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JOIN US IN EXPLORING OTHERS' CRAFT AND BUILDING OUR OWN
In this second part of our interview with Martine Leavitt, the author of Buffalo Flats, she tells us about the mountains that inspire her, how to put emotion on the page, what the heck an objective correlative is, and much more, including what she’s working on now. Links: KidLit Craft website Martine Leavitt’s Buffalo Flats […]
In One Tiny Bubble, Krossing uses specific craft techniques to connect readers to the story, from direct address to apt comparisons, enabling kid readers to understand LUCA in relation to themselves and their world.
Numbers have power, magic, even. Not the abracadabra kind, but the kind that makes a reader sit up and pay attention even though they don’t know why. Sarah Aronson understands the power of the number three as a literary device and uses it masterfully in her picture book, Brand New Bubbe.
Margaret Chiu Greanias’s new picture book, Amah Faraway, illustrated by Tracy Subisak, matches the reverso form with the story of a girl and her grandmother who begin worlds apart (one in the US and one in Taiwan) in a way that enriches both the story and the form.
Since I began writing picture books, I’ve longed to tell the story of my relationship with my Amah (grandmother, in Taiwanese). Even though we saw each other infrequently, I adored her. But like Kylie, my main character in Amah Faraway, I always felt a bit shy at the start of our visits–due to my own cautious nature, the distance, language barrier, and cultural differences.
The primary purpose of a refrain, or a recurring line throughout a poetic work (or prose for that matter), is to draw attention to something important. Used effectively, it can heighten the emotional resonance of your story and make it feel more universal, and LaRocca uses hers to great effect.
