Posts Tagged teachers

The Nonfiction Family Tree

A few weeks ago, I attended the New England SCBWI conference in beautiful Springfield, MA. I had the pleasure of sitting in on a workshop given by  Melissa Stewart and Sarah Albee on Nonfiction. It was fascinating!  There was so much GREAT information that I felt it would be good for others to learn about it. I contacted Melissa and she graciously agreed to be interviewed.   For those of you that haven’t heard of  or been lucky enough to meet Melissa, here’s a little about her:

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Melissa Stewart is the award-winning author of more than 150 science books for children. She has always been fascinated by the natural world and is passionate about sharing its beauty and wonder with readers of all ages.

After earning a bachelor’s degree in biology from Union College in Schenectady, NY, and a master’s degree in science journalism from New York University, Melissa worked as a children’s book editor for nine years before becoming a fulltime writer in 2000. She has written everything from board books for preschoolers to magazine articles for adults.

Melissa believes that nothing brings nonfiction writing to life like firsthand research. While gathering information for her books, she has explored tropical rain forests in Costa Rica, gone on safari in East Africa, and swum with sea lions in the Galapagos Islands.

When Melissa isn’t writing or exploring the natural world, she spends time speaking at schools, libraries, nature centers, and educator conferences. She serves on the Board of the Society of Children’s Book Writers and Illustrators and the Keene State College Children’s Literature Festival.

With the advent of Common Core, nonfiction seems to be taking off. Can you give us a little background of how nonfiction has changed over the years? Wow, it’s changed A LOT. Fifteen years ago, most nonfiction text was rather dry. If an author wrote a manuscript with a strong voice, it was edited out. Today editors want, no demand, a strong voice. In the past, authors were supposed to be unbiased, but today it’s perfectly okay for writers to express a point of view.  Art and design has also changed. Ever since desktop publishing software was invented, illustrators and designers have been experimenting. The result is dynamic designs that kids can’t resist. The upshot is that today’s nonfiction has a dual purpose. It delights as well as informs.  

 

In your talk, you broke nonfiction up into seven categories. Can you explain these categories? Sure. In my talk with uber-talented author Sarah Albee [link: http://www.sarahalbeebooks.com/], we drew upon the work of a group of highly-respected academics who call themselves the Uncommon Corp [link: http://nonfictionandthecommoncore.blogspot.com/]. They classify nonfiction books into seven broad categories. Data: In more friendly terms, you might call this category Fasts Facts. It includes Eyewitness Books, The Guinness Book of World Records, and my own book Animal Grossapedia. These are the concise, fact-filled books that groups of boys love to read together and discuss.

Expository: You might call this category Facts Plus because the facts are interwoven into a content-area explanation. This is could be considered “traditional” nonfiction in some ways, but there’s nothing old-fashioned about today’s expository titles. Their engaging text and rich, dynamic art and design are sure to delight as well as inform young readers.

Narrative: This is a category we’ve heard a lot (I mean A LOT) about in the last few years. It’s the current darling of awards committees. Narrative titles present facts in the form of a true story with a narrative arc.   As you learn about the next few categories, I think you’ll see that some of the books that have been lumped into the narrative category should really be thought about on their own terms, based on the author’s approach to the information.

Disciplinary Thinking: These books reveal how scientists and historians go about their work, how they evaluate evidence and form theories. The structure could be narrative, but it usually isn’t. This category might also be called something like Experts at Work. Scientists in the Field books are the perfect example, but there are plenty of other examples. Skull by Mark Aronson is one that immediately comes to mind.

Inquiry: This category could also be called Ask and Answer. In these books, the author raises a question or a group of related questions and then seeks the answer. Sally Walker’s Written in Bone and What Bluebirds Do by Pamela F. Kirby are great examples.

Interpretation: For these books, authors research a topic widely, find their own meaning in the information, and present the content from that point of view. Charles and Emma by Deborah Heiligman is the first title that leaps to mind, but I’d also put books like Those Rebels, Tom and John by Barbara Kerley in this category. I think we’ll see more of these books in the future because this type of presentation directly supports Common Core.

Action: This is category offers a separate spot for titles that invite young readers to take action. The most obvious examples include Citizen Scientists by Loree Griffin Burns and the Science Play series by Vicki Cobb. I’m not sure this system is the be all and end all, but it’s a very interesting way for writers, teachers, librarians, and other book lovers to think about nonfiction. It stretches the way we think about current books and future possibilities, and I think that’s extremely valuable.

 

Do you think certain topics lend themselves to certain categories? Yes. I think narrative nonfiction works very well for biographies and books about historical events. These topics naturally have a beginning, a middle, and an end. With enough research, an author can craft the alternating scenes and summary architecture that characterizes narrative nonfiction. When writing about science, math, or the Arts, narrative nonfiction may not be an option. Even if it is, it may not be the best choice. For a broad overview of any topic, expository usually works best.   Two great examples are Bugged: How Insects Changes History by Sarah Albee and 9780802734228_p0_v4_s260x420 A Black Hole Is Not a Hole by Carolyn Cinami Decristofano.     If writers think about these categories at the beginning of a project, I think they may have an easier time coming up with a great way to approach a topic and a solid structure for their book. It provides some options, so we aren’t just shooting in the dark.  

 

Which one do you think is most popular with kids? Why? Data books are clearly the most popular with kids. Most school librarians will tell you that titles like The Guinness Book of World Records is almost constantly checked out. Elementary-aged readers love fascinating facts, so Data books can be good for hooking beginning readers. But many educators worry that these books don’t do much to help kids build their reading skills. Right now, thought leaders like Jonathan Hunt and Marc Aronson feel that we need a new breed of book that forms a bridge between Data books and long-form nonfiction that students are expected to read in middle school and high school.

 

Which categories do teachers tend use in their classrooms? In recent years, teachers didn’t use much high-quality trade nonfiction in the classroom at all. But the hope is that Common Core is changing that. Right now, teachers are struggling to learn about nonfiction, and they are building their classroom libraries. Luckily, most school librarians have been singing the praises of the new nonfiction for several years now, so they are becoming trusted advisors in schools where they exist. We need more school librarians!

 

Any tips for readers about how to find fun, engaging nonfiction books? Here are some lists to keep an eye on. They include great nonfiction titles from all seven categories:

  • AAAS/Subaru Prizes for Excellence in Science Books
  • ALA Robert F. Sibert Informational Book Award
  • CRA Eureka! Nonfiction Children’s Book Award
  • Cook Prize for STEM Picture Book
  • Cooperative Children’s Book Center Choices List
  • Cybils Nonfiction for Middle Grade & Young Adult
  • Cybils Nonfiction Picture Books
  • NCTE Orbis Pictus Award for Outstanding Nonfiction for Children
  • NSTA-CBC Outstanding Science Trade Books for Students K-12
  • YALSA Award for Excellence in Nonfiction for Young Adults

 

How do you see the world of nonfiction changing for the future? That’s a great question, and I’m not sure I really know the answer. My hope is that we’ll see more nonfiction being published for children. Although I think many editors are now more open to reviewing nonfiction submission than they were in the past, what I hear is that they aren’t yet acquiring significantly more nonfiction manuscripts. This may be because many editors are still trying to get up to speed on the market. They need to familiarize themselves with what’s out there and gain an understanding of the characteristics of best-selling and award-winning nonfiction. Some editors may also be in a wait-and-see mode, wondering how long Common Core will stick around. There is a lot of controversy regarding the testing associated with CCSS, but the standards themselves are sound. Still, educators are famous for a throw-the-baby-out-with-the-bathwater mentality. They tend to move in completely new directions every decade or so, abandoning previous ideas rather than revising them.

 

Of all the books you have written, do any stand out as having been really fun to write? Perhaps they were about a topic that you loved or in a format that you enjoyed.  I guess I’m still an elementary-aged fact-lover at heart. One of my favorite books to research and write was Animal Grossapedia because it’s so chock full of amazing examples of how animals use pee, poop, vomit, slime (mucus), and spit to catch food and stay safe. But what I also really like about this book is that as kids read example after example, they gradually come to the book’s central idea—that animals have an amazing array of adaptations and behaviors that make it possible for them to survive in the world. So I’m sharing an idea that’s a central tenet of biology, but in a package that they find irresistible. To me, that’s a successful book.

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Thanks so much for helping us to understand the wild and wonderful world of nonfiction, Melissa!!

To learn more about Melissa see her website at www.melissa-stewart.com.  Melissa also has a great blog called “Celebrate Science” where she focuses on cool nonfiction books, how she writes them, and talks more about the classification and structure of nonfiction books. Check it out here:  www.celebratescience.blogspot.com

 

**** Jennifer Swanson is the author over 20 fiction and nonfiction books. She is a science nerd at heart and loves to learn new and fun science facts which is why her shelves are filled with books!!

The Secret Language of Stories (SLOS) by Carolee Dean

Hi everybody! Your long-time MUF member, Kimberley, here with today’s fantastic post!

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Author Carolee Dean

I’m thrilled to introduce you to The Secret Language of Stories, created by my good friend and writing/critique partner, Carolee Dean. As you will see below she has oodles of experience doing this in the public school system as well as in classes and workshops around the country. She’s a brilliant writer, teacher and story analyst, with a terrific plan of fun writing activities to do with your students based on the 12-step Hero’s Journey. If you’re a home-school parent, substitute teacher, or writer yourself – jump right in – and enjoy! LOTS more details at the links below. Take it away, Carolee . . .

OVERVIEW

The Secret Language of Stories (SLOS) is a twelve-step story analysis I created based upon The Hero with a Thousand Faces by Joseph Campbell as well as The Writers Journey: Mythic Structure for Writers by Christopher Vogler. Though I love both of these texts, I was looking for symbols a little more concrete for the students I work with, and terms that brought images easily to mind for them.

I use this method both to create my own novels and to teach writing to kids of all ages as well as adults. As a speech-language pathologist in the public schools, I serve students elementary through high school of all ability levels. Understanding the structure of narratives gives kids a framework not just for understanding the stories they hear and read, but also for telling the stories of their lives.

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Carolee with one of her students

SLOS is broken down into twelve basic parts. Stories don’t necessarily contain all of the components, and they don’t always occur in the order given here. In longer stories, many of the elements are repeated. Subplots may have their own story threads and novels may include endless repetitions of the Plan, Attempt, Response sequence found in the middle section of the story. The purpose of this analysis is not to micro analyze every element of a story, but rather to help students and other writers recognize what is going on in stories and to begin to think like authors.

I like to find magazine images depicting each of these story elements and then ask student to first talk about the pictures and then write sentences or paragraphs about them. Struggling writers may also be struggling speakers and thinkers. Since written language builds upon oral language, I always try to start with a conversation.

1)      Old World – Setting and characters are introduced.

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Our Hero!

2)      Call and Response – This may occur during or after the inciting incident. The Hero receives a call to adventure. Sometimes he eagerly undertakes this challenge, but more often there is a period of reluctance or even refusal as the dangers of the adventure are weighed against possible benefits.

3)      Mentors, Guides, and Gifts – A mentor appears to encourage the hero to accept the challenge of the call and gifts are often given to help him on his way.

4)      Crossing – The hero decides to act and crosses over into the New World.

5)      New World – The hero faces small challenges as she learns to function in the New World.

6)      Problems, Prizes, and Plans – A clear story goal is established and the hero makes plans for how it will be attained.

7)      Midpoint Challenge: Going for the Prize – An attempt is made to attain the Prize. A shift in the story occurs.

8)      Downtime – This section shows the hero’s response to what happened during the attempt. It may be a time of celebration, recovery, healing, regrouping or sulking, depending on what happened during the attempt to attain the Prize.

(Note: In longer stories or novels, endless cycles of the plan, attempt, response sequencing continue to build momentum.)

9)      Chase – A twist sends the hero off in a new direction. Something is being pursued. The hero may be pursuing the prize or the villain, or the villain may be pursuing the hero.

10)   Death and Transformation –

Hero's Journey and Character Arc

The Hero’s Journey PLUS Character ARC

This is the point in the story where it appears that the hero will lose whatever is of highest value. Often someone dies at this point in the narrative.

11)   Showdown: The Final Test – The hero must face one final challenge to demonstrate whether the changes that have occurred are lasting or only temporary; internal or merely external.

12)   Reward –  The hero gets what she has earned. If she has passed the final test, it may be a reward. If not, there may be other consequences. Often there is a celebration and the return of the hero to the group.

This is a very brief overview of the twelve steps. For more information visit my blog at http://caroleedeanbooks.blogspot.com/ and check out the tab entitled The Secret Language of Stories. If you have questions or if you are interested in writing workshops for your staff or students, please feel free to contact me at my email (caroleedean@yahoo.com)

I also have a monthly column called The Secret Language of Stories focusing specifically on story analysis at SPELLBINDERS BOOK NEWS. To read my analysis of Cassandra Clare’s City of  Bones go to my April post at http://spellbindersbooknews.blogspot.com/2013/04/city-of-bones-story-analysis-by-carolee.html.

CAROLEE DEAN BIO: Carolee Dean has made numerous appearances as a guest poet/author at schools, libraries, poetry events, and teacher/librarian conferences. She holds a bachelor’s degree in music therapy, a master’s degree in communicative disorder and has spent over a decade working in the public schools as a speech-language pathologist.

Her first novel, Comfort (Houghton Mifflin), received an IRA notable citation. Take Me There (Simon Pulse) is a YALSA Quick Pick for Reluctant Readers. It follows the journey of a budding young poet who cannot read or write, but dreams of using words to escape a life of crime and deprivation. Forget Me Not (Simon Pulse) is a verse novel exploring suicide and the effects of cyber-bullying.

Follow her on Facebook at Carolee DeanM, Twitter @CaroleeJDean, www.caroleedean.com

Kimberley Griffiths Little is the author of three magical realism novels with Scholastic, THE HEALING SPELL, CIRCLE OF SECRETS, and WHEN THE BUTTERFLIES CAME (2013). Forthcoming: THE TIME OF THE FIREFLIES (Scholastic, 2014) and her Young Adult debut of FORBIDDEN with Harpercollins (Fall 2014). When she’s not writing you can find her reading/daydreaming in her Victorian cottage and eating chocolate chip cookies with a hit of Dr. Pepper.

Writing Well vs. Writing Correctly

A while back we got this excellent question in comments and I thought I’d tackle it today. To preface my remarks, I have a degree in education and have worked at both ends of the spectrum with gifted and with learning disabled students. I’ve tackled every grade from kindergarten through college at least once but most of my experience is in public schools with 4th to 6th grade students.  And here’s the comment.
I enjoyed reading your post, and was glad to hear of advantages of going through the revision process and learning from feedback. I think your question of identifying the strengths and weaknesses of students is a valid one. In fact, it is one I am struggling with this year. I teach English language learners who are motivated to learn, but get discouraged when issues with spelling and grammar get in the way. How do you suggest I handle this while encouraging them to keep writing?
When I was a child I hated to write. In part, I was just a highly active and curious kid who hated to sit still, and write about an adventure when I could be out there on my bike actually having one. But I also hated writing because I am a poor speller–not learning disabled, just poor at spelling. And because EVERY paper I ever got back in school was covered in spelling corrections sometimes with surprisingly bullying remarks from teachers about the stupidity of my errors.
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I simply assumed because I was a poor speller that I was a bad writer. It wasn’t until I was a junior in high school and had an English teacher, Mr. Skibinski, who was actually committed to the content of his student’s writing and not just the form, that I had any inkling that writing could be satisfying way to communicate ideas. Mr. Skibinski was the first teacher to ever give me a grade for content separate from conventions. Even more importantly, he spent more ink showing where my writing was working than where it wasn’t. I gained years worth of growth as a writer in the few months I spent in his class. And based both on that experience and the many things I’ve learned from being professionally edited over the years I’ve come up with a bunch of suggestions that I think may help your students hang in there long enough to become good writers.
 1. Let’s just admit up front, English is hard. It’s a large and rapidly growing language and because it tends to retain foreign spellings of words, it is not phonetically regular.
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2. Nobody gets all the conventional spellings and punctuation right in a first draft. Nobody. Some write more cleanly than others, but even the best writer makes mistakes. In my opinion an error free first draft is an unrealistic expectation for any student at any level. Yes, eventually a final draft should be correct but that takes time and more than one set of eyes on the project.

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3. It’s worth remembering too that conventions of spelling, punctuation, grammar and usage are not objectively correct. They are how they are because we’ve agreed on a common interpretation. But conventions of language are changing all the time, so at best we are looking to hit a moving and somewhat subjective target.
4. In the world of publishing, copy editing is different from developmental editing. My editor never dogs me about spelling or punctuation. I try to catch as much as I can on my own but he is only concerned with the shape of the story and not the correctness of it. When we are all done getting the content as perfect as we can make it, we send it to somebody else. In the case of Random House they send it to 3 copy editors. I have a little ode to my copy editors for Second Fiddle over here http://rosanneparry.com/the-death-of-copyediting/#comments
Obviously this isn’t practical in the classroom but I think it’s worth helping your students think of development and copyediting as separate tasks. Perhaps you could make the distinction with color. Green to show where writing needs to grow. (developmental editing) Purple to show where it can be made more correct. (copy editing)
5. Proficiency comes from volume of writing. Spelling Punctuation and Grammar are the enemy of productivity because your student gets so wrapped up in finding the right answer that they lose the flow of the idea. Better your students write 3 messy paragraphs that communicate what they intended to say than 3 perfect sentences that don’t mean anything. Keeping that in mind it might be worthwhile to encourage students to differentiate between private writing and public writing Private writing need only be readable by the writer. Public writing should be polished. The more private writing your students do the more polished their public writing will become.
Again this might not be practical, but what if your students had a daily journal in which the feedback was only positive? It could be a very powerful experience for them. Or what if you just committed to highlighting 3 strengths in every assignment you grade. Please don’t underestimate the power of this. My editor is at his most effective when he shows me my strongest plot elements and my clearest iteration of the character’s voice. This gives me something to build on and grow toward, which tends to lead to stronger and more confident writing on my part.
6. Spelling is arbitrary and it changes. Show your student’s how to use a dictionary efficiently. And

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 discourage them from relying on spell checking software. Consider the following sentence. If the t is missing in a key word I have not spelled anything wrong and yet the sentence is very, very very incorrect!

 

I chased the rabbit out of my garden with a big stick and a lot of yelling.
7. Many writers have a hard time seeing mistakes, but what is not visible may be audible. Give your students time and space to read their work out loud. I read every word of every draft aloud before I send it to my editor. It makes a huge difference in the quality of the prose. (This will be less true for students who are writing in their second language but it’s still a worth while practice for English language learners because it trains the ear in the new language.)
8. Be honest about your own mistakes. Encourage students to look for errors when you write on the board. Make a few on purpose so that they learn by your example how to handle that failure graciously. this will also help them gain an eye for proofreading.
It took me a very long time to think of myself as a writer because I mistook correct writing for good writing. I think with some sensitivity and some practical changes to how we manage writing assignments, we can have even struggling students thinking of themselves as proficient writers. Even better we can move them in the direction of being stronger writers more quickly.
So thanks for your excellent question, and please chime in readers. What have you done to help your students manage their discouragement with spelling, punctuation and grammar?