Back Matter: A Chance to Be More Than a Story, Guest Post by Beth Anderson

Today we have a guest post by author Beth Anderson, who recently had a new picture book biography released, CLOAKED IN COURAGE: UNCOVERING DEBORAH SAMPSON, PATRIOT SOLDIER, illustrated by Anne Lambelet, published by Calkins Creek. I, (Tina Cho), love learning more about the writing craft from Beth. Today she teaches us about back matter. 

For readers, back matter can be scary. Dense paragraphs covering page after page. UGH. Even an author, NF fan, and former educator like me has to admit to sometimes closing the book rather than committing to all that “grown up” text at the end of a gorgeous picture book experience. I know it’s where the author shares lots of great stuff that didn’t fit in the story….but, there’s always the potential of a gigantic info dump. Too much deters. What’s important? What will enhance the story you’ve told? What might answer questions arising from the text? What will invite more thought and exploration?

Creating Back Matter for CLOAKED IN COURAGE

As I wrote CLOAKED IN COURAGE: UNCOVERING DEBORAH SAMPSON, PATRIOT SOLDIER, so much of what I was doing was trying to sort out facts from fiction. Her story had been corrupted early on by one man’s desire to make her into his version of a heroine. And much of that misinformation was carried forward in other sources. One source, Masquerade: The Life and Times of Deborah Sampson, Continental Soldier by Alfred Young, focused on that process of finding the truth, and his historical detective skills were as fascinating as Sampson’s story. So, when it came to back matter, I knew I wanted to share some of that process and my learning with students and educators—some tips along with a few challenges of being a history detective. That choice has resulted in positive comments from reviewers and readers. And I hope it becomes a teaching tool in the classroom.

“The Challenge of Being a History Detective”

It all begins with the Google search, right? In researching colonial times, it helps to know that there was no standard spelling. (See AN INCONVENIENT ALPHABET for that story for kids. 😊 ) Sampson’s name was originally spelled SAMSON. Other names in the story also had multiple spellings. So with that understanding, your access and search widens.

 Then I shared some examples of primary sources. They’re “golden” but can’t be blindly trusted as 100% truth. Critical thinking is essential. I offered some thoughts on the value of secondary sources and went into setting. In the classroom, setting is defined as “time and place,” but I wanted students to think about all that involves for a book like CLOAKED IN COURAGE. I provided specifics such as Continental Army life, using disguises, traditions, and media influence. Also, the importance of trying to understand the meaning of what we learn within the context of the times, not today’s world.

Finally, I provided transparency with some notes about the details in the story that are in question, and that there is so much we can never know. Reading about how the public reacted to her, we know that Deborah Sampson tested the tolerance of her time. She broke barriers, and those courageous actions had a lasting impact. While the book was in the publication process, Congress passed a bill providing protections for female soldiers and veterans—The Deborah Sampson Act. We added that to the back matter because including connections to today helps bring relevance and meaning to stories from the past.

 And there’s more! The back matter in CLOAKED IN COURAGE contains an Author’s Note, which allows kids to see the writer’s personal connection to the story. The Bibliography might be a bit more interesting considering the history detective information. I’m a big fan of quotes and love to include one from or about the main character to give a stronger sense of the person. In this book, I shared a quote about Deborah Sampson from her pension approval signed by John Hancock, someone kids encounter in the basic history of the time. And of course, Acknowledgments—Thank You’s are important in any endeavor, and readers see that it is indeed a collaborative effort.

A Bit on the Benefits of Back Matter

·       For young readers and listeners: extends interest in a book over time, sparks curiosity, enriches story.

·       For teachers: becomes a teaching tool, supports curriculum, adds a higher reading level and different types of text, can support English Language Learners and struggling readers with graphic elements.

·       For publishers: increases range and potential for marketability, can catch reviewers’ eyes.

·       For authors: adds value to your submission, shares more of the story, can be the starting point for a school presentation.

Making Back Matter Inviting

To invite young readers in think about: “density” of text; short sections; graphics, images, and engaging visuals; interactive pieces such as Q&A or search & find.

To support educators consider: What might connect to curriculum or support classroom skills? Further resources are handy. Author’s (and illustrator’s) Notes contribute to understanding objectives like “author’s purpose” and “author’s point of view.” A variety of information formats can expand literacy skills.

 Transparency: Truth matters. Share inconsistencies in research and fictional elements to encourage critical thinking.

 

More Ideas for Back Matter

Afterword, Words to Know/Glossary, Timeline, Diagrams, Activities, Call to action, Letters, Crafts, Recipes, Experiments, Fun Facts, and Photographs of people, places, processes, realia, etc.  Please feel free to share more ideas in the comments!

 Thank you so much, Beth! And here's my little review of Cloaked in Courage.

Another fantastic picture book biography from Beth Anderson, illustrated by Anne Lambelet, about Deborah Sampson, secret patriot soldier, who used her rebel spirit to push boundaries for women. Never giving up, she accomplished all that she set out to do and more. Beautiful illustrations accompany this riveting text. Impressive back matter explains the usage of primary and secondary sources and how Anderson composed a story using little and conflicting information about her. 

Beth Anderson, a former educator, has always marveled at the power of books. Driven by curiosity and a love for words, she writes untold tales, hoping to inspire kids to laugh, ponder, and question. She’s the award-winning author of CLOAKED IN COURAGE, FRANZ’S PHANTASMAGORICAL MACHINE, REVOLUTIONARY PRUDENCE WRIGHT, TAD LINCOLN’S RESTLESS WRIGGLE, “SMELLY” KELLY AND HIS SUPER SENSES, LIZZIE DEMANDS A SEAT!, and AN INCONVENIENT ALPHABET. Beth has more historical picture books on the way.

https://bethandersonwriter.com  
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Educator Guide link - https://bethandersonwriter.files.wordpress.com/2022/10/cloaked-in-courage_educatordiscussion-guide.pdf

Word Choice—Multitasking at Its Best! Guest Post by Beth Anderson

I love welcoming author Beth Anderson back to the GROG Blog because she offers a wealth of information, now welcoming her 6th picture book biography into the world, FRANZ’S PHANTASMAGORICAL MACHINE, illustrated by Caroline Hamel, published by Kids Can Press. Congratulations, Beth!

When I chanced upon the word PHANTASMAGORICAL, I knew I’d struck gold! And it fit the story of Franz Gsellmann’s World Machine perfectly with its meaning, composite nature, and whimsical feel!

Word choice is always an essential piece of writing, but with picture books it can make or break a manuscript. English is said to have the largest lexicon of any language in the world. Where other languages might combine words to express specific ideas, English tends toward individual words with nuanced meanings—connotations. 

connotation [from dictionary.com]

1.     a. the associated or secondary meaning of a word or expression in addition to its explicit or primary meaning…

2.     something suggested or implied by a word or thing, rather than being explicitly named or described

With FRANZ’S PHANTASMAGORICAL MACHINE, I struggled to find a way to showcase the nebulous concept of an inner drive or urge. How could I express that for kids? “Voice” with the idea of hearing voices wasn’t right. “Urge” wasn’t either. When I tried “itch,” it worked as “a secondary meaning”…but a boy with a relentless itch had an “implied” meaning that made it a no-go! I eventually settled on “whisper” for its quiet summoning, using the word in a special way. 

Word choice can be tricky! But paying attention to connotations allows words to multitask, adds rich vocabulary, and cuts word count. Basically, think about ideas incorporated in words. For example, a word can be cut in both “crowded together” and “the crowd gathered” since crowd contains the concepts of together and gathering.

First and foremost, word choice is key to Show Don’t Tell.  An online thesaurus sits at the ready on my favorites bar, offering options to get my vision on the page. Still, I can spend hours finding the right words as I revise a paragraph. A great word choice can often eliminate an illustration note. Consider the implied differences: rode vs. pedaled, talk vs. gossip, laughed vs. snickered vs. giggled. Alternatives to the usual add richness and meaning. What follows are some of the ways word choices impacted FRANZ’S PHANTASMAGORICAL MACHINE.  

Attitude, mood, and tone. Referring to the machine from the public’s point of view as a contraption conveys attitude, and when it has grown—behemoth. Lollygagging and dillydallying, instead of wasting time, serve the whimsical tone of the story. 

Sensory and Imagery Words. Word choices that enhance visuals and share sounds and smells bring the story world to life, helping kids immerse themselves in the experience of the characters. Flutter, click, scratch, jiggled, rumble, roar, whir, vibrated….  

Action. Vivid verbs keep the reader’s mind actively moving along with the characters. He zoomed up its elevator, glided down the escalator and marveled at the colorful lights. 

Pairs or Repetition. An interesting pair of words can offer contrast or connections. In FRANZ’s story, I used the idea of making the ordinary extraordinary in several spots to establish another layer to the story. A distinctive word can help the reader notice a repeated phrase at beginning and end to tighten an idea that loops back.  …eyes twinkled with wonder…

Made up words.  Sometimes, there just isn’t the right word to express an idea strongly and succinctly. In LIZZIE DEMANDS A SEAT, I created what I needed with the pair “late-for-church” and “late-for-equality.” In FRANZ, I didn’t realize I’d pushed the limits until the copy editor came back with a few words that weren’t in the official dictionary of the publishing house. I think zinged was accepted without a problem, but not scrumpled, as in …Franz pondered and paced, sketched and scrumpled, fussed and fretted” required a conversation. To me, it was the perfect word for sound and meaning, a combo of scrunched and crumpled, yet different than either. I found it in another dictionary and declared my love for scrumpled. Sometimes a word choice is worth defending. An unusual word can be fun, interesting, or bring special attention to a spot that deserves pondering.

Specifics are golden. Choosing very specific words helps characterization, setting, and makes the story pop. In Franz’s story, it’s impossible for text and art to share the nearly 2000 parts he used to create the machine, so I included specific pieces of the machine throughout to give the reader a sense of the range, immensity, and uniqueness of his endeavor. Hula-Hoops! Horseshoes! A hair dryer!  In a repeated line, I popped different specifics into the series of three, changing “pulleys, wheels, and lights” to “motors, wires, and gears.” When I wrote, I used word slips with names of parts so I could rearrange them to play with shapes, functions, sounds, and more. Though the specific words of the phrase changed in that repeated line, the rhythm of the sentence stayed the same. Which brings us to sound….because a word brings more than meaning to the page. 

Sounds of Words. There’s so much to play with regarding the sounds of words. I love figurative language like alliteration, consonance, assonance, and onomatopoeia. The rise, fall, and flow of sounds and syllables are vital to a read-aloud. “trinkets and treasures” has alliteration, but also two 2-syllable words. I admit to getting carried away with the sound effects and lost some beauties in cuts for pacing. (Apparently there’s a fine line between enough and excessive, so be careful of overdoing.) Attention to sounds also helps eliminate potential tongue-twisters that arise when reading aloud. 

Choosing the perfect word can cut word count, create mood, show contrast and connections, affect pacing and flow, transform a scene, and make a title sing. It can take many revisions, but when I finally chance upon that perfect word and it settles onto the page, I can feel it—down deep inside. Sigh.

Thank you so much, Beth, for this excellent post about word choice! Now I need to go see to my manuscripts...

Beth Anderson, a former basement tinkerer and educator, has always marveled at the power of books. With curiosity and a love for words, she writes untold tales, hoping to inspire kids to laugh, ponder, and question. She’s the award-winning author of REVOLUTIONARY PRUDENCE WRIGHT, TAD LINCOLN’S RESTLESS WRIGGLE, “SMELLY” KELLY AND HIS SUPER SENSES, LIZZIE DEMANDS A SEAT!, and AN INCONVENIENT ALPHABET. Beth has more historical picture books on the way, including CLOAKED IN COURAGE: UNCOVERING DEBORAH SAMPSON, PATRIOT SOLDIER, now available for pre-order; and THOMAS JEFFERSON’S BATTLE FOR SCIENCE: BIAS, TRUTH, AND A MIGHTY MOOSE in fall 2023. 

Follow Beth! https://bethandersonwriter.com  
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Guest post: The Power of Imagery by Beth Anderson

Beth Anderson is back with us this time with another new picture book biography--Revolutionary Prudence Wright: Leading the Minute Women in the Fight for Independence, published by Calkins Creek, February 1, 2022. Beth shares her expertise, this time, in the area of imagery. 

I’m a big fan of imagery – as a teacher, reader, and writer! Imagery elevates the narrative, invites lyricism, strengthens theme, and enhances heart. It’s a much used tool in my writer’s toolbox.

 

What exactly is imagery? Literarydevices.net defines it this way:

 

Imagery is a literary device that refers to the use of figurative language to evoke a sensory experience or create a picture with words for a reader. By utilizing effective descriptive language and figures of speech, writers appeal to a reader’s senses of sight, taste, smell, touch, and sound, as well as internal emotion and feelings. Therefore, imagery is not limited to visual representations or mental images, but also includes physical sensations and internal emotions.

 

Wow! Makes you just want to pour it on! But…imagery should be subtle and not waste words. It should flow naturally and not feel contrived. It should be sprinkled, like spices or herbs, to enrich what’s already there. 

 

In AN INCONVENIENT ALPHABET, I placed “battle” words throughout to reinforce the idea that a revolution is more than a military battle. “Breaking free of old ways” involves many areas of our lives.

 

The imagery in TAD LINCOLN’S RESTLESS WRIGGLE was also in word choice. I powered the story with his wriggle as an irrepressible force of energy. This doesn’t rob him of his dignity or impose a negative judgement for the reader. 

 

In SMELLY KELLY AND HIS SUPER SENSES, I interwove super-hero imagery with details, words, and phrases. Sensory images abound for this character with super senses.

 

In LIZZIE DEMANDS A SEAT!, imagery went deeper than word choice. Footsteps echo through the story—a ticking clock, heartbeats, a stranger’s approach, and, in the culmination of the heart thread, others stepping up to carry forward social justice.

 

I think everything I write uses alliteration, onomatopoeia, and sensory language. But when a story lends itself to using a metaphor, that’s something special! And REVOLUTIONARY PRUDENCE WRIGHT invited the opportunity…  

 

When I dive into a story, I try to think about the different angles I might tell it from, or look for something in the setting that might ring through the story. Then I consider those ideas along with themes and the heart thread, and I start generating word lists that I can draw from as I write. This preps my brain and frames my thinking.  

 

As I researched Prudence Wright, I collected words and phrases in my spiral, beginning with those related to revolution and independence.  One of the first items I wrote was the Thomas Paine quote that starts the story: “These are the times that try men’s souls.” I saw it as a truth, but also as leaving out women. Thus, the addition of “and women’s” seemed to fit Prudence and her story perfectly. That’s where her voice first emerged.

I created a word bank of military and revolution words. I wanted to show that the women’s actions were as powerful as the men’s.

 

Since the main event occurs in April, one of my first ideas for the “big picture” imagery of a metaphor was that of spring, gardens, and planting the seeds of independence. But, though it fit the home front idea, I knew immediately that it didn’t fit the concepts and had the wrong tone.

 

One of my Pepperell contacts had shared photos of a few artifacts from Prudence’s life, including her love box and lantern that could easily be used in the story. Prudence designed and created beautiful quilts, but there were no pictures available. Learning about and seeing personal items from my subject’s hands connected me in a special way. Could I use them in the story?

 

I listed words associated with a lantern and fire, and I also jotted down words about quilts. Could either serve as a metaphor? The idea of quilts really fit the story, not only because Prudence made them, but because they are from the hands, often involve a community of women, are made from remnants of lives, and handed down as family history.

 

Metaphors fall into place as I write. Lizzie’s footsteps came through during the revision process when I realized I had the pieces and just needed to connect them better. Prudence’s story was about women bound together as community and breaking old patterns. And as I worked to transition scenes, I realized that their boycott actions were like scraps for a quilt, of little consequence until joined with others. Organizing the pattern of resistance was like the larger design of a quilt. Suddenly the quilt idea popped and became powerful! And paired with the scene of the women quilting, it emphasizes that this rebellion is coming from homes. Yahoo! Don’t you just love it when it all comes together!

Illustrator Susan Reagan brought back the quilt image in the art at the end, reflecting the simile on the page, “The women weren’t organized and trained like the men, but they were bound together, like blocks of a quilt.” Use of imagery also opens up potential with illustration, and the merging of art and text tightens and strengthens the story.

 The image of a quilt fit every aspect of the story. The metaphor brought abstract concepts “home,” comprehensible in a concrete and beautiful way.

 

Though we think of imagery as evoking images, as the definition above says, imagery is more than visual or sensory. It touches us internally, emotionally. No wonder it’s so powerful! 

Thank you, Beth! I love this new story and the image of the quilt since my mom quilts. I love how you find unique angles on all your picture book subjects.

You can find more about Beth here! And more blog posts from Beth here and here.

Bio: Beth Anderson, a former English as a Second Language teacher, has always marveled at the power of books. With linguistics and reading degrees, a fascination with language, and a penchant for untold tales, she strives for accidental learning in the midst of a great story. Beth lives in Loveland, Colorado where she laughs, ponders, and questions; and hopes to inspire kids to do the same. She’s the award-winning author of TAD LINCOLN’S RESTLESS WRIGGLE, “SMELLY” KELLY AND HIS SUPER SENSES, LIZZIE DEMANDS A SEAT!, and AN INCONVENIENT ALPHABET. Beth has two more picture books on the way in 2022: FRANZ’S PHANTASMAGORICAL MACHINE, illustrated by Caroline Hamel, and CLOAKED IN COURAGE: THE STORY OF DEBORAH SAMPSON, PATRIOT SOLDIER, illustrated by Anne Lambelet.

 

The Intentional Emotional Roller-Coaster--Guest Post by Beth Anderson

Author Beth Anderson is no stranger to the Grog Blog. In celebration of her latest picture book, Tad Lincoln's Restless Wriggle, that published October 5th from Calkins Creek, she's here with more expertise about writing narrative nonfiction. 

Take it away, Beth!

Last year I did a presentation at an SCBWI conference about navigating the author’s journey. It focused on being intentional in one’s choices, and to do that you have to self-reflect, identify your needs, seek opportunities, and choose the path that will move you forward. As I write and revise new manuscripts, learning more with each one, I find a similar intentional process creates a story journey for the reader.

I write historical fiction or narrative nonfiction, so I’m working with pieces of a puzzle. I seek out my “heart” thread first, choose scenes that will build an arc, attempt to craft an opening that invites and an ending that resonates. All very intentional. Yes, I’m a “plotter.” But there are also “pantser” elements as the story flows onto the page. Well, actually it’s more herky-jerky and a very long process of revising and crafting. Eventually, if I’m lucky, revisions smooth it into a story that looks and sounds pretty good, maybe even submittable. But wait! This is the make or break point.

 While a story needs to unfold seamlessly, it also has key emotional points that need to pop—spots that need to be recognized and sharpened. Sometimes I have so much backstory in my head that it all seems obvious. Confession: I tend to leave more to the reader, and that’s why I’ve had to learn to be intentional about strengthening and clarifying these points. It’s not enough to let it fall on the page. (And it’s too much to be didactic.)

From critiquing others and myself, I’ve learned that most of us tend to focus on the physical plot. The physical plot is interesting. But it’s the emotional arc that’s compelling and resonates in the end—the reader connection. Because the emotion runs beneath the surface and isn’t as explicit as the physical conflict, it helps to be intentional to ensure that we provide the depth needed for a reader to become invested in the story, to feel the pull, and to go vicariously on the journey.

As I get closer to final revisions, I print off the manuscript, lay it across my desk, and attack it with colored highlighters. Here are some of the elements I’ve learned to look for in the emotional arc and a few examples from TAD LINCOLN’S RESTLESS WRIGGLE: PANDEMONIUM AND PATIENCE IN THE PRESIDENT’S HOUSE.

 middle of revision 19 (subbed rev 25), looking at push back, learning differences challenges, emotional rewards

First and foremost is my “heart” thread, also referred to as the “so what?” or vital idea (Thank you, Barb Rosenstock and Candace Fleming!). It’s not theme, but my unique take, why I had to write the story. Every scene, every action has to serve and support that idea. This creates a tight, meaningful focus.

 

Tad and Abraham Lincoln each provided what the other desperately needed. I loved that a boy sustained a president! One way I threaded this through was the twinkle in Abe’s eyes when he’s lifted by Tad’s joy. I made sure that the twinkle appeared in key spots to help carry that idea.

 

Motivation is key to understanding characters. [And…besides character motivation, what’s the writer’s motivation for each scene?]

 

Tad’s learning difficulties motivate him to seek positive experiences, like a hug from Papa. “But letters didn’t make sense to Tad. Lessons launched him down the hall and out the door.”

 

Abe’s twinkle also serves as a motivating factor for Tad. “But Tad had seen the twinkle in Papa’s eyes…” 

 

For every action, there’s a reaction. Reactions keep the main character front and center, and connect to motivation.

 

Tad is very reactive throughout, but in one of the beginning spreads where Papa is the active character, “Tad watched and listened and learned.”

 

Stakes are huge and provide the pull for the reader. Unique traits or issues of the main character can be used to enhance stakes.

 

From the start, with Tad’s unintelligible speech and learning difficulties, he is faced with failure and rejection. His ability to be a child and the comfort of “home” are at stake. Towards the end, his pet turkey’s life is on the line.

 

I sharpened a few spots to show how his disabilities further threatened his success and also show his strengths. “Though numbers on a slate confused him, Tad understood business.”

 

Enhance turning points. These are the height of inner conflict that steer the story. Slow the pace a bit and dig in.

 

“Papa’s shoulders slumped lower, and his face sagged sadder” is motivation for Tad and also a turning point where he takes action.

 

Another turning point where Tad uses his voice came through loud and clear when I finally found the right words. “When the cook protested—this was the President’s House!—Tad persisted. But this was his home!”

 

After discussing editorial revisions for my latest manuscript under contract, it’s clear that this is a learning process, that each story presents unique challenges, and I have a long way to go!  :)  Intentional crafting of the emotional journey allows the reader to experience the bumps and potholes, the depth of conflict, the pull around the curves, and the intersections where choices must be made. So let’s get out our highlighters and sharpen the heart thread, motivation, reactions, stakes, and turning points. Take the reader for a ride on an emotional roller coaster!

Thank you, Beth!

Beth Anderson, a former English as a Second Language teacher, has always marveled at the power of books. With linguistics and reading degrees, a fascination with language, and a penchant for untold tales, she strives for accidental learning in the midst of a great story. Beth lives in Loveland, Colorado where she laughs, ponders, and questions; and hopes to inspire kids to do the same. She’s the award-winning author of TAD LINCOLN’S RESTLESS WRIGGLE, “SMELLY” KELLY AND HIS SUPER SENSES, LIZZIE DEMANDS A SEAT!, and AN INCONVENIENT ALPHABET. Beth has more coming in 2022: REVOLUTIONARY PRUDENCE WRIGHT: LEADING THE MINUTE WOMEN IN THE FIGHT FOR INDEPENDENCE, illustrated by Susan Reagan; FRANZ’S PHANTASMAGORICAL MACHINE, illustrated by Caroline Hamel, and CLOAKED IN COURAGE: THE STORY OF DEBORAH SAMPSON, PATRIOT SOLDIER, illustrated by Anne Lambelet.

You can visit her at BethAndersonWriter.com; @BAndersonWriter on IG, Twitter, and Pinterest; and on FaceBook. 

Jazzing Up Your Writing with ONOMATOPOEIA! Plus a Bonus WORD LIST By Eileen R. Meyer

POP!

BOOM! 

WHAM!

 

What exactly is Onomatopoeia?

     Besides being a word that we all have trouble spelling correctly, Merriam-Webster defines onomatopoeia as “the naming of a thing of action by a vocal imitation of the sound associated with it (such as buzz or hiss).” Simply put, onomatopoeia words are sound words. Clap, growl, jangle, vroom—all of these choices have distinctive sounds and are examples of onomatopoeia.

 

Why use Onomatopoeia?

     Using effective sound words in your writing—such as clang or achoo—will certainly help you come up with the most creative way to convey what is happening in a scene. Importantly, it also enhances the sensory experience for the reader. And it’s FUN!

You’ll also find that your sentences can be trimmed of unnecessary words—one onomatopoeia word choice usually replaces a much lengthier description. If you are writing children’s picture books where the economy of words is especially important, utilizing sound words will help you keep your word count low. Consider these examples:

“She made a low, mournful sound as if she were in pain” or She groaned

“He ejected gas spasmodically and noisily from his stomach through his mouth” or He belched

You get the picture. Onomatopoeia allows you to be concise. Additionally, sound words inject an element of humor and playfulness into your piece.

  

Children’s Books that showcase Onomatopoeia:

 

There are oodles of children’s picture books that effectively employ onomatopoeia. Here are a few of my favorites:

 

A Mouthful of Onomatopoeia, by Bette Blaisdell

Bear Snores On, by Karma Wilson

Boom Boom, by Sarvinder Naberhaus

“Buzz,” said the Bee, by Wendy Lewison

Click, Clack, Moo, Cows that Type, by Doreen Cronin

Hush!: a Thai Lullaby, by Minfong Ho

Muncha! Muncha! Muncha!, by Candace Fleming

Roller Coaster, by Marla Frazee

Split! Splat!, by Amy Gibson

Squeak! Rumble! Whomp! Whomp! Whomp!: A Sonic Adventure, by Wynton Marsalis

The Little Old Lady Who Was Not Afraid of Anything, by Linda Williams

Watersong, by Tim McCanna

We’re Going on a Bear Hunt, by Michael Rosen

Who Likes Rain?, by Wong Herbert Yee

Whoosh, Crunch, Roar: Football Onomatopoeia, by Mark Weakland

Zin! Zin! Zin!: A Violin, by Lloyd Moss

  

A Handy-Dandy Onomatopoeia Word List

             Writers love tools that save them time—at least, I know I do.  I recently began working on a picture book project where I wanted to associate a key sound with each of my anthropomorphic characters. I searched on the internet for an expansive list of sound words.  I found a few pretty good listings, but I couldn’t find ONE complete list that included the entire universe (or close to it) of great onomatopoeia words. So I took one for the team and gave up an afternoon to put all those lists into one comprehensive onomatopoeia word list. And POW!— I’m sharing it with YOU, our devoted GROG Blog Readers so that you may take advantage of it, too.

 

Find my list on this page on my website:  

https://www.eileenmeyerbooks.com/extras/

 

Note: I’m sure that YOU, our whip-smart blog readers may know some onomatopoeia words that I missed. If so, comment with additional words on this GROG post and I’ll add them to this handy listing. In a few weeks, I’ll reshare the document. Happy writing!

AND the winner of the picture book, SMELLY KELLY, by Beth Anderson is Angie Quantrell. Congratulations!

 

  

Guest Post by Beth Anderson: Being There: In Search of Setting + a Give-away!

Beth Anderson is no stranger to the Grog Blog. She offers wonderful picture book biography wisdom. Her new book, "Smelly" Kelly and His Super Senses: How James Kelly's Nose Saved the New York City Subway debuts October 13th from Calkins Creek, & it is fabulous! Today Beth shares about setting in picture book biographies. 

Setting is one of the basic elements of story, and when a story is set in a different time or place than our own, it calls for research. Searching out clothing, technology, buildings, transportation, and more, we aim to avoid anachronisms and make our characters’ world come to life. But setting is more than a “costume” or façade to make a story look right. Setting creates conflict, brings meaning, and is a vital part of point of view. So how can you “be there” as a character when you can’t travel to a place or time?

When I researched Elizabeth Jennings for Lizzie Demands a Seat, I pored over maps to get the lay of the land and locate her home, streetcar route, church, and courthouse. Putting myself in 1854 New York City, I imagined her footsteps clicking…wait…was there pavement? Basic questions like this lead us to seek out and examine images. Details on daily life, clothing, and weather help enhance scenes. 

But as I got to the heart of Lizzie’s story, I needed information on social aspects of life like class, gender, race, traditions, “unspoken rules,” and attitudes. How did she fit in her time and place? How did setting clash with her character? We can understand segregation on transportation being unjust, but how did it impact black lives? And Lizzie as a teacher—an educated, African American female who likely loved children—isn’t unusual today. But when we embed that fact in setting, we see her as exceptional. And when we look deeper, Lizzie as educator indicates she’s part of the abolitionist movement to secure equal rights and end slavery. Looking at her world through her eyes intensifies the emotions and adds meaning. Learning about the social fabric came from reading widely beyond her immediate surroundings, and about what happened before and after her actions. 

     

“Smelly” Kelly and His Super Senses called for setting research with a different focus. James Kelly’s story was more dependent on understanding the physical setting. I studied photographs of New York City from the 1930s to 1950s. I pored over subway maps to find locations of various incidents. And to “be there” as a character with super senses, I had to perceive his world as he did—through his senses. What would he have smelled with his super sniffer? What sounds would’ve bombarded his ears? I found some amazing historical maps— stench, sound, and industry maps! The sound map linked to newsreel clips! Though I didn’t use much of what I discovered, I could immerse myself in his sensory world. 

I’ve always wondered what was beneath those sidewalk grates and manhole covers. I needed to know about subway tunnels and access to infrastructure beneath the street. You Tube is a treasure trove! From teens exploring abandoned tunnels to workers building the subway, I learned about the underground world. [And let me add a special shout out to You Tube. I’ve used how-to videos, re-enactments (musket shots!), tours, historical footage, videos of animals, street sounds, drives through the countryside, and so much more.]

 Kelly’s radio crackled…” Wait a minute—would he have had a radio? How did he get messages to go check out clogs or leaks? An expert answered my question. No radios. He would have used phones marked by blue lights in the tunnels. Note for illustrator. 

Skyscrapers went up…their foundations went down. The city grew. How did that impact Kelly? Broken lines and mains, more miles of track to inspect [museum records]. Drips and leaks threatened cave-ins and explosions. Kelly could be electrocuted by the third rail. Inherent dangers inspire fear, tension, action.

 Why did he investigate a leak in a hotel and a stink in a tavern? Ahhh, everyone blamed that new-fangled, mysterious underground subway. Articles revealed attitudes.

 Media and trends influence how people see their world and sometimes offer interesting possibilities for imagery and writing. Smelly Kelly’s time, the heyday of detective stories and the emergence of superheroes, inspired me to play with both, and I ended up with a superhero thread that tied into the special heart that framed my telling. 

Different stories and characters require you to dig into different aspects of setting. In An Inconvenient Alphabet, I needed to delve into education, reading, writing, and language of the Revolutionary War period. Primary sources revealed traditions, attitudes, implications, and plenty of odd spellings which provided conflict and helped me take readers into the mix.  

It’s important to get the details of setting right and present your character’s world accurately. Even if you’re writing fiction, setting details make your world real and enhance the telling. There are plenty of online tools to gain access to a character’s world: maps of all kinds, Google Earth, You Tube, photographs, images, personal narratives, first-hand accounts, town records, digitized archive materials, varied media of the time, and EXPERTS! But to get past merely “dressing” your story in setting, consider the impact of all you’ve learned about the time and place on your character and the deeper meanings that emerge. Setting isn’t a backdrop and props, it’s sort of a living entity that affects character decisions, actions, and emotions. Some of the most important parts of setting involve aspects you can’t see.

 Dig deep and wide. Wrap yourself in the social fabric. Visualize physical details. Take in the sensory world like Smelly Kelly. But don’t just “stand” in that time and place. Immerse your heart in it. Be there. So your reader can be there, too. 

Thank you, Beth! To win a copy of "Smelly" Kelly & His Super Senses, please leave a comment for Beth by October 31. (U.S. addresses only)

Beth Anderson, a former English as a Second Language teacher, has always marveled at the power of books. Armed with linguistics and reading degrees, a fascination with language, and penchant for untold tales, she strives for accidental learning in the midst of a great story. Beth lives in Loveland, Colorado where she laughs, wonders, thinks, and questions; and hopes to inspire kids to do the same. Author of AN INCONVENIENT ALPHABET (S&S 2018), LIZZIE DEMANDS A SEAT! (Calkins Creek, 2020), and “SMELLY” KELLY AND HIS SUPER SENSES (Calkins Creek, Oct. 2020), Beth has more historical gems on the way.

Book Trailer for Smelly Kelly: https://www.youtube.com/watch?v=EfUyhYJbJBk

Signed copies of my books available at Old Firehouse Books https://www.oldfirehousebooks.com  

and Boulder Book Store https://www.boulderbookstore.net