Tag Archive for Bruce Coville

Frank Hodge, Remembered

When I learned that Frank Hodge had died, I immediately thought of all the people whose lives he had touched. Frank had that indelible knack. We quickly became entangled in his fiendish web of book people. Writers, teachers, readers, librarians: Hodge-Podgers, all. Somehow we were all mixed up in this beautiful community together. And it was fun. Full of laughter. Impromptu read-alouds. Mischievous zingers. Kindness. Frank made us feel not only validated, but gloriously celebrated, as if our work really, really mattered. You don’t see that much these days. But for Frank, it was like air. It was breathing. He represented something that feels nearly lost today, the way we hear stories about editor Ursula Nordstrom and think, oh gosh, that must have been something. 

I decided to reach out to different folks who knew Frank, to see if they would like to share a few words, a memory, a photo, something. The response was overwhelming but not surprising. Please forgive me if I failed to connect with you. Feel free to leave a comment. 

 

Cynthia DeFelice

When I was a young, aspiring author who didn’t believe in herself (that could still describe me, except for the “young” part), I came home to see my answering machine blinking. It was a long, effusive, incredibly affirming message from Frank Hodge — Frank Hodge! — telling me how much he loved my third book Weasel. I listened to it over and over again, and couldn’t bring myself to erase it. Eventually I had to replace that machine. But Frank’s words made all the difference in my brain and in my career. Those were heady days; Frank’s conferences were so full of joy and enthusiasm and positivity about ideas and books and the power of literature. I miss that, and I will miss him.

 

Mem Fox

Frank changed my American life and brought me to the attention of thousands of readers who would never have otherwise known me. I’ve been feeling lost and miserable since he died. I’m all by myself, as it were, down here in Australia, with a massive lump in my throat and no one to hug, i.e. no one who knew Frank.

I adored Frank. He was one of the world’s extraordinary people: outrageous, brilliant, and incredibly generous, occasionally difficult, with a wicked sense of humour and a love of salacious gossip—and a distaste for vegetables of any colour, much to my endless horror. Our conversations went far into the night but I never had to take my make-up off afterwards because I’d already cried it off, with laughter.

 

Bruce Coville

Reader’s Digest used to run a regular feature called “My Most Unforgettable Character.” For me, that would be Frank Hodge, who was a great force for good and joy in the world of children’s books. As anyone who ever attended one can testify, Frank’s conferences were one-of-a-kind events. An image that I still carry with me –- something I saw on numerous occasions –- is that of coming into the book area after Frank had done one of his presentations and not being able to see the sales tables at all because the throng of teachers and librarians trying to get at them was four deep. That was how good he was at getting people excited about books.

His conferences were always themed, and there is one that will always remain my favorite. I had been hanging around with him in the store on Lark Street, chatting about one thing and another, when we got to talking about how much kids loved scary stories. Frank promptly decided that he should focus a conference around that, and thus was “BOO!” born. An entire conference devoted to scary stories. How delicious! Without informing him of what I had in mind, prior to my presentation I dressed up as my “half mad twin brother, Igor.” When he introduced me this shambling, long-bearded, fur-coated hunchback came down the center aisle. He reacted perfectly, and I was never sure whether I had actually fooled him or he was going along with the fun. When I got up beside him I pulled aside my fake beard and said, “It’s me, Bruce!” We were still laughing about it years later.

Frank showed me innumerable kindnesses when I was just getting started, as I know he did to countless other writers and illustrators. His conferences were one of a kind –- and so was he. We will not see his like again.

 

Matthew McElligott

The field of children’s literature is filled with brilliant, generous people, none more so than Frank Hodge. He helped countless readers to find the perfect book, and countless authors (including me) to find their way in the world of publishing. He was warm, witty, and a raconteur of the highest order.

Frank had a big heart, although his love didn’t extend to technology. For years I was his tech support guy, and he always seemed to need an awful lot of support. It took me years to finally understand why; Frank preferred it when his computer was broken.

It was easy to drop by the store. I worked nearby, and told Frank to call whenever he had an issue, but he stubbornly refused to pick up the phone. Whenever something would go wrong—say, he forgot the icon to get back into his email inbox—he would sit down and write me a letter, then shut down his computer. Days would pass.

To make sure I couldn’t reply too quickly, Frank made the letters difficult to read. One letter was typed on the back of a paper napkin from Price Chopper. Another was typed in random chunks, scattered at odd angles across the page. His masterpiece was a long strip of paper tape with sentences that started and ended halfway through. It took the better part of an afternoon to figure that one out.

There was nothing quite like a Frank Hodge letter, just as there was nothing like a Frank Hodge bookstore, conference, or conversation. I’m blessed I could experience them all.

 

Joe Bruchac

Frank was such a wonderful, unquenchable spirit. It’s hard to think of him without a smile coming to my face. All those decades that he ran Hodge-Podge
Books, his teaching, the festivals he put together. For so many years it seemed as if his energy was everywhere in the world of children’s literature.

One story that I remember about Frank is an incident he told me about when he had to have surgery some years back.

Shortly after his surgery a nurse came into his room and said “It’s time for you to get up.”

“No,” Frank replied, “it is most definitely NOT time for me to get up. If I try to get out of bed now I will fall flat on my face.”

But the nurse was insistent, not realizing she was reading the wrong chart.

“All right,” Frank said he told the nurse. “If you insist!”

At that point in the story, Frank started laughing.

“What happened next?” I asked him.

“Well, what do you think happened?” he replied. “I got out of bed and fell flat on my face.”

And then he laughed even harder!

 

 

Loren C. Green

I first met Frank when I was waiting tables at his favorite spot. When Frank learned I was studying to be an English teacher, he invited me to Hodge-Podge to enjoy some of the new books. I was so intimidated that it took me almost two years to gather the gumption to take him up on his offer. I was terrified that Frank might wonder what I thought of a book and I had no confidence in my ability to recognize or articulate my thoughts.

On that first visit, Frank offered me a pile of books and ordered us lunch. We sat in his backyard sanctuary and by the time I left six hours later, I had a second stack of books to read and a new job helping to ship books all over creation.

Almost thirty years later, my friendship with Frank remains one of the singular defining ingredients of my life. Visits with Frank always morphed into adventures and his endless trove of stories was, reliably, equal parts mirth and tutorial. Like the books and the authors Frank championed, he was a master at imparting insight and emoting compassion while disarming with humor. He never did overcome his fear that his own writing might not measure up, but I was blessed with countless chapters of his story and their lessons have helped shape me.

These last two years, I struggled to visit Frank as often as I should have but when I could muster the courage, Frank would do his best to ask after the goings on in my world and he never missed an opportunity to tease me mercilessly, somehow stealing a narrow path through the closing fog to reprise his role, for another moment, as the perennial rascal prince.

 

Gail Denisoff

One quick story — Frank came to speak at my school (I was a school librarian in Schenectady and teaching at Woodlawn school at the time) and of course that required picking him up at the bookstore in Albany since he didn’t drive. We were talking in the car on the way to school and he was surprisingly unsure about how effective he would be working with the kids, especially at the middle school level. I assured him that they would love him.

He spent the day sharing books with classes and had the kids, grades K-8, enthralled as only he could do. A few weeks later, a mother stopped by the library to tell me that she had never been able to get her 7th grade son to read but after that day with Frank, he wanted her to get him several of the books Frank shared. She did and said he hadn’t stopped reading ever since — she even caught him reading with a flashlight under the covers when he should have been sleeping! She was almost in tears telling me this and Frank was so pleased when I shared that story with him.

 

Karen Hesse

Frank had the chutzpah to dig up my home phone number back in 1992 and call me after reading my second book, Letters from Rifka. I remember sitting on the stairs in my tiny old house listening to this complete stranger lavishly praise my writing while my children clamored in the background, longing for dinner. He flattered me for over an hour during that first phone call! When he was not complimenting my work we were discussing literature and writing and favorite books and authors. How could I help but fall in love with Frank. He championed not only my work, but the work of so many. He was funny and wry and sly and ironic and sensitive and bright and brave and a beloved friend to writers and artists everywhere. I will always be grateful to Frank and his early support of my work. But also his support of so many others struggling to find an audience for their unique and compelling voices. Frank made a difference in the world. He will be missed.

 

Daniel J. Mahoney

Frank was a wonderful guy. He heard of me when I published my first book. He said that he “wanted to meet a local boy who made it in the children’s book business.” He invited to his store, and to his famous “Let the Reading Begin” conference, where I met a lot of great people. I’m sad to hear of his passing.

 

 

Jerry & Eileen Spinelli

Eileen and I have long been happy and proud to count ourselves among the first of Frank’s anointed “Hodge-Podgers.” We have little pins to prove it. Personally, Frank was there at the birth of my first novel. I remember getting a call at work (somehow he’d  tracked me down) and hearing him say nice things and wondering, Who is this guy? Next thing I knew we were having dinner in Albany and Lark St. had already begun to sound magical.

Frank’s “Newbery Corner,” a photo taken at one of his conferences: Kate DiCamillo, Linda Sue Park, Karen Hesse, and Jerry Spinelli.

 

Linda Sue Park

Frank Hodge’s conference was the very first one I was ever invited to. It must have been 2001; I had two books published with a third coming out…. That ‘third book’ was A Single Shard, which won the Newbery Medal in 2002. Frank invited me back again that year, which is when the photo was taken.

I don’t seem to have a photo of Frank and me together, which I sorely regret. It meant so much to me to be invited to speak at that conference so early in my career, and I will always be grateful to Frank for that boost.
Patricia Reilly Giff

So many memories…

One night, at the beginning of our friendship, Frank introduces himself and asks me to speak to his class. Frank, a legend; I a new writer, unsure of myself.

How does he know this? Somehow he does, somehow I speak in his class, not once, but whenever he asks me.

We sit in his backyard one lovely summer afternoon talking about books and writers, and rarely, but sometimes, we disagree. I close my eyes, thinking. Is he ever wrong? I learn so much from him. I bask in our friendship.

Our family opens a bookstore in Connecticut. On opening day, a bus pulls up in front of the door. Frank has come all the way from Albany bringing friends, bringing readers, to cheer us on.

Even now as I write, I think of him. I wonder if he’d think my idea is worthwhile, if the characters come to life.

How grateful I am for Frank, lover of books, of story, of friendship.

Eric Luper

Of the 28 books I’ve written, two of them are dedicated to Frank Hodge. The first time we met, I was an aspiring writer. A friend suggested I introduce myself to a local kidlit luminary she described as a mix between Garrick Ollivander and Winnie the Pooh.

I printed my manuscript and headed to Hodge Podge Books, his tiny shop huddled beneath a brownstone on Lark Street.

Frank seemed delighted to meet me until he asked his first question: “What are your favorite children’s books?”

I knew this question carried weight. After all, this man literally ensconced himself with books. Unfortunately, the only characters that popped to mind were Garrick Ollivander and Winnie the Pooh.

“Right now, I’m reading Harry Potter.”

He flipped through my manuscript. “And you’d like me to read this?”

“If you have time.”

Frank tossed my pages into the trash. “Talk to me after you’ve read some good books and revised.”

Then, this curious, little man shuffled around his store gathering books from the shelves–books by Coville, Sachar, Anderson, DeFelice, Lubar, Gardiner, DiCamillo and Spinelli. “Talk to me after you’ve read these.”

The weeks that followed were the greatest writing lessons of my life, and the beginning of a great relationship with a brilliant mentor and friend.

 

Franki Sibberson

It is always a treat to visit independent bookstores when I visit new cities. I was fortunate enough to visit Hodge-Podge Books when I visited Albany many years ago.  I quickly understood that Hodge-Podge Books was a special place because of Frank Hodge.  He not only knew books but he came to know people and make him part of his book community quickly. He was committed to everyone in the book world. His love of books brought people together and those of us who visited his bookstore that day felt lucky to be a small part of all that he created at Hodge-Podge Books.

 

 

 

Suzanne Bloom

If only I could find it. That single-spaced two sided letter from Frank; densely woven with appreciation and well-considered comments. Something I could wear like a warm winter scarf.

Let’s get the guilt out of the way. I didn’t call or drop a line. I thought there would always be next week. A quick visit to Frank’s store might only last 2 hours. And I made too few trips. But each one was a master class in the art of picture book making, plus some gossipy asides. Don’t ask me what the gossipy asides were; long forgotten now. The book-lined walls brought the space in closer with just enough room to open a large volume or two. You could explore or, better yet, let Frank find a work, just for you; then Frank-splain the beauty of it. He gathered, curated and matched books to readers. It was like a book/dating site.

He built bridges between writers and readers, and grew a community of devotees. I daresay we all made new friends because of Frank.

I’ll find it. It made me feel like I might be a real writer and exhorted, encouraged and expected me to carry on. Perhaps you too, earned his approbation. Even if you didn’t get a letter, in the spirit of Frank and his love of the world of children’s literature, carry on!

 

Simon James 

Making books can be a lonesome experience, locked away in a room somewhere, wrestling with projects for months on end, but Frank always knew how to let the sunshine in. A phone call or a letter from Frank was a moment when the pressure lifted off and the very reason why you were struggling with those projects immediately came into sharp focus. His love for what you created always broke through your own moments of despondency or doubt. Often, we talked for several hours on transatlantic calls, joking at each other’s expense. We both enjoyed a deprecating humour that led us to insult each other with as much good nature as humanly possible.

Despite his gift for reaching out to others through books, Frank was a very private man. Perhaps there was a price to pay for his selfless enthusiasm and running the bookshop below his home. I stayed with him many times on my visits to schools around Albany. His personal living quarters above the shop were modest and unpretentious. His bedroom back door led outside to a wooden stairway above the backyard. Frank kept a long piece of string tied to that door, it ran to a safety pin attached to his pillow. This was for Crisis, his beloved cat, to be able to go outside in the night. When sufficiently cold, Frank would wake up and pull the string to swing the door back to be almost shut, until Crisis wandered back in again. This went on all through the year whatever the weather. I can remember trying to sleep in his spare room in the loft wondering why it was so utterly freezing at night. One Winter, I ended up with bronchitis. I could hardly speak. Naturally, I wanted to cancel some school visits, but Frank would hear nothing of it!

Frank was a superb presenter of books. He knew how to bring out the best from a text he loved. His warm, inquisitive voice and exquisite timing instantly held audiences spellbound. He held the book in one hand whilst gesturing with the other, like some high priest. He was a master at this, yet completely self-effacing at the same time. He was also openly opinionated; as vocal about the books he didn’t like, as he was about the books he loved. He made every book he read aloud urgent and desirable, one that you simply had to add to your collection.

Yet another talent of Frank’s was his gift for the lost art of letter writing. I am very glad I still have the many letters he wrote to me. When I read them they make me laugh, principally because of the way we mercilessly took the mickey out of each other. Nothing was too serious, except our friendship. I will miss him.

 

Cheryl Harness

Boy oh boy, how I hope that, in the blue beyond, somewhere off in the Afterlife, that ultimate hodgepodge, the joyful souls of book lovers and writers are gathered ’round their newly-arrived soul mate, their oh-so-kindred spirit, that of Francis Hodge.
At least, I’m trying hard to envision the scene, as well as the time way back in the early 1990s when I first visited Albany, New York’s swellegant little bookstore on Lark Street and met Frank Hodge, its greathearted proprietor. How did I, a shy, newbie author-illustrator from Colorado, come to be there? Because Frank had taken an interest in my first historical picture book, Three Young Pilgrims — talk about Thanksgiving! Little did I know then that the charming, soft-spoken gent with whom I’d shaken hands was one of the truly great champions of books for young readers. What did you want to know and/or need to learn? He could tell you. What lies beyond that ultimate veil? Now, if he could, he’d tell us that too. So we mortals are left to speculate. And read, thank goodness. And imagine — trying to envision, for instance, all of those word lovers who’ve gone on ahead, saved a place for Frank, now taking him by the hand.

 

 

A page from Jigsaw Jones: The Case of the Ghostwriter, featuring Hedgehog Books and an owner named Frank. It even includes his cat, Crisis. I dedicated the @ 2000 book to Frank — but then again, it seems like we all eventually got around to dedicating something to him. Just that kind of guy, I guess. — JP.

 

A Few Frank Facts . . .

Frank’s famous store may have been only 240 square feet –- yet it’s impact was enormous. The business hummed along, built around Frank’s close connection with hundreds of teachers and librarians. He enjoyed a lively and jocular relationship with the UPS drivers that daily sprinted in and out the door, burdened with boxes of books. The first “Let the Reading Begin” conference began in 1985 and ran for 17 years. These were always insanely elaborate and over-the-top events. Frank believed authors and illustrators were royalty, and treated them lavishly. Expenses be hanged! After a pause for double-bypass surgery, Frank briefly revived a downsized version of the old conference, but it became too much, even for indefatigable Frank Hodge. The store logo was created by Mark Teague.

 


 

One Question, Five Authors #3: “What influence have comic books had on your work?”

Welcome to the third installment of “One Question” — the world’s laziest interview series. Today the focus is on comic books, one of the great wellsprings of inspiration for so many talented writers and illustrators of children’s books.

Much thanks to our five guests below: Eric Velasquez, Bruce Coville, Matt McElligott, Charise Harper, and Alan Silberberg. Click on the “One Question” icon on the right sidebar, under “Categories,” to journey through time and space to visit past editions.

 

Eric Velasquez

As you know comic books played a huge part in life. Comic books basically taught me how to read. I found an interest in the characters and stories that I could not find in the reading material in elementary school. I was also fortunate to have a very smart mother that would direct me to the dictionary if I did not understand a particular word in any of the comics, this would later prove to be a key factor in my development. Today,  I am so happy that schools are  embracing comic books as legitimate reading material for students. This makes a big difference in the lives of reluctant readers.

Now, in terms of my work, as a result of my love of comics I wanted to become a cartoonist. I went to the High School of Art and Design to study cartooning. However, in my senior year I was introduced to painting and the rest is history. Because I still love comics there are many aspects of comic book art in my work today, mostly my use of panels and dramatic angles.

 

Bruce Coville

I was 11, and already an avid reader of comics, when Stan Lee unleashed the first issue of The Fantastic Four and launched what became a revolution in comics. That comic, and the cascade of newly created characters that soon followed, provided a real time example of how an art form (though calling comics an “art form” at that time would have generated howls of derisive laughter) could be reinvented and re-invigorated.

By the time I was in my mid-teens I was a devoted Marvel geek. In fact, my first published words were in Marvel letter columns. And, oh, how I wanted to write for them (much to my mother’s alarm).

Oddly, despite my devotion to Marvel, the very first money I made for something I wrote was the princely sum of ten dollars for a story concept I sold to DC’s The House of Mystery. Small change, yes . . . but as a first sale it helped give me confidence that I could be a writer.

Eventually I found my place writing prose for kids. But there is no doubt that comic books were a significant part of what put me on the path!

 

Matthew McElligott

I can remember trading an action figure for my first stack of comics in second grade, then the excitement of bringing them home and spreading them out on the living room floor. They were a mix of titles, tattered and worn, and out of sequence. Some issues began in the middle of a larger story, and others ended with thrilling cliffhangers. The door was opened to a living, breathing world that was not quite fantasy, not quite reality, and I moved in and never really left.

Now, decades later, I understand that there are specific, formal reasons why that world was so enticing. Reading the works of Will Eisner and Understanding Comics by Scott McCloud really blew my mind, and I began to appreciate the formal structures that allow comics to do things no other medium can. Here’s an example I love to show my class:

 

 

At first glance, this panel by Jack Kirby may not seem particularly noteworthy. In fact, it might seem kind of juvenile. But dig a little deeper and you’ll notice something really remarkable: this panel is showing us the past (the dialog), the present (WHAK), and the future (the recoil from the punch) all at the same time, and our brains don’t explode. How does that work?

I’m still trying to figure this stuff out, and it informs everything I do as an illustrator. Good thing I made that trade in second grade.

 

Charise Harper

Words and pictures together makes sense to my brain.  My father is French, and when I was eight years old, my French grandmother started to live with us for six months of the year.  My brother and I could understand French and speak a little, but this was a big change for us.  Our house was instantly one hundred percent French speaking only.  Not only that, but our parents wanted us to read and write in French too.  So what did they do?  They bought us French comic books — lots of them.  This was huge!  At that point, I personally owned maybe six books.  My family did not have a lot of extra money, and now suddenly, we had stacks of Tintin and Asterix comic books.  My brother and I struggled through the books, looking at the pictures, deciphering the words and understanding more and more on each subsequent read.  These comic books changed my life.  They gave me an understanding of French humor, enabled me to interact with my grandmother and imbued me with a love of comics.  Using words and pictures together is my literary comfort food — my happy place.

 

Alan Silberberg

Confession: I was an Archies comic book fan. When the whole Marvel vs DC argument comes up at polite dinner parties  (I know geeky people!) I shrink back into the world of redheads and jugheads. I think reading stories about (unrealistic) high school where bullies and blondes and friendships were the norm gave me an idealized vision of life — that I liked to skewer in my writing. When the underground comics scene became (sort of) mainstream I was drawn to Ralph Bakshi and R.Crumb and other far out cartoonists and their styles. Jules Feifer’s early work and later Lynda Barry’s personal comics gave me a sense that telling my own stories visually was acceptable. In the Publishers Weekly review of Meet the Latkes, my cartooning style is described as “if I drew the book hopped up on chocolate gelt.”  And to me . . . that says it all!

5 QUESTIONS with Bruce Coville, author of “Hatched”

 

Big day here at James Preller Dot Com. Nevermind the mess. Kick those balloons out of the way, pick the confetti out of your hair later. We’re thrilled for today’s visit from the nearly-legendary author Bruce Coville! Or should I say the impossibly prolific? The glistening-domed scribe? Words are so hard sometimes. Anyway, I’m glad to have Bruce here, an author of wit and wisdom and unfailing good cheer (so long as he doesn’t open a newspaper). 

Bruce Coville - credit Charles Wainwright

 

Bruce, welcome. I’m eager to discuss Hatched, the second book in your “Enchanted Files” series. I should let readers know that each title in the series is a stand-alone, they don’t have to be read in any order. Or at all, I suppose!

Hey, don’t let people off the hook that easily. Of course they should read them all!

I guess the literary term for this book is “epistolary,” in the broadest sense. Not limited to letters, but inclusive of documents, cell phone photos, newspaper accounts, journal entries, and so on: multi-textural. It’s a highly entertaining way to deliver a story. Tell me about what attracted you to this narrative device.

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Actually, I’ve been trying for some months now to remember how I first thought of it! I think what happened was that when I was working on the proposal for the first book in the series, which was originally titled Diary of a Mad Brownie (long story there!), I realized I had a lot of information I needed to convey that the main character would not put into his diary, for example things about his world that he would take for granted but that would not be common knowledge for a young reader. Once I started down that path, I realized what a good source of humor such documents could be, especially with ironic juxtapositions.

It seems like you are having fun. It comes through in the book. I can imagine you giggling to yourself as you typed.

Totally! When kids ask if I like writing, I always explain that there are days when my head feels like oatmeal, and I think the only way I can get something out of the keyboard is if I plant a geranium there.

Other days I’ll write something so fabulous it makes me laugh out loud and hug myself. Naturally, I have a lot more oatmeal days than I do scream and hug myself days. Thing is, you have to live through the oatmeal to get to the hugs.

Or something like that . . .

I think someone on the interwebs needs to create a meme right now with your face and the words, “You have to live through the oatmeal to get to the hugs.” Back to the book — the design is fresh, clean, and inviting. Fabulous covers, especially. As a hot-shot author, did you have input into that aspect of the publishing process?

In this case it’s rather a long story.

That seems to be a trend with you. Try to hurry it up, I rent by the column inch.

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The first book (born Mad Brownie, but called Cursed in paperback) got great reviews, but did not do as well as we had hoped. In retrospect, I think the title was all wrong for the audience. It made adults laugh, but mostly just baffled kids.

Random House, bless its collective heart, believed in the project enough that rather than drop it –- which some other publishers might have done -– they literally went back to the drawing board and came up with an entirely new look that everyone seems to love. (Which shows what I know; I thought the art for the first cover was great!)

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That original cover artist had actually already done a crackerjack cover for Hatched, but it was replaced with the cover you’ve seen, and quite rightly described as “fresh, clean, and inviting.”

Because of the “epistolary” aspect of the books, I have indeed been involved in the design aspects of the interiors, much more so than usual. Much discussion of typefaces has ensued. And the artist, Paul Kidby, has been wonderful at coming up with different illustration styles, as the documents are supposed to be from a wide variety of sources.

You’ve long been interested in the magical, fascinated by the fantastic, always with a healthy dose of humor and playfulness. Publishing trends may come and go, but that’s always been your sweet spot. You’ve been ahead of the times and you’ve been behind the times, inhabiting your own planet, yet always working away, doing your own thing. Writing Bruce Coville-type books.

As the great Popeye so often said, “I yam what I yam.”

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Where did that interest come from? Is it something that goes back to your childhood?

Oh, definitely. But, changing styles aside, I think the mix of a compelling story with goofy humor is something that all kids love, always. Whatever is currently in style has as much to do with publishers seeking the next big thing as it does with actual kids. Okay, that statement is less true for YA fiction, where there are definite trends and fads. But for a large subset of the 8–12 year audience fantasy, science fiction, and adventure –- all leavened with humor –- will never go out of style.

This may sound silly, since this is a book about an imaginary creature, but what kind of research went into it? You are writing within a tradition, after all. You can’t just make it up. Can you?

Oh, I do a vast amount of research for these books. Obviously studying the creature that will be at the center of the story is vital. And not just because you’re writing about a figure for which there is a lot of existing lore. The delicious side-effect is that the research actually sparks all kinds of plot ideas. A good example would be the armband worn by Alexander the Great that plays an important part in the resolution of Hatched. That whole strand of the story came about because in the initial research I learned that there is a story about Alexander harnessing a pair of gryphons in an attempt to reach the heavens.

But the research isn’t restricted to the magical aspects of the story. I needed a place for Gerald, the griffin, to stay where he could avoid being seen. Once I decided that the Catskills would be perfect for my purposes, I had to research the area and its lore.

And doing a backstory for the gnomes that are also key to the book led to studying some Dutch history. I was fairly amused when the translator working on the Dutch edition queried me about naming their colony New Batavia, since Dutch kids learn that Batavia was the original name for Jakarta. I was able to tell her in return that the reason that city was called Batavia to begin with was in honor of the Batavi, a tribe that led a revolt against Rome in the first century AD, and that in the 1500’s there was a movement (“The Batavian Revival”) to claim the tribe as the forebears of the Dutch people as part of a nation-building/myth-making effort.

Really, I become a fountain of useless information when I am working on something like this!

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It took you all the way to page five before your first “stinky fart” joke. I believe “unicorn poop” is mentioned on the same page. Get a hold of yourself, Bruce! How in the world are you going to win a Newbery with this kind of attitude?

Brief story: The late, great Paula Danziger was a close pal of mine. She once told me about a snot joke she had put in one of her Matthew Martin books. Her editor wanted her to take it out. Telling me about it, Paula said, “I told him it stays. And that’s why I’ll never win the Newbery!”

But she sure had a lot of readers!

Seriously, you are willing to go there. The facile answer is that you’ve never grown up. But I wonder if you have anything to say about the place of “low humor” in children’s literature? Besides uproarious laughter, you must have gotten a few complaints over the years.

Actually, I used to have an entire speech called “The Importance of Bad Taste in Children’s Literature.” The essence of it was that as a writer I believe you have to start where the child is, not where you want to take them.

urlLook, if you say to a kid, “This book provides a deep and meaningful meditation on the meaning of life, and will prove to be important to you and the person you are to become,” the kid’s response is likely to be “That’s nice, but I have an important video game to play.”  

But if you start the book with some slightly naughty humor, then catch them with the story, they will follow you anywhere. And that is when you can also provide something deeper and more meaningful. On the other hand, if you gain the gift of a child’s attention but don’t go on to also feed his or her heart, I count that as a failure.

I like that, Bruce, well said. If you gain the gift of a child’s attention . . . .

Another meme!

The book is built upon the relationship of Brad –- a human boy -– and a Griffin, Gerald Overflight. Obviously, characters from different worlds. You like to write about that nexis where the magical and the modern world come together.

Absolutely!

Tell us your thoughts about Brad. Are you an author who has it all mapped out beforehand, or are you discovering him as you write?

Oh, I was totally discovering Brad as I wrote. One day when I was only partway into the book the editor contacted me and asked for a description of Brad to give the cover artist. (This was before the style change.)

To be honest, describing the main character is not a strong point with me . . . I mostly like to leave room for readers to imagine themselves in the lead roles.

In Elmore Leonard’s classic phrase, you leave out the parts that readers tend to skip.

But it is important for most covers. They asked if Brad could have dark hair and eyes, and maybe despite his Scottish heritage (something that later changed anyway) be not too fair-skinned.

My reply was that as far as I was concerned he could be black. I was being a bit flip. But that email exchange led to me deciding to make Brad of mixed race, which in turn helped make him a much richer and more interesting character in the final version.

Ah, that opens the door an entirely different conversation about diversity and representation in children’s books — a topic we can’t possibly due justice to today. Maybe we can tackle it another time. Because look: we made it through to the end without you jumping on a chair and screaming about Donald Trump. You’ve shown admirable restraint.

That’s because I’m tired of having to replace keyboards after I pound out a message that sets them on fire!

51SX43Um+qL._AC_UL320_SR216,320_BRUCE COVILLE was born, raised, and still lives in the Syracuse, New York, area, where he is king of all he surveys. He has written many books and enjoys visiting schools, because that’s where they keep the kids.

 

Authors and illustrators previously interviewed in my “5 Questions” series include: 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, and John Coy. To find past interviews, click on the “5 Questions” link on the right sidebar, under CATEGORIES. Or use the “Search” function. 

Coming soon: Elizabeth Zunon, Matt Faulkner, Robin Pulver, and more.

Talking with Cynthia DeFelice: About Writing, Inspiration, the Common Core, Boys, Guns, Books and More

I have long followed and respected the work of author Cynthia DeFelice, who over the past 25 years has put together an expansive and impressive body of work. No bells, no whistles, no fancy pyrotechnics. Just one well-crafted book after another. There’s not an ounce of phony in Cynthia; she’s the genuine article, the real magilla. Last November, I was pleased to run into Cynthia at the Rochester Children’s Book Festival. Pressed for time, we chatted easily about this and that, then parted ways. But I wanted more. Thus, this conversation . . . I’m sure you’ll like Cynthia almost as much as her dog does.

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Greetings, Cynthia. Thanks for taking the time out of your busy schedule for this conversation. I feel like we have so much to talk about. We first met sometime in the early 90s, back when Frank Hodge, a bookseller in Albany, was putting on his elaborate, gushing children’s book conferences.

UnknownIt’s nice to be in touch with you again. I’ll always remember those conferences​ with Frank Hodge.  He made me feel validated as a fledgling writer.  He left me a voice mail telling me how much he loved the book Weasel.  I played it over and over and over!   In 1992, the Hodge-Podge Society gave the first ever Hodge-Podge Award to Weasel.  It meant the world to me.  Those were great times for authors, teachers, kids, and for literature.

Frank forced me to read your book — and I loved it. So I’ll always be grateful to Frank for that; it’s important to have those people in your world, the sharers, the ones who press books into your hands and say, “You must read this!”

Well, good for Frank! He is definitely one of those people you’re talking about. His enthusiasm is infectious.

We’ve seen many changes over the past 25 years. For example, a year or two ago I  participated in a New York State reading conference in Albany for educators. The building was abuzz with programs about “Common Core” strategies & applications & assessments & implementation techniques and ZZZZZzzzzz. (Sorry, dozed off for a minute!) Anyway, educators were under tremendous pressure to roll this thing out — even when many sensed disaster. Meanwhile, almost out of habit, organizers invited authors to attend, but they placed us in a darkened corridor in the back. Not next to the Dumpster, but close. At one point I was with Susan Beth Pfeffer, who writes these incredible books, and nobody was paying attention to her. This great writer was sitting there virtually ignored.

9780374400200To your point about finding fabulous authors being ignored at conferences, I hear you. It can be a very humbling experience. I find that teachers aren’t nearly as knowledgeable about books and authors as they were 10-25 years ago, and not as interested. They aren’t encouraged in that direction, and they don’t feel they have the time for what is considered to be non-essential to the goal of making sure their kids pass the tests. Thankfully, there are exceptions! You and I both still hear from kids and teachers for whom books are vital, important, and exhilarating.

But, yes, I agree with you completely that literature is being shoved to the side. Teachers tell me they have to sneak in reading aloud when no one is watching or listening.

When I was invited to speak at a dinner, along with Adam Gidwitz and the great Joe Bruchac, I felt compelled to put in a good word for  . . . story. You know, remind everybody that books matter. In today’s misguided rush for “informational units of text,” I worry that test-driven education is pushing literature to the side. The powers that be can’t easily measure the value of a book — it’s impossible to reduce to bubble tests — so their solution is to ignore fiction completely. Sorry for the rant, but I’m so frustrated with the direction of education today.

Well, it’s hard not to rant. It’s disconcerting to think how we’ve swung so far from those heady days of “Whole Language” to today’s “Common Core” curriculum — about as far apart as two approaches can be. I think the best approach lies somewhere in the vast middle ground between the two, and teachers need to be trusted to use methods as varied as the kids they work with every day.

On a recent school visit in Connecticut, I met a second-year librarian — excuse me, media specialist — who was instructed by her supervisor to never read aloud to the students. It wasn’t perceived as a worthwhile use of her time.

Well, that is sad and just plain ridiculous. I was a school librarian for 8 ½ years. I felt the most important part of my job was reading aloud to kids

I didn’t realize you were a librarian. 
 –
9780374398996Yes, I began as a school librarian. But, really, my life as a writer began when I was a child listening to my mother read aloud.  And every crazy job I had before I became a librarian (and there were a lot) helped to form and inform me as a writer.  This is true of us all.  I had an actual epiphany one day while I was a librarian. I looked up from a book I was reading aloud and saw the faces of a class of kids who were riveted to every word… I saw their wide eyes, their mouths hanging open, their bodies taut and poised with anticipation – I was seeing full body participation in the story that was unfolding.  I thought: I want to be the person who makes kids look and feel like THAT.
And that’s exactly who you became. Which is incredible. This can be a tough and discouraging business; I truly hope you realize how much you’ve accomplished.

Thanks, and back at you on that. I think we have to constantly remind ourselves that what we do is important. I think we’ve all had the experience of being scorned because we write for children. The common perception is that we write about fuzzy bunnies who learn to share and to be happy with who they are.

I loved your recent blog post about the importance of books that disturb us. I’m still amazed when I hear from a teacher or parent –- and occasionally even a young reader –- saying they didn’t like a book or a scene from a book because of something upsetting that happened in it. Conflict is the essence of fiction! No conflict, no story (or, worse, a boring, useless one). I love my characters, and I hate to make them go through some of the experiences they have, but it’s got to be done! Did I want Stewpot to die in Nowhere to Call Home? Did I want Weasel to have cut out Ezra’s tongue and killed his wife and unborn baby? Did I want Erik to have to give up the dog Quill at the end of Wild Life? These things hurt, and yet we see our characters emerge from the dark forests we give them to walk through, coming out stronger and wiser. We all need to hear about such experiences, over and over again, in order to have hope in the face of our own trials.

I admire all aspects of your writing, but in particular your sense of pace; your stories click along briskly. They don’t feel rushed, there’s real depth, but there’s always a strong forward push to the narrative. How important is that to you?

I love beautiful writing, I love imagery and metaphor, and evocative language. But all that must be in service to story, or I am impatient with it.  I don’t like show-offy writing.

The ego getting in the way.

Yes. Even the best writers need an editor to keep that ego in check! I seek clarity — what good is writing that obscures and obfuscates? The purpose is to communicate, to say what you mean. That goes for all kinds of writing, not just writing for kids. Kids want to get to the point. So do I.

Can you name any books or authors that were important to your development as a writer? Or is that an impossible question to answer?

 Impossible. Because there are too many, and if I made a list I would inevitably leave out a person or book I adore. Safer to say that every book I’ve read -– the good, the bad, and the ugly –- all are in there somewhere, having an effect on my own writing.

You are what you eat. Also, your love of nature — the great outdoors! — infuses everything you write.

Nature and the great outdoors, yes.  My love of these things will always be a big part of my writing.  I find that after a lifetime of experience and reading and exploring, I know a lot about the natural world, and it’s fun to include that knowledge in my writing. Sometimes I worry that kids are being cut off from the real world.  But I do know lots of kids who love animals and trees and flowers and bugs, love to hunt and fish, to mess around in ponds and streams, build forts,  paddle canoes, collect fossils — you name it. They give me hope for the future.
Where do you live?

On and sometimes in (during the floods of 1972 and 1993) Seneca Lake in beautiful upstate New York.

Is that where you’re from?

Nope. I grew up in the suburbs of northeast Philly. I came up here to go to college and never left.
Your books often feature boy characters. Why do you think that’s so?
9780374324278You’re right: more than half of my main characters are boys.  I’m not sure why.  And I don’t know why I feel so perfectly comfortable writing in the voice of a 10-11-12 year old boy.  Maybe because my brothers and I were close and we did a lot together?  Maybe because my husband still has a lot of boyish enthusiasm?  At any rate, I am crazy about pre-adolescent boys, their goofiness and earnestness and heedlessness.  My new book (coming out in May) is called Fort.  It features two boys, Wyatt and Augie (age 11) who build a fort together during summer vacation.  I had so much fun writing it.  (I have to admit, I love when I crack myself up, and these guys just make me laugh.)
While writing, are you conscious about the gender gap in reading? This truism that “boys don’t read.”

I am. Sometimes I am purposely writing for that reluctant reader, who is so often a boy. I love nothing so much as hearing that one of my books was THE ONE that turned a kid around, that made him a reader.

I just read Signal, so that book is on my mind today. I had to smile  when Owen gets into the woods and his phone doesn’t work. No wi-fi. It’s funny to me because in my “Scary Tales” series I always have to do the same thing. If we want to instill an element of danger, there has to be a sense of isolation that doesn’t seem possible in today’s hyper-connected world. “What? Zombie hordes coming over the rise? I’ll call Mom to pick us up in her SUV!” So we always need to get the  parents out of the way and somehow disable the wi-fi. You didn’t have that problem back when you wrote Weasel.

9780312617769Thanks for reading Signal.  And, yeah, it’s really annoying that in order to be plausible in this day and age, you have to have a reason why your character isn’t on the phone with Mommy every time something goes wrong.  (Another good reason to write historical fiction!)  In Fort, Augie lives with his grandmother and doesn’t have money for a cell phone, and Wyatt’s with his father for the summer. His parents are divorced, and (unlike Mom) Dad doesn’t believe in kids being constantly connected to an electronic nanny.  So — halleluiah!  Wyatt and Augie are free to do all the fun, dumb, and glorious things they feel like doing!
My friends and I built a fort in the woods when we were in high school. Good times, great memories, just hanging out unfettered and free. I included a fort in my book, Along Came Spider. For Trey and Spider, the book’s main characters, the fort represented a refuge. It was also a haven for their friendship away from the social pressures and cliques of school. A place in nature where they could be themselves. So, yes, I love that you wrote a book titled Fort. I’ll add it to my list! (You are becoming an expensive friend.)
Well, now that I’ve discovered your books, I can say the same. Money well spent, I’d say.
Where did the idea for Signal originate?
The inspiration for Signal came one morning as I was running on a trail through the woods with Josie, my dog at the time.  She proudly brought me a white napkin with red stuff smeared on it.  I thought, Whoa, is that blood?  No, whew. Ketchup.  But what if it had been blood?  And what if a kid was running with his dog and she brought him pieces of cloth with blood stains?  Eww.  That would be creepy!  And scary, and exciting, and mysterious — and I started writing Signal.

You’ve always been extremely well-reviewed. Readers love your books.  And yet in this day of series and website-supported titles, where everything seems to be high-concept, it feels like the stand-alone middle grade novel is an endangered species.

I have been lucky with reviews.  But, sadly, I think traditional review sources are becoming increasingly irrelevant, as blogs and websites and personal media platforms take over. That’s not good news for me because I am simply not interested in self-promotion.  Can’t do it.  Don’t want to do it.  I just want to write the best books I can and let them speak for themselves.  I know it’s old-school, but there it is.  You said that a stand-alone middle grade novel is becoming an endangered species amid all the series and “high concept” books out there, and I think you’re right.  But when that stand-alone book somehow finds its niche audience, when kids and teachers somehow discover it and embrace it as theirs . . . , well, it’s a beautiful damn thing, and it’s enough to keep me writing, for now.

For now?!

Well, my husband is 9 years older than I am and recently retired, and there are a lot of things we still need to do!

Like what?

We have a farm property we are improving by digging a pond, and by planting trees and foliage to benefit wildlife. We stocked it with fish, and enjoy watching it attract turtles, frogs, toads, dragonflies, birds and animals of all sorts. So we like to spend a lot of time there, camping out. We love to travel, and are headed next on a self-driving tour of Iceland. We also have four terrific grandchildren we like to spend time with. I could go on and on with the bucket list…

By the way, I agree about the blogs. I think we are seeing a lot more opinion — more reaction — but less deep critical thought. It’s fine and useful for a neighbor to tell you they hated or loved a movie, but it’s not the same as a professional film critic providing an informed, and hopefully insightful, critique. Yet somehow today it’s all conflated. 

Well, there is a similar phenomenon with self-published books. I’m not a total snob about it, and there are plenty of good books that didn’t go through the process of being accepted by and edited by a professional at an established publishing house. But I’ll repeat that everyone needs an editor. And I’m often amazed at the brazenness of people spouting off in various social media platforms, often without being fully grounded in the subject they are pontificating about. But, hey, maybe I’m just getting to be an old fart.

Yeah, I don’t Tweet either. We’re being left in the dust! My observation is that the “kidlitosphere” is comprised 90% of women. Of course, many of those bloggers are passionate, smart, generous women who genuinely want to see boys reading. But I always think of a favorite line written by one of my heroes, Charlotte Zolotow, where a boy imagines his father telling his mother, “You never were a boy. You don’t know.”

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I don’t think it’s an ideal thing that the blogging world — which has become such an important source of information about books — is overwhelmingly female. Of course, the situation is not at all their fault. 

That’s why it’s so great that there are writers out there like you, Bruce Coville, Tedd Arnold, Jon Scieska, Neil Gaiman, Jack Gantos –- who not only write books boys like, but are out there in schools demonstrating that REAL MEN read and write! I don’t know what we can do about the gender gap other than to be aware of it and to write the best books we can, books that both boys and girls will devour.

Tell me about Wild Life. Once again, you are mining the world of adventure — a boy, a dog, and a gun.

I never got as much mail from kids, teachers, grandparents and other caregivers as I did after that book came out. In our hyper-politically correct world, GUNS = EVIL. You can’t talk about them in school. So where does that leave a kid who spends his or her weekend hunting, who studies nature in order to be part of it, who hunts respectfully, with care, who is enmeshed in family history and tradition, who through hunting feels part of the full complexity of life?

8901928I had to keep silencing the censors in my head telling me I couldn’t put a gun in an 11 year old kid’s hands, unless it was a matter of survival in a book set back in “the olden days.”

I was amazed and immensely gratified to learn that a lot of kids found themselves and their interests represented in Erik’s story. I didn’t write it with an agenda in mind. I simply wrote it based on the experiences I’ve had when my husband and I take our bird dog on her yearly Dream Vacation to North Dakota to hunt pheasants.

Ha! I love that your dog has a Dream Vacation.

I get so much joy from watching her do what she was born and bred to do. I cherish our days out on those wide open prairies, and have learned to see the subtle and varied beauty of the landscape. I was just hoping to write a rip-roaring good story that incorporated all that wonderful stuff. Our hunting experiences have nothing whatsoever to do with “gun violence” of the sort you hear about on TV. It’s been interesting to hear from kids who really get that.

Yeah, I enjoy meeting those kids, often out in the western end of New York State. One of my readers from the North Country sent me this photo. Isn’t she great?

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Oh, man, I love that! We can’t forget those kids are out there.

What’s next, Cynthia? Any new books on the horizon?

Possibly, just possibly, a sequel to Fort. But that’s all I will say, even if you use enhanced interrogation techniques.

Huge-rubber-duck-13--196-pWe do not waterboard here at Jamespreller dot com, and I resent the implication! Those are merely bath toys that happen to be . . . nevermind!

According to the rules of the interwebs, I see that we’ve gone way beyond the approved length of standard posts. Likely there’s no one left reading. It’s just us. So I’ll end here with a big thank you, Cynthia, for putting up with me. I’ve really enjoyed this conversation. I hope I’ll see you again in Rochester at the 19th Annual Children’s Book Festival

Yes!  I look forward to seeing you there.  It’s an incredible event, and gets bigger and better every year.

 

 

 

 

 

COMINGS & GOINGS: The Rochester Children’s Book Festival, November 16th

I’ve always heard great things about the Rochester Children’s Book Festival, but never got invited. I tried to weasel an invitation a few years back (clever Cynthia DeFelice reference), but that went nowhere. Finally, at last, I wore ’em down. Good thing, too, because I’m hoping to promote my SCARY TALES series as well as, you know, meet some kindred, book-loving spirits. So if you are near the area — a teacher, a librarian, or merely a stalker — please stop by and say hello.

Some of the many authors & illustrators who’ll be there: MJ & Herm Auch, Julie Berry, Michael Buckley, Peter Catalanotto, Bruce Coville, Cynthia DeFelice, Jeff Mack, Daniel Mahoney, Matt McElligott, Linda Sue Park, Matt Phelan, Robin Pulver, Jane Yolen, Paul O. Zelinsky, and more.

Holy crap! What a list of luminaries! My knees are sweating already. I better pack a clean shirt.

I’m looking forward to it, with thanks to my publisher, the kind folks at Macmillan, for putting me up with a family of Armenian immigrants at a nearby trailer park for the weekend. I just hope they remember to roll out the red carpet. Remember, I’ll only eat the blue M & M’s.

Happily, the event places me in close proximity to my oldest son, Nick, who attends Geneseo College. And by “attends” I mean, I certainly hope so!

Over Halloween, he and some friends decided to go as “Dads.” I functioned in an advisory capacity, the content of which he politely ignored. My big idea was to get a Darth Vader helmet and cape, then pull on one of those t-shirts that reads: “WORLD’S GREATEST DAD!”

Because, you know, irony!

Anyway, check it out. Nick is the one in shorts, pulled up white socks, bad mustache, and “Lucky Dad” hat. Hysterical, right?

Lastly, hey, if you happen to be in Elmira, NY, on November 6th, or Richmond, VA, on November 13, you can catch a lively, fast-paced musical based on my book, Jigsaw Jones #12: The Case of the Class Clown.

I did get to see it a few years ago, with a knot of dread in my stomach, and came away relieved and impressed. Everyone involved did a great job and, to be honest, the story is sweet, too.

Here’s the info on Richmond, VA (where, coincidentally, I’ll be visiting middle schools in early December, mostly giving my patented “Bystander/Anti-Bullying/Author ” presentation. Anyway, the info I promised:

Families, elementary schools and preschools are encouraged to make reservations soon for performances of a children’s show.

A 55-minute performance of “Jigsaw Jones and the Case of the Class Clown” will be performed at 9 a.m. and 12:30 p.m. Nov. 13 at Civic Hall Performing Arts Center in Richmond.

The show is based on a children’s mystery series written by James Preller. Theodore “Jigsaw” Jones and his friend, Mila, are investigating who’s playing practical jokes. It includes music and humor.

“Jigsaw Jones” is presented by Arts Power, a professional theater company touring the nation.

Admission is $2 per student because a grant from the Stamm Koechlein Family Foundation is helping offset the cost for Civic Hall’s Proudly Presenting Series educational programming.

Teachers and chaperones are admitted free.

For Elmira, click here or call: 607-733-5639 x248 (and tell ’em Jimmy sent ya!)