Category: Creativity (Page 10 of 19)

Use of the Hat as a Literary Symbol in THE GREATEST SHOWMAN

November 12, 2018 / Katie L. Carroll

My whole family, from the one-year-old right on up to my husband, is obsessed with the musical film THE GREATEST SHOWMAN. As a biopic it’s terribly inaccurate, glossing over the more questionable aspects of P.T. Barnum’s life and flat-out making up a bunch of stuff, but I don’t think the creators intended it as a biography, so I’m not interested in evaluating it as such.

As a piece of entertainment, it’s a fantastic movie. The music, the choreography, the cinematography, the performances…all of it was excellent. It’s a little thin on characterization in my opinion, but I find musicals always tend to have to sacrifice some aspect of storytelling in order to make the movie a reasonable length. And the musical numbers themselves do a lot in terms of carrying characterization and plot, which isn’t always the case with musicals.

One thing I can’t stop thinking about (as we obsessively rewatch the music clips) is the use of P.T. Barnum’s hat as a literary symbol (bear with me as I give you flashbacks to high school English and discussions of Othello’s handkerchief). As a writer, I’m always interested in examining literary devices in any form and then seeing how I can use them to take my own writing to a deeper level.

But back to the hat. This might range into spoiler territory, so if you haven’t seen the movie yet, go watch it already and come back and read this!

via GIPHY

I’m not sure I’ve seen a more thorough use of an object as a symbol as in THE GREATEST SHOWMAN, so much so that very few scenes go by without P.T. Barnum’s hat making an appearance. But here’s the thing, it took me many viewings to really notice how pervasive it is, and that tells me that it was done with great care (or maybe I was being really dense and everyone else felt like the hat symbolism was hitting them over the head!).

The movie opens with a grown P.T. Barnum in the height of his circus career where we get a taste of the performances with the song “The Greatest Show”–hat front and center. Then it flashes back to a young P.T. Barnum staring at his reflection in a storefront, appearing as if he’s wearing the fancy outfit and top hat that are inside the store. The next musical sequence “A Million Dreams” plays out as P.T. Barnum grows up (inheriting the hat his father leaves behind when he dies) in a life of poverty, going off to work on the great railway, and finally returning as a grown man (hat on head) to claim his love’s hand.

via GIPHY

Fast forward a bit to when a reviewer calls Barnum’s act humbug and a circus (in yet another musical sequence called “Come Alive”), Barnum latches on to the terms by beginning to call his show a circus and fashioning a sleeve for his hat that says “Barnum’s Humbug.”

Running GIF from Hughjackman GIFs

The times when the hat is conspicuously absent from Barnum’s head are mostly when he is touring with opera singer Jenny Lind, which the movie presents as a time in Barnum’s life when he got away from who he truly was. With one of the movie’s main themes being be true to yourself, the hatlessness is true to form. When Barnum realizes his mistakes during the song “From Now On,” he declares, “What’s waited for tomorrow starts tonight,” pops his hat on, and runs for the train to reunite with his family.

Hats Off GIF from Hatsoff GIFs

The final song sequence of the film really solidifies the hat symbolism, so much so that my one-year-old always does the sign (we’ve done baby sign language with all our kiddos) for “hat” when it comes on. The hat passes from various characters in the circus act that have important roles in the movie, including a turn with one of the elephants, and lands back with Barnum. He then goes backstage to give it to his young business partner to take over the act, claiming he’s going to go “watch his girls grow up.” I’ve included that whole final song here, “The Greatest Show reprise,” because it really is worth another (and another and another…) watch!

I’m interested in seeing how I can incorporate more symbols into my fiction writing in an organic way, so it was fun exploring them in this film. Have you seen THE GREATEST SHOWMAN? Did you pick up on all the hat symbolism? Did I use too many GIFs in this post (is that even possible?)?

Science, Math, and Nature as Inspiration for Themes in Writing and Beyond

October 25, 2018 / Katie L. Carroll

Long-time readers of the Observation Desk might remember that I’m a fan of science. Some of my old posts include “We Are All Stardust”, “Big New for the Big Bang,” and “Seems the World Will End in a Bang, Not a Whimper.” I find science and nature (and even sometimes math!) to be a great source of inspiration, not only for writing but for my life.

There are so many wonderful, beautiful, crazy aspects of our universe. An exploding star, called a supernova, sends particles shooting across the universe. These happen all the time in our universe and have been happening for billions of years. All the elements that make up earth, including our own bodies, were once ejected particles from a supernova.

Then you have the Fibbonacci Sequence, which starts at 0,1 and each subsequent number is the sum of the previous two (0,1,1,2,3,5,8, etc…) and put in order in boxes make a spiral. Many things in nature follow this pattern, from flower petal and seed arrangements to how spiral galaxies are formed.

To take a look at a math example, did you know that a computer cannot truly generate a random number? Because computers function via algorithms, or sets of rules programmed in to the computer, it’s not possible for a computer to do random.

And whether or not I totally understand all these concepts that fascinate me (spoiler alert: I don’t, but I keep trying anyway!), they never fail to inspire me. They push me to examine the patterns in my writing. On a micro level, I look at the the words, language, and sentence structure patterns I fall back on, so I can push myself beyond my own cliches.

On a macro level, it pushes me to recognize emerging themes in my writing. What themes did I go in with and maybe didn’t follow through on properly? What themes didn’t I notice, ones that maybe stemmed from my subconscious, that can make my story better if I tease them out more and reinforce them? Where are there more opportunities to refine any symbols I’ve used or places where I can introduce more?

Taking a patterned analysis to my writing allows me to make sure every detail (word, sentence, symbol, description, etc…) counts to work toward a greater whole through theme and plot.

To take all this a step further, trying to understand the science and math that governs nature can help me examine my own life for themes and patterns. It pushes me to a greater level of introspection and hopefully to a better place as human being. And that will only contribute to me being a better, more deliberate writer.

When I work at honing that merging of the creative and analytical thinking, stuff moves in ways I could never have imagined before. The world, my stories, my life…everything reaches a whole new level of understanding in my mind. And that feels like a pretty incredible phenomenon.

What Is This Life Even?

October 10, 2018 / Katie L. Carroll

I’ve got all these thoughtful blog posts simmering in my brain, ideas sketched out in my notebook. What I haven’t got is time to write them. Which is actually a good thing. I haven’t had the time because I’ve been lucky to have a bunch of writing events this fall, I’ve got three wonderful kiddos that keep me busy and laughing and loving, and some days the weather has been too beautiful not to get outside. Plus, I’ve been devoting as much of my writing time as I can to drafting ELIXIR SAVED, and that’s actually been going well (fingers crossed I can writeTHE END by the end of the year).

And while my personal life is in a good place, the larger country and world is more often than not a trash fire, so on days when I do sit down to write, it’s easy to get distracted by that. And then I feel guilty that I have the privilege to be able to call all the politics and stuff a distraction. Yet I also know that my work of writing books for kids is an important and political act (as is all art), so when I’m working, I’m not actually ignoring those things but contributing (hopefully) to the growth of the very people who will be running the country and the world one day.

I try to remember to pause and be in the moment and appreciate where I’m at. I have this writing life that is gaining a little bit of steam and maybe (maybe!?) one day will be a full-time career. And, of course, I have this beautiful family that is a joy and a pain and a million other things all at once.

I guess what I’m saying is life is complicated in a wonderfully messy way. I love my blog, but lately life has been moving too fast to stop and give it the attention it deserves. But that’s okay…it’ll be here when I have the time for it.

Conference Panels Writing and Publishing Advice #LA18SCBWI (Bonus Jane Austen and Salt-N-Pepa)

September 10, 2018 / Katie L. Carroll

Last #LA18SCBWI post was devoted to the amazing (and many!) keynotes, so this post is devoted to the panels. Where the keynotes are largely inspirational, the panels tend to get more into the nitty-gritty of publishing and the craft of writing. These are snippets from each panel, which are done in a Q&A style and often turn into conversations, so these are simple highlights I’ve pulled out and tried to keep in context as much as possible. (And make sure you get all the way to the end to see me dressed as Jane Austen!)

Editor Panel with Laura Godwin, Elizabeth Law, Amanda Maciel, Krista Marino, Francesco Sedita, and Namrata Tripathi:

Question: What makes you keep reading on when considering a manuscript?

A pulsing heartbeat throughout the story. – Francesco Sedita (president and publisher of Penguin Workshop at Penguin Young Readers)
You can tell when a writer has a deep investment and curiosity about a topic. She takes notice when she doesn’t care about a thing and she is transformed to care about that thing by the writing. – Namrata Tripathi (VP & publisher of Kokila, a newly-formed imprint of Penguin Young Readers dedicated to centering stories from the margins)

Question: What do you see too much or or can’t see enough of?

It’s super exciting to see something that’s been done a million times and it’s done in a new way. – Krista Marino (senior executive editor at Delacorte Press, part of Random House Children’s Books)

Question: What is the most important skill a writer for children can possess?

Persistence. Have passion and stay in the game. – Elizabeth Law (editor at Holiday House)
An endless curiosity about the world and yourself. You need a great idea and to keep asking questions and developing that idea. – Amanda Maciel (executive editor at Scholastic)
A curiosity and drive to satisfy it in an endless loop. – Laura Godwin (vice president and publisher of Godwin Books, an imprint of Macmillan publishers)

Panel “Truth vs. Innocence in Children’s Books” with Elana K. Arnold, Brandy Colbert, Erin Entrada Kelly, Carolyn Mackler, and moderated by Linda Sue Park:

Question: How go you define dark in literature?

It’s what I have. When the well has filled us and whatever we’re filled with we have to work with. – Elana K. Arnold
Dark is part of life. Leaning into the sadness of life, as I also lean into the the light and find humor in sadness. – Carolyn Mackler
The further away from hope, the more interesting the road to coming back. – Erin Entrada Kelly

Question: Tell us the initial spark or kernel for one of your books.

After my first two books, I had emptied the well of shame. New water had filled the well, and it was rage. I’m not holding back and saving anything for the next book. – Elana K. Arnold (on her upcoming book DAMSEL)
It’s wish fulfillment in an alternate universe. – Brandy Colbert (on her book LITTLE & LION)

Question: How do you respond to critics who say your books are too dark?

One of the greatest disservices we do to young people is to underestimate them. – Erin Entrada Kelly
I pull out the letters from young readers to show me how important my books are to them. – Carolyn Mackler
Children are whole people. Book are a wonderful way to practice saying no. It’s good practice to recognize when they feel uncomfortable or unsafe. – Elana K. Arnold
I get really angry because I think of the kids going through those things. It’s telling those kids their lives or experiences are too dark. – Brandy Colbert

Panel “Culture, Identity, and Writing: Where do they intersect?” with Malinda Lo, Dashka Slater, Aida Salazar, Ibi Zoboi, and moderated by Arthur Levine:

Question: Was there a time during the writing that you felt the joyful intersection of culture, identity, and the work at hand?

I was writing about my own identity but not my own experiences. When I was telling a complete truth, my own truth, about my culture. – Ibi Zoboi
I was proud and joyful to rescue my story from obscurity. It’s a revolutionary act. – Aida Salazar

Question: What are the talismans of power in your writing?

I use my writing as a tool for social change. My characters have emotions in spite of white narrative and hostility. – Aida Salazar
Having to think of yourself and having to think about how you are being perceived by others in a white space. I always feel like I’m on the outside looking in. I can’t help but having a worldwide perspective. – Ibi Zoboi
Using gender and race and performance. The point is to center the Chinese-ness of the character and the point isn’t to be concerned about making sure others get it. – Malinda Lo

Question: As part of a minority culture, do you ask “Is there part of me that I shouldn’t show because it will be too scary?” Do you feel that way in your writing, that you’re censoring a part of yourself?

I definitely did. I imagined the characters in ASH as Asian. The gay thing was enough of a problem, so I did not include any Asian-ness in the book. You don’t see these stories that represent you. You have to imagine they exist in the first place. The message is everywhere, no one has to outright tell you. – Malinda Lo
Self-censoring comes in telling the truth. It comes when we’re afraid of telling these truths and thinking about who will be mad. – Ibi Zoboi
Authenticity is marginalizing. It centers the mythological one story line. – Malinda Lo

Agent Panel with Jenny Bent, Tina Dubois, Kirsten Hall, Kevin Lewis, Ammi-Joan Paquette, and Tanusri Prasanna, and moderated by Alexandra Penfold

Question: What’s strong in the marketplace right now?

Books addressing complicated and ugliness of our world. – Kirsten Hall
Fiction that digs deep into the personal experience, the heart coming through in a deep way. – Ammi-Joan Paquette

Question: Should you write a book outside your own identity?

If you want to write a book outside your culture, if it’s in your heart, then do it. But realize you have to take what comes with that. Actions have consequences. – Kevin Lewis
Look internally. Ask yourself why you want to write this book. If you’re writing it just to be diverse, then don’t do it. If you feel it in your loins, then do it. – Tanusri Prasanna

Question: What is your best advice for writers?

Be you and do you. Spend a lot of time on your work. – Kirsten Hall
Take risks and do something different. – Ammi-Joan Paquette
Celebrate any victory. Celebrate yourself. – Jenny Bent

Panel “The Secret of Crafting Engaging Non-fiction” with Jason Chin, Candace Fleming, Deborah Heiligman, and Barbara Kerly, and moderated by Melissa Stewart

I believe people’s lives have themes. Look for things in people’s lives that has those themes. – Barbara Kerley
A life is a story. It has a beginning, middle, and end. This is why narrative non-fiction works for biographies. – Deborah Heiligman
The difference between fiction and non-fiction is like cake. In fiction, I get to buy the ingredients for the cake, bake it up, and gobble it down. In non-fiction, I don’t do the shopping. The ingredients are all crazy, but I still have to make delicious cake. – Candace Fleming

No L.A. conference would be complete without the Saturday night gala. This year’s theme was a tribute to writers and artists. There were tacos and dessert food trucks and dancing. I chose to go as the incomparable Jane Austen. This may or may not have been a tweet about me that night (I’m pretty sure I saw at least one other Jane Austen, but I’m not sure I saw any others dancing to this particular song), “You haven’t lived ‘till you’ve seen Jane Austen dance to Salt-N-Pepa.” @jennymontyinSD

Keynote Conference Highlights and Writing Advice from #LA18SCBWI

August 22, 2018 / Katie L. Carroll

I feel so lucky to have been able to attend the SCBWI Conference in L.A. earlier this month. A big thanks to the SCBWI for sending me out there (I won the trip through my participation in SCBWI BookStop program). For all of you who saw my worries about leaving The Gentleman when he was just barely 1, you’ll be happy to know that he was find while I was gone (and even took a bottle at times!).

There were so many amazing moments that I couldn’t possibly share them all here, so be sure to check out all the SCBWI blog coverage of the conference or #LA18SCBWI on Twitter. The keynotes in particular were amazing, so I’ve devoted this post to those. (I always like to note that I don’t use quotation marks for these snippets because these are from the notes that I’m often frantically taking during talks, so there’s not way to know for sure if it’s a direct quote or if I’m paraphrasing, but I always try to be true to the point the speaker was trying to get across.)

Daniel José Older (He’s super funny!):

Words are supposed to sound nice when you put them together, so read out loud before you sub.
Beginnings establish what your character wants; they establish their humanity.
Every story that we tell is the story of a crisis, where a crisis is a turning point, a moment that everything changes in some significant way.
Good books are made of bad decisions.

Ekua Holmes (I love her whole aesthetic…the colors, the flow, the emotions behind it…everything!):

Reach back and gather the best of what our past hast to teach us. Reclaim her history, legacy, and sovereignty through art.
Our art is always personal. My strategy is somehow to find myself in each of my stories.
Confinement in mind and body cannot stop our creativity and desire to be free.
Children innately respond to creativity.

Lynda Mullaly Hunt (Her talks are always so full of the passion she brings to her work and for caring about kids.):

It’s a very brave act to create something that has never been in the world until you put your hand to the page and share it with others.
Young readers need us to care more about them than we care about our careers and ourselves.
Children are hungry for optimism–just like the rest of us.
Wishes are passive longings. Change your wishes into goals and act on those goals.

Andrea Davis Pinkney & Brian Pinkney (Such an adorable, creative couple…with very different work styles. I’d love to be a fly on their wall.):

Every artist have to have a style – B.P.
You want the reader to not even know they are reading because they are having so much fun. – A.D.P.
Write your own letter to diversity and come back to it in a year to see how you’ve done. – A.D.P.

Libba Bray (She’s a badass–super funny, smart, and thoughtful. See my post about how her keynote inspired by author theme of “find your magic”.):

In writing a story, you have to want to know something. The question makes your story come alive, leading us from somewhere we know to something new. The question leads to change.
Branding is about answers, about selling stuff. Brands by there very nature are static. It puts writers in a position to view kids as consumers instead of growing young people.
Writers need safe places to be able to take risks.
We are facing the kind of monsters we read about in books. There has never been a more important time to write for the next generation.
If someone asks what your brand is, tell them it’s a commitment to craft and a deep respect for the audience.

Mike Curato (He’s as adorable as his elephant character Little Elliot):

Eat cake…but make sure it’s good cake.
Think about how happy you were as a kid making art. Create things that make you happy.
Think about how small your were as a kid and how things looked, and draw from that perspective.

Lois Lowry (Needs no introduction! This was set up as a chat between Lois and SCBWI co-founder, Lin Oliver.):

The reaction of kids to her first book kept her writing fiction for young people. Her sudden awareness of the passion of kids for a book they love.
When asked what unifies her as a writer, Lois said intimacy. It’s her one word for her voice. She feels an intimate connection to her reader. The element of human connection is the theme that runs through her books.
There are things that are too dark for children, but they’re there. We have to write about those thing, and do it in an intelligent way.

Unfortunately I missed Eliza Wheeler’s keynote because I had to take break to pump breast milk, but there’s a great overview on the SCBWI Conference Blog.

I also popped in and out of Bruce Coville’s keynote (and didn’t get a chance to take notes of what I did hear) because it ran late and I was rushing around getting books signed before I had to catch my flight home. I’ve listened to a keynote of his before, and it was sooo good. You can just tell how much he loves writing for kids and the impact reading can have on them. Again, check out the SCBWI Conference Blog. Him talking about ripples really resonated with me.

I’m hoping to pull some highlights from the panels and workshops I attended for another post, as well as just a fun post about some of the shenanigans that went on during the downtime (You do want to see me dressed up as Jane Austen for the party, right?). Stay tuned!