by Andria Rosenbaum
Writers understand the power of Story. We get that stories can enlighten, educate, make you laugh till you’re breathless, or move you to tears. All good stories make you feel something.
I wish I was a humorous writer, à la Madam Tara Lazar.
Who wouldn’t want to bring word play, joy and humor to the world of kidlit?
But it turns out that some stories knock on your door unsolicited. Sometimes, they seep into your brain and wrap around your heart. They badger you until you pull them into the world by painting them with words.
These stories can be tricky. Especially when they’re based on truth, or history. If they aren’t handled with care, they can end up sounding boring, sentimental and didactic. When that happens the hearts and minds these stories long to open—remain closed.
More than ten years ago, one of these persistent ideas knocked on my door after I read multiple testimonies from people who had been separated from their parents and siblings during WWII. Even as these children grew up in different countries with new families, they remembered each other. But each believed the other had perished in the war. Some sixty-plus years later, some of them found one another thanks to organizations like The Shoah Project and Yad Vashem.
Their stories haunted me. They shadowed me like a lost dog looking for home. I wondered how war scars children? How did they survive while others didn’t? What unseen fractures remained? How could they be healed? I felt compelled to share the stories that had shaped their lives.
I knew a manuscript about children of war would be tough to sell. Especially a picture book. But that didn’t matter. I only knew I had to write it. Because this had happened to children, I wanted to write it for children. But how could I begin to describe such a tragic truth?
Simply.
Honestly.
Looking out of the eyes of a child.
As I read and researched more and more about the Holocaust, I realized I wanted to tell a story sewn together from accounts of siblings from multiple families. I put myself into the heart of the older sister. Her memories became mine. I wrote in her voice. I minimized the graphic details and focused on the separation itself. The main character Ruthi refused to let her story be solely about what she’d lost. Her story became more about what kept her going. It’s about the key ingredients that might have allowed her and others to survive.
I shared the manuscript with my agent unsure of how she’d respond. Thankfully, she loved it and was determined to sell it. Eventually, she did. HAND IN HAND will be published in April by Apples & Honey Press. Maya Shleifer’s incredible illustrations bring Ruthi and her little brother Leib to life, while softening the hard edges of their story through color and character.
Editing helped the book evolved into a story about the effects of separation and war on children.
It became more than just another book about the Holocaust. Though it’s aimed at 7-10 year-olds, I hope it speaks to a broader audience.
Our stories can’t change history, but they might have the ability to heal. By spotlighting tragic events, books can build empathy and understanding. If you have a tough story you’re longing to tell I hope you find a way to share it. Open the door and embrace it. Try to be honest. Try to be brave. Listen to your characters. You never know who may be waiting for your words.
Andria Warmflash Rosenbaum is the author of TRAINS DON’T SLEEP, illustrated by Deirdre Gill (HMH) and BIG SISTER, LITTLE MONSTER, illustrated by Edwin Fotheringham (Scholastic Press), a PiBoldMo idea from 2014. She hunts for picture book ideas from her home in New Jersey. You can follow her on Twitter @andriawrose, or learn more about Andria and her books at: andriawarmflashrosenbaum.com.
Andria is giving away a signed copy of HAND IN HAND when it’s published in April.
Simply leave ONE COMMENT below to enter.
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Source : Storystorm 2019 Day 15: Andria W. Rosenbaum on When a Story is Tough to Tell