~Hosted by Amanda Smith Welcome to the final installment of 24 Carrot Writing's Graphic Novel Virtual Panel Discussion. Over the last two weeks (Part 1 and Part 2), our talented panelists have shared insights about the strengths of graphic novels and their process as creatives. Join our panel as we jump into the last two meaty questions: Middle school students seem particularly drawn to graphic novels, and often graphic novels are set in middle school. What does that communicate about the market for upper middle grade/ lower young adult readers? Are graphic novels purposefully aimed towards the middle school reader, or is there something in the graphic novel format that perfectly mashes with the middle schooler’s brain? Breena Bard: Middle schoolers are taking their first steps toward independence, developing their own beliefs and opinions in a way that they hadn’t before. They are exposed to a diversity of ideas and people, and as they begin to open their minds, they are perfectly primed to receive a radical new method of storytelling. Kids are free of the biases that keep many adults away from comics, and they aren’t pressured to maintain a high-brow reading list. And as long as adults react to graphic novels by wringing their hands or turning their noses up, graphic novels will also have a certain rebellious spirit that might attract middle school readers as well. Plus, comics are just super fun! Terri Libenson: I’m not sure, really. My characters are all 13 and in seventh grade, yet most of my readers are younger, often in third through sixth grade. Many kids read “up”; that is, they tend to read about characters older than them. I’m not as knowledgeable about what 7th-9th graders are reading, but I personally think there is an opportunity for graphic novels geared for that age bracket. Tom Angleberger: Middle school is such a weird time when kids sometimes feel like they should be giving up the type of books they loved in elementary school and reading big thick books. The growing acceptance of graphic novels creates a loophole here. A kid who read Smile in third grade can read Guts in seventh grade. (Of course, as far as I’m concerned, kids should keep reading great kids’ books with pride FOREVER!) Terry Ebbeling: Middle-school students are high energy and don’t often have a lot of “sit” in them. They are also visual learners. Graphic novels appeal to this age because of the pictures which break up the prose and allow students to “see” the story. While middle-school students enjoy graphic novels, there are also a number of authors who gear their graphic novels towards upper elementary students and even high schoolers. Honestly, I like them, too! What would you like to say to those well-meaning adults who act as gatekeepers regarding graphic novels? To those who see graphic novels as inferior reading? Kayla Miller: Comics ask readers to use different skills than prose books. To really read a graphic novel, you have to read not only the text, but also to observe environments, body language, and facial expressions. It can be a really engaging and emotional experience. When reading prose, you have to imagine the visuals based on the descriptions given to you and fill in details about the world around the characters, but when you’re reading comics you have to fill in the characters’ inner worlds and use context clues from the art to decipher what they’re thinking and feeling. I don’t think the skills developed reading comics are any less important or useful than those that students gain while reading prose novels. I also get comments all the time from parents that their reluctant readers become eager readers when it comes to graphic novels. If you believe that fostering a love of reading in younger generations is important, you’re only getting in your own way when you disregard graphic novels. Breena Bard: They should try reading some :) Really though, the fact that graphic novels are told with pictures should not disqualify them, and in fact makes them more accessible and engages students’ brains in a really unique way. Perhaps there is fear because graphic novels are a relatively new medium, but so were computers and tablets, and most schools utilize those to great success. Take time to read some of the new middle grade graphic novel classics (ask a middle schooler and they will surely have a list for you!) and keep an open mind to the possibilities these stories and this exciting format have to offer. They really are quite wonderful! Terri Libenson: It couldn’t be further from the truth (and if it helps, I avidly read comics as a kid, and now I read such a wide range of books, from non-fiction to fiction, including – yes – graphic novels for adults!). As I mentioned, graphic novels can be quite layered as well as visually stunning and rich in story. And then some are just plain fun, and that’s okay. Graphic novels vary just like prose books. And they are, indeed, BOOKS. Tom Angleberger: I think people are hung up on word-count. They assume 100,000 words is better than 1,000. Or 100. Or zero, in the case of wordless graphic novels. Well, that’s just dumb. Do they also assume that a novel by Joe Smedlap is better than a sonnet by Shakespeare? I think we should judge books on how many brain cells they light up. Trust me, Dog Man lights up a lot more brain cells than Tom Sawyer Abroad. (I was forced to read Tom Sawyer Abroad in 7th grade and am still mad.) Terry Ebbeling : I would tell those reading “gatekeepers” of graphic novels that there are different strokes for different folks in all areas of life, including reading. If students enjoy graphic novels, they are READING! Yay! I do not recommend a steady diet of any one genre, including graphic novels. But, if this genre gets kids into books, then let’s allow and encourage graphic novels. Thank you to Terri, Breena, Kayla, Tom, and Terry for a fabulous discussion. I know I am paying closer attention to details in the settings and characters, as well as other context clues when I read graphic novels. I am also inspired to think visually and cinematically about the scenes I write, and I cannot wait to get my hands on our panel's new releases in May (if I can pry them from my own middle schooler's hands!) BIOS: Terri Libenson is the cartoonist of the internationally syndicated daily comic strip, The Pajama Diaries, and the author of the best-selling illustrated middle grade novels, Invisible Emmie, Positively Izzy, and Just Jaime. She was also an award-winning humorous writer for American Greetings for 22 years. The Pajama Diaries launched with King Features in 2006 and currently runs in hundreds of newspapers throughout the country and abroad. Pajama Diaries has been nominated four times for the Reuben Award for “Best Newspaper Comic Strip” by the National Cartoonists Society and won in 2016. Terri lives with her family in Cleveland, OH. Her newest novel, Becoming Brianna will be available in May 2020. To learn more about Terri, visit http://terrilibenson.com/ Breena Bard writes and illustrates comics, drawing inspiration from her childhood in Wisconsin, and the stacks of graphic novels on her bedside table. Her graphic novel debut, Trespassers, is set to release May 5, 2020. She lives in Portland, Oregon, with her husband, two kids, and cranky but lovable cat. Visit http://www.breenabard.com/about-1 to learn more. Tom Angleberger is the author of the New York Times, USA Today, and Wall Street Journal bestselling Star Wars Origami Yoda series. He is also the author-illustrator of Fake Mustache and Horton Halfpott, both Edgar Award nominees, and the Qwikpick Papers series, as well as many other books for kids. But he always wanted to draw comics and he’s finally gotten the chance to draw with Geronimo Stilton and the Sewer Rat Stink! (Available May 5, 2020) He’s married to acclaimed graphic novelist Cece Bell, who wrote and illustrated El Deafo. To learn more visit https://origamiyoda.com/the-books/ Kayla Miller is the author and illustrator of the best-selling Click series of graphic novels. The third book in the series, Act, is coming out in May 2020 and a fourth book is currently in the works. To learn more about Kayla, visit https://www.kayla-miller.com/ Terry Ebbeling has been teaching grades 7 and 8 ELA for the past eighteen years. She enjoys delving into reading and writing with her students and finds young-adult literature far more riveting than adult literature! This week's reading list:
CLICK and CAMP by Kayla Miller INVISIBLE EMMIE, POSITIVELY IZZY and JUST JAIME by Terri Libenson SMILE, SISTERS, and GUTS by Raina Telgemeier DOG MAN by Dav Pilkey
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~Hosted by Amanda Smith Welcome back to 24 Carrot Writing's Graphic Novel Month. Last week our panel discussed the unique strengths of graphic novels for readers, but also, for them as creatives. If you missed Part 1, you can find it here. Lets join our panel of Graphic Novel authors for Part 2. Often those opposed to graphic novels think about these books as shallow or “comic” books, yet today’s graphic novels deal with difficult subject matter such as addiction, racism, startling historical events, and peer pressure. Why are graphic novels such an effective medium for telling these kinds of stories? Terri Libenson: I think a big part of it is because many kids love comics and/or illustrated stories; therefore, difficult subject matter won’t have to be forced on them -- they will automatically want to read about it in graphic novel form. Examples of graphic novels dealing with heavier subjects Many graphic novels have an autobiographical aspect. Why, do you think, does this format lend itself well to autobiographical storytelling? Terri Libenson: Well, all kinds of books have an autobiographical element. But I think good artists have a gift for retelling their memories in a visual way that connects immediately with readers. It can also be fun to “see” the setting and clothing of a different era rather than just read about them. Breena Bard: I’ve never thought about this before! I wonder if it’s because, just like our imaginations, our memories tend to exist in our minds largely as images. If a writer is able to put those remembered images on page as pictures, they can retain some of the vivid detail that might be lost if translated into words. There are some emotions and feelings that can be conveyed better by pictures, and when a picture won’t do, graphic novelists also have written words in their toolbox. It’s the best of both worlds, and for telling something so nuanced and complex as a personal story, I can see why writers would be drawn to a format that’s so flexible and accommodating. Raina Telgemeier's series of graphic novel memoirs. Graphic novel characters are often established fairly quickly and with few words (often one or two speech bubbles.) Please share with our readers some of your character development strategies. What happens behind the scenes, before the reader sees the character on the page for the first time? Breena Bard: For me, characters emerge when I am playing in my sketchbook. The harder I try to “design” a character, the more wooden and forced they feel. But when I let my mind and my pen wander, I am often surprised by the different characters that emerge. I try to spend a lot of time on this earlier side of character development, doodling a new character in every possible facial expression, pose and setting. And if I’m lucky enough to have two characters come to life, I can play with putting them into a variety of vignettes, or mini-scenes. Sometimes these scenes make it into my eventual script, and when they do, they are some of my favorite scenes. Kayla Miller: I think you can say a lot about a character's personality through their appearance and their actions. Every day we make choices about how to present ourselves to the world and comic artists make those decisions for their characters. Clothing, posture, facial expressions, and way of speaking do a lot of the work, but another great tool is drawing a character’s room (or other spaces they decorate and store things in, like a desk or locker). One panel of a character in their living space could be worth paragraphs of description about their personality and interests. Terri Libenson: Well, I have an advantage, as my books are hybrids: part illustrated novel and part graphic novel. The illustrated novel portion contains much more text, so I can set up a character’s story in detailed prose. The GN portion is much more of a challenge, character-wise. One technique: I frequently have characters introduce themselves. And I think dialogue or inner monologue quickly establishes their personalities. Behind the scenes, I try and get to know these characters well so that they seem convincing on paper. They usually have aspects of my personality and memories. Some are also inspired by people I’ve known – although they tend to develop differently as I write. Tom Angleberger: For me it was the matter of redrawing a famous character, Geronimo Stilton, in my own style. And, since he narrates his novels, I had to pick and choose which words of his to use in my panels. But, I’ve been a Geronimo fan for so long that all of that came very naturally. Thanks to our fabulous panel! Join us next week for the last of the panel discussion posts. We will be talking about the middle schooler's brain (ooohhh!) and gatekeepers!
A reading list for this week: CLICK and CAMP by Kayla Miller INVISIBLE EMMIE, POSITIVELY IZZY and JUST JAIME by Terri Libenson NEW KID by Jerry Craft HEY KIDDO by Jarrett Krosoczka THE FAITHFUL SPY by John Hendrix SMILE, SISTERS, and GUTS by Raina Telgemeier AWKWARD, BRAVE & CRUSH by Svetlana Chmakove (great notes on characterization and setting in back matter) ~ hosted by Amanda Smith For too long the literary value of graphic novels has been questioned. There are parents who tell their kids to pick "real books," while some teachers confiscate graphic novels when their students dare to bring them to class. However, just a week ago, history was made when Jerry Craft's graphic novel, New Kid was awarded the Newbery Medal. The John Newbery Medal is awarded for "the most distinguished contribution to American literature for children" by the Association for Library Service to Children (ALSC). Yes, a graphic novel won a prestigious literature award! Join 24 Carrot Writing this entire month, as we CELEBRATE the strength and beauty of graphic novels and their place on our bookshelves! We've got a distinguished panel and weekly Graphic Novel blogs ready to go. Welcome to Graphic Novel Month at 24 Carrot Writing. MEET OUR PANEL: Terry Ebbeling is a seventh and eighth grade English Language Arts teacher and reading advocate extraordinaire. Why did you decide to tell your stories in graphic novel format as opposed to prose novels? Kayla Miller: The art side of things is actually what I committed to first. I’ve always liked both writing and art, but I was more focused on art and chose to go to college to study illustration. I wrote and illustrated comics while I was in school, but I still thought I’d end up illustrating other people’s words and ideas once I graduated. I considered writing a hobby, and art my profession for such a long time that it was sort of a revelation when I realized that people actually liked my stories as much as my drawings. I think comics are just my natural format. Breena Bard: My stories generally unfold in my imagination as movies, and almost before I have any words or even a plot, I can see my characters moving around and interacting in the world. Since I’m not a filmmaker, but I am able to draw, it seems most natural to tell my stories with pictures. And there is a lot you can do with a graphic novel to tell a story as cinematically as possible! Terri Libenson: I studied illustration in college and have drawn cartoons for most of my life. Before I started creating graphic novels, I was a syndicated newspaper cartoonist. I’ve always loved writing, too, so the combination of art and writing suits me very well. Tom Angleberger : I’ve written quite a few prose novels now and will write more. But I’ve almost always had a desire to have more than just text in them, whether it’s origami instructions or a nice map. If a funny picture is funnier than a text block, why not draw it? And, the same goes for any emotional response you’re trying to get from a reader. What do you see as the unique strengths of graphic novels? Breena Bard: There is an immediacy to comics and graphic novels that make them very accessible to readers of all ages. I don’t think it’s just the inclusion of artwork, which makes them “faster” or “easier” to read (aka, fewer words). There is something very unique going on in the way the words and images interact, perhaps because they engage very different parts of our brain, that brings a reader right into the story and keeps them there. It’s not uncommon for someone to remark that they finished a graphic novel in just one or two sittings (and as a mom of two with precious little spare time for reading, I consider that a huge strength!) Terri Libenson: Graphic novels are perfect for the reluctant reader or for those who are simply drawn to visual storytelling. And they can be so literary and layered – something most kids know but many adults are just starting to learn. Tom Angleberger: After writing so many books for kids, I’ve become almost obsessed with removing any barriers or stumbling blocks that are going to stop a kid from finishing a story. And one of the biggest stumbling blocks is description. Some readers may be able to read a page of text and “see” a vivid landscape, but some of us never make it through that page. We put the book down after a couple sentences and are never compelled to pick it up again. Meanwhile, the graphic novel reader is gaping in wonder at beautiful artwork. (Well, not in my book, but in some books! Nathan Hale’s One Trick Pony for example.) Terry Ebbeling: While I was a skeptic at first, thinking graphic novels were inferior to “regular” books, I have come to appreciate them for middle-school readers. Students these days are visual readers, so the graphics help them comprehend and stay interested- especially reluctant readers. And I have been amazed by how detailed the graphics are! My students recently read White Bird by R.J. Palacio for Pizza and Paperbacks, and I read through that graphic novel twice. The first time I concentrated on the plot line and glanced at the pictures. But, during my second reading, I really appreciated the fine points in the pictures that told a story in themselves. And, when discussing the book with my students, they found even more depth in the pictures that gave them a greater understanding of the darkness of WWII. While graphic novels may not be for every reader, I find the combination of text and pictures to aid in comprehension and enjoyment for some of my readers. Join us again next week as our panel discusses character development and difficult subjects. And while you wait, pick up a few graphic novels and discover for yourself the intricate combination of storytelling through words and pictures. This week's reading list:
Click and Camp by Keila Miller Invisible Emmie, Positively Izzy, and Just Jaime by Terri Libenson One Trick Pony by Nathan Hale White Bird by R.J. Palacio New Kid by Jerry Craft ~ By Amanda Smith Here we are: On the cusp of a new year, and a new decade. As we peek over the rim and catch the first glances of 2020, our breaths catch a little. Our hearts race, because… it holds scary challenges and huge uncertainties, it holds dreams, and hopes, and exciting opportunities, it holds its arms wide open for us to dive in. Whether you tentatively dip your toes, or dive in with head-first-abandon, knowing where you intend to go, is vital. Take some time during the month of January to program your writing GPS. Plot your calendars, prepare your bullet journals, pin your tracking sheets, and set those yearly goals! Remember to add carrots to keep you motivated. Oh, life will bring derailments – that is inevitable. It will also bring scenic detours for us to embrace. But when we have our road mapped out, it is so much easier to get back on track. We posted our 2020 writing goals under the GOALS tab on 24 Carrot Writing. Scrutinize our road maps. Perhaps they'll help you find your own way. Throughout the years we have written many posts about goal setting. Below I have linked some for easy access, but you can find them all under the “Writing Goals” tag to the right of your screen. So read up, have some fun with colored pens, and planners, and chart your way for writing success in 2020. Annie’s SMART goals: http://www.24carrotwriting.com/-blog/the-smart-key-to-your-carrots Amanda’s goal setting strategy explained: http://www.24carrotwriting.com/-blog/a-year-of-goals Kelly’s handy tracking resource: http://www.24carrotwriting.com/-blog/a-24-carrot-writing-goal-worksheet Amanda’s updated yearly planning and printable resource: http://www.24carrotwriting.com/-blog/doing-the-necessary Annie’s forgiveness clause: http://www.24carrotwriting.com/-blog/set-your-writing-goalsbut-allow-for-some-slack Kelly’s unique monthly plan: http://www.24carrotwriting.com/-blog/give-your-writing-the-wrqs Monica Tesler takes us from goals to tasks: http://www.24carrotwriting.com/-blog/new-year-new-goals-now-what Francine's tools for staying in track: http://www.24carrotwriting.com/-blog/tools-for-staying-on-track Feel free to browse under http://www.24carrotwriting.com/-blog/category/writing-goals Off site: Bullet journals: https://www.katemessner.com/bullet-journaling-childrens-author-version/ Inside a writer’s bullet journal: https://www.youtube.com/watch?v=SiLhM17Kw38 Welcome to our annual holiday gift list! We have asked our guest bloggers and contributors about their favorite 2019 writing and illustrating things. Because they are always fabulous, they have provided a fantastic list of practical, frivolous, and fun gift ideas. Happy shopping!
Jamie Tan is a Senior Publicist at Candlewick Press and has her MA in Children’s Literature from Simmons College. Before working at Candlewick Press, Jamie worked in events and marketing at several independent bookstores. You can find her on Twitter @thejamietan.
Angela Burke Kunkel's debut picture book, DIGGING FOR WORDS: JOSÉ ALBERTO GUTIÉRREZ AND THE LIBRARY HE BUILT (illustrated by Paola Escobar and published by Random House/Schwartz & Wade) releases in Fall 2020. To learn more about Angela, visit her website at https://www.angelakunkel.com/
Jarrett Lerner is the creator of the EngiNerds series, and is currently juggling seven different upcoming book projects. He is using LOTS of Post-it notes to keep himself organized and on schedule. To learn more about Jarrett visit his website at https://jarrettlerner.com/
In addition to Lizzy and The Good Luck Girl (Running Press Kids, 2019), Susan is the author of The Upside of Ordinary and numerous picture books. To learn more about Susan, visit her website at https://www.susanlubner.com/. Tania de Regil: Honestly, the greatest thing I’ve learned this year, both in my writing and illustrating, is letting go! I know it sounds a bit cheesy, but it’s true. No one should worry about what people are going to think or say about their work, so I remind myself every day that I do this because I love it. In more technical aspects, I started using the Schmincke watercolors and they are fantastic! Tania de Regil is an author and illustrator from Mexico City who made her US debut this year with A New Home/ Un Nueva Hogar (Candlewick Press, 2019). To learn more about Tania, and browse her online print shop for some lovely Christmas gifts, visit her website at https://taniaderegil.com/books/
Lisa is a children's librarian and author of 16 WORDS: WILLIAM CARLOS WILLIAMS AND "THE RED WHEELBARROW" (Schwartz & Wade Books, 2019) which has received starred reviews from Kirkus and Publishers Weekly and is A Junior Library Guild Selection. Lisa's second picture book HOUND WONT GO (Albert Whitman & Co.) launches spring of 2020. To learn more about Lisa visit her at lisarogerswrites.com.
Studio Goodwin Sturges is a boutique artists agency dedicated predominately to children’s trade publishing. They look for artists who have a real sense of a child’s world and how to dynamically depict it. To learn more about Studio Goodwin Sturges please visit them at: http://www.studiogoodwinsturges.com/.
Kelly Carey is a co-founder of 24 Carrot Writing and her debut picture book, HOW LONG IS FOREVER? launches from Charlesbridge in April of 2020. To learn more about Kelly visit her website at http://www.kcareywrites.com/.
Lori Mortensen is an award-winning children’s author of more than 70 books and over 350 stories and articles. Recent releases include AWAY WITH WORDS: THE DARING STORY OF ISABELLA BIRD and IF WENDELL HAD A WALRUS. Visit her website at www.lorimortensen.com.
Ileana Soon is an illustrator/visual development artist who grew up in Borneo before making her way to Los Angeles where she currently lives and works. NIGHT TRAIN is her debut as a picture book illustrator. Learn more about Ileana at http://ileanasoon.com.
Christy Ewers: Two things I cannot live without as an agent (and the only things that keep me organized) are: 1. Sharpie Pens. They are the best fine-point pens out there, and anyone who has seen my handwriting knows that a nice clean black line means a lot to me! I use them to hand-address the envelopes when we do promotional mailings. I realize that the fact that I hand letter 250 addresses 3x a year makes me crazy, but the fact that they can withstand that kind of abuse is proof positive that they are awesome! 2. A nice college ruled small notebook with a thick, sturdy cover. I write everything in my notebook. From keeping a to-do list (complete with boxes to check!), to taking notes in meetings or conferences, to jotting down story ideas, to score-keeping my family rummy games, it’s got everything in it. It’s my travel companion and life line. Let’s not talk about what would happen it it was misplaced! Right now, I’m using this one from Madewell. Christy T. Ewers is one half of the agenting team at The CAT Agency, where she represents illustrators and author/illustrators in the children’s industry, along with her mother and partner, Chris Tugeau, who founded the agency in 1994. The CAT Agency is a boutique agency that believes in the hands-on approach in representing a diverse group of talent from all over the world. Rachel Lynn Solomon: I'm always cold, so my favorite writing accessory has to be these adorable writing gloves from Storiarts. They come in a variety of bookish patterns and make lovely gifts for author friends -- or for yourself! Rachel Lynn Solomon is the author of the YA novels You'll Miss Me When I'm Gone, Our Year of Maybe, and the forthcoming Today Tonight Tomorrow (6/16/20), all from Simon & Schuster/Simon Pulse. You can find her online at rachelsolomonbooks.com and on Twitter @rlynn_solomon. Amanda Smith: My favorite way to keep track of my daily writing tasks, is this day planner by Day Designer. I love the roomy pages, with designated to-do list space, for each day. It also features tabs, and a month overview and has plenty of extra note pages to jot down monthly goals. It comes delivered in a beautiful box, which makes it an ideal no-wrapping- required gift. ~By Amanda Smith “This year’s felt like Four seasons of winter And you'd give anything To feel the sun” - Reason (Unspoken) When I first heard the opening of this song by Unspoken, everything in me cried, “YES! THIS!” This year brought more unexpected changes and interruptions to my writing life than any before: unexpected travel, lovely visitors, a left hand immobilized for four months due to a broken wrist, and an extended stint as a long-term substitute teacher. Now, it isn’t all bad. But it is all busy. I’m not about to throw a pity party (been there, done that), but I do want to address the reality of months, or years, not turning out the way we anticipated when we first set those shiny New Year’s writing goals. There had been times like this in my life before, where I couldn’t find space for creativity or writing due to The Urgent pulling at me. There had been years where I had walked away from writing. And the return had been slow and laborious. This year, amid Nor’easters of life pummeling me, I was resolved. This year, unlike other stormy times, I’d kept my one hand on my writing. In order to do that, I had to adjust my goals. I am not pushing to finish my novel before the end of the year as I had planned. I am working on smaller projects that can endure interruption with more grace, such as querying and research, revisions on picture books, writing poetry and other shorter pieces. I keep moving forward, even if it is at a snail’s pace. I keep learning, thinking and observing. I spent most of my immobilized summer reading mentor texts, new publications, and craft books. I keep active in my writing community. The mere fact that I have a critique group expecting a manuscript from me, drives me to write, or revise. Giving feedback on their work, keeps my head in the game. Connecting with other writers at events, invigorates me, and reminds me of who I am amid the blizzards. And meeting with my monthly accountability group, keeps me setting and checking off teeny-tiny-but-moving-forward-goals. I keep making space to create. So coming back will be easier. So I won’t let go forever. Because Spring will come. ~Guest blog by Angela Burke Kunkel When you think of a picture book being read, what--- or more precisely, who--- do you see? A child snug on the lap of a beloved parent or grandparent? A teacher, perched on the edge of a tiny classroom chair, reading aloud to a rapt class seated criss-cross-applesauce on the rug? A toddler, alone in their room during quiet time, studiously turning the pages and reciting a favorite book from memory? Or is the audience . . . you? Sometimes, in our journey to become writers, we study so much advice and so many mentor texts and blog posts and craft books that we lose sight of our own voice, our own relationship with books, our own relationship with words. We write for children, after all, many of us in a particular genre or format. Picture books present their own unique set of challenges, with the industry standard of 32 pages and that ever-fluctuating “sweet spot” for word count. And, of course, you have other considerations: room for the illustrator. The child. The reader. It can be enough to crowd out why you’re doing this in the first place. And, selfishly, it is okay if that’s you. Allow me to back up for a moment: In my daily professional life, I work as a teacher-librarian in a school that serves grades seven through twelve. My entire career, I’ve only worked with tweens and teens--- never with elementary or preschool-aged children (and, may I just say, bless those early childhood and elementary educators). When social conversations wind their way round to writing, teens and even other adults often express surprise that I don’t write YA. After all, that’s who I interact with on a daily basis. And there is incredible work for young adults out there. I love reading it and talking about it, especially with young people. But it isn’t what my brain reaches for right now, emotionally or structurally, in terms of my own writing. As someone who wanted to write novels for a very long time--- and never, ever finished a complete draft--- I found myself circling back to picture books. As I rediscovered them through my own young children, and through using them in classroom instruction with middle and high schoolers, I realized I also enjoyed them for my own aesthetic reasons. I loved how wordless titles felt like a silent movie unfolding. I loved the deceptive simplicity of clever refrains or circular structures. I loved the lyrical language and pacing of others, as metaphorical and gorgeous as any Mary Oliver poem. And yes, I’d read them with a child snuggled on my lap, or to a classroom of students (albeit at tables, not criss-cross-applesauce), but the aesthetic experience was a personal response for me. And eventually, I found myself reading them . . . by myself. When I had the itch to write after many years away from it, I allowed myself to consider the possibility of picture books. As Ann Whitford Paul notes in Writing Picture Books, picture book form is unique because they are books written for people who cannot yet read, “usually read by an adult reader to a nonreader . . . The pictures are there to entice the nonreader to listen and also help construct meaning from the words.” And she’s right, but I also think as writers we can expand our vision beyond that, while still respecting it. After all, aren’t all good stories, regardless of form, about the experience of constructing meaning? While it’s important to write with your primary audience in mind, remember that you can also have multiple audiences. I’d encourage aspiring writers to not only focus on how children might experience their book, but teens and adults as well. There are so many books I have used or want to use at the high school level--- from Faith Ringgold’s Tar Beach to Yuyi Morales’s Dreamers. Seeing teens, often stereotyped as cynical or disaffected, engaged in a picture book with the same wide-eyed wonder as a kindergartener reminds me that these stories serve a purpose for everyone. We just need to allow for that possibility. So my challenge to you is this--- when you’re writing, and especially during those free writes and first drafts--- allow yourself to let go of that image of the lapsit reader or the elementary classroom. Disregard that editor voice in your brain that questions things like appropriateness and marketability and Lexile level. And, just for a little while, allow yourself to play. Swim around in words that make you feel like you’re engaging in a beautiful piece of language that isn’t cataloged “E” because it’s Easy. It’s “E” because it’s for everyone. And maybe, in that space of openness and play, you just might surprise yourself (and ultimately, your reader) with something beautiful. Bio: Angela Burke Kunkel's debut picture book, DIGGING FOR WORDS: JOSÉ ALBERTO GUTIÉRREZ AND THE LIBRARY HE BUILT (illustrated by Paola Escobar and published by Random House/Schwartz & Wade) releases in Fall 2020. In addition to being an author, Angela works full time as a school librarian. She is a graduate of Simmons College in Boston, Massachusetts. Angela is represented by Liza Fleissig at the Liza Royce Agency. You can contact her here. You can also connect on Twitter and Instagram. UPDATE: Our copy right agreement with Candlewick Press for the use of Tania's spectacular artwork has expired. Even though we had to pull the lovely drawings, Tania's content is still applicable and her book is a must for every elementary school classroom. Please browse her portfolio at taniaderegil.com/, buy A NEW HOME and preorder SOMETHING ABOUT GRANDMA, launching August 2022 here. ~ Guest post by illustrator Tania de Regil My name is Tania. I’m from Mexico and I’m the author of A NEW HOME (UN NUEVO HOGAR in the Spanish edition)(2019; Candlewick Press), which shows the story of a boy moving from New York to Mexico City and, at the same time, a girl moving from Mexico City to New York. In a combined voice they share their fears about leaving their home, but because we see their story side by side, we realize how they are more alike than different and that home can be found wherever life leads. This story is very personal and it was inspired by a series of things that happened to me while growing up. When I was 5 years old, just around the same age as the boy and the girl from A NEW HOME, my mom and dad had some big news for my brother and me. My dad had been accepted to a prestigious medical school in Stockholm, Sweden! This, of course, meant we had to move. Truthfully, I was scared, I had never even heard about this place before, and I didn’t fully understand what moving really implied. All I knew was that I would be leaving everyone and everything I loved behind, and that I was going to miss my home very much. Nevertheless, we left soon after that, but something happened that I wasn’t expecting at all. I loved it! I quickly fell in love with Sweden, with the people, the food, and everything about it really, and in no time, I felt right at home. I had the opportunity to experience incredible new things that wouldn't have happened if I’d never moved to a different country. We lived there for three years and then we moved back to Mexico City, but I still cherish those years I called Sweden my home. When I graduated from high school, I really wanted to study art or design. I knew I wanted to have that experience of living in a different country again, so I applied to different schools across the United States. And this time, I got accepted to an incredible design school in New York City! I was thrilled! When I arrived, I fell in love with the city: its sparkling energy, its incredibly diverse people, and how there was something new to discover every single day. From these experiences of moving around, I realized that no matter where I found myself, I could make that place my home. I learned so much from living in different countries and I am so grateful for that. It really opened my eyes and helped me realize that I should always be willing to try new things, no matter how scary they might seem at first. With this idea, I started writing A NEW HOME. Now, a funny thing happens when we move to a different country: our experience living abroad actually connects us on a very deep and emotional level to our home country. Things you’ve taken for granted before suddenly become so precious, and you start seeing them with a different mindset. While living in NYC, I started reminiscing all the things I loved about my home city. The sounds, the smells, the food, and the people. All these things that make up a city, and what actually makes each place so wonderfully unique. There were so many things about Mexico that I wanted to share. And to tell you the truth, NYC reminded me of Mexico City in so many ways. So, you could say that this book is a love letter dedicated to these two magnificent cities I’ve had the honor of calling home and an effort to help others see them for what they truly are. On a final note, another incredible thing I was able to experience while living in different countries was meeting people from all over the world. While I was living in Sweden I went to an international school, so I had friends from Kenya, England, Australia, Iran, Israel, Poland, Finland, India, USA, you name it. It was amazing! I was able to learn so much from all my friends. And since NYC is one of the most diverse cities in the world, I met amazing people there as well. Because of this, I learned that that no matter where any of us come from, we’re really not that different. So, even though the boy and the girl from A NEW HOME grew up in completely different cultures and circumstances, they are experiencing the same fears and emotions—which serves to show that in the end, we are all just humans. Bio:
Tania studied fashion design at Parsons School of Design in New York City and finished her studies in her home country of Mexico. Her work as a costume designer in film and television has helped to better grasp the art of storytelling through images. She uses a variety of media in her work, such as watercolor, gouache, color pencils, wax pastels and ink to create richly textured, engaging images. Visit Tania's website: https://taniaderegil.com/ Tania’s American debut picture books , A New Home, and Un Nuevo Hogar, are available from the following vendors: Indiebound: https://www.indiebound.org/book/9781536201932 Barnes&Noble: https://www.barnesandnoble.com/w/a-new-home-tania-de-regil/1129102613?ean=9781536201932 https://www.barnesandnoble.com/w/un-nuevo-hogar-tania-de-regil/1129102661?ean=9781536206753 Amazon: https://www.amazon.com/New-Home-Tania-Regil/dp/1536201936/ref=sr_1_1?keywords=A+new+Home+Tania+de+regil&qid=1565288619&s=books&sr=1-1 https://www.amazon.com/nuevo-hogar-Spanish-Tania-Regil/dp/153620675X/ref=sr_1_2?keywords=A+new+Home+Tania+de+regil&qid=1565288619&s=books&sr=1-2 ~ By Amanda Smith Earlier this month, I found myself again as substitute teacher in the art room, but this time with middle school students. They were in the process of painting an impressionist landscape. What I encountered, though, was hesitancy. They were so afraid that they were going to mess up their pictures by experimenting with this new style, that even after explaining and demonstrating multiple times, most students still opted to mix solid colors on their palettes and apply flat, texture-less paint to their canvasses. I recognized that anxiety of “messing up a picture.” I felt that many times as an art student myself and have vivid memories of an art teacher dipping my brush in the bright red and yellow paint of my neighbor’s palette and brushing thick globs of primary colors on my super-careful shades-of-blue painting. I was crushed, and furious, and traumatized by the experience for years. But now, I can see that she tried to push me, in the true spirit of the Impressionists, towards experimenting. To stop resisting change. To be brave. To play. Often, we act like middle school students with our manuscripts. We settle into a specific form or idea and stubbornly hold onto it, despite external input and internal nagging urging us to reexamine. This year I’m learning to experiment. A picture book manuscript I had been working on since 2013 got rejected after an R&R. This is a manuscript that had already been through multiple revisions in two languages, and had changed tense and point of view more than once. It had been seen by multiple critique partners multiple times. It was a well-worked manuscript. And yet, it got rejected. The response from the editor, along with her feedback, prompted me to consider all the comments of all my other readers over all the years – those deeper questions and concerns I had been too afraid to address, even as I had spent years fidgeting with the surface: Almost like my sixteen-year old self faced with a ruined all-blue painting. So, I opened a new document on my computer and typed the “what-if” sentence that had been lingering in the back of my mind for years. I shook up the entire structure, lost the main character, broadened my scope, and threw all caution to the wind. And it was much better. In fact, I thought I was there. Ha! Enter critique partners. But, this time around I was much quicker to kill the darlings and embrace the change. Now, six years after I’d first started this story, I can say I have a manuscript in which I truly believe. Yet, I am not so precious about it that I am not willing to shake it up again, should it be required. Sometimes I get mad at myself for wasting all that time. But, upon reflection, I realize I learned a myriad of things about my story, about the industry, and about myself through this process. The biggest lesson was to stop resisting change. To be brave. To play. Fast forward to later this year. I was working on a rhyming picture book manuscript, focusing on perfecting the rhythm, putting story first, and finding smart rhymes without forcing them. Nailed It. Except, every critique partner ever commented with “It’s good, but does it have to be in rhyme?” My initial response was, “You have got to be kidding me? I have sheets and sheets with column upon column of hard and soft syllables. I have clapped rhythms ad infinitum. I have rhymed four-syllable words.” But wait. What if? In March my family and I visited the Worcester Art Museum which hosted an exhibit of Claude Monet’s Waterloo Bridge. The exhibit featured nine of the Waterloo Bridge paintings. Monet painted the bridge forty-one times during the winters of 1899 - 1901. He’d line up fifteen canvasses and move between them, literally seeing the bridge in different light, and capturing what he saw. Then he went back to his studio and kept working on those paintings. The painting that now belongs to the Davis Museum at Wellesley College, was still in his studio, likely unfinished, when he passed away in 1926. Forty-one times, about this particular subject, Monet asked “What if?” and decided to be brave and see where it would take him. My rhyming manuscript is no longer in rhyme. Inspired by Monet, I will keep looking at my work in different light. How about you? Do you have a manuscript that would benefit from a new perspective? Will you dare to ask “what -if?” And be brave? And play?
~by Amanda Smith I have been following Miranda Paul's career for many years and celebrate along with her as her fifteenth book will be released this year. Her picture books inspire young readers to take care of the earth and one another. She invests generously in the kidlit community as founder of RATE YOUR STORY and co-founder of WE NEED DIVERSE BOOKS. Her generosity also spills over in other walks of life in local and international communities, where she invites others to come alongside her and spark change. I am honored to welcome Miranda to 24 Carrot Writing to tell us about her newest book-baby. NINE MONTHS: Before a Baby is Born (illustrated by Jason Chin) released on April 23, 2019. You have said of this book, “My heart is full to have this very special book received with love. It's been in development for ten years, and I may cry upon its ‘birth.’” Please share with our readers the journey of NINE MONTHS and why it is so close to your heart. Nine Months is the book I wanted when I was pregnant with my second child. Sometimes that’s why you write a book—the one you want doesn’t exist yet. While every day I was getting access to weekly updates on the status of my baby, where was the scientifically-accurate yet age-appropriate book for my two-year-old daughter who was as curious as I was about each stage of her new sibling’s development? And while there were plenty of great picture books about where babies come from or emotional picture books about how much love a new baby gets, I struggled to find one that struck the right balance between the two. It only took ten years, but Nine Months is exactly the book I wanted. The science of human life is as miraculous as the love families have for each other. This book compromises neither one, and it’s also a reflection of the diversity of our world’s families. Your books are diverse in theme, yet many deal with social/environmental issues. Why do you gravitate towards telling these kinds of stories? Diversity and environmentalism are important aspects of my life, and my work is an extension of who I am and what I believe. As a white woman, I am keenly aware of my privilege and how representation in society can elevate or diminish someone’s opportunities. On a more personal level as a mom, raising biracial, multi-ethnic children who are also nature lovers is my everyday joy and task. Having traveled, lived, and made friends with people in more than a dozen countries has afforded me the discovery that human beings are more alike than we are different, and that our planet is a superbly beautiful place worth protecting. All children need to be reflected in and honored by the stories we tell, and our planet should be given a voice. You are such a prolific writer, and you do school visits and many other public appearances as well. How do you structure your writing time? Do you write on specific days or do you write every day? I get this question a lot. Many people don’t know that I’ve been writing most of my life, so when I began in children’s books I had a body of work and experience writing for other kinds of publications. My structure isn’t exactly the same day-to-day (what working mother can say this? What person, for that matter?). But just as any other self-employed person I set schedules and have honed my self-discipline. I do most of my school visits in spring and fall, and therefore a lot of new writing and researching naturally falls in the winter and summer months. There’s no magic equation. Everyone who is an aspiring writer—even if you’re working another job (like I was when I began) or taking care of children or elderly—must find the motivation and momentum to fit the work into the “cracks of life,” to use a phrase I heard from writer Susan Manzke. You may not have entire days to write, but you might have snippets here and there. Enough snippets put together make a book. Here at 24 Carrot Writing we are big on setting goals as a way to stay motivated and on task. Do you use writing goals to keep focused? Would you mind sharing your goals or 2019? Just before my debut book One Plastic Bag released, I had a moment in which I knew I was exactly where I needed to be. The feeling was exhilarating; it’s hard to describe. So for the past couple of years, my goals have leaned toward enjoying the process and keeping on the same path. Of course, I also have personal goals for growth and pushing myself to try new things. Not all of them have to do with writing, which is what I find most meaningful. The more I work on having the life I want, the better I seem to be doing professionally. I get to write—and live—what I believe. Keeping that realness is at the top of my list of goals, because I hope it’s an inspiration to my children that exploring who you are, staying active in areas that matter to you, and developing your passions are all measures of success, regardless of the outcome. What would you like to say to writers who are reading this interview and wondering if they can keep creating, if they are good enough, if their voices and visions matter enough to share? Remember that even though you may pour your heart into your work, ultimately you and your work are separated once it goes out into the world. A rejection or critique is about the words on the page—not you, personally. So yes, you can keep creating. Yes, you are good enough. And yes, your voices and visions matter enough to share. It’s really that simple. Thank you for sharing your heart and wisdom with 24 Carrot Writing, Miranda. New and Upcoming Books by Miranda Paul:Bio: Miranda Paul is the award-winning author of One Plastic Bag, Water is Water, and I Am Farmer, all Junior Library Guild selections. Whose Hands Are These? was named a 2017 ILA Teacher's Choice and Are We Pears Yet? won the 2018 Award of Excellence in Children and Young Adults Literature from the Council on Botanical and Horticultural Libraries. Her most recent release, Nine Months: Before a Baby is Born, received three starred reviews from Kirkus, Booklist, and Publisher’s Weekly. Miranda Paul is an annual faculty member at the Highlights Foundation and a co-founding member of the nonprofit organization We Need Diverse Books, for which she currently serves as Mentorship Chair. Visit her at mirandapaul.com. NINE MONTHS: Before a Baby is Born, as well as Miranda's other book are available at these retailers:
Indiebound: https://www.indiebound.org/book/9780823441617 Barnes and Noble:https://www.barnesandnoble.com/w/nine-months-miranda-paul/1129200776?ean=9780823441617#/ Amazon:https://www.amazon.com/Nine-Months-Before-Baby-Born/dp/082344161X/ref=sr_1_2?keywords=Nine+Months&qid=1556288387&s=gateway&sr=8-2 |
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