Archives for posts with tag: Keiko Kasza

Picture Books, Pacing & The Vital Tease

III of IV

In PLAYWRITING: THE STRUCTURE OF ACTION Sam Smiley explores three vital elements in revealing a story. The first, exposition or back-story, is more important and useful in plays and novels than brief picture books. However, the second and third, planting and pointing have much to offer the picture book writer.

“Planting”

Smiley explores eight forms of planting, but to simplify we’ll say planting is an item of information that turns out to be significant later in the story.

MY LUCKY DAY by Keiko Kasza includes a plant that’s sly as a fox. Or should we say pig? When a pig knocks on Fox’s door, Fox declares “My lucky day!” Pig attempts to stall his demise by suggesting a bath, getting fattened up, and tenderized with a massage. After Fox collapses from exhaustion from all his related chores Pig runs home declaring, “This must be my lucky day!”  Lucky? Not so fast. Kasza’s clever twist of an ending makes perfect sense thanks to her plant. Pig schemed the entire day. Pig made his lucky day by creating the situation. Next up, Wolf.

Kevin Henkes’ deliciously distilled SHEILA RAE’S PEPPERMINT STICK includes a line that is at once planting and pointing.

“If I had two, I’d give you one,” said Sheila Rae…” as she balances on stool, pillows, and books to keep her candy out of reach.

The fall of the arrogant occurs on the next page when Sheila Rae literary falls to the floor and her peppermint stick breaks in half. She is now forced to keep her to keep her promise. “If I had two” serves as a plant and gives reason for the sharing at the conclusion. It also (with Sheila Rae perched so high) serves as pointer that makes the reader hope for a case of prophecy fulfilled.

 “Pointing”

 Where a “plant” makes the reader think back through the story, a “pointer” sparks the reader to look ahead. It whispers something of interest and related is coming ahead. In other words, anticipation and suspense.

Examples of “pointing” can be found through a manuscript. Marie Bradby’s third and fourth sentence in MORE THAN ANYTHING ELSE is a pointer that immediately creates anticipation of an answer.

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.

Pointers appear much later in SQUAWK TO THE MOON, LITTLE GOOSE by Edna Mitchell Preston. But they still pull the audience forward with concern and anticipation. After Little Goose is chastised for waking the farmer with a story about a giant sky fox eating the moon:

Little Goose waddled away

   With her head hanging low for shame.

Up the lane

Across the meadow

Back to the pond

With her head hanging low for shame

And she never once looked at the sky.

Preston’s emphasis on not looking up sets the stage for something Little Goose will miss seeing. After “not looking up” ends badly, Little Goose heads home with her head held back and never taking her eye off the moon. Once again, such an absolute can only bring a problem, and the reader senses it coming. Little Goose doesn’t see the Fox till he’s caught her.

Plants and Pointers serve the reader like a classic English butler—indispensable, but rarely noticed. Let’s write like a butler’s butler!

 Books Discussed

MORE THAN ANYTHING ELSE by Marie Bradby. Illus. by Chris Soentpiet. Scholastic, 1995.

MY LUCKY DAY by Keiko Kasza. Scholastic, 2003.

PLAYWRITING: THE STRUCTURE OF ACTION by Sam Smiley. Prentice-Hall, 1971.

SHEILA RAE’S PEPPERMINT STICK by Kevin Henkes. Greenwillow, 2001.

SQUAWK TO THE MOON, LITTLE GOOSE by Edna Mitchell Preston. Illus. by Barbara Cooney. Viking, 1974.

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The Power of a Sentence

The Power of a Word

“The difference between the right word and the almost right word is the difference between lightning and a lightning bug.” Mark Twain

As writers we are always in search of the right word in at the right time. Moving from the lightning bug to lightning is the challenge and blessing of doing many drafts. A MOTHER FOR CHOCO by Keiko Kasza provides dynamic evidence as to just how much a change in word or sentence can do. Including a shift is awareness.

“Choco was a little bird, who lived all alone. He wished he had a mother, but who could his mother be? One day he set off to find her.”

Choco meets a giraffe, a penguin, and a walrus. Each has a physical attribute in common with Choco, but all three quickly note more differences that similarities and dismiss the little bird.

When Choco begins to cry Bear comes to see what’s wrong. Bear’s choice of words transforms both the story and the perspective of “mother”. Rather than comparing appearances and giving answers, Bear asks the question, “If you had a mommy, what would she do?”

Action.  Just as action makes a story breathe, action is the life force of relationships.

Choco knows his mother would hold him, kiss him, and sing and dance to cheer him up. Bear can and does do these things. Choco’s journey is now complete. Mother and home have been found thanks to the right word and the right sentence at the right time. Lightning!

Sample Books by Keiko Kasza

A MOTHER FOR CHOCO. Putnam, 1992.

MY LUCKY DAY. Putnam, 2003.

READY FOR ANYTHING! Putnam, 2009.

WHEN THE ELEPHANT WALKS. Putnam, 1990.