Whew! Time flies.
The hustle and bustle of spring seemed to arrive early here and with it came the SCBWI grant deadlines of March 31st. Last year, in 2012, I was awarded an Honorable Mention for my nonfiction submission. It was indeed an honor, especially after learning that only six of the 500 entries received such letters. it was flattering, but it wasn't the $2000 cash award. That particular project is now on submission, but I'm never without a new project.
If you write nonfiction, you know how expensive research can be. To be thorough, we need to travel. Truthfully depicting a person's life and actual setting requires sensory familiarity. Maybe more importantly, there are undigitized resources sitting in libraries, state archives, historical societies, museums. Too often, when I try to tap into these sources from a distance, I find that the hardworking curators and archivists simply don't have the budget, time, or staff to copy and mail materials. And, often, no copying is allowed at all. Period. If you want to see it, you have to go in person where you'll sit in a carefully lit, temperature controlled room, struggling to make copious pencil notes while wearing clunky white gloves. I happen to love that kind of hands-on research. But it is cost prohibitive.
So, I buckled down with my 2013 grant application. I had already snuck in some preliminary research between working on other projects over the past year. Now, I had to give this my full attention. I blocked out the rest of the world (as I always do when I begin a new project) and amped up the remote research. I bought used and rare books and, thanks to my wonderful local librarians, secured others through inter-library loan. I filled a binder with archived newspaper articles, made friends with curators by phone, and identified people to interview. I dug and dug and dug until I felt I understood my character and her chronology enough to form a narrative. Now I could write my 2500 word sample or, in my case, a shorter picture book biography. If I'm fortunate enough to secure that grant, I'll book my flights to two specific locations where the ultimate research gems are waiting for me. I can't let this, my fifth picture book biography, go out to editors until I've gotten my hands on these elusive sources.
Click here to learn more about the annual SCBWI Work-in-Progress Grants.
I may have shared these in a previous blog post, but here are some of my favorite general research avenues. Maybe you'll find something helpful, too.
www.newspaperarchive.com (be sure not to add an 's' in here. Otherwise, you land on Geneaology Bank which might also be a good source, but I've never tried them.)
www.archives.com (be sure you do include an 's' in here. Otherwise, you land on an Arab site.)
www.ancestry.com (Helpful for for establishing family trees.)
www.nytimes.com (archive for New York Times)
www.abebooks.com (used books)
www.alibris.com (used, rare books)
www.loc.gov (Library of Congress)
Obviously, I access museums, historical societies, and archivists related to each individual project, too.
Oh and stay tuned for some long-awaited, happy news. Soon. Very soon.
Wednesday, April 3, 2013
Thursday, February 21, 2013
Stealing, Tweaking, Voice
Recently, I had a fabulous conference critique on a new picture book biography. It left me smiling for days, mostly because of two words: "great voice." It's taken a long time nail the concept of voice. If you've been writing as long as I have, you know how ambiguous the subject of voice is. I mean, how do you define it? Good luck explaining the term to a ten year old, to your spouse, to a new writer. It's like describing a new flavor. Usually, you just know a good one when you taste it. As a picture book writer, it is the ultimate compliment. It doesn't come easily. And writers aren't the only ones who struggle with it.
The day after our ASCBWI conference, I was fortunate to spend a workshop morning with famed illustrator E.B. Lewis. He spoke about the relationship between words and images. He addressed the illustrators in the room by encouraging everyone to "steal" from other works. Not, in a plagiarism way. He meant by copying the color of the sky in one painting, the shape of a shoulder in another, the shadows, hands, flow in yet another painting, and on, and on. By extracting ideas from established works, artists can create something fresh and unique to them. In fact, this is how music has been composed for centuries, too. And it's how my wedding dress came to be.
I know, you're now asking what a wedding dress has to do with voice. Well, maybe you remember being a bride-to-be, shuffling through racks of puffy white gowns, pouring over the thick wedding magazines, clipping pictures of dresses, and veils, and glittery things. I certainly did that, but I never found THE perfect dress. I liked the sleeves of one dress, the bodice of another, the neckline or beadwork of another, the scalloped train of yet another, and so on. I took images of these disparate pieces to a seamstress, tweaked the whole with my own personal tastes, then voila! I walked down the aisle in a dress that was uniquely me. My own style. If my wedding could be defined in terms of voice, that dress was it. Though each piece was inspired by others' creations, it came together as my own original design.
Back to writing. I think there are two kinds of voice. There's the overall voice set up by the narrative style, and there's each character's individual voice. They can't be forced. Voice to a writer comes from reading, reading, reading, and writing, writing, writing. Though we may not always physically clip phrases, words, sentences from pages, our readers' mind somehow records it. First, maybe we imitate a writer we admire. In time, like my wedding dress, we process component parts, add our own personal spin and voila! Our written voice comes more naturally.
I'm still smiley about this editor's kind words about the voice of my manuscript. It reminds me of how very far I've come as a writer. I have a whole lot of established authors and their fine books to thank for it. And there's so much more to learn. Which means it's time to hit the books again.
The day after our ASCBWI conference, I was fortunate to spend a workshop morning with famed illustrator E.B. Lewis. He spoke about the relationship between words and images. He addressed the illustrators in the room by encouraging everyone to "steal" from other works. Not, in a plagiarism way. He meant by copying the color of the sky in one painting, the shape of a shoulder in another, the shadows, hands, flow in yet another painting, and on, and on. By extracting ideas from established works, artists can create something fresh and unique to them. In fact, this is how music has been composed for centuries, too. And it's how my wedding dress came to be.
I know, you're now asking what a wedding dress has to do with voice. Well, maybe you remember being a bride-to-be, shuffling through racks of puffy white gowns, pouring over the thick wedding magazines, clipping pictures of dresses, and veils, and glittery things. I certainly did that, but I never found THE perfect dress. I liked the sleeves of one dress, the bodice of another, the neckline or beadwork of another, the scalloped train of yet another, and so on. I took images of these disparate pieces to a seamstress, tweaked the whole with my own personal tastes, then voila! I walked down the aisle in a dress that was uniquely me. My own style. If my wedding could be defined in terms of voice, that dress was it. Though each piece was inspired by others' creations, it came together as my own original design.
Back to writing. I think there are two kinds of voice. There's the overall voice set up by the narrative style, and there's each character's individual voice. They can't be forced. Voice to a writer comes from reading, reading, reading, and writing, writing, writing. Though we may not always physically clip phrases, words, sentences from pages, our readers' mind somehow records it. First, maybe we imitate a writer we admire. In time, like my wedding dress, we process component parts, add our own personal spin and voila! Our written voice comes more naturally.
I'm still smiley about this editor's kind words about the voice of my manuscript. It reminds me of how very far I've come as a writer. I have a whole lot of established authors and their fine books to thank for it. And there's so much more to learn. Which means it's time to hit the books again.
Friday, February 1, 2013
Awards Shwards. Celebrate the Small Steps, Too.
It's been quite a week of awards celebration, hasn't it? During Monday's ALA awards presentation, I joined a group of author friends, huddled around multiple computer screens at the home of YALSA finalist, Cynthia Levinson. For an hour before the presentation, we enjoyed a festive atmosphere, complete with food, mimosas, party favors, and fidgety anticipation. It was the Academy Awards for kid-lit, wasn't it?
As the awards were announced, there were hoots and hollers, applause, and chatter. And, yes, a few disappointments, too. Every nominee, every finalist, every honoree, every winner should be celebrated. It was a day, nay, a week to celebrate books.
But it got me thinking. We all have something to celebrate, no matter where we are on this crazy-making publishing journey. Why are we so quick to discount anything less than a a book in hand, or a shiny sticker to go on it?
Different stages of the journey come with their own opportunities for yee-haws.
Did you just finish the first draft of your manuscript?
Atta-girl! That's a ginormous first step.
Did you just mail your first submission to an agent or editor?
Bravo! Nothing ventured, nothing gained, right?
Up to your elbows in conferences, workshops, classes, and writing books?
Watch out world! You're a writer on a mission.
Just received your first rejection? Your twelfth rejection? Your one hundredth rejection?
Yay, you! Rejections mean movement. Movement means progress.
Received a rejection with constructive feedback or personal notes?
Hooray! Your work has been personally acknowledged.
Penned that second manuscript? Third manuscript? Tenth manuscript?
Well, look at you! Then look up the word prolific in the dictionary.
Did an editor or agent show interest in your work, but ultimately passed?
Woohoo! Now, you know you're sooooo close.
Someone asked you to critique her/his manuscript?
Congratulations! You've earned someone's respect.
Your manuscript came in second place, third place, honorable mention in a writing contest?
Shazam! Silver or bronze medals are worth celebrating.
Are you knee deep into research?
Cooleo! You'll soon be an expert.
A child asked you to read her/his story?
Smile! Someone special looks up to you.
Made a bunch of great friends within the writing community, on blogs, and in person?
Yee-haw! You have a new family who speaks your language!
So, you've been writing for years now and still no book?
Good for you! Remember the story of the turtle and the hare. Patience and hard work rule.
Have you been asked to be a mentor, a panelist, conference volunteer?
Take it! What a great opportunity to give back to the community that supports you.
Just met someone writing her own first draft?
It's your turn! Give her an atta-girl. It'll come back to you in spades.
Every little step, even the ones that sting, is one step closer to your goal. So, celebrate each and every one!
As the awards were announced, there were hoots and hollers, applause, and chatter. And, yes, a few disappointments, too. Every nominee, every finalist, every honoree, every winner should be celebrated. It was a day, nay, a week to celebrate books.
But it got me thinking. We all have something to celebrate, no matter where we are on this crazy-making publishing journey. Why are we so quick to discount anything less than a a book in hand, or a shiny sticker to go on it?
Different stages of the journey come with their own opportunities for yee-haws.
Did you just finish the first draft of your manuscript?
Atta-girl! That's a ginormous first step.
Did you just mail your first submission to an agent or editor?
Bravo! Nothing ventured, nothing gained, right?
Up to your elbows in conferences, workshops, classes, and writing books?
Watch out world! You're a writer on a mission.
Just received your first rejection? Your twelfth rejection? Your one hundredth rejection?
Yay, you! Rejections mean movement. Movement means progress.
Received a rejection with constructive feedback or personal notes?
Hooray! Your work has been personally acknowledged.
Penned that second manuscript? Third manuscript? Tenth manuscript?
Well, look at you! Then look up the word prolific in the dictionary.
Did an editor or agent show interest in your work, but ultimately passed?
Woohoo! Now, you know you're sooooo close.
Someone asked you to critique her/his manuscript?
Congratulations! You've earned someone's respect.
Your manuscript came in second place, third place, honorable mention in a writing contest?
Shazam! Silver or bronze medals are worth celebrating.
Are you knee deep into research?
Cooleo! You'll soon be an expert.
A child asked you to read her/his story?
Smile! Someone special looks up to you.
Made a bunch of great friends within the writing community, on blogs, and in person?
Yee-haw! You have a new family who speaks your language!
So, you've been writing for years now and still no book?
Good for you! Remember the story of the turtle and the hare. Patience and hard work rule.
Have you been asked to be a mentor, a panelist, conference volunteer?
Take it! What a great opportunity to give back to the community that supports you.
Just met someone writing her own first draft?
It's your turn! Give her an atta-girl. It'll come back to you in spades.
Every little step, even the ones that sting, is one step closer to your goal. So, celebrate each and every one!
Wednesday, January 16, 2013
Dramatic Point of Vew in Historical Fiction Picture Books
Continuing my observations about unique storytelling techniques in nonfiction and historical fiction picture books, today I'm turning to dramatic point of view (pov.) Maybe you've heard this referred to as third person distant, Objective, or the fly-on-the wall pov. Whatever term you choose to use, I hope you'll agree that this technique is clever, entertaining, and engaging in children's literature. And it's really difficult to master.
Unlike close third person pov, that allows readers to get inside the head of a character, dramatic point of view is more from the narrator's vantage point, as if he/she is narrating a stage play. In fact, you can trace the roots of this pov back to theatre. More action-focused, rather than character-focused. It's a clever approach when details about a true event are scarce, don't you agree?
Here are my two favorite historical fiction picture books with dramatic point of view, both authored by Deborah Hopkinson:
ABE LINCOLN CROSSES A CREEK: A TALL, THIN TALE (Introducing His Forgotten Frontier Friend)
by Deborah Hopkinson. Illustrated by John Hendrix
(Schwartz & Wade 2008)
Summary from author's website: It’s a tale of two boys who get themselves into more trouble than bear cubs in a candy store during the year 1816. Abe is only seven years old, and his pal, Austin, is ten.
Abe and Austin decide to journey down to Knob Creek. The water looks scary and deep, and Austin points out that they don’t know how to swim. Nevertheless, they decide to traverse it. I won’t tell you what happens, but let’s just say that our country wouldn’t be the same if Austin hadn’t been there to help his friend.
*
This episode from Lincoln's childhood is based on as much truth as Hopkinson could unearth. There really was an Austin Gollaher, and the episode at the creek really did happen, though literary license has been employed to fill gaps. But, it's the unique storytelling that most stands out with this book. Listen as the narrator speaks directly to 'you', the reader, when the subject's identity is revealed, "Look, now he's stopping to watch a wagon rumble by. I daresay, you've guessed his name. Abraham Lincoln."
I think its interesting that the narrator becomes a first-person participant in a third-person telling. It reminds me of the theatrical asides found in old radio detective shows.
From a safe distance, the narrator is taking 'you' along to witness events as they unfold. "Here's Knob Creek, its waters rushing through the limestone rock into a dark, deep pool. I'd be scared to cross, wouldn't you? But Abe points to the other side of the creek. "Let's go, Austin! That's where I saw the partridges."
Within this dramatic point of view, the narrator speaks to the illustrator, too, "John, could you please stop painting that noisy water?" Interspersed throughout the text are exclamations, admitted presumptions that only a participating narrator could get away with, and even a rewind announcement, "HOLD ON ONE MINUTE! I want to be sure we get this right. Because maybe it didn't happen like that. I mean, would Abe and Austin really have WALKED across a log over that whirlpool? They weren't that foolish, were they? No, I'm almost sure those boys would have crawled! So let's try again."
What a compelling and entertaining way to draw young readers into an actual historical event. Don't you agree?
A BOY CALLED DICKENS by Deborah Hopkinson. Illustrated by John Hendrix (Schwartz & Wade 2012)
From jacket flap: Step back in time to the winding, crowded streets of old London....We are here to search for a boy called Charles Dickens.Who is he?A skinny, hungry child with patched sleeves? Yes.
A worker in Warren's rat-infested blacking factory? That too.
But he's also an imaginative boy who yearns for books, and who longs to create stories of his very own.
*
In this example of dramatic point of view, the tone is much heavier, to fit the grim setting. In present tense, the author/narrator invites the reader in, "This is old London, on a winter morning long ago. Come along, now. We are here to search for a boy called Dickens. Once again, the narrator is pointing the lens and directing us, the readers, to follow along.
He won't be easy to find. The fog has crept in, silent as a ghost, to fold the city in cold, gray arms." And the story continues, "Hurry! Let's not lose him in the twisting, turning alleys. There he is, running to that run-down, rickety house by the river. Are we brave enough to follow him?
How could a reader not follow such an intriguing hook? From here, the narrator directs attention back to the unfolding day-in-the life story which reveals the sad and little known childhood of Charles Dickens.
By the story's end, the gloominess gives way and we glimpse the future of the boy, full of imaginings and hope. The narrator beckons the reader again, "Now, once again, let us follow the boy. It's a clear, sunny morning. He is walking briskly; his eyes are bright. And what's that he's carrying?" It would spoil the story if I gave too much more away here. Suffice it to say, the story wraps on a hopeful note.
So there ya go, two apparent outliers among historical fiction and nonfiction picture books. Two more examples to prove that there is no formula, template, or single "right" way to write a picture book or to reveal history.
If you know of other such picture books written with the dramatic point of view, please add them to the comments. Even if you don't have a title to add, please join the conversation.
Unlike close third person pov, that allows readers to get inside the head of a character, dramatic point of view is more from the narrator's vantage point, as if he/she is narrating a stage play. In fact, you can trace the roots of this pov back to theatre. More action-focused, rather than character-focused. It's a clever approach when details about a true event are scarce, don't you agree?
Here are my two favorite historical fiction picture books with dramatic point of view, both authored by Deborah Hopkinson:
by Deborah Hopkinson. Illustrated by John Hendrix
(Schwartz & Wade 2008)
Summary from author's website: It’s a tale of two boys who get themselves into more trouble than bear cubs in a candy store during the year 1816. Abe is only seven years old, and his pal, Austin, is ten.
Abe and Austin decide to journey down to Knob Creek. The water looks scary and deep, and Austin points out that they don’t know how to swim. Nevertheless, they decide to traverse it. I won’t tell you what happens, but let’s just say that our country wouldn’t be the same if Austin hadn’t been there to help his friend.
*
This episode from Lincoln's childhood is based on as much truth as Hopkinson could unearth. There really was an Austin Gollaher, and the episode at the creek really did happen, though literary license has been employed to fill gaps. But, it's the unique storytelling that most stands out with this book. Listen as the narrator speaks directly to 'you', the reader, when the subject's identity is revealed, "Look, now he's stopping to watch a wagon rumble by. I daresay, you've guessed his name. Abraham Lincoln."
I think its interesting that the narrator becomes a first-person participant in a third-person telling. It reminds me of the theatrical asides found in old radio detective shows.
From a safe distance, the narrator is taking 'you' along to witness events as they unfold. "Here's Knob Creek, its waters rushing through the limestone rock into a dark, deep pool. I'd be scared to cross, wouldn't you? But Abe points to the other side of the creek. "Let's go, Austin! That's where I saw the partridges."
Within this dramatic point of view, the narrator speaks to the illustrator, too, "John, could you please stop painting that noisy water?" Interspersed throughout the text are exclamations, admitted presumptions that only a participating narrator could get away with, and even a rewind announcement, "HOLD ON ONE MINUTE! I want to be sure we get this right. Because maybe it didn't happen like that. I mean, would Abe and Austin really have WALKED across a log over that whirlpool? They weren't that foolish, were they? No, I'm almost sure those boys would have crawled! So let's try again."
What a compelling and entertaining way to draw young readers into an actual historical event. Don't you agree?
From jacket flap: Step back in time to the winding, crowded streets of old London....We are here to search for a boy called Charles Dickens.Who is he?A skinny, hungry child with patched sleeves? Yes.
A worker in Warren's rat-infested blacking factory? That too.
But he's also an imaginative boy who yearns for books, and who longs to create stories of his very own.
*
In this example of dramatic point of view, the tone is much heavier, to fit the grim setting. In present tense, the author/narrator invites the reader in, "This is old London, on a winter morning long ago. Come along, now. We are here to search for a boy called Dickens. Once again, the narrator is pointing the lens and directing us, the readers, to follow along.
He won't be easy to find. The fog has crept in, silent as a ghost, to fold the city in cold, gray arms." And the story continues, "Hurry! Let's not lose him in the twisting, turning alleys. There he is, running to that run-down, rickety house by the river. Are we brave enough to follow him?
How could a reader not follow such an intriguing hook? From here, the narrator directs attention back to the unfolding day-in-the life story which reveals the sad and little known childhood of Charles Dickens.
By the story's end, the gloominess gives way and we glimpse the future of the boy, full of imaginings and hope. The narrator beckons the reader again, "Now, once again, let us follow the boy. It's a clear, sunny morning. He is walking briskly; his eyes are bright. And what's that he's carrying?" It would spoil the story if I gave too much more away here. Suffice it to say, the story wraps on a hopeful note.
So there ya go, two apparent outliers among historical fiction and nonfiction picture books. Two more examples to prove that there is no formula, template, or single "right" way to write a picture book or to reveal history.
If you know of other such picture books written with the dramatic point of view, please add them to the comments. Even if you don't have a title to add, please join the conversation.
Saturday, December 29, 2012
Twenty Memorable Nonfiction Titles from 2012
2012 is coming to a close and, as I skim through the list of nonfiction and historical fiction picture books I've read and studied this year, a handful of new releases stand out as memorable, for various individual reasons. Of course, there are oodles of outstanding middle grade nonfiction books out this year, too, but I've chosen to narrow this particular list to the picture book form only.
Without futher ado, here are the standouts from my personal readings of 2012 releases:
(Note, they are in alphabetical order by publisher because that's the way I record them in my reading log-more on that later.)
MINETTE'S FEAST; THE DELLICIOUS STORY OF JULIA CHILD AND HER CAT by Susanna Reich. Illustrated by Amy Bates (Abrams, 2012)
BILL THE BOY WONDER: THE SECRET CO-CREATOR OF BATMAN by Marc Tyler Nobleman. Illustrated by Ty Templeton (Charlesbridge 2012)
BAMBINO AND MR. TWAIN by P.I. Maltbie. Illustrated by Daniel Miyares (Charlesbridge, 2012)
EMILY AND CARLO by Marty Rhodes Figley. Illustrated by Catherine Stock (Charlesbridge, 2012)
BROTHERS AT BAT: THE TRUE STORY OF AN AMAZING ALL-BROTHER BASEBALL TEAM by Audrey Vernick. Illustrated by Steven Salerno (Clarion, 2012)
THE CAMPING TRIP THAT CHANGED AMERICA by Barb Rosenstock. Illustrated by Mordecai Gerstein (Dial, 2012)
ELECTRIC BEN: THE AMAZING LIFE AND TIMES OF BENJAMIN FRANKLIN written and illustrated by Robert Byrd (Dial, 2012)
THE FANTASTIC JUNGLES OF HENRI ROUSSEAU by Michelle Markel. Illustrated by Amanda Hall (Eerdman's, 2012)
BARNUM'S BONES: HOW BARNUM BROWN DISCOVERED THE MOST FAMOUS DINOSAUR IN THE WORLD by Tracey Fern. Illustrated by Boris Kulikov (F,S,G, 2012)
NOAH WEBSTER AND HIS WORDS by Jeri Chase Ferris. Illustrated by Vincent X. Kirsch (Houghton Mifflin, 2012)
JUST BEHAVE, PABLO PICASSO by Jonah Winter. Illustrated by Kevin Hawkes (Arthur Levine Books, 2012)
IT JES' HAPPENED: WHEN BILL TRAYLOR STARTED TO DRAW by Don Tate. Illustrated by Gregory Christie (Lee & Low, 2012)
ISLAND: A STORY OF THE GALAPAGOS written and illustrated by Jason Chin (Roaring Brook, 2012)
MONSIEUR MARCEAU by Leda Schubert. Illustrated by Gerard DuBois (Roaring Brook, 2012)
ANNIE AND HELEN by Deborah Hopkinson. Illustrated by Raul Colon (Schwartz & Wade, 2012
BON APPETIT! THE DELICIOUS LIFE OF JULIA CHILD written and illustrated by Jessie Hartland (Schwartz & Wade, 2012)
A BOY CALLED DICKENS by Deborah Hopkinson. Illustrated by John Hendrix (Schwartz & Wade, 2012)
HERE COME THE GIRL SCOUTS!: THE AMAZING ALL-TRUE STORY OF JULIETTE "DAISY"" GORDON LOW AND HER GREAT ADVENTURE by Shana Corey. Illustrated by Hadley Hooper (Scholastic, 2012)
LOOKING AT LINCOLN written and illustrated by Maira Kalman. (Penguin (Nancy Paulsen) 2012)
TOUCH THE SKY: ALICE COACHMAN, OLYMPIC HIGH JUMPER by Ann Malaspina. Illustrated by Eric Velasquez (Albert Whitman, 2012)
Without futher ado, here are the standouts from my personal readings of 2012 releases:
(Note, they are in alphabetical order by publisher because that's the way I record them in my reading log-more on that later.)
MINETTE'S FEAST; THE DELLICIOUS STORY OF JULIA CHILD AND HER CAT by Susanna Reich. Illustrated by Amy Bates (Abrams, 2012)
BILL THE BOY WONDER: THE SECRET CO-CREATOR OF BATMAN by Marc Tyler Nobleman. Illustrated by Ty Templeton (Charlesbridge 2012)
ELECTRIC BEN: THE AMAZING LIFE AND TIMES OF BENJAMIN FRANKLIN written and illustrated by Robert Byrd (Dial, 2012)
JUST BEHAVE, PABLO PICASSO by Jonah Winter. Illustrated by Kevin Hawkes (Arthur Levine Books, 2012)
ANNIE AND HELEN by Deborah Hopkinson. Illustrated by Raul Colon (Schwartz & Wade, 2012
HERE COME THE GIRL SCOUTS!: THE AMAZING ALL-TRUE STORY OF JULIETTE "DAISY"" GORDON LOW AND HER GREAT ADVENTURE by Shana Corey. Illustrated by Hadley Hooper (Scholastic, 2012)
LOOKING AT LINCOLN written and illustrated by Maira Kalman. (Penguin (Nancy Paulsen) 2012)
TOUCH THE SKY: ALICE COACHMAN, OLYMPIC HIGH JUMPER by Ann Malaspina. Illustrated by Eric Velasquez (Albert Whitman, 2012)
Wednesday, December 19, 2012
Alternating POV and Alternating Tense in Nonfiction Picture Books
Welcome to Part Three of my latest blog thread focused on craft considerations in nonfiction and historical fiction picture books. Basically, this is my private classroom where I peel back the layers and disassemble successful books to learn creative approaches to truth telling. The more I nose my way into the intracacies of these books, the more my pre-conceived notions about "the right way" to pen a marketable picture book biography goes by the wayside. I hope my observations inspired conversations about this genre.
Picture books are most often told with a very simplistic approach; single point of view character; single story line; consistent tense. But, there are exceptions.
Alternating Point of View- A single subject seen through many eyes
LADY LIBERTY: A BIOGRAPHY by Doreen Rappaport. illustrated by Matt Tavares (Candlewick, 2008)
Ten POV characters narrate (in first person pov) this clever biography of the Statue of Liberty, beginning with the author's introduction. Liberty's story begins in 1865, France, when Edouard De Laboulaye made the original suggestion of a birthday gift for America. In progressive spreads, we hear from the sculptor, the sculptor's assistant, the structural engineer (Eiffel,) poet Emma Lazarus, the construction supervisor, newspaperman Joseph Pulitzer, an everyday child, and a journalist. Through these multiple points of view, we watch Liberty evolve from sketch to completion, until she becomes America's most famous symbol of freedom. Each of those ten points of view are told through first person, present tense. Though the dialog is not lifted from autobiographies, the invented voices are based on solid research.
Excerpt from De Laboulaye's spread: "I share my dream of a birthday gift. Auguste Bartholdi listens intently when I suggest a monument from our people to theirs to celebrate their one hundred years of independence and ot honor one hundred years of friendship between our two countries."
Interesting to note:
*Ten first- person point-of-view characters
*Present Tense throughout
*Time span: 1865-1886 (with a final spread reflecting today)
*LOC classification: (not posted in book. LOC site indicates classification as History, Buildings, etc)
*3100 words (per Renlearn.com) 40 pages
*Back Matter: quotes from contemporary immigrants
Statue dimensions
Important Events
Author's Note - Illustrator's Note
Selected Sources
TALKIN' ABOUT BESSIE: THE STORY OF AVIATOR ELIZABETH COLEMAN by Nikki Grimes. Illustrated by E.B. Lewis (Orchard Books, 2002)
This is an older title but worth looking at as a dramatic example of multiple points-of-view. Twenty-two family members and acquaintances ranging from fellow field hands, teachers, laundry clients, reporters, classmates, flight instructors, etc, serve as point-of-view characters in this creative biography about Bessie Coleman. In alternating spreads, and with distinct invented voices, the pov characters speak as if interviewed post-funeral about their recollections of the pioneering aviatrix. And that, following a dramatic opening, which is set during Bessie Coleman's wake. Yep, the story begins when Bessie's life ended. I was surprised by this post-funeral setting where Bessie herself briefly serves as pov character. 'Bessie eyes the gathering of family, friends, and acquaintances from her place in the photo on the mantel behind them." This unique setting propels the twenty-two person flashback sequence that illuminates Bessie's life.
Interesting to note:
*22 pov characters speaking in first person
*Present tense opening scene. Past tense throughout remainder
*Time span- Bessie's death to flashback to childhood-through adulthood (she died at age 34)
*LOC classification: Bessie Coleman-anecdotes-Afro-American women air pilots.
LOC summary : A biography of the woman who became the first licensed Afro-America female pilot.
word count: 5020 (per Renlearn.com) 48 pages
*Back matter: Further biographical info. about Bessie Coleman
*Acknowledgements: author states that voice, style, speech, and characterizations are all imaginary.
*Source Material about Coleman and about Aviation
Alternating Tense Structure- The ying and yang of time: the now and the then
HOUDINI: WORLD'S GREATEST MYSTERY MAN AND ESCAPE KING by Kathleen Krull. Illustrated by Eric Velasquez (Walker, 2005)
From the first page of this p.b. biography, we are drawn into a present tense scene told with a dramatic point-of-view, sometimes called the fly-on-the-wall point-of-view; As if we have walked into a theatre after the show has begun. A narrator is describing the actions on the stage. All the while the tension is mounting as we watch Houdini, handcuffed, lowered into a milk can filled with water. Six padlocks click. "Now, hold your breath! Can you hold it for as long as Houdini? Thirty seconds...One minute...Tick, tick, tick-lungs ready to burst."
The following pages take us back in time, with a traditional past-tense telling, introducing Houdini as a child, as a young man, as a budding-then famous illusionist. "He was born Erik Weiss in Budapest, Hungary, in 1874(we think)." But, interspersed between the past-tense spreads are additional present tense scenes of Houdini performing his most dangerous feats, told with that "you are there" dramatic point of view.
Interesting to note:
*Six spreads in present tense- Dramatic pov
*Six spreads in past tense-third person pov
*Time span- childhood through adulthood.
*LOC classification: Houdini-Biography
*Word count: 2179 (per Renlearn.com)
*Back Matter: Author's note titled "Behind the Scenes"
Bibliography
DUEL: BURR AND HAMILTON'S DEADLY WAR OF WORDS by Dennis Brindell Fradin. Illustrated by Larry Day (Walker, 2008)
DUEL! opens with a dramatic scene, told in present tense. "As the sun rises on a July morning in 1804, two men stand ten paces apart on a New Jersey Cliffside. One is Alexander Hamilton, a signer of the Constitution. The other is Aaron Burr, the vice president of the United States. They are risking arrest- and their lives- to fight an illegal pistol duel." There is an immediate sense of urgency in this "now" telling. It acts as a tease-a hook. But we are swifly taken away from this dangerous scene, back in time far enough to meet the combatants and learn about the events that led to the deadly challenge. "The two enemies had much in common, starting with difficult childhoods." By page 18-19, we're back in the present tense again- the day of the duel-the day of Hamilton's death.
Interesting to note:
*Eight present tense spreads
*Seven past tense spreads
*word count: 1225 (per Renlearn.com)
Back Matter: Bibliography (pg. 32)
The end of dueling
So, there you go. Alternating point-of-view and alternating tense. Both approaches prove that there is no single right way to write a nonfiction or historical fiction picture book.
Next up:
Dramatic point of view- The fly on the wall narrator.
Have you run across other nonfiction or historical fiction picture books with alternating point-of-view, or alternating tense structures? If so, please mention them in the comments section below. Don't be shy. Let's start a conversation.
Picture books are most often told with a very simplistic approach; single point of view character; single story line; consistent tense. But, there are exceptions.
Alternating Point of View- A single subject seen through many eyes
Ten POV characters narrate (in first person pov) this clever biography of the Statue of Liberty, beginning with the author's introduction. Liberty's story begins in 1865, France, when Edouard De Laboulaye made the original suggestion of a birthday gift for America. In progressive spreads, we hear from the sculptor, the sculptor's assistant, the structural engineer (Eiffel,) poet Emma Lazarus, the construction supervisor, newspaperman Joseph Pulitzer, an everyday child, and a journalist. Through these multiple points of view, we watch Liberty evolve from sketch to completion, until she becomes America's most famous symbol of freedom. Each of those ten points of view are told through first person, present tense. Though the dialog is not lifted from autobiographies, the invented voices are based on solid research.
Excerpt from De Laboulaye's spread: "I share my dream of a birthday gift. Auguste Bartholdi listens intently when I suggest a monument from our people to theirs to celebrate their one hundred years of independence and ot honor one hundred years of friendship between our two countries."
Interesting to note:
*Ten first- person point-of-view characters
*Present Tense throughout
*Time span: 1865-1886 (with a final spread reflecting today)
*LOC classification: (not posted in book. LOC site indicates classification as History, Buildings, etc)
*3100 words (per Renlearn.com) 40 pages
*Back Matter: quotes from contemporary immigrants
Statue dimensions
Important Events
Author's Note - Illustrator's Note
Selected Sources
This is an older title but worth looking at as a dramatic example of multiple points-of-view. Twenty-two family members and acquaintances ranging from fellow field hands, teachers, laundry clients, reporters, classmates, flight instructors, etc, serve as point-of-view characters in this creative biography about Bessie Coleman. In alternating spreads, and with distinct invented voices, the pov characters speak as if interviewed post-funeral about their recollections of the pioneering aviatrix. And that, following a dramatic opening, which is set during Bessie Coleman's wake. Yep, the story begins when Bessie's life ended. I was surprised by this post-funeral setting where Bessie herself briefly serves as pov character. 'Bessie eyes the gathering of family, friends, and acquaintances from her place in the photo on the mantel behind them." This unique setting propels the twenty-two person flashback sequence that illuminates Bessie's life.
Interesting to note:
*22 pov characters speaking in first person
*Present tense opening scene. Past tense throughout remainder
*Time span- Bessie's death to flashback to childhood-through adulthood (she died at age 34)
*LOC classification: Bessie Coleman-anecdotes-Afro-American women air pilots.
LOC summary : A biography of the woman who became the first licensed Afro-America female pilot.
word count: 5020 (per Renlearn.com) 48 pages
*Back matter: Further biographical info. about Bessie Coleman
*Acknowledgements: author states that voice, style, speech, and characterizations are all imaginary.
*Source Material about Coleman and about Aviation
Alternating Tense Structure- The ying and yang of time: the now and the then
From the first page of this p.b. biography, we are drawn into a present tense scene told with a dramatic point-of-view, sometimes called the fly-on-the-wall point-of-view; As if we have walked into a theatre after the show has begun. A narrator is describing the actions on the stage. All the while the tension is mounting as we watch Houdini, handcuffed, lowered into a milk can filled with water. Six padlocks click. "Now, hold your breath! Can you hold it for as long as Houdini? Thirty seconds...One minute...Tick, tick, tick-lungs ready to burst."
The following pages take us back in time, with a traditional past-tense telling, introducing Houdini as a child, as a young man, as a budding-then famous illusionist. "He was born Erik Weiss in Budapest, Hungary, in 1874(we think)." But, interspersed between the past-tense spreads are additional present tense scenes of Houdini performing his most dangerous feats, told with that "you are there" dramatic point of view.
Interesting to note:
*Six spreads in present tense- Dramatic pov
*Six spreads in past tense-third person pov
*Time span- childhood through adulthood.
*LOC classification: Houdini-Biography
*Word count: 2179 (per Renlearn.com)
*Back Matter: Author's note titled "Behind the Scenes"
Bibliography
DUEL! opens with a dramatic scene, told in present tense. "As the sun rises on a July morning in 1804, two men stand ten paces apart on a New Jersey Cliffside. One is Alexander Hamilton, a signer of the Constitution. The other is Aaron Burr, the vice president of the United States. They are risking arrest- and their lives- to fight an illegal pistol duel." There is an immediate sense of urgency in this "now" telling. It acts as a tease-a hook. But we are swifly taken away from this dangerous scene, back in time far enough to meet the combatants and learn about the events that led to the deadly challenge. "The two enemies had much in common, starting with difficult childhoods." By page 18-19, we're back in the present tense again- the day of the duel-the day of Hamilton's death.
Interesting to note:
*Eight present tense spreads
*Seven past tense spreads
*word count: 1225 (per Renlearn.com)
Back Matter: Bibliography (pg. 32)
The end of dueling
So, there you go. Alternating point-of-view and alternating tense. Both approaches prove that there is no single right way to write a nonfiction or historical fiction picture book.
Next up:
Dramatic point of view- The fly on the wall narrator.
Have you run across other nonfiction or historical fiction picture books with alternating point-of-view, or alternating tense structures? If so, please mention them in the comments section below. Don't be shy. Let's start a conversation.
Monday, December 17, 2012
A half-mast kind of day. Reflecting on the Connecticut Tragedy
Like the rest of the country, I've been in a state of shock, grief, and confusion since last Friday's horrifying tragedy in Connecticut. My heart goes out to the families of the slain victims, to the responding emergency personnel who will be forever changed by their traumatic duty, and to the Newtown community whose very foundation has been shaken to the core.
I do not know how to survive the loss of a child, a mother, a spouse, a friend by such sinister means. There is no reasoning to be conjured. No magic elixir to offer relief. Except that, we are a country of compassionate, empathetic neighbors eager to shoulder some of the burden to help our fellow man. I hope those suffering will find some solace in knowing that we are here to bolster them through the long and painful healing ahead.
May peace and light and comfort come to all who are grieving right now.
Donna
Tuesday, December 11, 2012
Fictional POV Characters to Introduce a True Story
If it isn't obvious by now, I'm that grown up kid who disassembles gizmos to figure out how they work-all because I want to learn how to build my own. But, in my case, the gizmos are books. This blog thread is about sharing my observations as I dissect nonfiction and historical fiction picture books that work well.
Last week, I blogged about a few fictionalized first person picture book biographies where the authors utilized thorough research to step into the shoes and the voices of their subjects. The post created a slew of discussions about whether invented dialog or monolog qualify as fiction or nonfiction. Though that's a fascinating debate, I'd like to stay on track with my observations about the creative, clever, unique approaches authors employ. If you're a writer, I hope you find something of value here.
This week, I'm zeroing in on a few titles with fictionalized point-of-view characters. There are a number of reasons why authors choose to add a fictional character to an otherwise true story. Sometimes, it's because of a lack of available research sources. Sometimes, it's just a creative storytelling decision. When done well, as the following are, the stories are both entertaining and informative.
THE ADVENTURES OF MARK TWAIN: BY HUCKLEBERRY FINN
by Robert Burleigh. Illustrated by Barry Blitt (Atheneum, 2012)
The fictional Huckleberry Finn narrates this clever biographical introduction to Samuel Clemens (Mark Twain). Told as only Huck Finn would, and with a strong nod to Clemens' most famous literary work, the character-narrator point of view is heavy on folksy, backwood twang that lends itself to a fun read-aloud. Huck remains an active participant in this childhood-to-death account, grounded by solid research.
Excerpt from jacket flap: "I'm Huck Finn, and maybe you know me, or maybe you ain't never heard of me. No matter. Mr. Mark Twain put pen to paper to tell my story, so it seemed only right fair that I return the favor. Now, I ain't no scholar boy, but I know some things, most not worth knowin' at all, except this: the life of Mark Twain."
Interesting to note:
*A double page spread "Warning to the Reader" acts as an intro and mini-glossary to the unconventional backwoods dialect ahead. It is an entertaining prelude to the story.
*Character-Narrator point of view
*Present tense (with generous flashback through Clemens' life)
*Library of Congress (LOC) classification: Biography
*Back Matter: "Editor's Note" provides a factual timeline.
MINETTE'S FEAST: THE DELICIOUS STORY OF JULIA CHILD AND HER CAT by Susanna Reich. Illustrated by Amy Bates (Abrams, 2012)
Julia Child's cat, Minette, is our hostess in this whimsical slice of life story of Childs' time in Paris, though the story is not narrated by the cat. Through Minette's finicky ways and general catness, we are introduced to Childs' passion for cooking which led to her enrollment at Le Cordon Bleu. The storytelling is enhanced with fun alliteration, clever refrains, and French terms that heighten the sense of setting.
Excerpt: Minette Mimosa McWilliams Child was a very lucky cat, perhaps the luckiest cat in all of Paris.
She lived upstairs in an old gray house, one block from the River Seine.
Day and night she could hear the bells of Sainte-Clotilde tolling the hour.
And day and night she could smell the delicious smells of mayonnaise, hollandaise, cassoulets, cheese souffles, and duck pates wafting from the pots and pans of her owner, Julia Child.
Bon appetit, Minette!
Interesting to note
*Third person pov. Past tense
*Time span: a few months while Julia and Paul Child lived in Paris.
*LOC classification: Fiction
*Back matter: Afterword, offers fuller biographical info. about Julia Child
Notes: citations for book's dialog, all drawn from primary sources.
List of Sources
Glossary of french terms
Author's Note
THE SECRET OF THE GREAT HOUDINI by Robert Burleigh. illustrated by Leonid Gore (Atheneum, 2002)
Two fictional characters, young Sam and his Uncle Ezra, watch the handcuffed Great Houdini be lowered into a trunk that is then locked and plummeted into the icy river. With a tension filled present tense approach, covering approx three minutes, dialog between Sam and his uncle reveal the factual events of Houdini's life leading up to this feat. Sam learns that Houdini's secret goes far beyond his illusion, to something all people can attain-if only they believe they can.
Interspersed throughout the pages are a hand full of first person sentiments, ostensibly the voice of Houdini.
Excerpt from early page:
"Is he afraid? Going-in there-in a locked trunk?"
"Everyone's afraid sometimes," Uncle Ezra answers.
"The Great Houdini goes where he has to go."
Behind his uncle, Sam sees people arriving. Then suddenly, every head turns. The crowd opens a narrow pathway. A bubble of voices rises up and pops into words:
"He's coming!" "There he is!" "Look, look! Houdini! Houdini! The Great Houdini!
Interesting to note:
*Third person primary story with interspersed first person (I)sentiments from Houdini (presumably all fictionalized)
*Present tense
*Includes invented point-of-view characters
*L.O.C. classification: Fiction
*Back matter: Afterword-one page biographical info. about Houdini
*No bibliography (not necessary in historical fiction)
THE HALLELUJAH FLIGHT by Phil Bildner. Illustrated by John Holyfield (G.P. Putnam & Sons, 2010)
From jacket flap: "In 1932, James Banning had a dream: to fly across the country and inspire people brought low by the Great Depression. But for an African-American pilot-even an ace like Banning-this was no easy feat!"
Told through the eyes of Banning's mechanic, Thomas Allen, we are taken on a transcontinental flight, the first such flight by an African American. To finance the journey, which would require repairs and fuel for the plane, plus food, supplies, and lodging at various stops, Banning banked on an unusual idea that paid off. But, their greatest obstacle may have been racial prejudice.
*Note: Thomas Allen is not a fictional character. He really was Banning's mechanic. As Bildner's Author's Note indicates, research sources were limited and the strongest source included personal recollections of Thomas Allen. Introducing Banning and his historic flight through Allen's eyes is both a logical and a creative decision.
Excerpt: The day I first met James Banning, he said, "Mr. Allen, my dream is to fly a plane from sea to shining sea, and this here OXX6 Eagle Rock is our plane. But first I'll need you to overhaul the engine."
I just about coughed up my coffee. "Replace the entire engine? How will we pay for that?" Times were hard, and most folks didn't have a nickel to spare.
"I've got an idea," Banning replied. "Whenever people give us food, fuel and supplies along the way, they can write their names on the tip of the wing. They'll fly into history books right along with us!"
Interesting to note:
*First person POV- with invented dialog
*Past tense
*Time span: About a month
*Author's Note includes mention of specific sources
Author specifically states that, while based on actual events, the story is fiction.
*LOC classification: Fiction
____________________
There are oodles of picture books utilizing fictional POV characters to introduce a slice of history. Here are just a few more worth looking at:
LOOKING AT LINCOLN by Maira Kalman (Penguin, 2012)- I would have featured this book but I returned my library copy before making all of my notes. It was quickly snagged.
THE LEGEND OF THE CURSE OF THE BAMBINO by Dan Shaughnessy. Illustrated by C.F. Payne (Simon & Schuster, 2005)
ABRAHAM LINCOLN COMES HOME by Robert Burleigh. Illustrated by Wendell Minor (Henry Holt, 2008)
Last week, I blogged about a few fictionalized first person picture book biographies where the authors utilized thorough research to step into the shoes and the voices of their subjects. The post created a slew of discussions about whether invented dialog or monolog qualify as fiction or nonfiction. Though that's a fascinating debate, I'd like to stay on track with my observations about the creative, clever, unique approaches authors employ. If you're a writer, I hope you find something of value here.
This week, I'm zeroing in on a few titles with fictionalized point-of-view characters. There are a number of reasons why authors choose to add a fictional character to an otherwise true story. Sometimes, it's because of a lack of available research sources. Sometimes, it's just a creative storytelling decision. When done well, as the following are, the stories are both entertaining and informative.
THE ADVENTURES OF MARK TWAIN: BY HUCKLEBERRY FINN
by Robert Burleigh. Illustrated by Barry Blitt (Atheneum, 2012)
The fictional Huckleberry Finn narrates this clever biographical introduction to Samuel Clemens (Mark Twain). Told as only Huck Finn would, and with a strong nod to Clemens' most famous literary work, the character-narrator point of view is heavy on folksy, backwood twang that lends itself to a fun read-aloud. Huck remains an active participant in this childhood-to-death account, grounded by solid research.
Excerpt from jacket flap: "I'm Huck Finn, and maybe you know me, or maybe you ain't never heard of me. No matter. Mr. Mark Twain put pen to paper to tell my story, so it seemed only right fair that I return the favor. Now, I ain't no scholar boy, but I know some things, most not worth knowin' at all, except this: the life of Mark Twain."
Interesting to note:
*A double page spread "Warning to the Reader" acts as an intro and mini-glossary to the unconventional backwoods dialect ahead. It is an entertaining prelude to the story.
*Character-Narrator point of view
*Present tense (with generous flashback through Clemens' life)
*Library of Congress (LOC) classification: Biography
*Back Matter: "Editor's Note" provides a factual timeline.
Julia Child's cat, Minette, is our hostess in this whimsical slice of life story of Childs' time in Paris, though the story is not narrated by the cat. Through Minette's finicky ways and general catness, we are introduced to Childs' passion for cooking which led to her enrollment at Le Cordon Bleu. The storytelling is enhanced with fun alliteration, clever refrains, and French terms that heighten the sense of setting.
Excerpt: Minette Mimosa McWilliams Child was a very lucky cat, perhaps the luckiest cat in all of Paris.
She lived upstairs in an old gray house, one block from the River Seine.
Day and night she could hear the bells of Sainte-Clotilde tolling the hour.
And day and night she could smell the delicious smells of mayonnaise, hollandaise, cassoulets, cheese souffles, and duck pates wafting from the pots and pans of her owner, Julia Child.
Bon appetit, Minette!
Interesting to note
*Third person pov. Past tense
*Time span: a few months while Julia and Paul Child lived in Paris.
*LOC classification: Fiction
*Back matter: Afterword, offers fuller biographical info. about Julia Child
Notes: citations for book's dialog, all drawn from primary sources.
List of Sources
Glossary of french terms
Author's Note
Two fictional characters, young Sam and his Uncle Ezra, watch the handcuffed Great Houdini be lowered into a trunk that is then locked and plummeted into the icy river. With a tension filled present tense approach, covering approx three minutes, dialog between Sam and his uncle reveal the factual events of Houdini's life leading up to this feat. Sam learns that Houdini's secret goes far beyond his illusion, to something all people can attain-if only they believe they can.
Interspersed throughout the pages are a hand full of first person sentiments, ostensibly the voice of Houdini.
Excerpt from early page:
"Is he afraid? Going-in there-in a locked trunk?"
"Everyone's afraid sometimes," Uncle Ezra answers.
"The Great Houdini goes where he has to go."
Behind his uncle, Sam sees people arriving. Then suddenly, every head turns. The crowd opens a narrow pathway. A bubble of voices rises up and pops into words:
"He's coming!" "There he is!" "Look, look! Houdini! Houdini! The Great Houdini!
Interesting to note:
*Third person primary story with interspersed first person (I)sentiments from Houdini (presumably all fictionalized)
*Present tense
*Includes invented point-of-view characters
*L.O.C. classification: Fiction
*Back matter: Afterword-one page biographical info. about Houdini
*No bibliography (not necessary in historical fiction)
From jacket flap: "In 1932, James Banning had a dream: to fly across the country and inspire people brought low by the Great Depression. But for an African-American pilot-even an ace like Banning-this was no easy feat!"
Told through the eyes of Banning's mechanic, Thomas Allen, we are taken on a transcontinental flight, the first such flight by an African American. To finance the journey, which would require repairs and fuel for the plane, plus food, supplies, and lodging at various stops, Banning banked on an unusual idea that paid off. But, their greatest obstacle may have been racial prejudice.
*Note: Thomas Allen is not a fictional character. He really was Banning's mechanic. As Bildner's Author's Note indicates, research sources were limited and the strongest source included personal recollections of Thomas Allen. Introducing Banning and his historic flight through Allen's eyes is both a logical and a creative decision.
Excerpt: The day I first met James Banning, he said, "Mr. Allen, my dream is to fly a plane from sea to shining sea, and this here OXX6 Eagle Rock is our plane. But first I'll need you to overhaul the engine."
I just about coughed up my coffee. "Replace the entire engine? How will we pay for that?" Times were hard, and most folks didn't have a nickel to spare.
"I've got an idea," Banning replied. "Whenever people give us food, fuel and supplies along the way, they can write their names on the tip of the wing. They'll fly into history books right along with us!"
Interesting to note:
*First person POV- with invented dialog
*Past tense
*Time span: About a month
*Author's Note includes mention of specific sources
Author specifically states that, while based on actual events, the story is fiction.
*LOC classification: Fiction
____________________
There are oodles of picture books utilizing fictional POV characters to introduce a slice of history. Here are just a few more worth looking at:
LOOKING AT LINCOLN by Maira Kalman (Penguin, 2012)- I would have featured this book but I returned my library copy before making all of my notes. It was quickly snagged.
THE LEGEND OF THE CURSE OF THE BAMBINO by Dan Shaughnessy. Illustrated by C.F. Payne (Simon & Schuster, 2005)
ABRAHAM LINCOLN COMES HOME by Robert Burleigh. Illustrated by Wendell Minor (Henry Holt, 2008)
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