Friday, October 13, 2023

Attendees Remember the 2013 Conference

Gothic vibes, shushing nuns, tai chi in the gardens, and shaking up picture books: The 2013 Conference in their own words

by Charlie Barshaw 

This is the second in a series of articles. You can read part 1 here.

Let’s go back in time 10 years. Where were you in your kid’s book writing journey in October, 2013?

Dave Stricklen: Two hardcover books written in the Blackwater Pond Series.

Julie Angeli (left) and Heather Meloche
photo from Heather

Julie Angeli:
I think I was trying to put the finishing touches on my humorous middle-grade science fiction novel.

Isabel Estrada O’Hagin: I had just begun my journey as a writer. This conference allowed me to meet with my first-ever critique group. All I had were a couple of scenes from my new novel (in my head), and I shared them with my assigned group. We've stuck together since that conference. (And I learned it's not a good idea to start your story with a car ride or a dream/flashback.)

Leslie Helakoski: I had several books published by 2013—Big Chickens, Big Chickens Fly the Coop, Big Chickens Go to Town, Woolbur, and Fair Cow. I had just finished the artwork for Big Pigs in summer of 2013.

Kris Remenar: At this point, I had a contract with Charlesbridge for GROUNDHOG’S DILEMMA but I didn’t have any traditionally published books yet.

Amy Spitzley: My first novel was published in 2013. I believe I had copies for sale at that conference. I remember putting them on the table and being all proud of myself.

 

 

Group photo of the 2013 conference
by Deborah Halverson

 

Why did you decide to attend this conference?

Dave Stricklen: It was my second conference right after the big multi state conference in Fort Wayne (I believe). I made no meaningful connections at the large conference and decide to try a small conference before throwing in the towel.

Julie Angeli: I was interested in speaking to Deborah Halverson

Isabel 
Heather Meloche: I usually attended conferences after conferring with my writing bestie, Julie Angeli. We both like our weekend writing retreats away from other distractions.

Isabel Estrada O’Hagin: It was near enough to Lansing/Williamston where I lived at that time--an easy ride. Also, a new writing friend agreed to be my roommate so I felt I could make it work.

Leslie Helakoski: I was Regional Advisor at that point with Monica Harris and we wouldn’t miss a conference if we could help it, no matter what.

Kris Remenar: I’d been attending SCBWI-MI conferences regularly since 2000 and I was eager for this soul-enriching time with my writer/illustrator friends. Plus, Audrey Vernick was speaking and I was a huge fan of hers!

Amy Spitzley: I honestly can’t remember. Seemed like a good idea on the promotional end, I guess.

 

Ten years is a long time, but what do you remember about the venue? Did anyone ever find the fabled maze?

Dave Stricklen: At night it was dark…I mean dark like looking into a black piece of paper. I was expecting a maze like in “The Shining”. However, it was mowed sections of grass where you were supposed to ponder life and not speak.

Julie Angeli: I remember it being very spartan but comfortable.

Leslie

Leslie Helakoski
: I remember the fall colors being beautiful on the grounds.

Isabel Estrad O’Hagin: Yes, I found the labyrinth. Really cool, but I remember it was a weedy patch. The grounds were a bonus. I remember seeing Diana Magnuson doing her tai chi movements in the garden.

The rooms were austere as were the dining hall digs. I recall (amiright?) that the nuns ate on one side of the hall. I slipped into the sanctuary and got a good gothic vibe--almost spooky in its stained glass shadows. The moment inspired some creative writing--I used that passage in my Haunted States short story submission two years ago!  I recall the crammed room where we made collages, storyboards, etc. I also remember the room in the basement (I think???) where Deborah and Audrey spoke to us.

Kris Remenar: I remember the nuns. And the food. Oy. (Asked to explain Oy): The food was definitely basic and we were discouraged from taking too much

Amy Spitzley: I feel like there was a small maze out back? I did go out exploring with my roommate instead of attending a session. She was nice and I totally forgot her name now. I remember finding some walking paths and that was what I needed much more than being inside. Introverts. What can you do?

We had Deborah Halverson and Audrey Vernick as the two cross-track presenters, both middle-grade and picture book. Anything that sticks with you about the writing lessons?

Another group shot
by Deborah Halverson

Dave Stricklen:
Deborah had written a book about a hot dog eating contest. It gave me the Idea to find the weirdest contest in the world and wrap a plot around it so tightly that winning the contest was the most important thing in the world. Years later I wrote my KIRKUS recommended (on the “Great Indie Books Worth Discovering” list) MG book “Ripley Robinson and The Worm Charmer”.

Julie Angeli: I don’t remember the writing lessons, but I do remember my conversation with Deborah and her encouraging words and suggestions regarding my pages.

Isabel Estrada O’Hagin: Mostly, Deborah. Probably because I was solely focused on middle grade novels at that time. I caught every word she said and bought her book the next week. She walked us through so many examples of not-so-good-writing and how to transform the excerpt. I could go on and on, but for some reason a lot of her writing exercises and examples have stayed with me: to watch out for redundancies, cliches, dialogue tags, efficiency, etc., but mostly how to make your writing stronger! I remember she had a thing about overuse of italics.

Leslie Helakoski: I remember Audrey talking about shaking up the standard picture book structure which still sometimes comes to mind when I feel bogged down in a familiar pattern.

Do you remember any of the other attendees?

Dave Stricklen: I was VERY impressed with Carrie, Leslie, Anita, Charlie, Ruth and Lisa.

Julie Angeli: I remember a few of the people from my breakout critique session who I still see from time to time at events.

Isabel Estrada O’Hagin: Yes! My first-ever critique group (four other women, including Pat Trattles! ) who have stayed together since that conference. My roommate, Angie Verges. The Lansing Meet-Up group who attended that weekend. I met Dave Stricklen for the first time. Leslie and Carrie!

Leslie Helakoski: Pat Trattles, Ruth Barshaw, Marty Graham.

Kris

Kris Remenar
: Anita Pazner made me snort-laugh with her inappropriate humor and I fell madly in love with her! David Krzisnick got us all giggling during mealtimes.

Amy Spitzley: My roommate was nice. I can’t remember her name! I knew other people, but I can’t remember which other people. For some reason my brain is mushing this together with the Mackinac Island conference.

Any particular nun memories?

Dave Stricklen: One of them shushed me for talking while walking in the maze.

Isabel Estrada O’Hagin: No--just one-too-many stern looks. They didn't seem too happy we were in their space.

(However, I found an old email from Isabel, where she wrote):It was cool to be with the nuns.  On my final elevator ride, I told a group of them (sorry, can't help it--a group of wispy thistle heads slightly bent over) that they would soon enjoy peace and quiet again. One of them looked at me with a mischievous grin, and raised an eyebrow, "Oh, so that's what you think goes around here?"  We laughed.  It was a perfect moment.  There's a story there. . . . the nuns' ---------? 
(fill-in the blank: adventures, escapades. . .)

Kris Remenar: Just felt a lot of judgmental stares in the cafeteria.

Amy Spitzley: I saw one in the elevator and she was really nice. I have to say, it was a little weird for me. I’m agnostic and was raised that way, but my parents were both fallen Catholics who had been a nun and a priest! So I kept thinking of my mom, which probably wasn’t the experience anyone else had.

 

Do you remember any of the extracurricular activities?

Dave Stricklen: It was Halloween and we had a crazy hat contest. I went all in with my steam punk 150 year old coat, hat, buckle boots etc. Also, we had an exercise that involved to making a book collage (I still have mine).

Dave's collage

Julie Angeli: No. Though I do remember spending a ridiculous amount of time making a hat using an old baseball cap, magazine clippings, and Mod Podge prior to the conference. Possibly the least comfortable hat I’ve ever worn, but I still have it.

Isabel Estrada O’Hagin: The post-it compliments shared in one of the last sessions. Sort of an open-mic session. Those who volunteered to read were showered with notes from everyone else in attendance. I read a scene. The feedback was very meaningful and encouraging.  I remember the art activities and a counter full of snacks. I recall making a collage of sorts -- something about our book cover. Was there something about hats? I don't recall making or bringing a hat, but some people wore them.

Dave's hat

Leslie Helakoski: I remember the costumes and Dave in his top hat. I think we had some kind of cut out paper activity.

Amy Spitzley: I remember something about hats or something we were encouraged to wear. I don’t think I went along with it!

 

 

 

What has transpired in your dreams and your realities since then?

Dave Stricklen: I have several more books out. I have become a seasoned school presenter and seem to have a knack for large book sales.  School visits seem to be in my wheelhouse.  I also learned that I have an aptitude for 3D reverse perspective painting and have won several contests. I am surprised as anyone…still hard to call myself an artist…but I am working on it.

Julie Angeli: My middle-grade novel never did anything (still considering self-pub), but I did manage sell a 3-part story to Cricket. Also, I recently had a non-fiction story published in Chicken Soup for the Soul about the first time I swam with a mermaid tail.

Isabel Estrada O’Hagin: 2023 -- ten years later -- and my first book is published! Yay! As a ten-year veteran, I'm happy to know many more writers and illustrators who continue to amaze me! And--can't say it enough--our critique group has stayed together since that conference so there's magic there!

LeslieHelakoski: I’ve continued to publish picture books and be part of SCBWI.

Kris Remenar: Since then, I’ve published GROUNDHOG’S DILEMMA and DRAW WITH A VENGEANCE. SQUIRREL NEEDS A BREAK will be published by Charlesbridge in May, 2024 as part of a two-book contract. I’m repped by Fuse Literary.

Amy
Amy Spitzley: I had two novels published with Curiosity Quills, which was a small publisher that then went under. I own the rights to those novels and would love to get them out there, even in a revised version, but I don’t know how to do that. 

I’ve begun various projects that have gone nowhere, though I do keep trying! Currently I’m working more on art than writing, and have improved a lot in that field. (Though again, submissions are a bitch.) 

I’d really like to try book cover work, or art licensing. So far, no luch, but hey, onwards and upwards. Writing-wise, I’m trying to turn my second novel into a screenplay. DO I know how to do this? No. Does that really matter? Again, no. J

I also have a novel I think of as a female Jack and the Beanstalk meets Tam Lin sprinkled with Led Zeppelin. It’s rough, but I do like the idea. 

I’d really love to have a writing partner, someone who would be willing to write a book with me in two parts, you know? Chapter by chapter. I think that would be both fun and motivational. Anyone interested? Anyone? Anyone? Bueller?

 

Transformations Spirituality Center
photo by Kristen Remenar

(When Kris Remenar sent this photo of Transformations Spirituality Center, she also sent this remembrance): Sadly, I couldn't find any photos of people from the retreat but I did find this one. I remember I read aloud a poem during a breakout session and people said, "Where's the rest of the story?" It was called "The Other Princess and the Pea" and it was about a real princess who'd slept on the tall stack of mattresses, felt the pea, and didn't complain because she'd been raised to be polite, and so was turned away as not being sensitive enough to be a real princess.

I loved hearing feedback that it was good enough writing to be expanded into a midgrade novel, something I'd never thought I have the talent to be able to write. But I did start working on it that weekend, and when I saw this architectural feature, it reminded me of a pea, so I took a photo to remind me. Now I think I might need to dig that manuscript back out!

Anita Pazner I have a ton to say about the 2013 conference. My costume was completely inappropriate and I want to address that, perhaps in a lengthy article. (She's busy co-running SCBWI-MI.)


Charlie Barshaw
conducts interviews for The Mitten. He's blessed to know many children's book writers and illustrators because of his association with Ruth McNally Barshaw and SCBWI. 

 

 

 

 

 

 

 

 

 

 

 

 

Tuesday, October 10, 2023

Book Birthday Blog with Kelsey E. Gross

 

Welcome to SCBWI-MI's Book Birthday Blog!

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

 

Congratulations to Kelsey E. Gross on the release of Winter: A Solstice Story

 


Congratulations on your debut picture book! Where did you get the idea for your story?

I’ve always enjoyed marking the change of seasons, and especially the arrival of winter. In early winter 2020, I found myself imagining how woodland animals might observe the winter solstice. Many traditional celebrations across cultures feature light, such as bonfires or candles, along with feasting, storytelling, and gift-giving.
 
An image of a “solstice tree” came to mind, with various animals offering well-wishes and gifts to decorate the tree. I was toying with this idea when Susanna Leonard Hill announced the guidelines for her annual Kidlit Holiday Writing Contest; that year, all entries had to focus on “helping.” The line, I can help to shine the light! came to mind, and I soon had a draft featuring this repeated line. I was thrilled to be a finalist in the contest and lengthened the story before submitting it to my agent. 

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

In the story, each animal offers a gift of hope and light for all creatures. In turn, I hope the book encourages children to think about ways they too can be a source of light, hope, and kindness in the world. There’s also a theme about our connectedness and the importance of welcoming others. Finally, I hope to inspire readers’ sense of wonder and curiosity about the natural world.  

What inspires you to write? 

In terms of story ideas, I find a lot of inspiration in nature, and I like to go right to the source by hanging out with little kids! I also read a lot of picture books. Reading others’ work helps spark my own ideas.
 
I’m motivated to write picture books because I believe they’re uniquely powerful. The combination of text and pictures intensifies the emotional impact, and there’s an amazing warmth and connection between a child and a caregiver when they read together. I am honored to think I might have a small part in creating those special moments.

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

The book is available through links on the Simon & Schuster website and wherever books are sold. I’m partnering with a few independent bookstores in northern Minnesota, Wisconsin, and Michigan to do winter-themed storytimes and book signings in November and December. In Houghton, I’ll do an event with the library on the solstice, and a story walk along a snowshoe/hiking trail in partnership with the Keweenaw Land Trust.
 
I also joined PBSpree, which is a group of 2023 debut picture book authors. We review each other’s books and boost each other on social media. It’s been wonderful to take a team approach to marketing and promotion. 

What's next for you? 

The follow up book, Summer: A Solstice Story (also illustrated by Renata Liwska) releases in 2024. I’ve seen some of the illustrations, and they’re absolutely stunning. It’s filled with warm, vivid colors and adorable fuzzy baby animals! I can’t wait to share it.

More about the book . . .

Deep in the forest, it is dark and cold, and the quiet of winter is all around. Owl watches sunlight dim to a shimmer. Who can help Owl to shine the light and share a gift of hope on this winter evening? Along come Deer, Squirrel, Mouse, Duck, Rabbit, Raccoon and Chickadee, and together they welcome a new friend to join in their winter solstice celebration. 

Publisher: Paula Wiseman/Simon & Schuster

More about the author . . . 

Kelsey E. Gross grew up in Wisconsin and lived in New Mexico and California before returning to the Midwest. She now lives in Michigan’s Upper Peninsula with her partner, son, and silly, snow-loving pup. When she’s not writing, she looks for owls and other forest friends while hiking and skiing in the woods. Winter is her picture book debut. Find her online at https://kelseyegross.com/, or on Instagram and Twitter @kelseyegross. 




Friday, October 6, 2023

Featured Illustrator: Amy Young

Nursery school paste, Ivy League schools, guinea pigs, and pie-eyed patrons: author/illustrator Amy Young

by Charlie Barshaw 

Amy's new Mitten masthead


You said in the bio on your website that you were an artist from the beginning. What were your art tools of choice when you started? How did they change as you grew?

Amy as a young artist
from her website

I was three when I first knew I wanted to be an artist. At that time I was experimenting with cut and torn paper and nursery school paste. Good fun. Then, for years, it was graphite pencil, simply because that was what I had. I drew constantly—from life, from my head. 

Eventually one of my art classes introduced watercolor, which I love to this day for its luminosity. In art school it was all about oil paint, for years. I eventually realized that the toxicity of oils and turpentine was a problem, and shifted to acrylics, which had improved immensely in quality by then. I discovered gouache all on my own, which I love for its versatility and bright colors. Pen and ink is a natural to pair with watercolor. 

I have dabbled in printmaking and sculpture as well, which offer their own delights. And I should mention photoshop, which I use not as a primary medium, but as a comprehensive editing tool, to resize, shift elements, touch up, tweak, etc.

Today, I do not use any one medium, but move between them to find what works best for a particular project. Sometimes I start in one medium, and then realize that is not the look I want.

You’ve worked a lot with gouache. For non-painters, can you explain what gouache is, and what it does for your artwork?

Gouache is a water-based medium, but it has a higher pigment content that watercolor paints. That means you can layer it and use it thickly, and also rework it quite a bit. You can also use it thinly, more like watercolor. The color tends to be pure and brilliant. The finish is matte (non-reflective), which can be good or bad. Sometimes it can look a bit chalky compared to acrylics.


You suggested young artists copy the work of an artist they liked. Who were you copying early on? You also suggested, for the young writers, to do what amounts to fan-fiction and write a story about a character in a book that they read. Which character did you yearn to see more of?

I went through a long period in my tweens and early teens of loving anything Renaissance. I copied Leonardo anatomy and nature studies. I also adored the way Holbein and Ingres, for two, could turn a form by the weight of line. 

That grew into a fascination with gesture drawings, and how line weight could show movement and actual weight. Years of life drawing classes helped! I remember my favorite life drawing teacher, José Cintron, saying, “Everything has a gesture. Even a pancake has a gesture!”

I don’t remember feeling I wanted to see more of a particular character, but I do remember loving an exercise in English class, where we had to write in the style of various authors. It was easy and fun for me to put on that persona, and I think it was important in my development as a writer.

You studied art at Yale and painting at Indiana U. Then you decided to hedge your bets and got a law degree from Harvard. You practiced law in Grand Rapids for seven years before you chucked it all and went back to art. Was there a specific incident that drew you away from your day job?

No. It was a growing, suffocating feeling that I was in the wrong place, doing the wrong thing. I kept thinking, “This is a great life, but it is not mine.” I finally acted on it, after saving every single penny for a long time, so I had a big safety cushion.

In an interview you described “ten years of trying” to publish a children’s book. “Then I got offers on two different books from two different publishers the same week.”  Can you take us back to that week?

That was a good week! To tell you about it, I have to start with all the years I went to New York with my portfolio, getting five or ten-minute appointments with art directors. From them I learned which illustrations they did and didn’t like (newsflash: they have different opinions! I hadn’t expected that.), and I learned that as an illustrator, I would get published faster if I also wrote, and that my portfolio needed several illustrations of the same characters in different settings. 

So I arrived with four pages from what would become SPIKE AND CUBBIY’S ICE CREAM ISLAND ADVENTURE, along with the manuscript written by my very talented friend Heather Sellers http://www.heathersellers.com. That sold to Henry Holt. 

Belinda
I also had several illustrations from my manuscript for BELINDA THE BALLERINA. The Viking art director asked to see the manuscript and made an offer once they had. That really knocked my socks off, because I called that my zombie manuscript: it wouldn’t live and it wouldn’t die. I didn’t even want to show it to them because I was sick of being disappointed. It turned into a successful four book series, and it is still very popular in China.

Early in your career you illustrated books for Heather Sellers, Cori Meister and Lynn Cullen. Your most recent illustrator job was The Three Little Guinea Pigs by Erica S. Perl. You’ve gone against accepted publishing tradition and strove to share your art with the author. Why?

It has been different in each case. Heather Sellers and I worked very closely together, meeting once a week for most of a summer. We went into it with a spirit of fun, and while we were hoping a book would come out of it, we weren’t bothered either way. I knew I would get some good portfolio samples, and she, a successful and accomplished poet, wanted to try her hand at a children’s book. We laughed so much that summer, and we each learned a lot too. Even the dogs had fun.

Cori Meister and I didn’t communicate much at all, but her three books were about ponies. I researched A TON, but not being a pony person, I was terrified of getting something wrong. I asked that she be shown the artwork to vet it for anything that was off or misplaced.

Lynn Cullen’s book on Marie Antoinette was another very deep dive into research. I lost myself in books about the politics, art, fashion, and even took a trip to Versailles when I felt the reference books weren’t enough. Again, I knew I had done my research, but I wanted another expert eye to double-check everything.

Amy's latest:
The Three Little Guinea Pigs

Erica Perl
and my editor Joy Peskin are both big guinea pig fans, so even though I haven’t met Erica, it sort of felt like a three-way friendship. It is very important not to step on each other’s toes, however. There were some things I might have written differently, thinking as an illustrator, but it was not my place to say so. 

But it was reasonable to ask Erica to change “suitcases” to “backpacks” as the piggies leave home, because—hello—how is the guinea pig going to carry a suitcase? Likewise, it was entirely reasonable for her to say Pumpkin should not be carried upside down by her sisters, as that can hurt a guinea pig’s spine.

In general, the separation between author and illustrator is a very good thing. I could tell you horror stories from early in my career where aspiring writers tried to stage direct me, an aspiring illustrator. The writer must give the illustrator room to make the story their own.

You were commissioned by the Helen Devos Children’s Hospital to write and illustrate the book, “What Makes You Happy?  How hard was it to come up with a storyline with someone else’s idea? Grand Haven author Margaret Willey edited your work for this project. How did that collaboration work?

I used to do a fair amount of educational work, and that was not terribly pleasant; I felt undervalued, underpaid, micromanaged, and I didn’t like the kind of work I produced. 

This was the exact opposite. I worked with the then president of Helen Devos Children’s Hospital, his executive assistant, and the president’s wife. They were AMAZING. They readily admitted that they did not know anything about children’s books, and let me write the story and handle most of the details. They were kind and respectful. 

They made only one or two minor adjustments, which made the book better. (The biggest being: no trampoline in there, even though the kids I polled loved them. It turns out the hospitals see way too many trampoline-related injuries.)

I hired and paid for Margaret Willey’s services on my own, because I wanted a good editor. Margaret has won many awards and accolades for her writing, and she is also a trusted friend. She used to take on editing jobs as her schedule allowed, but now focuses on her own writing.

Sparkle covers

You mention the misleading sea monkey ads in the back of comic books as being an inspiration for your Unicorn Named Sparkle series. Which comic books were your favorites?

Archie and his friends! I cannot tell you why, for the life of me. Maybe because their lives seemed so normal, and mine was anything but.

Interior pages of A Unicorn Named Sparkle


Sparkle the Unicorn is a goat-like creature who is odiferous, has big ears and a short blue horn. And he has fleas. Not at all the unicorn Lucy planned for. There is fertile ground in addressing what a person thinks they want versus what they need. Did this lesson apply to your own life?

Oh yeah.


In the Belinda the Ballerina series, the large-footed ballerina’s origin story (Belinda Begins Ballet, 2008) is actually the last story you wrote. Was that the plan from the start?

It wasn’t the plan at all. BELINDA was the first picture book I ever wrote, and it popped into my head fully-formed. To me, the idea of a ballerina with big feet was a metaphor. 

Turns out, big feet are a THING out there. I had so many mothers tell me their daughters loved this story because they felt bad about having big feet, and had to shop in the adult section of the store, and on and on. So it was natural for me to start mulling that over. The story sort of wrote itself, based on what I learned from my readers.   

Belinda the Ballerina

In Belinda the Ballerina (2002) you relegate your heroine to becoming a waitress, a job you admitted to being your least favorite. Was that in order to make the protagonist’s situation as painful as possible? What do you remember most about your days serving tables?

I picked waitressing because it is generally an easy job to get. Also, it gave Belinda a built-in audience for her return to dance. As waitressing jobs go, Belinda had it pretty good.

In my early 20s I worked in a London-based Pizza Hut. We stayed open after the pubs closed, so all the drunks would pile in to order pizza. I was required to ask the (bollocksed, bog-faced, clobbered, fermented, hammered, legless, lubricated, marinated, mashed, pie-eyed, pickled, pissed, plastered, potted, slaughtered, sloshed, smashed, soused, stewed, tight, wasted, zombied—you get the idea?) patrons whether they wanted the crust “Thin and Crispy or Thick and Chewy?” Always a big laff, that. The fellows were harmless enough, I suppose, but you would be surprised how often I forgot to ask the question.

I also worked at a more genteel place in the Lake District of England, where elderly English people would instruct me dozens of times a day on how to make “a proper pot of tea,” a lesson I internalized deeply. You must rinse the pot with boiling water, people! Is that so hard??

In 2014 you were invited to spend two weeks in China because your Belinda the Ballerina series was so popular there. The trip must have been equal parts exhilarating and exhausting. What are your favorite memories of China?

It was an amazing trip in every single way. A few weeks before I left, I realized that was being billed not only as an author/illustrator, but as a “Literary Expert,” which included me giving a keynote address at a big literary conference in Beijing, alongside an actual literary expert. Eek! I absorbed all the material I could. (Fascinating stuff! And thank you, law school study habits.) I also learned that reading picture books was relatively new in China; the cultural approach would be to start at the beginning, read through without interruption, and then stop--not what the literary experts recommend for the littles.

Favorite memories:

*  My translators from the Chinese publishing house. It was an honor to meet and get to know them, and theirs was not an easy job. All of the employees who assisted me and took me around and managed my schedule were stellar.

* At one event I read to a group of adorable toddlers, and then I was supposed to tell the parents how to read with young children. As I switched to my adult voice, the tots’ eyes glazed over. I told the parents that the idea was to get children to engage with the book, not necessarily to read it straight through. I held up Eric Hill’s WHERE’S SPOT? and started in with a smiling, excited voice,

Not Spot
from Moi and Marie Antionette
“Where’s the doggie?”

A hundred pairs of eyes riveted on me and that book.

“Is he in the piano?” 

As one, they rose.

“Let’s look!”

And then I was overrun with an adorable, tiny army of zombie children, tottering towards me on little legs, surrounding me, reaching out to touch and see for themselves.

I said, “See, THIS is what you want!” Later I was told that many of these children had never seen a Westerner, and the organizers had worried they’d be afraid of me. Not a problem; that’s the power of art and goodwill.

* A boy asked me a question, and everyone chuckled. My translator said, “He called you Grandma.” I was so touched.

* I never knew what each day would bring. One afternoon I was told I was going to interviewed for a radio program, and they were going to ask me how books got into the hands of young readers in America. It sounded like a quiet, thoughtful event, which would be a pleasant change of pace. As we approached the interview room, I heard a muffled roar of voices through the closed door. Inside were at least a hundred children and parents, and a huge banner saying WELCOME AMY YOUNG! Before I knew it, it was time for me to do a webcast presentation, on camera. And just before we went live, the host said, “This is being watched by 100,100 people!”

* The food was so amazingly delicious.  

You say that you do most of your writing and early sketches at the kitchen table, the couch, or a local coffee shop. But when it comes to your final art, your well-lit basement studio is the place you retreat to. What does your studio look like when you are deep into the project?

This is a trick question, isn’t it? I have a feeling that you already know it looks like a tornado hit. I will say that at the beginning of each project, everything is very clean, tidy, and organized.

What different art techniques and tools have you used over the years for various projects. Where are you at now?

I let the project decide the medium. For ten of my books, including the BELINDA series, I used straight gouache. For the SPARKLE series, I used pen and ink and watercolor, with a touch of gouache here and there, to give it a bit of a retro look. 

Illustration from
Don't Eat the Baby
For DON’T EAT THE BABY, I used acrylic, because I wanted deep saturated colors. Acrylics allow the use of transparent glazes, which add all kinds of depth and subtlety

For the last book I illustrated, THE THREE LITTLE GUINEA PIGS by Erica Perl, I used a mishmash of pen and ink, water-soluble markers and pens, and watercolor; it gave a look that was bright and exuberant, which suited to story.

Sometimes I will start a book assuming I will use one medium, but quicky realize that is not the feel I want. I enjoy finding what works best.

You play the Irish fiddle. What’s that all about?

Ha! That is a rabbit hole I fell into 15 years ago, and I just keep falling deeper. It is an art, a pleasure, and a pastime. My husband plays concertina, so it is a shared passion. We just got back from a trip to Ireland, where we had a great time seeing old friends, making new ones, and playing in sessions with other musicians.

Learning an instrument as an adult is no easy undertaking. I must be patient with myself, but keep pushing if I hope to progress at all. When I do make significant progress, it feels miraculous, like a baby learning to walk. I’m sure all of that feeds into my book work, but I don’t want to explore the connection too closely--I don’t want to piss off the sprites and fairies and wreck the magic.

What’s next for Amy Young?

I am working on several story ideas, hoping one will spark. Same as most (all?) of our members!

Please share any social media contacts:

 amyyoungart.com

 I don’t post much anymore, but can be found on Facebook under Amy Young,

Instagram under Amyyoungart

Tuesday, October 3, 2023

Book Birthday Blog with Buffy Silverman

 

 

Welcome to SCBWI-MI's Book Birthday Blog!

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

 

Congratulations to Buffy Silverman on the release of On a Flake-Flying Day

 

 

You've included back matter in the book, and you mentioned in an earlier book birthday interview writing those entries can be a challenge. Please describe your research approach.

Each of the twenty-four two-word sentences in ON A FLAKE-FLYING DAY has its own back matter entry. I usually refer to three or more sources as I’m writing an entry, so I do a lot of googling to find reliable sources! For example, the photo for FEATHERS FLASH shows a flock of snow geese. The back matter entry describes the route of snow geese migration, how flocks forage in farmers’ fields in winter, and how they seek safety in wetlands at night. One of my go-to sources for accurate bird natural history is the Cornell Laboratory of Ornithology. While writing this entry I read the Lab of O’s website pages about snow geese, looked at range maps, and found an interesting you-tube presentation about winter snow geese. I’m always happy when I can find a video of what I’m trying to describe, because seeing the action helps me find the right words. I also put on my former nature-educator hat and imagine what I would ask and tell kids to spark their interest in the amazing sights that are presented in the book.

 


 

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

I hope readers (young and old) will be inspired to go outside in all seasons and closely observe the plants and animals they find. The environmental problems that we face can be overwhelming. But I believe a desire to solve those problems can arise from a childhood of sloshing through streams, finding grasshoppers, and climbing trees. 

 


 

You've written 90-plus non-fiction books. Where do you find inspiration for your stories? 

Many of those 90-plus books were series books for educational publishers, so the topics were assigned by editors. For an assigned topic, the inspiration to write comes out of digging into my research and becoming fascinated with the subject-matter. The ideas for ON A FLAKE-FLYING DAY and its two companion books (ON A SNOW-FLYING DAY and ON A GOLD-BLOOMING DAY) were mine and came from what is closest to my heart—they are filled with the critters that I watch and wonder about every day as I tromp through fields, forests, and wetlands. 

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

The first thing I’m doing is this blog interview—thank you SCBWI-MI! I hope that all of you will request ON A FLAKE-FLYING DAY at your library (most libraries have a book-request form online.) You can also purchase the book from any online bookstore or from Lerner Books. I am part of SteamTeam books, an author-group that promotes STEM-oriented books of members. I’ll be sharing ON A FLAKE-FLYING DAY at the Kellogg Manor House children’s day in December. Luckily for me, Millbrook Press/Lerner Books does a wonderful job of marketing their books to libraries and schools.

What's next for you?

I am working on a novel-in-verse right now, which is a new challenge for me. I’m also revising/writing a couple of picture books.

More about the book . . .

With winter’s arrival, plants and animals hunker down for the cold season. Rhyming text and eye-catching photos sparkle in this wonderful read-aloud that encourages kids to closely observe the natural world. Back matter offers more information on the featured animals, plants, and weather conditions.

Publisher: Millbrook Press/Lerner Books

More about the author . . .

Buffy Silverman is the author of over 90 nonfiction books for children, featuring topics from Angel Sharks to Alligators, and Mars to Monster Trucks. Her recent book, On a Snow-Melting Day: Seeking Signs of Spring, received a star from Kirkus Reviews and was an NCTE 2021 Notable Poetry Book. A companion book, on a Gold-Blooming Day: Finding Fall Treasures, was a CLA/NCTE 2023 Notable Book in the Language Arts. She lives at the swampy end of a small lake where she enjoys outdoor time with her dog, watching and photographing nature, and writing poetry.

Twitter: @BuffySilverman

Facebook: Buffy Silverman



 

Sunday, October 1, 2023

Book Birthday Blog with F.P. LaRue

 

 

Welcome to SCBWI-MI's Book Birthday Blog!

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

 

Congratulations to F.P. LaRue on the release of The Weeping House

 

 

When you started writing the first book, did you plan for this to be a series?

I wanted to write books for children, but originally I wasn't planning on writing a series. After my first book, The Curse of Shadow Park, I felt that the main characters, Ollie, Mellie and Scotty were ready for another adventure. That's when I got the idea for the second book, The Legend of the Serpent Witch. I also became confident that these characters could support additional adventures, and I decided to call them the Scary Shivers Mystery series. The Weeping House seemed like a natural progression for the main characters, and is the third book in the Scary Shivers Mystery series.

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

I just want the readers to have fun reading about the adventures of Ollie, Mellie and Scotty. I want the readers to experience how fun reading can be. In The Weeping House, and the other books in the Scary Shivers Mystery series, it shows how crucial friendships are, along with the importance of sticking together regardless of fear or obstacles. But mostly, I just want the readers to have fun reading, and hopefully, want to read more.

What inspired you to write middle-grade fiction?

I kept hearing and reading about how reading scores for children had dropped in schools, particular after COVID. Reading is very important in all aspects of life, and I wanted to find a way to show kids that reading can be fun. I loved reading scary adventures when I was growing up. The reading skills I developed helped me to progress through my education and life. The Weeping House and the other books in the Scary Shivers Mystery series are designed to be fast, easy reads, for those who like to read and may help those who don’t think they like to read.

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

I will be promoting The Weeping House on my websites https://www.fplarue.com/ and https://www.scaryshivers.com/. The books will also be available for sale on those sites. I will also be promoting The Weeping House through my Facebook account. I will be participating in some art and craft fairs, and am working on scheduling some book signings at local bookstores. I am also working on getting interviews scheduled on some podcasts. I am working with the publisher to have The Weeping House available for sale at various Michigan bookstores and on Amazon.com, BarnesandNoble.com, BooksAMillion.com, and other online outlets. You can also find the book on my websites and at https://mascotbooks.com/.

What's next for you?

I am already starting to conceptualize the next book in the Scary Shivers Mystery series. It will be the fourth adventure for Ollie, Mellie and Scotty. Details to come.


More about the book . . .

Ollie and his two best friends, Mellie and Scotty learn that a local house may be haunted. Legend has it that a young woman named Eleanor had a curse put on her by a spurned suitor. She is confined to the house for eternity. It is said that you can hear Eleanor sobbing from within the house.

Ollie, Mellie and Scotty find the Weeping House and discover that the mystery and curse are, in fact, true. Along their journey, they encounter ghosts and terrifying creatures. They discover a diary, an amulet, and a handkerchief with magical powers, but each only works for one of them. Ollie, Mellie and Scotty must work together to combine their powers, solve the mystery, and break the curse on Eleanor so that her spirit can be set free. 

Publisher: Mascot Books, an imprint of Amplify Publishing Group

More about the author . . .

F.P. LaRue is the author of the Scary Shivers Mystery series. These adventure mysteries are written for middle-grade children and are designed to show children that reading can be fun. She loves scary stories and particularly enjoys sharing her own frightening tales. F.P. is a member of the Society of Children’s Book Writers and Illustrators.



Before writing children’s books, F.P.’s career was in education, where she progressed from being a teacher to the Dean of Academic Affairs for a small Michigan college. When not writing, F.P. loves to travel, having visited all 50 of the United States and 54 countries worldwide.

F.P. hopes her stories inspire children to discover the wondrous adventures reading can bring ... no matter what their age.

Facebook 

 https://www.fplarue.com/

 https://www.scaryshivers.com/