SCBWI-MI Spring Conference Presenter Carrie Pearson

 

Apgar, Yooper winter, so many socials, and U of M preschool: Carrie A. Pearson

Charlie Barshaw coordinates our regular Writer Spotlight feature and interviews writers of SCBWI-MI. In this piece, meet author and  former RA Carrie Pearson. Carrie is also part of the cast of distinguished faculty at the SCBWI-MI spring conference.  To read Carrie's 2023 interview, click HERE.

Donckers Princess Launch 4/29/23

What were some of the formative books you read growing up that shaped your curious and insightful young mind?

Age 10 w/service badge

Thankfully, reading came easily and early to me. I devoured typical fiction such as "Misty of Chincoteague" and the "Little House on the Prairie" series, along with less conventional choices like "The Andromeda Strain," anything by Edgar Allan Poe, and every available Reader's Digest Condensed Book (which I had to sneak because they were "for adults”). But it was good old Encyclopedia Britannica that thrilled me. The truth boggled my mind then, and it still does.

You wrote about Doctor Apgar. Before the APGAR Score, it was common practice for maternity room doctors to put aside newborns who couldn’t breathe or make the transition to life outside the womb. Horrifying. What specifically did Doctor Apgar discover?

Apgar in action

Dr. Apgar’s primary goal was to ensure that newborns received medical attention. Up to the 1930s and into the ’40s, maternal mortality rates during childbirth were high. Mothers’ care was prioritized over that of newborns who were struggling. 

Dr. Apgar was the right person at the right time to change this perspective; she had a solid understanding of airway management due to her training and experience as an anesthesiologist. 

She embodied resilience in the face of significant gender discrimination. She was intellectually brilliant and skilled in practical applications. The test she developed shifted care towards both babies and mothers. It transformed a subjective inquiry (“How is the baby doing?”) into a numerical value, allowing for comparison. 

It also engaged a natural competitive spirit, as physicians were eager to avoid poor APGAR scores associated with their deliveries! It has been said that every baby born is seen through the eyes of Dr. Apgar.

Carrie in Marquette

Living as you do in the Upper Peninsula; you’ve experienced your share of weather. Can you share some weather-related stories when traveling for school visits? Or any other harrowing tale of Yooper winter survival?

I have never been asked this before, Charlie! I recall a pre-dawn winter car trip to a bookstore in Gaylord, 3.5 hours south of Marquette, during which I had to continuously scrape ice from the inside of the windshield throughout the Upper Peninsula because my defroster couldn’t keep up with the sub-zero temperatures outside. "Harrowing" is a good word to describe the experience, but “dumb lucky” fits too.

You’ve got a new book coming out this fall. Please share some details.

Watch Them Grow: The Fascinating Science of Animal Beginnings is a surprise for many reasons. First, we submitted the manuscript about animal gestation as a picture book (32 pages/about 600 words including back matter). However, Lerner/Millbrook wanted it as a middle-grade novel. Gulp. I’d never written a MG nonfiction. 

zipline

But working with associate publisher Carol Hinz at Lerner/Millbrook was on my author bucket list. So, we accepted the offer, and I dug back into the research, tapped into my natural science background, and expanded the text. 

A big assist came from the publisher, who contracted a science educator to review a draft for alignment to middle-grade science benchmarks. Then I could edit, knowing I was in the right ballpark. 

The second surprise is that I thought the book would launch in 2026, but now it is expected to be released in September of this year. This is possible because it primarily consists of photographs, rather than illustrations, with visuals created by a talented graphic artist. I’m excited to share more very soon.

Please talk about Children’s Book Connections.

I started my consulting company, Children’s Book Connections, about five years ago to help people prepare for and find their agent partners. Having been in the trenches doing this for myself three times and watching so many friends go through it, I knew it was a pain point. 

Backcountry 2023

I learned that I love helping people in this space and will prioritize that over slogging through my deadlines, edits, and even story generation.  So, sadly, in the interest of my career, I’ve had to pare back the time I spend on Children’s Book Connections. 

But I look forward to spilling the tea about many agent-related topics at the SCBWI-MI Spring Conference on May 17th!   

You’ve used Deb Gonzales for a study guide for at least one of your books. What’s the process for creating a study guide?

In my experience working with Deb Gonzales, I reached out to her six months prior to the launch date to secure a spot on her schedule. She’s been able to squeeze in the guide, but I’m not sure if that is possible now that her business, PinLit has taken off! 

When I receive an ARC (advanced reader copy) as a pdf from the publisher, I share it with her along with my bio. After she works her magic, she provides me with a draft to review. After that round, I share it with the publishing team for their input. Usually, they have one or two minor comments. Deb then gives me the final guide as a pdf. 

I use the final guide for various purposes, including linking to my website as a free download, as a follow-up to school and library visits, as a promotional tool, and as a resource for social media posts. It’s well worth the investment.

school visit

You have social media platforms on FaceBook, Pinterest, Instagram and Bluesky? Any others? How do you keep them current? Are some social media platforms better for achieving your goals?

Over the years, I’ve felt that social media platforms for my book business were a good thing, and for the most part, I’ve enjoyed being there. They offered connections I didn’t feel I could make otherwise or at my stage in my career. 

I’ve selected specific platforms for their ease of use and because I liked their format (e.g., early Twitter for its limited character posting and connections to the publishing and education worlds, and early Instagram for its visual emphasis). 

My followers are aware that I’ve recently undergone a reckoning regarding my presence and support of Meta platforms, but I've decided to stay for now. Non-Meta Bluesky feels new, safe, and quite like early Twitter. I hope it stays that way. 

Pinterest is so different in all the best ways because it's not a snapshot in time, like social media; it’s a longer-term investment with lasting dividends. I retained PinLit, and over six months, they’ve created a home base for my authored books and resources, which will continue to grow. Take a peek!

Houghton Library 1/25

You graduated from U of M, and then worked in their preschool. As a young teacher, what did your students teach you?

Such a great question. Reflecting the multicultural student body at the University of Michigan, one of my classes, which included eight 4- and 5-year-olds, had six children who primarily spoke languages other than English. I learned that the language of play transcends any barriers. 

I also discovered that books read aloud in any language serve as a magnet. They can calm, excite, build community, and engage. I’ve never forgotten the power of books from that experience and continually try to harness it in the books I write.

You  won a mentorship with Newbery Award winner Lynne Rae Perkins. What was that experience like?

This mentorship was a pivotal moment. I had concluded that my dream of publishing would likely remain just that because, after four years of learning, writing, and submitting, I hadn’t placed a manuscript. 

However, I had already signed up for an SCBWI-MI conference and submitted a manuscript for the mentorship during two moments of FOMO. No one was more surprised than I when my name was announced as the recipient of the mentorship. 

Receiving this mentorship meant that someone thought my manuscript had promise, and that someone was a Newbery Award winner! Working with Lynne Rae Perkins certainly elevated my craft and, perhaps most importantly, gave me the confidence to keep going. I am deeply grateful to SCBWI-MI and to my mentor.

Carrie’s follow-up question: Did you ever sell the manuscript you used for the mentorship submission? Carrie’s answer: Not yet!

What’s next for Carrie?

We have a nonfiction picture book on submission, so we're keeping our fingers crossed on that. My next project is out there somewhere, but so far it is just ahead of me! I’m noodling a longer-form fiction idea, which would be way outside my comfort zone. Part of me says that’s precisely the reason to do it. 

I’m building an art and design aspect into my life because I love it, and now that I’m squarely in the sixth decade of my life, why not?

Carrie and redwood

 

Please share any social media platforms:

Bluesky @cpearson.author
Instagram @carrieapearson.author
Pinterest (not really social but awesome) @carrieapearson
Facebook @carrieapearson

 

 

 

 

---

SCBWI-MI Spring Conference Presenter Editor Sarah Rockett

Favorite Reads, Penguin Young Readers, Sleeping Bear Press, Tilbury House, and Runaway Bunny: Editor Sarah Rockett

Charlie Barshaw coordinates our regular Writer Spotlight feature and interviews writers of SCBWI-MI. In this piece, meet editor Sarah Rockett. Sarah is also part of the cast of distinguished faculty at the SCBWI-MI spring conference. 

Where did you grow up? What was life like for young Sarah? What were some of your favorite childhood reads?

I grew up in the Detroit suburbs and traveled up north to Torch Lake as often as my parents could manage. I’m an only child, but always had a dog by my side and a gaggle of cousins (twelve of them) lived within a five-mile drive—with four of them right down the street and even more of us at the same school. I was always a voracious reader. I loved Miss Rumphius and King Bidgood’s in the Bathtub, Miss Nelson is Missing and Runaway Bunny. I loved Shel Silverstein. As I got older, I devoured R.L. Stine, Tamora Pierce, and Judy Blume.



Were there influential teachers and adults who helped shape your love of books?

My mom was a teacher and attended lots of reading and education conferences like MRA and ALA. She always brought gorgeous picture books (often signed) home for me. These always felt like little treasures. Both my parents loved reading novels as well. So books, trips to the local Borders, and TBR stacks on the bedside table were a big part of my childhood.

Sarah in the wild

A journalism major from Boston University’s College of Communications, you started writing for magazines How and why did you make the transition to book publishing?

Growing up I definitely wanted to work with books. I had no idea what that might mean though—except to be an author, which I knew wasn’t for me. So journalism felt like the right choice. It wasn’t until I got through college and then into my first magazine job that I realized book publishing, specifically editorial, was where I was really meant to be. I was in NYC at the time and was lucky enough to get my foot in the door at Penguin.



You were a writer for magazines. Do you still write? Do you have any ambitions to have one of your own books published?

I’ve come to terms with the fact that I don’t have great ideas. I know how to turn a great idea into a great book. So editor is where I’m meant to be!



You started in magazine journalism, moved to academic book publishing, then to production for a Penguin adult imprint. What was life like for young woman Sarah Rockett, entering the publication biz, and navigating New York City?

My mom jokes that I had two dream jobs before I turned 30—the travel magazine and working at Penguin Young Readers. I was really lucky in both cases and was willing to start at whatever position I could be put into that moved me a little closer to my goals. 

NYC was great because there were a lot of options and opportunities available. I usually had two jobs and spent most of my evenings out with friends. 

There was always something really wild going on in NYC—like ending up at a movie premiere after party or dancing under the Brooklyn Bridge with a bunch of circus performers. It was wonderful—but everyone has an NYC expiration date and I hit mine in 2012.

You moved from NYC to Ann Arbor. Sleeping Bear Press was the only publisher within a 500-mile radius. What was so attractive to you about Ann Arbor?

I was eager to move back to Michigan and my boyfriend (now husband) got into U of M grad school. So we were moving to Ann Arbor and I was thrilled. It wasn’t until I got here that I realized the Sleeping Bear offices would just be a few miles away. 

At the time, Sleeping Bear Press wasn’t hiring but I was able to convince them eventually to bring me on as an intern. We love Ann Arbor for the culture and restaurants and proximity to Detroit. If you’re used to NYC and moving to Michigan, Ann Arbor is a great option.

Author Devin Scillian, illustrator Tim Bower, and our CEO Ben Mondloch

“Sarah Rockett is senior editor with Sleeping Bear Press and editorial director for Tilbury House Publishing, both imprints of Cherry Lake Publishing Group.” How do your duties as Editorial Director at Tilbury House differ from your role as senior editor at Sleeping Bear Press? Both are imprints of Cherry Lake Publishing. What distinguishes a Tilbury book from a book published by Sleeping Bear Press?

For both Sleeping Bear Press and Tilbury House I acquire and edit projects. With Tilbury House, I also manage the direction of the list and work more closely with the sales and marketing teams regarding the imprint. 

Both Sleeping Bear and Tilbury House publish gorgeous, engaging, and important stories but Sleeping Bear titles are bit softer, have more humor and tenderness, and feel really friendly. Tilbury titles tend to be a little heavier, trust readers with bigger ideas—from science to social justice, and encourage conversations.

In the years you’ve been in children’s book publishing, the industry has changed and evolved. What’s different now? What new realities do book writers and illustrators face?

When I started in children’s publishing, ebooks were a big deal. Penguin had a whole division that was exploring ways to make ebooks more exciting for buyers—adding music and animations and game elements—and wading through all of the rights questions that came with the new format. 

The preoccupation with ebooks seems to have plateaued for children’s books, until the next new thing is available, but now everyone is contending with the realities of AI. 

The children’s book world is also now more susceptible to fluctuations in the social and cultural fabric of our world. I think children should see the world they live in reflected in the pages of picture books and that means more opportunities, risks, and responsibilities for authors, illustrators, and publishers.

“Sarah is interested in stories that will engage and inspire young readers. She has a soft spot for science/nature and environment, joyful stories, lyrical read alouds, and quirky humor.” Give some examples of books that check off some of these boxes.

Some—not all!—of the recent titles that have really made my PB-loving heart soar are: Inside the Compost Bin, Pine Cone Regrown, Winged Wonders, Courage Every Day, Too Many Pigs in the Pool, Just Flowers, Wild at Heart, The Littlest Grito, and The Bakers Dozen.

What’s in your TBR pile right now?

Witchy fantasies and multi-perspective murder mysteries!

Runaway bunny? (Her Instagram account is a runaway bunny: https://www.instagram.com/a_runaway_bunny/?hl=en)

The Runaway Bunny was always one of my favorite books as a kid and, as I grew up, my parents joked I was a runaway bunny myself, always hopping further away—until I eventually hopped back home.

SCBWI-MI Spring Conference Presenter Kat Higgs-Coulthard

River Bluff Road, NWP, Get Inked, dogs, and suspenders for pantsing: Author and educator Kat Higgs-Coulthard

Charlie Barshaw coordinates our regular Writer Spotlight feature and interviews writers of SCBWI-MI. In this piece, meet author and  educator Kat Higgs-Coulthard. Kat is also part of the cast of distinguished faculty at the SCBWI-MI spring conference. 


You were born in Niles, MI. How did you end up at the University of Nebraska for your undergraduate schooling? You eventually settled back in Niles. How far are you from where you grew up?

I grew up on the north side of Niles only about a mile from both sets of grandparents. That was a huge blessing, as we were very connected to the extended family. 

One set of cousins lived across the street. They would come over and roller skate on the concrete floor of my basement and we all spent lots of time helping our Grandma Brown snap peas grown in my grandpa’s garden. My other grandmother (Marlin) had a kiln in her basement. One of my favorite things was to paint ceramics with her and help her sell them at local festivals.

While I went away to college in Nebraska, Michigan called me back. I love the rivers and creeks and especially Lake Michigan. Michigan is a great place to raise a family.

You talk about exploring the dump below your house, about the “treasure trove” it held for you.  Did the junkyard below the bluff supply any treasures for JUNKYARD DOGS?

As a child, I lived on River Bluff Road. Our home was literally on a bluff overlooking the river. Families that lived there before us had used that hill as a dumping ground and as I child, I found it fascinating to explore back there—finding old bottles, abandoned appliances, and even a junked-up truck. 

Kat w/Maya

That was part of the inspiration for JUNKYARD DOGS, but an even larger part came from trips with my dad to an actual junkyard. He would go there to drop off debris from my uncle’s construction business and I would be left to roam the huge piles of junk, often finding bits of treasure—like teacups that I could bring home for my mom’s collection. Often they were more like mugs—nothing too special—but she would fill them with soil and grow marigolds in them.

Your family grew up without a lot of money. Your Dad would take the kids to a junkyard to find “treasures” like teacups still fit for drinking. Where many people might be embarrassed by this unusual outing, you were able to embrace the adventure. Why?

It never occurred to me to be embarrassed by it because it was just a normal part of my childhood. My parents worked hard to make sure we had everything we needed, so even though we were right on the cusp of poverty, my brother and I didn’t feel poor. There were certainly many families in worse shape.

It was decided that you couldn’t take a creative writing class because you didn’t excel in English(!?) Later in college you were exposed to the National Writing Project, which helped develop teachers as writers, and as teachers of writing. You even started a novel. Were you different, or was it the attitude of the instructors?

Kat w/Gabi

I have been a writer for as long as I can remember, filling notebooks with world building and character descriptions even in elementary school. My third and fourth grade teacher (Miss Consigny) nurtured that in me and our elementary school librarian (Mrs. Bigford) started a school newspaper so that kids like me could have an outlet for our creativity.

I actually don’t remember why I wasn’t allowed to take creative writing in high school. I think that I didn’t know it was an option or hadn’t been recommended for it. So when I found out that my best friend who didn’t even like to write was placed in the class, I was aghast. I advocated as hard as I could to be let in, but the class was already full and they said no.

When the guidance counselors started talking to us about college, they swayed me away from a career as a journalist and into teaching. Again, I am not sure why—I had great grades and was in the Honor Society, so it wasn’t for lack of talent. I figured, oh, well, at least I’ll be able to share my passion for writing with my own students.

My first year teaching, I was recommended by a colleague to the National Writing Project’s Summer Institute. NWP supports teachers as writers, believing that to be a good teacher of writing, one must write. 

The NWP nurtured the writer in me and helped me bring that into my teaching. I have stayed involved with the NWP and even served on the Hoosier Writing Project’s (Indiana) executive board.

Tell us about the Michiana Writers' Center. What is it? How did it come about? Is there a summer writing camp set for this year? What are the plans for the future?

I founded Michiana Writers’ Center because there just weren’t any writing opportunities in Southwestern Michigan or Northern Indiana. Everything was 3 hours north or 2 hours south of where I lived. 

I knew I couldn’t be the only one in the area that wanted a community of writers, so I started one. I hired local writers and teachers to provide workshops to adults and kids. We ran a summer camp for grades 3-12 for several years. 

Since Covid, more people have turned to online opportunities and our classes weren’t filling, so we’ve turned our energy to one big event each year—the Get Inked Teen Writing Conference, which we cohost with Saint Mary’s College, Notre Dame, where I am a tenured associate professor in the Education Department.

By the time this piece publishes, the Get Inked Teen Writing Conference will have happened. Tell us about Get Inked, where it sprung from, what you hope to achieve. (And what a cool line-up of faculty you’ve got this year, including a bevy of SCBWI-MI writers!)

The Get Inked Teen Writing Conference grew out of my desire to create a conference for teens modeled after the amazing writing conferences out there for adults. I had just attended the SCBWI annual conference in New York in 2013 and wanted to bring that feeling home to kids in my area. 

Kat presenting

Many school districts have Young Author Conferences for kids, but they peter out once a kid hits 5th or 6th grade. Get Inked takes over from there—inviting writers in grades 7-12 to begin to drive their own growth as writers—selecting which craft workshops they are interested in and which YA authors they would like to work with. 

The other cool thing about Get Inked, is that it brings kids to a college campus so they can see what it’s like. I’m a first-generation college grad and I didn’t even consider many colleges because I couldn’t see myself there. This helps overcome that barrier for some students.

JUNKYARD DOGS is a young adult novel. How much difference between writing a middle grade novel versus one for older teens? Your novel involves housing instability, mental illness, betrayal, and dead bodies. Where do you draw the line for teen readers? Is there a line?

So much of what we create is informed by our own curiosities and that is certainly true for me in my work. I write to answer questions about why people do the things they do—good and bad. (Check out Lifeboat Theory, one of my 1st published short stories for an example: https://www.cleavermagazine.com/lifeboat-theory-by-katherine-higgs-coulthard/#:~:text=He%20said%20rich%20nations%20was,get%20into%20the%20richer%20lifeboats . ) 

What makes one person work three jobs to support a family they didn’t think they wanted while another person walks away? What do we choose to ignore and what can we simply not see? Why do some people never seem to have enough and how do others survive—even thrive—with so much less?

Nothing I write is beyond what actual kids experience in the real world. Dr. Rudine Sims Bishop has said that books should serve as windows, mirrors, and sliding glass doors for readers to see themselves and others—I take that edict to heart. 

Readers need to see other kids struggling with complex family dynamics. It is horrific to think about, but the truth is many kids live in poverty, experience abuse, have lost people they love. 

Where I draw the line is that stories should show a path through trauma. It must provide hope by showing readers an example of a kid who survives—and maybe even thrives—despite the challenges thrown at them. 

But it has to be handled carefully. Putting a big shiny bow of an ending on a difficult story won’t ring true to kids living these situations. The ending has to be believable. How can the characters be okay enough at the end of this book to be there for the next part of their story?

You reference Stephen King in your interview with Danielle DeFauw . His writing advice includes a teacup. A situation may present itself to the writer, but it is only once the writer finds the cup handle that they can proceed. Young you searched the dump for unbroken teacups for your mom. Writer you searches for the teacup handle. How does one find the handle?

I love this question! My approach to writing has been nurtured by many of the writers I admire. Ralph Fletcher says that writers should keep a journal to collect ideas much like a ditch will collect odds and ends over time. You don’t know what will work its way into a story. That connects with what Stephen King has said about letting a story idea sit until you find a handle to pick it up. 

SCBWI event 2024

An example of how this worked with JUNKYARD DOGS: In my notebook I had collected memories about visiting junkyards as a kid, losing our home and everything we owned in a fire when I was in 5th grade, being so nervous to try out for sports in middle school that I was physically ill, observations of a stranger with unique habits walking downtown and seeing him again in a food court. 

All of these pieces seemed unrelated. Then I stumbled on a retrospective of the 2006 Manhole Murders written by reporter Virginia Black and there was my handle—what if a teen was somehow mixed up in the scrapping ring at the center of the murders?

You prefer the drafting part of the writing process. You “pantsed” your first three novels, but now you at least wear suspenders. What metaphor do your suspenders serve?

While I love finding my way through a story by writing, rather than plotting it out, pantsing my way through my first novels created huge headaches for me during revision. 

Now, I try to do a little more prep work—to sketch out my characters a bit in advance, get more of the setting on paper, consider what will need to happen in the story for the outcome I’m writing toward. This has helped streamline my discovery draft, so that more of the pieces make sense in that draft and less has to be worked out in revision. 

I guess I would say I have put suspenders on my pantsing—or another metaphor might be setting out trail markers on the path from blank page to story draft.

You’re another success story of a writer who attended an SCBWI-MI event and eventually published with the editor on the faculty. How did you end up at Peachtree? What steps were involved in getting published?

SCBWI-MI rocks! I still remember how excited I was to find out there was such an organization. I’d been working on a middle grade book and the only support system I had was through NWP—which is great, but most of my colleagues were writing for adults. 

Then I met Cynthia Furlong Reynolds at a Barnes and Noble event and she brought me to my first SCBWI conference. My whole world changed! I met so many kind, talented writers and illustrators. Going to an SCBWI event has always felt like a big family reunion to me.

Flash forward to April 2021. Peachtree Teen editor, Jonah Heller spoke at the SCBWI-MI spring conference. I was drawn to his approach to publishing because of what he said about the need to center our audience. 

Kat kayaking

I had been revising a book about a teen basketball player hiding his poverty from everyone at school and believed Jonah would connect with the teen voice and important issues in the story. His submission policy at the time was to physically mail the query, synopsis, and first few chapters. 

I loved this quirky throwback to before email and Query Tracker became the norm, so I printed out my materials and sent them off in the mail. A month or so later, I received his email requesting the full. Luckily, I was allowed to email that. By October I had an offer!

Working with Jonah and the team at Peachtree on JUNKYARD DGS (2023, hardcover; 2024 paperback) has been a dream come true. They involved me in many of the decisions, such as the cover art and selecting the narrator of the audio book (Robbie Daymond!). 

Presenting at the ALAN conference

Peachtree has a devoted marketing team that even made possible one of my biggest dreams. I have attended NCTE’s ALAN conference for several years because I love the insightful author panels and the 40-pound box of books each attendee receives (It’s like Christmas for teachers/librarians.) In 2023, Peachtree secured me a spot on a panel at ALAN and put copies of Junkyard Dogs in the ALAN boxes!

It was very different from my experience working with a smaller press to publish HANGING WITH MY PEEPS (2016). That press did not have the resources to promote the book and didn’t involved me in any of the decisions about cover art or the internal line illustrations.

What’s next for Kat?

I spent three rejuvenating weeks in March at South Porch Artists Residency. (Thanks to writer-friend Dawne Webber for suggesting I apply!) 

During that time, I completed the latest revision of a YA ghost story about a girl who moves into a house already occupied by two ghosts who are in a perpetual game of hide and seek. 

I also began drafting my next project, a YA speculative fiction about a kayak trip on a Michigan creek that goes horribly wrong.

Please share any social media platforms:

Website: https://writewithkat.com/

Facebook: https://www.facebook.com/kathiggs/

Instagram: https://www.instagram.com/kathiggscoulthard/

Goodreads: https://www.goodreads.com/author/show/15141419.Katherine_Higgs_Coulthard

Featured Illustrator: Leslie Helakoski

The Mitten's spring 2025 banner by Leslie Helakoski

Tall tree, Yooper/Y'all, tons of talented Michigan Children's Book Writers and Illustrators, Katrina, and Gators: Author/Illustrator Leslie Helakoski

Charlie Barshaw coordinates our regular Writer Spotlight feature and interviews writers of SCBWI-MI. In this piece, meet author, illustrator, author/illustrator,  former SCBWI-MI RA, and illustrator of our spring 2025 banner, Leslie Helakoski. To read an interview with Leslie from 2020, click HERE.

 

Leslie Helakoski

You mentioned in a Cynsations interview, that your love of language sprang from where you grew up. Growing up in Louisiana, you’ve got your French and Spanish and Creole languages just dancing with each other in the streets of New Orleans. Have any of your books been translated to other languages?

Language has always fascinated me. From  14^th century Cajun French to words that sound like a chicken.

BIG CHICKENS was translated into Korean.

And WOOLBUR was translated into Hebrew.

Glamour Pic of Leslie and Carrie in their RA days

Since we interviewed last, you’ve retired from your role as Regional Advisor for SCBWI-MI. You and Carrie Pearson presided over the organization during some glorious years. What do you miss about running a society of children’s book writers and illustrators? What do you miss least?

Oh I cannot tell you how much I miss the connections to our members that running the organization fostered. Having regular events kept me informed about what our members were doing and what was going on in the industry. As for what I miss least, that would be managing finances. That is not my strength but I’m proud that I did it without any catastrophes.

You’ve always had a dual affection for Louisiana (where you were born) and Upper Peninsula Michigan (where your husband Ward came from). Recently, you’ve been spending time in both places. I imagine the U.P. in the summer, and Louisiana during the winter? How’s life between two places?

Life between Louisiana and Michigan is perfectly designed for me. Mild winters down south are a treat and just try to get me out of the UP in the summer and fall.

I think living in different places is beneficial to writers –makes us think outside the norm.

 

Leslie and Ruth, E.B. Lewis, Kristen Reminar, Deb Gonzalez and Matt Faulkner

I was delighted to see you mention fellow author/illustrator Matt Faulkner as someone who coached you on illustrating for kids. He asked you to consider the character of each of your characters. Was it an “Eva Gabor or Phyllis Diller” type of pig? Lori Eslick, Ruth McNally Barshaw and you formed an art critique group. Who else helped get your books illustrated by you?

Yes, Ruth Barshaw, Lori Eslick and I met for years supporting each other and laughing our heads off as we tried to navigate this business. My art was not published yet and Ruth was just starting her Ellie McDoodle series. Our small group later expanded to include Cathy Gendron, Heidi Sheffield, Deb Pilutti, Kirbi Fagan, Matt Faulkner, Deborah Marcero and Lindsay Moore—all amazing illustrators! I still share work with several of these artists and know I can ask them if I need advice. Having others to discuss your work with is invaluable.

 

WOOLBUR

FAIR COW was the first book you wrote and illustrated. Publishers were happy to purchase your manuscripts, but they passed on having you illustrate. I’m sure you had art ready to show what the finished page would look like. When you started pursuing picture books, it was as an illustrator. What kept you going until you got the chance to show off your stuff?

I did think illustration would be my ticket in. But when I attended my first SCBWI event (which was in Green Bay, Wisconsin) I found the writing excited me more and I realized that my art needed more work.

I paid more attention to artists I admired and sought to transfer some of that energy into my work. I passed up the opportunity to sell Fair Cow to a major publisher and went with a small press in order to illustrate. Since then I’ve illustrated 6 of my 17 books. I don’t always want to illustrate my stories but sometimes---we creators have to get pushy.

One of the things that kept me going were those interactions with other members. The generosity of this kidlit community is unbelievable.

Your career, over your many years, has had dry periods. You broke out of a publishing slump when you published HOOT AND HONK. You said the lean years made you analyze what was selling, reading the new stuff, and finding ways to make your book useful for educators. What are the current trends you’re seeing in children’s publishing?

After 20 years in this business, I am not hunting for trends. I am writing what I’d like to see in the marketplace—mainly fun and interesting stories that make me laugh. That is my strong suit and I have some great things lined up.

You have formed a partnership with author Darcy Pattison. You present to Highlights as the PB&J (Picture Book and All that Jazz). How do the two of you collaborate for one worthwhile writing program?

Darcy Pattison and I met about 15 years ago at a Michigan SCBWI event. Darcy was one of the speakers. Something she said resonated with me and I showed her how I applied it to a manuscript I was working on. (BIG CHICKENS). Soon we were swapping manuscripts and stayed in touch. Now, we are honest and tough with each other as well as supportive. 

A few years later it happened that we were both speaking at SCBWI Pennsylvania event at the Highlights Foundation’s Barn. We ended up waiting in the airport for a couple of hours together. Inspired by the programs Highlights was sponsoring, we came up with a proposal of our own. 

We’ve been teaching there now for 10 years. We are both passionate about teaching writing though we approach it very differently. Our differences help us provide feedback to our students in different ways.

Our original workshops were called PBJ (Picture Books and All that Jazz) but the format has evolved over the years and Highlights has changed the name to Picture Book Authors and Illustrators Working Retreat.

WHEN THE RAIN CAME DOWN had a personal history of devastating storms. Over your lifetime you’ve seen dozens of hurricane rains, winds and floods. The book references a specific hurricane, but you had others in mind, too, didn’t you? What other storms influenced you?

You are right, Charlie, growing up in south Louisiana did provide a front row view of many storms. However, the storm that took my childhood home was not a hurricane. It was a stalled low pressure system that hovered over the gulf for days and days, dumping unprecedented water on the coastline.

Hurricane Katrina is such a well-known storm, and though it is alluded to in my book, it is not mentioned by name. I wanted the book to have a larger reach-- especially since flooding can happen in every state of the union.

I saw GATOR’S GOOD IDEA advertised, and also GATOR’S BIG MOUTH. Same gator?

I didn’t write gator’s good idea—sounds like a fun title. Sometimes that’s all it takes to get me scribbling..

BACK TO THE WOODS. Where does that stand? What’s it about?

Back to the Woods was a flat fee project with Kiwico, which creates craft kits for kids. They like to include books into some of their themed packages. Unfortunately, this means they are not in book stores and at this time are only available in the kits. This might change.

CRABBY NEIGHBORS (Putnam) and FAKE GNUS (GroundwoodBooks).  Tell us about these upcoming book babies.

FAKE GNUS (pronounced NOOZ)  is something I am working on illustrating right now. The art should be done in about a month. I’m having a great time with it and can’t wait to get it out there.

CRABBY NEIGHBORS, published by Putnam, started out as an early chapter book. Something different for me. While I was gathering rejections on it in that form, one editor passed on it but asked if I’d consider turning into a picture book.  That being my wheel house, I gave it a whirl and now it’s in the pipeline. The publisher has a strong vision for it. We just signed illustrator Alex Willmore for the project and expect it will be out in late 2027 or early 2028.

There are whispers that you’re working on a novel. Like, long-term working on it. Please say that you haven’t totally given up on your long-form brainchild.

It’s true I have been working on a novel for a few years. (YIKES) And it is almost finished—(More YIKES.) Writing a novel is SO different than writing a picture book. I love the complicated weaving of characters and scenes. But I miss the playful language that comes out of younger stories.

I am anxious to get back to polishing that novel. Of course, I’ve had a couple of writer friends look over it for me. I hope  to get it out to my agent after I finish the art for Fake Gnus.

When asked, who would you, living or dead, want to have lunch with, you said Mary Cassatt. Is she still your Plus One?

Hmm, that was when I read an article on the struggles that the impressionists went through --women in particular. But today I’d like to have lunch with that group of illustrators I mentioned earlier.

You’re also a writing coach, and you do manuscript critiques. What can a writer expect when they add you to their creative team?

First of all, I’m a sucker for a story. I’m a teacher at heart and love digging into what makes a story work. I’ve published 17 picture books over the years in many different formats. I encourage writers to explore different approaches to getting a story down. I push writers to reach and never to settle. 

Text can do more than just tell a story, it can cast a mood, tickle funny bones and weave in facts. I work in both prose and rhyme. I tend to be very wordy with my critiques, which I warn writers, can be a bit overwhelming. But I love getting feedback myself and think more is better than less in that department.

What’s next?

My agent has a few picture book manuscripts ready to circulate if I ever get that novel off my desk.

And Darcy and I are planning a new PB workshop at Highlights in September 13-16. We will have guest editor Matt Phipps from Putnam, and art director Aram Kim from FSG, along with me and Darcy and another guest writer.

Please share any social media platforms:

Helakoskibooks.com

Instagram:helakoskibooks

FB LeslieHelakoski

 

 

 

Book Birthday Blog with Cindy Schumerth

 

Welcome to SCBWI-MI's Book Birthday Blog!

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

 

Congratulations to Cindy Schumerth on the release of When Night Comes Calling

 

Please share a little about this book's journey. How did you come up with the idea? 

My book journey actually started in 2008.  At that time the story was more of a mood piece, a nice poem, but no characters involved.  It got good rejection letters, but still rejections.  I put it away in a drawer for fourteen years. In 2022 I took it out (because I still really liked it) and began reworking it into what it is today.  The rewritten version was inspired by a family campout annual tradition of a night vision hike with the whole family. 

What was the most difficult part of writing the book?

The most difficult part in writing this book was having to let go of some of what I call, my little darlings, from the early version; words or phrases that I really loved.  But that’s what revising is, and I believe if you can be heartless to yourself when you're revising, your book will ultimately be better. 

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

If this book does anything, I hope it encourages readers to expand their natural world and learn that there are so many things they’ll miss if they never explore (with an adult of course) at night.  It’s fun, scary, and fascinating all at once. The book has great backmatter that I hope will intrigue kids to learn more and love nature the way I do. 

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

I’m traditionally published, so Sleeping Bear will do a lot of the marketing.  As for me, I have a launch scheduled at my hometown library, already have some school visits lined up and I’m hoping to visit nature centers, and children’s gardens, and book centers.  The book is available for pre-order on Amazon.com, and Barnesandnoble.com, and hopefully it will find its way to your local bookstores. 

What's next for you? 

As for what’s next.  I’ve just sold a manuscript to Sleeping Bear Press scheduled for a 2027 release, I’m busy working on several different manuscripts, and always full of new ideas. 

I wish everyone a successful 2025! 

More about the book . . . 

When two siblings head outdoors on a nighttime hike, they experience the awe-inspiring wonders that take place in the natural world when most people are sleeping. From the night sky with its glorious celestial displays to the nocturnal insects and animals that only venture out in the dark, there’s an abundance of activity going on once the sun goes down and the stars come out. Tree frogs chirp their throaty songs, bats soar after buzzing mosquitoes, and a Luna moth flutters on its angel-like wings. But finally, it’s time to head back home to a cozy bed, and dream of the next night’s outdoor adventure. 

Publisher: Sleeping Bear Press

More about the author . . .  

When Night Comes Calling is my 4th picture book. I’ve been an SCBWI member for over 20 years and belong to several different critique groups, each giving me a fresh look at my work, and theirs. I love the outdoors and a lot of my work brings nature into the story.  While I never intended to work in rhyme, my first three books, this book, and my 5th book (just contracted) are all in rhyme. My books have won several awards which help with that dreaded imposter syndrome so many of us have. I signed with the agent Bridgette Kam, just last week, who I met through a SCBWI on-line webinar.  Hopefully she’ll help me get some of my prose into print.  

 

 

Book Birthday Blog with Kirbi Fagan

 

Welcome to SCBWI-MI's Book Birthday Blog!

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

 

Congratulations to Kirbi Fagan on the release of We Are the Scrappy Ones

 

You've created cover art for adult, YA, MG fiction and comic books, the picture book, The Summer of the Tree Army, and the middle grade novel, A Horse Named Sky. Describe your creative process and what inspires you. 

We Are the Scrappy Ones was a unique project. Living with an invisible illness since I was little, I knew first hand that capturing the heart of the scrappy ones is more than symptoms, diagnoses and wheelchairs. Inspiration for the illustrations came from every direction, the scrappy friends I've made along my journey, the team at Lerner and everyone involved in the making of the book. I hope my interpretations challenge the reader's assumptions about disability in every page turn.

What was the most challenging part of illustrating the book? 

The book is illustrated in a lot of different mediums. Pastel, crayons, colored pencils. There was a tremendous amount of scanning and digitally collaging involved to make the pages. Some areas of the text were also illustrated. The technical side of working traditionally is always an effort, but the overall scrappy style feels worth it in the end.  

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

I hope this book has the power to stir classrooms and bring new language to readers. The historical and impactful heroes is a great place of inspiration for readers to dig in.  

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

Scrappy Ones will be sold wherever books are sold! Check my website and facebook for videos and scrappy bonus material.  

What's next for you? 

This fall I'm going to be celebrating a new book with Lerner again but this time as an author-illustrator. The title is called, The Big Empty: A Sagebrush Survival Story.



People passing by call this land the big empty. / But I call it home.



In spare, poetic text written from the point of view of big sagebrush, readers are transported to the vast landscape of western North America. This incredibly resilient plant, which can live as long as one hundred years, provides food and shelter as well as shadows to conceal both predators and prey. After a wildfire passes through, it grows again and will thrive once more. Author and illustrator Kirbi Fagan captures the beauty of this essential plant in her lyrical words and richly detailed illustrations.

More about the book . . . 

We are the scrappy ones. / We live, we adapt, we defy. / Made of stardust and grit, we are spectacular.

Children with disabilities experience the world in all kinds of ways. Yet one thing they share is navigating a world that doesn’t always make space for them as they are. Existing on the edges can feel unfair—and downright exhausting. And at the exact same time, it can also foster creativity, resourcefulness, and adaptability. In a word, scrappiness.

Author and disability advocate Rebekah Taussig has written a groundbreaking anthem of belonging that celebrates the wide range of disabled children and affirms their worth, just as they are. Luminous illustrations by Kirbi Fagan portray a diverse cast of characters living, learning, and playing. A warm, joy-filled book for disabled and non-disabled readers alike.

Publisher: Lerner/Carolrhoda

More about the author . . . 

Kirbi Fagan is a Michigan based, New York Best Selling illustrator. Her work includes the picture book The Summer of the Tree Army by Gloria Whelan (2021), We Are the Scrappy Ones by Rebekah Taussig (2025), A Horse Named Sky by Rosanne Parry (2023) as well as cover art in adult, YA, middle-grade, and comic books. Kirbi is driven to create books for readers like her. When she was growing up, arts and crafts were her lifeline as a way to cope with ongoing illness. Kirbi is traditionally trained as an oil painter, earning her bachelor's degree in Illustration from Kendall College of Art and Design. Her first author-illustrator project will debut fall 2025. 

For more about me and my work please visit: https://kirbifagan.com/