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Viewing: Blog Posts Tagged with: behavior, Most Recent at Top [Help]
Results 1 - 25 of 48
1. Body Language: Lying

The practice of identifying liars has become an art as well as a science. There are multitudes of books, reams of research, and several television shows based on it. Dr. Paul Eckman's work is well worth reading. The show Lie to Me is well worth watching to learn more.


Whether someone is lying or honest is broadly characterized by how expansive or contractive his body language is. There may be master criminals, soulless sociopaths, trained spies, or sage sleuths who can outsmart everyone. For the rest, the normal rules governing behavior apply.

Someone who is telling the truth goes on the offensive. He is forward moving, expansive, broad gesturing, and offers distinct answers with I and me. He meets your gaze full on. His body gravitates toward yours in an attempt to be seen and understood and to connect. He gives the right amount of detail. He discusses the situation until you believe him. His story is explicit and consistent.

He may be angry at being falsely accused, or having his honor questioned, but he does not feel guilty. He mirrors your posture. He talks expansively with his hands, starting the gesture before the words. He is relaxed and his smile engages other facial muscles. He points to himself and places his open hand on his chest. He is not afraid of close scrutiny.

The exception is when an honest person grows anxious when he isn’t believed, especially in a situation where he feels unsafe. The situation may trigger anxiety responses just as in someone who isn't honest. He may flush with fury. A character that has an itch somewhere it's inappropriate to scratch isn't necessarily being deceptive. His underwear may not be where it belongs, or he may have a health problem that makes him itch everywhere. There are illnesses that trigger lip biting. Those gestures alone are not proof that someone is lying.

Someone who is lying goes on the defensive. He retracts and caves inward. He forces the gesture after the words. He rambles and mumbles and doesn't give direct answers. His smile never reaches his eyes. He gives shorter answers and changes the topic. He rarely uses I and me. His information is inconsistent. He averts his gaze. He may withhold details or gush with too much detail. It's more in the quality of what he says and what he didn’t say. He answers a question with a question. He wants to escape the interrogation as soon as possible. His voice pitch rises because he is anxious. He blinks, licks his lips, and maintains poor eye contact. He gestures with palms up in a plea.

He may rub or scratch his nose, neck, or jaw. The stress makes him itch, sweat, and flush. He may stammer and mess up his words. He may hold his head still. His limbs feel wooden. He may lean forward, resting his elbows on a table or his knees, anything to make his body smaller. He places a barrier between you. He may slide an object between you or step behind a chair.

Liars often say honestly, believe me, or I'm telling the truth. He may be smiling, but inside he is sweating. His brain races to come up with the details it lacks in answer to your questions. It is said that a liar doesn't memorize the story backwards, so asking him to repeat the information regressively trips him up.

For example, Dick asks Jane where she has been all day. She replies that she went to the hairdressers, the department store, Starbucks for a coffee, to the mall, and finally the grocery store. This answer displays the too much information rule. Most women would say, "I had my hair done and went shopping."

If Dick asks questions like, “So, when did you go to Starbucks?" Jane has to think hard about what she just made up. Did she say she stopped at Starbucks before or after department store? If your teen gives you a list, ask him to repeat it backwards. I bet he can't.

Jane might give Dick a long list if he makes the mistake of saying, "So, what have you done all day?" Those are fighting words and Jane may respond with a laundry list of the household chores, child-centered activities, and errands she accomplished in the space of eight hours punctuated by slamming drawers or cabinet doors, and a tone that drips acid. She isn't lying.

I hope you've enjoyed our lessons on body language. Now, go revise! If you want more hints on how check out Story Building Blocks III: The Revision Layers.

http://www.amazon.com/Story-Building-Blocks-III-Revision/dp/1475011369

http://www.amazon.com/Story-Building-Blocks-III-Revision-ebook/dp/B007SPPL68

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2. Body Language: Eye Contact

The eyes are the windows to the soul. They are one of the most expressive features of the face.

Humans are not the only animal that finds eye contact important.  Staring at a cat conveys aggression. A slow blink conveys love. All the posturing male animals perform is a waste of time unless they have an audience watching their moves.

Especially on first meeting, good eye contact conveys that you are confident, trustworthy, and in control. It can express admiration if accompanied with a smile. Good eye contact is a general indicator of self-esteem. Though, lowering one's eyes can be a sign of respect in some parts of the world.

Eye contact during conversation conveys interest and connection. Engaging in eye contact shows that you are truly interested. Breaking eye contact can signal it is someone else's turn to talk.

A gaze can tantalize, mesmerize, and hypnotize.

Refusing eye contact can mean yourr character is angry, sad, guilty, or embarrassed. Keeping one's head down or averting a gaze can be a signal of insecurity, deceit, or low self-esteem. Widened eyes or narrowed eys convey shock, disbelief, and anger. People blink more when they are uncomfortable.

A person covers his eyes when he does not want to see something or is afraid that someone will see an emotion he does not want to reveal.

Eye blinks, winks, fluttered lashes, etc.can be a flirting game. He looks at her. She looks at him. They both look away. He chances a longer look. Does she look back and hold contact? Should he approach? The answer often lies in this exchange of glances.

Fast blinking can indicate agitation. Slow blinks can indicate shock or exhaustion.

The first part of the body a character looks at can reveal a lot about them. Do a male character's eyes always focus on a woman's chest? Does a female character always look at a man's ring finger?

Staring is generally considered rude or stalker creepy, but could signal surprise, startle,  disbelief, trying to remember where you saw someone, or noting something out of place.

If someone's gaze flits around the room, they are either looking for someone specific, or could be a spy, or cop on the job. Sherlock Holmes is the master of noticing small details others miss. A trained observer can tell a lot about another person with a single glance.

Gazes can convey entire conversations and serve as signals.

Public speakers and performers are taught to look out into the audience, picking specific people or cues, moving from one side of the room to another to make everyone feel included.

Eye contact can become a battle of aggression. He who looks away first, loses.

Normal eye contact for one culture could be considered rude to another. In Muslim countries, eye contact with women is discouraged. Intense eye contact between people of the same sex can mean the person is sincere and telling the truth.

In the hierarchy of Asian cultures, subordinates should not make eye contact with superiors. Lowered eyes can be a sign of respect.

In some African cultures, prolonged eye contact is considered aggressive.

Utilize gestures appropriately, particularly when writing about specific geographic locations. Do your research. If you are making up a completely new word, decide what the normal parameters are and keep it consistent.

The eye roll, while it is physically impossible, is a term that is generally accepted in American culture. Technically the orbit rotates within the eye socket. However, that is akward. Most people don't care if it is technically correct. They know what it means. Just don't use eye rolls in every chapter.

Eyes close, fill with tears, open wide, blink, wink, and scrunch. Eyes cannot travel, roll, graze, skewer, etc. It is one's gaze that moves. Make sure you do a search and kill for the word eye and replace it with gaze when appropriate. Make sure the eye movement is essential to the scene and is not overused.

Next time, we discuss lying.

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3. Body Language: Facial Expressions


There are myriad muscles that control the brow, chin, eyes, jaw, nose, and mouth. Some people can wiggle their ears. Different cultures utilize different expressions. Looking away may be deceptive in America, but indicative of respect in Japan. The important part when revising for body language is to note when and how you relate facial expressions and to avoid repetition and purple prose. One should not wriggle one's eyebrows while leering.


A character cannot control fleeting micro-expressions, the initial emotional response, but he quickly recovers from them. Facial expressions reflect our feelings about what is done and said, sometimes more eloquently or more obviously than we intend. Someone told me that there were only two true emotions: fear and love (or pleasure and pain). All other expressions stem from those two. The micro-expression field of study acknowledges seven. Love isn't one of them.

Unless the character is a professional interrogator, he is not going to hook Dick up to a lie detector, register his body heat and pulse, or measure the dilation of his pupils. There are, however, emotional triggers and signs that humans register in the space of a second. Most of your characters aren’t trained to recognize them. There are several personality types that pick up on nonverbal cues exceptionally well. If you want your detective to be a natural lie detector, pick one of them.

If you pay attention to what is happening in the body when a heightened emotion is experienced, you can make your characters believable. Highlight the places in your manuscript where you discuss emotions. Take a careful look at the choreography and word choices.

Anger: The jaw clenches. The lips thin and lift in a snarl. The nostrils flare. The eyebrows draw together. Aggression is a response to fear or a response to boundary violations. When Dick is angry, he may puff himself up to appear larger and stare his opponent into submission. His brow furrows. His blood pressure rises. The stress triggers a neurochemical cocktail in response to the fight or flight instinct. He flushes and clenches his fists. His sweat glands kick in. His muscles are primed to strike. He may shake his fist or point his finger. He may drift forward slightly, or step forward deliberately, depending on how much of a threat the opponent represents. His tone either lowers in warning or rises, depending on the circumstances. His anger may continue to simmer after the altercation. He usually vents to other people or indulges in a physical action to release it.

Anger can be expressed passively. After the initial response of jaw, nose, and lips, Jane may turn silent and look away. She may mutter under her breath or fake smile. She has the same physiological response, but her conscious instinct is to hide it. Passive people who are angry often cry when furious. As her throat closes and her blood boils, she becomes incoherent. She goes into wait and watch mode. Her anger simmers but she holds onto it. She is more likely to gossip and indirectly sabotage the person she is angry with. Temperament plays a role in how anger is expressed.

Contempt: A corner of the lip tightens and lifts. Contempt is in response to an intellectual boundary violation. Dick may make scornful or sarcastic comments. He may consciously override his initial response in an attempt to hide his disdain. He could state his true feelings in the matter. Contempt is in response to something or someone he does not believe, agree with, or like. He may deny his contempt, but his face betrays him.

Disgust: The nostrils clench and upper lip lifts. Dick may frown and pull back. He may flinch or purse his lips. He may utter exclamations of disgust in response. His heart rate slows. Disgust is in response to something he fears or abhors at gut level. His body retracts. He may put out his hand or wave someone away.

Fear: The upper lids and eyebrows lift. The lips stretch wide and pupils dilate. Fear is in response to a physical or emotional violation. Dick can react with mild fear or outright terror, depending on the stimulus. His response is instantaneous and involuntary. Dick's senses go on high alert. His fight or flight response is triggered. He either freezes or retracts. He may gasp. His muscles prepare to escape or avoid. He sweats. He shivers. The hair shafts stiffen. His pulse rate increases. He may go into shock, depending on the stimulus. His flesh may feel cold as the blood rushes to prime the muscles in his hands and legs and fuels the brain. He may step back or turn to run. He may cover his face and head with his arms. The rush of neurochemicals leaves him feeling shaky after the stimulus is dealt with.

Happiness: The corners of the lips lift, the teeth may show. The cheeks plump. The muscles around the eyes are engaged and wrinkles appear. The eyes may widen, or narrow if the nose wrinkles. Jane's posture relaxes and expands. She moves toward someone or something. Her body language is expansive. Neurochemicals induce a high. She may laugh. She is verbal and inclined to touch. She may be mildly delighted or completely overjoyed. Her focus may broaden to take in others. She wants to share her feeling.


Sadness: Pupils narrow. Upper eyelids droop. Corners of lips turn down. Sadness is a response to loss or hurt feelings. Jane's body language closes in protectively. She may cross her arms, lower her head, or turn away. She may grow quiet and have trouble speaking. Her throat feels constricted. Her eyes and nose prickle and water. Her chest feels heavy. She may become more aware of her pulse and breathing. A strong stimulus can feel like a blow to the viscera. She may gasp, cover her abdomen, or bend over. She may transition to shock. Sadness may be followed quickly by anger. With extreme grief, she may scream or yell. Her body may crumple to the floor. She holds herself and rocks back and forth. Crying can be soft and silent or guttural and loud. It can pass quickly or go on for minutes. The initial blast may be followed by softer gushes as Jane calms down.

Surprise: The eyebrows lift and eyes open wide. The forehead furrows. Surprise can be a response to something positive, negative, or neutral. Jane can have a quick startle or a longer shock wave. The reaction can be followed immediately by fear, joy, or confusion. Depending on the stimulus, the jaw drops. Surprise is usually quick and over, but the stimulus sometimes makes Jane ruminate on it for some time. She may share her surprise with others in an attempt to understand it.

Next time, we will take a look at gestures.

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4. Body Language: How close is too close?

Cuddling, kissing, and hugging are often signs of affection. They could be signs of aggression if the character receiving the affection doesn't want it.

There are situations in which a character must control involuntary responses, especially if Dick is a spy, a cop, or pretending to be someone he isn’t. If faced with an angry mugger or screaming toddler, Dick's initial primordial response might be recoil. His body might tense to strike. If it is a mugger, he lets the punch fly, unless the mugger is holding a gun pointed at his head. If it is a toddler, Dick overrides the urge to strike and deals with it another way, unless he has poor self-control or the child is demon-possessed.


Every character has a different idea of how close is close enough when speaking to other people. We call it personal space. It's uncomfortable when someone stands too close. It is crossing a psychological boundary.

Some characters are touchy-feely types. An extrovert is more likely to be a hands-on kind of guy. An introvert hates being touched by people he doesn't know very well. A character who has been abused may not want anyone to touch him, no matter the reason, loving or otherwise.

Some families and cultures are big on physical displays of affection, others aren't. A character might hug every one he has ever met upon seeing them again. Others prefer a handshake or a bow. The reasons can be personality, culture, or life experience.

Touch denotes a degree of intimacy. Someone touching Dick's shoulder could mean multiple things: desire, anger, or compassion. Little kids touch more than adults. A toddler is not self-conscious about where his hands land or where his head rests. The elderly can crave touch as much as toddlers. It may be decades since someone has hugged them or held their hand.

Jane might not mind being touched by a lover or best friend. She might object to being handled by a stranger at a party. Friends and family touch Jane to greet her, tease her, get her attention, help her, or hinder her. How comfortable she is with them makes a difference in how well she tolerates it.

Jane may normally love being touched by her husband until she is angry with him. How your character feels affects how she processes the touch and the person touching her.

There are times when someone we don't know very well needs to touch us: massage therapists, hairdressers, doctors, nurses, medical personnel, rescue personnel, etc. A teacher may have to touch a child to direct him. A guard may have to touch Jane to direct her. It may make the character very uncomfortable. Children involved in sports are used to being tackled, patted, or punched by teammates. Others aren't.

Characters that are deceptive, don't like themselves, or are ashamed of something may avoid touch. They are uncomfortable when someone approaches them, pats them on the back, or moves in for a hug. Pedophiles touch inappropriately.

When a person touches Jane and it feels off, it sends a frisson of alarm through her system. Depending on the circumstances, Jane may subconsciously recoil, but consciously blow it off and make excuses for it. However, her subconscious remains on high alert until the danger has passed.

When describing touch in your fiction, make sure it is appropriate for the circumstances.

Make sure you tell the reader how the character feels about being touched. Is it a good thing or a bad thing?

What kind of caress, hug, or handshake was it?

Is Jane’s instinctive response to pull away when she knows she has to endure the hug?

These small conflicts illustrate character, reveal relationships, and make characters very uncomfortable at scene level.

Touch ignites an involuntary response, followed by a voluntary response, followed by a recovery. Illustrate the beats during critical encounters. The how and why are important. Was the touch appropriate or inappropriate? Tolerated or defended? Welcome or unwelcome?

Next we will discuss facial expressions.

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5. Reaction Beats

When a stimulus signals the brain, the body goes through a logical sequence. Make sure you relate the beats in a logical order.

1. A stimulus triggers the senses. The brain receives the stimulus instantaneously. It can be something your character hears, intuits, sees, smells, tastes, or touches.

2. The body has an involuntary response that takes a nanosecond. The limbic system evaluates the stimulus and sends chemicals racing through the body as neurons fire, depending on its evaluation of whether the stimulus is negative, positive, or neutral. The brain decides if there is a potential threat or reward.

3. The response triggers a reflexive action.

4. The brain then regains control over the body and makes a conscious decision about how to proceed.


A posited theory is that everyone we meet (and everything we come across) leaves a neural imprint. The brain decides if a person, place, or thing is a friend or foe and whether the next encounter will be negative or positive. The composite images are stored in an easily accessed file folder for comparison. How much a person or thing resembles the positive or negative composites determines how likely you are to like or dislike a new person, place, or thing when you encounter it. It decides whether snakes are lovely or lethal, whether a physical action is comforting or threatening, and whether an action you take is likely to result in reward or punishment.

It compares faces and decides that your new boss looks a lot like the girl you liked in elementary school. Your initial reaction is positive. She may turn out to be perfectly awful.

The brain makes these split-second decisions every second of every day. It is important to understand this process as you write, but it's only necessary to zero in on this part of the response at the most critical turning points of your story.

Next, the body reacts involuntarily to the stimulus. It recoils or reaches out. It startles or is soothed. A character gasps, coughs, sneezes, laughs, or screams. This reaction is embedded deep within the animal part of the brain. It is governed by sheer instinct and raw emotion. It is the fight or flight response at play. His pulse, breathing, and muscles react. His skin erupts in chills. His mouth goes dry. The character is not speaking or moving yet. He flinches, blinks, tenses, and displays a micro-expression.

What happens next depends on how the brain filters the stimulus through the character's conditioning, personality, and emotional connection to the stimulus. It tests the emotion of the moment. The brain decides to override or reinforce the initial involuntary response. If the stimulus is a threat from a comforting person, it causes dissonance. The same is true if the loving gesture is issued from a threatening stimulus. Dick's impulse may be to hug someone. It is awkward when that someone pulls away from it.

Finally, the character's conscious mind takes over and is free to decide which course of action to take next. The body recovers from the initial reflex. It overcomes the muscle memory and moves with intention. Conscious control over his breathing, pulse, and muscles is restored. Dick moves deliberately forward or backward and speaks. He alters his breathing, flexes his trembling knees, or relaxes his tightened gut and jaw. He smiles and shakes hands or fake smiles and avoids shaking hands.

If Dick has been startled, shocked, or wounded, his body recovers. Writers often forget to mention this step of the process. His system returns to normal once the threat has passed. Make sure you show the recovery after a major impact.

Not every encounter needs to reveal every beat. Use more beats when the tension is high, less when the tension is low. Use extreme actions and reactions sparingly. The verbal camera should zoom in on the mechanics during critical parts and zoom out for the noncritical parts.

Next time we will discuss distance and touching. How close is too close?

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6. Could my child be responsible for the next tragedy?

By Karen Schiltz, Ph.D.

“My child could be the next mass murderer. Alex has bipolar disorder. Last year, he pulled a phone off of the wall in the classroom and threw it at the teacher. They evacuated the whole class and my son was suspended for one day. He was suspended five times in nursery school for hitting children. Alex screams at home, swears, throws his toys against the wall, has hit his sister more times that I can tell, and can’t pay attention for the life of him now. He does not like the word ‘no.’ Alex is eight and in second grade. I’m afraid and something has to be done. I’m glad we are dealing with this now. I have to face this.”

I saw the parents of Alex Monday morning.

Like many of you, I was in shock and horrified about the slaughtering of 20 little children and 6 adults. I wondered: why did Adam Lanza not receive help for his condition or, if he did, was he misdiagnosed? Did his parents not follow through with providers? Did providers fail to address his problems? Were the parents in denial? Were teachers in denial?

“I’m scared. I see things at night like shadows and I hear soldiers that are coming to get me at night. I ran into daddy and mommy’s room. I saw something black when I was running to my mommy’s room. Someone is whispering to me too. I hear whispers and voices. I don’t understand what they are saying.”

Alex was eager to tell me about the voices and sounds he heard. He also told me that his parents were oftentimes angry at home and he was always scared of what could happen next.

His parents told me about several warning signs that increased in severity, intensity, and frequency as Alex aged. They were:

  • Fears of attending school
  • Hearing sounds such as whispers and soldiers conversing with each other
  • Nightmares
  • Poor frustration tolerance
  • Problems managing his anger
  • Real shifts in mood ranging from deep sadness to silliness
  • Trouble concentrating
  • Trouble sleeping
  • Withdrawal from family and friends
  • Wringing of hands and complaints of stomachaches


Do these parents need counseling? Does Alex need help as well? Will the parents accept my feedback after I assessed their child, interviewed Alex’s teachers and them, and conducted the testing?

Monday had a happy ending. These parents were not in denial nor did they deny Alex had a problem. They realized early intervention was crucial to helping their child. Alex’s parents were aware that their son’s marked troubles with managing his anger, low frustration tolerance, problems with focusing, and his ability to “go from 0 to 100” in a split second of rage were not normal. They deeply wanted a typical eight-year-old boy before it was too late.

It is not too late for lots of children. All of us, including teachers, physicians, and other care-taking and healthcare professionals need to listen to and observe children when something is not quite right. Taking the time to talk with children and educate parents about the warning signs of mental illness is critical.

Assessment and early intervention are the keys to unlocking the cause of a child’s pain and other problems such as a reading disorder. We can help children if we intervene at an early age and recognize the signs of mental illness such as mood instability, sadness, irritability, and anxiety. Many children need help and aren’t getting it. Recognizing a child’s struggles as early as possible is key to optimizing their success in life and overall mental health. The tragedy can be when it is not addressed in time to help either the victim or aggressor.

The bottom line is: we need to review the big picture of what is happening with our children and help parents advocate for their child when something is a little off. It was not too late for Alex and it shouldn’t be for your child either.

Karen Schiltz is the co-author of Beyond The Label: A Guide to Unlocking a Child’s Educational Potential and Associate Clinical Professor (volunteer) at the Semel Institute for Neuroscience and Behavior at the University of California, Los Angeles. She has over 26 years of experience assessing children and young adults with developmental, medical, and emotional disorders including the autistic spectrum and maintains a private practice specializing in neuropsychology in Calabasas, California. Dr. Schiltz blogs for Psychology Today at Beyond the Label.

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The post Could my child be responsible for the next tragedy? appeared first on OUPblog.

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7. Tales for Very Picky Eaters

by Josh Schnieder   Clarion Books 2011   Five short tales for beginning readers utilizing reverse psychology. This might backfire for some kids. Like me.   Know a picky eater? Sure you do. And when it comes to getting them to eat the things we want them to sometimes a little creativity is called for. When James decides that broccoli is disgusting (without even trying it?) he asks for

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8. This Week in History: Happy Birthday, Jane Addams

By Katherine van Wormer


She had no children, but for those of us who are social workers, she was the mother of us all. The social action focus, empathy with people in poverty, campaigning for human rights—these priorities of social work had their origins in the work and teachings of Jane Addams. Unlike the “friendly visitors” before her, Addams came to realize, in her work with immigrants and the poor, that poverty stems not from character defects but from social conditions that need to be changed. From the vantage point of the Chicago Hull House, the most famous settlement house of her day, Addams addressed such issues as political corruption, child labor, urban sanitation, women’s suffrage, and race relations. “We don’t expect to change human nature,” she said, “we people of peace, but we do expect to change human behavior.”

By the turn of the last century Jane Addams was the most famous woman in America. By the culmination of her career in 1931, she was awarded the Nobel Prize for her efforts for her international work following the destruction of World War I. But during a major part of her life, she was neither honored nor beloved.

Because of her staunch pacifism during World War I—a position which branded her a subversive and radical for the rest of her life—Addams rapidly fell out of favor. Just as she had been universally acclaimed prior to the war, Addams experienced a fall from grace unparalleled among public figures in U.S. history. She was hounded by the FBI. She was even given the dubious honor of having been given a life membership in the Daughters of the American Revolution and then subsequently to be expelled.

“If you are different from others, you need to act on that difference, if society is to advance.” This statement by Jane Addams succinctly sums up her life. Her award of the Nobel Peace Prize at the age of 71 was a proud moment for social workers, Quakers, and women the world over. The story of Jane Addams is one that can inspire us all.

Katherine van Wormer is Professor of Social Work at the University of Northern Iowa. She is also the author of Human Behavior and the Social Environment: Individuals and Families and co-author Human Behavior and the Social Environment: Groups, Communities, and Organizations.

For further reading:
Encyclopedia of Social Work
American National Biography Online
Chicago Tribune

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9. Hattie the Bad

Hattie the Bad by Jane Devlin, illustrations by Joe Berger

Hattie was a very good little girl until she realized how dull it was.  Then she became Hattie the Bad, doing naughty but very fun things.  The other children loved her, but their parents stopped letting them play with Hattie.  So Hattie decided to be good again, perfect even.  The parents started pushing their children to be more like Hattie, but then the children stopped playing with her because she was so perfect.  Hattie was so very good that she even got an award for being the Best-Behaved Child Ever!  When in front of the cameras and asked to speak, Hattie stopped being good for good.

This book is all about being true to yourself and not trying to be what others expect you to be.  Hattie strikes a nice balance at the end of the book, being quite naughty, with “just a teensy bit of good.”  Devlin’s writing is over the top, adding to the fun and zinging energy of the book.  Berger matches that with his great illustrations.  Though the cover has a limited orangey palette, the book uses a more full spectrum of color.  Nicely, the illustrations have a bit of seventies vibe in them.  Readers should have fun watching for the frogs to appear and reappear throughout the book as well as laughing in glee when Hattie turns back into herself.

A naughty girl, perhaps, but a very nice read.  Appropriate for ages 4-6.

Reviewed from copy received from Dial.

Also reviewed by:

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10. Tools for Innovation I: Normal psychology and economic recovery

Arthur B. Markman is the Annabel Irion Worsham Centennial Professor of Psychology and Marketing at the University of Texas at Austin. His new book, with Kristin L. Wood, is Tools For Innovation which looks at the practical methods that support innovation and creative design, from different ways of thinking and conceptualizing to computer-based tools. In the post below, which originally appeared on Markman’s Psychology Today blog, we learn about how goals drive behavior.

Business magazines like Forbes, newspapers like the Wall Street Journal, and economic forecasters are united in their belief that economic growth in the US will be driven by innovation. That is, the US and other major economic players will not grow by developing new products and key refinements of existing products that will drive new consumption. This is not news, really. Bringing new ideas to market has long been a centerpiece of economic growth. And that means that Psychology is crucial to the economy.

That’s right. Psychology.

Innovation is driven by new ideas. That means that creativity is at the heart of innovation, and so creativity will drive the economy.

Creativity seems mysterious. We love stories about mad geniuses striving alone in dark labs. We create myths about flashes of superhuman insight that lead to the solutions to difficult problems. We give credit for inventions to single individuals like Edison, Bell, and Marconi.

If creativity is mysterious, then we should be worried about the state of the economy. How can we count on creativity to create growth if it is mysterious and requires heroic figures to occur?

Happily, creativity is not a mystery. The creation of new ideas results from basic psychological mechanisms. Because those mechanisms are well-studied by psychologists, there is much that we can do to teach others how to become more creative. In addition, this knowledge provides us with ways to create tools to support that creativity.

In July of 2009, the book Tools for Innovation came out. I edited this book with my colleague Kris Wood, who is a mechanical engineer. We brought together psychologists, engineers, computer scientists, and people in business to write chapters about basic research that helps us to understand creativity and the tools that can be developed based on that research. In the next few posts, I’ll describe a few of the lessons from this book.

The first lesson comes from a chapter by Robert Weisberg from Temple University. He analyzes a number of examples of creativity, such as Edison’s creation of the kinetoscope (a precursor to the movie projector), Picasso’s creation of the painting Guernica, and the Wright brother’s development of the airplane. He uses these examples to break down a number of myths about innovation.
For example, we tend to give credit to a single individual for an invention. We all know, for example, that the Wright brothers invented the airplane. However, they were working within a larger world community of people who were all working on flying machines. They took note of other people’s failures, such as the death of inventor Otto Lilienthal, who was killed when his flying machine was caught in a gust of wind. This failure led the Wrights to assume that the pilot needed to be able to control the flight of the airplane.

The Wrights were bicycle makers before they started to make airplanes. So they had extensive experience with complicated mechanical devices. This expertise was important as they began to put together an actual device for flying.

Finally, the Wrights looked to the world around them for help in developing the control system for the airplane. Many groups focused on using what was known about steering boats to help steer a plane (that is why the fin on the back of a plane is called a ‘rudder’), but the Wrights read extensively about what was known about bird flight. They decided to have the control system of the plane warp the wings by analogy to what was known about the way that birds fly.

So, the Wright brothers were smart, and persistent, and diligent. They tested their designs carefully. Their invention helped pave the way toward a multibillion dollar industry. But this innovation did not come about because they did things that were beyond the grasp of mere mortals…

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11. The Social Pests Classified

The Overzealous Drinker

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Even at parties, the overzealous drinker would route the glass and never stops until he falls flat all over. One glass does not suffice. He protests against a strict ration. Usually, this kind is never satisfied until he has his fill. Even after having enjoyed a movie, he passes by a bar to drink. Oftentimes his friends would bring him home dead to the world.

The Overzealous Host

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He feeds the guests to the point of satiety. If he finds that one is on a diet, he makes fun of the guest and heaps food even against the guest’s will. This host tries to appear kind and concerned by giving more than what is asked for, thus it makes him an ill-bred person.

There is the host who gives one kind instead of the type the guest likes. When one asks for a drink of water, he gives cola, or if the request is a glass of juice, he gives beer.

Another kind of overzealous host is the one who never stops talking or peering into your faces. He does not allow the guests to enjoy themselves. Instead, he monopolizes the conversation and he will not wonder if he finds some already snoring on the chair or others leaving early instead of enjoying a longer stay.

The Fashionable Pest

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This other kind of social pest can get on your nerves by trying to show off the latest signature clothes, watches, acccessories, or gadgets. The style pest would always be wearing the latest fashion trend even if it does not complement his or her physique. They don’t want to be outdressed or outmoded and they would be the ones reeking of the latest perfume brand.

The Whiner

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They always have something to complain about. They are not satisfied with the weather. If it rains, they want sunshine. If it’s sunny, they wish for rain. They start the conversation with a complaint about the traffic, the government, the economy, the employment, the spouse, etc. Their list of complaints is endless.

The Debater

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These people will never let you win an argument. You’d see them everywhere, even in banks, grocery cashiers, and most of all in social gatherings. They love to start a topic and look for people who will disagree or argue with their beliefs, and will never stop until the other concedes.

These are only a few examples among the many kinds of social pests. The bottom-line is, we must be sensitive to the needs of other people. Let us not be too self-serving to the point of disregarding or disrespecting others. We are humans, and as social beings, we must live harmoniously with others.

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12. Horrid Henry Series

This newly published series from Sourcebooks has been a publishing sensation in the U.K. for some time with almost 12 million copies sold to date. Each of the first four chapter books features four self-contained stories about the same group of characters.

Horrid Henry lives up to his name. He is a most unpleasant child. However, as an anti-hero, he provides outrageous fun for children an
d a continuing object lesson for parents as he is everything you would hate your own child to be.

As he plans and schemes to make fools of his family and friends, Horrid Henry gets into a series of scrapes that seven- and eight-year old boys (in particular) will revel in.

Most of the character development of the supporting cast is telegraphed in the character's name. Perfect Peter is Henry's do-good brother. Moody Margaret is the bothersome girl next store. Bossy Bill, Clever Clare, Rude Ralph, and Greedy Graham are his fellow students in Miss Battle Axe's classroom. All of these children play signature roles in Henry's adventures.


Horrid Henry is Dennis the Menace 40 years later and on steroids. His behavior is so bad that even though children enjoy his mischief, they know it's fiction and not real. However, knowing that no child could ever really be this bad, doesn't detract from their fun one bit.

The award-winning author, Francesca Simon, is a transplanted American living in London where these books first found an audience. There are additional adventures to come and there is even an official UK Horrid Henry website which may spawn an American version at some point. Both of these websites offer insights into Henry and his creator.

It's difficult to imagine the books without the clever drawings of illustrator Tony Ross. He has done a marvelous job of capturing the personalities of the characters in simple pen and ink renderings.

If you think I might be exaggerating Henry's unpleasant personality, let me just say that there is a reason Horrid Henry is billed as the "world's most mischievous child"!


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13. Coloring Page Tuesday - Teacup with a Butterfly


     I created this little doogie quite a while back, but I still love him and hope to use him some day. His name is Teacup - for obvious reasons, he's just a teensy thing.
     Today Teacup issues in those funny days of transition. The days you walk outside and feel something different in the air, a few more birds singing, a few more bugs buzzing.
     It's rainy and cold today, but yesterday, I spoke at the Savannah College of Art and Design (Atlanta campus), and when I walked outside, there was that hint in the air . . . the promise of Spring!
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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14. Coloring Page Tuesday - Gotta Go!


     Today is just pure silliness. I did the opening skit for the SCBWI Southern Breeze Springmingle Conference this past weekend and I included a demonstration drawing to accompany a new story I'm working on, "Penny Had to Pee!"
     I had everybody strike a pose to help me figure out the drawing . . . a room full of adults. Like I said, pure silliness.
     So, have fun coloring Penny. Meanwhile . . . I gotta . . . .
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

Too funny - I love it when adults get involved! This rendering is by Frank Zieglar II who just bought a new Wacom tablet and was trying it out. Looks great Frank - thanks for playing!

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15. Coloring Page Tuesday - Ski Bear!


     I'm clinging to this idea of winter even though the daffodils are already blooming here in the south - doesn't it seem too early?
     Anyhow, I always loved that moment just before you dove over that lip to fly down a hill on skis!
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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16. Coloring Page Tuesday - A Cumfy Chair . . .


     and a good book. Isn't this what winter makes you want to do? I just want to curl up with a good book, a cozy blanket and some hot chocolate . . . ahhhhh.
     Um. I'll be back later...
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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17. Coloring Page Tuesday - eBeary Vote Counts!

     For many states, it's Super Tuesday!
     I just voted - how about you? Next to our presidential election, this is the biggest impact you can have on who will be our next President. It's a big deal - and one you can explain to the kids as they color my Voting Bear.
    Thanks to Deborah Wiles at One Pomegranate for reminding me of this great quote by Robert F. Kennedy:
     "Few will have the greatness to bend history; but each of us can work to change a small portion of events, and in the total of all those acts will be written the history of this generation ... It is from numberless diverse acts of courage and belief that human history is thus shaped. Each time a man stands up for an ideal, or acts to improve the lot of others, or strikes out against injustice, he sends forth a tiny ripple of hope, and crossing each other from a million different centers of energy and daring, those ripples build a current which can sweep down the mightiest walls of oppression and resistance." - Robert F. Kennedy
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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18. Coloring Page Tuesday - Snow Angels

     In celebration of my recent snow angel - you can make one too!
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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19. Coloring Page Tuesday - Penguin

     Beware what you wish for - did I say I wouldn't mind some white stuff? Well we got it! It is COLD in the south right now, and we actually have snow on the ground! If I dare to venture outside, I feel like this guy.
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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20. Coloring Page Tuesday - Skating Bear

     Do you have snow or ice where you are? Winter mostly brings rain here in the south. I sure wouldn't minda a bit of the white stuff!
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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21. Coloring Page Tuesday - Snowman

     We've made it through the holidays and we're now in that quiet, creative time of year I love so much. It's time to hunker down by a warm fire with a mug of hot chocolate and make stuff! (After you go freeze your nose off building a snowman of course.)
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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22. Coloring Page Tuesday! - Too Many Presents!

     I couldn't leave you high and dry on Christmas day! So here's a quickie of Santa trying to handle too many presents!
     How about you? Did you get too many gifts? Is that possible?
     Well, if you somehow find yourself with nothing to do on Christmas day (ha!) give this old guy some color.
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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23. Coloring Page Tuesday - Tired Santa


     I imagine Santa gets awfully tired about this time of year - all that work figuring out who's been naughty and who's been nice!
     Click the image to open a .jpg to print and color. Send me your colored version (less than 1mb) to [email protected] and I'll post it to my blog!
     For more coloring pages, go here.

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24. Coloring Page Tuesday - Christmas Stocking


     I receive such nice emails from people who are using my coloring pages (and my stats go nuts every Tuesday when I load a new one), but so few of you are sending me back your colored art. Don't be shy! I'd love to see what your stocking looks like. Does it have stripes, dots, stars?
     Click the image to open a .jpg to print and color. Send me your colored version of my stocking, or send a picture of your favorite stocking! (Low resolution .jpg, smaller than 300 pixels please.) I'll post it here and share it with the world!
     For more coloring pages, go here.

Update: To make it easier for you to send your images, I'm simplifying the requirements. Please make sure your image is less than 1mb and email it to [email protected]!

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25. Coloring Page Tuesday - Angel


     Badabing, badaboom. We're on to the next holiday of the season - Christmas! Expect theme-related coloring pages the next few weeks. We'll start with a pretty angel.
     Click the image to open a .jpg to print and color. Send it back (small and low res) and I'll post it.
     For more coloring pages, go here

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