Tag Archive: Sneed B. Collard


Insects: The Most Fun Bug Book Ever by Sneed B. Collard III. 2017. Watertown, MA: Charlesbridge.

Genre: Nonfiction science picture book

Levels: Grades 4 through 8, though adults will enjoy it too!

Features: Striking close-up photos, most by the author himself; expansive glossary; numerous sidebars that offer more detailed information for readers who want it; index.

 insects

Overview

“I dread the next one,” a friend told me—referring to her book club’s latest selection.

“Why?” I asked. Tiny print? Graphic violence? Saccharine romance?

“It’s nonfiction,” she groaned, making the universal face for FEEL MY PAIN. “Everyone knows nonfiction is sooooooo boooooring.”

I’d need a lot more o’s to capture her true inflection, but you get the idea. First off, let me say that if you find nonfiction boring, you’re reading the wrong books. And second, I have a cure: Sneed B. Collard III. I’m not sure Sneed is capable of writing a boring book (though perhaps he’s never tried). For one thing, he always knows his stuff, and knowing your topic is one secret to writing irresistible nonfiction. He’s got another nonfiction trick up his sleeve, though.

In a recent interview, Sneed had this to say: “My most important tool for writing nonfiction is an insatiable curiosity. Almost nothing pops up on PBS that doesn’t grab my attention: history, science, medical research, travel, baking shows—they all interest me.” (School Library Journal, September 20, 2016).

Curiosity is essential to good writing. We don’t always think about that when we teach writing, but we should—because curious writers seek answers to provocative questions like these:

  • How many insect species inhabit Earth?
  • What’s the most common insect on the planet?
  • Are there insect species yet to be discovered?
  • True or false: Insects dominate the world—and will likely be around after humans are gone.
  • Quick: Name three things no self-respecting cockroach will eat.
  • How do creatures so small defend themselves?
  • Can insects be bioluminescent?
  • Why is it so hard to swat a fly?

I confess I couldn’t answer any of these questions (well, maybe the one on cockroaches) before reading Sneed’s book. But I can ace this quiz now. Given that Insects (sans glossary and other back matter) runs only 45 pages, it contains a staggering amount of information—and like all good nonfiction, this book makes learning fun.

For one thing, it’s brilliantly illustrated with photos Collard took himself (with just a few exceptions). Most are close-ups that give us an insect’s-eye view of the ants, beetles, butterflies, caterpillars, bees, cockroaches, katydids, and other six-legged friends that surround us.

In addition, it has voice. The tone throughout the book is light, humorous, and engaging: “The abdomen, or hind part, of an insect is mostly used to store luggage. Or, more accurately, important insect anatomy” (13). That’s a favorite trick of Collard’s—tossing out a line just to see if we’re paying attention. Of course we are. Clearly, Sneed loves his topic, and wants us to enjoy it as much as he does. Readers need to be curious, too—and I am. Sneed feeds our curiosity with a continual banquet of intriguing details. I was truly fascinated to learn that the reason we have so much trouble swatting flies is not (as I’d assumed) that they’re outwitting us. They actually don’t see as clearly as we do, but they can detect motion far faster, making it frustratingly hard to sneak up on them.

What I love most about this book is how Collard challenges us to drag our mesmerized selves away from those electronic screens and do some firsthand research on insects, right in our own back yards. Or basements. Or any forest, meadow, lakefront, city park, or urban oasis. Unlike elephants and tigers, insects live pretty much everywhere on Earth. You don’t need to go on safari to find them. But you do need to be open to opportunities. As Sneed admits on his book jacket bio, “he’s never resisted the urge to sit down and watch a large colony of army ants march across his path.”

Why should we care about insects, though? Aren’t they just pests? Actually, insects rule. And not just in the slang sense. They outnumber us by an estimated 200 million to one. Think about that. What’s more, though we might detest the way they ruin picnics, devour sweaters and bedding, or spread disease, they also do many good things. Some pollinate plants we depend on for survival. Others eat disgusting matter we’d never touch if we didn’t have to—and what the heck would we do if they didn’t? And—“Here’s a humbling fact: without insects, most of Earth’s animals would starve” (28). We eat them ourselves. And before you get too snooty about food preferences, keep in mind that grasshoppers are low in fat and high in protein. Can you say the same for your lunch?

One more thing: You don’t have to be an insect enthusiast to devour this book. Sneed’s humor and enthusiasm make his topic captivating even for those of us who can barely think about insects without reaching for the repellant. When you look out the window, can you see grass? Trees? Earth? Flowers? Those aren’t just there for your enjoyment, my human friend. They’re all insect habitats. They’re alive. So ditch your phobia, open your mind, and come on an adventure into a world little appreciated.

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In the Classroom

Sharing the book. Though Insects: The Most Fun Bug Book Ever might be too long to share aloud in one reading, it’s conveniently divided into thirteen chapters that run about two to four short pages apiece. You can easily share one or two in a lesson, and you’ll definitely want a document projector so students can take in the alluring, informative illustrations. The book is also an excellent candidate for small group study—or as a beginning point for individual research on insects. (And by the way, nonfiction picture books make outstanding book club choices! Start a trend.)

Background. What do your students know about insects now? How much do you know? Before sharing the book, consider making two class lists: (1) Things we know for sure, and (2) Questions we have about insects. Check the “for sure” list against any new, expanded or contradictory findings you run across as you read the book. Also see how many of your questions are answered. Research answers to any questions that remain.

Insectophobia. As part of your background discussion, you’ll also want to discuss the 500-pound cockroach in the room, namely entomophobia or insectophobia. That is, extreme fear of insects. Many of us aren’t ready to embrace insects just yet, but genuine insectophobia goes much deeper. Fear or revulsion triggered by insects can be so strong that it actually keeps those who suffer indoors most of the time. Unfortunately for them, most insects view doors and screens as mere suggestions—and no doubt a horror movie is lurking there somewhere. Have your students known anyone who suffered from this condition? Though we may be tempted to joke about it, insectophobia is no laughing matter. It can be debilitating. By the way, some people are repulsed only by certain types of insects, and there are names for these conditions too. Apiphobia is fear of bees, myrmecophobia fear of ants, and lepidopterophobia fear of butterflies.

Feel like a snack? Here’s another related topic you may wish to discuss: insects as food. Have any of your students seen the old western film “Lonesome Dove”? If so, they might recall a scene where the character Woodrow Call enthusiastically chows down on what he thinks is candy—then violently spits it out when he learns it’s a grasshopper. Though you might sympathize, not everyone shares that reaction. As of 2016, there were just over 7.5 billion people on planet Earth, and an estimated 2 billion of them—more than one in four—eat insects routinely. Do your students find this surprising? Have any of them ever eaten an insect, or do they know anyone who has? On page 29, author Sneed Collard offers some commentary on the nutritional value of an insect-based diet versus the typical American diet many of us eat. You might share this sidebar as part of your background discussion to help students consider how much our culture influences what we eat—or consider repulsive.

Argument. Could Americans realize some advantages by including insects in our diet? Should we do this? Have students consider the advantages and disadvantages, then craft an argument for or against an insect-inclusive diet. Here are some factors to consider: nutritional value of insects, potential resistance by consumers, availability, sourcing costs, and consequences to humans, insects, and creatures that consume insects.

Nonfiction voice. As you’ll notice, particularly if you share the book aloud, Insects isn’t written in an encyclopedic voice. Anything but. As you go along, ask students for words that describe the author’s voice. Here’s a sample passage to illustrate what I mean:

With its antennae, an insect can detect movement, temperature, smell, sound, humidity, chemicals, and even which way its body is positioned. Antennae cannot pick up satellite TV or Wi-Fi, but still, don’t you wish you had a pair? (12)

To further appreciate the voice in this passage, look up “antenna” in any encyclopedia—or in Wikipedia. Read a few lines and contrast the voice you hear with Sneed Collard’s voice. What differences do you notice? How do those differences affect readers? As you read Insects, identify other passages where you and your students think the voice is particularly strong.

Discussion questions: Ask students to consider my friend who dreaded reading her book club’s nonfiction selection. Where does that sort of nonfiction phobia come from anyway? Have your students read nonfiction they would consider fairly voice-free? If so, when?

 Written response. No writers I know—including students—want to write something readers “dread” to pick up. But perhaps as educators, we unintentionally push them in that very direction. Do we encourage voice-free writing in reports or other nonfiction pieces students produce for school? Ask yourself what things we do to suppress voice, and discuss this with students. How could we encourage voice in nonfiction—or any writing? Ask students to draft a response to this, and have volunteers read their responses aloud.

 Illustrations from the insects’ perspective. In addition to being a published author, Sneed Collard is an experienced professional photographer, and he puts his talents to good use with this book. Discuss what the illustrations add. To understand their contribution fully, have your students imagine the book without any illustrations at all. What would be lost? Do pictures—particularly photos—contribute something words alone cannot provide?

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Suppose the photos in Sneed’s book were entered in a “Most Striking Photo” contest. Which one do your students think would win? Why?

 The core message. The purpose of Sneed’s book is clearly to teach us more about insects than the average person might know. But in addition to that purpose, is there a central message here? A belief or idea about insects that the author would like to consider as we close the cover? Once you finish reading Insects, ask students to discuss the core message with partners or in small groups, then share their conclusions with the class. List their responses and take a vote. Which response or responses come closest to capturing the book’s primary message? How did they reach that conclusion?

 Information by design. In analyzing any book we tend to think first of content. That’s only natural. But the way information is presented has tremendous impact on how easy it is to absorb. After reading Insects, page back through the book, using a document projector, and ask students to notice the layout—that is, how pages are designed. Have them look at the design as they might look at someone’s living room. Is the overall appearance inviting, luring you right in—or does it nudge you to find a more comfortable spot? Here are a few specifics you might prompt students to notice as they review the book’s design:

  • A good balance between text and illustrations, so we are not overwhelmed by either
  • Detailed captions for most photos
  • Plenty of white space (empty or open space), making the text easy to read
  • Engaging titles for each chapter, offering clues about content
  • Subheads within chapters to visually organize information
  • Sidebars—those green boxes that contain “behind the scenes” info for readers wanting more

Could your students use one or more of these elements in their own writing? Encourage them to think creatively about format in the next piece of nonfiction writing they produce for your class.

Discussion question: Should we stress presentation more in work done for school? Why?

Authentic language. One characteristic that distinguishes Sneed Collard’s books (not just this one, but all his nonfiction) is his ability to use scientific language with accuracy and ease. He is so skilled at making meaning clear from context that we’re scarcely aware of how much terminology we are internalizing. To help students gain an appreciation for this, try this lesson.

Let’s say you plan to share the first two chapters aloud. Before reading or discussing them with students, scan those pages for specialized vocabulary you feel readers should know to fully understand the message. Here are some words I might select from those early chapters (for younger students, this list might be shorter):

  • exoskeleton
  • chitin
  • antenna
  • thorax
  • abdomen
  • ommatidia
  • mandible
  • maxilla
  • labium
  • circulatory system
  • digestive system
  • respiratory system

Are you surprised by the number of terms listed here? Actually, I was. Though the book doesn’t feel “technical,” it’s richly strewn with terms students need to speak or write about insects confidently.

Once you’ve assembled your own list (which does not need to match mine), run through it with your class, asking students to briefly define each term. It’s OK to guess. If there’s a word they simply don’t know, such as ommatidia, leave that one blank for now. Then, as you read the chapter aloud, have students listen for any words they couldn’t define, or didn’t get quite right, and add or revise definitions based on what they learn from reading. As a final step, match students’ definitions with those in the author’s glossary on pages 46 and 47.

What’s your favorite genre? Many educators believe that nonfiction is supplanting fiction as the genre of choice among young people. Do you agree? What do your students think? Ask them to write a short argument defending their genre of choice. They should offer specific reasons and cite particular publications to defend their position.

Remind them that both fiction and nonfiction are big categories. They may want to narrow things down a bit. Nonfiction, for instance, includes not only science books but biographies and autobiographies, memoirs, history books, news articles, and other forms. Fiction can include adventure stories, fantasy, mysteries, and more. Once students finish writing, have volunteers read their arguments aloud as a prelude to a class discussion on genre and how tastes are evolving.

Note: For an interesting comparison-contrast extension, have students interview members of an older generation to see what their favorite genres and books might be. Have writers use results to create a generational contrast piece.

Curiosity—the key to topic selection. Author Sneed Collard identifies curiosity as one of his secrets to success as a nonfiction writer. As noted in the quotation from my Overview, Sneed takes an interest in virtually every kind of topic, from travel to cooking. What are your students curious about? Make a list. Oh, but wait: You first.

As your students look on, list three to five things that fascinate you, perhaps mentioning your reasons as you go. Here are just a few things I could be blissfully happy researching:

  • Discovery of new, Earth-like planets
  • Discovery of new octopus species—right in the San Francisco Bay!
  • The intelligence of crows
  • Why some whales actually seek human contact
  • New findings on benefits—and downsides—of homework
  • How worksheet overload is affecting preschoolers’ reading skills

Ask students to work with partners or in small groups of three or four to brainstorm lists of their own. Combine two or more suggestions from each group to form a class list—which students can then copy into their personal writing journals. Next time students need a good informational topic, this list will give them a source to check. Of course, students do not need to write about any of these topics—ever. But hearing one writer’s suggestions nearly always super-charges the imagination of another. That leads to good topic choice—which in turn leads to better writing.

Beetles or humans? Who will stick around? On page 7, the author tells us that since we have yet to identify all the insects on planet Earth, the actual number of species could be as high as thirty million. Talk about striking details! Here’s another surprise: At least 250,000 of those species are beetles. Why in the world would this be? Well, some scientists believe beetles have extraordinary “extinction resistance.” In other words, they can survive dramatic shifts in the environment. What about humans, though? Aren’t we pretty adaptable ourselves? Let’s talk about that . . .

Set up a debate: humans vs beetles—which species is more resistant to extinction? Form two teams to research this question, and let students choose which side to support. Just make sure you have at least a few debaters on each side! You may want to form debate teams of three or four to conduct research and plan a presentation.

Once you’ve given students time to assemble facts and form arguments, you can proceed in a couple of ways. Have one team from each side engage in an actual debate. Or give every team 5 to 6 minutes to present their argument. The rest of the class can score each presentation on a ten-point scale, based on two criteria: (1) How convincing is the team’s evidence? and (2) How compelling is the team’s argument?

 Personal research—and informational writing. Sneed Collard urges us to get outdoors (where most of the insects are) and do some research of our own. Reread the chapter titled “Learning More—The Final Molt,” page 44, and ask students to follow Sneed’s advice. Have them create an originally researched piece of writing on one insect that includes at least two components: text and an illustration. The illustration can be a photo, painting, sketch, or anything produced by the student him- or herself. The text might cover the habitat, behaviors, predators, or eating preferences of the chosen subject. (This needn’t be an “all about” paper; they can focus on one aspect of the insect’s life.) Have them document their personal observation with a record of time and place.

When you finish, create a class book of your results. Then talk about what students learned about the value of personal, hands-on research.

Note: For additional information on insects, look up the Amateur Entomologists’ Society: https://www.amentsoc.org/insects/what-bug-is-this/insects.html

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About the Author . . .

Sneed B. Collard III is the author of more than 75 books for young people. His nonfiction titles include Pocket Babies and Other Amazing Marsupials, Teeth, Wings, Reign of the Sea Dragons, The Prairie Builders, The World Famous Miles City Bucking Horse Sale, and more recently, Hopping Ahead of Climate Change and Fire Birds—Valuing Natural Wildfires and Burned Forests (reviewed here on Gurus). Just last year, he released his memoir, Snakes, Alligators and Broken Hearts: Journeys of a Biologist’s Son (also reviewed on Gurus).fire-birds-cover

Sneed’s books have won numerous awards, including the AAAS/Subaru Science Books & Films Prize for Excellence in Science Books and the Green Earth Book Award. In 2006, Sneed received the prestigious Washington Post-Children’s Book Guild Nonfiction Award for his body of work.

In addition to his nonfiction titles, Sneed has written seven widely acclaimed novels, among them Flash Point, The Governor’s Dog Is Missing, and Dog 4491.

To learn more about Sneed, or to arrange a school or conference visit, please visit him at his website, www.sneedbcollardiii.com

 

Coming Up on Gurus . . .

Good news! Sneed and I just learned that our new book Teaching Nonfiction Revision: A Professional Writer Shares Strategies, Tips, and Lessons will be released by Heinemann on August 31. We think you’ll love it. Is it written with voice? Are you kidding? We chose our own topic! Is it driven by curiosity? And how! Will it help your students write better, stronger, more enticing nonfiction? You can bet your book club on it. Stand by for more information.

And in case you’re in a book club, and terrified that members would sooner drop out than read your next selection, check out my . . .

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Personal Book Recommendation for Adult Readers

On Trails: An Exploration by Robert Moor. 2016. New York: Simon & Schuster.

“It is impossible to fully appreciate the value of a trail until you have been forced to walk through the wilderness without one.” So begins a book like no other. It’s a history of trails that begins with the earliest forms of ocean life (ancient Ediacarans that are said to have gone extinct about 541 million years ago), and winds up in modern times along the dramatically expanding Appalachian Trail with a crusty old thru-hiker, Eberhart, who has given up every convenience imaginable save shoes to live unencumbered. In between, we follow trails of all kinds, including lost Cherokee footpaths, the trails of the savannah-making elephants, early roadways, deer tracks, pheromone-inspired ant trails, traces of food-seeking caterpillars—even explorations of the Internet. This book, an intoxicating mix of history, philosophy, science, and travel advice, offers many tips for navigating trails successfully, but most important, examines the nature of the trail itself.

How did trails begin anyway? With movement. Those primordial Ediacarans—inelegantly described by some scientists as “looking like a bag of mud”—inexplicably moved one day. We can’t say they decided to move because they were literally brainless. Decisions were beyond their reach. Moor describes the first traveling Ediacaran this way: “It shivered, swelled, reached forth, scrunched up, and in doing so, at an imperceptibly slow pace, began to move across the sea floor, leaving a trail behind it” (36). He could almost be describing a contemporary couch potato. And as this quotation shows, this incredibly intelligent book, filled with singular observations, is just plain fun to read. If you like your reading simultaneously, um, down to earth and deep, this is your book. Here’s what I mean . . .

“To put it as simply as possible,” Moor says, “a path is a way of making sense of the world” (14). So—life can be seen as an effort to create and then improve upon pathways. Ever hear or use the expression “cow path”? Maybe you think of it as some miles-from-civilization trail to nowhere, but in truth, cow paths can be indicators of a savvy instinct that any species needs to survive. Like many animals apparently, cows have a knack for finding the most efficient way to traverse any piece of ground. We’re often wise to follow their lead, and guess what. We do. Then we “improve” the old cow path by widening and paving it. But traces remain if you know how and where to look, whether you’re trailing buffalo, elephants, cows, sheep, snakes, or even ancestral sea creatures.

On Trails is a book so expansive in detail, and so rich in thought I cannot possibly sum it up in a few paragraphs. I urge you to get your own copy (hardcover because this is a book you’ll want to keep) and settle in for some enjoyable reading and reflection. You’ll learn more things than you can list, but here are just two that stuck with me.

First, it’s not so much the trailblazers that make the difference. It’s the followers. If you lean more toward follower than trailblazer yourself, take heart. Followers have more power than they realize. After all, they’re the ones left to make sense of all that information trailblazers leave behind, and then improve upon it. Think of them as the editors of the trail making world.

And second, trails teach us about ourselves even when we’re doing nothing more sophisticated than “staring at mud,” and perhaps this is why the allure of being on the trail is so irresistible. “Walking creates trails,” says Moor. “Trails, in turn, shape landscapes. And, over time, landscapes come to serve as archives of communal knowledge and symbolic meaning” (199). Writers who help us perceive connections we might not recognize on our own are rare treasures. Moor is such a writer.

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woodward-vickijeff3249aThank you for stopping by. We feature writers who deserve recognition, so come often, and tell friends about our posts. Keep sending me books to review: Six Trait Gurus, POB 8000 PMB 8284, Sisters OR 97759. My thanks to the wonderful writers who have done so already. Until next time, please remember . . . Give every child a voice.

Some Writer! The Story of E. B. White by Melissa Sweet. 2016. Afterword by Martha White. New York: Houghton Mifflin Harcourt.

Genre: Biographic chapter book

Levels: Like White’s own work, this book speaks to virtually all ages. It is written for mid-elementary and up, but the illustrations will make it appealing even to very young readers, and the details will intrigue everyone, including adults.

Features: Irresistible illustrations in Melissa Sweet’s inimitable style; carefully selected family photos; telling and fascinating examples of White’s original handwritten drafts showing his notes and revisions; exceptionally thorough timeline, complete with book covers and other illustrations; a touching Afterword by White’s granddaughter Martha; revealing author’s notes from Melissa Sweet, detailing her hands-on research for the book; bibliography and index.

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Overview

“I fell in love with the sound of an early typewriter and have been stuck with it ever since” (1). This opening line from Melissa Sweet’s reverent and captivating look at the life of beloved author E. B. White touched a nerve. I too grew up loving the sound of a manual typewriter. My father, a court reporter, typed his own depositions until he could afford a stenographer (that, eventually, became my first job). When he replaced his old Remington, he gave it to me. I was about seven. And though I didn’t type very fast at first, I was enchanted by the way this machine transformed the look of my letters and stories. Of course, electric typewriters and computers came along and made everything easier. But only someone who has hammered out copy on an old Remington or Royal or Corona can appreciate how nostalgic the very sight of a typewritten letter makes us old-time writers feel. You don’t have to love typewriters, however, to appreciate Sweet’s book. It’s one of the finest biographies I’ve ever read.

From cover to cover, Some Writer! is positively gorgeous. Before I could settle down enough to read, I leafed through it several times, just soaking in the beauty. Sweet is a gifted, highly original artist, and her work is showcased here with a brilliant layout. It’s like walking through a literary garden. Pages feature a mix of Sweet’s endearing and folksy style, together with handwritten copy, Garth Williams’ charming and often hilarious drawings of the famous spider Charlotte, irresistible family photos—the kind you’d frame if they were yours—and a delightful blend of modern fonts with the occasional letter or memorable quotation written in the quirky, irregular type of the old Corona.

The text itself, minus the writer’s notes and other extras at the end, runs just over 130 pages, and they speed by. This book is everything you want a biography to be: not a stiff march through a dry fact-encumbered history, but an intimate peek into the everyday doings of someone we already love through his work. In one delightful anecdote, we discover that the White family thought of themselves as “city people,” but spent summers at Belgrade Lakes in New York, where Elwyn’s father rented two cabins. “The brothers,” Sweet tells us, “studied tortoises, tadpoles, and toads.” Regardless of weather, the whole family would crowd into the small skiff they named Jesse (after White’s water-fearing mother) and head for town. There, Elwyn’s father would buy a case of Moxie soda, “assuring his family that the new drink Coca-Cola would never be as popular as Moxie” (10). Little details like this—White’s father viewing Coca-Cola as the newfangled drink—make us feel as close to Elwyn as if we were attending a family picnic at the lake.

Other vignettes reveal that White was a good student, an avid reader, a musician (of sorts), a painfully shy person (something that remained true into his adult years), a lover of animals big and small, and a self-styled adventurer who loved hiking through the woods or getting out on the water. He began writing at a young age, winning his first literary award before he was ten (20). For years, White had his heart set on attending Cornell, but upon graduating from high school, felt it was his duty to join the Service and fight in World War I. Perhaps it’s lucky for us that the Army rejected him: he was too thin. So—on to Cornell, where he would acquire his life-long nickname Andy, and meet Professor William Strunk, Jr. We all know how that turned out.

To anyone who knew how shy White was, it was no surprise that the only thing he feared more than public speaking was talking to girls—they “terrified him” (19). That all changed, however, when he met Katharine Sergeant Angell. Katharine already had two children from another marriage, but she and White would welcome a third, Joel (called “Joe”), the light of White’s life. He would say at one point, “To a writer, a child is an alibi. If I should never in all my years write anything worth reading, I can always explain that by pointing to my child” (50). Within a short time, he would never need an alibi again.

Reading this book is a supremely joyful experience—one that no fan of E. B. White should miss. Every page brings another delightful discovery. Through Sweet’s words, White emerges as a deeply good person, someone who cared both about people and about the earth itself. He was humble and optimistic, surely two rare qualities these days. And though an indisputable genius, White never craved or sought attention in any form; he was genuinely happy on the farm. He loved children, and admired them for the right reasons—for their intelligence, their sensitivity, their curiosity. White once wrote, “All that I hope to say in books, all that I ever hope to say, is that I love the world. I guess you can find that in there, if you dig around” (128). We don’t need to dig far. That voice that calls to us from the pages of Charlotte’s Web is no put-on; that’s E. B. White himself, as open and honest as the sky. When we lose a writer like White, the books remain as reminders and clues to that person’s innermost mind and heart. No wonder we treasure them. Sweet’s touching tribute makes a fine addition to an already unique collection.

 

In the Classroom

Sharing the book. You may want to read Some Writer! more than once before sharing it with students. The text is so rich with detail that you simply can’t take it all in at once, and the illustrations add much to both the information and the voice. Looking at the Table of Contents, you’ll see that the book is divided into thirteen chapters, and one chapter is probably enough to share aloud at one time, or to discuss with a small group. Be sure to use a document projector so students do not miss even the tiniest feature of Sweet’s incredible paintings and sketches.

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Background. Are your students familiar with E. B. White’s books? Some may have heard Charlotte’s Web, The Trumpet of the Swan, or Stuart Little read at home or school, or perhaps read these books on their own. Talk about what they know now and how they feel about E. B. White’s books. Are any familiar with the book titled The Elements of Style? Show them the books if you have copies. If some or most of your students have not read at least one of White’s books, you may want to choose one to share aloud prior to discussing the biography.

It’s also helpful to students—or any readers—to understand the time in which E. B. White lived. He was born into a very different world in 1899. Give the-elements-of-stylestudents time to do a little research to learn what life was like in those times. Who was president? What did people do for work—or entertainment? How many attended college? What modern conveniences or appliances did they have? What methods of transportation did they use?

William McKinley

William McKinley

 

typewriter4And by the way, what the heck is a typewriter? As I noted in my overview, the book opens with E. B. White expressing his love for the click of the typewriter keys. It would not be surprising if many of your students had no idea what a typewriter is. If you have access to one, bring it into class and let students type on it to feel the effort those keystrokes require compared to today’s turbo-charged keyboards! They may be surprised! Also note how different the print itself looks. It’s not sleek and modern. It’s bumpy and uneven, sometimes blurry in spots. And writers in White’s time could not choose from hundreds of fonts, something we take for granted today. How would it seem to produce important work like a book on this sort of machine? How long would it take—and what if you made a mistake? Could people type 100-120 words a minute on this primitive device? Answer: They could—and did!typewriter3

 

Format and genre. This is a biography, something different from an autobiography or memoir. Help your students feel comfortable with these slightly different, but related terms. A biography can be described as an account of a person’s life written by someone else. An autobiography is an account of someone’s life written by the person him- or herself. A memoir is an anecdotal narrative based on firsthand experience. Memoirs often focus on a particular period or periods in a person’s life, and so may or may not be as complete as an autobiography.

car-driven-in-1899Central message. The central message in any biography answers the question, What was ______ really like? Instead of addressing this question all at once at the end of the book, try asking it chapter by chapter as author Melissa Sweet slowly reveals more—and more—about her subject. You might keep a running list of characteristics that describe E. B. White, adding to it as you go. By the way, notice the chapter titles. They’re creative, don’t you think? Do they also provide us with clues about each chapter’s content—and consequently, about White himself? Consider the importance of such clues to a reader. Would chapter titles or subtitles be something your students could use in their own writing to guide readers through a story or discussion?

Showing, not telling. If writing teachers have a favorite mantra, it’s “show, don’t tell.” Yet few things are more difficult to teach than this concept. Look for passages that show us something about E. B. White and his experiences without telling us outright. Consider this passage about a time Elwyn read a poem aloud from a stage in his school:

It had the line Footprints on the sands of time, but Elwyn’s words came out the tands of sime. Other kids started laughing and the moment on stage became even worse than En had imagined it would be. He could not finish. He vowed never to go up on a stage again. (3)

What is the author trying to show us about Elwyn in this passage?

A word about names . . . Notice, by the way, that E. B. White is called “En” here. Throughout his life, he goes by several different names. Have you or any of your students had this experience? Talk about what it is like to have more than one first name or nickname. Should a person be able to choose a favorite? Does E. B. White eventually do this?

Illustrations—and voice. As you go through the book notice the many forms illustrations take, and talk about the “flavor” they give to the narrative. Here are just a few examples:

  • Photographs
  • Paintings by author/illustrator Melissa Sweet
  • Cartoons
  • Quotations
  • Drawings by E. B. White
  • Handwritten and typed text

Do the illustrations contribute to the voice of this particular book? In what way? What sort of voice do your students hear in this book? Boisterous? Quiet? Conversational? Comedic? Authoritative? Reverent? Or something else . . .

Do your students find the mix of illustrations (paintings, photos, etc.) appealing? Why? Have they considered mixing different types of illustrations in any of their own written work?

Thinking small. Choosing a topic can be one of the most challenging issues a writer faces. At one point, E. B. White confesses that he finds it satisfying to write about “the small things of the day, the trivial matters of the heart” (37). Your students might feel the same way.

Get them started by modeling the brainstorming and selection of small topics. It’s easy—and your students will love it! Here are a few topics I would list as students look on (and yes, my list changes all the time, and by the time you read this, I’ll have half a dozen new ones I haven’t thought of yet):

  • BIG snow—and having too much of a good thing!img_2902
  • Tips for making really good scones
  • Relearning bridge—what’s fun, what’s hard
  • How birds stay alive in winter
  • How to look better at bowling than you are
  • Keeping in touch with friends far away
  • What I love about Tana French mysteries
  • Why sitcom laugh tracks are annoying
  • How long to keep leftovers before you can pitch them without guilt
  • Times when it’s simply NOT all right to look at your iPhone

These are little things on my mind right now. Your list won’t look anything like this—naturally. That’s the point. Topic lists are personal because as E. B. White discovered, we do our best writing about things close to our heart.

After modeling your list, break students into small groups and have each group come up with their “top 12 topics.” Share these aloud, then post them. Students can copy favorites into writing journals for later reference.

Where do you get your ideas? This question is a favorite one among students, especially those who have a chance to talk with a published author. Many writers will answer that they do not actually go in search of ideas; rather, ideas come to them—right out of own lives. This is definitely true for E. B. White. Where did White get the idea to write Charlotte’s Web? What about Stuart Little? Be sure students listen carefully for answers to these questions.

The significance of place. We don’t necessarily think of White’s writing as being about “place” per se, but in each of White’s books, setting plays a vital role. Read the description of the barn that opens Chapter 3 of Charlotte’s Web. You’ll see (and feel) at once how critical this setting is to the story that follows. (Note that White almost began the book with this description.) Share this passage aloud with your students. Ask what details they notice and how those details make them feel. What senses does White appeal to in this passage?

In one of the book’s most profound quotations (53), E. B. White tells us he can’t find words to explain what comes over him when he crosses the state line into Maine (the place where, as a boy, he spent summers with his family)—it’s “the sensation of having received a gift from a true love.” Have your students experienced a place that affected them so deeply? Have you? Talk about this. Such places can range from a homey kitchen to an open prairie, from an apartment balcony to a corner coffee shop, bookstore, beach, bridge, attic, treehouse, lake-side hideaway, or anywhere your feet or mind can take you. Discuss one or two places that have had an emotional impact on you. Then give students a chance to come up with one or two of their own, talking with partners to generate ideas. Ask them to pick one place that stands out, and write about it. Remind them that places without names—like the barn from Charlotte’s Web—often make the best choices.the-trumpet-of-the-swan

Crafting an Argument: Book Reviews. On pages 68 through 74, Sweet recounts the striking differences between critics’ responses to Stuart Little and students’ responses. Critics were not universally enthusiastic, and some even considered the book inappropriate for school libraries. Children loved it, however, and bombarded White with personal letters that he treasured.

stuart-little2Your students may not agree with the critics about their favorite books, either. Have them search out online reviews for any book they like, checking to see if critics and other readers agree with their point of view. If not, have students write a one-page review, defending their position and including one or two quotations from the book to support their thinking. Consider publishing some reviews online. As an alternative, have students write directly to the author. If you cannot find an online POB or email address, you can reach any author by sending a letter in care of the publisher.

Revising leads. Among the most fascinating parts of Some Writer! is the history of how White struggled to find the most effective opening for Charlotte’s Web. From pages 86 through 92, we learn that he wrote many leads over a period of several months. Share this section aloud with students so they can appreciate how different these leads are—and how hard White worked to get this part right. Notice that he doesn’t just revise the wording. The whole setting and perspective changes from one revision to the next. White began with a very direct lead about Charlotte, then moved to Wilbur, then to the barn itself, and on to Mr. Arable. The lead he settled on for the final draft ranks as one of the strongest in literature. It’s both engaging—and startling. Read it aloud to see if your students agree. Compare the leads (paying close attention to the captions at the bottom of each page), and talk about what changes from one to another, and which lead your students feel works best. What exactly gives a lead the power to capture us as readers?

After discussing White’s examples, have students look for favorite leads from books they love, and read them aloud for the class. Then ask them to review a lead from their own writing and revise it at least twice. Encourage them to make bold changes of the sort E. B. White made to his own writing. Instead of simply changing a word or two, ask them to make each revision distinctly different from all others. When they finish, have them share their three versions with a partner or in a small writing group, and discuss which ones work best—and why.

The nature of revision. In school, we often practice revision as a one-time event. Students write a piece, then at some point revise it—and it’s finished. But clearly for E. B. White, as for nearly all professional writers, revision requires ongoing and repeated efforts, often over a long stretch of time. What does this difference tell us about the true nature of revision? Should this have an impact on the way we teach writing? Discuss this with students.

Hands-on research.  In the first part of Chapter 9, we discover how E. B. White learned about spiders. He spent over a year watching them. At one point, he actually kept eggs in a box, waited for the young spiders to hatch, and tracked their first movements. How many writers would take time for all this? And yet, consider how important this hands-on research was to Charlotte’s Web. What if White had tried to write the book without knowing any more about spiders than most of us know?

In addition to the information from Chapter 9, share Sweet’s “Author’s Note” on pages 135-136 aloud with your students. Did Sweet do some hands-on research of her own for this book? Talk about how this form of research differs from looking topics up in books or on the Internet. What makes firsthand research so valuable?

Have your students done any firsthand research of their own? If not, this could be a good time to start! As a class, choose a topic: raising chickens, yoga, hiking, cooking the perfect omelet—anything. Discuss ways a writer can learn about a topic in a personal way—a site visit, interview, observation, etc. Ask students to include at least one form of personal hands-on research next time they are gathering information for a nonfiction piece.

 Writing down to children. On page 130, the author quotes E. B. White’s strong views about never writing down to children. Share this paragraph aloud. Then have students write a personal response. Ask volunteers to share their responses. How do your students feel about the point White makes here? What exactly does “writing down” mean, and can your students identify any authors who do this? Why is it important for an author to respect his or her audience—or to think about them at all?

the-story-of-charlottes-web-michael-simsA Final Note . . . For more information on E. B. White’s writing process, see The Story of Charlotte’s Web by Michael Sims. 2011. New York: Walker and Company.

 

 

 

 

 

About the Author . . .

Writer and illustrator Melissa Sweet lives with her family on the coast of Maine, near E. B. White’s former home. She has illustrated more than eighty children’s books, including the Caldecott Honor books The Right Word and A River of Words: The Story of William Carlos Williams, both written by Jen Bryant. Her collages and paintings have appeared in the New York Times and Martha Stewart Living, on Madison Park Greetings and Smilebox cards. She also wrote and illustrated Tupelo Rides the Rails; Carmine: A Little More Red, which was a New York Times Best Illustrated Children’s Book; and Balloons Over Broadway, a picture book biography that won the Sibert Medal and was named a 2011 Publishers Weekly Best Nonfiction Picture Book. When she is not in her studio, Melissa can be found taking an art class, hiking with her dogs, or riding her bicycle.

Balloons Over Broadway

Balloons Over Broadway

A River of Words

A River of Words

Of her field research, Melissa said this in a 2014 interview: “When I set out, I travel with a small studio: camera, sketchbook, pens and pencils. But oftentimes I get somewhere and it’s more about taking time to soak up what I’m seeing without being too diligent about recording it. The impressions of a place or archival material can be as inspiring as the meticulous details.”

To read more of this fascinating interview, check out www.artofthepicturebook.com  You can also visit Melissa at www.melissasweet.net

Author Sneed Collard

Author Sneed Collard

Coming Up on Gurus . . .

Great news! Our book is a reality! Teaching Nonfiction Revision is currently in production with Heinemann, and my wonderful co-author Sneed B. Collard and I are eagerly awaiting release—tentatively scheduled for early fall. This book takes readers inside the thinking of a working professional writer—Sneed. For anyone who still might not know, Sneed has written more than 75 books for young readers, including Pocket Babies and Other Amazing Marsupials, Firebirds, Reign of the Sea Dragons, Teeth, Wings, Sneed B. Collard III’s Most Fun Book Ever About Lizards, and his recently published memoir, Snakes, Alligators and Broken Hearts: Journeys of a Biologist’s Son (reviewed here on sixtraitgurus).

Snakes, Alligators, and Broken Hearts

Snakes, Alligators, and Broken Hearts

Fire Birds

Fire Birds

In our new book, Sneed details his tips and strategies for revising nonfiction both concisely and effectively. He’s a seasoned, imaginative writer who knows his stuff and has a lot to say about the craft. He’s also enormously fun to work with. (I have a rule: Never work with someone who has no sense of humor. Sooner or later, you always regret it.)

 

My part as co-author has been to translate Sneed’s invaluable messages into classroom lessons that teachers can use to help students revise their own nonfiction—with dramatic results. If you teach nonfiction writing, Sneed and I are confident you’ll find Teaching Nonfiction Revision a valuable (not to mention outrageously fun to read) addition to your professional collection. And by the way, my colleague and fellow guru Jeff Hicks has promised to review the book in a future post, and we cannot wait to hear his thoughts. Thank you so much, Jeff! We’ll have more information on the release date as soon as we know it.

 

Just-for-Fun Book Recommendation: Books for Living by Will Schwalbe

Books for Living

Books for Living

I have a simple way of determining how good a film is: Even before it’s over, I know I’ll watch it again. I judge books the same way. Admittedly, I don’t always read the whole book when I return, but I do return, and that’s the point. Books for Living by Will Schwalbe is one of those books I’ll come back to again and again. Because it’s supremely well written, because it’s a profound, heartfelt and often funny (at times deeply touching) look at the meaning of life, and because author Will Schwalbe responds to some of my own favorite books, including The Girl on the Train, David Copperfield, Wonder, Gift from the Sea, 1984, Song of Solomon, and—one that influenced me immeasurably—Bird by Bird.

Each chapter focuses on one book—26 in all—and how that book affected Schwalbe or shaped his view of bird-by-birdlife. In addition, each chapter has a theme, inspired by the chosen book. Schwalbe is quick to point out in his introduction that not all the books are his personal favorites, nor would they necessarily make the “greatest books of all time” list:

What follows are stories of books I’ve discovered that have helped me and others in ways big and small with some of the specific challenges of living in our modern world, with all its noise and distractions. (17)

He adds that any reader can make a list like this, and he recommends it because “it’s a path to creating your own personal philosophy” (18).

just-take-it-bird-by-birdI couldn’t help noticing what a radical and refreshing departure this is from the usual book reports we so often ask students to do. Why, I thought, couldn’t students take this same approach, writing about books that have moved them deeply and made a difference in how they see things—or books that have helped them navigate a troubled time? Read a selected chapter or two from Books for Living aloud, and I can almost guarantee that your students will want to do this very thing. Of course, this is a wide open prairie-without-fences approach to reading—and writing. Instead of defining those books that we think students should find meaningful, we let them decide that on their own. Maybe that’s wiser than we think, though. As Schwalbe reminds us, the idea that there is a “Ginsu knife” book—the book that can be all things to everyone—is a myth. What is true, however, is that there’s always a Ginsu knife book for each of us for a particular time and situation.

By the way, one of the books Schwalbe discusses is Stuart Little. I highly recommend reading this chapter aloud in conjunction with discussing Melissa Sweet’s book Some Writer! It not only captures the complexity of Stuart’s character, but more important, shows why E. B. White’s work is not only timeless, but also reaches an impressively wide range of readers, from five to ninety five. You’ll love Schwalbe’s book, and I’m betting you’ll want to create, along with your students, a similar book of your own.

Until our next post, please remember . . . Give every child a voice.

woodward-vickijeff3249a