The Prism of Roles: Another View of Character Identity and Narrative

by Sarah Blake Johnson

“Who are you?” said the caterpillar.

            This was not an encouraging opening for a conversation: Alice replied rather shyly, “I hardly know, sir,” . . .

            “You!” said the caterpillar contemptuously, “who are you?”

           

Few of us are as blunt as the caterpillar, perched on top of his mushroom when he and Alice first meet in Lewis Carroll’s Alice’s Adventures in Wonderland. Yet, in a similar fashion, when we first meet anyone, an individual in life or a character in the pages of a book, we look for shortcuts or easy ways to understand who the individual is. We ask questions such as “Where are you from?” and “What is your occupation?” as we attempt to discern identity in a short moment.

            As writers, we can also ask our characters, “Who are you?” This question is vital because their desires, their actions, and the way they think all stem from who they are—or, in some cases, who they are trying to be.

            We may ask, “Who are you?” subconsciously while writing. There are also times when we consciously try to understand who our character truly is, using a variety of approaches ranging from character worksheets to writing extra scenes to even (perhaps when reaching a point of desperation) interrogating our characters. In our quest to create a realistic character, we learn everything about her, including her physical characteristics, behaviors, background, beliefs, flaws, fears, loves and hates, yearnings and desires.

            Yet there is an aspect of characterization that is commonly overlooked: the roles a character plays in a story. Perhaps this is because “roles” is sometimes considered to be a dirty word (at least in some literary circles), and some writers believe that using roles is a cheap and quick way to build a flat character.

            When we widen our viewpoint and look at roles as an essential element of character, we are able to consider characters and story from another, useful angle. After all, how a character plays out her roles will demonstrate character and create plot. In addition, interactions between characters reflect their beliefs about their roles; characters view each other not with a mirror or through a window, but through a prism.

Roles—an external expression of character

            Roles are labels we use to define who someone is, a concrete way to describe a character. In this essay, I’m not talking about archetypical or stereotypical roles; I’m referring to the specific roles that every character plays. We often mention our own roles when we introduce or describe ourselves. For example, I might tell someone I am a writer (my occupation), a wife and mother (familial relationships), an alumna of Vermont College of Fine Arts (educational background), and an American and ex-pat (cultural and setting). These labels or roles are only the beginning of a long list of quick shortcuts I can use to explain who I am. Those who read my list of roles will make assumptions—probably both right and wrong.

            So much of who we are, and who we think we are, is demonstrated by roles. This is the same for our characters. Why, then, do we so rarely use the word “roles” or examine the importance of roles in our stories?

            Roles describe all spheres of a character’s life: culture, ethnicity, language, gender, and religion. Roles also include social and personal elements, such as where one was born and where one lives, hobbies, wealth or lack of wealth, occupation, family, and friends.

            Some roles are permanent and others are transitory. A role may be deeply ingrained into a character’s being. A girl who is born as a middle child will always be a younger and older sister; a character who is born and raised in the United States is an American. Other roles come through the character’s interactions with others, from the environments in which the character spends time, and from the character’s unique experiences.

            Whether roles are thrust upon a character or consciously chosen, these roles define the character, give readers insights into her society and world, and are linked to her desires, behaviors, attitudes, and values.

Roles and Identity

            Roles spring forth from identity. Though theories of identity are the territory of the fields of philosophy and psychology, they are also useful to us, as writers, as we create characters. Because of this, I’ll take a brief foray into identity development.

            Identity appears to be straightforward on the surface: It is who someone is. There are several definitions of identity, but for our purposes, we can use a simple definition. Our character’s identity is who he thinks he is, as well as how he expresses himself, and it arises from experience and the socialization processes of his environment.

As we consider our character’s identity, it can be helpful to keep three key points in mind:

            1. Identity is not developed in a vacuum. Identity develops through interaction with others in the character’s physical, social, religious, and cultural environments. A writer needs to know her characters—their backgrounds, their history, and their current situation. The story’s setting, characters, and culture combine to impact how the protagonist defines herself and who she is.

            2. Identity also comes from the character’s inner self. Identity includes her personality, goals, and values, as well as her own view of herself. It is influenced by her own desires and reinventions, her choices and unique life experiences, her present and past.

            3. Identity is dynamic. Every individual is in the constant process of constructing and revising his or her self. Essentially, identity develops over time. A character’s identity won’t necessarily stay exactly the same throughout a book. This concept in particular is valuable in understanding our character and developing plot, especially in a novel that unfolds over a long period of time.

            In some cases, a character’s identity is tied so closely to a role that if the role is taken away, the character flounders and loses part of his identity. For example, a character who defines himself as the star quarterback of his high school football team will struggle deeply if he is injured and no longer able to play.

Multiplicity of Roles

            Significant characters play several roles in a story, and the mixture of a character’s roles influences how the writer and the readers view the character. After all, a character is, in essence, a combination of all her roles. The idea that a character plays several roles is useful both in story development and in understanding the nuances of the character’s identity. It also helps the writer to avoid placing a character into a confining and potentially lifeless stereotypical role. The layering effect of multiple roles creates real, vibrant, textured characters, plus it produces fertile ground for internal contradictions and struggles.

            Lifelike characters play many roles, and though each role is important, those roles may change according to the character’s stage of life and the story’s setting. A character who chooses to go to college takes on the temporary role of a student, while another character who chooses to explore Europe for the summer takes on the temporary role of a traveler.

            In addition, every role may carry different weight in the plot and in each scene as the character adjusts the role he plays according to his current status, situation, interaction, and desires. Just as we adjust the way we act according to the different situations we encounter, our characters step into and out of their roles. For example, in J.K. Rowling’s novel Harry Potter and the Sorcerer’s Stone, Harry acts very differently when he is in Snape’s classroom, where he is in the role of a student, than when he is at the Weasleys’ home, where he is in the role of a friend, or when he is playing a Quidditch match, where he is in his role of an athlete. Though all these roles are important in the story, Harry’s role as a wizard is key. An awareness of a character’s many roles can help writers bring one role into focus in one scene and switch the focus to another role at another time.

            The natural interplay of a character’s roles makes the character realistic, especially at times when those roles tug a character in different directions or when the roles come into conflict with each other and force the character to make a choice. For example, a character who is forced to choose between attending a friend’s party and playing in a sports tournament will be torn between the roles of friend and athlete. Putting a character’s roles into conflict can create micro-tension, demonstrate internal conflict, and keep the reader turning pages.

            Though a character plays many roles, one or two of these roles will probably be most vital to the story, so the writer needs to carefully choose these significant roles. Even when other roles rise to the surface of a scene, the roles most critical to the story will exist at all times, either on the surface or bubbling just below.

Roles and Narrative Structure

            Roles are embedded at the deepest level of narrative structure, so an examination of the interplay between roles and plot can help us gain a better understanding of our characters and our story. There are infinite ways for a writer to utilize roles in a plot. I’ll examine four common possibilities here: changing roles, two contradictory roles, one primary role, and a vacillating character.

Changing Roles

            A character’s attempt to change her role, and her resulting success or failure, is at the heart of many books. The tale of Cinderella, who switched from the role of a servant to that of a princess, is an example of this type of story. In some cases a character will purposefully choose her role, perhaps because she experiences an incompatibility between her real and ideal self and between her actual and desired roles. In other instances, the role change will be forced upon the character, and she must learn how to take on her new role and her new identity.

            Adolescence is a stage of life when identity development and identity confusion commonly occur, and it’s no surprise that many coming-of-age stories illustrate a character’s desire for a different role or his search for a new way of defining himself. Stories that include a life change, whether a character leaves for college or gets married or takes a new job, will place the character in a situation of switching from one substantial role to another role. This change of role might occur at the beginning or at the end of the book, or perhaps before the first page opens, but all these stories have the potential to explore themes of self-discovery or re-invention.

Two Contradictory Roles

            Roles that conflict with each other in a specific situation can make an interesting scene, but a writer can create even more tension by using contradictory roles on a story level.

            Hanging on to Max, a novel by Margaret Bechard, is a stellar example of this type of book. Sam, the main character, is a teen father and a senior in high school. Sam has many additional roles: son, nephew, friend, boyfriend. But tensions between the roles of father and student are, in essence, the plot.

            Sam the father struggles to take care of Max, while Sam the student struggles in school and misses being the “typical seventeen-year-old guy” who spends time with a girlfriend and attends football games and parties.

            Because of Sam’s situation and abilities, he is unable to act in both roles for a long period of time. The roles come with enough inherent contradictions that tough choices emerge. It is possible for a character or situation to change so drastically that the contradictory roles no longer oppose each other, but in Sam’s case, the roles of father and student cannot continue to co-exist equally. Though Sam continues to be both a father and a student, one role ultimately becomes more prominent than the other in his life.

            The character who is torn between two significant roles gives the writer a natural conflict upon which to build a plot, while allowing for depth of character and inner turmoil.

One Primary Role

            In what is perhaps the most common type of story, a protagonist plays one primary role that is significant to both the plot line and to her character development. This is also the type of story that is found in most genre fiction, and it can lure unsuspecting writers into a trap of stereotypes. To avoid creating flat characters, writers can use additional, supplementary character roles to move the plot forward, create suspense, and flesh out character.

            Leticia, one of three viewpoint characters in Rita Williams-Garcia’s novel Jumped, is an example of a character whose primary role never wavers throughout the story. Like any well-rounded character, Leticia has many roles: student, friend, daughter, self-absorbed teen, fashion queen. Yet her primary role of a quidnunc, a passionate busybody, is the most distinct of her roles and is critical to the plot. When Leticia overhears Dominique planning to jump (beat up) Trina, the first thing she does is get on her cell phone and call up her friend Bea to tell her the news. Leticia’s role as a quidnunc is essential to the novel’s plot and theme. Her inaction allows a tragedy to occur, but Leticia never realizes that she is really involved because she sees herself only as an observer.

            Since this story occurs over the course of only one school day, it is logical that the characters will have one overriding primary role. Even though one primary role is perhaps the most common usage of roles, Jumped serves as proof that this type of story can be told in a fresh and compelling manner.

Vacillating Character

            In some stories, a character switches back and forth between roles. Creating a vacillating character can be risky. At their best, these characters are intriguing and complex; at their worst, they are fractured and confusing to readers.

            Destiny, the main character in The Miles Between by Mary E. Pearson, is a character who constantly shifts roles. An unreliable narrator, Destiny denies her parents’ deaths (for ten years) and is being treated for mental instability, so it isn’t a surprise that her identity and her roles vacillate. A character without a clear identity like Destiny is a good choice to discomfit and surprise the reader. The Disreputable History of Frankie Landau-Banks by E. Lockhart is another example of a novel with a vacillating main character. In this book, Frankie takes on various roles as she manipulates and shapes the world of her boarding school. Frankie’s constantly shifting roles add uncertainty to the plot and give the story a purposefully unsettled feel.

            Characters in all books play a multitude of roles, so what differentiates the vacillating character from a typical, well-rounded character? When a character vacillates, a different role is critical to each of the story’s turning points, and the character will use many roles equally over the course of the story.

            In all of these examples, the character’s roles are embedded in the structure of the story and are crucial to the choices the character makes. Each character plays her roles as she makes decisions, acts, and moves the plot forward. A writer who understands her character’s roles uses this knowledge (either subconsciously or consciously) as she crafts her narrative.

Awareness and Perception

            Understanding characters’ awareness and perception of their roles can help writers gain insights into character, add depth to a story, and create plot twists.

            Some characters are highly aware of their roles, and they might even flaunt those roles. This type of character will be at the center of a very different sort of story than one in which a character isn’t aware of the roles he plays. When a character is unaware of his primary role in a story, his journey toward awareness may be important to his character development and to the story’s plot. Harry Potter is an example of a character who is unaware of his role at the beginning of Harry Potter and the Sorcerer’s Stone. When Harry lets the boa constrictor out of its enclosure, he acts in his role as a wizard without knowing it. He later becomes aware of his role in a way that advances the plot and changes his self-perception.

            Some characters will try to alter how others see them: They will hide or minimize their roles or put fake roles on display. This is one of the more common ways in which characters wield roles: They play a role as a way to manipulate other characters or hide their true identity. Princes or princesses in disguise are familiar examples of this type of character.

            While a character’s awareness of her roles is where the writer figuratively controls the light switch—the character is either aware of her roles or she isn’t—a character’s perception of her roles is twilight and shadows, the place where things are not as they seem. Perception is a powerful tool. A character’s skewed perception of her roles creates a gap between belief and reality, and the gap that arises can create tension or humor or even plot, especially when a character views her roles differently than other characters do.

            A character’s perception of her role is a window into her identity. Does she value her role? Hate it? Does she think her role is different than what it really is? A character’s self-perception can affect her actions.

            In Jumped, Rita Williams-Garcia explores the gap between a character’s roles and her perception of those roles. Another viewpoint character, Dominique, views herself as a victim, but no one else sees her that way. They see her as a tough girl, basketball player, student, girlfriend, and athlete—all roles that Dominique also claims.

            Dominique wants to lash back at Trina, who she felt invaded her personal space, and she also feels victimized when she is benched because one of her grades is a few points too low. She views herself as a victim through the end of the book, yet her perception that she was victimized—which is why she jumps Trina at the end of the school day—differs from how other characters and most readers will perceive her.

            When a character’s view of herself isn’t in line with her real role, she might be an unreliable narrator. The gap between what a character believes and what other characters perceive is a perfect breeding ground for tension, ambiguity, and conflict.

            Supporting characters’ perceptions matter too, and their perceptions will affect all of their interactions. Do other characters see the protagonist in the same role that she believes she is playing? Writers can play with characters’ differing perceptions in order to build conflict and deepen plot.

            Related to perception is the important concept of status, or how most characters will view and value a role. Depending on the story’s culture and setting, some roles will be perceived as more desirable than others, and the way others treat and view a character will often reflect that character’s status.

            It is natural for characters’ perceptions of themselves and others to change over the course of a story. In Alice’s Adventures in Wonderland, for example, Alice’s view of the Queen of Hearts changes. At first Alice is scared of the Queen, but at the end of the book, she realizes that the Queen is only a playing card. This type of change in perception is often a result of a character’s growth, and it frequently serves as a story’s turning point.

            Though we don’t often consciously consider awareness and perception when we develop characters or structure stories, they can significantly influence our characters and plots. As we write our stories, we need to remember that all roles are tainted by perception.

           

            Back to Alice:

            “Who in the world am I? Ah, that's the great puzzle!” . . .

            “It'll be no use their putting their heads down and saying ‘come up, dear!’ I shall only look up and say 'who am I then? answer me that first, and then, if I like being that person, I'll come up: if not, I'll stay down here till I'm somebody else . . . ’ cried Alice with a sudden burst of tears . . .

            What is your character’s answer to the question, “Who are you?” Does he give you a list of roles, or does he mention one role that is most important to him? Are the roles the same ones that you, the writer, believe the character plays? How do these roles influence narrative?

            Not only are roles integral to plot, but roles also affect how a character is viewed by the world and how characters view, categorize, and interact with other characters. On a macro level, roles can add meaning to story and give insight to theme. As writers we need to be aware of the dynamic part that roles can play as we develop character and craft narrative.

Note: This essay was first published by Vermont College of Fine Arts literary magazine, Hunger Mountain, in 2012.  I'm posting it here since they changed their website and it is no longer at it's earlier link on their website. Thanks for reading. ~Sarah

Link Medley: Hunger Mountain, Write at Your Own Risk, and Sita's Ramayana

Hunger Mountain Literary Magazine released their latest issue, and it's available online. Be sure to read "A Cut-Out Face," a great short story by Mima Tipper. Also check out "Idiosyncratic Tone in the Novel" by Wendy Voorsanger, a superb writing craft piece that discusses tone and shaping language.

Recent insightful posts in the blog, Write at Your Own Risk, include "Touching Silence" by Uma Krishnaswami, "Finding Stuff Out" by Leda Schubert, and "Writing Roots" by Laura Kvasnosky. Also don't miss, "Making a List" by Kathi Appelt where she talks about making her list of 100 stories that "not only influenced my writing, but that live within the heart of every tale I've every told."

I'm still mulling over these posts, thinking about my writing roots, how I do research, where I "touch" silence in my creative process, and which 100 books should go on my own list.

Also, Sita's Ramayana, by Samhita Arni and Moyna Chitrakar, appears on the New York Times best sellers list for graphic books. In this version, the story is told from the viewpoint of Sita, the queen. It is brilliant. (A review can be found in the New York Journal of Books. ) Sita's Ramayana is published in North America by Groundwood Books.

I looked through this wonderful book at the Frankfurt Book Fair in the Tara Books booth--it's a another example of the high quality books that Tara Books always publishes. They also recently published another great graphic novel, I See the Promised Land, about Martin Luther King--which received Special Mention in this year's White Ravens Catalogue at the Bologna Book Fair.

Write at Your Own Risk

Altered sign in front of College Hall at Vermont College of Fine Arts.

Changing a couple letters and the angle of the camera totally alters the meaning of a sign which stands at the edge of a skating rink.

VCFA 2011 Residency and Graduation

My last residency at Vermont College of Fine Arts was eventful and exciting.

Some highlights from residency:
-Being in the room with Rita Williams-Garcia when the Coretta Scott King award and the Newbery Honor for her novel, One Crazy Summer, were announced. She was super happy!



-The opening address by Katherine Paterson. Though she often visits campus during our residency, it was a delight to hear her speak.

-Visiting authors, Grace Lin and David Macaulay, gave insightful lectures and great readings. Plus, it was fun to visit with them during informal conversations.

-A great workshop with faculty members Franny Billingsley and Leda Schubert and ten other writers.

-Lectures from writers including Franny Billingsley (story--its energy and structure), Jane Kurtz (surprise and choosing to use or not use it in writing), M. T. Anderson (a course on literary theory), A. M. Jenkins (incredible lecture on creating emotion in both characters and plot), Tim Wynne-Jones (suspense in plotting our stories), Rita Williams-Garcia (writing sequels--I'm looking forward to her next book; she read us a few pages from it), Susan Fletcher (using repetition in novel writing), and Shelley Tanaka (international children's books).

-There were also many wonderful graduate lectures.
I gave my lecture on character roles and how they can be used in story. Many writers (both faculty and students) told me how helpful it was to them and that they will use the concepts I spoke about when they revise their novels.

-All the faculty, guest writers, and graduating students gave a reading. It is always fun to hear works in progress, and then read them a few years later. My reading went well. I read from three books: a picture book, a non-fiction book, and a chapter from the novel which I wrote during my time at VCFA. After my reading, a boy, who I would guess to be about 11 or 12 years old, came up to me and asked when my novel was being published, as he wants to read it. That was a wonderful compliment, and since my YA novel is an action packed thriller, he is definitely in the target audience.

-Graduation: We entered the chapel in College Hall to the sounds of a bagpipe (a VCFA tradition). I introduced the commencement speaker, Uma Krishnaswami, who gave a touching and motivational speech. As part of our graduation, each graduate was announced, and then six lines from his or her fiction (the creative thesis) was read. After this short reading, the graduate walked across the stage and was hooded (the MFA hood was placed over our heads), and then received the diploma. After this was repeated for each graduate, the university president said a few official words and conferred the Master of Fine Arts in Writing on the graduates.

The six lines from my novel, which my advisor, Martine Leavitt chose to be read at graduation, were great, and I was pleased with what she selected. It was a privilege to work with her during my last semester.

I would love to be able to bottle the energy and intensity of a residency. It has been described as a writing boot camp, and that is an accurate description. I can attest that attending Vermont College of Fine Arts was a wonderful, life-changing experience.

I'm in Montpelier for my final Vermont College of Fine Arts residency.



I'm really excited for this residency and am thrilled to be in a workshop with faculty (and incredible writers) Franny Billingsley and Leda Schubert.

Through the Tollbooth will cover some of the highlights of this residency so check the Tollbooth everyday. I'll be one of several writers who will post, and I'll give a link to my post here.

My reading is Tuesday, January 18th, at 7 pm in the Noble Building on campus of Vermont College of Fine Arts. I plan to read a picture book, a portion of a nonfiction picture book, and a chapter from River, my young adult novel. If you are in the area, you are welcome to come visit campus and come to my reading.

VCFA Lecture

I'll give my 45 minute long graduate lecture at the January residency of Vermont College of Fine Arts. The lectures, given by faculty and graduating students, are always super high quality. So much of what I've learned during my MFA in Writing for Children and Young Adults program, I've learned by attending the lectures.

I turn in my lecture description next week. Here it is.

“WHO AM I?”

CHARACTER ROLES AND IDENTITY

“Who in the world am I? Ah, that's the great puzzle!” exclaims Alice in Wonderland. How does the writer answer the vital question of “Who am I?” when developing characters? I’ll explore how writers can use both internal and external aspects of identity on the page and in the story. I’ll also discuss roles, not stereotypical or archetypical roles, but the everyday, down to earth, nitty-gritty multiplicity of roles and look at how we use roles to influence action and plot when we craft story.

Titles discussed will include Charlotte’s Web by E. B. White, Hanging on to Max by Margaret Bechard, Jumped by Rita Williams-Garcia, The Miles Between by Mary E. Pearson, Harry Potter and the Sorcerer’s Stone by J. K. Rowling, and of course, Alice in Wonderland.

My article published, news, links, and my next VCFA advisor

My article, "Turn the Page," which is about page turns in picture books, was published in the January/February 2010 SCBWI Bulletin.

Uma Krishnaswami’s picture book, Chachaji's Cup can now be enjoyed as a musical, presented by the Making Books Sing company! The show can be seen in New York City and Stanford, California. Here is a schedule and venues of the performances. I wish I could attend.

Congratulations to Carrie Jones, Vermont College of Fine Arts (VCFA) alumna, whose new novel, Captivate, debuted on the New York Times bestseller list and to Kekla Magoon, another VCFA alumna, who won the ALA Coretta Scott King-John Steptoe Award for The Rock and the River.

Highlights from January 2010 Residency--Vermont College of Fine Arts

(a photo I took of College Hall after it snowed)

My next advisor, the faculty member I’ll work closely with during the next six months, is Kathi Appelt! She is the author of The Underneath and numerous other books. This is my critical thesis semester and I’m hard at work on my first draft. I’ll also work on novel revisions and a couple picture books.

I was in a great workshop with Cynthia Leitich Smith (Cynsations blog) and Sharon Darrow. VCFA workshops are like laboratories where we examine each student's submission and discuss craft techniques.

The faculty and graduating students always give excellent lectures. There are usually a few lectures each residency that really helpful to what I’m dealing with in my writing right at that time. The incredible lectures given by Martine Leavitt (theme) and Uma Krishnaswami (voice and point of view) are still swirling in my head.

This sign popped up one day on campus.

It says: "WRITE AT YOUR OWN RISK"

It reminds me that writing takes courage.

(Photo I took of the ice skating rink on the campus green. Someone changed the word "skate" to "write")

Non-Fiction Books and Children’s Literature

It is a great year for non-fiction children’s books. Two of the finalists and the winner of the National Book Awards (Young People’s Literature category) are non-fiction books. This is the first time a non-fiction young adult book has won this award.

I just finished reading Claudette Colvin: Twice Toward Justice by Phillip Hoose, the award winning book. It is well written, interesting, and tells such an important and incredible story. I love the way Hoose includes so many of Claudette’s own words from interviews that he had with her. It is an incredible book.

This weekend NCTE (National Council of Teachers of English) has their annual convention. On Saturday, November 21st, Shelley Tanaka receives the Orbis Pictus Award for Amelia Earhart: The Legend of the Lost Aviator.

Both Claudette Colvin and Amelia Earhart are interesting to read, are meticulously researched, and both tell the story in a way that creates additional meaning. Both use sidebars and photos to add information to the text.

What makes a great non-fiction book?

I’ve been thinking about this because one of the books I’m working on this semester with Shelley Tanaka is a non-fiction picture book. This book is unique. I can’t find any books on the subject, but it is one that will fascinate kids and I think it will fascinate adults.

I’ve had to choose the best way to approach my topic, find the voice for my book, figure out the structure, and decide what will most interest the child reader. My book is for children in lower grades. Because of this my book will be shorter (32 pages) and my main text will be simpler with fewer words. That way a child can read just the main text and look at the pictures. An older child can also read the sidebars and floating blocks that contain more information.

One of the fun things that a writer can do when writing a non-fiction picture book is design the book so it will appeal to several ages of readers. This way the book can be read on many levels. Two examples of picture books that do well this are An Egg is Quiet by Dianna Aston, illustrated by Sylvia Long, and The Wall: Growing Up Behind the Iron Curtain by Peter Sís.

Not all great non-fiction picture books for children use sidebars. A wonderful example of one without sidebars is Ballet of the Elephants by Leda Schubert.

So, back to my question. What makes a great non-fiction book for kids?
The Orbis Pictus Award says a book needs to have accuracy, organization, design, and style. You can find their definition of these criteria here. Great illustrations or photos, an engaging authorial voice, and a topic that is made interesting to children and teens are also important. I'm looking forward to my next residency at Vermont College of Fine Arts. A discussion about several young adult non-fiction books, which we will all pre-read, is on the schedule.

Happy 175th Anniversary Vermont College

This Saturday, October 3rd, VCFA will celebrate the 175th anniversary of Vermont College.

VCFA is hosting a celebration this weekend in Montpelier.

This is a gorgeous time of year in Vermont.
I would love to see this view of College Hall with autumn colors flooding the landscape.
I'll try to use my imagination as I look at this photo.

Happy Anniversary Vermont College!

How to tell this story?

I'm working on revisions of three very different stories (all in different genres) this week. One great thing about VCFA is it encourages me to explore and try all sorts of writing I might not have tried on my own.

Uma Krishnaswami taught me many things last semester and one thing (of several) that sticks with me is that asking questions is vital to my writing.

I ask myself " What is the best way to tell this story?" when I revise. This question leads me to other questions. Asking questions, even ones that might not be logical on the surface, help me explore the story and learn more about my characters. Questions help me see the story in a different way.

Writing is often a circular path. It involves experimenting, playing with possibilities. The longer I spend with a story, the better I know my characters. Then I can push deeper and learn more about my characters.

There are so many craft elements that effect the way the story will be told. At some point in the revising process I have to think about each choice I made and why I chose to craft that aspect of the story in the way I did.

I am fascinated by the process of writing and revising. I think of it as play. It is fun to play with words and characters and situations.

There are many ways to tell each story. Perhaps there isn't a "best" way to tell a particular story. Each possible approach will create a different effect and in some cases a very different story.

Shelley Tanaka wanted me to do a variety of things as I revised this month. She also wanted me to think about what is perhaps the most important question of all: "What do I love about this story?"

VCFA residency--lectures, workshops, readings and more

VCFA residency was fast-paced, intense, incredible, as always. I love residency. It is so energizing to be with so many writers who are committed to children’s literature.

Julie Larios has wonderful information about many of the lectures on her blog--a great place to get a small taste of VCFA. Uma Krishnaswami gives a 60 second whirlwind synopsis of her lecture on her blog--go there and read it. I already used some of what she presented while revising a book this past week. Excellent info.

I learned so much from my workshop with Kathi Appelt and Uma Krishaswami. I submitted first drafts of three stories. One I submitted feeling it would be a good learning book. In my opinion the workshop is a place to learn how to improve my writing, as well as a place to get feedback on a story. But other writers felt this book has potential (and one writer had dreams about it); I still believe it is a learning book--it is a concept book--but will revise for fun and to figure out how to make the story work better. I like revising. Also, I now have some excellent ideas of how to revise another super fun book, which is one of those books where the characters got involved in the story creation. But the most important part of the workshop is learning how to look at everyone’s stories, both raw and more polished and learn how to find the heart of them, and what the possibilities are, so each story can be made the strongest possible and become a story that children will love.

One of my favorite parts of residency (well I love all of it: the workshop, the lectures, the discussions) is the readings. It is such fun to hear faculty read from works in progress, and often these are truly works in progress--as they revised them moments before, or even while reading. Then a few years later, we get to read the final text in the printed book.
The readings are open to the public, so if you are in Montpelier during a residency, come up to campus and enjoy.

My presentation went well and generated many questions. I discussed atypical arcs in picture books--these are more common than most readers or writers realize. I covered the eleven most common atypical arcs. Understanding the possible arcs (or structures) that can be used instead of (or in addition to) the standard Aristolean plot arc allows the writer more flexibility, and gives unity to our books. A point that I feel is very important is that we should layer arcs. The strongest picture books use more than one narrative arc. If anyone wants to read the essay I based my presentation on, send a message to my email which you can find under my profile, and I’ll forward you a copy.

For the next five months my advisor/mentor is VCFA faculty member Shelley Tanaka, who is also a Canadian editor at Groundwood books (which publishes Canadian, not American writers.) She won the Orbis Pictus award earlier this year for her book Amelia Earhart. I look forward to another incredible semester. I will learn so much from her about writing both fiction (novels) and non-fiction picture books.

Semester Break

Vermont College of Fine Arts has long semesters, about 20 weeks long. We have breaks, about three or four weeks long, during December/January and June/July.

So what do I do during the semester break?

Family things.
This break I moved from China to Germany. We are exploring our new city.
Last December I went to Beijing and Xi'an.

I read. We get a list of books that the faculty will use in their lectures so I am reading those as well as three other assigned books for a discussion at residency. I also read all the manuscripts for my workshop group--there are ten of us, so that is about 25 stories because I am in a picture book workshop this time.

Also for this coming residency--I will give a presentation as part of the picture book panel. I am fine tuning it, putting finishing touches on my power point, giving my presentation to a few friends (over the computer) so I can see what I need to adjust.

I revise. I already revised several picture books using Uma Krishnaswami's response to my last packet, which included editorial notes and line edits.
I am also revising a novel, the one I drafted first semester.

I read for friends. I get to read a novel for a writing friend. The first draft even. I always enjoy reading books at the various stages and giving feedback. This will be fun.

During break I don't have packet deadlines and the pace is different. It is a time to recharge and read and write--
and look forward to Vermont.
My next semester starts soon: residency begins July 11th.

Change

Change seems to be constant. This summer means a lot of changes for me.

1. International move. I just moved from China to Germany. Even though I've moved 5 times internationally, it is always a complex challenge.
(I am now able to get on this blog again; it had been blocked for the past month.)

2. Another language. German is easier than Chinese, especially because I can read the words. I hope to be speaking within a month because I had German in high school. I already had an eye appointment, and communicated okay.

3. New climate. From tropical (hot and humid) to continental, which must be colder than normal. I'm wearing a jacket because it is only reaching the 60's during the days.

4. Summer always means kids home from school. It is fun, but alters my writing schedule immensely.

5. New advisor. A new semester means a new advisor. Uma Krishnaswami was incredibly wonderful and I'd love to work with her longer-- on both picture books and other creative writing besides picture books, but in a few weeks I'll turn in a list of several potential advisors and get paired up with another great VCFA advisor. Happily, they are all good.
(Vermont College of Fine Arts has a new website--check it out!)

6. My writing. I won't decide exactly what I'll work on next semester until I find out who my advisor is. I might work on the novel I drafted during my first semester. Or there are many other interesting projects that I could work on.

Learning to deal with change, learning to invite change, learning to embrace change, is so critical to the writing process.
Change of some sort was needed in one of my picture books, but it wasn't clear what to do; so I took what Uma told me, looked at the possibilities that could resolve the issue and decided to alter the setting. It only took three words, but the whole texture of the book is different and it is more vivid now.
Changing the setting or a character triggers a domino effect, and if the change is carefully thought out while revising, the story becomes stronger.

Change in life is kind of like revising stories. Both are challenging, and can be enjoyable if we don't resist the changes and are willing to take risks and explore.

Writing Backwards

I’ve created all sorts of writing exercises for myself in my search for more picture book stories. Next week I need to turn in a few for the workshop portion of my residency in July. I tried three different approaches last week and came up with three new stories. One of these involved a dictionary and random words. That was fun and I ended up with an interesting story.

Most recently I wrote backwards, as in opposite of the way I normally do. Typically I’ll write the story first, and then storyboard (or outline) it. But this time I printed out my storyboard template--essentially a page (designed on excel) with little boxes--before I wrote the story. Then I overlaid Uma Krishnaswami’s suggested picture book layout and wrote the basic elements of story (elements like turning points) into some squares. (By the way, I am first in line for a copy when Uma publishes a writing craft book.) Then I wrote a few words about each of the major story points in the squares.

After I filled out my sheet, I used what I came up with and wrote the story. Of course it needs revising if I choose to develop this story. (I don’t develop every story I write.) This was a very interesting process and helped me understand plot and story development in another way.

I still prefer to start with a character and see what happens as the story unfolds. But I enjoy experimenting.

I should try another backwards approach. I never know how my stories will end when I start them. I wonder what kind of story I’ll find if I start with the ending and work backwards, scene by scene.

Manuscript Critique Auction--benefits Hunger Mountain

Amazing authors who are also great teachers are donating manuscript critiques to raise money for the literary journal Hunger Mountain. (Vermont College of Fine Arts journal.)

Check it out.

A full manuscript critique with National Book Award finalist, Martine Leavitt!
A Picture book critique with Newbery Honor author, Marion Dane Bauer!
A full manuscript critique with Donna Jo Napoli!
A manuscript critique with Laura McGee Kvasnosky!
A YA or MG critique by Tim Wynne-Jones!
A YA or MG critique with Sarah Ellis!

A full manuscript critique by literary agent Mark McVeigh!!! No page limit!

YA or MG critique with Assistant Agent Tracy Marchini!

This is a great opportunity to get feedback from some amazing authors.

And more authors and poets are donating critiques. I only listed some of them.
Look for details at the auction site.

The online auction is here.

Additional details can be found on Cynsations.

Narrative Arcs

I've been studying narrative arcs.
The goal--to tell the story in the best way for that story.

The plot theory most people are familiar with is Aristotle's. At the most fundamental level, a narrative arc is the arrangement of the events in a story.

Small changes such as the repositioning of a page turn, or switching the position of two sentences can change the meaning of picture book story and alter the narrative arc. "Small" changes have a big influence in a novel's arc too, such as changing the order of scenes, or altering a beginning or ending of a chapter.

Narrative arcs are created by a variety of techniques, including the order of events, how and where and if a climax occurs, point of view, setting, tone, repetition, and layering of thematic elements. All of these choices and more contribute to the narrative arc. The characters and their arcs can follow the same trajectory as the narrative arc, but sometimes follow a different pattern.

Narrativity theory, or the way the writer writes the story and the way the reader reads, should be considered when revising.

A few questions to consider.
Will the story be linear or non-linear?
How many characters tell the story? One, two, ten? Or is a storyteller narrator best?
Is an experimental form better than a traditional arc?
Can more than one arc be layered in the story?
What should be included and just as important, what should be left out?

The arc creates the rhythm of the story. In many stories this will show as the increase and decrease of tension. In other stories, the story carries the reader along at a constant rate and in others there is a steady increase of tension. Tensionless stories also exist.

Part of what I've been studying are atypical narrative arcs in picture books, and how these books engage the reader, even when some "essential" elements are removed. I'll give a 15 minute presentation on ways to craft a spine by using atypical narrative arcs at residency next July at Vermont College of Fine Arts.

I started thinking about this last residency during workshop when Uma Krishnaswami mentioned a few ways to create narrative arcs. This is especially interesting with picture books, because there are so many available narrative approaches that are effective with picture book narration. It apears most of the theory and discussion focuses on other areas of literature. There is much to consider about narratology and literary theory within the picture book genre. From what I've explored so far, picture books seem to revel in the freedom of atypical arcs.

Vermont College of Fine Arts--mid-semester

My second packet is now with Uma, my advisor.

This pause time is always brief, but allows me to step away from my current stories. That is an important step because in a few days when I look at those stories again I will see them without the blurred vision that comes from working with a story so closely.

I write other stories while I wait. I am working on a couple new stories, plus I opened an old file and started revising a novel. I want to see if I could work on both picture book manuscripts and a young adult story at the same time. It is a good experiment to do for a few days.

The semester is fast paced. I am in a special picture book semester where I learn the craft of writing picture books. I'll turn in a lot of picture books (eight so far), revise some of these books (turned in four revisions so far), write several essays which focus on writing craft, and read many, many picture books and a few craft books. In addition, I'll prepare and give a presentation as part of the picture book panel during residency.

The online workshop with the other picture book students and Uma is incredible. It is a continuation of the residency workshop. That is the aspect that makes this special semester unique. We each turn in a picture book once a month (5 total in the semester) comment on each book, revise, then post our story again for additional comments.

I get asked a lot of questions about Vermont College of Fine Arts. I love to talk about Vermont College and what an incredible experience it is. Great information is available on a Wikipedia page and on Vermont College's website. Recently Cynthia Leitich Smith interviewed Sharon Darrow, the faculty chair, on Cynsations.

The Vermont College experience is incredible. The culture is wonderful. All involved--other students, faculty, administration--are committed to children's literature. I have made life-long friends. Residency is intense and amazing. The semester, the packets, and the one on one interaction with my advisor are stimulating and pushes my writing far beyond what I could have ever achieved on my own. It is exciting to see my writing stretch and grow and evolve each month.

I've been asked if my MFA is worth it.
Absolutely.
Besides marrying my awesome husband and having great kids, it is the best thing I've done for myself.

Finding Story

Sometimes my stories find me. The characters appear and want me to tell their story.

Other times I need to find the story.

This semester at Vermont College of Fine Arts I’m in a program with a special picture book emphasis. This means I will write and turn in A LOT of picture books! I will turn in between four and five picture books this month.

Stories come from lots of places. Some come in dreams. Some are found in real life: an object, a comment, a situation. Others appear halfway between conscious and subconscious thought--early morning is a prime time to access this part of the brain. So is meditation.

Picture books are so different than novels and because of this my discovery of story and characters is different. With novels, I start with characters in a situation and they create the story as they make choices. With a picture book I have to find an idea or a place or a character and know more before I begin writing.

Catching a story is like finding butterflies. A butterfly might appear, just like some stories appear. These stories are gifts. But most of the time we need to go and look for the butterfly or if we really want lots of butterflies around we can plant a garden that invites butterflies to not only visit, but live near us. In a similar way we look for stories. Finding stories can be hard. Sometimes we might look and not find anything. Or we look and look and finally sit down and start typing in hopes some sort of story will emerge.

I am trying something different. After I returned from Vermont I knew I needed to find more stories. Now almost every day I create my own writing prompt. Somewhere, anywhere--perhaps in my mind or outside during a walk--I find an idea or an object and I write some words of a picture book. I don’t worry about writing great words or a great story. I don’t worry about writing a complete story. I just write--something, from any idea. These partial stories are a fertile garden, a garden for finding butterflies. I’ve developed some of what I’ve written into picture books. Reading through what I’ve written also triggers story ideas. In essence I’m creating a place where my stories can live.

Committing myself to writing an aspect of a story almost every day is a way of playing. Playing with words. Playing with ideas. Playing with stories. As I play I find stories with meaning and stories that are fun to write.

I want to write one more story to turn in with my first packet to Uma. (Uma Krishnaswami writes such marvelous books. You are missing out if you've not experienced her stories.)

I need to go play in my story garden. Maybe my next butterfly will be huge and colorful, resting on a flower waiting to be caught, or maybe it will be small, fluttering anxiously from flower to flower, almost out of reach.

I won’t know what story I’ll find until I enter the garden.

Bookstores are wonderful places

I love visiting bookstores in every country where I live. A bookstore (Eymundsson's) in Iceland was convenient for me--it was downtown, just a short walk from my home. There was a coffee shop upstairs. Here in China there are many bookstores. Of interest--most books in the US are printed in the region where I live. The bookstores tend to be either small or tinier than one could imagine.

A tiny book store which is about 4 feet wide and 6 feet deep.













I've seen smaller stores here in Guangzhou.
I'm also amazed when I see a bike loaded up with books and magazines. I've even seen bikes used as movable newstands.

I visited a large bookstore when I was in Beijing. Of course I wandered over to the children’s section, which is comparatively small compared to children's sections in US stores, and spent a long time looking at all the titles. There are several children’s books from the US that are translated into Chinese. I didn’t find the Chinese young adult section, even though I’ve seen one in a much smaller bookstore. I exercised little constraint and bought 9 picture books.



















These are dual language books (Chinese and English) and are traditional tales. The cost was reasonable, about $3 for each 46 to 64 page long paperback picture book. (About 6 by 9 inches.) I was excited to find Chang’e Flying to the Moon. There are several versions of the story: http://en.wikipedia.org/wiki/Chang%27e. The book I bought is closest to version 1, with some notable differences.

I always like to buy a few picture books in each country. These books tend to be folktales. Since a picture book I’m working on is an adaptation of an American tale (a story I’ve always wished was available in a picture book) I’ve been paying more attention to how writers adapt stories, how they stay true to the story while making it accessible to young children. I adapted this story and two other picture books for my workshop at Vermont College Residency later this month.

This next semester I am taking the picture book concentration. The picture book program is by application (and is also open to non-students for a semester certificate).
Because I will focus on picture books, I will let my latest novel sit and keep my first novel (which is also calling me) company. I finished my first draft of River last semester and over my semester break I cut chapters, divided chapters, moved chapters and did other necessary structural revisions. I'd love to work on it, but letting it rest will allow me to see it with fresh eyes.

I love picture books which is why I wanted to want to explore and learn about the craft of this wonderful genre of children’s books. Because I was accepted to the picture program I already know who my advisor is.

I get to work with Uma Krishnaswami!!!!

She blogs here and Cynthia Leitich Smith (who also teaches at Vermont) has an interview with her here. I am very excited to work with Uma.

I fly to Vermont next week.
I've already made arrangements to buy several books from The Flying Pig Bookstore when they visit campus.
Did I ever mention I love bookstores.

Fundraiser for literary journal--YA full manuscript critiques

For those who need something more to want for Christmas, or if you need an idea of a gift for a writing friend--this is for you.

Hunger Mountain, Vermont College's Journal of Arts and Letters (their literary journal) is auctioning off manuscript critiques.

I want a manuscript critique! (The bids start at less than $100.) I don't have a manuscript ready at the moment, but I could revise Crossings, or revise River so I have a second draft.

Many award winning authors and poets are donating their time and expertise to this auction. I'll note some of those who write young adult novels and picture books. These authors either teach at Vermont College (and I've met them and they are wonderful teachers and give great lectures), have taught at Vermont College, or have been a visiting author at VC.

Kathi Appelt (Nat. Book Award finalist this year.) (A partial novel critique and a PB critique are up for auction.)
Norma Fox Mazer (Newbery Honor Award)
Louise Hawes (Her lecture on characters and desire last semester was amazing.)
Carolyn Coman (Newbery Honor Award and Nat. Book Award finalist.)


The details are here:
http://stores.ebay.com/Carolines-Hunger-Mountain-Store
The auction ends on December 13th.