Finding inspiration by discovering holes in the market

Hi, WONDERers! Have you missed us? We may not be blogging as much lately, but all of us here at Wonder of Words are still reading as many amazing children’s books as we can. For today’s interview on Finding Inspiration, I spoke to Roxanne Troup, author of the newly released picture book, MY GRANDPA, MY TREE, AND ME. Hi, Roxanne. Congrats again on your picture book release! How did you get the inspiration for your story?

Roxanne: A couple years ago, I discovered a new publisher looking for agricultural books, and since I grew up in an agricultural community, I thought it might be a good fit. I set to brainstorming different stories that might work for that publisher and discovered a hole in the market—pecans. I knew a little bit about pecans. They grew wild and in backyards where I grew up, and we harvested them in buckets. But I wondered how the commercial pecan industry worked. Did everyone collect pecans in buckets? So, I started researching. After running across a YouTube video of a farmer harvesting pecans by tractor (from hundreds of trees at a time), I knew I had my topic. I couldn’t get the image of that farmer shaking his trees out of my head—pecans fell like thundering rain!

Raining pecans! The pure joy on the grandpa’s face makes this such an endearing book

Candice: I grew up with pecan trees in the backyard and have vivid memories of picking up pecans–the pies my mom would make were definitely worth the effort! What is your favorite part of the creative process?  Did you learn anything about your own process while you were working on this book?

Roxanne: That first flush of IDEA is heady and addicting, but then I have to figure out how to make that idea work. And that, is WORK! I don’t know that I discovered anything “new” about my process with this story as it’s not my first (even though it is my debut fiction). But every story—and the way it comes to the page—is different. For this particular story, I had quite a few stop-and-start drafts, meaning I started but never finished them. But each time I started a new draft, I added some important storytelling element or figured out what wasn’t working and tried a new way of fixing it. It wasn’t until my fifth draft that I finally completed the story. (Does that make number five my actual “first draft”?)

Candice: Haha, no way! All that hard work still counts and kudos to you on not giving up! Do you have other creative outlets or hobbies? Do they cross into your writing?

Roxanne: Oooo, that’s a good question. I like lots of creative things: crafting, singing, gardening, interior design. I don’t know that any one of those things crosses over into my writing (though gardening might seem like it with this title), but my favorite part about each is the planning/dreaming stage. And that definitely crosses over. I plan out/dream through many aspects of my stories before I ever sit down to draft—which might explain the whole start-and-stop habit. When I realize something isn’t working according to plan, I stop; and often, don’t start up again until I have puzzled my way through that obstacle.

I love how the illustrations go so well to make this such a sweet, serene story–and the ending is absolutely heartwarming!

Candice: Great answer. Do you have any tips you’d like to share about finding creativity?

Roxanne: I think being quiet is a huge creativity booster.

Our brains don’t like being idle, so when we force our bodies to be quiet, our brains fill in that space with all kinds of things—to do lists, conversation replays, dreams for tomorrow, and eventually (if we don’t short-circuit the process by ending our quiet time to do all those things on our list) creative ideas. 

Candice: Can you tell us about a future book project you’re working on?

Roxanne: It hasn’t been announced yet, but I do have another informational fiction picture book in the publishing pipeline—this one, about space.

You almost forget you’re reading an informational fiction picture book as the story and facts go hand in hand so seamlessly.

Ooh, space! So exciting! We wish you the best in your writing and publishing journey. Thank you for sharing your tips on creativity and your inspiration for this book.

MY GRANDPA, MY TREE, AND ME (Yeehoo Press) released April 11th. You can find it online at bookshop.org which helps support independent bookstores, and at https://www.roxannetroup.com/pecan.html to also check out fun book activities for your little readers. Request a copy at your local library or indie bookstore.

Author, ghostwriter, and speaker, Roxanne Troup writes kids’ books that celebrate wonder and family. With a background in education, she also writes engaging nonfiction for all ages. She grew up along the waterways of Missouri, surrounded by farmland and legends. Her childhood home, built in the late 1800s, was often visited by members of Jessie James’ gang and full of stories about hidden passageways, underground tunnels, and false floors. In that house, Roxanne learned to read and create her own imaginative stories. Today, she lives in the mountains of Colorado but still loves old houses and history. She is the author of over a dozen books for kids, including My Grandpa, My Tree, and Me. When not writing, Roxanne enjoys hiking with her family, cheering at her kid’s sporting events, and reading a good book. She loves to visit schools to water seeds of literacy and teach about writing. (And sometimes remembers to water the plants in her own garden.)

Illustrator Kendra Binney was raised in a small mountain town with no shoe stores. Most of her time was spent barefoot treading through the minuscule world of spiders, snakes and all things hiding in the grass. Though her paintings have been exhibited, sold, and published around the world, Kendra herself spends most days in a small studio in Portland, OR. There she paints, daydreams, and paints some more.

Call to Creativity: Look at the market specifically to see what isn’t there or underutilized. Read widely and wildly!

A True Story: GOOD IN THE MIDST OF EVIL

Today we have a special guest, friend and critique partner, Yvona Fast. She shares the emotional story of her mother’s childhood experiences during the Holocaust in her upcoming middle grade book, GOOD IN THE MIDST OF EVIL, with Clear Fork Publishing. Dana Fast is one of many whose personal experiences during such a horrific time, have given her the strength she has today.

TS: Welcome, Yvona! I am so excited to read your book and hear about how your mother’s important story came to be. Her experiences help us understand our world’s history, especially such difficult times.

AF: Thank you, Tina. Yes, they really do!

When I was growing up and we studied history and the Holocaust, I would ask Mom questions – I knew she had lived through it – but she never would talk about it. It was only later, when I was in my forties that she started talking.

Her brother – who is 5 years younger – asked her to write it down for his kids, since he remembered so little, being so young. This was in the 1990s. I was in Europe working in Yugoslavia, Poland and Slovakia from 1989 – 1995, and she typed it on our friend Olga’s word processor… it wasn’t even a computer back then. I just recently came across this early draft when cleaning out the filing cabinet. 

Her friends in Poland wanted to read it – so she wrote it in Polish for them, using the same word processor… 

When I came back to the states, I read both versions – and they were not identical. She recalled different things each time. 

TS: Wow, so fascinating. I am sure after so many years, sitting down to write the difficult memories in both languages must have been very challenging.

AF: This really inspired me to want to share her story. I was living and working in Rochester, NY, then, and combined both versions into one, editing as I went. I tried submitting the story to publishers, but there was no interest. 

A few years later, in 2010, a friend of Mom’s, Andrea, asked if she could write mom’s story down. She was on the board of the Polish-Jewish Heritage Society in Montreal, Quebec, and they were looking for Holocaust stories to publish. 

We told her the story was already written – and in 2011 they published it, with only minor edits, under the title, MY NINE LIVES. When I said we wanted a thousand copies, they thought we were crazy… but we have sold most of them. The nonprofit only publishes the books, but they do not distribute them, so the only way to get a copy is either through the agency or through us. 

Mom is well-known in our community, since she has worked here and lived here and volunteered for various organizations from the local library to the Visitor’s Interpretive Center, and served as a Master Gardener Volunteer for years, giving talks on gardening, composting, preserving food, and so on. Over a hundred people came to her book release party. 

TS: She is amazing! You must be so proud of her.

AF: I really am. But I wanted a wider market for the book, beyond our small village. Since there are about a dozen books with the title MY NINE LIVES, I wanted a unique title that fit. A friend, Karen Davidson, designed a more engaging cover. These are things that are important to book marketing… the cover and the title. 

A friend offered to help me publish it through Amazon’s KDP (Kindle Direct Publishing) but part-way through she dropped the project. Her Apple computer and my IBM version did not seem to work together well. That’s when I sent a copy of MY NINE LIVES to Caliie Metler of Clear Fork Publishing. She loved the book and offered to publish it under the Rise Imprint – books that empower women and teach them to rise. 

TS: Yvona, how wonderful for your mother and your family to be able to do this for her. Great thinking on your part to submit her story to Clear Fork and the RISE Imprint is a perfect fit.

AF: My mom, Dana, is definitely a strong, independent woman. Her life made her that way. 

I say she wrote the book – it is her story. She claims I wrote it. I definitely edited and improved it, but the story and voice are clearly hers. 

TS: Something tells me both of you are sharing this important history, together. We wish you every success as the release her incredible story releases Tuesday, April 5th!

Yvona Fast grew up on three continents, speaking three languages by age ten. She thought many of her challenges were due to these changes in culture, but in her forties she discovered she is neurodivergent and needs words – not pictures – to understand her world, a condition known as Nonverbal Learning Disability. 

Her love of books and language first led her to become a librarian, and later, to writing. She has written articles and essays, writes a weekly food column for her local paper, the Adirondack Daily Enterprise, and has published several books, including three poetry chapter books. Her first book, Employment for Individuals with Asperger Syndrome or Non-Verbal Learning Disability, was published in 2004 by Jessica Kingsley Publishers.

Learn more about Yvona and her writing at www.yvonafast.com. Follow her on Twitter at yvonawrites, or on Facebook at Words Are My World or Author Yvona Fast.  

To order the book, visit:

Clear Fork Publishing

Barnes and Noble

Amazon

Friendship and Empathy: Helping A Friend Who Has Experienced Trauma

Have you ever wondered how some authors take heavy topics and show their story in a way that helps others be more mindful of others’ feelings? Joanna Rowland is very experienced in this area and in her newest picture book, Big Bear Was Not The Same, she accomplishes just this! Beautifully illustrated by John Ledda, Joanna and John show readers how to be more empathetic and supportive to a friend who has experienced a traumatic event. I’m so glad Joanna could stop by to talk about her book today!

TS: Hi Joanna! Your book is such a good reminder of how to be there for someone. Whether drafting or revising, how do you know when it is necessary to show action, scene and sensory elements?

JR: One of the things I love about picture books is that illustrators can show so much through their illustrations that I don’t need to tell. I have one line, “Little Bear tried all sorts of things to cheer up Big Bear. But nothing worked.” It was so fun to see the ways illustrator John Ledda used to show Little Bear trying to cheer up Big Bear. I don’t need to tell the reader in words what was happening because they can see it in the pictures. Because the story I wrote is about trauma and responses to trauma, it was important for me to sometimes say the action. One example: “Oh, no! said Big Bear, and he ran away.” I felt it was important to say the action when it was a response to trauma to help kids better understand how someone might act when they are traumatized. In Big Bear Was Not The Same, Big Bear has been traumatized by a forest fire. When things remind Big Bear of the forest fire, he responds with fight, flight, or freeze. It was important to show Big Bear having that action when things reminded him of the fire. I think learning about how people who have PTSD respond to things, helped me know I needed to have more action scenes when Big Bear was triggered.

When I was writing the story, my critique partners were great for letting me know if it felt like something was missing. My books are always better by seeing how they respond to what I write and their feedback. 

TS: You made great decisions in those scenes especially because young kids are just learning about life and some of the difficulties they may experience. Are there specific strategies, tools or resources you use to incorporate more showing/descriptive language?  

JR: Reading picture books is a great way to learn about language and craft. I read different picture books every day. One of the fabulous perks of teaching five-year-olds. I love reading lyrical books. Cynthia Rylant does a beautiful job of using descriptive language in her books.

When I’m trying to make a word list, I like Word Hippo   https://www.wordhippo.com/

I also like looking up idioms here https://idioms.thefreedictionary.com/ I find idioms can be a fun way to help me think more creatively on how I want to use words.

TS: These are terrific resources. Thank you for sharing! Would you like to share an example of a before and after where you needed to show more and found the right words to paint the image for the reader?

 JR: Sure, this is an Early draft of Big Bear text example with too much telling:

It was only a matter of time before something set off Big Bear to think and feel

like the day in the woods was happening all over.

Sometimes, a smell set off Big Bear.

And Big Bear ran away.

It was only campers having dinner. But Big Bear relived that scary moment in the woods anyway.

Final version of Big Bear text example:

Some days, Little Bear and Big Bear had good days that almost felt normal.

But one smell could change it all.

SNIFF

Big Bear froze. 

“Don’t worry, Big Bear. It’s just kids making s’mores. You’re so big and brave. Nothing can scare you. Right?”

But Big Bear shivered.

Little Bear worried. “Do you want a hug?”

But Big Bear didn’t answer.

TS: I love the difference between the two versions. Much more emotion and heart in your final version! How do you know you’ve got it just right? What tips or suggestions do you have for writers in terms of striving for that balance of showing versus telling?

JR: I do learn from rejections. Pre agent, I used to send things out too soon occasionally, and if they didn’t connect emotionally, I knew I needed to go back to find the heart. My critique group is great at letting me know when I’ve hit that right emotional chord. So, if you aren’t in a critique group, find one. They are so valuable. Honestly some books can take me years to get right, and some weeks. Explore different structures with how to write your book, try writing it in different points of view, and revise. Big Bear took quite a few drafts because I wrote it in 3^rd person and most of my other published books have been written in 1^st person, so it was a learning curve for me to think about dialogue and how to write the action scenes in the book. Sometimes it’s okay to tell. I felt it was important to say the words, “Big Bear froze,” because freezing is one of the responses people have when they have been through a traumatic event. But I think leaving more room for the illustrator whenever possible, makes for a stronger book.  See how other authors show the balance in published books. You will learn so much from reading. What showed the action? Was it dialogue, text, or the illustration? Have fun and don’t be afraid to experiment. Copy your manuscript and practice deleting chunks to see if it’s better with or without. Sometimes less words, is more powerful. But most importantly, keep trying

TS: Critique partners are those objective eyes and ears. Reading other books is such a great habit to develop, I agree. Wishing you continued success with Big Bear, Little Bear and future books. Thank you for stopping by!

Joanna Rowland grew up in Sacramento, California, where she still lives today with her husband and three children. She teaches kindergarten by day and writes picture books at night. In the summer you’ll find her by water or cozying up with a book. She is the author of The Memory Box: A Book about Grief; The Memory Book: A Grief Journal for Children and Families; Stay Through The Storm; When Things are Hard, Remember; and Always Mom, Forever Dad.

You can find Joanna online at:

Website: https://www.writerrowland.com/

Twitter: @WriterRowland  

Instagram:  @writerrowland 

Facebook: Joanna Rowland

Writing Is Mining- featuring Beth Anderson

Hello Everyone!

I hope this blog post finds you all having a great summer in our new normal. Today I am thrilled to have Beth Anderson as our featured guest. As you know, she is an accomplished writer focusing on narrative nonfiction and historical fiction picture books. Her quote “Writing is Mining” holds such truth. She describes writing in these genres as digging for those special memories, emotions, and meaning. Beth has wonderful strategies for showing in these areas.

TS: Beth, thank you so much for being our guest today and congratulations on your October release of “Smelly” Kelly and His Super Senses: How James Kelly’s Nose Saved the New York City Subway. Whether drafting or revising, how do you know when it is necessary to show action, scene and sensory elements?

BA: Thank you so much for inviting me to share some thoughts on the essential “show vs. tell.”

I believe in action wherever it makes sense – the more the better. Keeping the characters active keeps the reader turning pages. Actions reveal character so it’s a huge part of the emotional arc. But there also has to be the flow in and out, along with weaving in needed context. Constant action for the sake of action is exhausting! 

Scenes carry the emotional arc of the main character as well as the plot. They move the story forward, stepping-stones in the character’s transformation that build to the story’s end. If a scene doesn’t serve that purpose, then it needs to go or be revised to carry a piece of the emotional arc. Sometimes, even “internal” scenes can be active. Here’s an example from Lizzie Demands a Seat with the additional challenge of required context:

She eyed empty seats. Despite being born a “free black” in a “free state,” she’d never been treated as equal. She’d been rejected, restricted, and refused by schools, restaurants, and theaters. Suddenly late-for-church wasn’t as important as late-for-equality. Lizzie stood firm.

Passengers murmured.

Horses snorted.

Pedestrians gathered.

Finally, the driver held up the reins. “We need to go.”

Scenes play out best with action, and if you can use action to transition between scenes, do that, too. “Smelly” Kelly and His Super Senses, releasing Oct. 13, was a huge challenge regarding transitions between scenes. There was so little information on James Kelly’s days in the NYC subway, all I had were anecdotes with the potential to be priceless scenes. I had to find a way to organize them with a special “heart” thread and effectively transition between scenes to avoid an “episodic” feel. Here’s an example of an active transition that lets us pause with the character and progress to the next scene:

“Exhausted, he paused and peered through the crowd gathered at the movie poster. Even superheroes needed help.”

And here’s an example from An Inconvenient Alphabet where I used imagery to actively transition. Instead of saying that Noah Webster wanted to reform American English spelling, it became:

“Armed with the twenty-six letters of the English alphabet everyone knew and loved, Noah launched a spelling revolution—ready to turn “rong” spelling into “rite.””

Sensory elements enrich the reading experience by inviting readers into the moment, immersing them in the setting, and connecting readers to characters on multiple levels. As you will see in “Smelly” Kelly’s story, I use sensory elements liberally!

TS: Are there specific strategies, tools or resources you use to incorporate more    showing/descriptive language?

 

I use the online thesaurus a lot. If you can find just the right word, it can make an illustration note or other words unnecessary. For instance, recently I replaced “took” with “claimed.” It made a huge difference—adding attitude.

I can’t resist onomatopoeia. But besides sounds, I also ask myself – What would that look like? In “Smelly” Kelly, there are lots of stinks. Instead of trying to describe the stink in the New Yorker Hotel, it was more fun to show the reaction to the smell.

“Maids pinched their noses. Guests fled. Engineers analyzed and pondered, but they couldn’t figure out where the leak was coming from.”

I also try to “show” emotions, especially what cannot be shown easily by an illustrator. When Kelly realizes he’s not doing enough, I tried to show that feeling of inadequacy:

A broken steam line blasted water pipes.

Kelly shook his head. Someone could’ve been burned. Sniffing wasn’t enough. He needed to listen, to hear sounds no one else heard.

There’s some physical movement there, but mostly I take you inside Kelly’s head. And that’s another powerful way to achieve more showing. Many writers call it psychic distance. Once I learned about it, my writing changed and became more immediate. The example above doesn’t say “he thought” or “he scolded himself” or “he realized.” Cutting the “head verbs” eliminates that filter between the reader and the character. It’s like the difference between indirect speech (He told me to stop.) and direct speech (STOP!). If you go straight to the words or realization or thought, the reader feels it as the character, and it eliminates the “telling.”

TS: Would you like to share an example of a before and after where you needed to show  more and found the right words to paint the image for the reader?

BA: Sure! I looked back at an early version of “Smelly” Kelly and His Super Senses. Here’s one line that was very “telling”:

“He settled into an apartment and took a job with the subway.”

Because that involved an action (took a job in the subway) that set off the whole story, I needed to show motivation and the emotion behind that decision. It evolved into a scene with “showing” and delightful illustrations:

James set out to find a job, but, as always, his incredible nose proved troublesome.

Fish market—no!

Sanitation—no!

Meat packing—NO!

He felt a rumble below the sidewalk and peered through the grate. The damp air bristled with mystery.

TS: Writing is about balance. How do you know you’ve got it just right? What tips or suggestions do you have for writers in terms of striving for that balance of showing versus telling?

BA: Generally, I think showing appears in scenes and telling in transitions. Emotion and important action pieces require showing. That’s what keeps your story alive, where you want the reader to connect. Telling can speed up the narrative to get to the good stuff, but too much can bog it down. Showing and telling are intertwined with pacing, characterization, and point of view. It’s truly a complicated dance. When I researched to prepare a presentation on point of view and really examined how it works in a picture book, I found that the “camera” goes in and out—and that in and out is achieved with showing and telling, and also involves “proximity.” Just another reason to read and analyze LOTS of books!

TS: Wow, Beth! You have given so much to think about. Your knowledge and command over the elements are so strong and comes through your writing vividly. Thank you!

 

Beth Anderson, author of Lizzie Demands a Seat, An Inconvenient Alphabet, and “Smelly” Kelly and His Super Senses, is drawn to stories that open minds, touch hearts, and inspire questions. A former educator who has always marveled at the power of books, she hopes that voices from the past will help children discover their own. Beth has more historical gems on the way!

Learn more about Beth and her amazing books at:

Website: bethandersonwriter.com 

Pinterest, Twitter, Instagram: @Bandersonwriter

Facebook: https://www.facebook.com/beth.anderson.33671748

signed copies of books available from Old Firehouse Books

Welcome to Debut Author Jolene Gutiérrez

Hello Everyone,

We hope this blog post finds you all safe and healthy during this very uncertain time. Recently, I had the opportunity and privilege to speak with Jolene Gutiérrez about her two debut books. I first met Jolene in the Children’s Book Academy where we both took Mira Reisberg’s amazing picture book course. For both for us, this class has changed our lives. Jolene’s first release is the adorable picture book entitled Mac and Cheese and the Personal Space Invader, releasing on August 11, 2020, with Clear Fork Publishing. Her second is Bionic Beasts, a middle-grade nonfiction book releasing October 6, 2020, with Lerner/Millbrook Press. What an exciting time for this very hardworking mother and full-time librarian who, by the way, is also remotely teaching at this time.

TS: Welcome Jolene! Thank you for taking the time to share some of your writing strategies. Whether drafting or revising, how do you know when it is necessary to show action, scene and sensory elements?

JG: What a great question! When I’m revising my story, if I can’t visualize a scene or if the story is “sagging” in some way, I look at these elements. Action, scene, and sensory elements might show up in my writing when I’m drafting, but I try to focus on them during my various rounds of revision. With middle-grade fiction where I have the luxury of using more words, I work to make sure scenes are very sensory in order to connect readers to the story—so that students who might struggle to visualize things have some sensory connection that will draw them in. With picture books, though, I think some of the scene and sensory elements can be left to the illustrator.

And action is so important! I’m the school librarian at a school for diverse learners and have a large ADHD population. When I’m writing, I think of the action-packed, information-filled, or funny books that hook my students as readers and try to emulate that style. When I’m revising, I tend to set my manuscript aside a bit and work on other projects. When I come back to my manuscript with fresh eyes, I read chapters aloud to myself and try to ensure that there is a purpose to every character, every setting, and every scene—that they are all working together to move the story forward.

TS: Are there specific strategies, tools, or resources you use to incorporate more descriptive language?

JG: I try to put myself in my character’s shoes even if the story isn’t first-person, I try to involve the senses as much as possible, and I like to use dialogue to put the reader (and myself) in the scene. I also use passive verbs a lot in early drafts and try to catch that in revision and switch to active verbs.

TS: Could you share an example of a before and after where you needed to show more and found the right words to paint the image for the reader?

JG: Sure! Our words are so limited and the story is so dependent on illustrations in picture books, so finding an example was a little challenging, but here’s a scene we can compare:

Early draft of Mac and Cheese and the Personal Space Invader:

During snack time, I sit next to Nina. When I lean close to see what she’s eating, she moves away.

Published version of Mac and Cheese and the Personal Space Invader:

At snack time, I sit next to Nina, squeezing in close, just like Mac and Cheese do. Nina frowns and leans away.

We’re in first person for both of the scenes, but I think the published version is more powerful because language like “squeezing in close” puts the reader in the scene. We’re also reminded that Oliver, our main character, gets close to Nina because squeezing in next to a friend is something classroom guinea pigs Mac and Cheese would do. Also, in the old version, Nina “moves away,” but in the published version, she “frowns and leans away,” which is more descriptive and hints at her emotions.

TS: Writing is about balance. How do you know you’ve got it just right? What tips or suggestions do you have for writers in terms of striving for that balance of showing versus telling?

JG: I’d say show us as much as possible—put us in that scene so we feel like we’re experiencing the story! But there are some things you just have to tell us or your book will be unnecessarily long. We don’t need to experience every hour of every day with characters, for example, or showing would become tedious. Telling is a great way to quickly impart information to the reader, and sometimes that immediacy is needed to keep the momentum going in a story.

TS: Thank you so much Jolene for sharing your tips and strategies. I love how writers have such a variety of different techniques to convey their stories.

Below is Jolene’s contact information, bio, and links to preorder her terrific new books! Congratulations Jolene!

Bio: Jolene grew up on a farm in northeastern Colorado and now lives in a suburb of Denver, where she’s been a school librarian for 25 years. She spends her days sharing children’s books and her nights writing them. She’s a wife of 21 years and a mama to two teenage humans and three preteen dogs. Jolene is an active member of SCBWI and The Author’s Guild, a We Need Diverse Books mentorship finalist and a Writing with the Stars mentee. She is the author of Mac and Cheese and the Personal Space Invader (Clear Fork, 2020) and Bionic Beasts: Saving Lives with Artificial Flippers, Legs, and Beaks (Lerner, 2020). Learn more at www.jolenegutierrez.com.

Facebook: facebook.com/writerjolene

Twitter: twitter.com/writerjolene

Instagram: instagram.com/writerjolene

LinkedIn: linkedin.com/in/writerjolene

Pinterest: pinterest.com/writerjolene

 

Preorder Links:

Mac and Cheese and the Personal Space Invader:

https://www.clearforkpublishing.com/store/p149/personalspaceinvader.html# 

Bionic Beasts:

https://www.amazon.com/Bionic-Beasts-Saving-Artificial-Flippers/dp/1541589408/ref=sr_1_2?dchild=1&keywords=bionic+beasts+jolene&qid=1587390720&sr=8-2

Finding Inspiration in Nature

Hi, Wonderers! Thanks for being here as we focus on finding creativity, this time from illustrator Lisa Johnston Hancock. Lisa and I met when our kiddos became friends in preschool–they’re both big into bugs and being creative. Her picture book, YELLOW-SPECKLED BLACKBIRD, written by Dylan Pritchett, released February 18th with MacLaren-Cochrane Publishing.

Candice: Welcome to the Wonder of Words (and today Wonder Of Pictures!), Lisa. You know I adore your nature-infused paintings. Where did you get the inspiration for how you wanted to visually tell the story of the Yellow-Speckled Blackbird?

Lisa: I get inspiration from many different sources. I like to visit parks, zoos, beaches or anywhere to see actual birds in action. My children are also great sources of inspiration for poses. They love watching me work and get really excited when I ask them to model for me. I keep a folder of reference photos for birds, children and environment that I use as inspiration. I knew that the bird was going to be a Starling and the story would take place in an urban environment to illustrate how we see nature all around us.

We don’t have to be out in “nature” to appreciate the natural world.

I worked on these illustrations almost 2 years ago and at that time, I was working strictly in watercolor and beginning to explore digital media. The majority of this book was created traditionally with a little bit of digital for editing.

Candice: What is your favorite part of the creative process?

Lisa: My favorite part of the creative process is working through color schemes. I find color to be the most challenging part of illustrating a picture book and I like the challenge. The color palette can visually express the mood or tone of a story so it’s important to get it right. I will try out several different color palettes before I settle on one.

Candice: Color palettes do make such a difference! I don’t think I really understood that until I started studying picture books. Do you have other creative outlets or hobbies? How do they cross into your artwork?

Lisa: I love birds, insects, animals, trees and plant life. Basically, exploring nature whenever I have the chance. We recently moved to California and hummingbirds are EVERYWHERE! We have several species that hang around all year because the climate is so mild. Any extra time that I have is spent with my two children. I would say that yes, they definitely cross over into my artwork.

Candice: I enjoy seeing all your California creatures come alive on your social media. Do you have any tips you’d like to share about finding creativity?

Lisa: I would say that if you are struggling, go for a walk or pencil in a coffee date with a fellow creative. What I like most about this area is that the people are so friendly. I think it’s because the weather is so nice. The traffic is not great, as you may have heard. Be that as it may, I have found that other illustrators are ready and willing to meet up for a coffee and drawing session or to talk of creative things. It is incredibly inspirational to have an artist community. It doesn’t even have to be local. With social media, you can reach out to other creatives just to say hi, or ask what brush they used. As creatives we tend to be introverts and I’m somewhere in the middle. I try to put myself out there and I recommend that you do the same.

Candice: I agree, social media has definitely helped me as an extroverted introvert. It’s tough to put yourself out there but the payback is so worth it. The critique group behind this shared blog is my case in point! Creativity usually seems to lead to more creativity. Do you have another book project you’re working on that you could give us a hint about?

Lisa: I recently finished illustrations for “Sophie’s New Song” that will be self-published by author and psychologist, Michelle Whitfield, in April. I’m also working on some promotional material for her.

My goal for 2020 is to complete a dummy for a picture book that I wrote, as well as a few finished illustrations that I can share with publishers. In October, I attended a workshop at the Highlights Foundation and received some really helpful, constructive feedback. I will be working on that this summer and possibly attending the SCBWI conference in L.A. I mean, I’m so close now.

Candice: That’s right! No excuse not to go. I cannot wait for your picture book to be submission ready. Having seen a mock-up dummy I know how amazing it is. Thanks so much for being here today!

Y’all be sure to check out Lisa’s artwork on her website and social media links. You can request YELLOW-SPECKLED BLACKBIRD at your local indie bookstore or online at Bookshop.org which also helps support independent booksellers.

Lisa Johnston Hancock is an award-winning studio artist, picture book illustrator, and art educator. She enjoys creating work that focuses on environmental education, encouraging a lifelong positive attitude toward the natural world. Lisa recently moved with her husband and two children from sunny Southern Alabama to sunny Southern California.

www.lisajohnstonhancock.com
www.instagram.com/lisajohnstonhancock
www.twitter.com/LisaJHancockArt
www.facebook.com/LisaJohnstonHancockArt

For this month’s Call to Creativity, go for a walk. Observe the nature around you. Comment with an observation that inspires you and a random comment will win a picture book critique!

~THE PITCH IT TO ME CHALLENGE~

Yes, you read that correctly. The Pitch It To Me Challenge is back and kicking off this WONDERful blog’s new year! But before we view the new round of pitches, let’s take a moment to congratulate Shannon Stocker on her big win in the last round with her pitch for Rinda Beach’s story, SAFETY POWER SUPER STARS. Can “U” say a million thanks to Rinda and Shannon for stepping up to the plate?

This time we have two lovely challengers that I could spend all day talking about (but I won’t since I should really get to the point). The first is author/illustrator Patricia Saunders, whose debut picture book, MOTHER TERESA: THE LITTLE PENCIL IN GOD’S HAND, came out last year with Spork/Clear Fork Publishing. She sends us her pitch for another picture book manuscript, AMY HEARS THE BIRDSONG AIRS: AMERICAN COMPOSER AMY CHENEY BEACH, a story that captured my attention with its soft, poetic flow.

Patricia and I are in for a tough challenge, though, because guess who I asked to be our super guest-star pitcher? None other than the extraordinary Dr. Mira Reisberg, AKA The Picture Book Whisperer, an editor and art director at Spork Children’s Books, and the director/instructor/”fairy godmother” at The Children’s Book Academy. Oh, and she just happens to be an author and illustrator, too! Yes, I really did it this time. I brought in the ultimate challenger.

If you want to know more about Patricia and Mira (and trust me, you do), make sure to check out the photos, information, social media links, and selected book titles below. You might even have time to jump in on Mira’s upcoming illustration course at CBA. Tina and I both assist in the course, and I can’t say enough about what it did for my own writing career.

Now for the challenge! Take a look at the three pitches in the voting box. They are in no particular order so you’ll never know whose is whose (the author’s, mine, or our special guest-star pitcher). Vote for your favorite, and if you are so inclined, leave a comment, too. We love hearing from our readers!

You have until February 1, 2020, to cast your vote. Please vote only once, but feel free to tell your friends about us and get them in on the action.

 

ABOUT PATRICIA SAUNDERS:

Patricia Ann Saunders was born into an Air Force family living and travelling all over the United States, South America and Japan. Today she resides in Texas. Retired from teaching art, she now includes author/illustrator as part of her creativity. What could be more fun than to spend time doing what she loves? Only to spend time with her wonderful family.

Patricia’s Book, MOTHER TERESA: THE LITTLE PENCIL IN GOD’S HAND is available through Amazon, or on the Clear Fork Publishing website.

Connect with Patricia at www.patriciasaunders.com, or on Twitter @writersaunders.

 

ABOUT DR. MIRA REISBERG:

Mira Reisberg has a PhD in Education and Cultural Studies with a focus on children’s literature. She is an acquiring Editor and Art Director at Clearfork/Spork and is also the Director of the Children’s Book Academy. Her students have published over 370 books and won every major North American award. Mira’s 8 published children’s books have won awards and sold over 600,000 copies. She lives in a 100 year-old house in Portland, Oregon with her husband and two cats.

Mira has been instrumental in helping many authors and illustrators get published and teaches many of the courses at the Children’s Book Academy, including the upcoming Craft and Business of Illustrating Children’s Books with HMH Acquiring Art Director & Senior Designer, Andrea Miller. She is proud to have edited and art directed the following books:

 

 

 

 

 

Connect with Mira at www.mirareisberg.com, on Twitter @MiraReisberg, or through the Children’s Book Academy at www.childrensbookacademy.com

CONCLUDING REMARKS:

It’s so much fun to be in another Pitch It To Me Challenge! Thank you, dear readers, for joining in and casting a vote. And thanks to Patricia Saunders and Dr. Mira Reisberg for sharing your time and words with us to make this blog all the more WONDERful. Until next time . . .

Showing With A Main Character Interview

Hello Everyone! For this blog post, I interviewed a very special person. This time the individual was not another author, but the actual character of my debut picture book, WALKOUT. Many times we discuss how showing in writing can be done through our word choices, to carefully show how a scene unfolds, reveal the emotions a character experiences. Another way to accomplish this is to just have a conversation with the character of the book itself, and that is just what I did. I would like to introduce you to a very determined young girl who wishes to make a difference. Please join me in my conversation with Maddie.

 

Character Interview:

Author Tina Shepardson’s Interview with Main Character, Maddie, From WALKOUT, a picture book

Tina: Hi Maddie. Thank you for stopping by today. Can you tell us a little about yourself?

Maddie: Oh sure. I go to Walker Elementary School and I am the oldest in my family. The best part about school is I am in the same class as my best friend Stella. I see her every day, all day long.

Tina: What do you like to do when you are not at school?

Maddie: That’s simple. I love to draw with my crayons and markers and play with my friends.

Tina: I heard you were part of a school walkout recently? Can you tell us a little about it?

Maddie: Yea, I was. Our school was having one but it was only for the big kids and I really wanted to walk out with them.

Tina: How did you become a part of it then?

Maddie: Well, it was School Safety Week and I just thought everyone should be included, not just the big kids.

Tina: That makes perfect sense. Did you walk out with the big kids by yourself?

Maddie: Oh no… I asked my friends for some help and everyone got together during lunch to make signs about safe schools. Even our teacher helped us. Only Stella didn’t.

Tina: I am sure she was just busy.

Maddie: Actually, she was scared. Our principal told us it was for the big kids only. He even said so during announcements. She just didn’t want to get into trouble.

Tina: I understand how she felt. Didn’t you?

Maddie: Yes, I did. But I also didn’t want her to feel left out. I really wanted all my friends to help the big kids stand up for safe schools so I kept asking her to see if she would change her mind. 

Tina: And did she?

Maddie: That was a really busy week at school, plus I had homework every night too. If you want to find out if Stella changed her mind and even how you can help schools stay safe, you have to read WALKOUT. Looks like late Spring 2020 you can read it!

Tina: That is a good idea Maddie, and thank you for telling us about your experience.

Maddie: Bye, see you later!

It’s A Blog & Book Birthday!

Happy birthday to the Wonder of Words blog! Today marks our one year anniversary and we couldn’t have done it without our readers and our awesome guests. So, thank you all!

Speaking of awesome guests, today’s blog post is about a story I first read on a twitter pitch event. As soon as I read Amanda Jackson’s query and first lines, I knew this would be a real-live book one day.

Welcome to the Wonder of Words, Amanda! I’m so glad we connected during Study Hall and in the debut group, New in Nineteen. I’m excited about your beautiful and important book coming out. When and where did you get the inspiration for your square-who-wants-to-roll-like-a-circle story?

It was late 2016, during the one year my husband and I lived in Northern California. We moved there for his job, and the circumstances were such that I didn’t work. That gave me the time and brain-space to discover my love of writing for kids. So, that’s actually when I started writing picture book stories altogether. That’s one reason I will always be thankful for that crazy year.

I have a deep hope for a more inclusive and understanding society. That hope was what inspired this story. Sam is for anyone who feels they don’t fit, in whatever way.

Such a beautiful hope and your book captures that sentiment perfectly. I love it. And it’s amazing what we can accomplish when we have the brain-space! What is your favorite part of the creative process?

I have two favorites:
– Inspiration. Who doesn’t love being inspired?? There’s nothing like discovering a new idea for a new story. It feels like falling in love.
– Revision. After the initial excitement of inspiration, drafting the story can feel like slogging through mud. But once I get it on the page, and it has every element it needs, I love all the little challenges that come with smoothing it out and making it shine.

Falling in inspiration is the best. Do you have other creative outlets or hobbies? Do they ever cross into your writing?

I do! I enjoy cooking, crocheting, and crafting. I haven’t seen them cross into my writing yet, but they do play an important role. Sometimes my writing muscles need a break, and they offer other creative options.

Love the alliteration, Amanda 😉 Do you have any tips about finding creativity?

My best tip would be to try to pay attention. Because I really think creative inspiration is all around us, and it’s more a matter of recognizing it. I do my best to be aware of the moments I feel that creative spark—moments that makes me laugh, curious, explore, cry, ask questions, get angry. Those are usually the moments that hold that starts to stories.

The act of paying attention is so important. Creativity usually seems to inspire more creativity. Do you have another book project you’re working on that you could give us a hint about?

Sure! When I began writing, I naturally gravitated toward more serious stories. Lately I’ve been playing with punchier, sillier stories that make me laugh as I write them. Such a fun change of pace!

I love silly stories, can’t wait to read ‘em! Thanks so much for being here, Amanda. I have My Shape is Sam preordered and am looking forward to Sam rolling in!

Blurb: “In this debut picture book, Sam is a square who lives in a world where everyone has a job to do, depending on their shape. But Sam doesn’t want to stack like the other squares…

He wants to roll like a circle!”

Published by Page Street Kids, wonderful illustrations by Lydia Nichols

Here’s the link to her author website where you can preorder My Shape is Sam, out September 17th: www.AmandaJacksonBooks.com

What is a hope you harbor that could inspire others? Comment by Sept 13th with yours, or mention your latest picture book work-in-progress, and as a special birthday gift to our readers, one lucky random comment will be chosen to get a critique not just from me, but from the whole Wonder of Words team!

Welcome Laura Roettiger! Celebrating Aliana Reaches For The Moon

 

July 20th marks the 50th anniversary of the moon landing! Here to celebrate and share her beautiful STEM picture book, Aliana Reaches For The Moon, is debut author Laura Roettiger! Her strategies for showing this important and lyrically written story are excellent.

TS: Thank you Laura for joining our blog today!

LR: Thank you for asking me to participate in your blog! I appreciate the opportunity to share about my writing process.

TS: Whether drafting or revising, how do you know when it is necessary to show action, scene and sensory elements?

LR: The common wisdom of show don’t tell doesn’t mean that there should be only showing in your writing. The way I think about it is I’m trying to paint a picture (setting) and demonstrate an emotion or desire (plot and character) with my words. I draft with these things in mind but revision is where the magic of lyrical language, page turns, and showing comes together. I think about how each page needs to move the story forward both with words and illustrations. Imagine a book where every page looks the same. That would be really boring.

TS: Are there specific strategies, tools or resources you use to incorporate more          showing/descriptive language?

LR: I use thesaurus.com to see if there are stronger words when I revise at the word level. I read my work aloud and even more importantly, I have someone else read it for me so I can hear how it sounds. Picture books and poetry are meant to be read aloud. How it sounds (think alliteration, think musical) is very important. I try to get rid of as many adjectives as I can, because most of them can be shown in the illustrations. I read at least ten new picture books each week. I look for mentor texts, books that have something I can learn from as I write mine.

TS: Would you like to share an example of a before and after where you needed to show more and found the right words to paint the image for the reader?

“Once upon a time there was a girl named Aliana. She lived in a cabin in the woods near the top of a mountain peak.”

Above was the original first line of what became ALIANA REACHES FOR THE MOON. It started like a fairy tale which wasn’t necessary. It tells you she’s a girl but the illustration and the name can show you that. It doesn’t give you the important information of a specific setting (Rocky Mountains) or talk about the night sky and how the light of the full moon is the inciting incident. After many revisions, the opening words (only one word less and more lyrical with more information that paints a picture of the setting:

“Aliana lives in the Rocky Mountains where the night sky holds more stars than you can dream of and the moon shimmers like gold.”

 

BIO:

Laura Roettiger is the author of Aliana Reaches for the Moon, a picture book that draws inspiration from the moon and the curiosity of children. She has enjoyed working with children ever since she was no longer considered a child herself. She was a reading specialist and elementary teacher in Chicago, IL before moving to the Rocky Mountains of Colorado where she worked in Environmental Education and is now a mentor for literacy at a STEM school. Her superpower is encouraging curiosity in children and letting them know she believes in them. She has three children of her own whose curiosity and creativity led them into STEM related professions. Laura is an active member of SCBWI, Julie Hedlund’s 12×12 Picture Book Challenge and a judge for Rate Your Story.

Website: LauraRoettigerBooks.com

Blog: https://lauraroettigerbooks.com/blog/

Aliana Reaches for the Moon

Facebook Page

Twitter: @ljrwritenow

Instagram @AlianaReachesfortheMoon or @ljrwritenow