I don’t know about you, but I like the characters in the stories I read to seem like real people. Realistic characters have strengths and weaknesses, they talk in everyday language, they joke with their friends. A story can have an interesting plot, gripping suspense, life lessons, but if the characters don’t seem like real people, the story is less effective. “Heights,” by Jaida Johnson, age 12, in the November/December 2013 issue of Stone Soup, paints a portrait of two friends who seem very real. Addie and Conner have been best friends for a long time. That’s clear from the easy way they have of bantering with each other. Addie teases Conner mercilessly about his fear of heights. Then she reveals a softer side when she sees how scared Conner really is. “Don’t worry, we only have ten rungs left,” she says. Conner’s sense of humor comes across in his thoughts, such as this one: “My mom would be so proud. Oh, wait—I snuck out of the house past curfew, climbed up an old water tower, and was now praying it didn’t fall down. I don’t think she’d be too proud. Win some, lose some.” Just when we think Addie is so brave, nothing can ruffle her feathers, the tables are turned. Suddenly Conner is teasing Addie about her fear of drowning. “Hey, Adds, wanna go to the pool tomorrow?” Now that we know these two so well, we know that Addie’s final words, “Oh, shut up,” aren’t meant to be mean. It’s just the way real friends talk to each other, friends who are comfortable with one another and whose friendship runs deep. Isn’t it amazing how Jaida was able to bring Addie and Conner to life for us in just over two pages? Because we believe the story, we also learn a lot, about friendship, adventure, and overcoming fears.
creative writing
History Comes Alive
Many Stone Soup readers tell us that historical fiction is their favorite genre. We think we know why. Realistic characters, whose feelings and concerns are similar to our own, can bring the events of history to life better than a dry textbook. A perfect example of historical fiction is “Curtis Freedom,” the featured story from our September/October 2013 issue. The setting is a cotton plantation in the South. The time is the mid-1800s. Curtis is a fictional slave boy who lives during this real time in American history. In the story, Curtis meets the famous abolitionist, Harriet Tubman, a real person. Like many real slaves of the time, Curtis escapes from the plantation with the help of Harriet Tubman and her Underground Railroad. He stays in safe houses along the way and eventually makes his way to Canada and freedom, just like many real slaves did at the time. Thirteen-year-old author Anna Haverly shows us this time in history through Curtis’s eyes, and we experience it with him. It’s unbearable to work in the hot sun and be yelled at by a master who calls you “boy” because he doesn’t even care to learn your name. It’s tragic to be separated from your parents when you’re sold into slavery. It’s terrifying to run away from a cruel master and fear being caught and sent back. And finally, what joy to find your father again in a new land! Did we just learn a lot about history? What a great way to learn, through a relatable character and a story that sweeps us away to another time and place.
Using Stone Soup to encourage students to produce inventive, creative writing
Creative writing, as a term, was invented in the 19th century to express the idea that there was writing, and then there was creative writing. With use, the expression has lost meaning and now creative writing is synonymous with writing fiction or poetry, as opposed to writing nonfiction. But at Stone Soup we think that it is is important to stick with first principles. Since our founding in 1973, our goal has always been to publish writing by children that is creative in the primary sense of the word: writing that is inventive. A clear problem that we find reading through the stories and poems that are sent to us for consideration by children, their parents, grandparents, and teachers is that so much of the work sent is inspired by reading that it is itself not creative. The source of inspiration for writing that is genuinely creative is life itself. You will find that the stories in Stone Soup tend to be about life – and that is the reason. Ralph Waldo Emerson, one of America’s first great writers, was also one of the first to use the term “creative writing,” and to discuss it relative to reading. In his Phi Beta Kappa Oration of 1838 he said that “There is then creative reading, as well as creative writing.” Creative reading implies a dynamic act, it implies a reader who brings his or her own life to he reading – full engagement. It is the natural way with children to fall into books. Amongst children it is common for the child who loves to read to also be the child who loves to write. It is often true that great writers are also great readers, but it is almost invariably true with children that reading and writing go together. Of course, it is from reading, largely, that children learn to write. The greatest problem we find in reading through manuscripts sent by children (and their parents, grandparents, and teachers) in the hopes that we will publish them, is that so many of the child writers are so clearly readers of writing that is itself not creative. To create is to invent. It it is to bring something fundamentally new into the world, to say something that hasn’t been said, ideally in a way that it hasn’t been said before. Because we are each different, if we each write from the center of our own differentness, then it is not such a tall order to write creatively. The problem comes when we don’t write from the center of our being. One of the biggest impediments to creative writing is the fact that stories and poems are themselves inventions of culture. There are many literary traditions – not all of which are informed by the goal of being fundamentally creative. Clearly, works that are produced for the mass market are, by definition, works in which the goal of accessibility to the largest possible audience takes precedence over the goal of the author speaking from his or her soul. Unfortunately, there is a smaller literature written for children that speaks from the author’s souls than there is for adult writers. And children, I think, are less in control of what they take in than are adults. We adults negotiate the thicket of unlimited options to choose what we want, but we have more agency than children. But what children have is a remarkable closeness to unbridled curiosity, and a drive to learn. That drive to learn is part of the drive to grow up. If you find that your child, or your students, are stuck in writing that is not particularly creative, that their stories and poems rely on formula and cliche or ordinary ways of talking about the world, then you will need to give them a little push. You will find at the Stone Soup website hundreds of stories and poems that we have selected, for decades, out of literally tens of thousands of submissions. The best of what you will find here are transcendentally best, works that reward reading and re-reading. But even at our most ordinary, I think you will find in Stone Soup’s stories creative writing that engages creative readers, and that will inspire your child or your students to reach into themselves to find the words and the way of weaving those words together that genuinely reflects the unique way in which they experience the world.
