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Viewing Blog: TALES I TELL, Most Recent at Top
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Focus on writing for children and oral storytelling
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1. BLOG TOUR (15) POND MAGIC

Today I have a Guest Blogger: Angela Sunde. This is a first for me! What it means is that I don't have to dream up appropriate questions or do any of the hard work. Angela is just going to do all that and all I have to do is paste what she says on this blog and sit back and enjoy!In case you don't already know, Angela is the author of Pond Magic - one of Peguin's Aussie Chomps series. If you

5 Comments on BLOG TOUR (15) POND MAGIC, last added: 10/30/2010
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2. BLOG TOUR (14) ROSIE BLACK CHRONICLES

THEROSIE BLACK CHRONICLES: GENESIS by Lara MorganWalker Books Australia October 2010 The Book Trailer I Reflections on Rosie’s past and future Preamble: When I chose this topic ‘Reflections on Rosie’s past and future, Lara said: “An interesting topic you've put down. Just wondering when you say Rosie's past/future are you hoping for me to talk about the character herself or the creation of

3 Comments on BLOG TOUR (14) ROSIE BLACK CHRONICLES, last added: 10/21/2010
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3. SATURDAY FOCUS: REMARKABLE WOMEN(7) Pamela Ateka Muthiora

Sing Africa Sing Selected poems by Pamela Ateka Published 2004 by Community Focus Group,Nairobi, Kenya In 2005 I coordinated an International Storytelling Festival in Perth Western Australia: Storytelling on the Edge. Before I knew it the programme had taken on a life of its own. Storytellers from all states/territories of Australia, as well as from Canada, England, Ireland, Israel, Kenya,

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4. SATURDAY FOCUS: REMARKABLE WOMEN(6) Joice NanKivell Loch

Operation Pied PiperThe story of the rescue of 2,000 civilian refugees from Poland and 50 orphaned Jewish children Joice Loch’s account of events of her incredible rescue of Polish refugees and orphaned Jewish children in A Fringe of Blue are greatly understated. In fact, she makes no specific mention of Operation Pied Piper at all. I am left to wonder whether she didn’t recognise the enormity

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5. SATURDAY FOCUS: REMARKABLE WOMEN (5) Joice Nankivell Loch

Joice NanKivell Loch 1887-1982 The birth of Joice Mary NanKivell in 1887 at the height of a north Queensland cyclone to a seventeen year old mother with only the help of a Kanaka housemaid, could be seen as a portend of things to come. Her father, George Nankivell, managed a sugar plantation. Government withdrawal of Kanaka labour 1890 and the Depression of that period began the family’s

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6. SATURDAY FOCUS: REMARKABLE WOMEN (4) The Research Process

Clare on Mount Saleve, where Eglantyne … drafted her pioneering statement of children's human rights … Today I interview Clare Mulley, author of The Woman Who Saved the Children: a biography of Eglantyne Jebb, founder of Save the Children. Welcome Clare! In the previous three weeks we've already uncovered a great deal about Eglantyne's journey. Today, I am particularly interested in hearing

2 Comments on SATURDAY FOCUS: REMARKABLE WOMEN (4) The Research Process, last added: 9/13/2010
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7. SATURDAY FOCUS: REMARKABLE WOMEN (3) Book Review

The Woman Who Saved the Children: a biography of Eglantine Jebb, founder of Save the Children by Clare Mulley First published by Oneworld Publications, Oxford, England 2009. Released in Australia as a Paperback in 2010 A slab of marble in St Georges Cemetery two miles south of the city of Geneva in full view of Mount Salève, and on the end of a sparsely populated row, by a gravel path marks the

2 Comments on SATURDAY FOCUS: REMARKABLE WOMEN (3) Book Review, last added: 9/4/2010
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8. SATURDAY FOCUS: REMARKABLE WOMEN (2) Clare Mulley introduces Eglantyne Jebb

Mabel Kaplan Isn't serendipity wonderful? ...I visited my local library yesterday, and the first thing I noticed was the poster by the 'in' desk: UN Convention on the Rights of the Child in Child Friendly Language. I looked at the credits and found the poster to be a collaborative Childrens Week Project between the Community Development Office for Children and Youth, Meerilinga Young

1 Comments on SATURDAY FOCUS: REMARKABLE WOMEN (2) Clare Mulley introduces Eglantyne Jebb, last added: 8/28/2010
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9. SATURDAY FOCUS: REMARKABLE WOMEN (1) Introduction

When Clare Mulley and I were introduced over cyberspace by Catriona Hoy recently, little did I realise how that the meeting would take me on a new kind of blog journey - a journey into the worlds of three remarkable women whose lives and accomplishments are relatively unknown. Yet each of these lives touch on children caught up in the horror of civil conflict and war, poverty and disease. Who

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10. BLOG TOUR (13) Princess Clown Workshop Ideas


Princess Clown
written by Sheryl Gwyther
illustrated by Sian Naylor
Blake Education Pty Ltd Australia (2010)
Gigglers Blue Set 2


Princess Clown is a chapter book for 7-8 year olds. It's the story of Belle, a princess who wants more than anything to be a clown. But the trouble is, she's supposed to act like a real princess. When her mother, the queen, frowns at Belle for wearing a red nose, Belle observes, 'Nobody is ever any fun around this castle.'
And it's true, it seems poor Princess Belle can never do anything right. Then, Belle does the one thing that no one else could do. She makes Prince Alan laugh.

This delightful story lends itself to a variety of workshopping possibilities: (1) following a maze (In a full sized version you may like to include more guiding illustrations!); (2) various sequencing tasks; and (3) an opportunity to act out the story. I have chosen the first two to help children internalise the sequence of the story before venturing into acting it out.
...Princess Clown is perfectly suited to being acted out as a classroom play. For example, apart from the main characters, there could be an endless number of courtiers and maids with non-speaking parts who might imitate the stance or facial expressions of the other characters.


1. READ THE STORY


2. TRACE THE MAZE
[Note: If you would like a larger version of the maze, please email me]
  .   .   .   .   .   .   .Guide the princess through the maze to find Prince Alan




2 Comments on BLOG TOUR (13) Princess Clown Workshop Ideas, last added: 7/14/2010
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11. Reflections on Puggle

Puggle

By Catriona Hoy and Andrew Plant
ISBN 978 1 921504 01 3
HB 32 pp RRP $24.95
Working Title Press

Welcome Catriona! I am so delighted to be able invite into my cosy blog.  I found Puggle such an enchanting story written with great sensitivity in a beautifully illustrated book Reading about him has led me on an exciting journey. Others on this blog tour have explored many aspects Puggle's story, the illustrations, habitat and life cycle. I want to take you on a journey of the senses.
Thanks for having me over to your blog, Mabel and your lovely comments about the book.

Oh yes! Puggle, Puggle Puggle. What an evocative name. It conjures up so many similar sounding words - puzzle, puddle, cuddle, muddle.

Yes, Puggle is such a delightful name. That’s one of the reasons I began writing the story. Although picture books are on the face of it, quite simple texts, there is a lot of thought that goes into what word to use and the images it will evoke.

What hit me most, on first reading was that Puggle was born blind. I don’t know why that surprised me. After all, I knew kittens and other creatures, too are born blind. But suddenly I found myself focussing on the way animals (and humans) develop an awareness of their worlds.

One of the challenges I set myself was to write the book from the point of view of an echidna, without giving him human emotions but still making the reader engage with him.

Yes! I love the way you take the reader right int

2 Comments on Reflections on Puggle, last added: 4/23/2010
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12. ABOUT TOPPLING AND VERSE NOVELS

While some may have been indulging themselves with a nice Saturday morning sleep-in on 27 February this year, or contemplating what other aspects of the WA Writers Festival to enjoy, I was savouring a windswept breakfast at the Matilda Bay Tearooms with members of SCBWI (Society of Children’s Book Writers and Illustrators).


Among those present was Western Australian children’s author, Sally Murphy. I chatted to her about her latest book: ‘Toppling’, released by Walker Books that week. ‘Toppling’ is Sally’s second verse novel and since I had been lucky enough to receive a review copy, I took it with me for Sally to sign.

Everybody needs a hobby, and in‘Toppling’ the main character, John, is intodomino toppling.He admits to it being a kind of a strange endeavour.

Some kids collect model cars
or aeroplanes
or stamps
1 Comments on ABOUT TOPPLING AND VERSE NOVELS, last added: 4/9/2010
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13. BLOG TOUR (10) There Was an Old Sailor

There Was an Old Sailor
Written by Claire Saxby
Illustrated by Cassandra Allen
Published by Walker Books Australia 2010




Today I am talking to Claire Saxby, author, about her newly released picture book, There Was an Old Sailor. Our discussion focuses on Rhyme, Rhythm and Reason.

.  .   .   .   .   .   .   .   .   .   .   . With a wish and a swish
.   .   .   .   .   .   .   .   .   .   .   .   .he swallowed a fish’



Mabel: Hello Claire. Welcome to my blogspot.

Claire: Hello Mabel. Thanks for hosting me

Mabel: Do you find it fascinating that children begin with rhyme and rhythm; even before they can talk ... as though our ears and brains are hard-wired from birth to sound and repetition?
4 Comments on BLOG TOUR (10) There Was an Old Sailor, last added: 2/13/2010
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14. LET'S CELEBRATE!


1 Comments on LET'S CELEBRATE!, last added: 12/25/2009
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15. BLOG TOUR (9) SNOWY'S CHRISTMAS

What's left to speak of Christmas?
Has it all been said before?
Parties, presents, surprises, greeting cards, celebrations, family, friends, having fun!
Snowy’s Christmas
Written by Sally Murphy
Illustrated by David Murphy
Published by Random House (October, 2009)


But what about Snowy?
He stares at his reflection in the still water of the billabong and, like the Ugly Duckling, Snowy knows he doesn’t fit in - he doesn’t belong. He can’t hide like the others. He can’t jump like the others. He looks different from the others.
. . . Then he meets Ash - a roo as white as Snowy himself and realises he is not so strange after all. Soon he discovers there were many other roos as soft and white as himself! And that it is in being different he finds his own special place in his world.


I sent 'Snowy' off to a local primary school to meet the children in years 3 and 4.
After hearing the story read and exploring the pictures, the children mounted their comments and some of their own drawings on large pin-up sheets (I wish I could have reproduced them here!)
But let me share with you some of what they had to say about Snowy and his friends.

 The story reminded several children of the Six White Boomers:
"I like the story because it’s like two stories stuck together like a new story and The Six White Boomers.  Book + Book = 1." (Darcy); "It is like the Six White Boomers. It is cool." (Braden); "It was like the beginning of Six White Boomers." (Ricky)

The illustrations in the book made a strong impression:
"I like the pictures because they are cute." (Ella); "I like this book because it has animals at the back round wearing Christmas things." (Trish); 6 Comments on BLOG TOUR (9) SNOWY'S CHRISTMAS, last added: 12/13/2009
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16. CABBAGES AND FINGS - with apologies to Lewis Carroll


I've been writing stories and poems for as long as I can remember. I have a four-drawer chest full of them, there are more stacked in the shelves of a wardrobe once intended to store skivvies, pullovers and underwear; my writing desk hasn’t seen the light of day in three years.



Along the way I’ve had a few nibbles from publishers and magazine editors (but somehow though several have acknowledged the stories make enjoyable reading - and they wished me luck, it seems the particular story was not what the publisher was looking for at this time or it happened they just accepted something similar only yesterday). I have several stories printed in anthologies; an article or two in professional journals, a self-published a children’s picture book - and this last week my story in verse: Red Riding Hood Rap has actually made it into the summer 2009 edition of Alphabet Soup. But none of this reduces my ‘personal’ slush pile.


In a year or ten I’m going to fall off the perch - and all those words that flowed year after year from my heart and my head will end up in some trash pile …


UNLESS


...   ....   I act now!




So ...

between cleaning my teeth and preparing to  entertain a seniors' group with story, song and riddles a week or two ago I came upon a FREE web programme on the internet http://www.wix.com/

It provides the capacity to upload a story (or anything else for that matter) and allow the reader to turn the pages as in a real book. The programme not only includes clip-art and other quirky elements that can be added to the text, it allows users to upload their own illustrations, photos or tables from their computer. (I even managed to create treble clef  melody line for the song I wanted in one of my stories).


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17. BLOG TOUR (9) HAS BEGUN. SEE BELOW TO JOIN THE FUN!

SNOWY'S CHRISTMAS

Snowy's Christmas
Written by Sally Murphy
Illustrated by David Murphy
Published by Random House (October, 2009)


Yes! Sally Murphy’s latest book, children’s picture book, ‘Snowy’s Christmas’ rolled into cyber space on Sunday at http://aussiechristmas.wordpress.com/
to introduce Snowy and friends.


Starting 4 October and each Sunday following until 13 December, 2009 they will bounce from blog to blog to brighten the road to Christmas.

Here’s the schedule
Week One: 4 October
Deescribe Writing Blog http://www.deescribewriting.wordpress.com/


Week Two: 11 October
Write and Read With Dale http://livejournal.com/users/orangedale/


Week three: 18 October


Week Four: 25 October


Week Five: 1 November
Sally Murphy's Writing for children Blog


Week Six: 8 November


Week Seven: 15 November


Week Eight: 22 November
Robyn Opie's Writing Children's Books Blog


Week Nine: 29 November


Week Ten: 6 December
The Aussie Christmas Blog http://aussiechristmas.wordpress.com/


Week Eleven: 13 December
Tales I Tell http://belka37.blogspot.com/ [Right here]

*   *   *   *   *

1 Comments on BLOG TOUR (9) HAS BEGUN. SEE BELOW TO JOIN THE FUN!, last added: 10/8/2009
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18. BLOG Tour(8) Alphabet Soup

The spring 2009 issue of Alphabet Soup marks the first birthday of this
Australian magazine for children aged 6 to 12 who love reading and creative writing. The magazine is published four times a year. A free sample of the magazine (issue 1) can be downloaded from the website (www.alphabetsoup.net.au).

Today, I am delighted to introduce you to the magazine’s editor, Rebecca Newman
...Good morning Rebecca! I can feel how excited you are about this first birthday celebration of your magazine. Congratulations! It’s quite an achievement
.

Thank you, Mabel! My team and I are thrilled that the spring 2009 issue marking our first birthday is here. The year has certainly gone very quickly.

Rebecca! Our readers are waiting so I’ll get straight into our interview. I would like to focus on what the submission process might mean for both the magazine editor or production team and the contributors.
...For example, do you aim for a similar mix of content – stories, puzzles, book reviews, poetry, author interviews and children’s contributions – in each issue?
Yes, we include the same elements in each issue of the magazine: one traditional tale (folktale/fairytale/myth), one other story, a page of poems, book recommendations, a page of writing tips, a Q&A with an Australian author or illustrator, a crossword/word puzzle, and the ‘Write On’ section (stories, poems, reviews and artwork by children).

How do you determine what you’re looking for and select contributors?
Alphabet Soup is for children aged 6 to 12, and currently the majority of our readers are children aged 9 to 10. I do keep this in mind when I’m reading submissions. It’s very important that submissions keep within the word limits. If a manuscript is too long we can’t use it, even if it’s brilliant – we just don’t have the space!
...We choose stories with strong characters, an original story idea and good use of language. Due to the age range, we don’t use stories that have violence and swearing.
We have received queries from a few writers about serialising longer stories (printing half in one issue and the other half in the next), but we are not going down this path at the moment.

...Although the Curiosity Corner article suggests a theme for each issue, we don’t require stories and poems to adhere to the theme. (It’s a bonus if it does match the theme but we’re looking for good quality stories – and we’re not too worried about whether or not it fits in with a theme.)
...Poems can be free verse or rhyming – if the latter, rhyme should not sound forced.
...We can only use 2 adult-written stories and 1 to 2 poems in each issue – this means we can only accept 8 stories and 4 to 8 poems per year. It’s important to remember this if we don’t accept your submission. While we do need a supply of fresh material, we can’t accept as many manuscripts as we’d like to!

What guidelines do you offer potential contributors in terms of content, style, length and format? Should they have researched the publication? In the first instance do you prefer a query letter or a copy of the manuscript?
Writers can find the guidelines on the magazine’s website (www.alphabetsoup.net.au). It is strongly recommended that you read an issue of Alphabet Soup before you submit work! (You’ll find a free sample of the magazine – issue 1 – on the home page of the website.) Stories need to be under 500 words, and poems under 250 words. We accept submissions from emerging and established writers.
...We prefer submissions to be made via mail or email, with a copy of the manuscript attached. And it is important to remember that our audience is Australian children of primary school age!

Should contributors include with their manuscript, a cover letter, something about themselves and what makes them an expert in their area or what piqued their interest in the topic they have chosen to write about?
Contact details in a cover letter or email are essential. We also need to know if the piece has been published previously (and where) for copyright purposes, but we don’t need to know if you’ve had other work published. We will consider your submitted manuscript on its own merits.
...If you’re submitting a story that includes scientific or historical facts (even in a piece of fiction), we need to know that the information can be verified, so it would be useful to know if you are an expert in your area.
...We’ll generally contact you within two weeks of a submission.

Do you accept photographs or illustrations from contributors?
As the magazine has two illustrators, we don’t accept photographs or artwork submissions from adults. Children may submit artwork for the Write On section of the magazine.

To what extent do you rely on submissions by invitation and unsolicited manuscripts?
About 40% of the manuscripts we accept are unsolicited. So we do read all stories and poems coming in!


How important is the ‘Write On’ section for contributions from under 12s?
Children will tell you this is the best part of the magazine! We love reading through children’s submissions of stories, poems, reviews, letters, and artwork. (Write On is not a competition – there is a writing competition in another section of the magazine.) We try to include as many pieces as possible in Write On, without it feeling too cluttered. It’s a great opportunity for children to see their work in print alongside adult writing.
...Submissions need to include a permission form signed by a parent and the child. You’ll find the permission form (and the guidelines for submissions) on the website at www.alphabetsoup.net.au or email or ring us, and we’ll post one out to you!
...If you are on our email list, we usually email our subscribers a competition cover sheet, and a Write On permission form after each issue is posted. Children do not have to be subscribers to enter the competitions, or to submit work for Write On.

Well, that’s where we finish for today. Thank you, Rebecca for your insights into the thought and planning that goes into the publication of Alphabet Soup. I wish you all the best as you continue to develop and grow your publication. Enjoy the rest of your blog tour.
I’ve enjoyed the opportunity to share my passion. Thank you, Mabel, for having me here.

Blog tour dates:
1 September Dale Harcombe (Write and Read With Dale) http://www.livejournal.com/users/orangedale
2 September Sally Murphy (Sally Murphy's Writing for Children Blog) http://sallymurphy.blogspot.com
3 September Claire Saxby (Let's Have Words) http://www.letshavewords.blogspot.com/
4 September Mabel Kaplan (Tales I Tell) http://belka37.blogspot.com
5 September Dee White (Teachers Writing Helper) www.teacherswritinghelper.wordpress.com
6 September Robyn Opie (Writing Children's Books) http://www.robynopie.blogspot.com
7 September Sandy Fussell (Stories Are Light) www.sandyfussell.blogspot.com




3 Comments on BLOG Tour(8) Alphabet Soup, last added: 9/6/2009
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19. BLOG TOUR (7) SHEEP, GOAT AND THE CREAKING GATE


Sheep, Goat and the Creaking Gate

Written by Claire Saxby Illustrated by Judith Rossell
Published by Windy Hollow
Today I am talking with Claire Saxby about Picture Books and the role illustrations play. I’ve heard the role of the illustrator described in terms of creating a companion story inspired by the author’s text but reaching beyond what is actually written.
 


Author and SCBWI President Stephen Mooser, president of the Society of Children's Book Writers and Illustrators and an author of more than 60 books, defines a /picture book as: ‘One in which the pictures and the text play equal roles.’
Welcome Claire!
I'd like to begin by asking you about the integration of text and illustrations in a Picture Book and comment on the extent to which they require a particular style of writing.

Picture books are a category all of their own. The story has to work on its own, but then the illustrations have to add another story. The author has to leave enough 'room' for the illustrator to move. I seldom include any illustration notes unless it's to convey something that's not directly in the text but that is integral to the story. It's a tricky balance to include enough details but not to hog-tie the illustrator.

Could you briefly outline the distinctive roles played by illustrations in a Picture Book compared to a Picture Story Book or early reader?
I'm not quite sure what you mean by the distinction between Picture Book and Picture Story Book as I use the terms interchangeably. But if you mean PSB to be a longer story with fewer illustration, then the balance changes between text and illustration. As with early readers, the illustrations then tend to illuminate the text rather that carry their own story.
As an author, although not responsible for the illustrations, do you create a story board or find yourself visualising pictures to accompany the text as you write?
No. I seldom have any idea what my characters look like and only very vague ideas about the appearance of the setting. I look through my characters eyes out into their world, and my focus is on their behaviours and personality. I'm always surprised by how someone interprets my characters...it's one of the magic surprises when I see the first images.

I'm wondering whether you have ever found it difficult to let go of your ideas for the illustration and trust the illustrator and publisher to bring the final product together?
No, for the reasons mentioned above. The only time I've really had a discussion about how something has been illustrated was in 'Deepwater Blues' a chapter book. The main character overcomes a fear of really deep water (and what's in it) when his mate says he should take a look at an octopus he's found. The illustrator drew a 'giant of the deep' octopus, several times bigger than the boy! No swimmer in their right mind WOULDN'T be scared of something that big! I'd imagined a tiny little octopus, looking almost too small to be real. Not only did the illustration remain, the image was reproduced on the front cover!

On looking at some of your picture books, I note you have been matched up with various illustrators. What do you think you have you learned from having a number of different illustrators illustrate your picture books?
What talented people illustrators are! Of course I was already aware of that, but seeing them bring my story to life while bringing their own ideas to the project is awe-inspiring. It's also interesting having the same person work on two projects and seeing how different their work can be.

In creating the text for a picture book one writer suggested it was a matter of deciding what to leave in (plot) and what to leave out (description)! In ‘Sheep, Goat and the Creaking Goat’ can you offer an example or two of what the illustrations tell the reader that the text does not?
Picture book writing is definitely about what to leave out! When you have so few words to play with, there is no room for any word that's not pulling its weight. In my first picture book, 'Ebi's Boat' I met with illustrator Anne Spudvilas and we talked about what to leave out. 'Ebi's Boat' was already short, but when Anne showed me how she could illustrate a certain part without the words, I slashed more, until the final text has just under 300 words. In 'Sheep, Goat and the Creaking Gate', I had used more description than I usually do, perhaps as a way to explain each animal and their physical relationship to each other. I wanted their movements to be logical. But they didn't belong in the final version and many of them are now gone. Judith Rossell, the illustrator has positioned both Sheep and Goat beautifully.
During workshops and critique groups I have encountered a number of writers who express reluctance to submit a Picture Book manuscript to a publisher because they don’t want to ‘let go’ of their own ideas about the illustrations. What comments/reassurances can you offer?
More, perhaps, than any other writing form, picture books are a collaboration. The writer brings the story, the editor/publisher sees the potential and the place in the market, and the illustrator brings the story off the page. Each brings their own special magic to a project. Sometimes three brains aren't better than one, but in the case of a picture book, they certainly are! I couldn't possibly have the same understanding of all the different aspects of picture book production, and it's wonderful to have professionals on board who are experts in their own field.

There appears to be a popular misconception among beginning children’s writers that Picture Books are easier to write than other forms of children’s books. I am reminded of a quote from Mark Twain “I didn’t have time to write a short letter, so I wrote a long one instead.”
How could I argue with Mark Twain? My mother asked me why I didn't write poems in her birthday cards. I said it was because I'm usually writing the card on the day of her birthday and have no time to draft. To write poetry and picture books, there are so many elements that have to be contained in the few words. Plot, character, setting, all the things that belong in any story. But in picture books, there's no time to drop in little bits here and there that build up over chapters. Everything has to happen in less than 32 pages. That means drafting, redrafting and then redrafting again, until every word is working properly. No waffle, no ambiguity, nothing but distilled story. It's hard, but very rewarding.

And rewarding, Claire has been this visit. I look foward with great interest to joining the rest of your tour as I hope will other readers. So, from me, happy touring!


Thanks Mabel, some very thought-provoking questions!


The Tour Schedule:

Monday 17August: Dee White http://tips4youngwriters.wordpress.com/
Tuesday 18 August: Rebecca Newman http://www.soupblog.wordpress.com/
Wednesday 19 August: Mabel Kaplan: http://belka37.blogspot.com/
Thursday 20 August: Sandy Fussell: http://www.sandyfussell.blogspot.com/
Friday 21 August Dale: Harcombe http://orangedale.livejournal.com/
Saturday 22 August: Sally Murphy http://sallymurphy.blogspot.com/
Sunday 23 August: Robyn Opie http://robynopie.blogspot.com/
Monday 24 August: Sally Odgers: http://spinningpearls.blogspot.com/

3 Comments on BLOG TOUR (7) SHEEP, GOAT AND THE CREAKING GATE, last added: 8/22/2009
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20. ABOUT PICTURE BOOKS AND BLOG TOURS

Picture books are not just for children! They are one of my favourite kinds of books to browse and enjoy. Each time I come across a new picture book, I rediscover their joy - revisit concepts and topics approached in fresh and unexpected ways - reminding me of the song from Peter Pan:  "I won't grow up . . . not me!"
I'd lilke to believe it's the job of children's writers  to find the fairy dust magic in the seemingly mundane - to leave children entranced and to keep the rest of us sane.
A recent visit to a bookstore brought me face to face with  book after weary book of endless diets and weight watching.
Imagine my delight (and relief) when, upon reaching shelves in the children's section, I came upon  Dutch writer, Sylvia Van Ommen’s picture book, The Surprise. Yes! Another book on weight watching - but this time covered in kind of magic dust that fills me with inner joy.

A sheep finds a way to get rid of too much weight. The book shows the sheep on the scales, looking at herself in a mirror, recording her weight on a chart, visiting a pharmacy and getting rid of her excess weight in a shearing shed, spinning it into skeins and knitting a jumper for a giraffe! (But then, I am a farmer's daughter!)
And there's another reason why I am talking sheep today! Children's writer, Claire Saxby of Victoria begins her blog tour of Sheep, Goat and the Creaking Gate tomorrow, Monday 17August. She'll be talking with   Dee White at http://tips4youngwriters.wordpress.com/
On Wednesday she’ll be here on TALE I TELL  to share with me some of her thoughts on the role of illustrations in picture books and specifically in her soon to be released picture book: Sheep, Goat and the Creaking Gate. Can’t you hear them already? I can hardly wait to see the way magic dust will spread this time.

The Tour Schedule:
Monday 17August: Dee White http://tips4youngwriters.wordpress.com/
Tuesday 18 August: Rebecca Newman http://www.soupblog.wordpress.com/
Wednesday 19 August: Mabel Kaplan: http://belka37.blogspot.com/
Thursday 20 August: Sandy Fussell: http://www.sandyfussell.blogspot.com/
Friday 21 August Dale: Harcombe http://orangedale.livejournal.com/
Saturday 22 August: Sally Murphy http://sallymurphy.blogspot.com/
Sunday 23 August: Robyn Opie http://robynopie.blogspot.com/
Monday 24 August: Sally Odgers: http://spinningpearls.blogspot.com/


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21. BLOG TOUR (6) SAMURAI KIDS: MONKEY FIST

Samurai Kids: Monkey Fist
by Sandy Fussell
Illustrated by Rhian Nest James
Published by Walker Books Australia
ISBN: 9781921150913
Release date: 1 August 2009

Background:
Although Monkey Fist is a stand-alone story it is also Sandy Fussell's fourth book in the Series.

In Samurai Kids, Sensei Ki-Yaga, a Samurai Warrior from old Japan collects students that no other Samurai master is willing to train and sets up his Cockroach Ryu Training School. On their own, each student may struggle but together, they discover they are strong. Already they have proved themselves strong enough to win the annual Samurai Training Games and beat the Dragon Ryu who made fun of them. They have developed ninja skills to needed to enter the castle of the Emperor and avert war between the mountain ryus. They have travelled across China to learn aid the shaolin monks of the White Tiger Temple. In Monkey Fist, they race to the Forbidden City to rescue Kyoko from the evil Secretary of Rites, Lu Zeng.


In preparing questions about the cultural setting and background to Samurai Kids: Monkey Fist, I picked up two the earlier books in the series - White Crane and Owl Ninja hoping to taste something of the flavour of the series and learn about the characters. I found myself immersed in layer upon layer of Japanese culture, mysticism and folklore. The stories read like an enlarged Haiku offering so much more than the words themselves.

I am so delighted that Sandy Fussell can join me today of her blog tour.
Welcome Sandy!

1. As I read your Samurai books I am struck by the underlays of Japanese culture, folklore, mysticism waiting to be uncovered. How did this relationship come about?

I did a project on Japan when I was nine. I thought it was the most beautiful, magical place. And I still do. I’ve never been there and some of my friends say I wrote Samurai Kids in the hope of one day going on a research trip! Oh, I wish. From Japan the Kids travel to China, where Monkey Fist is set. I have been to China but only barely. I did a day trip from Hong Kong which saw the group venture just far enough inside the border to need a visa. China is on my wish list too. I would love to see the Forbidden City where much of the action of Monkey Fist takes place. Later titles will see the Samurai Kids journey into Korea, the Kingdom of Joseon. The culture and history of north-east Asia fascinates me.

2. I am most intrigued by the relationship between the names of the Cockroach Ryu members and their totems. Tell me about them.

To me, the children’s spirit guides were a natural extension of the fact that these were children with special abilities. They draw strength from ‘their spirit’. Niya’s spirit is the White Crane because like him, it stands one-legged, perfectly still and balanced. Like the White Crane, Niya has excellent eyesight and dreams of flying high. Blind Taji’s spirit is the Golden Bat and like the bat he can see life clearly despite the darkness he lives in.

What I didn’t anticipate was how children would love this feature. In truth, I was a little wary as this is the one aspect which does not have a firm footing in Japanese history or culture. It belongs to Sensei’s wisdom and the children’s sense of identity. Now kids often approach me brandishing imaginary swords, saying: “I’m Mikko and my spirit is the Striped Gecko.” 

3. Samurai versus Ninja. Discuss

The samurai and the ninja were traditional enemies so it was only natural that eventually the Kids would come in contact with ninja. Plus my youngest son insisted on it. After I read the original manuscript to him he asked: “Where are the ninja?” I was trying to think of a clever-parent answer when he said: “I know, they’re in Book 2”. So when Walker Books later asked me if I had any ideas for a sequel – ninja immediately came to mind. The other thing that fascinated me about the samurai-ninja relationship was the irony - while the proud noble samurai despised the sneaky, deceitful ninja, when he wanted someone assassinated in the middle of the night, he employed a ninja!

4. Describe something of the significance of Zen and Tao in the Samurai Kids generally but particularly with reference to Monkey Fist.

The samurai practised Zazen meditation; they believed it was as important to care for the mind and the body. There are many things about Zen which fascinate me. I love the simplicity of its wisdom – that nothing could be the ultimate answer. Zen is everything and Zen is nothing. This is intrinsic to the humour of Samurai Kids where as a Zen Master, Sensei is a Master of NOTHING and the kids spend a lot of time learning about NOTHING. Zen koans are heaps of fun. Like: What is the sound of one hand clapping? Kids are very Zen and have immediate answers. We adults are the one who think too much!


The Tao way was one of going with the flow and of being one with nature. It too was a popular thought in Japan and China in the mid seventeenth century. Sensei’s teachings are mainly based on Zen with a Tao influence. In Samurai Kids the focus is not on the religious ideology but the positive values of these beliefs and their historical context.


5. What part do the almost casual references to Japanese folkloric icons such as Tanuki, fox, shape shifters etc play in the overall telling of the story.

The samurai and people of seventeenth century Japan believed in creatures like the Tanuki. They believed the fox, or Kitsune, was a shapeshifter. They believed in monsters and ghosts. The people of isolated mountain areas were as superstitious as the members of the Imperial Court. What we now call folktales were accepted parts of the samurai kids cultural world. These elements add a historical perspective and an exotic flavour to the storytelling. What kid doesn’t love a good fairytale or ghost story?

6. Sensei is also known as Ki-Yaga. Why? Is a subtle connection to the Russian Baba Yaga intended here or is the name similarity co-incidental?

I don’t exactly know where the name came from. I made it up and it sounded right. In retrospect, not choosing authentic Japanese names is my greatest regret and a mistake I will never repeat. But my initial feedback was no reader would remember seven Japanese names. I have since found that only applies to adults!!! Kids could have easily remembered twenty!!!


Ki-Yaga’s name was originally Ki-Yoda but some felt it was too similar to Jedi Master Yoda (A wise teacher is a wise teacher in any galaxy and yes, I am a Star Wars fan!). Kids often ask me where Ki-Yaga gets his sayings from and I tell them about the one I found in a fortune cookie “Never use a hatchet to remove a fly from the face of a friend.” But when my eldest son read White Crane he said: “It’s you. Sensei talks just like you do.” Hmm….

7. I found the term ‘Monkey Fist’ used to describe a nautical type of knot. How does the term apply to the Samurai?

Monkey Fist has a triple meaning in the book. It is a nautical knot which Kyoko learns when the kids first travel to China by boat. With her six fingers on each hand Kyoko is adept at tying knots. In Imperial China, where a knot is a symbol of longevity, Kyoko’s skill is coveted by the evil Lu-Zeng who kidnaps her. Monkey Fist is also a shaolin fighting skill, one of the Monkey Moves where the fighter imitates the stance of a monkey and uses agility to advantage. When Lu-Zeng forces Kyoko to fight for him, she must rely on her Monkey fighting skills. Which is only natural, as her spirit guide is the rare Japanese macaque or Snow Monkey.

Thank you Sandy. I've enjoyed your visit immensely as I hope have our visitors to this site. To learn more about the Samurai Kids, I hope you will all check in at the other stops on Sandy's blog tour as listed below.

Tour Schedule:


Date___ Host __________Location

1 Aug __Dee White______http://tips4youngwriters.wordpress.com/

2 Aug __Dale Harcombe__http://www.livejournal.com/users/orangedale

3 Aug __Claire Saxby____http://www.letshavewords.blogspot.com/

4 Aug __Brenton Cullen__http://bjcullen.blogspot.com/

5 Aug __Mabel Kaplan___http://belka37.blogspot.com/ [That's right here]

6 Aug __Sally Murphy ___http://sallymurphy.blogspot.com/

7 Aug __Robyn Opie ____http://www.robynopie.blogspot.com/

8 Aug _Rebecca Newman_http://www.soupblog.wordpress.com/

9 Aug _Susan Stephenson_http://thebookchook.blogspot.com/

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22. ADVANCE NOTICE. SAMURAI KIDS BLOG TOUR

Welcome friends all!

I’ll be chatting with Sandy Fussell about the background and setting of her new book Samurai Kids: Monkey Fist on Wednesday, 5 August as part of her blog tour to celebrate the release of Monkey Fist, the fourth in her Samurai Kids series. [You will find detail of the blog tour schedule at the end of this blog.]

Thinking it prudent to find out something of the ‘who’, ‘where’, ‘what’ issues behind this series, I hurried to my local library and borrowed the first three in the Samurai Kids series - White Crane, Owl Ninja and Shaolin Tiger.

A delighful surprise awaited me! I found myself immersed in the world of Samurai in a refreshing and unexpected way. I sat for a while in the ‘School of Cockroaches ‘(Cockroach Ryu) under the wise tutelege of the Sensei Ki-Yaga.

‘Many years ago,’ he tells them, ‘in the early mists of the mountaim Ryujin, the dragon went walking. A dragon has scales of steel but his feet are soft. It trod on a thorn. The great creature roared in pain. Huge claws could not remove something so small.
‘Wind carried Ryujin’s cries deep into the Earth, but the other animals closed their ears. No-one wanted to help the cruel, boastful dragon. Only Gokiburi, the cockroach came to help. The cockroach was kind and wise “I will help you because no creature is so great it stands alone. Even a proud dragon must sometimes bend to a cockroach,” it said.
‘The dragon bowed and the cockroach removed the thorn.
‘So you see, Little Cockroaches, when the time comes, you will find power over the dragon. Bad breath and big feet are not to be feared.'



Sensei Ki-Yaga is preparing his most unlikely students for a great battle to come. There is one-legged Niya who tells the story; Kyoko, the albino girl; Mikko a one-armed boy; the blind boy, Taji. Yoshi who is doesn’t quite know who he is; and, Nezume, the last one. Not one of them alone can meet the challenges they will face, but as a unit, not only do they discover their strength and learn skills from various martial arts disciplines, they enjoy great adventure. These threads link the books of the series - and yet allow each to stand alone in an inspiring read.

Be sure to join the blog tour of Samurai Kids: Monkey Fist that begins on Saturday August 1, 2009 - and I’ll be back with more right here on Wednesday August 5.



Tour Schedule:

Date Host Location
1 Aug Dee White http://tips4youngwriters.wordpress.com/
2 Aug Dale Harcombe http://www.livejournal.com/users/orangedale
3 Aug Claire Saxby http://www.letshavewords.blogspot.com/
4 Aug Brenton Cullen http://bjcullen.blogspot.com/
5 Aug Mabel Kaplan http://belka37.blogspot.com/ [That's right here]
6 Aug Sally Murphy http://sallymurphy.blogspot.com/
7 Aug Robyn Opie http://www.robynopie.blogspot.com/
8 Aug Rebecca Newman http://www.soupblog.wordpress.com/
9 Aug Susan Stephenson http://thebookchook.blogspot.com/







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23. FINDING YOUR STORYTELLING VOICE


Let me begin with a brief explanation? While the focus of this article is on the art of oral storytelling it may well offer food for thought to writers as well. It is not based on the assumption that you’ve lost your voice and are in need of finding it via some miraculous cure (be it gargling with vegemite if you’re an Australian or eating more kiwi fruit if you’re a New Zealander!). Nor will it touch on the mechanics of clear speech or the correct use of your diaphragm. I’ll leave that to a therapist or Alexander Technique practitioner.

I want to focus on a unique aspect of YOU that emerges from deep within and grows along with you in tune with your life experiences, personality traits and innate and learned reactions to situations - your voice!

It is an expression of YOU that is uniquely yours - and I suggest applies to both your spoken and written word.

Despite the number of people there are in the world, your voices is rarely so similar that someone would confuse you for someone else. So what if your style is or isn't dramatic. Maybe it's soft-spoken. Or direct. Casual, or formal. It is uniquely you.

Not long ago I visited my mother in hospital. One of the nurses kindly assisted me by pushing my wheelchair into my mother’s room. As we went she was struck by my likeness to my sister and she began: ‘Oh, aren’t you exactly like your sister: same face, same eyes, same hair (Yes, we both had curly hair but last time I looked hers was dark and mine was red!) - and exactly the same voice!’

I nearly choked. After the nurse had left the room my mother wryly observed: ‘That was a bit over the top, wasn’t it?’

To which I replied: ‘Oh! Didn’t you realise the main reason I use a wheelchair is so that you are able to tell your daughters apart?’


* * * * *


Each of us has a distinctive voice not just the physical mechanism of voice production but the way our voice is integrated with who we are in the deepest sense of the word.


How does this impact on your storytelling voice?


Your experience. Your personality. Your emotions. Your vocabulary and turn of phrase are uniquely yours. These are the special elements you bring to story telling. No two people can tell the same story (anymore than you can tell a story the same way on separate occasions - unless you’ve allowed the story to become a recitation rather than a telling.). Each of us will come at the same topic from different backgrounds, experience and personalities. As you pour yourself, your soul, into a story it sparkles with the freshness and originality that is YOU.

A storyteller’s voice is something that is unique to a particular teller - a way of phrasing and relating thoughts and events that comes with time, practice and experience. The more you TELL the stronger it gets. You can't force it. You have to let it grow as you write. Sometimes you don't even know what it is yourself - until others say you've got it!

This is not to say you cannot learn from others. From earliest childhood we are captivated by the sounds of the human voice telling a story. Children are past master at trying out the voice patterns and rhythms around them and equally adept at discarding what doesn’t fit or adapting that which matches the ‘who’ they are. I’m not suggesting the process is a self conscious act but rather part of their being and becoming.

In the same way, as storytellers, at any given point in our development, we too are in process of being and becoming. Human beings have been telling stories since the dawn of language. Evidence points to narrative as the way the human brain is wired. We learn by making sense of the world through the stories we hear and those we tell ourselves. If we aspire to share stories beyond the dining room table or backyard barbecue, we need to grow our skills and develop a storytelling voice that commands attention in a roomful of strangers.

Let’s begin:
Find voice models from real life. Listen to the way people around you speak. Pick out specific characteristics that will work for your voice. Another good place to search for or further develop your story telling voice is to listen to others telling stories—whether they be storytellers per se or preachers, salesmen, auctioneers; whether they are heard live or recorded. I have learnt a lot from listening to stories I already know, retold on storytellernet at
http://www.storyteller.net/stories/audio

Listen to your favourite tellers. Each of us has tellers we admire for their unique distinctive voices. As you listen, let yourself hear each powerful and distinct voice in the silence of your mind. Model aloud specific phrases used by another teller and practice ways to make the content your own. Change an inflection, use a word that fits better your normal vocabulary, try different postures as you speak. Reflect on the ways you use your body and voice - when you are talking quietly, making a point (in conversation), when you’re angry, upset, excited etc. You already have a voice with nuances, tone, pitch, pace in your vocal repertoire. Don’t be afraid to experiment but always check that in the end the voice you use is still yours.

I remember being asked to perform at a Ghost Concert in a park one night. I worked up a story that included a segment from ‘The Piper’s Revenge’. During my practice sessions, as the woman enters the cowshed and sees the piper’s boots at the head of the big black cow, and believing the cow has eaten the piper, I produced her terrible scream!

Now, screaming is not normally part of my vocal repertoire. I’m much more likely to freeze - physically and verbally. Nonetheless, throughout rehearsals I continued with my scream! Fortunately, something about that scream must have niggled deep inside me, for minutes before I left home I had an uncomfortable feeling about that scream. As there was no-one from whom I could seek advice at this stage, I hastily switched on my player/recorder and did a quick sound check. Am I glad I did!. It sounded AWFUL - and I swapped that scream for a trembling moan. Phew! I had an immediate sense that the story was now mine.

Let story become part of your life. You'll find yourself spontaneously rehearsing ways to say things. Save the ways that you felt good about.

Embark on journey of self discovery, self expression, healing and joy.
To take this issue to a deeper level, we need to back up and consider why you desire a storytelling voice. Storytelling connects people - it builds community among those who have something in common - stories! Some will tell in public places; some will share a story in private; some will enjoy stories in the listening.

To develop a storytelling voice you have to care about something. Ask yourself: What is it about storytelling that I care about most? Don’t try be too specific in your answer .Your interests and identity can only be discovered as your voice starts to grow.

Caring about something is an important starting point. It's not just being against something, and it's not just wanting to have a community. It means having values that make the world make sense. Once you know what you care about, then you can hunt for a community. Maybe that community already exists, or maybe you have to build it. The point is that your voice is not just your own voice -- it is also the voice of a community.

Whatever you care about, no matter how personal it may feel, there will be others who care about it too - whether it’s saving the white rhino, connecting with street kids, working with refugees or establishing links with older people - our job is to imagine that community of practice out there, its members all thinking together, however quietly, about the topic that most concerns you. Your community needs a language, it needs an association, it needs a clubhouse, and it needs a voice. Your voice. That's how it works.

The stories you tell need to be true to your own experience and values while respecting the needs and expectations of your audience. I’ve heard story practitioners insist: ‘Tell the stories you love.’ I’m not convinced this is the first commandment. As a storyteller, I am often asked to tell a story that fits a specific audience or theme - or even asked to tell a particular story.
Unless the story or theme contradicts ‘who I am as a person’ or what I believe, the act of working on the story and making it my own creates such a dynamic between me and the story that I only discover my love for it in the process.

I remember being asked to tell a story from a blind person’s point of view. I thought about being blind. I tried to imagine what it might be like to be blind. I knew it wasn’t enough - it didn’t feel real. I went down to the park nearby my home and sat with my eyes closed for two hours. It proved quite difficult at times - but I was determined. I listened to the noises around me and tried to interpret them; I let leaves brush against my face and insects crawl up my legs. When a dog licked my face - the unexpectedness of it almost forced me back to my safe ‘seeing’ world.


But after that experience, retelling stories like Six Blind Men and the Elephant (a fable from India retold by Karen Blackstein, 1992) or The Blind Man and the Hunter (a folktale from West Africa) or the gospel story in Mark 10:46-52 of Blind Bartemaeus - is magic. I had found a voice with which I could be comfortable - real and spontaneous.. Not that those stories are now fixed—they continue to grow with me in each retelling.

Although a story needs a shape that begins with a setting and a problem that moves to a satisfying ending, a story is essentially about a character. To tell a story well I need to get to know the character(s) and somehow meld the character’s voice with my own

.
Consider the story of The Drover’s Wife by Henry Lawson. The story depicts a pioneer woman living on a farm in outback New South Wales who has just spent a night protecting her children from a snake that had slithered between the planks of her slab house. Times are tough, she has three children to care for. Her husband has gone droving to bring in some money to keep them going - but all she wants is to move into town. Starved for adult conversation, she pours out to a perfect stranger, all her fears, dreams and frustrations.

How do I retell that story? In my mind, I ‘sit’ with that woman and try to build connections between her situation and my experiences. Perhaps, I recall the snake that curled itself under the tap of the rainwater tank by the shed and prevented me getting a bucker of water for the garden. I think of a time I felt so isolated I shared something personal with a stranger. I remember how stressed I became the day one of my children became ill and the telephone was out of order. Then there was the period after Cyclone Tracy when I’d had enough! All I wanted was out of the situation I was in.


Now as I contemplate the story, the drover’s wife’s voice comes to me. And somehow it IS my voice!

Telling personal stories opens a need for a special voice for telling
What stories can I tell? Try listing the defining moments of your life. Any special lessons or experiences that profoundly affected you? For example: learning how to ride a bike, moving to a different city, taking on a new job, becoming a parent.

Can you find the extraordinary in the ordinary? You won’t inspire an audience if you live a negative life. Uncover the joys, triumphs or exciting moments and bring them to life for yourself and your audience! What is your philosophy? By what values do you live your life? What makes you laugh? Share your favourite sources of humour. What makes you angry? Share how you would change the world for the better if you could.


Finding the voice to tell personal stories can be a demanding task. Light-hearted episodes where the main purpose in the telling is to entertain an audience present few difficulties. But for personal stories which hold or, have in the past, held an emotional depth, it is wise to review the story carefully and ask yourself: Is this story ready to tell? Have I worked through the issues it raises? Can I identify the universal themes that are likely to resonate with my listeners? Does the story offer a fresh perspective or new angle on the issues raised? Will their be that sigh factor where, at the end, you almost feel listeners exhale a deep satisfying ah?


If a personal story stirs within you the pain/distress/anger it held when you first encountered the experience, it is probably not ready to tell. Story telling should not be an opportunity to engage in personal therapy. Respect your audience. Remember, that in a storytelling situation, our stories are a gift to those who listen (or read).

As a listener to (or reader of) a story, it is the story I want to hear - and I want to hear it in your storyteller’s voice . I want to learn from the story. I want to take the STORY, not the teller’s pain, home with me.


As you prepare a personal story find that which speaks to the healthy parts of your inner being without pushing the buttons of the other parts. Steer clear of those parts focused on … propaganda … wounds … acting out a trauma.


* * * * *


So, where will you find your stories? What do you have to say? How will you find your unique storytelling voice? Thomas Boomershine (1992, 19) in his book Story Journey tells us ‘the stories you remember and tell others become the best gifts you have to give. They become yours in a special way. People become the stories they love to tell.’

As to your storytelling voice, remember it is yours to grow. In My Voice will Go with You: the teaching tales of Milton Erickson edited by Sidney Rosen (1982, 187), Erickson tells how he sent one of his patients to sit on the lawn until he made a fantastic discovery. After about an hour his patient came dashing in and said, ‘Do you realise that every blade of grass is a different shade of green?’
Your task: Challenge yourself and discover your storytelling (or writing) voice!

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24. LETTERS TO LEONARDO-BLOG TOUR

Letters to Leonardo
by Dee White published by Walkers Books Australia
Release date: 1 July, 2009

On his fifteenth birthday, Matt Hudson receives a card from his dead mother – she isn't dead!
A powerful story told by Matt himself as he learns to deal with his mother's mental illness by writing letters to Leonardo da Vinci.

---------------------------------
This morning, as promised, I have Dee White with me to talk some more about her intriguing YA novel: Letters to Leonardo, published by Walker Books Australia and being released this coming week on July 1.

Today we focus on the research process. ... Enough from me.

Welcome Dee. It is a delight to have you here.


I'm so pleased to be catching up with you again Mabel. Last time we met it was to talk about your wonderful picture book Connie and the Pigeons.
As you know, I've been so excited about Letters to Leonardo coming out, and it's such fun flitting through cyber space and visiting people to talk about my book.


Dee, you indicated 'Letters to Leonardo' has been a long time (10 years) in the making. Can you remember/explain the germ idea/s that set this story in motion. Did it start with a general topic, a specific idea or with the character whose story you wanted to explore?

The idea came from a friend of mine who told me about a man she worked with who got a letter on his 21st birthday from his supposedly 'dead' mother. I thought what an amazing story that would be. So I guess it was the idea that started me off, and from that came my main character Matt. He sort of took off and started telling his story. As I wrote, his character developed and he started choosing his own direction - and luckily for me, he allowed me to follow him and write down everything he 'said'.

Once you had established that the story focussed on an isolated and troubled boy with an absent mother and a disinterested father - where did you go from there?

I had to develop a background story - and answer a lot of questions. Why had his mother been absent? What was his father apparently disinterested? I think also in the back of my mind this title had popped into my head, "Letters to Leonardo" and it seemed to fit this story - and Leonardo da Vinci seemed just the person for artistic and sensitive Matt to write o - plus I'd always been interested in Leonardo da Vinci myself.

What were the main areas of your research?

I had to do a lot of research on the life and works of Leonardo da Vinci, and like Matt, the more I discovered about Leonardo the more obsessesed I became with him - even to the point of having a little statuette of him sitting on my desk watching over me while I write.

Leonardo da Vinci seemed like the ideal mentor figure for my main character Matt. Like Matt, Leonardo was artistic and a seeker of truth.

I also did a lot of research on bipolar and on the mental health system.

Which areas were most research intensive?

The research for all three areas was very intensive.
Leonardo da Vinci seemed like the ideal mentor figure for my main character Matt.
Like Matt, Leonardo was artistic and a seeker of truth. Once I'd decided to use Leonardo da Vinci, I read several biographies and did lots of internet research to find out as many similarities as I could between him and Matt. I wanted Leonardo's inclusion to add depth to the story, but I also wanted it to be relevant.

Next I looked at how I could incorporate Leonardo's works into the story. That's when I studied each of his paintings to try and understand what was behind them, and how they could be related to what was happening to Matt.

Many of Leonardo's works had been lost so I had to focus on the ones that hadn't been. I found some amazing books on the internet including Discovering the Life of Leonardo da Vinci by Serge Bramly, I Leonardo by Ralph Steadman, Leonardo da Vinci The Complete Paintings by Pietro C Marani and Leonardo da Vinci and a Memory of His Childhood by Sigmund Freud.

I also did a lot of research on bipolar because I wanted to have a deeper understanding of how it felt to have bipolar and how it affected the way you lived.

Research into the mental health system was important too because I wanted to be as accurate as I could with how Matt's mother was treated within the system. I actually had to do the research twice because ways in which patients were treated and cared for changed so much over the decade it took me to write the book. In that time, mental health facilities were closed down, and patients were then treated in psychiatric facilities attached to hospitals.

Tell me about the research process. Where does research begin for you? In your head? Talking with friends? Reading books on allied themes? Library and/or internet search?

Research for me is so exciting - like going on an adventure. It's amazing what the most innocuous book or article can reveal.

I suppose the first thing for me is working out what I want to find out and then I interview people, read books, visit libraries, go on the internet - go wherever my research takes me. It's very easy for me to get side tracked I'm afraid.

How did you deal with conflicting reports or evidence?

I find that books are still the most reliable forms of research because information on the internet can be taken from someone else's internet post, and so the information can be innacurate all the way along the line.I try to verify my information from at least 3 reliable sources, but this isn't always possible.

Can you describe how you came to make the connection between Matt and Leonardo? What were the main elements?

The more I reseached Leonardo da Vinci, the more I discovered that he and Matt had a lot in common. They were both taken away from their mothers when they were young and essentialy grew up without them. They were both artistic, sensitive and seekers of truth. And they both had strong father figures who controlled their lives to a certain extent - particularly when they were younger.

At what point did you realise/decide this story would work better as a journal than a narrative - and why?

Right from the start, I wanted to write the story as letters. I felt this would bring readers closer to my character - really allow them to know him and understand what he was going through. Originally the story was all letters, but now it's a mixture of both letters and narrative and I think this works really well because it allows you to see Matt's day-to-day life and then see what's really going on in his head through the letters.

Research can be such an addictive process. How did you know when it was time to stop? Did you have difficulty sorting what to omit/what to include? If so, what was the hardest to let go?

That's a really good question Mabel. I think I mentioned earlier that it's really easy to get side-tracked by research, but I think that's okay because your brain stores the extra information up for later use. I suppose I stopped researching when the book was written.

I must admit that Sue Whiting, my editor at Walker was fantastic in helping me incorporate Leonardo's works seamlessly into the text. Otherwise, I think I would have included ALL Leonardo's works if I could have-and full colour photos too:-)

What did you learn about the research process?

I learned that research is always full of surprises and that you shouldn't be afraid of letting it take you in a different direction because this can add dimension to your story.

Well Dee, that is my last question. Thank you so much for being here and sharing more of your writing journey with me and my readers. I wish you all the best on the rest of your tour and particularly for your cyber launch on July 1.

Thanks for having me Mabel. It has been great catching up with you and Connie again. Must fly as I have a cyber plane to catch to my next destination, http://weloveya.wordpress.com/


* * * * *
To follow Dee's blog tour with her book: Letters to Leonardo visit the sites listed below

23/06/2009 Dee introduces her tour at http://www.deescribewriting.wordpress.com/
24/06/2009 Sally Murphy at http://sallymurphy.blogspot.com/
25/06/2009 Sally Odgers at http://spinningpearls.blogspot.com/
26/06/2009 Susan Stephenson at http://thebookchook.blogspot.com/
27/06/2009 Mabel Kaplan at http://belka37.blogspot.com/ [YOU ARE HERE]
28/06/2009 Vanessa Barneveld at http://weloveya.wordpress.com/
29/06/2009 Dale Harcombe at http://www.livejournal.com/users/orangedale
30/06/2009 Claire Saxby at http://www.letshavewords.blogspot.com/

01/07/2009 CYBER BOOK LAUNCHat http://deescribewritiing.wordpress.com/ with a cross to Robyn Opie at http://www.robynopie.blogspot.com/

02/07/2009 Adele Walsh at http://persnicketysnark.blogspot.com/
03/07/2009 Brenton Cullen at http://www.bjcullen.blogspot.com/
04/07/2009 Sandy Fussell at http://www.sandyfussell.blogspot.com/
05/07/2009 Dee White at http://www.teacherswritinghelper.wordpress.com/
06/07/2009 Dee White at http://www.tips4youngwriters.wordpress.com/
07/07/2009 Overseas stopover http://www.jenniferbrownya.com/

Home

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Letters to Leonardo is available from major bookshops and online from:
http://booktopia.com.au/
http://boomerangbooks.com.au
http://collinsbooks.com.au/
http://thebookabyss.com.au/
http://fishpond.com.au/

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25. Storyteller.net: Storytelling, Storytellers, Stories, Story, Storytelling Techniques, Hear a Story, Read Stories, Audio Stories, Find Tellers, How to Tell A Story - Articles About Storytelling

Storyteller.net: Storytelling, Storytellers, Stories, Story, Storytelling Techniques, Hear a Story, Read Stories, Audio Stories, Find Tellers, How to Tell A Story - Articles About Storytelling

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1 Comments on Storyteller.net: Storytelling, Storytellers, Stories, Story, Storytelling Techniques, Hear a Story, Read Stories, Audio Stories, Find Tellers, How to Tell A Story - Articles About Storytelling, last added: 6/22/2009
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