Attention kidlit community, I have exciting news. Applications for the 2026 Feature Interview lineup are now OPEN! If you’ve been following my blog, you know that this window is typically only open one month out of the year, so this is a special opportunity. I hope that opening the window early will allow more people the time needed to prep their applications and give as many people a chance to share their stories!
Would you/someone you know be interested in being a guest? APPLY HERE! I’d love to hear your story!
Shout THE NEWS from the rooftops- share, share, share!
Today, I’m talking with Alaskan mom and award-winning author of fun books for kids, Brooke Hartman. In addition to writing books for kids, Brooke also serves as an Adjunct Instructor of Writing and Publishing for Alaska Pacific University and as a board member (Treasurer & Conference Committee) for the Alaska Writers Guild.
We’ll be discussing behind-the-scenes publishing and answering questions like how to know WHEN a story is ready to start querying/submitting to an agent/editor, how to handle rejection, and when to know it’s time to shelve a project.
And sharing tips on how to balance motherhood with writing.
But before we jump into our interview… here are a few things to know about feature interviews.
THE SCOOP: WHAT ARE FEATURE INTERVIEWS & WHO ARE THEY FOR?
Feature Interviews are a free resource for writers and illustrators at every stage of the publishing journey.
Every month, I collaborate with industry professionals—authors, illustrators, editors, and agents— many of whom were or currently are also educators and librarians, to discuss all things publishing.
What can these interviews offer YOU?
These interviews give readers an up-close and personal look at the world of publishing from an array of different perspectives on every side of the desk and offer insight into tips, resources, and advice on how to:
stay current with market trends
hook an agent or editor
find writing community & other resources
discover workshops, contests, and other events
figure out which path of publication is right for you
know if your agent is a good match
And more!
AND… if that’s not enough, every guest offers at least one giveaway prize—sometimes more. This means you have multiple opportunities to win prizes every month! *If you’re interested in entering the giveaway, scroll to the bottom of the interview for instructions.*
Not that we’ve shared a little about what’s in store… it’s time to jump into our interview!
INTRODUCTIONS + BEGINNING STAGES OF PUBLISHING
Brooke, it’s so nice to have you on the blog with us today for our last feature interview of 2024. I hope your year has been amazing. Before we get into the meat of our interview, tell us, where are you from, and what do you write?
Hello, Chelsea! I was born and raised in Anchorage, Alaska, and despite multiple escape attempts, I still live here today. Don’t get me wrong, this state is BREATHTAKING, and a visit should definitely be on everyone’s bucket list. But after seven months of snow, even my die-hard Alaskan husband gets cabin fever.
And are you currently agented? If so, by who, and what agency?
I’m agented by the talented and wonderful Sera Rivers of Speilberg Literacy. Wonderful! Thank you for sharing. When did you start seriously pursuing publication, and what was that early journey like?
Like many authors, I started writing as a young kiddo, always scribbling poems or turning essay assignments into stories (often to my teacher’s chagrin). Then, in my early twenties, I came up with a story idea for a young adult fantasy novel and hit that laptop HARD. Over the next decade, I edited that manuscript probably half a dozen times and even had an agent for it at one point! But if there’s anything I’ve learned in the publishing industry, it’s that writing has to land at the exact right moment at the exact right time, and we never can tell when that time and place may be. When my first kiddo was born in 2012, my creative writing juices started forming into new picture book popsicle shapes, so I turned my pen (er, laptop) toward that format… and loved it! My first picture book came out in 2019, and this last year, I released my seventh and eighth books. That YA fantasy might still be simmering on my laptop somewhere, but It still led me on quite the publishing journey nonetheless!
Were there any writing organizations, groups, or something else that helped you in those early stages of your publishing?
If you aren’t a member of SCBWI, stop reading this right now and go join (don’t worry, you can come back and read the rest of this later). Attending conferences, reading The Book from cover to cover multiple times, and being an active member of local SCBWI critique groups and events were essential to my path to publication. I also joined a local writing organization, the Alaska Writers Guild, which teams up with our local chapter of SCBWI for an annual conference. The editors, agents, and other publishing professionals I’ve had the chance to interact with and receive writing feedback from have been invaluable.
You mentioned that you’re a mom. And as pretty much everyone knows, being a mom is basically already a FULL-TIME job. What has your experience been like writing for kids while raising them? And how have you been able to balance your publishing career with motherhood?
I’m a mom of two semi-young kiddos and have a day job in behavioral health, so squeezing in writing time isn’t easy. But I’ve found that if I don’t find time to write, I become a very grouchy person! To help me focus on writing, I go to my nearby Starbucks, where I basically have my own table at this point. At the coffee shop, no dogs need to be walked, no laundry needs to be folded, and no closets need organizing. Leaving all the distractions of home behind really helps force me to open that laptop and write!
I’m sure there are some moms out there (hopefully reading this blog article today) with wonderful story ideas in their heads, and maybe even written down, who might be a bit hesitant to make the jump into publishing. For any of those moms reading this article, what advice would you like to share with them?
As moms, we can have ALL the ideas and NONE of the time! We’re already so stretched thin with kids’, kid activities, making dinner and all the lunches, and sometimes the requirements of a day job that finding time to even think about thinking about writing seems tough. I’ve found that looking over my weekly schedule and trying to pinpoint (and create) those little nuggets of time to write and then sticking to those times helps a lot. For instance, if I already have an appointment or work event on Tuesday, I try to cram my grocery shopping and anything else on that day, which leaves Monday and maybe Wednesday for more of an open time to write.
“…if there’s anything I’ve learned in the publishing industry, it’s that writing has to land at the exact right moment at the exact right time, and we never can tell when that time and place may be.” – Brooke Hartman
“At the coffee shop, no dogs need to be walked, no laundry needs to be folded, and no closets need organizing. Leaving all the distractions of home behind really helps force me to open that laptop and write!” – Brooke Hartman
BEHIND THE SCENES OF PUBLISHING: HOW TO KNOW WHEN A STORY IS READY + HANDLING REJECTION + SHELVING PROJECTS
“…projects might go to sleep for a while or even go into hibernation, but they’re never officially “dead”!” – Brooke Hartman
Okay, so we talked a little about the beginning stages of publishing. Now, let’s talk about some of those nitty-gritty details. One thing that many early writers struggle with is knowing “when” a story is really ready. How do you know when a story is truly ready to query/submit to an agent/editor?
The truth is… I have no clue when a story is ready! Sometimes, I think a story might need more work, and my critique group/agent/editor LOVE it. Other times, I wrestle with a project dozens of times, and still they find some issue with it. My only tactic that seems to work is to have my critique group go through any new project at least twice, once for the big issues and once again to make sure I fixed those big issues and for the little tweaks I’ might have missed. Then I send it to my agent and say, what do you think? If she gives it the thumbs up, then off it goes on its submission quest. What happens next is only a combination of luck, magic, held breaths, and wishing on 11:11s.
Speaking of agents and editors, any writer in the traditional world of writing knows that rejection is a part of the process and it’s just a reality of publishing. Everybody faces rejection at one point or the other, and often, more often than not. But writers aren’t the only ones facing rejection. Agents are, too. And it stings every time. But, as you continue growing as a writer, each sting becomes a little less painful because you’ve adapted that thicker skin (which you really need to have) of endurance. That being said… for newer writers, those rejections can REALLY sting. How were you able to cope with rejection in your early stages of publishing?
This is my best advice for rejection (and if any readers take one thing away from this interview, I hope it’s this): always, always, always be working on more than one project at once. If you’re hedging all your bets on a single lonely picture book text to fulfill all your writerly hopes and dreams, I’m not saying you’ll automatically be rejected, but if you are, having at least two or three other projects in the works will help lessen that sting a LOT. I think of publishing as a game of darts; over time, writers get better at hitting the bullseye. But if you can throw multiple darts at once, that only ups the odds and makes it less painful if we miss the mark.
Such good advice! And so true.
For any new writers who may be reading this today, who may currently or recently have been facing rejection and fighting discouragement, what words of wisdom or comfort would you like to share with them?
In the immortal words of Jason Nesmith from Galaxy Quest, “Never give up, never surrender!” Just keep writing, getting feedback, and submitting. Write something new. Dust off something old. Get feedback anywhere and when you can. But also try to be savvy about how you’re submitting and when; if you keep getting the same feedback from peers or professionals, maybe it’s time to listen to them and give that angle a try. You can always save your first version and go back to it if that’s the one that speaks to your heart!
Oh my goodness. My dad would be cheering right now. Galaxy Quest is his favaorite movie, and he used to say this line all the time when I was a kid. Fun fact: he still says it now that I'm an adult too. Also, what terrific advice. Yes!
Now, let’s go in a different direction. Seasoned writers know that not all projects, realistically, will or can be published. Which means that sometimes, we have to shelve projects. And shelving a project doesn’t necessarily mean that it will never see the light of day. Sometimes, it means that it’s a project that isn’t right for today’s marketing climate… but it could be just right for tomorrow’s. And this is a tricky thing because so much of it is reliant on chance and unknown factors. What would you say is an indicator that it’s time to shelve a project? When do you know it’s time?
Man, I have too many shelved projects to count! To date, I have at least three or four projects that have gone on submission, and years later… crickets. But honestly, I don’t think a project is ever really shelved. You just never know when an agent or editor will say, Gosh I really wish I had a project about X. And they just named YOUR project! Case in point, the very first picture book I ever wrote back in 2012 is now on R&R with an editor. So, projects might go to sleep for a while or even go into hibernation, but they’re never officially “dead”!
I love that. What a great way of looking at it!
“This is my best advice for rejection (and if any readers take one thing away from this interview, I hope it’s this): always, always, always be working on more than one project at once.” – Brooke Hartman
“… I think of publishing as a game of darts; over time, writers get better at hitting the bullseye. But if you can throw multiple darts at once, that only ups the odds and makes it less painful if we miss the mark.” – Brooke Hartman
OVERCOMING ROAD BUMPS + EMBRACING THE JOURNEY + HIGHLIGHTS
What have been some of the challenges you’ve faced on your publishing journey, and how have you been able to overcome them?
This interview isn’t long enough to list all the challenges and speedbumps on my publishing journey. We’d need our own podcast just for that! But some of the biggest ones have been when two of my picture books that were contracted and almost complete (illustrated and everything!) suddenly found themselves without a publisher. One had to do with COVID (curse you, COVID!), and the other had to do with a sudden publisher buyout.
*GASP* I can only imagine what you must have been feeling!
At both times, I felt gutted. I’d been so close to holding those books in my hands, only to have them swiped away at the last second. But guess what? Like the near-final Bluey episode, The Sign, you never know how bad luck can turn into good luck. As it turns out, both of those projects found new homes with absolutely wonderful publishers (one of which I’ll be releasing my third book with next year!)
For those who may be facing similar challenges now, what words of wisdom would you like to offer?
While rejection can be devastating, you never know what it will lead to in the future. Keep an open mind and look forward!
Beatiful words of wisdom!
Okay, we've touched on the struggles. Now, let's talk about the wins. What have been some of your publishing highlights- this can be ANYTHING?! Oh wow, I don’t know how I can narrow these down! Just seeing a book published is such a highlight. Only six or seven years ago, after writing with the intent to traditionally publish for over fifteen years, I was still wondering whether I’d ever be a published author. Now, I have eight books out and five more publishing in the next couple of years. But some of my real highlights have been seeing kiddos and parents at book events, and the mom or dad stops and exclaims, “Oh my gosh, this is YOUR book? It’s our son’s/daughter’s favorite; they read it every night!” There’s honestly no greater reward in publishing than that.
Speaking of highlights… let’s talk about visits!
“While rejection can be devastating, you never know what it will lead to in the future. Keep an open mind and look forward!” – Brooke Hartman
AUTHOR VISITS
We’d love to hear about some of your author visits. Where have you visited? When? And what kind of feedback did you receive?
I do a lot of author visits here in Alaska, and they’re always full of new surprises. You never know what kids are going to ask, though I’m still trying new responses for the inevitable question of “How old are you?” Here’s what I’ve got so far: - I’m “Mom” years old - I was born before you were. - I was born before the internet was invented (this usually results in a few gasps from the audience) - I lost count! How old do you think I am? I’m open to other suggestions if anyone has them!
For writers who are either newly published or soon to be, who may have questions about navigating author visits, could you tell us a little bit about how you handle your visits? Do you schedule them? If not you, is it the publisher? Do bookstores/libraries/schools reach out to you directly, or do you reach out to them, or is it a bit of both? Etc.
I schedule all my author visits. My schedule is so insane between kid activities, work events, and writing needs that I can’t even imagine anyone else trying to schedule these for me. But I do have a fun event coming up in February of 2025 with Bookelicious, a nationwide live virtual author visit (and you get five free books to boot)! It’s such a great opportunity for remote schools that don’t often get the opportunity to host a children’s book author in person or for schools that aren’t near where an author of interest may live. If you’re an educator, I highly suggest looking into Bookelicious’ upcoming author events; they’re spectacular!
That sounds amazing! Thanks for sharing that resource for our teachers out there (and maybe librarians too!)
Another GREAT thing for authors to know is that - your time is valuable. And while yes, you can definitely offer to do free events (especially for smaller, local community places, like perhaps your local library, or independent book store, which may not have as much funding), there’s also nothing wrong with getting paid for your time and services, especially when it involves some sort of commute. I saw that you have your Author Visit Rates listed on your website, which I think is such a fantastic thing for authors to do and be aware of doing. In reading this, it led me to a few other questions. For these visits, how does the pay side of things work? Are you paid upfront in full? Or is there a good-faith deposit made prior and the rest upon completion of the event? Are there extra fees/charges that need to be applied if you have to travel somewhere? Or do you only offer local and/or virtual visits? If you could share a little bit more about these details, that would be great.
I feel like having my author rates on my website helps avoid a lot of tough conversations, but in general, if a venue is reaching out to me to do an event, usually the idea is that they’ll be paying me based on my advertised rates. If I’m reaching out to them (say a bookstore or library to do a book launch event), then no fee is involved–the idea is that they’re helping spread the word about my new book while I help them with their Saturday storytime and craft hour, or something similar. If a fee is involved, I now always do a contract and/or invoice, depending on what sort of event it is. The total amount and when the fee is due is always listed on there somewhere. As for when it’s due, I usually have the payment due at or around the time of an event, keeping in mind that for school district-related events, they usually have to wait for the event to conclude before a check is cut.
OKAY. Now it’s time for BOOKS.
BOOKS, BOOKS, BOOKS!
Your motto is that you write “fun books.” We’d love to hear more! Could you tell us about some of your stories and their inspirations?
I have a couple of rules I try to follow when writing all of my books: 1) The story has to be fun and catchy, with perhaps a little nugget of learning or a heaping spoonful of nonfiction hidden in plain sight. For a lot of these, adding back matter really helps. It allows me to have fun with the story knowing all of the more nitty gritty nonfiction can be added at the end. 2) The final book has to be something my husband would pull off the shelf to read to our kids. As far as picture books are concerned, he is the toughest critic I know and sets the bar high, but I strive to meet it every time!
What do you hope your readers will come away with after reading one of your books?
First and foremost, I want them to have enjoyed the story, and maybe laugh a little. If they learned something in the process, even better!
Any last words of wisdom that you’d like to share with readers today?
Just this: so often, I’m approached by others who have written a story and want to know “how to get it published.” I give them much of the same advice I’ve given in this interview, but in the end, no two paths to publication are the same. Each individual has to find their own way for their own stories. It just takes dedication, research, time, and of course… writing!
Thank you so much for joining us today, Brooke.
But don’t go anywhere just yet because now it’s time for the PRIZE GIVEAWAY.
GIVEAWAY: For the month of December 2024, Brooke Hartman will be offering the following prize(s) to X winner(s).
Two winners will receive their choice of one of my books personalized and shipped to whoever they want!
HOW TO ENTER THE GIVEAWAY
Leave a comment on this post!
And if you haven’t already, like this post and subscribeto the blog and/or newsletter!
That’s it!
Want extra entries? Share and tag on X @chellysbooks or Instagram @chelseasworldofbooks, and I’ll add your additional entry to the giveaway pool.
DEADLINE TO ENTER: December 31st, 2024, 11:59 PM CST
FAQ:
What if I was already subscribed to the blog? Does that mean I won’t qualify for the Prize Giveaway? Not at all! If you subscribed before this month, all you’ll need to do is LIKE this Feature Interview and leave your COMMENT below this post within the deadline (the current month/year entry was posted).
Did you enjoy this interview?
Thank the author & host by purchasing or reviewing a copy of one of their books or by requesting it be purchased by your local school or library! Using the sponsored links below to purchase also helps support this blog.
Brooke Hartman is an Alaskan mom and award-winning author of fun books for kids. Her debut picture book, Dream Flights on Arctic Nights (West Margin Press, 2019) received a starred review from Kirkus and was a Children’s Bookshelf best book of the year; and her 2020 release, Lotte’s Magical Paper Puppets, the Woman Behind the First Animated Feature Film (2020, Page Street Kids) was a Poetry and Prose First Edition Book Selection. In spring 2022, she released The Littlest Airplane (April 2022, West Margin Press), which was selected for a 2023/2024 Alaska Battle Book, and Pega Sisters Go to Camp (May 2022, Page Street Kids). This last year, she released Klyde the Kraken Wants a Friend (April 2023, Hazy Dell Press) and Watch Out for the Lion (February 2023, Page Street Kids), which received a starred review from School Library Journal. Brooke has two more titles releasing in 2024: Little Narwhal Lost, a True Tale of Found Family (January 2023, Turner Publishing); and All Aboard the Alaska Train (March 2024, Red Comet Press). She will be releasing two additional titles with Sourcebooks eXplore in 2025 and 2026. Brooke also serves as an adjunct instructor of writing and publishing for Alaska Pacific University and is a member of the board of directors for the Alaska Writers Guild. When she isn’t writing, you can find her flying, fishing, and having fun with her family, enjoying all the magic life has to offer. Follow her adventures at www.BrookeAHartman.com or on social media @BrookesBooksAK.
Looking for custom writer, librarian, or book-lover-themed swag and/or accessories? Visit my Zazzle store! Want to see a curated list of my personal favorite books and recommendations? Visit my bookshop page! Want to browse favorite writing accessories, books by genre, and cozy reading must-haves? Visit my Amazon Storefront!
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Please give a warm welcome to our guest, the very talented and passionate children’s book author, early literacy consultant, and founder of SmallTalk Learning, Dawn Prochovnic. A little history on my background with Dawn… I first met Dawn in the summer of July of 2022 during a virtual Peer Critique at SCBWI. Immediately, Dawn’s kind nature and deep concern for people, education, and children, was clear. So, when I saw her name in my applicant list for the 2024 feature interview lineup, I knew without a doubt I wanted to add her to our wonderful collection of voices and stories!
Before we jump into our interview, here’s the scoop on Feature Interviews.
411 ON FEATURE INTERVIEWS
What are feature interviews & WHO are they for?
Feature Interviews are a free resource for writers and illustrators at every stage of the publishing journey.
Every month, I collaborate with industry professionals—authors, illustrators, editors, and agents— many of whom were or currently are also educators and librarians, to discuss all things publishing.
What can these interviews offer YOU?
These interviews give readers an up-close and personal look at the world of publishing from an array of different perspectives on every side of the desk and offer insight into tips, resources, and advice on how to
stay current with market trends
hook an agent or editor
find writing community & other resources
discover workshops, contests, and other events
figure out which path of publication is right for you
know if your agent is a good match
And more!
AND… if that’s not enough, every guest offers at least one giveaway prize—sometimes more. This means you have multiple opportunities to win prizes every month!
Not that we’ve shared a little about what’s in store… it’s time to jump into our interview!
INTRODUCTION: THE MAGIC OF PUBLISHING!
Welcome to the blog, Dawn! I’m so glad you’re joining us today.
I’m glad to be here. Thank you so much for having me! And thank you for such a kind introduction. My first question starts back at the beginning. I’d love to hear how you came to enter the truly MAGICAL world of kidlit publishing. How did it all begin? When did it all begin? Why did it all begin?
Back in the early 2000’s I had an idea for a series of stories that incorporated early childhood language concepts and American Sign Language/ASL. The stories were an extension of the materials I developed for the sign language and early literacy workshops I teach for hearing infants/toddlers, young children, and their grown-ups.
I discovered early on that the most effective way to help people learn and remember particular signs was to teach them catchy songs they could sing and sign while they interacted with their babies and young children.
-Yes! I love this! So very true.-
I wrote all kinds of ditties for this purpose, modeled after familiar children’s songs and rhymes like “Old MacDonald Had a Farm” and “If You’re Happy and You Know It.”
Soon, I discovered that preschoolers and elementary school children were also interested in learning sign language, and I developed an interest in expanding my reach beyond that which I could manage in my own classes. I wanted to share the joyful experience of signing with children and their grown-ups across the miles and decided the best way to do that would be to publish a handful of my workshop songs in the form of picture book stories.
And so, my journey to publication began. Can you tell us a little bit about the steps involved in your publishing journey? Querying, contests, events, etc. What route of publishing did you decide on and why? Explain. *indie/traditional*
My journey to publication was long and winding, but fairly traditional.
I initially approached my quest to become a published author in the same way I approached many other business endeavors. I began by putting out feelers to my network of friends and professional associates that I was in search of an illustrator and publisher to partner with/hire to help me get my books out into the world. This was LONG before self-publishing was “a thing,” and I soon discovered that was not how publishing was done.
The good news is that through this networking process I heard about the (since discontinued) Pacific Northwest Children’s Writing and Illustrating Conference.
-How wonderful! I love learning things like this.-
I attended in the summer of 2004, full of enthusiasm and eager anticipation to get on with the business of getting my books published. I was completely naïve about how the publishing industry works, and I boldly asked every ignorant question I could think of.
-Part of the learning process. I think this is a common phenomenon for most "passionate" people who start in kidlit- because they're excited and they care!-
Thank heavens I was completely unaware that the guest editor at the conference (Arthur A. Levine, the esteemed editor of the Harry Potter dynasty) was famous in publishing circles, or I might have died of embarrassment.
-Get out. So funny!- -I know, right?!-
And, thank heavens that Arthur Levine was so kind and encouraging, or I might have set aside my goal of getting my books published (because truth be told, my stories were not ready for publication back then).
-I'm so glad you had this positive experience. This can make all the difference. Finding kind people in publishing to give you that extra push. For me, it was an agent- Jennifer March Soloway. I queried her WAYYYYY before I should have been sending my work out *I just didn't know it yet* I hadn't had my work revised or looked at by CP yet- *I didn't even have CP yet or know they existed.* But she was kind and encouraging and helped point me in the right direction.- -I met Jennifer at a writing conference in Portland several years back. I found her to be kind and delightful as well.-
After that conference I formed a critique group and I joined the Society of Children's Book Writers and Illustrators / SCBWI. With the support of these groups, I worked diligently on one of my stories, SEE THE COLORS, and when I felt it was ready, I submitted my first manuscript to Arthur A. Levine Books, which was an imprint of Scholastic back then. Arthur was once again, kind and encouraging, and I will always treasure the personal letter he sent to me, gently declining my story . Over the next several years I continued to do the work of a writer, inventing new stories (many of them unrelated to my original signing idea), revising, and asking for critique over and over again. I was helped and encouraged along the way by the other writers in my critique group and by the many talented authors and editors I met at other writing conferences.
-So beautiful. I love your commitment.- -Thank you, Chelsea. I love your positive energy and enthusiasm.-
As I developed an inventory of manuscripts that were ready for submission, I studied publishing houses and began the task of submitting my work. Over time, the editorial correspondence I received shifted from form letters to personalized notes with suggestions for revision and/or ideas for other publishers that might be a better fit for my work. The message was coming through: Several of my stories were publishable; I just needed to find the right publisher.
I initially approached my quest to become a published author in the same way I approached many other business endeavors. I began by putting out feelers to my network of friends and professional associates that I was in search of an illustrator and publisher to partner with/hire to help me get my books out into the world.
As I developed an inventory of manuscripts that were ready for submission, I studied publishing houses and began the task of submitting my work. Over time, the editorial correspondence I received shifted from form letters to personalized notes with suggestions for revision and/or ideas for other publishers that might be a better fit for my work. The message was coming through: Several of my stories were publishable; I just needed to find the right publisher.
What would you say was the pivotal point for your publishing career? Did you have any -AHA- moments where things just clicked?
The pivotal moment that comes to mind is when, at long last, a door to the just-right publishing house opened. I went to an author book sale/signing event called “Book Blast” in October 2007 at one of our local middle schools. It was a dark and stormy night. I almost didn’t go. My kids were squabbling. It would have been easier to stay at home. Thank goodness my daughter desperately wanted to meet one of the exhibiting authors, Bart King, the author of one of her favorite books at the time, “The Big Book of Girl Stuff.” So I piled the kids in the minivan, and we went to Book Blast. And then I met David. David Michael Slater. His picture books had an educational element to them. I could see my signing stories being a good fit for his publisher. I told him about that aspect of my writing, and he was kind enough to put me in touch with his editor at Abdo Publishing Group. And the rest, as they say, is history.
-This is truly a fascinating- and wonderful- story!-
When did you make your first book deal, and what publishing house did you sign with for that deal?
Abdo was a great fit for my signing stories, and I had several manuscripts that were ready for consideration. On January 22, 2008, at 12:02 PM, I received an email from an editor who would eventually offer me contracts for a total of 16 books with Abdo.
-Holy-guacamole- that's a lot of books!- -Indeed! It was a great run ; )-
I am still grateful to both Bart and David for their role in my journey to publication, and to Abdo for publishing so many of my stories.
When did you sign with your agent?
I signed with my very first agent on February 29th, 2024, just this past year, and nearly 20 years since I attended my first writing conference. Gaby Cabezut, with The Seymour Agency, is relatively new to agenting, but not new to the industry. I’m very grateful to now have such a kind, capable, and committed partner traveling alongside me on this journey. I’m looking forward to the many good things we will bring into the world, together.
-This is remarkable. What a journey. And you stuck it out! Congratulations, Dawn!! -Thank you, Chelsea. I feel very lucky to have connected with Gaby before she buttoned down on being open to submissions. It was serendipity!-
Can you share some of your favorite moments of the publishing journey?
There are so many favorite moments I’ve had in this journey, but one that comes immediately to mind is the first opportunity to hold my first published books in hand and share them with young readers.
My first book launch event was at the West Slope Community Library, a short walk from my home and next door to our local elementary school, where my children attended at the time. The community and my family and friends came out in full force. It was such a jubilant celebration.
-I'll bet it was!-
(As you might be able to guess from the pictures, one of the stories I read that evening has a “hat” theme!)
WHEN THE GOING GETS TOUGH
Now that we’ve touched on the highs of publishing, let’s talk a little about the lows. What challenges have you faced on your publishing journey? How were/are you able to overcome them?
I’m pretty sure I could write an entire book on this subject alone! There have been so many challenges along the way.
Although I’ve definitely developed thick skin, rejection can wear away at you. Some highlights:
Over the years I’ve had a handful of agents “lead me on,” with detailed notes, high praise and encouragement, but not offer representation. I’ve had others love one of my stories, ask for more work and then ghost me. Others have sent a form rejection 2-3 years after I submitted to them. I’ve had acquiring editors deliver really harsh critiques at writing conferences, and I’ve had several manuscripts make it all the way through acquisitions only to have someone higher up put a nix on the project. I actually think the “close calls” have been harder for me than all the other rejections combined. One in particular was when an editor took one of my manuscripts all the way to the publisher with a sticky note naming the (famous) illustrator envisioned for the story. The publisher must have ended up declining since I got the manuscript back with the sticky note “conversation” still attached. So. Close. Happily, that story (THE NEST WHERE I LIKE TO REST) did eventually get published and actually was a finalist for Oregon’s annual book awards. I’ve overcome each of these obstacles by putting one foot in front of the other and moving forward. Day by day. Step by step.
-Fantastic words of wisdom. And way to go, Dawn. Never giving up! You are amazing.- -Thank you, Chelsea :)-
Was there anything in particular that really helped you that you’d like to encourage other writers to look into?
My best advice to other writers is to get yourself a writing buddy and exchange creative writing goals and goal reports with your buddy on a regular basis.
-Great advice!-
My longtime critique partner, Sara T. Behrman (whose debut picture book just came out this past April), and I have been exchanging creative writing goals with each other for nearly 20 years. I credit our shared discipline with that practice for helping keep me on track when I’m feeling unmotivated, frustrated, or otherwise experiencing a creative struggle. I rarely complete all of my weekly goals, but having them in front of me, knowing that I will be reporting my progress to someone week after week, helps me stay on track.
What words of wisdom would you share with an author or illustrator considering pursuing kidlit publishing?
I’d say my main words of wisdom would be to develop and articulate a mission statement and a strong creative vision for your books and for your career. Begin by giving some deep thought to why you’re doing the work that you do.
Many years ago, I wrote the following mission statement related to my writing work:
I write to teach, empower, process, and persuade.
When I wrote this mission statement, the word empower was meant to convey that I wanted to write books that empower my readers. There have been times, however, that adhering to my writing practices and routines has helped empower me, particularly during periods of time filled with uncertainty and powerlessness. I also encourage others (in any walk of life) to really think about, envision, and articulate what it is you want to create and accomplish. Some years ago, I wrote the following vision statement to help guide and shape my creative work:
My Vivid Description of the Future: -Kids and parents who sign will seek out my sign language stories. -My publisher will be passionate and informed about my projects. -Educators and librarians will read my stories to the kids they serve. -Because of my books, more and more libraries will contact me to request classes to teach them how to sign with their kids. -My books will open doors for me to travel to new places, meet new people and continue to provide opportunities for me to teach and encourage others. -My stories and workshops will bring the power of language and literacy to children.
-I love all of these, Dawn!-
Ideally, one’s vision and vivid description of the future becomes a living, breathing document that changes and develops over time, just as we each change, develop and grow over time. In fact, it’s about time for me to revisit my own envisioned future, as much of the above has since come to be!
The other thing I would share is a sentiment that was shared with me back when I was in grad school. One of my projects involved working with a local entrepreneur, and at the end of the project she gave me a tea mug with the following sentiment:
Do What You Love. Love What You Do. Strive to Be True to Yourself.
I think that’s a really important sentiment for writers and illustrators, too.
Before my first books were published, I was under the illusion that finding a publisher was the big, hairy, audacious goal. But I soon came to learn that after I signed with a publisher, the bulk of the work was still ahead of me: editing, more revision, more research, development and refinement of the back matter, input about design elements, marketing, etc. But finally, the wonderful opportunity to share my stories with readers, and the opportunity to inspire other writers. That is what makes it all worthwhile.
I’ve overcome each of these [publishing] obstacles by putting one foot in front of the other and moving forward. Day by day. Step by step
My best advice to other writers is to get yourself a writing buddy and exchange creative writing goals and goal reports with your buddy on a regular basis… I credit our shared discipline with that practice for helping keep me on track when I’m feeling unmotivated, frustrated, or otherwise experiencing a creative struggle.
Develop and articulate a mission statement and a strong creative vision for your books and for your career. Begin by giving some deep thought to why you’re doing the work that you do.
Do What You Love. Love What You Do. Strive to Be True to Yourself.
THE STORY BEHIND THE STORIES
Dawn, you are such an accomplished *and busy* person with so much drive, motivation, and care for everything you pursue. I’d love to know more about what drives you- and your writing!
Can you tell us the story behind the stories? If you’re up for it, I’d love to hear a brief summary, from your words, of what each of your books is about *or as many as you’d care to share.* What inspired it? What does it mean to you? And what do you hope it will give your reader?
Thank you for such kind words, Chelsea.
My most recent book, and a story that is very dear to my heart, Lucy’s Blooms, grew out of memories and emotions that surfaced when I gazed at a little glass bird that sits on my desk, a gift from my beloved Gram, coupled with an experience I had in my own garden.
One day, as I diligently tended to the flowers in my carefully prepared flowerbeds, I observed two additional plants that had independently sprouted in a patch of soil that bordered my front walkway. I didn’t know what these plants were, only that they were beautiful and thriving. Eventually, more experienced gardeners informed me that these plants were actually weeds, and I was advised to pull them.
This vigorous and lively pair of weeds brought me such joy as I passed by them day after day, I couldn’t fathom the idea of discarding them. Instead, I nurtured them. I watered them, I talked to them, and I admired them as they grew and grew…and grew.
As I reflected on this experience, I considered the impact of socially constructed labels, such as beauty and worth, and how these labels impact our everyday actions. I became fascinated by dandelions, in particular, because they are widely considered to be an invasive nuisance that should be controlled/eliminated, and yet, every part of a dandelion (root, leaves, petals, etc.) is edible, they are rich in nutrients, and they are known to have healthful, curative properties. Plus, they are easy to grow, resilient, wildly familiar to (and beloved by) children, and in my view, absolutely beautiful.
-I am in love with this line of thought. And I completely agree.- -Thank you, Chelsea! I think we are kindred spirits!-
And thus was planted, the seeds of Lucy’s Blooms.
My son’s imaginative play inspired Where Does a Pirate Go Potty? One day, back when he was bitsy (he’s now a senior in college), he raced around the house with a pirate patch on his eye and a diaper on his bum, repeatedly asking in a raspy little toddler voice, “Where Does a Pirate Go Potty?” I knew immediately this was the title for a book, and I started drafting a manuscript soon after. I worked on that story off and on for over a decade before getting it right.
The companion book, Where Does a Cowgirl Go Potty?, came from a self-assigned creative writing exercise after receiving a decline from an editor who loved my Pirate story, but whose sales team felt it would only appeal to boys, cutting the potential readership in half.
Although I disagreed with the sales team’s assessment, I eventually brainstormed a list of different characters to try out for the story, one of which was a cowgirl. As soon as that idea came to mind, I found myself transported to a time when my then college-aged daughter was in grade school, and her wardrobe included a bright pink pair of cowgirl boots. I paged through old photos and found the one I was looking for: A photo of my daughter dressed-up for her western-themed grade school carnival.
I now had the kernel of a very clear new character in my mind’s eye. This character was unique and separate from the Pirate character that I couldn’t let go of, and she had her own story to tell.
WHERE DOES A COWGIRL GO POTTY? spilled onto the page with urgency.
My Cowgirl story eventually landed me a two-book contract with a publisher that had a knack for publishing western-themed books and decided to acquire both Cowgirl and Pirate. Yee-Haw and Yarrrr!
My next scheduled book, (Mama’s Home!, Familius, 2026), is a lyrical story about a child’s joy of welcoming Mama and a new sibling home. From eager anticipation and preparations for Mama’s return to sharing meals, playtime activities, and treasured routines, this sweet poem captures the special relationship between mother and child. I wrote the first draft of that story on a scrap of paper in my pocket as I once again watched my son engage in imaginative play, this time at our local children’s museum. It went through many twists and turns and subsequent revisions before finding a publishing home, and I anticipate there will be more changes to come during the forthcoming editorial and illustration processes.
Interior of LUCY’S BLOOMS, illustration by Alice Brereton
I adore every single page of Lucy’s Blooms, but the image above is one of my very favorites. For me it captures the essence of Lucy’s unconditional love for her blooms.
Interior of WHERE DOES A COWGIRL GO POTTY?, illustration by Jacob Souva
Jacob Souva’s art is amazing. It’s really difficult to narrow down my favorites, but this image on the copyright page of Where Does a Cowgirl Go Potty? makes me laugh every time I see it. It’s the perfect set-up for the silliness and humor to come.
Interior of WHERE DOES A PIRATE GO POTTY?, illustration by Jacob Souva
Similarly, I love this image on the title page of Where Does a Pirate Go Potty? It’s a perfect example of the magical collaboration between author and illustrator. I could have never imagined a more humorous crab character!
RESOURCES, EDUCATION & ASL
I know literacy is important to you. Can you share about some of the different organizations you’re a part of and the resources you provide- including your resources for ASL?
As I mentioned a bit earlier, my first published books grew out of my work as an early literacy consultant. I’ve provided consulting services and instructional workshops on a variety of literacy-related topics including infant/toddler sign language, literacy/early literacy enrichment, and creative writing for a wide variety of organizations over the past two decades including: The Oregon Association for the Education of Young Children; Early Head Start; Oregon Child Development Coalition; the Parent/Child Preschool Network, the Oregon and Washington Library Associations, Wordstock (now the Portland Book Festival), Willamette Writers, The Loft, and the Society for Children’s Book Writers and Illustrators/ SCBWI. You can find a more comprehensive list of past clients HERE.
I originally started my blog as a way to easily share class enrichment materials with my clients. Eventually, those enrichment materials expanded to resources to support each of my books. The easiest way to access these materials is via the resources tab on my blog. From there you can jump to materials such as “Start to Finish Story Time," which provides detailed lesson plans that incorporate early childhood language themes and American Sign Language/ASL handshapes for key vocabulary words and the alphabet and “Start to Finish Story Time, Expanded,” which provides curriculum-aligned educators’ guides; themed art projects and activity guides such as readers’ theater scripts and pirate and cowgirl name generators; YouTube playlists that include animated book trailers with original songs (the companion song to Lucy’s Blooms is a work of art in its own right) and fascinating facts such as info about animal poop science; and some things that are simply fun, like links to Pinterest boards related to potty humor, including a link to a toilet flushing sound loop!
I also have several features on my blog to support writers. Some of my most popular features are:
It’s my hope that my blog is a helpful resource to everyone who visits.
-Wow! You have so many great things to offer here! Thanks so much for sharing this with our readers today.-
VISITS & EVENTS
I saw on your website that you have an events and appearances section. What kinds of visits do you offer, who do you offer them to, and how can guests book them? *Virtual/in-person/both* libraries, schools, etc.*
I consider engaging directly with young readers and writers among the supreme joys of being an author. I offer a full gamut of author visits and special appearances for schools, libraries, bookstores, community organizations, etc., and I will virtually visit (and when possible, visit in-person) with students anywhere in the world to talk about writing books, finding ideas, character development, and more! -VERY cool.-
I participate annually in World Read Aloud Day and make every effort to find a way to go where I am invited to share my passion for reading and writing books. I even have free, self-guided author talks and young writers workshops that educators can request from me. The details of all of my offerings are available on the author visit tab of my website: https://www.dawnprochovnic.com/p/school-visits.html
If a guest wanted to hear/see a video recording of your story, where could they go?
Folks can find links to recorded book readings on my website, or they can head straight to my YouTube channel: https://www.youtube.com/@dprochovnic
Some highlights include: a recording of me reading Where Does a Cowgirl Go Potty? from my bathroom (!) and a reading of Lucy’s Blooms from my garden. You’ll also find an ASL-interpreted reading of Lucy’s Blooms provided by my friends and colleagues at Baby Fingers, LLC.
What’s your favorite part of an author visit?
I love most everything about author visits, but if I had to narrow it down, it would be the questions that kids ask and the notes they often write after school visits.
-Ha! That’s two things! : )- -Haha. I won't tell if you won't. Besides, who says you can't have two favorites?-
I looked back over some past author visit notes, and one student asked “Do you have any problems?” My first thought was “Where do I begin?!”
I wrote back:
You asked if I have any problems. I’m guessing you are wondering if I have any problems when I sit down to write my stories. Sometimes I get distracted from a particular writing project I should be working on. When I’m having difficulty focusing, sometimes I take a break. Other times, I do a writing exercise to help my creativity start flowing. I make writing goals for myself each week and I share those goals with a writing buddy. That seems to be the best thing that helps me stay on track.
Any last pieces of wisdom, encouragement, or something else you’d like to share with readers today?
This past year, I was honored with a major award in my state, the Walt Morey Young Readers Literacy Legacy Award, presented by Oregon Literary Arts in recognition of significant contributions that have enriched Oregon’s young readers.
To say that I was in shock and disbelief to receive this award is a major understatement. It was hard for me to comprehend how my name could have even been flagged for such a meaningful acknowledgment.
As I worked on my remarks for the awards ceremony, it occurred to me that our body of work, our literary legacy, extends well beyond the books that we write and manage to get published. You can read my full remarks (and see a video of my acceptance speech here: https://www.dawnprochovnic.com/2023/04/the-literary-legacy-part-of-writing-life.html) but I will share some similar thoughts below:
I wholeheartedly believe that each of us has the power to influence the literary landscape in our own communities, in our schools and libraries, and within our families.
Someone reading this blog likely read a book by a local author to a child today. Someone else made a purchase at an indie bookstore. I’ll bet someone volunteered at their local library, someone gifted a book to a classroom teacher, and someone wrote a kind letter that will be read and re-read again and again.
My fifth grade teacher held a reading contest back in 1978 that motivated me to read, and played a role in my eventually becoming an award-winning author.
I challenge each person reading this blog to take one seemingly small action that might benefit a young reader, another children’s book creator, or another professional who gets books into the hands of young readers, such as a teacher, librarian, or bookseller. Imagine the legacy that together we’ll leave.
-This was such a powerful note to end on. Thanks so much for joining us, Dawn.- -Thank you so much for having me, Chelsea. It was a pleasure.- But we’re not done JUST yet- there’s still one more item on the agenda, and that’s… THE GIVEAWAY!
Dawn Babb Prochovnic is offering the following giveaway prizes to TWO winners:
A signed copy of her most recently published book, LUCY’S BLOOMS
OR
A 20-30 minute Virtual School Visit or Ask Me Anything for an individual or small group.
HOW TO ENTER THE GIVEAWAY
Subscribe to the blog/newsletter
Like this blog post
Comment below, letting me know you’ve done BOTH. (Please note: If the guest is offering more than one prize, please specify which prize you’d like in your comment.)
Deadline to enter: June 30th, 202411:59 PM CST
And that’s it!
FAQ:
What if I was already subscribed to the blog? Does that mean I won’t qualify for the Prize Giveaway? Not at all! If you subscribed before this month, all you’ll need to do is LIKE this Feature Interview and leave your COMMENT below this post within the deadline (the current month/year entry was posted).
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Dawn Babb Prochovnic is the recipient of the 2023 Walt Morey Young Readers Literary Legacy Award in recognition of significant contributions that have enriched Oregon’s young readers, a contributor to the award-winning anthology Oregon Reads Aloud (Graphic Arts Books, 2016), and the author of 19 picture books. Dawn’s three most recent publications include two humorous titles, Where Does a Cowgirl Go Potty? and Where Does a Pirate Go Potty? (West Margin Press, 2019), and Lucy’s Blooms, a heartfelt, multi-generational story about the enduring nature of love (West Margin Press, 2021). Next up is Mama’s Home!, under contract with Familius for publication in 2026. Dawn continues to incorporate her earlier books, The Nest Where I Like to Rest, an Oregon Book Awards finalist, and 15 other picture books in the Story Time with Signs & Rhymes series (Abdo, 2009-2012) into her early literacy consulting work and school/library author visits and workshops.
Welcome back to another Feature Interview about kidlit publishing on Chelsea’s World of Books blog. Today is an exciting day! Not only am I coming to you with this terrific information from special guest, Children’s Book Author and Acquiring Editor at Blue Whale Press, Roseanne Frank, but it’s also the anniversary of my book birthday for ADHD AND ME. Hip-hip-hooray!
But before we get started… just in case this is your first time here, let me tell you a little about what makes feature interviews so great…
WHAT’S SO GREAT ABOUT FEATURE INTERVIEWS?
Feature Interviews are an INVALUABLE resource for kidlit writers and illustrators at every stage of their publishing journey. Not only are they a great way to stay current on market trends and learn more about the industry’s ins and outs, but they also give readers an up close & personal look at the world of publication from the perspectives of a diverse collection of creators. Personally, my favorite part about these interviews are the connections I’m able to make- and share with you all!
Every month, I sit down with members of the writing community (authors, illustrators, editors, and agents), and we discuss all things kidlit publishing.
Here are a few examples of topics:
Writing workshops and resources
Diversity in literature and why it matters
Where to find support and community
How to improve writing craft and set goals
How to deal with setbacks/disappointments and WAITING
Helpful tips and suggestions for aspiring authors and illustrators
Querying agents, contract negotiations, book deals, and time frames
And, of course- NEW BOOKS!
So, now that you know what to expect… let’s get into our interview.
Children’s Book Author & Acquiring Editor for Blue Whale Press, Roseanne Frank
Roseanne Frank is a former early childhood educator with a degree in reading and clinical diagnosis. Her journey to publication started in the adult space and spreads across the scope of both indie and traditional publishing. Roseanne is the social media director for the SCBWI Long Island, NY chapter, the founder of the site Parents Love Picture Books, and a freelance editor and writing consultant for Clear Fork Publishing and Kidlit41. In her free time, she enjoys hosting Elements of Picture Book Writing workshops for several local libraries. As of January 2024, she was appointed as Blue Whale Press’ new Editor of Acquisitions. When she’s not doing writerly things, she likes to watch old movies, especially old horror. She has two grown children, a delicious King Charles Cavalier, and a husband who has always been super supportive. She lives on the beautiful north shore of Long Island, NY, and wherever she goes, she has to have trees.
THE BEGINNING: WHY? WHEN? HOW?
Roseanne, it’s such a treat to have you with us today! The first question I love asking my guests is about the beginning. Why? When? How? Could you share the beginning stages of what led you to the wonderful world of literature?
Hi, Chelsea! Thank you so much for hosting me! I’m so excited to be here! My journey into writing is quite circuitous. It started while on the alumni board for the School of Education for Manhattanville College, and back in 2010, they had a call for articles for their newsletter. So, I submitted one on Multiple Learning styles in the classroom. When I saw my work in print, I was hooked! I continued to write articles for the newsletter (links to them are on my website) and then sought out other avenues to write. I found a site called Indies Unlimited. Each week they had a visual prompt for a flash fiction contest – you had to tell a story in 250 words or less. Foreshadowing for future writing endeavors? Perhaps.
I continued writing weekly for almost 7 years for other outlets and other contests and worked at honing how to tell a complete story that engages the reader in such a short space. I loved flash fiction – still do. It’s like a puzzle to try to write a micro-story that has a beginning that grips the reader, a rising action, and a satisfying ending. Then I leaned into my first love – children’s literature. It was there all along, just…dormant. I wrote a couple of too-long stories and sentthem out with too-long query letters, which – of course – received rejections. Then everything changed when I went to my first SCBWI event and met someone who would invite me to join their local critique group. This group of talented writers has been invaluable, and my children’s writing has improved on the fast track. And what I found was that my experience writing flash fiction was the perfect prep for picture book writing!
Which came first- being an editor or a writer? Explain.
Writing came first. But editing and critiquing are part of the process of learning how to look at a story, what works, what doesn’t, and why, and how to make it better. By critiquing others’ work you become an active learner of all the elements of picture book writing, and then it helps you craft your own well-written stories. I found that I loved pouring over other writers’ manuscripts and helping them create a story that not just conveyed their story idea but did it in such a way that employed all the exciting elements that make a great children’s book. During the pandemic, I opened a FIVERR account, and now I edit through that platform with a great following of return clients. Then I was added to KidLit411 resource website and as a freelance editor for Clear Fork Press.
Do you think one benefits the other? Explain.
I can’t stress enough the importance of reading, critiquing, analyzing, and giving feedback on other writers’ work to improve your own. The love of editing came out of writing. But by editing, my writing improves too.
What challenges have you faced along the way, and how have you been able to push forward?
Oh, buckle up for this one. ALICE IN THE PALACE was originally signed with a publisher in 2017. They closed before they even put out their first book. Then it caught the attention of an agent. Sent them more manuscripts and had a phone call. We got disconnected during the call and then (this is CRAZY) they ghosted me. ALICE was then signed with another publisher, which is where I was paired with the awesome illustrator, Ashleigh Heyns. The illustrations were almost done… and they closed. Ash and I continued to submit the manuscript as a team when Clear Fork picked it up. In the meantime, I continued to write and submit, and I signed with Touchpoint Press’ faith-based imprint for WHISPERS FROM GOD, due out this March, again after a long, bumpy road. ALICE is finally out in the world 7 years later.
How to push forward – that’s a great question because this industry is fraught with disappointment. Two things I felt kept me sane: a great support system (my writing pals), and always working on something else and submitting something new. One rejection in, send two stories out.
“Two things I felt kept me sane: a great support system (my writing pals), and always working on something else and submitting something new. One rejection in, send two stories out.“
WRITING ACROSS GENRES
You mentioned in your bio and application that you started out your career as an author in the adult space. Can you tell us a little bit about that?
I started writing flash fiction for adults. My stories tend to be like Twilight Zone episodes with a Stephen King vibe. I especially enjoy endings with a twist you never saw coming, which is how my adult collection, BITE SIZE READS, came to be. Sometimes my ideas aren’t quite kid-friendly, so writing for adults is a great outlet. Also, I write for adults under RB Frank to keep the genres separate.
How did you get from point A to point B, point A being the adult space and point B being children’s?
I think learning how to write concisely and effectively made moving to a picture book structure easier than, say, moving from longer narrative writing. So when I started with kidlit, I was already primed to write.
Do you still enjoy writing for both, or have you entirely switched to writing for children?
I am 97% with kidlit! I veer off to the adult space only occasionally with projects like KVETCH & SKETCH, which is a humorous art therapy and journal activity book – not for kids! And my one foray into the YA space with LEGACY & LEGEND. It’s historical fiction set in the Revolutionary Era on Long Island, with horror and paranormal elements woven in. It was a labor of love, a story that haunted me for a while that I needed to tell. I love that it’s a book for that in-between age group (MG & YA) that everyone says they’d like to see more of.
ROUTES TO PUBLISHING: INDIE VS TRADITIONAL, AGENT VS NO AGENT
Now, you’ve had experience with both independent publishing as well as traditional. Can you share a little bit about both experiences and explain some of the pros and cons of each?
After years of writing flash fiction, I found I had a collection of solid stories. And while organizing the stories, I found that they fell naturally into categories. I decided to self-publish. It wasn’t even a question if I should submit the whole collection anywhere because I had a vision for the presentation that was hyper-specific and really unique; the stories are grouped by how long they take to read. I love irony so although the stories are short, the title is not: BITE SIZE READS: slightly twisted, deliciously dark, really short stories for people with very little time or very short attention spans.
It was the same way with my picture book, THE WITCHES’ DANCE. I did the artwork and I had specific goals for the back matter to include recipes, activities, a read-aloud, and QR codes for links. I felt it was too directive to propose to a publisher, so this was another indie project.
The pros are that I had complete control over the production and distribution, and I kept a greater percentage of the royalties. The cons of self-publishing is that there is a learning curve to the process. Then there’s marketing – not unlike traditional publishing. My experience with traditional publishing is with a small publisher, and I will say that I do like working with small publishers as they are willing to include the author in all stages of production.
And regardless of which path you take, marketing ALWAYS seems to be a challenge. That’s why I started Parents Love Picture Books. It’s a way for readers and creators to connect easily.
What are some reasons you might recommend one vs the other and why?
If you have a very specific idea about your story and you are not willing to compromise on the story, or you envision the illustrations a certain way, then you may want to consider going indie. One of the services I offer is to work with authors in the creation of their book, compiling the illustrations and text – almost like an art director – and setting it up for publication on whatever platform they’ve chosen.
If you are a writer with a great story and you’re okay collaborating with an editor and letting an illustrator work their magic (because they do!), then send those babies out and find the perfect home for it!
As someone who has experience with independent publishing, what are some tips and suggestions you’d like to share with other authors or illustrators considering this route of publication?
Have a plan. Learn the process beforehand and the sequence of when things need to be done. I work with a lot of authors who self-publish, and more often than not, authors have the illustrations done before they choose the size of the book or the platform. Then, when we get to formatting, the authors have to pay to have the illustrations re-done because they’re the wrong size or ratio or they’re not the digital quality that is required.
Have a plan for which platform you want to use and familiarize yourself with their distribution, lead times, and royalty reporting. Make sure you’re okay with all those things.
Edit. Then edit again. Then have someone else edit it.
Make sure your illustrator is excellent. Artwork sells the book first. If you cheap out on the artwork, it will show.
Don’t use Comic Sans. For anything.
Familiarize yourself with other successful indie books and traditionally published books for what makes those books visually captivating.
Finally, your expenses should be for illustrations, editing, and maybe, formatting. The latter you can learn to do on your own. You don’t have to lay out thousands of dollars for an “all-inclusive” service; you can do it!
Are you currently represented by an agent/agency? If you are agented, can you share what some of the benefits are? If you’re not agented, are you actively querying for representation? Why or why not?
I am not represented and I'm not actively seeking representation at this time, but you never know. This is something that works for me. I feel I have the control to send the stories I want to the publishers that I think will be a good fit. Agents do great work, but I think they have so many clients they can’t represent ALL my stories. They are able to get into closed houses, but for me, right now, I’m okay pursuing smaller publishers.
This is all such brilliant advice, Roseanne. Thanks for giving our readers so much to work with and consider!
“Have a plan. Learn the process beforehand and the sequence of when things need to be done.Have a plan for which platform you want to use and familiarize yourself with their distribution, lead times, and royalty reporting. Make sure you’re okay with all those things.“
“Edit. Then edit again. Then have someone else edit it. Make sure your illustrator is excellent. Artwork sells the book first. If you cheap out on the artwork, it will show. Don’t use Comic Sans. For anything.“
“Familiarize yourself with other successful indie books and traditionally published books for what makes those books visually captivating.“
WRITING BLOGS, WORKSHOPS & RESOURCES
Let’s talk about writing resources & workshops. You mentioned that you’re the social media director for the SCBWI Long Island, NY chapter. How did you end up doing this, and can you tell us what it involves?
The position of social media coordinator for the LI chapter became available not long after I joined SCBWI, and I jumped on the opportunity to take that on. I like being involved and being on the inside of things. For almost 5 years now, I’ve posted on Instagram, X, and Facebook. Sometimes, I come up with posts on my own, share writing or illustrating information, repost events from SCBWI or other chapters, or promote events that we’re hosting.
For some of our aspiring writers who are very new to publishing and may not be familiar with SCBWI, would you mind telling us a little more about it and all of the things it offers? Why would a writer be interested in joining? What resources and opportunities will they find here?
SCBWI (Society of Children’s Book Writers & Illustrators) has been around for about 50 years. They are a worldwide organization that is dedicated to supporting children’s book writers and illustrators with events, resources, and networking opportunities. They also offer online events, in person conferences, showcases, awards, grants – you name it! You can find your regional chapter on their site scbwi.org. Membership is a game-changer if you’re serious about diving into kidlit.
You also mentioned being a freelance editor and writing consultant with Clear Fork Publishing and Kidlit411 website. Can you share more about this and the specific services you offer?
I edit picture books, novels, and business content. I offer consulting - which can include developmental edits, feedback & critique - for picture books only. Some clients have requested formatting and production services, so I offer custom orders for those services. I actually love doing that because I get to see a book from beginning to end! Anyone interested can find more detailed info on my site rbfrank.com – Consulting & Editing.
It's great to know that you offer these services! And earlier you mentioned Parents Love Picture Books, which is a website that you founded. Can you tell us more about what that is and how it began? What inspired you toward this venture, and when did you start?
Parents Love Picture Books is fairly recent, 2021. I realized that there wasn’t a One-Stop Shop for parents, teachers, or educators to just stop by and peruse new books. There are blogs and posts on social media and Amazon but not one place where they could see suggestions in one place categorized by fiction and non-fiction. It’s a simple site. New books highlighted on the homepage, a section for non-fiction, and an archive. Each book cover is clear and has a clickable link for easy purchase. A win-win for everyone!
I love that you saw the need for this and took it upon yourself to provide it. Congrats on such a wonderful idea! But that's not all you offer in the way of resources. You also take an active interest in your local libraries. (Which, being a librarian myself- I am cheering for! I wish we lived closer so I could host you in our library!)
Let's talk about what role you play with your local libraries. Which is, hosting an Elements of Picture Book Writing workshop for multiple libraries in your community. Can you tell us how this all started? Is it something you do independently, or is it a partnership program? Do you create the materials yourself or use templates/information from a specific website or place? I'd love to learn more about it!
Teaching is always in my blood. Whether it’s kids or adults, it doesn’t matter. I enjoy being part of the learning process for both. I approached a few libraries with the idea of hosting a picture book writing workshop for adults (since I hadn’t seen one).
I run two workshops; one in the evening and the other during the day. The workshops are student-driven, and we focus on their work and the elements that make a picture book work. To start each class, I read a mentor text and then ask open-ended questions to determine where they are in the writing process. Are the participants looking at the superficial elements, or are they recognizing the deeper levels like pacing, language, page turns, and the relationship between art and text? Then I know how to proceed in our discussions, and we workshop their stories with everyone’s participation.
Wow, Roseanne. What a superstar! I love that you (again) saw a need that wasn't being met- and filled it. So, okay. You take notice- you decide what you want to do. Then what? What was the process like for getting into the library, and what kind of responses have you received from your attendees?
Approaching libraries is a lot like querying. I sent out emails with a proposal, and then I waited. The response from attendees has been great, and I’m so pleased about that. Our groups have people who return every session. I’ve come to know them and vice-versa, and they make hosting these writing groups so enjoyable. They’ve become not just a writing group but a social, engaging group. We eat lots of chocolate.
You can't go wrong with lots of chocolate and great company.I'm sure you're writing participants are very grateful to have a free program like this to help aid them in their writing careers! For these workshops.. are they something you regularly host, or is it a one-time event that you’ve done for various locations?
The sessions are 6 classes: one session in winter, two in spring, and two in fall. Right now, I’m in two libraries.
So cool!While we're on the subject of workshops… have there been any workshops that you’ve attended that you really enjoyed and would recommend to other writers/illustrators? If so, which ones were they and what made them special?
Any of the SCBWI events are great. I’ve attended webinars or in-person events from the parent SCBWI or virtual through other regional chapters. I find they’re affordable, and they always over-deliver! I love Rosie J Pova’s events, Storytime Sprint, Picture Book Summit, and Julie Hedlund’s events. Kidlit411 site and social media groups are invaluable for information and upcoming workshops. The blog Writer’s Rumpus has an extensive list every month of events and opportunities for writers and illustrators. The kidlit community is incredibly giving, and you can find lots of free opportunities on social media.
Can you share three (or more) resources or practices you’ve found to be most helpful on your writing journey?
Three things that I do that really help in all aspects of writing are:
- Read a lot of picture books. - Be part of a great critique group. - Be involved, whether it’s attending in-person or virtual events. Networking is invaluable, and you really get a pulse of the ebb and flow of children’s books and the market.
Do you have any suggestions or words of wisdom you’d like to share regarding workshops, resources, or something else?
When you read picture books, read them as a writer. Approaching a book as a reader is different than reading as a writer. Put your writer hat on and ask yourself questions about the elements that make your mentor texts work. How is the pacing? Is there an interesting use of language? How does the author build tension? How do the illustrations help tell the story, and why did they make those choices? Recognizing what works in other’s stories will help you in your craft as well.
So well put!
Read a lot of picture books. Be part of a great critique group. Be involved, whether it’s attending in-person or virtual events. Networking is invaluable, and you really get a pulse of the ebb and flow of children’s books and the market.
NEW VENTURES ON THE HORIZON: PUBLISHING HOUSES & SUBMISSIONS
If I remember correctly, January 2024 was the official announcement of your new position as Editor of Acquisitions at Blue Whale Press. Congratulations! How is that going?**Update for readers: Roseanne's official post for her position went out YESTERDAY- February 20th, 2024!**
So far, so good! Blue Whale is an imprint of Clear Fork Press, and Callie Lovvorn is the founder of both. From the very beginning, we had a similar vision for the imprint and are working to build a great front and back list.
What type of work does this position involve, and what kinds of stories are you/this publishing house looking to acquire?
I read submissions, and once acquired, I work with the authors on any edits to get it in the best shape for publication. We are looking to acquire STEAM and STEM chapter books, middle grade, and Hi-Lo. I’d love to see neuro-diversity characters who are part of the story, not the focus of the narrative. All kids should see themselves represented. I’d love a mini-Indiana Jones or a math whiz, as in the TV show NUMB3RS. I’m fascinated by cryptozoology, lost worlds, space, art history, and time travel (ie, Time & Again by Jack Finney or A Wrinkle in Time). We’re also excited to look for books that fill a niche of the lower YA genre. You can go to the Clear Fork or Blue Whale site or my MSWL.
Is your agency open to unsolicited submissions? If not, how can people submit?
We do accept unsolicited. There are gems out there. I know it! Please read and follow the submission guidelines on the website. We’ll be open at certain times of the year, so follow us on social media. **Note for readers- Blue Whale and Clear Fork websites are currently under maintenance during this relaunch time- please be patient. Once links are up and running correctly, I will post them here. **
Is Blue Whale Press a traditional publishing house or a paid-for self-publishing guided service and platform? And can you explain the difference between the two?
Blue Whale is a traditional publishing house, so we don’t offer advances but royalties from sales. The difference between a traditional house and a self-publishing or “vanity” press is that we don’t ask for any money upfront. The publisher gets paid when they sell books.
Any manuscript no-nos or tips you’d like to share with our readers?
Please, please, know how to format your manuscript. Following the guidelines shows me you are familiar with the industry and are taking the time to present your work in its best form. The query letter I’m not so particular as long as it includes all the information somewhere in it. There is a HUGE collection of resources and links regarding submissions on my site. Feel free to stop by and take a look!
Please, please, know how to format your manuscript. Following the guidelines shows me you are familiar with the industry and are taking the time to present your work in its best form.
BOOKS, BOOKS, BOOKS!
We've finally arrived at my FAVORITE part- the books! Can you tell us about your books and how they came to be?
Thank you so much for asking and for giving me an opportunity to highlight my work.
My kids and teaching littles are the inspiration for my children’s books. You just have to be present to see the unfiltered imagination that sparks ideas that, for us adults, have been tucked away. I’ll see a situation, and when I recognize an idea or theme, I ask those ‘what if ’ questions. One ‘what if ’ question leads to another until a story forms. Then I flesh out the characters, themes, and layers.
ALICE is about a princess whose imagination gets her into a bit of trouble with the king, and when he says, “No more pretending,” Alice isn’t Alice, and the palace is not the same. It’s a celebration of the joy of imagination and being your authentic self.
THE WITCHES’ DANCE was a poem I wrote for my kids one Halloween. It is about the witches who come to the clearing on Halloween night to dance around the firelight for their festive ball. It’s written in fun rhyme, and I include activities and a link to a read aloud with sound effects from Smarty Pants Magazine.
LEGACY & LEGEND started as a nightmare I had one night. Literally. I wrote down that one scene and then built the story from that. I wove in elements I love like horror, paranormal, history, and Celtic lore. The back matter is extensive, referencing real locations, legends, and religion.
For your children’s books, how did the illustration process work? Explain.
For THE WITCHES’ DANCE, I did the artwork. I was an art major and still work in various mediums. It was created with watercolor and collage.
For ALICE, I found Ashleigh Heyns from the publisher’s list of illustrators. It was a very collaborative process with the publisher and Ashleigh. Ashleigh is patient and super talented, and she was a joy to work with. Highly recommend working with her if you get the chance.
Any last words you’d like to share with those reading today?
- Comparison is the thief of joy. Everyone has a different path and their own timeline. - Keep writing. - Not every story is a winner. Some are just practice, and that’s okay. - YOU CAN DO IT! You can!
Thanks so much for joining us today, Roseanne. Your interview answers were just terrific and I hope they can help others who read them today.
But that’s not all. We still have ONE final item left on the agenda. And that is THE GIVEAWAY!
GIVEAWAY PRIZE
Roseanne is offering the following giveaway prize:
Critique, feedback, and one revision review for a non-rhyming picture book under 1,000 words OR an above-the-slush submission to Blue Whale at any time. (Please make sure the story is a fit for the imprint). View sample books HERE.
The winner can choose either one. Please put “Chelsea’s World of Books Blog” in the subject line.
HOW TO ENTER THE GIVEAWAY
During the month of February 2024: Deadline: February 29th 2024 12PM CST
Subscribe to the blog
Like this blog post
Comment below letting me know you’ve done BOTH. (Please note: If the guest is offering more than one prize, please specify which prize you’d like in your comment.)
And that’s it!
FAQ: What if I was already subscribed to the blog? Does that mean I won’t qualify for the Prize Giveaway? Not at all! If you subscribed before this month, all you’ll need to do is LIKE this Feature Interview and leave your COMMENT below this post, within the deadline (current month/year entry was posted).
Did you enjoy this interview? Thank the author & host by purchasing their book or requesting it be purchased by your local library! Already own a copy? Consider leaving a brief review. Using the sponsored linksbelow not only supports the author, but helps support this blog.
Oh my goodness, guys. I don’t know about you, but my January was a roller coaster. It somehow felt like it lasted forever because SO MANY THINGS happened, yet it flew by at the same time. Do you ever have crazy months like that? One second, you’re slugging along, and then BAM. BAM. BAM. Things happen out of nowhere, and FAST! Well, that’s how it was for me. And I’m so happy to be here with you again as we begin a new month together in February. This month, I have a pretty spectacular lineup of guests for you. Today’s guest is particularly special, as she and I have many common shared experiences, which you’ll learn more about here shortly.
But, before I get into the interview portion, I first want to address anyone who may be visiting today for the first time. Welcome! I’m so glad you’re here. Why? Because it means that you are interested in learning. And as we publishing warriors all know- the only way to be successful in this industry is to continue learning. And when I said warriors before, don’t mistake this for a battlefield- it’s not really so much that it’s a fight, although sometimes it can feel that way, but really, what I mean by “warriors” is that publishing requires a tenacity. A determination. A hunger. And as warriors must do, you too must “soldier on.” It’s the only way. And for me personally, I’ve found the greatest way to be able to do this is to share the journey with others who are just as tenacious, determined, and hungry for it. Okay- that’s all nice, but what does this little speech have to do with you being here on my blog today? Well, here is a brief overview of what feature interviews are all about and why they’re so important.
WHAT’S SO GREAT ABOUT FEATURE INTERVIEWS?
Feature Interviews are an INVALUABLE resource for kidlit writers and illustrators at every stage of their publishing journey. Not only are they a great way to stay current on market trends and learn more about the industry’s ins and outs, but they also give readers an up close & personal look at the world of publication from the perspectives of a diverse collection of creators.
Every month, I sit down with members of the writing community (authors, illustrators, editors, and agents), and we discuss all things kidlit publishing.
Here are a few examples of topics:
Writing workshops and resources
Diversity in literature and why it matters
Where to find support and community
How to improve writing craft and set goals
How to deal with setbacks/disappointments and WAITING
Helpful tips and suggestions for aspiring authors and illustrators
Querying agents, contract negotiations, book deals, and time frames
And, of course- NEW BOOKS!
And now that you have an idea of what I’ve promised- it’s time to deliver. So, let’s get into our feature interview!
Rachel S. Hobbs
Rachel S. Hobbs was born in the US to a Californian father and an Argentine immigrant mother. She grew up with a love of languages and music and received her Bachelor of Arts in Spanish with a minor in music. She works part-time as a literary agent’s assistant and has worked as a children’s educator. She enjoys volunteering and working with children, and in her spare time, you can find her braiding hair at festivals, playing the flute in a band, crocheting, reading, and playing games. She lives in Monterey, CA, with her husband and three kids. Tango Red Riding Hood is her first book, published by Gnome Road Publishing on September 12, 2023.
HOW IT ALL BEGAN
Rachel, it’s so nice to have you visiting on Chelsea’s World of Books blog today. I’m really looking forward to our chat today and getting to share more about our mutually diverse backgrounds. But before we dig into that area, I’d love to hear all about how you got your start in publishing. Can you tell us how it all began?Which came first, the chicken or the egg (the chicken and the egg being “kidlit author” and “literary agent assistant”)?
Great question! I started writing seriously in 2005. I realized during my research and critique group experiences that working in children’s publishing was exactly what I wanted, but I thought it was too late. Let’s cut to 2020 when my first article was published; 2021, when I got my first book deal and my internship at a literary agency; then 2022, when I got my agent’s assistant job; then 2023, when my first book was published! So, the two roles have danced around each other for quite some time.
BEHIND THE AGENT DESK: QUERIES, TRENDS & PET PEEVES
Since you work as both a children’s book author and a literary agent’s assistant, I thought we could take those questions in two sections. Let’s start with “behind the agent’s desk.” Can you walk us through what being a literary agent’s assistant is like?
There is no quick answer! Basically, it’s amazing, and I love it. It’s very busy and fast-paced, even though if you look at any one particular deal, publishing seems so slow. There are many different types of tasks to accomplish, and you have to juggle them all and reprioritize all the time.
What agent/agency do you work for, and what kind of books do they represent?
I do contract work for Writers House since I’m only part-time and work remotely (the agent I work for has a full-time assistant). I’m lucky to be at such an amazing place with wide resources, surrounded by incredibly talented people. Every type of book that I can think of is represented there.
Are you currently taking clients of your own? If not, do you plan to in the near or distant future? If so, what kind of books (genres) will you look to acquire for your list?
I do contract work, so I’m not in a position to take on clients myself. Even down the line, though, I still will only be interested in children’s books.
Let’s talk trends. Have you noticed any trends that editors and publishing houses are looking for and are not looking for right now?
That is such a hard question, and this might not be a favorable answer, but different editors look for different things! I still see tender, thought-provoking stories, but also very fun, non-serious books. What is hard for an author, I think, is that you wouldn’t know that a publishing house is currently working on a story just like yours, and even though they like your story, it can’t work for that house. So, you really can’t assume the reason why your story was rejected. Also, an editor may have done a bunch of poetry and is ready for something different. If you want to see what publishing houses are acquiring right now, then Publisher’s Marketplace can be helpful. It is uncanny, though, to see waves of submissions for similar sounding manuscripts without people meaning to write on similar topics. I personally don’t think any trend is predictable.
What kinds of stories do you enjoy reading most? Any quirky favorites/guilty pleasures?
I love being shocked by a picture book that, in retrospect, makes me wonder how that was never done before. A recent example of something unexpected was Jon Klassen’s The Skull. I also love picture books that make me want to rip out the pages to frame every single one because of how much I love the art, like Lane Smith’s A Gift for Nana. I treasure humorous picture books whose endings land so well, like Mac Barnett and Marla Frazee’s The Great Zapfino. I love listening to YA audiobooks, usually of the fantasy/sci-fi sort. I absolutely loved Divine Rivals by Rebecca Ross. I can’t recommend it enough. I like graphic novels…I could go on and on!
What are some big querying pet peeves?
All opinions are my own and are not representative of anyone I work for or with. I personally don’t make decisions on query letters. However, here are things that stand out to me unfavorably: when query letters state that their book is the next NYT best seller, or that their family or students love the manuscript; huge or really tiny font size; no name listed (nor is it guessable by the email address); reading a query letter written “by” the animal protagonist of the manuscript; saying no one has ever written about [insert topic] before (note: look for ways your story might fit alongside other stories and use those as comps, then point out how yours is different); saying this is your first book (that doesn’t need to be said) or that you just wrote it.
In your opinion, what hooks an agent?
To be honest, it’s different from agent to agent. I recommend reading manuscript wishlists and seeing what deals were made by that particular agent. (See Publishers Marketplace.) I have found good information by attending conferences, hearing agents speak, and reading their faculty bios. And even if I can’t personally attend a conference, I appreciate learning about agents from friends.
When I’m writing a query letter, I absolutely have critique partners read my pitches. Some people are really great with witty wordings that make your pitch sound snappy and exciting. I think book comps also show you know the industry well and you’ve done your homework.
Once an agent makes an offer of representation, what are the next steps? Walk us through the process. (Typical timeframe- how many manuscripts do you send out on submission- can you send more than one at a time at once- to how many houses? Etc.)
I don’t send anything out myself. I think it’s common, though, to submit to several editors, although if two are at the same house but at different imprints, they might not be able to both extend offers. It seems that usually, one manuscript is sent out per query, but a deal can be made for more than one manuscript. I don’t have a lot of experience in this area. What is the process for a current client sending new work to their agent? Are they able to reach out directly and let you know they have new work they’d like you to consider, or is the agent responsible for checking in within a certain amount of time to see what new projects their client is working on? Explain.
I don’t work directly with any client, but I know the first one to be true, and I’m not sure about the second one.
CONTRACTS, MONEY & EVERYTHING IN BETWEEN
I know a lot of writers are curious to know about how they and their agent’s both get paid. Can you tell us a little bit about how that works?
The agent takes a 15% commission. The publishing house typically sends the payment to the literary agency, and the literary agency pays the author.
Does the agency you work for offer a standard contract for each client, or do you customize each contract to fit the needs of your individual client?
I know there are boilerplates, but I don’t know the specific answer to your question.
Can you tell us a little bit about some of the things an agent does to aid an author or illustrator in the process of negotiating contracts on their behalf with publishing houses?
An agent will not only look for a good advance but how many slivers the payout is in (fewer slivers mean larger fractions of the advance paid out at a time and preferably not spread to multiple payments after publication). Also, the competitive works clause is crafted so as to not prevent an author from publishing other books. An agent will try to get bonus payments (in case of awards and such) and escalators (higher percentages earned after a certain amount of books are sold). There are more details for sure, but this info is broken down for the author to compare so they can speak to their preference.
What are some of the things you specifically look for in negotiating a fair contract where both your client and the publishing house are happy?
I don’t participate in this aspect, but it’s always great to hear that an author gets to work with someone they really click with who is just as passionate about their work as they are. I think when both parties feel like winners, it’s something to celebrate! About how many clients, on average, does your agency take on every year?
I don’t know—there are 28 agents at Writers House, and some are more established than others who have recently begun taking on their own clients.
Does your agency represent authors and illustrators? Or just authors?
Authors, illustrators, and author/illustrators.
BEHIND THE AUTHOR DESK
Okay, we’ve gotten through the agent questions. Now for our author questions. Can you tell us about a day in the life as a kidlit writer?
I can’t tell you about ANY kidlit writer’s day, but I can tell you about mine! I work in the morning and then work a little bit on my writing, then go to the gym and try to work more on my writing if I can do it on a stationary bike. This might include reading craft books as well. I have family obligations that need urgent attention, and my own health works against me at times, so sometimes I get more done than at other times. I am frequently behind on my goals, emails, and other obligations. It’s hard not to feel like a failure every single day, especially when I compare myself to what I see on “the outside” from other authors. I try to extend grace to myself and give it a shot the next day., At the end of each day, I listen to audiobooks, usually YA.
What kind of children’s literature do you write?
Picture book manuscripts and I’m currently adapting one to middle grade and one to a chapter book. Wish me luck! And favorite topics to write about?
I love fantastical things and I also love writing from my life, and I usually put the two together. I enjoy sharing aspects of my Argentine culture and also insecurities/challenges that I have experienced (and still do!).
Where do find your inspiration to write children’s literature?
My childhood, my culture, the kids I have worked with, and the things I read.
How do you keep that spark going while balancing your other obligations?
I have ADHD and can’t focus almost at all. My mind has always wandered and still does, but it leads me to many interesting creative avenues, so I’m always building something new in my head. I can also be productive while letting my mind wander—while I’m shelving books at the library where I volunteer, or while I’m braiding hair at the festivals I work at, or while doing chores.
What is your favorite part about being a children’s book author? And is it something you’ve always known you wanted? Or did you discover your passion for writing later in life?
I’ve always told stories and wanted to tell stories. I only admitted out loud that I wanted to be a children’s book author in 1999 because I was so embarrassed to say it, feeling the imposter syndrome so badly. The best thing about being published is knowing a kid that I may not have met or ever will meet can have a story that I wrote and cherish in their hands and that they can see themselves in what I shared.
Speaking of stories… we’d love to hear all about TANGO RED RIDING HOOD and how it came about. Can you share the story behind the story?
Sure! I was listening to a YA audiobook in 2020, and when the main character walks into a ball and gets swept into a dance by “the guy,” I found myself wishing it would be tango, and it wasn’t. I reflected on my love for tango, how much I appreciated growing up listening to tango and wishing other kids could listen to it to. The verses that I wrote, following the rhythm to El Choclo, came first, and then the retelling formed around that.
What was your publication/submission journey like for that book?
I submitted it to several agents, but only a couple were interested. They asked for more work but turned me down. I participated in a Twitter (at the time) pitch, and Sandra at Gnome Road Publishing invited me to submit. I got an R&R and worked on the manuscript some more, then sent it back and got an offer on April 1, 2021.
Do you have any favorite illustrations from the story? If so, which ones and why? Feel free to share some pictures of your favorite spreads!
This is impossible to answer because I am madly, deeply, over-the-top in love with Carolina Vásquez’s illustrations. That is no exaggeration! The least expected page would probably be the one where Moni’s feet are zoomed in, and the text says, “I must hurry to la casa de mi Abuela."
The muted background of the mountains and forest with the vibrant foreground focusing on her feet gives a sense of urgency while feeling that the distance might be too great. But this young, innocent heart will try anyway to make it safely to her grandmother’s house. There is so much feeling in that page spread, and I think it’s beautiful.
Of course, I also love the page where Lobo’s tongue is dripping in such an alarming way (!), also where you see the bandoneón for the first time, the page spread with Lobo playing music, Moni dancing, and the music notes on top, the scene (SPOILER) of Abuela’s arms extended, the scene of them looking at a dictionary together, and the old tango records. I know this is too many!
I can’t blame you. If I were on the receiving end of this question, I would have difficulty choosing just one, too. They’re all fantastic!
DIVERSITY IN LITERATURE AND WHY IT’S SO IMPORTANT
I was *SO* excited reading over your application. Not just because your work is terrific- which it IS- but also because I have a lot of mutually shared experiences with you. Being neurodiverse myself (ADHD), dealing with multiple mental health struggles such as anxiety and depression, and also coming from a Latin background, your experiences resonated with me on a lot of levels. So, I was thrilled to get the opportunity to share a conversation with, in a way, a kindred spirit. And, of course, I was happy dancing at the thought of chatting with you about your book, TANGO RED RIDING HOOD. For those of you who haven’t read it, imagine DORA THE EXPLORER meets LITTLE RED RIDING HOOD (but with more music and movement).
A Latin twist on a beloved fairytale classic? Fun bilingual language? Yummy foods? Music and dance? YES PLEASE! Can you share how you first got the idea for writing this story?
I mentioned above how the idea began. But what it boiled down to was: I grew up with a culture my peers did not. There were some things we did at home (like listening to tango music) that no one else around me did. But I was passionate about these things that I didn’t know how to share. So, by 2020, I was ready to share that experience with kids and help them feel what I felt through means that would already be familiar to them. And for kids who read it who share some of my background, this would be a way to be seen.
Let’s talk more about Tango Red Riding Hood. First off, it’s such a joyful book and so much fun to read. I love how you wove so much culture into every detail of this story… and how you skillfully used family, music, food, and dance as a universal common ground to engage readers. And, to top it off, you added an educational angle to your story by creating bilingual text. You can really feel the personal touch and heart in this book. Coming from the cultural side, can you tell us what this story means to you?
This story is the most personal one I’ve written because it encompassed so much about me personally, even though it seems like just a retelling! I had to learn Spanish through high school and college because my mom didn’t teach me directly. She was learning English as I was growing up. I understood her Spanish but could not speak it back. When I started learning, I made many mistakes, and even as an adult, I made an embarrassing mistake that made another adult laugh! I wanted to embrace the fact that even if you come from a culture, that doesn’t mean you know everything about it, including the language! In TANGO RED RIDING HOOD, Moni clearly is Argentine but has to learn Spanish. That’s more common about Latin Americans in the US than you might think. I loved that the illustrator is Argentine herself, and she added so many Argentine touches that I didn’t even have references to, like the tea “mate” and the other pastry, “media lunas.” She made the bottom half of the hoodie into a poncho and much more! I cried when I saw those elements and when I saw Abuela. She reminds me of my mom. I wonder what it would have been like to have a book I could have shared with my friends. Maybe I wouldn’t have had to feel like parts of myself were left at home.
Have you been able to host any author events with this story?
I had one school visit and three author events at bookstores (and then took a respite). I was most nervous about singing the verses out loud! I love singing, but I feel more comfortable in an ensemble, not as a soloist. I had to practice a lot, make sure I started on the right pitch so I didn’t have to sing too high, and just pump myself up for it! I had a great time, though, and hope to get back to it.
How fun! And I just love the pictures.
What kind of response have you received from this book from your readers?
An older lady I didn’t know at my first event pulled my husband aside before leaving to tell him to pass along a message to me about how special this book was for her. She is originally from Argentina and had never seen a book like this. My husband was in tears relaying this message to me, and I could feel love from both of them.
My family has happily shared my book with others, and it makes me feel proud that they can share a piece of themselves through this book, too. One parent on Instagram said how happy they were to share this book with their young daughter, who will get to have a piece of her culture to look at as well (she is also half-Argentine).
My niece was so excited at one of my readings, and my brother says she asks him to read it again and again.
One of the best experiences I had was at the elementary school, where I was reading it to each class. Due to a fluke, one boy heard it twice, and right before I sang the first verse for his second time hearing it, he said out loud to the kids around him, “This is my favorite part!”
Oh my gosh- I love these experiences. So beautiful. Thank you for sharing them with us. It made my day- and hopefully, someone else’s too!
What do you hope to bring readers with Tango Red Riding Hood?
I hope I bring music and dance into people’s lives, maybe in a way they hadn’t previously experienced. I hope I bring bravery—the idea that taking a chance (like learning a new language) is always better than staying inside a small, comfortable bubble. I hope I bring a viewpoint into a culture, and I hope I bring laughter.
I really love seeing stories (especially children’s books) that are inclusive of diverse cultures and characters. When we incorporate a variety of children and backgrounds into books, it not only gives children from those cultures confidence but it allows for more understanding, empathy, compassion, and awareness of each of our differences. And books that celebrate cultural differences are SO important! Can you share your thoughts on diversity in literature and why it’s so important?
You already said it so perfectly! Grace Lin was a keynote speaker at a conference I went to in 2017 (SCBWI California North/Central Spring Spirit Conference), and she said part of her presentation was included in her TED talk about mirrors and windows. I highly recommend watching it on YouTube! (Search for Grace Lin windows and mirrors.) Her speech was so impactful to me that it changed the way I wrote. I hadn’t ever really considered bringing my cultural background into my stories like that. I was still seeing my culture as an “other” in my life, not as something I could wholly embrace in this way.
I think my writing has improved because of that mindset shift, and clearly this was my first book that sold! It feels amazing seeing that my life experiences can be an asset to my storytelling, not as something to set aside. I think it’s important as an author to feel free to be themselves while writing and for a child to see themselves while reading.
I also think it’s hugely important for a child to not see themselves exactly but be able to connect with the story anyway because of universal truths. Some kids grow up in a very homogenous town. Unless they can peek into the lives of others around the world, they won’t understand global issues when they are older, nor know how to relate to anyone else. This was very obvious to me as soon as I left home for college, and I felt like I had to “educate” people around me who hadn’t been exposed to other cultures. Adults still need to be aware of each other: look to see what you’ve been reading. Are they written by people who are only just like you?
Yes. There’s so much truth in what you’re saying, and I completely agree. While we’re on the topic of inclusive books, let’s talk about some other forms of diversity.
OVERCOMING CHALLENGES AND EMBRACING UNIQUE ABILITIES
Mental diversity and disabilities can be a sensitive topic. And they can present their own set of challenges. Can you share a little bit about your personal experiences (related or unrelated to publishing) dealing with learning disabilities and mental health struggles?
I grew up thinking I was “stupid.” That’s what I would repeatedly call myself. I knew I couldn’t understand things as quickly as my peers, if at all. I didn’t test well, and I was behind. I remember in high school leaving a group in class as a senior and just crying because I didn’t understand any of the science terminology they were using or the numbers or how they got them. I was in such despair. I thought I might as well have been stranded alone on a deserted island, that’s how alone I felt.
By my sophomore year in college, I went to a center for students with disabilities to be tested. That led me to having an unspecified learning disability and ADHD diagnosis, which also led me to accommodations. Looking at the results was shocking—it turns out I wasn’t “stupid.” I was actually bright, but my disabilities would have always clouded that over for me if I hadn’t been tested.
I now know what I need. I need more time than other people, and I’m pretty comfortable asking for it. It also means that when I learn a new task, you’ll have to teach me over and over again until I understand it, but once I do, I really have it down. This means I have to tell supervisors that I need to learn it again or to please be patient with me. And the good ones are willing and patient. Sometimes, it’s embarrassing for me, and I still get that massive panic feeling if I’m at a meeting where a lot of new information is disseminated quickly and all at once, but when that happens, I have to remind myself that I’m bright, I just need more time. And sometimes, I just have to raise my hand to ask “obvious” clarifying questions. And I haven’t been scolded for asking those questions.
The benefit is that I understand kids who struggle. And I want to be cognizant of that when I read to kids or answer questions. In my job, my supervisor has been patient and understanding. I haven’t been made to feel bad about my shortcomings. The learning curve was huge in starting my job. Even after the internship! There is so much to still learn. I’m getting better and better at leaving myself effective notes as reminders. I’m getting better at combing through all the details. I’m getting better at creating just the right organizational spreadsheets and color-coding for my visual learning strength. I’m ok. I can do this. I might be slow at writing and researching, but once again, I’m ok, I can do this.
Despite the challenges that learning differences and other disabilities can present, one of the things I like to encourage my readers to do (and actually, I have information on this very topic at the end of my book, ADHD AND ME) is to find the ADVANTAGE in disADVANTAGE. And, of course, this is not to suggest being unrealistic… but instead, it involves training your perspective. Instead of focusing on what you can’t do, or struggle to do, instead, focusing on your unique set of abilities that only you have and figuring out how to use them as a tool.
Each of us has our own set of “gifts” and skills that make us stand apart, so basically, find those silver linings and use them to your best ability. Remember- every glass that is half empty is also half full. So, make sure you maintain a realistic and positive perspective of your personal talents while remembering to balance your needs and respect your limitations.
Do you have any strategies that you find to be helpful? Explain.
I already mentioned things that help me in my job, but as for my writing, I highlight or leave sticky notes on books on craft. I listen to soundscapes on the Calm app for a constant noise, which helps my ADHD. Sometimes, I have family members read to me when my ADHD and OCD dovetail and I’m stuck reading the same sentence over and over and over again. I write immediately after work if I’m in a good workflow to piggyback on the momentum. I research, read, or take notes while working out (safely!) so that each task benefits the other with my ADHD. I talk my stories and ideas out to my bestie on the phone, which clarifies my thoughts.
What kind of silver linings have you discovered within your own set of unique abilities?
I’m honestly really good at note-taking (for myself, anyway!) and can find exactly where I need to return to get the piece of information I want. I’m great at multitasking. And I love, love, love the amount of different tasks I have as an agent’s assistant and thrive off of switching tasks constantly. I’ve never had a job that I loved more or suited me better. And since I have to reread a lot due to my ADHD and OCD, I remember details very, very well and write good reports on the manuscripts I read. And as far as writing goes, I have a lot of ideas and stories juggling around my brain and I’m comfortable with that.
If you could share any words of encouragement or advice with readers who may deal with similar circumstances in one (or all) of these areas- what would you like to tell them?
Be patient with yourself, and don’t compare. Really! Don’t get bothered by the social media posts/tweets that say how relieved they are that their first book is coming out when they’re 29 because their goal was to be published in their 20s, and they barely made it. Who cares if you’re in your 30’s, 50s, 50’s or 80s when you are first published? Enjoy things as they are at the pace you need.
And if you have OCD—plan ahead for book signings. Everyone’s OCD manifests differently, but when I felt more comfortable with a mask (I also am immunocompromised), I had one on hand. Since I knew I’d be touching people (hugs or shaking hands), I made sure to have hand sanitizer with me or know where the nearest sink and soap were. Also, if someone touched my pen, I could use the hand sanitizer to clean it off.
For my learning disability—I brought sticky notes for people to write the name they wanted the book dedicated to because I can’t hear a name and register it in my mind that quickly. I also can’t hear something spelled out loud without taking more time than I have.
For my anxiety—I brought pills that I could safely take and had family and friends who know my limitations around me as emotional anchors.
TIPS AND RESOURCES FOR KIDLIT WRITERS AND ILLUSTRATORS
Coming from the unique perspective of both sides of the publishing desk, what tips and resources would you like to share with aspiring writers and illustrators from A. The agenting side of the desk and B. The author’s side of the desk?
A. Research the agent you are sending your manuscript to. If the agent only represents children’s fiction, don’t send adult non-fiction. Be patient, publishing one book after acquisition takes a long time (including the contract process), and you’re not the only client your agent has or the only person your editor is working with. Do check in politely. If you need a deadline extended just ask. When you’ve submitted and are “waiting,” or if your book is in the process of being published, don’t wait around. Keep working on the next thing. If you don’t know how to find an agent, look at Publisher’s Marketplace, Query Tracker, conferences, and acknowledgements in the back of a novel. Workshop your query letter like you would your manuscript. If you get an R&R, take your time—don’t make hasty corrections then send it back right away. Don’t take rejections personally.
B. Take the time you need. If you are unwell (chronic illness or mental health issues), it’s ok to take a break—publishing will always be there, and so will your ideas. If you can and would like to, you can keep creating in your mind, or leave voice memos, or jot down notes, so you can develop your stories as you are able. You don’t actually HAVE to write every single day. Share a piece of you in your stories. If your heart is in it, it will show (even if it’s a silly book!). Find a critique group of people who are honest but incredibly kind who want to see you succeed. Read books on craft. Go to conferences (in person or online), even if you think you already know the information. Look for scholarships to attend those conferences, to pay for SCBWI, or take classes. You don’t need to spend a lot of money to succeed if you check out books and get those scholarships. Find support through social media if that is helpful. Once you follow one person, it’s easier to find another.
Are there any groups or places that helped you specifically on your writing journey that you’d like to share?
I had a mentorship through Las Musas during the writing of my manuscript, and it was monumental for me. Ana Siqueira was very knowledgeable, encouraging, and kind. I recommend looking for mentorships. I found out about Las Musas through LatinxPitch, so finding a community you connect with online can be incredibly helpful.
Any last tidbits or words of wisdom you’d like to share with our readers?
Write because you love it, not just for the goal of publishing.
Thank you so much for joining us today, Rachel. We appreciate you being with us and look forward to reading more of your stories on your continued publishing journey!
Interested in querying Writers House? Writers House is always open to queries. Look for more information at www.writershouse.com.
But hold on a second, we’re not quite finished. There’s still one last item on the agenda. And that is… the GIVEAWAY!
GIVEAWAY PRIZE:
Rachel S. Hobbs is offering the following giveaway prize: query letter critique.
How do I enter?
During the month of February 2024:
Subscribe to the blog
Like this blog post
Leave a comment below letting me know you’ve done 1-2. (If the guest is offering more than one prize, please specify which you’d like in the comments below.)
And that’s it!
Deadline: February 29th (that’s right- it’s a leap year!)
FAQ: What if I was already subscribed to the blog? Does that mean I won’t qualify for the Prize Giveaway? Not at all! If you subscribed PRIOR to this month, all you’ll need to do is LIKE this Feature Interview and leave your comment below this post.
Did you enjoy this interview? Thank the author & host by purchasing their book or by requesting it be purchased at your local library! Already have a copy? Consider leaving a brief review. Reviews are one of the best gifts you can give an author or illustrator. Don’t believe me? Ask one!
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Hello writing friends! Welcome to my official 2024 Feature Interview Guest List announcement post. If you've kept up with my social media, it's no secret that this year's Feature Interview candidate list was nothing short of incredible. The number of talented applicants from all over the world that flowed into my inbox in just a little over a month was astounding. So much so, in fact, that it inspired me to DOUBLE up my guest list. That's right-- now, instead of one Feature Interview a month, you'll be getting two!
And that's not the only change coming your way in 2024. In times past, I've made it my goal to post a new Feature Interview the first of every month (rain or shine). Now, my Feature Interviews will be on a set schedule: every first and third Wednesday of the month. And... if you subscribe to my newsletter (which I hope you will) you'll get a VERY brief, one paragraph email from me on the last Friday of each month that says, "Hi! These are the guests who came on the blog this month. These are the topics we discussed. Interested in reading about them? Here are the links: Link. Link." Bada-bing. Bada-boom. That's it. Simple. Brief. Helpful.
I'm sure, you probably already know the spiel on why Feature Interviews are SO invaluable, but for anyone who doesn't know- simply put, they are a free publishing resource *AKA THE INSIDE SCOOP* directly from authors, agents, editors, illustrators, etc. AHEM. Did you hear the part where I mentioned they are FREE? Yeah. That's always a good incentive. Who doesn't love a bargain?
But, that's not what we're here to talk about right now. Chances are, many of you who are reading this blog entry today are most likely curious and antsy to find out if YOU will be one of these special guests. Well, the wait is almost over! I'm about to tell you. But first, I want to share a little bit about the process.
THE PROCESS
Please be assured, the process for choosing my final guests wasn't taken lightly. I studied and studied and studied each candidate application, giving as much consideration to a numerous list of variables, to come up with a diverse list of minds and perspectives. But, when being faced with as MANY applications as I was, it comes down to making very tough choices between equally talented and inspired voices and stories. And guess what? It was HARD.
In truth, my heart would love to have EVERYONE, but my brain reminds it that this simply would not be realistic. Blah, blah, blah. You know how brains are. So logical.
So, after many cups of tea, refills of espresso, and rants on there not being enough time in a day, I finally landed on my final 24 guests.
Below, you will find a list of their names, as well as a "guest teaser," with a photo, brief bio, and links to find out more.
Please note: if you do not see your name on this list, please,please do not assume that your application wasn't "special enough." Because it most definitely was. The choice was not a personal reflection of you or your story- simply a matter of only having so much availability. Additionally, I would LOVE to hear about your future publications! If you have a book coming out in 2024, please drop a comment below with the title/ISBN, as well as the pub date (or estimated pub date) and I would love to add it to my library order list and help share it with my writing/reading friends!
If your name and bio are up here- CONGRATULATIONS! I can't wait to talk with you more. Make sure to keep an eye on that inbox because you'll be receiving a personalized letter very soon. (Well, I hope it will be very soon.) If your name and bio weren't on the list... but you did submit your application within the window, I'll be sending an email your way as well.
Thank you ALL for participating in this year's application process. It was truly a treat to read all of your heartfelt applications.
Reminder: if you haven't already, make sure to SUBSCRIBE to the blog, so you don't miss out these wonderful monthly Feature Interviews. They are always filled with a ton of interesting and helpful writerly advice and information on all things publishing.
Psst! By the way... looking for great books? Visit MY SHOP PAGE on bookshop.org. There you can find my personalized book recommendations in my A MIX OF CHELSEA'S ALL TIME FAVORITES book list or browse books by my Feature Interview guests in my BOOKS BY FEATURE INTERVIEW GUESTS book list.
