Interrogating History, Perspective, and Nonfiction Writing with Steve Sheinkin’s "Impossible Escape"

By Mary Ann Cappiello & Xenia Hadjioannou on behalf of the Biography Clearinghouse

Recently, the Biography Clearinghouse interviewed author Steve Sheinkin about his latest nonfiction book, Impossible Escape: A True Story of Survival and Heroism in Nazi Europe. Action-packed and filled with dramatic tension and intricate historical details, Sheinkin shares the experiences of Rudi Vrba and Greta Sidonová, two Jewish teenagers during World War II.

While the full video interview and transcript are available on our website, covering a range of questions regarding Sheinkin’s research and writing processes, we share an edited portion of it here on the CLA blog as an example of the complex decision-making that goes into writing narrative nonfiction for tween and teen readers. 

Interview Question
As you were working on the book and revising it, how did you balance crafting a narrative that builds tension, which as you mentioned earlier, gets the reader hooked and builds the narrative towards that climactic moment, and the need for exposition, which is oftentimes in the case of this book exposition about very difficult topics? What were the moments where you knew that you had to interrupt the action, pause the action to provide that information for your readers?

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Steve Sheinkin’s Answer (edited for brevity): 
That’s doing narrative nonfiction for middle grade and YA, I think. That's my career essentially, trying to figure out how to do that……

I used to write textbooks. That's… you see how hesitant I was to confess that? But I used to write history textbooks where they don't have that problem. It's all just boring facts and figures and names and dates. And so I just don't want to ever do that. I'm still sorry and making amends for doing that. So I want it to be just story. And then I realize, wait a minute. I can’t be. I get jealous of people who write for adults because they could just say, “and then Pearl Harbor happened,” and then everyone knows what that means. I can't do that, and fair enough I shouldn't be able to, because it's unfair of me to assume that someone who's 12 or 14 has that background information, and they shouldn't have to, to pick up the book. I think that's part of what makes this, hopefully, makes one of my books valuable, is that they don't have to have background information….

I guess I hope it works that I start with just story…I am seeing all the best scenes where there's really well documented moments that have those elements of a scene that you want as a writer. .. You don't need to know them right away, but you do need to know them pretty early on, and that's why the first third of a book like this is always the hardest part. It’s kind of like a juggling act once the balls are going. It's okay. But getting them all in the air in the right order is the hard part. And so I'll write little bits of context. In this case the rise of Adolf Hitler, what the Nazis were doing. How anti-semitism was such, so central, to what the Nazis did, and and all of that…

I end up writing way too much of that, and I always do, and then kind of pare it down until it starts to feel right, and I work with my editor on that kind of stuff more than any other part of the book. I don't like to write the whole thing and then send it to her. I specifically like to try to write that first third as a draft and send it to her because it's just never, never good at first. It always has that problem of being clunky, and either not starting fast enough or we're not getting to the context soon enough, and those are kind of at odds with each other. 

You can get it right with enough back and forth, and trial and error… It's kind of like making a movie. You film both. You film all the scenes. You don't have to decide right away what order you're gonna edit them together in, but you know they're all going to be there.

Teaching Ideas

There are many different roles this fast-paced and moving book can play in the English Language Arts and Social Studies classroom. Below are two examples. For more, please see our full entry on Impossible Escape.

Punctuating Narrative with Exposition

Throughout Impossible Escape, Steve Sheinkin builds a tight narrative filled with action. Reading like a movie or a novel, the storyline builds tension, takes twists and turns, and moves towards a dramatic turning point and conclusion. But the book isn’t only the storyline. At times,  Sheinkin zooms in on a single event, within a single story, and then zooms out to provide a larger context or reveal a pattern across people and time.  

For example, on page 24, an old woman approaches Rudi, who is locked up in a small cell after getting beaten up and arrested in Hungary after fleeing Slovakia. She addresses him as “Mr. Jew” as she drops some food and cigarettes in his cell. Then Sheinkin begins to zoom out from this single event to note: “A kind gesture, but ominous also. He wasn’t a teenager anymore, not to most of the people in what he’d thought was his country.” In a further zoom out, Sheinkin goes on to explain that antisemitism was “hardly new in Europe,” and provides a brief overview of antisemitism across the centuries, from the medieval period to the 20th century. Sheinkin leverages the dramatic moment within his narrative to provide readers with necessary background knowledge to understand more deeply the dangers Rudi and Gerta and their friends and families faced. 

Ask your students what they notice about this scene on page 24 and the exposition that follows. What do they learn? Why did Sheinkin pause the narrative? Why is this information important? After having that conversation, play the portion of our interview with Sheinkin, where he discusses how, why, and when he punctuates narration with exposition: 00:22:36.190 -->  00:27:47.800. 

After discussing the video segment, have students 

• Identify similar moments where narrative is punctuated by exposition throughout the book as well as in any other narrative nonfiction texts they might be reading. 
• Practice this writing strategy by researching a historical event as a class - perhaps the Holocaust and World War II, perhaps something else related to your curriculum - and each writing a short narrative that includes important information in exposition.

Embracing Point of View in Nonfiction Writing

Nonfiction writing is often described as factual and objective, where the author and their perspective have no place. However, as noted in NCTE’s (2023) Position Statement on nonfiction literature, “though nonfiction has traditionally been thought of as offering an authoritative treatment of its topics, it is important for readers to understand that nonfiction, no matter how well researched and thorough, represents the authors’ perspectives and points of view.”  

In Impossible Escape readers can infer how Steve Sheinkin is positioned toward the events and the issues at hand by noticing how he chooses to describe them. For instance, he explicitly characterizes antisemitic stereotypes as garbage (p.8) and being “rooted in ignorance and lies” (p. 24).  Similarly, when Sheinkin writes about what Gerta did during the last months of the war, his admiration for her is clear when he notes: “Even after all her close call, she chose not to play it safe.” 

Steve Sheinkin as the author becomes even more clearly visible when he addresses the reader by asking rhetorical questions that pull us out of the narrative and prompt us to grapple with some weighty material. In our interview, Steve offers some valuable insight into his decision to use rhetorical questions (starting at 30:55).

At the very end of the book, Steve Sheinkin admits that he struggled with figuring out how to conclude the book, thinking that he needed to come up with a way to sum up the book with “some profound message to apply to daily life” (p. 219) and admitting that “this last little section was the hardest for me to write” (p. 219). You can hear Steve discuss this decision in the interview, starting at 34:39. In the end, he took a lesson from Rudi Vrba himself who would say that “the story is the thing” and encourage his audience to draw their own conclusions and interpretations. It is an interesting contrast to traditional storytelling that often ends with an explicit lesson or moral.

Invite students to look for the author while reading Impossible Escape as well as other nonfiction texts. How do those glimpses help readers infer the book creators’ emotional and intellectual positioning toward their topic? 


After finishing the book, encourage students to sit with the last few sentences: “Everything is in the story. You read the story. You know what to do” (p. 219).  Invite them to respond in any way that makes sense. That could involve writing, drawing, painting, or recording.  Plan a gallery walk or other opportunities for sharing these responses. 

When students are writing their next nonfiction text, encourage them to engage emotionally with their material, and to insert themselves in some way in the text.

Mary Ann Cappiello teaches courses in children’s literature and literacy methods at Lesley University and is a founding member of The Biography Clearinghouse. She is co-chair of CLA's Expert Class committee and a former chair of NCTE’s Orbis Pictus Award for Outstanding Nonfiction K-8.

Xenia Hadjioannou is associate professor of language and literacy education at the Berks campus of Penn State University. She is president of CLA and co-editor of the CLA Blog. She is a founding member of The Biography Clearinghouse.