Writing for Children: not for those who want glory, fame, or big bucks

Last week’s Hamodia/Inyan Magazine had an article by one of my favorite columnists, Rabbi Fishel Schachter entitled “Guided by Tale Winds.” While today Rabbi Schachter is well-known in the Torah world for essays and presentations for adults about the weekly Torah portion, parenting, and other subjects, he first gained popularity as a rebbi and storyteller to students in Jewish day schools.

Rabbi Schachter explains in the article that one of the adults in his audience told him many years ago that he had to choose between teaching grown-ups or kids — and he indicated that the natural choice for a man of Rabbi Schachter’s talent and intelligence was to teach adults.

Turning to his own rebbi for guidance, Rabbi Schachter asked if teaching kids was really beneath him? Were all the silly voices and so on undermining his stature?

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When writing shifts from a hobby to a job: my new essay in Tablet

Meow.

Meow.

Last year, I wrote on this blog that I struggled with creating the annual Purim newsletter I co-write with my husband. Well, this year, I wrote an essay about it for Tablet. You can read it here.

And if you don’t live in L.A., but do want to see this year’s edition of the newsletter (and other freebies throughout the year), you can fill out this form.  I’ll put you on the mailing list!

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Thank you for your response. ✨

 

The Role of Periodicals in Jewish Life: Rob Eshman’s “Why We Write”

I read a fascinating essay in The Jewish Journal today.

Publisher-about-to-go-on-sabbatical Rob Eshman relates a recent visit he had with young Israelis, when he had the opportunity to explain why Jewish newspapers have had such a prominent and consistent role in the life of Jewish Americans.

The major reason Eshman highlighted was the importance of communication between communities and unifying them to promote certain, common agendas. He also touched on how this role has changed, from an institution what taught Jews how to become good Americans–find jobs and acclimate to their new environment–to an institution which “teach[es]Americans to be Jews.”

Teaching Americans to be Jews

This latter element particularly struck me. As Eshman mentioned, many Jewish magazines and newspapers exist primarily on the web. In fact, that’s where they now find the majority of their readers.

Jews who live outside major Jewish communities–due to geography or due to a lack of affiliation–can now access information about their co-religionists via websites like The Jewish Journal‘s, The Forward‘s, Kveller, and so on. Need a latke recipe? Look online. Need advice about how to handle the funeral of a relative? Look online. Such sites bring community to people who previously felt excluded.

In the Orthodox world, even, you find magazines devoted to Jewish cuisine, divrei Torah (words of Torah, including all of Tanach, the Oral Law, and commentaries), inspiration, and advice from the Jewish standpoint.

What’s your favorite Jewish magazine or newspaper? Why? What role do you think periodicals have in contemporary Jewish life? Please share your comments.

Megillat Esther through the eyes of a 21st century writer, or It’s okay if G-d saves the day if there’s forshadowing

This year, in preparation for Purim, I’ve been rereading the megillah at a class given by my LOR (local Orthodox rabbi). Of course, it’s not the first time I’ve read The Book of Esther, as it’s called in English. We do that every year on Purim–twice! And it’s also not the first time I’ve learned it with this particular rabbi. But it is the first time I’ve read it with commentary, guided by my rabbi, since I officially became an author (whatever that means). And boy, is there a difference.

The Big Literary No-No All Over the Megillah

book of esther theater poland

A Purim Spiel in Poland. Photo shared in the Wikipedia Commons by Henryk Kotowski.

When you’re writing fiction, there is a big no-no that you’re told never to do: rely on deus ex machina. In short: don’t get your characters out of a tight corner by dropping a deity down from the sky to perform an instantaneous rescue. The audience will roll their eyes, at best.

The term originated with actors playing deities in the theaters of Greece. But for a religious writer of a different persuasion in the 21st century, it causes problems. Continue reading

How writing a novel differs from writing a screenplay: my last post on STORY

After reading my earlier posts on STORY, you might think I’m 100% sold on the book. I have to admit that I’m a fan, but I do have some quibbles, largely on the adoption of screenwriting techniques for short story or novel writing.

Differences between writing for readers and for viewers that limit the utility of STORY:

1) (The only one I noticed pointed out by McKee) You may get inside the characters heads and explore their thoughts in literature. This creates a greater intimacy between the narrator and the reader. It also means the conflict can be much more subtle and much more interior.

2) Some readers like descriptive, sensory details that can’t be experienced with film — smell and touch can be better evoked, for example (unless you’re viewing in smell-o-rama).

3) The audience must work harder when reading print–in a good way.

4) When contrasted with other useful literary guides, you see some shortfalls. Continue reading

More about McKee’s STORY: How two of my stories measured up

I’m still reading STORY and have so much to say on its utility that you’ll just have to bear with me for a few more posts on it.

THE GAP

victoria station tube mind the gap

Writer! Mind the gap!

McKee has a theory that the material a story is made of is not words, not paper and pen (or computer) but something he calls the GAP. The Gap develops when a main character acts and discovers that his/her expectations regarding the response s/he’s going to get conflict with the reaction s/he really gets. This discrepancy forces the character to adjust and change.

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