My office is too messy to show anyone. So what I did instead was to take pictures of a few special things in my office. First, some artwork:
Right above my desk are two paintings. The top one is by the artist Julie Downing, and it’s the cover art for my book THE FIREKEEPER’S SON. Underneath it are three pen-and-ink illustrations done by E.W. Park, which were used as chapter decorations in THE KITE FIGHTERS. E.W. Park is my dad!
I once attended a presentation by author-artist Jules Feiffer. He drew several pictures of George–from his book BARK, GEORGE–on a big pad of newsprint. After the presentation was over, I got one of those drawings, and now it hangs on my office wall.
On another wall, you can see this picture. It’s the cover art for the Korean edition of A SINGLE SHARD. I love the Korean artist’s rendition of Tree-ear.
My book WHAT DOES BUNNY SEE? was illustrated by Maggie Smith. Maggie also makes soft toys, and she created these adorable stuffed bunnies, modeled on the bunny she drew for the book.
One shelf in my family room holds reproductions of Korean celadon pottery. The real thing is featured in A SINGLE SHARD.
The Newbery Medal I was given in 2002 for A SINGLE SHARD isn’t at my house. I gave it to my parents; it’s at *their* house. When the award was announced, I received many beautiful bouquets–from my publisher, my agent, librarians, friends. I took a flower from each bouquet, dried it, and made a new dried-flower arrangement. So this is a photo of my Newbery flowers.
This month we’ve explored the concept of “Finding Your Voice” from a variety of different angles. We’ve looked at voice as an expression of talents, strengths, dreams, hopes. We’ve celebrated the role of good books in encouraging children to embrace a diversity of voices.
Voice can also be thought of as that sometimes, indefinable quality that distinguishes one piece of writing from another. Lola M. Schaefer, in her book, TEACHING THE CRAFT OF WRITING: VOICE, writes: “Some might say it’s the expressive part of the work, a combination of the author and the narrative coming together. Others might believe voice is the quiet background music coming from the heart of the writer… others might suggest it’s the honesty of the writing working through the character.” (5)
Schaefer describes voice to kids as the “personality of the writer coming through the words we read.”
Ruth Culham and Raymond Coutu in their book, USING PICTURE BOOKS TO TEACH WRITING WITH THE TRAITS think of voice as “the energy of the writing that creates a strong reader-writer interaction…it’s the writer’s distinctive fingerprint that makes the writing his or her own.” (41)
Two of this month’s Book Room selections – Cynthia Leitich Smith’s HOLLER LOUDLY and Alexis O’Neill’s LOUD EMILY – make use of many elements of a tall tale voice to tell their stories.
Whether students are writing an original tall tale or a story inspired by traditional folklore, one way to encourage the tall tale voice is to study the elements found in published tall tales and have kids write their own.
The downloadable writing lessons attached to this post are samples of Lessons in the Discovery of Voice found in Ruth Culham’s incredible 6 + 1 Traits of Writing: The Complete Guide, Grades 3 and Up.Culham defines ‘voice’ as being the literary trait that “is the soul of the piece. It’s what makes the writer’s style singular, as his or her feelings and convictions come out through the words (12).”
One of the primary benefits to approaching writing instruction through Culham’s trait-based techniques is that it “provides a common vocabulary for talking about writing (13).” And, in the lessons attached below, a common vocabulary for the discovery of voice in both fiction and non-fiction are presented in entertaining and child-centered manners. Enjoy!
“Take time to listen and talk about the voices of earth and what they mean – the majestic voice of thunder, the winds, the sound of surf or flowing streams.” Rachel Carson
Rachel Carson’s voice was heard by President John F. Kennedy when he read her book, SILENT SPRING. The President became aware of the dire effects of pesticides on animals and plants. President Kennedy called for a national testing of pesticides. Eventually many were banned from use.
Here is a fun new version of many voices and artists “singing” together: TRICKSTER, NATIVE AMERICAN TALES, A GRAPHIC COLLECTION Matt Dembicki, Fulcrum, 2010 Many voices make a graphic jubilee – Native and non-Native writers and illustrators collaborated to create this collection, including tales by Joseph Bruchac and Tim Tingle. This very original, very creative book lets the reader select from a variety of storytelling and graphic art styles. I celebrate the taking down of “we and they” cultural walls to cooperatively create great graphics.
“I never met a man I didn’t like,” Will Rogers said from many stages around the world. Not an easy way to feel when growing up in Indian Territory in Oklahoma meant facing prejudice, discrimination, and being sort of poor. Part Cherokee and a member of the Paint Clan, Will Rogers found his confidence and his voice learning to ride, rope and read. “To learn is to read,” Will said.
Will Rogers made people laugh when listening to his radio broadcasts, reading his newspaper columns, or watching him act in the movies. It will make your heart smile to read this delightful award-winning picture book, WILL ROGERS, by Frank Keating, illustrated by Mike Wimmer, Harcourt, 2008.
And one very different voice – the RAZZ JAZZ bee-bobbin’ dancing, strutting, jubilee voice of Jaime Adoff in SONG SHOOTS OUT OF MY MOUTH, a collection of grooving, rock and rolling poems, illustrated by Martin French. His bi-racial poem, 88, may have been the first voiced of its kind.
Some voices are soft, some are brief, others are visual, some are quizzical.
Exploring new things, finding out who you are and who you were meant to be, being true to the you that is you. All these are part of unlocking one’s voice.
Each of this week’s books shines a light on voice and the power of words.
When LOVE THAT DOG was first published almost ten years ago it felt like an innovative departure from traditional middle grade fare. A novel like this one, written in short lines, grouped into stanzas and shaped like poems, was one of many such books being published around that time that were often later referred to as “novels in verse.” And while there has been discussion in some circles about whether this book can legitimately be called poetry or verse or journal writing or some combination of all three, it’s really beside the point. The book continues to be a favorite of students and teachers.
LOVE THAT DOG is both a wonderful way to introduce children to amazing poets, as well as an effective tool for experiencing and sharing the power of voice, for Jack, a student in Miss Stretchberry’s class, does find his voice by book’s end.
How does it happen? A sensitive teacher, some paper, a pencil, and a dose of inspiration from a few master poets (William Carlos Williams, Robert Frost, Valerie Worth, Walter Dean Myers and more). Could there be any better way? We think not.
Check the TOOL BOX for ideas on how to use the book with students.
Zoe Elias dreams of finding her voice. Specifically, her voice as a pianist playing the keys of a grand piano. In her words:
“The piano is a beautiful instrument./Elegant./Dignified…/ Everybody is quiet when you are about to play the piano. They don’t even breathe. They wait for the first notes.”
For Zoe, how it could be is not how it is. Instead of playing a “glamorous, sophisticated, worldly” piano, Zoe plays the Perfectone D-60, a “wood-grained, vinyl-seated, wheeze-bag organ.”
Zoe longs to be a prodigy and it’s hard to believe that her she’ll ever find the way to her true self as long as she’s matched up with the “wrong” instrument, a mom who spends too many hours at work, and a dad who spends his days taking classes from Living Room University because he’s too fearful to leave the house.
Sensitive, full of humor and hope, A Crooked Kind of Perfect is a gem you’ll enjoy reading over and over again.
The students in Mrs. Merz’s class have written poems. Thomas’s, patterned after “This Is Just To Say,” by William Carlos Williams and written to Mrs. Garcia, a woman who works in the school office, begins the collection.
Thomas has snitched jelly doughnuts from the teacher’s lounge and the powdery tell-tale mess left on his shirt gives him away: “Forgive me/they were delicious/so sweet/and so gloppy.
Mrs. Garcia, who replies with a “Dear Thomas” poem of her own in the second half of the book, “A nice boy like you can really/get on in the world/… But I still have to call your mother.”
Throughout the collection, Sidman captures the distinct rhythms, cadences, voices, and personalities of each poem’s author.
Bella and Bean are good, forever friends, but that doesn’t mean they always see eye-to-eye. Bella likes to write poems. All day, all night, all the time. Content to sit at her desk with pencil and paper at hand, Bella loves dreaming of words.
Bean has ideas,too. Lots of them. Silly and fun-loving, Bean would much rather be doing than sitting in a quiet room waiting for Bella.
Each friend has her own unique voice, and while their differences can sometimes lead to frustration, in the end, Bella and Bean find their common ground “at the edge of a pond” with a moon, a blanket, and a poem about Forever.
Being a bear isn’t so hard. Not when you have a mother bear that teaches you how to walk, and sit, find berries, and catch fish the way the other bears do. But these things aren’t enough to keep the little bear happy, and he soon discovers his voice is best expressed through drawing.
While it’s true that some of the story logic is lost in the process of using a bear who does bear things, and also human things, like being invited to dine with kings and queens because of his fame as an artist, the emotional core of the story – finding your voice, knowing who you are, and saying so, “softly to yourself,” or “loudly for the whole world to hear” – is extremely powerful.
Help children experience the power of voice and introduce them to amazing poets by reading Sharon Creech’s LOVE THAT DOG. Then follow up the Read-Aloud with one or more of the activities suggested at the links below.
Northern Nevada Writing Project (NNWP) consultant, Dena Harrison, has written the following TEACHER’S GUIDE which uses Love That Dog as a mentor text to teach VOICE.
From Sharon Creech’s own website, a TEACHER’S GUIDE for Love That Dog and Hate That Cat.
Shouting out. Finding your voice. The rich cacophony of languages, sounds, music heard in a vibrant multicultural community.
This month, ReaderKidZ celebrates the role of books in encouraging children to embrace a diversity of voices, and make themselves heard.
In HOLLER LOUDLY, well-known author Cynthia Leitich Smith tells the rollicking tall tale of a boy who is forced to whisper until he realizes that his voice can – literally – save the town!
And be sure to visit with author Tami Lewis Brown, whose book, SOAR, ELINOR! introduces readers to another important voice.
Unique voices, all expressing the same dreams. Through books, children learn that, young or old, we all have something important to say, something valuable to contribute.
Read more about Author-In-Residence, Cynthia Leitich Smith HERE.
Read more about Author-In-Residence, Tameka Fryer Brown HERE.
My office is too messy to show anyone. So what I did instead was to take pictures of a few special things in my office. First, some artwork:
On another wall, you can see this picture. It’s the cover art for the Korean edition of A SINGLE SHARD. I love the Korean artist’s rendition of Tree-ear.
One shelf in my family room holds reproductions of Korean celadon pottery. The real thing is featured in A SINGLE SHARD.
