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    Inprint Family Reading Series

    The Cool Brain of Rebecca Stead: Writing for middle-schoolers & adults inmid-life crisis

    Tarra Gaines
    Mar 26, 2011 | 4:09 pm
    • "When You Reach Me"
    • Author Rebecca Stead

    With video games and the Internet tempting kids, with city libraries closing on the weekends and with what may seem like endless school days spent either taking standardized tests or prepping for those tests, adults can’t be blamed for asking: Do kids nowadays actually read books anymore?

    Fortunately, children book sales figures attest to the fact that they do.

    In Houston, Inprint has been doing their part to make sure there will be a next generation of adult lovers of literature by creating a family reading series called Cool Brains. This Sunday they bring author Rebecca Stead to town for a reading and talk about her best-selling and Newbery Award winning novel, When You Reach Me.

    Before her trip to Houston — her first visit to our city — Stead talked with CultureMap about her books and her love of writing for children.

    A former New York City public defender, she tried her hand at writing adult short stories, but in a tragic four-year-old-son-meets-laptop mishap she lost many of those stories and decided to make a change to children’s books.

    When I asked Stead what the difference is between writing for a young audience instead of an adult one, she replied that writing for kids is “really freeing.”

    “They’re particularly active readers, in the sense that they’re whip smart and rooting for the story to work. . .They have high standards but are generally not looking for the flaws.”

    She loves writing for middle graders because “they’re at this point of life where they’ve really started to blossom brain-wise, intellectually.” Stead has done reading on what neurology tells us about the developing brain and discusses how children during the 10-12 years are at a point when they’re growing neurologically but hormones have not yet overwhelmed them. Those years are also a time when children are still “wide-open” and not yet spending “so much energy towards self-protection,” when “there’s not that paralyzing fear that you’re not O.K.”

    Stead believes those “wide-open” years are actually similar to one other point in our life. “I sometimes say I write for middle graders and also for adults who are in mid-life crisis. Because suddenly you’re questioning ‘What is my life about?’ and ‘How do I find happiness?’. . .when you’re thinking about all new starts and new pathways.”

    Stead describes middle school and middle age as the two points in life where we “stop and ask all those basic questions.”

    Reading When You Reach Me, I found it easy to understand why it was the Newbery committee’s choice. In the novel, 12-year-old Miranda begins to ask those “basic questions” of her own seemingly ordinary life in New York City in 1978. But like most heroes in literature, that ordinary life soon becomes extraordinary.

    Miranda begins receiving a series of mysterious notes. The first one promises “I am coming to save your friend’s life and my own.” A later one asks her to write a letter that “must tell a story--a true story. You cannot begin now, as most of it has not yet taken place.”

    Miranda and the reader soon begin to realize that the world and time aren’t as simple as we think they are, and a life can be saved by storytelling and a little bit of time travel.

    Are 10-12 years olds ready for an intricately plotted book that involves the possibility of time travel? Stead knows they are.

    “Kids are really able to wrap their brains around this story and adults sometimes less so. I think it’s that whole question about being open and playing with a lot of the basic questions about life and who we are. I think sometimes adult experience kind of narrows us.”

    The kids she speaks to seem to be “completely flexible and comfortable about these puzzles and far out questions about what would time travel be.” She recently visited a sixth grade class where they debated different ideas about traveling back through time and the sixth graders got so excited they were shouting their own theories on the subject.

    Since time is a little difficult to unravel, the novel is arranged around categories of the old game show, The $20,000 Pyramid. Miranda’s mother is about to become a contestant on the show and throughout the book Miranda helps her practice. “The game becomes this lens through which she’s trying to make order of her whole experience she’s had. . .She’s discovering all these people she put into categories don’t completely belong there,” Stead explains.

    Stead talks with the kids she meets about our need to categorize. “What I always say to kids is that we all are putting one another into categories all the time. We can’t stop it. . .but we can at least be aware of it. That can maybe help us to think twice before categorizing someone.”

    One of the most-lasting images in the book is of Miranda lovingly carrying around her copy of the classic children’s novel, A Wrinkle in Time, and her need to share that story with other characters in the book. I asked Stead if she thinks kids today also carry around a copy of their favorite book, or if that is, unfortunately, an image from the past.

    Stead believes it’s not. She meets “tons of kids who are passionate about books.” When she visits schools, she likes to run her talks with the students “as a conversation.” They not only want to talk to her about her books but the books they are reading right then. She says “It’s very moving, really” when they wish to share their experience and feelings about the books they love.

    “Obviously you read a lot about the end of books and how it hard to persuade kids to read because they’re always on twitter or playing video books or on facebook or texting each other, that they don’t have the time to read or the patience to read or the attention span. But I feel like I’m meeting these incredibly passionate readers all the time. . .I don’t worry that kids aren’t passionate about books anymore.”

    Passionate Houstonian book lovers of all ages can meet Rebecca Stead at Pershing Middle School Sunday at 3 p.m.

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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