Writer Spotlight: Travis Jonker

 Scopes, school librarian, turtles, Lionni, Flake, Caldecott, and King's Horses : Author/illustrator Travis Jonker

Charlie Barshaw coordinates our regular Writer Spotlight feature and interviews writers of SCBWI. In this piece, meet author/illustrator Travis Jonker.

 

[Note: the items in italics are from my research into Travis Jonker. My questions follow the italicized items.]

In an interview (2017), you mentioned your debut Book Baby The Very Last Castle. Since then, you’ve added more titles, and some illustration, to your body of work. How did Castle come about? You wrote about children’s books. When did it occur to you that you could write a children’s book?

When I became a school librarian in 2005, I pretty quickly started having ideas for stories. It took a long time to get to the point where I was working on them in earnest. The Very Last Castle began with the title. I thought the title was intriguing, and I tried to figure out the story from there.

We talked, back in 2018, about your blog “100 Scopes Notes,” and marveled how it had outlived many blogs to celebrate its 10-year anniversary. Now it’s approaching 20 years! Working with School Library Journal helps, I’m sure, but 20 years of writing about children’s picture books was two decades of hard work. Why are you still Noting Scopes?

I really owe a lot to the blog, and to School Library Journal for supporting it for so long. Writing the blog has been a great education for me and has led to a lot of really cool opportunities. I can’t believe it will be 20 years in November. As of today it’s been 4,387 posts.

How different is the job of librarian now, versus first-day Travis’s job responsibilities?

Maybe the most surprising thing is how similar the school librarian job is now versus when I first started. Literacy - reading aloud, offering students and staff a wide variety of the best books, generating a love and excitement for reading - is one part of the job. The other part, teaching students digital literacy, is always shifting, but the overall goals are the same.

 

Maybe you know someone like Travis Jonker. He’s a popular podcaster, and a blogger, an Instagram star, an elementary school librarian, and an acclaimed author. In his spare time, he probably helps turtles cross busy highways. In other words, the type of overachiever I usually loathe. But that’s the trouble with Travis. He’s annoyingly likable. He’s warm, funny, kind, intelligent. I want to hate this guy, but I can’t. You probably won’t be able to, either. But please, for me, try. Travis has written a new book, illustrated by Grant Snider, and, yeah, you guessed it — it’s really good. Rats and snails!

Author James Preller is clearly envious of the many hats you wear. Have you helped turtles cross the highway? What is your organizational technique for accomplishing what you do?

I’ve never helped a turtle cross the road! I do like turtles though. Children’s literature is my work (and my other work) and my hobby and I don’t have a lot of time-consuming things I do outside of that. I don’t golf. Still, I always feel like I’m giving something short shrift, to be honest. My organizational technique is the good old to-do list.

This book didn’t follow the traditional path. Grant and I met a few years ago and had talked about possibly working together. When I saw his comic On the Beach [above], I thought the style would be a great fit for Blue Floats Away — it reminded me of the torn paper illustrations in Leo Lionni’s Little Blue and Little Yellow. I sent Grant the story and he liked it and decided to illustrate it.

I made a few illustration notes in the manuscript, but I kept it as brief as I could. I didn’t talk with Grant at all as he was illustrating the book. I knew Grant was a pro, so I got out of the way as much as I could. I’m amazed with his art in this book. I think if you hold your story too tightly, problems arise.

So, the author and the illustrator put the text and artwork together, and then sold the package to a publisher? That is not only not traditional—it’s downright unheard of. What is the story of Blue?

Not to get morbid, but Blue Floats Away began as a story about death. I wanted to write a story about a character who goes away but isn’t really gone - in the way that a loved one can pass away but still live on very vividly in memories. 

It was a pretty abstract idea and Lionni’s abstract art in Little Blue and Little Yellow was something that seemed like a natural fit. When I saw Grant Snider’s torn paper art, I had to email him (we had met briefly at a conference), and share the story with him, because I knew that on top of being a great artist, he has this amazing philosophical side. 

He liked the story, and since we had both published with Abrams Books, it felt a little more comfortable coming to them as a team.

Caboose is your newest title. It appears to have a hippo as a protagonist. Is there a train involved?

Caboose is about the high-stakes world of lining up in elementary school. The caboose is what teachers call the last person in the line. Ruth Chan made the art and she added so much humor and personality to the story. The book is dedicated to teachers.

 

The Ship in the Window paired you with Matthew Cordell, superstar illustrator. You certainly didn’t have the close collaboration you did with Grant Snider with Blue Floats Away, but I’m sure there were interactions. How did author and illustrator interact on Ship?

I’ve known Matthew for a long time. He’s a fellow midwesterner (Chicago) and I interviewed him a long time ago for the blog. I’m such a fan of his work and I was thrilled when he agreed to illustrate that book. 

I didn’t talk with him at all about making the art - I really wanted him to bring his own creativity to it and I didn’t want to interfere with that at all.

Speaking of illustrators, you are the illustrator for Just One Flake and Just One Wave. How did you hone your drawing muscle? How did you suggest yourself as the artist?

I’ve always loved drawing and was a near art minor in college. Once I started focusing on writing books, in the back of my mind I thought that if the right story came along, I’d love to try to illustrate it. By “right” I mean it was a good fit for my specific (aka limited) skills. 

Once I had that thought, I really tried to draw more and post my work online - Instagram, mostly - so that when the opportunity did arise, people might already see me as someone who could do it. 

Just One Flake began as a spontaneous drawing I made of a kid trying to catch a snowflake on his tongue, and grew from there. The whole thing came to me very visually, and the simplicity of the story gave me the idea that I might be the best person to illustrate it. 

I had talked with the art director at Abrams books about the possibility of illustrating one day and so when this story came about, I asked and they agreed.

For a long time whenever the urge to write a story hit, I did a pretty good job of stopping it. Why would I want to do the thing I shouldn’t be doing?

It definitely felt like I shouldn’t be doing it. All the self-defeating stuff that comes with trying something new creatively (at least for me) came. The “What right do I have?” stuff. The “What will they think?” stuff. I couldn’t even struggle in a unique way, how was I going to write something unique?

After a lot of attempts turned back, the urge made some progress. I finally decided that the next time it hit, I was going to go with it.

How did you manage to write something unique at least six times? Was it just the change in attitude, the next time I’ll go with it? Who helped along the way?

A lot of stories can seem similar when you look at the basic elements. I think where it gets unique is in the execution - that’s where things get specific and your own personality as a writer or illustrator comes out and makes the story something that only you can make.

I also served on the 2014 Caldecott Medal committee, which means I have some strong opinions about picture books and what makes them work.

What does it take to be a Caldecott Medal committee member? How long do you serve? How much time do you put in, reading and voting?

Being on the Caldecott committee is a mix between caring a lot and putting in your time. I was a member of ALA for years and served on different committees before a friend and I recommended each other for the Caldecott committee. 

Then I had to get enough votes from the ALA members to earn a spot. All together it feels like a two year commitment, but just the one year of reading, evaluating, meeting, etc. 

It was a joy to be with a group of people who were so enthusiastic about picture books.

You are a co-host for the long-running The Yarn podcast with educator and author Colby Sharp.

Which have been some of your favorite episodes?

So many great conversations. Gary D. Schmidt, Jason Reynolds, Kate DiCamillo, and Mo Willems stand out.

 

You are a school librarian for an elementary school in Dorr, MI. What grades do you deal with? Has children’s reading changed over the years?

My school is kindergarten through third grade. Our graphic novel section has grown a lot over the years. Illustrated fiction has grown, so kids are reading more of those sorts of books.

What’s next for Travis?

Illustrations for 1000 Horses

I have a book coming out next year called 1000 Horses for the King, illustrated by Gracey Zhang that I’m very excited about.

Please list any social media:

Substack: travisjonker.substack.com

Book Birthday Blog With Lisa Wheeler

 

Welcome to SCBWI-MI's Book Birthday Blog!

Where we celebrate new books from Michigan's authors, illustrators and translators.

 

Congratulations to Lisa Wheeler on the release of Dino-Helpers

 

How did you come up with the idea for your book? 

We plan each title in the series, years in advance. When my editor asked me what titles I would like to write for the new Dino-World iteration (Same dinos, new things to do!), I wrote out a list of fun topics I’d love to see the dinos explore. My publisher then decides which book I should work on next.

During the pandemic, we all experienced how much we rely on helpers--the folks who are there, day and night, when we need them. 

In Dino-Helpers, I wanted to highlight those workers but also show how kids can be helpers in small ways.

 

What is something you hope your readers will take away from your book?

I want kids to feel empowered by the book. When they read about dinos helping a friend who scraped a knee—a small gesture that shows kindness and empathy—I hope that they can see the hero inside themselves. Realize that it’s those empathetic, everyday gestures that make people beautiful. 

 

What are your marketing plans for the book and where can we find it? 

The book can be ordered from your local independent bookstore or online. Many libraries will also have the title. I will be at the Sand Creek Arts and Crafts show on Nov. 20th. 

What's next for you? 

We continue with Dino-World titles. Fall of 2027 brings Dino-Construction. (It’s also the 20th anniversary of the Dino series!)
 
The following year brings Dino-Camping as well as a stand-alone title with RandomHouse Studios called Nobody Noticed Ghost. 

More about the book . . . 

When things go wrong, look for the Dino-Helpers! This dino-neighborhood is home to crossing guards, veterinarians, nurses, park rangers, and more.
 
Day or night, they’re always trying to lend a hand. Whether they’re finding lost puppies or fixing traffic jams, these dinos are here to save the day! 

Published by: Carolrhoda Books/Lerner 

More about the author . . . 

Award -winning author, Lisa Wheeler, is passionate about children’s books. “I love everything about them, including the smell!” She’s published over 65 books for children, including a series about fun-loving dinosaurs, an easy reader series, four books of poems, and creative nonfiction for the very young. “As far back as I can remember, I’ve been a rhymer. Wordplay excites me!” 

Lisa's newest books are It Takes a Family to Serve, Dino-School, and Someone Builds the Dream. Lisa lives in Michigan with one husband, one dog and an assortment of anthropomorphic animals. Check out her website at https://www.lisawheelerbooks.com/  

Facebook: Lisa Wheeler Children's Books

Instagram: @littlelisais6

 

 

 
 

Writer Spotlight: Joseph Kimble

 

Sirens, plain style, Lincoln, Manchester, Scribes, and the Motown Funk Brothers: author Joseph Kimble 

Charlie Barshaw coordinates our regular Writer Spotlight feature and interviews writers of SCBWI-MI. In this piece, meet author of law tomes as well as children's books: Joseph Kimble

 

[Note: the items in italics are from my research into Mr. Kimble. My questions follow the italicized items.]

Joe grew up in the small town of Linden, Michigan, where he spent many hours in the public library above the fire station.

A library on the floor above a fire station! Can you paint a picture of young Joe and his experiences with a firehouse/library?

 

The only thing between the fire station and our house was a side street. If the siren rang at night, we were jolted awake. Anyway, the library was on the second floor over fire station. I still remember the musty smell. I read lots of biographies and lots of sports books. John Tunis was a favorite sports author.

 

He had majored in literature at Amherst College before going to law school at the University of Michigan and even earned a few student writing awards along the way, but legal writing was something he’d yet to master.

What was your career plan when you chose to major in literature? How did U of M law school enter the picture?

 

I really didn’t have much of a career plan when I entered college. But law seemed like a good profession for someone with an interest in writing and speaking—and maybe an aptitude for them—so I applied to law school. Lawyers are, in a sense, paid professional writers.

 

So before putting pen to paper, he decided to educate himself. He went to the law library and checked out The Fundamentals of Legal Drafting by Reed Dickerson, which at the time appeared to be the one and only book on the subject. Dickerson showed Kimble the light.

Did you, in the course of your studies, find more books on plain legal writing? Is Dickerson still your favorite plain-spoken writer?

 

Not during law school. At the time, law schools offered very little training in legal writing and drafting, and there were only a few books on those subjects. (That began to change in the 1980s, and now most law schools have required writing courses, as well as electives.) 

I discovered the Dickerson book at the state law library in Lansing soon after I graduated, when I was working for the Michigan appellate courts. 

Now there are many books on legal writing (including five of my own). I have several favorite authors: Bryan Garner, my colleague Mark Cooney at Cooley Law School, Peter Butt and Michèle Asprey in Australia, Martin Cutts (recently deceased) from the UK. 

As for writers who advocate a plain style generally: William Zinsser, Jacques Barzun, Joseph Williams, John Trimble. 

Actually, plain style has a glorious literary heritage: Lincoln (except for the Emancipation Proclamation, which was legalistic), Walt Whitman, Mark Twain, Winston Churchill, George Orwell, E.B. White.

 

Professor Kimble was a staff attorney for the Michigan Supreme Court and the Michigan Court of Appeals. He later practiced law in Flint, Michigan, and was an adjunct professor at Cooley. He joined the full-time faculty in 1984.

You started at Cooley Law School in 1984. What was the first year of teaching like?

A different kind of school visit

 

Stressful, but exciting. Of course, I was trying hard and still learning. Writing teachers face the challenge of reading and commenting on piles of papers, drafts as well as final papers. Early on, I decided to do live critiquing and grading, with the student sitting next to me in my office. I developed ways to do it effectively—and never looked back for 30 years. I spoke on this subject—live grading—many times at conferences.

 

He is senior editor of The Scribes Journal of Legal Writing and the longtime editor of the "Plain Language" column in the Michigan Bar Journal. He also writes an editing column called “Redlines” for Judicature.

You did a lot of writing in your day job. When did you find you had a talent for communicating on paper? What did young Joe write about?

 

I’ve always written. In high school, every week we had to write a paper of various kinds: autobiographical essay, short story, one-act play, poetry, even a children’s story, and others. In college, as an English-lit major, I of course wrote essays assigned by profs on literary works. 

An example might be, What does it require to be a discerning reader of Keats? For the reasons I mentioned, I did less writing in law school, except for final exams, which involved rushed—not polished—writing. 

But most of my legal career has consisted of writing: memos for the Michigan appellate courts, all kinds of legal papers while in practice, and then all the publications on legal-writing style during my teaching years.

 

He has published scores of articles on legal writing and written five popular books —Lifting the Fog of Legalese: Essays on Plain Language; Writing for Dollars, Writing to Please: The Case for Plain Language in Business, Government, and Law; Seeing Through Legalese: More Essays on Plain Language; Essentials for Drafting Clear Legal Rules (with Bryan Garner), and Gems from The Scribes Journal of Legal Writing: Volumes 1–20 (as the editor).

When you attended a Lansing Area Shop Talk meeting, I thought of you as a professional older gentleman who wanted to write a kid’s book. Little did I know that you had plenty of publications under your belt and that your admonition for “plain language” was just the thing in writing for kids.

You wrote columns for legal reviews for years. Is that where the fodder came for your professional books?

 

My first two law books were collections of essays that I had written for legal publications, including the Michigan Bar Journal. The book with Bryan Garner grew out of our work as the drafting consultants on projects to completely “restyle” (for clarity, consistency, and readability) all five sets of federal court rules, the rules for procedure in federal courts. That took 30 years! The last book, as the name implies, contains selected articles from the first 20 volumes of The Scribes Journal of Legal Writing. I put that book together as the editor.

 

Some awards

In 2000, he was named a "Plain English Champion" by the Plain English Campaign, in England. He is one of the first persons to receive that award.

What was that experience like, getting nominated and then winning. Did you go to England?

 

Well, it was my first award—26 years ago—so it was gratifying, of course. Yes, I went to Manchester.

 

You worked at “Scribes” so long and fruitfully, they named a prestigious award after you—the Joseph Kimble Distinguished Service Award. What is “Scribes,” and what was your role there? Who can win the Joseph Kimble award?

 

Scribes—The American Society of Legal Writers—is the oldest organization devoted to honoring legal writers and promoting clear, concise, persuasive legal writing. I’m one of the longest-serving Board members. I was executive director from 2005 through 2009. I was chief editor of The Scribes Journal of Legal Writing from 2001 through 2012, and I’ve been a senior editor since then. Anyone can win the award.

 

For fun, he collects blues and rock art.

Tell us about your music art collection.

 

I’ve been collecting for 40 years or so. After I ran out of room at home, I started taking pieces to Cooley Law School. About 275 pieces are hanging there now. I give tours in the early fall. 

It’s an eclectic collection: vintage posters (many signed—for instance, by Chuck Berry, Dr. John, Buddy Guy, the Motown Funk Brothers, Martha Reeves, and others), photos, paintings, signed album covers, a seven-foot slate guitar, all kinds of things. Here’s a link to an article in the Lansing City Pulse (page 9):

Here’s a link to a piece that the school did, although some of the numbers are now a bit out of date.

 

As noted, Joe graduated from Amherst College and the University of Michigan Law School. He taught legal writing for more than 30 years at Cooley Law School. He has won several national and international awards for his work in promoting clear, plain language in public communication.

When in your education and legal career did you encounter such rampant legalese and obfuscation that you decided your life’s work would be to promote plain language? Was there an inciting incident?

 

I encountered it from the beginning, although I didn’t react to it at first. It’s everywhere. I’m sorry to say that lawyers inherit (as one expert put it) a centuries-old history of “wretched writing.” But I’m glad to say that that is changing—slowly, incrementally, but changing. The light bulb moment for me was when, early in my career, I discovered the Reed Dickerson book, as you mentioned earlier.

 

How did you adjust your writing style when you wrote your first children’s book, Mr. Mouthful Learns his Lesson?

 

It seems almost too obvious, but I tried to put myself in the shoes of young readers. Of course, I tested drafts on a number of kids, including those in my own family. I wondered, Would they laugh, or at least smile, in the places where I tried to be funny? 

The ironic thing about the book is that even though I poke fun at Mr. Mouthful for his highfalutin vocabulary, part of the book’s fun, I think, is in learning new words. 

I have a message for readers on the book’s dedication page. “To all young readers: Having a large vocabulary is wonderful. Learn to love words, big and small, and learn which ones to use when.”

 

Your second children’s book, Mr. Mouthful and the Monkeynappers, continues the saga of Mr. Mouthful. What prompted you to revisit your character and get him involved with monkeynappers? Do you have ideas for a third book?

 

Well, the idea just popped into my head. I knew that I wanted to feature Dupree, Mr. Mouthful’s hotshot monkey. He gets loose, bursts onto the field during a soccer game and runs off with the ball, and then gets into big trouble. But kids come to the rescue in the end, as they did in the first book. 

No ideas yet for a third book. Remember that I do this on the side, sort of. It was six years between my first and second books. I tinker a lot with the drafts. The first book went through 15 or so drafts.

 

You’ve won many awards. Which one is most treasured by you?

 

Seal of Approval forMr. Mouthful

Oh boy. It’s hard to pick. I won the State Bar’s highest award, the Roberts P. Hudson Award. I’ve won lifetime-achievement awards from my colleagues in the legal-writing and plain-language fields. I’ve won three Burton Awards for legal writing, most recently for Book of the Year on Legal Writing.

 

What’s next for Joseph Kimble? Are you ready to retire yet?

 

I have retired from classroom teaching, but I’m still actively writing, editing, and speaking: regular columns for two journals, a revised edition of one of my law books, and some other things. With all that, I still manage to fit in quite a lot of pickleball.

 

Please list any social media you wish to share:

 

https://www.linkedin.com/in/joe-kimble-66130059/

 

Thanks, Charlie, for inviting me.