I'm pleased to have Elliott Kurta return to my blog. He is now a busy sophomore so I appreciate him taking time from his studies and volunteer work to share his thoughts about Rosie Woods in Little Red Writing Hood.
Audience: 1st – 5th graders; teachers
In 3 Words: imaginative, bite-sized, funny
One Sentence Synopsis: Rosie Woods explores the five steps of the writing process, using the story of Little Red Riding Hood as an example.
Final Verdict: 4.5/5 stars
REVIEW
Rosie Woods has a problem. A big problem: a bout of writer’s block is stopping her from writing a story for her English class. If only her friend Wolfie would stop talking, she might be able to spin an idea together! Under the guidance of her teacher, Mrs. Marshall, Rosie chips away at her writer’s block, in the process learning about the five elements behind every great story and retracing the path of another familiar hero—Little Red Riding Hood. Studded with illustrator Eleanor Howell’s soft watercolor drawings, Maya Myers' novel is an engaging exposé into the writing process.
Bringing a new twist to a centuries-old tale, Rosie Woods breaks the art of story-telling into five simple components: setting, hero, problem, solution, and a twist ending. Our story starts as Rosie receives an assignment to write a creative short story. As the novel progresses, she explores the five elements one by one, slowly incorporating each into her own work-in-progress. Each new discovery is similarly mirrored in the novel: the chapter that sees Rosie learn about setting also introduces readers to Rosie’s schoolhouse and briefly explores the nature of Rosie and Wolfie’s friendship. Little Red Riding Hood ultimately forms the backbone for this story, echoed in Rosie’s personal character arc and in the short story she’s writing. While admirably ambitious, the story’s heavy stack of allegories and analogies seems as precarious and towering as a stack of forty mattresses, and after three concurrent retellings, Little Red Riding Hood’s story starts to feel as lumpy and out of place as a pea. Overall, each plotline contains far too many working parts for most kids to keep track of, making it difficult to focus on the writing process the book is trying to teach.
Although the plot of Rosie Woods may be lacking, author Maya Myers' writing certainly is not. From start to finish, Rosie remains a likeable, shy heroine every reader can rally behind and relate to, especially if they’ve ever struggled to tell a story of their own. Myers is able to effortlessly relate to elementary school kids, offering them a story with stakes they can understand. Her prose meets readers at their level of experience, neither attempting to gloss over harder concepts nor shoving readers headfirst into the world of creative writing. Unlike the blocky, predigested sentences of most kids’ books, Rosie Woods features whimsical turns of phrase and clever wordplay, keeping kids engaged and entertained. For example, as Rosie considers raising her hand in class to talk about plot twists, we learn that “her tummy made a different kind of twist.” Later, on page fifty-nine, as Rosie worries about accidentally hurting Wolfie’s feelings, it feels “like there… was a storm in her brain.”
There’s no doubt that Rosie Woods in Little Red Writing Hood is a great introduction to the world of writing. By breaking down a story into five simple ideas, Maya Myers eases kids into the role of storytellers. In presenting the dichotomy between Rosie and Wolfie’s writing styles—Rosie takes all week to finish her story; Wolfie is done after a day or two—she reinforces the idea that no two writers are alike and that everyone is allowed to work at their own pace. While at times confusing, the book imparts several valuable lessons and leaves kids with the impression that anyone can be a writer—all it takes is passion and perseverance.
AUTHOR INTERVIEW
ELLIOTT: What inspired you to write Rosie Woods in Little Red Writing Hood?
MARA: The title came to me first, as a pun, and I thought surely someone must have written this book already, but they hadn’t, not quite. I wrote it as a picture book first, and my agent suggested I adapt it for older readers. I had never written a chapter book before, and I was resistant . . . for about a year. Then I gave in and tried it, and it was so much fun!
ELLIOTT: What did your writing process look like? Are you a “plotter”, a “pantser”, or somewhere in between?
MARA: I guess I’m somewhere in-between. I often know where I want a story to end up before I know anything else, and it’s usually easy for me to figure out where it starts, but I don’t always know what will happen in between. With the Rosie Wood series, I felt my way in the dark for the first book. I made plot-point outlines before starting the other three.
ELLIOTT: Do you find it challenging to cast yourself back into the perspective of a child when writing? Do you have any ‘beta readers’—like a few kids or fellow elementary-school writers—that you test your books out on?
MAYA: I used to teach elementary school, so I’m quite familiar with the kid mindset, and I often approach a character or a scene from the perspective of a kid I know. My husband, who also writes for kids, is always my first reader, and I have a few other writer friends I bounce things off of.
ELLIOTT: How has your experience within the field of education shaped the stories you write?
MAYA: This was the first time I’ve really gone into teaching mode in a book, and it was fun. I had to do some research to see how curriculum points have changed since I was teaching, but I think my time in the classroom helped me write pretty realistically about assignments and conflicts that come up for kids this age.
ELLIOTT: In your book, you use an elaborate allegory to teach kids about the different elements of storytelling. Why do you feel it is important that we continue to teach the next generation how to read and write great stories?
MAYA: I didn’t really think of it as an allegory; it was pretty straightforward in its intention, which is to engage readers in learning the elements of storytelling. I think it’s a kind of superpower to understand the components that make a story compelling. I want kids to want to write because it’s a great way to process the world, to understand ourselves and build empathy for the people around us. It’s incredibly rewarding to create something that brings joy and understanding to other people. And I love to read, so I want more writers making more stories!
ELLIOTT: What books did you adore as a child? Have any of them influenced your own writing style?
MAYA: I loved everything by Beverly Cleary, especially Ramona the Pest. I liked classic series I could dive into for long periods—Anne of Green Gables, Little House on the Prairie, The Chronicles of Narnia. I have no doubt that all those stories are inside and guiding me.
ELLIOTT: When did you first realize you wanted to become a writer?
MAYA: I think I probably thought about it when I was around 8 or 9. But it wasn’t a dream that stayed with me throughout my life. I did other things and then wrote my first picture book when I was almost 40. So, it’s never too late to start!
ELLIOTT: Do you plan to conti
nue Rosie Woods’ saga or start any new projects or novels?
MAYA: Three other books are coming in the Rosie Woods series (Jack and the Bean Shock Rosielocks and the Three Bears, and The Three Billy GOATS Graph), and I have a few other picture books in the pipeline. I’m hoping to return soon to working on a chapter book series I started a while ago, about two kids who are enemies at school and wind up step-siblings—stay tuned!
