seeing stories.


August 1, 2010

a sweet, still moment from a recent visit to the Lama Foundation nearby. these mountains ground me in a way i’ve never felt prior. i am so grateful for living in such a beautiful place with endless inspiration.

So, remember that cigar box I’ve been stuffing with story fragments scribbled on note cards? I laid out all the cards this week and tried to decipher then. Some just made me laugh out loud, others confused me incredibly. And some really got me excited. I started moving them around, mixing and matching. It felt great! Like playing Dominos or putting a puzzle together. It was a new route to storytelling that was really freeing. I wrote on more cards to fill in gaps until I could sorta see a story appear. I didn’t worry about being wordy – I’m just trying to find the story right now, not polish it. I typed out a draft based on my ‘story card sketch’. I don’t know if it’s any good yet. I can’t judge it now. I just have to keep following it to see where it goes. Next, I’m going to draw a super rough dummy that will help me edit. I already know I’ll be editing a lot of words out and adding those images/ideas into the pictures.

I’ve been writing a lot this week, and one thing I noticed is that each story I write takes its own shape, in its own time and in its own way. I wrote My Travelin’ Eye (Henry Holt, 2008) on the back of an envelope (inside and out) and drew the pictures for the dummy with a fat, orange Ferby pencil with my left hand (it was the only way I could ‘relax’ and feel like little Jenny Sue). It also took having the dummy and story two-thirds of the way finished, and nervously reading it out loud to some friends, in order to really hear what was working and what wasn’t. It also helped me figure out what the ending would be.

Making a dummy is still the best help (for me) in editing and finishing a story.

With Same, Same but Different (Henry Holt, 2011), I played with different versions out loud while going for long walks with my dog in the mountains (it took a whole lotta walks over a couple months) to figure out “how” to write it and from what perspective. Then I wrote it in a colored/striped notebook and drew a dummy. It took a, “Sorry, I can’t sign this book,” from my editor, to push me even further (creatively) to make it better. She didn’t like the ending, so I came up with a better one. Then, I read it to my sister over the phone (who is a gradeschool vice principal) who helped make an even stronger ending (thanks, Renee!). I showed it to my editor the next day, and she loved it.

Once, when I was visiting with a group of 3rd graders, a student asked, “Does anyone help you with your books?” I answered, “YES! My husband, my editor, my family, my friends, my dog. And I am so grateful they do!”

You know that old saying, two heads are better than one?  Well, multiple heads are better than two.

But a lot of that help tweaking and pushing and shining up the story comes later. Later, as in after I come up with “the” story, which is where I’m at now. This part of the journey is a solo one and takes a whole lotta time, patience and humor. I’ve learned to laugh a lot at the silly ideas that come out of my head.

I’ve been working on another story off and on for a few months, too. It’s all written on a piece of paper that I’ve been carrying in my pocket. I’ve been liking the ‘idea’ but not sure of the voice. Just this morning, while nursing Tulsi, a very clear point of view came, which seems like it just might bring it together. See? Even Tulsi helps me! It’s not always about physically writing the stories. Sometimes, it’s simply being quiet in those spaces in order to hear them.

For me, the children’s book retreat I’m doing in September with some friends is the additional, time-sensitive motivation that is helping me. I’m hoping to have at least one story (but hopefully 2 or 3) far enough along to share and get feedback to help push and pull my words and ideas in ways I just don’t know how to by myself. I can’t wait!

Anyone working on stories? Do you have a routine or ritual around writing and editing? Do you have a writing group? Use a thesaurus? Write while standing on your head or hanging from a tree? Please share!

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3 Responses to “seeing stories.”

  1. Miri Says:

    Hello, Jenny.Right now you are inspiring me to write down the childern book that I care in my head for somewhile.
    I just didn’t know how to begin.
    How to translate the ideas in my head to smth real.
    It mostly supposes to be a picture book , but still the story is the important thing.
    Thanks for your idea with the cards and good luck for you. You are so proffesional in all what you do,
    this is so precious feature, not less then your tallent.


  2. Maggie Says:

    I’m working on a story right now — it’s a pictures-only book which makes the “writing” portion really interesting. I AM writing an outline, a shape, because that way I know what the story needs to look like. I have a certain amount of this outline in a computer-format. I let that stew and then must print it off make my edits in pen. I can edit on the computer to an extent, but I can’t make great sweeping brackets around paragraphs nor make thumbnail sketches on the computer, so I have to go the pen-and-paper route (I’ve done this since college, when I had to churn out twenty page papers. I go mad if I stare at a computer for too long). There are a lot of feelings, colors, impressions scribbled in the margins, and that helps me shape the story better than anything else ever could.

    At the same time I am sketching a very, very rough storyboard on giant sheets of paper. At first I’d wanted to wait until the words were locked down, but I’ve noticed that the pictures GREATLY influence the way the story can go. And also, for me, the colors have become very important. I have different hues for different moments in the story, and again this can change the how the story unfolds. So it’s a very messy, organic process. My fridge is covered in huge sheets of paper with little thumbnails.

    It’s a wordless story, so I’ve also been paying rapt attention to other stories without words. How do other people move a story forward? Must one “describe” a moment ad naseum or can people figure out what’s happening if I leave a transitional picture out? I checked out as many wordless picture books as I could find at my local library, I’ve been noting silent film recommendations from a teacher friend, I’ve been listening to old radio plays. This is shaping up to be larger than the traditional 30 page treatment but do NOT want people to look at it and think “comic,” so I’ve also been thinking a lot about what makes a comic a comic vs. what makes, say, Shaun Tan’s “The Arrival” a book.

    I will have specific book questions for you at some point I am sure, but right now it’s germination phase. It may sound exhausting, all this effort I am putting into pre-production, but it has been one of the most amazing journeys I have ever ventured out on. As yet I have no editor, no representation, no certain home for this once I have a shareable dummy. But I do have a lot of non-professional interest — friends with children or in the topic’s professional field who want to read it before I start to shop it. And right now, in these early stages, that is plenty.


  3. Sabbio Says:

    Thanks a lot for sharing your creative process, I hope your book retreat will fill you with creative energy and sharing!


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