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Author Guest Post: “See the Seeds!” by Antoinette Portis, Author of A Seed Grows

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“See the Seeds”

Once you start thinking about seeds, you might be surprised to see how many different kinds you encounter in daily life.

When you’re planting a garden, of course you think about seeds. And when you’re eating a slice of watermelon, you kind of have to think about seeds. But this summer, as I sliced tomatoes and the slimy guts slid out onto a plate, or when I ate a plum and spit out the little rock in the middle, I started to notice how many seeds I encounter in a day. Maybe you eat a handful of nuts as a snack—walnuts, pecans, almonds, pepitas—these are seeds. But so is your morning oatmeal, made from the edible seed of the oat grass plant! The bread most of us eat is made from flour that’s the ground up seed of the wheat plant.

See how many seeds we can meet in one day! Maybe try keeping count to see how many kinds of seeds you eat or interact with in a day or a week.

As a child, I used to gather seed pods from the various kinds of trees in my neighborhood: bottle tree seedpods that looked like little boats, and others, from the Jacaranda tree, that looked like clam shells or tortoise shells; from the carob tree, hard brown pods that looked like giant snap peas and rattled like maracas when you shook them. Pinecones that looked like miniature Christmas trees and every once in a while had a seed still attached to a scale or two. And prickly balls from the Sweet Gum tree that look like Christmas decorations.

Finding these seeds when walking to school or to a neighborhood friend’s house was a jumping off place for my imagination. But more importantly, it reassured me I lived in nature, that my life was part of a giant, beautiful cycle of life.

I’ve made some activity sheets about various kinds of seeds. Enjoy!

Published June 21st, 2022 by Neal Porter Books

About the Book: The transformative life cycle of a sunflower plays out in this bold read-aloud by Sibert honoree Antoinette Portis.

“A seed falls,
And settles into the ground,
And the Sun shines,
And the rain comes down,
And the seed grows…”

To understand how a seed becomes a sunflower, you have to peek beneath the soil and wait patiently as winding roots grow, a stalk inches out of the earth, and new seeds emerge among blooming petals.

With evocative and lively illustrations, A Seed Grows offers a close-up view of each step of this process and the ways in which flowers and seeds depend on other creatures, with a striking fold-out spread of a full-grown sunflower and additional material at the back of the book explaining the science of plant life cycles.

About the Author: Antoinette Portis is the author of many inventive books for children, including Not a Box, a New York Times Best Illustrated Book and a Geisel Honor Book; and the Sibert Honor Book Hey, Water!. Other books include A New Green Day, which was a Publishers Weekly Best Book of the Year, as well as the ALA Notable Books Wait and Now. A recipient of the prestigious Sendak Fellowship, Antoinette lives in Southern California where she grows her own sunflowers, like this one. 

https://www.antoinetteportis.com/
@aportisa on Twitter

https://holidayhouse.com/book/a-seed-grows/
@holidayhousebks on all platforms

Thank you, Antoinette, for sharing all of the amazingness of seeds!

Author Guest Post: “Bring the Text to Life: Baking the Cake” by Stephen Savage, Author of Moonlight

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“Bring the Text to Life: Baking the Cake”

In 2004, when I began my career in children’s books with a book called Polar Bear Night (published by Scholastic, written by Lauren Thompson), I thought I had it all figured out. I was of the mind that picture books were mainly about the visuals (why else would they call them “picture books”). And as crazy as what I am about to say sounds, I didn’t really understand how the text functioned. I knew it filled blank spaces in the illustrations, but that’s about it. It seemed like “the icing on the cake”. Little did I know.

Then in 2010, I decided I wanted to bake a cake and ice it, too. My daughter had just been born, and I felt inspired to write a story about her. One morning, as I stumbled across the Gowanus canal on my way to my studio in Brooklyn (I hadn’t gotten enough sleep the night before), I spotted a tug boat. “That’s my story”, I thought. I could see the visuals perfectly. 

But what about those blank spaces in the images? They’d need words! By this time, I had illustrated three books, visited a few classrooms, gotten to know the reading habits of kids, and was starting to figure things out a bit. I was learning that picture books were read-alouds, and that the words were very important (duh!).

I was on to the fact that words could be fun to say. Words could engage. More importantly, words could create a beginning, middle, and end in a book. I had so much to learn. I spent months writing my ideas down on index cards, until the cards fell together to form Little Tug (Roaring Brook Press/Macmillan).

This summer, my seventh book as both author and illustrator comes out. It’s called Moonlight. And I’m sure if I showed the book to my 2004 self, he’d scoff at the text. At only 85 words, he’d regard it as a very thin layer of icing on top of an already yummy cake.

But here’s what I’d say to my old, uniformed self: effective picture book text may seem effortless, but that’s not the case. I’d point out all the craft that went into the writing, a discussion of which, could be used to stimulate discussion in the classroom.

I’d point out FOUR examples of writing tools I used to bring the text to life:

  1. PERSONIFICATION: The book opens with the line “Something is on the move”. Personifying the moonlight, turning it into the protagonist in the story, was one way I put a new spin on the traditional lullaby/nighttime theme. 
  2. VIVID VERBS: Words like “slithering”, “drifting” and “tumbling” give the reader a sense of action and adventure. They create excitement and drama.
  3. ALLITERATION: “Sliding down silvery tracks” may just be my favorite line in the book. Why? It’s fun to say. And I have my editor, Neal Porter, to thank for that alliterative line. He replaced my original word, “Icy” with “silvery”. PS: I think it’s nice for young readers to hear how professional artists get help from their teachers (er, I mean editors 😉
  4. SENSORY LANGUAGE makes a story relatable. I used the line “Then it rests for a while, next to you” for a rush of emotion at the critical moment in the story when the moonlight journeys into the child’s bedroom. Certainly, the image of the cat snuggled up against the child reinforces this ‘touch’. 

So now that I’m thinking about it, this “icing on the cake” analogy doesn’t really apply anymore. In picture books, images always work together with text to tell the story. I had to work hard to figure this out, and luckily my editors and mentors have been generous with their advice and suggestions. Like most things in life, writing is about practice and good guidance. And a little piece of cake and a glass of milk while you’re working never hurts!

NOTE: Special thanks goes to teacher/reading specialist Renee Davis of Glastonbury, Connecticut (my sister-in-law) for acting as a consultant on this post.

Published August 23rd, 2022 by Neal Porter Books

About the Book: A lyrical bedtime read about the captivating effects of moonlight and its nightly journey.

“Something is on the move.”

When moonlight shines, it’s not like most light. In the quietest hours of the night, it swings through trees and slithers down rivers. It drifts in the wake of steamships and catches on the propeller of a passing plane. It blankets neighborhoods before coming to rest by your side.

In this bedtime picture book, Stephen Savage, author and illustrator of And Then Came Hope, Babysitter from Another Planet, and the Geisel Honor book Supertruck, presents a lyrical text and illustration full of dramatic light and shadow to pay homage to the mysterious moon and the unique ways it reveals itself each night.

About the Author: STEPHEN SAVAGE is an award-winning children’s book author and illustrator whose accolades include a New York Times Best Illustrated Book (Polar Bear Night) and a Geisel Honor (Supertruck). Polar Bear Night was a New York Times bestseller. He also wrote and illustrated And Then Came Hope and Babysitter from Another Planet. He teaches at the School of Visual Arts and lives in Brooklyn with his wife, daughter and two dogs. 

https://www.savageillustrator.com/
@savageillustrator on Instagram
@savageartist on Twitter

https://holidayhouse.com/book/moonlight/
@holidayhousebks on all platforms

Thank you, Stephen, for sharing sharing your analogy that can move writing to the next level!

Author Guest Post: “Little Red and the Big Bad Educator’s Guide” by Rebecca Kraft Rector, Author of Little Red and the Big Bad Editor

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“Little Red and the Big Bad Educator’s Guide”

When I learned Shanda McCloskey would be illustrating my story LITTLE RED AND THE BIG BAD EDITOR, I was ecstatic. I knew her art would bring to life my story of the Big Bad Wolf correcting Little Red’s thank you letter to Granny. And I was right. The vibrant colors! The actions! The humor! I was so lucky to be paired with Shanda.

Then I learned Shanda, like me, had an educational background and she wanted to collaborate on an educator’s guide for LITTLE RED AND THE BIG BAD EDITOR. What a great idea! Many publishers and editors provide educator’s guides for their picture books.

There are so many ways to use picture books in classrooms from kindergarten on up. They’re rich in vocabulary and can have a higher reading level than many novels. They’re short and appealing to lower-level readers, ESL, and special needs students. For a generation that enjoys graphic novels and sharing pictures and stories on social media, picture books can be a familiar format. In fact, picture books often introduce new concepts and facts in an accessible way. They are an excellent entry point for all ages about topics that are difficult to understand or discuss.

But what about LITTLE RED AND THE BIG BAD EDITOR? Could we put together a useful educator’s guide for a fun story about correcting a heartfelt but poorly written letter? No problem! I’d done a basic guide for my first picture book SQUISH SQUASH SQUISHED and even produced a short video for a school librarian presentation. My brain was stuffed with methods for meeting curriculum standards after writing lesson plans, test passages, questions and answers for educational publishers.

I told Shanda “Yes!” and got to work.

Like Little Red, I whipped out my crayons (computer) and started writing. And like the Big Bad Wolf, I crumpled up those pages and threw them away. The Big Bad Wolf couldn’t fault me on my capitalization and finger spacing, but there were just too many elements that I wanted to include.

For instance, I could ask students to look for examples of characterization, plot, setting, theme, and story structure. They could practice story prediction by guessing what would happen in the story based on the cover and title.

So many possibilities for discussions and story prompts, too! Students could write their own stories by thinking about what happens before or after the story, or within the pictures. What was Little Red doing before the present arrived? What happened after the last page of the story? What about that little turtle, what’s his story?

Maybe I should focus on figurative language—the assonance, alliteration, similes, idioms, onomatopoeia, etc. in LITTLE RED. Find the simile: “Little Red was pleased as punch. Granny had sent her a present! Red ripped off the wrappings and removed a cape as scarlet as a ripe tomato.”

What about sequencing and cause and effect? Oh, we could use Shanda’s art for that! Which picture shows what comes first, middle, and last? Which picture shows what caused Little Red to write a thank you note?

And I couldn’t forget about compare/contrast! Both SQUISH SQUASH SQUISHED and LITTLE RED are “fractured” versions of folktales. SQUISH SQUASH SQUISHED is considered a modern version of both TOO MUCH NOISE and IT COULD ALWAYS BE WORSE. After reading an original version and the new version, students could compare/contrast the stories for all of the elements listed above, plus author’s voice and even author’s purpose. Younger students could compare/contrast the illustrations for the stories.

Shanda created awesome activities within a week. She even included practice sheets for writing letters and cursive writing. But after a month I still struggled with narrowing down all the possibilities.

Finally, I realized (why did it take me so long?!) that I couldn’t include everything. Some things would have to be left out. But we’re both really happy with the final product and would be thrilled if you’d take a look. It’s on my website https://rebeccakraftrector.wordpress.com and Shanda’s https://www.shandamc.com and here’s a direct link http://ow.ly/IHPC50KffBh.

Published September 6th, 2022 by Aladdin/Simon & Schuster

About the Book: In this clever and playful fractured fairy tale picture book, the Big Bad Wolf is so distracted by Little Red’s poorly written thank you note to her grandmother that he keeps missing the chance to eat her!

Once upon a time, Little Red received a bold new cape from her Granny. She wrote her a thank you note, packed a basket of goodies, and walked through the meadow to Granny’s house. But swish swash SWOOP, the big bad wolf stops her in her tracks, opens his mouth wide, leans in close and…​

Sees the note.

Mr. Wolf can’t believe how sloppy the letter is—Red can’t give this to Granny! He corrects her grammar but misses out on his dinner while he’s distracted each time he encounters Red on the path. Can she keep outsmarting the Big Bad Editor and make it all the way to Granny’s house?

About the Author: Rebecca Kraft Rector is a retired librarian and the author of more than thirty fiction and nonfiction books for children. Her cats Ollie and Opal keep her company while she writes. When she isn’t writing and eating chocolate, she’s trying to keep deer out of her garden.

LITTLE RED AND THE BIG BAD EDITOR is Rebecca’s second picture book, coming from Aladdin/Simon & Schuster on September 6, 2022.

Visit Rebecca online at https://rebeccakraftrector.wordpress.com

Thank you, Rebecca, for introducing us to your book and how useful it will be in classrooms and libraries!

Author Guest Post: “The Whole Book Approach” by Diane deGroat, Author of The Adventures of Robo-Kid

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“The Whole Book Approach to The Adventures of Robo-Kid”

The Whole Book Approach to story time reading was developed by Megan Dowd Lambert in association with the Eric Carle Museum of Picture Book Art to “bring children’s ideas and questions to the center of shared reading while celebrating the picture book as a visual form.” Yes, it’s a mouthful, but when witnessed in action, it becomes an exciting way to share picture books with children by drawing inspiration from Visual Thinking Strategies (www.vtshome.org). As Megan says in the preface to her book, Reading Picture Books with Children: How to Shake Up Storytime and Get Kids Talking About What They See (Charlesbridge 2015), we should invite children to react to “the whole book­”—its text, art, design, production, and materiality.

How have the designers tested the limits of its “bookness?” Not only does it have shape and weight and visual appeal, but it is mobile. It can be opened and closed. It is an object, not just a story to be listened to. In this day of eBooks and streaming, a printed book is an art form which has staying power. Children can engage with great picture book art and critical thinking skills when the discussion starts before reading the book, continues after reading it, and, importantly, includes a large amount of discussion during the reading of the book. Studies have found that this dialogic reading enhances comprehension, engagement, vocabulary, and literacy skills. More information about the Whole Book Approach can be found on Megan’s website: www.megandowdlambert.com.

Now for an example. I designed my new book, The Adventures of Robo-Kid with all of the above in mind. Take a look at the dustjacket and start with questions inspired by Visual Thinking Strategies: What do you see happening in this picture? What do you see that makes you say that? What else can you find? Then consider, what do you think the book will be about? Notice the two styles of art I used. One is realistic and the other is cartoony. Why do you think I did It that way?

Turn the book over and look at the back of the book. Notice that I made one continuous illustration wrap around from the front to the back. Why do you think I did that? What do you think will be more important in the book—the realistic part or the comic part? Or will they be equally important?

Take the paper dustjacket off. Look at the art pasted onto the hardcover underneath it and compare it to the dustjacket. See the difference? Do you feel like you are reading a comic book now, and not a picture book? That was my goal! Why do you think I did that?

Now open to the front endpapers. Megan says in her book, “Endpapers give us clues.” My endpapers introduce us to Robo-Kid and his dog even before the story has begun. Go back to using those VTS-inspired questions, or ask yourself: How does Robo-Kid get schooled? Why do you think he’s looking at the Earth globe with so much interest? What do you think his dog wants? If you miss seeing all this, the story inside the book still makes sense, but adding endpapers like this offers more material for the person/child who finds it to enjoy as the enter the story.

On the next spread, the title page will introduce us to Henry and his dog in my realistic style of art. So now you see why I used two styles—one for the comic book story and one for the “real” world story. But can you still find what is the same about the two characters and their worlds?

When you start to read the story you can see how I melded the two worlds into one book. Henry is engaged in reading his Robo-Kid comic. The comic art shows what he is reading.

The two stories will continue on spreads, with Henry’s at the top, and Robo-Kid’s below it—until they come together!

After the book was printed, and I read it to kids, I learned an important lesson. When reading a comic-type book to non-readers, it’s important to point to the panel and the text you are reading. Otherwise, showing the whole spread with so many different actions going on could be confusing.

I hope you can share this book with your students using the Whole Book Approach. Remember to look carefully at the art. Especially the very last page with Henry’s dog. What does he see that the others don’t? And don’t miss the back endpapers, which continue the story!

Published June 28, 2022 by Neal Porter Books

About the Book: A comic-book superhero climbs off the page and into the real world. When they get into trouble, his biggest fan is there to save the day.

Imagine you could meet your favorite comic-book hero in the real world. What kinds of questions would you ask? Would you go on new and exciting adventures? While heroes might seem larger than life, everyone can use some help from a friend.

Follow two intersecting stories set in the real world and inside a comic book as a real-life kid finds the courage to cope with his anxiety with the help of Robo-Kid, a comic superhero with his own vulnerabilities. With two distinctive art styles blending comic book and traditional picture book formats, Diane deGroat’s The Adventures of Robo-Kid is an inspiring tale about what it takes to be a hero.

Diane deGroat has been writing and illustrating picture books for more than thirty years. For the last ten years she has been illustrating the highly popular Charlie the Ranch Dog series with blogger, author, food-writer, and television personality Ree Drummond, also known as the Pioneer Woman.

About the Author: 

Diane deGroat
www.dianedegroat.com
www.thestorybehindthestories.com

Thank you, Diane, for this in depth look at using your book with readers!

Author Guest Post: “Their Story, Our Legacy” by Emily Francis, Author of If You Only Knew: Letters from an Immigrant Teacher

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“Their Story, Our Legacy”

During the first days back this year, our school received a special guest speaker, former educator and coach, who left a remarkable legacy. Coach Smith was fired up, sharing the wonderful stories that highlighted the amazing history of our school which he collected from 1893 to the day he retired.

I began to think about how his passionate stories impacted every staff member listening. The power of a story hit me to my core, and I began wondering about our students’ stories: What stories are students telling about our school? About us as teachers? Just like Coach Smith can share his powerful and impactful stories about a building, so our students are out and about telling stories about us.

Of course, I connected it to my personal experience as a former student new to the USA. As a fifteen-year-old scared immigrant, I entered high school with so much passion and persistence but left with shattered dreams. My story about my experience as a student in the USA is not a good one. It’s a story of pity and sadness and pain. I can close my eyes and feel exactly how I felt in my high school classes. These were uneasy feelings I don’t want my students to feel.

I cannot remember a teacher who would have incorporated practices to support my culture, identity, and strength. My high school years made me question my own identity. Just the fact that it was never acknowledged made me question my own existence.

Thinking about my personal stories from my former high school and listening to Coach Smith led me to think about my legacy. George Couros said, “Your legacy is not what you do. It’s what your students do because of you.” I dare to add… It’s what your students SAY because of you.

Feeling like we have been robbed of our identity may cause dysfunction in society. I know. I lived it. I now strive every year to make sure equitable practices are in place to better serve our students.

Sense of Belonging

A sense of belonging is imperative. Creating and maintaining a sense of belonging for our immigrant students is key to their success. As an individual from a diverse background, feeling a sense of belonging gives me the space I need to be myself without having to become someone that I am not. It’s the validation and the permission we need to develop our individuality and identity. Look at the decor around your learning space. Does it reflect their experiences, their cultural background? Does it provide an opportunity to not only embrace diversity but also validate other cultures? Make the space say, “We all belong.”

Pedagogical Practices

I have to quote Maya Angelou: “Do the best you can until you know better. Then when you know better, do better.” Some pedagogical practices we implement in the classroom may actually hinder students. The “I’ve always done it this way” approach does not work anymore. Our classrooms are more diverse than ever; meaning, our practices must change, and we must do better for our new generation. I wholeheartedly believe that being an open-minded life-long learner can help us as educators on the lookout for better practices that support students. Immigrant students work twice as much as monolingual English-speaking students to understand what is happening in lessons. With our help and effective classroom practices, we can ensure our students’ success instead of traumatize their learning experiences.

Amplify their Voices

We are not our students’ voices. All students need, especially students with marginalized backgrounds, is a microphone and a space to share who they are. When my high school economics teacher gave me an assignment to read the law of supply and demand, my mind traveled back to when I was in Guatemala City selling oranges for our family business. I was so happy to make a personal connection with the content I was learning. Unfortunately, I didn’t have a relationship with my teacher to ask if I could share that experience. He had never asked about my experiences, so he didn’t know of the asset I would have gladly shared. To amplify students’ voices, we MUST know their stories. We must intentionally embed lessons that serve as opportunities to get to know our students at a deeper level.

One way I encourage my students to share about themselves and their stories is through literature. I choose books that not only represent my students’ cultural backgrounds but also open their perspectives to others. Once students see characters that reflect their journeys, they feel validated, affirmed, and encouraged to tell their own. I’ve seen students cry because they couldn’t believe an immigrant story such as crossing the Rio Grande or deserts was worth telling. They begin to embrace their experiences and use them as stepping stones to success, to enter society with their heads held high and pride in their identity — ready to impact our community and world.

So, what are you doing to make sure your students are telling good stories about you and their learning experience? What’s your legacy?

Published September 1st, 2022 by Seidlitz Education

About the Book: Written with passion and a visceral commitment to her students, If You Only Knew: Letters from An Immigrant Teacher reflects the journey and experiences of Emily Francis, an immigrant and unaccompanied minor who travels from Guatemala to the USA to become a teacher. Once in the classroom, “Ms. Francis” learns about her students’ stories and journeys and begins to see her own life reflected in the lives of her students. Emily starts writing letters to her students in which her story is intertwined with theirs. This offers a unique expression of empathy, which helps them on their own personal journeys as immigrants living and learning in a new country.

“I could… imagine the fear you probably felt as you prepared to walk in a brand new school in a brand new country, so I made a promise that… I would make sure your experience would be a whole lot different than the one you had in that “icebox” with immigration.” (from the letter, “Dear Orlando”)

Speaking to both young adults and their teachers, If You Only Knew delivers support, solace, and empathy for immigrant students whose stories are too often are ignored. From personal experience, Emily Francis’ mission to offer a leg up to immigrant students deeply resonates with everyone interested in the immigrants and their journeys.

About the Author: Emily Francis is a high school ESL (English as a Second Language) teacher at Concord High School in Concord, North Carolina. Her experience as an immigrant from Guatemala and English Language Learner inspired her to become an ESL teacher and equipped her with a deep understanding of the challenges her immigrant students must overcome to find success. Cabarrus County Board of Education’s Teacher of the Year in 2016, she serves as a professional development facilitator, motivational speaker, and board member for the Carolina TESOL. Her book, If You Only Knew: Letters from an Immigrant Teacher, delivers support, solace, and empathy for immigrant students whose stories are too often ignored.

Thank you, Emily, for this post celebrating your students!

Author Guest Post: “It’s Okay to be Optimistic” by Laura Schaefer, Author of A Long Way from Home

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“It’s Okay to be Optimistic”

The soul of A Long Way from Home is its optimism, which leads me to reflect a little bit about where that comes from in my own life. Some of my best memories growing up involved my family’s regular visits to Florida in wintertime. Not only did I love the sun and the beach, but like most kids, I couldn’t get enough of Disney World. There was something about Epcot Center in particular that captured my imagination. The combination of Walt Disney’s cheerful vision of a World’s Fair-style utopia and the regular shuttle launches from Florida’s nearby Space Coast has always stayed with me.

When I moved with my family from Madison, Wisconsin to Central Florida as an adult, I knew I wanted to explore what the future could promise, and what our role could be in creating some kind of real solarpunk society. Feeling inspired by the advent of SpaceX and the ongoing work of NASA, with its regular rocket launches visible from our front yard, I began writing A Long Way from Home in 2018. Though I’m not a scientist or engineer by a long shot, I thought a lot about the people who were making these launches possible—and the skills, dedication, and hard work these events required.

I’m lucky to count among my friends and family several engineers, whose abilities impress and baffle me. The best thing about being a writer is it gives me good excuse to pester them about what they do and why they do it. It was with their help that A Long Way from Home came to fruition. I hope if it contains any glaring inaccuracies, they’ll forgive me…or figure out a way for me to go back in time and fix them.

My wish for this book as it travels out into the world is that readers will get the sense that the events of history and the way that the future unfolds isn’t something apart from them or their lives. Each of us—as individuals and as pieces of a larger community—is engaged all the time in the act of creation. We create the kind of society we want to live in, which is why maintaining core optimism really matters. I believe it’s possible to make our world a peaceful and green one in which more than just a lucky few get to thrive.

It’s not my intention to sound Pollyanna-ish, but it is my intention to sound hopeful. I want to tell stories that inspire readers to make and do beautiful, astounding things in loving, fully participatory lives.

I also want readers to know that if they’re anxious or sad, they’re not alone and that it’s not forever. I see anxiety and sadness as part of being human. If we all talk about these feelings more and the ways we’ve learned to cope, we can be less isolated. Connection with others isn’t a cure, exactly, because there isn’t a cure. But connection is a way forward, even when it’s hard to find hope. I love the fact that Abby is changed by her time with Adam and Bix, and by the choices she makes in order to help them. Her new perspective on the enormity of the universe and the possibilities it contains breaks her malaise and puts her in the captain seat of her life. That’s optimism.

Other people (sometimes from very, very far away) can and do change us, usually for the better.

One of the best ways I personally deal with my feelings and fears is by reading a lot of fiction. It makes me feel better to know other human beings have grappled with tough situations or challenging emotions and grown as a result. Some of my favorite middle grade and young adult reads include:

  • Harriet the Spy by Louise Fitzhugh
  • Tangerine by Edward Bloor
  • A Wrinkle in Time by Madeleine L’Engle
  • From the Mixed-Up Files of Mrs. Basil E. Frankweiler by E.L. Konigsburg
  • When You Reach Me by Rebecca Stead
  • The Secret Garden by Frances Hodgson Burnett
  • A Tree Grows in Brooklyn by Betty Smith

Some of my favorite authors these days are Andy Weir, Neal Stephenson, Stuart Gibbs, Emily Calandrelli, Jennifer L. Holm, Tana French, Kira Jane Buxton, Hank Green, Ted Chiang, Martha Wells, Becky Chambers, Emily St. John Mandel, Ali Benjamin, Samantha Irby and Ann Patchett.

There’s nothing like a great book if you’re looking to feel better.

Publishing October 4th, 2022 by Carolrhoda Books

About the Book: Twelve-year-old Abby has a lot to worry about: Climate change. The news. The Great Pacific Garbage Patch. And now moving to Florida for her mom’s new job at an aerospace company.

On the Space Coast, Abby meets two boys, Adam and Bix, who tell her they’re a long way from home and need her help. Abby discovers they’re from the future, from a time when all the problems of the 21st century have been solved. Thrilled, Abby strikes a deal: She’ll help them–if they let her come to the future. But soon Abby is forced to question her attachment to a perfect future and her complicated feelings about the present.

About the Author: Laura Schaefer is the author of The Teashop Girls, The Secret Ingredient, and Littler Women: A Modern Retelling. Born and raised in Wisconsin, Laura currently lives in Windermere, Florida, with her husband and daughter, where she enjoys visiting theme parks and watching rocket launches from her front yard. Visit her online at lauraschaeferwriter.com and twitter.com/teashopgirl.

Thank you, Laura, for this enlightening post!

Author Guest Post: “Understand the Rules, Then Forget Them” by Erin Entrada Kelly, Author of Surely Surely Marisol Rainey

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“Understand the Rules, Then Forget Them”

I run a kids book club at my local library. It’s for ages eight to twelve. Each month, we read and discuss a middle grade book then complete a related activity. After we read The Year I Flew Away by Marie Arnold, we created a mural inspired by Haitian art. For Jennifer L. Holm’s The Lion of Mars, one of the students crafted a clay astronaut. To celebrate Gregor the Overlander by Suzanne Collins, we excavated bugs.

One afternoon, as we prepared to discuss Dan Santat’s The Aquanaut, I pulled paper and pencils out of my bag. One of the young readers, Anthony, wrinkled his nose.

“Oh, no,” he said. “We’re not gonna write, are we?”

As a lifelong writer, it’s difficult for me to imagine not wanting to write. But over the years I have come to accept a disappointing reality: A lot of kids really hate writing. For them, it feels like work.

“I’m not good at it,” Anthony said. With a tilted whine to his voice, he added: “I haaaate writing.”

While it’s true that some young people hate writing, will forever hate writing, and will instead excel in some other trade or craft, it’s my mission, as a lifelong wordsmith, to make them hate it a little less.

One of the ways to do that is to eliminate all the qualities about writing that feel like work. Anything that shackles them. Anything that limits their imagination. When our goal is to simply create something, without worrying whether it’s grammatically correct or good or even readable, we are suddenly free to make mistakes. And if there’s one thing I know about young people—they don’t like making mistakes. It’s the mistakes that often prevent them from trying. It’s the mistakes that make them think they’re not good at something.

What if we limit the possibility of error? What if we create simply for the joy of creating?

Here are a few things I’ve done with students.

  • Toss the rules. Give students a writing prompt and encourage them to respond however they want. Tell them not to worry about any rules of grammar or spelling. They won’t be graded on either. In fact, they won’t be graded at all. It will be a ten-minute writing sprint and that’s it. Afterward, give them the freedom of choice: They can keep what they wrote, share it with a friend, or toss it in the trash.
  • Encourage storythinking. When you read books together, stop at the end of each chapter and ask them what they think will happen next. If too many students answer at once, take differing answers from two or three students then take a poll with the rest of the class. If you want to incorporate writing, ask your students to write one or two sentences with their predictions. They don’t need to show their predictions to anyone if they don’t want to.
  • Encourage storytelling. When you finish reading a chapter or a book, ask them how they would have written it to make it more interesting. I ask my book club these questions all the time. Their answer is almost always the same: “More dragons.” In their opinion, dragons always make things more interesting. If your students say “more dragons,” your instinct may be similar to mine—you’ll find yourself explaining why dragons aren’t logical in a story like Charlotte’s Web. But instead of launching into your logical explanation, why not embrace all their ideas? That’s what I did with my book club, and they were immediately engaged, firing off one idea after another, until they reached the end of their own story. For me, the importance of the moment wasn’t to force them to think critically about Charlotte’s Web. It was to get them excited about stories and all the possibilities they offer.

To develop a love of writing, we must develop a love of creativity, a love of storytelling, and an appreciation of how words create stories. Rules, logic, grammar, spelling—all of these sound like work. Because they are work. They serve a purpose, certainly, but they also confine us.

There are times when it’s okay to prioritize creativity above all else, and let the work come later. As grown-ups, we often forget that.

Published August 9th, 2022 by Greenwillow Books

About the Book: Everyone loves sports . . . except Marisol! The stand-alone companion to Newbery Medal winner and New York Times-bestselling Erin Entrada Kelly’s Maybe Maybe Marisol Rainey is an irresistible and humorous story about friendship, family, and fitting in. Fans of Clementine, Billy Miller Makes a Wish, and Ramona the Pest will find a new friend in Marisol.

Marisol Rainey’s two least-favorite things are radishes and gym class. She avoids radishes with very little trouble, but gym is another story–especially when Coach Decker announces that they will be learning to play kickball.

There are so many things that can go wrong in kickball. What if Marisol tries to kick the ball . . . but falls down? What if she tries to catch the ball and gets smacked in the nose? What if she’s the worst kickballer in the history of kickball? Marisol and her best friend Jada decide to get help from the most unlikely–and most annoying–athlete in the world: Marisol’s big brother, Oz.

Told in short chapters with illustrations by the author on almost every page, Erin Entrada Kelly’s stand-alone companion novel to Maybe Maybe Marisol Rainey celebrates the small but mighty Marisol, the joys of friendship, the power of being different, and the triumph of persevering.

About the Author: New York Times–bestselling author Erin Entrada Kelly was awarded the Newbery Medal for Hello, Universe and a Newbery Honor for We Dream of Space. She grew up in Lake Charles, Louisiana, and now lives in Delaware. She is a professor of children’s literature in the graduate fiction and publishing programs at Rosemont College, where she earned her MFA, and is on the faculty at Hamline University. Her short fiction has been nominated for the Philippines Free Press Literary Award for Short Fiction and the Pushcart Prize. Erin Entrada Kelly’s debut novel, Blackbird Fly, was a Kirkus Best Book, a School Library Journal Best Book, an ALSC Notable Book, and an Asian/Pacific American Literature Honor Book. She is also the author of The Land of Forgotten Girls, winner of the Asian/Pacific American Award for Literature; You Go First, a Spring 2018 Indie Next Pick; Lalani of the Distant Sea, an Indie Next Pick; and Maybe Maybe Marisol Rainey which she also illustrated.

Thank you, Erin, for this reminder to allow kids to write freely!