Segregated Readers?

Author Shannon Hale recently experienced sexist behavior from school administrators who allowed only girls to attend her author visit, based on the wrongful assumption that Hale's children's books were only appealing to girls and that boys have no interest in reading about girl protagonists. Hale expressed her fury over the inexcusable omission of boys from her program in a recent blog post:

I heard it a hundred times with Hunger Games: "Boys, even though this is about a girl, you'll like it!" Even though. I never heard a single time, "Girls, even though Harry Potter is about a boy, you'll like it!"

Hale decries "the belief that boys won't like books with female protagonists, that they will refuse to read them, the shaming that happens (from peers, parents, teachers...) when they do, the idea that girls should read about and understand boys but that boys don't have to read about girls, that boys aren't expected to understand and empathize with the female population of the world...." 

I read her blog post to my teenage writing students and evoked some poignant reactions:

Two boys admitted to reading John Green's The Fault in Our Stars "kind of anonymously" because they read the book in public on e-readers. They said that kids generally considered  TFIOS a "romance," "an emotional book," or a "cancer book"--mainly for girls. But they both liked the story a lot and found it very touching, even though a bit "cheesy" in some ways.

One girl observed that every female protagonist read by the boys she knows "seems like a tomboy, never a girly girl." She cited numerous titles, all adventure stories, and pointed out that "some boys are okay with reading about girls as long as they're in an action novel."

Another boy declared that he likes well-written books with compelling plots and pays no attention to the sex of the protagonist, but he does admit that a book with a girl on the cover, or a romantic scene on the cover, is "kind of embarrassing to carry around. That's why I like my Kindle."

One boy recalled at least one teacher describing a book as "more of a girl's book." I asked how he felt about that, and he and the others joked that "some teachers think they know what we'll like, but they don't." I joked that I hoped I wasn't one of those teachers. They shook their heads (and I hope that meant I am not out of touch with their tastes!).

All of the kids agreed that the boy Shannon Hale wrote about in her blog, who approached Hale after her talk and asked for a copy of one of her books, and who was subsequently told that the only available copy of that particular book was now in the school's library, would "never check out that book unless no one was around." The title had the word "princess" in it, if I recall correctly. They all said that it was "sad, but true" that he would be too embarrassed to read her work openly.

We had a heated discussion of Hale's point about how gender-segregation in Young Adult literature teaches boys not to care about or empathize with girls so that they grow up into men who ignore or dismiss the feelings of women and, in extreme cases, abuse women during their adult years. Some thought that her connection was over-the-top, and that most of the negative brainwashing of boys and men with regard to girls and women comes from other media: rap and hip-hop music, advertising, movies, and TV. But the majority of these teenagers seemed to ponder this cause-effect concept seriously. The thoughtful looks on their faces indicated that they had never considered books a possible negative influence on sexist behavior.

The kids seemed to appreciate this discussion and the writing exercise on the topic. They always seem to enjoy when I share issues about writing and publishing that they, as nonprofessional writers (for now, anyway!), would not otherwise know about or have a chance to discuss. I think they consider my sharing of professional articles from my field as a kind of "insider information." Information that is, of course, non-gender specific!

NEWEST NEWBERY MEDAL BOOK OFFERS A WEALTH OF WRITING PROMPTS!

Inspired by The Crossover, by Kwame Alexander,

(the 2015 Newbery Medal winner, 

a Novel-in-Verse)

     Never mind that I am a poet and adore novels-in-verse, and that I love realistic stories about families that bring me to tears, and that I think Kwame Alexander (click on his name to see him on YouTube) seems like one of the humblest and most enthusiastic authors in kids' fiction; just know that the reason I'm featuring his book here is based solely on its capacity to inspire my writing students. The proof is here, below!

     Here are three poems written by 12-year-old workshop students in response to three different poems in The Crossover. After we read the poems aloud, we discussed the masterful character development of Josh, the narrator, in the first poem, "Dribbling," and the way Mr. Alexander conveyed Josh's passion for basketball. Then we discussed "How I Got My Nickname" and "At First" in terms of the way the author conveyed Josh's introspective growth. I asked the students to write their own personal poems in emulation of Mr. Alexander's attention to word power in his subtle revelation of Josh. I'm so proud of these kids that I shared the poems with Mr. Alexander via email, and he dubbed them, "Brilliant!" I hope you agree--and that you get yourself a copy of The Crossover. 

Calculating (in response to "Dribbling")

 By D.S., age 12

 

The figures fly and glide across the page,

Lifting weights and counting stars                                                                

To peel back the cloth from our eyes                                                   

To reveal the universe around us.

As my pencil scritch-scratches across the page,

The figures call to me

As they did to Newton, Galileo, Copernicus, Einstien

For without numbers

They never could have changed our world.

Now, as numbers sprawl across my paper,

Using the same numbers that the greats did

Through the tears and the frustration

Problem by problem I am learning to walk

And come from the darkness

Into the light.

The Nickname (in response to "How I Got My Nickname")

By E.Y., age 12

It all happened because of Carter.

This kid is a basketball-playing, mean

friend of my brother.

He thought it was okay   

to make fun of me by calling me

by my last name, Yoon.   

                                                                         

As soon as he started calling out

Li’l Yoon at school,

it caught on and become my

new nickname.

Songs, poems, and stories have been made

because of Carter

and his obnoxious nicknames.

At first, I hated it.

I’m not little, I’m not small.

I’m regular as can be.

But as soon as my friends heard it,

I was Li’l Yoon,

sometimes even Yoonicorn.

And it made me smile.

At First (in response to your poem of the same title)

By A.G., age 12

I didn’t like 

playing the violin

because so many kids

were in band

with an instrument to blow into.

All my friends had either a flute

Or were in percussion,

Where you would slam things.

I had to play complicated notes with a bow.                                         

Eventually I came into middle school

where I had 94 peers in orchestra,

really eager to play

stringed instruments.

I didn’t want to sit and play,

I’d rather march and play,

but I had to follow along.

It was kind of cool

playing with so many people.

The songs were joyous.

Not easy as grade school.

Maybe I wasn’t in band,

but as the strings danced on the violin,

I heard the connections growing around me.

And that made me feel like a greater person.

To Write Moving Words, We Must Read Them

The more we read, the better we write; the greater the variety of genres we read, the broader the expansion of our writing styles; the deeper our admiration and understanding of the artistry in what we read, the richer the complexity and innovativeness of what we write.

            Because I pride myself on practicing what I preach--"Show, don't tell!"--I'll now show you what I just told you, via an anecdote: 

Yesterday, a 13-year-old student, who aspires to be a published author, presented to me the opening pages of her novel-in-progress, a YA novel written in verse--a genre that she was unaware even existed until I introduced her to poetry novels.  Before starting lessons with me a couple of years ago, her reading consisted primarily of fantasy novels, most of them plot-driven with archetypal, but unrealistic characters and relationships. Hence, when she started her lessons with me, her writing style reflected what she read, and her characters seemed like mere plot puppets. I suggested that she read more literary, character-driven stories to balance her sense of style; initially, she seemed wary of reading books outside of her usual genre. So we would read a chapter of a literary novel aloud together, and then I’d send her home with the book, and guiding questions. Often I’d have her write short pieces in emulation of the book’s style and using one or more of the author’s characters. Other times, I’d assign essay-style responses to the stylistic techniques used by the author. Her range of interests grew, and she began exploring classics on her own with the approach of a determined writer-in-training.

I also used poetry prompts for many of our early lessons, since I wanted to heighten her focus on the power of word choices and on showing, instead of telling, with the most concise words. Over the next year, my student discovered that she has a natural talent and affinity for poetry. She would lose interest in the short stories she had started, after we discussed the many holes that needed filling between her lines, due to logical flow problems or awkward exposition of characters. “Can I do another poetry prompt instead?” she would often ask, eager to set aside the confounding prose pages. Of course, I encouraged her poetry writing, but I didn’t want her to lose interest in writing novels, since that was her reason for starting lessons with me.

“Have you ever read a novel-in-verse?” I asked her.

“What’s that?”

“A poetry novel. It’s a story composed entirely of poems, each one building upon the one before it, in free verse…. Here. I bet you’ll enjoy this one.” I happen to have in my home library a number of poetry novels (because I’m a poet, as well as a poetry lover), and I handed her One of Those Hideous Books Where the Mother Dies, by Sonya Sones. She looked askance at the title, and quickly flipped through the free-verse-filled pages of the novel. “Let’s read the first poem together,” I offered.

She wanted me to read it aloud to her. Her eyebrows rose with interest as I finished the first poem. “Can you read the next one, too?” she asked.

I read one more, as I recall, and then told her she would be reading it at home, for homework. She loved the book. In subsequent lessons, we discussed the subtle character development achieved through the poet’s careful selection of the most concise, powerful words. We discussed the imagery and voice that established the cinematic quality and the engaging tone. And she hunted for evidence—quotations—that aptly illustrated her assertions. Over the course of our next few weekly lessons, she wrote with much greater enthusiasm to writing prompts that required her to develop characters’ emotions without the ease of her preferred first-person narration, and to show their emotions via my D.A.D. (Description, Action, Dialogue) technique and the interactions with other characters. Depth began to creep into her style with the help of poetry—the essence of word power.

Thus began my student’s poetry novel binge, which most recently led her to read Perfect, by Ellen Hopkins. I presented this poignant, gritty YA book to her as another example of how to develop realistic characters with distinct voices. We read and she analyzed a few of the poems in class, writing essay responses about the subtle revelation of various characters’ back-stories. I asked her to try writing her own poem in Ellen’s style, pulling out certain words from the ends of lines to form a poignant, poetic message in the right margin (if you can’t figure out what I’m describing, please read Ellen’s poetry—it’s a very engaging style). My student’s first attempt at emulating Ellen’s poetry style was earnest, but seemed forced; however, I had unknowingly laid down a gauntlet when I told her that if she wrote a really strong poem in that style, maybe I’d send it to Ellen, since she is my friend.

Weeks went by without further mention of the poetry challenge, and without our working on fiction or poetry at all. This girl had essays due for school and scholarship programs, and she wanted my help. She spent her tutorial hours with me focused on writing, reviewing, and revising, until her due dates.

The other day, she arrived for her private class with sparkling eyes, and it seemed to me that she was almost vibrating as she settled into her seat and announced that she had something new to show me. She booted up her laptop computer and passed it to me. “It’s only about six pages so far, and I’m not finished introducing all of the characters yet….”

On the screen was a free verse poem, with a title and a girl’s name—a protagonist. I noticed the Ellen Hopkins style of the free verse poem with a sidebar message formed by words pulled over to the right margin. Holding my breath and hoping that I would share her enthusiasm for the unfolding dystopian fantasy, I read straight through. By the sixth page, I had met three of the four main characters, and knew some intriguing details about their back-stories. Even the sidebar messages added intrigue and poignancy. She had hooked me. We began discussing where the story was headed, and now both of us were vibrating!

I am so excited to see how her novel grows, along with this extraordinary young writer! Perhaps she'll let me share a poem or two from that book here, in the coming months....

Essay Paragraph Checklist as Easy as "E-I-E-I-O!"

I gave this guide to my workshop students, and I'm sharing it now, here, for those who teach and those who learn about writing!

CRITIQUING AN ESSAY PARAGRAPH IN RESPONSE TO LITERATURE—GUIDELINES (for peer editing and self-editing)

Think of E I E I O (like the “Old MacDonald” song!) Use this to guide your editorial notes on your critique partner’s page.

Establish (topic/theme)

Illustrate (with quotation or example that fits established topic)

Explain (explain what the illustration shows)

Interpret (interpret why the illustration shows what it shows or is important)

Overall (overall, this paragraph has revealed that…)

1. Is the topic clearly ESTABLISHED, in specific words, as the opening line of the paragraph? 

If you answered YES, then write “clear and concise” beside that line.

If you answered NO, then write “clarify and cut,” and add your suggestions, if any, in the margin.

2.  Is the sentence that establishes the topic/theme followed by an apt verbal ILLUSTRATION, a.k.a. “concrete detail,” “example,” or quotation? 

If the illustration IS fitting, write “well-illustrated” beside that line.

If the illustration does NOT aptly support the opening line, annotate in the margin “find stronger example.” 

If the illustration could have been shorter, mark how you would cut it down to be most concise.

Also, is that illustration set up in context for a reader who might know nothing about the quoted or referenced literature?  Underline the transitional words that set up the illustration and put a smiley face beside them.

If the  “set up” needs improvement, or is absent, please note that in the margin and suggest ideas for a smooth set up.

3. Is the illustration followed by a commentary line to EXPLAIN what this particular illustration shows?

If YES, write “fine explanation” and a checkmark beside that line.

If the commentary line does not explain, or is absent, write “clear explanation needed here.”

4. Does the next commentary line INTERPRET the purpose of the words in the illustration on a deeper level, offering YOUR opinion (without saying, “I think” or “I feel that”) of why this example is important for the reading of the work?

If the line is a thought-provoking interpretation, draw a glowing light bulb beside it.

If the student writer has merely restated the previous explanation, without adding any depth, write “go deeper” beside that line. If the interpretation goes off-topic, write that in the margin.

5. Does the concluding line provide an OVERALL statement of what this paragraph has revealed, in a broader sense than the opening line?

If so, draw a smiley face beside it.

If it merely restates the established topic in slightly different words than the ones in the first sentence, then write “go broader” in the margin.

The Flower, the Ring, and the Wheel: New Visions of a Heartwarming Photo, By Three Young Poets

I found this photo on someone's Facebook page, uncredited, so if anyone knows its origin, please let me know so that I can post it here. That said, isn't this a moving photo representing a community of children? It's a moving writing prompt, as well, as you're about to see from the three metaphorical poems inspired by this picture, by two 12-year-old girls and one 11-year-old boy….

Wheel of Community

by P.M., age 12

The spokes all work together,

to keep the wheel moving

they use their heads,

to hold up their community.

Their feet nailed to the center

without any gaps,

the spokes are all important.

With gaps and spaces,

the community won't

turn, move, or progress properly

on the grassy road of life.

*          *          *          *

A Ring Forever

by A.C., age 12

Heads of honeycomb stud the ring

Curving around elegant forms in warm hues of brown

That come together like rays of the sun.

In the middle of a leafy, green forest

Lies the ring,

A ring crafted not of cold diamond and gaudy gold,

But of life, of beating hearts, and hands and feet 

   wreathed together;

Of peace, unity, happiness, and freedom

On the longest day, and longest night,

When shadows stretch, and the sun and moon

   are at their fullest.

It is then, that the forgotten people

Of a faraway place gather in an unknown 

   corner of a nameless jungle,

As these people, so long ago discarded by others

Come together, time stops.

And there is only music,

The soft whistling of the wind and hum of the crickets,

   of voices, young and deep, and 

   old and cracked, strung together by the rhythm 

   of the ground.

It is not perfect, but it is together.

It is a ring forever,

A promise to the earth.

     *     *     *     *     *     *

Flower

by D.S., age 11

An open flower

Awaits

With welcoming arms

For bees to come

and bring it pollen

And to take its nectar

To share with 

the world.

Most of us

See only

Bees coming in

And giving

And flowers

Simply receiving

But

It gives 

Us 

Things we 

Would never imagine

So when we go to 

Pollinate the flowers

With seeds of knowledge

We return with sweet nectar knowledge and memories

Of their cultures

Of their Ubuntu*

Of the things that they

Offer to us.

Accept their gifts 

With open arms

For though it seems that

We may not,

We need each other,

We do.

For we need

To share

Our ingenuity

Our culture

Our own special talents.

In Africa,

A flower waits with open arms

for you.

Go to it.

*"Ubuntu" is a Nguni Bantu term roughly translating to "human kindness." It is an idea from the Southern African region which means literally "human-ness." We discussed this briefly in class as we looked at the picture.

What, When, Where? That, Then, There?

Did you know if you replace the "w's" in what, when, and where with Ts, you get the answer to all three questions?

This fascinating tidbit came from my daughter's friend Sean, a lover of intelligent wordplay, like me.

And so I decided to turn this fun fact into a short piece of writing--something you, too, could do! Here's mine, below. Feel free to leave yours in the comments section!

     "What?" she asked, following his eyes to their target, a bat-like creature hanging from the curtains.
     "That," he answered, shuddering. "I didn't know it had reappeared."
     "When?" she asked. "During the night?"
     "Then. Yes." He nodded. "We have to shoo it out of here."
     "Where?" she asked.
     "There!" he answered, pointing to the chimney and handing her a broom.

     

Grammar Lessons for Today's Screen-Watching Students!

          I don't teach formal grammar lessons regularly; I prefer to pull my grammar lessons out of recurrent errors in my students' writings, and to do so on an "as-needed" basis. But when I do teach grammar, I love the support of my favorite grammarians, E. B. White and William Strunk, who wrote the classic book The Elements of Style (click on the title for a free PDF download), full of helpful lists (and even humor), and replete with specific examples to bolster the lists. I sometimes create quizzes based on Strunk & White's lists of grammar issues, or simply refer to the book to help my students understand a certain grammar rule.

          But recently, I discovered that a more modern grammarian, Jane Straus, posted on her website one-minute videos about grammar that will certainly appeal to today's multimedia learning style more than a book of lists would. Straus's videos are posted on www.grammarbook.com (click here to see the list,  watch some videos, and learn some new rules of grammar and punctuation).

I think that you will find the grammar segments easy to digest and apply. And it doesn't take but a minute to review and polish some element of your word usage in each sitting. I plan to use these videos as often as I need to with my writing students. Maybe I'll even develop some of my own videos--ON STYLE! Hmm.

WHAT DO YOU THINK OF THAT IDEA?