Picture Books, Pacing & The Vital Tease
The second stage of the vital tease is making the audience curious, concerned or intrigued within the first one or two spreads. If we don’t, why would they continue? In other words, cut to the chase, the action! Thus our opening needs to quickly set up the chase.
Jill Kalz grabs in audience in the first sentence of GALEN’S CAMERA.
Galen has three eyes—two in his head and one in his hands.
In order to find out what Kalz means by a “third eye in his hands” we eagerly continue ready.
Virginia Lee Burton’s opening text for MIKE MULLIGAN AND HIS STEAM SHOVEL may be a bit long by today’s standards, but he still establishes the primary characters and their dilemma on the first page:
Mike Mulligan had a steam shovel,
a beautiful red steam shovel.
Her name was Mary Anne.
Mike Mulligan was very proud of Mary Anne.
He always said that she could dig as much in a day
as a hundred men could dig in a week,
but he had never been quite sure
that this was true.
Burton, as storyteller, has tossed down the gauntlet of intrigue, and we must keep reading to find out if Mike Mulligan’s claim is true.
HER MAJESTY, AUNT ESSIE by Amy Schwartz begins with a bold statement that immediately makes the audience ask, “Can this possibly be true?”
My Aunt Essie used to be a Queen. I knew it the day she moved in. The first ting Aunt Essie unpacked was a big picture of a man with a moustache and a sash across his chest. A King if I ever saw one.
Engaging beginnings may also be more subtle. Marie Bradby’s opening to MORE THAN ANYTHING ELSE simple states facts that seem incongruous to the modern audience.
Before light—while the stars still twinkle—Pap, my brother John, and I leave our cabin and take the main road out of town, headed for work.
The road hugs the ridge between the Kanawha River and the mountain. We travel it by lantern. My stomach rumbles, for we had no morning meal. But it isn’t really a meal I want, though I would not turn one down.
As readers we are immediately filled with questions that make us continue reading. Why are children going to work predawn? Why are they working at all? No breakfast? And, what could a boy find more important than food?
The need for immediately teasing or engaging the audience is equally important in nonfiction picture books. The first paragraph of BOTTLE HOUSES by Melissa Eskridge Slaymaker describes a world so unusual and beautiful, we can’t help but read how in hopes it really is true.
Being inside one of Grandma Prisbrey’s houses was like being inside a rainbow or a kaleidoscope or a jewel. The walls sparkled in sunlight, and in lamplight they glowed.
My own WHITE IS FOR BLUEBERRY would have come a-cropper if I had placed the final, summarizing statement at the beginning. Instead, I began with a seemingly idiotic statement. Then with the turn of the page proved that it was true.
Pink is for crow…
Sparking interest, curiosity, and concern at the very beginning of our nonfiction picture books engages the audience is a path of discovery. When anyone discovers something the information is learned, is owned. As we all know, tossing out information with a wagging tongue and finger finds only closed eyes and ears. Before we submit a picture book manuscript it is both wise and humbling to see if we are merely expecting our readers’ attention, or if we have actually written in a way that demands it.
BOTTLE HOUSES by Melissa Eskridge Slaymaker. Illus. by Julie Paschkis. Holt, 2004.
GALEN’S CAMERA by Jill Kalz. Illus. by Ji Sun Lee. Picture Window Books, 2006.
HER MAJESTY, AUNT ESSIE by Amy Schwartz. Bradbury, 1984.
MIKE MULLIGAN AND HIS STEAM SHOVEL by Virginia Lee Burton. Houghton, 1939.
MORE THAN ANYTHING ELSE by Marie Bradby. Illus. by Chris Soentpiet. Scholastic, 1995.
WHITE IS FOR BLUEBERRY by George Shannon. Illus. by Laura Dronzek. Greenwillow, 2005.