Friday, August 8, 2014
Guest Teaching Author Post and Book Giveaway with Sandy Brehl!
I'm happy to welcome Sandy today as a Guest Teaching Author. Look below for details about the giveaway of her new middle grade novel, Odin’s Promise.
SCBWI, devoting most of her time to writing and reading. Sandy enjoys gardening, art, and travel (to Norway, of course). Visit her website to learn more about Odin’s Promise and follow her blog. She also posts reviews and commentary about picture books at Unpacking the POWER of Picture Books. You can follow her on Twitter: @SandyBrehl and @PBWorkshop.
How did you become a Teaching Author?
Teaching came first. I began teaching right out of college and never stopped. For four decades I worked in elementary schools at many grade levels, leading writers throughout those years. The use of mentor text (before it was called that) and the “links to life” approach I used in leading kids to write more successfully, effectively, and with greater engagement meant I was always writing with and for students. This included writing across content areas.
I was always a competent writer, and I wrote often, but I only shared my writing with students and family. It wasn’t until an odd holiday circumstance and my own ignorance of the publishing industry that I gave any thought to submitting my work. I wrote a blog post about this uninformed and inauspicious start to becoming an author.
I had some encouraging successes, with poetry appearing in Spider Magazine and articles published in professional journals. I eventually joined SCBWI (Society of Children’s Book Writers and Illustrators). With the help of workshops, conferences, and critiques, my writing efforts more consistently approached publishable quality.
Since retiring from full time teaching, I conduct workshops for educators, sharing ways to use the highest quality children’s literature to improve reading and writing instruction.
Odin’s Promise is compelling historical fiction for middle-grade readers. How did you balance the fiction and nonfiction aspects of your story?
I love reading historical fiction, and now writing it, too. Fact and fiction are like the opposite sides of a strip of paper, but they can be skillfully connected, like a mobius strip, making it hard to distinguish where each begins and ends. The story should be so compelling that readers aren’t distracted by the fact/fiction question – until the story ends. That’s when they start asking questions (and pursuing answers) about how much of the story is real.
A secondary plot in this book was inspired by actual events I heard about while visiting in Norway many years ago, told to me by the people who lived them. From the moment I heard their story, I was certain it should be in a book. I knew even then that it would be fictionalized, but wanted to tell it as authentically as possible. It turns out there was a very stubborn part of my brain that was unwilling to move more than a smidgeon away from the actual events and characters.
This story has a history nearly as long as my writing life does. It’s the cumulative result of years and years of continuing research and revisions guided by increasingly knowledgeable sources on a story that wouldn’t let me go. The more research I did, the more fictionalized but credible my story became.
Eventually a particular piece of research opened my mind to an entirely new approach. By then the factual content was as real to me as the characters who emerged.
How can teachers use your book in the classroom?
In a guest post for Alyson Beecher’s blog, Kid Lit Frenzy, I used the mobius strip comparison and suggested the benefits of historical fiction as a tool for launching research to answer personal questions. Typically research is used in a linear approach: start with a topic or other prompt, do research, organize results, then produce expository writing or answer factual questions.
Historical fiction often provides an author’s note addressing the fact/fiction elements. Many books, including mine, provide a list of resources for further investigation and related titles. Websites and digital resources allow students to examine maps, read and create timelines, and access guided questions.
I recommend that teachers introduce historical fiction as a genre and suggest using picture books for a model lesson. The interweaving of fact and fiction, which is the nature of this genre, can be examined in these shorter examples. Encourage readers to use sticky notes or notebooks to actively raise their questions while reading. After the book is complete, readers can pursue and compare their questions. They might offer and justify personal opinions as to the fact/fiction status of the content marked. Back matter and other resources can then be used to seek and share reliable answers to those questions.
Once students develop understanding of the interplay of fact and fiction in this genre, teachers might read aloud the timeless Number the Stars, by Lois Lowry, to develop background knowledge. Then Odin’s Promise can be offered to literature study groups along with other titles about Norway’s occupation: Shadow on the Mountain, by Margi Preuss, Snow Treasure, by Marie McSwigan, and The Klipfish Code, by Mary Casanova.
Could you describe your research process?
My research started pre-internet. That meant pursuing hard-to-find sources through the library, then noting the references used to create them. Those served as launching points for further searches. Of course, my notes were all hand-written, the books were often out-of-print (making them expensive or unavailable), and my dedicated research and writing times were limited to summers.
Once I began using online sources to expand my searches, technology made it possible to store and revisit my notes and writing attempts across all those years.
Each time I made a new run at the story or received another critique, I’d dive into further research. Along the way it became clear (to everyone but me) that my ideal audience would be middle-grade readers. I just couldn’t loosen my mental grip on the original inspirational story, which centered on older characters. Only when research led me to a scholarly work that incorporated journal entries, some written by younger people, was I able to see a middle-grade story.
As I read those passages, the fictional voice of Mari, my main character, helped me release my older approach. She shared her thoughts and views of the occupation. As she led me through her own concerns, fears, courage, love, and loyalty, she introduced me to her family and community. She was even generous enough to make space for portions of my original story in her life.
Could you share a story about a funny, moving, or interesting writing or speaking experience?
The most surprising thing to me is that this story includes a dog. I am an animal lover, and I even worked for some years in wildlife rehabilitation. I avoid reading realistic stories about animals, particularly dogs, because I may find myself deeply invested in a story but unwilling to finish reading for fear of injury to the animal. I might not even pick up and read this book if someone else had written it.
Earlier versions didn’t have a dog. I realized some potential readers might feel the same as I do about stories with animals. Mari gave me no choice. She needed Odin in her life, and the events that unfold were essential to her own growth and change.
Another surprising aspect to this book is that it was a “work-in-progress” for more than three decades. Once Mari’s voice came to me the story went from draft and revision to contract, further revision, and release in only two years.
Thank you, Sandy!
Readers, you can hear Sandy talk about Odin's Promise in a Milwaukee Public Radio interview.
Enter for a chance to win an autographed copy of Odin's Promise! The book giveaway ends on August 23.
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