Bullying In Children’s Literature

bullying children's literature

“Middle school wasn’t much fun for me. We had some bullying going on, and the best thing to do was to stay out of their way.”

— Jeff Kinney, author of Diary Of A Wimpy Kid

bulling diary of a wimpy kid
Rodrick Heffley from Diary of a Wimpy Kid early films. Rodrick bullies his younger brother.

WHAT IS BULLYING?

Bullying is repeated verbal, physical, social or psychological aggressive behaviour by a person or group directed towards a less powerful person or group that is intended to cause harm, distress or fear.

If two people disagree, that is not bullying.

If two people dislike each other, that is not bullying.

A single episode of aggression also does not count as bullying. This is especially important because an act of retaliation on the part of the bullied does not mean ‘both sides are at fault’.

COMMON BULLYING TACTICS

When authors cover the topic of bullying it can be super helpful to young readers, explicitly teaching what bullying is and how to recognise it for what it is. Even if we as adults have no further advice — I don’t consider myself qualified to give advice on how to deal with bullying — recognising bullying behaviour is a huge help to kids on the receiving end of it.

So, what does bullying look like? Some of these are obvious to neurotypical kids but in my opinion even neurotypical kids need explicit training on what bullying looks like. By putting these tactics into words, we are holding kids to higher standards. They then hold each other to higher standards.

  1. Touching someone in anger, or touching someone who doesn’t want to be touched
  2. Saying something nasty then putting ‘just joking’ on the end as a way of blaming others and demeaning the reaction of the victim
  3. Spreading untrue information about a person
  4. Threatening to tell an authority figure that a person has done something they have not
  5. Sharing true but personal information about a person
  6. Taking photos of someone without their consent, worse when shared, even worse via social media
  7. Mimicking the way someone walks/talks/eats etc
  8. Excluding someone because of skin colour/religion/culture and similar
  9. Microagressions are also a subtle form of bullying e.g. constant reference to someone’s difference from the wider peer group
  10. Barring someone from entering or exiting a space (commonly stairwells, toilets, shared play spaces)
  11. Practical jokes and pranks which are designed to humiliate someone, probably in front of a group
  12. Going into someone else’s bag/pockets/locker/desk without their consent
  13. Or more generally, messing around with someone else’s stuff with the intention of annoying them or shaming them
  14. Touching someone’s clothing, especially with the intention of exposing their body to others
  15. Provoking someone to anger, in general, hoping they will explode and get into trouble with teachers and parents
  16. Threatening to withdraw friendship unless someone does what you want them to do
  17. More generally, any behaviour designed to control another person. A lot of the bullying that goes on between girls mirrors exactly the abuse we call ‘coercive control’ when it happens in an adult relationship. Unfortunately, a history of falling victim to coercive control as a child/teenager primes someone to fall victim to it as an adult, too. (We can flip this, but we have to first name it, and teach it explicitly.)

HOW IS BULLYING TREATED IN CHILDREN’S LITERATURE?

Almost any story set in a school or a school stand-in will involve opposition between peers. Bullying is a common topic in children’s literature from chapter books onwards.

Adults know way more about how bullying works than a couple of generations ago. This can be traced through fiction (or ask any elderly person about their experiences of bullying in school).

Fictional bullies occurred frequently in school/boarding school stories, and it wasn’t treated as bullying, but more of a ‘character building exercise’, designed to prepare school aged children for a world in which they’ll be ranked in an adult hierarchy.

Today’s authors show a better understanding of the true nature of bullying, in which bullying is a social system, rather than a person:

All kinds of attitudes have changed, mostly for the better. Bullies were hated in Tom Brown’s Schooldays but now, as in Louis Sachar’s Holes, they are both villains and victims.

Amanda Craig, writing about the third golden age of children’s literature

We’re all doing better now, but still have a long way to go. How are adults, specifically adult writers, still getting bullying a bit wrong?

BULLIES WHO LOOK LIKE STEREOTYPICAL BULLIES

“There was a bully at Peter’s school and his name was Barry Tamerlane. He didn’t look like a bully” writes Ian McEwan in chapter four of Daydreamer. The explicit and direct message here is that “There’s no such person who looks like a bully.”

He wasn’t a scruff, his face wasn’t ugly, he didn’t have a frightening leer, or scabs on his knuckles and he didn’t carry dangerous weapons. he wasn’t particularly big. Nor was he one of those small, wiry, boney types who can turn out to be vicious fighters. At home he wasn’t smacked like many bullies are, and nor was he spoiled. His parents were kind but firm, and quite unsuspecting. His voice wasn’t loud of hoarse, his eyes weren’t hard and small and he wasn’t even very stupid. In fact, he was rather round and soft, though not quite a fatty, with glasses, and a spongy pink face, and a silver brace on his teeth. He often wore a sad and helpless look which appealed to some grown-ups and was useful when he had to talk himself out of trouble.

— Ian McEwan, Daydreamer

I do wonder if there’s an unfortunate implicit message in here, though. When we describe the appearance of bullies, no matter how we do it, we’re conveying the implicit message that if you just study this hard enough, you’ll find you can typecast people according to how they look. ‘Bullies don’t look how you think they look… they actually look like this’, is one possible interpretation of the passage above, when I believe the intention is ‘You can’t pick a bully based on what they look like.’

McEwan does side with the young reader and does what most authors do: He acknowledges the fact that adults will never understand the complicated and subtle social dynamics of adolescents:

Of course, Peter kept out of the bully’s way, but he took a special interest in him. Barry Tamerlane was a mystery. On his eleventh birthday Barry invited a dozen boys from school to a party. Peter tried to get out of it but his parents would not listen. They themselves liked Mr and Mrs Tamerlane, and so, by the terms of grown-up logic, Peter must surely like Barry.

— Ian McEwan, Daydreamer

MODEL VS IMPERFECT CHARACTERS

Authors sometimes set up a character web with ‘model’ children versus ‘imperfect’ children. By the end of the book, the young reader is supposed to have worked out for themselves who is in the wrong, and mimic the behaviour of the model children in real life. An example of this kind of book is Pigface by Catherine Robinson. The focus character learns a lesson when he breaks his leg playing football. While he’s away on the couch, a new boy joins the class. This new boy is preternaturally mature. When our focus character returns to school he realises he should stop calling Harry ‘Pigface’ because he probably doesn’t like it. He has also learned to stick up for other people, and not to judge others at face value. The reveal is that this cool new boy was bullied at his previous school.

This story for emerging readers does not attempt mimesis. It attempts (and achieves) a clear line between bullying and friendly behaviour. The reality is that a boy who was bullied at his previous school is likely to continue to be bullied at a new school, though bullying cultures do differ from school to school. It is possible to start with a clean slate in a new environment, though perhaps not quite so cleanly.

WRITING DEVELOPMENTALLY INCORRECT BULLYING

When do people start forming social hierarchies? As soon as they start interacting with groups of peers. But when does that real ‘mean-girl’ crap start happening?

“The mean-girl thing is happening much sooner than everyone realizes,” our elementary school counselor told me when I called to talk it through. “I see it all the time.”

The Washington Post

The parent who wrote this article found it first started happening to her daughter in fourth grade. I also have a daughter of that age (in NSW Australia it’s called ‘year four’) and I can confirm it started happening this year. What form does it take? For my daughter, it has involved social exclusion. Friend has a birthday, brings enough cupcakes for everybody, gives extra cupcakes to her ‘besties’, refuses to give cupcake to one girl in particular as some kind of social punishment. It’s easy to almost laugh at this ridiculous example, but if this happened to us in our workplace, we’d be equally wounded. Apart from blatant social exclusion:

The most common ways girls ages 8 to 12 bully is by mocking, teasing and calling people names, says Cosette Taillac, a child and adolescent therapist

The Washington Post

Though that article focuses specifically on the types of bullying that goes on among girls, it strikes me that at 8-12 years old, there’s no significant difference between how girls and boys bully others. Boys use this same strategy of ‘mocking, teasing and calling people names’. However, the nature of these names might be different. Because of a cultural emphasis, girls are more vulnerable to commentary about physical appearance:

“Girls at this age are extremely conscious about how they look in relationship to others,” Taillac says. “Any way they look ‘different’ is a potential target. This goes beyond weight — it can also be about being taller or shorter, skin color, or even about things like having freckles or pimples.”

The Washington Post

(No one is saying boys aren’t also picked on due to how they look; the difference is that all girls are judged based on their looks no matter what they look like, whereas physical appearance only comes into it for boys when the boy does actually fall outside the ‘accepted norm’, and ‘the norm’ is wider for boys. Which is of course no comfort to boys who do fall outside the accepted norm for boys. And boys are getting more judgemental about each other’s appearance, unfortunately. Living in the exact same culture, it’s getting worse  for girls as well.)

On a more positive note, this form of bullying has all but disappeared by senior high school.

This opinion piece written by a teenager echoes something I’d already noticed myself:

In my school, most people like each other! We might not like the same brands or bands, but that doesn’t mean we have a burning desire to watch those more traditional or popular fail. (That would be middle school.)

While this HuffPost article is painting too broad a stroke with an inflammatory headline about not liking YA novels in general (there are many different genres within that category), the writer is pointing out that bullying takes on a different form altogether once students move through high school. (But it doesn’t disappear completely.)

HOW BULLYING CHANGES DURING ADOLESCENCE

Bullying among the 8-10 year old set looks completely different from bullying in senior high school. This needs to be reflected in stories.

I Study The Psychology Of Adolescent Bullies is about Donald Trump but offers an insight into how bullying works at each age. The subheading sums it up: Kids who dominate other kids are often popular — for a little while.

Below is the reason given for why middle school is terrible for bullying, though I grew up in a country where middle school was often attached to the primary school — no major reshuffling necessary. I don’t know how the social dynamics are different in those cases but:

Although bullies are never liked, they are popular in certain situations. Our research shows that bullies initially become “cool” during their first year in middle school. We think that this link between bullying and popularity is strengthened by the collective uncertainty associated with the transition to middle school. As youth are trying to acclimate to the new setting, many worry about their own social standing and ask: Where do I fit in? Who should I hang out with? When the future is uncertain, it is vital to know not only where one fits, but also who is in charge. Dominance hierarchies help group members find their places and form alliances, and bullying is among the most primitive ways to establish dominance.

I have noticed in some stories, especially those on TV, middle school level bullying continues long past its due date. By the time students are about 15, explicit, racist or un-woke bullying behaviours have morphed into social dynamics far more subtle. But what does it turn into?

Our research on middle-schoolers also shows that the popularity of bullies wears off after the transition period. That is, after the first year in middle school, bullies’ popularity gradually decreases. […] When a young child is questioned whether he ate the last cookie (even when there are crumbs on his lips), the immature response is: “I didn’t do it.” Children deny the act before they learn that it is socially beneficial to admit the wrongdoing but deny any negative intent. Teens tend to become even more skilful and elaborate on various mitigating circumstances, such as not turning in their homework due to illness or because they were helping an ailing grandmother. These accounts reduce the likelihood of punishment and facilitate forgiveness.

If bullying is still going on in senior high school, it is insidious and covert and ridiculously difficult to deal with. It can usually be denied completely. ‘Social exclusion’ looks a lot like, simply, exercising your right to choose your own friends.

COMMON MISCONCEPTIONS ABOUT BULLYING

  1. Bullying is a problem that bullying people have. It does not follow that someone targeted by a system of persistent bullying is the one doing something wrong.
  2. Children and teens need friends. Friends aren’t just ‘the icing on the cake’.
  3. In order to be happy, children don’t need a wide circle of friends. Sometimes all it takes is one friend. The difference between no friends and one friend is like night and day.
  4. Unkind behavior toward children without social status is rewarded with social capital and elevated social status, because it highlights the status differential.
  5. It is not easy — in fact it is an act of rare and unusual bravery — to step in and defend someone with low social capital. Defending a low-status child is like touching someone with “cooties,” so bystanders rarely step in.
  6. A child at the bottom of the social ladder becomes “untouchable.” Even if that child has a delightful personality and loads of friends elsewhere, in a social system in which she lacks social capital, she is not likely to acquire friends. Take away point: a child can have loads of friends in one situation and none in another, because ‘untouchable’ cultures can pop up anywhere if not kept in check.
  7. Children with status erroneously believe that the reason untouchables have no social status is because they are repulsive, but in truth, it is precisely the reverse. The lack of social status is what makes an untouchable appear repulsive.
  8. Adults are no more likely to sacrifice their own social capital to stop bullying than children are. Adults don’t magically go through a character arc in which they are immune to all this crap. Most of us quietly become part of the system.
  9. When adults instruct kids to simply ‘walk away’ from bullying, we are indoctrinating them into this system. Parents justify this by going back to the concept of ‘freedom’. ‘My child must be granted the freedom to choose her own friends’.

–Happiness and the Pursuit of Leadership

Can we end the whole “you attract who you are” myth? There are abusive, terrible and mediocre people who latch on to vulnerable, kind and generous folks.

Another myth to abolish: You don’t have to “love yourself” first in order to be worthy of love in return. You are worthy of being loved, of being safe and well-cared for regardless of how you feel about yourself.

— @femmefeministe

RELATED RESOURCES ON BULLYING

A New Way To Reduce Playground Bullying

Bullies and Bullying In Kids’ Books

For more on coercive control, this podcast (actually the entire series) is excellent.

Amy Alkon coined the term ‘social greed’ to describe someone’s unwillingness to risk their own social capital without an anticipated return on investment.

The Long Haul by Jeff Kinney Story Structure

The Long Haul (2014) by Jeff Kinney is the ninth book in the Diary of a Wimpy Kid series. I wrote about Jeff Kinney’s writing process in this post, after reading various interviews with him around the web. Kinney tells everyone the same thing — he writes the jokes first, finds a way to string them into some sort of story, then does the illustrations in a single two-month flurry of industry. In short, the jokes come first, story a distant second.

However, when Kinney wrote The Long Haul, he already knew it was going to be turned into a movie, and if middle grade novelists can get away with a ‘jokes first’ approach to story structure, Hollywood scriptwriters can’t.

I was writing it with a movie in mind—this is the first book that I’ve written in three acts and with cinematic set pieces. So I really had a different hat on when I was writing this book.

Mental Floss

The Long Haul Jeff Kinney cover

ROAD TRIP STORIES

Continue reading “The Long Haul by Jeff Kinney Story Structure”

The Plot Of Dog Days by Jeff Kinney

Some have said that the Diary of a Wimpy Kid books have no plot, including Jeff Kinney himself. Is this really true? If so, the perennially popular Wimpy Kid series defies a ‘law’ of storytelling — a first of its kind.

Yesterday I read another book from the Wimpy Kid series and decided Dog Days story has a ‘meandering plot’.

Today I take a close look at a random Wimpy Kid book from my daughter’s shelf to see what people really mean when they say Jeff Kinney’s books have ‘no plot’. To do that I’m using the story structure template as outlined by John Truby in Anatomy of Story.

Diary Of A Wimpy Kid Dog Days cover

STORY STRUCTURE OF DOG DAYS

How Events Are Connected

The scenes in a Wimpy Kid story are made up of events in the present (on the day of writing), events of the recent past (the last few days) or flashbacks from weeks/months/years ago.

One event in the present can spark an event in the past, providing a natural segue. Where there is no natural segue, Greg writes a new entry under a different day of the week.

  • PRESENT: Mother insists Greg goes outside to play because Greg is in his room by himself under a blanket.
  • RECENT PAST: Greg goes to country club with Rowley where a girl they invited ditches them
  • FLASHBACK: Greg complained to Mr Jefferson about the fruit smoothies and other things but after complaining was uninvited to the country club
  • Greg’s mother makes him go to the local pool, which is a comedown from the country club.
  • FLASHBACK: Being terrified of the hairy naked men in the changing room
  • PRESENT: Greg learns the family can’t afford to go to the beach this year.
  • FLASHBACK: Last year he wouldn’t go into the surf because he realised sealife uses the sea as their toilet. He did enjoy a ride called the Cranium Shaker.
  • PRESENT: Mother says they’ll have a fun holiday at home hanging around the local area. Greg is looking forward to his birthday and the final Lil Cutie comic running in the paper.
  • ONGOING PRESENT: Argues with father about sleeping hours, screen time.
  • PRESENT: Greg’s photo album, with big gaps in it due to him not being the first born. “I’ve learned that photos aren’t an accurate record of what happened in your life, anyway.”
  • [Segue = Manny and mother seashell photo opportunity] FLASHBACK: Watching the same thing happen to his little brother, Greg realises mother bought seashells, buried them at the beach then took photos of Greg ‘finding’ them.
  • [New thread] Mother takes Greg to get haircut at a salon where old ladies get theirs done. Greg gets addicted to soaps.
  • [Segue = tabloids at the hairdresser] Grandmother isn’t using the phone because she read in a tabloid that they erase the memory of the elderly.
  • RECENT PAST: Mum has been throwing out grandmother’s tabloids but Greg has been reading them before they get thrown out.
  • PRESENT: At the hair salon, Greg had a long wait.
  • RECENT PAST: The old ladies who work there have been gossiping to him.
  • PRESENT: Mother interrupts story about Mr Peppers and Greg never gets to hear the end.
  • PRESENT: Greg is now hooked on soap operas. Mother tells Greg to invite Rowley over. They go to the basement and riffle through Rodrick’s stuff. They find a horror film. They’ve never seen one before so Greg arranges for Rowley to stay the night.
  • FLASHBACK: Last summer the boys had a sleepover in the basement. Rowley slept next to the boiler room because Greg is scared of it. They got spooked. This gag is a minor ghost story in which Greg tries to persuade his parents the house is haunted. But it was only one of Manny’s dolls.
  • RECENT PAST: Last night (it’s more feasible that Greg is writing his diary the day following a sleepover) the move was about a muddy murdering hand which walks. They spent the rest of the night in the bathroom with the lights on and were found this morning by Mr Heffley.
  • PRESENT: Yesterday mum gave Greg a lecture on horror movies. She has decided to start a reading club, which isn’t supposed to be a punishment but to Greg it is. This morning a few neighbourhood boys turned up.
  • FLASHBACK: When Greg was 8 years old he borrowed a book from the library but is now terrified of the librarian because he’s sure he owes thousands in fines for losing it.
  • PRESENT: This time it’s only Greg and Rowley at the book club.
  • FLASHBACK: About a book with a scantily clad woman on the cover which Greg has read, and the book doesn’t have any women in it.
  • PRESENT: Greg is the only one left in his mother’s book club.
  • RECENT PAST: Greg hasn’t been able to get through his assigned reading because he’s distracted by the thought of the muddy hand coming to get him.
  • and so on

This structure of scenes does make the plot seem in complete disarray (or ‘plotless’) but if you take away all the flashbacks and asides, there is a linear progression from ‘beginning of summer’ to ‘end of summer’. This is a Robinsonnade in the sense that Greg doesn’t go anywhere — unlike The Long Haul he is ‘marooned’ at home for much of it.

WEAKNESS/NEED/PROBLEM

I’m pretty sure Greg Heffley is on the psychopathic spectrum. His creator Jeff Kinney has said he never meant Greg to be a role model, but looking at the way he treats his friends, family and neighbours — he has no affinity to any of them. Not even to the dog who comes to stay. That personality trait leads to the inciting incident…

Without knowing (or caring) who has to pay for it, Greg and Rowley rack up a huge fruit smoothie at the country club snack bar, where Rowley’s father is a member. The reader sees him doing this, and like Greg, we pay no mind as to who is paying for all these drinks.

Some authors would introduce the issue of payment near the start, but in this story a lot of extraneous gags happen before we even realise this will be a problem. We are, however, shown within the first few pages that Greg has been drinking fruit smoothies.

DESIRE

On the first page we see that Greg only wants to sit inside under a blanket and play computer games all summer.

OPPONENT

As usual, the main opponent is Greg’s mother, who says it’s ‘not natural’ for boys to be spending so much time alone in their room. So she forces him out of the house.

PLAN

Greg plans to mooch of Rowley’s family’s country club membership while enjoying all the accoutrements of a lavish lifestyle, despite not really liking Rowley all that much. His unreliable, ironic narration has him complaining about the girl who ditched him and Rowley for the better-looking lifeguard. “The lesson I learned is that some people won’t think twice about ditching you, especially when there’s a country club involved.”

BATTLE

Another reason this story feels without structure is because we’re mostly used to a structure which builds to some sort of climax. This is achieved partly by a series of battles which (in most stories) build in intensity until the big, final showdown where the hero comes close to death. There’s nothing like that in this book. Greg has many, many small battles but these don’t lead to anything massive. The whole point of these events in Greg’s empty summer is to demonstrate the wide-open, goal-less days in the Every Boy’s summer.

SELF-REVELATION

Turns out this is essentially a story about a father/son relationship. But in Greg Heffley style, the deep and meaningful messages found in serious literature is parodied. Greg doesn’t learn much at all:

I guess some people would say that hating a comic is a pretty flimsy foundation for a relationship, but the truth is, me and Dad hate LOTS of the same things.

Me and Dad might not have one of those close father-son relationships, but that’s fine with me. I’ve learned that there is such a thing as TOO close. [An image of Rowley on the toilet talking to his father at the vanity.]

NEW EQUILIBRIUM

The holiday is ‘pretty much over’ when Mrs Heffley finishes the photo album. This final montage of the photo album is a one-image per gag rundown of each incident, but from the mother’s point of view. This provides some ironic distance between the mother and son’s version of events, and highlights the unreliable nature of Greg’s narration. We are reminded that the mother, too, only has a small part of the story of her son’s summer to document as she hasn’t the foggiest idea about all that goes on.

 

THE PLOT SHAPE OF DOG DAYS

Dog Days is far from plotless. If it appears plotless that is because it’s an example of a ‘meandering’ story structure, in which one event leads to flashbacks and asides. The hero has a desire, but it is not intense. He covers a great deal of territory in a haphazard way and he encounters a number of characters from different levels of society. Ulysses and Alice and Wonderland are well-known examples of the meandering plot, which foregrounds other aspects of story over the desire, plan and battle of the main character.

Dog Days is also a spoof on ‘serious literature’ of the sort put on summer reading lists by gatekeepers of children’s literature such as teachers and mothers. This is depicted by Mrs Heffley’s book club idea. If serious literature is meant to add to a child’s life, Greg’s summer is full of ‘mind-rotting’ activities eschewed by concerned adults such as playing video games, watching soaps, imbibing gossip at the beauty salon and reading trashy comics. No matter what Mrs Heffley tries to do to enrich her son’s life, Greg finds a way of turning even a trip to the pool into something ‘as bad as’ a horror movie.

The message of this book is that there is no message. Father and son remain united only by their common dislike of a comic, in which Jeff Kinney lampoons the mawkish comic strips often found in 20th century American newspapers. The epiphany, likewise, is that there is no substantial epiphany. In this respect (and this respect only), Dog Days is similar to Annie Proulx’s The Half-skinned Steer — another upending of a common mythic story structure.

 

By the way, do you  know why ‘dog days’ refer to the hottest days of summer (in America)? Here in Australia we don’t even use that term, and here’s the reason why.

Diary Of A Wimpy Kid And The Buddy Comedy

Jeff Kinney’s Diary Of A Wimpy Kid was first published in 2004. The twelfth in the series is due November 2017. Kinney originally planned ten, unless the quality dropped off. At this point he plans to continue indefinitely, so long as they’re still popular.

Diary Of A Wimpy Kid cover

Television tie-ins, film versions and highly illustrated diaries of the Wimpy Kid ilk are all consumed in abundance. Such books should not be despised as merely unchallenging, or even pernicious (as Enid Blyton once was by disapproving parents and teachers); welcoming, accessible work, full of deftly harnessed silliness and engaging illus­tration, plays a critical role in the reader’s deve­lopment, teaching by stealth the power of a punchline or a single phrase or word, and makes the act of reading pleasurable in a way that ­data-driven literacy objectives often do not. Predictable formulae, comforting, unchallenging narrative arcs and repeated re-reading allow a child to build a solid foundation of enjoyment from which he or she can go far.

Imogen Russell Williams

THE AUDIENCE OF DIARY OF A WIMPY KID

By this point in his career, Kinney knows his audience really well.

“Kids usually discover my books around seven or eight. Once they are nine they really understand them. They read them until about 13, when they grow out of them.”

“You can’t really write for kids or you might write down to kids.”

ON WRITING FOR CHILDREN

Continue reading “Diary Of A Wimpy Kid And The Buddy Comedy”