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    Five Questions With Megan McDonald (Judy Moody)

    By Alina O'Donnell
     | Jul 11, 2018
    Megan Mcdonald

    Megan McDonald has written and published over 60 books for children in 22 languages, including the popular and award-winning Judy Moody and Stink series. She is also the author of three Sisters Club stories, Ant and Honey Bee: A Pair of Friends at Halloween, and many other books for children. She lives in Sebastopol, California.

    Your wildly popular Judy Moody series is nearly 20 years old and has been translated into 22 languages. How does this series transcend generational, geographic, and cultural boundaries? 

    “By being human. Having heart. And holding on to a sense of humor. In this way, Judy Moody stands for childhood, any childhood, anywhere around the globe."

    Where do you find inspiration for your stories and characters?

    “Inspiration strikes in the most fun and funny ways. It can come from a mood ring I wore as a child in the 1960s, a memory, a funny family story, a visit to the aquarium, or an article I read in the paper about a guinea pig rescue or the planet Pluto being demoted. My niece amazed me by winning a stuffed animal at the claw machine three times in a row, and that became the inspiration for Judy Moody and the Bad Luck Charm. Ideas are everywhere, like surround sound; as a writer, I just have to be good listener."

    What do you hope young readers will gain from your books?

    "My hope is that readers see themselves in Judy Moody, with her strong sense of fun and fairness, as well as her flaws and failures. In connecting with Judy and all of her moods, I hope readers discover their own authentic selves. And laugh along the way."

    Before you started writing full-time, you worked as a children’s librarian. During this time, what did you learn about engaging young readers and inspiring lifelong reading habits?

    "Story connects us. The book that makes a reader is very individual. As a reader, I’ll never forget what Harriet the Spy, Ramona, Charlotte’s Web and Little Women meant to me. As a librarian, it was my honor to connect a child with that book, that singular reading experience, that would last a lifetime."

    The theme of ILA 2018 is “Be a Changemaker.” What does this mean to you?

    "Change requires hard work, empathy, and inspiration. To be a changemaker, for me, means to care deeply about something, to take action against unfairness, and be open to new ways of thinking. As a writer, I’m continually trying to find my own voice.

    Find your voice.

    As Judy Moody would say, “Save the World!”

    Megan McDonald will attend the Author Meetups at Children's Literature Day during the ILA 2018 Conference, July 20–23 in Austin, TX. For more information, visit ilaconference.org.

    Alina O'Donnell is the communications strategist at ILA and the editor of Literacy Daily.

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    Five Questions With Elizabeth Partridge

    By Alina O'Donnell
     | Apr 24, 2018

    Elizabeth PartridgeElizabeth Partridge was an acupuncturist for more than 20 years before closing her medical practice to write full-time. The author of more than 15 books, she is a Boston Globe-Horn Book Award and Los Angeles Times Book Prize winner as well as a National Book Award finalist. Her latest work, Boots on the Ground: America’s War in Vietnam, gives readers a linear, multidimensional history of the war through the personal stories of eight individuals.

    Your latest title, Boots on the Ground: America’s War in Vietnam, captures one of the most harrowing, complex, and divisive events in history. What inspired you to start writing this book in 2011?

    I was very moved when I visited the Vietnam Veteran's Memorial in 2011. Touching the names and seeing the enormous sweep of the wall was overwhelming and I began to cry. I thought, Why am I crying? I don't know these men and women. I decided I wanted to write about the memorial. And the best way was to interview Vietnam veterans who were alive and knew people on the memorial. It was a way for me to explore the Vietnam War, and to honor the dead.

    How has the shifting political and social landscape influenced the final product?

    This is one of those strange cases where life catches up with a book and suddenly makes it more topical. I didn't expect to see our faith in our government shaken again as it was during the Vietnam war. But here we are, with many people out protesting, feeling their voices aren't being heard, that their representatives and senators in Congress are not responsive to their needs. We also have men and women in ongoing military conflicts in the Middle East. What is it like for them to serve in the military? Many of the issues facing our country today were present during the Vietnam War.

    How did you create a narrative that’s accessible and personal to a young adult audience, decades removed? And why is it important? 

    Boots on the GroundI've always loved personal narratives. To get as close as I could to the impact the war had upon people, I interviewed seven veterans—six who fought in combat or served as medics—and a nurse. Realizing that all wars create refugees, I interviewed a woman who managed to get her mother and three of her siblings out of Vietnam just as Saigon fell. I interspersed these narrative chapters with chapters on the presidents and protestors in the United States. I also had another way to make the work immediate, which was to use photographs throughout every chapter. Even though it has been decades since the war, stories of courage and morality and patriotism and fear and conflict are always compelling.

    You’ve expressed excitement about the recent surge in youth-led activism. How do you think educators can best foster civic participation among students?

    Great question, and a huge one. I'd like to mention just one idea I find captivating. I really loved interviewing Vietnam veterans for my book, and found they were eager to talk with me about their experiences. Students in 10th grade and above can interview veterans of any war, using audio or video. The interviews are being collected by the Veterans History Project (a project of the American Folklife Center at the Library of Congress).

    As a writer, what’s the most valuable piece of advice you’ve ever received?

    Stick with it. Writing well is a craft, it's not something you are born with. As Jane Yolen famously admonishes, "Butt in Chair."

    What can attendees expect from your panel at the ILA 2018 Conference?

    Can I just say right off the bat, it's going to be awesome? Four highly opinionated women (three panelists and a great facilitator), passionate about connecting teens to all kinds of literature, are going to give this our best shot. Come see if I'm right.

    Elizabeth Partridge will copresent the Putting Books to Work: Older Young Adult (AM) workshop on Monday, July 23, during the ILA 2018 Conference. For more information, visit ilaconference.org.

    Alina O’Donnell is the communications strategist at ILA and the editor of Literacy Daily.

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    Five Questions With Jared Reck (A Short History of the Girl Next Door)

    By Samantha Stinchcomb
     | Jan 03, 2018

    Jared ReckJared Reck's debut novel, A Short History of the Girl Next Door, is a powerful story about friendship and popularity, high school romance, and overcoming tragedy. An eighth-grade English language arts teacher, Reck lives in Hanover, Pennsylvania with his wife and two daughters.

    Do any of the characters or events portrayed in this story mirror your personal experiences with love and life?

    Absolutely. I think all of us understand the feeling of unrequited love—from the earliest unreciprocated crushes of elementary and middle school to the all-encompassing, soul-crushing kind that comes a little later. Good times.

    Matt is very much based on me in terms of interests and personality as a teenager, and I still have an inner-romantic movie director running overdramatic clips of how moments in my life should be playing out. He still sucks, too. So while I never experienced the same loss that Matt does firsthand, I’m pretty sure his reactions—the heartfelt and the heinous alike—mirror what my own would have been.

    What inspired you to write A Short History of the Girl Next Door?

    I wish I could say that [A Short History of the Girl Next Door] came from some big idea, but it didn’t. It really just started with a character.

    I teach eighth-grade ELA, which I run as a writing workshop, and every year we do a pretty in-depth unit on fiction writing. We always start the process by developing a believable main character using a simple questionnaire—about 20 questions answered in the voice of that character, almost like you’re sitting down across the table from your character and recording whatever he or she says to you. (I still start all my stories this way, with about 20-30 pages of character responses before I ever try writing the first chapter.)

    About seven or eight years ago, I’d finished my first short story with my students—a 30-page story about a dweeby eighth-grade orchestra member sitting in in-school suspension—and I loved how it turned out. So when I sat down and started a new character with my students the next year, I ended up loving this kid even more: he was funny, and self-deprecating, and stuck inside his own head all the time, and he lived and breathed basketball. He was Matt.

    So before I ever knew where I was going with the story—before I knew I’d even attempt to turn it into a novel—I had this character, this voice, that I loved. (I’m still not sure I ever figured out plot.)

    In what ways did your students help you to write this novel?

    My students have always kind of been my first readers, little snippets at a time. In my classroom, I never ask my students to do anything I’m not willing to do, too, so I am always writing with them, whether it’s memoir or poetry or fiction or whatever. I model with my own writing throughout the entire process, and, honestly, I’m usually trying to make them laugh. So if I can read a passage and make a roomful of eighth graders laugh, I know I’m on the right track. They’re not always the easiest audience.

    What was the biggest obstacle you faced when writing this novel? Were there any moments in the story where you felt particularly ‘stuck’?

    Ordinary, everyday life.

    Besides teaching full-time, I also worked through a master’s program in educational leadership, I’m an elected member of the school board (in the district where I live, not where I teach), I’m on my town’s recreation board, and with two daughters (one a senior in high school this year), my wife and I are constantly volunteering for the music booster club and the theater booster club and going to concerts and practices and sporting events and Girl Scouts and…yeah. Life.

    Definitely not a struggle—I love being involved in all these things—just full. So, especially with this first book, it was hard to dedicate so much time away from family to work on something that may never go anywhere. And that was one of the biggest challenges—just having the commitment to keep going. To assuage all the crippling self-doubt with the thought that, even if this never gets published, I’ll still be a better human being for having done it—that I’d regret never finishing way more than never publishing.

    What advice would you share with aspiring young authors?

    It’s okay to fake it. Seriously. I just finished writing my second novel, and I still feel like I’m faking it—like I still shouldn’t really call myself a writer. But even if you feel that way—and I bet most of us feel that way—go ahead and pretend like you’re a real-live writer anyway: join an organization like the Society of Children's Book Writers and Illustrators, take a class or a workshop, find a writing friend or two, do your research, keep reading and writing, and pretend that you’re already so successful that you can write about whatever the heck makes you truly happy. (I wrote about Nerds, corked wiffle ball bats, and almost inappropriately good gravy.)

     Samantha Stinchcomb is a former intern at the International Literacy Association.

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    Five Questions with...Bridget Hodder (The Rat Prince)

    By Alina O'Donnell
     | Aug 10, 2017
    Bridget Hodder is the first-time author of The Rat Prince, a fairytale retelling of Cinderella. Previously an archaeologist, she currently works to help families who struggle with autism. Hodder lives with her family in New England.

    You studied European history and archaeology. How did you use your background to create the imaginary world of The Rat Prince?

    Bridget HodderWhen you've read a sufficient number of antiquated documents (and apparently, I have) it's easy for your mind to slip its moorings in the present and drift back into the remote past. This certainly helped with The Rat Prince.

    The basic story of is told from two points of view: Cinderella's, and that of Char, who is Prince of the Rats of the Northern Realm. Char doesn't know it yet, but he's in love with Cinderella—who's not as passive and cowardly as she appears. On the night of the big ball, Char's changed into a human footman by the fairy godmother. Together, he and Cinderella turn the legend upside down, bring the wicked stepmother to justice, and save the kingdom from a great threat. Besides finding a truly happy ending! 

    Because scholarly accuracy is important to me, I decided to set The Rat Prince in a fantasy kingdom, Angland, rather than in real-life England. This allowed me to weave the settings and customs of wildly different locales and time periods into the story, supercharging the fairytale elements without misrepresenting historical facts. For example, Queen Elizabeth I is glancingly referred to in the book as Queen Lisbeth of Nance...and there's a network of underground sewers in the book that's straight out of the book Les Miserables. (I confess, I haven't seen the play or the movie). 

    Which character resonates with you the most and why?

    There's something irresistible to me about Char, the Prince of the Rats. I admire his wholehearted zest for life, and the sense of humor that coexists with his honor and courage. Heroes don't always have to be serious. 

    I realized quite late in the game—after I'd already written the acknowledgements for the book—that the character of the Rat Prince had been inspired greatly by Reepicheep, the knightly Talking Mouse from the Chronicles of Narnia. In The Voyage of the Dawn Treader, Reepicheep disappeared over a mysterious wave into the afterlife, never to be seen again. Apparently, I wasn't ready to say goodbye. Thanks, C.S. Lewis.

    Tell us about your writing journey. What were you doing previously, and what inspired you to write The Rat Prince?

    THE RAT PRINCEI started writing stories when I was four years old, and I never stopped. In fact, writing daily was so natural to me, I didn't realize till well into my adulthood that this was a logical career choice I ought to try. It was a bit like the music that plays in the background of a film—always there, echoing the experience of the main character and sometimes influencing it, but going unnoticed. 

    A Dorothy Sayers character once asked her former Oxford professor a question about how to choose the right path in life and career, "...how is one to know which things are really of overmastering importance?'' 

    ''We can only know that,'' said Miss de Vine, ''when they have overmastered us.''

    The Rat Prince overmastered me, and turned me into a full-time author. In fact, I always say that writing that book was more like spirit possession than inspiration. I literally heard a voice—Prince Char's voice—telling me to write the true story of Cinderella. It was my own heart, however, that told me to sell the book once it was written. When your heart talks, you'd better listen.

    Retellings allow us to subvert the conventions and stereotypes found in some original fairytales. How did you decide which elements of Cinderella to preserve and which elements to make more contemporary?

    The elements that bothered me most about the traditional "Cinderella" were my points of departure. Such as the emphasis on looks and wealth. Or the harrowing passivity of the main character. Or how about the utter lack of any actual romance in a tale that's sold to the world over as "romantic"? (Unless you find it romantic when an abused girl marries the richest, most powerful guy she can find without knowing a thing about him.) 

    There are also some gaping holes in the traditional plot. For example, why on earth would Cinderella's father allow her to be abused by her stepmother like that? Or, why would a handsome crown prince need a ball with all the ladies of the land in attendance in order to find a wife? 

    And, by the way, how come no one ever asks what happened to the wicked stepmother's first husband?

    Don't worry. All these questions have answers, and they're in the book!

    As an author and a former reading and language specialist in the public schools, what would you like to let teachers and parents know about your approach to literacy and learning?

    In our worthy quest to educate and inform, we sometimes lose sight of the fact that our strongest ally in the fight for literacy is good, gripping storytelling. Books need to entertain and enthrall, or we lose readers before they can learn. And the best learning is the kind that happens without the reader even realizing they're being taught. I try to put that into practice in the books I write. I weave in teachable philosophy, deep thought and compass points of conscience—they're there if you look—but first and foremost, I aim to write a cracking good read! 

    ....Thank you so much for having me! 
     
    Alina O'Donnell is the editor of Literacy Daily.
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    Five Questions With... Lynn Joseph (Dancing in the Rain)

    By Lynn Joseph
     | Jul 25, 2017

    Lynn JosephLynn Joseph is a Trinidadian author of children's and young adult picture books set mostly in the Caribbean. Dancing in the Rain follows two Caribbean families, one in the Dominican Republic and one in New York, who find their lives intertwined following the 9/11 attacks. The book was awarded Third Prize in the 2015 Burt Award for Caribbean Literature and was named a Kirkus Best Book of 2016. Previous books include A Wave in Her Pocket, An Island Christmas, and The Color of My Words

    Dancing in the Rain was published in 2016, 15 years after the 9/11 events. What inspired you to write the book then?

    I wasn’t inspired to write Dancing in the Rain recently. I began writing the story that became this novel many years ago, probably about three or four years after September 11, 2001, as a means of  coming to terms with the horrific events and circumstances that I had witnessed firsthand. The book is semi-autobiographical as I, too, was a lawyer in New York City, who escaped back to the Caribbean in the wake of the experience. In my case I moved from New York to the U.S. Virgin Islands three months after 9/11 and because of 9/11. The Caribbean was and still is my home and I felt the urgent need to move back to my roots. 

    In the book’s summary, you mention Elizabeth’s vivid imagination. How does her imagination serve her and others in the face of tragedy?

    Elizabeth’s imagination is both a symbol of innocence and a source of power. I believe that by allowing your imagination to develop and have a life, you can access your internal restorative power. So, imagining this story and writing it down allowed me to heal from the post traumatic stress of 9/11. An imagination is powerful when you can recreate your world, the way Elizabeth does when she cannot accept all the sadness around her. Elizabeth’s imagination also feeds her intuition, which is very powerful. 

    I’ve read that most of your books are inspired by your childhood in Trinidad. What elements of Dancing in the Rain are influenced by your own memories and experiences?

    Dancing in the Rain was influenced by the events of my life during and after 9/11. That tragedy opened my eyes to the horrors humans are capable of firsthand. Children today are aware of terrorist incidents worldwide. This book deals with how two children and their families deal with such loss and grief stemming from atrocious acts. It’s a reminder that no matter how bleak and sinister the world may seem at times, it’s imperative to find joy in the darkness.

    Dancing in the Rain takes place both in New York and the Dominican Republic. How do each of these settings influence the book’s major themes?

    Setting the book in New York was necessary to establish the close ties between the characters to the 9/11 attacks on the Twin Towers. Moving the story to the beautiful island of Dominican Republic, with its tropical splendor and struggles, represents a new start for one family. For the other family, whose connection to the Twin Towers is more remote, the pain is even harder as they lost a father and husband. Distance does not make the tragedy any easier to bear. 

    This book shows two families’ responses to 9/11. Of all the characters, whose perspective resonated with you the most, and why?

    Of all the characters in the story, I would say that the perspectives of Elizabeth and Brandt resonated equally with me. Seeing the events through their eyes, seeing their hope and struggles to overcome the loss and pain, woke me up and helped me to heal. I am a big believer in shifting your perspective if you can’t prevail in your path. A simple shift, looking at a situation in a totally different way, may be all you need. That’s what Dancing in the Rain represents to me. 

    Alina O'Donnell is the editor of Literacy Daily.
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