The Write Marble Blog

Aiming at Writing Excellence for Children and Teens
March 29th, 2009

Writer Tina Stolberg-Interview

shrewcaboose_largeCAROL:  Thank you, Tina, for hanging out with the Marbles!  Your picture book, “Little Shrew Caboose” is coming out soon from Pleasant St. Press. Do you have a publication date we should know?

TINA: May, 2009.  You can pre-order it through BWI, IPG, the Publisher’s website www.pleasantstpress.com, or on Amazon.com.

CAROL:  What is the theme of “Little Shrew Caboose”?

TINA:  Little Shrew gets separated from his family in the woods and has to find his way home. His story is one of courage and self-reliance, determination and perseverance. It is also about the connection of family.  Little Shrew’s homecoming is celebrated and rewarded with a new place of importance among his family.

CAROL:  I understand you used the Internet in a unique way when writing “Little Shrew Caboose.” Can you share that with us?

TINA: Sure.  I got the idea for my story from something I’d read on the web. I had wanted to find a subject that hadn’t been written about to any large degree, and nature facts fascinate me. So while researching animal behavior, I came across a little known fact about shrews.  Newborns caravan nose to tail behind their mother, much like a choo choo train, to stay safe.  The mental picture of a shrew choo choo was just too cute to ignore!  I also used the Internet to confer with a scientist who studied shrew behavior in Vienna, Austria.

CAROL:  All writers have that one (or more) most frustrating publishing experience. What was it for you?

TINA:  I worked on a manuscript with an editor from Clarion for more than two years, changing the ending five times, before it was finally rejected. She loved it but could not get her marketing team on board with the project.  I also had a manuscript deemed “damn good writing” by the legendary Dick Jackson before he regretfully rejected it as being too regional in appeal.

CAROL: You also have an emergent reader from Bebop Books that is still available. Can you tell us how writing in each of these genres differ?

TINA:  Emergent readers are reading level specific. They are intended to help children learn to read. Consideration must be given to the complexity and structure of concepts and language.  Word count, word frequency, word choice, even the degree of punctuation is measured. Picture books are meant to be read aloud to children (until they can read it themselves).

CAROL: Do you have any special projects you’re working on that you could tantalize us with?

TINA: I just finished an interesting project. I was commissioned to write a children’s story to celebrate the City of San Rafael’s Carnegie library’s centennial. The story was written from the perspective of a nine-year old girl living in San Rafael in 1909. The piece, a 16-page supplement in the Marin Independent Journal, was also distributed to the elementary schools as an adjunct to third grade local history curriculum.

CAROL: How do ideas come for your books? Do you think of a theme and develop a plot and characters around that or do you develop a character and then focus on giving him a problem?

TINA: I take ideas any way I can get them.  Most times, I think of a character with a problem, and then develop the story around how the character might solve it.  Once at a dog park, a woman commented that her aunt bought a goat to maintain her overgrown field but she got rid of it because the goat wanted to sleep in her bed. Ideas don’t come better than that!

CAROL:  Do you do school and library visits? What is the best part of doing author visits? The worst part?

TINA: I’d love to do author visits, and hope to do many now that my book is out.  I orchestrated author visits for my own kids’ schools for 8 years and learned a few pointers from other presenters.  I imagine the best part is the high I’d get from the audience’s enthusiasm. There is no bad part.  Even if my computer and LCD projector broke down in mid-talk, I think I’d be able to improvise.

CAROL: If you had one tip for writers who are contemplating author visits, what would you share?

TINA:  Get a contract and communicate your expectations.  Be very specific and clear about what you will provide to the school, and what the school needs to provide to you.  You don’t want any surprises.

CAROL: How can kids and teachers learn more about your books or arrange for speaking engagements?

TINA: I have a website. www.tinastolberg.com.  They can email me with specific questions at tinastolberg@sbcglobal.net.

CAROL: Is there anything I haven’t asked that you’d like our audience to know?

TINA: Time and again, I meet people who have a children’s story they want to write.  I always say, “do it” but be prepared to work really hard.

CAROL: Thank you so much for spending time with us, Tina. We’re looking forward to getting our hands on “Little Shrew Caboose”!

March 29th, 2009

Money Mania

Money Mania
Carol Peterson
(Geography, Social Studies, Math)

You can learn a lot about a country from its money.  Using the following list of countries and creatures, answer these questions. Then use the first letter of those answers to reveal the final answer. Find each country on a world map.

COUNTRIES             CREATURES
China                    Lion
Australia                Gorillas
Netherlands                Armadillo
Australia                Mermaid
Rwanda                Elephants
India
Egypt
Antarctica
Ecuador

To find the first word in the final question, answer these questions:
1.    Scientific groups on this continent print penguins on a $1.00 bill to raise money for research:  ___________.
2.    This half human/half fish is on a 100-shilling bill from Austria:  _________.
3.    Coins from this country picture a sphinx – a half man/half lion:  _______
4.    Zebras are on 100 franc bills from this African country:_______.
5.    Peacocks are on the 10-rupee bill for this country that is famous for the Taj Mahal:  _______
6.    The panda is on coins from this country that grows bamboo:  _______
7.    Argentina pictures this scaly, armored animal on its 25 pesos bill:  ________
8.    This country, famous for flowers and windmills, has a bee and sunflower on its 50 gulden bill:  __________________

To find the second word in the final question, answer these questions:
1.    Kenya’s 1000 shillings bill pictures this large tusked animal:  ___________
2.    Kangaroos are on one-half penny coins from _____________.
3.    These extra large primates (like monkeys and apes) are on money from several African nations including Rwanda and Uganda:  ___________
4.    Tanzania, off the coast of Africa has this member of the cat family on its 100 shilling bills:  ___________
5.    This country near the equator features turtles from Galapagos Island on its 5000-sucres bills:  __________

Now, using the first letters from the above answers, fill in the blanks below.  What animal is on the United States bills and coins?

___   ___   ___   ___   ___   ___   ___   ___        ___   ___   ___   ___   ____

Answers to first section:
1.    Antarctica
2.    Mermaid
3.    Egypt
4.    Rwanda
5.    India
6.    China
7.    Armadillo
8.    Netherlands

Answers to second section:
1.    Elephant
2.    Australia
3.    Gorillas
4.    Lion
5.    Ecuador

Final answer:  American Eagle

March 29th, 2009

Andrea Beaty-Interview

Join us for a glimpse into the writing life of some of our favorite authors who share our passion for writing for children.

Andrea Beaty, is a silly chick…well, you know, one of the Three Silly Chicks!  If you don’t have any idea what I am talking about, then you really should check out www.ThreeSillyChicks.com.  You will see exactly why I was so delighted that this Parents Choice Silver Award winning author took time away from her writing to spill the beans about her life as a famous children’s book writer!

You can find out more about this generous Illinois author at her website www.AndreaBeaty.com  Make sure you check out the awe-inspiring ‘More Books On The Way’ section!  Thanks Andrea for sharing your writing life with The Write Marbles and our friends.

Andrea, what is your ideal writing environment and routine? My ideal writing routine is getting up about 8:30 and then getting coffee. Butt in Chair by 9:15. Read e-mails for a bit then really start writing at 10:00 until 1:00 ish. That is ideal, and almost never happens since I always seem to have a million things pulling at my time. Still, in the perfect world…

Are you a member of a critique group?  If so, how does your group
work? How many people? Routine? Does your group have a name? I am not a member of a crit group. In the past, I have been a member of an in-person group and an online group. Both had great benefits, but I find that time is just too hard to come by for now. I occasionally swap manuscripts with friends if I have a particular question, but not very often.

Do you have a personal commitment to write a certain amount or for a length of time per day/week?  If so, we would love you to share! I do not set writing goals as such. I write when I can for about 3 hours at a time if the muse is upon me. After about 3 hours, my brain gets pretty mushy. However, I find that there are lots of other writing-related activities that require my time and I attend to those most days.

Do you have a favorite motto or quote that motivates you? Motto?  I can’t remember his exact words, but in his book ON WRITING, Stephen King says that you have to show up to write every day so the muse will know where to find you!  That’s true.  My muse sometimes goes missing for long stretches of time. But if I stick to it, I find that she always returns. And when she does, she brings olives.

ANDREA’S BOOKS:

When Giants Come to Play
By Andrea Beaty
Illustrated by Kevin Hawkes
Abrams Books for Young Readers

ISBN-13: 978-0810957596
August 2006

IGGY PECK, ARCHITECT
By Andrea Beaty
Illustrated by David Roberts
Abrams Books for Young Readers

ISBN-13:  978-0810911062
October 2007
Cicada Summer
(Mid grade novel)
Abrams Books for Young Readers
Spring 2008

Doctor Ted
Illustrated by Pascal Lemaitre
Margaret K. McElderry Books
April 2008

Firefighter Ted
Illustrated by Pascal Lemaitre
Margaret K. McElderry Books
Hush, Baby Ghostling
Illustrated by Pascal Lemaitre
Margaret K. McElderry Books
Summer 2009
Master Ted, True Artiste
Illustrated by Pascal Lemaitre
Margaret K. McElderry Books
TBA
Hide and Sheep
Margaret K. McElderry Books
TBA

March 29th, 2009

Amy N. Thomas

Writer Amy Thomas recently moved to Moscow, Russia with her family. She took time out of a busy winter day to talk with Angela Cerrito about writing, networking, inspiration and culture.

How is living in a foreign country influencing your writing?
I’ve thought about this a lot. I think there are two main things.
One is I’ve slowed down on submitting. When I read over my work now I look at it and notice, “This is really American.” I think being here and being I writer, I’ve noticed that there are some things we all have in common as human beings. Other things are purely American. Many people live in an urban environment. Story I’m working on now that was in suburban setting. Now I’m revising and the setting is urban setting. I think it will work in the European market too. When I look at my work, I ask myself: Will my neighbor understand this? What assumptions am I making? How can I explain this and make it more universal?

The second thing I’ve noticed is the notion of community is coming out a lot more in my writing. It is very important in the Russian culture more so than anywhere else I’ve lived in the US. In Montana there might be a thousand acres between you and your neighbor but you have your eye on each other. There is something comforting in community here even though the distance is much closer. And the idea of community, community experience, traditions and community in daily life is strong.

How long do you plan to live in Moscow? About 3 to 5 years

Have you had opportunities to connect with other writers outside the US?
We’re starting a Moscow critique group through SCBWI in January. Everyone knows English, but the people have a different background from freelance magazine work to screenplays and we are all working on projects for children now.

Tell me about the sequester in France:
It was wonderful. There was so much information and in a short time frame. I’m certain that I’m going to look back on it and say it was a turning point for my writing. I think what was helpful was to hear from experts in their field – illustration, translation, editing, writing. Whatever that aspect we could hear from that person, then have a meal together, and then free time to follow up after you’ve had time to reflect on what they said. Having that extra time really helped. I was able to come down to breakfast and meet with an editor who was going through manuscripts. Talking to experienced writers and getting their professional advice was really helpful. I came home and once a week I read through my notes and decide the next thing I want to work on. For example, I’ve re-written a story in storyboard form. One person suggested adding elements from my own childhood. I’ve re-written it again. I don’t think I would have thought on my own to try those two directions. I’m taking more risks with my writing and starting to feel comfortable with that. The methods are uncomfortable… but the results are becoming more comfortable.
I’m making serious revisions and it isn’t easy. I’m learning how to change sentences that I love but don’t connect to the reader. I’m being bold about changing. The best part of the sequester was having the variety of people there. Writers at different points in their careers, editors, illustrators, even a translator. We talked about the cadence of our work – and how music influences mood. The cadence and the rhythm can affect the tone and work of your story. Everything, everyone was amazing and very helpful.

What are you working on now?
A warm story about snow. This is a picture book. We were in Montana and South Carolina and now Moscow. So our time in the south was bookended by these snowy places. It always surprised me when people in the south said they don’t like snow. It inspired me to write this story.

Is it a challenge submitting work from overseas?
I have some projects that are submission ready. Excited about upcoming Bologna conference, just love the list of speakers and know they’ll have great suggestions for my work. I’m considering waiting until after the Bologna conference to send out submissions again. Life here in Russia is less hurried than in the US. We send mail out only once a week – on Tuesdays and it takes three weeks to receive it. I take my time. If I miss a Tuesday, I know I can always send it next week. It’s the same thing with trains. They have a schedule, but if you miss yours there’s another one coming soon, you don’t have to wait a half an hour. In a way it feels like I have more time.

Amy’s website: http://www.amynthomas.com/

March 29th, 2009

Laurie Mccuddy-Writer

Tell us a little bit about your story coming out in Hopscotch for Girls. What was the inspiration for the story?

My first story that I wrote for this magazine was based on a young girl who was given a pair of figure skates by her dad before he passed away.  The story opens with her first lesson in her “new” skates, which she wants nothing to do with.  She only wants to skate in her old ones because of the connection to her father.  The story is about letting go and finding the courage to move on.

The story has a lot of personal meaning to me. I grew up in the world of figure skating (my parents were coaches), so that’s the first connection.  But more specifically, my father bought me a special pair of blades one year, shortly before he did pass away.  Because they were one of the last things he had given me, I could really relate to the feelings of having to give them up and ultimately, feeling that a piece of “him” would be going with them.  I think that a lot of kids can relate to the connection between a loved one and something material that was given to them by that person.  And when that loved one is no longer here, that material thing becomes something of a shrine to their memory.  I wanted to somehow impress upon children that their loved one is always with them, no matter what.

Tell us something about yourself that your readers (and your fellow Marbles) would be shocked to know.

I don’t know about “shocked”, but I have never told anyone that I write, outside of family and a couple of close friends (and of course, my critique groups ;-)   However, I’ve considered myself to be a writer for as long as I can remember.  I guess it’s a bit of insecurity, and the fact that I don’t make a living from it.  I’m a full time mom and that’s my first priority.

Maybe more shocking, is the fact that I began taking myself more seriously as a writer after a dream I had following the death of my Grandma.  In the dream, I was a published author of children’s books and when I woke up, I actually felt chills – it was that real.  The next day I got online, became a member of SCBWI (which I had never heard of before), and joined my first critique group.  About five months later, my first story was accepted.  So I guess you could say that I’m “literally” following my dreams.

What is taking up most of your brain space, writing wise?

Wow!   That’s a tough one.  I spend a lot of time on revisions because I’m NEVER satisfied. I’m my own worst critic.  A story can always be improved and I can literally spend an hour reworking a small section of a story.  Even just one little word change can make such a big difference.  And when you write for children, we all know that every word counts.

Another big one for me is coming up w/a unique story idea.  Just about every topic has been done, but finding that little “something” that sets it apart is the key.  There are a lot of stories on loss, but when I wrote “Something Old, Something New,”  I was pretty confident that making my MC a figure skater, would add a unique twist because it not only was a story about inner confidence, which girls really need more of, but it centered around a sport, which is where a lot of us get our confidence.

How do you balance being a writer with being a stay-at-home mom, volunteering in the classroom, driving the kids to soccer practice, organizing your household?

HA!  Well, if you’ve been to my house, you will see right away that organization is NOT on my list of priorities.  I’d like it to be, but it’s just not always possible, nor am I good at it no matter how hard I try.

My kids are the most important and if there’s one thing I know, it’s that when they grow up, it won’t be the messy house they remember.  It will be the fun and the laughter and the fact that I was there for them.  If I’m remembered for nothing else other than being there for my kids, than that’s okay with me.   After all, I brought them into this world.  I owe them that much.

Although, a book contract would be a nice little perk ;-)

How do you find energy at the end of the day, to write and do critiques?

It’s hard some days!  I would love to be able to commit to a certain amt of hours each day for writing, but it’s just not possible.  At least not until my little girl starts Kindergarten.  So many people think that when you’re a stay at home mom, you have all this time on your hands.  But you don’t.  My twin boys are six now and just started the first grade.  I thought I’d have a lot more time, but my four year old almost needs me more than ever because her playmates are gone.  I even feel guilty writing this because it’s taking time away from her.  But that’s part of the choice I made in deciding not to put my kids in pre-school. I wanted those years for them to be at home with me because they will be in school long enough once they start.

My writing time is usually sporadic. I write whenever I get a few moments to myself, which isn’t often.  But those days will come soon enough, and then I’ll be looking back wishing for something long past… like we all do.

Not all writers use them, but I love writing exercises. What about you? Do you have a favorite one you’d like to share?

Unfortunately, the only writing exercises I have time for these days, is getting a new story idea down on paper, even if it’s very rough and only a few sentences.   Sometimes I’ll lie in bed and a catchy title will pop into my head.  I’ll write it down, or even save it as a new document.  Then I’ll see where the story takes me.  Another thing I often do, is work backwards.  I may know how I want my story to end, before I know where it will begin.  I think both of these techniques would make fun writing exercises for writers, even though this is actually how I work all the time.

Who is one of your favorite writers and why?

I have a lot of favorites.  To name just a few, I love Dr. Seuss because I love rhyme, but also because he was able to break the rules and still pull it off.   Bill Martin Jr., because my kids loved Brown Bear, Brown Bear. Beverly Cleary and Barbara Park, because their characters remind all of us of those special times.  And Jane Yolen, because her books are ones we read over and over in our house.

What is the very first book you ever attempted as writer? Possibly a childhood endeavor you’d like to share.

I wrote a lot of farm stories when I was a kid.  My mom grew up on one and I suppose that’s why.  I also wrote a lot of skating stories because my parents were in the profession.  I’m sure my mom still has them all, but I’m not sure I’d want to read them.  One of the first stories I can remember sending out to a publisher was about seven years ago.  I was pregnant with my twins and at the time, we had two dogs who were like our children.  It was a story written in rhyme about a dog speaking to the new baby in the family about how lucky they were.  I think I can still recite the entire thing.  But I won’t bore you with it here.

What is the hardest part of the writing process for you?

Coming up with a unique story idea!  This by far is the hardest for me.  My brain is cluttered enough as it is these days.  I get very little quiet time to think.

Another big one for me is the rejection.  It’s tough to have something you believe in turned down, especially when you’ve put your heart and soul into it for months.  We all want editors to fall in love with our words and our characters.  But what I’m learning more and more every day, is how subjective this business is and not to take it personal.  But it’s never easy to accept, no matter how long you’ve been doing it.

What words of advice would you give to aspiring writers, especially in terms of coping with the rejection that comes with the field we work in.  How do you move beyond that and keep writing?

Well for one thing, I think you need to love doing it – otherwise, it’s not worth it.  If you get into this business because you think it’s going to be an easy way to make money or acquire fame, you’re going to be very disappointed.  If you asked most famous writers, they would tell you how many hundreds of rejections it took for that one editor to say yes.  So while rejection is hard to take, it’s a given in this business.

If you write because you enjoy it, chances for success are much more likely.  You may be ninety years old when it happens, but hey… better late than never!

Did you play Marbles when you were a kid? Were you very good? Did you have a favorite Marble? Did you ever have your marbles taken away by a teacher who just didn’t understand the importance of having your marbles with you at all times?

HA!  Too funny.  Yes, I did play marbles, but I never took them to school and I think I liked the way they sounded when they clicked against each other, more than the actual game.  Oh, and I enjoyed stealing them from my brother too. And blue ones were always my favorite!

Do you have a picture book/s that is a particular favorite of yours and your children’s’? One that you could read over, and over and over again? Why?

I love the Velveteen Rabbit by Margery Williams.  I get choked up every time I read this book.  I love sentimental books that everyone can relate to on some level.  I’m reading the shorter version to my children these days, and they all love it.

How do you take a picture book from concept to final draft? Although each book will be different, is their a basic pattern that you follow?  I guess this kind of goes back to my answer in question number six.

When did you know that this was going to be your work. Being a writer, that is.

I knew I wanted to be a writer at a pretty young age.  That and a veterinarian, and since I changed my mind on the second one, I knew that I had to make the first one come true ;-)

How do you gather and manage the ideas you get for books? I am thinking, given your work in the classroom, that at the end of some days, you must come home filled with idea?

Actually, my kids give me most of my ideas as well as memories from my own childhood.  But when an idea pops into my head, I usually write it down as fast as I can before I forget it.  To tell you the truth, my ideas don’t usually come to me in the midst of a busy day.  They usually pop into my head when I’m driving the car, on my computer or laying in bed at the end of the day when everyone is asleep.  And it might possibly come from something I saw or heard in the classroom, but the idea won’t start developing until I’m alone.  I don’t think well with noise.  And in my house, that’s only between the hours of 8pm and 6:30am.

What question did I miss that you wanted to answer?

How about…  You haven’t had an acceptance in two years. How do you stay motivated to keep submitting your work?

If it happened once, it will happen again!

March 29th, 2009

Sue Bradford Edwards

Interview with Sue Bradford Edwards
Writing Nonfiction for Children
by Angela Cerrito

What are the keys to finding good sources when researching non-fiction?

Always start with a simple search at your local library.  Read the latest published information, both for adults and children.  You can’t use the children’s material for research, but it will give you a good idea what your competition has already covered.  Also do an article search at your library.  If you’re lucky, your library well have a system where you can do the search from home, on-line.  Don’t forget to do a search for primary sources.  I usually start at the National Geographic web site and do an article search through the magazine.  Most NGM articles are written by the scientists or historians who did the research so these articles are primary sources.   I also do a Google Scholar search.  Many of the articles I find aren’t available on-line, but I can request them through my library.  Whatever you do, keep digging!  Look through the bibliographies of everything you read.  Look for both older material that is the base of what is being studied today and also the new findings.  And don’t forget to have fun!

Do you have any recommendations for approaching subjects for interviews?

Do your homework first.  Read everything that you can find about them and by them.

When you call to ask for the interview, make it clear that you are writing for children.  Depending on what their field is, they may be somewhat reluctant to speak to the “press.”  But just be polite, straight forward and to the point.

Before you do the interview, send them a copy of the questions.  This will let them look up dates or anything else that isn’t fresh in their mind.

In the area of interviews, do you recommend audiotapes in addition to written notes? Are e-mail interviews and written correspondence good primary sources?

Interviews are excellent primary sources and e-mail makes it so easy to zip a question off to an expert and get a quick response whereas they might not find the time to return a phone message.  E-mail and written correspondence are the best because they provide an instant written record.  Always take notes when you do an interview by phone or in person, even if you are taping it!   Why?  Several times I have had tapes not work properly.  Once, I interviewed a soft spoken man and you could hear my questions but none of his responses.  Another time, the recorder taped at a slower than normal, inconsistent speed.  Transcribing those tapes was a nightmare!   And transcription is at best tedious.  If your interview is an hour, assume it will take you 3 to 6 hours, at least, to transcribe.  And this is only if you are very good.

Where are some places that writers can look to experts to review a completed manuscript?
I have had the best luck with academics — both those at universities and colleges and those working with museums and nature areas.  These are usually people who make teaching a priority and they are often willing and eager to help young readers by reviewing your work for accuracy.  This is especially important when you are simplifying a complicated concept or process.

Tell us about your favorite interview –something that really surprised you!

The most surprising interview I ever did was with a rep for the American Bashkir Curly breed association.  Yes, I’ve done research on a wide variety of topics.  I interviewed her about the horse as it is used today and the more recent background.  Chatting after the interview, I commented on the “fact” that these horses originally came from  Russia.  Wrong!   Recent findings showed that this wasn’t the case.  She even pointed out where my source was wrong on several other items.  What good luck for me!

Was there ever a subject you loved that you couldn’t find enough information about to make an article / story? If so, please share?

The jury is still out on this one.  I’m having a really tough time with my armadillo project.  With something that is considered a “nuisance animal,”  most of the research is on how to get them out of your yard, not how they live.  Other than that, there is an awful lot about the babies always being identical quads and not so much else.  I’ll let you know in a few weeks if I’ve created a problem for myself.

What are your favorite subjects to research?

This is a tough one for me because I love researching just about everything I’m interested in which is a wide and varied field.

History is a lot of fun partly because I’ve never found it to be as difficult as a lot of people think it is.  For the most part, I credit this to my academic background; one of my undergraduate professors was positively obsessive about knowing the biases of your sources and who had written them.  I thank her every time I do research!

I also love to research animals — the history of various horse breeds, how this, that and the other animal lives, migrates and raises their young.  For me, this is much trickier though than history because even the breed associations and various organizations sometimes have problems sorting out their “history” from their “folk lore.”  Several times I have discovered that respected, long-held sources are incorrect and in fact very poorly researched but the newer, contradictory findings are so fresh that they aren’t widely known.  This is why it is so important to talk to people and to make sure you look at the most recent material possible.  Sure, it may repeat what has been said for 100 years.  But it may also clue you in to something currently known by only a very small circle of people.

What are your current writing projects?

As always, I’m working on a number of things at once.  Of course, this doesn’t mean that I write on each one each day, but I’m noodling, planning, researching, writing and rewriting on several things at any given time.  I’m researching an article for CWIM 2009 on picture books, rewriting an original fairy tale, rewriting a modern adaptation of the Three Billy Goats Gruff, letting my entry for the Highlights contest rest and getting ready to re-research a nonfiction project on armadillos in which I have been having problems finding accurate source material on my very narrow topic.

How can a nonfiction writer break into the educational market?

It depends on which educational market you are talking about — the test market or the book market.

For the book market, you will need to approach the publishers with your credentials, sending them a vitae or resume and samples.  If they are interested in your background, able to match it with an existing series, you will be asked to outline a book for that series or you will be supplied with an outline and asked to write the book.  Two of my friends have gotten “gigs” this way and through the experiences I saw how important it is to include your work and educational background vs just your writing experience.   Background in anthropology or history can get your onto a social studies project.  Working as a nurse or other medical professional can land you a job working on a health related series.

Writing for the test markets is a little different in that it is so hush-hush and you never see the end product.  My first experience in this area was with Harcourt.  I saw their ad in the SCBWI bulletin and responded.  They liked my background and sent me materials, asking for a sample that fit their specs.  I wrote and submitted the sample and they bought it which is apparently fairly unusual.  My other work in this area has came about because a freelance editor saw my name on-line and that I had done test writing and contacted me.  I’ve worked for several companies through her and now some of them contact me on their own when they need pieces for projects she isn’t involved in.  Based on my own experience, I would advise writers to keep checking the market listings.  Also get your name and work out there in other places — editors read magazines and anthologies looking for people they might want to work with.

Anything else?

You have probably been told that if you find a fact in three places, then you can be sure it is true.  Not so!   You may find three people who all relied on the same incorrect source.

Read, read, and read some more until you know the material inside and out.  Repeatedly, I have found facts stated in multiple places but for whatever reason (they didn’t fit what I knew of the culture, they didn’t logically make sense or what ever) alarm bells went off.  Every time this has happened, I have discovered that although these “facts” have been repeated again and again, they are wrong.  When you know the topic well enough, you will develop these instincts.  Listen to them. Dig some more.

Even if you find something in print in a newish book, it can be wrong.  Deadlines sometimes take precedence over fact checking.

Don’t be afraid to approach an expert and tell them that you are concerned that some of the information you have been reading is inaccurate.  Explain that you write for children and want to provide your readers with the most up-to-date accurate information.  Ask them to review your manuscript.  Then be prepared for them to pick it apart and hand a dissected mess back to you!  Then remember what your mother taught you. Smile.  Say thank you.  Grumble only when you get back to your room and then research some more.

Don’t go with the facts as laid out by your expert without backing them up.  Different schools of thought don’t always agree.  Make sure you are dealing with new found, more accurate fact and not theory.

It takes a long time, but it is worth it when you can hand your editor a manuscript and say “so-and-so has already ripped this apart and here is what he had to say but I’ve already fixed it.”  This kind of dedication gets an editor’s attention.  After all, they know what kind of work it took.

Now I will carefully climb down off this blasted soap box and go back to my research.  Thanks for your time!

March 29th, 2009

Amy Timberlake

Listening to Amy Timberlake at one of the fabulous SCBWI-IL Prairie Writer’s Day conferences was very inspiring to me.  In addition to being a big fan of The Dirty Cowboy, I really enjoyed hearing Amy sharing some of her experiences and thoughts about her creative process.  In addition to writing two wonderful books she is candid, generous and encouraging and I highly recommend that you drop by and check out Amy’s website where you will see exactly what I mean.

Amy, thank you for taking the time to give us a little glimpse into your writing life.  Can you please describe your ideal writing environment and routine?

I get up in the morning early and am done with my writing by noon.  Then the rest of the day is free for writing business, doing my chores, etc.  As for environment:  I like a clean space with a desk and a comfy chair.  I like to work on desks with a return.

Are you a member of a critique group?  If so, how does your group work? How many people? Routine? Does your group have a name?

I am a member of critique group.  We have 5 people.   But it’s not run like a traditional critique group — we don’t take work home and mark it up.  We read to each other and then comment on what we’ve heard.  We usually have dinner together and each person is given 20 minutes of time.  (Yes, there is a timer.)  We meet once a month.  I like the structure because there’s no homework, and it encourages me to work because I know I have to read something new each time.


Do you have a personal commitment to write a certain amount or for a length of time per day/week?  If so, we would love you to share!

I try to write 4 hours a day, except Sunday.

Do you have a favorite motto or quote that motivates you?

Not really.  But reading a well-written book is always a motivation!

Amy’s Books:

March 29th, 2009

The Ghost With One Black Eye-Rewriting and Readers Theatre

The Ghost with One Black Eye, Rewrite and Readers Theatre
Deb Marshall
One of my all time favorite stories to tell is actually based on a joke I knew as a child. I remember telling it on the playgrounds in small town Saskatchewan where I grew up, a long, long, LONG time ago. These days I tell it with my storytelling partner, Cynthia. It is great fun to tell, and I’d love for you to read it here and then go out and find someone to tell it to! Check out the additional activities for teachers at the end of the story.
A Telling Tip:
To prevent our audience from getting carried away with crying like the baby, we do a couple of things. One, we start to cry very, very quietly. The audience will follow along and cry quietly, as well. We also do silent crying for the baby, all facial expressions no sound.

Once upon a time there a family of five. There was a mother, a father, a brother, a sister and a baby.

The baby was drinking from her cup when all of a sudden she started to cry. “WAAAA.”
“Baby what is the matter?” asked the sister.
“No apple juice.” The baby shook her cup to show it was empty.
The sister jumped up from the table and looked in the fridge. No apple juice! She checked in the cupboard. No apple juice.
The baby cried. “WAAAAA.”
“Check in the basement,” said the mother.
So, the sister walked down, down, down into the basement. She started to walk over to where the apple juice was when she heard a voice that said, “I am the ghost with the one black eye!”
“YIKES,” said the sister and she ran back upstairs. “There’s a ghost in the basement, I can’t get the apple juice!”
The baby cried. “WAAAAA.”
“Oh brother,” the brother said. ‘Ghosts? I don’t think so.”
So, the brother walked down, down, down into the basement. He started to walk over to where the apple juice was when he heard a voice that said, “I am the ghost with the one black eye!”
“YIKES,” said the brother  and he ran back upstairs. “There’s a ghost in the basement, I can’t get the apple juice!”
The baby cried. “WAAAAA.”
“Oh for goodness sakes. I’ll go,” the mother said.
So, the mother walked down, down, down into the basement. She started to walk over to where the apple juice was when she heard a voice that said, “I am the ghost with the one black eye!”
“YIKES,” said the mother and she ran back upstairs. “There’s a ghost in the basement, I can’t get the apple juice!”
The baby cried. “WAAAAA. WAAAAA. WAAAA”
“Enough,” hollered the father. “I’ll get the juice.”
So, the father walked down, down, down into the basement.  He started to walk over to where the apple juice was when he heard a voice that said, “I am the ghost with the one black eye!”
“YIKES,” said the father and she ran back upstairs. “There’s a ghost in the basement, I can’t get the apple juice!”
The baby cried. “WAAAAA.”
‘We’ll get some from the store later,” the father said.
“NO, said the baby. “I’ll get it myself.”
So, the baby crawled down, down, down into the basement. She started to crawl  over to where the apple juice was when she heard a voice that said, “I am the ghost with the one black eye!”
“You’ll be the ghost of TWO black eyes if you don’t be quiet,” the baby shouted.
“YIKES,” said the ghost, and he ran away!

Rewrite:

As a class, brainstorm character names, places in the house they could go to get the apple juice (or it could be something other than apple juice) They could even change the setting. Maybe the family is outside having a picnic. What’s the weather like? What time of year? Invite them to include descriptions of how afraid the family looks when they return from hearing the ghost. Brainstorm some great scary words that would show just that. What is the basement like? Cold and dark? Completely finished? Once the brainstorming is done, students can settle in to rewrite the story.

Creative Dramatics:

One student reads the story while classmates act out the story. The most challenging part is acting it out without making a sound, great fun to do, and great practice on control!

Readers Theatre:

Use the following script for a readers theatre performance. I’ve created a Narrator One and Two as a means of adding in more voices to the script. This can easily be changed by having one student reading both parts. We have also done what we like to call, Readers Theatre in Chorus. We have two or three students read one part together. Have fun!

NARRATOR ONE: Once upon a time there a family of five. There was a mother, a father, a brother, a sister and a baby.

NARRATOR TWO: The baby was drinking from her cup when all of a sudden she started to cry.
BABY: WAAAA
SISTER: What is the matter?
BABY: No apple juice.
NARRATOR ONE: The sister jumped up from the table and looked in the fridge. No apple juice! She checked in the cupboard. No apple juice.
BABY: WAAAA
MOTHER: Check the basement. I put some down there last week.
NARRATOR TWO: The sister walked down, down, down into the basement. She started to walk over to where the apple juice was when she heard a voice.
GHOST: I am the ghost with the one black eye!”
SISTER: Yikes!
NARRATOR ONE:  The sister ran back upstairs.
SISTER: There’s a ghost in the basement, I can’t get the apple juice!”
BABY:WAAAAA.
BROTHER: Oh brother. Ghosts? I don’t think so.
NARRATOR TWO: The brother walked down, down, down into the basement.
NARRATOR ONE: He started to walk over to where the apple juice was when he heard a voice.
GHOST: I am the ghost with the one black eye!
BROTHER: Yikes!
NARRATOR TWO:  The brother ran back upstairs.
BROTHER: There’s a ghost in the basement, I can’t get the apple juice!”
BABY: WAAAAA
MOTHER: This is just silly. I’ll go.
NARRATOR ONE:  The mother walked down, down, down into the basement.
NARRATOR TWO: She started to walk over to where the apple juice was when she heard a voice.
GHOST: I am the ghost with the one black eye!
MOTHER: Yikes!
NARRATOR ONE: The mother ran back upstairs. “There’s a ghost in the basement, I can’t get the apple juice!
BABY: WAAAAA WAAAAA WAAAA
FATHER: Enough! I’ll get the juice.
NARRATOR TWO:  The father walked down, down, down into the basement.
NARRATOR ONE:  He started to walk over to where the apple juice was when he heard a voice.
GHOST: I am the ghost with the one black eye!
FATHER: Yikes!
NARRATOR TWO: He ran back upstairs.
FATHER: There’s a ghost in the basement. I can’t get the apple juice!
BABY: WAAAAA
FATHER: We’ll get some from the store later.
BABY: NO! I’ll get it myself.
NARRATOR ONE: The baby crawled down, down, down into the basement.
NARRATOR TWO: She started to crawl over to where the apple juice was when she heard a voice.
GHOST: I am the ghost with the one black eye!
BABY: You’ll be the ghost of TWO black eyes if you don’t be quiet.
GHOST: Yikes!

NARRATOR ONE, NARRATOR TWO: The  ghost ran away! The End.

March 29th, 2009

Ababcus Fun

Abacus Fun
Carol Peterson
(Math)

Building a Chinese abacus is a fun way to work with wood AND practice math!  For each abacus you will need the following:
One 6” x 12” piece of wood (½” – ¾” thick)
20 nails 1” long or longer
50 beads of one color with large center holes.  We will use blue.
20 beads of a second color with large center holes  We will use yellow.
Wire that will fit through the bead holes
Sandpaper
Hammer
Wire snips or scissors
Felt pen
Ruler
Paint or stain – if desired
First, sand the edges of the wood smooth.  The wood can be painted or stained, if desired, but should then be left to dry before proceeding.
Using a ruler, draw three horizontal lines across the wood, 1” from the top edge; 3” from the top edge (marking the center of the wood); and 1” from the bottom edge.
Starting 1” from the left side edge, hammer a row of ten nails along the top line, spaced 1” apart, leaving about ½” between the wood and the head of the nail.
Hammer a second set of 10 nails on the bottom line, starting 1” from the left side, trying to line up the bottom and top rows of nails.  Hammer the nails into the wood about ½” so that there is plenty of space between the wood and the head of the nail.
With the felt pen, write the numbers 1 – 10 from right to left on the wood below the bottom row of nails, so that each nail has a number.  Then write a “1” below the center line and a “5” above the center line.
Cut 10 pieces of wire, each 8” long.  Wind the wire twice around bottom nail #1.  Slide 5 blue beads onto the wire.  Then slide 2 yellow beads onto the wire.  Stretch the wire and wind it onto the top nail of row #1 until the wire is tight.  Repeat with all ten wires so that all ten rows of nails contain a wire with 2 yellow beads on top and 5 blue beads on the bottom.  Push the wires towards the head of the nails so that the beads slide easily.
Now you are ready to use the abacus!

Parts of the Abacus

The Lines:  The center horizontal line on the wood is called the “beam”.  The part of the abacus below the beam is the “lower deck”.  The part of the abacus above the beam is the “upper deck”.

Bead Value:  Each bead has a number value.  Starting from the right, the row of beads at nail #1, is the ones column.  The next row of beads at nail #2 is the tens column.  The next row of beads, at nail #3 is the hundreds column.  Then is the thousands and so on.  This abacus can be used to count numbers all the way to 10,999,999,999.

Above and Below the Beam:  Each blue bead below the beam counts as one unit (one blue bead below the line in row #1 equals l; one blue bead below the line in row #2 equals 10; one blue bead below the line in row #3 equals 100, and so on).

Each yellow bead above the beam counts as 5 units.  (One yellow bead above the beam in row #1 equals 5; one yellow bead above the beam in row #2 equals 50, and so on).

Using the Abacus

Start by moving all of the blue beads towards the bottom nails and all of the yellow beads towards the top nails.  You count by moving beads towards the beam.  For example, to show the number 15,637:
•    Move two blue beads and one yellow bead towards the beam in the row #1 (to show the number 7).  Keep the rest of the beads in that row next to their nails.
•    Move three blue beads towards the beam in row #2 (to show the number 30).
•    Move one blue bead and one yellow bead towards the beam in row #3 to show the number 600).
•    Move one yellow bead towards the beam in row #4 (to show the number 5,000).
•    Move one blue bead towards the beam in row #5 (to show the number 10,000).
•    Unused beads in all columns are pushed towards the nails.
After you have practiced making numbers on the abacus, try playing games with a partner to see who can solve addition and subtraction problems only using the abacus.  To do this, enter the beginning number on the abacus and then add or subtract beads to equal the second number.

Approximate building time:  20-25 minutes (plus painting or staining)

March 29th, 2009

Iroquois Dice Game

**Curriculum Tie-in: History, Math**

Carol’s Classroom Activity:

Iroquois Dice Game

Hi teachers, homeschoolers and kids!  Here’s an activity from my book, Jump Back in Time.

The Iroquois (pronounced IH-ruh-koy) originally lived in the eastern woodlands region of North America . This game is similar to a dice game we might play, but the Iroquois would have played this using a decorated wooden bowl and six peach pits. One side of each pit was burnt black; the other side was left white. Allow one game for every 2-4 players.
You will need:

¨ A heavy paper plate for each game

¨ 6 dried pumpkin seeds for each game

¨ Black felt pens, pencils, and paper for scoring

With a black felt pen, color one side of each pumpkin seed. Place seeds on plate.  Decide who will play first (or go alphabetically by first name). The second person keeps score.
The first person grasps the plate with both hands, holds it about 4” above the table or floor and sets it down sharply so the seeds “jump.”
If 5 or 6 of the seeds show the same color, the player scores 1 point and plays again. He continues playing until there are less than 5 seeds the same color. The second player takes his turn. Play continues until one person reaches 30 points.

March 29th, 2009

October Is Divali

Carol’s Classroom Activity

October is Divali

The following activity comes from Carol’s book, Around the World Through Holidays (Teacher Ideas Press, 2006). It can be used to supplement curriculums of geography, social studies, math and art, generally for 4-6 grades.

BACKGROUND: Divali (pronounced dih-VAH-lee), is a Hindu religious holiday known as the “festival of lights.” It begins the East Indian New Year. Hindus believe Lakshmi, the goddess of prosperity, visits homes lit by lamps. The word Divali comes from the word, “deepavali” which means “row of lamps.” The festival represents the triumph of light over darkness and good over evil.

Our calendar is based on how long it takes earth to circle the sun. The Hindu calendar is based on the moon’s cycle. This holiday therefore does not always occur at the same time in our calendar. Generally though Divali is celebrated in October or November.

Where in the World Am I? (Geography)

Find India on a world map. Locate the major rivers, mountains, and cities in India; find the longitudinal and latitudinal boundaries of modern day India.

Make a Flag (Math, Art)

The flag of India has three colors. In the center is a wheel called the “Dharma Chakra.” The wheel represents progress. The 24 spokes on the wheel represent 24 hours in a day. To make a flag of India, you will need:

¨ Sheet of 9 inch by 12 inch orange construction paper

¨ Sheet of 9 inch by 12 inch green construction paper

¨ Sheet of 9 inch by 12 inch white construction paper

¨ Circle pattern approximately 3 inches in diameter OR compass

¨ Ruler

¨ Pencil

¨ Blue felt pen

¨ Scissors

¨ Glue

Using a ruler, pencil, and scissors, measure, mark, and cut the orange and green papers into three equal lengths of paper 3 inches by 12 inches each. NOTE: These may be cut ahead of time using a paper cutter or students may work in pairs, measuring, cutting, and sharing the paper as a math tie-in. One length of orange and one length of green paper are needed per flag.

Glue one strip of orange paper lengthwise to the top of the white paper, matching edges. Glue one strip of green paper lengthwise to the bottom of the white paper, matching edges.

Using the ruler and pencil, locate and mark the center of the white section of paper. Trace around a 3-inch diameter circle placed at that center mark or, use a compass and pencil to draw a 3-inch circle with the compass point at the center mark. Go over the circle with a blue felt pen. Then, using the ruler and felt pen, draw 24 spokes around the center of the circle. (You may wish to find a picture of the Indian flag as a classroom sample.)

Discuss the math involved in this activity – division of paper into thirds and diameter of the circle. Introduce the geometry of radius, area, and circumference and the number of degrees around the circle for each of the 24 spokes (360 divided by 24).

March 29th, 2009

Story Ribbons

Carol’s Classroom Activity

October is Divali

The following activity comes from Carol’s book, Around the World Through Holidays (Teacher Ideas Press, 2006). It can be used to supplement curriculums of geography, social studies, math and art, generally for 4-6 grades.

BACKGROUND: Divali (pronounced dih-VAH-lee), is a Hindu religious holiday known as the “festival of lights.” It begins the East Indian New Year. Hindus believe Lakshmi, the goddess of prosperity, visits homes lit by lamps. The word Divali comes from the word, “deepavali” which means “row of lamps.” The festival represents the triumph of light over darkness and good over evil.

Our calendar is based on how long it takes earth to circle the sun. The Hindu calendar is based on the moon’s cycle. This holiday therefore does not always occur at the same time in our calendar. Generally though Divali is celebrated in October or November.

Where in the World Am I? (Geography)

Find India on a world map. Locate the major rivers, mountains, and cities in India; find the longitudinal and latitudinal boundaries of modern day India.

Make a Flag (Math, Art)

The flag of India has three colors. In the center is a wheel called the “Dharma Chakra.” The wheel represents progress. The 24 spokes on the wheel represent 24 hours in a day. To make a flag of India, you will need:

¨ Sheet of 9 inch by 12 inch orange construction paper

¨ Sheet of 9 inch by 12 inch green construction paper

¨ Sheet of 9 inch by 12 inch white construction paper

¨ Circle pattern approximately 3 inches in diameter OR compass

¨ Ruler

¨ Pencil

¨ Blue felt pen

¨ Scissors

¨ Glue

Using a ruler, pencil, and scissors, measure, mark, and cut the orange and green papers into three equal lengths of paper 3 inches by 12 inches each. NOTE: These may be cut ahead of time using a paper cutter or students may work in pairs, measuring, cutting, and sharing the paper as a math tie-in. One length of orange and one length of green paper are needed per flag.

Glue one strip of orange paper lengthwise to the top of the white paper, matching edges. Glue one strip of green paper lengthwise to the bottom of the white paper, matching edges.

Using the ruler and pencil, locate and mark the center of the white section of paper. Trace around a 3-inch diameter circle placed at that center mark or, use a compass and pencil to draw a 3-inch circle with the compass point at the center mark. Go over the circle with a blue felt pen. Then, using the ruler and felt pen, draw 24 spokes around the center of the circle. (You may wish to find a picture of the Indian flag as a classroom sample.)

Discuss the math involved in this activity – division of paper into thirds and diameter of the circle. Introduce the geometry of radius, area, and circumference and the number of degrees around the circle for each of the 24 spokes (360 divided by 24).

March 29th, 2009

Where in the World

Where in the World?

Carol Peterson

(Geography, Science)

Latitude and Longitude

One way we locate places on the earth is by latitude and longitude – imaginary lines that divide the earth into sections.

Latitude

Imagine slicing a solid ball in half.  That would create two pieces with a flat surface on one end of each.  If Earth were that ball, the equator would be like the flat circle.  Latitude lines are imaginary lines that are parallel to the equator, as if the earth were sliced into circles, each circle getting smaller towards the poles.
We number latitude lines starting with zero at the equator according to the number of degrees north (N) or south (S) of the equator.  The number of degrees has to do with the angle of the location in relation to the equator.
Angles?  Earth is a ball shape.  How can it have angles?
Imagine we can see through the earth.  The circle going through the earth at the equator is one plane.  That means it has no height or depth so there is no angle FROM the equator TO the equator.  Put a different way, the angle FROM the equator TO the equator is zero.
The angle from the equator to the North Pole, however, makes a 90-degree angle.  Therefore the latitude at the North Pole is 90 degrees North.  Locations between zero and 90 represent angles relative to the equator.

Longitude

Longitude lines also help locate points on the earth.  Longitude lines go from pole to pole like strips of an orange peel – wider at the equator and narrower towards the poles.  Longitudes measure from one point on the earth around to another.
The equator goes completely around the earth to form a circle. In mathematics, every circle has 360 degrees that take you from the beginning of the circle, all the way back to the beginning.  The DISTANCE from one point on that circle to another, is that number of degrees around the circle.  For historical reasons, we measure longitude as the number of degrees east (E) or west (W) of the Royal Astronomical Observatory in Greenwich, England.

Where in the World Are We? (Math, Geography)

Find out the latitude and longitude of your town by looking it up or estimating it on a map.  Then switch the N/S latitude and E/W longitude.  For example, if your town is located at 40 N latitude and 125 W longitude, check to see what is at 40 S latitude and 125 W longitude.  What is at 40 N latitude and 125 E longitude?  Then try 40 S latitude and 125 E longitude.
Download Article
March 29th, 2009

Deborah Ruddell

Today At The Bluebird Café: An Interview with Poet Deborah Ruddell

By Kim Hutmacher

What is more wonderful than picking up a new poetry collection and instantly falling in love with the words, the imagery and all kinds of birds? Fun! Fun! That is exactly what happened when I read TODAY AT THE BLUEBIRD CAFÉ: A BRANCH FULL OF BIRDS. I wasn’t the only one who felt the poems deserved praise.

Deborah also picked up starred reviews from Kirkus and School Library Journal.
After reading this collection, I became curious about Deborah’s poem-making process. How did she create such a beautiful work? What bits of wisdom could she share with writers and teachers? I emailed Deborah, and as you’ll read below, she was more than generous with her knowledge of all things poetry.
1. What inspired TODAY AT THE BLUEBIRD CAFE?
I was writing poems on random topics – mostly about nature. I wasn’t thinking about a particular collection. Someone I knew mentioned that her aunt kept a robin in the bathroom, which inspired one of my first bird poems. Writing that poem turned me into an accidental bird-watcher, and I never looked back.
2. How long did it take for you to complete the collection?
I’m not even sure – several years. I’m a slow-poke poet.
3. Where do your ideas come from?
My ideas can come from almost anywhere, and I’m always so grateful when they show up. The best ideas usually come to me when I’m busy doing something else, like walking in the woods or reading. Something I see or overhear can generate an idea. It might be just a single word that sparks an idea — anything that strikes my fancy. I try not to analyze the process too deeply.
4. When did you fall in love with poetry?
I was a little girl. My dad loved poetry, and he would recite poems to us at the dinner table. Mostly, they were fun poems like The Owl and the Pussycat or Casey at the Bat. I loved hearing those poems, and I guess I came to associate poetry with those happy times at the dinner table.
5. What is your favorite form of poetry?
I like all kinds of poetry. I write in rhyme because I can’t seem to help myself, and my poems are often funny, but I love reading unrhymed, serious poetry too.
6. Who are your favorite poets?
So many … Robert Frost, Emily Dickinson, Billy Collins, Ogden Nash, Constance Levy, Joyce Sidman, Sharon Olds, Lilian Moore, Kristine O’Connell George, Karla Kuskin, Sonya Sones, Janet Wong, Lee Bennett Hopkins, and Douglas Florian … to name a few.
7. Are you one of those lucky people with a natural ear for rhythm and meter or did you have to work at it? Do you have any advice to share in this area?
I think I have a natural ear AND I have to work at it! As I mentioned above, my dad recited poetry to us, plus both of my parents read poems to us from a big anthology of children’s verses. Those things certainly gave me a head start, but I still have to work at rhythm. I read my work out loud constantly, as well as marking the stresses on my early drafts. Another trick is to ask someone else to read your work aloud. If they stumble, or the stresses fall in unnatural places, you’ll hear it right away. Also, I belong to a great critique group, which is invaluable.
8. Poetry can be a difficult subject to teach. Do you have any advice for teachers preparing to introduce poetry in their classrooms?
Some people may equate POETRY with something ponderous and dull – a thing to be dreaded or even avoided. But teachers all over the country are changing that attitude. They’re using poetry across the curriculum, incorporating it in ingenious ways and giving students the opportunity to discover poetry in a whole new light. There are so many themed collections that teachers can find poetry books on hundreds of topics. For a list of great ideas on using poetry in the classroom, I recommend that teachers visit two wonderful websites by two of our best children’s poets: Kristine O’Connell George and Joyce Sidman
9. How can your collection be used in the classroom?
TODAY AT THE BLUEBIRD CAFÉ includes fanciful poems about 22 different birds, — everything from cardinals to vultures and woodpeckers — so it’s a natural complement to any unit on birds. Even though the poems are fanciful, they are loosely based on fact, so students could compare what I have to say about a bird with what they’re learning from other sources. Do bluebirds really have a café to go to? Do they really eat “a sip of the lake and a bite of the sky”? How on earth can a poet get away with such exaggeration?
Because the poems rhyme, the book can be used to talk about rhyme. Students can be asked to identify the rhymes in a particular poem and to think of other words that rhyme with those.
When I do school visits, I have the students dramatize some of the poems using costumes and props. Mrs. Crow Gets Dressed and Bravo, Bobolink! are both fun to use that way. With a bit of scenery, Toucan Tour Guide could also be dramatized.
Hoopoe Voodoo is filed with wordplay based on the oo sound, so it’s fun for students to identify all those sounds. The Cardinal is all about red, and younger students enjoy counting the number of red things mentioned in the poem.
At one school where I spoke, the students made painted hummingbirds in honor of Hummingbird Search. They cut them out, decorated them with glitter, and hung them from the ceiling. Students have also made simple bird feeders and birdhouses.
The book is illustrated by the amazing South African artist, Joan Rankin. Her whimsical watercolors could inspire students to do their own bird paintings based on observation. Or they might copy one of the poems and illustrate it in their own way.
I hope that students could also be inspired by my poems to choose a favorite poem and memorize it – or, even better, to observe the birds in their neighborhoods and write their own poems!
I plan to prepare a teacher’s guide for the book soon, which I’ll post on my website.
10. Do you have any advice for budding poets?
Read poetry. Write poetry. Read what other poets have to say about their writing. Think like a poet. Keep an idea notebook. Read your own work aloud and have others read it to you. Revise ruthlessly. Join a critique group. Have fun!
11. I know you have another forthcoming title from Margaret K. McElderry Books? Can you tell us a bit about this book and when will it be available in bookstores?
A WHIFF OF PINE, A HINT OF SKUNK is a collection of poems set in the forest. The research for this book took an unfortunate turn when I broke my leg while hiking in the woods. I’m all better now and I can’t wait to see what Joan Rankin will do with the illustrations for this new book. It will be published in March of 2009.
March 29th, 2009

What’s the Fuss? Let’s Make Papyrus!

WHAT’S THE FUSS?  LET’S MAKE PAPYRUS!

Carol Peterson

(History, Science, Art)

Ancient Egyptians wove a type of river grass into mats, pounded them, and let them dry.  These mats, named “papyrus” after the river grass, were the first paper.  Papyrus doesn’t grow in our neighborhoods, but we can get an idea of how papyrus mats were made by using cornhusks.  To make a mat (6 – 8” square), you will need:
•    The husks from one ear of corn (10-12 leaves)
•    Scissors
•    Paper towels
•    Baker’s cooling rack
•    Cookie sheet
•    Sheet of colored paper
•    White glue
•    Colored markers (optional)
Strip the cornhusks from an ear of corn.  Using scissors, trim the bottom end of each cornhusk leaf so it lies flat.
Spread several cornhusks on a paper towel placed over the cooling rack.  Lay a second paper towel over the cornhusks, making sure the husks stay flat.  Arrange more cornhusks on the second paper towel.  Repeat layers until all cornhusks are lying flat between paper towels.
Cover the last paper towel with a cookie sheet to prevent the cornhusks from rolling while they dry.  Let cornhusks dry completely – a day or two.
When they are dry, glue one end of 5 or 6 cornhusks vertically (up and down) onto a sheet of colored paper.  Make sure there are no spaces between the cornhusks.  Press the glued ends down for several minutes until they stick to the paper.
Then weave cornhusks in and out (horizontally) through the glued rows to make a mat.  Make sure there are no spaces between your weave.  Then glue the ends of all cornhusks to the paper.
Egyptians often used soot for writing and crushed jewels to make brightly colored paint.  You can use colored marking pens to create an Egyptian drawing or story on your “papyrus.”  Or use hieroglyphic symbols and spell out you name.

March 29th, 2009

Boni Ashburn

Boni Ashburn is the author of Hush Little Dragon, illus. Kelly Murphy (Abrams Books for Young Readers, 2008) and the forthcoming Over at the Castle (Abrams Books for Young Readers, Spring 2008).

You can catch up with Boni on her website, and on her blog, Life on the Bookshelf. In the meantime, join us for an interview with her at The Write Marbles!

Boni, congratulations on your first book, Hush Little Dragon! Can you tell us what inspired you to use dragons for your retelling of Hush Little Baby?

Well, I was interested in doing a retelling of Hush Little Baby and knew I wanted to write a version that was funny and involved animals. I brainstormed some different animals, but couldn’t find the “funny” in them. Then I thought of dragons. I immediately wondered what a mama dragon would bring her baby to make him happy and laughed when “princess” popped into my head. A sweet, sparkly princess would be awfully tasty, right? When I laughed at the thought, I knew that was my funny story!

What was the journey for taking this book from idea to finding a publisher like?

Writing it was fun- I had a deliciously dark idea that I couldn’t wait to write. It didn’t even take that long- it just poured out. I revised it several times, then ran it past my husband, who thought I was crazy and just shook his head at me and my twisted sense of humor. I sent it to my critique groups, who were, shall we say, dubious I could successfully submit it anywhere. One writer said “You might want to do some revising- it actually sounds like the dragons are going to EAT the people! That can’t be what you mean…” Ah, but I did  :) and I knew someone out there would think it was as funny as I did. I submitted it to five publishers, four of whom sent me form rejections. Abrams, the fifth one, bought it.

I see on your site that you have been very busy with school visits and book signings! What has that been like for you?

I live in a really remote area and have kids at home, so traveling is kind of hard. I try to group things together to accomplish a lot at one time. School visits are turning into my favorite thing about being a published author. It is so much fun to share your own book with kids!  They really get the humor in it- especially second graders. I love reading it to them. I hope to continue to develop and grow that part of my career since I am enjoying it so much.

Over at the Castle is your next book, coming out Spring 2010. Are you able to tell us about it?

It’s a companion book to Hush, not really a sequel, and is going to be illustrated by the same fabulous illustrator, Kelly Murphy. I can’t wait to see what she does with it! I have another one lined up after that, but I’m not supposed to talk about it just yet- as soon as the illustrator is set, I’ll have a little bit of info on my website :)


Do you have authors who have been an inspiration to you? Favorite, must read picture books, that all of studying the craft should read?

I could write a book on this question alone!  The authors who have inspired me the most are Jon Scieszka, Margie Palatini, Lisa Wheeler and Mo Willems. To me, they are the geniuses of children’s writing.  I think any aspiring children’s writer should read and study every book these four have written. I would also add the work of Lane Smith, Kevin Henkes, Linda Ashman, Laura Vaccaro Seeger, Julia Donaldson, and Doreen Cronin. I have a page on my website titled “Read” and it has a pretty comprehensive list of what I consider to be the best picture books- the ones I’ve read so far anyway. I’m continually adding to it!

Are there other genres do you write in or hope to write in someday?

I’ve written a few beginning readers and I might try a chapter book some day. But my heart is in picture books and I think it always will be. To me, it is a perfect art form and one I fully understand and enjoy like no other. One thing I do know for sure- I’ll never write for adults.

Do you have a favorite time or place to write?

I need silence to write, which is unfortunate because I have four kids (one of whom plays electric guitar and drums) and a TV-documentary-loving husband. So I can only write when no one is at home!

Thanks for this, Boni. Wishing you much quiet writing time and looking forward to many new books to come!
March 29th, 2009

Gingerbread Boy and Friends

Gingerbread Boy and Friends
by Deb Marshall
I invite you to have some fun this season with the classic tale, The Gingerbread Boy.


Listen

The Gingerbread Boy from Calgary Public Library

Read

Take a trip to the library and ask the librarian to help your find even more titles!

Write

Use your favorite holiday baking or treats and turn them into stories like The Gingerbread Boy. For example:

The Little Shortbread Girl
Roll Away Fruit Cake
Sugar Cookie Cut and RUN
The Rice Crispie Square Showdown

Use family members as the characters who will chase the runaway treats. If you have them, don’t forget to include your pets, even if they are fish, in the chase. Or, if doing this with a classroom, use your classmates, teachers, and other school staff.

To make this extra special, make the favorite holiday treat that you write about (ie Sugar Cookies, Shortbread) wrap it up and give it, and a copy of your story as a gift! You could even include a drawing or coloring page for the person you are giving this to.

Have fun listening, reading, writing, and…eating.

March 29th, 2009

Suprises Tucked Inside

SURPRISES TUCKED INSIDE
(Art; World Culture)

By Carol Peterson

What’s to love about nesting dolls?  Each doll opens to reveal a surprise – another doll tucked inside.  Russian children brought these carved and painted wooden toys with them to America.  The toys were called “matryoshka” (matr-YOSH-ka) dolls, which comes from a word that means “mother.”  One doll is the mother of the smaller doll inside.


To make a set of matryoshka dolls, you will need:

•    Plastic Easter eggs that open at the center – at least 2 of different sizes so that one fits inside another
•    Glue, marker pens, yarn, buttons, glitter, other decorations
•    One plastic milk carton top for each egg

Decorate eggs as animals, people, or other creatures, using markers, yarn, buttons and other decorations.  Place smaller eggs inside larger ones.  Use a plastic milk carton top as a “stand” for each egg when they are not tucked inside.
March 29th, 2009

Pterodactyl Treats

PTERODACTYL TREATS
(Just for fun)
by Carol Peterson

Ever go dinosaur hunting?  Here’s how to dig up your own nest of dinosaur eggs.  To make Pterodactyl Treats you will need:


•    Jurassic mud:  chocolate pudding (prepared according to instructions on the package to serve 4)
•    Dinosaur dirt:  1 cup crushed chocolate cookies
•    Pterodactyl eggs:  small bag of jelly beans
•    Spoon
•    4 small bowls

Divide the pudding evenly into 4 bowls, forming a small dip in the center of the pudding in each bowl with a spoon.  Sprinkle the crumbs over the pudding.  Place 5 or 6 jelly beans in the center of each mud “nest.”  Chill in the refrigerator until ready to eat.  Serves 4.

Now – like a good paleontologist, “dig in!”
.
March 29th, 2009

Clever Cones/Classic Circles

Clever Cones/Classic Circles
(Geometry/Dimension)
By Carol Peterson

Dimension (di-MEN-shun) means a measure in one direction. Some shapes are 2-dimensional and some are 3-dimensional. A 2-dimensional shape has height and width—meaning it is tall and wide. A 3-dimensional shape has height and width, too. It also has depth. An example of a 2-dimensional shape is a circle drawn on a paper. The circle is tall and wide, but it is not deep because it does not extend up above or beneath the paper. But a sphere—a ball, for example—is 3-dimensional. It is tall and wide and also deep.

How do you draw a circle? One way is to trace around something that is round. For example you can place a soup can on a sheet of paper, hold it in place and draw around it, following the can edge with the pencil. When you remove the can, you are left with a drawing of a circle.
You can also use a compass; not a magnetic compass that tells direction, but a drawing instrument compass. It has 2 legs, one with a point and one with a clamp to hold a pencil.
You open the legs half as wide as you want your circle to be. Then you place the pointed end on the paper, hold it in place, and swing the pencil end around the pointed end in a circle, with the tip of the pencil touching the paper. When you remove the compass from the paper, you have drawn a circle.
You can also attach a pencil to one end of a string and a tack to the other end of the string. Insert the tack into the paper. Holding, the string tight and with the tip of the pencil touching the paper, swing the pencil around in a circle, with the tack as the middle point. When you remove the string, the pencil, and the tack, you have drawn a circle.
A circle is a flat figure. It is 2-dimensional. You can see the shape of the circle on the paper, but it doesn’t have any depth. It does not stand up above the paper. It can represent the 3-dimensional shape of a sphere.

A cone is also a 3-dimensional figure. To create a cone you could draw a circle and cut it in half. Then cut out the half-circle shape and join the 2 halves of the straight edges together so that the curved edge of the half circle makes the bottom of the cone. If you wanted to draw the shape of the 3-dimensional cone on paper, you would draw it as a triangle with one side of the triangle as a curve.