Writer Spotlight: Isabel Estrada O'Hagin

 

Doctor Isabel, Ugly Monkeys, opera, literary agents, critique groups and KAST: author Isabel Estrada O'Hagin

Charlie Barshaw coordinates our regular Writer Spotlight feature and interviews writers of SCBWI-MI. In this piece, meet musically-inclined author Isabel Estrada O'Hagin. And check out her interview from 2022 HERE.

First of all, you’re Dr. O’Hagin. You’ve got a doctorate in Music Education. You’ve always been moved by music, but earning a demanding title like that took years of dedication. How did you do it? And what does that doctorate allow you to do?

First of all, I can tell you when not to do it:  Having a baby while completing your pilot study and wrapping up your dissertation between changing diapers. But seriously, I always loved teaching people of all ages, and I wanted to dig deeper into the psychology of teaching and learning. 

Isabel at her workspace

For example, I wanted to know how musical experiences affect early childhood (i.e., how these experiences help children form bonds and develop the brain). My studies and research led to new understandings.

How did I do it? With lots of help! Not being rich, I had to keep my job as a dance teacher at a gifted and talented middle school while pursuing three years of course work. My school district was supportive by allowing me to arrange my schedule for my capstone semester. 

I learned to juggle whatever life handed me and I learned that it’s okay to break rules and conventions. Ask for what you need! People surprise you! With the arrival of our new baby, my husband and both sets of grandparents helped as well. 

The doctorate allowed me to teach at the university level.

 

You grew up in a Tucson barrio, where the books you read never reflected characters like you, Mexican-Americans who spoke Spanish and English, their culture and their aspirations. Your recently-published picture book celebrates La Mariachi, a girl who breaks the gender barrier to become part of a Mariachi band. How has your life experience mirrored that of Tuchi, your young protagonist?

As a kid, mariachi music was a big part of my world. On the radio, at church, at birthday parties, serenades on Dia de las madres, and at every fiesta. Who doesn’t love mariachi? 

La Mariachi tells the story of Tuchi who wants to become a mariachi con todo su corazón. Tuchi possesses grit and with the help of her abuela overcomes obstacles to make her dream come true.

Growing up, I admired Tucson’s mariachi for kids, Los Changuitos Feos (the Ugly Monkeys), who performed everywhere. But it was all boys. I remember thinking – not saying it aloud – that it wasn’t fair. This type of gender discrimination was true throughout the U.S. until pioneers in Texas and California broke through barriers and led the way. 

One of the books in my research pile includes personal accounts of girls in their teens who faced discrimination when they broke into all male groups. But they persevered, no? Eventually, our Tucson ensemble welcomed girls. We’re talking about playing instruments, not singing. Female singers were common.

By the late 70s and early 80s mariachi ensembles became part of the public school system in many states, and girls showed up! The interest was always there and now we have not only integrated ensembles, but many all-girl, all-women mariachi ensembles throughout the country.

Another aspect of La Mariachi is the theme of strong intergenerational bonds—a common thread in Mexican-American families. While I loved mariachi music, my dream was to be an opera singer. That was certainly atypical for a poor kid in the barrio, but my parents supported my journey every step of the way.

 

Isabel's opera glamour  headshot

Your early aspiration was to become an opera singer. Who were your role models and opera star heroes? How close did you come to performing in a production?

It’s not a surprise that I turned to storytelling as I retired from teaching, because operas are stories told through music, through songs—very dramatic songs. And songs are words melded to music. I grew up listening to opera (but I didn’t “go to the opera” until a school field trip in high school.). 

My dad loved opera and would always play some of his favorite singers on LPs. I loved Leotyne Price, Marilyn Horne, and Maria Callas. Powerful, strong voices! I was a music nerd as a kid—I would listen to the NPR Met Opera broadcasts on Saturdays. 

As a soprano, my role model was Bubbles—Beverly Sills. She would pop up on TV shows for interviews now and then, and I always loved her personality. I began to perform on stage during my college years as part of the Opera Theatre. 

My first role? I was one of the Three Ladies in Mozart’s The Magic Flute. Later, when I taught music in the schools, I kept up my interest in opera by performing with the Arizona Opera chorus—a paid gig!

Music appreciation inundated your high school years. So much so that you took summer school in order to free up your school schedule for choir, dance and drama. You must have been one of the few serious students in your summer classroom. How did you cope with the struggling and non-interested other off-season students?

I don’t remember much, except that high school summer classrooms were hot and boring! I had to jump on two buses to get there and back. But downtown Tucson was always interesting—so maybe not so bad.  I stayed focused because first—my parents paid for the classes, and second—I had to not only pass the courses but get a good grade to keep up my GPA for National Honor Society acceptance. Yep—had my goals in sight. 

Recently, I spoke with a college student about how virtual courses at the high school level allow opportunities for students with specific goals in mind the freedom to set their own schedules. Now that would’ve come in handy!

 

You’ve got a special connection with author Meg Medina. What is your relationship with her?

Ooh, I wish I knew Meg in person! I know her only through her books and her social media accounts. Her updates as the Library of Congress National Ambassador for Young People’s Literature have been marvelous. Her appointment is ending, but I look forward to reading new books from her. I can’t wait to get my hands on a copy of her latest picture book, No More Señora Mimi. 

Earlier this fall, the graphic novel version of Yaqui Delgado Wants to Kick Your Ass was released. Yaqui Delgado was the first book of hers I read. My son was reading it for a high school English class, and after he was done, I picked it up. What a sassy character! Okay—just stopped writing to order it online!

The Merci Suarez Series

Meg Medina has the ability to give all her characters an authentic voice enveloped by her beautiful lyrical writing style. I also marvel at how she captures the vibrancy of the Latino experience on the page. She’s Cuban-American, but there are many similarities with Mexican-American culture. I’ve read her YA novels, the Merci Suarez series, and all her picture books—all of which draw you in immediately.

 

You won a contest with your manuscript of La Mariachi, so you were able to publish your picture book without the need of an agent. Is that a one-and-done, or can you skip that odious step of finding an agent?

Credit: Merze Tate Explorers

Ah, Charlie! I didn’t win the Sleeping Bear Press Own Voices, Own Stories contest that first year they sponsored it. Fortunately, the editor contacted me soon after and said they wanted to publish my story as part of their Own Voices collection. Naturally, I agreed! It’s been great working with Sleeping Bear Press—as a debut author I appreciate all the assistance they’ve offered. 

Michigan is fortunate to have such a supportive company in our midst. The promotion assistance I received from Sleeping Bear Press brought attention to my debut picture book that was recognized by the ALA Rise Feminist Booklist for 2024 and received a silver medal in the Most Inspirational Picture Book category from the International Latino Book Award committee.

I’m looking for an agent, but I don’t think of it as an odious step. I’m a believer in being in the right place and the right time—serendipity will strike in one way or another—often when you least expect it. So-- I’m sending out my wish across the universe!

 

You’ve mentioned your two critique groups. How did you find your fellow writers, and how have they helped you hone your work?

The two groups I’m a part of emerged through SCBWI events and contacts such as conferences (critique group sessions) and Shop Talks.

I love belonging to two critique groups (one is on hiatus)! One group met 11 years ago at a SCBWI-MI state conference, and we’ve been together since then! Critique partners are invaluable in many ways. You place your manuscript baby in tender, receiving hands and your partners help nurture its growth and development. 

It takes trust. It’s like a commune of writers who guide and support and are protective of each other. And yes, sometimes you practice tough love to get to another level. If you find a supportive writing group, never let them go!

 

You’ve used writing coaches like Kelly Bennett and Teresa Crumpton.  How do you decide to work with a writing mentor?

Carrie Pearson, Isabel, and Melanie Bryce

I’ve also worked with Leslie Helakoski, Jay Whistler, Beth McBride, Deborah Halversen, and a few other SCBWI greats. In the case of all these writing coaches and editors, I attended their workshops and thought they had valuable insights on the writing process. Conversations followed to make sure we were on the same page. 

I also like to “make-pretend” I have a writing mentor by studying the books of a favorite author and following their social media or tuning in to virtual workshops/podcasts to see them on the screen and hear their actual voices. Yes, I’d love to have a cafecito with Meg Medina!

 

What have you learned with the publication of your first book? What advice do you have for those who come after you?

Find your voice—only you can tell your story! Take Courage. Dream big. Play. Create. Keep reading and writing. Keep at it. Be patient with yourself and others. Believe. Be thankful! And above all--keep your young reader in mind!

 

You’ve got at least three middle grade novel manuscripts in various stages of readiness. How difficult was it to refine your ideas to a picture book length? How many drafts did it take to get La Mariachi to its finished form?

In my mind,

La Mariachi, is a storybook—a category of the picture book genre that is generally wordier than most picture books and you write knowing the story will be read to the child by an adult. I didn’t set out to write a longer story. 

Storybooks typically have more developed plot lines that need to unfold naturally. Similar to writing a novel, I used a three-act structure to write La Mariachi. 

As to refining ideas to a picture book length? I worked on whittling down my main character’s desires to one desire, one story problem. Leslie, the Amazing Picture Book Guru, was a tremendous help in this regard. 

Drafts? I’ll take a wild guess as I never keep track, but I do save all the versions on my hard drive. Maybe 50? It took two years to land on the final manuscript I submitted to Sleeping Bear Press, but it was an on-off process with two critique groups and editorial consultants sharing their thoughts along the way. In the meantime, I continued to work on many other WIPs.

 

In your You Tube interview, you accepted the challenge to pick a random spread of the book and spontaneously compose a tune and sing the words. The magical result stunned the interviewer, and any listener. Do you lend your lovely voice to a local choir?

What a nice compliment, Charlie! I’m not in a choir currently, but I sang in choirs for ages. My dream is to sing with a mariachi ensemble some day!

You’ve co-hosted the Kalamazoo Area Shop Talk with Melanie Bryce since 2015, and the programming just keeps getting stronger. What is the secret to KAST success, other than your members are stars?

We are all stars shining brightly in the cosmos! Choose your constellation! Melanie stepped down this year due to work considerations, and we were fortunate to have Karen Finch step in. What contributes to our success? 

Some of the cast of KAST

First, we welcome everyone and try to meet on different days and times to accommodate individual schedules. This year we lost our meeting site and that’s pushed us into being creative in finding new venues—libraries, bookstores, an artist’s studio, and who knows where next. We’d like to host a plein air session. Maybe this summer? Change brings new perspectives and possibilities. 

Like many Shop Talk groups, we begin our sessions with introductions and personal highlights—anything a member would like to share with the group. Applause and cheers follow. 

This could be one reason why our members attend our Shop Talks—it gives them a chance to toot their own horn or maybe what they need is affirmation and support from the group as they tackle a problem or experience writer’s block. . . We are here for each other. 

The networking that happens at Shop Talks always amazes me, especially when seasoned members take the time to chat with the newbies! Second, we do have an abundance of talent in our SCBWI-Michigan circles who are willing to share their time and expertise with the rest of us. Thank you to all who have presented at our Shop Talks in person or virtually!

Thank you, Charlie!

 

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Email: isabelestrada.author@gmail.com

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Website: isabelestradabooks.com