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.
True Story Blog
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
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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
Read More
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.
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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.
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10 More Tips for Writing Picture Books
August 1, 2016
Here is a list of tips pulled from previous posts. Click on the quote to read the writer's entire Q&A.
Laban Carrick Hill: "A picture book is not a word book. The words in a picture book need to serve the illustrations, not the other way around, even though the illustrations would not exist if not the words had been written first. What I tried to do was provide artfully descriptive language that would be a springboard for the illustrator to do their thing."
Abraham Schroeder: "If you can't stop thinking about even the faintest notion of an idea, a character, a little phrase, write it down and see what it turns into. Many times I've jotted down an idea that I think is totally silly, but after considering it objectively, sometimes months or years later, I realize there might be a whole a lot more to it."
Maria Gianferrari: "Don’t give up! Even though picture books are short, they’re not easy to write. They often undergo multiple revisions and entirely change shape. It takes time to improve your craft. Keep reading; keep writing and join a critique group for feedback."
Megan Wagner Lloyd: "Find your unique voice and trust the illustrator (aka keep your art notes to a minimum!)"
Sylvia Liu: "I had known about the award for over a decade. After I started writing picture books, I kept the award in the back of my mind each year, but it wasn’t until I wrote A MORNING WITH GRANDPA that I felt I had a story that was suitable for the contest."
Susan Hood: "An interesting exercise is to type out the text of a favorite picture book and then compare it to the finished book. It will help you see how the text works hand in hand with the art to create something new."
Emma Bland Smith: "My process is always something like this: I write something. I think it’s great. I send it to my critique partners. They tell me everything that’s wrong with it and how to fix it. I lick my wounds for a few hours or days. Then I take their advice and revise it. Repeat several times."
Penny Parker Klostermann: "I took pictures of clouds that took on familiar shapes. One evening I photographed one that looked just like a dragon and I thought what a great main character a dragon would make if I could just find a story for him."
Karlin Gray: "I thought back to my six-year-old self and wondered, who would I have wanted to see in a picture book?"
Donna Mae: "I took on self-publishing as a personal challenge. I had an overwhelming feeling of Do This Book By Yourself."
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Laban Carrick Hill: "A picture book is not a word book. The words in a picture book need to serve the illustrations, not the other way around, even though the illustrations would not exist if not the words had been written first. What I tried to do was provide artfully descriptive language that would be a springboard for the illustrator to do their thing."
Abraham Schroeder: "If you can't stop thinking about even the faintest notion of an idea, a character, a little phrase, write it down and see what it turns into. Many times I've jotted down an idea that I think is totally silly, but after considering it objectively, sometimes months or years later, I realize there might be a whole a lot more to it."
Maria Gianferrari: "Don’t give up! Even though picture books are short, they’re not easy to write. They often undergo multiple revisions and entirely change shape. It takes time to improve your craft. Keep reading; keep writing and join a critique group for feedback."
Megan Wagner Lloyd: "Find your unique voice and trust the illustrator (aka keep your art notes to a minimum!)"
Sylvia Liu: "I had known about the award for over a decade. After I started writing picture books, I kept the award in the back of my mind each year, but it wasn’t until I wrote A MORNING WITH GRANDPA that I felt I had a story that was suitable for the contest."
Susan Hood: "An interesting exercise is to type out the text of a favorite picture book and then compare it to the finished book. It will help you see how the text works hand in hand with the art to create something new."
Emma Bland Smith: "My process is always something like this: I write something. I think it’s great. I send it to my critique partners. They tell me everything that’s wrong with it and how to fix it. I lick my wounds for a few hours or days. Then I take their advice and revise it. Repeat several times."
Penny Parker Klostermann: "I took pictures of clouds that took on familiar shapes. One evening I photographed one that looked just like a dragon and I thought what a great main character a dragon would make if I could just find a story for him."
Karlin Gray: "I thought back to my six-year-old self and wondered, who would I have wanted to see in a picture book?"
Donna Mae: "I took on self-publishing as a personal challenge. I had an overwhelming feeling of Do This Book By Yourself."
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THE BEAR AND THE PIANO
July 25, 2016
David Litchfield's illustrations have appeared in newspapers, magazines, and books. Starting in 2010, he did a drawing every day for a year and later hosted a Ted Talk about how that changed his life. Today he talks about how he created his first picture book THE BEAR AND THE PIANO—"one of those rare books that children can return to again and again through the years, each time finding new meaning appropriate to their varying ages and stages” (Kirkus Reviews).
Q. You had illustrated several book covers before THE BEAR AND THE PIANO. How did you make the transition to writer/illustrator?
A. Well actually, THE BEAR AND THE PIANO is my first ever book. I got the gig before any other commissions, which was strange as I had no experience of narrative illustration really. My editor Katie Cotton must have just seen the desire I had to create books and took a huge leap of faith in signing me up to do the book.
After I pitched the idea to Katie I drew the thumbnails and the rough version of the book as well as a few full colour spreads. This took me a couple of weeks working around other jobs in the evenings, etc. But thankfully, Katie was impressed enough by this to say yes and commission the book.
Since then, I have taken on a fair few projects for other authors. This is a very different process as you need to take on board the authors viewpoint for the world they have created.
Each way of working has their own enjoyable challenges and unique processes to follow.
Q. What inspired THE BEAR AND THE PIANO?
A. I think when you want to follow a certain dream you have to step out of your comfort zone. And also I think so many people are moving around and moving away these days that's it's sometimes important to remember your roots and where you come from. But obviously told in a very sweet, friendly way.
Q. How did you pick the title of your book?
A. I liked how it was a matter of factly style title. It describes what the main story points are and I think that's quite cool.
Q. What is your favorite part of the book? And was that part in the first draft?
A. I really like the giant theatre spread with the bear playing the grande piano in front of all of those people. This was one of the first images I sketched out and I could see it perfectly in my head. I'm really happy with how that spread turned out actually. From an illustration point of view I think it's a pretty good drawing (in my humble opinion). From a story point of view I think it's a good visual device of showing how far the bear has come and how different his life is compared to when he was playing on the tatty old piano in the forest.
Q. Why did you decide to tell the story in third person?
A. Ooh, I don't know actually. It just was a natural thing. I didn't really think about it at the time. But now that I am thinking, maybe it's because if I had have written it from the Bears perspective and have the bear narrate it would have broken the Magic a bit. After all, if the bear can talk and tell us the story, it's not to far to stretch our belief that the bear can play the piano. So maybe, sub consciously, that's why I wrote it in the third person.
Q. How much of the story did you know when you began writing THE BEAR AND THE PIANO?
A. All of it. actually, I sketched it out in my sketchbook before writing a word for it. Once I had the pictures mapped out it was quite easy to add the words. I think that's actually my favourite way of working.
Q. Did THE BEAR AND THE PIANO receive any rejection letters? If so, how many (ballpark)?
A. It didn't actually. It may sound like I'm showing off a bit, but my first ever pitch meeting with a publisher was with Katie at France's Lincoln which went great and she loved the idea and the book got signed up. So, yep, no rejections (feel slightly smug now).
Q. Describe your reaction when you received an offer on THE BEAR AND THE PIANO.
A. I remember I left France's Lincoln offices and went to Starbucks and had a sausage sandwich. I rang my wife and told her the good news and then emailed my agent. I then floated on a cloud of joy home from London to Bedford. It was a bloody brilliant day.
Q. How long did THE BEAR AND THE PIANO take to be published—from the time you received an offer until it was printed?
A. It was a fairly quick process. Pretty much 1 year exactly. I got the green light on the project from France's Lincoln in September 2014 and then it was published in September 2015.
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. There was an extra spread which had the Bear running through the city streets just before he heads back to the forest. But part of the process of working with Katie was looking at what worked for the story and what might slow it down. This was a fantastic learning curve and even though I loved the look of the city spread I could see that it just wasn't needed at all. But to be honest I really don't think I would change anything within the book. I'm really rather fond of It :)
Q. Can you share any funny or memorable parts of letters from kids about THE BEAR AND THE PIANO?
A. I've had some great letters from kids who have read the book. I love getting letters. A couple of weeks ago I even got given a book drawn by a 7 year old girl called 'the bear & the Trumpet' which was inspired by my book. I'm even a character in the book which is amazing.
I still can't get over the fact that the book I drew in my cramped little spare room in our old flat is now being read by children all across the world. It's amazing really.
Q. When you do readings of THE BEAR AND THE PIANO, which part of the book gets the best reaction?
A. The big reveal at the end when the bear returns home is always nice. In fact I did a reading at a primary school last month and the teacher started crying at that point. It was a bit awkward. But also lovely and funny.
Q. What is your #1 tip to those who want to write picture books?
A. Being passionate about what you do, and having a strong portfolio is helpful (if you want to illustrate too).
But what I have learnt is that a good idea and a good concept can impress anyone. I think that publishers like to work closely with authors and illustrators in developing an idea. So the fact that The Bear & the Piano was just a very loose idea—literally just a paragraph synopsis and a few sketches—when I pitched it, was actually something that worked in its favour.
To learn more about how David created THE BEAR AND THE PIANO, visit his blog.
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Q. You had illustrated several book covers before THE BEAR AND THE PIANO. How did you make the transition to writer/illustrator?
A. Well actually, THE BEAR AND THE PIANO is my first ever book. I got the gig before any other commissions, which was strange as I had no experience of narrative illustration really. My editor Katie Cotton must have just seen the desire I had to create books and took a huge leap of faith in signing me up to do the book.
After I pitched the idea to Katie I drew the thumbnails and the rough version of the book as well as a few full colour spreads. This took me a couple of weeks working around other jobs in the evenings, etc. But thankfully, Katie was impressed enough by this to say yes and commission the book.
Since then, I have taken on a fair few projects for other authors. This is a very different process as you need to take on board the authors viewpoint for the world they have created.
Each way of working has their own enjoyable challenges and unique processes to follow.
Q. What inspired THE BEAR AND THE PIANO?
A. I think when you want to follow a certain dream you have to step out of your comfort zone. And also I think so many people are moving around and moving away these days that's it's sometimes important to remember your roots and where you come from. But obviously told in a very sweet, friendly way.
Q. How did you pick the title of your book?
A. I liked how it was a matter of factly style title. It describes what the main story points are and I think that's quite cool.
Q. What is your favorite part of the book? And was that part in the first draft?
A. I really like the giant theatre spread with the bear playing the grande piano in front of all of those people. This was one of the first images I sketched out and I could see it perfectly in my head. I'm really happy with how that spread turned out actually. From an illustration point of view I think it's a pretty good drawing (in my humble opinion). From a story point of view I think it's a good visual device of showing how far the bear has come and how different his life is compared to when he was playing on the tatty old piano in the forest.
Q. Why did you decide to tell the story in third person?
A. Ooh, I don't know actually. It just was a natural thing. I didn't really think about it at the time. But now that I am thinking, maybe it's because if I had have written it from the Bears perspective and have the bear narrate it would have broken the Magic a bit. After all, if the bear can talk and tell us the story, it's not to far to stretch our belief that the bear can play the piano. So maybe, sub consciously, that's why I wrote it in the third person.
Q. How much of the story did you know when you began writing THE BEAR AND THE PIANO?
A. All of it. actually, I sketched it out in my sketchbook before writing a word for it. Once I had the pictures mapped out it was quite easy to add the words. I think that's actually my favourite way of working.
Q. Did THE BEAR AND THE PIANO receive any rejection letters? If so, how many (ballpark)?
A. It didn't actually. It may sound like I'm showing off a bit, but my first ever pitch meeting with a publisher was with Katie at France's Lincoln which went great and she loved the idea and the book got signed up. So, yep, no rejections (feel slightly smug now).
Q. Describe your reaction when you received an offer on THE BEAR AND THE PIANO.
A. I remember I left France's Lincoln offices and went to Starbucks and had a sausage sandwich. I rang my wife and told her the good news and then emailed my agent. I then floated on a cloud of joy home from London to Bedford. It was a bloody brilliant day.
Q. How long did THE BEAR AND THE PIANO take to be published—from the time you received an offer until it was printed?
A. It was a fairly quick process. Pretty much 1 year exactly. I got the green light on the project from France's Lincoln in September 2014 and then it was published in September 2015.
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. There was an extra spread which had the Bear running through the city streets just before he heads back to the forest. But part of the process of working with Katie was looking at what worked for the story and what might slow it down. This was a fantastic learning curve and even though I loved the look of the city spread I could see that it just wasn't needed at all. But to be honest I really don't think I would change anything within the book. I'm really rather fond of It :)
Q. Can you share any funny or memorable parts of letters from kids about THE BEAR AND THE PIANO?
A. I've had some great letters from kids who have read the book. I love getting letters. A couple of weeks ago I even got given a book drawn by a 7 year old girl called 'the bear & the Trumpet' which was inspired by my book. I'm even a character in the book which is amazing.
I still can't get over the fact that the book I drew in my cramped little spare room in our old flat is now being read by children all across the world. It's amazing really.
Q. When you do readings of THE BEAR AND THE PIANO, which part of the book gets the best reaction?
A. The big reveal at the end when the bear returns home is always nice. In fact I did a reading at a primary school last month and the teacher started crying at that point. It was a bit awkward. But also lovely and funny.
Q. What is your #1 tip to those who want to write picture books?
A. Being passionate about what you do, and having a strong portfolio is helpful (if you want to illustrate too).
But what I have learnt is that a good idea and a good concept can impress anyone. I think that publishers like to work closely with authors and illustrators in developing an idea. So the fact that The Bear & the Piano was just a very loose idea—literally just a paragraph synopsis and a few sketches—when I pitched it, was actually something that worked in its favour.
To learn more about how David created THE BEAR AND THE PIANO, visit his blog.
Read More
THE WILLIAM HOY STORY: HOW A DEAF BASEBALL PLAYER CHANGED THE GAME
July 18, 2016
Nancy Churnin is a theater critic and busy baseball-loving mom to four boys but today she tells us about the long road to publishing her first picture book THE WILLIAM HOY STORY—"a rewarding read-aloud choice for baseball fans" (Booklist) and a New York Public Library Recommended Book.
Q. Was THE WILLIAM HOY STORY the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. There have been so many manuscripts over the years, I can’t remember which was first. But one I remember most fondly is Monroe and the Mousecracker, Sweet! about a mouse who dreams of starring as the Mouse King in The Nutcracker. It’s still in my file cabinet and it still makes me laugh!
Q. What inspired THE WILLIAM HOY STORY?
A. I became friends with a Deaf man named Steve Sandy, whose decades-long dream is to get William Hoy in the National Baseball Hall of Fame., where William would be the first Deaf player to get that honor. I wanted to find a way to help. I thought of the most powerful people I knew and I realized: kids! I will share the story of William Hoy with kids and they will write the letters and send the drawings that will make it happen. At that point I had not yet realized there was more to writing picture books than putting down whatever came into my head and stuffing the results in file cabinets. Slowly I realized I had to learn the craft. So I took courses and challenges and got critiques and wrote, wrote, wrote while Steve kept me going with fabulous primary source material and patiently answered question after question after question about William Hoy and what it was like to grow up Deaf in the late nineteenth century.
Q. How did you pick the title of your book?
A. Wendy Grencik, my wonderful editor at Albert Whitman & Company, picked the title. It is simple and to the point and I really like the second part of it: THE WILLIAM HOY STORY: HOW A DEAF BASEBALL PLAYER CHANGED THE GAME.
Q. What resources did you use while researching THE WILLIAM HOY STORY?
A. Steve Sandy provided me with reams of newspaper articles about William Hoy from the 19th century and beyond as William lived 99 years from the presidencies of Abraham Lincoln to John F. Kennedy! Steve is friends with the Hoy family and, through them, was able to supply me with family pictures, too. I did my own searches and was lucky to get the encouragement and support of Texas Rangers Hall of Fame announcer Eric Nadel. He wrote a book for adults about baseball that includes Hoy and fact checked my baseball details. I am so proud that Eric wrote a blurb for the back of my book and has been reading it to kids as part of his Texas Rangers Summer Reading program.
Q. How did you decide where to start and end this nonfiction story?
A. It took me a long time to realize that the heart of the story was how his difference — his Deafness in a hearing world — was his gift to baseball. Because he was Deaf, he signed. He taught those signs to the umpires so he could play the game he loved. Those signs, which we still use today, make baseball a better game for everyone. Once that came to me, I realized I need to begin with the signs (his mother giving him Deaf applause when he practiced his throws as a boy) and finally show how he was loved by the fans when they greeted him with Deaf applause as his mother had done. The connecting thread was the applause. I used it to connect from the time he was a boy to a young rookie ballplayer to a successful and popular ballplayer.
Q. What is your favorite part of the book? And was that part in the first draft?
A. It wasn’t there in the first draft literally, but I like to think it was waiting to be fished out of the initial sea of words. The Deaf applause, which is in three key places, is my favorite part—especially at the end when it brings a tear to his eye. It brings one to mine as well. Every time.
Q. Did THE WILLIAM HOY STORY receive any rejection letters? If so, how many (ballpark)?
A. The rejection letters came in three phases. The first phase was for the version of the story I wrote before I realized I needed to study this craft. There were lots of those! The second phase was after my lovely agent, Karen Grencik, took me on hours after reading the version I had written after taking multiple courses and challenges and gotten help from fabulous critique partners. Those were personalized and regretful rejections which were a big step up from the form letters I had gotten after submitting to the slush piles. The third phase came after I carefully considered a common thread in the comments in the rejections. I had a brainstorm and got the idea of transforming a straightforward biography to a narrative about how signs changed his life and how he used them to change the lives of others for the better. That got a couple of rejections, but when Karen sent the new manuscript to Wendy, Wendy responded affirmatively that same day!
Q. Describe your reaction when you received an offer on THE WILLIAM HOY STORY.
A. Utter, pure elation. Joy for me, for Steve, for William Hoy. Thankfulness that this opportunity was opening for me to fulfill my promise to myself, to Steve, to William Hoy and to give this happiness to my family.
Q. What kind of input did you have in choosing an illustrator for the book?
A. Wendy picked the illustrator, Jez Tuya, and he’s been wonderful! She shared early sketches with me and my only comments were regard to historical accuracy, particularly that in the early days no one wore baseball gloves. Through Steve, I was able to supply Jez (through Wendy) lots of historical photographs. I was pleasantly surprised and impressed by how Jez melded accuracy with a bright friendly style that kids love.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. William Hoy was coming to life. It was like finally getting to meet someone you have corresponded with for years but never got to meet in person!
Q. How long did THE WILLIAM HOY STORY take to be published—from the time you received an offer until it was printed?
A. Sixteen to seventeen months depending on how you count it. We received the offer in October of 2014. Then everything was quiet until the summer of 2015. Suddenly everything had to be proofread and questions had to be answered very quickly! There was some more back and forth in the fall. Then THE WILLIAM HOY STORY was published March 1, 2016 although people who pre-ordered were able to get it in February of 2016.
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 as is, but I have lots of extra anecdotes I like to bring to my presentations and kids and adults seem to enjoy getting extra inside information about his sense of humor, his honesty, and what an all around good guy he was.
Q. Can you share any funny or memorable parts of letters from kids about THE WILLIAM HOY STORY?
A. They are all wonderful and I treasure them all! Here are a couple that the kids addressed to the National Baseball Hall of Fame:
From Shylah D.: Mr. Hoy never gave up despite his inability to hear. His story shows how important it is that no matter what your handicap or disability is, to never give up on your dreams. If you work hard, they can come true. I will remember this story for the rest of my life. I know if it touched me, it will touch other kids just like me. Please enter Mr. Hoy into the Sports Hall of Fame. His story needs to be shared and heard by everyone.
From Payton N.: He's a big influence in many peoples lives including my little brother Tyler. Tyler is also deaf and he also plays on a baseball team but they're called The Angles. Their team is undefeated and I'm so proud of him! If you put William Hoy in The Hall of Fame it would make a big difference in his life. I really hope this letter convinces you because I told my brother I would try and I hate to make him sad.
From Elizabeth: I am an eleven year old girl who enjoys watching a baseball game. William Hoy changed baseball for everyone, and he's not in your hall of Fame! I don't understand why not!!!!! He was an amazing baseball player who was just DIFFERENT! William Hoy should be in the Baseball Hall of Fame, and it's silly if you don't see that!
Q. When you do readings of THE WILLIAM HOY STORY, which part of the book gets the best reaction?
A. The kids get really quiet when he is bullied, particularly by the pitcher who tricks him into thinking there’s another pitch coming because he knows William was too far away from the umpire to see that he had three strikes. Their eyes get big when William gets his big idea and starts scribbling on his pad. They are so joyful at the end when they can see what it means to him to be greeted by the crowd with Deaf applause.
Q. What is your #1 tip to those who want to write picture books?
A. Write the story you believe with your whole heart needs to be in the world, that will make a difference in children’s lives. When you commit to that story, you are an advocate for that story and you will become an unstoppable force. Sure, the story may need to be rewritten or reworked a hundred or a thousand or ten thousand times. You have to be open to learning, to growing to learn, to give the story everything it needs to breathe. Don’t make it about you because if you do your feelings will get battered and bruised. Make it about the story. You serve the story and your job is to keep going until you get it where it needs to go.
Q. Do you have a favorite writing exercise that you recommend?
A. If you are writing a non-fiction biography, ask yourself what was the person’s dream when that person was a child. How did the dream change over time and how did the person make the dream come true? Can you feel the desire for that dream as intensely and urgently as your character? When you do, start writing!
Q. What are you working on now?
I am thrilled to report that my second book, another non-fiction picture book, Manjhi Moves a Mountain, will be published by Creston Books, in Fall of 2017. It’s the true story of a man who was motivated by love to move a mountain, using only a hammer, chisel and his own persistence. The amazing Marissa Moss is the editor and I am thrilled to report that I’ve seen some of the early illustrations by the fabulous Danny Popovici. Plus I have several manuscripts in progress and I have treated myself to Kristen Fulton’s amazing WOW retreat for children’s book writers July 17-23 for a week of writing, rewriting, and inspiration.
To learn more about Nancy, visit her website.
Read More
Q. Was THE WILLIAM HOY STORY the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. There have been so many manuscripts over the years, I can’t remember which was first. But one I remember most fondly is Monroe and the Mousecracker, Sweet! about a mouse who dreams of starring as the Mouse King in The Nutcracker. It’s still in my file cabinet and it still makes me laugh!
Q. What inspired THE WILLIAM HOY STORY?
A. I became friends with a Deaf man named Steve Sandy, whose decades-long dream is to get William Hoy in the National Baseball Hall of Fame., where William would be the first Deaf player to get that honor. I wanted to find a way to help. I thought of the most powerful people I knew and I realized: kids! I will share the story of William Hoy with kids and they will write the letters and send the drawings that will make it happen. At that point I had not yet realized there was more to writing picture books than putting down whatever came into my head and stuffing the results in file cabinets. Slowly I realized I had to learn the craft. So I took courses and challenges and got critiques and wrote, wrote, wrote while Steve kept me going with fabulous primary source material and patiently answered question after question after question about William Hoy and what it was like to grow up Deaf in the late nineteenth century.
Q. How did you pick the title of your book?
A. Wendy Grencik, my wonderful editor at Albert Whitman & Company, picked the title. It is simple and to the point and I really like the second part of it: THE WILLIAM HOY STORY: HOW A DEAF BASEBALL PLAYER CHANGED THE GAME.
Q. What resources did you use while researching THE WILLIAM HOY STORY?
A. Steve Sandy provided me with reams of newspaper articles about William Hoy from the 19th century and beyond as William lived 99 years from the presidencies of Abraham Lincoln to John F. Kennedy! Steve is friends with the Hoy family and, through them, was able to supply me with family pictures, too. I did my own searches and was lucky to get the encouragement and support of Texas Rangers Hall of Fame announcer Eric Nadel. He wrote a book for adults about baseball that includes Hoy and fact checked my baseball details. I am so proud that Eric wrote a blurb for the back of my book and has been reading it to kids as part of his Texas Rangers Summer Reading program.
Q. How did you decide where to start and end this nonfiction story?
A. It took me a long time to realize that the heart of the story was how his difference — his Deafness in a hearing world — was his gift to baseball. Because he was Deaf, he signed. He taught those signs to the umpires so he could play the game he loved. Those signs, which we still use today, make baseball a better game for everyone. Once that came to me, I realized I need to begin with the signs (his mother giving him Deaf applause when he practiced his throws as a boy) and finally show how he was loved by the fans when they greeted him with Deaf applause as his mother had done. The connecting thread was the applause. I used it to connect from the time he was a boy to a young rookie ballplayer to a successful and popular ballplayer.
Q. What is your favorite part of the book? And was that part in the first draft?
A. It wasn’t there in the first draft literally, but I like to think it was waiting to be fished out of the initial sea of words. The Deaf applause, which is in three key places, is my favorite part—especially at the end when it brings a tear to his eye. It brings one to mine as well. Every time.
Q. Did THE WILLIAM HOY STORY receive any rejection letters? If so, how many (ballpark)?
A. The rejection letters came in three phases. The first phase was for the version of the story I wrote before I realized I needed to study this craft. There were lots of those! The second phase was after my lovely agent, Karen Grencik, took me on hours after reading the version I had written after taking multiple courses and challenges and gotten help from fabulous critique partners. Those were personalized and regretful rejections which were a big step up from the form letters I had gotten after submitting to the slush piles. The third phase came after I carefully considered a common thread in the comments in the rejections. I had a brainstorm and got the idea of transforming a straightforward biography to a narrative about how signs changed his life and how he used them to change the lives of others for the better. That got a couple of rejections, but when Karen sent the new manuscript to Wendy, Wendy responded affirmatively that same day!
Q. Describe your reaction when you received an offer on THE WILLIAM HOY STORY.
A. Utter, pure elation. Joy for me, for Steve, for William Hoy. Thankfulness that this opportunity was opening for me to fulfill my promise to myself, to Steve, to William Hoy and to give this happiness to my family.
Q. What kind of input did you have in choosing an illustrator for the book?
A. Wendy picked the illustrator, Jez Tuya, and he’s been wonderful! She shared early sketches with me and my only comments were regard to historical accuracy, particularly that in the early days no one wore baseball gloves. Through Steve, I was able to supply Jez (through Wendy) lots of historical photographs. I was pleasantly surprised and impressed by how Jez melded accuracy with a bright friendly style that kids love.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. William Hoy was coming to life. It was like finally getting to meet someone you have corresponded with for years but never got to meet in person!
Q. How long did THE WILLIAM HOY STORY take to be published—from the time you received an offer until it was printed?
A. Sixteen to seventeen months depending on how you count it. We received the offer in October of 2014. Then everything was quiet until the summer of 2015. Suddenly everything had to be proofread and questions had to be answered very quickly! There was some more back and forth in the fall. Then THE WILLIAM HOY STORY was published March 1, 2016 although people who pre-ordered were able to get it in February of 2016.
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 as is, but I have lots of extra anecdotes I like to bring to my presentations and kids and adults seem to enjoy getting extra inside information about his sense of humor, his honesty, and what an all around good guy he was.
Q. Can you share any funny or memorable parts of letters from kids about THE WILLIAM HOY STORY?
A. They are all wonderful and I treasure them all! Here are a couple that the kids addressed to the National Baseball Hall of Fame:
From Shylah D.: Mr. Hoy never gave up despite his inability to hear. His story shows how important it is that no matter what your handicap or disability is, to never give up on your dreams. If you work hard, they can come true. I will remember this story for the rest of my life. I know if it touched me, it will touch other kids just like me. Please enter Mr. Hoy into the Sports Hall of Fame. His story needs to be shared and heard by everyone.
From Payton N.: He's a big influence in many peoples lives including my little brother Tyler. Tyler is also deaf and he also plays on a baseball team but they're called The Angles. Their team is undefeated and I'm so proud of him! If you put William Hoy in The Hall of Fame it would make a big difference in his life. I really hope this letter convinces you because I told my brother I would try and I hate to make him sad.
From Elizabeth: I am an eleven year old girl who enjoys watching a baseball game. William Hoy changed baseball for everyone, and he's not in your hall of Fame! I don't understand why not!!!!! He was an amazing baseball player who was just DIFFERENT! William Hoy should be in the Baseball Hall of Fame, and it's silly if you don't see that!
Q. When you do readings of THE WILLIAM HOY STORY, which part of the book gets the best reaction?
A. The kids get really quiet when he is bullied, particularly by the pitcher who tricks him into thinking there’s another pitch coming because he knows William was too far away from the umpire to see that he had three strikes. Their eyes get big when William gets his big idea and starts scribbling on his pad. They are so joyful at the end when they can see what it means to him to be greeted by the crowd with Deaf applause.
Q. What is your #1 tip to those who want to write picture books?
A. Write the story you believe with your whole heart needs to be in the world, that will make a difference in children’s lives. When you commit to that story, you are an advocate for that story and you will become an unstoppable force. Sure, the story may need to be rewritten or reworked a hundred or a thousand or ten thousand times. You have to be open to learning, to growing to learn, to give the story everything it needs to breathe. Don’t make it about you because if you do your feelings will get battered and bruised. Make it about the story. You serve the story and your job is to keep going until you get it where it needs to go.
Q. Do you have a favorite writing exercise that you recommend?
A. If you are writing a non-fiction biography, ask yourself what was the person’s dream when that person was a child. How did the dream change over time and how did the person make the dream come true? Can you feel the desire for that dream as intensely and urgently as your character? When you do, start writing!
Q. What are you working on now?
I am thrilled to report that my second book, another non-fiction picture book, Manjhi Moves a Mountain, will be published by Creston Books, in Fall of 2017. It’s the true story of a man who was motivated by love to move a mountain, using only a hammer, chisel and his own persistence. The amazing Marissa Moss is the editor and I am thrilled to report that I’ve seen some of the early illustrations by the fabulous Danny Popovici. Plus I have several manuscripts in progress and I have treated myself to Kristen Fulton’s amazing WOW retreat for children’s book writers July 17-23 for a week of writing, rewriting, and inspiration.
To learn more about Nancy, visit her website.
Read More
THE PEDDLER'S BED
July 11, 2016
Library Assistant Lauri Fortino is a strong supporter of library and literacy initiatives and the creator of Frog On A Blog, a forum for writers and fans of children’s picture books to share their views on all-things picture books. But today she shares the story of how she created her first picture book, THE PEDDLER'S BED—"a quirky little tale that expresses the core message of kindness and hospitality, sharing what you have with others, no matter how humble or how fine" (Midwest Book Review).
Q. Was THE PEDDLER'S BED 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 have written several picture book manuscripts, both before and after The Peddler’s Bed. My first picture book story was called Freddy Bear Goes Here and There, which I completed while taking a children’s writer’s course back in 2005. The story has gone through several revisions and title changes (and rejections) since then. I just recently dug it out again for even more revisions. It’s barely recognizable now as the story I wrote over ten years ago.
Q. What inspired THE PEDDLER'S BED?
A. My inspiration for THE PEDDLER’S BED came from a sense of gratitude I felt toward family and friends for their generosity. When my husband and I first got married, much of our furniture was given to us, including our bed. The story is all about kindness and generosity and I really feel the world could use more of both.
Q. How did you pick the title of your book?
A. The title just came to me when I knew the story was going to be about a peddler who tries to sell a bed. The title for The peddler’s bed never changed.
Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part is the little man’s dog Happy. He was in the story from the beginning. I’m pretty sure my dog influenced my decision to include a canine companion in the book.
Q. Why did you decide to tell the story in third person?
A. At the time, I was writing all of my stories in third person and hadn’t considered anything else. I’ve become more comfortable experimenting with different points of view now. I’m even working on a story that breaks the fourth wall.
Q. How much of the story did you know when you began writing THE PEDDLER'S BED?
A. I had a rough idea of what the story was about, how it would begin, and how I wanted it to end. But my plot was disjointed. I had to work on connecting the dots from beginning to end in a way that made sense.
Q. Did THE PEDDLER'S BED receive any rejection letters? If so, how many (ballpark)?
A. Before sending the manuscript to Ripple Grove Press, I had sent it out only twice, and received back two rejections.
Q. Describe your reaction when you received an offer on THE PEDDLER'S BED.
A. There was a message on my answering machine when I arrived home from work (I work at my local public library) from Rob Broder, president and founder of Ripple Grove Press, saying he’s interested in THE PEDDLER’S BED and to call him to discuss a possible contract. Well, I must have replayed the message at least four or five times to be sure I was hearing correctly. Needless to say, I was thrilled!
Q. What kind of input did you have in choosing an illustrator for the book?
A. Rob and I discussed illustration style and he asked me to name a few books with styles that I thought were a good fit for the story. We seemed to be in agreement about what direction to take the art. Then Rob contacted Bong Redila to see if he’d be interested in illustrating the book. I’m super pleased with Bong’s illustrations. They’re so colorful and unique.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. The first thing that jumped out at me was that the peddler’s cart looked very different from what I had envisioned. But that was perfectly okay. I loved the sketches! It’s fascinating to see how an illustrator takes your words and ideas and brings them to life.
Q. How long did THE PEDDLER'S BED take to be published—from the time you received an offer until it was printed?
A. I signed the contract October 31, 2013 and the publication date was September 1, 2015, so nearly two years. But I received my author copies in April of 2015.
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’m sure there’d be a lot of things I’d change if I picked it apart, but I try not to do that. As writers, our inner editors are always talking, making us believe what we’ve written isn’t ready, finished, or good enough. Sometimes you just have to put him/her on mute and let it go.
Q. Can you share any funny or memorable parts of letters from kids about THE PEDDLER'S BED?
A. This isn’t from letters, but from talking to the kids about the book after I’ve read it. The book ends with the little man asleep on the bed on his front porch. I like to ask the kids how they think the little man will get the bed inside the house. One child said he’d prop open the roof and lower it down. You can’t beat the ingenuity of kids.
Q. When you do readings of THE PEDDLER'S BED which part of the book gets the best reaction?
A. What gets the best reaction actually happens before I read the book. Because there is a dog in the story, I like to share a picture of my dog with the kids. I show them a blown up picture of my dog with crazy, static-zapped, fly-away hair and tell the kids he was having a bad hair day. They love it!
Q. What is your #1 tip to those who want to write picture books?
A. Read bunches of picture books, especially new ones! Go to the library and raid their New Picture Book shelves. If you want to get published the traditional way, it’s important to really get a feel for the format and a clearer picture of what publishers are publishing and what’s selling in the current market. That said, don’t try to copy what others have done. Create something new. Write the stories that only you can write.
Q. What are you working on now?
A. I’m working on several picture book manuscripts as well as a children’s chapter book. My goal this year is to find a literary agent to represent my work.
To learn more about Lauri, visit her website
Read More
Q. Was THE PEDDLER'S BED 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 have written several picture book manuscripts, both before and after The Peddler’s Bed. My first picture book story was called Freddy Bear Goes Here and There, which I completed while taking a children’s writer’s course back in 2005. The story has gone through several revisions and title changes (and rejections) since then. I just recently dug it out again for even more revisions. It’s barely recognizable now as the story I wrote over ten years ago.
Q. What inspired THE PEDDLER'S BED?
A. My inspiration for THE PEDDLER’S BED came from a sense of gratitude I felt toward family and friends for their generosity. When my husband and I first got married, much of our furniture was given to us, including our bed. The story is all about kindness and generosity and I really feel the world could use more of both.
Q. How did you pick the title of your book?
A. The title just came to me when I knew the story was going to be about a peddler who tries to sell a bed. The title for The peddler’s bed never changed.
Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part is the little man’s dog Happy. He was in the story from the beginning. I’m pretty sure my dog influenced my decision to include a canine companion in the book.
Q. Why did you decide to tell the story in third person?
A. At the time, I was writing all of my stories in third person and hadn’t considered anything else. I’ve become more comfortable experimenting with different points of view now. I’m even working on a story that breaks the fourth wall.
Q. How much of the story did you know when you began writing THE PEDDLER'S BED?
A. I had a rough idea of what the story was about, how it would begin, and how I wanted it to end. But my plot was disjointed. I had to work on connecting the dots from beginning to end in a way that made sense.
Q. Did THE PEDDLER'S BED receive any rejection letters? If so, how many (ballpark)?
A. Before sending the manuscript to Ripple Grove Press, I had sent it out only twice, and received back two rejections.
Q. Describe your reaction when you received an offer on THE PEDDLER'S BED.
A. There was a message on my answering machine when I arrived home from work (I work at my local public library) from Rob Broder, president and founder of Ripple Grove Press, saying he’s interested in THE PEDDLER’S BED and to call him to discuss a possible contract. Well, I must have replayed the message at least four or five times to be sure I was hearing correctly. Needless to say, I was thrilled!
Q. What kind of input did you have in choosing an illustrator for the book?
A. Rob and I discussed illustration style and he asked me to name a few books with styles that I thought were a good fit for the story. We seemed to be in agreement about what direction to take the art. Then Rob contacted Bong Redila to see if he’d be interested in illustrating the book. I’m super pleased with Bong’s illustrations. They’re so colorful and unique.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. The first thing that jumped out at me was that the peddler’s cart looked very different from what I had envisioned. But that was perfectly okay. I loved the sketches! It’s fascinating to see how an illustrator takes your words and ideas and brings them to life.
Q. How long did THE PEDDLER'S BED take to be published—from the time you received an offer until it was printed?
A. I signed the contract October 31, 2013 and the publication date was September 1, 2015, so nearly two years. But I received my author copies in April of 2015.
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’m sure there’d be a lot of things I’d change if I picked it apart, but I try not to do that. As writers, our inner editors are always talking, making us believe what we’ve written isn’t ready, finished, or good enough. Sometimes you just have to put him/her on mute and let it go.
Q. Can you share any funny or memorable parts of letters from kids about THE PEDDLER'S BED?
A. This isn’t from letters, but from talking to the kids about the book after I’ve read it. The book ends with the little man asleep on the bed on his front porch. I like to ask the kids how they think the little man will get the bed inside the house. One child said he’d prop open the roof and lower it down. You can’t beat the ingenuity of kids.
Q. When you do readings of THE PEDDLER'S BED which part of the book gets the best reaction?
A. What gets the best reaction actually happens before I read the book. Because there is a dog in the story, I like to share a picture of my dog with the kids. I show them a blown up picture of my dog with crazy, static-zapped, fly-away hair and tell the kids he was having a bad hair day. They love it!
Q. What is your #1 tip to those who want to write picture books?
A. Read bunches of picture books, especially new ones! Go to the library and raid their New Picture Book shelves. If you want to get published the traditional way, it’s important to really get a feel for the format and a clearer picture of what publishers are publishing and what’s selling in the current market. That said, don’t try to copy what others have done. Create something new. Write the stories that only you can write.
Q. What are you working on now?
A. I’m working on several picture book manuscripts as well as a children’s chapter book. My goal this year is to find a literary agent to represent my work.
To learn more about Lauri, visit her website
Read More
ISLAND TOES
July 4, 2016
A former fourth-grade teacher and current librarian, Christin Lozano wrote her first picture book on a familiar sight around her home state of Hawaii--ISLAND TOES!
Q. Was ISLAND TOES 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. Yep, ISLAND TOES was my very first picture book manuscript!
Q. What inspired ISLAND TOES?
A. During the time I was working on ISLAND TOES, I was super involved with developing my library's weekly storytime program for toddlers and preschoolers. I was always on the lookout for local, Hawaii-based picture books for my youngest "readers," since children as young as nine months old would attend storytime. Most of the local books I could find were too wordy for the ages I was reading to. The one exception was a Hawaii classic called WHOSE SLIPPERS ARE THOSE? by Marilyn Kahalewai. It is still one of my favorites as it is simple, has wonderful illustrations, and the subject is all about something young children in Hawaii can identify with—our state's footwear of choice, the slipper (flip-flop). This book inspired me to write my own story short enough for a two-year old's attention span and about a subject everyone knows well—toes!
Q. How did you pick the title of your book?
A. Actually, I'm embarrassed to say it, but my working title was Those Toes. After I began working with my publisher, they came up with the much more appropriate title ISLAND TOES! I'm so happy they encouraged me to think about a different title than what I originally had in mind.
Q. What is your favorite part of the book? And was that part in the first draft?
A. One of my favorite parts of the book is the surfing spread where it shows a girl surfing. Not only is it wonderful to showcase girls in sports, but this young girl is clearly experienced enough to be able to surf “toes-on-the-nose” style. I remember this phrase coming to mind after I had been working on the manuscript for quite a while.
Q. How much of the story did you know when you began writing ISLAND TOES?
A. I had no idea there were so many places and "faces" of toes when I began writing this book! Almost every day, I had a whole new list of possible toes and the final result was definitely a pared down story of my favorites.
Q. Did ISLAND TOES receive any rejection letters? If so, how many (ballpark)?
A. I feel that my experience was probably NOT the norm because I only sent my manuscript to two publishers, and both are locally based, here in Hawaii. One never responded and the other one, which was my publisher of choice, accepted my manuscript. However, it did take quite a few years and a couple of submissions to garner their attention.
Q. Describe your reaction when you received an offer on ISLAND TOES.
A. I was absolutely ecstatic! I had originally submitted my manuscript to the publisher about five years prior to receiving an offer, so it was the product of quite a few years of waiting, praying, and pursuing my idea. My publisher told me that "it is all about timing," and in my case this was definitely true.
Q. What kind of input did you have in choosing an illustrator for the book?
A. Since this was my first book, I was not even aware that I had any choice until the book was almost completed. So I was extremely happy when I found out that Mariko Merritt was going to be illustrating ISLAND TOES.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. I absolutely loved the choice of colors used on the jacket cover and could tell from the sketches that we were all on the same wavelength as far as the artistic direction of the book. I was relieved that it looked as great as it did because we all know that the illustrations can "make or break" a picture book. I can't say enough good things about Mariko's work!
Q. How long did ISLAND TOES take to be published—from the time you received an offer until it was printed?
A. The whole process took about 1 year.
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 wouldn't necessarily change the content, but someone pointed out an aspect of the book that I would change if it is reprinted. Unfortunately we did not include the diacritical markings on the Hawaiian words and I would love to see these added.
Q. Can you share any funny or memorable parts of letters from kids about ISLAND TOES?
A. At this point, I haven't received any letters, but I do have a couple of adorable pictures of children stamping their toes on the last few pages. (The end of the book includes an activity where readers can stamp their toes on the last four pages.)
Q. When you do readings of ISLAND TOES, which part of the book gets the best reaction?
A. Almost every time I read ISLAND TOES, kids giggle at the beginning when it comes to "clean toes, stinky toes." They seem to really relate to the illustration of stinky toes.
Q. What is your #1 tip to those who want to write picture books?
A. Read, read, read! 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.
Q. What are you working on now?
A. The main thing I’ve been working on has been the promotion of ISLAND TOES. I didn’t realize all the self-promotion and events you need to do in order to share your work with others. I’m hoping to begin working on a few of the new ideas I have this summer though!
To learn more about Christin's work, visit her publisher's website.
Read More
Q. Was ISLAND TOES 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. Yep, ISLAND TOES was my very first picture book manuscript!
Q. What inspired ISLAND TOES?
A. During the time I was working on ISLAND TOES, I was super involved with developing my library's weekly storytime program for toddlers and preschoolers. I was always on the lookout for local, Hawaii-based picture books for my youngest "readers," since children as young as nine months old would attend storytime. Most of the local books I could find were too wordy for the ages I was reading to. The one exception was a Hawaii classic called WHOSE SLIPPERS ARE THOSE? by Marilyn Kahalewai. It is still one of my favorites as it is simple, has wonderful illustrations, and the subject is all about something young children in Hawaii can identify with—our state's footwear of choice, the slipper (flip-flop). This book inspired me to write my own story short enough for a two-year old's attention span and about a subject everyone knows well—toes!
Q. How did you pick the title of your book?
A. Actually, I'm embarrassed to say it, but my working title was Those Toes. After I began working with my publisher, they came up with the much more appropriate title ISLAND TOES! I'm so happy they encouraged me to think about a different title than what I originally had in mind.
Q. What is your favorite part of the book? And was that part in the first draft?
A. One of my favorite parts of the book is the surfing spread where it shows a girl surfing. Not only is it wonderful to showcase girls in sports, but this young girl is clearly experienced enough to be able to surf “toes-on-the-nose” style. I remember this phrase coming to mind after I had been working on the manuscript for quite a while.
Q. How much of the story did you know when you began writing ISLAND TOES?
A. I had no idea there were so many places and "faces" of toes when I began writing this book! Almost every day, I had a whole new list of possible toes and the final result was definitely a pared down story of my favorites.
Q. Did ISLAND TOES receive any rejection letters? If so, how many (ballpark)?
A. I feel that my experience was probably NOT the norm because I only sent my manuscript to two publishers, and both are locally based, here in Hawaii. One never responded and the other one, which was my publisher of choice, accepted my manuscript. However, it did take quite a few years and a couple of submissions to garner their attention.
Q. Describe your reaction when you received an offer on ISLAND TOES.
A. I was absolutely ecstatic! I had originally submitted my manuscript to the publisher about five years prior to receiving an offer, so it was the product of quite a few years of waiting, praying, and pursuing my idea. My publisher told me that "it is all about timing," and in my case this was definitely true.
Q. What kind of input did you have in choosing an illustrator for the book?
A. Since this was my first book, I was not even aware that I had any choice until the book was almost completed. So I was extremely happy when I found out that Mariko Merritt was going to be illustrating ISLAND TOES.
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. I absolutely loved the choice of colors used on the jacket cover and could tell from the sketches that we were all on the same wavelength as far as the artistic direction of the book. I was relieved that it looked as great as it did because we all know that the illustrations can "make or break" a picture book. I can't say enough good things about Mariko's work!
Q. How long did ISLAND TOES take to be published—from the time you received an offer until it was printed?
A. The whole process took about 1 year.
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 wouldn't necessarily change the content, but someone pointed out an aspect of the book that I would change if it is reprinted. Unfortunately we did not include the diacritical markings on the Hawaiian words and I would love to see these added.
Q. Can you share any funny or memorable parts of letters from kids about ISLAND TOES?
A. At this point, I haven't received any letters, but I do have a couple of adorable pictures of children stamping their toes on the last few pages. (The end of the book includes an activity where readers can stamp their toes on the last four pages.)
Q. When you do readings of ISLAND TOES, which part of the book gets the best reaction?
A. Almost every time I read ISLAND TOES, kids giggle at the beginning when it comes to "clean toes, stinky toes." They seem to really relate to the illustration of stinky toes.
Q. What is your #1 tip to those who want to write picture books?
A. Read, read, read! 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.
Q. What are you working on now?
A. The main thing I’ve been working on has been the promotion of ISLAND TOES. I didn’t realize all the self-promotion and events you need to do in order to share your work with others. I’m hoping to begin working on a few of the new ideas I have this summer though!
To learn more about Christin's work, visit her publisher's website.
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