The Plot Thickens: Newbery Criteria Deep Dive
In a continuation of our Newbery Criteria deep dive, today Steven and I take a look at plot in 2023 Newbery Contenders. Last time was characterization and we’ll make it to the rest of the Criteria throughout the year. For today, let’s talk plot!
EMILY: When looking at plot, I can get lost between an interesting storyline (THE LAST MAPMAKER or THE UNFORGETTABLE LOGAN FOSTER) and the “development” of said plot with many cause and effect events (AVIVA VS. THE DYBBUK, OR THE PATRON THIEF OF BREAD). Steven, how do you evaluate plot?
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STEVEN: I like the way you identify those two aspects of storyline and development. I also like to look at how the plot impacts other elements, especially character and theme. Like in AVIVA VS. THE DYBBUK, the actions of the dybbuk and the question of what he was and if he was real were really engaging. But those actions also got us further and further into understanding Aviva herself. And brought in the theme of anti-semitism and its role in Aviva’s family and community.
STEVEN: Choice of style is so important to plot also. In THE PATRON THIEF OF BREAD, I actually thought the gargoyle interludes disrupted the plot, until the end when they finally came together. On the other hand, the narrative style of JENNIFER CHAN IS NOT ALONE, where the narrator tells us about the events she took part in, but holds back some key details, works really well. It keeps us engaged and wondering, and sets up the climactic moments that come later.
EMILY: Interesting how you bring up style, do you think that criteria goes hand in hand with plot? I guess the style helps drive the plot. I think of that in OGRESS AND THE ORPHANS too, the crows at first seem distracting but then they play a HUGE plot point in helping the orphan.
STEVEN: ANYBODY HERE SEEN FRENCHIE? was kind of deceptive in its plot too, partly through the style choices. It starts out with a bunch of short chapters from Aurora’s point of view, but then as the search for Frenchie expands, we start to get pov’s from other people involved too. That kind of shifted the plot from being solely focused on the lost boy and his ties to Aurora and widening it to get into the impact on the whole community.
EMILY: Talking about, deceptive plot we must bring up: I MUST BETRAY YOU. I didn’t know who to trust in that book and it was the slow roll of the different perspectives and plot changes that really kept me engaged. I also thought the “years later” update at the end really brought it all together (in a non-forced way).
EMILY: This discussion is really making me look deeper at some of these titles. And appreciate OGRESS and FRENCHIE a little bit more. We would love to hear about any of these titles, or other books with strong development of plot in the comments.
Filed under: Book Discussion
About Emily Mroczek-Bayci
Emily Mroczek (Bayci) is a freelance children’s librarian in the Chicago suburbs. She served on the 2019 Newbery committee. You can reach her at emilyrmroczek@gmail.com.
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I also appreciated the creative plot development in INVISIBLE. It starts with the kids being interviewed about the events of the previous few weeks. We don’t really know why, and neither do the kids: “We don’t understand why we’re here. Are we in trouble?” And when the interviewer uses the word “conspired,” it adds to that impression of wrongdoing. Then we jump back and the story comes out in bits and pieces. There’s enough tension and uncertainty in the kids’ actions that you still think they will be accused of wrongdoing. But there’s a neat twist at the end as we realize that the present time interview wasn’t because they were in trouble, but just the opposite. That clever storytelling approach worked well, I thought, and feels especially fresh in a middle school graphic novel, where the plots are usually pretty straightforward.
I loved Invisible! I also like because of how it’s written, we learn a lot about the characters without the story getting lost. We get to know each of the characters by seeing how they handled the situation.
I am enjoying these “deep dive” posts very much.
I actually found the gargoyle interludes in The Patron Thief of Bread to be a clever way of providing insight into the village of Odierne and into Duck’s character. I suppose the interludes might slow down the plot progression, but I think they were necessary.
Another interesting book with superb plot development is Black Bird, Blue Road, by Sofiya Pasternack. Ziva’s quest to cure her brother is well-structured and engaging. The omniscient narrative stays with Ziva’s perspective while providing crucial clues as to Pesah’s thoughts and the identity of certain characters. The plot is linear and holds readers’ attentions.
Another example of stellar plot development is Windswept, by Margi Preus. The riveting beginning of the book, (where the sisters disappear), grabs the reader. The quest that Tag and the other Youngers embark upon is fast-paced and enthralling. It’s a book that’s impossible to put down. The interludes where the story is being told to unnamed characters is very intriguing and keeps readers engaged as they try to determine who is being told the story.
I’m glad you mentioned WINDSWEPT, Meredith. I agree that the storytelling structure was effective. Kind of similar to THE OGRESS AND THE ORPHANS, where you don’t really know who the teller is at first. And I liked how the the teller and listeners merge with the main story towards the end. I didn’t love everything about that book, but thought the way the plot unwound worked very well.
Yes, Mr. Stephen. It’s interesting to compare the storytelling style of The Ogress and the Orphans with Windswept. I found Windswept’s style, while similar to Ogress, to be more effective, (at least in my opinion). The style didn’t seem quite as heavy-handed, and the fact that the reveal of whose telling the story makes Windswept even more engaging.