Archive for 5 Questions

Interview: Lesa Cline-Ransome Steps Out

Lesa Cline Ransome is on fire, producing the finest work of her already-impressive career. Fresh off the award-winning success of When She Was Harriet, illustrated by Lesa’s husband, James Ransome (no slouch himself!), she has a promising new novel coming out, Finding Langston. Come spend a few minutes with us. We talk about writing, research, serial murderers, and so on.

I’m trying to remember when and how we first met. It’s been a while, hasn’t it? Any recollection? It was at one of those “things” that authors sometimes do.

Well, I don’t want to brag, but I have a pretty good memory. I believe we first met at a NYS Reading Assoc. event, but the first opportunity we had to talk was in Princeton when we were walking together to the party after the book signing and you were telling me about a book you loved. I wish I could say my memory is so great that I recall the title, but I don’t.

Ha, that sounds like most of my conversations: “Listen to this song, read this book, see this movie!” And, of course, we’ve eaten wings in Buffalo and chatted just recently at the great Children’s Book Festival in Hudson. I’ve asked you this before, but how do you tackle a well-known subject like Harriet Tubman, a historical figure who has been written about, and written about, and written about in the past? It must be a challenge to bring something new to the conversation.

That was indeed the challenge in writing Before She was Harriet, which is why I waited so long to tell her story. If I can’t find a new and inventive way to tell a story, or provide information about a subject’s life that allows young readers to engage in a different way, then I really don’t want to write it. So, it was only when James told me that he had discovered the many other lives she lived, as a nurse, a suffragist, a union spy and general in the army, that I knew I had found a new way to tell her story and a way in which kids could learn something new about her heroism and a life dedicated to the service of others.

Speaking of James, what was it like working with the illustrator –- who happens to be your husband? Do you try to stay out of each other’s way? Do you peer over each other’s shoulders, give friendly advice? Do you cluck, “Hmmm, I wouldn’t do that if I were you.” What’s the process like?

The only way we can remain married is to stay in our own lanes. I trust him as one of my readers who gives valuable feedback during the many stages of the manuscript and he trusts my input on the pieces he is working on, but trust is the key word here. We have to allow each other our space to create without too much input from the other in order to protect our creative process, and most importantly, our marriage. It helps that when I finish a manuscript he often doesn’t begin illustrating until at least two years later, which gives me some distance from the story.

I interviewed Leo and Diane Dillon about 25 years ago. They used to swap pieces of artwork, passing it back and forth, drawing on top of each other’s work. Amazing. 

Perhaps that is because they were both illustrators, but if James and I handed our work back and forth, I have a feeling it would not go as seamlessly. I feel we each have our strengths in our own fields and we need to respect our those boundaries.

Tell us about your brand new novel, Finding Langston?

Finding Langston was such a joy to write. I’ve always written pretty long picture books, so the transition to middle grade was a natural one. After reading Isabel Wilkerson’s The Warmth of Other Suns: The Epic Story of America’s Great Migration, I knew that there were pieces of story in that book I wanted to tell and I found it in the fictional Langston, a young boy travelling north from rural Alabama with his father after the death of his mother. In Chicago, Langston doesn’t fit with his country accent and clothes and he is bullied. But one day he escapes and finds his way into a library, a place he’s never been allowed to enter in the south, and his discovery of books and the poetry of Langston Hughes transforms his world in ways he never quite expected.

To be clear, it’s not that there weren’t libraries down South. But as a black boy, he wasn’t allowed access? The danger of an educated mind.

There were absolutely libraries in the south during that period, but very few that were integrated.  In rural areas, there were virtually none.  In Finding Langston, Langston would occasionally go into town with his father for supplies and he passed a building with a public library sign out front.  When he asked his father about it, he was told “it was a building for white folks, and that meant I couldn’t go in.”  When he got home and asked his mother, she said, “They don’t let black folks in libraries…” but when he discovers the library in Chicago, filled with blacks, his world is forever changed.

By the way, my goodness, that cover is gorgeous. 
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Probably no surprise that James insisted on illustrating the cover for my first novel. 

Nice to have connections. Obviously, a book like this involves a ton of research.

A ton, but writing so many picture book biographies meant that I had a lot of research on hand. And it can be incredibly rewarding to spend days researching trees native to Alabama or the elevated el trains in Chicago or the history of segregated libraries. I almost always find material for potential books.  

On school visits, readers always ask about ideas. I tell them that ideas are the easy part. It’s sitting down and doing the work that takes the real effort.

I agree.  It’s that tricky part of getting the ideas in your head to translate into a narrative that is engaging that’s the real challenge.

I have to say, Lesa, I am so impressed. You are really spreading your wings. I mean, it’s just a beautiful thing to watch. I’m really happy for you. Obviously, clearly, you are thriving — doing great and meaningful work. If we were in a bar, I’d say to the bartender, “Yeah, I’ll drink what she’s having.” What’s your secret?

Wow, thank you! I don’t know if there’s a secret, but I am incredibly curious about the world and people. And I feel there are so many stories to tell about courage, and hope and history. I am always inspired by the incredible books I read for pleasure, for my book group, that are recommended to me. I feel like I have so much growing to do as a writer, I have to keep plugging away.

Finding Langston is a departure for you. It’s exciting to see you take on a longer work. All those pesky words.

Definitely a departure, but a welcome one. Getting to go deeper into a character’s motivation meant that I grew to love Langston. When I wasn’t at my desk writing, I’d wonder about him, miss him. The hardest part was letting the book end.

I’m curious about that moment when you realized that, hey, wow, this is a book. A lot of ideas fizzle. You think you’ve got something, but it fades away. A dead end or just an unrealized notion. But sometimes there’s a moment when the story makes a turn and then you know, deep down, this is actually going to become a finished work! How did that work for you with Langston? Did it come during the research? During the writing? 

Nearly every time I make a plan to write a certain story, I take a turn into the story I am meant to write. The original version of this story is so different from the final version. That’s the best part about writing. Letting the story unfold the way it is supposed to.

Do you make an outline for Langston? Or try to find the path as you wrote?

I’m new to novel writing, so I approached it as an expanded picture book.  I didn’t make an outline, but I had a sense of how the story would unfold.  I think the beauty of storytelling is letting the characters lead despite what you planned for them.

Behind every great woman . . .

So what’s James working on these days?

He just completed a story he wrote called The Bell Rang and he is now starting another book with author Jerdine Nolan. James will also begin work soon on a pet project, The History of Football, with author Fred Bowen.

I have a vague idea that you live in Poughkeepsie, is that right? Isn’t that where the mass murderer had all those bodies buried under his house?

We moved from Poughkeepsie to Rhinebeck shortly after that event and we’ve been here for almost 15 years. That guy’s house was directly across the street from my childrens’ pediatrician. They were there for their annual physicals, and while we were waiting in a room, the nurse told me to not look out the windows. So, of course, I looked out the windows —

Of course —

— and there were tons of news crews and trucks outside. When she came in again, I asked what was going on and she whispered in my ear, that they had just arrested a serial killer. My kids still love that story. They feel like they were part of a historic event.

 

Uh-oh.

Is that where you are from originally?

I am originally from Malden, MA, so sorry to tell you I am a die hard New England Patriots fan. 

That doesn’t bother me a bit, Lesa. I grew up a Jets fan, but that part of my heart has shriveled up and died. I want to thank you stopping by. I’m a big fan and thrilled by your much-deserved success. Keep on rolling.

Thank you!

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I enjoy meeting and learning from other writers and illustrators. Hopefully you feel the same way. To explore more interviews from my award-winning (not really) series of conversations,  click and scroll, baby, scroll. You’ll find interviews with London Ladd, Matthew Cordell, Bruce Coville, Lizzy Rockwell, Aaron Becker, Elizabeth Zunon, Robin Pulver, Nina Crews, Jeff Mack, and assorted other big shots. You’ll also find some more random things under the “Interviews and Appreciations” icon on the right sidebar. We’re here to shine a light on the good stuff!

Some recent things from yours truly . . .

          

AND COMING IN JANUARY . . . a new series!

5 QUESTIONS with Nina Crews, illustrator of “Seeing Into Tomorrow”

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The first time I met Nina Crews, I was eating on the hallway floor of a school in Albany, NY. Just sitting there on the tiles, catching a few minutes for lunch during a book festival. Nina sat down across from me and, putting two and two together, I asked, “Are you the daughter of Donald Crews?” We had a nice chat that afternoon; a number of years passed; and now with the publication of her quietly remarkable book, Seeing Into Tomorrow, I reached out to Nina again. She’s an easy person to like, an artist with a deep commitment to children’s literature. I don’t have a powerful spotlight here at James Preller Dot Com, but this is an artist who merits our attention.

Here comes Nina now . . .


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Congratulations on your new book, Seeing Into Tomorrow. I’ve been waiting for this one since we first discussed it via Facebook about a year ago.

Thanks so much! I am so happy to have it out in the world!

Lately I’ve been on a major haiku kick of my own, reading and writing a little bit each morning. I’ve been reading through a collection of more than 800 of Richard Wright’s haikus. I enjoy taking them slow, savoring each poem, just a few pages before I start the day. I originally took Wright’s book out of the library, but soon realized that I needed to have my own copy, write in it, keep it on my shelf. How did you select the poems included here? That seems like an impossible process.

shoppingI know the Wright book very well! It was the source for the haiku included in my book. I read through it numerous times and also used a lot of post-its. Each review brought new discoveries, and also helped me clarify the direction of the project. There were really two main criteria that a poem had to meet for me to add it to my shortlist. First, I looked for poems that could resonate with children emotionally and second, for poems that could be portrayed through relatable everyday scenes.

I’m moved by the idea of Richard Wright turning to haiku late in his life, at a time when he was struggling through a long illness, sliding toward death. I sense that the process of writing these poems –- and seeing the world through them — comforted him. There’s terrible beauty in these poems.

Yes. I know what you mean. It was also a period of mourning for him. His daughter writes in the introduction to the haiku book that two close friends passed away in 1958. Even more significantly, his mother died in 1959. I imagine these losses put him in a very reflective mindset. His daughter calls his writing of haiku “self-nurturing.”

That’s a nice phrase, much better than “self-medicating.” With haiku, like yoga in a way, I believe the experience of writing them, of being present in the world, is more personally meaningful than the end product. Anyway, Nina, tell me about your cut-up approach to the photographs. I’m not a visual artist, but I used to fool around with that technique years ago, inspired by the work of David Hockney. It’s a lot of fun.

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I am a fan of David Hockney’s photocollages and studied them closely while I was working on this book. For the most part, my images were not created by cutting up a single image, but by closely cropping the scenes as I photographed. I’d start at one end of a scene and move my camera, over bit by bit, up and down, to the left or to the right to cover the entire area. I liked the movement that this technique created and wanted the additional variation that would come from shifts in perspective or focus as I moved around. If you look closely at Hockney’s images, you’ll see that he does this, too. I think it gives the final image a bit more “breath.”

Oh, I get it now. I assumed it involved scissors, a lot of cutting and snipping and pasting. Why did you feel that approach was right for this book?

I read a great essay about haiku that talked about how the poems should have a sense of movement in them. There are a number of ways one can show movement in photography –- motion blurs or sequential images for instance. This approach is another way of showing movement and I liked how shapes of the collage could create a gesture on the page with the child portrayed acting as an anchor.

I appreciated how the book begins with a haiku about a name written in the snow, which to me is a declaration of existence, “I am” . . . and how a signature returns later in the book . . . and you close with a hopeful vision of, or for, tomorrow. Nicely curated, Nina.

Thanks!

You focused your camera exclusively on African American boys for this book. Why boys?

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There were a few things that factored into this decision. Early on in my work on the book, I read Black Boy, Wright’s autobiography. In it, he describes how he experienced nature as a young child and the language he uses in those passages is similar to the language in his haiku. My exploration of shopping-1these poems became an exploration of Wright’s biography and photographing African-American boys made sense to me. It also struck me that there are not a lot of “nature” books with children of color, in general, and African American boys, in particular. I am pleased to give this “picture space” to young brown boys.

Am I right in recognizing Prospect Park, in Brooklyn, in some of these images.

Yes. I did photograph some scenes in Prospect Park. It is really an extension of my studio. Because the images for this book really depended on the right light and the right weather, I took advantage of every opportunity I had to get shots I might use. I also photographed extensively in upstate New York – Bear Mountain and the Hudson Valley.

You dedicated this book to your family. You certainly have talented parents, in Ann Jonas and Donald Crews. No pressure, Nina, just be amazing!

51Lz8Nj7V+LYes, they set a high bar. They also provided a lot of support and have been great role models. But beyond my parent’s role in my development as an author illustrator, I feel a great deal of gratitude to my family for many less tangible lessons. For instance, I am thanking my grandparents who told me about their childhoods on farms in the South and my parents for taking my sister and I on many walks in nature.

That’s your father, isn’t it, admiring the freight train. I see what you did there, since his book, Freight Train, was a Caldecott Honor Book. He always brought a great sense of design to his work.

Yes, I asked my father to do a cameo for this page. It’s a nod to his work -– Freight Train and Short Cut and also inspired by the fact that he enjoys watching trains with his grandchildren. That’s my son with him.

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I actually interviewed your father many years ago, in the early 90s, for a book I did with Deborah Kovacs, the out-of-print classic, Meet the Authors and Illustrators. He struck me as a calm, gentle, elegant, highly-cerebral kind of guy. I picture him in a bowtie.

He owns many bowties, though does wear standard neckties as well. He’s very stylish and one of my favorite people!

Well, Nina, I’m really glad we were able to share this time together. You have a lot to be proud of with this beautiful book. Well done!

Thank you! I have enjoyed our chat!

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To learn more about Nina Crews, visit her website. Nina’s book includes substantial biographical information on Richard Wright, adding depth and layers to a reader’s experience of the poems. 

To explore more interviews in the award-winning (not really) 5 QUESTIONS series, click here and scroll, baby, scroll. You’ll find interviews with London Ladd, Matthew Cordell, Bruce Coville, Lizzy Rockwell, Aaron Becker, Elizabeth Zunon, Robin Pulver, Jeff Mack, and many more.

 

Housekeeping: Summer Hours, Book News, and So It Goes

Believe it or not, I’ve been keeping up with this blog for more than 9 years. The world has moved on to Instagram and Twitter and Podcasts, and yet I remain, still comfortable with this outdated form at a time when fewer and fewer people seem to want to read much of anything, especially blogs.

We’re in deep summer now, when readership of my blog hits an annual lull. Things are going to be quiet here for the next 6-8 weeks, and will pick up again when schools get back into session. Heaven knows that Staples is already gearing up new commercials urging us to get out and purchase our school supplies. Do you not have your notebooks yet? New crayons? Kleenex boxes?

But let’s resist that for now and just quietly work on our tans. Shall we?

In terms of news, Booklist offered up a review of the new Jigsaw Jones book, The Case from Outer Space, coming out this August. It’s so tepid I don’t know why they bothered. Oh well. I did get a kick out of this line:

“The story rambles a bit in a completely amiable manner . . . .”

Guilty as charged!

 

Up in the treehouse with Danika, Mila, Jigsaw, and Joey. Illustration by R.W. Alley from THE CASE FROM OUTER SPACE.

Illustration by R.W. Alley from THE CASE FROM OUTER SPACE.

Here’s the full review, which did nothing to cheer my soul:

Junior detectives Jigsaw Jones and his friend Mila take on a new case after two classmates discover space- alien-related clues in their neighbor’s Little Free Library. When their teacher starts dropping hints about a “special visitor from far, far away,” the stage is set for the big reveal at the book’s end. The story rambles a bit in a completely amiable manner, but this isn’t the sort of mystery that readers are expected to solve by examining the clues and deducing the improbable but inevitable solution. Fortunately, it is the sort of mystery that will please Jigsaw Jones fans, who know they can count on the series for likable characters and a bit of a challenge here and there. For example, when Mila passes an encoded note to Jigsaw, he explains the substitution cipher she used, and then lets readers decode it on their own. With short sentences, bits of humor, and engaging illustrations, the latest early chapter book in Preller’s long-running Jigsaw Jones Mystery series has plenty of appeal for young independent readers.

— Carolyn Phelan
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I am taking a break from my “5 Questions” interview series. Will likely continue come September. It’s hard to keep the energy up when there’s so little positive feedback. Writing into the void.
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Have a great 4th of July, everyone. This deeply troubled country was built upon a wonderful and worthwhile experiment of sound values. There is so much in our past of which we can be proud. There’s such a long way still to go, and it feels like we’ve lost our way. Let’s celebrate the America we dream of, the country we aspire to become. Light a sparkler for science, for the environment, for education, for justice, for tolerance, for decency, for love.
 
I still believe.
 
Happy 4th!

5 QUESTIONS with Hannah Barnaby, author of “Bad Guy”

 



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I think Hannah Barnaby can write anything. I first read her remarkable young adult debut, Wonder Show, and Hannah then followed that up with Some of the Parts. But now she’s pivoted with the bang-bang publication of two new picture books. Today we’ll focus on Bad Guy, illustrated by Mike Yamada. You’ll like Hannah. She’s thoughtful, perceptive, articulate and inspiring — even if I kind of hate her. What can I say? Jealousy is an ugly thing. I’ll try to be a better person next week.

View More: http://skipperphoto.pass.us/hannah-barnaby

Hey, Hannah. Thanks for coming by. I immediately noticed that your new book, Bad Guy, is a lot shorter than your previous works. And it comes with pictures. What’s going on?

Well, the thing about novels is that they take so long to read, and I know people are busy these days, and . . .

Actually, the truth is slightly more self-serving that that. While my second novel (Some of the Parts) was out with my editor, I went on a writing retreat. I knew I was supposed to be working on whatever novel would come next, but I had all of these picture book ideas jotted down in my notebook and in a fit of rebellion (or possibly laziness), I decided to work on a few of those instead. It was such a relief to think about story structure on that smaller, more concentrated scale! By the end of the retreat, I had three different stories that were in good enough shape to send to my agent. One was Bad Guy, another was Garcia & Colette Go Exploring (which comes out on June 6th). And the third . . . never sold. But two out of three ain’t bad!

Two out of three is fabulous. I think I’m 0-17 this year with a sac fly. When you write a picture book, do you page it out?

Not at first. I like my first drafts to be more open than that, so I can take few wrong turns and get a little messy. That’s usually how I find the less predictable path. But once I have a draft that works, I will often storyboard it to make sure that the pacing is steady and that I haven’t gone on too long with one particular part of the story. I think of picture books like stand-up routines—they have to be well-balanced and very structured, you have to leave room for the audience to laugh, and you have to know when to get off the stage.

Stand-up routines, huh? I think of my attempts at picture books as tragedies. There’s a lot of sobbing and snapped pencils. Anyway, did you interact with the illustrator, Mike Yamada? Or do you include art suggestions in your manuscript?

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Mike and I didn’t have any direct contact at all. People are often surprised to hear that—I think they like to picture authors and illustrators having coffee together, collaborating like Lennon and McCartney. But it’s pretty typical for all of the work and communication to go through the editor and the art director, and that’s a good thing. It protects the illustrator from being penned in by the author’s vision of the story, and allows him or her to construct the visual narrative without being unduly influenced. That’s where the magic is in picture books, for me: that alchemy between words and pictures that are created independently and produce an entirely new experience.

I did include a few illustration notes in the manuscript, but only so that Mike would be clued into the staging or the jokes that weren’t spelled out in the text. When Bad Guy describes his library books, for instance, and then says, “I had big plans,” I wanted to make sure it was clear what I meant.

Did your manuscript change a lot from earlier versions?

Looking back at earlier versions of the manuscript, you’d see that the text barely changed at all from submission to publication—maybe because it’s so spare (only 215 words), there weren’t a lot of editorial changes along the way. Well, except for one. Originally, Bad Guy’s woodworking project was a guillotine. My editor, Christian Trimmer, has a great sense of humor, but at some point he said, “There’s some concern around the office that a guillotine might be . . . too much.” I pointed out that Pepito builds a guillotine in Ludwig Bemelmans’ Madeline and the Bad Hat, but it was a non-starter. So we changed the woodworking book to a magic book, and Bad Guy builds a box to saw his sister in half instead. Still pretty edgy. But not as sharp.

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So the art finally comes in and you did . . . what?

Squealed, jumped up and down, et cetera. Art delivery days were always my favorite part of working as an editor at Houghton Mifflin—we would spread everything out on the conference table and walk around it, oohing and aahing. So I did that in my kitchen. And I made my kids do that, too.

There were a few rounds of email and a phone call or two with my editor, between sketches and finished art, to make sure all the details were right and to cut out a few extraneous words. Paring down a picture book text any further always seems impossible, but once the illustrations are in place, there are almost always a few spots where the editorial scalpel can be applied.

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People have always been fascinated with “bad guys” – and these days with shows like “Breaking Bad” and “The Sopranos,” we’ve even come to root for the bad guys. They are our favorite characters. Why do we like bad guys so much?

Because they’re complicated. Because they get to do things we never would. Because they break rules and embrace their id and make things interesting. Ever since Milton wrote Paradise Lost, the devil’s been the character that throws complications and color and energy into the story. But the trick is making sure your villain is complex—just as every superhero has a vice, every bad guy must have something they love. Even something as simple as orange Popsicles.

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This book turns on a joke -– spoiler alert: a gender assumption –- was that element there from the beginning?

The twist was always there, but it took me a while to figure out the phrasing. Because the story has so few words, I knew that whatever the “punchline” was going to be, it would have to be snappy. What I’ve loved most about sharing the book with groups of kids is their reaction to that moment—when I first hold up the book, all the boys hoot and holler, but when I read that final bit of text, the girls go wild.

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So you knew how it would end?

I did. I never want to moralize in my books, but I’m very aware of the responsibility of writing for kids and the power of stories to shape their worldview. So even though I set out to portray this little boy who fully embraces playing the villain, I knew all along that he would have to face the consequences. And I wanted them to come from Alice, his sister, rather than from his mother (who is up to a few tricks of her own).

I’m usually good with writing the first 2-3 pages of a picture book, the opening. But the middle, oh boy. That’s rough. What was hardest for you?

Oh, middles are the worst. Beginnings are fun and endings are thrilling, but middles . . .

The good news is that most picture books are built on reliable structures, with reliable patterns. I have done classroom workshops on story-building and it’s amazing how many different scenarios you can construct out of a character or two, a problem, and three (increasing) attempts at a solution. Once you get comfortable with that formula, you can mess around with it a little and twist it in different directions to get that unexpected angle editors are so often looking for.

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Could you expand on that? I mean, the formula part. And I wonder: Did you take creative writing in college?

Sure—so, most picture books that tell a real story (versus the “character portrait” books like Olivia and the conceptual/emotional books like Goodnight Moon and Love You Forever) are built on a pretty simple structural progression: a character has a problem and attempts to solve it in a series of escalating actions. The first try doesn’t work but informs the second; the second doesn’t work but informs the third; and the third does work, though perhaps not in the way the character intended. Along the way, the character grows and develops through these efforts, and maybe there are some other characters who help or hinder, and it helps a lot if there’s something funny like a banana or a sloth.

Or a sloth eating a banana! (Just brainstorming here, Hannah. Please continue.)

I only did one semester of creative writing in college, and it was an independent study with a children’s literature professor who also happened to be a picture book author. He was a storyteller, really, and working with him allowed me to dip a toe into the writing pool but still take an academic approach, which kept me in my comfort zone. (What I wrote was a pretty terrible first draft of a middle-grade novel about a boy whose voice is stolen by a witch. A silent main character is . . . not the best.)

Ha, yes, wrote yourself into a corner with that one. So what else is in the works? And try, Hannah, while answering this, to not make the rest of us feel too much like slugs on a couch. We feel bad enough about ourselves already.

Well, my second picture book—Garcia & Colette Go Exploring, illustrated by Andrew Joyner—releases on June 6th from Putnam. Two picture books coming out within a month of each other was a total fluke. I swear.

The tricky thing about this publishing business is that there are always things in the works that we’re not allowed to talk about, right? But I can say that I have a third picture book under contract with Houghton Mifflin—it’s called There’s Something About Sam, and it’s the story of a boy named Max who is convinced that there’s something odd about the new kid at school. (And he is right!) That will be illustrated by Anne Wilsdorf and published in 2019.

Novel-wise, I have shifted my focus from YA to middle grade and I have plans to work on a new manuscript this summer. For the record, this is a story that I’ve drafted twice before, but I still haven’t found the right path into the project. I have faith that it will reveal itself, but I also know the importance of showing up for the work. I invoke the spirit of Jane Yolen, who says, “BIC. Butt in chair. There is no other single thing that will help you more to become a writer.”

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Jane is so right about that. And what I like about that famous bit of advice is the demystification of the process. For example, on school visits kids often ask about “writer’s block.” I tell them that my father was an insurance man from Long Island with seven children. He never had insurance block. He just went to work.

Well, he might have had insurance block if he’d tried to make selling insurance feel more like being a rodeo clown. I tell kids that the thing we call writer’s block happens when we try and make a story or a character fit into the hamster tunnel that we think they should take, instead of letting them run all over the place and explore the whole Habitrail set-up. Forcing the story rarely works, and it definitely robs you of the unexpected surprises that make writing actually fun. But you only get those surprises if you’re in the chair, because they only happen at a certain velocity.

I find that I get my best ideas in the shower. Standing up. Often while shampooing. Also, I have discovered that I experience that thing called “writer’s block” when I am bored. I am writing something and I have bored myself. Not a good place to be. So then I have to figure out why that happened and move the story in a different direction. Sometimes that direction is the garbage can, unfortunately. One sure-fire solution — my first step — is to eat ice cream. It always makes life better, don’t you agree? I see that you also teach workshops. Do you enjoy teaching writing? I don’t even like giving advice.

There are two things that I really do love about teaching: the first is that I almost always find that I know more than I think I do, and the second is that I always learn something new. I don’t go into a classroom thinking of myself as an expert—more like a hobbyist who’s been doing this for a while and has some stuff to say—and I’m always determined to keep my mind open to what the students have to say.

9780399176753Oh, and there’s a third thing, which is that I sometimes get to teach with other writers who are really, really good at what they do. I’m slated to teach a class with Nicole Griffin at The Writing Barn in Austin next October, which I’m tremendously excited about. It’s called “Boys and Girls, Beasts and Ghouls,” and it’s all about how to create fully-realized, memorable characters.

Teaching helps me avoid getting too deep into my own head while I’m writing, and to externalize/vocalize the process to keep the mental pipes from getting clogged. It’s invaluable to me.

Plus, I love a captive audience!

Thanks, Hannah. And good luck with your work.

Authors and illustrators previously interviewed here: Hudson Talbott, Hazel Mitchell, Susan Hood, Matthew McElligott, Jessica Olien, Nancy Castaldo, Aaron Becker, Matthew Cordell, Jeff Newman, Matt Phelan, Lizzy Rockwell, Jeff Mack, London Ladd, John Coy, Bruce Coville, Matt Faulkner, Susan Verde, Elizabeth Zunan, Robin Pulver, Susan Wood, and Florence Minor. To find past interviews, click on the “5 Questions” link on the right sidebar, under CATEGORIES. Or use the “Search” function. 

5 QUESTIONS with Florence Minor, author of “How to Be a Bigger Bunny.”

 

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I was happy to spend time with Florence Minor to discuss her creative process. A former film editor, Flo now writes lovely picture books for very young children. Each book has been beautifully illustrated by her husband, Wendell, and this interview features behind-the-scenes glimpses into rough sketches and early drafts — the whole glorious hot mess of making a book.

 

Greetings, Flo. Congratulations on your new book.

Hey there, Jimmy. Thanks for the congrats and for inviting me to chat on your blog!

new bigger bunny cover

How did this story begin for you? I think, as writers, we live in a world of false starts and abandoned stories. Can you remember a moment when you thought, hey, this might actually be something.

As you well know, a published book often bears no resemblance, or little resemblance to the original manuscript. In the case of my current book, it began as a poem about a single dwarf bunny. I’ve always had an affinity for furry critters, and having met a couple of dwarf bunnies through a friend, I was intrigued by them. So, I wrote a poem about a day in the life of one of those little cuties and sent it off to my editor. She liked it, and made some suggestions, but after a number of revisions we decided that unlike my previous books, this one should be a story written in prose rather than poetry. I’m always up for a challenge, but I must admit that given my love of poetry, and the fact that my previous books were written in rhyme, this challenge was initially a bit unnerving. And while the hero of the book is still one bunny, the new storyline now revolved around a family of bunny siblings. So, I had to change hats and find my way to writing a very different kind of book. That said, once I sat down and started writing about Nibbles, Wiggles, Giggles, Jiggles, and of course, our hero, Tickles, it all began to feel very natural.

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You dedicated this book to your “editor extraordinaire,” Katherine Tegen. How does she help you? What’s that writer-editor relationship?

Let me begin by saying that I am one very lucky author to have Katherine Tegen editing my books. My relationship with Katherine goes way back (you don’t really need to know how many years, do you?), when Katherine was Wendell’s editor on the books he and Jean Craighead George created. I got to know Katherine first as a talented, insightful editor, and then as a friend. I had recently left my film editing career behind when we moved from New York to Connecticut, and as I was in the process of reinventing myself, I began working in the studio with Wendell, and being involved in the books he was working on . . . which led to numerous, enjoyable work sessions with Katherine and Jean. Wendell works with a number of wonderful editors, and as time and circumstance would have it Katherine was the one who offered me my first contract for a collaboration with Wendell. Because we already knew each other quite well, we were, and are on the same page in the way we see a book evolving. Our communication regarding storyline, revisions, edits and compromise come together in a very productive way to create a book we are all happy with.

BB pgs 14-15

It’s a lengthy process from first idea to finished book. What’s the most exciting part for you? Signing the contract, seeing the illustrations, getting the finished book in the mail, signing a copy for a young reader? This interview??!!

Yes, it IS a lengthy process, and is not always without some frustrations until we hold that first bound book in our hands, but the most exciting part? How did you know I would say THIS INTERVIEW??? Well, almost. Honestly, it’s seeing the look on a child’s face when they connect with my book. Here’s a little story I love to tell, because it is as meaningful now, and always will be, as it was in 2009. That year, Wendell and I toured Pennsylvania with our book “If You Were a Penguin” when it was selected for their “One Book Every Young Child” program.

Early sketch.

Early sketch.

We visited elementary schools, libraries, even nursery schools throughout the state for a month. One hundred and fifteen thousand books were printed to give to the children in the state. In one elementary school we were asked if we would like to personally hand out the books to the children. Needless to say, we jumped at the chance. Now, if this was a live interview you would see tears forming in my eyes as I recount the response I received from one little boy. As I handed him his book he looked at me and said, “You mean this is my book to keep? I don’t have to return it?” It was the first book he had ever owned, and seeing the joy on his face is what this is all about.

Yes, those are the moments carved into the heart. Do you carry around a journal? Or are you someone who is writing in your head?

I should carry a journal (and maybe I will actually start to do that now!), but what seems to happen in the initial stages of a book, is that I am imagining and writing in my head. If I am in the studio I scribble some notes in longhand on copy paper, and eventually transfer them to the computer. If I am out of the studio, I jot down thoughts in the (old-fashioned) mini-FiloFax I always have with me until I am back in the studio. Once I get the basic storyline figured out, I write it out on the computer, and then do my editing on the computer, where it’s easy to save the numerous versions that invariably develop.

Obviously, you have a special relationship with the illustrator, Wendell Minor. At what point does he roll up his sleeves and get involved? Do you keep things separate? I can imagine it must be helpful to bounce ideas off him. To say, while passing the baked scrod, “Now, Wendell dear, about my book-crazed bunny Tickles . . .”

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So, not only did I luck out with a fantastic editor, I also get to collaborate with an amazingly talented illustrator! Our process varies from book to book. Sometimes I’ll complete a manuscript and then Wendell will do thumbnail sketches. Sometimes they reflect perfectly what I had in mind. Other times… they involve, shall we say, a little compromise and revision. What? You think I had THAT in mind for that page? Are you kidding me? But honestly, more often than not Wendell comes up with images I might never have imagined, and they are absolutely perfect! We might work separately in the studio, or over lunch or dinner, or as we did on our first book together, on the ferry to Nantucket to celebrate our anniversary!

 

Another sketch.

And yet another terrific sketch.

Nantucket! I once knew a girl from Nantucket! Wait, hold on, no, I’m thinking of the limerick. Nevermind! As we were discussing . . . . People are often surprised about that in children’s publishing, how the industry does not encourage authors and illustrators to interact during the creative process. I’ve always understood it as a method to protect the illustrator from the (well-intentioned, interfering) writer. Poor Wendell has no such defense. How does he cope? Is there a time when you tell yourself, I better shut up now.

No one can deny it: Florence and Wendell make a great team.

No one can deny it: Florence and Wendell make a great team.

From early on in his career as a book jacket designer/illustrator, Wendell’s process frequently was to have an open, and may I add, very successful dialogue with the authors for whose books he was creating covers. Before I even started working in the studio with Wendell I assumed that that was the way it happened in publishing. It came as quite a surprise to me when I learned that Wendell was pretty much an anomaly in that regard. So, when we started collaborating on picture books, the discussions and give-and-take felt natural to both of us. That said, there are moments when compromise isn’t always so easy, and as in any relationship, one does have to know how to choose one’s battles, and defer, and after working together for nearly 26 years (yikes!), I think we’ve got that nailed down.

One of Wendell's many famous cover illustrations.

One of Wendell’s many famous cover illustrations.

Do you think the book benefits from your more organic, back-and-forth partnership? Is the industry model broken? I ask as an author who writes the book and then just . . . hopes. I never get the chance to bully the poor illustrator! I’ll say this, your approach seems more enjoyable, a true collaboration, though possibly with more headaches.
 
Clearly, there is no shortage of books out there in the world that have done quite nicely without the kind of collaboration that works for Wendell and me, which is also the way Wendell works with other authors in the picture book world. In fact, he can’t even imagine NOT working that way.  And I can’t help thinking that in a perfect world, author/illustrator communication would enhance any project, especially in picture books when pictures and words are, to my mind, of equal importance. The end result of back-and-forth dialogue makes for a book that is more than the sum of its parts. BTW: no headaches — yet, anyway — and my hope for you is that you get to bully (I mean collaborate) with an illustrator on one of your books sometime SOON!

So far you’ve written books about a penguin, a panda, and a bunny. I have an idea for you. Are you ready? A three-toed South American tree sloth. Thank you, my work is done here. You may send my share of the royalty check to . . .

Not so fast, Jimmy. Those three-toed South American Tree Sloths are awfully cute, but I’m afraid your work isn’t quite done. Whenever possible I prefer to write about animals I have either met “in person” or have at least seen up close and personal.

But is that how it works for you? Do you start with the animal?

Bigger Bunny cover sketch

I have been an animal lover since I was a child. I grew up with dogs and cats, and except for a few years when I was single and living in a “no pets” apartment, cats have been permanent apartment and studio companions. Of course, I am fascinated by animals of all types, and am intrigued by their various behaviors. Animals who have either been part of my life, or who I have seen in the wild, or even in zoos have provided me with many an idea for a book. Wendell and I also make a habit of visiting friends who have farms, which gives us the opportunity to spend time with various furry, feathered, and woolly critters. In fact, when visiting one friend’s farm, two calves were born on the day we arrived, so of course they were named Florence and Wendell!

Ha, that’s great.

There’s never a shortage of story ideas running around in my head, but since I also run the business end of our studio, I need to find a way to make more time for writing. I’ve put in an order for a clone, but unfortunately, it hasn’t shown up yet.

You have a background as a film editor. I’ve always felt there’s a strong connection between film and picture books. How did that past experience inform you as a writer?

You are so right about the connection between film and picture books. They are both all about storytelling, and telling those stories in ways that entertain and enlighten your audience. The process of storyboarding and editing are equally important in creating both a well crafted film and a book. As with any film, my initial manuscripts are always much longer than what works best for a picture book. Then comes the slicing and dicing part.


bunny reading

My film editing experience especially has been extremely helpful in paring down the text for the books I write for a very young audience. Editing film often required leaving favorite shots or favorite sequences on the cutting room floor, which could be painful . . . but knowing that invariably that process makes for a better film, I was able to make the transition to cutting text from my manuscripts without feeling too much pain!

How do you make that connection with young readers? I mean, this story seems exactly right for a certain very young reader. An age of innocence, I think. How do you know what’s right?

I think every author likely has their own particular vision for how best to connect with their audience. Since I write for the very young reader I think about my (much) younger self, and what appealed to me. The feedback Wendell and I get from young fans shows me that stories about animals, and poetry, are very appealing to them as well, so hopefully I’m on the right track.

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I’m sure that’s true. What are you working on now?

I know this will shock you, but the book I’m working on right now is about the friendship between two animals. And that’s all I’ll tell you. As we say in the film biz … stay tuned!

I like that — better not talk about it before the work is solid. Thanks, Flo. I appreciate you stopping by. My regards to Wendell. I hope the whole drawing pictures thing works out for him.

Thanks again for the invite. It’s been great chatting. I’ll certainly pass along your regards to Wendell, and, by the way, call me crazy, but I have a very good feeling that this drawing thing is going to work out just fine for him!

 

51WQtdnWQCLAuthors and illustrators previously interviewed here: Hudson Talbott, Hazel Mitchell, Susan Hood, Matthew McElligott, Jessica Olien, Nancy Castaldo, Aaron Becker, Matthew Cordell, Jeff Newman, Matt Phelan, Lizzy Rockwell, Jeff Mack, London Ladd, John Coy, Bruce Coville, Matt Faulkner, Susan Verde, Elizabeth Zunan, Robin Pulver, and Susan Wood. To find past interviews, click on the “5 Questions” link on the right sidebar, under CATEGORIES. Or use the “Search” function.