Posts Tagged writing tips

STEM Tuesday– Naturalists– Author Interview: Danna Staaf

Welcome to STEM Tuesday: Author Interview, a repeating feature for the last Tuesday of every month. Go Science-Tech-Engineering-Math!

Today we’re featuring Danna Staaf, a marine biologist and author of several science books. Her book The Lady and the Octopus: How Jeanne Villepreux-Power Invented Aquariums and Revolutionized Marine Biology garnered these reviews:

  • Notable Award Children’s Book Committee at Bank Street College Best Children’s Book of the Year, 2023
  • Booklist Top 10 History for Youth, 2023
  • Booklist Top 10 Science and Technology Books for Youth, 2023
  • Cooperative Children’s Book Center (CCBC) Choices, 2023
  • Booklist Top 10 Biographies & Memoirs for Youth, 2023
  • School Library Journal Best Book of 2022

 

Andi Diehn: I love your sidebar in the first few pages about historic accuracy and doing our best with what we know until we can add to that knowledge. Why include this?

Danna Staaf: Honesty really is the best policy, especially when talking to children. Both the historical and the scientific record are intrinsically incomplete—there are open questions, missing data points, ambiguous findings. I felt it was very important to acknowledge that uncertainty up front, and not to pretend that I had all the answers. At the same time, I spent years researching this book, and I did have a lot of information, which gave me the ability to make guesses in good faith about missing pieces. This is how we build a trusting relationship with readers, by saying, “I don’t know everything. I’ll tell you what I do know, and how I know it. When I have to make guesses, I’ll tell you why those guesses are reasonable. And I’ll admit that they might turn out to be wrong later.”

I think about all the dinosaur books I read when I was a little kid, and the old misinterpretations of what dinosaurs looked like and how they lived. Most of those authors were doing the best they could with the available research—and they inspired the next generation of scientists to go out and do more research, to show which guesses were right and which were wrong. That’s the iterative nature of knowledge. It’s beautiful.

AD: I like how you made it clear that Jeanne was able to study and practice science because of her privileged position as a married woman with no children – why is this important for readers to be aware of?

DS: It’s a really interesting topic! When I first began to read about Jeanne, I thought her story would be strongly impacted by sexism, both during and after her life. And she absolutely did have to contend with sexism. A man who wasn’t even a scientist tried to take credit for her work, and although she managed to join several scientific societies as their first female member, the Royal Society (the UK’s national science academy) refused to admit women until 1945! Sexism likely also played a role in how quickly her work was forgotten after her death. However, as I read more of her writing and her peers’ writing about her, I became very impressed by how successfully she advocated for herself. Now I think that the reason we know as much about her as we do, and indeed the reason I had enough material to write this book, was her own determination to publish her research and get credit for it.

But Jeanne’s ability to research and advocate effectively was greatly enhanced by her privilege. In addition to being married and childless, she was white and wealthy. Before her marriage, she struggled to support herself and couldn’t devote time to natural history, but afterward, she had the resources and the leisure to pursue her curiosity. Wouldn’t it be great if everyone had that freedom? How many more wonderful discoveries and inventions could be made? I hope it helps readers think about who has been left out of history, and why, and what we can do to create a more just society.

AD: I love your phrase on page 43 about studying “marine life instead of marine death” – why does this distinction matter?

DS: I actually think about it even more now than I did while I was writing this book! When Jeanne started working in natural history, especially in the field we now call marine biology, most people were very focused on studying dead specimens. They killed and dissected animals; they preserved skeletons and furs and shells. Even setting aside the ethics of doing science like that, they missed so much by not looking at living animals. Especially in the ocean, an animal can look completely different when it’s alive in its natural habitat—think of a jellyfish swimming gracefully through the water, which dissolves into goo if you kill it and try to preserve it. And behavior! The only way to really see how animals move, hunt, court, mate, and so forth is to observe it.

Science has come a long way from the days of pickling and dissecting everything in order to study it, in large part thanks to people like Jeanne and inventions like her aquariums. And yet there are still some stubborn remnants of this attitude. To describe a new species, it’s generally accepted that a dead specimen needs to be put in a museum somewhere. Now, I don’t want to discount the importance of museum collections in any way—those historical specimens are absolutely vital to our understanding of life, and even to the conservation and protection of living organisms, because scientists use the knowledge from those specimens to figure out things like which species are left in a coral reef or a rain forest, and how many are new to science. But now that we have high-resolution video capabilities, 3D scans, CT scans, and so forth, maybe we can shift toward identifying species without needing to kill individuals so often.

AD: She’s a scientist but also an inventor – how does scientific inquiry and invention go hand in hand?

DS: Scientists are always inventing gadgets to help them figure out the answers to their questions, from high-tech to low-tech and everything in between. When I was in graduate school studying squid, I wanted to know how temperature affected the development of squid eggs, so I worked with a really skilled technician to design a little incubator that could keep dishes of seawater at a range of different temperatures. It had a bunch of carefully machined metal pieces, all very precise. Then I took it on a research boat in Mexico in very hot weather, and I had to improvise a combination of bubble wrap and a desk fan to keep the whole assembly from overheating! Then, I also learned how to write computer programs to analyze the data I gathered. I’d say those are both forms of invention. Sometimes scientists’ inventions are very specific to a particular need, like my incubator, and sometimes they find more general applications, like Jeanne’s aquariums. You never know!

AD: What was your favorite thing you learned from your research?

DS: How can I pick just one?? I learned that that the tides in the Mediterranean Sea are more impacted by the local geography than by the moon, so when it’s high tide on one side of the Strait of Messina, it’s low tide on the other side, just a few kilometers away. I learned that an engineer named Charles Condert developed a type of scuba gear a hundred years ahead of Cousteau’s Aqua-Lung, and made many successful dives before dying in a tragic underwater accident–the first known scuba fatality. I learned that Benjamin Franklin carried around a little container of oil in his walking stick, so he could impress people by pouring it on rough water and calming the waves. But, if I have to pick, I think my favorite research gem was learning about Anna Thynne. She’d studied geology for years, and fell in love with corals because she saw them as living rocks. I love her account of collecting corals, which I didn’t have room to include in the book: “With a needle and thread I fixed the Madrepores [corals] on a large sponge, that there might be no damage from collision, and then placed them in a glass jar filled to the brim with water, and tied down with a bladder….During the journey [home from the seashore], I had the great pleasure of seeing them expand their tentacula most happily; and they arrived both at Clifton and London in a most flourishing state.”

AD: What did you like best about writing a biography? Was there anything frustrating about the project?

DS: I have to confess that history was my least favorite subject in school. I struggled to memorize the names and dates of monarchs and battles, while I had no trouble memorizing octopus species. So the historical research for this book was the biggest challenge for me. I had to read the timeline of the French Revolution and the Napoleonic Wars over and over again to make sure I was getting everything right.

That said, it might also be the thing I liked best. I found that world events became much more interesting to me when I could link them with Jeanne’s life. Writing a biography actually kindled my interest in history, and helped me see how seemingly abstract monarch names and battle dates affected real people’s lives, even impacting the course of science. Now I can remember that Napoleon was defeated at Waterloo in 1815, because it led directly to Jeanne sewing a royal wedding gown in 1816, which led in turn to her meeting her future husband, and the beginning of her career in marine biology!

 

Danna Staaf is a science communicator and marine biologist who earned a PhD from Stanford University with her studies of baby squid. Her writing has appeared in Smithsonian, NautilusAtlas Obscura, and Science, and she is the author of Monarchs of the Sea: The Extraordinary 500-Million-Year History of Cephalopods (named one of Science Friday’s best science books of the year), The Lady and the Octopus: How Jeanne Villepreux-Power Invented Aquariums and Revolutionized Marine Biology (a best book of the year of the School Library Journal and the Children’s Book Committee), and Nursery Earth: The Wondrous Lives of Baby Animals and the Extraordinary Ways They Shape Our World (hailed as “a gobsmacking delight!”). Her newest book is The Lives of Octopuses and their Relatives: A Natural History of Cephalopods. Staaf lives in San Jose, California, with her husband, children, cat, and innumerable plush octopuses.

 

Andi Diehn

Andi Diehn works as an editor for Nomad Press and has written many STEM books for kids!

Reluctant Reader Meet Reluctant Writer

Young girl sitting at her desk with her head down in a book.

As educators, parents, and creatives, we are very familiar with the notion of the reluctant reader: young—and old—readers who dread picking up a book, yet alone finishing it! Educators struggle with recommending interesting stories to unmotivated readers. Parents struggle with unfinished library books that their children just HAD to have. Writers struggle with creating unique and binge-worthy tales for their audiences. While the concept of a reluctant reader is well known, its counterpart—the reluctant writer—may not be as popular. 

Some students may be labeled as reluctant writers because they have a deadly aversion to writing. Be it a short-answer response on their exams, or a creative story for an assignment, reluctant writers have zero desire to put their thoughts down on paper for whatever reason. This scenario happens to the best of us and I would proudly declare that I consider myself to be a reluctant writer. Even if I know I have amazing stories to tell, when it comes time to sit down and put pen to paper, my brain shuts down!

For many of us, the start of a new project is always exhilarating. It’s thrilling to sit up and think about new characters, new worlds, and new loves. The entire process is always exciting at the beginning. When you open up a fresh, blank document and start typing your first words, all of your ideas flow easily onto the page. The story starts off strong and your characters come to life while you document their trials and tribulations. Your plot thickens as you hit a groove and steadily add to your word count day after day after day. But then suddenly, it happens without warning ~ writer’s block. 

Clip art of a boy at his desk with his hand on this chin, staring into space.

Your ideas become stale, your writing stalls. Your blank pages stare back at you, judging your ineptitude. Your characters whisper behind your back and mock your inability to continue the story. Your world fades the longer you miss your streak and fail to add new words. Eventually, you stop opening the document and move on to a different project. Another manuscript sits in your folder, hoping to see the light of day again, but you both know that story is done. This vicious cycle of new stories, vigorous writing, stalled plotlines, and incomplete manuscripts lives at the heart of today’s truth. 

Writing is numbing. 

It’s extremely difficult to maintain a strict writing schedule when you have life coming at you from all sides. Plus, brilliance rarely strikes every day, so I believe it’s bad practice to force yourself to write every day. Burnout is real and so is the pain of being unable to complete your beloved manuscript. This pain becomes so numbing, you’re unable to do anything else. 

Yet knowing that inspiration comes when it wants, it’s very possible you’ll miss it if you don’t have a steady routine. I know this sounds very contradictory, but the writing process is not just about writing. There are so many other writing-related things you can do when you are caught in the middle of a creative drought. 

Learn to acknowledge the numbing feeling of writer’s block and look for ways to break free from it. Invention is the most difficult part of creation, regardless of the medium you work in. And it’s hard to find the right words to articulate the vision you have in your head. Oftentimes, the words don’t want to come or the scenes just don’t flow.

To trigger my creative side, I’ll take a break from forcing myself to write and wind down by reading or watching shows. Once inspiration hits, I’ll have a brainstorming session to help me get over my writer’s block. Nothing major or planned. Just a quick free write to jot possible ideas down on paper. Usually, this gives me a starting point for stalled manuscripts and I will feel ready to return to them.

Another helpful tip is having writer friends or accountability partners that understand what you’re going through and can pull you out of your self-inflicted misery. We all go through bouts of imposter syndrome, but it doesn’t mean you need to succumb to this malady. It’s important to acknowledge when we’re feeling this blockage and fight to find a way to step away from the numbing pain to seek another new beginning. 

Aerial shot of a group of writers sitting a table with their laptops, notepads, clipboard and drinks during a session.

The more you allow yourself to write without restraint, you’ll find the ideas flowing more freely. Eventually, you’ll find your creative groove and hopefully move away from being a reluctant writer to a productive one! Just know that we’ve all been there and if you ever need a positive push, my inbox is always open! Signing off from the trenches, I’m manifesting great writing sessions and envisioning everyone finding your voice and creating some amazing stories to inspire the next generation of reluctant readers and writers! 

STEM Tuesday– Naturalists– Writing Tips & Resources

Hello again, STEM Tuesday friends. Here in Utah the spring has been iffy, with bitter winds and snow as recently as two weeks ago. Now that the air is warm and filled with little white blossoms from the cherry trees, it seems like we’re finally close to summer.

With the warming weather, and our monthly theme of naturalists, my first impulse is to recommend a nature walk. When I was young, I loved looking at different leaf shapes, and feeling their various textures. I remember washing out an Altoids tin and keeping an assortment of dried flowers, twigs, and rocks. These sorts of outings are timeless.

It being poetry month, I have a wonderful resource for you: a book about writing nature poems, written for and featuring young poets called A Crow Doesn’t Need a Shadow: A Guide to Writing Poetry From Nature by Lorraine Ferra.

a book cover

Indeed, the first chapter is about poetry field trips; getting into the great outdoors and experiencing the primary text of the world around us. Ferra writes,

Weather is an endless source of ideas for poems. You need only to step outside to feel the freshness of new-fallen snow, or a light rainfall. If circumstances limit your activities and keep you indoors, a poetry field trip can be as quick as a few steps to a window. From there, you can watch dark thunderclouds riding toward you like a herd of buffalo or catch sight of a rainbow before it disappears.”

While this book offers plenty of writing prompts, I’ll let you discover those yourselves (see page 21), instead opting to share some from my own arsenal.

Writing Prompt 1 | A Form Poem

Have your children try writing a seven-line diamante. It’s a little like a Mad Lib, in that they’ll need to know their parts of speech. Typically, diamante poems juxtapose two things—whether like or unlike—so the prompt is to choose two parts of nature and bookend the poem with those, like this:

seed

– –

– – –

– – – –

– – –

– –

pebble

From there, build the poem accordingly. The seven words following your first line should modify the beginning word. The seven words preceding the last line should modify the last word. Each hyphen represents a word. The double hyphen lines are filled with adjectives. The triple hyphen lines are filled with gerunds (verbs ending with -ing), and the middle line features nouns. A completed poem might look like this:

 

seed

patient, thirsty

uncurling, stretching, waving

stem, blossom, path, river

flying, twirling, sinking

kicked, settled

pebble

 

Writing Prompt 2 | Short Stories About Small Creatures

If going outside for a nature walk isn’t possible, the next best thing is bringing the outdoors in. If you feel adventurous, invite students to bring their own insects, bugs, or spiders to class (in a jar or other container). Otherwise, choose one or two to bring. Easy ones to capture might include pill bugs, common house flies, or pollinators like ladybugs. In a pinch, you can purchase some from pet stores, which usually carry live crickets (about $7 for 40), worms, and other small creatures. Several years ago, I caught a jumping spider similar to this guy in my back yard:

jumping spider

Encourage your students to write a short story from the perspective of one of these small creatures. What would the world look like? How could a normal object from school life, like a pencil or calculator, be experienced by a non-human? What kind of challenges might this kind of main character face? For example, what color of acrylic paint would a ladybug be most attracted to, or how many ants would it take to carry a cookie? This exercise may lead students to write silly stories, but it’s a fun prompt that encourages empathy.

Wherever you are, I hope you’re enjoying nature and the weather, helping your budding naturalists-in-the-making to observe and discover more about the world around them.

Best,

Stephanie

A nature-loving creative, Stephanie Jackson writes poems, articles, picture books, middle-grade novels, and more. Her nonfiction has been published in Cricket magazine and her poems have been published in The Dirigible Balloon and various literary journals including Touchstones, where she’s been a contributing poetry editor. Professional affiliations include the Society of Children’s Book Writers and Illustrators (SCBWI) and The Authors Guild. She’s graduating this month from Utah Valley University with her English degree, emphasis in creative writing. You can read more at StephanieWritesforKids.com.