I first heard about Rebecca Gardyn Levington’s upcoming debut, BRAINSTORM, illustrated by Kate Kronreif about a year ago, and knew right away it was a book I would love. It’s both poetry and inspiration, a book that “sees” into the writing process, the perfect mix of creative spark and enthusiasm to help kids discover their own words of story and possibility.
At one time or another every class has at least a few kids who insist they “don’t know what to write about.” Rebecca taps into this moment in her story’s opening:
“Teacher says it’s time to write. UGH! I clench my pencil tight.
I peek outside –
it’s gloomy, gray.
Cloudy.
Like my brain today.
I think
and think…
but nothing’s there.
I slump.
I sulk.
I sigh.
I stare…
But then…
KER-PLINK!
I feel a drop…”
And isn’t that how exactly how much of our writing begins? With a measure of uncertainty, waiting for the first words and thoughts to drop, trusting that they will?
BRAINSTORM embraces the waiting/writing process just as it is, knowing that soon enough, words come, in drips and drops until we see “a flood of possibility.”
Dangling from a tree, rushing to put out a fire, or popping up in the middle of traffic with her best word: STOP. “Red was always up to something. And it was always fascinating.” Blue didn’t have that kind of power. Or that kind of fun. It seemed as if nobody even noticed Blue.
Ellen Tarlow’s newest book is a thoughtful and clever look at self-discovery, finding our rightful place in the world, and appreciating both our own strengths and the strengths of others. Along the way, we might be surprised to discover new things about ourselves we hadn’t even imagined possible!
I’m excited Ellen agreed to hop on ReaderKidZ this week to answer a few questions.
DW: Welcome back, Ellen! The last time you visited ReaderKidZ, we were celebrating the release of LOOKING for SMILE, illustrated by Lauren Stringer. It’s a gorgeous and gentle story about friendship, and the reality that – sometimes – there are days and times when things aren’t as upbeat and full of smiles as we’d like.
But, TODAY? We’re celebrating the publication of your newest, BECOMING BLUE, a picture book about becoming our true selves and *also* about discovering we are more than we think we are.
You have an amazing ability to tap into emotions children experience (but can’t always put into words) in very concrete, tangible ways. Emotions that are also deeper truths of adulthood. Which begs the question – how did you come up with the idea behind BECOMING BLUE? What inspired the story? What do you hope readers take away? Were there any challenges in writing this book?
ET: First of all, thank you so much for featuring Becoming Blue, Dianne! I can’t think of a better place to celebrate BECOMING BLUE’S publication day.
BECOMING BLUE began because my agent (Rubin Pfeffer) suggested I try a book about color. He knew that my husband, a painter and art professor, had written a book on color for artists and designers and thought it might be a good fit for me.
It had never occurred to me to write a color book before, but I immediately responded that Leo Lionni’s classic, LITTLE BLUE, LITTLE YELLOW, had long been one of my favorites.
So I went away thinking about colors. I tend to write emotional stories with characters for very young children. So I knew that my book would be more like that than a concept book celebrating colors.
For a couple of months, I fiddled with different color characters and storylines but nothing seemed quite right. Then one day I was reading (the wonderful book) ON EARTH WE ARE BRIEFLY GORGEOUS by Ocean Vuong, which tells the story of a young Vietnamese immigrant to the U.S. There is a sequence in which, at six years old, he starts to copy an American boy he admires. It ends with the American boy yelling (from the top of a slide) “Stop following me!” It is a horrifying moment of shame and one that I could connect to (though never called out like that, I did my share of copying those kids who seemed to “just know”). It also seemed like an important topic for kids today who have so many impossible idealizations coming at them from all angles and could really use the encouragement to just be themselves.
That story of the two boys on the slide, sparked the idea of having one of the colors (Blue) want to BE another color (Red). I also knew that I wanted to the story to center on a shaming scene in which Blue is told by Red to “Stop Copying Me!” Which would give Blue he change to go off to find himself.
At that point, the book pretty much wrote itself. Having the story be about colors allowed for a light touch on a rather intense topic and the depiction of some amazing visual transformations.
Writing wise, I knew I was on the right track when Blue’s tears (after being told by Red to “Go Be Blue!”) turn him into a river, which is how he discovers that he can be water and is the equal to Red. It was one of those flowy writing moments that happen all too rarely.
DW: As you were writing about a somewhat abstract concept (Blue and Red – the colors – are characters with human emotions and feelings), did you have any thoughts about how the book might be illustrated? Did you include illustration notes? Did you have any input in choosing the illustrator? Can you share a favorite spread?
ET: I LOVE the way the illustrations came out. Julien Chung went above and beyond (and yes, I did have input on selecting him as the illustraton). When I was writing it, I was certainly a little worried about how this story would actually work on the page.
Julien did an amazing job of navigating the challenges. In my head the characters were more fluid and lived in a naturalistic looking environment. Julien’s stylization and limited color palette makes it so much more focused. Also, his modernist, graphic sensibility really elevated the look of the book. And the emotion and charm he squeezed out of a blue square and red circle surprised and delighted me.
He also added many fun touches. One is a dog who appears in most of the episodes as a funny, happy-go-lucky counterpoint to Blue’s anxiety. (Kind of like Snoopy and Charlie Brown.)
I love so many spreads. But I will share this one. It shows Red turning into fire and Blue realizing he is a little scared to even try to copy that one.
When I wrote it, I was worried about how an illustrator could make a fire character sweet and suitable for four-year olds. But as you can see, Julien did it. You can also see how the dog adds so much charm. And I love the funny touches such as Blue’s tiny marshmallow stick that purposely will never come near the fire.
DW: I know you’ve got more books on the way. What have you been working on recently? What can readers look forward to next?
ET: BECOMING BLUE seems to have unlocked an affinity for inanimate objects as characters. At the moment, I have another color manuscript, a manuscript about a pair of common tools and one about shapes. (My agent might be regretting suggesting colors to me!)
In terms of books that are actually coming out, Beach Lane has three more picture books and one early reader series. The next picture book up (I think) is about a tree, mortality, reforestation, and some funny animals. (I have to work on my elevator speech for that!) It is being illustrated by Daniel Miyares which I am very excited about!
DW: Thanks, Ellen! I’m excited for readers, teachers, and parents to discover BECOMING BLUE and we’ll be sure to keep an eye out for your next books. 🙂
G.P. Putnam’s Sons Books for Young Readers | 978-1984813152
Dr. Kingsbury is a miracle worker. Or so it seems to thirteen-year-old Jack. Indebted to the doctor and unable to pay for the miraculous tonic responsible for curing his baby sister’s fever, Jack’s been traveling for the last year acting as the doctor’s assistant – along with another boy, sixteen-year-old Isaac.
But soon after the threesome arrive in the quiet town of Oakdale, things begin to go awry. After distributing handbills announcing the doctor’s arrival, Jack returns to the grove where they’ve set up camp to find Isaac and the doctor in the middle of an argument. Though it isn’t the first time the older boy and the doctor have argued, or the first the first time the doctor has hit Isaac, things have escalated since Isaac’s recent visit with a cousin in Greenville.
“Please go.” Isaac stared at Jack, his blue eyes pleading.
“Down to the river. I’ll come find you later, all right?”
Jack waits and waits, but when Isaac doesn’t come, he wonders. Did Isaac run away, as the doctor claims? Or is there more to the doctor and his stories than meets the eye?
When Jack befriends Cora, the mayor’s niece, the two become allies searching to discover who and what to believe and to discern the difference between a story, a lie, and the truth.
I loved MIRACULOUS and am thrilled that author Caroline Starr Rose agreed to answer a few questions for readers.
***
Dianne: Welcome to ReaderKidZ, Caroline! I remember back in 2012 sitting at my (teacher’s) desk in my 3rd grade classroom opening your debut novel, MAY B, during silent reading time. As I began, it wasn’t long before I was jumping to the back of the book to read – not the ending – but your acknowledgements and bio. I adored the book immediately and was curious to learn more about, you, the author!
Caroline: Dianne, I had no idea about this! (Or if you’ve told me before, I’ve completely forgotten.) Your experience reminds me so much of my own with CATHERINE, CALLED BIRDY. It was 1995, and I was student teaching. I discovered the book on my mentor teacher’s shelf and was blown away by how fresh and clever and exciting it was. I knew immediately that’s what I wanted to do: write historical fiction for mid-grade readers.
Dianne: Reading and writing are full of serendipitous surprises. 🙂 Which is why I’m so excited to have you on ReaderKidZ this month to talk about your writing process and your newest book!
And that brings me to my first question: You’ve published both picture books and novels. Though I’m sure there are some similarities in your approach, how does the process of writing a novel differ for you from that of writing a picture book? Do you tend to work on one or the other? Or do you dip back and forth into both at the same time ?
Caroline:I like to alternate between the two, actually. I feel like picture books stretch me one way and novels stretch me another. To me, writing pictures books is like solving a puzzle. I am more willing to take risks and experiment in this form. Those picture book risks have pushed me to be more willing to experiment with my novels, too. I’m more comfortable now trying (and tossing!) when necessary. Likewise, picture books are all about sound, as their main audience is the adult reading to the listening child. Writing picture books reminds me my novel words should also be pleasing to the ear, even if they’re never read aloud (which I hope isn’t the case. All books are meant for sharing with listeners!).
As different as the two forms are, I feel like each informs the other.
Dianne: You mention in your acknowledgement that the idea for MIRACULOUS was sparked by a lecture you stumbled upon while visiting a museum in St. Louis in 2013. Writing about a traveling doctor/charlatan required you to dive into the time and setting, the mindset of your characters, and so much more. As you begin your research, I assume that the more information you gather, the more questions you have. Can you talk about the experience of writing this book, in particular? Any twists and turns that you didn’t expect?
Caroline:Like always with the topics I’m drawn to, there was so much I didn’t know and so much to learn. It can feel overwhelming. But I try to take it moment by moment. I know I’ll live with the novel for several years, and I want to be sure its premise and world are going to continue to fascinate me.
I figure a story will rise to the surface the deeper I dig with my research. My questions will become more specific and will help me find the way. With this book in particular, I knew I wanted it to be told in a number of voices. I wanted to see the story through the eyes of the main character, Jack, who works for the mysterious Dr. Kingsbury, but I also knew I wanted to hear and see the reactions of people who lived in the new town the doctor visited. I felt very strongly I didn’t want to have the doctor’s perspective included (though I’ll confess late in the process I thought it might make things easier if he took a part of the story!).
There are always surprises with novels, I think. The first time I took the chapter called “A Wooden Rabbit” to my critique group, one member said the rabbit felt very significant. At that point, it didn’t really play much of a role, but I kept that idea of making it significant in the back of my mind. Jack encounters the rabbit again — I won’t say where — but when I first added the rabbit to that later scene: Wow. It gave me chills as I realized, alongside Jack, what that rabbit had to mean.
In a similar fashion, the character Silas, who we meet first as a boy and then as a man, was originally told only through his older voice. I distinctly remember my editor telling me, “Kids aren’t going to care about an old man’s beef!” (She makes me laugh, that Stacey Barney. And she’s brilliant, plain and simple. I call her my Story Whisperer.) “But I like his beef!” I told her. So Stacey challenged me to tell Silas’s story another way. His life was already meant to parallel Jack’s, so when I started with him as a boy coming to Oakdale and not fitting in alongside Jack’s very similar experience, well, it felt so powerfully right!
Dianne: Your next book, THE BURNING SEASON, is scheduled for Spring of 2024. It’s a verse novel about a fire tower in New Mexico. Can you share a little more about the book? How is writing a verse novel different from writing longer prose? What helps you decide which format will be the best fit for the subject matter and characters you’re writing?
Caroline: I can tell you THE BURNING SEASON was a JOY to write. Returning to verse felt like coming home, like writing in my native language (after writing two novels in prose). Honestly, the whole process came very naturally, and I was aware as I drafted how special the experience was — and how unlikely it was it would happen again.
I knew I wanted to write a girl in a tower story. I also knew I wasn’t yet finished with exploring solitude and nature, as I did with MAY B. I wasn’t sure if the story would have fairy tale elements or not. (It doesn’t, but there certainly is the idea of being set apart from the rest of the world that you find in stories like Rapunzel.) I figured my “tower” would be a lighthouse, but realized there were plenty of lighthouse books. Then I saw a picture of a fire tower in a magazine and was hooked. When I learned my beloved home state is one of the few with fire towers still in operation, I knew I’d finally found my New Mexico novel (something I’d wanted to write for ages).
I describe verse novels as photo albums, where each poem is a picture capturing a different image. When added together, they make a story. Prose, for me, is like rolling film. There is so much space to fill! It can feel a little intimidating. The “how” of the storytelling is quite different with each form, and having a metaphor for each helps me in my approach.
Very early on, long before I have a plot I can “feel” a story’s form. I go in already knowing if the book will be verse or prose.
Dianne: Any other projects in the works that readers can be looking for?
Caroline: Not with any bites! 🙂
Dianne: This is how the business works, isn’t it? Thankfully, readers don’t have to wait too long. Your next book, THE BURNING SEASON, will be out before we know it!
***
Learn more about Caroline and her books on her website.
This week, I’m sharing two recent favorite board books and a wonderful short book for emerging readers.
ODD BIRDS: Meet Nature’s Weirdest Flock by Laura Gehl, illustrated by Gareth Lucas (Abrams Appleseed | 978-1419742231), is a clever introduction to eight unusual birds from around the world. From the Hoatzin of the Amazon to the Blue-Footed Booby of Central and South America, this friendly, short introduction to “odd birds” can be paired with ODD BEASTS for young budding animal-lovers.
WHOSE NEST IS BEST? by Heidi E.Y. Stemple, illustrated by Gareth Lucas (Little Simon | 978-1665917087) is a clever text that begins with the question: “Whose nest is best?” Each page features an image of the nest, along with a description. Lift-the flap to reveal which bird lives there.
For the hummingbird:
Tiny parents hover nearby
their coin-sized nest
spun with spiderweb threads
Is this nest best?
The last double page spread shows the nests and eggs of all nine animals. Kids can life the flap to check to see if they remember who belongs with each nest. Fun and clever!
When I read a book like SEE the CAT, I wish I was still teaching and could share this book with emerging readers. The smaller trim size, the short chapters, and the engaging and humorous story is sure to please any child who’s just beginning to tackle books with a few more words, but with lots of repetition (good for building confidence) and a nice match between the pictures and the text. This fun early reader won the Geisel Award in 2021.
What are some of your favorite new board books and early readers for kids?
“There once was a boy who loved maps.” All kinds of maps. Small enough to fit in a pocket. Large enough to fill up walls. Maps of cities, countries, and continents. Everyone called the boy “the MAPMAKER.”
When a girl comes to see the Mapmaker, she is hoping for “a map of the perfect place.” The mapmaker puts his mind and pen to it and comes up a beautiful map of “the warmest place he could find, with its sunny, sandy beaches.”
It was “nice,” but not entirely what the girl wanted. “The Mapmaker was perplexed.” None of the maps on the walls of his treehouse were close.
“I think we need to go exploring,” said the girl. And off the new friends went. The girl led, the boy followed. They traveled here and there, and all around the neighborhood until finally, they arrived at the small house that was the girl’s home.
That’s when the mapmaker knew exactly what kind of map to draw.
I immediatly fell in love with this delightful picture book. The gentle story, the lyrical language, and the way in which the friendship between the two children builds as the kids explore their neighborhood, grow their friendship, and discover “the map of home” that “they both needed.”
THE BOY WHO LOVED MAPS , Kari Allen’s debut picture book, with charming illustrations by G. Brian Karas includes an author’s note, glossary, and backmatter on “How to Make a Map of Your Neighborhood.” Pair this book with an “old favorite,” ME ON THE MAP, by Joan Sweeney, with new illustrations by Qin Leng.
Although Luli passes the time in the classroom next door with other children her age, she can’t speak English and neither can they. “All around the room, children played alone.”
It’s easy to see how this story will resonate with many families who, like Luli’s, are in a new place, learning to speak a language that is not their own. This is about Luli’s particular experience in that classroom, but there are touch points for all of us. Haven’t we all been in situations where we felt alone or shy, quiet or out of our comfort zone?
But that’s not all this story has to offer. This is also a story about how, despite our differences, we can find and share those things we have in common. In Luli’s story, that commonality is tea. Though none of the kids speak the same language, the word, tea, and the experience of drinking it is something they are all very familiar with.
And so, Luli plans a tea party for all her classmates:
Hands curled around warm cups.
Mouths curved into shy smiles.
In those words, we feel the shift in the relationship of the children. Then, Luli has one more surprise for her friends:
She held up a box and spoke
her new favorite word.
In English.
“Cookie?”
The playroom is no longer quiet… The last line of text brings the story full circle: “Luli’s teapot was empty, but her heart was full.”
Not only is LULI AND THE LANGUAGE OF TEA a beautifully written picture book, but the illustrations, charmingly rendered in colored pencil, make this a book for every classroom, library, and home.
I love when a picture book makes me slow down and savor each and every word, each and every illustration and, in the case of SEE YOU SOMEDAY SOON, by Pat Zietlow Miller and Suzy Lee, each and every diecut. That’s right. This book is an experience, a joy to read, and a wonderful example of a picture book that is the marriage of a stunning, heart-felt text, with equally surprising and brilliant illustrations. And diecuts. All put together in a lovely lovely picture book.
Have I convinced you to rush out and get a copy? I hope so.
The story, told in first person, is about a grandchild who is missing a grandmother. But, really, this is a book for anyone who is missing someone. It has the wonderful quality of specificity, while also including those universal elements that we can all relate to:
“… I want to
see you now
of course.
Right this minute.
I want to
hop on a rocket…
…So I can
fly
through
the sky,
land in your yard, and knock on your door.
Would you
be surprised?”
Pure and simple. It’s poetry. In both words and art.
**
For those who are interested, you will find a fascinating peek into Pat’s revision process on this blog post on Picture Book Builders.
