Posts Tagged how to write

STEM Tuesday–Dinosaurs/Paleontology– Writing Tips & Resources

 

Backmatter Matters

Imagine you wake up in a strange place. Although the place does not feel threatening, just being there is jarring because you don’t know why you are there, or how you got there. You don’t know what to do or how to interact. That’s what reading a nonfiction book might be like, if it weren’t for the mighty powers of peritext.

Peritext? What’s that? All of the elements in a book that are not in the main body of text. In STEM nonfiction books, peritext can be paramount.

Pick up a nonfiction book from this month’s list and search out those elements. There’s the cover (front and back) and maybe some flap or cover copy; these introduce you to the book and give you a preview of the author’s “take” on the topic. There’s a copyright page and, most likely, other standard elements such as a table of contents, glossary, and index; these give you context, a map to guide your journey, and help when needed. But there may be more—much, much more.

Consider how different the book would be without all of that. What would the reader miss? What do each of those elements actually do for the book? 

Before I began writing professionally, I essentially ignored peritext. I rarely read any portion of the backmatter (everything after the main body of text). One day, a writer friend told me she reads every word of the endnotes—I was astounded. Who would do that?

Then I tried it with a book I loved and realized just how much I had been missing. These elements are designed for the inquiring mind! As a reader and writer, it is worth studying the peritext and pondering its value. Peritext invites us into the reading experience and launches us into the next one.

Try this:

1. Ask a friend to select a nonfiction book that you have never seen. Have them binder clip together the pages that contain the main text. (Note: peritext includes illustrations and chapter titles, etc, but let’s focus on the frontmatter and backmatter for now.)

2. Study the peritext (no peeking at the main text). Jot down a list of what’s there.

      • Is there a table contents? An index? What about a timeline? Anything interesting about the endpapers?
      • Ask yourself: Who uses each of these elements? Who creates them? Do any serve multiple purposes?
      • Now, read the material. From the peritext, what impression do you get about the book?
      • What questions are sparked in your mind?
      • If these elements are illustrated, jot down notes about them as well.

3. Skim the glossary or index.

      • Do some entries surprise you?
      • What questions do you now have? Are you now more, or less, eager to read the book? To read other material on the topic?
      • Search for clues to the core of the book. Not the topics covered, but the theme, the big ideas, the conclusions. (Don’t forget the covers.)

4. Finally, read the entire book.

      • Consider how well the elements in the peritext support the main text.
      • If you were the author, illustrator, editor, etc. would you have done things differently?
      • What factors might impact what’s included in the backmatter? (FYI, typically the author creates most of the backmatter and other publishing professionals create most of the frontmatter and covers.)

As an author, this is how I look at books. I want to know what is there, why it is there, and how it is used. To help me inquire, I started a running list of the elements in various books. Just off the top of your head, you might remember books with recipes, timelines, acknowledgments, bibliographies, or an author’s note, but you would be amazed at the variety. And think how much each of those elements can vary, not only in content, but also in presentation. In some books, the backmatter was even more interesting to me than the main text. 

Backmatter isn’t limited to nonfiction; however, it seems to be more common and extensive in nonfiction. Why? What types of fiction include extensive backmatter? What if more fiction included backmatter?

Try this:

1. Read a book that has limited backmatter.

2. List at least 3 elements which could have been included.

3. Create 1 of those elements for the book. (You might have to make something up for the sake of the exercise.)

4. Share it with a friend and ask if the added element is valuable.

If you’re not careful, you will now find yourself picking up books and flipping to the backmatter before you read the frontmatter. You’ll be noticing how cool it is that the glossary of Dining With Dinosaurs only includes words not already defined in the main text. (So smart—those are the only ones a reader should need in the glossary!) You might start wishing every historical text included a visual timeline like Dinosaurs: Fossils and Feathers (Science Comic Series). And when you begin to write your next piece, you might start thinking about the backmatter before the front matter. This is what reading like a writer will do to you!

 

Heather L. Montgomery can’t resist writing backmatter–the ulimate playground for a nonfiction writer. She almost let it take over her upcoming book, Who Gives a Poop? The Surprising Science Behind Scat (Bloomsbury, September 2020). Aren’t you eager to dive into that? For now, you’ll have to be satisfied with the perimatter in her 15 other STEM titles. www.HeatherLMontgomery.com 


The O.O.L.F Files

Just a few more dino books because you can never have too many…

The First Dinosaur: How Science Solved the Greatest Mystery on Earth, written by Ian Lendler, illustrated by C. M. Butzer. In this 220-pager, Lendler carefully lays out how the idea of dinosaurs came to be. Beginning with a bone discovered before the concept of dinosaurs—or even fossils—existed, Lendler walks readers through a wealth of scientific studies to share a story you want to know. This book is likely to blow young minds (and yours).

Dinosaurs By the Numbers (A Book of Infographics), written and illustrated by Steve Jenkins. In classic Jenkins style, this fact-packed book is sure to please dino lovers. Maps, graphs, size-comparisons, all formatted on clean white space do an excellent job of accentuating dinosaur facts and extremes. And, there’s an illustrated table of contents–such tantalizing peritext!

When Sue Found Sue: Sue Hendrickson Discovers Her T. Rex, written by Toni Buzzeo, illustrated by Diana Sudyka. This picture book tells how a curious girl grew to be an inquisitive scientist who discovered the most complete (and likely the most famous) Tyrannasoarus rex fossil ever found (so far). Perfect for kids who are collectors and those who yearn to make their own discoveries.

Regrowing Tails (or Tales)

Did you know today is No Socks Day? That makes me happy because I despise socks and shoes. Researchers say creative people prefer to go barefoot, so I use that as an excuse. But I suspect the real reason is an incident that happened when I was two.

We had just moved to Africa, and I crawled out of my crib at night. My dad insisted we always wear slippers in the house, so I slid my foot into my slipper. And…

I stepped down on this slippery, wiggly thing. It squished, and I screamed. I shook the shoe off my foot. A lizard scooted out, but he left his tail behind. That skinny, green, wormlike tail wiggled and wriggled inside my slipper.

I’m still not sure what was more traumatic – the slimy surprise in my slipper, the twitching tail, or knowing I’d hurt an innocent creature.

My father tried to reassure me that the lizard was fine and would grow another tail, but I didn’t believe him. Not until he read it to me from a book. I didn’t learn until recently that it takes about 60 days for the tail to grow back. Poor lizard!

So what do shoes and lizards have to do with writing middle-grade books?

One of the hardest things for an author to do is to get emotion onto the page. Emotion is what hooks readers, and books that grab readers have heart and vividness. They make readers care about the character and immerse them in the scene.

One of the best ways to do that as a writer is not only to recall incidents from your past, but to re-live them. Investigate traumas in your life. These incidents are stored in the brain along with the many emotions connected with them. The minute I think about the lizard, my body freezes in terror, chills run through me, my foot recalls every detail of squishing down, and I recoil. All the visceral (or involuntary) reactions place me right in that scene again. I’m immersed in sensory details. Not just the wriggle, but my screams, my father’s feet pounding down the hall, the taste of bile in my mouth, the steamy sweatiness of the night. I can still see the way the moonbeams slanted through the window striping the shadows on the floor, hear the waves crashing against the shore in the distance. I can even hear the whine and buzz of mosquitoes against the netting.

All those details from one event that lasted only minutes.

Your brain is a treasure trove of memories. Tap them when you need to get more emotion on the page. Close your eyes and go back to a time when you felt the same emotion as your character. Feel the memory in your body, see it in your mind’s eye. Immerse yourself in it, and then let it flow onto the page. Readers will feel the terror or grief or joy along with you, and your books will stay in their hearts and minds long after they close the cover.