Fantastic Flowers as Mentor Text

Guest Post by Author/Illustrator Susan Stockdale

Let’s explore flowers that look like other things!

Fantastic Flowers celebrates 17 flowers from around the world that resemble objects, creatures and even people, from spiraling spoons to flying birds to sleeping babies. The rhythmic, rhyming text and bright, bold illustrations bring to life this dazzling display of surprising blooms. Fantastic Flowers encourages object identification and inspires children to observe nature more closely. Back matter provides information on the pollination process, color photos of the flowers (so children understand that they are real!) and a flower identification guide.

Before reading, show students the flower illustrations in the book. Ask them what they think the flowers resemble.

Writing prompts

• Write a paragraph about your favorite flower in the book, stating the reason you chose it.

• Select a flower in the book and generate two lists: one with adjectives (e.g. wild baboons) and one with verbs (e.g. skittering spiders) that describe it. Write a paragraph about the flower using your adjectives and verbs.

• Select a flower in the book and write a few sentences about it that integrates the information provided in the back matter, which includes the flowers’ common names, scientific names, native range (habitat) and pollinators.

• Create your own name for each flower, being as imaginative and playful as possible.

• Select two flowers in the book and imagine that they can speak. Write a few sentences imagining what they might “say” to one another in a conversation. For example, how might they compliment one another?

BIO: Susan Stockdale freelanced as a textile designer for the apparel industry before becoming the author and illustrator of 8 picture books for young children. Her books celebrate nature with exuberance and charm and have won awards from the American Library Association, Parents’ Choice, the National Science Teachers Association and Bank Street College of Education, among others. She lives with her husband in Chevy Chase, Maryland. Visit her website at www.susanstockdale.com. 

Sprinkling on the Grammar

by Jane Harrington

November is here—leaves are blowing in circles around us, the first logs of the season are being tossed in fireplaces, and we’re thinking about comfort foods: hearty soups, turkey dinners, plates of spaghetti. So, let’s go with this today and liken a good story to swirling leaves (dynamic, moving), a cozy fire (touching, heartwarming), and a fine meal (nourishing to the body and soul).

Lingering on the food metaphor, I like to think about how the smallest ingredients make all the difference in those things we love to eat: the rosemary leaves on the roasted vegetables, the garam masala stirred into the Ethiopian dish, the pinch of cinnamon in the tomato sauce. (Note to self: Must cook as soon as I finish this post!) This, to me, is what good grammar is to writing. The perfect punctuation mark, the right word—these can turn an ordinary story into something special, something memorable. And raising this sort of awareness can be fun for writers of all ages. REALLY.

Here’s an adjective/adverb activity that can work with a story that is already written. (If you need ideas for creative prompts, I recommend a blog by a high school teacher at writingprompts.tumblr.com. This writing instructor ties his prompts to Common Core Anchor Standards, and most are suitable for writers across the age spectrum.) After instruction on adjectives and adverbs, have the student writers identify these parts of speech in the stories they’ve written. Is their creation under spiced? Have them sprinkle more in! Have they over spiced? Have them reduce the ingredient!

You can also approach this as a challenge in the original piece of writing, by limiting the part of the speech (No adverbs at all in your story!) or over saturating (Every sentence must contain an adjective!). Mix it up for your young writers’ personal palates. The extra attention to craft is sure to result in some tasteful tales.

Some Common Core K-5 connections:

CCSS L.2.1.e: Use adjectives and adverbs, and choose between them depending on what is to be modified.

CCSS L.3.1.a: Explain the function of nouns, pronouns, verbs, adjectives, and adverbs in general and their functions in particular sentences.

Anchor Standards for Writing #5: Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.

www.janeharrington.com

ACTIONS SPEAK LOUDER THAN WORDS

by Pam Smallcomb

I remember when I decided to focus on my writing, and I attended my first SCBWI Writer’s Conference. It seemed to me that at each presentation, I was given this advice:

“Show, don’t tell.”

I looked around at my fellow attendees and saw them nodding sagely. In my head I was thinking, “What in the heck are they talking about?” Since I was obviously the only one who didn’t ‘get it,’ I sat quietly and hoped to break this super-secret code on my own some day.

Eventually, I figured out that what these writers and editors were saying was that the actions of your characters should reveal their character traits and flaws (not to mention the plot itself). But how do you check for ‘telling’ in your own work? One way is to take a close look at your adverbs and adjectives, and consider each one a candidate for the old axe.

For example, the sentence “She looked at the box carefully.” doesn’t really tell you how she went about examining the box, nor does it reveal anything about her character, her emotional state, or the plot.

Instead you could write, “Her hands shook as she turned the box over and over in her lap.”

This sentence could convey nervousness, or excitement, or even fear (depending on what is in that box!).

Another way to check your own work is to keep an eye out for the verbs ‘is’ and ‘are’ (and the past tenses ‘was’ and ‘were’).

For example:

“David is charming.”

How is he charming? Does he remember everyone’s birthday? Have a smile that can melt ice cream? Perform magic tricks spontaneously? How does his particular charm manifest itself?

In other words, if I were to watch David in action, what would he do that would cause me to think of him as charming? ‘Showing’ instead of ‘telling’ is what draws your reader into your story, and makes them bond to the characters. It allows your reader to become the character.  It forces the reader to watch the characters and deduce what their actions mean. It doesn’t spell everything out the way ‘telling’ does. It’s a less passive experience all around.

An exercise that students can do to help them see the difference is to first make a list of adverbs and adjectives, then write two sentences: one ‘telling’ and one ‘showing’.

Ex. Loudly:

I watched Rosi clap loudly when Ralph won first prize.

When they announced Ralph had won, I glanced at Rosi and covered my ears.

Ex. Grumpy:

Sid was pretty grumpy when I woke him up.

Sid slammed me in the side of the head with his pillow when I woke him up.

I recently watched the BBC version of Charles Dickens’ Little Dorrit. More importantly, I watched the characters. The actions and mannerisms of each character were unique: from the servant Flintwinch’s gruff behavior, to Amy Dorrit’s gentle and kind-hearted manner. You knew Amy Dorrit was kind-hearted not because everyone pointed to her and said, “Now there goes a kind-hearted girl!” but because Dickens shows us. He shows Amy saving part of her lunch to take back to her father in debtor’s prison. He shows her taking care of people. He doesn’t tell us to think of her as kind. We begin to think of her as kind, as we watch her actions.

When trying not to ‘tell’ your story you can remember the old adage, “Actions speak louder than words.”

http://www.pamsmallcomb.com/

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