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About Marion Dane Bauer
Newbery Honor Winner Continues to Challenge Herself—
and Readers—Twenty-Five Years Later
Marion Dane Bauer is the author of more than eighty books for young people, ranging from novelty and picture books through early readers, both fiction and nonfiction, books on writing, and middle-grade and young-adult novels. She has won numerous awards, including several Minnesota Book Awards, a Jane Addams Peace Association Award for RAIN OF FIRE, an American Library Association Newbery Honor Award for ON MY HONOR, a number of state children's choice awards and the Kerlan Award from the University of Minnesota for the body of her work.
She is also the editor of and a contributor to the ground-breaking collection of gay and lesbian short stories, Am I Blue? Coming Out from the Silence.
Marion was one of the founding faculty and the first Faculty Chair for the Master of Fine Arts in Writing for Children and Young Adults program at Vermont College of Fine Arts. Her writing guide, the American Library Association Notable WHAT'S YOUR STORY? A YOUNG PERSON'S GUIDE TO WRITING FICTION, is used by writers of all ages. Her books have been translated into more than a dozen different languages.
She has six grandchildren and lives in St. Paul, Minnesota, with her partner and a cavalier King Charles spaniel, Dawn.
INTERVIEW WITH MARION DANE BAUER
Q. What brought you to a career as a writer?
A. I seem to have been born with my head full of stories. For almost as far back as I can remember, I used most of my unoccupied moments--even in school when I was supposed to be doing other "more important" things--to make up stories in my head. I sometimes got a notation on my report card that said, "Marion dreams." It was not a compliment. But while the stories I wove occupied my mind in a very satisfying way, they were so complex that I never thought of trying to write them down. I wouldn't have known where to begin. So though I did all kinds of writing through my teen and early adult years--letters, journals, essays, poetry--I didn't begin to gather the craft I needed to write stories until I was in my early thirties. That was also when my last excuse for not taking the time to sit down to do the writing I'd so long wanted to do started first grade.
Q. And why write for young people?
A. Because I get my creative energy in examining young lives, young issues. Most people, when they enter adulthood, leave childhood behind, by which I mean that they forget most of what they know about themselves as children. Of course, the ghosts of childhood still inhabit them, but they deal with them in other forms--problems with parental authority turn into problems with bosses, for instance--and don't keep reaching back to the original source to try to fix it, to make everything come out differently than it did the first time. Most children's writers, I suspect, are fixers. We return, again and again, usually under the cover of made-up characters, to work things through. I don't know that our childhoods are necessarily more painful than most. Every childhood has pain it, because life has pain in it at every stage. The difference is that we are compelled to keep returning to the source.
Q. You write for a wide range of ages. Do you write from a different place in writing for preschoolers than for young adolescents?
A. In a picture book or board book, I'm always writing from the womb of the family, a place that--while it might be intruded upon by fears, for instance--is still, ultimately, safe and nurturing. That's what my own early childhood was like, so it's easy for me to return to those feelings and to recreate them.
When I write for older readers, I'm writing from a very different experience. My early adolescence, especially, was a time of deep alienation, mostly from my peers but in some ways from my family as well. And so I write my older stories out of that pain, that longing for connection. A story has to have a problem at its core. No struggle, no story. And so that struggle for connection has become the central experience of all my older fiction. It's what gives my stories heart and meaning.
Q. How does your Newbery Honor novel, On My Honor, fit with that pattern of writing about alienation and connection?
A. It would be easy to say that On My Honor is different from my other novels in that it was the first story I ever drew from a real event. Having a friend drown in a river wasn't something that happened to me, but it happened to a friend of mine when we were twelve or thirteen. When I heard about the incident at the time I felt it in a visceral way. What would it be like to have a choice I made turn into something so terrible and to know that I could never do anything to make the situation right? I wondered. That's where I started when I began writing the story, with the two boys on their bikes heading toward the river, everything about to go terribly wrong. Very quickly, though, I realized that while I had a clear story problem, the drowning, I had no solution for the problem . . . unless I was going to bring Tony back to life, and I wasn't writing that kind of story. At that point I instinctively backed up and started again. This time I began with Joel, the main character, asking his father's permission to bike with his friend Tony out to the state park, something Tony is pressuring him to do and which Joel is hoping his father will forbid. His father, not understanding the situation, gives permission, and Joel is furious . . . alienated. Once I had that opening, the frame for my story was set. Alienation in the opening, reconciliation at the end. The reconciliation can't change the fact of Tony's death, but it gives closure and comfort. So it fits the usual pattern for my novels. (Perhaps I should note that I didn't do any of this consciously. I wasn't saying, "I write about alienation and reconnection. How can I fit that in here?" I just reached for events that made the story feel right for me, and those were the ones to present themselves.)
Q. You often write animal stories: Ghost Eye, Runt, A Bear Named Trouble, and now Little Dog, Lost is about to come out. Is there any particular reason that you write about animals?
A. The first reason I write about animals is because animals touch a deep chord in my own psyche. I have always been fascinated by the pets that share my life, by watching their minds work, by noting their emotions, by feeling the life that pulses through them. So writing about animals just feels right. But I write about animals, also, because animal stories are universal. If I'm writing about a twelve-year-old boy it is assumed that I'm writing for other ten, eleven, twelve-year-old boys. If I'm writing about a cat, a wolf, a bear, a dog, I'm writing for everyone . . . even adults, even myself. Perhaps especially myself.
Q. You are known as a writing teacher as well as a writer. How to you find a balance between teaching and writing?
A. I have taught for many years, though I'm retired from teaching now except for occasional very time-limited stints. My most recent teaching was through the Vermont College of Fine Arts in their MFA in Writing for Children and Young Adults program. But I have taken care to make sure my primary time and energy were devoted to my own writing. I made sure I was a writer who teaches, not a teacher who writes.
Q. How has teaching writing impacted your own development as a writer?
A. Being a writing teacher has, of course, sharpened my skills as a critic. You can't say to a developing writer, "Your story doesn't work." You have to tell her what specifically doesn't work and why and then, without intruding, give suggestions about what the next step might be in strengthening that story. Having, again and again, to define with thought and care what is needed in other writers' work brings me back to my own work with deepened insights. Eventually, I teach myself what I'm teaching others, and having said it to others makes it easier to hear for myself. One time my partner, who was not a writer herself but who had heard me speak to writers on a number of occasions, read an early draft of one of my stories and said, "Wouldn't you say . . . to one of your students?" And . . . was exactly what that story needed, so I learned from myself through her.
Q. You've been writing stories for young people for more than forty years, and you've mentioned that you keep playing out some of the same deep themes. How do you manage to keep your work fresh?
A. One of the things that keeps my work fresh is moving between different genres. A picture book requires such different energy than a young novella, and a different rhythm, too. A young novella has a different rhythm and energy than an older novel. Nonfiction is its own experience. Moving between the various demands of the various kinds of work keeps me from ever settling into a rut. When I'm writing a young chapter book, a chapter is about five pages long. It's just a natural shape those younger stories fall into. And I love climbing into a chapter knowing I can, very quickly, climb out again. But then when I turn to an older novel where chapters can be much longer, I love equally settling in and fleshing my world out, stretching. One of my most recent books, a novella called Little Dog, Lost, moves into the territory of fiction in verse, something entirely new for me. I took such pleasure in writing that story because I had to discover how to do what I was doing at every step along the way. Even after more than 80 books published, everything about that story felt fresh because the way I was presenting it was fresh for me.
Q. What is your deepest motivation in writing for children?
A. I entered the field with a single passion ... to be a truth teller. I grew up in at a time when children were routinely lied to, lies of omission--information we were carefully shielded from--as much as overt untruths. And my mother, while certainly well intentioned, was probably better than most both at shielding and at lying to "protect" me. When I grew old enough to understand the ways I'd been lied to, I was furious. And I was also determined not to follow the same path in dealing with children myself, my own children or the ones I wrote for. Children are far less apt to be shielded from basic information these days. In fact, they are bombarded through the media with what may be a too explicit view--certainly too skewed and dark a view--of the world they are entering. But they still need the deep realities of the life that stands before them--the pain of it and the hope--to be interpreted in a straightforward and wise way. That's what my stories attempt to do, to tell the truth as I know it. It's truth with a small t, of course, because it is my truth, not something handed down from on high, but it's the very best of what I have to bring to the page.
Q. Finally, you've been writing and teaching for a long time. You have retired from teaching. Do you expect to retire from writing some day?
A. I hope not. I hope to be able to continue writing as long as my brain still works. It's like breathing. It's not just what I do for a livelihood. It's what I do to live.
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In an astonishing unfurling of our universe, Newbery Honor winner Marion Dane Bauer and Caldecott Honor winner Ekua Holmes celebrate the birth of every child.
Before the universe was formed, before time and space existed, there was . . . nothing. But then . . . BANG! Stars caught fire and burned so long that they exploded, flinging stardust everywhere. And the ash of those stars turned into planets. Into our Earth. And into us. In a poetic text, Marion Dane Bauer takes readers from the trillionth of a second when our universe was born to the singularities that became each one of us, while vivid illustrations by Ekua Holmes capture the void before the Big Bang and the ensuing life that burst across galaxies. A seamless blend of science and art, this picture book reveals the composition of our world and beyond — and how we are all the stuff of stars.
While on a bike trip, Joel’s best friend Tony drowns while they are swimming in the forbidden, treacherous Vermilion River. Joel is terrified at having to tell of his disobedience and overwhelmed by his feelings of guilt, even though the daring act was Tony’s idea, and Joel didn’t know that Tony couldn’t swim. But Joel’s loving and protective father will help him deal with the tragic aftermath—and understand that we all must live with the choices we make.
“A powerful, soul-stirring novel told simply and well.”—Booklist (starred review)
“This is a devastating but beautifully written story of a boy’s all-consuming guilt over the role he plays in the death of his best friend . . . Bauer’s honest and gripping novel joins the ranks of such as Katherine Paterson’s Bridge to Terabithia in its handling of these issues.”—Publishers Weekly
“Descriptions are vivid, characterization and dialogue natural, and the style taut but unforced. A powerful, moving book.”—School Library Journal
Mark is a boy who needs a dog. But he can’t get his mom on board with his plan.
Buddy is a dog who needs a boy. Buddy has an owner already, but not one who understands what a dog really needs.
Mr. LaRue is a neighbor who needs a community. He’s alone all the time in his huge old house—and everyone needs more than that.
Over the course of a summer thunderstorm and one chaotic town council meeting, these three characters cross paths and come together in a timeless tale ripe with emotions. They’ll realize they all need the same things: love, understanding, and a sense of belonging—plus a place to play a game of fetch!
"How do I love you? Let me count the ways.
I love you as the sun loves the bright blue days . . ."
In this board book with padded covers, a parent declares her love...as the bees love a flower, a duck loves a shower, a bird loves to sing, a bear loves the spring. Written by Newbery-award-winning author Marion Dane Bauer, inspired by the poem by Elizabeth Barrett Browning, and with pictures by Caroline Jayne Church, illustrator of the bestselling I Love You Through and Through.
Long ago and even today, the story is told of how all the animals in the world, at the stroke of midnight on Christmas Eve, speak. With their newfound power of speech, the animals rejoice at the birth of Jesus, born humbly in a manger and surrounded by animals. Singing in treetops, braying in stables, barking in yards--the animals all rejoice and proclaim, "The Child is come."
With rich illustrations and lyrical text, Newbery Honor Award-winner Marion Dane Bauer delights readers of all ages with this fresh telling of a classic Christmas legend.
Everyone loves Earth’s little neighbor: the moon! It lights up our night sky, guides our oceans, and so much more. Beginning readers will love learning all about the moon in this fact-filled Level 1 Ready-to-Read.
Set in the northern Minnesota wilderness, a timeless novel about a boy and his imaginary dog explores the legacy of guilt and blame—and what really constitutes a family.
Newbery Honoree Marion Dane Bauer evokes the “summer that changed everything” in the life of a boy growing up without a mother. Since as far back as Ben can remember, it’s been him, his devoted dad, and Sunshine—Ben’s little dog, who rarely leaves Ben’s side. It was Mom who did the leaving, and Ben’s about to spend a whole week with his suddenly present mother in the wilds of northern Minnesota. On the remote island she calls home, Ben will learn to canoe, weather the elements, and weigh a burning question: when will she come back to where she belongs? A must-read for dog lovers, children of divorce, and the imaginative and outdoorsy, Sunshine is a poignant, ultimately hopeful story about self-discovery, facing big realities, and finally, forgiving the things—and people—you can’t forget.
There are no clouds in the sky. The sun is shining! How does the sun bring us such warm, bright days? Just open this book and read about the wonders of the sun…
When an indoor calico cat named Patches spots a golden autumn leaf fluttering past her window, she can’t help but venture outside to chase it. But soon, Patches feels something tugging at her, telling her to find a special place—one she won’t know until she sees it. Why must she go on this search? She doesn’t know yet.
Along the way, Patches finds herself in dire circumstances, but with the help of the other neighborhood animals, she faces off against the scariest dog in town and continues on her journey to her special place.
Beautifully told in verse and accompanied by adorable illustrations by Jennifer A. Bell, this heartwarming novel from Newberry Honor–winner, Marion Dane Bauer, is a timeless, touching, and fulfilling story about finding your way home.
of the daddies,
tall or small,
mine is the best,
the very best...
Some animal daddies comfort their babies or hold them tight, or face every danger for them. But the narrator of this loving picture book knows his daddy does all of that -- and more -- for him.
In this sweet companion to the New York Times best-selling My Mother Is Mine, Marion Dane Bauer and Leslie Wu celebrate fathers. A Father's Day card is attached to the back of the book, but this is a book to share all year long.
the very best daddy of all.