Archives for posts with tag: Zelda & Ivy

Picture Books and the Short, Short Story

I of II

In the early 1970s Arnold Lobel and James Marshall (who became good friends) each started what became a series of short story collections about two good friends. FROG AND TOAD ARE FRIENDS* and GEORGE AND MARTHA brought a new possibility to the picture book. Rather than a single narrative arc based in plot, one could also focus on characters and relationship in a series of encounters. Another way to look at short stories, be they by Chekhov, Cheever, Marshall or Kvasnosky, is that they are snapshots of human behavior. In the end, every novel and every life is an album of such snapshots.

Within the term short story there are a variety of subgenres and fluid definitions of each. There is no rule that one must not blend these categories, but it is valuable to know their differences and possibilities.

 Flash Fiction

 Primary characteristics are extreme brevity, fast pacing from one plot point to the next, and less developed characters. Many sight Aesop as the first flash fiction writer.

Eve Feldman’s BILLY & MILLY, SHORT & SILLY brings extreme flash fiction to picture books. These 13 stories are each told in only three or four words. For example:

 Stoops. Hoops. Scoops. Oops.

 Stoops” establishes setting (front steps). “Hoops” establishes activity (shooting hoops). “Scoops” establishes second character’s activity (eating an ice cream cone). And “Oops” proclaims conflict (rogue basketball ruins the ice cream cone). Tuesday Morning’s illustrations are vital to the reader’s grasp of these very mini stories because they clarify setting, characters and action.

Another of Feldman’s stories manages to establish setting, character, conflict and resolution in only four words.

Bunk. Trunk. Skunk. Clunk.

 Whether you’re writing picture book short stories or a single story picture book try a draft using only 5 to 10 words. You’ve got nothing to lose, and it might help you find the primary beats of your story.

Illus. by Tuesday Mourning BILLY & MILLY

Next spring brings another example of cracker-jack flash fiction in picture book form. Jeff Mack’s forthcoming FROG AND FLY: SIX SLURPY STORIES is a playful delight.  I read the F & Gs at my local bookstore, and can’t wait to by my copy come March.

Coming next: The “sketch story”, the “vignette”, plus George & Martha, Zelda & Ivy, and Bird & Birdie.

*Because FROG AND TOAD ARE FRIENDS is an early reader I will not be discussing it these two posts. For a look at Frog and Toad and as they compare and contrast with George and Martha please visit my biography on Lobel entitled ARNOLD LOBEL (Twayne, 1989).

Picture Books Discussed

BILLY AND MILLY: SHORT AND SILLY by Eve B. Feldman. Illus. by Tuesday Mourning. Putnam, 2009

BIRDY AND BIRDIE IN “A FINE DAY” by Ethan Long. Tricycle Press, 2010.

FROG AND FLY: SIX SLURPY STORIES by Jeff Mack. March 2012

GEORGE AND MARTHA by James Marshall. Houghton Mifflin, 1972.

ZELDA AND IVY by Laura McGee Kvasnosky. Candlewick, 1998.

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When Animals Speak:

Perks, Perils and Possibilities

E. H. Shepard THE WIND IN THE WILLOWS

Well into the movie BABE a little girl sitting behind me in the theater blurted, “Hey, sheep can’t talk!” For one reason or another she hadn’t been concerned that other animals were talking. But sheep? That was ridiculous. As surely as talking animals are a staple in children’s literature there are also crowds who resist and even despise them. There are writers to use talking animals wisely. And others who hope talking animals will be enough to disguise a weak story. When someone asked editor/author James Cross Giblin what he thought about talking animals his frequently quoted response was: “It depends on what they have to say.” It also depends on when, where and to whom they speak.

This series of posts will explore talking animals (anthropomorphic characters) as a literary device in picture books. Like any element of writing, it is important to understand how to use it, why we’re using it, and whether or not it enriches or deflates the story we have to tell.

It is also valuable to examine the many sub-genres of talking animals:

*Talking Animals in a Parallel World [ie. FROG AND TOAD]

*Talking Animals Within the Human World, But Not Talking to or Interacting With Humans [ie.  WHAT THE LADYBUG HEARD]

*Talking Animals Within the Human World & Who Talk to Humans Who Are Not Surprised to Hear an Animal Speak [ie. NORMAN THE  DOORMAN]

*Talking Animals Within the Human World Who Suddenly Begin Talking to Humans Who Are, Initially, Surprised [ie. MARTHA SPEAKS]

*Talking Animals Who Speak While Maintaining Their Animal Nature [ie. SWIMMY]

*Talking Animals Who Are Essentially Humans in Animals Costumes [ie ZELDA AND IVY]

And, to no surprise, they are many sub-sub-genres as well as countless overlapping perils and possibilities.

On we go…

Picture Books Mentioned in This Post

FROG AND TOAD ARE FRIENDS by Arnold Lobel. Harper, 1970.

MARTHA SPEAKS by Susan Meddaugh. Houghton, 1992.

NORMAN THE DOORMAN by Don Freeman. Viking, 1959.

SWIMMY by Leo Lionni. Knopf, 1963

WHAT THE LADYBUG HEARD by Julia Donaldson. Illus. by Lydia          Monks. Holt, 2009

ZELDA AND IVY by Laura Kvasnosky. Candlewick, 1998.

THE NEW YORKER