It's October—time for all things pumpkin, witches, ghosts, and monsters! So let's look back at a Q&A by funny lady Tara Lazar on her first picture book, THE MONSTORE!
True Story Blog
HILDIE BITTERPICKLES NEEDS HER SLEEP
October 3, 2016
Former attorney and legal editor, Robin Newman prefers to write about witches, mice, pigs, and peacocks. She’s the author of The Case of the Missing Carrot Cake and has two books coming out in 2017—The Case of the Poached Egg, illustrated by Deborah Zemke (Creston Books) and No Peacocks! Illustrated by Chris Ewald (Sky Pony Press). But today she shares her recipe for brewing up her first picture book, HILDIE BITTERPICKLES NEEDS HER SLEEP—"A witch's search for a good night's sleep results in numerous run-ins with nursery rhyme and fairy tale characters in this entertaining story from Newman (The Case of the Missing Carrot Cake) and newcomer Ewald. Publishers Weekly
Q. Was HILDIE BITTERPICKLES NEEDS HER SLEEP the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Far from it! The first picture book that I wrote was about two sophisticated and somewhat snooty city cats who unfortunately get a country dog as a houseguest. Quite honestly, it wasn’t very good and not much came of the story.
Q. What inspired HILDIE BITTERPICKLES NEEDS HER SLEEP?
A. Hildie BItterpickles Needs Her Sleep was inspired by a neighbor’s witch weathervane.
Q. How did you pick the title of your book?
A. I played around with the title a lot. Some previous titles were: “There’s No Place Like Home,” “The Witches and The Real Estate Agent,” and “Shhh! Don’t Wake the Witch!” Originally, the story was about three witches, Hildie, Marge and Blanche. But the story was dialogue heavy with three witches. Once I narrowed the story down to one witch, Hildie Bitterpickles Needs Her Sleep just seemed like a good fit.
Q. What is your favorite part of the book? And was that part in the first draft?
A. Hands down it’s the classified ads in The Daily Witch. The classified ads were not part of that first draft.
Q. How did you select the names for your characters?
A. Food seems to seep into a number of my writings and I was playing around with the idea of what would you call a cranky, bitter witch in a pickle. Hence, the creation of Bitterpickles. For Hildie’s cat, I came up with Clawdia. What else would a witch’s cat be called? And Monty seemed to suit the personality of a slick real estate agent who happened to be a rat.
Q. Why did you decide to tell the story in third person?
A. I like that you can confide facts to the reader with a third person narrator. The story also never felt like it should be written in the first person.
Q. How much of the story did you know when you began writing HILDIE BITTERPICKLES NEEDS HER SLEEP?
A. I knew I wanted to write a book about a witch with some real estate/neighbor-relation problems. But exactly what that was took some time to flush out.
Q. Did HILDIE BITTERPICKLES NEEDS HER SLEEP receive any rejection letters? If so, how many (ballpark)?
A. I think I received one or two rejections. And I remember one of the rejections arrived long after I had already signed the contract with Creston Books. It was for a very early draft of the story.
Q. Describe your reaction when you received an offer on HILDIE BITTERPICKLES NEEDS HER SLEEP.
A. Words can’t describe it! I think I may have cried. It was definitely up there with passing the bar exam and finishing my first marathon.
Q. What kind of input did you have in choosing an illustrator for the book?
A. My editor and publisher had asked me my thoughts about Chris Ewald. I loved his work. He is AMAZINGLY talented.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Wow! The illustrations were incredible. They were so much better than anything I could have ever imagined. I had never pictured Hildie as a child. I imagined her as a green cranky old witch. I’m so glad Chris had a very different vision of Hildie. And I love that Chris’ sense of humor also comes out in all of the illustrations. He has an incredible eye for detail.
Q. How long did HILDIE BITTERPICKLES NEEDS HER SLEEP take to be published—from the time you received an offer until it was printed?
A. It took about two years (I think). It was originally scheduled to come out before THE CASE OF THE MISSING CARROT CAKE but the schedules got flipped.
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. I love the book. I was tweaking and re-tweaking the text to the very end. I’m thrilled with the final result.
Q. Can you share any funny or memorable parts of letters from kids about HILDIE BITTERPICKLES NEEDS HER SLEEP?
A. One of the very best things about being a children’s book author is getting mail from kids. I LOVE, LOVE, LOVE their letters. I save each and every one. Last year I Skyped with a school in Indiana for World Read Aloud Day and after reading Hildie and doing a q&a, my dog, Madeleine, made an appearance. She was extremely popular with the kids, as you can see by the letters below:
"Dear Ms. Newman, Thank you for skyping with us. I loved your book and your dog."
"Dear Ms. Newman, Thank you for being nice and wearing your witch hat. The book you read was awesome. Your witch hat was awesome too and your dog was cute."
Q. When you do readings of HILDIE BITTERPICKLES NEEDS HER SLEEP, which part of the book gets the best reaction?
A. The kids really enjoy spotting all of the fairy tale characters that are included in the illustrations. (As I told you, Chris Ewald is amazing!)
Q. What is your #1 tip to those who want to write picture books?
A. Read. Write. Rinse and repeat.
Q. Do you have a favorite writing exercise that you can share?
A. I spend a lot of time on character development. I do character studies for all my characters (even if they’re just quick notes) and try to come up with a minimum of four or five traits.
Q. What are you working on now?
A. I’m currently working on a bunch of picture books and rewrites. Stay tuned for details.
Karlin, Many thanks for taking the time to interview me. Wonderful questions. All the very best and much continued success with your writing.
Learn more about Robin Newman and her books:
Website: www.robinnewmanbooks.com
Twitter: @robinnewmanbook
Facebook: https://www.facebook.com/pages/RobinNewmanBooks/339179099505049
Link to the book trailer: https://youtu.be/WDvzxiV0OwE
Read More
Q. Was HILDIE BITTERPICKLES NEEDS HER SLEEP the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Far from it! The first picture book that I wrote was about two sophisticated and somewhat snooty city cats who unfortunately get a country dog as a houseguest. Quite honestly, it wasn’t very good and not much came of the story.
Q. What inspired HILDIE BITTERPICKLES NEEDS HER SLEEP?
A. Hildie BItterpickles Needs Her Sleep was inspired by a neighbor’s witch weathervane.
Q. How did you pick the title of your book?
A. I played around with the title a lot. Some previous titles were: “There’s No Place Like Home,” “The Witches and The Real Estate Agent,” and “Shhh! Don’t Wake the Witch!” Originally, the story was about three witches, Hildie, Marge and Blanche. But the story was dialogue heavy with three witches. Once I narrowed the story down to one witch, Hildie Bitterpickles Needs Her Sleep just seemed like a good fit.
Q. What is your favorite part of the book? And was that part in the first draft?
A. Hands down it’s the classified ads in The Daily Witch. The classified ads were not part of that first draft.
Q. How did you select the names for your characters?
A. Food seems to seep into a number of my writings and I was playing around with the idea of what would you call a cranky, bitter witch in a pickle. Hence, the creation of Bitterpickles. For Hildie’s cat, I came up with Clawdia. What else would a witch’s cat be called? And Monty seemed to suit the personality of a slick real estate agent who happened to be a rat.
Q. Why did you decide to tell the story in third person?
A. I like that you can confide facts to the reader with a third person narrator. The story also never felt like it should be written in the first person.
Q. How much of the story did you know when you began writing HILDIE BITTERPICKLES NEEDS HER SLEEP?
A. I knew I wanted to write a book about a witch with some real estate/neighbor-relation problems. But exactly what that was took some time to flush out.
Q. Did HILDIE BITTERPICKLES NEEDS HER SLEEP receive any rejection letters? If so, how many (ballpark)?
A. I think I received one or two rejections. And I remember one of the rejections arrived long after I had already signed the contract with Creston Books. It was for a very early draft of the story.
Q. Describe your reaction when you received an offer on HILDIE BITTERPICKLES NEEDS HER SLEEP.
A. Words can’t describe it! I think I may have cried. It was definitely up there with passing the bar exam and finishing my first marathon.
Q. What kind of input did you have in choosing an illustrator for the book?
A. My editor and publisher had asked me my thoughts about Chris Ewald. I loved his work. He is AMAZINGLY talented.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Wow! The illustrations were incredible. They were so much better than anything I could have ever imagined. I had never pictured Hildie as a child. I imagined her as a green cranky old witch. I’m so glad Chris had a very different vision of Hildie. And I love that Chris’ sense of humor also comes out in all of the illustrations. He has an incredible eye for detail.
Q. How long did HILDIE BITTERPICKLES NEEDS HER SLEEP take to be published—from the time you received an offer until it was printed?
A. It took about two years (I think). It was originally scheduled to come out before THE CASE OF THE MISSING CARROT CAKE but the schedules got flipped.
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. I love the book. I was tweaking and re-tweaking the text to the very end. I’m thrilled with the final result.
Q. Can you share any funny or memorable parts of letters from kids about HILDIE BITTERPICKLES NEEDS HER SLEEP?
A. One of the very best things about being a children’s book author is getting mail from kids. I LOVE, LOVE, LOVE their letters. I save each and every one. Last year I Skyped with a school in Indiana for World Read Aloud Day and after reading Hildie and doing a q&a, my dog, Madeleine, made an appearance. She was extremely popular with the kids, as you can see by the letters below:
"Dear Ms. Newman, Thank you for skyping with us. I loved your book and your dog."
"Dear Ms. Newman, Thank you for being nice and wearing your witch hat. The book you read was awesome. Your witch hat was awesome too and your dog was cute."
Q. When you do readings of HILDIE BITTERPICKLES NEEDS HER SLEEP, which part of the book gets the best reaction?
A. The kids really enjoy spotting all of the fairy tale characters that are included in the illustrations. (As I told you, Chris Ewald is amazing!)
Q. What is your #1 tip to those who want to write picture books?
A. Read. Write. Rinse and repeat.
Q. Do you have a favorite writing exercise that you can share?
A. I spend a lot of time on character development. I do character studies for all my characters (even if they’re just quick notes) and try to come up with a minimum of four or five traits.
Q. What are you working on now?
A. I’m currently working on a bunch of picture books and rewrites. Stay tuned for details.
Karlin, Many thanks for taking the time to interview me. Wonderful questions. All the very best and much continued success with your writing.
Learn more about Robin Newman and her books:
Website: www.robinnewmanbooks.com
Twitter: @robinnewmanbook
Facebook: https://www.facebook.com/pages/RobinNewmanBooks/339179099505049
Link to the book trailer: https://youtu.be/WDvzxiV0OwE
Read More
TEN TIPS FOR PICTURE-BOOK WRITERS
September 26, 2016
This week, I'm posting 10 tips from previous posts. If you would like to sign up for my monthly newsletter, hop on over here. (Last week's contest has ended and the winner has been notified by email.)
Jami Gigot: "I often write several drafts of my stories and they tend to evolve into something that I hadn't necessarily thought about from the beginning."
Christin Lozano: "Spend lots of time at your local public library reading what's currently being published as well as older titles. This will give you the best picture of the children's picture book world and it may even spark an idea for your first book."
Lauri Fortino: "Don’t try to copy what others have done. Create something new. Write the stories that only you can write."
Nancy Churnin: "If you are writing a non-fiction biography, ask yourself what was the person’s dream when that person was a child."
David Litchfield: "What I have learnt is that a good idea and a good concept can impress anyone."
Josh Funk: "Every book you write is likely to be better than the last, especially if you're going to conferences, getting feedback, learning about the industry, making (and learning) from mistakes, and more."
Katrina Goldsaito: "Rewriting was all about revealing the heart, all about making sure that every piece of the story is beating along with it—but it was there all along."
Deborah Freedman: "READ READ READ, and then read some more. With intention."
Heather Lang: "As the rejections continued to trickle in on my fiction, Alice inspired me to keep going. I kept a quote from her on my desk: When the going gets tough and you feel like throwing your hands in the air, listen to that voice that tells you, ‘Keep going. Hang in there.’ Guts and determination will pull you through.”
Hazel Mitchell: "It's good for the parent to have something to read aloud and not just to look at the pictures and also gives the child something to linger over."
Read More
Jami Gigot: "I often write several drafts of my stories and they tend to evolve into something that I hadn't necessarily thought about from the beginning."
Christin Lozano: "Spend lots of time at your local public library reading what's currently being published as well as older titles. This will give you the best picture of the children's picture book world and it may even spark an idea for your first book."
Lauri Fortino: "Don’t try to copy what others have done. Create something new. Write the stories that only you can write."
Nancy Churnin: "If you are writing a non-fiction biography, ask yourself what was the person’s dream when that person was a child."
David Litchfield: "What I have learnt is that a good idea and a good concept can impress anyone."
Josh Funk: "Every book you write is likely to be better than the last, especially if you're going to conferences, getting feedback, learning about the industry, making (and learning) from mistakes, and more."
Katrina Goldsaito: "Rewriting was all about revealing the heart, all about making sure that every piece of the story is beating along with it—but it was there all along."
Deborah Freedman: "READ READ READ, and then read some more. With intention."
Heather Lang: "As the rejections continued to trickle in on my fiction, Alice inspired me to keep going. I kept a quote from her on my desk: When the going gets tough and you feel like throwing your hands in the air, listen to that voice that tells you, ‘Keep going. Hang in there.’ Guts and determination will pull you through.”
Hazel Mitchell: "It's good for the parent to have something to read aloud and not just to look at the pictures and also gives the child something to linger over."
Read More
TOBY
September 19, 2016
Originally from England, where she attended art-college and served in the Royal Navy, Hazel Mitchell now lives and works in Maine. She has illustrated many books for children including Imani’s Moon, One Word Pearl, Animally, and Where Do Fairies Go When It Snows? But today, she is talking about her author-illustrator debut, TOBY. "This familiar story with a family cast not often seen in picture books will warm dog-loving hearts.—School Library Journal
Q. You illustrated several books before TOBY. How did you make the transition to writer/illustrator and how does it compare with being an illustrator of someone else's work?
A. That's a good question. I have always written, but I've always been an artist first, even at school. It's what I was best at. But throughout my life I've always tinkered with story ideas. Finishing them was the big problem! It's easy to start, right? I think we all have a mountain of unfinished projects in drawers or under the mattress. So, I went to art college, art became my career (I worked as a graphic designer until I came to America in 2000). When I began to finally think seriously about trying to get work in the children's trade book industry, it was natural that I'd showcase my artwork first and that's how I got my first books to illustrate. But I was still working on stories. It was a great learning curve illustrating first and I enjoy collaborating very much with authors. But I still wanted to write my own books! And I wanted an agent and I wanted one who would represent my writing too. So I figured I'd better start finishing my story ideas. I'd been rejected by agents in the past (part of the course), but when I started to write about Toby finishing the first draft/dummy happened in 4 weeks. And strangely enough, my agent, Ginger Knowlton of Curtis Brown Ltd., signed me 4 weeks after that! This is my first book as author and illustrator. It's different in several ways from being illustrator only. When you receive a manuscript to illustrate, the idea is all ready conceived, you are working with someone else's idea. When it's your story, you are working on both sides of the fence at once. When I'm illustrating someone else's book I am always conscious of their words, hoping they will like the finished product and that I will do them justice. When I was illustrating my own book I felt like I had a split personality in some ways. I am looking forward to working on more of my own stories, but I also want to work on other manuscripts too ... because it's a wonderment drawing things you would never have conceived yourself.
Q. What inspired TOBY?
A. Toby, my poodle! I adopted him from Houlton Humane Animal Shelter, Aroostook, Maine in fall 2013. I posted a lot about him on social media and his development as a very fearful dog. People really loved him. It was actually Harold Underdown who suggested I write a book about him. And the rest, as they say, is history.
Q. How did you pick the title of your book?
A. It was always 'TOBY'. My editor (Liz Bicknell) and art director (Ann Stott) at Candlewick threw some other ideas on the table, but 'TOBY' was the final choice.
Q. What is your favorite part of the book? And was that part in the first draft?
A. I have a lot of favorite parts, because although Toby is adopted in the book by a fictionalized character, much of what happens is from real stuff that happened with Toby. I think my fav scene is the part where the boy, who is Toby's new owner, comes downstairs when Toby's howling, gives him a toy rabbit and sleeps next to Toby to sooth him, (my husband did that the first few nights Toby was with us). And yes it was in the first draft (and we had about 5 drafts!).
Q. How did you select the names for your characters?
A. This is easy - I only have one named character! The boy and the Dad in the story are unnamed. Although Dad calls the boy 'Bud' affectionately. I don't know if that is his real name. My husband calls his son 'Bud' occasionally.
Q. How did you decide between telling the story in first person or third person?
A. Originally I wanted it to be almost wordless. But as I worked on the story with my editor and art director, we felt more words were needed. So it's mostly conversational in graphic panels, with some short lines in first person to lead the reader from one scene to another. It's good for the parent to have something to read aloud and not just to look at the pictures and also gives the child something to linger over.
Q. How much of the story did you know when you began writing TOBY?
A. Hmm. A fair bit. I knew that it was about my dog in a fictionalized setting. (Writing about me would have been boring ... and the child is someone the reader can identify with). But I didn't know the ending. Well I did, but I didn't know how I would get to it. And a LOT changed in revisions!
Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. I started this process doing lots of scenes about Toby that I sketched and then linked together. There where very few words. As the story grew in revision more words were added, and taken away, and added. It was an interesting process and very different from how I imagined it worked in the beginning of my career... write a manuscript - draw the pictures. It's a BOOK!
Q. Did TOBY receive any rejection letters? If so, how many (ballpark)?
A. Easy again ... NONE. My agent signed me on the strength of Toby and Elizabeth Bicknell at Candlewick bought it. (But if you want to see my big pile of rejection letters from all my other projects, I can count them).
Q. Describe your reaction when you received an offer on TOBY.
A.*&^#%#^%^^!%^()))!)**#&^#^%^ SQUEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE!!
But I also need to add to this that while the manuscript was being considered at Candlewick, the real Toby went missing! He was gone for eight days (and he had never even really been out of our garden!). There was huge search for him locally, people were holding their breath on social media and checking in to see if he had been found. At that time no one even knew the book was on submission! Luckily Toby found his way back ... if he hadn't I didn't know if I could have done the book. Talk about high drama ...
Q. How long did TOBY take to be published—from the time you received an offer until it was printed?
A. The offer was made Labor Day 2014 and publication day is Sept 13th 2016. So almost exactly 2 years!
Q. Is there anything you would change in the book today? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. That's hard. There are always things you want to change. Images you wish you could do over ... I don't think there is anything I want to add. We did edit out one scene though, where Toby licks the boy's hand when he is sleeping. Toby did that to me the first week he was with us. He wouldn't touch us when we were awake. But it wasn't moving the story forward in the book. Kill your darlings!
Q. What is your #1 tip for writing picture books?
A. Write what's in your heart.
Watch TOBY's book trailer.
To learn more about Hazel and all her books, visit her at her website.
A winner has been selected and the contest is now closed. Thanks for participating! To celebrate TOBY's publication, Hazel is giving away a copy of TOBY. Simply comment below to enter. One comment per person, US addresses only, please.
Read More
Q. You illustrated several books before TOBY. How did you make the transition to writer/illustrator and how does it compare with being an illustrator of someone else's work?
A. That's a good question. I have always written, but I've always been an artist first, even at school. It's what I was best at. But throughout my life I've always tinkered with story ideas. Finishing them was the big problem! It's easy to start, right? I think we all have a mountain of unfinished projects in drawers or under the mattress. So, I went to art college, art became my career (I worked as a graphic designer until I came to America in 2000). When I began to finally think seriously about trying to get work in the children's trade book industry, it was natural that I'd showcase my artwork first and that's how I got my first books to illustrate. But I was still working on stories. It was a great learning curve illustrating first and I enjoy collaborating very much with authors. But I still wanted to write my own books! And I wanted an agent and I wanted one who would represent my writing too. So I figured I'd better start finishing my story ideas. I'd been rejected by agents in the past (part of the course), but when I started to write about Toby finishing the first draft/dummy happened in 4 weeks. And strangely enough, my agent, Ginger Knowlton of Curtis Brown Ltd., signed me 4 weeks after that! This is my first book as author and illustrator. It's different in several ways from being illustrator only. When you receive a manuscript to illustrate, the idea is all ready conceived, you are working with someone else's idea. When it's your story, you are working on both sides of the fence at once. When I'm illustrating someone else's book I am always conscious of their words, hoping they will like the finished product and that I will do them justice. When I was illustrating my own book I felt like I had a split personality in some ways. I am looking forward to working on more of my own stories, but I also want to work on other manuscripts too ... because it's a wonderment drawing things you would never have conceived yourself.
Q. What inspired TOBY?
A. Toby, my poodle! I adopted him from Houlton Humane Animal Shelter, Aroostook, Maine in fall 2013. I posted a lot about him on social media and his development as a very fearful dog. People really loved him. It was actually Harold Underdown who suggested I write a book about him. And the rest, as they say, is history.
Q. How did you pick the title of your book?
A. It was always 'TOBY'. My editor (Liz Bicknell) and art director (Ann Stott) at Candlewick threw some other ideas on the table, but 'TOBY' was the final choice.
Q. What is your favorite part of the book? And was that part in the first draft?
A. I have a lot of favorite parts, because although Toby is adopted in the book by a fictionalized character, much of what happens is from real stuff that happened with Toby. I think my fav scene is the part where the boy, who is Toby's new owner, comes downstairs when Toby's howling, gives him a toy rabbit and sleeps next to Toby to sooth him, (my husband did that the first few nights Toby was with us). And yes it was in the first draft (and we had about 5 drafts!).
Q. How did you select the names for your characters?
A. This is easy - I only have one named character! The boy and the Dad in the story are unnamed. Although Dad calls the boy 'Bud' affectionately. I don't know if that is his real name. My husband calls his son 'Bud' occasionally.
Q. How did you decide between telling the story in first person or third person?
A. Originally I wanted it to be almost wordless. But as I worked on the story with my editor and art director, we felt more words were needed. So it's mostly conversational in graphic panels, with some short lines in first person to lead the reader from one scene to another. It's good for the parent to have something to read aloud and not just to look at the pictures and also gives the child something to linger over.
Q. How much of the story did you know when you began writing TOBY?
A. Hmm. A fair bit. I knew that it was about my dog in a fictionalized setting. (Writing about me would have been boring ... and the child is someone the reader can identify with). But I didn't know the ending. Well I did, but I didn't know how I would get to it. And a LOT changed in revisions!
Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. I started this process doing lots of scenes about Toby that I sketched and then linked together. There where very few words. As the story grew in revision more words were added, and taken away, and added. It was an interesting process and very different from how I imagined it worked in the beginning of my career... write a manuscript - draw the pictures. It's a BOOK!
Q. Did TOBY receive any rejection letters? If so, how many (ballpark)?
A. Easy again ... NONE. My agent signed me on the strength of Toby and Elizabeth Bicknell at Candlewick bought it. (But if you want to see my big pile of rejection letters from all my other projects, I can count them).
Q. Describe your reaction when you received an offer on TOBY.
A.*&^#%#^%^^!%^()))!)**#&^#^%^ SQUEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE!!
But I also need to add to this that while the manuscript was being considered at Candlewick, the real Toby went missing! He was gone for eight days (and he had never even really been out of our garden!). There was huge search for him locally, people were holding their breath on social media and checking in to see if he had been found. At that time no one even knew the book was on submission! Luckily Toby found his way back ... if he hadn't I didn't know if I could have done the book. Talk about high drama ...
Q. How long did TOBY take to be published—from the time you received an offer until it was printed?
A. The offer was made Labor Day 2014 and publication day is Sept 13th 2016. So almost exactly 2 years!
Q. Is there anything you would change in the book today? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. That's hard. There are always things you want to change. Images you wish you could do over ... I don't think there is anything I want to add. We did edit out one scene though, where Toby licks the boy's hand when he is sleeping. Toby did that to me the first week he was with us. He wouldn't touch us when we were awake. But it wasn't moving the story forward in the book. Kill your darlings!
Q. What is your #1 tip for writing picture books?
A. Write what's in your heart.
Watch TOBY's book trailer.
To learn more about Hazel and all her books, visit her at her website.
A winner has been selected and the contest is now closed. Thanks for participating! To celebrate TOBY's publication, Hazel is giving away a copy of TOBY. Simply comment below to enter. One comment per person, US addresses only, please.
Read More
QUEEN OF THE TRACK: ALICE COACHMAN, OLYMPIC HIGH-JUMP CHAMPION
September 12, 2016
Heather Lang writes nonfiction picture books about extraordinary women, including The Original Cowgirl: The Wild Adventures of Lucille Mulhall, Fearless Flyer: Ruth Law and Her Flying Machine, and her upcoming book Swimming with Sharks: The Daring Discoveries of Eugenie Clark (December 2016). But today she looks back and shares the story of writing her first picture book, QUEEN OF THE TRACK: ALICE COACHMAN, OLYMPIC HIGH-JUMP CHAMPION—"a rich, deep depiction of Coachman's determination to overcome obstacles." (Booklist)
Q. Was QUEEN OF THE TRACK the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. I wish! It took me seven years to write something worthy of publication. When my kids were little my love for Jane Yolen’s OWL MOON inspired me to write a lyrical picture book called GETAWAY about the kids’ fishing adventures with their grandfather. My kids illustrated it, and we gave it to my father-in-law for Christmas. It might have been a sweet story, but let’s just say I had no business submitting it to publishers. Maybe I’ll take it out of the drawer someday and work on it again…
Q. What inspired QUEEN OF THE TRACK?
A. QUEEN was my first attempt at writing nonfiction. I had written and submitted half-a-dozen picture books and two chapter books and received lots of rejections. I was a lawyer in my previous life and always loved research, so I decided to try nonfiction. Why not?! I immediately adored the research—the treasure hunt. I love sports, so I searched for a female athlete, and when I read about Alice Coachman I was amazed I’d never heard of this phenomenal woman. As the rejections continued to trickle in on my fiction, Alice inspired me to keep going. I kept a quote from her on my desk: “When the going gets tough and you feel like throwing your hands in the air, listen to that voice that tells you, ‘Keep going. Hang in there.’ Guts and determination will pull you through.”
Q. How did you pick the title of your book?
A. “Queen of the Track,” was one of Alice’s nicknames. Although she wasn’t treated like a queen by society, she behaved like one and really did dominate the track for a number of years in sprinting events and the high jump. The title also worked nicely with the ending—the King presents Alice (“the Queen”) with her gold medal.
Q. What resources did you use while researching QUEEN OF THE TRACK?
A. I read newspaper and magazine articles, lots of books about the 1948 Olympics and the segregated south, and an adult biography. I watched video interviews and historic footage and studied old photos. And of course, my favorite resource was Alice herself. She and her son were so helpful—answering my many questions. It was such a thrill to finally meet her in person after the book came out. We spent a wonderful day together in Albany, Georgia!
Q. How did you decide where to start and end this nonfiction story?
A. It’s always a challenge with picture book biographies deciding whether to focus on one event or a short part of a person’s life or even an entire life. Lots of things factor into that decision, like what research is available and what I really want my book to be about. I decided I wanted the book to be about Alice’s incredible determination and tenacity in the face of so many obstacles—poverty, segregation, and gender discrimination. In order to pull that off, I needed to start with her childhood. I always knew I wanted to end the book with her winning the gold medal—such a high point.
Q. What is your favorite part of the book? And was that part in the first draft?
A. I had to look back at my first draft to answer this—there were sooooo many drafts. I love the scene when she ran barefoot on the dirt roads and tied together sticks and rags to make her own jumps. It’s the fact that drew me immediately to this story, so that has always been a favorite. I also love the spread on the bus in London—where, unlike the segregated south, she could sit in any seat she wanted to admire the English countryside. That scene was not in my early drafts, and I love the emotion the art conveys.
Q. Did QUEEN OF THE TRACK receive any rejection letters? If so, how many (ballpark)?
A. No, I was extremely lucky on this book. I had a critique with a former editor from Boyds Mills Press. She was so helpful and in the end offered to send it to Larry Rosler, a Senior Editor at Boyds Mills. The 2012 Olympics were going to be in London for the first time since 1948 (when Alice won gold), so there was a big marketing tie-in. (And no, I’m embarrassed to say I didn’t realize this when I started writing the book—it was dumb luck!) They accepted it right away.
Q. Describe your reaction when you received an offer on QUEEN OF THE TRACK.
A. I had to sit down and take some deep breaths! Then I immediately called the people who had been with me every step of the way—my husband and friends from my writing group.
Q. What kind of input did you have in choosing an illustrator for the book?
A. Zero. The publisher had a great relationship with Floyd Cooper, and they knew right away he would be perfect for the book. I was ecstatic. Imagine having your first book illustrated by Floyd Cooper?!
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. It’s difficult to describe the thrill! It’s the first time when I truly believed there would be a book. And Floyd’s art was gorgeous. He captured Alice’s spirit and the mood perfectly.
Q. How long did QUEEN OF THE TRACK take to be published—from the time you received an offer until it was printed?
A. Two years and four months!
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. The truth is—I can always find something to tweak. It’s as difficult for me to stop tinkering with text as it is for me to stop researching. I’m sure there is a word I would replace or a phrase I could edit. But I’m really happy with the pacing of the book, so I don’t think I’d add any other scenes. If I did, I’d have to take something out, and there’s nothing I could part with!
Q. Can you share any funny or memorable parts of letters from kids about QUEEN OF THE TRACK?
A. One little girl offered me some advice—she said, “If you get more determined like Alice Coachman, I’m sure you could get better at the high jump.” My bio on the flap mentions how I jumped 3 ½ feet in sixth grade and won a blue ribbon. Apparently she didn’t think I was blue-ribbon-worthy!
Q. When you do readings of QUEEN OF THE TRACK, which part of the book gets the best reaction?
A. Kids love the suspense of the ending spreads--when she fights for gold at the Olympics.
Q. What is your #1 tip for writing picture books?
A. Other than read and write a lot, which I think most serious writers do anyway, I’d say, join a critique group and surround yourself with other writers. Not only does my writing get better from critiquing other writers’ work, but the feedback and support is essential in this tough business.
Q. Do you have a favorite writing exercise that you can share?
A. That’s a toughie. It depends on the kind of book and what the problem is with the text. One thing I often do is rewrite the text in a different point of view. My picture book biographies have all been in third person. Early on I like to write a draft in first person. You will be amazed at the things you discover. It shows where you have holes, and it can really help with voice when you go back to third person.
Q. What are you working on now?
A. I’m really excited about my next book SWIMMING WITH SHARKS: The Daring Discoveries of Eugenie Clark, coming out on December 1st. I’m having fun working on a book trailer, marketing materials, and my website. I’m also working on a new picture book biography and playing around with some fiction!
Thanks so much for these terrific questions, Karlin. It’s been a lot of fun remembering the challenges and joys of that first book! And congratulations on NADIA—what a fantastic book about another trailblazing Olympic champion!
To learn more about Heather and her books, visit her website.
Read More
Q. Was QUEEN OF THE TRACK the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. I wish! It took me seven years to write something worthy of publication. When my kids were little my love for Jane Yolen’s OWL MOON inspired me to write a lyrical picture book called GETAWAY about the kids’ fishing adventures with their grandfather. My kids illustrated it, and we gave it to my father-in-law for Christmas. It might have been a sweet story, but let’s just say I had no business submitting it to publishers. Maybe I’ll take it out of the drawer someday and work on it again…
Q. What inspired QUEEN OF THE TRACK?
A. QUEEN was my first attempt at writing nonfiction. I had written and submitted half-a-dozen picture books and two chapter books and received lots of rejections. I was a lawyer in my previous life and always loved research, so I decided to try nonfiction. Why not?! I immediately adored the research—the treasure hunt. I love sports, so I searched for a female athlete, and when I read about Alice Coachman I was amazed I’d never heard of this phenomenal woman. As the rejections continued to trickle in on my fiction, Alice inspired me to keep going. I kept a quote from her on my desk: “When the going gets tough and you feel like throwing your hands in the air, listen to that voice that tells you, ‘Keep going. Hang in there.’ Guts and determination will pull you through.”
Q. How did you pick the title of your book?
A. “Queen of the Track,” was one of Alice’s nicknames. Although she wasn’t treated like a queen by society, she behaved like one and really did dominate the track for a number of years in sprinting events and the high jump. The title also worked nicely with the ending—the King presents Alice (“the Queen”) with her gold medal.
Q. What resources did you use while researching QUEEN OF THE TRACK?
A. I read newspaper and magazine articles, lots of books about the 1948 Olympics and the segregated south, and an adult biography. I watched video interviews and historic footage and studied old photos. And of course, my favorite resource was Alice herself. She and her son were so helpful—answering my many questions. It was such a thrill to finally meet her in person after the book came out. We spent a wonderful day together in Albany, Georgia!
Q. How did you decide where to start and end this nonfiction story?
A. It’s always a challenge with picture book biographies deciding whether to focus on one event or a short part of a person’s life or even an entire life. Lots of things factor into that decision, like what research is available and what I really want my book to be about. I decided I wanted the book to be about Alice’s incredible determination and tenacity in the face of so many obstacles—poverty, segregation, and gender discrimination. In order to pull that off, I needed to start with her childhood. I always knew I wanted to end the book with her winning the gold medal—such a high point.
Q. What is your favorite part of the book? And was that part in the first draft?
A. I had to look back at my first draft to answer this—there were sooooo many drafts. I love the scene when she ran barefoot on the dirt roads and tied together sticks and rags to make her own jumps. It’s the fact that drew me immediately to this story, so that has always been a favorite. I also love the spread on the bus in London—where, unlike the segregated south, she could sit in any seat she wanted to admire the English countryside. That scene was not in my early drafts, and I love the emotion the art conveys.
Q. Did QUEEN OF THE TRACK receive any rejection letters? If so, how many (ballpark)?
A. No, I was extremely lucky on this book. I had a critique with a former editor from Boyds Mills Press. She was so helpful and in the end offered to send it to Larry Rosler, a Senior Editor at Boyds Mills. The 2012 Olympics were going to be in London for the first time since 1948 (when Alice won gold), so there was a big marketing tie-in. (And no, I’m embarrassed to say I didn’t realize this when I started writing the book—it was dumb luck!) They accepted it right away.
Q. Describe your reaction when you received an offer on QUEEN OF THE TRACK.
A. I had to sit down and take some deep breaths! Then I immediately called the people who had been with me every step of the way—my husband and friends from my writing group.
Q. What kind of input did you have in choosing an illustrator for the book?
A. Zero. The publisher had a great relationship with Floyd Cooper, and they knew right away he would be perfect for the book. I was ecstatic. Imagine having your first book illustrated by Floyd Cooper?!
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. It’s difficult to describe the thrill! It’s the first time when I truly believed there would be a book. And Floyd’s art was gorgeous. He captured Alice’s spirit and the mood perfectly.
Q. How long did QUEEN OF THE TRACK take to be published—from the time you received an offer until it was printed?
A. Two years and four months!
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. The truth is—I can always find something to tweak. It’s as difficult for me to stop tinkering with text as it is for me to stop researching. I’m sure there is a word I would replace or a phrase I could edit. But I’m really happy with the pacing of the book, so I don’t think I’d add any other scenes. If I did, I’d have to take something out, and there’s nothing I could part with!
Q. Can you share any funny or memorable parts of letters from kids about QUEEN OF THE TRACK?
A. One little girl offered me some advice—she said, “If you get more determined like Alice Coachman, I’m sure you could get better at the high jump.” My bio on the flap mentions how I jumped 3 ½ feet in sixth grade and won a blue ribbon. Apparently she didn’t think I was blue-ribbon-worthy!
Q. When you do readings of QUEEN OF THE TRACK, which part of the book gets the best reaction?
A. Kids love the suspense of the ending spreads--when she fights for gold at the Olympics.
Q. What is your #1 tip for writing picture books?
A. Other than read and write a lot, which I think most serious writers do anyway, I’d say, join a critique group and surround yourself with other writers. Not only does my writing get better from critiquing other writers’ work, but the feedback and support is essential in this tough business.
Q. Do you have a favorite writing exercise that you can share?
A. That’s a toughie. It depends on the kind of book and what the problem is with the text. One thing I often do is rewrite the text in a different point of view. My picture book biographies have all been in third person. Early on I like to write a draft in first person. You will be amazed at the things you discover. It shows where you have holes, and it can really help with voice when you go back to third person.
Q. What are you working on now?
A. I’m really excited about my next book SWIMMING WITH SHARKS: The Daring Discoveries of Eugenie Clark, coming out on December 1st. I’m having fun working on a book trailer, marketing materials, and my website. I’m also working on a new picture book biography and playing around with some fiction!
Thanks so much for these terrific questions, Karlin. It’s been a lot of fun remembering the challenges and joys of that first book! And congratulations on NADIA—what a fantastic book about another trailblazing Olympic champion!
To learn more about Heather and her books, visit her website.
Read More
A PICTURE PERFECT GIFT
September 5, 2016
Happy Labor Day! I'm on vacation this week. But if you'd like to read my Frog on a Blog post from July, click here.
SCRIBBLE
August 29, 2016
A former architect, award-winning author and illustrator Deborah Freedman looks back to 2007 and talks about how she constructed her first picture book SCRIBBLE—"a clever gem of a book" (Publishers Weekly).
Q. Was SCRIBBLE the first picture book manuscript that you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Oh my goodness no, SCRIBBLE is not the first picture book I ever wrote! I’d been messing around with picture book ideas for years before SCRIBBLE. My first books were tiny, personal little things that I made for my daughters when they were babies; eventually I started taking myself more seriously and made books with titles like THE PRINCESS SISTERS, and HERE COMES THE MARCHING BAND. I think of them now as ‘practice books’, an absolutely necessary part of my writing education, but tucked away in a dead-dummy drawer, where they belong.
Q. What inspired SCRIBBLE?
A. My daughters would have spent their entire childhoods drawing at the kitchen table, if I’d let them. They would draw one elaborate scene after another, and say, “write this down, Mommy. This is a picture of… the kitties are dancing around a maypole and then they will have cake,“and I’d dutifully write whatever along the bottom of the picture. I adore kids’ drawings, and one of my favorite things about them is that there is almost always a story behind them. Ask a child about even the scratchiest scribble, and chances are, there’s an imaginative narrative that goes with it. So all of that gave me the idea to tell a story about two sisters who like to draw, and the story behind their drawings.
Q. How did you pick the title of your book?
A. I really don’t remember… the title was there from the very beginning.
Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part is probably when the two drawings, Scribble and Aurora, fall in love — an essential part of the book which was not there until the final draft. Which just goes to show —sometimes the best ideas arrive during revisions!
Q. How did you select the names for your characters?
A. The sisters were named after my daughters, Emma and Lucie, although looking back, that was probably not a very good idea! Because the story isn’t true, and I still feel bad when people assume that it is. The real Emma and Lucie were mostly very kind to each other when they were little, but that would not have made a very interesting story. The Princess’s name, Aurora, comes from Sleeping Beauty.
Q. Why did you decide to tell the story in third person?
A. The story is, in part, a slanted take on Sleeping Beauty, so I wanted it to have a fairy tale voice.
Q. How much of the story did you know when you began writing SCRIBBLE?
A. I knew that it would be about a child who imagines her drawing coming to life, who runs away with her drawing.
Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. I tend to “write with words and pictures” together. If I'm not doodling in a sketchbook or making thumbnail sketches while I’m writing, I at least have images in my head. It’s hard for me to separate the two.
Q. When you submitted SCRIBBLE to publishers, did it receive any rejection letters? If so, how many (ballpark)?
A. SCRIBBLE received three rejection letters, for three different versions of the story. After each “pass”, I went back and started all over again. Two years of revisions definitely made the story much stronger, and I’m truly indebted to the two editors who took the time to give me honest feedback.
Q. Describe your reaction when you received an offer on SCRIBBLE.
A. Thrilled… and a little flabbergasted! After working on the book for so long, I could hardly believe it would one day be “finished” and that an editor was actually calling me.
Q. How long did SCRIBBLE take to be published—from the time you received an offer until it was printed?
A. SCRIBBLE was released about two years after the initial offer — one year after I turned in the final art.
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. Well… I would redo the art. My skills have improved in the last ten years! But I’m still proud of the story as it is.
Q. When you do readings of SCRIBBLE, which part of the book gets the best reaction?
A. No question, the spread where Scribble gives Aurora a kiss! I never know if kids will say “awwww….” or “eeeeewwwww!” Either way, it’s always a funny moment.
Q. Can you share any funny or memorable parts of letters from kids about SCRIBBLE?
A. I love getting children’s drawings, their versions of Scribble and Aurora. But here’s the best ever letter I received, after a SCRIBBLE school visit: I loved the presentation with Deborah Freedman and the book of SCRIBBLE. The presentation was so AWSOME. I want to read the book SCRIBBLE for every second of my life!
Q. What is your #1 tip to those who want to write picture books?
A. READ READ READ, and then read some more. With intention.
Q. What are you working on now?
A. My 7th picture book. I feel so lucky to be saying that.
Thanks, Karlin, for asking me to revisit SCRIBBLE!
To learn more about Deborah's works including her upcoming book SHY, visit her at her website or @deborahfreedman.
Read More
Q. Was SCRIBBLE the first picture book manuscript that you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Oh my goodness no, SCRIBBLE is not the first picture book I ever wrote! I’d been messing around with picture book ideas for years before SCRIBBLE. My first books were tiny, personal little things that I made for my daughters when they were babies; eventually I started taking myself more seriously and made books with titles like THE PRINCESS SISTERS, and HERE COMES THE MARCHING BAND. I think of them now as ‘practice books’, an absolutely necessary part of my writing education, but tucked away in a dead-dummy drawer, where they belong.
Q. What inspired SCRIBBLE?
A. My daughters would have spent their entire childhoods drawing at the kitchen table, if I’d let them. They would draw one elaborate scene after another, and say, “write this down, Mommy. This is a picture of… the kitties are dancing around a maypole and then they will have cake,“and I’d dutifully write whatever along the bottom of the picture. I adore kids’ drawings, and one of my favorite things about them is that there is almost always a story behind them. Ask a child about even the scratchiest scribble, and chances are, there’s an imaginative narrative that goes with it. So all of that gave me the idea to tell a story about two sisters who like to draw, and the story behind their drawings.
Q. How did you pick the title of your book?
A. I really don’t remember… the title was there from the very beginning.
Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part is probably when the two drawings, Scribble and Aurora, fall in love — an essential part of the book which was not there until the final draft. Which just goes to show —sometimes the best ideas arrive during revisions!
Q. How did you select the names for your characters?
A. The sisters were named after my daughters, Emma and Lucie, although looking back, that was probably not a very good idea! Because the story isn’t true, and I still feel bad when people assume that it is. The real Emma and Lucie were mostly very kind to each other when they were little, but that would not have made a very interesting story. The Princess’s name, Aurora, comes from Sleeping Beauty.
Q. Why did you decide to tell the story in third person?
A. The story is, in part, a slanted take on Sleeping Beauty, so I wanted it to have a fairy tale voice.
Q. How much of the story did you know when you began writing SCRIBBLE?
A. I knew that it would be about a child who imagines her drawing coming to life, who runs away with her drawing.
Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. I tend to “write with words and pictures” together. If I'm not doodling in a sketchbook or making thumbnail sketches while I’m writing, I at least have images in my head. It’s hard for me to separate the two.
Q. When you submitted SCRIBBLE to publishers, did it receive any rejection letters? If so, how many (ballpark)?
A. SCRIBBLE received three rejection letters, for three different versions of the story. After each “pass”, I went back and started all over again. Two years of revisions definitely made the story much stronger, and I’m truly indebted to the two editors who took the time to give me honest feedback.
Q. Describe your reaction when you received an offer on SCRIBBLE.
A. Thrilled… and a little flabbergasted! After working on the book for so long, I could hardly believe it would one day be “finished” and that an editor was actually calling me.
Q. How long did SCRIBBLE take to be published—from the time you received an offer until it was printed?
A. SCRIBBLE was released about two years after the initial offer — one year after I turned in the final art.
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. Well… I would redo the art. My skills have improved in the last ten years! But I’m still proud of the story as it is.
Q. When you do readings of SCRIBBLE, which part of the book gets the best reaction?
A. No question, the spread where Scribble gives Aurora a kiss! I never know if kids will say “awwww….” or “eeeeewwwww!” Either way, it’s always a funny moment.
Q. Can you share any funny or memorable parts of letters from kids about SCRIBBLE?
A. I love getting children’s drawings, their versions of Scribble and Aurora. But here’s the best ever letter I received, after a SCRIBBLE school visit: I loved the presentation with Deborah Freedman and the book of SCRIBBLE. The presentation was so AWSOME. I want to read the book SCRIBBLE for every second of my life!
Q. What is your #1 tip to those who want to write picture books?
A. READ READ READ, and then read some more. With intention.
Q. What are you working on now?
A. My 7th picture book. I feel so lucky to be saying that.
Thanks, Karlin, for asking me to revisit SCRIBBLE!
To learn more about Deborah's works including her upcoming book SHY, visit her at her website or @deborahfreedman.
Read More
THE SOUND OF SILENCE
August 22, 2016
Katrina Goldsaito worked as TV journalist and producer in Tokyo and is currently writing a YA novel. But today she tells us how she created her first picture book, THE SOUND OF SILENCE—"An inviting tale that will stretch inquisitive and observant young minds—and may even lead children to a greater appreciation of that golden commodity, silence" (Kirkus Reviews).
Q. Was THE SOUND OF SILENCE the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?)
A. THE SOUND OF SILENCE was somewhere in a pile of ten manuscripts that my partner and I decided to write in ten days. Every night after my epic days as a TV Journalist in Tokyo for NHK-World, I’d come home and write a picture book. We’d sit on the floor and I’d write a page and hand it to him to illustrate. Every day for ten days. A very early (and nearly unrecognizable) draft came out during that creative sprint.
Q. What inspired THE SOUND OF SILENCE?
A. The story is one my father told us growing up—of a musician who was also my dad’s neighbor (and who I later found out was the famous contemporary composer Toru Takemitsu) told my father that his favorite sound was the sound of silence.
Q. How did you pick the title of your book?
A. It was such a long process! There were emails! And committees! And brainstorms! And I still am not sure about it—mostly because when you google it you get Simon and Garfunkel. (Who I love).
Q. What is your favorite part of the book? And was that part in the first draft?
A. That’s such a wonderful question, because I love the end, and your follow-up question is making me realize that the ending is the heart of the story. The heart was there in some form even in the earliest drafts. Rewriting was all about revealing the heart, all about making sure that every piece of the story is beating along with it—but it was there all along (just like the silence that little Yoshio finds!)
Also, I love Julia’s aerials in the spread with the family eating and Yoshio taking a bath, gorgeous. (And the bamboo grove. And the end. And EVERYTHING. Juliaaaaaa!!!!)
Q. How did you select the names for your characters?
A. Yoshio is my dad’s name, and your question is making me realize that no one else has names in the book!!
Q. Why did you decide to tell the story in third person?
A. Hmm, I never thought about telling it in anything but third. (Just as the novel I’m working on can’t seem to be in anything but first). I think it’s about how it appears in my imagination—the voice is clear to me from the beginning.
Q. How much of the story did you know when you began writing THE SOUND OF SILENCE?
A. Originally the story had a few focuses—one of which was that the boy was always late to school (That got completely jettisoned, thank goodness), the other was that he was connecting with different traditional artisans, which was focused into the one character of the koto player. Bethany Strout was the genius behind making her a woman—one of my favorite changes that came with art.
Q. Did THE SOUND OF SILENCE receive any rejection letters? If so, how many (ballpark)?
A. It didn’t. Though I did work with Alvina Ling at Little, Brown for almost a year before it went to acquisitions. I learned everything in that year, it was such an incredible gift, that mentorship.
Q. Describe your reaction when you received an offer on THE SOUND OF SILENCE.
A. Tears. :)
Q. What kind of input did you have in choosing an illustrator for the book?
A. A lot! I was very lucky that this was such a collaborative process and the editorial team was so respectful and interested in my thoughts on illustrators. We had such a similar vision for the book, and we all knew that Julia was and is the perfect artist to create Yoshio’s illustrated world.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Those last pages. Ohhh, I love them so much. In those last pages when he finds silence I feel like Julia and I are so perfectly in sync. I still get a little teary when I read them.
Q. How long did THE SOUND OF SILENCE take to be published—from the time you received an offer until it was printed?
A. 5 years! 6 if you count the year before it sold. I loved that it took so long. I loved working on other projects and knowing it was in the wings waiting, and telling people about it and preparing for it to show up in the world. I wouldn’t have sped it up at all.
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. Not a single thing.
Q. What is your #1 tip to those who want to write picture books?
A. Write what you love, write something that you want to spend a long time with (because it can take a long time) and be relentless in your love of the book and your love of the craft. Rewrite, rewrite, rewrite.
Q. Do you have a favorite writing exercise that you can share?
A. That ten books in ten days exercise was amazing. Just committing to creating no matter what happened: no matter if we were tired or bored or feeling insecure, that we would make no matter what.
Q. What are you working on now?
A. I'm performing at the Luggage Store Gallery in San Francisco (Om I'm Home) where I'm pouring tea for visitors in my own version of a Japanese tea ceremony. We continue to make WeDokiDoki. A new picture book is with my editor, my first YA novel, Otemba is nearly ready for submission; and I am always lovingly dipping into a memoir project called The Last Speaker of a Secret Language.
To learn more about Katrina and her projects, visit her here or on Twitter at @inlovethere
Read More
Q. Was THE SOUND OF SILENCE the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?)
A. THE SOUND OF SILENCE was somewhere in a pile of ten manuscripts that my partner and I decided to write in ten days. Every night after my epic days as a TV Journalist in Tokyo for NHK-World, I’d come home and write a picture book. We’d sit on the floor and I’d write a page and hand it to him to illustrate. Every day for ten days. A very early (and nearly unrecognizable) draft came out during that creative sprint.
Q. What inspired THE SOUND OF SILENCE?
A. The story is one my father told us growing up—of a musician who was also my dad’s neighbor (and who I later found out was the famous contemporary composer Toru Takemitsu) told my father that his favorite sound was the sound of silence.
Q. How did you pick the title of your book?
A. It was such a long process! There were emails! And committees! And brainstorms! And I still am not sure about it—mostly because when you google it you get Simon and Garfunkel. (Who I love).
Q. What is your favorite part of the book? And was that part in the first draft?
A. That’s such a wonderful question, because I love the end, and your follow-up question is making me realize that the ending is the heart of the story. The heart was there in some form even in the earliest drafts. Rewriting was all about revealing the heart, all about making sure that every piece of the story is beating along with it—but it was there all along (just like the silence that little Yoshio finds!)
Also, I love Julia’s aerials in the spread with the family eating and Yoshio taking a bath, gorgeous. (And the bamboo grove. And the end. And EVERYTHING. Juliaaaaaa!!!!)
Q. How did you select the names for your characters?
A. Yoshio is my dad’s name, and your question is making me realize that no one else has names in the book!!
Q. Why did you decide to tell the story in third person?
A. Hmm, I never thought about telling it in anything but third. (Just as the novel I’m working on can’t seem to be in anything but first). I think it’s about how it appears in my imagination—the voice is clear to me from the beginning.
Q. How much of the story did you know when you began writing THE SOUND OF SILENCE?
A. Originally the story had a few focuses—one of which was that the boy was always late to school (That got completely jettisoned, thank goodness), the other was that he was connecting with different traditional artisans, which was focused into the one character of the koto player. Bethany Strout was the genius behind making her a woman—one of my favorite changes that came with art.
Q. Did THE SOUND OF SILENCE receive any rejection letters? If so, how many (ballpark)?
A. It didn’t. Though I did work with Alvina Ling at Little, Brown for almost a year before it went to acquisitions. I learned everything in that year, it was such an incredible gift, that mentorship.
Q. Describe your reaction when you received an offer on THE SOUND OF SILENCE.
A. Tears. :)
Q. What kind of input did you have in choosing an illustrator for the book?
A. A lot! I was very lucky that this was such a collaborative process and the editorial team was so respectful and interested in my thoughts on illustrators. We had such a similar vision for the book, and we all knew that Julia was and is the perfect artist to create Yoshio’s illustrated world.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Those last pages. Ohhh, I love them so much. In those last pages when he finds silence I feel like Julia and I are so perfectly in sync. I still get a little teary when I read them.
Q. How long did THE SOUND OF SILENCE take to be published—from the time you received an offer until it was printed?
A. 5 years! 6 if you count the year before it sold. I loved that it took so long. I loved working on other projects and knowing it was in the wings waiting, and telling people about it and preparing for it to show up in the world. I wouldn’t have sped it up at all.
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. Not a single thing.
Q. What is your #1 tip to those who want to write picture books?
A. Write what you love, write something that you want to spend a long time with (because it can take a long time) and be relentless in your love of the book and your love of the craft. Rewrite, rewrite, rewrite.
Q. Do you have a favorite writing exercise that you can share?
A. That ten books in ten days exercise was amazing. Just committing to creating no matter what happened: no matter if we were tired or bored or feeling insecure, that we would make no matter what.
Q. What are you working on now?
A. I'm performing at the Luggage Store Gallery in San Francisco (Om I'm Home) where I'm pouring tea for visitors in my own version of a Japanese tea ceremony. We continue to make WeDokiDoki. A new picture book is with my editor, my first YA novel, Otemba is nearly ready for submission; and I am always lovingly dipping into a memoir project called The Last Speaker of a Secret Language.
To learn more about Katrina and her projects, visit her here or on Twitter at @inlovethere
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LADY PANCAKE & SIR FRENCH TOAST
August 15, 2016
Author Josh Funk has two upcoming picture books but today he talks about crafting his very first picture book, LADY PANCAKE & SIR FRENCH TOAST—"a ripping barnburner full of outlandish action, heroic and dastardly characters, roller coaster rhymes and some absolutely fabulous illustrations by Brendan Kearney" (David Henry Sterry, The Huffington Post) .
Q. Was LADY PANCAKE & SIR FRENCH TOAST the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Lady Pancake & Sir French Toast was definitely not the first (or second ... or third) manuscript I ever wrote. The first was about a fox and a squirrel and involved a mystery about a missing guitar. And it was ... pretty terrible. But I spent well over a year revising it - and it was a fantastic learning experience. Looking back on it, I realize that I'd have to completely rewrite it for it ever to fit today's picture book market (or just be any good). But I learned so much as I revised it. And I continued to write new manuscripts as I learned. One of which was Lady Pancake & Sir French Toast.
Q. What inspired LADY PANCAKE & SIR FRENCH TOAST?
A. I had been writing picture book manuscripts for a while and was always on the lookout for new ideas. One Saturday morning I came down for breakfast and asked my kids what they wanted to eat. One said, "Pancakes!" and the other said, "French toast!" - and they argued for a bit. When I checked the freezer, all we had were waffles. It was on the way to the diner that I thought it might be fun to see a pancake and French toast arguing.
I asked my kids what a pancake and French toast might fight over and one of the kids said, "Syrup." I thought that was a brilliant idea. But I can't remember which of my kids said it. And now, years later, the kids fight about which of them came up with the idea. So what started with two kids arguing, continues today ... with two kids arguing.
Q. How did you pick the title of your book?
A. The names of the characters were always pretty descriptive and different, so Lady Pancake & Sir French Toast was the title since the very beginning.
Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part is probably the bean avalanche. Not only is the two-page spread extremely colorful (illustrator Brendan Kearney once told me it took an entire week for him to color in those beans), but it's just such a silly thing to happen.
It was not part of the first draft. The first draft was actually just the two main characters arguing about who was more deserving of the syrup-- it was more of a debate. One of my critique partners made the comment that it needed more action (thanks, Jane). That's when it turned into a race.
I will say that the bean avalanche was something I mentioned in my cover and query letters, cause I thought it was a pretty descriptive and different thing.
Q. How did you select the names for your characters?
A. Most of it has to do with the fact that the story is written in rhyme. The way it flowed, I needed certain syllables in the right places and 'Lady' just fit. In the very very very first draft, Sir French Toast was actually Mister (because two syllables were needed). It was suggested I stick with the royalty theme (thanks, Carol!) and go with something like 'Sir' - so I did. And that's why the fourth line of the book is "sat Lady Pancake beside Sir French Toast." I used 'beside' as a two syllable replacement for the word 'and' when 'Sir' was originally 'Mister.'
Q. Why did you decide to tell the story in third person?
A. Because there are multiple main characters, this seemed to fit best. I must admit though, it just came out this way at the start and I never considered changing it.
Q. How much of the story did you know when you began writing LADY PANCAKE & SIR FRENCH TOAST?
A. I knew the two characters, the setting (inside the fridge), the conflict (only one drop of syrup was left in the bottle and they both wanted it), and the ending (I'm not telling here). None of that changed along the way. Almost everything else did.
Q. Did LADY PANCAKE & SIR FRENCH TOAST receive any rejection letters? If so, how many (ballpark)?
A. I sent it to 36 agents. Two responded as if they read it. Ten sent me form rejections. The other 24 were black holes (I never received a response). So I gave up on agents.
I sent it snail mail to 10 publishers that accepted unsolicited submissions. One sent back a rejection. 8 never responded. So that all adds up to 45 rejections and ...
Q. Describe your reaction when you received an offer on LADY PANCAKE & SIR FRENCH TOAST.
A. On the evening of October 30th, 2013, I received an email from an editor at Sterling saying they found my manuscript in the slush pile and they would be taking it to acquisitions the following week. While I was excited and encouraged, I'd had some close calls that didn't go through in the previous few months so I didn't get overly excited until ...
Eight days later I was at The Writers' Loft in Sherborn, MA (a local writing community), a few hours early for a picture book critique group (I hadn't yet critiqued the manuscripts we were going over that night) when I got the email. No one else was around, so I screamed a little. I giggled a bit. I called my family to tell them. It was pretty exhilarating!
Q. What kind of input did you have in choosing an illustrator for the book?
A. None. Sterling told me that they'd found an illustrator and sent me a link to Brendan Kearney's website. I was psyched. From the very beginning before I saw any of his sketches, I knew he'd be pretty perfect.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Brendan had put so much thought into not just the main character, but so many of the side characters as well. Lady Pancake's whipped cream hair with a cherry and wafer crown along with Sir French Toast's strawberry hat blew me away. None of that was in my text. All he had were the character names. The rest came from Brendan's imagination.
And the cover is perfect. The color (bright turquoise-green) pops off the shelf, along with the embossed gold foil! And it's got so much tension and action built in to the illustrations. I love it!
Q. How long did LADY PANCAKE & SIR FRENCH TOAST take to be published—from the time you received an offer until it was printed?
A. Just under 22 months. Which is fast. Almost lightning fast for a picture book non-sequel where the author and illustrator are not the same person.
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. Nope. I wouldn't change a thing!
Q. Can you share any funny or memorable parts of letters from kids about LADY PANCAKE & SIR FRENCH TOAST?
A. Strangely, a lot of kids wonder whether Lady Pancake and Sir French Toast will ever get married (or if they already are married). I do know that if they did start a family and have kids, their children would definitely be crêpes (French pancakes).
Q. When you do readings of LADY PANCAKE & SIR FRENCH TOAST, which part of the book gets the best reaction?
A. The twist ending.
Q. What is your #1 tip to those who want to write picture books?
A. I've put together a set of Resources for Writers on my website. But the most important thing I'd recommend is that you keep writing. As I said earlier, my first manuscript was terrible. My second was a little less terrible. Every book you write is likely to be better than the last, especially if you're going to conferences, getting feedback, learning about the industry, making (and learning) from mistakes, and more. I can't tell you how many times I've heard keynote speakers say that finally, it was their seventh book written that became their first one published. So keep writing. And keep writing new things.
Q. What are you working on now?
A. I have two new books: Pirasaurs! (Scholastic) illustrated by Michael Slack and Dear Dragon (Viking/Penguin) illustrated by Rodolfo Montalvo. Next spring (2017), Lady Pancake & Sir French Toast: The Case of the Stinky Stench will be released. And then a few more are on the way after that.
To learn more about Josh and his books, visit his website.
Read More
Q. Was LADY PANCAKE & SIR FRENCH TOAST the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Lady Pancake & Sir French Toast was definitely not the first (or second ... or third) manuscript I ever wrote. The first was about a fox and a squirrel and involved a mystery about a missing guitar. And it was ... pretty terrible. But I spent well over a year revising it - and it was a fantastic learning experience. Looking back on it, I realize that I'd have to completely rewrite it for it ever to fit today's picture book market (or just be any good). But I learned so much as I revised it. And I continued to write new manuscripts as I learned. One of which was Lady Pancake & Sir French Toast.
Q. What inspired LADY PANCAKE & SIR FRENCH TOAST?
A. I had been writing picture book manuscripts for a while and was always on the lookout for new ideas. One Saturday morning I came down for breakfast and asked my kids what they wanted to eat. One said, "Pancakes!" and the other said, "French toast!" - and they argued for a bit. When I checked the freezer, all we had were waffles. It was on the way to the diner that I thought it might be fun to see a pancake and French toast arguing.
I asked my kids what a pancake and French toast might fight over and one of the kids said, "Syrup." I thought that was a brilliant idea. But I can't remember which of my kids said it. And now, years later, the kids fight about which of them came up with the idea. So what started with two kids arguing, continues today ... with two kids arguing.
Q. How did you pick the title of your book?
A. The names of the characters were always pretty descriptive and different, so Lady Pancake & Sir French Toast was the title since the very beginning.
Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part is probably the bean avalanche. Not only is the two-page spread extremely colorful (illustrator Brendan Kearney once told me it took an entire week for him to color in those beans), but it's just such a silly thing to happen.
It was not part of the first draft. The first draft was actually just the two main characters arguing about who was more deserving of the syrup-- it was more of a debate. One of my critique partners made the comment that it needed more action (thanks, Jane). That's when it turned into a race.
I will say that the bean avalanche was something I mentioned in my cover and query letters, cause I thought it was a pretty descriptive and different thing.
Q. How did you select the names for your characters?
A. Most of it has to do with the fact that the story is written in rhyme. The way it flowed, I needed certain syllables in the right places and 'Lady' just fit. In the very very very first draft, Sir French Toast was actually Mister (because two syllables were needed). It was suggested I stick with the royalty theme (thanks, Carol!) and go with something like 'Sir' - so I did. And that's why the fourth line of the book is "sat Lady Pancake beside Sir French Toast." I used 'beside' as a two syllable replacement for the word 'and' when 'Sir' was originally 'Mister.'
Q. Why did you decide to tell the story in third person?
A. Because there are multiple main characters, this seemed to fit best. I must admit though, it just came out this way at the start and I never considered changing it.
Q. How much of the story did you know when you began writing LADY PANCAKE & SIR FRENCH TOAST?
A. I knew the two characters, the setting (inside the fridge), the conflict (only one drop of syrup was left in the bottle and they both wanted it), and the ending (I'm not telling here). None of that changed along the way. Almost everything else did.
Q. Did LADY PANCAKE & SIR FRENCH TOAST receive any rejection letters? If so, how many (ballpark)?
A. I sent it to 36 agents. Two responded as if they read it. Ten sent me form rejections. The other 24 were black holes (I never received a response). So I gave up on agents.
I sent it snail mail to 10 publishers that accepted unsolicited submissions. One sent back a rejection. 8 never responded. So that all adds up to 45 rejections and ...
Q. Describe your reaction when you received an offer on LADY PANCAKE & SIR FRENCH TOAST.
A. On the evening of October 30th, 2013, I received an email from an editor at Sterling saying they found my manuscript in the slush pile and they would be taking it to acquisitions the following week. While I was excited and encouraged, I'd had some close calls that didn't go through in the previous few months so I didn't get overly excited until ...
Eight days later I was at The Writers' Loft in Sherborn, MA (a local writing community), a few hours early for a picture book critique group (I hadn't yet critiqued the manuscripts we were going over that night) when I got the email. No one else was around, so I screamed a little. I giggled a bit. I called my family to tell them. It was pretty exhilarating!
Q. What kind of input did you have in choosing an illustrator for the book?
A. None. Sterling told me that they'd found an illustrator and sent me a link to Brendan Kearney's website. I was psyched. From the very beginning before I saw any of his sketches, I knew he'd be pretty perfect.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Brendan had put so much thought into not just the main character, but so many of the side characters as well. Lady Pancake's whipped cream hair with a cherry and wafer crown along with Sir French Toast's strawberry hat blew me away. None of that was in my text. All he had were the character names. The rest came from Brendan's imagination.
And the cover is perfect. The color (bright turquoise-green) pops off the shelf, along with the embossed gold foil! And it's got so much tension and action built in to the illustrations. I love it!
Q. How long did LADY PANCAKE & SIR FRENCH TOAST take to be published—from the time you received an offer until it was printed?
A. Just under 22 months. Which is fast. Almost lightning fast for a picture book non-sequel where the author and illustrator are not the same person.
Q. Is there anything you would change in the book today if you could reprint it? (Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?)
A. Nope. I wouldn't change a thing!
Q. Can you share any funny or memorable parts of letters from kids about LADY PANCAKE & SIR FRENCH TOAST?
A. Strangely, a lot of kids wonder whether Lady Pancake and Sir French Toast will ever get married (or if they already are married). I do know that if they did start a family and have kids, their children would definitely be crêpes (French pancakes).
Q. When you do readings of LADY PANCAKE & SIR FRENCH TOAST, which part of the book gets the best reaction?
A. The twist ending.
Q. What is your #1 tip to those who want to write picture books?
A. I've put together a set of Resources for Writers on my website. But the most important thing I'd recommend is that you keep writing. As I said earlier, my first manuscript was terrible. My second was a little less terrible. Every book you write is likely to be better than the last, especially if you're going to conferences, getting feedback, learning about the industry, making (and learning) from mistakes, and more. I can't tell you how many times I've heard keynote speakers say that finally, it was their seventh book written that became their first one published. So keep writing. And keep writing new things.
Q. What are you working on now?
A. I have two new books: Pirasaurs! (Scholastic) illustrated by Michael Slack and Dear Dragon (Viking/Penguin) illustrated by Rodolfo Montalvo. Next spring (2017), Lady Pancake & Sir French Toast: The Case of the Stinky Stench will be released. And then a few more are on the way after that.
To learn more about Josh and his books, visit his website.
Read More
