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Yesterday, at the launch party for my new picture book, The Antlered Ship, I taught folks how to make their very own bathtub-friendly antlered ship. It's the perfect bookstore, library or classroom craft -- no glue, no tools, no paint, no mess. All the materials are easy to find, around-the-house things -- perfect for upcyclers. Want to make your own? Watch the video demo or scroll down for written instructions. (I'll have a PDF of these instructions available for download soon. -- visit the Speaking section of this site and look under Resources and Learning Materials.)
Materials You'll Need:
· 1 or more pipe cleaners
· 2 rubber bands
· 3 corks
· 1 bamboo skewer trimmed to roughly 6 inches, or 6 inch knitting needle, or sharpened chop stick, or similar item to use as a mast
· scrap card stock or acetate for sails (old folders or binder dividers work well)
· clear or colored tape
· scissors
· hole punch
Step One: Make Your Antlered Figure Head
· Cut one pipe cleaner in half
· Take one half, make a loop, and shape the ends into antler shapes. The loop is your deer head – you can twist into a solid shape or keep it as a loop – your choice.
· Twist the other half around the antlers to create more antler branches.
· If you want, you can continue to add more pipe cleaners.
Step Two: Make A Ship and Attach Your Figurehead
· Loop a rubber band around each end of the antlers.
· Gather three corks. Make sure the center one is made of actual cork so that it's easily pierced. If you have plastic corks, you will need to make a hole in the side of the center one with a nail or other implement. (Grown-ups should do this for small kids; older kids can do it themselves with supervision.)
· Wrap the rubber bands around three corks so that the corks are held together like a raft and the figure head is at the bow.
Step Three: Add Sails
· Cut sails out of card stock or acetate. I find that two rectangle shapes work well, with one smaller than the other.
· Fold the smaller sail in half and pierce down the center line with whatever you're using as a mast. (You can use a hole punch to make holes, or just poke it through)
· Slide the sail towards the top and do the same with the larger sail.
· Add a pennant to the top of your mast. You might use a piece of colored tape folded over the top and trimmed into a penant shape. Or you might cut a pennant shape from colored paper or acetate and tape it to the top of the mast with clear tape.
· When all your sails are on the mast, poke the mast into the center cork.
Step Four: Sail Away in Search of Answers . . . or More Questions
One morning, I woke with an image hovering just behind my eyes, like the after-image of a bright light. A ship with antlers at its prow, sailing into a harbor. I had no memory of the dream it had come from, if it had indeed come from a dream. All I had were questions: Why did that ship have antlers? Where was it going? Who was on board and what were they looking for? The only way to find the answer was to sit down and write the story.
As I wrote, I encountered Marco the fox, who boarded the Antlered Ship in order to find answers to his questions about the world. His quest mirrored my own. The more I wrote, the more I recognized in Marco the curiosity that made me both a reader and a writer.
Everything I write begins with curiosity –that vibrating alertness that comes with wanting to know more. In college, my curiosity was so wide-ranging that I ended up designing my own major so that I wouldn't have to settle on a single area of study. Afterwards, I became a journalist, the one profession where unbridled curiosity is the most important – perhaps the only -- qualification.
Through journalism, curiosity has led me to some amazing places. I've tracked wild wolves, paddled a kayak through a hurricane, and gone for a walk while holding the trunk of a baby elephant. I've interviewed every kind of person imaginable – scientists and inventors, paupers and politicians, judges and murderers, athletes and aesthetes. Each of those stories began the same way: with a list of questions.
Questions, of course, are the special province of children. When my son was little, I kept a list of the ones he asked me. What makes fire? What if trees could walk? Why don't people have tails? How do you know if a volcano is extinct? Where does water come from? What does German sound like? What if all clothes were bathing suits?
As we get older, most of us begin to fear that asking such questions will make us look stupid and so we ask fewer and fewer of them. We value certainty more than curiosity, answers more than inquiry. But while certainty ends a conversation, curiosity starts one. Questions are how we learn about the world, and about one another. Questions are what make us climb aboard a ship bound for unknown places.
I didn't know that The Antlered Ship was a book about curiosity when I started it. But if I hadn't been curious, I never would have found out. I hope that when children read the book, they'll be inspired to be lifelong questioners, asking questions not just of parents, teachers, and librarians, but of themselves and of each other. As Marco discovers in the course of the story, the quest to find answers is often more important than the answers themselves, and the best answers inevitably lead to more questions.
Just before Escargot was released, a thought occurred to me. Having written a book about a very beautiful French snail, it seemed to me that I should stay up-to-date on snail news. I'm not sure, at this point, what I expected to learn -- perhaps I just thought I'd find out if people were talking about my book. But whatever my reasoning, I set up a Google alert to send snail news my way. This has turned out to be a quite wonderful blessing. Snails, it seems, are the source of many remarkable stories. Of course, you do have to skim over all the headlines noting that something or other is "moving at a snail's pace," which, when viewed in aggregate, quickly reveals itself to be the world's most irritating cliche. But the rest is pure, random, gold.
Of all the snail news, the best -- and also the most tragic -- was the saga of Jeremy, the snail whose shell spirals left instead of right. As one article explained:
Snails mate face-to-face, sliding past each other on the right hand side so that their genitalia can meet. To copulate Jeremy must beat one in million odds to find another snail which also has left-handed sex organs which are compatible with his own.
An English snail researcher hoped to match Jeremy with another left-coiling snail in order to see if the trait was hereditary, and so he put out a call for possible mates. Two other left-coiling snails were found, and all was rejoicing and salacious speculation -- until the two potential mates, Lefty and Tomeu, hooked up with each other. In the latest news:
Researchers announced earlier this month that the pair has produced three clutches of eggs, and more than 170 baby snails. The first batch of eggs was 'fathered' by Lefty and laid by Tomeu; because snails are hermaphrodites, they can fulfill the role of either mother or father.
But there were other, happier research stories, too. The Brits, it seems, are fascinated by snails. This week researchers at the marvelously titled BBC television show The British Garden: Life and Death On Your Lawn announced that snails have a homing instinct and will -- at their own leisurely pace -- creep back to their own territory if moved. Professor Dave Hodgson apparently gathered 65 snails from four corners of a garden in Hertfordshire and painted their shells with a fluorescent color corresponding to the home corner. I'll let the article tell the rest:
A fifth group of snails, brought up from Cornwall was also added to the mix as a control group, and painted bright green .
Once the snails were glowing brightly, they were videoed overnight to find out if they would travel back to their home flower-beds during their nocturnal meanderings. Snails can travel just over one mph and so can get 25 metres in the 24 hours.
"Interestingly, the Cornish ones headed due west, extraordinarily in the right direction to get home," said Prof Hodgson.
"In the blue corner, almost all of the snails I found were blue snails. In the red corner, almost all of the red snails found their way back. In the orange corner almost all of them were orange, and of the pinks almost all of them were back in the pink corner.
Think how much richer your life is now that you know that a British researcher has been color-coding the snails in his garden.
Yesterday's alert informed me that researchers were able to selectively remove memories from a snail's brain, which makes you wonder what kinds of things snails remember. (Where home is, apparently) This research might some day help people rid themselves of traumatic memories, the article claims. Meanwhile, the venom of another kind of snail looks like a promising painkiller, potentially helping us fight opioid addiction. And the slime from yet another kind of snail is reportedly useful for treating acne. Snails: the answer to every question.
And there's so much more -- so many odd, marvelous tidbits. Customs agents in Philadelphia discovering 7 lbs. of Italian snails in a box labelled "Shoes and Honey."
Tiny snails the size of a seed stopping a freeway bypass in England.
Different tiny snails showing up in driveways and footpaths in New Zealand, where residents whimsically speculate that they're being eaten by leprechauns.
Video of giant snails "slurping earthworms like spaghetti." (These both come from the Daily Mail -- what is it about the Brits and snails?)
In Maine, a little girl coaxes snails out of their shells by humming to them. In Israel, a veterinarian saved the life of a snail by mending its broken shell with glue. In Utah, elementary school teachers rewarded students for improved reading abilities by eating snails. Imagine the scene:
The entire student body gathered in the lunchroom for the end-of-year assembly. After handing out various awards, Literacy Coach Kimberly Panter announced 85 percent of students had improved their reading scores, and as a reward, various teachers would have to eat snails.
Names were drawn out of a hat to see which teachers would have to eat the snails, to the roar of the students. The snails were donated by local restaurant La Caille. Alex Hill, a representative of La Caille, demonstrated how to eat the snails by clasping the snail shell using tongs and pulling out the meat with a special fork. After a quick countdown, the teachers gulped down the snails, a few pulling faces and squirming. One teacher quickly began drinking a Diet Coke as soon as she could.
(Escargot, naturally, was horrified by this development. "They couldn't eat a nice salad with a few croutons and a light vinaigrette?")
And then there were the discoveries. At an ancient settlement inside a cave in Iraq, British (!) researchers found a decorated snail shell apparently made as an ornament by Upper Palaeolithic people. A mucous-shooting worm snail -- also called 'a spiderman snail' in other news articles -- was discovered in a shipwreck in the Florida Keys. Three new species of tiny, fragile, and colorless land snails were found in Georgia, Panama, and Belize. Certain species of bellicose snails were found to wield their shells like clubs to knock out predators. To quote the report:
They found that two snail species -- Karaftohelix (Ezohelix) gainesi in Hokkaido, Japan and Karaftohelix selskii in the Far East region of Russia -- swing their shells to hit the carabid beetles, demonstrating a very unique, active defence strategy; while other closely related snail species withdraw their soft bodies into their shells and wait until the opponent stops attacking.
The world of snails is one miracle after another. And so, the alerts that come to me each day, brimming with updates from the gastropodic world, seem somehow to be a reminder of the wonder of everyday life -- of the revelations lurking underfoot, just waiting to be noticed.
It's been a crazy, fun, and exhausting month for me and Escargot. Over the past three weeks, the gallic gastropod and I have visited more than a dozen schools. Talking with teachers and librarians gives me the opportunity to hear some of the creative ways school professionals are using Escargot to teach everything from science to persuasive writing.
Here are some classroom and library tips and tricks I've picked up in my travels. You'll find more ideas and tools in my downloadable Escargot Story Hour Kit.
Share the Wonder of Snails!
My presentations for preK to 2nd grade students include a slide show of amazing snails and snail facts (some of which can be found in the Story Hour Kit.) I teach kids about snail radulas and tentacles and operculums, as well as some of the crazy and beautiful snail varieties found on land and sea (the one above is the Purple Bubble Raft Snail). Kids are fascinated by these familiar-yet-exotic creatures and always have dozens of amazing and perceptive questions.
Teachers and librarians tell me they are pairing Escargot with non-fiction books for science-based snail units and story times. One mom even brought some snails to school that she had collected in her backyard. You can emphasize the book's healthy-eating theme by feeding backyard snails delicious vegetables and fruits (cucumber, watermelon, and strawberries are beloved by kids and snails alike).
Teach Persuasive Writing
Sheila Murphy, a first and second grade teacher in Maplewood, New Jersey, shared this lesson idea.
She teaches her students that persuasive writing relies on a thesis statement followed by reasons and evidence. (She doesn't necessarily use these terms though.)
In Escargot, the thesis statement is, Escargot should be your favorite animal.
Then she asks kids to come up with reasons and evidence to support this statement. For example:
- He is beautiful
- He is fashionable
- He is charming
- He is affectionate
- He is fierce
- He knows how to relax
And so on. (Kids will come up with many more.)
Then she asks her students to write a letter (to Escargot, to their teacher, etc.) making the case for their own favorite animal using the same format: a statement (________ should be your favorite animal) followed by reasons.
"It worked well for me," she reported. "All the children were engaged!"
3. Use Escargot to Write Odes
I do group writing exercises with children as part of nearly every presentation – even in assemblies with hundreds of kids. Often we write a story together, but sometimes we write a kind of poem called an Ode. Escargot provides a natural introduction to odes because he gives so many reasons why he himself should be loved.
When talking about odes, I explain that they are poems of praise used show how much you like something and why. We then choose something that we all like and jointly write an ode to it. Sometimes we write odes to ice cream, books, teachers, or shoes. But lately kids have wanted to write odes to snails!
Here is an ode written at an assembly this month. We had just talked about many amazing kinds of snails, so the kids were primed! While many odes are addressed to the object itself, I often don't bother with this aspect when working with young kids.
Ode to Snails
by the PreK-2nd Graders at Lead Elementary School
We love your shell color,
your tentacles like bunny ears.
We love your bubbles
and your slime because
you can pass through sharp things.
We love your shimmery trail.
We love your eyes because
you can look at the dark.
We love your colorful shell.
You live under the sea
and can walk on the bottom of water.
We love how you eat,
how you share your food.
We love how you tickle us
when we hold you.
Note that the natural language of children makes it poetic. I didn't have to ask them to be poetic -- they are poetic. Simply asking kids what they like about something generally elicits wonderful results. When responses begin sounding too much alike, I ask a few leading questions. How do snails make you feel? What do they sound like? What colors are their shells? If they could talk, what would they say?
Children who can write independently can also write their own odes. I like this ode-writing lesson plan.
If you are using Escargot in the classroom, I'd love to hear from you!
The Official Not-To-Be-Missed Escargot launch party will be held at 3pm on April 9, 2017 at Mrs. Dalloway's Books in Berkeley, California. But what if you can't make it? No need to cry, scream, and gnash your teeth. We have many Escargot events planned this spring. I've listed some of them below, but check the calendar to see them all as we're adding new ones all the time.
"But," you say. "But what if I want to hold my very own Escargot storytime at my very own library or bookstore or even just with my very own children? What if I want to have an Escargot-themed birthday party, complete with games and prizes? What if I want to dress up as Escargot for Halloween, or just to go to work? What THEN?"
Relax, honey-bunch. Escargot and I have got you covered.
You can now download, straight from the MacMillan website, a gorgeous, fun-filled, action-packed Escargot Story Hour Kit and host your own Escargot party whenever you like! The kit features everything, and I mean EVERYTHING, you might possibly need to have the snailiest, Frenchiest, funnest event of your ever-loving life. The only other things you'll need are the book and some children. However, if you think you'd also like a snail costume and some snail cookies, well, I'll be adding information about those very soon.
What's in this storyhour kit, you ask?
- A poster for advertising your event
- A list of everything you'll need to have on hand
- A super fun finger-play that I wrote just for this book
- A snail tentacle template for making snail headbands
- A snail racing game with adorable snail standees to use
- A list of fascinating snail facts with which to amuse and impress your friends
Now, I know what your next question will be. "Are there enough snail facts to completely fill my mind with all the snail-based trivia I need?" The answer, sadly, is no. And that's not because the story hour kit is in any way faulty. It is simply that the world of the gastropod is so incredibly full of wonder and marvel that no single fact sheet can possibly satisfy the yawning curiosity most of us feel about all things Snail. Thus, I promise that this blog will continue to be filled with fascinating snail tidbits for weeks to come. Stay tuned.
In the meantime, the Escargot Story Time Kit awaits you. Please email me through the Contact form on this website to share photos of your fabulous Escargot events! And check out the events below and on the calendar to find one near you!
Upcoming Events:
Sunday, April 9, 3:00 PM
Escargot Launch Party
Mrs. Dalloway's Bookstore
2904 College Ave, Berkeley, CA
Wednesday, April 12, 11:00 AM
The Reading Bug
785 Laurel Street, San Carlos, CA
Tuesday, April 18, 4 PM
Copperfield's Books
140 Kentucky Street, Petaluma, CA
Saturday, April 24, 11:00 AM
Green Bean Books
1600 NE Alberta St, Portland, OR
Saturday, May 6
Turn the Page Festival
Children's Fairyland
Oakland, CA
Sunday, May 7 11:00 AM
Books Inc, Burlingame
1375 Burlingame Ave, Burlingame, CA
Saturday, May 13, 12:00 PM
Napa Bookmine, Oxbow Public Market
610 First Street, Shop 4, Napa, California
Sunday, May 21
Oakland Book Festival
1 Frank H Ogawa Plaza, Oakland, California
Friday, June 2
BookExpo America
Javits Center, New York, NY
Sunday, June 4
Bay Area Book Festival
Berkeley, CA
As a journalist, I'm constantly juggling deadlines, scanning social media for updates, and trying to find a few quiet minutes to write. So when 24Life asked me to write about busyness, I found myself deeply intrigued by the topic. You can read what I learned about getting out of the busyness trap here:
My new picture book, Escargot, will be released on April 11 and it is already getting a wonderful response.
That's no surprise to Escargot, of course. He already knew he was the world's most beautiful French snail!
His opinion was confirmed today when Escargot received his first starred review, from the March issue of the Bulletin of the Center for Children's Books. Naturally he feels humbled, if "humbled" is what you are when you make people read the review to you over and over and then you say, "Moi? Parfait? Engaging? Jaunty? Do you think so? Let's read it again."
Not only that, but he's on the Top Ten Indie Next List for Spring, which means you can find him at all your favorite independent bookstores.
In fact, you can find both of us -- as we have an action packed schedule of Spring appearances. Check out the calendar and this space for details!
Here's the BCCB review in full:
Author: Dashka Slater
Illustrator: Sydney Hanson
Publisher: Farrar Straus Giroux
Pages: 40
Price (Hardcover): $16.99
Publication Date: April 2017
ISBN (Hardcover): 9780374302818
Our self-assured narrator may have no shortage of ego ("I am such a beautiful French snail that everybody stares at me"), but one thing makes him very sad: "Nobody ever says their favorite animal is the snail." Escargot hasn't given up hope, though, trying to convince the listener of his suitability for favorite via flattery, unexpected ferocity, and a swift race to the salad at the end of the book. Escargot's voice is parfait, an airy blend of ego and need masterfully balanced in witty and well-turned sentences that leave plenty of room for audiences to get the joke. Cues for interaction ("Can you also make a fierce face to scare away the carrot? Maybe we should roar at it, too?") are unexpected yet playful, with additional humor in the snail's engaging responses. Trim, controlled pencil and watercolor art gives Escargot the inevitable French sailor's shirt, neckerchief, and teeny beret, but the jaunty guy's wide, sincere eyes reveal the depth of his yearning snail soul—and make for some great comic faces. The neat regularity of the art mirrors the tonal control of the text while adding some clever touches, such as the snail's loving gaze at himself in a glass tumbler or his casual recline upon a wine cork. Haul out your best Pepe Le Pew cartoon French for this gastropod confectionery. DS
Mostly my career as a journalist and my career as a children's book writer are pretty separate. But recently I wrote a Mother Jones magazine piece about the attempts to diversify children's literature. I found it tough to wear both hats -- writer and reporter -- simultaneously, and found it occasionally uncomfortable to be covering territory so close to home. But I'm pleased with the piece, which has generated lots of conversation. You can find it here.
Things are moving along with the The Dangerously Ever After stop-motion film -- the voice actors have recorded their parts, the props and sets are under construction, and the animators have been innovating some new and wonderful techniques for bringing Princess Amanita and Prince Florian to life.
Check out this test animation.
But there's a hitch. As the film has gotten more ambitious, the sets have gotten too big for Alba Garcia Rivas's current studio. She desperately needs a new space large enough to fit all the sets during the year that she is animating.
And, as you know if you followed the crowd-funding campaign -- the budget's limited. Can you help her find an affordable space? She's offering credits on the film plus other goodies.
Please spread the word to anyone you know who might have an unused space in the Bronx area.
I'm thrilled to share the news that appeared today in the Publisher's Weekly Rights Report:
Joy Peskin at Farrar, Straus and Giroux has preempted world rights to a YA project based on Dashka Slater's New York Times Magazine piece, "The Fire on the 57 Bus in Oakland" about two teenagers – one African-American, one agender – on both sides of an alleged hate crime. The book, entitled The 57 Bus, is slated for fall 2017. Erin Murphy at Erin Murphy Literary Agency negotiated the deal.
Lots and lots of exciting news to share!
In November 2013, I read about a crime that took place near my house in Oakland, California -- a teenager who identifies as agender (neither male nor female) had been set on fire on a bus by another teenager. I began reporting the story a few days later and ended up spending the next 14 months learning about the lives of both teenagers and their families. It's a complex, heartbreaking story, one that may challenge your thinking on some tough topics: gender, race, justice, crime. It's also, in some ways, an inspiring story, because most of the people in it tried to behave well under extremely difficult circumstances.
You can read it online here, or in this Sunday's New York Times Magazine.
This summer, stop motion film-maker Alba Garcia messaged me on Facebook. Her 7 year old daughter was a fan of my picture book DANGEROUSLY EVER AFTER and had even memorized the whole thing. What did I think about turning the book into a stop-motion film?
Here's the thing -- I'm nuts about stop-motion animation. (If you're not sure what that is, think FANTASTIC MR. FOX, CORALINE, PARANORMAN, NIGHTMARE BEFORE CHRISTMAS). I love how textured, human and intricate it is -- especially in the era of so much slick, computer-generated animation. And I'd always wanted to see certain scenes come alive -- the exploding grenapes, for example.
Not long afterwards, I met with Alba at her studio in New York and we hit it off immediately. She's warm, funny, creative, and yet also very down-to-earth. The more we talked, the more clear it was that we should do this project. We wrote a script. Alba began hiring a crew and building props. Valeria Docampo, the book's illustrator, came to New York, met Alba, and signed on to help.
Now all we need is funding. On February 2nd, we launched an IndieGoGo campaign to raise the $42,000 needed to make the film a reality. Donate early to have your pick of amazing perks like dangerous princess swag, school visits, signed books, copies of the film, props, puppets and more. Tell your friends!
The next session of my Advanced Picture Book Class, better known as PB2, starts in March and I am accepting a limited number of students. Perhaps you've been working on your picture book manuscript for a long time, and you're wondering whether it's ready to send it out. Or maybe you've written a picture book before and you're getting ready to try a new project. In either case, you've got the basics down and you're looking for some expert help and a community of readers to work with as you polish your material. Developed especially for graduates of my beginning picture book writing class with mediabistro, this class is open to aspiring picture book writers who are ready for a more advanced workshop structure.
This intensive 8-week online class will help you shape and hone your picture book manuscript through targeted readings, live online discussion, and expert critique. Submit full manuscripts or fragments of ideas -- we'll take whatever you have and work to make it stronger.
In this class, you will learn how to:
"The perfect next step after PB1, this class offers the same thoughtful edits, close readings and guidance but with more freedom, allowing you to explore a single manuscript, multiple works, or just bits and pieces. It takes the pressure off while you focus on your work, but still provides handy deadlines to keep you moving. I can't say enough for Dashka's unique blend of honest critique, mentorship and overall support. A wonderful way to hone your craft and fall more in love with writing as a process." -- Kristen Giang
"Dashka is the most thoughtful and insightful teacher. She handled each member of the group with total sensitivity, gently guiding us, motivating us, encouraging us and helping us to unravel our characters and plot and find our individual voices as writers. This was a wonderful class. I really feel I have learned an enormous amount which I can apply to my storytelling, and I feel a new sense of confidence and hope as a writer. Thank you, Dashka!" -- Emily Bailey
"Dashka is a born teacher--encouraging, compassionate, incisive, and knowledgeable. If you're a newbie, she'll make you feel like a pro. If you're a pro, she'll surprise you with her insights and perspective." -- Mary Bolster
"Dashka Slater's kindness, generosity and creative talent totally exceeded my expectations for an online writing class. I was blown away by her attention to each student, her depth of knowledge and insight into our work. Her own creativity is a joy to witness and her dedication to her craft, an inspiration. I am blessed to have had the pleasure." -- Maureen Phillips
Nuts and Bolts:
To register, please contact me directly.
It is my great pleasure to post an interview with former student and accomplished picture book writer, Susan Hood. Susan took my mediabistro picture book class in 2009, when she was already well-established in children's publishing, having worked as an editor and writer for Scholastic, Sesame Workshop, and Nick Jr. Magazine. Her mission was to get the hang of the picture book form, and while I'd like to take credit for what happened next, it's pretty clear that she was already well-equipped to take the picture book world by storm. And she has, with four gorgeous picture books since 2012: The Tooth Mouse; Spike, The Mixed-Up Monster; Just Say Boo!; and her latest, Rooting For You. She graciously agreed to talk to me about her own path to publication. What struck me about her story is that even though she started out with talent, connections, and experience to spare, she still had to deal with plenty of rejection at the start. It's a good reminder that in this tough field, your single greatest asset is perserverence.
Dashka: When you took my class in 2009, you were still an aspiring picture book writer. If you can remember back that far, tell us a little a bit about how you approached picture books back then.
Susan: I had been an editor at Scholastic and Sesame Street and had published many baby board books and beginning readers, but I had a healthy respect for how difficult picture books can be. I had absorbed a lot about them by "osmosis," but your class really brought everything into focus. I still have your lectures and enjoy referring back to them.
Dashka: What happened to the manuscript you worked on in class? I think it was called Tip Tap Rumble Roar. It was terrific!
Susan: Many editors complimented me on the story, but it was deemed not commercial enough at that time. Remember this was back in 2009 when picture books had taken a hit and everyone wanted YA. I hope that pendulum is swinging back and still hope to publish that story some day!
Dashka: What manuscript was your break-through picture book manuscript?
Susan: The very first picture book I sold was The Tooth Mouse. The inspiration was a young Parisian girl I interviewed for a column in Nick Jr. Magazine called "Kids Like You." Since Sophie was six, I asked her what happened when you lose a tooth in France. She said, "I give it to the Tooth Mouse, of course!" Turns out that a great many other countries share the same tooth tradition, including Argentina, Algeria, Croatia, the Dominican Republic, El Salvador, Greece, Mexico, Russia, South Africa, Spain and on and on. I knew I had to write about it!
Dashka: I love that! Did you already have an agent?
Susan: I didn't have an agent and I was overwhelmed at the prospect of trying to find one. The answer? Homework! Here's my biggest tip: go to publishersmarketplace.com. This is a free site that has additional information available for a monthly subscription fee. For $20 a month (and you can pay for just one month) you can access the Dealmakers page. There you can track agents and see what manuscripts they are selling to specific editors. You can find out who specializes in children's books and who has had the most success selling manuscripts in your genre. It's a fantastic source to help you narrow the field! From there, I zeroed in on about five agents who interested me and read their blogs, websites, etc. Best advice? If possible, try to attend conferences and see the agents in action. See if you like them. Having a good rapport with your agent is crucial. And follow their submission guidelines exactly. Don't give them an easy excuse for pushing the delete button!
Dashka: That's such good advice. I like to say that everyone is looking for an excuse to say no -- so you have to make sure not to give it to them! Now you had three picture books come out in close succession. Did you sell them all at once? Tell us a little about the publication paths for each of them.
Susan: I sold The Tooth Mouse in the spring of 2009 before I had an agent. That summer my agent took Spike, The Mixed-Up Monster to BEA and came back with so much interest the book went to auction! I was astonished and over the moon when three publishers bid on it! Just Say Boo! was sold in January 2010, the result of an SCBWI-sponsored critique with a HarperCollins editor.However, the illustrators we wanted were booked for several years so we made the tough decision to wait for them. It was purely by chance that all three books came out in the fall of 2012.
Dashka: Do you feel like you've mastered the art of writing picture books? Is it getting easier?
Susan: I've certainly learned a lot, but I wonder if anyone ever feels they've "mastered" the form. I have the most respect for authors and illustrators who keep pushing the envelope, breaking the rules and attempting new ways of engaging young children.
How are picture books different? Obviously in language. Early readers use simpler words and fewer of them. Picture books can use more lush, fresh, sophisticated language for two reasons: they are read aloud by adults and a child can understand many more words than he can read.
The way the art works with the text is another important difference. For early readers, the art should match what's in the text. Kids refer to the pictures and use them to understand the words.
In the best picture books, the art works to inform and expand on the text and it often works in counterpoint. The text might talk of a monster, but you see from the art that he's two inches tall. The text may say "pet," but the art might show a dragon!
Often the trick to writing a good picture book is to know when to stop writing. This was an AHA! moment for me when I was working on The Tooth Mouse. Originally, I had written out all of the action on this spread. Suddenly it dawned on me that I didn't have to. I wrote two lines and let the art take over the story.
Kids love this because they can look at the picture and tell what's happening in their own words. The text tells part of the story and the art tells the rest. And this is what makes picture books so difficult. You have to supply enough of a story to inspire an illustrator and then step back and allow his or her creativity to take your story to new heights. And don't assume you and your illustrator will work closely together. You may never meet!
Dashka: It's a strange kind of collaboration, isn't it? Yet when it's done well, the text and the art are so seamless, you can't imagine that they were done separately! What have you learned about the picture book writing and publishing process that you wish you knew at the beginning? What words of advice do you have for aspiring picture book writers ?
Susan: Publishing a picture book takes time. A LOT of time. And there's a lot of rejection along the way. The Tooth Mouse was seven years in the making. The first manuscript was rejected and it sat in a drawer for years. I completely rewrote it and revised, revised, revised. After it was accepted we waited for illustrator Janice Nadeau and it was finally published three years later! So patience and a tough skin will serve you well.
Advice? Read a lot of picture books. I mean thousands. Read the classics, but read new ones, too, to see how the genre is evolving.
My best advice is to join SCBWI—the Society of Children's Book Writers and Illustrators, take a class, join a critique group.
Children's writers and illustrators are some of the most generous, inspiring, mischievous, jovial people I've ever met. They'll celebrate your highs, pick you up when you're low and grouse with you when you're tired of waiting, waiting, waiting. When my books were published, my critique group turned into a pop-up marketing task force, writing my press releases, cooking food for my launch party, setting up school visits and hounding (yes, literally hounding!) teachers and librarians to buy my books. I feel blessed to have this community of people in my life.
Dashka: I agree wholeheartedly! Children's book people are the best. So, what's coming next?
Susan: I have a new baby board book called Tickly Toes, illustrated by Barroux. Four more picture books are on the way from Random House, Hyperion and Candlewick after that! Here's a sneak preview of the cover of Mission: New Baby which will be released by Random House in February 2015.
Dashka: Oooh, it has illustrations by the wonderful Mary Lundquist! Congratulations on all your success and thanks for agreeing to be interviewed on the blog!


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Select Episodes Of The Clone Wars Re-Airing On Toonami
Our friends at Club Jade spotted the news that Star Wars: The Clone Wars will begin airing during the Toonami block of Cartoon Network's Adult Swim segment on August 17th. The Toonami Tumblr announced the news today:
On August 17th, Eureka 7 will be going away, never to return. Well be sorry to see it go. Replacing it will be STAR WARS: THE CLONE WARS, which were very happy about because we always felt it was a Toonami show. FYI: Well be skipping some of the non-continuity (read: Jar Jar) eps, but theyll generally run in order. AMERICAN CARTOONS BELONG ON TOONAMI! xoxoxoxoToonami's Tumblr wouldn't say which episodes they'll be skipping, but they explained their rationale for the abridged presentation: "[W]e just feel there are some clear points that aren't necessary and might be a little too kiddy to show. We may even eventually air those episodes, but not for a while." As for whether these will be the unedited episodes that Cartoon Network censored for their initial airings, Toonami said that they were "looking into" securing those for their reruns. Just don't expect to see the series' bonus content as part of the Toonami deal.
Related Stories:
TCW Deleted Scene Displays A Slightly Altered Season 5 Ending
The Clone Wars Season 5 Deleted Animatic Fight Sequence
Filoni: The Clone Wars Bonus Content Coming In Early 2014
The ForceCast is our popular Star Wars podcast that features news, commentary, interviews, and discussion about the Star Wars saga! Listen Now!
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CLEVELAND– Johnny Manziel and several other Browns' players spent the afternoon at the Greater Cleveland Food Bank and prepared Thanksgiving meals for families throughout Northeast Ohio, but at least some of the focus was on photos that appear to show the quarterback partying in Austin.
TMZ Sports released video which it says shows Manziel at a nightclub Friday night with a bottle of champagne in his hand.
While answering questions at the Food Bank on Monday, Manziel said he did go home during the Browns bye week, but when asked about photos spreading around showing him partying in Austin, Manziel said, "I haven't seen anything.. This has been my main focus, was getting back and getting prepared and.. I haven't seen anything or heard anything. I've been here for this event and this is what I want to talk about- the things that are really important. It's not what I'm doing off the field; it's what we're doing here in the community and what we're doing to get ready for the game Monday night. That's where my focus is and I haven't had my focus anywhere else."
Manziel said the photos could be old, but he would not speculate about the photos because he said he did not see them.
Last week, the Browns named Manziel the starting quarterback for the rest of the season.
Also last week, the NFL said it would not be taking disciplinary action against Manziel following his roadside argument with his girlfriend in Avon.
CLICK HERE to read much more about Johnny Manziel.


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Offering free WiFi and mountain views, Villa Carinthia is an accommodation situated in Köstenberg. This self-catered holiday home has a private pool and a garden.
The holiday home consists of 5 bedrooms, a living room, a fully equipped kitchen with a dishwasher and a coffee machine, and a bathroom with a bath and a shower. A TV with satellite channels and a DVD player are provided.
The holiday home offers a sun terrace.
Bad Kleinkirchheim is 23 km from Villa Köstenberg 219, while Villach is ...11 km away. The nearest airport is Klagenfurt Airport, 26 km from the property.


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As U.S. and European regulators and businesses work toward solutions in the wake of last month's decision by the Court of Justice of the European Union that invalidated the EU-U.S. Safe Harbor framework for cross-border data transfers – previously discussed here and here – the Trans-Pacific Partnership (TPP) trade agreement seeks to facilitate cross-border data sharing and would restrict the ability of member countries to demand local storage of information.
More than five years in the making, the TPP is a comprehensive trade agreement negotiated among the U.S., Canada, Mexico, and nine other Pacific Rim countries (Australia, Brunei Darussalam, Chile, Japan, Malaysia, New Zealand, Peru, Singapore, and Vietnam). It is aimed at opening up markets and easing trade barriers, covering issues ranging from workers' rights and intellectual property to anticorruption and the environment. As we discussed during earlier TPP negotiations, the TPP also contains binding, enforceable provisions that would prevent TPP members from blocking cross-border data transfers or requiring companies to locate data servers in the country as a condition of doing business there.
According to the TPP's Electronic Commerce provisions (Article 14), each country "shall allow the cross-border transfer of information by electronic means, including personal information, when this activity is for the conduct of the business." The text of the TPP does not define "for the conduct of the business," leaving the door open for a broad interpretation that could encompass a wide variety of purposes. Similar to the EU's definition of "personal data," the TPP broadly defines "personal information" to mean "any information, including data, about an identified or identifiable natural person."
The TPP prominently recognizes the need to establish comprehensive and compatible privacy laws across the 12 TPP countries. According to Article 14.8, "each Party shall adopt or maintain a legal framework that provides for the protection of the personal information of the users of electronic commerce. In the development of its legal framework for the protection of personal information, each Party should take into account principles and guidelines of relevant international bodies."
The TPP recognizes that although countries may take different legal approaches to protecting personal information, TPP members should strive to develop "mechanisms to promote compatibility between these different regimes." Although the TPP permits each country to adopt measures aimed at protecting personal information (which might otherwise be inconsistent with the free flow of cross-border data), they may do so only if those measures are (1) not applied in a manner that discriminates or unreasonably restricts trade; and (2) the least restrictive means for achieving a "legitimate public policy objective."
The TPP also addresses concerns regarding data localization by stating that no TPP country "shall require a covered person to use or locate computing facilities in that Party's territory as a condition for conducting business in that territory." As we previously discussed regarding Russia's data protectionism, in recent years data localization laws have become a concern for many companies operating globally. For example, in 2013, Vietnam enacted the Decree on Management, Provision, and Use of Internet Services and Information Content Online, which required certain companies to maintain, within Vietnam, a copy of their data to allow for inspection by government authorities.
As noted above, the TPP includes provisions that prohibit unreasonable limitations on the cross-border transfer, storage, and processing of data, which are intended to help establish a global framework for the free flow of information in the growing digital economy. If ratified by the 12 countries, the TPP will be the largest regional trade agreement to date, touching 40 percent of the global economy. Given recent developments in the EU, it will be interesting to see whether the TPP's cross-border data sharing provisions attract controversy or are modified prior to ratification.
The content of this article is intended to provide a general guide to the subject matter. Specialist advice should be sought about your specific circumstances.


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Old Times Newspaper
The old times are always the best!!!!!:)
How To Plant Stunning Yellow Daisies
Step 1: First, your daisy needs a 8 fl ounces (fl oz) of water. To begin, get a beaker so it can be easier to measure how much is in there. If you don't have a beaker get 10 inch tall glass because that is pretty mush 8 fl ounces. Next, if you want to conserve water than turn on the faucet no longer then 2 minutes . With, running the faucet under the water, clean the 8 fl ounces beaker daisies need to be clean.
Step 2:Make sure that your daisy is in the sunlight because that will give the daisies a bright yellow color it needs and also had benefits for daisies and bright colored flowers. Then, The daisies will need to wait another 2 to 4 days. Finally, on this step make sure that the daisy does not stay in the sun to long because it might foll to pieces because the summers drouts are the worst for the plants.
Step 3: Then, You need to feed your daisies about 20 ML of fertalizer, you can by it at Lows, Home Depot, and target. Next, make sure that the fertalizer is in a shield because the bugs and animals might want to get in there and mess up the daisies. Then, after you have the shield, get protection spray but the natural kind so it wont hurt the animals but strong enough to keep them away.
Step 4: Put, 4 yards of dirt around the flower because it wont run of supply in the winter. Then, make sure that the dirt is damp because cold winters might dry for the daisies. Next, put the daisies under a for 1 day so the to daisies can have light in the short days. Third, the daisies will need need about 10 to 15 grains of flower food. Last, the daisies will need attention, because there are animals looking for food and the daisies is not one of then.
The Fabulous Invitation Of The Sky
Slogan: Moon and stars waiting outside the universe just for you.
Contract info: Bree, 288-128-3762 or email@example.com
Date of event: July 1
Where is it: campground
Description: It is a event that has gazing stars shinning moons that will take you to a another world. It is like seeing the first fireworks but better because it is a ounce in a life time opportunity. Bring you friends and family and enjoy, food, drinks, and friend fun.
How to on with you life
My parents just died in a fire and there is a lady who says that she'll take care of me. I don't know if she'll be like my parents at all. I want to remember the times with my parents but I don't want to remember the fire at all. I don't want Lilly to have to have bad flashbacks. I want Lilly to have a good fucture and move on. I wan't to see Lilly but she has lived with someone else. I want to know where Lilly lives and I want to play with her more often. Lilly is nervous about where she is going to live. She want's to live with me but it's to late to decide. She is to little to understand that you have to make quick decisions .
Dear Lonnie ,
Just make the best of what you have. Be extra nice to the lady who is taking care of you and do what she wants you to because she probably wants the best for you. Maybe on her birthday give her a gift or plan her a surprised birthday. Maybe, she'll remind you of your mom. Anyways, remember the good times with your parents make a photo book if you have photos if you don't collection many things that remind you of your parents. Tell Lilly that shell be fine and maybe someday that she will see you and do good in school so she well have a good future and be kind to Lilly tell her that she is going to having a loving family soon and you'll visit her.
Old times news papper


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Other: China Chow, Daphne Blunt, Debi Mazar, Ellen Page, Emily Ratajkowski, Gabrielle Daleman, Georgie Parker, Heather Matarazzo, Kandyse Mcclure, Kyary Pamyu Pamyu, Laura Harris, Lindsey Stirling, Rie Rasmussen, Scottie Thompson, Ada Choi, Giulia Siegel
Brown says he's over apologizing on the way to the barbarous Rihanna fit of temper. Ladies coupled with gentlemen, rival Veronica Siwik-Daniels aka Joslyn James, a double-D dim whose specialties contain body double-penetrated referring to camera up-to-date plentiful NSFW motion pictures. Or perhaps at all he calculated that it hurts to gaze his sister transport her NBA aspirant preserve to smoking fissure inclusive of prostitutes. So conj at the time that bathroom i receive that blockhead in addition Tiger:Sent: 12:40 first 09/08/2009:? Girl, depart from playing We're fair friends, what are you legend" would demand to improvisation to emotional thievery. She could live 1 jailed on the road to 180 days.
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For presentations, PDFs and other information about the event click here.
To access the photo gallery click here.
To access the video gallery click here.
For news and repercussion in the media click here or here.
The president of the Brazilian Chamber of Deputies, Rodrigo Maia, will join the panel titled "Brazil's Challenges: The reform agenda and public security in Rio de Janeiro" next Friday, August 11, at 9:30 a.m., at FGV's Cultural Center in Rio de Janeiro.
Organized by FGV's Department of Public Policy Analysis (DAPP) and EPGE Brazilian School of Economics and Finance (EPGE), the event will address Brazil's challenges and outlooks.
The opening ceremony will be given by the president of Fundação Getulio Vargas, Professor Carlos Ivan Simonsen Leal. The director of DAPP, Marco Aurelio Ruediger, and the dean of EPGE, Rubens Cysne, will also join the panel.
Via FGV News


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MATH101-206: Integral Calculus with Applications to Physical Sciences and Engineering
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Man in the Mirror, part 3
These were proto-Thatcherite Mods with class - the barrow-boy yuppies of Swinging London who had a sheen of glamour and brushed with royalty. Drinking at the Pickwick Club, Desmond Cavanagh's glitterati hot-spot in Great Newport Street, or going out with a succession of models, the traditionalist habits of Caine and his peers - as apparent in Alfie (1966) - would seem reactionary and suspect to their psychedelic successors towards the end of the same decade.
This, in fact, would be the conflict in attitudes fought out by James Fox, the upwardly-mobile gangster Chas, and Mick Jagger, the decadent rock star Turner, in Nicholas Roeg's psychodrama Performance (1970). It was all a long way from the kitchen-sink, class-war ethos of the British Free Cinema movement of 1956.
'Well, I do think that there was an assumption on the part of the kitchen-sink writers that the working classes existed only in the north, and that the south is all full of gentry and sophisticated bourgeoisie out in Surrey. The cockney was sort of dismissed as a comic character; but I do think that I was a part of the kitchen-sink thing, in some ways. I just came out of the blue on an individual course, not really knowing what was going to happen. I mean, nobody was aware of the Sixties as a specific mood, or what have you, until 1968, when we read about it in Time magazine! There's this idea that we all sat down on New Year's Eve 1959 and said, 'Right, this is the Sixties!' - but we weren't really aware of it..'
The Sixties made Caine, and Caine defined the Sixties as an embodiment of the class-blurring, but ultimately class-conscious, zeitgeist. Having signed an exclusive seven-year contract with the agent Denis Salinger in 1964 for the then phenomenal sum of pounds 350,000, Caine began work on the starring role of Harry Palmer in Sidney J Furie's The Ipcress File. Palmer, secret agent, was the antithesis of James Bond - more of a minor civil servant, plodding through the bureaucracy of espionage at the beck and call of duplicitous upper-class pay-masters, than a glamorous jet-setting spy.
As such, Caine's success as Harry Palmer echoed the success of his working-class 'ordinary' glamour within Sixties London. His cockney lilt and thinly-veiled contempt for institutional sophistication made Caine's Harry Palmer a new breed of working-class hero - 'holding up a mirror' to contemporary audiences.
This knack of creating characters who described their times was reinforced with Alfie . Based on the novel by Bill Naughton, Alfie offered Caine the chance to convey the charmless philosophising of a West-End Lothario. The film was blunt in its sexism - acceptable at a time when 'sex comedies', such as Here We Go Round The Mulberry Bush, were in vogue. But, as is often forgotten, it was hard-hitting, too, in its handling of the consequences of that sexism, with a graphic sequence featuring Denholm Elliot as a drunken abortionist. The film brought Caine an Oscar nomination in 1967 (Paul Scofield won, for A Man For All Seasons), but more important, he had created his identity as a movie star on an international scale - by playing the ordinary bloke.
'When I did Alfie, even though it was a success in England, I felt sure that it would never be a success in America, because of my accent and everything. Then one day they told me to go over to Twickenham studios to do 125 voice-loops of dialogue the Americans couldn't understand. So I did it, and then the film was a huge hit in the States. But that's because every guy in America thought he could pull all the girls and screw everything in sight if he was like Alfie. And it happened the world over. So there's an example of an indigenous British film that was a big hit the world over because it's got a universal theme.'
By the time he had his first real taste of international celebrity, Caine had moved on from sharing flats at exclusive addresses with Terence Stamp. He had bought his first Rolls-Royce (having, in a further act of class war, given two fingers to the first showroom manager who had refused to believe he could afford it), a small house near Marble Arch, and banked his first million.
The Sixties had made Caine a globe-trotting, millionaire movie star, culminating in his starring roles in the two biggest films of 1969, The Italian Job and The Battle Of Britain, the cast-lists of which read like a Who's Who of international cinema. And, it could be argued, the comedy of The Italian Job and the historical drama of The Battle Of Britain represented a last flowering of the exuberance and confidence that had typified Britain in the Sixties. After that, Riviera fantasies and blockbuster heritage began to seem irrelevant to modern taste. Broken lifts, bad drugs and brutalism had become more central to the English condition.
British cinema in the Seventies offered James Fox in Performance, Malcolm McDowell in A Clockwork Orange, and Caine in Get Carter: a triptych of films which, each in different ways, presented the legacy of the Sixties as psychopathic revenge tragedies. Get Carter: (1971), written and directed by Mike Hodges, took the metropolitan gangster - the Sixties folk hero, played by Caine - back to the re-invented northern landscape of the kitchen-sink films of the Fifties.
As if by way of acknowledgement, there was even a cameo role for the playwright John Osborne, playing a lazily sadistic local villain. Get Carter: can be seen as one of the first truly modern films about Britain, displacing not only the cliches of British social realism but also the cliches of gangland film-noir. Soaked in matter-of-fact malevolence and the new brutality of such Seventies TV dramas as The Sweeney, Get Carter:presented realistic violent crime in the cold light of day, in banal, recognisable settings. For Caine, as an actor determined to reflect every nuance of ordinariness, the role of Carter was perfect. Indeed, there has seldom been a more menacing performance.
'There was an extraordinary morality in Get Carter:, inasmuch as one of the reasons that Carter is prepared to kill everyone is that someone's put a person with his surname into a pornographic film. And that's an incredible moral judgment! But those guys, you see, within all that working-class gangster system, right through the Mafia, will follow the principle of protecting your turf and protecting your own. A gangster, more often than not, is a policeman who's taken the law into his own hands, protecting his family and providing them with a criminal livelihood. We got an awful lot of stick for the portrayal of violence in Get Carter: But it was violent only in so far as I wanted to get across the point that if you whack a bloke eight or ten times in the face, he isn't going to get up, shake himself down and come back at you. Just one proper hit in the face and he's going to be across the room. And you never see that in a lot of films.
'What you get these days, to a great extent, is a pornography of violence which is much more dangerous than a pornography of sex. I'd rather see people screwing each other than killing one another. In Get Carter:, we were criticised because we showed the reality of violence. But just one stab in the stomach - that's all it takes. I've been a soldier, I know about the trauma of violence.
'I always remember when I did Dressed To Kill (1980), and this guy was having a go at me in an interview, saying the violence in the film was sickening. So I asked him how many people actually died in the film, and he said, 'My God, it must be dozens!' And I said, 'One. It's the way Brian de Palma did it that makes it seem more violent.' They showed Dressed To Kill in Leeds or Bradford during the time of the Yorkshire Ripper, and a group of ladies who were rightly up in arms about all this, threw a bucket of ox blood over the screen. And then, when Sutcliffe was caught, they asked him whether he'd seen Dressed To Kill and he said no. So you see, it's difficult. Jack The Ripper never saw a violent movie. He never saw anything. He just went out and did it.
This article by Michael Bracewell appeared in The Guardian Online on 8 February 1997, and, as such, is © copyright Michael Bracewell/Guardian Media Group.