Where’s All the Short Fiction for Kids? A Talk with Renée Watson and Torrey Maldonado on These Much Needed Books
It all began with a school library media specialist named Christina Chatel. Author Torrey Maldonado noticed that in an issue of School Library Journal she had an open letter asking for shorter middle grade books. You know what she means. There’s been a need for years for teachers and librarians to give kids shorter books with the same complexity as thicker titles. Trouble is, there’s no built-in pre-existing market for that particular need, and, additionally, only a handful of authors are capable of producing them.
Torrey Maldonado is one of those few authors that has managed to not only write such books, but get them published as well. So when he saw Christina’s missive he reached out and suggested a bit of a conversation on the topic. His partner in this endeavor? Folks, please put your hands together for the illustrious Torrey Maldonado and Renée Watson!
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Betsy Bird: Thank you, both of you, for taking so much time to delve into this discussion. So let’s talk about short fiction! Specifically, why it’s so rare. I know that when a lot of authors for kids are starting out they’re given these guidelines on how long a typical book for 9-12 year olds should be. How did you you two come about writing books of the short and sweet variety instead?
Torrey Maldonado: Bob Marley said, “The stone the builder refuse will always be the head cornerstone,” and that’s what’s happening with thin middle grade books. Once overlooked, thinner books are in demand, like my book Hands, a worldwide hit. It’s the current Global Read Aloud. It’s not just about Hands; it’s about my other thin stories with short chapters giving kids who don’t fit the mold a voice. Growing up, we’re all shown being a great reader means tackling thick books, but who made that rule? It’s like saying you can only enjoy classical music. That led me to unplug from school and I almost repeated the third grade three times for it. I was almost killed as a writer and each year I see it done to kids where I teach and elsewhere. Fortunately, I plugged into short narratives outside of school and that taught me that telling epic stories in half or less than half the time as others is doable, and it brought “writer me” back to life. That’s what I do in publishing. Educators, families, and readers say I write quick, impactful stories that kids from upper elementary through high school connect with while breaking old rules and inspiring new storytellers. My first book is 195 pages, my second is 177, third is 125, and fourth is 135 and that page-count will stay there or lessen while keeping what readers love.
Renée Watson: I grew up reading and writing poetry and I think the conciseness of poetry influences the way I write prose. I never go into the writing thinking I’m going to write a long story or I’m going to write a short story. Instead, I ask myself what the story needs to be. In my forthcoming novel, All the Blues in the Sky, the character Sage is experiencing grief and adjusting to her new normal after the death of her best friend. I didn’t want the book to linger too long in sadness and be too overwhelming for the reader, so writing it as a novel-in-verse and keeping it short felt right. It’s a short book in length but the emotional weight of it has substance.
Torrey, I agree with you—telling young readers that being a good reader means tackling big books is counterproductive. I think it’s more important to teach young people to be deep readers—to read for connection and understanding (and even for fun and entertainment). Not simply to get through a book to prove they can read.
BB: What are some of the benefits that you can see to shorter works of fiction? What have you experienced in your own life?
Torrey: For me, writing is similar to eating, music and poetry, movies, and sports’ events. Adam Gidwitz—Newbery Honor–winning author—noticed the musicality and poetry of my writing when he says, “Gorgeous and gripping, Hands is a poetic page-turner.”Meg Medina—the National Ambassador for Young People—describes the sports’ aspects of my writing when she says, “Hands moves hard & quick like a movie, like a boxing match”. So shorter narratives are perfect sized snacks for our brainss, the perfect jam sessions, and perfect sports-plays—quick, nourishing, powerful, and straight to the point. Elizabeth Blye—a New York librarian and Chappaqua Children’s Book Festival Assistant Director—named these benefits: “Whenever readers see the thin-ness of Torrey’s books & short chapters, their eyes go wide, and they get these giddy looks on their faces. There’s this moment of caught breath as they realize that someone has tackled an entire story in a digestible format that makes them feel successful”. Beth Parmer—an elementary librarian in Columbus, Ohio—said, “The benefits of Maldonado’s shorter writing style is the immediate buy-in from kids. Instead of turning off, they tune in when I hold up his thin books. After a chapter from Hands, when I let them know we finished a chapter, their eyes grow big and their hands reach for the book. Kids frequently watch video clips and shorts, so it makes perfect sense they like his writing”. That shows how short narratives hook, keep readers entertained, and leave them thinking— amidst a busy schedule; all in a short blip of time. It’s like a taste and being satisfied but not stuffed; a short moment that expands your worldview without you needing a plane ticket and long trip. These stories kept my love of reading and storytelling alive and helped turn me into a published writer. I see it creating and nurturing new generations of bookish young readers and storytellers.
Renée: I think reading novels that are short can help reluctant readers feel accomplished. Getting to the end of a short chapter, realizing they finished the entire chapter is encouraging and can motivate them to keep going. Reading should not be a chore or a punishment. If students are engaged with the story, learning new vocabulary, and making connections to their lives and the world around them, I think that’s a success no matter how long the book is. I don’t want to imply that one kind of book is better than the other. In the best learning environment, students are reading a variety of books: short ones, long ones, graphic novels, poetry collections. When I was a student, one of my teachers assigned all kinds of reading, including stage plays. Reading across genres, styles, and lengths made me a well-rounded reader and definitely fostered my writing.
BB: So what kind of reaction have you gotten from publishers when it comes to shorter works of fiction? Do they see the potential in the market?
Torrey: I’m lucky because my publisher has known for a while that people love shorter narratives how people love espresso shots—they’re quick, strong, and needed at the right time! I hope more publishers start to honor the demand for quick, impactful stories that fit into readers’ busy lives— stories they enjoy in one sitting. Storytelling doesn’t need to be long to be strong. SLJ just ran an open letter to middle grade authors and publishers asking where are the just-right books for tweens and how the world responded shows the demand is undeniable. This is untapped potential in our market. It’s a new era for storytelling, and it’s exciting that folks feel I’m helping it unfold!
Renée: I’m so grateful that my editor, Sarah Shumway, at Bloomsbury has never pushed me to add more to a manuscript just to make it longer. She has asked me to go deeper at times and she’s marked places where she thinks the story needs more, but it’s truly to make the story stronger not longer. I think more and more educators, librarians, and booksellers are seeing the benefits of shorter novels and are requesting them more.
BB: What needs to happen before short fiction for kids starts becoming a little more ubiquitous?
Torrey: For short fiction like mine to really be in the picture, we need a few puzzle-pieces to click into place. First, we need more champions—teachers, parents, librarians, gatekeepers—who see the value in quicker, engaging reads and they advocate for them. We also need publishers to invest in our stories, recognizing that kids today want narratives that fit into their fast-paced lives. And we need authors breaking old rules to inspire more widespread readership and new storytellers. With those pieces in place, we’ve puzzled together a bright vision for short narratives that helps all readers, everywhere.
Renée: I think if we want to see more short fiction, we have to show more respect for it. Short fiction can’t be seen only as a means to get reluctant readers to read. These books can be a part of the curriculum for all readers—even advanced readers—and can teach the craft of storytelling like character development, plot, pacing, etc. as well as encourage conversations about the themes in the novel.
I also think including short stories in the curriculum is a way to introduce short novels. Making these books visible in classroom libraries is one way for students to literally see other options for reading. I’m excited that there are more short story anthologies with culturally relevant topics that young people have access to. I’m specifically thinking of Black Girl Power, edited by Leah Johnson, Black Boy Joy, edited by Kwame Mbalia, and The Hero Next Door, edited by Olugbemisola Rhuday-Perkovich. The more educators purchase and use these types of books in the classroom, the more publishing will see its impact and work to publish them.
BB: I love all of that. Finally, what are you working on next?
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Torrey: My goal is to create both entertaining and empowering narratives that help young readers see themselves, positives, and the possibilities in them and around them. I can’t reveal too much about a middle grade I’m working on, but I can share about my picture books scheduled to debut soon. I’ve had readers of my books say, “I’m going to read your book to my 6 year old sibling” and I’ve replied, “Maybe they’re not ready for middle grade. Let me write something for them”. So I’ve done that, and they’re also written with my little nieces in mind. Previewers of my picture books say they’re like my novels because they capture imaginations, are relatable, draw from my life and teaching, and are filled with heart and authenticity. SLJ’s open-letter for just-right sized books is a coincidence because years ago I titled my picture book Just Right. The others are Little Artist and Uncle. Folks say they’re vibrant, fun stories with heartfelt messages that captures a universality and the timeless essence of elementary aged kids while highlighting what they experience right now—bonds with family and community. I got to see the brilliant drawings of Just Right by Teresa Martinez and they have the magic of other books I see younger children grab off the shelves. I’ll also appear in a few upcoming anthologies. So stay tuned!
Renée: Torrey, I’m so excited to read the new work you have coming out. Congratulations! Like you, I’m excited to continue to craft stories for young readers that they see themselves in and feel loved by. There is so much going on in our world and it is a privilege to create characters that help our young people process, heal, and grow. I had the opportunity to talk about All the Blues in the Sky at Children’s Institute and was so encouraged by the warm response from the audience. Their emotional and passionate reactions reminded me that part of the power of storytelling is that even though the story might have a specific audience in mind—in this case middle graders—compelling stories can touch us all, no matter our age and no matter the size of the book. I’m not only looking forward to sharing All the Blues in the Sky with young people but with their caregivers and teachers, too. It comes out February 4th.
BIOS
Torrey Maldonado was born and raised in Brooklyn, NYC, growing up in the Red Hook housing projects. He has taught for New York City public schools for around 30 years and his fast-paced, compelling stories are inspired by his and his students’ experiences. His popular novels Hands, Tight, and What Lane? Hands are Junior Library Guild Gold Standard Selections. Hands is a Global Read Aloud winner, a Christopher Award winner, a “Best Book of the Year” on different state’s lists, a Jane Addams Book Award finalist, a starred School Library Journal book, and won amazing reviews from Horn Book, Kirkus, and Publishers Weekly; Tight won the Christopher Award, was an ALA Notable Book, and an NPR and Washington Post Best Book of the Year; What Lane? garnered many starred reviews and was cited by Oprah and the New York Times for being an essential book to discuss racism and allyship; and his very first novel, Secret Saturdays, has been in print for over ten years. He has contributed to award-winning anthologies. Learn more at torreymaldonado.com or connect on social media @torreymaldonado
Renée Watson is a #1 New York Times Bestselling author. Her young adult novel, Piecing Me Together, received a Coretta Scott King Award and Newbery Honor. Her children’s picture books and novels for teens have received several awards and international recognition. She has given readings and lectures at many renown places including the United Nations, the Library of Congress, and the U.S. Embassy in Japan and New Zealand. Renée is on the Council of Writers for the National Writing Project and is a member of the Academy of American Poets’ Education Advisory Council. Renée grew up in Portland, Oregon, and splits her time between Portland and New York City. Learn more at reneewatson.net or connect on Instagram @harlemportland.
Huge thanks to both Torrey and Renée for taking the time to answer my questions today.
Filed under: Interviews
About Betsy Bird
Betsy Bird is currently the Collection Development Manager of the Evanston Public Library system and a former Materials Specialist for New York Public Library. She has served on Newbery, written for Horn Book, and has done other lovely little things that she'd love to tell you about but that she's sure you'd find more interesting to hear of in person. Her opinions are her own and do not reflect those of EPL, SLJ, or any of the other acronyms you might be able to name. Follow her on Twitter: @fuseeight.
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Karen Yingling says
If you look at Judy Blume books, or young adult fiction from the 1970s and 80s, much of it is 150-200 pages long. It’s good that attention is being paid to this topic. Now, if we can just get books that are a little happier and more hopeful, that would help as well!