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Ask Carrie (July Edition) + Bonus Links Worth Your While

7/30/2015

Cassie Bentley wants to know:
How can you tell when you have enough information from the texts to write?

Carrie:
There is no time like the present to write…no need to wait. The reading we do for research helps enhance our writing. Whether we apply what we learn to our revisions or a brand new draft, there is no time limit for when to start. Write and read every day if you can. Trust your inner editor. Sometimes when I am reading a mentor text, I have an ah-ha moment about one of my own drafts. That’s my inner editor at work. Learn to listen to the inner conversation going on in your brain as you read. Perhaps the particular text I am reading excels at offering the element of surprise flawlessly. My inner editor says, “That’s it! You are missing a surprise!” Or maybe one of my manuscripts feels awkward in a certain point of view. After reading a stellar mentor text in a new point of view, I might try that POV in my manuscript. Whatever you do, just keep writing…and reading!

Bonus Links
-Pain-Free Writing and Art from Writer's Rumpus Blogger Joyce Audy Zarins

-Plot Advice from KidLit Summer School's Co-Founder Sudipta Bardhan-Quallen

-Mentor Text Author Study of Author Andrea Davis Pinkney's Nonfiction Books

Do you have a question for me? Feel free to leave it in the comment section. Did you participate in ReFoReMo this year? I’d love to hear about your experience and how you are using mentor texts today. Check out the submission guidelines for the Revealing ReFoReMo series HERE.

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Mentor Text Author Study- Andrea Davis Pinkney

7/28/2015

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by Carrie Charley Brown

Normally, when I attempt to reserve books on my library’s website, I usually find only a few of those books available. Sometimes none. Imagine my surprise to find ALL of the books I wanted by Andrea Davis Pinkney! Wow…Rare. So, what is it about her books that cause a library to stock them all? Besides incredible writing, I think it boils down to a big R: Relatability; for kids, parents, and educators alike.

Nonfiction picture books, especially biographies, have to be written masterfully to help young children stay engaged and relate to what is happening.

Little, Brown Books, 2013

“Martin wasn’t old enough to be a preacher, but even as a boy, he had a big way of speaking. He learned this from watching his father address the congregation.” -MARTIN & MAHALIA HIS WORDS HER SONG

In just the right words, Andrea paints a picture of Martin as a young boy. We learn that he is motivated and perhaps brave, that he admires his father, has big shoes to fill and his own ideals. We also infer that he is expected to attend church regularly. Many children experience the same feelings and situations, whether they relate to other kids that are like this or they are that kid.

She also reveals a problem early on that people are emotionally connected to.

“But in the South, where Martin and Mahalia lived, Jim Crow laws made sure things were not free. These laws said: Black folks here. White folks there. That’s how life was for young Martin and Mahalia. Separate but nowhere near equal.” -MARTIN & MAHALIA HIS WORDS HER SONG
This causes a child to root for Martin and Mahalia to succeed. We care about what happens to them.

HarperCollins (Amistad) 2008

Little, Brown Books 2010

Hyperion Books, 2009

Andrea implements rhythmic repetitive language patterns to keep young children engaged.

“Martin spoke the gospel. Prayed the gospel. Sought the gospel. Taught the gospel.”
-MARTIN & MAHALIA HIS WORDS HER SONG

“Walked to work, we did. Walked to school, we did. Walked to church, we did. Yes we did, child. Yes we did.”
-BOYCOTT BLUES: HOW ROSA PARKS INSPIRED A NATION

“The students sat still and proud. And waited. And wanted. A doughnut and coffee, with cream on the side.”
-SIT-IN: HOW FOUR FRIENDS STOOD UP BY SITTING DOWN
This particular reference to a doughnut and coffee with cream on the side is repeated 6.5 times in the book. That SHOWS the main characters endurance and patience through standing up for what is right.

Andrea uses figurative language that rocks your emotions to the core.

“At first they were treated like the hole in the doughnut—invisible.”
-SIT-IN: HOW FOUR FRIENDS STOOD UP BY SITTING DOWN

“Mahalia’s voice was brass and butter.”
-MARTIN & MAHALIA HIS WORDS HER SONG

“She fled like tomorrow wasn’t ever gonna come.”
“Sojourner put one big-black-beautiful foot in front of the other and she stomped on the floorboards of ignorance that were underneath.”
-SOJOURNER TRUTH’S STEP-STOMP STRIDE, 2009

Andrea Davis Pinkney: PASSION PRINCESS
If a picture book is written well, its heart will shine through. We can feel Andrea’s passion pumping through our own veins. Her passion becomes ours. We leave as changed readers.

Andrea Davis Pinkney: DIVERSITY DIVA
Every character pictured in the fourteen books sprawled in front of me feature African American characters. Integrate those with other shelved books and we see the need to paint a better picture of our diverse world. It’s like giving children library cards that truly belong to them. All of them!

And the characters? A well-represented assembly of many different walks of life.

Hyperion, 2002

Hyperion, 1997

Harcourt, 1996

Gulver Books, 1994

Hyperion, 1993

Andrea writes beyond the books mentioned here to also include fiction picture books, novels, narrative nonfiction, and anthologies. I feel blessed to be able to learn from her during the online Picture Book Summit this fall. I have learned so much already just from studying her books. I hope you will join me in this author study. If you missed the last study of Peter Brown's books, you can find it HERE. Hope to see you at Summit, too!

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July Mentor Text Check-In and Challenge: First Person Texts

7/22/2015

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By Carrie Charley Brown

When I am stuck on a manuscript, or just trying to find the best way to tell the story, sometimes I rewrite my story from many different points of view and compare the versions. Is this a lot of work? Yes. Can it strengthen and transform my writing? Yes. And it can work for you, too.

Just like a single line of dialogue, first person point-of-view examines your character’s authenticity under a microscope. Only this time, every line is treated like dialogue. I challenge you to study some of the first-person texts listed below. As you examine them, can you figure out the age of the main character? Is it consistent all the way through to the end? Do you notice areas where it steps outside the age boundaries?

Some of these same texts were recommended during ReFoReMo. But now, it's time to reread them and focus in on the first person point of view.

In addition to reading this month, I’d like to add a writing component to your challenge. After reading several first person mentor texts, I challenge you to either transform one of your manuscripts to first person, polish an existing one, or write from scratch. Keep the youngest picture book audience in mind as you write. What would a four-year old actually say? How would they act? What choices would they make?

First Person Texts

The following recommendations are recent publications. It is true that you can learn from first-person mentor texts of any age. However, part of the Reading for Research philosophy is that we utilize newer texts to connect to the current market and what is selling.

(For more information, click on each book cover.)

A Dance Like Starlight: One Ballerina's Dream by Kristy Dempsey & Floyd Cooper, 2014

The Baby Tree by Sophie Blackall, 2014

A Boy and A Jaguar by Alan Rabinowitz, 2014

Yard Sale by Eve Bunting, 2015

I'm My Own Dog by David Ezra Stein 2014

My Blue is Happy by Jessica Young 2013

What Do You Do With An Idea? by Kobi Yamada 2014

Memoirs of a Hamster by Devin Scillian 2013

The Sky Painter Louis Fuertes, Bird Artist by Margarita Engle, 2015

Forget Me Not by Nancy Van Laan, 2014

I Hatched! Jill Esbaum, 2014

Nana in the City by Lauren Castillo, 2014

Do you have more recent first person examples? Feel free to list them below, along with your progress.

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July Author Penny Parker Klostermann Talks Mentor Texts

7/16/2015

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You guys are GREAT at the game of follow the leader! You've made it to Part 2 of Penny's interview! If you are just joining the game, join Penny for Part 1 HERE. I only have one question remaining, and as promised, it tackles the ever-important topic of mentor texts.

Were there any particular mentor texts that inspired you in the creation of THERE WAS AN OLD DRAGON WHO SWALLOWED A KNIGHT? (Or another one of your upcoming published books?)

Definitely! I knew I wanted to do a rewrite of a cumulative tale. I had many ideas recorded in my PiBoIdMo lists from 2011 and 2012. When I settled on a rewrite of THERE WAS AN OLD LADY WHO SWALLOWED A FLY, I searched the Internet for every possible rewrite. Luckily, my library had a slew of them. I read over 25 versions, which ranged from rollicking and hilarious to yawn-inducing. My favorites had that something extra.

I really liked the refrain, "Yippee-o-Ki-Yee!" in THERE WAS AN OLD COYOTE WHO SWALLOWED A FLEA by Jennifer Ward. I found another funny refrain in THERE WAS AN OLD MONSTER! by Rebecca, Adrian, and Ed Emberley, "Scritchy-scratch, scritch, scritchy-scratch, scritchy-scratch, scritch, scritchy-scratch." And you can't listen to this without getting excited about the rhythm of this book.

I knew I had to come up with a twist to make mine stand out. It’s funny, but the yawn-inducing ones ended up inspiring my twist by making me think that the main character in those books was probably bored and irritated with the whole yawn-inducing, swallowing thing and wanted to shout, “Enough of this, already!” So there it was. My dragon actually says something very similar to that. And then I studied my favorite endings in my mentor texts and knew I wanted a twist at the end, too. I feel I came up with one that’s never been done before . . . at least as far as I know. My dragon actually ends up pretty happy.

For my next book, A COOKED UP FAIRY TALE, David Ezra Stein’s, INTERRUPTING CHICKEN, lingered in the back of my mind. I loved how his story incorporated several fairy tales. So I set out to write a fairy tale mash-up/fractured fairy tale. As it turns out, my character lives in the fairy tales, but the way Stein uses multiple fairy tales in his story was definitely a mentor text in the beginning. And I must mention that to this day, INTERRUPTING CHICKEN is one of my favorite books.

Stein's book was a great mentor text for weaving stories within a story. I also admired the wordplay and pacing in Leigh Hodgkinson's GOLDILOCKS AND JUST ONE BEAR. I studied her book because in my mind, it was "just right." :-)

Oooo, I love INTERRUPTING CHICKEN and GOLDILOCKS AND JUST ONE BEAR, too! (In fact, I've had Leigh's book checked out from the library for waaaay too long. I'm using it as a mentor text in my own fairy tale mash-up.) A Cooked Up Fairy Tale sounds like fun, Penny! And I already love I Know an Old Dragon Who Swallowed a Knight. For my sneak peek review, visit HERE. If you have not yet read Part 1 of Penny's interview, visit HERE.

Thank you for being our guest today, Penny!

Thank you so much for having me, Carrie.

Penny Parker Klostermann is the author of There Was an Old Dragon Who Swallowed a Knight. She loves all kinds of books, but especially loves very silly picture books that make her laugh. She has been known to hug her favorite picture books and seriously hopes that someday her books will gain huggable status too. Penny lives in Abilene, TX. Find out more about Penny on her website: www.pennyklostermann.com. You can follow her BLOG TOUR for I KNOW AN OLD DRAGON WHO SWALLOWED A KNIGHT at this link.

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Revealing ReFoReMo: Michael Karg Searches for a Name

7/7/2015

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by Michael Karg

As an avid picture book reader, I'm always looking for more suggestions for great books. But, beyond a mere list of recommendations, my favorite part of ReFoReMo was learning why that book or group of books has a lasting emotional impact on the reader.

I study picture books for pacing and plotting and language, but when I dig deeper I find something more profound. Philosophical nuggets and little worldview jewels shine through the voice of any main character. The writer mines the identity of the protagonist in their own experiences and shows that vision in brilliant little packages. When the character’s name is perfect, like Corduroy, that story resonates through generations. The name Corduroy sounds like a little boy’s name, despite its original usage. The word is a dactyl, so it has a contemplative cadence. And, it evokes the unfussy wash-and-wear garment of a playful child. Perfect. The name and identity are iconic and inseparable.

How do we find the perfect, iconic name? I look to picture books with a main character who undergoes this very search for identity:

Chrysanthemum by Kevin Henkes: This young girl think her name is “absolutely perfect” until the mean girls in her class suggest otherwise. Victoria attempts to reduce her name to an impractical set of characters and cleave it from who she is. Chrysanthemum finds validation in a teacher who is absolutely perfect at handling the problem. (Rule-breaker alert! The main character does not solve the problem, but it is still a winner.)

A Lion Named Shirley Williamson by Bernard Waber: A miscommunication gives a lioness special status with her unusual name. Did she become so winsome because of her name or was it fate? Like Chrysanthemum, there are three jealous lions who want to quash her singular personality, but “Bongo” she is not.

The Cat With Seven Names by Tony Johnston and Christine Davenier: When a cat goes missing, he discovers six more identities and relationships with caregivers until he is found and we know his “real” name. Or, does he have seven “real” names, each of which are intertwined with the seven different relationships? (Do each of us have seven or more names depending on whom we’re talking to?)

Beekle by Dan Santat: Beekle sets off to find his name, his identity, his “real child”. Dan Santat has called this book “a love letter to his son”, to capture the search for a paternal bond yet to be made. When Alice speaks Beekle’s name, the journey is complete.

Wabi Sabi by Mark Reibstein and Ed Young: The meaning of the cat’s name is “hard to explain” and so our hero wanders far to discover his identity. The simple yet beautiful haiku and collage reveal the protagonist’s soul to himself and to us, step by step.

Your characters have names. When you learn who they are, you will learn their names as well.

Michael Karg is a picture book writer, feline veterinarian, entrepreneur, tinkerer, woodland gardener and full-time dreamer. He lives with his wife, three kids and four cats in a cohousing community in Maryland. His parents didn’t give him a middle name, but he found it anyway – Wolfgang.

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Mentor Text Author Study: PETER BROWN, Author/Illustrator

7/3/2015

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by Carrie Charley Brown

Do you know what it's like to walk a few hours in Peter Brown's shoes? I'd like to say I do. After all, Aaron Reynolds MADE me act and dress like Peter Brown during the 2014 NTX SCBWI Conference. Okay, so maybe that does not qualify me to REALLY walk in his shoes, but I have tried his picture books on for size, and they have taught me some valuable lessons about writing.

In preparation for the insight that Peter is bound to share at the first-ever online picture book conference, Picture Book Summit 2015, I decided to dig deeper with some intensive mentor text research. Would you like to join me? Let's examine the books he has both authored and illustrated, and see if we begin to grasp the it-factor he so boldly possesses.

Peter Brown: INTERPLAY COUNSELOR
Even in Peter's first releases, you will find perfect examples of leaving room for the illustration.

What you read in FLIGHT OF THE DODO's text (2005):
“Inventing a flying machine wasn’t easy, and the Waddlers tried one lousy idea… after another. But after months of slaving away, they finally came up with something they thought just might work. They called it the Dodo. The Waddlers said goodbye to the ground for the first time in their lives, and climbed in.”

What we actually see in the pictures:
The birds attempt to pump each other up with an air pump and try to launch into flight using ventilation fans. They create an invention that looks similar to a simplified hot air balloon. They pack their suitcases and prepare to take off.

Peter didn’t come right out and say, “They pumped each other up with hot air.” Just the hint of “one lousy idea after another” leaves lots of room for humorous illustrations. It MAKES the reader stop to take in the details of the illustrations. Art and words do si do for an unsquare dance that is outside of the box.

What you read in CHOWDER's text (2006):
“Chowder had always been different. His owners liked to think of him as quirky, but most people thought he was just plain weird.”

What we actually see in the picture:
Chowder the dog is sitting on the toilet seat doing his business.

Peter didn’t come right out and say, “Chowder was so different that he even used a toilet like humans do.” Peter's approach allows the reader to feel slightly more like a family member that can chuckle at Chowder's quirkiness, than an outsider thinking he is "just plain weird." Right then, we are vested in the story. We become part of it. Peter's interplay not only corralled the words and art, but us, too!

Peter Brown: MESSAGE MASTER
Peter builds on themes that kids really relate to, and he does it without shoving a lesson down their throats. The magic behind his method is linking us directly to a character’s heart and experience.

THE CURIOUS GARDEN (2009)-
Underlying Theme: When we care enough about something, we can prompt change.
Liam is a curious, thoughtful child who transforms a dull, gray city into a lush, cooperative environment. We relate to Liam's innocence and think, “If he can do it, so can I.” Liam’s efforts change the hearts of the characters around him. We see a community coming together before our eyes, not even realizing that we have become one of the team members, too.

YOU WILL BE MY FRIEND! (2011)-
Underlying Theme: When you are genuine, friendship will find you at just the right time.
Lucy is an eager, excitable bear who desires to make a new friend. Mom shows her support of Lucy’s goal, and then Lucy takes it upon herself to initiate contact and deal with her failed friendships throughout the rest of the story. Through Lucy’s words and actions, it is evident that Peter Brown had a real grasp on the social interactions of young children. The child reader will think, “That has happened to me!” Instant relatability turns into rereadability. Without realizing it, the rereading creates learning and confident kids who are ready to tackle the ups and downs of friendship on their own. Genius.

Peter Brown: CONCEPT KING
Peter excels at flipping ideas on their heads, which results in original concepts.

CHILDREN MAKE TERRIBLE PETS (2010)-
Peter doesn’t just write a book about a child wanting a pet. Instead, a bear wants to keep a child as a pet.

MR. TIGER GOES WILD (2013)-
Peter doesn’t just write about a child who wants to break out of the acceptable social standards. Instead, a humanized tiger desires to let lose and be a wild animal.

MY TEACHER IS A MONSTER (NO, I AM NOT.) (2014)-
Peter doesn’t just write about a mean teacher. Instead, the teacher is portrayed as an actual monster.

When an idea is turned inside out, the door is open for humor to waltz right in. Wouldn’t you like to learn from an interplay counselor, message master, and concept king? You can start by checking out Peter’s books. As you study, keep in mind that sometimes it takes 3-5 reads of a story to fully appreciate and grasp everything that is happening. Reading for research is a slow process of deep thinking and dissection. Enjoy the process, and when you are done, you might even consider joining me as an online attendee at the Picture Book Summit. I can't wait to learn directly from Peter, and I am so pumped that I can do that from the comfort of my own home.