Mr. Rogers had an intentional manner of speaking to children, which his writers called “Freddish”. There were nine steps for translating into Freddish:
“State the idea you wish to express as clearly as possible, and in terms preschoolers can understand.” Example: It is dangerous to play in the street.
“Rephrase in a positive manner,” as in It is good to play where it is safe.
“Rephrase the idea, bearing in mind that preschoolers cannot yet make subtle distinctions and need to be redirected to authorities they trust.” As in, “Ask your parents where it is safe to play.”
“Rephrase your idea to eliminate all elements that could be considered prescriptive, directive, or instructive.” In the example, that’d mean getting rid of “ask”: Your parents will tell you where it is safe to play.
“Rephrase any element that suggests certainty.” That’d be “will”: Your parents can tell you where it is safe to play.
“Rephrase your idea to eliminate any element that may not apply to all children.” Not all children know their parents, so: Your favorite grown-ups can tell you where it is safe to play.
“Add a simple motivational idea that gives preschoolers a reason to follow your advice.” Perhaps: Your favorite grown-ups can tell you where it is safe to play. It is good to listen to them.
“Rephrase your new statement, repeating the first step.” “Good” represents a value judgment, so: Your favorite grown-ups can tell you where it is safe to play. It is important to try to listen to them.
“Rephrase your idea a final time, relating it to some phase of development a preschooler can understand.” Maybe: Your favorite grown-ups can tell you where it is safe to play. It is important to try to listen to them, and listening is an important part of growing.
Rogers brought this level of care and attention not just to granular
details and phrasings, but the bigger messages his show would send.
Hedda Sharapan, one of the staff members at Fred Rogers’s production
company, Family Communications, Inc., recalls Rogers once halted taping
of a show when a cast member told the puppet Henrietta Pussycat not to
cry; he interrupted shooting to make it clear that his show would never
suggest to children that they not cry.
In working on the show,
Rogers interacted extensively with academic researchers. Daniel R.
Anderson, a psychologist formerly at the University of Massachusetts who
worked as an advisor for the show, remembered a speaking trip to
Germany at which some members of an academic audience raised questions
about Rogers’s direct approach on television. They were concerned that
it could lead to false expectations from children of personal support
from a televised figure. Anderson was impressed with the depth of
Rogers’s reaction, and with the fact that he went back to production
carefully screening scripts for any hint of language that could confuse
children in that way.
In fact, Freddish and Rogers’s philosophy of
child development is actually derived from some of the leading
20th-century scholars of the subject. In the 1950s, Rogers, already well
known for a previous children’s TV program, was pursuing a graduate
degree at The Pittsburgh Theological Seminary when a teacher there
recommended he also study under the child-development expert Margaret
McFarland at the University of Pittsburgh. There he was exposed to the
theories of legendary faculty, including McFarland, Benjamin Spock, Erik
Erikson, and T. Berry Brazelton. Rogers learned the highest standards
in this emerging academic field, and he applied them to his program for
almost half a century.
This is one of the reasons Rogers was so
particular about the writing on his show. “I spent hours talking with
Fred and taking notes,” says Greenwald, “then hours talking with
Margaret McFarland before I went off and wrote the scripts. Then Fred
made them better.” As simple as Mister Rogers’ Neighborhood looked and sounded, every detail in it was the product of a tremendously careful, academically-informed process.
I’m tired of girls trying to invalidate their own feelings during times of pain, especially to their friends. Your break up meant something. That friendship you lost was a hard blow. I understand why you feel tired this semester. Sometimes this “modern woman” stereotype is patriarchy’s last attempt; patriarchy disguised as feminism. You don’t have to be “wise beyond your years”; your pain and crying does not mean you are not intelligent. If you feel your friends demand justification for your pain and ordeals, they’re not friends. You’re strong but human. Remind yourself emotional space is part of liberation.
I’ve been waiting for the perfect opportunity to explain this and show everybody my inverted pyramid 😀 😀 😀
I present, The Inverted Pyramid of Revising a Book
Now I’ll explain each section of the inverted pyramid:
THE FIRST DRAFT
This should be self-explanatory. You write the first draft. For novels, 75-150,000+ words of the world inside your head.
PLOT, CONTENT, SCENES, AND MAJOR CHARACTERS
Go back and fix it all up. Did you tell the story you wanted to tell? Did you include scenes and events that add up to the conclusion you present?
Are there any unnecessary scenes you could delete, or scenes that are redundant to other scenes? Get rid of them. If this means entire chapters have to go, wave bye-bye.
Do your main characters have believable back stories and arcs, and do they act appropriately in character at all times?
Is there any point in time when your characters do something that they literally WOULD NOT DO? Change that up.
WORLD-BUILDING, CHARACTERIZATION, HONING IN PLOT POINTS
Now pay attention to the deeper aspects of the story. Delve into the world your characters live in. Do they react appropriately? Does any part of society influence them more than others?
What does your world look like? Delve into the setting. The cultures, the technology, the history.
Work with your secondary characters and how they interact with your main characters. What role do they serve overall? Does the main character’s journey affect them at all, or vice versa?
Tighten up plot points. Stay concise if possible.
SENTENCE STRUCTURE, FLOW AND PACING OF SCENES
Now that the major parts of your story have been patted down, you can begin focusing on the technical stuff. Start broad.
Do you have redundant sentences? Do you start multiple sentences the same way?
Throw in short sentences.
Drop the pronoun from the beginning of a sentence every now and then.
Use commas instead of ‘and’ if you find you use ‘and’ a lot.
Does the flow of sentences and paragraphs fit with the tone of the scene?
Chop sentences apart. Use quick, sharp words.
Or combine sentences and flowery language and soft words.
BETA READER CRITIQUES AND SUGGESTIONS
Now that you’ve really patted this thing down, find people willing to read your work (hopefully for free).
Ask them to point out inconsistencies. Are they confused by anything?
Beta readers can tell you when things are boring or exciting. They’ll laugh. They’ll fangirl. They’ll beg you for more chapters.
Your brain is soft from so much revising. Beta readers are fresh, and will pick out things you’ve glossed over from seeing it so many times.
Shake things up and host a video chat for you and your betas! It’s a great way to make friends 🙂
PUNCTUATION AND MISSING WORDS
NOWWWWW you’ve finished all the major revisions and your story makes sense!!! All that’s left to do is get the broom and sweep it up (or the vacuum cleaner, or generate a black hole from the Large Hadron Collider to suck out all the errors because that’s super-effective**).
This is the nitty gritty stuff, and I highly recommend either forcing yourself to read really, really slow, or better yet, read your book out loud, start to finish.
You’ll trip up over misplaced commas and periods.
You’ll literally hear when a sentence is awkward.
Your brain will get confused when there’s a missing word.
Fill in the gaps, hammer down the boards, tidy up the place like you’ve got guests coming over.
THE FINAL DRAFT
OMG
OMG
OMG
OMG IT’S FINISHED AND YOU CAN SHARE IT WITH THE WORLD AND BUY PHYSICAL COPIES THAT YOU CAN HOLD AND SMELL AND RUB ALL OVER YOUR FACE AND DRAW IN AND DOG-EAR AND TOTE AROUND TO SHOW PEOPLE AND SIGN AUTOGRAPHS AND BECOME YOUR OWN LITTLE CELEBRITY!!!
Email the newspaper (I’ve appeared multiple times).
Email the local TV station (I’ve appeared on live TV).
Email book talk radio shows (I’ve had a Q&A for an hour on live radio).
……..Marketing is hard.
I hope that helps!
N.B. **please do not ask CERN for permission to use the Large Hadron Collider to create black holes that suck out all the errors in your book. You’ll look silly, and you might destroy Earth in the process.
Relationships are scary and complicated ONLY when you start thinking of your partner as some kind of adversary.
You know how to stop being scared of relationships? Remember that it’s got a goddamn buddy system *built in*. That’s all a relationship IS: “Let’s approach life with the buddy system.”
Check on your buddy. Make sure your buddy doesn’t forget their lunch box on the schoolbus. Hold hands with your buddy so you don’t get lost. If your buddy wants to look at the monkey cage, look at the goddamn monkey cage with them. If you are the one looking at the monkey cage, ask your buddy what they want to do next, and when they want to feed the giraffe, help them find a quarter for the little food dispenser. Be a good buddy, and if your buddy isn’t a good one too, tell the teacher and ask for a new one.
This isn’t fucking rocket science, people.
I have reblogged this before. I will reblog it again. And it’s not just romantic relationships: it’s family members and friends as well.
This kind of woke my ass up because of the amount of times I’ve had a buddy who didn’t check on me, didn’t want me to check on them, but didn’t want me to leave.
Make changes in your life so that positive events will occur more often.
Build a “life worth living.”
Work towards goals: ACCUMULATE POSITIVES
Make a list of positive events you want
List small steps towards goals
Take the first step.
ATTEND TO RELATIONSHIPS Repair old relationships Reach out for new relationships Work on current relationships
AVOID AVOIDING Avoid giving up
BE MINDFUL OF POSITIVE EXPERIENCES FOCUS your attention on positive events that happen REFOCUS when your mind wanders to the negative Be UNMINDFUL of worries
DISTRACT from: Thinking about when the positive experience WILL END Thinking about whether you DESERVE this positive experience Thinking about how much more might be EXPECTED of you now
please make sure that wherever you’re at in life, you don’t treat it like a transitory period. don’t waste your college years wishing to already be graduated & have a job. don’t waste your single years wishing for someone to be in love with. if/when those things come, they will come in due time and they will be good. but there is nothing like looking back and feeling empty because you wasted literal years ignoring what you had because you were hoping for something better. while it’s important to better yourself and reach for your goals, don’t neglect the present because that’s where you are now and it’s your now that determines your future.
Honestly I think one of the most empowering things you can do for yourself is to separate your negative qualities from your identity.
Instead of saying “I’m lazy,” saying “I’ve made a habit of not doing work unless it’s absolutely necessary.” Instead of saying “I’m a bad friend,” saying “I haven’t communicated as much as I should with the people I care about.”
By being specific about your problems, and by framing it as an action that you are consciously either working on or ignoring rather than an unchangeable part of who you are, you allow yourself to accept your mistakes and work constructively on them instead of pretending they didn’t happen or wallowing in blaming yourself.
don’t make other people’s decisions for them. apply for the job you don’t think you’ll get. let them decide if you have the skills they’re looking for. tell that person you like them even though you think they’re out of your league. let them decide if they like you. stop trying to predict and control everything. bring what you have to the table. let the rest go.