Introduction to this Stone Soup Art Activity In a way, the new year really starts with spring. Spring is the time for planting the garden and cleaning house. It is the time when trees get new leaves and when you can play outdoors well into the evening. It is the season when cycles begin again. Plants come out of dormancy, fruit trees flower, butterflies and bees are out in force, and the fruits for later in summer begin growing. It is is a time of promise. This picture of spring is a painting by a seven-year-old from the island of Cyprus. Look at this picture. The tree, flowers, sheep, and vivid colors all crowded together recreate one of those important spring feelings—the feeling of bright fresh air, wonderful days bursting with new life. I’ve chosen this image by a young child because, in its exuberance, it has many aspects of abstract art. This is Spring as a riot of color. As a feeling of bursting. As energy. Project: Make a Picture That Records a Personal Feeling of Spring Close your eyes and make yourself feel the way you do on a warm spring day. When you have this feeling in mind, use your imagination to find an image out of your own life that matches this feeling. Maybe in your imagination you see a ball game, or you and your family working together in the garden, or birds in the branches of a tree, or something you saw in a park. Perhaps, like Myra, who painted this picture, your sense of spring is a fruit tree in bloom with bees and butterflies flying about. Your goal is to bring to life the smell and feeling of Spring using images out of your imagination that are based on things you have seen with your own eyes in the real world. Take from the style you find in this picture by a young a child the confidence of the young child — which is the confidence of the artist. Be bold. Take risks. Embrace color. From the May/June 1985 issue of Stone Soup Spring, by Myra Nicolaou, 8, Cyprus
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Art Activity: depicting people working, with ‘Harvesting Tea’ by Achinda Siriwardena, age 7
Introduction to this Stone Soup Art Activity For the artist, every workplace is a separate world with its own unique environment of light, sound, smell, and activity, and each picture is a story in line, shape, and maybe color that tells about that special place. The seven-year-old artist from Sri Lanka who painted the picture on the front cover did an excellent job of telling the story of a unique world she has seen, but that we may never see — the world of a tea plantation. Look at how she creates her picture world. She shows us the geography: the hills surrounding the plantation. She shows us the weather: clouds over the hills and a blue sky above. She shows us how the tea plants are arranged in rows, and she shows us the building that is a part of every tea plantation, the building where the tea leaves are sorted, fermented, and prepared for shipping to the world’s tea drinkers. In the middle of this scene she shows us a woman picking tea. She appears to be a young woman and has long hair. She is wearing a blue blouse, a red polka-dotted dress called a sort, and silver bracelets on both wrists. On her back she carries a large basket filled with tea leaves. The basket is undoubtedly heavy and the work is hard. Project 1: Working Outdoors Make a picture of someone working outdoors. You might make a picture of a gardener, a coach for soccer or baseball, someone building a building or working on a road, or a telephone repair crew. Sometimes you may work outdoors too, for instance, if you rake leaves, clear snow, or mow lawns. Through your picture tell as complete a story of the workplace as possible. Tell your story so that someone from another country who doesn’t know anything about the place you live, or about the people who work there, will understand what you have seen. Remember to show what type of clothing the workers are wearing, and, if they are using tools, include them in your picture. Project 2: Working Indoors Make a picture of someone working indoors. That might be someone in an office, or a store, at your school, or in a factory. Or it might be a picture of you or one of your parents working around the house. The interior of a building has a very different feel from a place outside. Instead of the sky, there is a ceiling. Instead of the sun, there are electric lights. Instead of trees and plants growing in the ground, there are (maybe) plants in pots. As with your outdoor picture, remember to show what the people look like, what type of clothes they are wearing, and what tools they use, if any, at their job. Harvesting Tea, by Achinda Siriwardena, age 7, Sri Lanka
Writing and Art Activity: illustrate your own story, with “The Adventures of Pumpkin and Seegartus” by Nicole Schmidt, 9
Introduction to this Stone Soup Writing and Art Activity “The Adventures of Pumpkin and Seegartus” is about a friendship between two animals–a pony, Pumpkin, and a cat, Seegartus–both favorite pets of Mary. The author, Nicole Schmidt, begins her story with the birth of Pumpkin and his capture from a herd of semi-wild horses, and she ends it with an adventure that clearly establishes the depth of Pumpkin and Seegartus’ friendship for each other. “The Adventures of Pumpkin and Seegartus” is illustrated by the author, and the original is bound into a book. The pictures and the text are a unit; together they tell the story. It is always exciting to see a work illustrated by the author. Who better knows the characters and their lives than the author? And what better time to make illustrations for your story than at the time of creation, when the characters and their lives are freshest in your mind? Project: Write and Illustrate a Story Based on Something That Has Happened in Your Own Life You could write about a pet, about a vacation, about your school year, about camp, about a brother or sister, or about anything. Like the author of “The Adventures of Pumpkin and Seegartus,” you will want to give your work a clear beginning and end. Tell your story in both words and drawings. Your word picture and your drawing picture should complement each other. The pictures might, in fact, fill in information that is lacking in the text and make your story more complete. For instance, in words you might say something very general about a character. It might be through the illustration that you more fully show what the character looks like and how he or she dresses. The Adventures of Pumpkin and Seegartus By Nicole Schmidt, 9, West Simsbury, Connecticut Illustrated by the author From the March/April 1985 issue of Stone Soup Early one morning in the Ozarks of Missouri, on May 1, 1965, a Shetland pony was born in an almost wild herd of ponies that were running on a cattle farm. The mother’s name was Jenny and the father stallion’s name was Prince. No one was around. He was just born under a crabapple tree. (It was a hard day for the mother and foal because the curious ponies in the herd kept coming up and trying to sniff the new member.) Later that day, they slowly made their way back to the rest of the herd of Shetlands. As the herd grazed, they covered a great distance. Finally, they came to a gate that had been accidentally left open and passed through it to the back pasture of the next farm. Pretty soon they had made their way up to the barnyard. A little girl came out of the farmhouse and spotted the colt running by its mother’s side. The little girl, whose name was Mary, ran back into the house and said, “Ma, you promised me a pony. You did, you did!” In a soft voice, Ma said, “What pony, Darling?” “The pony that’s outside. A new one, running by its mother’s side.” “It must have been born in the night,” said Ma. “I’ll take a look outside. Oh, those ponies are Mr. Blacker’s, the man who lives on the north side of town. I’ll ask him if he wants to sell it. I’ll ask the neighbors down the road how to get in touch with him. Meanwhile, stay away from them,” the mother warned, as she started down the road to the neighbors’. “The stallion might attack you. They’re wild and we don’t know what they might do.” The mother walked down the road to the neighbors’. The ponies still ran and ate grass. The mother came back and said, “Mr. Blacker said he didn’t know that a pony was born, but we may have him if we can catch him. That’s why our neighbor came with his lasso.” The neighbor went outdoors and whisked his lasso around and around. It took him four or five tries to get them. The neighbor was the biggest man Mary had ever seen. He and his children led the mother and colt into the smaller pasture. The colt and its mother would have to stay there, separated from the rest of the herd, until the colt was old enough to be weaned. Finally, the day came in late summer when the mother could leave her colt. Mary named the colt Pumpkin because his coat was a lovely pumpkin orange. Chapter Two Mary’s father said, “I think we should put the colt in the empty stallion stall tonight because this is the first night the mother and colt are separated, and besides, it looks like it’s going to rain tonight.” Mary and her father put the colt in the stall and tended the rest of the animals. Mary and her father went back to the house. It started raining and big winds came up, so big that the trees and all things were blowing around. Father said, “It’s a tornado! We must all go to the cellar quickly!” Just as they were running to the stairs, the windows of the front side of the house blew in. The tornado had passed before they had reached the cellar. They went outside to see what damage had been done. A big tree had been blown over right in front of their house. All the plums had been blown off the plum tree. Trees had fallen over on top of the house and all the apple trees in the orchard had blown over. The board fence around the pasture had blown over, too. They looked at the barn. It had blown right in. All of the family ran over to it. The stallion’s stall didn’t blow in because it was built so strong. Pumpkin was scared but all right. They had to use a crowbar to open the stall door. Chapter Three The colt had wonderful days on
Writing Activity: revealing character through problems with “As Long as We’re Happy (part 1)” by Clea Rivera, 14
Introduction to this Stone Soup Writing Activity Here you find Part One of Clea’s story. In a separate activity, we’ll offer the second part. The main story, or plot, is about a teachers called Mrs. Davids, though there is a second story, something we call a subplot, about a little girl, Flora Pinecrust. Mrs. Davids has a problem, and the main subject of “As Long as We’re Happy” is how she deals with this problem. In Part One of the story Mrs. Davids isn’t very happy at all. She seems to have no friends, and her husband has left her, apparently with little or no warning. While Mrs. Davids tries to cope with her problems, she has nobody to talk to, and it turns out that she can’t help herself very well. We see her become a moody, mean person, lacking self-control and unable to deal politely with her students. A problem or crisis is a common beginning point for storytellers and novelists. I think that is because it is through showing how a character deals with a problem that storytellers and novelists can most easily reveal the complete personality of their character. In “As Long as We’re Happy” the main difficulty Mrs. Davids has to struggle with is really herself, her loneliness, her own inability to keep control of her emotions. This is not an “action” or “adventure” story where the problem to be overcome is something in the outside world, like a mountain to be climbed, or a horse to be broken in. It is more of a quiet “psychological” story where the struggle takes place in a person’s heart and soul. Project: A Character With a Problem I want you to write a story in which you reveal the personality of your character by showing how that character responds to a personal crisis or problem. The important word here is “showing.” Clea reveals the personalities of her characters by showing us what they do or say in little scenes. Each of the scenes is like a little play. You might, in fact, try performing selected parts of it, like Clea does in the scene where Mrs. Davids first meets Flora, or a classroom scene, or the meeting between Mrs. Davids and the principal. I’d like to see you write your story so that with only a little extra work a group of people could enact the story. If you have a video camera you could also make all or part of your story into a movie. As Long As We’re Happy By Clea Rivera, 14, Hightstown, New Jersey Illustrated by the author From the September/October 1986 Issue of Stone Soup I was a proud woman on my first day teaching at the elementary school. I was trying to be the typical teacher. I brought a shiny red apple and placed it on my desk. I wore a stiff black skirt and high-collared white blouse and did a fine job of commanding my third grade class to work. I held the white, dusty chalk firmly and wrote neatly on the blackboard in ridiculously large letters. I was also very happy, for I was engaged to a handsome doctor about ten years older than me. Every afternoon he’d spin me off in his little racy car or he’d sometimes take me out to dinner. “Boys and girls, who can tell me what five times five is?” I asked that first day. Several rowdy boys and a few girls began shouting answers. However, one girl raised her hand. “Twenty-five,” she answered. “Very good. What is your name?” “Grace Matthews.” “Everyone, did you see how polite Grace was?” The room was quiet. “Have I gone deaf?” I asked. Finally, the children assented that Grace had been polite and they promised to be that way, too, in the future. * * * Three years later I was promoted to teach the sixth grade, therefore switching from the elementary to the junior high school. I was married now and I had the same batch of children that I had in third grade. I sometimes found it a little hard to hold a job now. I made all the meals and did all the cleaning at home. My husband, the doctor, didn’t help much. But I was more experienced and didn’t put on such airs as I did when I first became a teacher. The next summer my husband deserted me. He took our car with him. I was left with very little money and I felt miserable. Walking along on the first day of school I saw a thin, scraggly child blocking the sidewalk. I tried to pass her, but suddenly she fell into stride a few paces in front of me. Before I knew it she turned around abruptly and bumped into me. “Make up your mind,” I told her, “which way you want to go!” I meant it as a joke, but it came out in an annoyed, high-pitched voice which wasn’t mine. The girl evidently decided to go in the opposite direction and I felt guilty for having spoken harshly to her. I decided to be very kind to my class if I was capable of it. I had been promoted to the seventh grade still with the same bunch of pupils. They were my favorites. Grace Matthews could write like a poet, and Peter Tyner was excellent in math. I had nicknamed him Calculator. Anyway, I walked into the room and their radiant faces made me feel so much better. “Hi, Mrs. Davids!” cried Peter. “How is the old Calculator?” I asked, grinning. Grace came up to my desk very discreetly as if she had a secret. “Mrs. Davids, would you like to read my novel?” she asked softly. “Your novel?!” I cried. “Over the summer I wrote a novel and I’d like you to criticize it,” she said. “I’d be glad to.” She giggled happily and went to talk with her friends. After some time I was
Art and Writing Activity: making a picture book with “When Smudgie Got Lost” by Karine Faden, 10
Introduction to this Stone Soup Art and Writing Activity Many of the stories we print in Stone Soup are both written and illustrated by the author. Many authors illustrate their own stories—especially authors of books for children. I am sure your library has books by authors like this: Maurice Sendak, Arnold Lobel, James Marshall, and M. B. Goffstein being just a few. In the original manuscript that was sent to us, “When Smudgie got Lost” had twenty-three illustrations and was made into a book. The original manuscript is a “picture book” with a picture on every page. In a picture book, there isn’t much of a story without the pictures. The story and the pictures are of equal importance and they are often created at the same time. Of course, unless you are ambidextrous and able to do two things at once, it’s difficult physically to write words and draw a picture at exactly the same time! To produce your picture book you will have to decide which one–drawing or writing–takes the lead, for you. Do you visualise your story in pictures or images first, and then add the words to help your audience understand what they are seeing, or to help them pick out particular elements in your picture that you want them to notice? Or do you have the outline of a story in words that you want your readers to be able to see in your picture rather than visualise for themselves using more words? Make a Picture Book Make a book where the pictures take the lead or the pictures and text are equal, where you can’t imagine one without the other. In a book of this kind there will probably be a picture on every page, and the text itself will be very short. In a picture book, one often finds that without the pictures, the written story doesn’t mean very much. It is in the pictures where a “picture book” comes alive. When Smudgie Got Lost! By Karine Faden, 10, Rockville, Maryland Illustrated by the author From the September/October 1986 issue of Stone Soup Erik and Ashley lived in England. They had a dog named Smudgie. Smudgie liked to go for walks to the marketplace where they had food, but even more Smudgie liked to go to the butcher and sit outside where all the good smells were. She came to the nursery every afternoon before tea for her daily walk with her leash in her mouth. Smudgie scratched at the door. Nanny said, “Smudgie, sit!” Smudgie sat. Then out came Erik and said, “Good girl.” Then Ashley came out and put on Smudgie’s leash. And then, out came Nanny, with the coats and mittens, hats and scarves, and said, “Button up, children.” Then Nanny put on Erik’s hat and buttoned up Ashley. “Come now,” said Nanny, motioning toward the door. Like soldiers they all marched out the door and down the stairs, Nanny first, then Erik, and then Ashley walking Smudgie. Finally, they were out on the street—Erik and Ashley and Smudgie, that is. Nanny was stuck in the door. But Smudgie tugged Nanny out while Erik and Ashley went inside the house the back way and pushed from the back. And then they marched out the door. Then we walked Smudgie to the market. Smudgie was very happy. Nanny had said that we were going to the butcher’s. That’s why Smudgie was happy. She always got a bone at the butcher’s. Smudgie did get her bone. Smudgie tugged at her leash very hard and Erik let go! In less than a minute Smudgie was out of sight. “Uh oh!” said Erik. “Whoops!” giggled Ashley. “This is not a laughing matter,” replied Nanny. They searched all over South London and didn’t find a trace of Smudgie. Finally, at seven o’clock P.M., way past tea, a bit past dinner, and almost bed time, they hadn’t found Smudgie. When they got to Markshire Square, Nanny said, “Let’s take a cab home. It might cheer us up.” But that depressed them even more. Smudgie had always followed any car that Erik or Ashley traveled in. By the time Nanny had brought the poor children home, they were all too tired to do anything but go to bed. While all this had been going on, Smudgie had gotten herself lost. Smudgie had seen a cat and she just had to chase her, but the minute she rounded the corner she had lost her. Smudgie had tried looking for Nanny and listening for Erik and Ashley’s call. But she hadn’t heard a thing, and right now was in a very bad neighborhood. And a mean dog had stolen her bone. About nine o’clock Father was driving home and he saw Smudgie in a side alley along the road. Then the two of them drove home. Erik, Ashley, Mother, and even Nanny were all happy to see Smudgie. And, of course, Father.
Writing Workshop #39: Ghosts (part 1)
An update from our thirty-ninth Writing Workshop A summary of the workshop held on Saturday May 1, plus some of the output published below In his second class in the spring 2021 series, William took us on a journey to the spirit world, looking at mysterious manifestations in fiction and popular culture, from Caspar the Ghost to the ghost of Hamlet’s father. We considered the different language used to describe ghosts and spirits, and the tricks used by writers and movie-makers to show us ghosts and spirits of people who aren’t really there. We saw excerpts of two versions of Hamlet, one in which his ghost father appears through a (somewhat traditional) mist, and anther more contemporary version where the ghost appears through the glass on an apartment balcony. We discussed some of the reasons fictional ghosts might appear, in particular (like Hamlet’s father), restless spirits who have unfinished business. The Challenge: Write a story where a spirit manifests itself in non-corporeal form (a mist, a vision through glass, a wind, a scent) and/or has unfinished business. The Participants: Julia, Leo, Sierra, Mia, Lina, Lena A, Lena DN, Margaret, Maddie, Jaya, Peri, Sage, Delight, Hanbei, Helen, Gia, Pranjoli, Reese, Rachael, Mahika, Jonathan, Angela, Anna, Audrey, Charlotte, Grace, Tilly, Peter. Peri Gordon, 11Sherman Oaks, CA Andrew’s Will Peri Gordon, 11 Samuel had made a pact with his wealthy brother, Andrew. When Andrew died, he would leave half his fortune to Samuel in his will. But when Andrew passed, no will of his could be found. It left Samuel tremendously angry. At the same time, he mourned the loss of his brother. With his mind toggling between the two emotions, Samuel felt as if he were in a cage of steel, the robust metal reinforced by layers of grief and fury. He skipped work, skipped sleeping, skipped eating. He just sat in silence. But it only took two days for him to receive the shock of his life. He was sitting rigidly, the only movement on his body coming from the tears that would race each other down the man’s face, made even faster by the incoming wind. The moment this last concept was absorbed into his brain, Samuel sat up straighter, his eyebrows raised. All doors and windows were closed; the air should not have been swirling as quickly as it was. The air was heavy, too; it billowed, bounced, and seemed to breathe. And then. . . it spoke. “I’m sure this will come as a shock to you, but I see no way to soften it. I have not been peacefully at rest for the past two days.” The voice was silky-smooth and deep. In fact, it sounded like a less self-assured Andrew. Samuel shuddered, wondering whether he had gone mad. He looked up, where the unexpected wind had formed and where the voice was coming from, and felt a warm, comforting sensation, as if he could sense Andrew’s body heat returning. Samuel knew this was ridiculous, as the hand of Andrew’s body had been cold. But after pinching himself, Samuel knew that this could not be a dream. “Andrew. What are you doing here? How can you be alive–” the moment he finished the word “alive,” Andrew spoke up again. “Of course I am not,” said his disembodied voice. “I am obviously dead.” Samuel protested, “But how can you be here?” The voice answered, “I am a voice and a mist. You might call me a ghost, or a spirit. And I have good reason to be here. An unfulfilled promise, specifically.” Samuel started to ask what that was, but then he remembered. “The pact. Andrew, why didn’t you create a will?” Andrew explained, “I died suddenly in the night. I hadn’t expected it or prepared for it. My brother, you know I’ve never been prepared. But now, I will provide you with what I always said I would. Half my fortune will go to you, and then I will be gone.” Delight Kim, 11Glendale, CA The Spirit of the Muffin Girl Delight Kim, 11 Muma always said, “No ghosts, Zeline. If you ever meet one, turn away and run.” before I went to sleep. And even though I knew the stories of ghosts were rubbish, it kept me awake. The soft rustling of the velvet curtains, the whispers outside my window and the small creaks in the old wooden stairs were always there. I always got a tense feeling that someone was in our house. The sounds frightening me, chilling my bones, holding my eyes awake. So I decided I would find the culprit. If there was one, anyway. Getting up at 1:37, known as the ghost’s minute, I crept down the hall to our praise room, the room where my family honored the dead. Amazingly, the candles were still lit and the bread and goodies that were from last week were mostly fresh. Then I noticed suspicious activity. There was no wind, but the smoke from the candles was curling and bending in an odd way, like hands molding tack putty. The bread was rolling around the table and I had to steady them a countless amount of times to keep them from falling. A munching and a “Mmmm,” came from behind me. I whirled around, grabbing a cross that Muma told me that would fend off unwanted spirits and I thrust it in front of me. There, a spirit, a girl no older or younger than me, was licking the dulce de leche frosting off a triple chocolate muffin. My eyes widened. She screamed and fell off the chair she was sitting on into a large bucket, but I didn’t. I was too frightened, anyway. The muffin flew in the air but was miraculously caught by some invisible force and led to an empty plate. “Who are you?” The spirit licked her lips. “What are you doing in my house?” She tried to get up but the bucket held still. “Y-your house?” I asked.
Writing Activity: take a character on a believable journey from zero to hero
‘Tom Green,’ a story by 10-year-old Zahra Batteh, is a classic redemption tale. Tom Green, a horrible, spoiled, lazy young man loses all his money and privilege, and through a series of misfortunes and (eventually) hard work over several years develops compassion and gratitude, and becomes a better person. In the end, he finds happiness not in the material things that were all he cared about in the beginning but in a simpler, more generous-spirited life spent helping others. What makes this story extra special is the writer’s style: Zahra Batteh tells the story of Tom in a natural, almost conversational voice, but without wasting a word. Every short sentence moves the action forward and paints a picture of Tom’s life and character. In just four pages, Zahra manages to make the reader feel as though they know everything about Tom and how he has spent four whole years of his life. I think she achieves this feat partly though the spareness of her language. She doesn’t hint, or judge, or indulge in long, flowery descriptions; she lays out the facts plainly and simply, showing us who Tom was and who he becomes without ever telling us what she thinks he is like. It’s a great example of the power of “show, don’t tell.” The story also has a well-judged turning point about half way through where the previously unpleasant character begins to transform. The Activity First, read ‘Tom Green’ at least once, paying particular attention to the ways Tom’s character and behaviour are revealed all the way through the story. What language does Zahra use to describe Tom Green? You can also click on the audio link at the top of the story’s page to hear the author reading the story aloud herself at Soundcloud. After you have read it for yourself, try listening to the way Zahra reads, especially where she places emphasis, to get an insight into how she was thinking about Tom Green as she wrote his story. Show don’t tell: One of the things you will notice is how few adjectives and adverbs Zahra uses when she talks about Tom’s actions. She tells us what happens, but she doesn’t make a judgement or tell us readers what we should think of him. For example, in the first paragraph, she tells us that Tom expects all his food to taste incredible: “If there was ever something that didn’t meet his taste buds’ expectations, it would instantly hit the bottom of his trash can with a small thud, and the chef would be off to prepare a new and better dish.” Zahra doesn’t actually say that Tom Green spits out his food, throws it away, shouts at the chef (he has a personal chef!) and so on, but as we read this explanation of what happens, we can just imagine the horrible behaviour that Tom is displaying. Zahra leads us gently, showing us paragraph by paragraph what Tom’s qualities are. By showing us the actions without telling us exactly what to think of them she makes it possible for Tom’s ultimate transformation to sound believable. A clear turning point: Zahra is also very careful not to say too much about what Tom is feeling, which makes the nuggets she gives us speak loudly about him. At the beginning of the story, we learn that Tom “threatened” his parents with a lie, and then did a “small happy dance” when he learned they were dead. When he first loses all his money and has to move into a shed, we learn “he hated everything about” it. We hear that he has been fired from every job he has had over the past year, so it is a surprise to read on the third page that he feels “guilty” when the manager of Pick-up car service is nice to him, because he knows that a few years ago he would have treated this man like an “annoying fly”. This is the turning point. After this, Tom starts to “enjoy” his work, to listen to others, and to feel gratitude for what he has. He decides he wants to help to change the world for the better. Because Zahra has focused on his behaviour, rather than telling us Tom has a fundamentally bad character, her turning point is believable. Tom Green can change, and he does. Invent your own flawed character and think about what might lead them to redemption. Then, try to write their story as simply, and with as little judgement of their actions, as you can. Identify a believable turning point where they start to change for the better. Show us, don’t tell us, who your main character is. Let your readers make up their own minds about who they are and what they are like.
Daily Creativity #5: Flash Fiction of Social Activity
It’s Friday–time for some flash fiction! Think of an activity you like to take part in with other people–like football or singing or playing a board game–and write a narrative of fewer than 250 words in which that thing is at the center of the action.
Writing Activity: Using Framing to Add Depth and Power
Emma McKinny’s story “Windsong,” is about going to a performance of Dr. Atomic, an opera by John Adams with libretto by Peter Sellers. Her father is the lead singer. You can use your research skills to get information on the actual performance and its reviews online, but here we want to focus on one element of the story–the way in which Emma frames her narrative. Framing is the subject of this writing project. The basic history you need to know is that the United States invented and tested the first atomic bomb in Los Alamos, New Mexico during World War II. The bombs dropped on the Japanese cities of Hiroshima and Nagasaki were developed in Los Alamos. These bombs ended the war with Japan, which surrendered after they were dropped. Thousands upon thousands upon thousands of civilizations were killed by these weapons, whole sections of the two cities that were the victims of these bombs were obliterated. These bombs gave humans god-like powers which J. Robert Oppenheimer, director of the lab, and the Doctor in the opera’s title, Dr. Atomic, understood. He quickly became concerned about the consequences of his invention. You also need to know that Los Alamos is visible from Santa Fe and this is especially true at night when its lights glow from the mountain ridge where it is located. “Windsong” takes place in the Santa Fe Opera House, a fabulous outdoor theater that sits under the distant gaze of Los Alamos, the place where the bomb-making that is the center of the opera’s story took place. The author goes through a huge emotional experience during the Opera performance. Those of you who attend operas, ballet, and traditional theater may have experienced these deep emotional moments. And then there is the clapping. And the lights go back up. And then you have to get up from your seat and make your way home, behaving normally, with this deeply emotional experience still inside you: “turmoil boiling in the pit of” ones stomach, as Emma puts it. To help the reader understand her experience, and express it herself, she gives her feeling and emotion to the wind which blows through the Santa Fe Opera house. She whispers to the wind the same good-luck phrase she had called out to her father in the beginning, thus transferring the art of the opera and the performers to nature. Let the wind howl, like a wolf, adding its voice to the power of theater. The Activity Write a story where an element at the beginning–a framing device–introduces a powerful idea into the story, that you can use to develop your story, and then return to at the end to convey even greater depth of meaning to it. To help you see how this can work, read “Windsong”. In “Windsong,” the phrase “in bocca al lupo,” introduces a series of related ideas about sound and the elements: it relates to the wind, a wolf’s howl, the power of art and performance, all of which carry through the whole story in various ways. When the author of the story comes back to that same phrase at the end, we all have a greater depth of understanding that allows us to read even more into it. When you plan your story, think about your key message and image, and think of a way you can introduce it as a framing device early on. Try to carry your framing device through your story, and then, as in “Windsong”, come back to it explicitly towards the end. By this stage, if you have woven the ideas into your story, your frame–and your story–will have great depth.
Writing Activity: challenging prejudice and developing empathy through storytelling
The story by 11-year-old Nate Sheehan, “Conrad and Fate” is about prejudice based on a student’s ethnicity. This story, set in the late 1950s is about prejudice against Japanese people, something that was very strong in in the United States during and some time after World War II, which ended in 1945. If you follow the news at all, then you know that today (in 2019) there is a big rise in prejudice in the United States and in other parts of the world. People trying to come to the United States for a safer and better life are being stopped at the Mexican border. People who get caught sneaking through are being put in prison. This includes children. Adults and children are being treated badly. And in our schools, and on our streets, there is increasing intolerance for people born in other countries, or whose parents were born in other countries, especially if their skin tone is not “white.” And also an increase in prejudice against people who are not Christians. It is very easy to write an essay that talks about why prejudice against others is bad. But essays rarely convince people. Fiction can be a more effective way of arguing for things you believe in. Empathy, the ability to share and imagine the feelings of others is one of the most powerful human emotions. Empathy is what makes it possible for a writer to create convincing fictional characters. Your job as an author highlighting how it feels to be discriminated against is to make your readers identify with the character so that they can imagine what it would be like for this to happen to them. The activity In this writing activity we want you to write a story from the viewpoint of a person who is thought of as “other,” like the Japanese boy in the story “Conrad and Fate” published in the January/February 2015 issue of Stone Soup. Write about what it feels like to have to fight for acceptance because of something you have no control over–your religion, where you were born, or where your parents were born, or because of the color of your skin. Perhaps you have had personal experiences of prejudice of these kinds–I have. It has been fifty-five years since I was in middle school and bent down to pick a penny up off the concrete in front of a classroom only to discover it was glued down, and that I was surrounded by a group of boys shouting “Jew!” and laughing. This memory is fresh, like it happened yesterday. Think about your own experiences and the feelings you had at the time, and try to imagine them happening to someone else. What does it feel like to be mocked, teased, excluded, or worse, because you are not seen as a person by other students? This is a story, so show us what it feels like.
