
eToys: We noticed that several of your
books, including Frindle, feature a 5th
grade student who takes specific action to
challenge a teacher. What is it about the mind of a
fifth grader that particularly appeals to
you?
Andrew:
Having taught 4th grade and
8th grade, and having been in that
middle school area for a long time, I can say that
fifth graders are still more children than
teenagers, and still more elementary school kids
than junior high kids. This sense of what a fifth
grader is has been confirmed again and again as I
go out and visit schools and talk to kids. You can
say things, and they will understand--you can just
speak at a whole different level with fifth graders
than you can with fourth or third
graders.
I'm
writing a book right now where the two main
characters are 6th grade girls. And it's
a shift...it's a different kind of book, and it's
dealing with a little more advanced experience.
These girls live in New York City, and that's a
different experience in itself. It just seemed
right for them to be in 6th grade, so
they're kind of very old 12-year-olds.
eToys:
Can you share more details with us?
Andrew:
The name of the novel is The School Story.
The concept is that one of the two girls is a
writer, and one is a talker. The writer writes a
book that is essentially a school story based on
her own experiences, told first-person, but not
really--it's fiction! She shows it to the talker,
who says, "This is really good. You really ought to
have your mom publish this book," because her mom
works for a children's publisher in New York City.
And the writer says, "Yeah, right, like my mom is
going to publish my book." And the talker says,
"Well, I bet we can figure out how to make it
happen." And that is what the story is about--it's
about trying to get a book published.
eToys:
Your books such as The Landry News initially engage
student and teacher in conflict, and a resolution
is set in motion when the teacher realizes that the
conflict is a prime opportunity for learning. In
what memorable ways did your students challenge
you? How did you resolve those
conflicts?
Andrew:
I don't know if there is a direct correlation
there. The whole educational system has an
interesting structure, and I don't want to
characterize it as adversarial, but it's just the
nature of the beast. That dynamic has been around
since prehistory, probably. You can imagine a group
of kids gathered a little distance away from the
main cave, being taught what they need to know by a
person in animal skins, and all they can think
about is getting out of there and doing something
else. You have to be inventive if you want to be a
good teacher. I've met so many wonderful teachers;
they're a committed, inventive group of people.
They work hard at what they do. I think the
situations in my books are unusual, but they're
still believable, somehow, because every kid and
every teacher understands that there is an edge.
The kids outnumber the teacher 25 to 1, typically.
So you've got one person professionally charged
with imparting information. It's kind of like
trying to push a piece of wet spaghetti across the
table from one end--it just kind of keeps buckling.
But one of the most enjoyable things about teaching
is that kind of edge. There are all these subtle
little relationships you have with so many kids
during a day.
eToys:
How did you settle on "frindle" as the perfect
made-up word?
Andrew:
I was invited to the John F. Kennedy Elementary
School in Littletown, Rhode Island, as a visiting
author after the publication of the picture book
Big Al in 1989. I was standing in front of a group
of first graders, with a couple of second graders
thrown in for good measure. I had been talking
about words and language and the dictionary, and I
had the great big, Webster's unabridged dictionary
with me. I was telling the kids, "There are more
than half a million words in this book--there are
more words in the English language than in any
other language on the earth, and that's the truth."
And they weren't particularly interested in
that--they were first graders, it was Friday
afternoon, it was actually the day after Halloween,
so I had a lot of strikes against me that
day.
One
little boy asked where did the words in the
dictionary came from. I said, "Well, the truth is
that ordinary people make them up." And they didn't
believe me. I pulled a pen out of my pocket and I
said, "If all of us today started calling this
thing a frindle," I just made it up right there on
the spot, "...instead of a pen, and if enough
people joined us and started calling this thing a
frindle, the people who make dictionaries would
notice, and eventually it would go in the
dictionary." That was really the birth of Frindle,
standing in front of a group of kids at a
school.
eToys:
Language arts and the use and meaning of words
figure prominently in your works, even in the
silliness of Double Trouble in Walla Walla. What is
it about language that compels you to reveal and
share the power of words with your
readers?
Andrew:
I guess it's just that language is so astonishing.
Most people never really stop to think about the
way words work. It used to be that words were
considered almost sacred, and priests and shamans
and those who were charged with knowing sacred
things were among the first people who knew how to
read and write.
When I'm
visiting at a school, I sometimes ask kids,
"Imagine what it would be like if every day you had
to pay even just one penny for every word you use."
Words are free, they can't be used up, they are
ideas. They're what we use to dream with, and think
with, and communicate good thoughts and bad
thoughts, and dream and pray...and you know,
they're pretty amazing things. I think the more
kids become conscious of that, the more aware they
become of the power of words. That awareness makes
us better thinkers, and it certainly makes us
better writers and speakers.
eToys:
What books did you read as a child that sparked
your love of language? What was it about those
works that you especially loved?
Andrew:
I loved all the Winnie
the Pooh
books, the A.A. Milne books. I loved some of the
earliest Golden Books, in the '50s, when I was
first reading books. One of my great heroes as a
writer, at least in terms of her writing, was
Margaret
Wise Brown.
Five Little Firemen...I can see those
pictures, I can hear those words...you know, "the
little fireman, with his muscles as big as
baseballs...." And I was in one of those fortunate
families where my parents loved to read. We always
had good books around the house. And of course, you
know, the little popguns, the toy trucks, all the
sweaters, and all the other things I was given as a
child, are all gone, but I still have every one of
those books. And the more good books you read, the
more you really do learn what good writing feels
like and sounds like.
As a
kid, I never dreamed of being an author, but I do
remember reading things and saying to myself, "Ah,
I wish I had written this." I can remember reading
stories by Jack London when I was in junior high.
There's a scary story he wrote called "Diablo, a
Dog." You can't read that story, even if you've
read it before, without the hair on the back of
your neck rising. And you say to yourself, "How is
he doing this?" If you look closely, you can figure
it out. You can see the structure, and the pacing,
and the word choice, and the length of the
sentences, and the structure of the sentences--all
that stuff plays in to how the writing works on the
reader.
eToys:
You write text for picture books like Big Al as
well as chapter books. Which unique aspects of each
do you enjoy--or prefer?
Andrew:
A book, any book, is really a container. The
picture book is a small container. For a writer,
that's one of its charms--it's short. It's not a
lot of words, but in a way, that's an extra
challenge, because every single word has to count.
You have typically about 12 page turns from the
beginning to the end. So, it's a very compact form.
By the time you've turned the third page, you
better know who the main characters are, you better
have a good idea of what the conflict is, and you
better have hooked your reader, because the story's
one-fourth over all ready. A picture book has that
kind of very tight, almost poetic structure to it.
It's really a wonderful art form. When I worked as
an editor for many years, I had the opportunity to
get to know Eric
Carle,
and I saw firsthand how clearly he thinks, and how
much distillation goes into writing a really
wonderful picture book.
So a
picture book is a very small container. A chapter
book is a little larger container. It will give you
a little more time to explain things, to expand on
the characters, to deal with a more complex set of
relationships. You're writing chapter books
typically for an older kid, and older kids are
ready to think more deeply about the expanded
relationship that you have the space in a chapter
book to explore. So, you might say that the more
complex the idea, the larger container you need to
put it into. You see, a picture book can deal with
a very deep subject, a very profound subject, but
it can't be that complex. Sometimes I get an idea
that's just the right size for a picture-book
container, and sometimes I work with ideas that are
a little more complex and need a little more
space.
eToys:
You've mentioned your visits to schools throughout
this interview. Do you make these visits for
research purposes, or are they simply a way for you
to stay in touch with your audience? It sounds as
though you really enjoy visiting
students.
Andrew:
I do enjoy it very much It's a wonderful
counterpoint to the writing work. When I write, I
need quiet time, and I need enough time to complete
the work. So, it's just the opposite of what a
school situation is, where you have a lot of kids,
a lot of noise, a lot of activity, and all that
incredible energy. But, in a way, I write for
children really for the same reasons that I became
a teacher. I enjoy children. I enjoy feeling like
what I'm doing has the possibility of helping
someone else, of being a part of someone's
education, or being a part of someone's childhood.
What a responsibility!
For me,
visiting a school is kind of the best of both
worlds: I get to go back and be a teacher for a day
with a very specific lesson plan, if you will,
based on my writing experiences, my experience in
the publishing world, or my books. It all depends
on the age of the kids I'm visiting and what the
school has asked me to focus on. So it's just a
great opportunity. It is fun, it is ongoing
research, it makes me feel like I'm keeping in
touch with real kids and real teachers. And at
least for the chapter books I'm writing, a good
number of them are about the school experience. In
fact, many of them fall into a genre of books
called "school stories," which are essentially
books about kids and teachers revolving somehow
around the school situation. So, it certainly does
keep me in touch with what I'm writing about, and
it's a lot of fun.
eToys:
Those students are lucky to actually meet the
creator behind the works that they're
reading.
Andrew:
It's an experience I never had, growing up. It's a
fairly recent phenomenon, and it speaks to a number
of issues. It's demonstrating a level of commitment
to books and reading, and I think that may have
been fueled in part by the technical revolution, by
the encroachment of screen time. Everywhere that
I've visited, all across the country, parents,
teachers, and librarians are eager to make sure
that books are getting their fair chance to be seen
as fun, as worth spending time with. It's important
that screen time doesn't take up all of kids' time,
because screen time and page time are very
different. During page time, you're really alone,
with one other voice, typically. And screen time,
whatever it is--whether it's TV, a computer, or a
computer game--you are not alone.
eToys:
Based on your experience as an educator and writer,
what do think is the ideal balance of education and
entertainment in children's books?
Andrew:
Well, education is a funny word. Everything is
educational, and the question is, is it the right
education? Especially when you're talking about
children, balance is a matter of asking very basic
questions: Is this book or TV show or Internet site
good? Is this worth a child's time? Is this going
to move a child forward as an individual? Is it
going to help children find out more clearly who
they are, what they know, what they like, what
they're able to do, will it help them develop a
talent, develop an understanding, something of
substance? So that's always got to be the question,
and I think the word in your question, what is the
right "balance," well, that kind of has to be
worked out individually. But balance is the key
concern. Too much of anything is definitely not
healthy -- if things are kept in balance, then you
have, I think, what would be thought of as a good
education.

|

|



Double
Trouble
in Walla Walla



Frindle



The
Landry News



Big
Al
|