2 Mentor Poems to Try and Then Teach

Howdy Campers! Happy National Day on Writing (this week) and Happy Poetry Friday! My poem and the link to PF are below.

Today's topic? Anything I want to share with you. Hooray!  Let's dive in.

The UCLA Extension Writers' Program offers an Annual Instructor's Retreat. It's well-run and much-needed, connecting instructors from all over the world to share wisdom, teaching challenges and conundrums and more.

I wanted to share my love of mentor texts with fellow instructors. Here's my proposal:

A Mentor Poem Exercise That Changes Everything.

1) I'll share two poems

2) You'll write your own version of one of them.

3) Your mind will explode.

4) The End.

The Program Director thought it was funny, and I was given the go-ahead.

If the term is new to you, here is how an author on an episode of a podcast at the National Writing Project defines it (slightly paraphrased):

Mentor texts are pieces of literature that you — both teacher and student — can return to and reread for many different purposes. They are texts to be studied and imitated … Mentor texts help students to take risks and be different writers tomorrow than they are today. It helps them to try out new strategies and formats. They should be [texts] that students can relate to and can even read independently or with some support...And of course, a mentor text doesn’t have to be in the form of a book — a mentor text might be a poem, a newspaper article, song lyrics, comic strips, manuals, essays, picture books—almost anything.

In my session I offered attendees a choice. They could either riff off a long poem or a short prompt.

1) The long poem (I first read it on Alison McGhee's wonderful blog):

IF THE MOON CAME OUT ONLY ONCE A MONTH
by Cathy Ross

If the moon came out only once a month
people would appreciate it more. They’d mark it
in their datebooks, take a walk by moonlight, notice
how their bedroom window framed its silver smile.
And if the moon came out just once a year,
it would be a holiday, with tinsel streamers
tied to lampposts, stores closing early
so no one has to work on lunar eve,
travelers rushing to get home by moon-night,
celebrations with champagne and cheese.
Folks would stay awake ’til dawn
to watch it turn transparent and slowly fade away.
And if the moon came out randomly,
the world would be on wide alert, never knowing
when it might appear, spotters scanning empty skies,
weathermen on TV giving odds—“a 10% chance
of moon tonight”—and when it suddenly began to rise,
everyone would cry “the moon is out,” crowds
would fill the streets, jostling and pointing,
night events would be canceled,
moon-closure signs posted on the doors.
And if the moon rose but once a century,
ascending luminous and lush on a long-awaited night,
all humans on the planet would gather
in huddled, whispering groups
to stare in awe, dazzled by its brilliance,
enchanted by its spell. Years later,
they would tell their children, “Yes, I saw it once.
Maybe you will live to see it too.”
But the moon is always with us,
an old familiar face, like the mantel clock,
so no one pays it much attention.
Tonight
why not go outside and gaze up in wonder,
as if you’d never seen it before,
as if it were a miracle,
as if you had been waiting
all your life.

(Isn't that poem glorious?)

2) The short prompt: write a poem in which all events occur simultaneously.

All at once...

Here's an example:

At the very moment the phone rang
the meringue fell
the baby fell out of the swing
the earthquake toppled Tokyo
at that moment
I decided to leave him

~ author unknown

3) What the moon poem inspired me to write:

IF MY SISTER CAME BY ONLY ONCE A MONTH
by April Halprin Wayland

If my sister came by only once a month
I would appreciate her more. I’d mark it
in my datebook, take a walk with her, notices
how her smile glowed like the moon.
And if my sister came by just once a year,
it would be a holiday, with tinsel streamers
tied to lampposts, stores closing early
so no one in our family would work on Sister Eve,
I’d rush to get home before she knocked,
we’d celebrate with non-alcoholic champagne and non-dairy cheese.
I’d stay awake ’til dawn
to watch as she left my house and disappeared down the road.
And if my sister came by randomly,
the world would be on wide alert, I would never know
when she might appear, friends would scan the skies for her plane, the internet for her arrival info
weatherpeople on TV would give odds—“a 10% chance
of your sister coming over tonight”—and when suddenly there was a knock (!)
everyone would cry “your sister’s here,” crowds
would fill the streets, jostling and pointing at us,
happy for us and envious we had a sister.
Night events would be canceled,
My Sister’s Here signs posted on my door.
And if my sister showed up but once a century,
ascending luminous from Southwest Airlines flight #274 on a long-awaited night,
all humans on the planet would gather by their screens
in huddled, whispering groups
to stare in awe, dazzled by her brilliance, my brilliance,
our love; enchanted by this spell of sisterhood. Years later,
they would tell their children, “Yes, I saw them together once.
Maybe you will live to see them, too.”
But my sister is always with me,
a beloved familiar taste, like stew, warm and full of comfort
which no one appreciates much.
Tonight
I am outside and gaze up in wonder,
as if I’d never seen her before,
as if she were a miracle,
as if I had been waiting
all my life.

4) What the poem the prompt inspired me to write:

ALL AT ONCE
by April Halprin Wayland

At the very moment my hot cocoa spills in the car,
and its marshmallow lands in my wet lap --
a white island in a tsunami of hot, dark liquid --
a squirrel shoots across the street
and our dog jumps joyfully out of the open sunroof,
onto the asphalt.

That's when I know
that no one is an island,
we all need the love of a dog,
the thrill of the chase,
and a crossing guard
or green light
to watch over us.

both poems© 2022 April Halprin Wayland. All rights reserved

Now it's your turn: pick a poem, a picture book, song lyrics--anything--and write your version of it, focusing on a topic that's close to your heart. Or follow the prompt and write what I call an All At Once poem. 

Then pass the magic onto your students, kids, friends, or that guy wearing the Dodger cap at the drug store.

Resources:

https://archive.nwp.org/cs/public/print/resource/4090

https://iowareadingresearch.org/blog/mentor-texts-student-writing

https://www.teachingauthors.com/2021/06/poem-that-changes-everything.html 

Please join my next UCLA class, An Introduction to Picture Books for Absolute Beginners on November 19, 2022 from noon-3pm Pacific Time! Enrollment begins November 5th

Thank you, Bridget, for hosting this week's Poetry Friday at wee words for wee ones !

Posted by April Halprin Wayland, who has one more thing to say: 

Please vote. America needs you to. If you don’t know who to vote for, do some research. Ask one of your very smart friends, then, make an educated guess.  Don’t hand your vote to someone else by not voting. Your voice matters. So thank you for voting. Thank you for helping to save our democracy.

drawings© 2022 (If you use any of them, please credit April Halprin Wayland. Thank you!)

Poem That Changes Everything

Howdy Campers, and Happy Poetry Friday! (The link to PF is below).

Today I'm sharing a recent post from author/poet Alison McGhee's glorious blog...a poem that will change everything for you. 

I promise.

I subscribe to Alison's blog; each poem she chooses floats into my inbox as Poem of the Week. The gift is not only Alison's choice of poems, but her short intros to each poem, which are as gorgeous as the poems she chooses:

Here's the link to the poem she sent May 29, 2021--do click on it...her brief intros are definitely worth reading. But here's the poem if you can't click:

IF THE MOON CAME OUT ONLY ONCE A MONTH
by Cathy Ross

If the moon came out only once a month
people would appreciate it more. They’d mark it
in their datebooks, take a walk by moonlight, notice
how their bedroom window framed its silver smile.
And if the moon came out just once a year,
it would be a holiday, with tinsel streamers
tied to lampposts, stores closing early
so no one has to work on lunar eve,
travelers rushing to get home by moon-night,
celebrations with champagne and cheese.
Folks would stay awake ’til dawn
to watch it turn transparent and slowly fade away.
And if the moon came out randomly,
the world would be on wide alert, never knowing
when it might appear, spotters scanning empty skies,
weathermen on TV giving odds—“a 10% chance
of moon tonight”—and when it suddenly began to rise,
everyone would cry “the moon is out,” crowds
would fill the streets, jostling and pointing,
night events would be canceled,
moon-closure signs posted on the doors.
And if the moon rose but once a century,
ascending luminous and lush on a long-awaited night,
all humans on the planet would gather
in huddled, whispering groups
to stare in awe, dazzled by its brilliance,
enchanted by its spell. Years later,
they would tell their children, “Yes, I saw it once.
Maybe you will live to see it too.”
But the moon is always with us,
an old familiar face, like the mantel clock,
so no one pays it much attention.
Tonight
why not go outside and gaze up in wonder,
as if you’d never seen it before,
as if it were a miracle,
as if you had been waiting
all your life.

For more information on Cathy Ross, check out her website.

I imitated this poem, choosing my own subject, playing it out, as Cathy Ross did. Amazing. Try it!

from pixabay

Carol's hosting today at Carol's Corner

Posted with love by April Halprin Wayland

Mentor Text from Master Storytellers

I’m finishing up our TeachingAuthors series on mentor texts.  It has been insightful to read the entries from my fellow TAs.  

Naturally, the books that I’ve considered mentor texts are all nonfiction books.  Writing nonfiction is not about stringing together a bunch of facts.  It is about curating an endless number of facts, distilling them in a meaningful way that tells a powerful true story like it has never been told before.  

In a way every nonfiction book I’ve ever read has been a mentor text.  If I read a paragraph that is particularly striking, I reread it and consider how the author got the information across.  But here I will point out a couple of authors and give examples from the books.  

One of the authors that I have long admired is Russell Freedman (who passed away about a year ago).  His books are serious but never boring.  For example in the Newberry medal winning book Lincoln: A Photobiography, the first paragraph of the book says, 

“Abraham Lincoln wasn’t the sort of man who could lose himself in a crowd.  After all, he stood six feet four inches tall, and to top it off, he wore a high silk hat.”   

These first two sentences give us a vivid picture of the man along with great facts.  

In one of Freedman’s picture books, The Adventures of Marco Polo, he begins the book this way: 

“As Marco Polo lay dying, friends and relatives gathered anxiously by his bedside and begged him to confess.”  

In all of Freedman’s books, he carries the reader along with the serious-but-never-boring story.  

Another author who was well-known for his fiction, but wrote nonfiction with equal success:  Sid Fleischman (he passed away in 2010). Years ago Mr. Fleischman was a speaker at our SCBWI conference and I had the honor of driving him to the airport. I’ve never met a more polished and kind gentleman, nor one that was as humble as this very successful author of many books.  I will never forget his graciousness to one and all.  His books were like the man himself, brilliant and funny without even trying to be.  At every turn, the texts of his books are witty and engaging.  For example, the first paragraph of The Trouble Begins at 8: A Life of Mark Twain in the Wild, Wild West:  

“Mark Twain was born fully grown, with a cheap cigar clamped between his teeth.”  

Another example of a creative beginning is Fleischman’s book Sir Charlie Chaplin, The Funniest Man in the World which begins:  

“In the pesky rain on a March Night in 1978, nitwit thieves huddled at the grave of Sir Charlie Chaplin and dug up the body of the world-famous comedian.  They held it for ransom.”   

His text is always accurate, yet entertaining.  

As I write my nonfiction books, I keep in mind the great authors who have gone before me.  I’ve learned from their mentor texts to start each book in a way that hooks the reader.   Then even as I am telling a true story, I’ve got to hold their attention until the very last word on the very last page.   

Carla Killough McClafferty

MY VERY FIRST - TERRIFIC - TEACHINGAUTHOR!

I began my Writer’s Journey writing picture books pre-Internet, pre-J.K.Rowling’s Harry Potter $ucce$$, pre SCBWI when it was minus the I.
Barbara Seuling had yet to write her first edition of How To Write A Children’s Book and Get It Published!
But Richard Peck was right. “We write by the light of every story every read.”
Had Marjorie Weinman Sharmat’s picture book I’m Terrific not shone so brightly for me at the start of my career, I’d likely have remained a Children’s Book Writer Wannabe

I discovered the book, illustrated by Kay Chorao, with my almost-three year old son on the New Books shelf during a Library Moms-and-Tots visit. The cover grabbed our attention: an obviously self-contented smallish bear, admiring his image in a paw-held mirror.  A robin sat nearby, a soon-to-be-awarded gold star in his beak.

Once checked out and read aloud, that small bear’s story struck a chord in my toddler’s heart. Yet the tale and the telling struck a chord in my heart, too: the first-ever picture book I was writing looked and felt the same. So I read and re-read I’m Terrific, only minus the toddler and wearing my Writer’s Cap.

Admittedly, I was first looking to learn the how-to of the picture book format. I began by typing out Sharmat’s text as it appeared on the pages, leaving triple-spaces for each successive page turn.  I indented where the author indented, placing characters’ words within quotation marks.  Dialogue, I sensed, contributed immediacy and energy, and that fine balance between narrative and dialogue moved along the story. I noticed repetition of both phrases and sentence structure. The sentences themselves offered noun-verb clarity, yet my fingers felt the rhythm of Sharmat’s playful words.

Jason’s three friends - Raymond Squirrel, Marvin Raccoon and Henrietta Emily Bear, appeared within the building scenes, always in the same order, creating the expectation necessary for young listeners. Jason’s Mama claimed the transitional scenes. Each scene called for a new and different setting. A star-studded Jason spoke the story’s final words.  “Thank you,” he said, once his friends dubbed him “terrific.”

Next, I revisited Kay Chorao’s soft, penciled illustrations.  I covered the text and let the pictures tell me the story, as my toddler son did each time he re-read the book.  The pictures said it all, amplifying characters’ actions, re-actions and emotions.

Finally, I cut apart one of my carbon-ed (!) text copies, paragraph by paragraph, then re-pasted the words to the pages of the blank 32-page book I’d created.  I left space for the front matter, then room for the accompanying illustrations.

Ah, I thought: the picture book story’s told across fourteen double-page spreads, creating, sort of, a play’s three acts. And, Oh! Within each newly-set changing scene, the characters speak their thoughts and feelings as the action worsens. And, Yes! Everything comes together at the end, tied up with a bow. There wasn’t one part of Jason’s story hanging out, un-tethered.

                                        (My well-worn copy of I'M TERRIFIC)

But to my surprise, it wasn’t just the text that showed me the way forward on my Writer’s Journey.  It was THE BOOK in its totality that taught me what I needed to know!  The front flap copy showed me the importance of hooking a reader – child, editor, agent.  The title page introduced a publisher (Holiday House).  The Library of Congress listing showed me both the book’s plot summary (“Jason Bear thinks he’s terrific and even awards himself gold stars for superior performance in his chores.  His friends don’t like to be around him.”) and its themes and curriculum connections (Pride and vanity, forest animals).  The dedication encouraged me to consider my book’s dedication, a someone in my life likely to keep me keepin’ on (namely, that almost-three-year-old son of mine). The book’s back flap author and illustrator copy connected me to other books Marjorie Weinman Sharmat wrote as well as the work of Kay Chorao. Soon I was discovering other illustrators of Sharmat’s books and other authors illustrated by Chorao, which meant other publishers, whose catalogues I studied, other formats, other structures, other genres. I deconstructed and rebuilt Sharmat’s Nate the Great to learn how to write easy-to-reads; I did the same and learned novel writing, thanks to Sharmat’s Maggie Marmelstein.

Reading I’m Terrific as a reader, the book amused and delighted me, as it should have. Reading I’m
Terrific as a writer, the book informed and inspired me, as only it could have. Jason Everett Bear and Mesdames Sharmat and Chorao deserve buckets of gold stars for all they taught me.

I still turn to children’s books to learn and hone my craft; I encourage my students and writers to do the same. I consider each published book a Teacher-in-Waiting. Or even better, a TeachingAuthor!

As luck would have it, Holiday House published my very first picture book There Goes Lowell’s Party! one year after re-issuing I’m Terrific to mark its twentieth anniversary. (My now-grown toddler and I knew a good book when we saw one.)  When I found myself seated across from Kay Chorao at the Holiday House ALA Dinner that year, I shared how I’m Terrific illuminated my writer’s journey.  “Thank you,” she said.  Then she graciously signed my copy, drawing stars that lit the page.
Speaking of stars, thanks to My Juicy Little Universe and Heidi Mordhost for hosting today’s Poetry Friday.

Happy learning! May a terrific book light your Writer’s Journey!

Esther Hershenhorn

P.S.
If you’re seeking a human TeachingAuthor to light your way, one or two spots remain for my MANUSCRIPT WORKSHOP, July 14-19 at The Landgrove Inn, Landgrove, VT.
You can read more about this long-time workshop, created by Barbara Seuling, by scrolling to the bottom of my TEACH page on my website. Fortunately, bags fly free on Southwest so I’ll be bringing lots of relevant mentor texts from Chicago for my writers.


 

Show Don't Tell Me, Mentor Text

.
Howdy, Campers ~ happy Poetry Friday!  (my poem and the link to P.F. and are below.)

And the winner of our latest give away--Laurie Wallmark's book, Hedy Lamarr's Double Life: Hollywood Legend and Brilliant Inventor--is....Katie G!  Katie, a loyal subscriber, also won a TeachingAuthors giveway in 2013. Moral: it pays to hang out in the TeachingAuthors' tree house!

And speaking of the TeachingAuthors' tree house, these days we're up here drinking hot cocoa and sharing how we use Mentor Texts.

Carmela starts us off by defining what mentor text is and more; Bobbi's post talks about what 54 TV years of Doctor Who can teach us; and Mary Ann shows us the ways in which she systematically studied picture books (and found love...sort of).

In all my classes I use mentor texts. Show, Don't Tell is the first thing I teach. Even if a student is a published novelist, a renown screenwriter, or a seasoned journalist, it never hurts to be reminded of what Anton Chekov means when he writes: "Don't tell me the moon is shining; show me the glint of light on broken glass."  

image from Pixabay.com by Dana Tentis

In one exercise (created by my son when he was in elementary school), volunteers act out something in silence and their classmates guess what they are trying to convey. We discuss: how did they know the dog was happy, the child was having a tantrum, or the woman was old?  They showed us, they didn't tell us, of course.

The first book I read to introduce Show, Don't Tell is Barbara Shook Hazen's masterful and moving picture book illustrated by the brilliant Trina Schart Hyman, TIGHT TIMES (Viking Press, 1979).

I wish I could put this book in your hands, but I can't, so I'll give you an example of how Hazen shows, rather than tells:

When the child narrator asks why he can't have a dog, his father explains,
"Because of tight times" and continues:

"He said tight times are when everything keep going up.

I had a balloon that did that once.

Daddy said tight times are why we all eat Mr. Bulk instead of cereals in little boxes.

I like little boxes better.

Daddy said tight times are why we went to the sprinkler last summer instead of the lake.

I like the lake better."

I just typed the text of this book. It's astonishing what Hazen does in just 694 words. This book was published at a time it was perfectly acceptable to turn in a picture book manuscript of 1200 words or more!

And having typed this text, I can feel in my fingers that one of the picture books I am working on needs more showing, less telling!

* * *

A month before my mother, a classical pianist, died, I couldn't tell you what I was already missing...I had to show it:

WHERE IS MY MOTHER?
by April Halprin Wayland

Quietly she cries,

“Mama, Mama…”

Eyes half-closed,

she lies blanketed in grief.

Where is my mother:

whirling dervish,

spark of light,

moving, always moving,

striking a match,

setting piano keys on fire?

poem (c)2019 April Halprin Wayland. All rights reserved.

Okay, Campers...do you have favorite picture book that demonstrates Show, Don't Tell?  I'd love to know what it is!

Spread the word: on April 13, 2019 from 9:30 am-4:30 pm, author/illustrator Barney Saltzberg, fiction and nonfiction picture book author Alexis O'Neill and I are reprising our one day class at UCLA, Writing a Picture Book and Getting it Published. Join us!

Thank you, Catherine, for hosting Poetry Friday today at Reading to the Core ~

posted with love by April Halprin Wayland, with help from Mateo, our latest monarch butterfly caterpillar, who is currently looking for a place on our kitchen wall to build his chrysalis. 

Mateo, named after a character in this book

Did you know that monarch butterflies are endangered...and that you can help by raising them?  Just ask beloved TeachingAuthor emeritus, JoAnn Early Macken; click here  for the monarch resources on her website.

Getting the Rhythm with Picture Books

I didn't start out to be a picture book writer. My Best Friend was a gift from God, written in two hours (when I was boiling mad) for my four-year-old daughter.  My Best Friend was the first book I ever sold.

Now...how to do that again?

My first born picture book--and it's little friends.

I had no idea.

The picture books intimidate me. If you've been reading my posts awhile, you know I get wordy. How could I cram a story into a 1,000 words? (That was in 1999; today's word counts are more like 300 words and less.) I was (and still am) a novelist, who likes a lot of breathing space for my story to expand.

Picture books, unlike novels, are meant to be read aloud. They're a performance piece with several components. The art (which I don't do; I'm not an illustrator), the word choices and cadence of sentences all come together (hopefully) to tell the story.

Although I didn't know this was what I was doing, I used other picture books to "mentor" the birth of my next book, First Grade Stinks.

I picked my favorite books from my daughter's shelf.  What did they have in common?

Lots of picture books rhyme. Even in elementary school I couldn't string together six rhyming lines that made any sense. Forget about rhyming.

My mentoring books had other things in common. Words that were fun (and easy) to say. Lots of onomatopoeia. I love making up sound words. Click Clack Moo by Doreen Cronin is a book title that repeats in my brain when I am in "sound spinning" mode. 

Repetition of a catch phrase. Years of doing library story hours taught me that kids love to join in by repeating the expected phrase.  Carolyn Crimi's Don't Need Friends has the memorable phrase, "Don't need friends. Don't need friends at all."

Alliteration. I love alliteration, although a little will go a long way. One of my daughter's favorite books was Princess Prunella and the Purple Peanut by Margaret Atwood. (Yep...same person who wrote A Handmaid's Tale!) Literally every other word in that book began with the letter "P." I never knew whether Lily actually loved the story, or loved making her dad (who stutters a little) read it. (He tried hiding Princess Prunella. Lily found it.) Picture book words should roll off the tongue without being interspersed with the reader adding "crap" as all those P's pile up on the palate. (Oops!)

Most of all, the story should have rhythm. For me, the lines should have beats and pauses, ups and downs, like music. Music that doesn't rhyme.

Nailing down that rhythm was the grunt work of the mentoring process. I typed and typed out whole books. Then I printed them off, and read them aloud again. I marked off the beats in the line. How many? Was there a consistent beat to the whole story? Or just at the predictable catchlines? (Think of those as "the chorus" of a song.) How did the author achieve the rhythm without it sounding sing-songy?

My dad used to recite Poe's "The Raven" to me as a bedtime story (!!). When I think of sing-song writing, I think of "The Raven."  Once upon a midnight weary, while I pondered weak and weary/Over many a quaint and curious volume of forgotten lore.  I thought all poetry had to sound like "The Raven" which may have contributed to my childhood writer's block when it came to poetry. I had to erase Poe and his bird from my writing subconscious.

There is more to picture book writing than this. Character, motivation, structure and resolution don't give me much trouble. Making the story "sing" when read aloud--to me, that's what makes for a great book. The book that children want to hear over and over.

For the record, when I was writing First Grade Stinks my favorite picture book was Kevin Henkes' Julius, The Baby of the World, which introduces his inimitable mouse-child, Lilly. (Yes, my daughter Lily was in part, named for a fictional mouse.) This book uses the predictable catchphrase and certain repeated words perfectly.  Lilly's frequent description of baby brother Julius, "Disgusting!" inspired my character Hayley's oft repeated opinion, "First grade stinks!" 

Thanks to Doreen Cronin, Carolyn Crimi, Margaret Atwood and most of all Kevin Henkes (my secret author crush) for all they taught me...without charging a dime!.

Adventures in Time and Space and Writing

Me and My Favorite Companion, watching Who

Carmela began a new round of discussion, how we Teaching Authors use "mentor texts" as part of our writing and revision process. She explored the definition of mentor texts as published books we study to learn how to become better writers.

While mentor texts tend to be considered literature, I offer that it can be of anything that reflects “story.” After all, we are homo narratus, story animals, suggests Kendall Haven (Story Proof: The Science Behind the Startling Power of Story, 2007). We have told our stories for over 100,000 years. Not every culture has developed codified laws or written language, but every culture in the history of the world has created story in the form of myths, legends, fables, and folk tales.

I’ve written before, exploring how Doctor Who – yes, that Doctor -- can explain the complex definition of historical fiction. In the blending of invention with well-known and accepted facts, a better way to understand historical fiction is to remember that: “People assume that time is a strict progression of cause and effect…but actually, it’s more like a big ball of wibbly wobbly, timey wimey stuff.

A longtime Whovian and dear friend, Cynthia and I have often used Doctor Who as a means to explore literary devices. Consider the character of Doctor Who. Human beings are complex beings, and emotions are dynamic. If we remember that fiction is primarily an emotional exchange, then plot can be understood as a sequence of emotional milestones.

Developing Character

The very essence of thirteen incarnations (regenerations) reflects the complexity of a fully-realized protagonist. The First Doctor was an eccentric curmudgeon. The Second Doctor had a strong sense of humor. The Third Doctor had a love/hate relationship with authority. The Fourth Doctor was quite taken with his own charisma and cleverness, with a love for long scarfs and jellybabies. The Fifth Doctor was a pacifist. The Sixth Doctor was petulant. The Seventh Doctor was ruthless. When the Eighth Doctor changed, there was a profound shift in the character. This was the great moment in the plot when everything changed. He became the War Doctor, a warrior that commited genocide against his own people. His was a regeneration considered so dark, he renounced the title of Doctor. The hope and curiosity of the previous incarnations were ground away by the brutality of his choice. He became the brooding Ninth Doctor, the tragically lonely Tenth Doctor, the guilt-ridden Eleventh Doctor, and the self-doubting Twelfth Doctor.

When seen as one character, rather than twelve (and now thirteen!) “regenerations,” the protagonist becomes a complex, dynamic character. A character, while racing through time and space, who remains anchored to his (and her) companions. They exert a force on him (and her!), changing him even as he changes them. That’s the very essence of a plot moving forward.

The Importance of Backstory

Important to developing a realized character is his backstory, the history that underlines the situation at the start of the book. Backstory drives the character’s motivations. It is primarily the character’s wounds that become the core of his emotive journey and drives his choices. Choices that move the plot forward. Such wounds are so deep and organic that they ultimately define how the character sees the universe.

And the Doctor has had 54 TV years of backstory, of accumulating a long lifetime of emotional wounds. As Amy Pond once said of the Eleventh Doctor,

“What if you were really old, and really kind and lonely, your whole race is dead. What couldn’t you do then? If you were that old, and that kind, and the very last of your kind, you couldn’t just stand there and watch children cry.”

Secondary Characters, otherwise known as Companions

At its core, the Doctor's story is about these epic relationships. These secondary characters helped to reveal the best and worst characteristics of the Doctor. The First Doctor was a know-it-all, prickly codger, but his two hearts softened whenever his granddaughter, Susan Foreman, walked into the Tardis. When Adric died during the tenure of the Fifth Doctor, the first long-term companion to die on the Doctor’s watch, the Doctor was stunned and reflective about his mad man in a blue box ways. By the time the Ponds died (during the time of the Eleventh Doctor), he was overwhelmed by his grief and hid away in the clouds. Only the mystery of the Impossible Girl was strong enough to compel him to leave the Tardis.

And these secondary characters were often the vehicle used to escalate the stakes while adding layers to the character, asking the question, “what if?”

What if we went to a museum to see the works of Vincent Van Gogh, and saw a monster in his painting? What if we went back in time to visit the artist, and met the monster lurking in the church?

What if we decide one morning to turn left, instead of right? How would history change?

What if we met a friend in a creepy old building with a garden filled with stone statues? What if these statues were really predatory creatures, and every time you blinked, they moved in for the kill?

What if there were giant whales swimming through space?

What if a broken but brilliant man, during the final years of a 1000 year war, genetically modified survivors to ensure his people's survival? What if these modifications were integrated into tank-like robotic shells, with every emotion removed except hate? What if this new species thought themselves the superior race?

The Importance of Theme

What, then, is the Doctor’s story about? What is the big idea that propels his story, the theme that connects all the parts of his narrative?  Theme is connected to the protagonist’s journey, the lessons he learned along the way. The theme allows the readers to relate to the characters and feel invested in the outcome.

Supported by the sweeping themes of love and war and redemption, grief continues to be a powerful, emotional theme that prevails throughout the Doctor’s story. As the Doctor learns repeatedly, honor your dead, but keep on living. He learned this with the passing of Adric, and the passing of the Ponds, even at the passing of his wife, River Song. His best friends, and even his childhood best friend who grew up to be his favorite frenemy, the Master, eventually they all left him. Throughout the course of his long life, he became defined by his losses.

In one story, the Twelfth Doctor saves a Viking girl -- at his companion's urgent request -- through a technology that makes her immortal. Her tragic saga spans through eternity,  as she outlives everyone she loves, until at last she  also witnesses the end of the universe. And yet, her story doesn’t end. It continues unexpectedly after the Doctor endures torture for a billion years, forcing his way back to Gallifrey, in hopes of saving his companion, Clara. Eventually he pulls Clara out of her timeline, which traps her between two breathes. In their final goodbye, she wipes the Doctor’s memory of her before flying off into her own adventures with the Viking Girl. Clara chooses to let him go to save him. Yet, before the Twelfth Doctor regenerates, he remembers Clara.  The story comes full circle, a narrative device that frames the story to bring about resolution. At this point, the Doctor's inner and outer conflicts converge at the same time and place (all puns intended) for emotional impact. There remains intact certain kernels of emotional truth. An old Ibo (Africa) proverb states, “all stories are true.” And what we learn in this wibbly wobbly journey through time, as the Doctor has learned, is  what it means to be human.

So you see, there is much to learn from the Doctor about writing the epic adventure. As the Doctor tells his companion, and in so doing reminding everyone, through those Tardis doors, stepping into story,

 “… we might see anything. We could find new worlds, terrifying monsters, impossible things. And if you come with me... nothing will ever be the same again!”

Don’t forget, Teaching Author is hosting a giveaway! You can enter to win a copy of award-winning picture book author Laurie Wallmark. newest book, Hedy Lamarr's Double Life:Hollywood Legend and Brilliant Inventor.

--Bobbi Miller

Mentor Texts, Guest TA Interview, and Hedy Lamarr Book Giveaway with Laurie Wallmark

Hello everyone!
Today I'm thrilled to bring you a guest TeachingAuthor interview with award-winning picture book author Laurie Wallmark. See the end of this post for details on how you can enter to win a copy of her newest book, Hedy Lamarr's Double Life: Hollywood Legend and Brilliant Inventor, which was released from Sterling Children's Books just last week! And, in honor of Poetry Friday, I'll also be sharing a poem from Laurie's book Grace Hopper: Queen of Computer Code.

This post kicks off a new topic: how we TeachingAuthors use "mentor texts" as part of our writing and revision process. In case you're not familiar with the term, mentor texts are published books we study to learn how to become better writers. To elaborate, I'd like to share a definition from Lynne Dorfman, co-author of several books on using mentor texts, including Mentor Texts: Teaching Writing Through Children's Literature, K-6 (Stenhouse) In an interview for the National Writing Project, Dorfman said:

"Mentor texts are pieces of literature that you—both teacher and student—can return to and reread for many different purposes. They are texts to be studied and imitated...Mentor texts help students to take risks and be different writers tomorrow than they are today. It helps them to try out new strategies and formats."

Although Dorfman is referring to using mentor texts in the classroom, adult writers can experience the same benefits by studying published works on their own, whether they're writing fiction or nonfiction. For example, while working on Playing by Heart, I read and studied numerous historical novels set in the 18th-century, especially those featuring musicians and composers. Now that I'm working on a nonfiction picture book biography, I'm studying recently published picture book biographies. That's how I discovered Laurie Wallmark's books. When I learned she had a new book coming out this month, Hedy Lamarr's Double Life: Hollywood Legend and Brilliant Inventor, illustrated by Katy Wu (Sterling Children's Books), I invited Laurie to do a guest TeachingAuthor interview. (If you'd like to read more about how writers can use picture books as mentor texts, check out the Reading for Research Month (ReFoReMo) Challenge.)

Before I get to the interview with Laurie, here's a bit about her: Laurie Wallmark, author of Hedy Lamarr’s Double Life (Sterling Children's Books), writes picture book biographies of women scientists and mathematicians. Her books Grace Hopper Queen of Computer Code (Sterling Children's Books) and Ada Byron Lovelace and the Thinking Machine (Creston Books), have together received five starred reviews and several national awards. Laurie has an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts as well as degrees in biochemistry and information systems. When she's not writing, she teaches computer science at Raritan Valley Community College. She also teaches courses on writing for children. Find out more about Laurie on her website and follow her on Twitter here.

Laurie's newest book, Hedy Lamarr's Double Life: Hollywood Legend and Brilliant Inventor, tells the story of the actress’s hidden life—movie star by day, inventor by night. She co-invented the technology that helps keep our electronic devices safe from hacking. The Bulletin of the Center for Children's Books says of Hedy Lamarr's Double Life:

"Many STEM-for-girls biographies fan excitement over women's achievements, but this title actually brings the central scientific concept within middle-grade reach."

See the end of this post for details on how you can enter to win a copy of this terrific new book!

But first, be sure to read this interview with Laurie:

Laurie, you're so busy as a TeachingAuthor, teaching computer classes and courses in writing for children while writing and researching your own books. How do you balance your writing and teaching?

All writers have other responsibilities, whether they are related to work, family, or themselves. Writers need to take advantage of those interstitial opportunities in our lives. You can think about your story while: standing in line; washing in the shower; exercising, etc. You can write while: on hold on the telephone; waiting for your flight at the airport; between meetings on a business trip. You get the idea.

Today we’re celebrating your latest release, the picture book biography Hedy Lamarr's Double Life: Hollywood Legend and Brilliant Inventor illustrated by Katy Wu (Sterling Books). I’ve seen some of Hedy Lamarr’s movies but never knew about her “double life.” Please tell our readers about the book and how you came to write it.

I like to shine a spotlight on women in STEM (science, technology, engineering, mathematics) whose achievements have been overlooked. Hedy co-invented a technology known as spread-spectrum frequency hopping. This discovery is used in our Wi-Fi, phones, Bluetooth, and other technologies to help prevent people from listening in on our private communications. (For more on how this book came to be, and a sneak peek at some of the illustrations, see Laurie's interview with Kathy Temean.)

Hedy Lamarr’s Double Life is a great follow-up to your two other picture book biographies: Grace Hopper: Queen of Computer Code, also illustrated by Katy Wu (Sterling Books), and Ada Byron Lovelace and the Thinking Machine illustrated by April Chu (Creston Books). What drew you to writing these biographies as picture books? 

Growing up, I experienced several instances where I was discouraged from pursuing my interest in math and science. The most infamous of these was when the principal of my high school told my mother she didn’t have to worry about the availability of advanced math classes, since I was a girl and wouldn’t take them. I want girls (and boys!) to realize that careers in STEM are open to everyone. (Laurie shares more on her path to writing these books in this essay.)

Wow! I'm glad you didn't let your principal's comments keep you away from math and science, since that ultimately led to your writing these great biographies.  How did you sell your first book?

Several years ago, I had an editorial critique at a New Jersey SCBWI (Society of Children’s Book Writers and Illustrators) conference with agent Ginger Harris-Dontzin of the Liza Royce Agency. She loved my manuscript and shared it with her partner, Liza Fleissig. They had a particular editor, Marissa Moss of Creston Books, whom they thought would be interested. She was. Marissa bought my Ada Lovelace book, and Liza and Ginger are now my agents. Anyone who is interested in writing books for children needs to join the international organization, SCBWI.

What advice do you have for other writers working on picture book biographies?

Research. Research. Research. For me, research is part of the fun of writing biographies. Often you find out that something everyone knew about the person isn’t really true. The challenge in doing research is when sources differ.

What’s next for you?

I have a picture book biography, Numbers in Motion: Sophie Kowalevski, Mathematician (Creston Books) about a women mathematician coming out in 2020. After that, I have another woman in STEM biography, but it hasn’t been announced yet. Even as we speak, I’m writing another picture book biography.

Your productivity is inspiring, Laurie! In studying your books as mentor texts, I've noticed that they're recommended for grades Kindergarten-3 even though they’re at a fourth-grade reading level. Do you write your biographies with a particular age student in mind? In what grades do you see your books being used? 

The publisher always says K-5. I actually think grades 3-5 is the sweet spot for them, but I just write. The Hedy Lamarr book skews higher because it has more science in it.

Readers, if you're a classroom teacher, you'll want to check out the Curriculum Guides for Laurie's books on this page of her website, where you'll also find links to STEM activities. 

Laurie, thanks so much for taking time from your busy schedule for this interview. Thanks, also, for giving our readers a chance to win a copy of your new book. 

Readers, below I've listed some resources for finding and using mentor texts, followed by the book giveaway instructions. But first, I want to share a poem from Laurie's book Grace Hopper: Queen of Computer Code, as I promised at the beginning of this post. This poem appears on the front end pages, before the book's title page. On Wednesday, February 20, Laurie will be back to share a writing exercise related to the poem.

I chose the clock background above because in Grace Hopper: Queen of Computer Code, young Grace tinkered with clocks until she "understood what made them tick." Explaining how the moth is tied to the book would be a "spoiler" for those who haven't read it yet, so you'll have to get a copy to see for yourself.

Before I provide the giveaway instructions and a link to this week's Poetry Friday roundup, here are some additional resources for those of you looking for advice on writing picture book biographies and/or for more on mentor texts:

• Horn Book article: What Makes a Good Picture Book Biography?
• Horn Book article:  Today’s Picture Book Biographies: Back Matter Matters
• School Library Journal's Fuse#8 blog by Elizabeth Bird: 2018 Unique Biographies
• Nancy Churnin article: Tips & Tricks for Writing a Picture Book Biography
• NF 4 NF Nonfiction Children's Writers Facebook group: great discussions and information about writing nonfiction for children
• Reading for Research Month (ReFoReMo) Challenge, which was founded in 2015 to help picture book writers reform writing by reading and researching mentor texts in the month of March.

Now, at last, are the Book Giveaway Instructions:
To enter our drawing for a chance to win Hedy Lamarr's Double Life: Hollywood Legend and Brilliant Inventor, use the Rafflecopter widget below. You may enter via 1, 2, or all 3 options.

If you choose option 2, you MUST leave a comment on TODAY'S blog post or on our TeachingAuthors Facebook page. If you haven't already "liked" our Facebook page, please do so today!

In your comment, we'd love you would share either the title of a picture book biography you'd like to recommend or the name of a person who would make a good subject for a picture book biography.

(If you prefer, you may submit your comment via email to: teachingauthors [at] gmail [dot] com.)

Note: if you submit your comments via email or Facebook, YOU MUST STILL ENTER THE DRAWING VIA THE WIDGET BELOW. The giveaway ends March 1 and is open to U.S. residents only.

P.S. If you've never entered a Rafflecopter giveaway, here's info on how to enter a Rafflecopter giveaway and the difference between signing in with Facebook vs. with an email address.

Don't forget to visit today's Poetry Friday hosted by Jone at Check It Out. 

Finally, remember to always Write with Joy!

Carmela

a Rafflecopter giveaway

3-in-1: Poetry Tool, Song a Writing Exercise

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Howdy, Campers, and Happy Poetry Friday! The link to PF is below.

 TeachingAuthors' posts this round are about the various ways we continue to school ourselves in the craft of writing. Bobby kicked us off by discussing a new book on craft she's studying while also re-reading a favorite classic. Esther shared about being inspired by a new collection of essays from fellow teacher Sharon Darrow. Mary Ann also turns to books for her re-education, not only craft books but new fiction, too. In contrast, Carla's ongoing education comes from talking to and working with other writers. Carmela went "back to school" by attending the SCBWI-Wisconsin 2018 Fall Retreat and Conference held in Green Lake, WI. 

And I've gone back to school singing.

We're four weeks into my ten-week class on Writing the Children's Picture Book at UCLA Extension. This week we learned about some of the poet's tools (rhyme, rhythm, alliteration, metaphor, simile, sounds, repetition). Can I teach them everything in one three-hour class?  I can't. So I focus on my favorite:                                                 
                                             REPETITION

There are so many books from which to choose! I usually read aloud: YOU NEST HERE WITH ME by Jane Yolen and Heidi E.Y.Stemple, illustrated by Melissa Sweet; WAIT, written and illustrated by Antoinette Portis (a story written in 18 words...99% are either "hurry!" or "wait!"); BUZZ by Janet S. Wong, illustrated by Margaret Chodos-Irvine (all the ways "buzz" is in our lives); RED IS BEST by Kathy Stinson, illustrated by Robin Baird Lewis ; WHEN I WAS YOUNG IN THE MOUNTAINS by Cynthia Rylant (fabulous details), illustrated by DianeGoode; MILLIONS OF CATS by Wanda Gag, first published in 1928; ALL THE WORLD by Liz Garton Scanlon, illustrated by Marla Frazee (we saw how much heavy-lifting illustrator Marla Frazee did to tell this story; give the illustrator room to dance!), and the classic, WHAT DO YOU SAY, DEAR by Sesyle Joslin, illustrated by Maurice Sendak.

Repetition makes words playful or powerful or mournful or hopeful. Listeners can't help but join in.

Next, I teach them to sing this sea shanty:

Deep Blue Sea (traditional) lyrics may vary

Deep blue sea, baby, deep blue sea (3x)
It was Willy what got drownded in the deep blue sea

Wrap him up in a silken shroud (3x)
It was Willy what got drownded in the deep blue sea

Dig his grave with a silver spade (3x)
It was Willy what got drownded in the deep blue sea

Lower him down with a golden chain (3x)
It was Willy what got drownded in the deep blue sea

....................................................................................

Then I tell them that musician Jim Bell changed the words but followed the format of this song. He writes: “When my daughter was 6 ½, she said as we were driving to school one day, “Daddy, they won’t have a war before I’m 21, will they?”  Before I could respond, she added, “Or at least they don’t shoot little girls before they’re 7, do they?”   Not long after this I was singing her to sleep and found myself taking an old tune to form a song of reassurance that we adults can sing to the children of the world.”

Deep Blue Sea new words by Jim Bell

Deep blue sea, baby, deep blue sea (3 x)

Now there’s peace in all the lands & o’er the deep blue sea

Sleep my child, you are safe and sound (3 x) for

Now there’s peace in all the lands & o’er the deep blue sea

Just yesterday war clouds hung so low (3 x)

But now there’s peace in all the lands & o’er the deep blue sea

Love of life finally turned the tide (3 x)

And now there’s peace in all the lands & o’er the deep blue sea

words © 1982 John Bell

Next, I show them lyrics I've written to this melody:

Take my hand, baby, walk with me (3 x)

Sing a song and I’ll harmonize (3x)
Once a seed, baby, now a tree (3 x)
Reach across towards the other side (3 x)

Hold me close and I'll hold you, we'll watch the bright sun rise.

words © 2018 April Halprin Wayland

And finally, leaving the traditional lyrics up at the front of the class as a mentor text, I give them time to write their own words using the pattern of this song.

Try it yourself--with this song or with one of your favorites and see where it takes you, where it takes you!

Thanks for hosting Poetry Friday at Friendly Fairy Tales, Brenda!

posted with hope by April Halprin Wayland, with help from Timmy the tin boy on his goose (Timmy is acting out today and refuses sit up straight...)