top of page

Experiment: Little Oliver and the kickball dragons

Genre Research

Introduction

For my very first experiment in this class, I knew I wanted to create something catered towards children. I commonly write realistic, satirical work, so I wanted to use my first experiment as an opportunity to jump right into the deep end of a brand new genre. Although I was initially torn between creating a picture book, fable, and set of poems, I ultimately decided on a picture book because of the many different benefits they bring to young readers. Growing up, I loved reading Dr. Seuss books with my parents. So, I chose to model my picture book after anapestic tetrameter—the rhyming scheme Dr. Seuss writes in—try and give young children the same joyous feeling I had while reading his stories. I also chose to incorporate aspects of fantasy into my book, because I learned through my research that fantasy has profound effects on promoting creative development in children. 

​

My specific audience for this book is children between preschool and second grade. However, based on the positive feedback and excitement I received from my breakout room in class, I truly believe this book would be enjoyable for any reader who loves cheering on underdogs and wants to embrace the theme that we shouldn’t judge a book by its cover. These themes, combined with the nature of judgement and social status, are what I aim to teach through my book. I hope my story brings comfort to those who read it, and that they root for Little Oliver all along the way!

More About Picture Books...

While many are familiar with the overt enjoyment picture books bring, few are aware of their abundant underlying benefits. Reading is an activity that is central to child development, because it helps children gauge a better understanding of their environment and societal expectations (Goddard). Picture books, if executed properly, can be helpful in implementing bibliotherapy. This is defined as, “the use of written materials to gain understanding and engage in problem solving relevant to the person’s therapeutic needs” (Goddard). Books that execute bibliotherapy help children learn to handle “adult” problems beyond their comprehension. For example, many books are used to teach children about medical diagnoses, grief, clinical disorders, and death (Goddard). When children can strongly identify with a character in the story, they’re able to take on the character’s perspective and learn about these tough issues. On a more positive note, these books also help children foster self efficacy and teach coping skills (Goddard).

​

Specifically, fantasy literature brings its own specific set of benefits for children. As shown in the study conducted by Angela Webb et al., greater creativity was observed in second graders who read a fantasy nutrition book opposed to a nonfiction nutrition book (Webb et al.). Fantasy literature promotes abstract thinking for students, whereas nonfiction promotes concrete, confined thinking (Webb et al.). This study additionally highlights that a main problem with our current school system is its focus on teaching subjects found on standardized tests; it often neglects to promote arts and creative development (Webb et al.). To compensate for the lack of creative instruction, it is essential for children to read books that promote creativity and divergent thinking.

 

Before writing a picture book, it is crucial to know the basic guidelines each book must follow. Picture books almost always contain 32 pages and are between 500-700 words (Hingston). Regardless of whether it’s fiction or nonfiction, these requirements must be met. Additionally, the typical age range for picture books is anywhere from preschool to second grade (Hingston). In terms of pacing, the introduction should be between pages 1-7, the building of the dramatic arc should occur around page 16-17, and the resolution should fall on pages 28-32 (Hingston). There are many “Do’s” and “Don’ts” to keep in mind while writing a picture book. Two main tips include to avoid childhood cliches, and to avoid explicitly teaching your intended message (Hingston). Instead, authors should incorporate this message into the story, along with absurdity, silliness, and nonsense (Hingston). 

​

 

​

My Initial Plan...

Summary Five-Point Structure:

  1. All the humans and dragons go out to play kickball

  2. Oliver is chosen last

  3. They play the game, and Oliver is continuously underestimated

  4. Oliver scores the winning point by using his brain and small size to his advantage

  5. This results in changes to the entire structure of their system. For example, dragons can be captains now

 

Broken Down by Page:

​

​

​

​

​

​

​

​

And How It Turned Out...

In the small town of Galina, where there’s magic and joy

The humans and dragons play together, every girl and every boy

​

Each day they go to school, to learn, eat and sing

They make sandcastles, and block towers, and push each other on swings

 

As they sit in math class, watching the clock hands tick by

They wait for the bell to ring...and alas...

 

RECESS! FINALLY! Time for everyone to go play!

They run out of the classroom, run ‘till they get outside, to enjoy the best part of their day

 

They keep running and running, then all stop at the field

The humans and dragons gather to play kickball—no smiles concealed!

 

Humans step to the left as captains, that’s the way it’s always been

While the dragons line up fearfully, as they tremble, waiting to be chosen

Reflection

I was initially undecided on which children’s medium to pursue, but after talking on the phone with my Grandma, I knew there was no better option for my first experiment than a picture book. When I was younger, my Grandma loved reading picture books to me and my sister—so much so that she even wrote one of her own. When I mentioned my idea to her, it brought her such immense joy that I knew I wanted to follow in her footsteps and start to develop one myself. 

 

This project was so much fun to map out! I intentionally began my series of experiments with children’s literature because it is a genre I had absolutely no experience with. Outlining this book allowed me to feel completely unconstrained while creating, which I believe will help me moving forward with my future experiments. For my story itself, I specifically chose dragons as the characters of interest to incorporate fantasy and its underlying benefits on creative thinking. Additionally, I intentionally decided that the humans and dragons should be playing kickball. Out of all the sports I could think of, kickball was the best at conveying judgement because players are solely picked based on physical appearance. Overall, I love the creativity and silliness children’s literature permits, and really enjoyed getting to map out Little Oliver’s special journey. I wasn’t initially planning to make my story rhyme, but the more I contemplated why Dr. Seuss books were so fun to read, the more I realized it was partially because of his anapestic tetrameter rhyming pattern. I’ve never written in a rhyming pattern, so this was very fun to experiment with! I don’t know if I could continue this for a full book, but it was great to try it for my sample. 

 

I really enjoyed writing about these important themes in such a creative way, and would love to continue developing Little Oliver and the Kickball Dragons into a full picture book in the future.

​

Works Cited:

Goddard, Anna Tielsch. “Children’s Books for Use in Bibliotherapy.” Journal of Pediatric Health Care, vol. 25, no. 1, Jan. 2011, pp. 57–61.

EBSCOhost,doi:10.1016/j.pedhc.2010.08.006.

Hingston, Michael. “Picture Books 101 (from Alison Hughes).” Medium, Medium, 25 Sept. 2017, medium.com/@michaelhingston/picture-

books-101-from-alison-hughes

Luck, Katherine. “How to Write like Dr. Seuss.” How to Write like..., 22 Oct. 2020,  howtowritelike.com/2019/07/31/how-to-write-like-dr-

seuss/. 

Webb, Angela Naomi, et al. “An Investigation of Whether Fantasy Books, Compared to SameTopic Nonfiction, Promote Second

Graders’ Creativity.” Education 3-13, vol. 47, no. 1, Jan. 2019, pp. 116–131. EBSCOhost, doi:10.1080/03004279.2017.1409782

bottom of page