Posts Tagged writing tips

Writing Quest Stories

By on July 19, 2017   /   Book Lists, Diversity, Fiction, For Kids, For Librarians, For Parents, For Teachers, For Writers, Writing  

  My fascination for quest stories began when I was in middle school.  At the time, our bespectacled young boy named Harry Potter wasn’t born yet. However, because I lived in India, I had the exposure to fantasy quest stories based on Indian culture. I read  Ramayana and Mahabharata epic novels, and stories from other Hindu texts. Those fantasy stories have been in the world for centuries, even millenia in some cases.

I often compare what I grew up reading to the middle grade quest novels of authors like J.R.R. Tolkien and J.K. Rowling. My brain is hardwired to pay attention to the common themes in the characters’ growth, and appreciate the similarities and deeper meaning in the journeys of the characters.

 

Quest stories make the characters seek something, and we as readers get to join them on the ride. In her book, The Tough Guide to Fantasyland, Diana Wynne Jones describes a quest as “a large-scale treasure hunt, with clues scattered all over the continent, a few false leads, mystical masters as game-show hosts, and the dark lord and the terrain who make the quest interestingly difficult”(153). Therefore, the hero leaves her comfortable, ordinary surroundings to venture into a challenging, unfamiliar world where she encounters conflicts with antagonistic, challenging forces before achieving her goal.

In this post, we will take a look at two fantasy quest novels:

Where the Mountain Meets The Moon by Grace Lin    

and 

The Wonderful Wizard Of Oz by Frank L. Baum

We will focus on some of the common themes around plot, conflict and change that made these quest stories timeless reads.

Plot:

If you’ve been writing fiction for even a short while, you have probably heard or used the word “plot” in your critique conversations. In his book, The Plot Thickens, Noah Lukeman writes that “plot is not just about having a single great idea; on the contrary, a good plot is an amalgamation of many ideas or elements of writing, including characterization, journey, suspense, conflict, and context” (xv). Therefore, while an idea is important, a plot doesn’t exist without the supporting elements that make up the story.

In Where The Mountain Meets The Moon, the main character Minli sets off on an extraordinary journey of adventure and folklore to find the Old Man on the moon to ask him how she can change her family’s fortune.

In the Wizard Of Oz, Dorothy and her dog Toto are swept away from a Kansas farm to the Land of Oz by a cyclone.

Minli’s quest is to find the Old Man on the moon. Dorothy’s quest is to return to her home in Kansas again.

In both the stories, Grace Lin and Frank L. Baum spend considerable amount of time at the beginning of the book establishing their main characters’ normal life before they take off on their journeys. The authors introduce the readers to the secondary characters and set up the cultural context. The settings create a vivid contrast with the strange new worlds Minli and Dorothy enter. All these elements together make strong plot structures for the stories.

Conflict:

Story plots must always involve conflicts.  Philip Athans writes in his book, The Guide to Writing Fantasy and Science Fiction that “unless your protagonist comes into conflict – in the broadest sense of the word – with someone or something, you have no plot, no story, and no novel” (25). Therefore, it is exceedingly important to put the characters in difficult situations that cause conflict.

In Where the Mountain Meets The Moon, the central conflict for Minli is that her family’s fortune is very weak. So she goes on an adventure to have a better fortune, make friends and bring green to the Fruitless mountain.

In The Wonderful Wizard Of Oz, the main conflict is that Dorothy thinks that life will be better someplace else (i.e. over the rainbow). She runs away from home, gets caught in a tornado, and ends up in another world. Finally, she is desperate to find her way back home.

Baum and Lin put their characters in conflict arising circumstances, and raise the stakes to increase the importance of their story goals. How Dorothy and Minli deal with the conflicts show us a great deal about their traits and personalities. They force the reader to take sides and keep reading.

Change:

In Where The Mountain Meets The Moon, Minli has a lively and impulsive spirit that is different from her parents. She makes friends along the way in her journey. She even befriends a dragon. But when Minli finally reaches home from the Never-Ending Mountain at the end, she realizes that all her questions are answered. Minli’s village is prosperous again, and she is thankful for her family.

In The Wonderful Wizard Of Oz, there’s an inherent change in Dorothy’s character when she meets other characters like the scare crow, the Tin Man, the lion, the wicked witch of the west and the wizard. In the end, Baum shows the change in Dorothy by having her realize that the special world of Oz must eventually be left behind if she has to get back to Kansas. This marks her decision to return to her home where Uncle Henry and Aunt Em live. The quest becomes meaningful when Dorothy returns to Kansas with a lesson from Oz. Dorothy finally returns to Kansas with the knowledge that she is loved, and that there is no place like home.

Even though The Wonderful Wizard Of Oz and Where The Mountain Meets The Moon were written and published at different time periods (1900 and 2009) and have different cultural references and symbolisms, Baum and Lin have made their characters embark on profound journeys that eventually lead them to self-realization and change from within.

Minli’s and Dorothy’s quests sum up themes that center around courage, coming of age, exploration, and family. The novels take us on fascinating journeys that emphasize similar quest elements of plot, conflicts, and change, which in turn give the characters growth and meaning.

And now, to jump into the world of quest stories, here’s a quick list of some recent books:

Navigating Early by Clare Vanderpool

The Conch Bearer by Chitra Banerjee Divakaruni

Fish by L.S. Matthews

One Came Home by Amy Timberlake

My Side Of The Mountain by Jean Craighead George

Fog Magic by Julia L. Sauer

What are your favorite quest novels? What do you like about them? Share with us in the comments below.

 

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Happy Clerihew Day!

By on July 10, 2017   /   For Kids, For Librarians, For Parents, For Teachers, For Writers  

What is a Clerihew, you ask?

It’s a comical poem made of four lines – two couplets and a specific rhyming scheme, aabb. It was created by Edmund Clerihew Bentley (1875-1956) at the age of 16 and duly named after him. In a Clerihew poem, the first line names a person with the end of the second line rhyming with the person’s name. Most often, these poems make light of or take the serious out of the person being focused on. They’re funny and light-hearted.

If you’re unfamiliar with rhyming scheme and all the differences, here’s an informative video for you to peek at.

How does Clerihew poetry play into middle schoolers reading and writing? Just that – play. And it can actually play into more than the R and W of school, too. Clerihew poems are all about being silly and causing giggles. They’re all about fun and seeing things in a different way.

Everyone is probably familiar with Garfield the cat. He’s lazy, overweight, has an aloof attitude about life and pretty much everything. His constant picking on Odie in the comic strips is presented in a silly or funny way, even though some of Garfield’s actions really aren’t funny.

That’s what a Clerihew poem does. It takes a person (most of the time famous or well-known) and sheds them in silly or humorous shadows, presenting them in an altered way. It makes light of who they are and shows the flip-side of that person in a nice way. By doing this, it forces the writer to see more than is visibly there, plugging into their creative mind and exploring possibilities. What a great exercise to have middle grade readers/writers do. And they can be silly to boot!

Here’s an example:

Garfield the cat
On his rear he sat.
Eating lasagna galore
All about the decor.

Copyright © 2000 James & Marie Summers

Here are a couple videos about the art of Clerihew poems I think you might find helpful. Here & Here. Take a view and then try an exercise with your students or kids. I remember doing exercises like this with my kids to pass the time as we traveled to yet another of their travel hockey or soccer games.

Have you ever written a Clerihew poem? Why not give it a try in the comments and share? We’d love to read!

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Defining Magical Realism

By on June 26, 2017   /   Diversity, Writing  

I want to talk about magical realism, the genre that confounds so many authors and excites so many readers, publishers, and agents. What exactly is it, and equally important, what exactly is it not?

Perhaps the word “exact” is misleading, since “exact” is hard to pin down in this genre. The basic definition of magical realism is that it’s literary fiction grounded in reality – with elements of magic. But. There are conditions to that magic.

The magic in magical realism is characterized by the very real role it plays in the characters’ lives. Supernatural events are often so much a part of their world that they go unnoticed or unremarked. And if they are acknowledged, it is not with a sense of unfamiliar wonder or questioning, but rather an acceptance of this reality in life. A common example of this mystical-as-mundane phenomenon is in One Hundred Years of Solitude, by Gabriel Garcia Marquez.

Ghosts are a common and accepted presence in this saga of a family and a town whose story parallels that of the emergence of modern, independent Columbia. In other genres, the ghosts would be identified, investigated, discussed, possibly feared. But in 100 Years, the ghosts are simply accommodated without any fanfare.

In Like Water for Chocolate, by Laura Esquivel, Tita is born in a river of tears that literally floods the kitchen – a moment of extreme magic that is told with a perfectly straight face.

This distinction – that these mystical elements are a part of everyday life – is critical to understanding what the genre is and also what it is not.

Why do we care? Because of late, the publishing/writing community has allowed its definition to drift and encompass all realistic fiction laced with a dash of subtle magic. For example, Rebecca Stead’s When You Reach Me definitely has magic. But the stunning story of Miranda, some mysterious letters, and the laughing man on her New York City street is not magical realism. The same with Ask the Passengers, by A.S. King. Astrid, who’s struggling to define herself on her own terms, sends love to the passengers in the planes that fly above her. But Astrid never realizes she occasionally creates magic in the passengers’ lives, and never examines these supernatural events.The reason this still isn’t magical realism? The magic isn’t happening to her or her community and isn’t a natural part of the perspective of her culture.

So why does this matter? Isn’t it enough to acknowledge that there are many ways to embrace the fantastic in our fiction?

It matters because in addition to its unique structure, magical realism has important cultural significance. The literary giants who shaped and breathed life into this genre were Latin American – Isabelle Allende, Gabriel Garcia Marquez. They wrote about surviving colonialism and a culture of oppression. Weaving magic through their stories accented their despair and was key to surviving and interpreting a world more destructive than nurturing.

The fact that magical realism is grounded in this history doesn’t exclude non-Latin cultures from writing it. But it’s vital we remember that the genre evolved as an art form that could explore and cope with oppression. Threading touches of magic or even outright in-your-face magic through a contemporary story about non-oppressed cultures is not magical realism.

I love this quote from Gabriel Garcia Marquez from an interview in the New York Times from 1982, when he was preparing his speech to accept the Nobel Prize: “It has to be a political speech presented as literature.” Pretty much sums it all up.

Want to read more modern magical realism? Try Anna-Marie McLemore’s The Weight of Feathers or Nove Ren Suma’s The Walls Around Us.

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