remiss in attending to them and must turn to Knowledge and Confession to help Good Deeds along. (Medieval audiences got the allegorical message, loud and clear.) Other allegories you’ve probably studied convey political or societal messages, such as Animal Farm, Metamorphosis, and The Crucible.

It may be helpful, as a writer, to think about these devices’ comparative size and scope: In a story, metaphors are typically brief expressions for a passing effect on a reader (with extended metaphors really driving the point home with additional references). The scale of importance grows with a symbol, as it carries the weight of some important takeaway that enriches the reader’s comprehension of plot and character. An allegory uses symbols and metaphors and intends even more sweeping effect on the reader, with a message or meaning about life the reader can effectively employ for their betterment and/or the betterment of everyone.

Allegories seem heavy: Too much for MG?

You might wonder so, but remember, fairy tales and fables have been serving up allegorical lessons for young audiences since once upon a time. And think about some classic children’s stories widely accepted as allegories: The Chronicles of Narnia, The Golden Compass, The Giving Tree, The Phantom Tollbooth, The Little Prince. There are modern examples of MG fiction with allegorical elements we can turn to for cues as well:

The Ogress and the Orphans by Kelly Barnhill — This allegorical fantasy reveals what happens to a community when its members are swayed by suspicion and start rejecting those unlike themselves.

When You Trap a Tiger by Tae Keller – In this Newbery Medal winner, tales told by the characters are allegories for family love and for the power stories have to inspire.

The Puppets of Spelhorst by Kate DiCamillo – This story’s allegorical plot and character actions represent big ideas about being called to one’s true purpose and following the heart.

The Language of Spells – Garret Weyr – This adventure reveals the power of perception when considering what makes us special and points to what we tragically lose during times of conflict.

How might you employ the allegorical brush in your writing?

Experimenting with allegory in your writing? Some ideas to chart your course:

  1. What’s the big-picture message you want to send to readers?
  2. What are the most important elements of that message, and what’s the best way to convey them? Symbolic characters? Objects that recur? A quest, a battle, something else?
  3. Imply your message clearly but inconspicuously. Trust the reader: They will get the takeaway if the individual parallels are there.
  4. Keep the story strong and interesting…and prioritize it. The allegorical message flows from a story that is substantive and fulfilling all on its own.

I hope these ideas on allegory are helpful in your current projects, and thanks for reading!

Perspective in MG Lit: Lessons in Empathy

I read an APA article recently that quoted a Stanford psychologist who referred to empathy as the “psychological ‘superglue’” that helps us all to react with kindness, understanding, and support. Empathy is one of greatest, most important life lessons for anyone, any age, any background; it fosters cooperation, inclusivity, forgiveness, and volunteerism; it can serve as both a preventative and an antidote for conflicts and disagreements on matters personal, political, familial, environmental, and worldly.

Many schools and classrooms actively or subtly coach the development of empathy. The middle grade ELA classroom offers prime opportunities for coaching empathy because many MG readers are still developing the cognitive and social tools needed to perceive someone else’s point of view. And let’s face it, the middle grades (well, school in general) can be a hazardous proving ground to navigate with the potential for strong emotions, communication struggles, and impulsivity; generally speaking, middle graders can benefit from lessons in empathy to better weather the storm.

Since the ability to perceive issues and conflicts from another’s perspective is key to an empathetic reaction, teachers, librarians, and homeschooling parents have consistent opportunities to coach empathy in group study by introducing, reviewing, and analyzing point-of-view as a story element. Discussing the viewpoints and perspectives of fictitious characters (rather than friends, family, and other real people) can provide and promote a safe space for exploring emotions and observing the empathetic reactions of peers. In thinking how that article and others might be useful in MG lit instruction and the coaching of empathy, here are some interpretations and takeaways:

  1. Offer the chance to students to practice empathy toward a variety of characters. It might be easy to empathize with the comfortable familiarity of the I-voice character, the character who looks and speaks in ways similar to their own appearance and speech, or the central character whose conflict is often made clear. Discuss instead why readers might try to empathize with the antagonist, with a character who is different from the reader in multiple ways, or with a character whose actions cannot easily be explained by a clearly stated conflict. Readers should strive to see implied motivations, points of connection, and new, potentially challenging perspectives.
  2. It’s actually not about “stepping into someone’s shoes.” Readers shouldn’t try to empathize by imagining themselves (as exactly who they are) in the problem or conflict, because each reader’s experiences, being different, have the potential to change or remold the problem or circumstances around their own preferences, needs, and background. Instead, practice “other-oriented” empathy, which would encourage the reader to focus closely on how and what and why the character is feeling—and how, therefore, the character’s actions might be explained or interpreted.
  3. As teachers, librarians, writers, and parents, we want readers to have an appropriate emotional reaction to a book; readers shouldn’t, though, let themselves become burdened with a character’s suffering or sadness.

Some classroom activities that may help to develop empathy:

  • Rewrite a scene from a secondary character’s perspective.
  • Focusing on a character’s drastic or surprising decision, create a “Top 5 Reasons Why” list to explain implied or explicit reasons for the choice.
  • Represent a character’s emotions in a symbolic, stylized collage, design, piece of music, or poem.
  • Review the subtext of a scene and a character’s movements and body language to practice interpreting nonverbals.
  • Extend reader understanding of a character’s role in the story (or a key figure’s role in nonfiction) with a character interview (crafting that character’s first-person responses) or a diary entry (written as that character).

Some works that offer the potential for empathy-building strategies, discussion, and activities (though, happily, most MG reads in general fit this bill 😊):

Jacqueline Woodson’s Remember Us: Almost-seventh grader Sage must balance the comforts of the past with the inevitable (and sometimes exciting) potential for new changes.

Landra Jenning’s Wand: Eleven-year-old Mira struggles under the heavy weight of grief since her father died and feels unhappily out of place with her stepmother and stepsisters. When a mysterious girl steps out of the woods and offers Mira three wishes, she hopes fervently that magic might be real.

Jarrett Lerner’s A Work in Progress: In a mix of prose, verse, and sketches, middle schooler Will seeks acceptance from peers and a crush named Jules; plagued with body image concerns, Will determines to transform his physical appearance.

June 2023 releaseJ. Anderson Coats’s A Season Most Unfair: Set in medieval times, Tick—short for Scholastica—is proud to help with her father’s candlemaking business, even though she isn’t permitted to take the role of an official chandler (candlemaker) apprentice. When her father allows a boy named Henry to apprentice the trade, Tick knows she must prove to her father that she is a capable chandler—in spite of being a girl.

Cover reveal! Lisa Schmid’s HART & SOULS

A special treat today: A COVER REVEAL Hart & Souls, written by my friend and fellow Mixed-Up Files contributor, Lisa Schmid! Out 7/23/24!

Now, before we reveal the cover…

Hart & Souls: A summary

After getting bullied at Figueroa Elementary, Stix Hart wants nothing more than to be invisible as he starts middle school. He’s heard all the horror stories, but none involved ghosts.

On Stix’s first day of sixth grade, his anxiety is off the charts. It doesn’t help when he encounters an older kid who reminds him of his old nemesis, Xander Mack. Soon after, he encounters two other students who take a keen interest in him. He quickly learns the spooky truth—the trio are ghosts in need of a solid. They are stuck in middle school and cannot move on until they resolve their unfinished business. It’s up to Stix to figure out how to help these not-so-normal new friends. To succeed, he must use his unique abilities: drumming talent, a big heart, and anxiety to sort out this paranormal predicament.

COVER REVEAL!

(Isn’t it a beauty?)

Interview with Lisa Schmid

MR: Congrats on the upcoming publication of your spooky MG, Hart & Souls (7/23/24)! I’m honored to host your cover reveal—especially on Friday the 13th 🙂

LS: Thank you so much! I am giddy to share my new cover with the world. I’m especially delighted that you signed up for hosting duties. I feel like we’ve been on this author’s journey together and have so much in common—one might even say we are soul sisters.

 MR: Ooh, I LOVE that! Now, tell me: What was the inspiration behind Hart & Souls

LS: The idea for Hart & Souls came to me after encountering the local “school bully” at Target. He was on the phone at the front of the store, frightened and crying. After eavesdropping, I learned no one had picked him up from school, and he didn’t know where else to go. It was heartbreaking. I kept an eye on him until his dad arrived, but it got me thinking. An important lesson I’ve always taught my son is that when somebody is unkind, it usually means they’re fighting a battle we know nothing about.

At that moment, I knew I had my next book. By the time I finished shopping, the title HART & SOULS was swirling around my brain. While sitting in the parking lot, I figured out how the story would begin and end. I’ve never veered off course—I knew I had something special. I actually recreated the Target scene in my book through the eyes of Stix. It still makes me tear up when I read the chapter.

MR: How long did it take you to write the novel, Lisa?

LS: It took me about a year and a half to write. I am a card-carrying Pantser, so I work out the details as I go. Unfortunately, I always get stuck when I reach the “mushy” middle. Sometimes, I need to let things percolate before moving forward. I hit a couple of bumps in the road, but in the end, much like my lost souls, I found my way home.

About the Artist

MR: Since this is a cover reveal (!!!), I’d love to know more about your gorgeous cover—and about the artist, Carolina Vázquez.

LS: I am so in love with this cover! Carolina totally captured the heart and soul of this story. The expression on Stix’s face makes me giggle—it personifies his state of mind to a tee. And the three ghosts are just as I had imagined them to be. I want to hug each one and let them know everything will be all right.

I am also obsessed with the details that make it so extraordinary. Little nuances like the talent show flier on a backpack, and my favorite: the ghost’s individual auras reflecting off Stix. It makes my heart sing!

HART & SOULS is Carolina’s debut middle grade cover, and I think she knocked it out of the park.

Fun fact: her debut picture book cover, TANGO RED RIDING HOOD, was written by a local author, Rachel S. Hobbs. I recently connected the dots and will attend Rachel’s book signing next week.

What a small world—A fabulous illustrator from Argentina ends up working with a pair of California girls on her first two books.

I can hardly wait to take a picture of us together and share it with Carolina.

MR: What was the process like in choosing the cover? I know it’s different for every writer, and every artist.

LS: I am so lucky that my AMAZING agent, Leslie Zampetti, found the perfect home for my little ghost story. Andrews McMeel Kids is a fantastic publisher that encourages a collaborative experience. My wonderful editor, Hannah Dussold, and I threw out a couple of ideas for Carolina, and she came back with this gorgeous cover.

There were, of course, minor tweaks and changes, but overall, Carolina nailed it. I am so grateful for her patience and creativity. And the good news . . . she’s creating thirty interior illustrations, so you will be seeing a lot more of her art!

MR: Congrats again, Lisa, on Hart & Souls. I can’t wait to read it. And I encourage Mixed-Up Files readers to pre-order it!

LS: Thanks so much. And thank you to everybody for pre-ordering my book. I truly hope you enjoy my ghost story. I loved writing it for you.

Author bio

Lisa Schmid is an author and co-host of the podcast Writers With Wrinkles. When she’s not scaring up ghostly adventures, she’s most likely visiting schools to talk about writing and books. She lives in Northern California with her husband, son, two dogs, and one very sneaky hamster. Learn more about Lisa on her website and follow her on Twitter and Instagram.

Artist bio

Carolina Vázquez was born in 2000 in Buenos Aires, Argentina. She was endlessly inspired by books and animation from an early age and started taking drawing classes when she was thirteen. She graduated from Palermo University with a degree in Illustration Design in 2021. Since then, she has been working on children’s illustration projects such as picture books, magazines and board games. Learn more about Carolina on her website and follow her on Twitter and Instagram.