WWW: Creating AUTHENTIC Characters

Meet my fellow Chicago children’s book author, the lovely and talented Claudia Guadalupe Martinez who so generously agreed to share today’s Wednesday Writing Workout in celebration of the release of her second Cinco Puntos Press book, the YA novel PIG PARK.

As her biography notes, Claudia grew up in a close family in Segundo Barrio in El Paso, Texas.  Reading the Spanish subtitles of old westerns for her father, she soon learned that letters form words. By six she knew she wanted to grow up to create stories.  Her father, who died when she was eleven, encouraged her to dream big and write many books. 

Cinco Puntos Press is located in El Paso, Texas, “a fact that informs every book that we publish,” publisher John Byrd shared.  Along with others championing diversity in children’s books today, he considers PIG PARK and Claudia’s debut award-winning novel THE SMELL OF OLD LADY PERFUME to be worthy examples of the kinds of books the Cooperative Children’s Book Center and WeNeedDiverseBooks encourage and seek.

“Claudia,” Byrd wrote, “has a clear fronterizo voice: innocent, shy, witty, full of border culture and understanding.  She used that voice well in THE SMELL OF OLD LADY PERFURME, earning herself a great deal of attention with readers, teachers and librarians looking for new and talented writers coming up out of the Hispanic community. That voice has matured in PIG PARK, still shy and clear, but now feisty as well and full of opinions as she chronicles the summer that fifteen-year-old Masi Burciaga and her neighbors came together to save Pig Park.”

 

I so appreciate Claudia’s willingness to share her insights and expertise on creating authentic characters with our TeachingAuthors readers and writers.

Enjoy! Enjoy!

Esther Hershenhorn

P.S.
To enter our latest giveaway, a copy of CHILDREN'S WRITER'S AND ILLUSTRATOR'S MARKET 2015, check Carmela's Friday post.

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 Wednesday Writing Workout: Creating Authentic Characters

The face of America is ever-changing.  “Minority” children are set to become the “majority” by the end of this decade, and are already such among babies under the age of one.  Yet, among the children's book titles published, approximately only ten percent are by or about racially or ethnically diverse populations each year--according to the Cooperative Children’s Book Center (CCBC) at the University of Wisconsin-Madison. 

This conversation isn’t new, but the mainstream is taking note, thanks to the success of the recent  WeNeedDiverseBooks campaign.  I am more frequently asked for advice on writing diversity, specifically when it comes to authenticity.  In such instances, I refer my fellow writers to author Mitali Perkins' tips for writing diversity.  Mitali lectures widely on the topic.

When it comes to authenticity in racial identity, she advises writers to ask, "How and why does the author define race?”   She suggests writers consider the following:

“When race is explicit in a book, ask yourself and your students what would have been lost if a character’s race hadn’t been defined by the writer. Why did the author choose to define race?”  The reason should be to establish something for the character, and not just to follow a trend or be politically correct.  I, for example, wrote about young Chicana in THE SMELL OF OLD LADY PERFUME because I pulled from my own experiences growing up in a Texas border town.  The Latino kids in PIG PARK were loosely based on my experiences in Chicago.

Alternatively, writers can ask, “Why didn’t he or she let us know the race of the characters?”  If no explicit race is mentioned, will this cause readers to default to white characters, or do other cues establish diverse identity?  Physical appearance, language, names, food can all be used to designate diversity.

While Mitali’s advice focuses on race, authors can apply it to creating authenticity for various other forms of identity.  The point is to start thinking about how genuine the attempt at integration is.

To figure out what this might mean for you, whether writing inside or outside your experience, try this exercise.

Write a character biography based on his/her racial/ethnic identity.  Answer the following questions:

                                                                      
When and how did he/she become aware of his/her identity?

What role has the specific identity played in his/her life?

                                                                    
How does it affect his/her social activities?

How does it affect his/her school activities?

In what ways does the character benefit from this identity? In what ways doesn’t the character benefit?

                                                         
How does the specific identity affect your story?

Variation: Write a biography based on another form of diverse identity (religious, sexual orientation, ability, etc.).

 

We live in a complex world where identity is both assigned and assumed.  Authentic diversity isn’t casual or happenstance, but something that we as writers must develop as carefully as all other aspects of our story.

A Half Glass of Blessings

     It's a good thing we have a holiday dedicated to thankfulness. Otherwise I would rarely give my blessings a thought. I am one of those "the glass is half empty" people.  So here is what fills my glass this year.

     Sorry, Carmela, but I have to begin with one you already mentioned, our terrific Vermont College MFA group, The Hive.  Outside of my family, they are my longest sustained relationship. Most of us met on the airport bus going to campus on a July evening in 1998. Rarely a day goes by that at I am not in contact with at least one of them.  Collectively, they are a never-ending source of energy, enthusiasm and advice. I truly do not know how I survived as a writer without them.  Thank you, lovely Bees!

     Next up on the gratitude list is my own local critique group, WINGS (Writers in North Georgia).  Every month (with occasional sabbaticals) since October 2001, I have driven the hundred miles, round trip, to meet with this group of five in Conyers, Georgia. Driving that far in Atlanta traffic is no small matter, but the reward is worth every nerve-wracking mile.  Connie, Nancy, T.K. and Stephanie as well as our Fearless Leader Susan (plus member-in-absentia, Maureen) are the best writers and critiquers one could ever hope to find.  Almost everything I have published is the result of their sharp eyes and spot-on suggestions. I could not fly without my WINGS.

     Lastly, I am grateful for SCBWI, The Society of Children's Book Writers and Illustrators (we writers do like our acronyms!)  I learned about SCBWI from a Hive member while I was at Vermont College and wasted no time joining.  SCBWI is more than just an organization of like minded people.
It is an endless supply of all a writer needs:  the latest publishing information, editorial contacts, writing conferences, and most of all Opportunity (with a capital O). The conferences alone provide the opportunity to meet editors and agents, to submit manuscripts to houses that would otherwise be closed to unagented authors (like me), to have work critiqued by industry professionals. SCBWI, you are worth every penny in membership dues and conference fees.

    To enter our latest giveaway, a copy of Children's Writer's and Illustrator's Market, check Carmela's Friday post.  (http://www.teachingauthors.com/2014/11/thanks-giving-CWIM-giveaway.html).  Good luck and Happy Thanksgiving to everyone.

Posted by Mary Ann Rodman

3 (Yes, THREE!) Weeks of Thanks-Giving plus Another CWIM Giveaway!

If your name wasn't selected in the drawing for our 2015 Children's Writer's and Illustrator's Market (CWIM) giveaway, I have good news for you: Writer's Digest Books, publisher of the CWIM, has generously donated a SECOND COPY for us to give away! (The 2015 CWIM features my interview roundup article, "Writing for Boys (and other 'Reluctant Readers')," which contains advice and insights from four award-winning authors known for writing books that appeal to reluctant readers: Matt de la Peña, Lenore Look, David Lubar, and Steve Sheinkin.) See entry details at the end of this post. And congratulations to Sue H, who won the first copy.

If you're a long-time TeachingAuthors follower, you know about our tradition of setting aside time in November to give thanks. It started in 2011, with our Ten Days of Thanks-Giving, inspired, in part, by Esther post about thank-you haikus, also known as Thankus. In 2012 we expanded to Two Weeks of Thanks-Giving, which we repeated in 2013. This year, we've decided to stretch our Thanks-Giving posts to a full Three Weeks of Thanks-Giving!

We're going to keep our Thanks-Giving simple this year. Each of the TeachingAuthors will share 3 things we're grateful for. As in years past, we're also inviting you, our readers (and your students!), to join in by sharing your own "gratitudes" with us in one of three ways:

1. Share them in a comment to any of our blog posts from today through Nov. 28.
2. Send them to us via email to teachingauthors [at] gmail [dot] com, with "Thanks-Giving" as the subject. Depending on the number of emails we receive, we may share some of your gratitiudes in our posts.
3. Post them on your own blog and then share the link with us via a comment or email. (Feel free to include the above image in your post.) On November 28, I'll provide a round-up of all the links we receive.

To get us started, here are my three "gratitudes":

1. My loving and supportive family. First and foremost, I'm grateful for the three very special men in my life: my husband, my son, and my father-in-law (who now occupies my son's old room). But I'm also blessed to have a wonderful extended family--being Italian means that includes A LOT of people. J
2. My wonderful writing friends. Three groups, in particular, support and nurture me on a regular basis: my fellow TeachingAuthors, my Vermont College classmates (known as The Hive), and my critique group. Without them, I would have quit writing a long time ago. Thanks for helping me stick with it, Ladies!
3. Our amazing TeachingAuthor readers. This blog wouldn't be here if not for the feedback and affirmation we receive from you, our readers. I'm especially grateful for three lovely ladies I've never met who often comment on my posts, so I know someone is reading them: Linda Baie, Jan Godown Annino, and Rosi.   

Hmm. I'm sensing a theme here. It inspired me to write this Thanku:

Thanks-Giving

Three times three times three . . . . . 

My thanks keep multiplying,

to infinity.

© 2014 Carmela Martino, All Rights Reserved

I invite all of you to also participate in our Three Weeks of Thanks-Giving and share your "gratitudes" with us!

To my above "gratitudes," I'd like to add a huge THANK YOU! to Writer's Digest Books for donating a second copy of the 2015 Children’s Writer’s and Illustrator’s Market (CWIM) for us to give away.

Readers, use the Rafflecopter widget at the end of this post to enter our giveaway drawing. You may enter via 1, 2, or all 3 options. The giveaway ends on Nov. 28. 

When you're done here, check out the terrific Poetry Friday roundup over at Diane Mayr's Random Noodling.

Good luck and happy writing!
Carmela

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. Email subscribers: if you received this post via email, you can click on the Rafflecopter link at the end of this message to access the entry form.

a Rafflecopter giveaway

Here's to Our Story-Traveling Readers!

So,
I’d like to take a side road of sorts in continuing our TeachingAuthors discussion on writers’ reader considerations.

Yes, indeedy, I agree with my fellow bloggers: writing with passion trumps every consideration when we are writing to tell ourselves the story.

That kind of telling is the stuff of our first draft, our first pass, at who and what grabbed our hearts.

Our second draft, though? 

That’s the draft in which we make choices to grow a story and tell that story the best way possible to our intended reader.
IMHO, the “best way possible” considers where that reader is chronologically, emotionally and cognitively so he or she can easily travel the story, can emotionally connect with the characters, can live inside the story and take its truths into his or her heart.

When I read a student’s or writer’s manuscript for the very first time, when I read my own first drafts readying to finally revise, I read on behalf of the intended young reader.

Both the story and the format must be age-appropriate, of course.
But do I know who claims the story and what it’s about? Am I grounded in the story’s time and place? What kind of story am I expecting?
Left unanswered, those questions will likely force the intended reader to leave the story.
Language must also be considered – word choice, sentence structure, metaphorical language, as JoAnn noted when she wrote about assessing reading levels in her Friday post.
And richness of language need not be sacrificed – ever (!) - for clarity.

JoAnn’s post brought a smile as I remembered my experience this past September attempting to write original poems for the newest addition to THE POETRY FRIDAY ANTHOLOGY series (Pomelo Books), THE POETRY FRIDAY ANTHOLOGY FOR CELEBRATIONS, scheduled for an official April 1, 2015 pub date.  The book features 150 poems in Spanish and English versions for preK and up, covering a wide variety of celebrations: Poem in Your Pocket Day to National Pet Week to Juneteenth to International Talk-Like-a-Pirate Day to World Bread Day to Winter Solstice.

Invited writers could choose a day that spoke to them and try their hand at creating a poem.

Hmmm…National Hat Month?
I loved that idea and began fingering my way through my Roget’s Thesaurus, having a high ol’ time.

Here’s the poem I first submitted, in celebration of National Hat Month:

             Mixed-up Mad Hatterisms to Celebrate Hat Month

             Bees in your beanie.

A feather in your fez.

Pass the fedora.

Bearskin in hand.

Tom scored a tam trick!

Talking through your cap.

Tip o’ my turban.

Pass the sombrero.

Helmets off!

At the drop of a wimple.

Home is where you hang your beret.

              (Copyright 2014 Esther Hershenhorn)

The anthology editor Janet Wong returned the poem, kindly reminding me of the designated preK-and-older audience.  

Hmmm…National Write a Letter of Appreciation Week?
That’s the ticket! I thought.
I brainstormed all sorts of letter-writing possibilities and settled on our TeachingAuthors Thank-u’s.

Here’s the second poem I sent off to Janet:

             A Haiku Thank You

            Dear (fill-in-the-blank),

You knew how to make me smile.

Thank-u very much.

(Copyright 2014 Esther Hershenhorn)

Janet remained kind while again reminding me of the designated preK-and-older audience.

“How about St. Patrick’s Day?” Janet wrote me.  “There’s St. Patrick and everyone dressed in green and folks even dye their rivers green!”

I think I got this now! I thought.  And I was off and running.
This time, though, after brainstorming All Things St. Patrick’s Day, I thought about my pre-K and K readers.  I even Googled “St. Patrick’s Day curriculum for preschoolers” to learn the top 3 take-aways for little ones about this day.

I’m currently unable to share my finally-accepted poem, “St. Patrick’s Day.”

Suffice it to say, I again had fun writing about my suggested green  March 17 celebration, but…
I was extremely aware of my audience’s needs.

Happy Writing!

Our young readers deserve our passion, our best writing – and – IMHO, our consideration of their chronological, emotional and cognitive needs.

Esther Hershenhorn

P.S. from Carmela: Rafflecopter has chosen the winner of our giveaway of the 2015 Children's Writer's and Illustrator's Market. If it wasn't you, don't despair! We'll be having a Second Chance opportunity beginning this Friday. 

Audience, Revising, and Poetry Friday!

Today, I’m continuing our Teaching Authors series on whether to try to appeal to reluctant readers, or any particular type of reader, when we write. So far, we seem to agree that we should write what moves us and hope that it moves others, too. I’m going off on a few tangents to add some related thoughts.

I started writing for kids when our kids were little. I found inspiration while hanging out with kids on playgrounds, in school, and at soccer games. I kept our kids in mind as I wrote. When they grew out of picture book age, I lost them as audience but kept their younger selves in mind, along with their friends, my own younger self, and the children my sisters used to be. Maybe that’s why one editor kindly described my voice as “classic.” With school visits dwindling, perhaps I should spend more time at the playground.

When I worked as a managing editor for an educational publisher, a reading specialist assigned reading levels to all our books. We also assigned each one an interest level, which was intended to attract reluctant readers to subjects that might appeal to them even if did not correlate with the reading level. This category included many high-interest topics for boys: amazing sports feats, weird facts, adventure stories. How well did it work? I can’t say. I thought of it as just one more marketing tool.

My writing group is remarkable in many ways, but what applies to this topic is their ability to pick out words, phrases, and concepts that seem too adult for a poem or picture book manuscript. Yesterday, I sifted through my filing cabinet and recycled a paper grocery bag full of old drafts. I was struck by the number of gently worded rejection letters, several of which referenced this problem, especially in my poetry collections. Although we should not focus too much on audience when we write, we should pay attention when we revise. Maybe some of those old poems are worth taking another crack at with a young audience specifically in mind.

I’m revising a nonfiction manuscript that includes a lot of scientific information. I’m putting more complex details in sidebars. A few nights ago, out of curiosity, I separated the main text from the sidebars and checked the reading levels separately. (To do this in Microsoft Word, select the text you want to check. Then on the Review tab, click Spelling and Grammar.) I went through the main text and checked it sentence by sentence so I could revise the most difficult ones. I’m not saying that reading level is necessarily an indicator of text complexity, but it does contribute. I use this feature a lot when I write for educational publishers who specify a reading level. When a sentence is too high, I substitute simpler words, divide it into two sentences, or even cut it.

Here’s an example:
We piled into the car, rode to the library, and picked out our favorite books to read and share.

The revised version:
We piled into the car. Mom drove us to the library. Each of us checked out a stack of books. We read our own, and then we traded.

Notice that I added words and also varied the sentence structure.

It’s Poetry Friday! Here’s a poem I found yesterday when I cleaned out my files.

My Singular Garden 

My garden is a skinny one
with just the right amount of sun.
I planted one delphinium,
one violet, one trillium,
one rosebush,
one geranium,
one tulip,
one chrysanthemum.
I wish I could continuum,
but I have reached the maximum.

The Poetry Friday Roundup is at Teacher Dance. Enjoy!

Today is the last day for our 2015 Children's Writers and Illustrator's Market Book Giveaway! Enter here.

Finally, don’t forget to V O T E !

JoAnn Early Macken

Wednesday Writing Workout: Finding the Best Beginning, Courtesy of Lenore Look

Hi Everyone,
The clock is ticking! If you haven't entered for a chance to win a copy of the 2015 Children's Writer's and Illustrator's Market (CWIM) yet, see the link at the end of this post. The giveaway ends on Friday!

We're hosting the 2015 CWIM giveaway this month to celebrate the publication of my article in it: "Writing for Boys (and other 'Reluctant Readers')." The article contains advice and insights from four award-winning authors known for writing books that appeal to reluctant readers: Matt de la Peña, Lenore Look, David Lubar, and Steve Sheinkin. Today, I'm pleased to share a guest Wednesday Writing Workout from one of those authors: Lenore Look!

Here's Lenore's bio, as it appears in the 2015 CWIM:
Lenore Look recently released the sixth book in her award-winning (and boy-friendly) Alvin Ho chapter book series: Alvin Ho: Allergic to the Great Wall, the Forbidden Palace, and Other Tourist Attractions (Schwartz & Wade). She is also the author of the Ruby Lu series (Atheneum) and several acclaimed picture books, including Henry’s First-Moon Birthday (Simon & Schuster), Uncle Peter’s Amazing Chinese Wedding (Atheneum), and, her newest, Brush of the Gods (Random House), a historical fiction account of the life of Wu Daozi, China’s most famous painter. Lenore taught creative writing at Drew University and St. Elizabeth College in New Jersey, and frequently speaks in schools in the United States and Asia. She has also co-presented the Highlights Foundation workshop "Writing for Boys" with Bruce Coville and Rich Wallace. She lives in Hoboken, New Jersey, and blogs frequently at lenorelook.wordpress.com.

I'm a big fan of Lenore's Alvin Ho books, which is why I approached her about participating in the CWIM article. I haven't read Alvin Ho: Allergic to the Great Wall, the Forbidden Palace, and Other Tourist Attractions yet, so I'll share the blurb for it that appears on Indiebound:

Here’s the sixth book in the beloved and hilarious Alvin Ho chapter book series, which has been compared to Diary of a Wimpy Kid and is perfect for both beginning and reluctant readers. 
Alvin, an Asian American second grader who’s afraid of everything, is taking his fears to a whole new level—or should we say, continent. On a trip to introduce brand-new baby Ho to relatives in China, Alvin’s anxiety is at fever pitch. First there’s the harrowing 16-hour plane ride; then there’s a whole slew of cultural differences to contend with: eating lunch food for breakfast, kung fu lessons, and acupuncture treatment (yikes!). Not to mention the crowds that make it easy for a small boy to get lost.
From Lenore Look and New York Times bestselling illustrator LeUyen Pham comes a drop-dead-funny and touching series with a truly unforgettable character.

Sounds like a fun read! J

For today's WWW, Lenore shares a great exercise in beginnings.

Wednesday Writing Workout:
Finding the Best Beginning
by Lenore Look

When I worked as a newspaper reporter, the first thing I learned was how important the “lede” or beginning of the story is. The first sentence is crucial. It’s called the “hook” because it snags your reader and reels them into your story. Without a strong hook, your reader will get away before you can tell them the five Ws and H – who, where, what, when, why and how.

When writing fiction, your hook is not just the best way to snag your reader, but it’s the place from which you will hang the rest of your story. It’s THAT important. For me, the beginning is the hardest part of the book to write. I’m faced with all my research, my characters, what I want to say, and a few ideas for scenes. It’s overwhelming. Where do I start? I pick something and have a go at it. It’s a mis-start, or a scrub, as they call it at NASA when a launch is aborted. I have many scrubs. When I find the spark that will finally launch my rocket, there’s more trouble.  Often I will agonize over the first sentence for days, re-writing it, tweaking it, throwing it out, starting it over, again and again. But when I finally get it right, it’s blast-off! And the rest of the book seems to write itself.

Here’s my top-secret recipe for finding the strongest beginning, and I hope it helps you find yours.

How to Find the Strongest Beginning to Any Piece of Writing.
1. Sit down.
2. Open your writer’s notebook.
3. Ask the following questions:
            a. Who’s your character?
            b. What’s your setting?
            c. What does your character want?
            d. What are the obstacles in her way?
4. Summarize the story you’re telling in one sentence.
5. Write your summary sentence in the center of a blank page.
6. Now surround your summary sentence with your answers to the questions from #3. Some people call this “clustering,” – if you draw circles around each of your sentences/ideas, it begins to look like a cluster of grapes. I don’t bother with the circles, instead I make lists, and surround my summary sentence with lists that answer the questions.
7. Add your research as they fit under the different questions in #3.
8. Step away.
9. Eat some ice cream.
10. Stare at the sunset.
11. Call a friend.
12. It’s important to start the next part with fresh eyes.

How to Find the Strongest Beginning, Part II
1. Look at your messy page(s).
2. Find the smallest, most simple detail that captures your entire story.
3. What you’re looking for is the KEY to your house. Keys are small. A small detail will open the door to the rest of the house, which is your story. All the rooms in your house are the different scenes that make up the story.
4. Study carefully the beginnings to books you like.
5. Using the detail you found in #2, and the inspiration you found from #4, write the most compelling beginning you can.
6. Let it lead you into the first room of your story.
7. Finish off the ice cream.
8. Stare at the sunset.
9. It may be the last sunset you see for a while.
10. Writing a book takes a long time.
11. Cry.
12. Cry your eyes out. It’s only the beginning. You still have the middle and the end to tackle!

            Writing Exercise Text © Lenore Look 2014, All rights reserved

Thanks, Lenore, for this terrific exercise! Readers, if any of you try today's WWW, do let us know how it works for you.

And don't forget to enter for a chance to win your own copy of the 2015 CWIM, where you'll be able to read additional helpful tips from Lenore. See my last blog post for details. The giveaway ends October 31.

Happy Writing!
Carmela

Odd Girl Out

I was never a reluctant reader. I have to admit, I feared writing about this topic because it is something I know very little about. While my parents were not avid readers, they were willing to drive me to the library. When I was very young, I was confined to bed because of a long illness. I found solace in reading. I learned to read at a young age, and I read everything. I loved action/adventure stories. When I was finally healthy, I couldn’t run fast enough, all the time running about, creating my own adventures. And when I wasn’t running about, I was reading.

Ezra Jack Keat's APT 3

 I was the odd girl out in middle school. I was a nerd before it was cool to be a nerd. High school was a bit easier because it was small and private. The nuns didn’t take kindly if someone came to class without having read the assigned pages, or books as the case may be. So everyone read. No one liked the “or else.”

Of course, I didn’t have computers, iPhones or iPads or video games way back then. There was no Facebook or text talk. Ooo! I shudder to think how Sister Alice Marie might have reacted if I dared write into an essay, AFINIAFI (A friend in need is a friend indeed)!

Although, to be sure, nerds will be nerds, no matter which century, and kids will always be kids. A friend and I had learned Morse code, and then tapped out messages during class. Colonel Seese, the retired Army colonel who taught history, caught on. He was scarier than the nuns. While he approved of our ingenuity, we still had to serve detention.

  Those were different times. I have to wonder if there may be some connection between the gadgetry of today and reluctant readers. As much as these electronic gizmos can be an aid to our learning process, might they also be a deterrent? I wrote in my last post (here) about current studies that suggest old-fashion hand writing helps cognitive development, critical thinking skills, and reading skills. Connected to this is another important question, how does the new technology we use to read change the way we read? Are we still reading as thoroughly and attentively? As Jabr Ferris suggests (Scientific American, 2013), while studies are still ongoing, there seems to be a consensus that “modern screens and e-readers fail to adequately recreate certain tactile experiences of reading on paper that many people miss and, more importantly, prevent people from navigating long texts in an intuitive and satisfying way.”

 Where The Wild Things Are

 So could it be that one key to coaxing reluctant readers is to re-create that tactile and sensory experience?   

I have long been impressed by uber-teacher and Facebook friend Paul Hankins, who teaches English 11. He posts about his strategies that treat the senses and engages the reading process. His projects include using collage, which he calls remixes, to recreate covers of favorite books, including Ezra Jack Keat's APT 3 and Maurice Sendak's Where the Wild Things Are.

Halloween produces some of my favorite books. What better way for a tactile experience than skin shivers and tingling spines! So many books, but currently I am reading (again) Stephen Messer’s The Death of Yorik Mortwell (Random House/Yearling Edition, 2012), a mock-Gothic horror story inspired by Edward Gorey.

Another treat is Philippa Dowding’s Jake and the Giant Hand (Dundurn, 2014), all about weird stories gone wrong. 

As a writer, I take to heart the wisdom Carmela shared in her post: "If you want your writing to appeal to boys and other reluctant readers, don't try to target this particular audience. That's right, DON'T target them. Instead, write what moves, excites, or interests YOU." In my books (Big River's Daughter and Girls of Gettysburg), you can still find me running about, all the time running, and having the best adventures.

For more information, you might find this interesting: Jabr, Ferris. The Reading Brain in the Digital Age: The Science of Paper versus Screens. (Scientific American, April 2013)

Don't forget about the CWIM giveaway!

What do you think? Share some of your insights, experiences and strategies below!

Bobbi Miller

3 Leading Ways to Target Your Writing for Children--NOT!....and Poetry Friday!

.
Howdy, Campers!  Happy Poetry Friday!  Poem and link to Poetry Friday are below ~

Our topic this round is Do you try to appeal to reluctant readers, or any particular type of reader, when you write? 

Carmela's post addresses the topic of writing to reading levels thoroughly. She writes:"If you want your writing to appeal to boys and other reluctant readers, don't try to target this particular audience. That's right, DON'T target them. Instead, write what moves, excites, or interests YOU."

Mary Ann's post, agrees: "I write what I am passionate about. I write for my inner eleven-year-old. It's the best that I can do. It's all any of us can do."

As for me?

I titled this 3 Leading Ways to Target Your Writing for Children--NOT!  because I agree with Carmela and Mary Ann's conclusions.  Essentially, write with passion and you'll hit a bullseye.

from morguefile.com

Here are three thoughts hopefully slightly related to this topic:

1) I am a reluctant reader.  Always have been. Once I dive into a book, I'm swimming, but getting to the edge of the pool, dipping my toe in? Terrifying.  Every book.  Every time.

2) Many years ago, former bookseller, and book reviewer Janet Zarem was hired by my son's elementary school to talk to parents about reading.  She began by passing out a paragraph in and asking us what it said.  Okay, so let's try it.  I'd like you to read this paragraph and tell me what it says.  You have two minutes:

*see bottom of this post for attribution*

When we saw the paragraph, we were scared'r than a long-tail cat in a room full of rockin' chairs.**

Isn't that a powerful way to show someone the world from a new or challenged or reluctant reader's point of view?

3) That's how scared many of us feel about learning anything new.

For example, UCLA Extension's Writers' Program is in the process of changing how its instructors post course materials for our students.  We are moving from a platform called Blackboard to one called Canvas.

When I saw the first email about this, I rolled into a little ball.  I felt as outdated and useless as a screen door on a submarine.***

I see now that I went through the five stages of loss and grief, finally arriving at acceptance: Wow--it's done, it didn't take long, and I am truly invincible.

Tah-dah--I did it!

RELUCTANT
by April Halprin Wayland

New?
New?
Who are you talking to?

You’ll have to leave a message—
I think I have the flu.
It’s too bad that you saw me
I stick with tried and true.

If you want revolution,
I’ll leave it up to you.

Who?
Me?
You found me up this tree?

Just cut that sheet in two?
And paste it here with glue?
That’s all we have to do?

I’m standing on my head, now:
I see your point of view.

poem and drawing (c) April Halprin Wayland 2014
=====================

Don't forget to enter our latest book giveaway for a chance to win a copy of the 2015 Children's Writer's and Illustrator's Market (in which our very own Carmela Martino has an article!). See Carmela's post for all the details.

Update!  We have another copy to give away...so this giveaway ends on November 28--you still have time to enter!

Poetry Friday is at Merely Day By Day ~ Thanks, Cathy!

poem & drawing (c) April Halprin Wayland 2014

posted by April Halprin Wayland, who thanks you in Greek for reading all the way to here.

*from: http://en.wikipedia.org/wiki/Odyssey
**from: http://charlottenewcomers.blogspot.com/2008/01/southern-expressions-uglier-than.html
***from: http://www.examiner.com/article/southern-isms-50-of-the-funniest-southern-expressions-and-colloquialisms

Hitting the Target Without Really Trying

     The question I am most asked by parents is "What is the reading level of your books?"

     I am currently teaching an adult class on writing for children.  The first question I am usually asked by those students is "How do you write at an appropriate reading difficulty for an age group?"

    Those questions are not as easy to answer as you might think.

     Carmela's Friday post stated that in reaching "reluctant readers" a writer should simply write whatever they are passionate about and the readers will follow.  I have most certainly found this to be true.

     When I first began writing, "targeting" a group, or writing with a specific grade level vocabulary never crossed my mind.  Thanks to years and years of working in children's library service, I have read thousands and thousands of children's books for all ages.  When I write, my brain goes into "child mode."  That's just the way I write, period.  My normal style involves short sentences and short paragraphs using simple words.

     I was not aware of my writing style, until my then elementary school-aged daughter introduced me to "Accelerated Reader."  This was the program her school used for "pleasure" reading. (I am not sure how pleasurable it was since it was required.)  Only books on the Accelerated Reader program were counted for the reading grade.  Books had point values, based on complexity of language and interest level.

    I was thrilled to learn that all my books were on the Accelerated Reader list, which increased the likelihood of their purchase by a school library. However, I was puzzled to learn that my middle grade books, Yankee Girl and Jimmy's Stars, were not being read by the fourth and fifth graders, my intended audience.

     The mystery was solved when one of my daughter's friends told me how much she liked Jimmy's Stars "even though it doesn't have many points."  A trip to the school library informed me that both of the books had a point value of 3.  For comparison, anything written by J.K. Rowling had a point value of upwards of 7.  That particular year, my daughter was supposed to read 7 points worth every six weeks.  How could I compete with Harry Potter?

     A little digging into the mysteries of Accelerated Reader yielded the information that while my middle grade books had a third grade reading level, their content was appropriate for upper fifth grade and sixth grade students.  Considering that the subjects of those books were Civil Rights Era Mississippi and the ravages of World War II, I thought that was a fair evaluation.

     Then parents began to ask me that troublesome reading level question.  This was often prefaced with something like, "My daughter is in second grade but she reads on a fourth grade level. She should be able to read your books, right?"

     I found myself in the strange position of talking down my own books. While the child in question would be able to read and recognize the words I had written, would they be able to understand the events in the book?  It had never occurred to me that a seven-year-old might read those books.  Tough things happen in them:  racial prejudice, death, violence.  Although I didn't "target" my writing, I didn't think anyone under ten would be reading them.  I started hedging my answers by telling parents they could buy the book but perhaps they should put it away until their child was older.  Sometimes it worked, sometimes it didn't.  No matter what I said, some parents completely missed the fact that some "low reading level" material might contain concepts too mature or sophisticated for a first grader who was "a really good reader."

     What did I learn from this experience?  Did this cause me to become a cautious, self-censoring writer?  Do I now write in a more complex style?

     No.

     I write what I am passionate about.  I write for my inner eleven-year-old.  It's the best that I can do.  It's all any of us can do.

     Don't forget to enter our latest book giveaway for a chance to win a copy of the 2015 Children's Writer's and Illustrator's Market.  See Carmela's post for details.

     The giveaway ends Oct 31.

     Best of luck,  Mary Ann