Stone Soup study club 14 / 石頭湯讀書會之十四

今天的講者是陳玉金老師，她是資深的圖畫書編輯和作者，主題是知識性繪本。

Today the guest speaker is Ms. Yujin Chen, who is a senior picture book writer and editor. The topic is on non-fiction picture books. 

        老師帶來了幾本知識性繪本，其中包括日本插畫家加藤亞樹的小小鄰系列，這兩本書─「小小鄰愛種花」〈春〉和「小小鄰愛冒險」〈夏〉，以虛構性角色帶出植物知識，非常討人喜歡。

   First of all, Ms. Chen shares some non-fiction picture books with us. Among them are the Little Neighbors series by the Japanese writer and illustrator Kato Aju. The fictional main characters weave the major story plot and knowledge on flowers is introduced in easily understandable and highly enjoyable manners. 

        老師也帶來了她所撰寫的南科考古系列繪本，並且說明創作過程，令我不禁也想試試看知識性繪本的創作。

   Mr. Chen also brings her picture book series on the latest archeological sites in Tainan. She explains the whole process of making the books in detail, which arouses my interest in making non-fiction books. 

        陳老師認為我們應該要做本土、原創性的圖畫書，知識性繪本可以利用故事連串，帶出專業知識，讓讀者可以邊想像邊學習。

   Ms. Chen encourages us to create original picture books that tell stories about Taiwan. One way to create non-fictional picture books is to incorporate fictional stories and introduce scientific knowledge at the same time. 

        老師說話的語調淡定溫柔，把知識性繪本從頭到尾、從文字到圖像要注意的無數細節，做了最清楚客觀的說明，雖然把想像力加入知識性繪本可以增添閱讀的樂趣，可是對繪者來說，圖像講究寫實，對於插畫家是很有趣的挑戰。

   Ms. Chen speaks in a calm and gentle way, telling us everything about how to create a non-fiction picture book in terms of the text and images. Something important in making a non-fiction book is doing tons of research for both the writer and the illustrator. Also, the latter has to be as accurate as possible when it comes to artistic expression so as not to mislead the reader. 

        陳老師的部落格上提供許多和圖畫書相關的訊息，可說是個大寶庫喔！

   Ms. Chen offers all sorts of news on picture books on her blog. Please check it out: 

http://blog.udn.com/yujinchen0412

Stone Soup study club 12 / 石頭湯讀書會之十二

因為工作的關係，所以我無法出席第十一場由杜明成老師主講的「童詩與柯普」，我就直接跳到第十二場的演講：曹益欣老師的「圖像閱讀隨處在」。

Because of work, I can't make it to the eleventh lesson of the Stone Soup club given by Mr. Tu on children's poetry and sci-fi. I'll skip directly to the 12th talk hosted by Ms. Tsao on Reading Images Everywhere in Life. 

        老師一開場問了很發人深省的問題：當你看圖畫書時，先看文字還先看圖像？光讀文或圖，我們理解的故事可能會不一樣，一本圖畫書裡文字和圖像有各自要說明的訊息，有些繪本家會在圖像裡放入許多細節，不一定是文字提及的。

   Ms. Tsao starts the talk by asking a question worth thinking about: When you first read a picture book, do you start with the text or the images? In fact, by simply reading one of them will lead to different interpretations of the same story. In a picture book, text and images can tell their own stories independently. Some illustrators might tuck in many details in pictures, which might not be part of the text. 

        圖像閱讀是我們與生俱來的，其實幼兒本來都有圖像閱讀的能力，受了文字教育之後能力便削弱。

   We were born with the ability to read images. Children are capable of reading pictures, but their capability is weakened after the intensive training in word literacy at school. 

        如何用簡單圖形說故事？老師舉父親曹俊彥老師的作品小黑和大家分享，小黑是個小圓圈，他在不同場合分裂成不同形狀，其實這是一本有關於數學概念的書，而曹老師在創作時則是用剪紙的方式發想如何能夠用圓形的塊狀表達不同物體。

   How to tell a story with simple shapes? Ms. Tsao gives examples designed by her father, who is a famous Taiwanese illustrator. Black is a circle, but it transforms itself into various kinds of shapes on different occasions. In fact, this is a story on the mathematical concept of division. When Mr. Tsao was writing the book, he tried cutting black circles into parts to see what objects they can represent. 

        假如用幾何圖形說小紅帽的故事呢？老師問大家代表各個角色的圖形和顏色，挑戰視覺上不同的可能性和觀者感受。例如說：如果小紅帽媽媽和小紅帽一樣是紅色的三角形，只是體型較大，這樣能夠傳達媽媽的感覺嗎？如果把尖銳的角度修掉，並且把紅色換成紅加藍的紫色呢？這個過程對於創作非常有幫助！

   How to tell the story of  Little Red Riding Hood with geometrical shapes? The teacher asks us the shapes and colors we would like to choose for each character and setting and explore the possible visual effects. For instance, if the mother of Little Red Riding Hood is a bigger red triangle like her, does it evoke the feeling of mother? What if we soften the edges and change red to purple, which is a mixture of red and blue? I'd say this process is very helpful for illustrators. 

        接下來老師拿出一個精美的木盒，這個叫「紙芝居」的傳統來自日本。

   Next the teacher takes out an exquisite wooden box, which is called kamishibai. It is an oral story-telling tradition from Japan. 

        小販帶著裝著圖畫的木盒，在街上講故事給大家聽，對於尚未印刷成書的作品這真是個好方法，而且因為沒有文字，每個人講出來的故事都不一樣！

   The vendor carries the box filled with drawings and tells stories to people on the streets. For works not printed, this is a superb idea. Since there is no text, everyone can tell their own version of stories. 

        老師用各種童詩和童書為主題繪製圖畫，最後邀請我們上台講故事，瞧，這個小女生好勇敢啊！

   Ms. Tsao drew stories based on nursery rhymes and picture books. At the end of the lesson, she invites us to tell stories. See, this is such a brave little girl! 

Stone Soup study club 10 / 石頭湯讀書會之十

石頭湯讀書會第十場的講者是著名的童書作家兼畫家：王金選老師。老師的「紅龜粿」在台灣兒童繪本史上已經是屹立不搖的經典，書中收錄的台語創作詩謠也是學習台語很好的入門。

The tenth speaker of the Stone Soup study club is the renowned Taiwanese author and illustrator, Mr. Wang Gin-hsuen. The book Red Turtle Cake, a collection of children's poetry written in Taiwanese written by Mr. Wang, is a classic in children's literature here in Taiwan. In fact, the book is also a great way to learn basic Taiwanese. 

每一位學員進門時，老師都在門口迎接，問大家的名字，我和老師說之前去參加信誼頒獎典禮學到的東西，因為老師也在場，便和我聊到自己的經驗：老師一開始以畫圖為主，他覺得自己的文字很弱，所以刻意練習，尤其是童詩書寫，想不到進入文壇的第一份作品居然是童詩寫作，接下來老師又嘗試以台語書寫童詩，引起很大的迴響，但同時老師都沒有放棄畫畫，慢慢地終於有機會為自己的作品繪圖。這再次讓我學到，我應該要多方嘗試，不要拒絕各種可能性。

Before the speech, Mr. Wang welcomes every guest at the door, asking what our names are. I mention the lessons I  learned while attending the award ceremony of Hsin-y Children's Book Foundation in April. Since he was also there that day, he immediately shares his own life experiences with me. Mr. Wang says that he's loved drawing since childhood, but meanwhile he was aware of his weakness in writing, which inspired him to practice, especially writing children's poetry. Amazingly, his first book is actually a collection of children's poetry. Then, it occurred to him to write children's poems in Taiwanese, and his works received rave reviews. However, he never gave up drawing, and as time went by, he finally had opportunities to write and illustrate his own works. The talk teaches me that I should try different media whether words or images instead of excluding any possibility. 

王老師一面分享自己的創作經驗，一面教授寫作和插畫的基本技巧，是很激勵人心的一場演講。以下我將重點分成勵志和實用兩大類。

During the talk, Mr. Wang focuses on his career as a writer and illustrator and teaches us basic skills of writing and drawing. I have to say that this is certainly an extremely inspirational talk. I am going to divide the key points of his talk into two main categories: 

勵志類：
一、不斷寫、不斷畫，我就是純粹喜歡。想到什麼寫什麼，小筆記本裡寫滿了文字。
二、學會縮短難過的時間，要檢討失敗的作品，下次再努力，越挫越勇！
三、要讓人感動就要很投入，除了畫面外也要投入心思。
四、把握機會：老師說到曾經為了參加比賽，四天畫兩本繪本！
五、人只要受到鼓勵就會有繼續的力量！
六、求進步方法之一：研究別人的作品。

Inspirational:
1. Never stop writing and drawing. I do it simply because I love it. I fill my journal with words because I write down whatever comes to mind.
2. Don't brood over my failures for too long. I go over my works to see how I can do better, and I'll work harder next time.
3. If we want to move people, we have to be involved. It's important for the viewer/reader to feel our sincerity.
4. Seize opportunities: I once created two picture books within four days!
5. As long as we are encouraged, we can go on and on and on!
6. One of the best tips in making progress is researching others' works.

實用類：
一、練習寫童詩：寫作技巧─找出兩件不同的東西之間共通的特性，寫完試唸。不論是用哪種語言書寫，可以先排出韻腳字。童詩可以和童謠、兒歌、打油詩結合，要兼顧淺白、親切、活潑、生動、自然。每次老師收到寫一首童詩的邀約，總會先寫很多首練習。
二、趣味性：兒童文學的文字不能太白，要有趣味性。
三、兒歌是童話的大綱：把兒歌進一步發揮成有主角、情境、對話的故事，背後隱藏教育話題就是童話。但童話和繪本的寫法是一樣的，都必須有起承轉合。
四、繪本可以帶入生活的場景和內容、人的心態和情感加上童話的想像。
五、在圖像的表達上，文字提到的及文字沒有提到的都可以放進去，並且畫附近相關的場景。
六、世界上所有的圖像都可以用幾何圖形表達。
七、兒童圖畫書的圖像不一定要講究技法高超，因為圖像是以說明性的功能為主，帶著畫者手繪的拙趣和個性。
八、畫圖講究的是美感和耐心，技巧不好可以用耐心打動別人，該寫實的時候寫實，該放鬆時放鬆。

Practical:
1. Try writing children's poetry: First, look for what's in common between two objects which appear to be different. Read a poem aloud after finishing it. Whichever language we write in, it helps to look for the rhyming words. We can derive ideas for children's poems from children's folk rhymes, children songs, nursery rhymes, and doggerels. It's essential to make sure if our writing is easily understandable, approachable, lively and natural. Whenever I am invited to write a poem, I'll write several as part of the exercise.
2. Fun: The key spirit of children's literature is its fun.
3. Children's songs are the outline of children's tales. Develop the songs into stories with main characters, settings, dialogs and educational value. Yet, the skills of writing tales and picture books are the same--there has to be a beginning, rising action, climax and resolution.
4. We can insert life experiences and add imagined plots in the creation of picture books.
5. When it comes to images, they can tell stories whether mentioned or not mentioned in the text. Also, we can draw the settings.
6. All the shapes and forms in the world can be broken down into basic geometric forms.
7. The images in picture books do not have to be especially sophisticated in terms of skills. In fact, the pictures are explanatory, and they should come with the idiosyncratic qualities of the illustrator.
8. Drawing is about its aesthetic value and the patience of the artist. If we are not good, our patience can move the viewer as well. When it's time to draw realistically, we should go for it. Nonetheless, we should also know when and how to relax.

老師不吝和大家分享自己作畫的過程，在底稿之前都是無盡的打草稿和練習，其實在老師積極樂觀的演講背後是很謹慎、充滿耐力的創作精神！

Mr. Wang doesn't hesitate to show his originals. Before the final draft, there are always endless trials and errors. I can feel behind his sunny optimism lies a super self-demanding and persevering soul. 

聽完演講之後我和老師說，老師人生故事的前半段就是我的經歷，老師鼓勵我一直畫下去，我因此得到很多能量！

After the talk, I tell Mr. Wang that I am experiencing the first half of his story, which is full of frustrations and failures. He encourages to keep drawing, which really gives me loads of positive energy!

The 26th Award Ceremony of Hsin Yi Picture Book Contest / 信誼第26屆幼兒文學獎

上次參加信誼幼兒文學獎頒獎典禮已經是五年前的事了，現在回想起來，其實有沒有入圍或得獎都要來看一看才行。

Last time when I went to the award ceremony of Hsin Yi picture book contest, it was five years ago. Now when I look back, I feel that whether I've won or not, I should come for a look. 

        典禮上邀請到許多兒童文學界重量級的人物和入圍的諸多年輕藝術家，是令人很振奮人心的場合。

   Many heavyweight figures in Taiwan's children's literature circle were invited along with many super young selected artists. I felt so moved to be part of all this. 

        事前便知道我沒有得佳作或首獎，但是我一點也沒有感傷的心情，，看到很多好作品就很開心了。

   I knew that I didn't win the final award  beforehand, but I didn't feel upset at all. In fact, I was more than happy to see so many wonderful works. 

       今年的首獎從缺，有三名佳作，兩名獲獎人是二十多歲的年輕女孩巫宇庭和林潤芃，最後一組是雙人創作，左邊的許智偉先生說他參加好幾次了，這真是很鼓勵人的話語啊！最棒的是頒獎人是永遠的小太陽林良老師。

   This year there was no first place. There were three winners of second place, two of whom are young girls in their early 20s. As for the third group, the winners said they are not that young.  Mr. Hsu on the left encouraged us by saying that he had participated several times. Best of all, Mr. Lin Liang was there too. He is the father of children's literature in Taiwan. 

       主辦單位認為這幾年的作品圖勝於文，所以今年徵件的項目恢復圖畫書文字獎，希望可以有好故事讓插畫家來詮釋。

   The judges have the impression that the works over the past few years have been more impressive in terms of pictures. Most artists can work on their story-narrating skills. Thus, there's the category of picture-book narratives in the coming competition. Hopefully, there will be more good stories for illustrators to work with. 

        感謝我的好朋友們蕙玲和美燕來陪伴我，很貼心的主辦單位還安排了美麗美味的下午茶，我們在我的小恐龍家庭前留影。

   I would like to thank my good friends Huiling and Meiyen for being there for me. Hsin Yi prepared really yummy afternoon tea for us to enjoy. We took a picture in front of my dinosaur family. 

        而頒獎典禮之後有小野先生的演講，主題是如何說一個好故事，雖然小野沒教任何的寫作技巧，我們卻在他說的無數故事裡又哭又笑，這就是說故事高手的功力吧！

   The famous writer Hsiao Yeh was invited to give a talk on how to tell a good story. Though he didn't teach any writing skills, we laughed with tears during the whole speech. He definitely showed how a good story-teller should be. 

        今天過後我要更加努力，一輩子都要寫故事和畫故事！

   This is such an uplifting day. After today, I will definitely work harder and dedicate my life to writing and illustrating stories! 

Stone Soup study club 6 / 石頭湯讀書會之六

每週六去參加石頭湯讀書會總會有各種不同的驚喜，因為我對台灣兒童文學創作家的無知，造成我現在的幸福，上完課總有發現新大陸的感嘆。

Every Saturday there are always surprises in store for me in the Stone Soup study club. My ignorance for Taiwanese children's literature writers results in my immense bliss now. I always end up feeling like I've discovered a new continent every weekend. 

        今天的講者是知名的兒童文學作家林世仁老師，老師高高瘦瘦的，很像長腿叔叔，說起話來真誠開朗，就像春天的好天氣，令人意猶未盡。不過當老師被問到這些年以來的創作對他有何影響時，他回答說，其實他在小學四年級前是外向的孩子，還參加過演講比賽，但是上了國中之後變得很內向，透過創作，他才得以回到小學四年級之前的樣子，並且保持生理和心理上的青春。

   The guest speaker today is Mr. Shi-jen Lin, who is a renowned writer in the children's literature in Taiwan. He instantly reminds me of Daddy-Long-Legs. When he talks, I feel his sincere and communicative personalities, right like sunny spring days. However, when asked how writing has influenced him, Mr. Lin says that he was an outgoing kid before 10. He even participated in speech contests, but in his teens, he became introvert and withdrawn. Through writing, he has managed to return to the young self before 10 and stay physically and mentally young. 

        老師雖然是文字工作者，但是有藝術研究的背景。在今天的演講中，老師不斷提到和插畫有關的議題，讓我收穫良多。他以最新出版的童詩作品：古靈精怪動物園為例，和我們分享創作童詩的過程，基本上他是慢型的寫作者，可是這本書的靈感來自「謝爾叔叔的古怪動物園」一書，老師在一個晚上靈感泉源，當時便創作了十幾首詩，儘管如此，這本書卻花了五年才出版，而最特別的地方在於他和好幾位插畫家的共同合作，老師說，他最期待的部份便是看插畫家如何詮釋他的文字。除了藝術家的觀點，老師對於圖面也有他自己的想法，同時編輯和美編也加入他們專業的建議，因此產生許多火花。

   Though Mr. Lin is a writer, his background in art history also plays a crucial part in his works. In the talk today, he keeps sharing the process in which he and the illustrators cooperate, which really offers  an insight into how writers and illustrators work. Take his latest work My Dear Animals for example. It is a collection of 50 poems inspired by Shel Silverstein's book Don't Bump the Glump!: and Other Fantasies. Though he tends to be a slow writer, he was inspired one night and wrote about 15 poems about animals that he created. Despite so, he didn't get to have the book published until five years later. Something most special about the book is that he got to work with several illustrators. In fact, he was really looking forward to how they might interpret his imagination pictorially. Apart from the illustrators' viewpoints, Mr. Lin had his own idea regarding the images. Meanwhile, the editor and art editor also assisted by providing their suggestions. Thus, there are many interesting visual presentations in the book. 

        這本書中收錄老師自創的五十種怪獸，老師在寫作的當下並未聯想到他們背後的意義，不過最後編輯建議把這些動物分類，讓讀者在閱讀時能有休息的空間，後來老師才發現原來這些動物代表的是各種人性中的弱點，雖然是虛構的動物，卻真實地存在我們心中，說著說著，老師把他們和人生結合在一起，我真的是心有戚戚焉。

   The book includes fifty poems about fifty kinds of non-existing monsters. While Mr. Lin was writing, he didn't think about the meaning of every monster. It was not until the editor advised him to categorize the monsters for the reader to breathe when reading that Mr. Lin realized that these animals actually symbolize human beings' weaknesses. Though the animals are fictional, they are more real than the reality and exist in each of us. Mr. Lin goes on to connect his creation with life, and I can't help nodding in agreement all along. 

老師說了好多可以供創作者參考的話，下午聽小野先生演講時，也說了幾乎一模一樣的話語，這裡我想引他的話：

Mr. Lin has said many great quotes which are very helpful to potential writers and artists. And I hear the same words while attending another speech by the famous writer Hsiao Yeh. 

「一本書的樣貌有很多可能。」

〈「同樣的故事可以用各種方式說。」─ 小野老師〉

"There are many ways to make a book." 

("The same story can be told differently." by Hsiao Yeh)

「開心的背後就有意義，有教育意義的故事不一定是好故事，但好故事一定有意義。」

"There's meaning behind a 'happy' story. Stories with educational significance aren't necessarily good stories, but good stories must have certain significance." 

「對於插畫的詮釋，有把握時就正面迎敵，沒有把握時可以畫故事發生前的那一刻。」

"About how to illustrate, when you are sure, you can illustrate directly what's said in a quote, but if you are not, you can illustrate the moment before the story happens."

「每個創作者都是小小的上帝。」

"Every creator is God in his/her own way." 

「寫童書要用小孩的心和大人的眼睛。」

"It takes a child's heart and an adult's eye to write books for children." 

「真正好的童書適合八到八十八歲的人閱讀，因為它有觸動人心的部分，提到人心的核心價值，讓人心頭暖暖的。成長是擴散的過程，但隨者長大，我們逐漸被苦惱憂慮所佔據，忘了核心的部分。」

"A really good book for children can be read for people from 8 to 88 years old because there is something that touches everyone. The part about core human value will warm our hearts. Growth is the process of expansion. We expand what we've already known, but with time passing by, we are preoccupied with worries and anxiety and forget what's really important." 

        老師也帶小朋友創作童詩，他的工作過程是帶孩子們讀幾首童詩，看相關的圖片，之後便放手，先讓孩子自由地拼貼一隻怪物，再給牠想個名字，想想牠的個性是什麼，把這些想法寫進詩中，有趣的是小孩會因此暴露弱點，並且把他們的情緒變成怪獸的樣子。老師說與其教，不如說是他陪著孩子們做這件事，把此時此刻的心情記錄下來。

   Mr. Lin also guides children to write poems. He will first make them read some poems and look at some pictures, and after that, he'll let them create freely. He usually asks them to do collage of a monster first, then name it, think about its personalities, and make these part of their poems. Interestingly, children will thus reveal their weaknesses automatically and turn their emotions into the monsters. Mr. Lin says instead of "teaching," he actually accompanies them to record their feelings of the moment. 

        老師也提到他的另一本舊書重印：十四個窗口，這本書的書名來自於老師在不同的窗口寫不同的故事，舊版的插畫家劉宗慧用故事裡的元素來創作，而新版的插畫家六十九則是利用故事以外的背景，以老師在不同窗口創作的理念，利用窗前有的物品來作圖面的發揮，值得一提的是，六十九先生因為聽不見，心特別細膩，插畫風格很文學。

   Mr. Lin introduces another newly-printed old book of his: Fourteen Windows. The title derived from his writing each story in front of different windows. The illustrator for the old version of the book took the elements in each story to illustrate, but the artist of the new version based his concept on how Mr. Lin created the story and designed each illustration by using the objects found in front of the windows. The young artist named 69 can't hear, so Mr. Lin thinks that's why he is especially sensitive. His drawing style is literary. 

       老師最後分享他的另一本作品「宇宙魔法印刷機」，這本作品以老師對於「書」的看法，探討書可以以何種形式存在以及書的意義。沈從文說：我讀一本小書又讀一本大書。」我的人生目標則是：我寫一本小書又寫一本大書。

   In the end Mr. Lin shares another book of his: The Magic Printer of the Universe. It is a book that explores his idea on books, discussing in what forms books can exist and the meanings of books. The famous Chinese writer Shen Congwen said: I read a small book and a big book at the same time. My life goal is: I write a small book and a big book. 

Stone Soup study club 5 / 石頭湯讀書會之五

今天的主講者是著作等身的科幻作家黃海老師，因為我小時候對科學不是很有興趣，所以很少涉獵科幻類小說，但是聽了老師的講課，又再次明白，無論是哪一類的寫作，基本精神都是一樣的，而科幻文學的想像更是浩瀚，所以這兩個小時裡有好幾次下巴差點掉下來，老師舉的許多中外作品例子實在太有趣了。

Today our guest speaker is Mr. Hai Huang, who is a productive sci-fi writer. Not very interested in science, I didn't particularly go for sci-fi fiction. However, after the lecture, it dawns on me again that all roads lead to Rome. In whichever genre of writing, the underlying principles are the same. In fact, it requires even more imagination to write sci-fi fiction. My jaw is about to drop several times during the talk because the examples given by Mr. Huang are way too fascinating. 

        在科幻創作中，特別強調想像力的合理性，而許多科幻作品的想像後來都變成人類生活的真實，如果未能有科學的背書，就會較偏向奇幻文學。科幻常用的主題有穿越劇，包括時間和空間上的穿越，從以前的作家開始，就已經有旅行到外太空的想法，並且對於其他星球的生物有各式的想像；人和動物之間可以互相轉換形式，或者人類可以跨越生死的限制，身體和靈魂也可以分開。

   In sci-fi fiction, scientific logical reasoning is especially emphasized. As a matter of fact, many sci-fi novels later become the reality. Yet, if the idea is not backed up by science, then the work should be categorized as a fantasy story. Time machines are a main theme as well as traveling both inside the human world and to the universe. Also, since a long time ago, writers have had diverse ideas about creatures from outer space. Moreover,  men and animals are interchangeable in form, or human beings can cross the  boundary between life and death. Our soul doesn't necessarily have to dwell in our physical bodies. It can take its own adventures as well.  

        從古到今的科幻作品中，其實主要的理念不斷地被借用重複，每個作者加上自己的想法，黃海老師說：著作權法保護的是作者的表達方式，而非他們的觀點。這也是我去英國讀書時學到最重要的事，參考別人的作品不是抄襲，而是發展想法的過程。

   Some themes are constantly borrowed and re-developed throughout history. Every author comes up with their own perspective to create their version of story. Mr. Huang says: What the copyright protects is the author's way of expression instead of their viewpoint. This is also one major lesson I learned when I studied in Camberwell. It's part of the idea-developing process to collect information and references. 

        老師說話有種令人放鬆的風格，我不自主地畫起速寫，有些同學像我一樣，每週都來上課，我覺得特別令我敬佩的是帶著孩子的媽媽，而有些是選擇主題來上的人，這樣我們也上了五週的課。今年是很棒的一年，而參加石頭湯讀書會是最棒的事情之一，我因此更清楚如何讓想像力遨遊；兒童文學協會也有很多繪本的收藏，每週末我總會翻一些書來看，因而能更堅定我的目標。

   Mr. Huang has a very relaxing style of speech, so I can't help but start to sketch. Some people come to the gatherings every week like me. I find some young mothers very impressive for they always bring along their children faithfully. The others choose their favorite lessons and come whenever they'd like to. It's kind of hard to imagine that we've attended five weeks of classes. 

   This year is a great year, and coming to the Stone Soup study club is one of the best things. I have thus learned how to set free my imagination. There are amazing book collections, so every Saturday I'll read some picture books to remind myself of my goal again and again. 

        黃海老師一生都在筆耕，做了幾十年對於科幻總有無比的熱情，我也要一直這樣生活！

   Mr. Huang devotes his whole life to writing, and he's still full of passion for sci-fi fiction. I'd love to live in the same way too! 

Stone Soup study club 4 / 石頭湯讀書會之四

今天波隆那插畫展在義大利開跑了，雖然只能在這裡想望，我也要再接再厲才行。

Today Bologna Book Fair 2014 has started. Though I can only think of it here, the thought motivates me to work harder. 

        石頭湯讀書會的第四堂課由蔡淑媖老師帶領大家認識聲音，老師說身體是我們的樂器，我們要好好使用各部位，知道如何發出好聽的聲音才能說好聽的故事。小嬰兒在學會說話之前都在做聆聽的動作，所以大人得給幼兒好的詞句，這樣小朋友才說出好東西。

   In the fourth lesson of Stone Soup study club today, Ms. Shu-ing Tsai teaches everyone how to know our own voice. She says that our body is our organ and that we should learn to use every part well. In fact, only when we make good sounds can we tell good stories. Before infants learn to talk, they are accumulating the input adults give. Thus, grown-ups should feed them with well-written stories. 

        聽老師演講同時，我想到自己對於聲音和聽覺一直是很不重視的，即使我在工作中得大量使用喉嚨，我完全沒有在保養，而我也不常聽自己說話，所以我在思考寫故事時鮮少用到聽覺。

   While I am listening to the talk, I realize that I tend to ignore my own voice and hearing. Even though I am required to talk a lot at work, I never take good care of my throat. Nor do I listen to myself. That's why I hardly employ the auditory description when writing. 

        老師又教我們如何發出不同動物的叫聲，因為老師小時候在鄉下長大，對於動物叫聲有細微的觀察，連同一種動物的老少聲音都有明顯的不同，我們很努力地學著用腹部發聲，但我覺得自己放不開，在這方面我還得好好練習。

   Ms. Tsai also demonstrates how to make sounds of different animals. Because she grew up in the country, she had very keen observation. She can even show the sound differences between the old and the young of the same animal. We try our best to make sounds with our stomachs, but I am too self-aware. I still need a lot of practice in this aspect. 

        從現在起，我要走出平面式的故事，盡量用五感來形容畫面。

   From now on, my stories will no longer be visual. I will make use of the five senses to enrich the text and pictures. 

Stone Soup study club 1 / 石頭湯讀書會之一

我想學寫故事有一陣子了，上星期放棄上蕨類課程的機會，卻非常幸運地從郭城孟老師的臉書連到中華民國兒童文學協會，偶然發現三月有讀書會的行程，我當然不能放棄這天上掉下來的好運氣。

I'd wanted to learn about story-writing for a while. Last week I gave up the fantastic opportunity of taking a course in ferns in NTU, but God didn't give me up. I accidentally found the Facebook webpage of The Association of Children Literature, ROC via the page of the herbarium's director. What's better, new study club sessions are scheduled to begin in March. How can I ignore such a heavenly chance? 

        第一週的主講人是楊茂秀教授，他是很棒的兒童教育學家，一開場便說了好幾個故事，老師說故事的功力讓人完全不懷疑故事的真假，而且老師靈活運用聲音和肢體語言，把每個角色扮演得栩栩如生，加上他天生的幽默感，每個故事其實都像演出來的繪本。

   The lecturer of the first week is Prof. Mau-hsiu Yang. He's an excellent children educator. He starts the "new semester" with several stories. Dr. Yang is such a wonderful storyteller that I don't question if the plots are true at all. Besides, he exerts his voice and body language to such a degree, along with his natural sense of humor, that every story he tells is a picture book that comes alive. 

        其實每一個故事的哲學都很簡單，去掉大人社會化的認知，回到兒童最單純的想法，這就是繪本的精神，而神奇的是，對我來說，回到最初有重新學習的強烈力道。

   In fact, the philosophy in every story is simple. The spirit of picture books is to discard what socialization has imposed on every child and to highlight children's innocence. Amazingly, though I once had that in me, I feel the power of re-learning what I have forgotten or left behind. 

        楊教授也提出有趣的名詞，如故事生態學，也就是說故事沒有必要一定要如此，結局可以順著自然的方向發展，原來故事書也要像圓融的人生觀一樣自在；還有，東西是有生命的，人和他們是平等的，果然很多繪本都因為賦予東西生命，於是觀點就變得好玩了。

   Prof. Yang also comes up some interesting ideas. For example, there is not a "must-be" ending to a story. Instead, the story can go with the flow. So I've learned that stories and real life are the same--we should allow for many possibilities. Also, the term "ecomocracy" advocates that things have life and that people and things are equal. True, many picture books are fun to read because the objects have their unique points of view as well. 

        聽著老師說著說著，等我下午去植標館時，居然有個錯覺，覺得我可以替植標館的生活寫部少年小說了。

   As I listen to Prof. Yang, a really wild idea crosses my mind when I go to the herbarium in the afternoon. I suddenly believe that I am capable of writing a teenage novel for the life in the herbarium! 

        讀書會的現場清一色是女性，從一個人來的女生，到帶著孩子來的媽媽，還有阿嬤，不知道喜歡繪本的男人都去哪了。我身邊坐了個認真的媽媽，抱著一歲的小嬰兒，他的視線放在我身上好長一會兒，即使我沒有小孩，也覺得自己融入在現場和樂的氛圍裡。最後有些孩子們都跑走了，大人們卻聽演講聽得目不轉睛，看來大人比小朋友還需要繪本啊！

   It's funny to see only women in the study club, from single women to married women with children to grandmas. I wonder where the picture-book loving men are. A really committed mom with a one-year-old infant mom sits next to me, while the baby can't take his eyes off me for a long while. Now, despite the fact that I am childless, I don't feel so anymore. In the end, some children have started their own "play club" whereas the adults are the ones that stay to listen to Prof. Yang. It seems adults need picture books more than children!