Posts Tagged “writing for children”

Re-Read-19: A Short Meditation on Re-Reading in the time of Coronavirus

Bookhoarding: Early and Often

Growing up, a favorite Sunday afternoon outing was to the famed Children’s Bookstore in downtown Toronto. It was the 1980s, the heyday of the bookshop and of me and my siblings piling into the wood-panelled station wagon for squabbling as well as other more-intentional family activities.

A 1980 ad for The Children’s Bookstore in Toronto. Can you believe the talent it attracted!?

When it was time to leave the store my parents would first have to locate me hidden in one of the aisles, deep inside the pages of a book I hadn’t bought yet. I remember the pile of my selections and then their hefty weight in the bags as we walked back to the car. Being obliviously squished in the station wagon (for once unconcerned by who got to sit in the “backy-back”) while reading on the way home. Repeat this experience, perhaps on a different Sunday afternoon, at the Judaica store where I would stock up on Holocaust literature (which as the granddaughter of survivors I was obsessed with and is probably another blog post.) And the thrill of receiving the Scholastic mail order to my classroom. And every once in awhile my mother would bring home used books for me.

I am hard pressed to find any material objects from my childhood—my family moved many times and my mother is a ruthless de-clutterer. But I hereby publicly thank my mom for somehow holding on to my copy of Noel Streatfield’s Ballet Shoes—which she bought for me used and which I then made much use of myself, reading it over and over again; and which now exists in my own home library; and which I have now read twice out loud to various children; and which my eldest has read to herself countless times.

Edition of Ballet Shoes by Noel Streatfeild (published in 1937, this edition in 1979) in our home library, except our cover has disintegrated.

Reading is… Re-reading?

What I loved most about reading was the chance to re-read the books I most loved. It was rare that I would read something only once. The fiendish gobbling down of a new book was also in preparation for the judgment of “is this worthy of re-reading?”

There are many pleasures of re-reading. Because the first read is to find out WHAT HAPPENS. And WHAT HAPPENS NEXT. And HOW DOES IT END. But when you read it again you aren’t flipping the pages compulsively to know all that: you already know it. So in the next reading and any subsequent ones, you are reading to enjoy in a different way—to meander on the path a little more, to take pleasure in the characters and language, to understand better what happens, to laugh at the funny parts like one does at a cult movie—the hilarity often being in knowing exactly what’s going to happen and what will be said, the pleasure in the anticipation and then in getting to experience it all over again. Or the heartbreak. Or the unfairness. The antagonist getting their just desserts. Indeed, the satisfaction of a satisfying ending.

Middle Grade and Re-reading

I now see this with my own children. Most young kids delight in making their parents and caregivers (and any other unsuspecting victims) read their favorite picture books over and over (and over) again. But once children learn to read they often delight in reading their favorite books to themselves over and over again. Usually the middle grade book I am reading out loud to my 9 and 11 year old sons, they will then read to themselves—sometimes reading ahead of where we are together, sometimes taking it to re-read afterward, sometimes both. They will read anything in graphic format, and our collection of Big Nates, Dogmans, Captain Underpants, Hazardous Tales, along with Raina Telgemeirs (both the memoirs and the Babysitter’s Clubs) and other coming-of-age graphic novels such as New Kid, Awkward, Roller-Girl or the beautiful Holocaust-introduction White Bird are thickened and dog-eared.

Agents and editors often say that they will only represent and acquire a manuscript they love enough to see themselves re-reading and re-reading and re-reading. One which will stand up to that amount of scrutiny. In which they love the characters enough to see them through their plot again and again and again. Fair enough!

But middle grade books seem particularly designed to be read over and over again. They are filled with emotion, empathy and adventure. They are where kids can learn about the world, themselves, and each other. And middle grade readers seem uniquely designed to be re-readers. They have the time, the curiosity, the intelligence and the emotional ability to connect deeply and expansively with books and stories that move them, engage them or even just make them giggle.

Bookshelf in my sons’ bedroom, examples of what gets lots of re-reading love.

I’ve written before about the unique pleasure of reading a childhood favorite again as an adult, and the relief of it standing the test of time. Like meeting up with an old friend and immediately connecting once again, the kinship felt both the same and different, and maybe even deeper. But as an adult, I find that it is rare for me to re-read something. I am inundated by what’s new and what’s next—it always feels like there’s something else I should be reading, I should have read already, that I need to consume. Or the book I bought as part of a haul from a bookstore visit suddenly doesn’t seem compelling at the exact moment I’m ready to start something new, but I hear of something else—on Twitter, a book review in the paper, something jogs my memory, a friend’s recommendation—that does and order it immediately.

Panic-buying books

When my kids’ schools announced they were closing six weeks ago, and threats of a lockdown were looming, I found myself not only stocking up on toilet paper and canned food, but on books. Bookstores would close, libraries too, and what if Amazon stopped delivering? It was (AND IS) so scary to think about getting sick, people dying, the uncertainty of anything beyond each day. And so—as a further manifestation of stockpiling mentality or as way of sidestepping the things too scary to contemplate— I panicked about how we would manage without something new to read. How would I nourish my soul in a lockdown? How would I nourish my children’s? It felt like it might be the difference between keeping sane and coping with whatever came our way, and not.

Small graces in a difficult time

Over these lockdown weeks, however, I have watched my older daughter, 14, work her way through the new books I bought her that had been piling up, unread for lack of time due to being a teenager (read: school, friends, Snapchat, Instagram, TikTok, Netflix.) Now there is suddenly LOTS of time. And when she finished the new ones she started reaching in her bookshelf for all the old ones. The ones she loved when she was 7, 8, 9, 10 and 11. (12 being the beginning of her literary teenage wasteland.) In one of the many surprising twists of lockdown and life in the time of the new Coronavirus, this is one of the positive ones for me, and her.

My new TBRR (To Be Re-Read) pile. I’ve started with Possession by AS Byatt.

So I have taken the lead from my children and have started re-reading again as a general practice.

For now my pantry is (thank goodness) well-stocked – and I’ve realized that I have an even better-stocked home library. I have almost every book I’ve bought or been given since college. (Unless I’ve loaned it to you and you haven’t returned it. It’s ok, I don’t mind.)  From picture book to middle grade to adult fiction, non-fiction and plays, all genres are gamely and lovingly represented (Lonely Planet Ireland circa late 1990s anyone?) Not only is self-isolation and lockdown a chance to work my way through my TBR stack, but it is also a wonderful chance to re-read the books that pleased me as an adult. Or on the cusp of adulthood. Great works that deserve more careful reading. Or which I don’t think I understood as fully in my twenties as I might now.

Indeed, with each re-reading we understand something different. The words remain the same, but we—whether it is our age or our stage or our mental place—are different each time. What new knowledge, understanding, satisfaction and joy will each reading bring?

Interview: Mae Respicio Talks About Theme And ANY DAY WITH YOU

I met Mae Respicio when our debut middle-grade novels released in the same year, 2018, and I was so impressed with her as an author and a person. Now Mae has a brand new MG coming out, ANY DAY WITH YOU. The novel got a starred review from Publishers Weekly and will be on shelves in just a couple weeks, on May 5, published by Wendy Lamb Books, an imprint of Penguin Random House.

Mae Respicio

Mae Respicio

Mae is a star at working themes into her writing, so I’m thrilled that she’s on The Mixed Up Files to talk to us about that today.

Hi, Mae, tell us about your new MG book!

Of course—and thanks for having me here—I can’t wait to share ANY DAY WITH YOU with readers! The story revolves around twelve-year-old Kaia, who loves the beach, making movies, and creating effects make-up. When Kaia’s ninety-year-old great grandpa, Tatang, decides to return to his homeland of the Philippines, she doesn’t want him to go. Kaia and her best friends make a movie about the Filipino folklore Tatang loves to tell, and they enter it into a summer film contest thinking that if they win, it’ll stop him from saying goodbye. The book is all about family, friendship, and how we navigate change… an early reader told me she thought it was the warm hug we could all use right now and I love that—it’s a feel-good book for these times.

What gave you the idea for this story?

ANY DAY WITH YOU has a lot of personal connections for me. It’s set in sunny beachside Los Angeles, one of my heart-homes where I lived for many years. It has a filmmaking element, which is a world I’ve been a part of (fun fact: I met my husband when we both worked for the Walt Disney Animation Studios, and he did the teeniest bit of interior art for the book!). The story also features “maker-kids”—I’ve got 2 at home!—and as a girl I always loved to draw and create things. Finally, Tatang’s storyline came to be because it’s loosely inspired by my childhood—my grandparents lived with my family for a little while, so intergenerational relationships played a big role in my life. Somehow I combined all these elements and Kaia’s story was born.

ANY DAY WITH YOU has some great themes. Tell us about them.

One of the main themes of ANY DAY WITH YOU is around resiliency: what happens when your life changes, and how do you choose to deal with it? In this very moment our whole world is connected by change, and we’re all learning how to deal with it through empathy, kindness, and patience. It’s timely and a perfect book for kids right now, especially if teachers and parents can gently guide readers through conversations of how we navigate change to make us stronger.

Do you develop your themes when you’re first working on a story or do you identify them later in the process?

Support Independent Bookstores - Visit IndieBound.orgI usually brainstorm with certain themes in mind, but they start off big and overarching until I get to know my characters—that’s when I can get more nuanced. For ANY DAY WITH YOU, I wanted to explore “resiliency”—but I didn’t know what that meant until I came up Tatang’s storyline. That also happened with THE HOUSE THAT LOU BUILT. I wanted to write around “dreaming big” and “persistence,” but I didn’t know what that looked like until I came up with details of a girl wanting to build her own tiny house. When developing themes, I try to answer questions around what choices and obstacles would be thrown my characters way, and what emotions I want readers to come away with.

How do you use themes to dig deeper in your work?

Honestly, I don’t think about digging deep when I’m writing a first draft. I start off with a general story line—a beginning, middle, and end—then I let it all come out however messy… usually my first drafts look like a massive pile of words that make no sense! Revision is when I can dig deep, and that’s where a story’s richness comes in. For me that means using specific images, actions, and character choices that keep relating back the book’s themes. In ANY DAY WITH YOU, there’s some ocean and nature imagery relating to resiliency—so for example, showing how waves change daily but still they roll in a regular rhythm, a bit the way humans keep going even when their lives are disrupted.

Writers often explore similar themes in their body of work. Did you find that ANY DAY WITH YOU had similar themes to your earlier MG book THE HOUSE THAT LOU BOOK?


Support Independent Bookstores - Visit IndieBound.orgOh, definitely. I’ve also published a lot of nonfiction and personal essay, and what I’ve found is that in most things I write there’s some thread of “home”—how do we discover home and what does that mean based on our different lenses.

Are there other parts of the book where you pulled from your own experiences?

My fiction has a balance of what I don’t know (and want to learn more about), and what I know intrinsically and what I’ve lived—usually from childhood—which is the part I think adds layer and spark. Also, as a parent of middle-grade reading kids, I draw from my parenting life—an endless, funny bounty of honest fodder. I grew up going to California beaches and it’s the way my family enjoys spending time together (my kids surf and love all beachy things!), so it was a fun writing exercise pulling from childhood memories and family experiences around the smells, sounds, and feeling of being near the ocean.

When does ANY DAY WITH YOU come out and how will you be celebrating?


ANY DAY WITH YOU comes out May 5th and I’ll be celebrating from home while sheltering in place! This may involve a cake and pajamas. Okay, maybe not PJs if I end up filming a little celebration video and sharing it online, but obviously there will be cake. Folks can follow me on Twitter and Instagram—or sign up for my (very infrequent!) newsletter—where I’ll be shouting out upcoming events.

Thanks, Mae! I’ve learned so much.

You can pre-order ANY DAY WITH YOU now.

STEM Tuesday — Earth Day 50th Anniversary Celebration– Writing Tips & Resources

Tackling a Planet – Sized Topic

Earth Day. Earth Week. Earth Month. It’s time to celebrate all that exists around us. But, how do you do that in words? When you’re interested writing about in the entire earth, where do you even start?

As writers, we are often given the advice to narrow our focus; yet, at the same time, we are expected to provide a grand, universal truth. That feels so contradictory. How do can we provide specific details to bring a planet sized-topic to life?

Support Independent Bookstores - Visit IndieBound.orgReading Jack Hart’s Story Craft: The Complete Guide to Writing Narrative Nonfiction, I stumbled across the concept of the Ladder of Abstraction and have found this an excellent way to visualize writing.

Imagine a ladder where each rung represents a different level of abstraction. Let’s apply this concept to a tree. On the lowest rung we would have: the sycamore tree in my backyard.  The would be a bit more abstract: all sycamore trees, and the next would be trees. Higher rungs could be plants, living things, everything. Thus, climbing the rungs, we move from the concrete to the abstract.

The lowest rungs of the ladder put you in a scene; the highest rungs of the ladder provide you with perspective. Imagine yourself standing on the first rung; you are as close as you can be to the ground without actually being there. You can see the details of the dirt. Then imagine standing on the top rungs; you have a view that lets you comprehend how those details fit into the larger picture. As Hart notes, “Emotion originates on the ladder’s lowest rungs.” He goes on to explain, “… greater meaning resides on the ladder’s upper rungs.”

In order to bring out both emotion and meaning, writers can move up and down this ladder strategically to provide both concrete details (yielding personal connections) and generalizations (yielding universal truths) for their readers. Most writers struggle with providing those concrete details. Here’s a fun way to practice working your way down to the bottom rung to generate dozens of specific details.

Set Up

Select an item from nature that will fit in your hand. Something with a variety in textures (like a stick covered in lichen, an interesting stone or a large flower) works well. Position your non-dominant hand in front of you, holding the item. Position your paper and dominant hand behind you, where you can’t see them.

Pretend an ant is crawling on your item. Your job will be to trace (on paper) the ant’s path as it explores the item. I know this sounds odd, but it works, so try it.

Blind Drawing

Begin by putting your pencil down in the middle of your paper; after that, do not look at your paper. You will be creating a wandering scribble — not a drawing of the item. Resist the temptation to look at your paper! As you watch your imaginary ant explore, trace his trail on the paper, basically creating a map of his route. Keep your ant going. Keep your dominant hand tracing. Make your ant go around the corner, over the edge, into the hole.

For a minimum of five minutes (set a timer if you need it), keep tracing your ant’s journey. If he retraces his steps, that’s fine. If you need to turn your item over, that’s fine. If he goes in a hole where you can’t see, make it up. When you think you’re done, keep going. Keep him exploring! Keep mapping his path.

Getting the Details Down

When you’re done, you may look at your drawing. Then, look at your item and retrace the trip. Along the way, describe his experiences aloud, jotting every detail down. Think of the texture under the ant’s feet, the shapes he encounters, the amount of light, the shade of color, the springiness of the surface, what each area reminds him of, etc.. The goal here is to overflow your page with details.

If your ant was a good explore, you should have quite a list. Sure, these descriptions are from an ant’s perspective, but they are concrete details. Unless you first record details with this level of specificity, you won’t have enough fodder for the bottom rung of the ladder.

Selecting the Specific

Now, let’s take this exercise a bit further. We won’t try to find a universal truth here (although you might try that too), but instead practice with a simpler task, creating mood. Skim your list for descriptors that convey a common mood. In my list, several feel kind of ominous. Using a highlighter, crayon or symbol, mark the details that match the mood. I’ve chosen yellow for ominous ones. Next, search your list for a different mood and mark that with a different color. Can you find a third?

Put that in Writing

Your final challenge is to use the selected descriptors to convey that mood in a sentence or short paragraph. I started with my green descriptors and tried to convey playfulness. Then I used the descriptors flagged with yellow to create a more ominous sentence, and finally the ones marked in red to convey a comforting mood.

When tackling a planet – sized topic, specific details matter. They carry the reader down to the bottom rung on the Ladder of Abstraction. Immersed in a scene filled with specificity, readers feel grounded, emotionally connected, and ready to move up the rungs and discover a universal truth.

 

 

Support Independent Bookstores - Visit IndieBound.org

Heather L. Montgomery loves to climb ladders — abstract and otherwise. See how she applies these writing techniques in Who Gives a Poop? The Surprising Science Behind Scat (Bloomsbury, September 2020). Pre-orders available at https://www.indiebound.org/book/9781547603473.