GO, GIRLS, GO! Written by Frances Gilbert Illustrated by Allison Black (Beach Lane Books; $17.99, Ages 3-6)
Who said transportation stories are just for boys? Doubleday Books for Young Readers Editor-in-Chief Frances Gilbert never did, and her new picture book, Go, Girls, Go! proves it. This energetic rhyming story with its bold and bright artwork puts girls behind a wealth of wheels to inspire future Danica Patricks, Sally Rides and Molly Williamses.
A dozen diverse and spirited drivers, pilots, motorcyclists and more demonstrate that girls get a kick out of things that go Wooo!, Whirr! and Toot! just the same as boys do. And who knows what future vehicles might strike their fancy when they see themselves positively depicted on the pages of this picture book? Gilbert’s written about girls conducting trains, operating giant cranes and flying planes because anything and everything is possible, especially when powered by girls.
What I especially enjoyed about Go, Girls, Go! was the anticipatory page turns that had me wondering what would come next in terms of rhyme, sound effects—Vroom! Hoot! Clank!—types of transportation and of course, the illustrations. I immediately found myself repeating “Go, Girls, Go!” with as much enthusiasm as a preschooler. In other words, be prepared for multiple, lively read-alouds because this is not a quiet book. It’s also a celebration of girls moving over from the more passive passenger seat and taking control, and that’s something to shout about.
Allison Black’s cheerful, graphic-style illustrations complement Gilbert’s entertaining and fast-paced rhyming prose. Youngsters will happily follow the visuals while learning the words because the modes of transportation are easily identifiable and the rhythmic language is easy to memorize. What a fun way to get excited about things that go Roar! Honk! and Crunch! So make tracks to your local bookseller and get a copy to help your child’s imagination soar.
Today I’m happy to share an enlightening post on craft by Doubleday Books for Young Readers Editor-in-Chief, and Go, Girls, Go! author, Frances Gilbert. Many picture book authors face a challenge when writing in rhyme. Does the meter work? Does the rhyme feel forced? Is the story best told in rhyme? Frances offers helpful insights into her approach from both sides of the editor’s desk so please read on.
ON RHYMING PICTURE BOOKS BY FRANCES GILBERT
I’ve been a children’s book editor for over 25 years and one of the most common reasons I reject picture book manuscripts is that they rhyme badly. So why, for my first foray into writing a picture book myself, would I choose to write Go, Girls, Go!in rhyme??! Rhyming, we’re so often told – by editors, by agents, by fellow writers – is not encouraged. Bound to fail, hard to translate. But I love rhyming books. I love reading them, and I love publishing them. Turns out, I love writing them too.
The number one mistake in rhyming texts is when the rhyme overwhelms the story rather than serving the story. The monotony of a 32-page story all told in the same rhythm can wear a reader down after a few pages. As an editor, I often start these submissions thinking, “Okay, let’s see if this can be sustained . . .” and after a few stanzas say, “Oh please stop. I can’t do this anymore.” The sing-song-y-ness of “dah-duh dah-duh dah-duh, dah-dah” in line after line pummels a reader with sameness. It also encourages authors to make terrible word choices: odd or forced descriptions or line endings because that last word HAS. TO. RHYME. My test: Extract a line out of your rhyming text and ask yourself if you’d write it the same way if it DIDN’T have to rhyme. If the answer is no, it’s a bad line. The rhyming has to feel effortless.
Effortless AND creative. Listen to the “Hamilton” soundtrack. I know it’s a high bar, but learn from how Lin-Manuel Miranda wrote an entire musical in tight, creative rhyme full of variety and rhythm changes and surprises and cleverness and word-play delights. Internal rhymes, humorous rhymes, break-outs into a different rhythm altogether. A surprise around every corner. Now imagine if all two hours and forty-five minutes of “Hamilton” had been “dah-duh dah-duh dah-duh, dah-dah.” That’s not a ticket you’d have paid $300 for.
I broke “Go, Girls, Go!” into four primary sections, each one showcasing three girls, their vehicles, and the sound of their vehicles. It starts: “Emma drives a fire engine, / Meg conducts a train, / Jayla steers a big red tractor hauling loads of grain.” Those lines alone are not breaking any creativing writing boundaries. It’s a pretty standard A-B-B rhyme scheme. Had the rest of my text been in the same rhythm and rhyme scheme, it could have gotten old quickly. But my next two scenes actually don’t rhyme at all; they introduce the sound words and, after another page turn, end in a rallying cheer: “Vroom! goes Emma. / Hoot! goes Meg. / Clank! goes Jayla! / Go, girls, go!” The break from rhyming in these scenes, while still maintaining a bouncy rhythm, gives the reader a different reading experience for a few pages before launching into the next set of girls.
This is the pattern for four sets of girls, and then for the finale we break into a different rhythm and rhyme scheme, A-A-A-B this time: “Girls can race and girls can fly. / Girls can rocket way up high. / What about you? Give it try! / Go, girl, go!” It gives the reader an indication that the book is approaching a crescendo, and then it lands on one final cheer on the last page (which doesn’t rhyme with anything).
Did I plan this structure deliberately ahead of time? No, I just wrote it. But I followed this mantra the entire time: “Don’t bore your reader. Don’t wear your reader down. Let the rhyme serve the story.”
I was grateful that reviewers picked up on this: Booklist called the rhyming “propulsive”, which is the best descriptor I could have hoped for, with the style of the rhyme matching the forward-moving vehicles in the book. And Kirkus said, “With repeated readings, pre-readers will be reciting the words on their own,” which thrilled me, because rhyming can help kids quickly get the hang of reading along if the rhythm grabs them. And that leads to repeated readings, which is the test of any good picture book.
So don’t be afraid of writing in rhyme, but please remember: “Don’t bore your reader. Don’t wear your reader down. Let the rhyme serve the story.”
100 BUGS! A COUNTING BOOK Written by Kate Narita Illustrated by Suzanne Kaufman (Farrar, Straus and Giroux, $17.99, Ages 5-7)
FLYING DEEP: Climb Inside Deep-Sea Submersible ALVIN Written by Michelle Cusolito Illustrated by Nicole Wong (Charlesbridge Books, $17.99, Ages 5-9)
are reviewed today by Cathy Ballou Mealey.
Sharpen your math and science observation skills with two new, detail-packed STEM-rich picture books from debut authors.
In100 BUGS! A COUNTING BOOK, two young summer explorers aren’t bugged by insects at all. They are on a seek-and-find counting quest from the pond to the field to the forest and everywhere in between. Armed with a butterfly net and magnifying glass, the daring duo discover and count an astonishing variety of interesting insects.Naritaemploys bouncy repetitive couplets to keep the mathematical and entomological journey moving at a quick pace in increasing sets of ten.
Kaufman’sbright, colorful collage-style art is engaging and cheerful, adeptly including an impressive accumulation of bugs throughout every page. A beautiful array of wildflowers and plants are also featured, complementing the detailed and intricate insects. Kaufman adds lots of birds and animals as well as an enthusiastic dog who follows the children on their adventures. With so much visual interest, young readers will be captivated. Notes at the end provide additional information on the insects and plants, making this a great STEM book selection.
InFLYING DEEP readers will imagine an underwater journey of exploration with the pilots of ALVIN, a deep-sea submersible. Their mission is to observe and analyze creatures and structures from the depths of the ocean floor, and to collect samples for further research at the surface. Cusolitouses a narrative logbook structure, inviting readers to ponder practical and procedural questions as if they are one of the crew members. What might you eat? How will you breathe? What will you see? Exciting discoveries and the possibility of danger raise the stakes for readers who will soak up this immersive science adventure.
Digital illustrations fromWongenrich this tale with incredible scenes from inside and outside the ALVIN. Realistic details abound, including the amazing variety of sea life and the riveted, technical components of the ALVIN itself. Wong uses light to her advantage, balancing sunlight and ALVIN’s spotlights above and below the ocean surface to focus attention on the stunning discoveries. A glossary, resources for further reading and notes from the author and illustrator round out this unique, informative book.
100 BUGS and FLYING DEEP were both recipients of starred reviews from Kirkus!
Where obtained: I reviewed either an advanced reader’s copy from the publisher or a library edition and received no other compensation. The opinions expressed here are my own.
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