Today we continue the series in which award-winning nonfiction
authors discuss the joys and challenges of writing narrative nonfiction
and expository nonfiction with an essay by Lita Judge. Thank
you, Lita.
I was a scientist—a geologist working on
paleontology digs—long before I was a writer. I chose that path early in life
because I was filled with wonder about the facts I read about dinosaurs and the
formation of the earth. I also worked with my grandparents, both biologists,
and time in the field taught me to love the natural world through careful
observation.
I realize not every child has the opportunity to go directly into the field to learn about animals and nature. But I find
most kids I meet have a natural curiosity. As a writer and illustrator, I want
to ignite their enthusiasm and fuel a sense of wonder through books. And as a
creator of many nonfiction children’s books, I have grown to love writing both
expository and narrative nonfiction.
Narrative nonfiction can be ideal for making
a topic like history feel relevant to a child because they don’t have
first-hand experience with people and events of the past. But expository
nonfiction is ideal for taking large, complex topics like animal behavior, or
how a forest works as a community, and breaking it down into simple, clear
concepts that can ignite a child’s natural curiosity for the world around them.
I feel my work as an author and illustrator
is to study my chosen topic and discover the facts that are so fascinating they
will excite a love for that topic in a young reader. The most difficult part for
me is to find a structure that can distill complex scientific topics and
present them in a way that is clear and approachable.
In my book The Wisdom of Trees, I
break down a huge topic—how trees communicate to one another and what they talk
about—and present it as a series of smaller facets to that larger topic. Each
spread approaches one aspect of how trees work together in clear, simple terms
filled with details that provide a richer understanding.
Readers at different levels can approach the
material at their own pace, taking in one page and topic at a time or delving
into the entire topic in one sitting. I use poetry written in the voice of the
tree to reinforce the book’s central concept—that trees communicate—and to share
the types of things they are communicating about (for example food, drought,
danger, disease). By the end of the book, a young reader has discovered a wide
array of information and hopefully comes away with a much broader knowledge of
the topic.
For my series on animal behavior, Born in
the Wild, Homes in the Wild, and Play in the Wild, I present
complicated concepts in a simple structure by providing a layered text. A young
reader can discover the broad concept in a simple opening sentence on the first
spread, and then go deeper into the topic by exploring examples in smaller,
more detailed text on the next spread.
My work on a book always begins with observation and drawing rather than words. In the process of recording what I
see, I gain an understanding of not only the themes that will fuel eventual
text and illustrations, but also how I myself learn about the subject.
I see things in broad terms first, and then comprehend
the details as I devote more time to exploring the topic. Drawing focuses my
attention and helps me discover how to organize the concepts and how to
translate the complex information into simple, understandable terms. By
beginning with drawing, I am also considering the visual learners who approach
books with their seeing-eyes before they digest the text.
Drawing is my way of exploring while doing
research and brings me to the point where
I can embark on finding the exact language needed to describe the subject I’m
writing about. It also allows me to see which details will eventually be
conveyed in illustration versus text. I strongly feel both words and pictures are
necessary parts in creating interesting expository nonfiction for young
readers.
For me, drawings are a key part of writing, and
also reading, nonfiction. I strive to embrace all kinds of readers: those who
are most comfortable with words and those who explore a topic visually. My goal
is to get everyone excited about the natural world.
Lita Judge is the
author/illustrator of thirty fiction and nonfiction books, including her most
recent, The Wisdom of Trees. Her other picture books include When You
Need Wings, Flight School, Born in the Wild, Red Sled, Hoot and Peep, and One
Thousand Tracings. Lita worked as a paleontologist before turning to a life
of creating art. A childhood spent with eagles, owls, and other animals also
inspires her work. She lives in Peterborough, New Hampshire.
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2 Responses
I love Lita's books. Thanks for this wonderful post!
Lita is so talented in so many areas! Her art entices those who are more visually inclined and complements her lyrical words.