Posts Tagged writing

STEM Tuesday– Computers– Writing Tips & Resources

Hello, Everyone, allow me to introduce myself, I’m Dr. Miral A Khalil, a pediatrician who studies child and adolescent psychiatry. I’m new to STEM Tuesday and I am excited to dive into this month’s topic of Computers.

I want to discuss AI and how it might work in a classroom.

WHY USE AI?

I’m aware of how polarizing the use of AI is within kid-lit and academia — and I must say that’s warranted, given the legitimate fear of plagiarism, cheating, and theft of intellectual property. But I do insist that, used with some SOP, AI is an incredible tool to teach children anything. Who am I to talk about AI? Teenagers and children alike might assume that as a physician I only look at how AI is revolutionizing biotechnology and medicine. Some might even assume that I must not know what AI is — because 39 years old, is dinosaur era old to many of them.

I, on the other hand, grew up watching The Jetsons [the cartoon from the future], Mission Impossible movies, and Indiana Jones; to their immense dismay, I do know quite a lot about technology.

But what nobody can fathom is my deep admiration for how villains and evil geniuses are portrayed in kid lit and film bypassing technology. Think of a laser trip wire meant to protect museum art — and the burglar who steals it anyway.

HUMANS ARE INTRIGUED BY IT

In short, I absolutely adore how the human mind is able to surmount an apparently insurmountable problem — just like zigzagging through an impossible maze of infrared trip wire without triggering an alarm.

I study child and adolescent psychiatry, so I can say this with some authority: children, adolescents, teens, heck even adults, are often more intrigued by an apparently complex problem being solved. That’s part of why AI has gained such a large footprint in all walks of our life so quickly.

Instead of fearing AI  technology, we must embrace it, learn from it, and command it — not the other way around. This fear trickles down from adults to children, and it’s counterproductive. An ongoing, open conversation around the ethics of usage — even challenging students to find the blind spots in AI — is an incredible way to strengthen their faith in their own intelligence; always being superior to whatever technological advances are being made. The human mind reigns supreme.

ACITIVITIES YOU CAN USE

Today, I’ve brought you a few practical activities that can be done with a group of middle and upper elementary students. But first, I want to highlight two books that I’ve used with my own children and have recommended to other parents.

Atlas Obscura bookBook 1 is Atlas Obscura Explorer’s Guide to Inventing the World, written by Jennifer Swanson and Dylan Thuras and illustrated by Ruby Fresson (2025). This book can be read aloud to children as young as third grade, as it combines both science and geography. I love when a book allows you to travel around the world within its pages — recognizing how human beings ALL around the world have contributed to the technological advances we enjoy today. Giving credit to ALL people isn’t only intellectual honesty; it’s important in today’s ever-polarized society.

 

 

 

 

Future Tense bookBook 2 is Future Tense: How We Made Artificial Intelligence — and How It Will Change Everything, by Martha Brockenbrough (2024). This book is geared toward middle grade, but my rising 5th grader enjoyed it read aloud just as much as my rising 7th grader did. What I truly enjoyed is that it gave me a segue to have a conversation with my almost-teenage son about how AI has its limitations and is NOT superior to the human mind.

 

 

 

 

Now on to the three practical activities that can be done in a classroom. These activities can help students break down AI and understand how it works for us.

Activity 1 — Drumroll please: build a trip-wire escape room.

Have students design and then attempt to beat their own “laser” security system — the same logic, in miniature, as the museum heist scenes they’ve seen in movies.

Materials: yarn or string in a bright color, painter’s tape, small bells tied to each strand as “alarms,” and a stopwatch. (For older or more advanced students, you can upgrade to a simple circuit kit with a photoresistor and buzzer, or a laser pointer and a small mirror — supervised closely.)

In teams, students string yarn across a doorway or taped-off area at varying heights and angles, tying a bell to each strand. Before they build, have them map their layout on paper first — this is the “algorithm”: a precise, ordered set of instructions for exactly where each strand goes. Then teams swap rooms and try to cross another team’s course without triggering a single bell, timing their attempt.

Debrief as a class: What made a course harder to solve? Did more trip wires make it more secure, or just more predictable? This makes the concept of an algorithm physical — a fixed set of rules a system follows — and it’s a direct, hands-on bridge to how AI systems themselves are built on layered, patterned instructions.

Activity 2 — Investigate the origin of the word “algorithm,” and who pioneered this work.

Algorithm being the basis of most AI technology, we must recognize the role of the people behind it. Have students research where the word comes from (it traces to the 9th-century Persian mathematician Muhammad ibn Musa al-Khwarizmi), what problems his work originally solved, and how that math eventually became the foundation of modern computing. Have them also find one modern example of an algorithm they encounter daily — a search engine, a recommendation feed, a video game’s difficulty setting.

Activity 3 — Investigate “Web War I”: the 2007 cyberattacks on Estonia.

In 2007, Estonia became the target of one of the first large-scale, coordinated cyberattacks on an entire country. Over several weeks, government ministries, banks, and news outlets were knocked offline by waves of distributed denial-of-service (DDoS) attacks — essentially a flood of automated, algorithm-driven requests overwhelming a system until it collapses. The attack coincided with a heated political dispute between Estonia and Russia; while much of the malicious traffic was traced to Russian sources, the Russian government denied any official involvement, and it was never definitively proven who ordered the attacks.

Have students research what happened, why it’s sometimes called “Web War I,” and why it led NATO to open a cyber defense research center in Tallinn the following year. It’s a great chance to also talk about attribution — why figuring out who is really behind an attack is one of the hardest problems in cybersecurity, then and now.

Any of these three activities can be assigned as a classroom project and will lead to an incredibly rich discussion covering history, geography, and electronic engineering.

Every one of them asks students to do the same thing a movie villain, a cybersecurity researcher, or an inventor does: look at a system built to be hard to beat, and beat it anyway. That’s not a reason to fear AI.

It’s the best argument for teaching kids to understand it — because the mind that can map a trip-wire course, trace a word to a 9th-century mathematician, or make sense of a real-world cyberattack is the same mind that will never be obsolete.

Dr. Miral A Khalil is a CO-RA for SCBWI MDDEWV. She is a globe trotting pediatrician who homeschools her four children whilst on medical missions.

Interview with Artist and Graphic Novelist Rebecca Mock

Today we shine the Mixed-Up Files spotlight on Rebecca Mock, author and illustrator of the debut middle grade graphic novel Dare You To Dance. Hailed by Publishers Weekly as an “eloquent and movement-filled portrait of ambition and self-discovery,” the book is available now from Random House Children’s Books.

MR: Congratulations on the publication of Dare You to Dance, Rebecca! I danced as a kid and was a dance mom (my daughter, Chloe, studied ballet for eighteen years), so I read your book with great interest.

RM: I’m both honored and impressed! Hopefully to you and Chloe, the ballet details rang true. Or, if they didn’t, I hope it was fun to read anyway.

Dare you to Dance: The Inspiration

MR: Can you tell readers a bit about the book? 

RM: Dare You to Dance is about a summer intensive program in NYC, where we meet Gracie, a talented ballet dancer in her tweens who’s immediately swept into the drama and pressure of serious youth ballet—and has to decide whether to concede that she just doesn’t belong or forge a path for herself! It’s about the love of art as well as many other things. I really hoped to make a fun ensemble cast of characters, all of whom have their own journeys, humor, and fun moments. I pitched the book as “over-the-top!”—I wanted to draw something super high-energy! And what better than ballet?

Friendship Versus Rivalry

MR: Your plucky protagonist, Gracie, is looking for a rival to up her dance game. Sariah, the best dancer in the program, is more interested in friendship than competition. What were you trying to say about the nature of rivalry and friendship, particularly in the dance world? The two are often intertwined.

RM: It’s not only the dance world—I was drawing from my own experiences in painting, drawing, and theater. When it came to art, I made up many rivals—often creating competitions where there were none. I could be intense, like Gracie. I was also in Sariah’s role, to a degree—too caught up in pressuring myself to notice those around me. I also, consistently, found that I respected and appreciated those I felt “competitive” toward, and regarded them as comrades.

I think that mentality was influenced by the action/adventure cartoons and comics I loved. I had an active imagination. What I like about both Gracie and Sariah is though they’re very different, they share that quality of creating pressure and competition where there doesn’t need to be any, perhaps stemming from vivid imaginations. And instead of learning to let that go, they egg each other on and create games to motivate each other. And that works for them, that’s how their friendship works, and hopefully that’s a bit funny, and maybe you can think of a friend who you act the same way with.

Rebecca’s Dance Training

MR: I read that you studied dance as a child. What was your training like? Did you attend an intensive ballet workshop like the one you described in Dare You to Dance?

RM: I took ballet classes from about age three to eleven. I wasn’t dancing seriously—just one or two classes per week. I know young dancers at that age might take three or more classes per week! And truthfully, ballet wasn’t my strength—I was constantly struggling with posture and form! But I kept taking classes for one very important reason: One of my best friends took classes with me. We had so much fun together.

I also took tap and modern classes (I switched to modern and kept taking classes until thirteen, when I stopped dance classes altogether). I truly love to dance, still. Art as a form of expression is something most young people are drawn to, and love, naturally. But sometimes the classroom space can be oppressive, and friends are the main reason you keep coming back.

Dance and Body Image

MR: It’s no secret that dancers’ bodies are often scrutinized, with undue emphasis placed on the desire or necessity to be thin. From your experience and the research you did for the book, have any strides been made in the dance world to accept a range of body types? If not, do you expect the tide to change anytime soon?

RM: Since I haven’t been part of the dance world as a teen or adult, I skipped a lot of this scrutiny and pressure. I can’t speak from the point of view of someone who’s honestly dealt with that, but I can remember friends who had to deal with this scrutiny, and I tried to pay homage to their challenges. I had a friend in school like Sariah who was taller and bigger than most of the other dancers in her class, and admitted that it alienated her and made her feel othered. I remember being shocked. To me she seemed to be such a dancer, so elegant and graceful. How could she not fit in the ballet space?

In my research, I took careful note of how dancers talked about body image, and although I’m only seeing a small sliver of the dance world in videos and interviews, I’m seeing bits of both that old-fashioned body scrutiny and a more revolutionary re-imagining of ballet ideals. When you delve into the foundations and history of ballet which stretches back 500 years, our modern stereotypes about body types, gender roles, and appearances are all trends that emerged fairly recently. Ballet has evolved in many directions over the centuries, and I expect it will continue to do so.

Researching Ballet

MR: Speaking of research, what kind of research did you do for the book? There are a ton of ballet terms to know and positions to draw. It couldn’t have been easy.

RM: I did so much research! I read a few books about ballet, including a ballet textbook and the fantastic nonfiction book Apollo’s Angels: A History of Ballet. I followed dozens of ballet influencers and watched their vlogs, read their posts, used their dance videos as reference for practice drawings. I tried to seek out online ballet tutorials which explained each step of a sequence so that I could write down, and then double-check, each move. I even had a ballet consultant triple-check the book to be sure that even the side-talk and teachers’ attitudes were believable and added to the realism.

But underneath it all, I was remembering how it felt to be in ballet class. The sound of the teacher counting five-six-seven-eight, the chatter of students waiting for their turn at the floor sequence . . . One thing I avoided doing was watching any ballet movies or TV shows for the duration of working on this book. I didn’t want to accidentally transcribe any well-worn movie cliches into the story.

Portrait of an Artist

MR: Switching gears, you are widely known for your work as an illustrator, cartoonist, and book-cover artist. You also collaborated with Hope Larson on the hugely popular middle-grade graphic novels Compass South, Knife’s Edge, and Salt Magic. What prompted your decision to create a graphic novel on your own? Did it feel weird not having a collaborator?

RM: While this book isn’t my first solo story project, it’s definitely the longest! It’s my first time handling a story of this scale in every aspect, which was daunting and exciting in equal measure. Working with Hope taught me so much about comics, and her beautiful scripts always gave me so much room to play.

Once Salt Magic was done, I felt that I was ready to try writing my own long-form graphic novel. I pondered over what kind of story I’d have the most fun both writing and drawing, that would reflect my own sensibilities, which lean toward action, heightened emotion, and slapstick. What I learned in the process, was that I LOVE rewriting things on the fly. As much as the final book stayed more or less true to the initial outline, I altered and refined things at each stage, even adding scenes at the inking stage. Each change made the story truer to its core messages: that friendship transcends competition and that art doesn’t need to be “serious” to be good.

Writing and Illustrating Process

MR: What is your creative process for writing and illustrating a graphic novel? Do you write the text first and add the illustrations or vice-versa? Also, how does being an artist influence your writing?

RM: Having finished Dare You and another book since, I’ve refined and honed my process a lot. When I started Dare You, I only had experience planning out stories fifty pages or less, and that process involved almost no scripting. Now it goes back and forth. I first write an outline, and I refine that until it’s quite detailed, even including much of the dialogue. I break that outline into pages, to get a rough idea of how the book is paced. Then I draw thumbnails of each page, really small. I scan and expand those tiny drawings to be a bit larger, and drop in as much of the placeholder dialogue as I can—and I’ll rewrite a lot of the outline based on new ideas that the thumbnails inspired. These thumbnails-with-text are the first draft of the final script.

From there…

I draw more refined thumbnails and make further changes as I realize my first visual ideas could be better. And the dialogue gets a lot of edits too. Now, this is the final “script.” From here, final sketches and inks and colors can go smoothly, although I’ll still change and refine small things as I get closer to finishing. Sometimes I realize I need to completely redraw the first five pages, because drawing the final scenes gave me a better idea of how to open the story. Sometimes it’s making sure a character is consistently wearing socks. Being an artist allows me to “draw” my script instead of having to describe it. I still like working from other writer’s scripts, but there is a lot of fun to be had in diving into the story at the thumbnail stage and letting each new page feel like venturing into the unknown.

#Goals

MR: Do you have a specific routine or word-count goals? Any rituals? 

RM: I don’t have word count goals as much as page count goals. When I’m doing those tiny little thumbnail drawings, I’ll set a daily goal, maybe four pages or maybe ten. It’s important to find the balance of staying consistent without pushing yourself so that you don’t burn out mentally. I want to feel like I’m not quite finished with a thought when I stop “writing” for the day, so that the next day I’m excited to finish it.

MR: What projects are you working on now, Rebecca?

RM: I’m wrapping up a short comic for a DC anthology of spooky Halloween stories, called Quoth the Raven . . . Whatever. After that I’ll be hopefully working on final sketches/inks of a new book, as well as teaching my storytelling class at FIT’s Illustration master’s program.

Lightning Round!

Yellow graphic lightning bolt

MR: Last thing: No MUF interview is complete without a lightning round, so . . .

Preferred writing snack? If I’m in a bind, if I need to really focus or just get out of a slump, my secret weapon is gummy candy. It’s an unhealthy secret weapon ONLY to be used in emergencies!

Coffee or tea? Coffee if I need to draw really complex things! Tea if I want to have a nice, steady day.

Zombie apocalypse: Yea or nay? Nay. I like my brains where they are.

Favorite dance style? I love watching swing dancing and tap dancing!

Favorite dance company? American Ballet Theatre—I used their studios as reference for a lot of details in the book!

Superpower? I love superheroes with electric powers. It would be cool to turn on my TV with a zap.

Favorite place on earth? My parents’ house, sitting by the window, looking out at the trees during a rainstorm.

MR: Thank you for chatting with me, Rebecca—and congratulations on the publication of Dare You to Dance. I thoroughly enjoyed it, and I know MUF readers will, too.

{For more books about dance, check out this list from the Mixed-Up Files archives}

Bio

REBECCA MOCK REBECCA MOCK (they/she) is a New York Times bestselling and Eisner award-winning illustrator and comic artist. They are the author and illustrator of the graphic novel Dare You to Dance. They’ve also illustrated the graphic novels Compass SouthKnife’s Edge, and Salt Magic, written by Hope Larson, and their artwork can be found in newspapers, cartoons, books, commercials, and video games. Rebecca lives in Brooklyn, New York.

 

 

MELISSA ROSKE is a writer of middle-grade fiction. Before spending her days with imaginary people, she interviewed real ones as a journalist in Europe. In London she landed a job as an advice columnist for Just Seventeen magazine. Upon returning to her native New York, Melissa contributed to several books and magazines, selected jokes for Reader’s Digest, and received certification as a life coach from NYU. In addition to her debut novel Kat Greene Comes Clean (Charlesbridge), Melissa’s short story “Grandma Merle’s Last Wish” appears in the Jewish middle-grade anthology, Coming of Age: 13 B’Nai Mitzvah Stories (Albert Whitman). Learn more about Melissa on her Website and follow her on Facebook and Instagram.

STEM Tuesday– Light Pollution– Writing Tips and Resources

In November of 2007, we had a terrible ice storm in my small town. Trees and power lines were decimated. We even lost our basketball goal in the driveway when a large oak limb dropped on top of it. We were without power for a week after our house was mistakenly skipped over by the out-of-town power crews on their first pass through our neighborhood, making the wait longer. My family did not appreciate the beanie weenie meal I cooked on the gas grill and ended up spending more time at a friend’s house because they had electricity while I held down the fort through the long, dark, and cold nights.

Although this was not a pleasant experience in any way, shape, or form, there was one sliver of a silver lining from the ice storm. It knocked out the streetlight at the intersection in front of our house and several up and down the street. It was dark. It was fantastic for stargazing. The night sky popped. Planets, stars, constellations, and the Milky Way jumped out in a way I had not experienced anywhere inside the city limits. I felt like a kid again from the back patio staring at the heavens hanging so bright and close that one could almost reach out and touch it. Glorious!

With the extent of the damage to higher priority areas in the city and county, it was a solid six months before the streetlights were repaired, so it was one “dark” period in my life I miss to this very day. After the streetlight came back online, the stargazing party was over, and it was back to stargazing through its light pollution. 🙁 

ThatOneEli, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons

What does my 20-year-old ice storm experience have to do with a STEM Tuesday Writing Tips & Resources post on light pollution?

Well, maybe nothing at all and just a rambling of an old man. But, in writing, we can create so much light of a pollution-like story flow through a frenetic pace or constant action that it masks the reader’s experience. Keeping the reader in a steady Full Speed Ahead Mode makes it difficult for them to see the stars, planets, and galaxies of the story. In other words, they miss the full beauty of the reading experience because they are never offered the opportunity to step away from the bright light, allow what just happened to sink in, and prepare the brain space for what comes next.

The inverse is also possible. We can write a piece in Low Speed Mode with little addition of action or light, and the reader’s experience is masked in that constant lowkey vibe. The key is to mix and blend the levels of brightness to shine a light where needed and also reduce the light levels to allow the time and reflection necessary to keep the reader engaged.

We need to strive for those moments of awe after the streetlight goes dark and the night sky bursts in all its glory. The reader needs those times in the story when they lie on the cool grass, staring at the Big Dipper or Orion’s Belt, and feeling as if the Milky Way galaxy is just an arm’s length away. 

In my recent regular MUF post, The Book Called to Me Again, I wrote about the genius that is Gary D. Schmidt. Look, a lot happens in Gary D. Schmidt stories. Good things. Bad things. Things that make you laugh. Things that make you cry. His skill as a writer shows when he amplifies these inherently bright story light things by placing them in juxtaposition to periods of dim story light. With the bright levels temporarily dimmed, the reader can not only appreciate the good, the bad, the funny, or the emotional story point that just happened, but have the emotional and mental space to process it. 

Combatting the light pollution in my writing is something I’m constantly working on. I write from the part of my brain that is still controlled by the middle school Mike. This is a blessing and a curse. Middle-school-brained Mike offers a unique perspective for creating stories. My struggle, however, is fighting the young Mike in my head who wants to see more car chases, more explosions, and more jumping from the roof of one building to another. You know, the middle school boy stuff. 

Learn to control the light pollution in your creative work. Shine the light brightly when it needs to be shone and learn to dim, or shut it off when it’s not needed. Ebb and flow to give the reader the headspace they need to stay engaged without needing a pair of very dark sunglasses.

Happy summer writing! May you shine your creative light without creating light pollution.

Mike Hays has worked hard from a young age to be a well-rounded individual. A well-rounded, equal-opportunity sports enthusiast, that is. If they keep a score, he’ll either watch it, play it, or coach it. A molecular microbiologist by day, middle-grade author, sports coach, and general good citizen by night, he blogs about sports/life/training-related topics at www.coachhays.com and writer stuff at www.mikehaysbooks.comTwo of his science essays, The Science of Jurassic Park and Zombie Microbiology 101,  are included in the Putting the Science in Fiction collection from Writer’s Digest Books. He can be found roaming Bluesky under the guise of @mikehays64.bsky.social and @MikeHays64 on Instagram.


The O.O.L.F Files

This month on the Out Of Left Field (O.O.L.F.) Files, we

DarkSky

Our DarkSky Approved program works with communities, manufacturers, retailers, designers, and others to evaluate and certify dark sky friendly outdoor lighting equipment, as well as dark sky friendly outdoor lighting projects.

What is Light Pollution? via DarkSky

Light Pollution Map from the University of Colorado at Boulder

ArcGIS Online Global Artificial Sky 3D Interactive Map

https://www.arcgis.com/home/webscene/viewer.htm

John C. Wells Planetarium at James Madison University

Light Pollution: The Overuse & Misuse of Artificial Light at Night via the John C. Wells Planetarium

Astrophysicist Kelsey Johnson’s TED Talk

The problem of light pollution — and 5 ridiculously easy ways to fix it

And finally, a wink to my mother and father, who always yelled at their teenage sons for leaving “every light in the universe on when we weren’t using it” and listening to our loud, noise-polluting rock music at wall-shaking volumes.

Thank you, Mom and Dad, for introducing us to the world of environmental activism at home.

Rock and Roll Ain’t Noise Pollution” by Australian rock band AC/DC from their classic 1980 album Back in Black. Note: This album may or may not have knocked a picture frame or two from the walls upstairs in our childhood home. For the record, I plead the Fifth.