Can I make a request?

I would really like to get back to talking about our own writing again, only because I know that when we have gone down this path in the past it has caused dissension among us...and I value the harmony we normally have in here. (I fully include myself as one of the natterers, btw.)

I'm sorry; I don't mean to be a pain.

t waits for thwapping

I'm standing quietly next to Kristin, because I've been writing up a similar post since yesterday, and then closing the window, because I didn't know how to say it.

I'm talking about my own writing!

...Almost fifteen years ago.

But no, I get you.

then closing the window, because I didn't know how to say it.

I find that hard to believe. You're very good at saying.

My post above was intended as a gentle re-direct.

Also, what Kristin and Cindy said.

I agree--I think I liked better books, but then I became a writer. As I said, I didn't know why I hung onto "Roller Skates" and not "Marla's Big Date" but I did. I don't think kids only like great books, but kids, especially younger kids, do like the classics. "Goodnight Moon" still pleases tinys, and so does "Make way for Ducklings." The comfort food books kids glom onto and read over and over might not stay with kids the way better books do. I was obsessive about some show called "Circus Boy" (starring a young Mickey Dolenz!) when I was a kid and watched it every day. Yet I don't remember a scene of it. I DO remember, in detail, seeing a local production of "MY Fair Lady" when I the same age, though. Not the songs, which I could have gotten from the album, the actual staging of the the production we saw.

ETA-- and I posted this before I saw Kristin's post. Happy to get off my high horse and stop now!

And Robin brings it back full circle - Kristin, this does come back to the writing. I want to see if, and if yes, how, Amy, or Susan, will write an adult book with the influence of small children in the house. And honestly, my question wasn't about crit - it was about how a child processes what they read, or has read to them. That does link up very firmly in my head as a writer. Here's my example. Nutty said

When I was a kid, I "read" Tintin books in French, with zero reading comprehension. It was a totally different story from the translated versions I found when I was older.

I bounced when I read that, because the first book I remember seeing on my own was Le Petit Prince. I couldn't read English properly yet, much less French - I was probably about three or four - but I remember the little boy standing on the edge of the planet, with all the universe spread out behind him. I asked my sister - speaks French like a native and always has - to read it to me, and she did (I just called her at work, and she remembers this vidivly). And she remembers that I was enthralled by the language, even though I didn't understand more than maybe one word in ten.

The first full novel I ever wrote - piece of pretentious crapola, pondering the Big Questions with all the annoying self-importance a 15-year-old could summon up - was in Italian.

I don't think that was coincidental.

(edited because I can't type for beans this morning)

I want to see if, and if yes, how, Amy, or Susan, will write an adult book with the influence of small children in the house.

Deb, I'm thinking you don't mean this:

"And most days lately I've been tempted to do nothing more than whine about how hard it is to write a single coherent sentence with a 14-month-old determined to pull every CD I own out of the cabinet. And then take them all out of their cases and strew them around the room. And then step on them. And drool on them."

(which I posted in my writing blog this morning) but can you elaborate? Because I think I know what you mean, but I'm not sure.

Oh, dear. No, not quite that, Amy.

By example: my friend Tad write large (as in, shaming War & Peace large) epic fantasy novels. Since becoming the father of two small children, he's been considering - haven't spoken to him in forever and he may well already have done this - about doing some writing for small children.

Tad's writing is very dense, very, I don't know, layered. And I don't know of any books for small children about Twitchy the Friendly Raccoon, or whatever, that has 97 characters and fourteen subplots in it.

Tad is a particular kind of writer, and he doesn't write for little kids. But, if he began to, would his choice of language be impacted by what his own two demons understood, or could absorb? And if the answer to that is yes, would he find it even possible to completely alter his own internal creative synapses and craft an entirely different kind of thing?

Not sure that's clear, still. I know what I'm trying to figure out, from the writer's perspective, but I don't seem to be articulate it. Damn it.

Okay, I get it now. Very much so, as a matter of fact. And I want to address it, because I think it's fascinating, but I have to put the little demon spawn little angel down for her nap. Back later.

The first story I ever wrote, in third grade, was a story of children who stumbled into a world of talking horses, where they helped the rightful horse king defeat an evil usurper. Was I reading the Chronicles of Narnia then? Why yes, I was.

I didn't write much else until high school, when I started trying to write the kind of books I'd read in middle school--your standard high school romances. "Sweet Dreams," I think the books were called. My versions were always set in marching band, and all my heroines were Mary Sues.

What I actually read in high school were Regency trads (largely at first because unlike other romances they didn't have bodice-ripper covers, and therefore I could read them without having to hide them or endure flak from my mother, but then I got hooked on the era), assorted historical fiction, and the Sunfire historical romances for teenagers. I loved those books so much, because they were about girls my age, but with higher stakes--surviving the Oregon Trail or the aftermath of the Civil War or the Titanic was more interesting than finding a date for the prom, and the heroines ended the books engaged, so again, higher stakes than in the non-historical teen romances.

The last thing I wrote before college was a dark, disturbing story about a teenaged girl who has an affair with her best friend's divorced father. Looking back, it was how I was working through and talking myself out of a schoolgirl crush on an older man, but it still kinda sends a chill down my spine to think that my 17-year-old self, the same girl who'd been writing all those happy bland little marching band romances, wrote that thing.

Not that I actually finished any of those stories, except the first one with the talking horses.