Posts Tagged writing

STEM Tuesday – Diseases and Pandemics — Writing Tips & Resources

By on November 17, 2020   /   Diseases and Pandemics, STEM Tuesday  

Reading Science History Through Photographs

From YouTube videos to memes, from graphs to diagrams, a lot of the information we take in every day comes from pictures. The process of reading images is called visual literacy. Academics define visual literacy as “set of abilities that enables an individual to effectively find, interpret, evaluate, use, and create images and visual media.” (Lundy and Stephens, 2014). Reading images is a critical skill not just for life, but also for researching and writing captivating nonfiction.

Every book I’ve written has required analyzing and interpreting photos or videos. That’s where I glean juicy details, especially about characters and settings. Writing a scene is certainly easier if I can picture it in my mind.

Today, I want to focus on reading just one type of primary source — the photograph. Many of the books on this month’s book list are illustrated using archival photographs. For example, Susan Campbell Bartoletti’s TERRIBLE TYPHOID MARY: A True Story of the Deadliest Cook in America has an entire photo album in the back matter.

Likewise, THE 1918 FLU PANDEMIC: Core Events of a Worldwide Outbreak by John Mickols, Jr. features many historic images from the 1918 flu pandemic, including those sourced from the Library of Congress (LOC) or the National Archives and Records Administration (NARA). 

And here’s the good news: many of those LOC and NARA images can be found online. If you go to LOC.gov and search for 1918 and influenza, you’ll find dozens of historic images you can review with your students. Or click here to access my search.  At the NARA, find 1918 influenza images here.

Activity – Reading Historic Photographs

This activity will help your students learn to read historic photographs, glean useful details, and interpret them.

First, select a historic photo, perhaps from one of the collections mentioned above.

Next, review the Library of Congress’s Teachers Guide for analyzing historic photographs. You’ll find that here.  The LOC encourages students to work through a three-step process. Those steps are:

  • Observing – noting details from the photo
  • Reflecting – generating and testing hypotheses about the image
  • Questioning – asking questions that lead to more observations and reflections.

Download the blank student Primary Source Analysis Tool here.

Students could work on this activity individually, in small groups, or as a whole class.

Once you’ve analyzed your photo, consider how you could use the information you discovered in a piece of nonfiction writing.

O.O.L.F

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Three-Act Structure: My Writer’s Compass

By on November 12, 2020   /   Articles  

Understanding three-act structure in storytelling isn’t just for writers. In a writing workshop for a crew of fifth-graders, I presented it as a framework for analyzing novels, plays, movies, and picture books with plots—anything with a story arc. The kids got into it, applying it to their own favorite books and films.

That said, I find that three-act structure serves as a compass in my own creative writing. If I wander off in the weeds or lose the thread of the story or mangle a mixed metaphor, I can return to these pivotal plot points to recalibrate the way forward. It ain’t perfect but I find it elegant in its functionality, and for someone who has almost no sense of direction, like me, it helps fend off writer’s block. It offers steady reference points that point to where the story is going.

 

Back to Basics

So here’s a refresher course, as much for me as other readers and writers. Let’s start real basic:

BEGINNING, MIDDLE, END

Seriously, those are a story’s essential three parts whether it’s Click, Clack, Moo, Chicken Little, or Hamlet. Three-act structure helps define and refine this, expanding the story and managing its pace and flow.

ACT I

Exposition: As a rule, the very beginning introduces the central characters and gives us reasons to care.

The Catalyst or Inciting Event: This sets the story in motion. (In movies, it usually occurs 10 minutes in—check your watch!) If the catalyst doesn’t happen the story doesn’t happen.

ACT II

Turning Point 1: This event sends the action in a new direction. It makes clear what the main conflict is. The plot, or storyline, now gets more and more complicated as the protagonists face obstacle after obstacle.

Halftime Smooching: About halfway through the story or movie, there usually comes a period of calm. Now the main characters have time to reflect on what has happened and plan what to do next. Sometimes there is kissing!

ACT III

Turning Point 2: Like Turning Point #1, this shoots the action in a new direction. Everything now accelerates toward the climax.

Climax: This is the BIG MOMENT when the central conflict of the story is resolved: The protagonists win, the antagonists lose, the sweethearts fall in love, etc.

Denouement: This answers any remaining questions and shows characters reacting to how things turned out.

 

The Three-Act Structure of an Old Favorite

Yada, yada, right? Example please! For the sake of familiarity, let’s use a story many of us know and dissect its three-act structure: Star Wars—A New Hope.

ACT I

Exposition: We are introduced to Princess Leia, Darth Vader, and some kid named Luke Skywalker.

The Catalyst or Inciting Event: Luke buys the droids C3-PO and R2-D2. If he doesn’t get those droids, he never meets Obi-Wan Kenobi, never leaves his home planet, never learns about The Force, never becomes a Jedi.

ACT II

Turning Point #1: The heroes discover the Death Star and the Millennium Falcon is captured with a tractor beam. They also learn Princess Leia is being held prisoner there and plot to break her out. The main conflict and what’s at stake becomes crystal clear. They must get the plans for the Death Star to the Rebellion or all is lost!

Halftime Smooching: There isn’t much of a break for reflecting or kissing in A New Hope. Halftime Smooching fans have to wait for The Empire Strikes Back.

ACT III

Turning Point #2: The Death Star tracks the Millennium Falcon to the Rebel base. The Rebels, including Luke Skywalker, launch a desperate attack to try to destroy the Death Star before it obliterates the moon where the base is located. All looks lost when …

Climax: Luke trusts the Force. At the very last second, he drops two torpedoes into a small thermal exhaust port … and … and … BOOM! Conflict resolved: Protagonists win, antagonists need to go build a new Death Star.

Denouement: This is very short and weird in the movie. The rebels celebrate and Luke and Han Solo get medals. (Hurray! Hey! What about Chewbacca?!)

Whether by Nature or Nurture, three-act structure seems to appeal to our story-loving minds across cultures. For writers, it can be a reassuring road map that can guide us true from first draft to The End.

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Plotting Puzzles and the Necessity of Silence: An Interview with Jennifer Gennari

By on November 11, 2020   /   Articles  

I jumped at the chance to interview author Jennifer Gennari as soon as I heard about her newest book, Muffled. As a special education teacher, I’m always excited for stories that portray exceptional kids with honesty, humor, and strength. Muffled does it beautifully, and as it happens, Jen is just as insightful and honest as her main character, Amelia.

Jennifer Gennari

CL: Hi, Jen! Thanks for chatting with me! Let’s start with how the idea for Muffled came about – can you tell us about it?

JG: Thank you, Chris, for inviting me to the Mixed-Up Files of Middle Grade Authors! Like many writers, I keep a story file of ideas. For more than fifteen years, I had a note about a blizzard from my childhood: “I’ll never forget that snowstorm. The silence without cars. What would happen if all the noises stopped?” It wasn’t until much later that I saw a way to approach that idea. I realized that for many people, including my husband, silence isn’t just beautiful, it’s something they need to recharge, to be able to participate in our very noisy world. And that’s how Amelia’s story began.

CL: And the story is set in Boston – any particular reason you chose that city?

JG: I lived in Boston when I was the age of Amelia, and it was important to me to show a family that depends on public transportation. Many children who live in cities don’t have cars, and I wanted to reflect that reality. I love Boston, for its Public Garden (and Make Way for Duckling statues), the stately, amazing library in Copley Square, and the Red Sox. Like Amelia, I grew up riding the green line!

CL: It’s so cool to have that personal connection! How about research, then? Muffled seems like a super realistic portrayal of life with sound sensitivity—did you have to do any research for the book? 

JG: Researching is an integral part of writing. I didn’t rely on my memory of Boston—I looked at images of the library’s lions, transit maps, and apartment buildings. To develop Amelia’s character, I read The Highly Sensitive Child and spoke to a therapist and special education teachers. Researching also means empathizing, an important skill for writers. I notice people’s emotions in certain situations, and try my best to get those details right. Stories introduce young readers to different ways of being, something I take seriously. Readers will always find hope and connection in my books.

CL: Muffled is your second traditionally published book. I’ve heard that second books can be harder to write…was that your experience?

JG: Yes! I’m glad you asked. I wrote three books between My Mixed-Up Berry Blue Summer and Muffled. Each one was beloved but the stories, in the end, were not viable. I think of those manuscripts as plotting practice: I got better at increasing tension, giving characters a satisfying arc, and rewriting scenes that didn’t work. For all those aspiring writers out there, know that persistence and a willingness to revise are key to success!

CL: That’s a great way to think about it! You actually mention on your website that plotting a story is a bit like a puzzle. Could you explain that?

JG: I am a big fan of jigsaw and crossword puzzles—especially during this pandemic! When you first start a jigsaw puzzle, all the colors and details are scattered. You have to organize the pieces, and see what picture emerges, just like the details and scenes of your manuscript. And to carry the metaphor on, revising is like doing the same puzzle twice—it’s still hard but memory helps you find the path forward to complete a story without any holes.

CL: I love that! So if it wasn’t obvious already, you’re also an editor and writing teacher yourself, right?

JG: My career began as a reporter, and later, I became a news editor of a weekly paper. If your article doesn’t fit on the page, it will be cut! I discovered I’m good at preserving voice and intent and excising the fluff. When I studied for my MFA at the Vermont College of Fine Arts, I understood even more completely that every word choice matters. Now, through The Highlights Foundation, I teach others how to edit their own manuscripts. It’s an essential skill and I love teaching writers!

CL: So cool! Okay, Jen – now it’s time for the lighting round! Favorite place to write?

JG: Surrounded by shelves of kidlit books with a cup of tea nearby!

CL: Favorite authors?

JG: Jacqueline Woodson, Kate DiCamillo, Erin Entrada Kelly to name a few!

CL: Best dessert?

JG: Any homemade pie!

CL: Do you have any pets?

JG: No, but I love watching shorebirds from my home.

CL: Favorite elementary school memory?

JG: Like Amelia, I often snuck off during recess to find a cozy place to read. 

CL: And lastly – favorite piece of advice for other writers?

JG: Read, read, read!

Jennifer Gennari is the author of MUFFLED (Simon & Schuster, 2020), a Junior Library Guild selection, and MY MIXED-UP BERRY BLUE SUMMER (Houghton Mifflin, 2012), a Bank Street Best Children’s Books of the Year selection, and an American Library Association Rainbow List title. An engaging speaker and teacher, she has presented at the Writing Barn, SCBWI workshops, and Highlights Foundation. She serves as Marin County Co-Coordinator for the SF North and East Bay Region of SCBWI. A graduate of Vermont College of Fine Arts, she lives on the water in the San Francisco Bay Area. Find her @JenGenn and more at www.jengennari.com.

Many thanks to Jen for taking the time to talk to me! Don’t forget to leave a comment for a chance to win a free copy of Muffled!

See you next time!

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