JacketFlap connects you to the work of more than 200,000 authors, illustrators, publishers and other creators of books for Children and Young Adults. The site is updated daily with information about every book, author, illustrator, and publisher in the children's / young adult book industry. Members include published authors and illustrators, librarians, agents, editors, publicists, booksellers, publishers and fans. Join now (it's free).
Login or Register for free to create your own customized page of blog posts from your favorite blogs. You can also add blogs by clicking the "Add to MyJacketFlap" links next to the blog name in each post.
Viewing: Blog Posts Tagged with: Research, Most Recent at Top [Help]
Results 1 - 25 of 382
How to use this Page
You are viewing the most recent posts tagged with the words: Research in the JacketFlap blog reader. What is a tag? Think of a tag as a keyword or category label. Tags can both help you find posts on JacketFlap.com as well as provide an easy way for you to "remember" and classify posts for later recall. Try adding a tag yourself by clicking "Add a tag" below a post's header. Scroll down through the list of Recent Posts in the left column and click on a post title that sounds interesting. You can view all posts from a specific blog by clicking the Blog name in the right column, or you can click a 'More Posts from this Blog' link in any individual post.
A critical part of developing your craft as an author is research. Research involves a wide array of activities. It includes reading as much as you can in the genre you’re writing in. It involves attending writing conferences, networking with editors, agents and other authors. Part of it includes taking classes or reading the latest and greatest books on how to improve your writing. It also includes learning what other authors have to say on being an author.
As part of my recent research activities, I’ve been visiting the websites of some of my favorite children’s authors, one of which is the notorious and supremely talented Jane Yolen. I can’t count the number of times I’ve read one of her books only to say to myself, “Wow! That’s exactly the kind of book I wish I had written.”
Melissa Stewart, award-winning author of more than 150 nonfiction books for children, steps into our Author's Spotlight today. In her post, she shares about the chunk and check process, which will help your students conduct research.
I’ve done in-person school visits and Skype presentations, but this past Friday School Librarian of the Year finalist Colleen Graves and I tried something new: a Twitter chat between me and a roomful of eighth graders needing some help transforming their research into a story:
Students always get stuck after research when it comes to writing. Why not ask an expert? We will Fri w #lamarchat & @Bartography 12:40 pm!
The last few posts from my fellow TeachingAuthors have been on poetry. Each of them has written eloquently on the topic. But trust me when I tell you that I have nothing worthwhile to contribute to the topic of poetry. So, I’ll share a topic with you that I do know about: research.
I enjoy sharing how to do research with students and teachers. I offer a variety of program options including several different types of sessions on brainstorming, research, and writing. I love to be invited into a school for a live author visit. But that isn’t always possible. In the last couple of years, I’ve done lots of Interactive Video Conferences as part of the Authors on Call group of inkthinktank.com.
During these video conferences, I’ve come up with ways to teach students from third grade through high school how to approach a research project. One method I use is to give them an easy way to remember the steps to plan their research using A, B, C, and D:
A ALWAYS CHOOSE A TOPIC THAT INTERESTS YOU.
B BRAINSTORM FOR IDEAS THAT WILL MAKE YOUR PAPER DIFFERENT FROM EVERY OTHER PAPER.
C CHOOSE AN ANGLE FOR YOUR PAPER AND WRITE A ONE SENTENCE PLAN THAT BEGINS: MY PAPER IS ABOUT . . .
D DECIDE WHERE TO FIND THE RESEARCH INFORMATION THAT FITS THE ANGLE OF YOUR PAPER.
The earlier students learn good research skills, the better. Learning some tips and tricks like my ABCD plan will help. I hope it makes the whole process less daunting.
Carla Killough McClafferty
To find out more about booking an Interactive Video Conference with students or teachers:
As a librarian, you probably see the impacts of programming every day. You know your work is important based on interactions with your teens. And they probably make it clear – through their words or behavior – when a particular program has hit or missed the mark.
But what if you had more than anecdotal evidence? What if you had data to tell you what works, what doesn’t, and why?
In December, ALA’s Public Programs Office released a first-of-its-kind research study to quantify the characteristics, audiences, outcomes and impacts of library programming. The National Impact of Library Public Programs Assessment (NILPPA) describes the current state of library programming and proposes an ambitious, eight-year research plan for further study. NILPPA also poses a number of questions, including: What counts as “success” in library programming? What impact does programming have on participants and communities? What skills must programming librarians hone to maximize impact and reach underserved communities?
But let’s back up for a moment. What is the Public Programs Office (PPO)? Located one story up from YALSA in ALA’s Chicago headquarters, PPO promotes cultural and community programming as an essential part of library service. Operating on grant funding, our 10-person staff offers professional development activities, programming resources, and grant opportunities to help libraries fill their role as community cultural centers — places of cultural and civic engagement where people of all backgrounds gather for reflection, discovery, participation and growth.
Library programming has changed since PPO was founded more than 20 years ago. Back then, support for library programs for adults was limited and fragile, and the title “programming librarian” was most likely to refer to someone in tech services. Today, there is a robust community of librarians whose job descriptions include the creation of programs for all ages.
The fast-changing nature of the library field is one motivation for the NILPPA study. We want libraries to have the knowledge and tools they need to successfully reach their communities through programming. We want to help libraries develop best practices to advance the field; enable them to “make the case” for funding and resources; and most importantly, foster support for lifelong learners of diverse backgrounds.
After the NILPPA report was published, we asked readers to weigh in with their own experiences on the NILPPA website, listservs and social media. We collected more than 170 comments – feedback that will help us decide where resources are needed most as we move into future phases of this project.
One question we asked – “What are your library’s greatest strengths and weaknesses in regard to programming?” – elicited several responses about teen programming. Below is a sampling:
“At [library name], our programming strengths are programs for children. We can almost always get an audience and they are up for anything. We still struggle to find audiences for tween and teen programs.”
“Our weakness is providing programming for the millennials. We have a lot of things for youth, but once they graduate we have nothing for them…”
“Strength - programs for younger children and families; Weakness - programs for middle school/teens…”
“Strengths: children's programming including story time and summer reading. There is great awareness of what is happening in the library regarding this age group. Weaknesses: YA and Adult programming. Our YA programming does not exist and we get limited participation in our adult programming attempts. Our library is in an affluent area and there are many distractions for teens and adults outside the library.”
“Strength: all baby, kid, tween and teen programming. We bring it and they come. After school clubs for school-age kiddos is particularly hot these days. As is our monthly lunch-time book club hosted at the high school.”
“Strength: Lots of good programming for kids & teens (i.e. Children's Book Club, Teen Writing Club, SDC Storytime, etc.). Weakness: Non adult programming (due to lack of interest).”
“Youth and Teen Services manage their programming themselves and balance staff time with program needs well. Our Teen Librarian constantly looks for programs that will bring Teens into the Library. We are looking to increase tech services available to them. YS librarians reach out to schools, summer camps, and youth program organizers to increase our outreach to underserved youth. Our membership of the [program name] brings every kindergarten class in [School District 1], [School District 2] and [School District 3] into the Library at least once a year for special programming.”
While at some libraries, teen programs appear to be thriving, others seem to struggle with this young adult demographic. Do these comments resonate with you? How is your situation similar or different? What is making your teen programming successful? Please share your reactions in the comments below. You can read the full report and comment at http://NILPPA.org.
Note from Julie: Today’s post is a compilation of advice on historical research from a few members of the Sweet Sixteens, a group of YA and MG authors who are debuting in 2016. You can learn more about the Sweet Sixteens and their upcoming books on their website. I’m very proud to be a part of this great group, and I’m excited to share some writing advice from my fellow debut authors!
The idea for this post came from a thread on the Sweet Sixteens’ discussion forum. Kali Wallace, who writes YA horror, posted a question for historical fiction writers. I thought it was great that a writer was reaching across genres to ask a question, and the replies were stellar! Thank you all for agreeing to let me share this great discussion with the readers of PubCrawl! (And stay tuned for more of Kali Wallace and YA horror in a future post!)
I have a question for writers of historical fiction:
How do you research for a historical novel? What sort of research do you do?
How do you balance getting the period details right with writing for a modern MG/YA audience?
~Kali Wallace, author of Shallow Graves, Katherine Tegen Books 2016. You can visit Kali’s website and follow her on twitter @kaliphyte.
Lois Sepahban: My stories always start with a character, and I think that even in a historical setting, the character’s experiences are what make his/her story accessible and interesting for modern readers. But getting the setting details right does require research. Over a period of several months, I devour everything I can find about the setting–books, newspaper articles, diaries, documentaries, and museums. During those months, the story starts to slowly come together in my mind. So as soon as I’m ready to start writing, then I’ve already done most of the research.
I use a notebook to keep track of what I learn, and I always need to go back and dig up new details while I’m drafting.
By immersing myself in the history and culture before I start writing, I have found that the details come naturally as I’m drafting.
(Lois Sepahban is the author of the upcoming MG Historical, Paper Wishes, coming from FSG/Margaret Ferguson Books in Winter 2016. Learn more about Lois on her website and say hello to her on twitter @LoisSepahban)
Janet B. Taylor: When I FIRST started writing for REALS, I’d planned to write adult historical fiction. I was working with a hisfic author as a “writing coach” who told me–in no uncertain terms–that though I was a good writer, with potential…blah blah…my “voice” was too modern and too “YA”.
Now, at the time, I didn’t really know what “YA” was. And I certainly didn’t know what voice meant in writing terms.
Soo…I cried. A lot. Then I got to thinking. Okay. Modern voice. YA. Loves historical…..TIME TRAVEL!
I’ve been fascinated by the medieval period for years, and had studied it for a long time. Particularly England and France, and even more specifically, Queen Eleanor of Aquitaine. (I’d LOVE to write about her one day. Her teenage years are absolutely astounding. However, there are a LOT of wonderful books already written about Eleanor. And I’m not sure I have the chops to go up against someone like Elizabeth Chadwick or Sharon Kay Penman, for instance.)
Anyhoo, with that background, I basically did what Lois said. Total immersion for months. Websites. Read a lot. Traveled to Europe a few times. Read a lot. Castles, museums. Oh, did I mention I spent WAY too much money on books so I could read a lot? I got everything about anything to do with time period. I even got to spend the night inside Fontevraud Abbey in France, where Eleanor spent her later years, and is buried. I got to be alone with her (and Henry II and Richard the Lionheart) at night, in the cathedral, all alone. It was magnificent!
Now the sequel to my current book will take place in NYC during “The Gilded Age” 1895. That is requiring a LOT of new, very detailed, very intense research, as I wasn’t really familiar with that era. But it’s such a cool time and I’m enjoying it very much!
(Janet B. Taylor’s debut YA Adventure/Time Travel, Into the Dim, will be published by Houghton Mifflin Harcourt in Spring 2016. Visit Janet on her website and follow her on twitter @Janet_B_Taylor)
Patrick Samphire: Almost everything I write is set in one historical period or another. I’ve written short stories in Ancient Greece and Ancient Egypt, as well as in the first world war and prehistoric Britain. My novel, SECRETS OF THE DRAGON TOMB, is set in 1816, and I’m also working on a novel set in the 1930s.
But the shameful truth is that I’m an absolutely terrible researcher. I hate doing it. I pick up some incredibly informative, vastly heavy reference book and I rarely get past the introduction before my brain melts into a puddle of supreme apathy. I just can’t bring myself to do it. Come on. I can’t be the only one, right?
So, I have developed a special method of Historical Research for the Historically Ignorant and Terminally Lazy:
1. Watch movies and read books set in the relevant period, to get a basic idea of what the period was like. You have to be careful that you’re not picking books and movies by people who are equally Historically Ignorant and Terminally Lazy. For my 1816 book, that meant reading Jane Austen, Bernard Cornwell and Georgette Heyer and watching lots of Jane Austen adaptations. Yeah, and some people claim this is work…
2. Write your book.
3. Figure out all the bits you should have researched and go and look them up. Wikipedia is, of course, not particularly accurate about many things, but admit it, we all use it… Alternatively, ask my wife (you’ll have to find someone else to ask; sorry). My wife loves doing historical research. She reads books like that for fun. She even has degrees in this kind of stuff.
4. Realise that what you have in the book can’t possibly have happened, because you didn’t bother to research it in advance.
5. Rewrite, making it less impossible.
6. Blame the wizards/fairies/aliens. My books tend to have pretty heavy fantasy or science fiction elements, so when I get something wrong, I just blame the influence of magic/technology for changes to real history.
7. Now no one will realize how little you actually know about your historical period. Unless you write a blog entry admitting it.
(Patrick Samphire is the author of the upcoming MG Adventure, Secrets of the Dragon Tomb, coming from Christy Ottaviano Books (Henry Holt / Macmillan) in January 2016. Learn more about Patrick on his website and say hello to him on twitter @patricksamphire)
Heidi Heilig: For starters, picking historical fantasy/time travel over straight up historical fiction made things easier when it came to research. In the world of the book, characters can travel to historical and mythological maps, so I am not tied strictly to widely-agreed-upon reality.
That said, accurate history can really make the fantasy aspect shine. When I did my research, reading was key for me, and I often went down the research rabbit hole for hours on something small that never made it into the final draft–or even the draft I was working on at the time. But that time wasn’t wasted–having all that information in a soup in my head made it easy to pick small things out and weave them into a detailed story.
Obviously, primary factual documents were very useful–boat time tables, newspaper articles–but I also found fiction of the time period very helpful for dialogue and speech cadence. Old pictures helped (the bulk of the story takes place in 1884 so there are some) and maps, of course, so I could see, for example, what areas of town smelled because they were near the tannery or how noisy things were due to proximity to the market. Paintings, art, or songs of the time helped me humanize the characters and understand what people filled their time with when they weren’t doing Important Book Things, because I have this tendency to see historical people as Very Serious.
In the future, I hope to be skilled enough to do straight up historical fiction. I love history. I think there are some issues that are universal. No matter when, teens are always growing up, or falling in love, or looking for their place in the world.
(Heidi Heilig’s debut YA Fantasy/Time Travel, The Girl from Everywhere, will be published by Greenwillow/HarperCollins in February, 2016. You can learn more about her on her website and follow her on Twitter @heidiheilig.)
What are your thoughts on historical fiction? Do you use any of these techniques when you research? Please share you thoughts in the comments!
On our first date, my husband-to-be asked what I did for a living. I told him I was a school librarian. "Well there's a profession that will be obsolete in twenty years," he chuckled. I did not chuckle. I did marry him and twenty five years later I am still waiting for his prediction to come true.
OK, I admit that twenty five years ago I never dreamed that I would have a phone that could help me find my way around the zillion streets of Atlanta named "Peachtree." Or a device that could download hundreds of books, cutting down considerably on overweight luggage fees. My 1989 school library had computers, but they were little more than fancy typewriters. Who knew that entering the right search words on my jazzy little laptop could find pictures of the battleships my father-in-law served on in WWII? Or the history of the long demolished amusement park of my childhood, the genesis of The Roller Coaster Kid? Yes, Craig was right...I could access all that information without setting foot in a library.
But yet there are still libraries. In my neck of the woods, it appears that most people are there for free computer time and to check out videos. If I am there, it is to do research. Guess what? Not everything is available on the Internet. At least not for free. When I wrote Jimmy's Stars and Yankee Girl I spent months reading newspapers from WWII and the 1960's....on microfilm machines. While there are a good number of old periodicals available online these days, they never seem to be the ones I need or there is a hefty fee to join a database. All the branch libraries in my immediate area were built in the last 15 years and don't have microfilm machines. But if I need one, all I have to do is go downtown to the main library.
The library is a source of professional literature such as Library Journal or Publisher's Weekly. Usually they are kept in the librarians' work area, but they have always let me read them on the premises if I ask. There are also databases and reference materials that I can't find anywhere else...at least not for free.
I have had the good fortune to have worked in a university library which gave me access to all kinds of information not found in a public library. My library allowed the public to use the collection for a nominal yearly fee. As an employee I had free reign, but even if I hadn't, I would have paid the fee. It's something to investigate.
I could go on forever about the information that you will find only in a library....but why tell you? Check it out yourself. By the way, my husband has had to finally admit that libraries and librarians are not obsolete or likely to become so any time soon.
2015 is my year for risks. I have risked speaking up. I have risked grappling in a tournament with people who were 20-40 years younger than me. And last week I took an Urban Escape and Evasion class in Los Angeles. It was amazing/scary/fun.
The first day, we learned how to get out of duct tape, zip ties, rope, and even handcuffs.
If you're duct-taped, hold your arms close together, then bring your hands high over head and and hit your elbows hard across your own ribs. I learned the hard way that if your arms are too far apart, this doesn't work. This trick also works for zip ties, although it can hurt your wrists (which is why the instructor made "Wonder Woman" bracelets out of duct tape first). If that fails, try rubbing your bound hands on a sharp edge like a door.. Above, author Hannah Jayne demonstrates the correct technique for breaking duct tape, as well as how you can use paracord (a lot of preppers replace their shoelaces with paracord, or wear it as a bracelet) to saw through paracord by bicycling madly in the air. Later, we practiced shimming or picking our handcuffs using bobby pins or broken off barrettes with pillow cases over our heads.
Here's what happens if you get handcuffs/duct tape/zip ties etc. wrong:
We also learned how to pick locks and steal cars, although we didn't practice that last one.
We learned how to figure out if you are being followed and how to weaponize anything. We learned that most people think they are in a survival situation if they miss lunch.
The last day, we were kidnapped, hooded, stun gunned (I still have marks!), and then your captors go for a “smoke break” and you have to use everything you just learned to make your way to a certain point, collecting information and photos along the way.
We learned that if you are full of adrenaline, you dont feel as much. At the start of the exercise, we got caught in a parking lot surrounded by 10 or 11 foot high chain link fences. And we were being chased by a real-life security guard. Hannah started climbing the fence, which meant I had to, too. At the top, the chain links had been cut off, forming a pointy barrier. I have some crazy bruises, one for each point, on one leg.
But we made it. We had been to GoodWill the night before and cached some outfits. (It is very hard to cache anything in Los Angeles and then go back and find it the next day. You always have eyes on you, and cacheing arouses curiosity). First I was a nurse (I even looked like a nurse even though it was just a plain pink Tshirt layered over a white Tshirt, and Hannah was a goth girl. Then Hannah was pregnant with some of her previous clothes, and I was her churchy-looking mom. Finally, we were both tourists.
Even though we were hunted by 10 people who had our picture, and we had to stay with proscribed boundaries, we were not caught!
I'm so glad I took this risk. I turn 56 in two weeks and I'm pretty pround of myself.
In this guest post, Taun M. Wright, CEO of Equal Read, lays out some of the arguments for using diverse books in all schools, regardless of student demographics.
DeAvian was a disengaged student, more interested in socializing than academics. Her school had well-known books like Ramona but it wasn’t until her Big Sister gave her a book with an African-American girl on the cover that suddenly, “DeAvian’s eyes opened wide with excitement and a smile filled her face. She held the book tightly, looking up as if to say: ‘Here I am, at last!’” Now, DeAvian continues to read, and her academic performance has improved dramatically. The impact of representative literature can be profound.
In a year with so much important attention to discrimination, the call for diverse children’s books is clear. However, diverse books aren’t just essential to students from minority or marginalized backgrounds. We need diverse books in schools with students representing fewer racial groups just as much as we need them in more diverse schools.
Research shows that the less contact students have with people from other racial groups, the more likely they are to retain higher levels of prejudice. While equity and inclusion are necessary, especially for those of us too long without them, social change is more likely to happen when everyone understands how they will benefit directly from increased diversity and, what’s more, why their ability to embrace the benefits of diversity will be a key determinant of their future success. Here are a few key benefits to adding diverse books to a collection, regardless of the demographics of students:
INCREASED ACADEMIC PERFORMANCE: In their book Identity-Safe Classrooms, Drs. Dorothy Steele and Becki Cohn-Vargas show that “Identity-Safe Classrooms” result in increased achievement for all students, not just those from marginalized groups. Stereotype threat – anticipating being negatively stereotyped based on negative attributes associated with an identity group you represent – has a direct impact on achievement for students from all identity groups. Having many diverse books can offer a “density of cues” to counter stereotypes and reduce stereotype threat, increasing identity-safety for all students.
ENGAGEMENT IN READING: Everyone agrees reading ability is a key predictor of future success. The key route to engaging kids in reading is to offer them books they find interesting and kids want to read about what they don’t know, not merely what they know. As part of its Classrooms program, Equal Read assesses students’ interest in diverse books, as well as their feelings of identity-safety and other measures. Students overwhelmingly answer, “I like reading about people that are different than me” and say that “books about kids that are different than the kids in my class are interesting.”*
BETTER PROSOCIAL DEVELOPMENT: In 2012, Loris Vezalli and his colleagues demonstrated that adolescents who read a book concerning intercultural topics showed not only a reduction in stereotyping and more positive feelings about students representing identities other than their own, but also an increased desire to engage in future contact. Clearly, diverse books are a powerful tool for improved prosocial development.
COLLEGE AND CAREER READINESS: Educators at all levels recognize the need for students to develop key “21st Century Skills.” While their lists may differ around the edges, all include collaboration and communication as essential 21st Century Skills. As the total number of Latino, African-American, and Asian students will be over 50% this fall, all students will need to be able to collaborate and communicate with people from multiple identity groups, if they are to succeed. Businesses are well aware of research that shows diverse teams are more creative, innovative, and productive than homogenous teams. Silicon Valley companies, for instance, are now investing significantly in recruitment efforts geared to diverse employees. A recent study by professors from Cornell, UC Berkeley, Washington and Vanderbilt Universities even demonstrated that “political correctness” has a positive influence on creativity. Students accustomed to respectfully collaborating and communicating with people from many different identity groups will be better prepared for college and career success.
Just because a school’s population is not very diverse, does not mean it should be similarly restricted in the books available to its students. Kids like great stories. All kids deserve to read the most engaging books available, books that expand their imagination of what’s possible by telling a wide variety of stories, featuring characters with differences beyond phenotype (observable differences) to include different ethnicities, nationalities, languages, gender expression, family structures, abilities, sexual orientations, socioeconomic backgrounds, education levels, religions and beliefs, ages, body types, learning styles, and experiences.
Through its Classrooms program, Equal Read creates broadly diverse book collections that are balanced for gender and representative of all of a classroom’s learners, offering teacher professional development and parent education about the role diverse books can play in increasing cultural competency.
Because every child deserves an equal read.
*Note: Equal Read also surveys parents and teachers, and overwhelmingly, both groups say they want to know more about diverse children’s books. Clearly, they already recognize the benefits of diverse books to the students they serve, yet it is difficult for them to find these books – this is no surprise considering how few children’s books feature diverse characters. We’re also working on ways to help parents and teachers more readily find the most outstanding books featuring diverse characters through Equal Read’s Books program.
Taun Wright founded Equal Read in 2013 as a nonprofit organization to increase diversity in children’s literature, so all kids can “see themselves and a world of possibility in the books they read.” A former teacher, nonprofit consultant and administrator, and a parent and grandparent of a multi-racial family with multiple and varied abilities, nationalities, ethnicities, family structures, socio-economic backgrounds, languages, sexual orientations, ages, body types, education levels, learning styles, and experiences, she has first-hand appreciation for the wonders of different identities and the value of diverse children’s books in sharing them.
Every writer – fiction and nonfiction -- understands that the library is an essential tool to her craft. It’s more than a repository of information, or a quiet place to gather one's thoughts. A library is a place where ideas are born, and where the impossible becomes possible.
After surviving a horrific act of betrayal, teenager Lilianna suffers from post-traumatic stress. As Lil struggles to find her way “back to life,” imminent danger presses upon her home and neighborhood. An outbreak of a strange new flu is spreading quickly with deadly results. Her parents out of town on business, she finds herself alone as tragedy strikes. The plot is fast-paced and thoroughly engrossing as Lil struggles to find hope and trust amidst a terrifying life and death ordeal. It so happens that the Ebola outbreak was striking its own terror as I was reading this book. The realism depicted in this dystopian tale hit strikingly close to home. I had to ask Yvonne how she achieved this:
“Reading nonfiction books. Conducting interviews. Checking government websites. These might sound like typical tasks for a nonfiction writer, but they were actually all part of the research I conducted for my young adult book, Pandemic, which is a work of fiction.” – Yvonne Ventresca
Yvonne read books about contemporary and historical diseases: “For several months I had a rotating pile of disease-related books on my nightstand. Since Pandemic is about a contemporary illness (fictionalized bird flu), I read a lot about emerging infectious diseases, and I learned that because of airplane travel, germs can be transmitted almost anywhere in the world within 48 hours. I also researched the Spanish Influenza of 1918, which served as a model illness for my story. I discovered that the sanitation measures almost a century ago included blow-torching water fountains, hosing down streets, and locking public phone booths. Despite these measures, the Spanish flu killed more Americans than all of World War I.”
Like Yvonne, I write fiction but I depend upon research to bring it depth. My favorite library is the U.S. Library of Congress.
It is the nation’s oldest federal cultural institution. While it serves the U.S. Congress, it is also the national library, and the world’s largest library. James Madison proposed the idea of a Library in 1783. But it wasn’t until April 24, 1800, that the library was established. This library brings to life the American story. And it proved unequivocally fundamental in bringing my story, Girls of Gettysburg, to life.
As I was researching another book, I came across a small newspaper article dated from 1863. It told of a Union soldier on burial duty, following the Battle at Gettysburg, coming upon a shocking find: the body of a female Confederate soldier. It was shocking because she was disguised as a boy. At the time, everyone believed that girls were not strong enough to do any soldiering; they were too weak, too pure, too pious to be around roughhousing boys. It was against the law for girls to enlist. This girl carried no papers, so he could not identify her. She was buried in an unmarked grave. A Union general noted her presence at the bottom of his report, stating “one female (private) in rebel uniform.” The note became her epitaph. I decided I was going to write her story.
The Library of Congress archives original photographs and newspaper artwork taken of the battle of Gettysburg. Truly, a picture is worth a thousand words!
Library of Congress
This includes a photograph of the Unidentified Soldier wearing a confederate uniform. Doesn’t this look like Annie?
Library of Congress
The home of the real Abraham Bryan, where my protagonist Grace Bryan lived.
“A library is … a place where history comes to life!” – Norman Cousins
Yvonne is happy to send free bookmarks to public and school libraries in the US. Librarians can email her at Yvonne @ YvonneVentresca.com (remove spaces) with the librarian’s name, library, and address where the bookmarks should be sent.
Over the past year the number of questionable police use-of-force incidents has been ever present. The deaths of Eric Garner in New York, Michael Brown in Missouri, and 12-year-old Tamir Rice in Ohio, are but just a few tragic cases.
Most writers will get the “where do you get your ideas?” question at least once in their careers. Probably many, many times. Short of tossing out a snarky response like “J.C. Penney” or “the Idea catalog,” I usually reply, “From everything around me.” Helpful, right?
I’m not kidding though. I’m actually not the most observant of people and I have a terrible memory, which is why I became a writer instead of a consulting detective. (I know, these aren’t good qualities for a writer either, but I figure in the digital age everyone is going to carry their memories in their pockets or on their wrists one day, so I’m just ahead of the curve.) Truth is, I get ideas from all sorts of places: overheard conversations, misread words, images, other books, TV shows, etc.
My short story “All the Lonely People” (Shimmer #13, 2011), came from a billboard for a sports drink with the slogan “Don’t Fade,” which inspired a story about a woman who can see people who are literally fading from life and can either help them stick around or disappear entirely. The “Eleanor Rigby” references came in later.
I heard a friend refer to winter as “the time when everything dies,” which inspired me to write a story called “The Dying Time” (forthcoming) about a village where everyone becomes temporarily undead and hibernates during the winter, which is bad news for the guy who stumbles into town just as autumn is ending. Meanwhile, a fantasy short story mashup of Gilmore Girls and Supernatural began life as a Tweeted pun which led to “The Grimoire Girls” (also forthcoming). You get the idea. This is why I carry a notebook and pen everywhere; I write down anything that triggers inspiration in my brain, because you never know what it can turn into.
Naturally, the internet is also fertile ground for ideas. Online research (and books!) inspired and informed a lot of the hacking that appears in The Silence of Six, because I was striving for authenticity and plausibility. But one big plot point originated from a web article I read years ago — probably back in 2010, well before I started working on the book — about USB flash drives embedded in walls. These “dead drops” were in public so anyone could transfer files to them or copy files off with their laptop, as long as they knew about them. (Not really a good idea when you think about it, but still.)
An interesting thing about inspiration is you often can’t trace it back to the source. Minds are complex and ideas have a way of taking over and growing, so it’s difficult to untangle where it all came from. Everything I’ve ever written has essentially grown out of the books I’ve read, the films I’ve seen, my favorite TV shows, and so on. How can I acknowledge all of those influences? It’s one reason why some copyright theft and plagiarism accusations can be difficult to prove, because it’s possible for someone to unconsciously copy someone else’s work or ideas — to a degree. Again, do your research!
Where do you get your ideas?
By the way, if you’re fascinated by dead drops too, you can win a special The Silence of Six USB drive this week (through March 15, 2015) in Adaptive’s #ChallengeofSix digital scavenger hunt, with online puzzles and clues inspired by the book. Grand prize is an Xbox One! Watch this video for more info and to get the first clue.
and SPRING to arrive, it's a great time to enjoy READING!
I usually highlight story books, but today I'd like to celebrate some fun research sites.
DK Publishing has a free online encyclopedia: FIND OUT The site is for simple searches on a variety of science-related topics. Results provide a colorful illustrated page with brief explanations and related topics. Of course, if one of the topics interests you, check at your local library for a corresponding DK book on the subject.
Another free online site, available through public and school libraries, is EBSCO Kids Search. This is a more in-depth database of magazines, encyclopedias, dictionaries, web articles, biographies, books, newspapers, and photos. A handy tool to have at your fingertips.
Kids Info Bits from Gale/Cengage Learning is search resource available through some libraries as well. It's a more simplified database of sources, including magazines, encyclopedias, dictionaries, and maps. It includes advanced search capabilities and is geared toward elementary school students.
So during this month focused on READ ALOUD time, choose a topic of interest (I know my grandson would pick Monster Trucks); use one of these kid-friendly sites or a book and read together for 15 minutes.
Spring, Summer, Fall, or Winter--every season is just right for READING!
Strategic committees are a great way to get involved with YALSA, as they are virtual committees. Or, if you are a new member and looking to try committee work for the first time, the strategic committees are a great way to learn about YALSA, connect with teen service professionals from around the country, and help you develop your virtual work skills and teen expertise. So, if travel and conference attendance aren't an option for you this year, please take a minute to fill out the volunteer form here and send it in before March 1st!
My Appointments Taskforce and I will begin the process to fill the over 200 open positions that help YALSA accomplish the work of the strategic plan and the work that moves the association and members forward immediately after March 1st, so please be sure to get your application in before then.
I strongly encourage all YALSA members to apply - it is an easy and great way to get more involved in this amazing association, especially if you are interested in joining a YALSA selection or award committee in the future.
Please feel free to contact me at candice.yalsa (at) gmail.com if you have any questions!
Jack Webb as Joe Friday in Dragnet, from Wikipedia
But... is this really true?
Well...I DO tell my students that real details bring fiction to life, and have them listen to the following short audioclip from StoryCorps. Talk about bringing a subject to life! The details Laura Greenberg shares with her daughter are priceless--not to mention hilarious.
Still, I struggled to write poems for The Poetry Friday Anthology for Science (Pomelo Books). By "struggled" I mean I read science articles and wrote tons of stinky poems about rocks, astronauts, materials science, the expiration dates on seed packages,electricity, science experiments...and on and on and on.
But...I dread gettting facts wrong--my worst nightmare. (Confession: writing these blog posts scares the bejeebers out of me.)
In fiction, I can fly my fairy-self to Planet Bodiddley and make up all the materials science by myself. But if I have to convey facts? And then somehow bake them into a tasty poetry pie? I get tied up in knots. My writing becomes stiff as a board. I'm afraid of...
But finally I stumbled on this fascinating fact, in a review of The Big Thirst by Charles Fishman:"The water coming out of your kitchen tap is four billion years old and might well have been sipped by a Tyrannosaurus rex."
Wow. Think of the water you drink. Think of the water you take a BATH in!!!! Ten versions of "Space Bathtub" later (with considerable coaching from the ever-patient anthologists, Janet Wong and Sylvia Vardell) this fact became a poem for kindergartners:
OLD WATER by April Halprin Wayland I am having a soak in the tub. Mom is giving my neck a strong scrub.
Water sloshes against the sides. H2O's seeping into my eyes.
The wet stuff running down my face? She says it came from outer space!
The water washing between my toes was born a billion years ago.
from The Poetry Friday Anthology for Science (c) 2014 April Halprin Wayland, all rights reserved If you're a K-5th grade teacher, this book is so immediately useful, you'll cry with relief when you open it. Trust me. For details, and to watch under-two minute videos of poets (Bobbi Katz, Kristy Dempsey, Mary Lee Hahn, Susan Blackaby, Buffy Silverman, Linda Sue Park and me) reciting our science poems from this anthology, go to Renee LaTulippe's No Water River. Again, trust me. (A little foreshadowing: Pomelo Books' newest anthology, Celebrations! comes just in time for Poetry Month this year--stay tuned!)
First off, a big Teaching Authors welcome to our latest TA, Carla McClafferty. Not only did Carla and I meet and bond some fifteen years ago at an SCBWI retreat in Arkansas, we once shared an editor. Greetings, old friend, and welcome aboard. For the next couple of posts we are going to be talking about your genre, non-fiction, and what it shares with fiction.
I have always wanted to be a Carla-sort of writer, a non-fiction writer. "Write what you love" is one of those things writing teachers (like me) tell their students. I love non-fiction. My "adult" reading consists almost entirely of biographies and history. If I read two adult novels a year, that's a big deal for me.
So why don't I write non-fiction for children? The reasons are endless, so I'll boil it down to one. I just can't stick to the facts.
Both of my novels, Yankee Girl and Jimmy's Stars began life as memoirs. YG was about my life, JS about my mother's family. Because they both took place in other times and places...Mississippi 1964 and Pittsburgh 1943...I did a boatload of research to make sure I had the details right. For the World War II world of Jimmy's Stars, I made a timeline of what battles occurred where and when between September 1943 and September 1944, and when news of those battles reached the States. I compiled a radio schedule for the Pittsburgh stations. I studied streetcar routes. I poured over the various rationing schedules for gasoline, food, clothing.
You would think that Yankee Girl would not require quite so much research, since after all, this was based on my own elementary school years. I even had my 5th and 6th grade diaries. Still....do you remember what week the Beatles' "I Feel Fine" reached number one on the charts? Neither did I. Since the main character is a huge Beatles fan, there is at least one reference to a Beatles' song in every chapter. In addition, this the height of the Civil Rights Movement (the Selma March to Montgomery occurs about three quarters of the way through YG). I had to know exactly what date this protest or that bombing occurred. I remembered that these things had happened but that wasn't enough. I had to know exactly when. I spent a dismal five months in the microfilm room of the Jackson Mississippi library, going through a year's worth of newspapers, reliving a sad and scary time.
By now you are thinking, "Well, with all this research, why didn't she just go ahead an write those memoirs?" Good question. All I can say is that my mind refuses to march in a straight line . Yes the facts are there, because they are part of the story. But once I start writing, my "real" character refuses to stick to their own "real" story. I start thinking "but wouldn't it be more interesting if this happened instead? Or if her best friend was this kind of person?" Before I know it, I am off on a completely different story than I had first intended. The only thing that remains the same is the structure of historical fact and detail that makes the story "real" for me (and hopefully for the reader as well.)
I am just beginning to write contemporary fiction for young people and guess what? There is no less research involved. Next month I will have a story in a YA anthology called Things I'll Never Say. I live in Georgia. My main characters live in Georgia. I have lived here for fourteen years. Yet, for a 3,000 word story here are just a few story points I needed to find out to make the story real: price of admission to the Atlanta Botanical Gardens, driving times between different towns, the academic school year of Emory University, the most popular spring break towns with Georgia teens...well, you get the point.
My point? Getting the details right is one of the ingredients for making a story real. Editors care about details. I spent weeks nattering back and forth with my Yankee Girl editor over the dates of those Beatles songs. Readers care. I had an adult write me that if the mother in Yankee Girl used a steam iron, then she didn't also need to sprinkle her clothes before ironing. I was a little miffed that someone could read a 225 page book and this is what she chose to write me. It never occurred to me look up that sprinkling/steam iron detail. That's the way my mom always ironed. (I still probably need to look that up.)
I once read a Big Time Award Winning Book that took place in a state where I had lived and knew very well. This author had placed four major cities within an hours drive of each other. In reality, they were in different corners of the state and hours away from each other. Whatever affection I had for the book died right then. Good grief, anybody could look at an atlas (this was pre-Internet) and see where those cities were. I later read an interview by the author and discovered that she had never visited that state (or apparently done any research) but she "knew" somebody who "used" to live there. That was one of those moments when you want to scream and throw the book across the room.
That was the moment when I decided that for me, getting the details "right." Facts are front and center of a non-fiction, but they are no less important in fiction.
A while back I wrote a blog post about research tools for writers, and I thought it was time to include some new ones to the list.
One of things I like to do is read up on a certain subject before I write about it. I may use Wikipedia for a brief overview (yes, librarians use Wikipedia), but then I may want a book for a more in-depth view. And if I don't want to spend money to buy it, or my
YALSA sponsored a variety of programs and events at this year’s ALA Midwinter Conference held in snowy Chicago. On Saturday morning, the YALSA Past Presidents held their Trends Impacting YA Services session. This year’s program featured Dr. Mega Subramaniam, assistant professor at the College of Information Studies, University of Maryland. Dr. Subramaniam’s research focuses on participatory design and connected learning; in an ALA press release she states:
“Surveys, interviews, and forming a youth advisory council are no longer sufficient when designing programs for young adults. This paper calls for a substantial paradigm shift in how librarians are trained and how libraries can be used to serve diverse youth. It is time to involve the young adults themselves as co-designers.”
Mega’s presentation slides from the session can be found here. She discussed the transition from traditional, “in-situ” learning experiences (such as formal education) to a new landscape of “learning in the wild.” Librarians can bridge this transition, especially in a profession newly shaped by the Future of Library Services for and With Teens report. So, how do we design FOR teens, WITH teens?
Enter participatory design; Dr. Subramaniam shared seven methods that get teens directly involved with planning, other than the traditional “librarian asks what we should do next.” These methods include use of sticky notes to shape idea processes, “bags of stuff” where teens build and create with provided supplies to see what ideas bubble up, a big-paper approach to teen-led brainstorming, layered elaboration, fictional inquiry, “the cool wall,” and storytelling. At the end of the program Mega asked each table in the room to think about a current design process we use when working with youth and how we might reshape that in the lens of participatory design. I came away from the session with a whole new idea of how to work with my TAB as we plan future events.
On Sunday afternoon YALSA members gathered for the Moving YALSA Forward session. This program was planned in conjunction with the YALSA Board’s strategic planning process which was also taking place during the midwinter conference. The board’s strategic planning facilitator, Alan Brickman, also facilitated this member session. Instead of tacking the full strategic plan, Sunday’s discussion focused on the area of advocacy. While advocacy can mean many things, Brickman framed it for this purpose as “a direct effort to impact policy, impact public awareness, and build libraries’ capacity to further both these impacts.”
Attendees were divided into four groups, each with an advocacy area of either awareness or capacity building. The groups brainstormed what the optimal outcomes would be and what direct actions would lead to those outcomes. As we worked our way through the still relatively new idea of planning with outcomes as opposed to activities, several great ideas rose to the surface. After working together, each group posted their ideas on the wall and with sticky dots in hand attendees chose their five priorities. Brickman will be consolidating the results of this session and sharing with the YALSA Board as they continue their strategic planning process.
Both of these programs felt very much in line with YALSA’s current work of assisting members to redefine their teen programs and also be advocates for the valuable services we offer our communities. Check out YALSA’s page on advocacy to find useful resources, and the Future of Library Services for and with Teens report to see how connected learning can fit into your teen services.
Happy New Year, readers. I hope you had a wonderful holiday season that included reading some of our favorite books from December. (Too much to hope that much writing went on. At least not at my house.)
So we are starting off 2015 with a discussion of plotting a story.
Uh-oh. Houston, we have a problem.
I don't plot my stories. Ever, So if you are hoping to learn how to plot in this post, you can stop reading now. One of the other TA's will tell you everything you need to know in the following weeks.
I'm here to tell the rest of you still reading, it's OK to not plot.
I have visceral reaction to anything requires plotting. Anything that has to be done in specific sequential steps, sends me over the edge. Cooking, math, putting anything together with instructions. I'm awful at all of those things. A couple of years ago, when educational testing discovered that my daughter has the same difficulty I learned this had a name...something like "difficulty with executive reasoning." (Which I suppose means I'll never be President...but I digress.) Sometimes dessert should come first. I almost always read the end of a book first. Working from step A to step B to step C just doesn't work for me. Never has.
I was the student who wrote the term paper first, then the outline. When I was first trying to be a real writer (as opposed to that seat-of-my-pants writer I had been as a teen and young adult) I discovered that some real writers outlined everything they wrote as a first step. This news was so discouraging I stopped writing for several years, because obviously, I had been doing it wrong.
Of course, that didn't last forever. I went back to writing in the same old any-which-way-I can (including out of sequence) method. I did learn a few things. I learned to plan before I wrote.
Planning and plotting are not the same thing. Plotting is knowing what happens first, then next, then next and at the end. I never know more than one of those things before I start writing. I've stopped worrying about it. Planning is knowing what you need to know before you type that first word.
I've mentioned before that writing the minute you get a good idea is not usually the best thing to do. You need to know your characters before you write about them. Who can you write about more successfully? Your best friend or someone you talked to for five minutes at a party? You should know your characters as well as you do your friends before you write about them. That's the first step in my Plan.
Because once a librarian, always a librarian at heart, I think about what I don't know but should for my story. Do I need to research a geographic area? A time period? Speech patterns and slang for a particular area? A disease? A career that I know nothing about? Now is the time to get as many of those answers as you can, before you start writing. What is more frustrating than reaching page 100 and discovering you are missing a chunk of important information. (This will happen anyway, but not as much if you do it upfront.)
This is also the time I pick my Imaginary Reader. Imaginary Reader is the kid I envision reading my book. Imaginary Reader sits next to me while I write. Is IR a girl or a boy, or both? How old? Do they like to read or not? What about my story would interest them? (Actually, I should probably come with my IR first. See? That old executive reasoning problem.)
So if you are not a Plotter, fear not. You can be a Planner. It's worked for me so far.
In California, where you can have up to 8 characters, it would read:
So do you know what it means?
Although I like to think of it as "genuinely interested in people."
I'm starting on a sequel to Girl, Stolen. When I wrote that book, which is about a blind girl who is accidentally kidnapped when someone steals her step-mom's car, I was working full time and had a kid in middle school. I had zero free time. So I read books about what it's like to be blind and did research on the Internet.
Now I have the freedom to talk to people. Today I'm interviewing someone who is blind and here are some of the questions I want to ask:
Do you know Braille? How important is it? How many blind people really know Braille?
What apps do you use/what do you they do? Can you show me?
How has your life changed in the last five years in terms of technology?
Do you cook? How do you see how fine the pieces are when chopping or know if things are done?
Open the freezer - how do you know what’s in it?
How do you sweep or keep floor clean and know it is?
How would you walk in straight line across crosswalk without the cues of the sidewalk?
How would you find the bathroom in a strange building?
How would you find your locker at school and spin it?
Do you do any sports?
What smells do you notice the most?
Are there sayings people say all the time, like Love Is Blind or getting embarrassed about “see”?
What’s one thing people always get wrong about what it's like to be blind?
Young Children, New Media, and Libraries: A Guide for Incorporating New Media into Library Collections, Services, and Programs for Families and Children Ages 0-5. 2014
Campbell, Cen. Koester, Amy. Chapter One: New Media in Youth Librarianship.
Prendergast, Tess. Chapter Two: Children and Technology: What can research tell us?
In the first chapter of this free professional resource on the topic of young children and new media, Little eLit Ladies Campbell and Koester make a case and a call to action for librarians to become media mentors to support families. Young Children, New Media, and Libraries, the book, is unfolding in monthly releases, a chapter at a time and that can only increase its value. These dynamic thinkers in chapter one describe challenges to be met, such as “[t]he proliferation of digital content for children, and the mainstream interest in media consumption by young children.” They recognize opportunities to seize like inviting families to “break the paradigm of children interacting by themselves with a mobile device” by showing “parents how they can support their children’s engagement through joint use of media”.
In the second chapter, doctoral student and energetic children’s librarian, Prendergast, summarizes several key studies on children and technology. Over twenty studies and resources are profiled offering an easy way to gain background knowledge of important research completed on this topic. Here are a few studies to give you a flavor of the chapter:
Lankshear and Knobel (2003) reports on their review of research prior to 2003 focusing on new technologies and early literacy
Karen Wohlwend (2010) emphasizes the concept of open-ended, purposeful play using digital media
the American Pediatrics Association (APA) statement (2011) concerns itself with new technologies and early literacy
the position statement from the National Association for the Education of Young Children (NAEYC) and the Fred Rogers Center (2012) is a thought-provoking report
Prendergast is spot on as she challenges readers to conduct library-based research to help move the profession forward.
If chapters one and two are any indication of future chapters, Young Children, New Media, and Libraries, in my opinion, will become a classic book on librarianship. This resource should help the profession reduce confusion by broadening our knowledge of the topic. However, it goes further by demonstrating a potential to tap our problem-solving skills by asking thoughtful questions and increase our understanding of and capacity to fulfill the purpose of a library in society.
You can find the chapters at Littleelit.com – and you won’t be disappointed.
I used to make elaborate New Year's Resolutions with 20, 30, even 40 things I was going to change, do, fix. I would be thinner and a better friend, run faster and pray more.
Often, the only thing that changed on that list was the year at the top.
This year, my resolution was a single word: risk. I'm increasingly aware of my own mortality. Time is flying by and I don't want to say "If only I had."
I got a chance to act on my resolution only a few days into the new year. A man I don't know well but respect often uses a series of funny accents as he makes his points: New York. Russian. Etc.
And one is a big campy gay voice.
That day, I looked around the room, trying to see if it made anyone else as uncomfortable as me. But I felt like I was alone. Still, I waited until everyone else had gone and told him how I felt.
The conversation took some interesting turns I hadn't expected. I think it was eye-opening for both of us.
And afterward I was glad I had taken that risk.
In a few months I'm going to be taking a class called Urban Escape and Evasion (I snagged the photo from their web site). You spend two days learning how to survive in a dangerous chanotic urban environment (say after a terrorist attack or being kidnapped in a foreign country), then on the third day you are “kidnapped: hooded, cuffed and taken somewhere dark and uncomfortable to start your day. You will be expected to escape, find your own transportation legally using your social engineering skills, and make your way to the first cache location, where directions for a series of tasks using all your new skills await.Meanwhile, expert trackers will be hunting you down, and if they catch you, you will have to start again from a more distant location."
I know this is going to stressful. As a writer, I'll be an outlier, surrounded by preppers and ex-military. My guess is I'll be older and one of very few women.
But for the risk, I'll have the reward of having so much amazing writing material. So it will be worth it.
There are two things about writing that never get any easier for me. . .coming up with a good title and naming characters. I still have a hard time with titles, but I have developed strategies to give my characters good names.
I spent most of my pregnancy struggling to come up with just the right name for my daughter, a name that would be all her own. In writing, I do not have the luxury of spending eight months on one character name.
I believe that name is the single most important aspect of a character. It is usually the first thing a reader learns about him. The name should reflect the character's personality is some way, however subtle. Sometimes that is a mysterious process that goes on in the author's head, unexplainable to anyone else. I do not know how E.B. White decided on Charlotte and Wilbur, but can you imagine them named anything else? A book called Barbara's Web? A pig named Bob? No, somehow Charlotte and Wilbur, along with Fern and Templeton and Mr. Zuckerman are so right, they could not be anything else.
Since I write historical fiction, I have a second barrier to finding just the right name. My names need to fit the time period. The characters in Yankee Girl were pretty easy. The book was about my sixth grade class. I used names that were popular in 1964, as well as names that were popular in the South. Jimmy's Stars, which takes place in 1943, was a little more difficult. I knew that my main character was born in 1932, and would have graduated from high school in 1950. I scoured libraries and second-hand stores for 1949-50 high school annuals. (There were an awful lot of girls named Betty.)
Contemporary fiction isn't much easier. Names change as quickly as any other fashion. Some names scream a particular decade. I am a baby boomer, and I was usually the only Mary Ann in a class full of Debbies, Karens, Cathys and Sharons. When I was a middle school teacher in the late 80's, I taught more than a few Farrahs. My friends who had babies about then named them Ashley and Kate (not after the Olsen twins!) When I had my daughter in 1994, I was the only one in my childbirth class who did not name their child Tyler or Taylor (regardless of sex).
Then there are adult names. In children's books, they are usually not a central character but occasionally they are. (Miss Gruen and Reverend Taylor in Yankee Girl come to mind.) How do you name adults?
Here is a list of sources I have compiled that help me with The Naming Game.
1. Baby name books. These often reflect the popularity (or lack of popularity) of a name, as well as give a cultural origin. (Warning: I learned not to carry one of these in public unless I wanted to start rumors about a possible new addition to my family.)
2. School annuals. These work for both contemporary and historical fiction.
3. School directories, websites, newsletters, newspapers, class lists. Schools in my neck of the woods generate an enormous amount of student information. If you don't have access to your own personal student, read the school news pages online or in your neighborhood paper/website.
4. Obituaries. Yeah, I know it's kind of morbid, but I have collected a number of "old-timey" names from them. Around here, they usually include the person's nickname as well.
5. Observation. I live a mile away from the fastest growing immigrant community in the country. Call me nosy (or a writer), but I notice workers' name tags. I ask the employee where they are from and how they pronounce their name. No one has been insulted (yet), and I have collected names I would never have thought of on my own.
6. The Social Security Index of Popular Baby Names. This site is unbelievably cool. It lists the top 200 names for boys and girls for each decade, from 1880 to 2010. Not only is it searchable by decade, but by each state as well. (Apparently Mary and James were the hot names of my decade.) http://www.ssa.gov/OACT/babynames/decades
What do I do with all these names? I list them in a notebook, separate from my regular journal. Right now, the 1910 Social Security list is getting a heavy workout from me. My characters are named.
Now if I could just think of a title...
Don't forget about our current book giveaway. For more information click here.
In September 2014, YALSA blogger Jaina Lewis began a series on the Aspen Institute Task Force on Learning and the Internet 2014 report entitled Learner at the Center of a Networked World. Lewis’ post focused on 24/7 learning and how libraries and librarians can help keep the learning going outside the walls of school.
As Lewis says, the report is comprehensive, clocking in at 116 pages. This report is full of excellent resources and websites to explore. The Aspen Institute feels that our youth today need to be fully connected. In order to do that, we need to rethink our current models of education and technology infrastructure so that we create an environment of connected learning.
I particularly liked the definition of connected learning the report gave saying that “connected learning...is socially embedded, interest driven and oriented toward educational, economic or political opportunity” (34). In this definition, not only are we making sure the learner is at the center, but we are also taking into account the various things that surround our learners. In order to prepare youth for being smart, savvy, and critical citizens in our digital age, we have to remember the influences, histories, and cultural values that shape our youth.
As I read through the report, I was most drawn to the section on cultivating literacy skills. While the infrastructure is important, I believe in using technology as a tool and that people come before the tech. Not only do we want our youth to be both consumers and producers of media, but we also want to make sure they are critical thinkers and that these skills stay with them throughout their entire life. Of course, then the question becomes, how do we as libraries help to cultivate these attitudes? And do we as libraries have those critical thinking skills to make sure good consumers and producers of media and users of technology? Because while the report is about the learner, the youth, they look to us for guidance and support. We also have to feel empowered and confident about using technology to help us do “projects that matter” (connected learning that is interest driven). When we invest in using technology as a tool, we share a purpose with the youth we work with even though they are not our peers.
The report talks about youth being in a “whitewater learning” environment (27). This means that they acquire skills and learn new knowledge in the middle of practicing these skills as the technology environment changes around them. This is a type of learning we as librarians can also take. We can dive in, helping to create new knowledge to share with other librarians and expand our learning network. I believe by doing this, we give ourselves the agency we need to help the youth to our best ability.
This is a report that I will continue to mull over. My first read got me thinking about my role as a librarian in helping ensure our learners are at the center of their network. I hope in a future reading, my focus shifts and I can expand on this initial blog post. If you have a chance to skim the report, I recommend it; just seeing the various ways in which institutions across the United States in helping create exciting environments that use technology as a tool was exciting. The report gives you a lot to think about and I think this will continue to be a report we look at in 2015!
It's been a while since I got the fantastic news that I have been awarded a grant from The Leverhulme Trust, to spend a year working with The Morgan Centre for Research into Everyday Lives at Manchester University, shadowing their research projects with my sketchbook in hand.
Unfortunately, because we wanted the project to span a single academic year, we set the start date as October 2015 - ages to wait when I'm so excited! In the meantime, we can at least start planning, so Professor Heath from The Morgan Centre came to the studio this week, for a meeting.
I have learnt that the main project I am working on is studying the effect the weather has on us Brits - more painting in the rain perhaps! Plus there is also a project around 'Dormant Things': objects we all own, which we don't need or even really want, but can't quite bear to throw away. Cellars, attics and bottom-drawers everywhere are packed with them.
Another couple of bits of research I might dip into are going to involve interviewing people on the streets of Manchester. One is about how people interact with public spaces and the other is looking at street fashion. That should be quite a challenge - my speed sketching will come into it's own!
I've also been commissioned separately to shadow their conference in July. The theme is 'Atmospheres' and they have some fantastic presentations booked in. It sounds like it is going to be fascinating, over and above the fun I am going to have recording it in my sketchbook. I will be co-delivering a presentation with Prof. Heath about our project and, as with the ASCEL conference, I will have a short slot on my own near the end, for showing what I have been drawing during the event and talking briefly about Urban Sketching.