Writer Mentorship Lesson #2

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You could find children’s book author Trisha Speed Shaskan in a crowd. She’s the “cool glasses” girl. She also has great taste in meeting places and mentors.

My greatest lesson from my second MN SCBWI Writers Mentorship meeting with Trisha Speed Shaskan:

It takes a village to raise a writer. Find a good village.

I’m one of those people who needs leaders to hold the bar for me and make me believe that it’s within reach. We all learn better with a diverse group of people challenging, inspiring, and encouraging. That’s why I was relieved to know that my mentor, too, has mentors.

My mentor's mentor: Long time MFA teacher at Hamline University, Jane Resh Thomas.

My mentor’s mentor: Jane Resh Thomas.

When I shared with Trisha that I had enrolled in an writing program with Jane Resh Thomas, she  almost spit out her tea.  I didn’t know it, but Trisha trained under Thomas for four years. In fact, Trisha attended the very same class, the very same time, the very same night of the week. Trisha LOVES Jane. (And, I learned Jane LOVES Trisha.)

When an SCBWI friend mentioned that Jane Resh Thomas workshops were available, I had no intention of attending, thinking I was much too busy. I really had no clue what a big deal these workshops were.

Then one day I checked out my two-week children’s book stack from the library. When I got home, I thought I’d lost my marbles, because I’d selected a picture book that I’d just read. It was Jackie Urbanovic’s DUCK AT THE DOOR. But I read it again anyway. On the copyright page, Jackie wrote: “With Thanks to Jane Resh Thomas, who taught me to write, and to her writing group for so much laughter and support.”

YIKES! I dashed to my computer. Here’s what Hamline University has to say about Jane Resh Thomas:

Jane Resh Thomas, a recipient of the Kerlan Award for contributions to children’s literature, is the author of fifteen published and contracted books, including picture books, short fiction, middle-grade fiction, and biography. The Comeback Dog; Saying Good-Bye to Grandma; Courage at Indian Deep; and Behind the Mask: The Life of Queen Elizabeth I have won, among other honors, a Parent’s Choice Award; Notable Books and Best of the Best listing by the ALA; and a Minnesota Book Award. Her most recent books from Clarion are Blind Mountain, an adventure story, and The Counterfeit Princess, a historical novel.

I couldn’t email Ms. Thomas fast enough. She only had one opening available. I took it.

Before my first class, another friend emailed me a link to an article recognizing Minnesota children’s literature superstar Kate DiCamillo as STAR TRIBUNE’S Artist of the Year. Kate belonged to a writer’s group led by–wait for it–Jane Resh Thomas. That only sweetened the deal.

I’ll have tangible tips from Trisha in the February mentorship post. In the meantime, I hope you’ve found your cheerleading leaders. The reason Trisha is such a fabulous mentor (besides all the talent, personality, and humility, of course) is that she comes from a fabulous village and she’s a fabulous mentee.

THE STORY OF FROG BELLY RAT BONE

FBRBPicture book,
Fiction

Age Range:
4-8 years

Grade Level:
K-3

Text and illustrations by Timothy Basil Ering © 2003

Published by Candlewick Press

 

AWARDS

A NICK JR. FAMILY MAGAZINE Best Book of the Year
A New England Book Show Juvenile Category Winner
A New York Book Show Children’s Trade Hardcover Winner

WHY THE STORY OF FROG BELLY RAT BONE IS A KEM GEM

KKRISTI’S TAKE
Like the boy’s wish in this story, I found a true TREASURE. The expressionistic illustrations in THE STORY OF FROG BELLY RAT BONE are distinctively whimsical! With splatters of speckles and spackles, the tactile textures and twine are untraditional, uninhibited and sublime. Once I finally stopped admiring Timothy Basil Ering’s masterpiece, I still admire it, I understood that Ering’s message was as tender as the “tiny gray specks” that sprout into “wonderous riches”.  Every child will delight in this fantastical story about treasures, thieves, friendship and patience; thanks to Frog Belly Rat Bone.

Favorite line
“Stand tall, Frog Belly Rat Bone!” shouted the boy, waving his hands like a wizard.

KEM Sapphire
E
ELISE’S TAKE
Holy texture, Batman! The raised cover! The scratchy text! The acrylic washes and scuffs! Ering’s sense of ingenuity and fun is immediately reflected not only in his unconventional artwork, but also in a main character on the hunt for great things in unexpected places. He manifests his humor in the gestures and expressions of the curious boy, the conniving thieves, and of course, in swollen Frog Belly Rat Bone himself. Even the title, FROG BELLY RAT BONE is fun to say again and again. Readers of all ages will enjoy the messy spreads in Ering’s tale of friendship, patience, and the joy of discovering treasure.

Favorite line
“Frog Belly Rat Bone, one, two, three…You are the monster who will protect the specks.”

KEM Diamond
MGrayANNA MARRAS’ TAKE
Timothy Basil Ering created a clever tale of possibilities by juxtaposing the dark, drab, dreariness of cement and metal with vibrant flowers and exuberant creatures. I’ve grown especially fond of two supporting characters, a funny rabbit and a fruit fly wearing an “I Heart Jelly” t-shirt.

Young readers will love exploring for the unexpected within. For instance, in one last lovable spread, Basil stitched his story together, just like he stitched up his dancing protagonist Frog Belly Rat Bone.

This story may make you scratch your head. But in a good way. Basil’s living and breathing text and illustrations help us believe that something can come out of nothing. And the best riches are often camouflaged—in little specks, unlikely heroes, and the art of diplomacy.

Favorite line
 “Monster!” said Frog Belly Rat bone. “But my dear boy, you’ve made me far too good-looking to be a monster!”

GEMrub

Other children’s books illustrated by Timothy Basil Ering:

  • Newberry Award Winning The Tale of Despereaux by Kate DiCamillo
  • Finn Throws a Fit by David Elliot
  • Punkzilla by Adam Rapp
  • Necks Out For Adventure by Timothy Basil Ering
  • Sad Doggy by Jennifer B. Lawrence

Please share your The Story of Frog Belly Rate Bone comments!

Writer Mentorship Lesson #1

Thankful for my writer friends: Lou Aamodt, Kristi Herro, Alicia Scwab, Elise Parsley.

Thankful for my children’s critique friends: Lou Aamodt, Kristi Herro, Alicia Scwab, Elise Parsley. (See who else I’m thankful for on MY WRITING FRIENDS page.)

Recently, my wise writer/illustrator friend, Elise, marveled that we’re learning so much while reading, researching, writing, and reviewing with our writers groups; it’s like receiving a free graduate degree in children’s literature.

Her reflection sparked this meet-up mindset for me: This is more than friend-time. I’m part of a graduate program, learning from some of the best and the brightest. Don’t take one minute of this for granted.

2014-2015 SCBWI Writer Mentor Trisha Speed Shaskan has written over 40 books, including HONESTLY, LITTLE RED RIDING HOOD WAS ROTTEN!; TRULY, WE BOTH LOVED BEAUTY DEARLY!; and her 2015 release, PUNK SKUNKS, co-created with her husband, Stephen Shaskan. I’m beyond grateful for this opportunity to learn from her and get to know her as a friend and fellow lover of children’s literature.

After friendship, the best part about writers groups is the knowledge we share. For me, it’s definitely a win-win, because my comrades are all smarter than me. We’re like one big, spongy, interconnected brain. So, of course I had my writing friends in mind when I was selected this October by the MN Society of Children’s Book Writers & Illustrators (SCBWI) Conference Committee for the 2014-2015 Writer Mentorship with children’s book author, Trisha Speed Shaskan. Woo hoo! I would finally have something juicy and substantial to bring to the table!

I’m honored that Ms. Speed Shaskan (Trisha) and the committee found promise in my work and are devoted to prodding me past mediocrity. To pay this kindness forward, I’ve asked Trisha if I could share her wisdom, not only with my writers group friends, but with anyone who visits this blog. She generously said “yes,” so, rather than recapping from memory, I’ll share the email I sent to my critique friends.

To: Critique Lovelies

Subject: Mentorship notes

Hello!

I met with Trisha last evening and came away with a treasure chest full of wisdom.

I inquired about diverse reactions we’ve received from reviewers pertaining to alliteration in picture books. (Who’s right, those for and against?) Trisha laughed, because she wrote a book called, IF YOU WERE ALLITERATION. For picture books, she loves it.

Concerning word choices in children’s books, she thought words like “clambered” and “musty” were perfectly acceptable—even more desirable than dumbed down words. She said to think of picture books like a poem or a song and to go with the rhythm and words that ring true to the story. Since picture books are usually read by adults to children, (unlike easy readers and early chapter books, where the words need to be carefully selected for young readers) she said, “By all means, go for elevated, beautiful, active language.”

And she loves onomatopoeia. In fact, in my story she suggested I add more onomatopoeia, such as a “shuffled” during the stampede scene.

Concerning critique format, the following is the one her group incorporated. They’ve tried others and like this best:

Summary:

What Works:

Questions:
Character
Setting/World Building
Physical Description
Refrain

Final Note:

The process is similar to ours, but more formal.

The “summary” helps determine whether the writer’s vision has been successfully communicated. A bonus: it’s a helpful tool later, when creating a pitch.

“What works” helps the writer determine what to keep.

“Questions” make the story stronger. For instance, Trisha asked some of the same questions you asked. That showed me what I need to clarify.

She said it’s important to know the rules of the world we’re creating and stay consistent.

And sometimes to be generous and just tell the reader information directly, rather than trying to be subtle.

To reduce words, she gave me two examples where I used repetitive emotions  (that the illustrator will certainly reinforce) and said that eliminating one in each phrase would be an effective way to condense:

  • Shuddering, she slumped over her tomatoes and stroked the empty peddler space on her sash.
  • The Grand Duchess stomped toward the tower. (One word can replace four.) “I’LL TOSS HER TO THE CROCODILES MYSELF!”

Her critique for my manuscript was a page and a half, single-spaced. She suggested starting with the above format, then she will follow-up with line-by-line reviews after the questions have been addressed.

I hope I’ve shared something that will help you as well.

Much thanks to Trisha for her thoughtfulness and generosity! Watch for more Speed Shaskan wisdom in future posts.