Let's Look at Leads and a Giveaway

by Suzy Leopold

Time to learn about leads and opening lines of well-written stories.

The first lines of a story use the just right words to give a reader a quick peek at the character[s], setting, and story line.

The opening lines must hook a reader. The lead is filled with power to keep the reader turning the page. Coax the reader to continue reading.

A writer must spend time crafting a compelling opening to support all of the hard work of planning, researching, writing, and rewriting a manuscript. These first words help to shape a story.

"The lead must do real work."

--Wiliam Zinsser

How can a writer bring color and cadence to one's story idea through a carefully crafted opening line? 

My students and I begin by examining mentor texts. Recently published books are studied and analyzed. Students are encouraged to read like a writer.

"If I don't like the opening sentences, I put the book back 

[on the shelf]--even if I like another book by that author."
--Peter, 5th grader

As an educator, I need to support students in understanding the lead sentence--the opening sentence, and how it must compel the reader to continue.

Together let's take a look at three nonfiction picture books.

THE PEACE TREE FROM HIROSHIMA
THE LITTLE BONSAI WITH A BIG STORY
Written by Sandra Moore
Illustrated by Kazumi Wilds

Author Sandra Moore begins with these two sentences with a POV from a bonsai tree:

"I was born nearly four hundred years ago on the island of Miyajima. As I pushed up through the dirt, I saw my reflection in the mountain lake."

PAPER SON
THE INSPIRING SOTYR OF TYRUS WONG,
IMMIGRANT AND ARTIST
Written by Julie Leung
Illustrated by Chris Sasaki

Does this opening line, written by Julie Leung, capture your interest?

"Before he became an artist named Tyrus Wong, he was a boy named Wong Geng Yeo who traveled with his father across a vast ocean to America, clutching a bundle of papers in his hand."

LITTLE LIBRARIES,
BIG HEROES
Written by Miranda Paul
Illustrated by John Parra

This opening line, by Miranda Paul, includes two sentences and a page turn.

"For thousands of years, people have loved stories about heroes.

Mythical heroes, historical heroes, and
even . . . "

All three of these leads use the element of "show, don't tell". Each book depicts sensory images. Color and cadence are used in the opening lines. Do you note specific nouns and strong verbs? 

Additionally, I note the three authors' voices included many of the Five Ws. The illustrator, too, incorporated images to support the opening lines.

TITLE	WHO?	WHAT?	WHEN?	WHERE?	WHY?
THE PEACE TREE	Through pictures: an inanimate object	Through words, “As I pushed up through the dirt, . . .” Through pictures: a tiny seedling pushed its way through the soil	Through words, “. . . nearly four hundred years ago . . .”	Through words: “ . . . on the island of Miyajima.” Through pictures: In a forest	Through pictures: a tiny seedling with a big story
PAPER SON	Through words, “. . . an artist named Tyrus Wong . . . Through pictures: Father & son aboard a ship	Through words, “ . . . an artist named Tyrus Wong, . . .” Through pictures: Immigrant, Tyrus & his father	Through pictures: People aboard a ship from years ago.	Through words: . . . “Across a vast ocean to America,  . . . “ Through pictures: Immigrants aboard a ship from years ago	Through pictures & words: An implied theme of immigration to seek better opportunities
LITTLE LIBRARIES	Through pictures: heroes	Through words, “. . . people have loved stories about heroes.” Through pictures: heroes	Through words,  “For thousands of years,. . .”	Through pictures: An implied location of everywhere.	Through words: “. . . Throughout the years, people have loved stories about heroes.”

An opening line may:

• Begin with a question.
• Start with a fascinating fact.
• Share an enticing andecdote.
• State a quote.
• Dive immediately into action.
• Start off with a conversation that includes dialogue.
• Depict a memorable image.

Spend time developing a compelling lead, to make every sentence that follows live up to the lead's power. 

Keep the reader wondering, inquisitive, and wanting more.

###

In the comments below share and write a compelling first line from a nonfiction book to be eligible to win a hand-crafted bookmark painted with watercolors. If you follow the instructions, I'll put your name in a hat and draw two winners. U. S. mail only.

I will announce the lucky winners on the next GROG Blog, March 25th. Good luck. 

1. Write the lead that compelled you to read further. 
2. Include the the title of the book, the author, the illustrator, and the publication date 
[2015-2020].
3. Remember to include your name and email address.

Post script thoughts: During this time, with many schools closed, I note many generous folks sharing read alouds, story time, activities, drawing tips, writing lessons, and more online. Thank you bloggers, authors, illustrators, etc. for encouraging children to avoid "The Spring Slide". 

Want more information? Click on Avoid the Spring Slide to find a list of links. I will continue to update the post with more resources overtime.

May our children continue to learn, grow, stay engaged and be healthy. 

AN INTERVIEW WITH ARTIST JOHN PARRA-By Sherri Jones Rivers

 
     When I deconstructed Marvelous Cornelius, I thought about how John Parra went about fleshing out Cornelius' story through his illustrations on that particular book, as well as his other published works. When I emailed him, he graciously agreed to answer some questions. I think we writers can learn a lot hearing from the ones who bring our words to life.
                                                

     I assume you get many manuscripts from publishers. Do you ever decline work?

     I do receive a good share of manuscripts requesting me to illustrate. The most common reason I might have to decline a project is that I have already committed my schedule to other projects. Otherwise I try to review each story to see what is possible and that we make a good fit.

     What excites you in a manuscript that makes you want to illustrate it?

     Strong characters, descriptive storytelling, interesting locations, a positive message, teaching opportunities, individuals represented diversely, and a fun spirit can all contribute to my excitement about a manuscript.

     Do you have two books that you illustrated that you can compare and contrast as to what you saw in the manuscript and the process by which you fleshed it out?

     I approach most of my projects in the same way. Step 1: Read and research. Step 2: Draw, draw, draw. Step 3: Revise and improve. Step 4: Paint with a preselected color palette. 

     Do you put things in your illustrations that were not actually mentioned in the manuscript, but you added in? They say to always leave room for the artist's work.

     Most of the images I add are normally all related to the story in terms of narration, character profiles, location, landmarks, flora, and community. The smaller Easter Egg items I can include however can be about friends, family, or having a bit of fun. An example would be that I love including bees and ants in my paintings. I just love this other level of life existing within the framework of the main story.

     I'm stumped. What are Easter Eggs?

                                               

                                              

          Easter Eggs are images that could refer to personal friends and family references for them to see for fun. They also could be items that appear to offer subtle foreshadowing that happens later in the story. Or the Easter Egg could be a symbolic image from other stories that appear that remind me of or follow similar themes as the book I am working on. An example of the friends and family one is that I hide a self portrait in all my children's books. (John's self portrait is on this page)

                                       

     I think I know the answer, but how do you feel about an author's illustration notes?

     It is rare that I speak to the authors during a book project development. Often it isn't until after the book has been published and possibly even after some time has passed that I actually get to interact with an author. I did receive some ideas on my last book Marvelous Cornelius from the author Phil Bildner. He wanted to share some stories about additional real life characters that lived in the community where the story is set. I think the process can open up additional creativity and ideas when presented well.

     To what extent do you talk to editors about ideas, concepts, and approaches?

     Each editor is definitely different. Some like to hear about ideas before a project starts; others trust me to work on the images and ideas to present through the sketches.

     About how long does it usually take you to complete the artwork?
                                      

     For one book, creating the artwork could take anywhere from eight months to a year.

     What advice would you give to picture book writers from an artist's perspective?

     One piece of advice in writing that helps me is when writers use visual verbal clues that enhance and connect words with the art and layout possibilities. For verbal clues, I am thinking more on the lines of descriptive adjectives that describe characters, environment, action, or emotion in a scene. For example:
"Thousands of small orange butterflies filled the sky as the young boy gazed in amazement at their sublime and graceful movements over the shallow rolling hills below."

     Do you ever hear from authors thanking you for your illustrations?

     Yes, many authors do reach out and happily discuss the art in our books. I believe we have mutual thank you feelings for each other's contributions and work towards the book.

     What are you working on right now? Can you divulge any info?

     I am currently working on three new children's picture book projects for separate publishing houses. One book is about a community mural, another is a biography of Frida Kahlo and her animals, and lastly, one that is yet to be announced. I will also be travelling to many book festivals and schools around the country to present my work and art experiences. Finally, I will be starting and completing a number of freelance illustration projects with various ad agencies and clients.
________________________________________

     John is an award-winning illustrator, designer, teacher, and fine art painter. His children's books have earned numerous starred reviews and appeared on the Texas Library Association's 2x2 Reading List. In addition, he won the SCBWI Golden Kite Award for Illustrators, the International Latino Book Award for Best Children's Book Illustrators, and in 2015, was invited by The Metropolitan Museum of Art to present a special program about his work and career in art and illustration.