Kidlit Interview Archives - chelseasworldofbooks

SEPTEMBER 18TH, 2024, FEATURE INTERVIEW WITH AWARD-WINNING NONFICTION MG & PB CHILDREN’S BOOK AUTHOR MEGAN CLENDENAN, CONDUCTED BY KIDLIT WRITE, BLOGGER & FORMER LIBRARIAN CHELSEA DICICCO

Posted on September 18, 2024September 18, 2024 by Chelsea’s World of Books in Feature Interview Series, View all blog posts

Today, I’m talking with children’s book writer and environmentalist Megan Clendenan. We’ll be chatting about non-fiction in middle grade and how to get kids inspired to think about the world around them. We’ll also be sharing writing tips, free educator resources, and of course- giveaway prizes! So be sure to stick around to the end (or scroll to the bottom of the interview and drop a comment to enter the giveaway pool- extra entries for shares/retweets & tags!)

But before we jump into our interview, if this is your first time visiting the blog, here’s the scoop on 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!

INTERVIEW QUESTIONS & TOPICS OF DISCUSSION:

BEGINNINGS & INSPIRATIONS: WHY, HOW, WHEN?
ROUTES TO PUBLISHING: TO QUERY OR NOT TO QUERY?
TIPS & RESOURCES
TIMEFRAMES & EXPECTATIONS
MOTIVATIONS AND HEART
EMPATHY, AWARENESS, DIVERSITY
BOOKS
GIVEAWAY
AUTHOR BIO & CONNECT

BEGINNINGS: HOW, WHEN, WHY?

“My kidlit journey began when my son was a newborn (he is now 14!) I wrote during his nap times, scribbling away on paper as fast as I could. Years later – those scribblings turned into my first published book, OFFBEAT…” @MeganClendenan
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Megan, it’s wonderful to have you on the blog with us today. And it’s wild to think we’re already this far into the year. Where does the time go? I’ve had a chance to peruse your website (which is adorable, by the way- I love your header and color palette). While I was perusing, I saw that your book, Cities: How Humans Live Together, was chosen as a Librarian Favorite for 2024. Very cool! Congratulations. But before I head down the road of your accolades, I’d love to hear how you wound up in the kidlit publishing arena. How’d you get here? And where/when did that journey start?

Thank you so much for having me on your blog! I enjoy reading your feature interviews, and I always learn something new.

-Aw, that makes me so glad to hear!

My kidlit journey began when my son was a newborn (he is now 14!). I’d always written short stories and poems, but as a new mom at home, I decided I would try writing a novel, something I’d always wanted to do. I wrote during his nap times, scribbling away on paper as fast as I could. Years later – about eight, I believe – those scribblings turned into my first published book, OFFBEAT, a middle-grade novel for reluctant readers. While that was fiction, most of my kidlit writing is non-fiction (more on that below!).

Prior to your author days, what line of work were you in (or are you currently in, outside of writing)?

For many years, I worked full-time as a communications and fund development writer for non-profit groups that focused on social and environmental issues. My job was to create written materials that would raise awareness and inspire people to donate money. For example, I worked for an environmental law organization that took governments and companies to task for pollution, and I worked for a social service organization that helped to advocate for women’s rights, access to healthy food in urban areas, and affordable housing. Later, I moved from full-time to part-time and then contract as I became more and more involved in writing for kidlit.

-How fascinating! I love hearing about your history with nonprofits.

Now for the why. I love asking this question separately because I feel like it’s the most important part of it all, and so it deserves a space of its own. What is your big WHY? Why do you write the stories you write; what do they mean to YOU? And why do you want to share them with others; what do you hope they will mean to THEM?

This is such a great question! I think my ‘big why’ can be summarized into one word – curiosity! Writing non-fiction means that I get to constantly learn about new topics. I choose subjects that I’m curious and intrigued by and that I think middle-grade readers will also find interesting but that they may not have been exposed to. Although I’ve written about topics that can feel large and challenging to consider, such as climate change, food security, or human rights, I always try to leave readers with the hopeful message that small actions can go a long way and that change is possible. I hope my books spark questions, discussion, and curiosity about the world and how we can work together to find sustainable and equitable solutions for the future. I enjoy writing for middle-grade readers because I love how full of wonder and curiosity they are, with great questions and an openness to learning about the world.

-I love this!

“…My big why can be summarized into one word – curiosity! Writing NF means I get to constantly learn about new topics. I choose subjects I’m curious & intrigued by & that I think middle-grade readers will also find interesting but may not have been exposed to.” @MeganClendenan
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“I hope my books spark questions, discussion, and curiosity about the world and how we can work together to find sustainable and equitable solutions for the future. I enjoy writing for middle-grade readers because I love how full of wonder and curiosity they are, with great questions and an openness to learning about the world.”

ROUTES TO PUBLISHING: FREELANCE WRITING, ROUTES TO PUBLISHING & WRITING NON-FICTION IN MIDDLE-GRADE & PICTURE BOOKS

I saw in your bio that you’re a freelance writer. Could you share a little about what freelance writing in publishing entails? And how might someone go about pursuing this as a career? How does freelance writing differ from traditional publishing? Explain. (Payments/contracts/timeframes, etc.)

I’ve pursued a few different avenues of freelance writing, some in publishing, some not. When I first started taking writing contracts, which is essentially what freelance writing means, I had just left my part-time role as a communications writer for a non-profit. The administration at the non-profit was very supportive, and they not only offered me some of my first contracts but they also recommended me to their contacts – and that’s how I got my first set of clients.

-Wow, that's so interesting!

I did ghostwriting for executives, mostly women, as well as wrote grant applications, website copy, and other business materials, to name a few things. Topics ranged from children’s psychology to engineering technology! Other clients came from word of mouth. In terms of pay, I charge an hourly fee, and I invoice my clients upon completion of the work.

But I still wanted to pursue my dream of working in kidlit. I was working on my novel, but I also put together a work-for-hire ‘package’, which was essentially my resume, my interests/area of knowledge, and a few writing samples that I created specifically for the K-12 market. After sending out A LOT of packages (I can’t remember how many, but lots!) and waiting more than six months, I was offered my first work-for-hire contract! Since then, I’ve worked for a few different publishers on a range of assignments, for example, reading comprehension passages, biographical stories, a non-fiction book for reluctant readers.

Work-for-hire in the publishing world is not a high-paid endeavor, especially compared to the contracts I do for non-profits and businesses. In my experience, I was hired to write a specific idea determined by the publisher on a flat-rate basis, half when I signed the contract and the remainder upon completion of the work. And they often have very tight timelines. But I love writing kidlit, and if you work efficiently and find opportunities that you think are fair, it can be a great way to earn some money.

“Work-for-hire in the publishing world is not a high-paid endeavor… In my experience, I was hired to write a specific idea determined by the publisher on a flat-rate basis, half when I signed the contract and the remainder upon completion of the work… And they often have very tight timelines.”

Do you have any suggestions, tips, or resources you’d like to offer writers who may be interested in looking into freelance writing?

My advice to someone who would like to pursue freelance writing would be to consider their own networks and experience. Is there a niche area where they could offer expertise as a freelance writer? If so, is there a contact they could approach? What I found was that once I had some contracts completed, people began to refer me to others, especially when I let them know I was looking for additional work.
 
In terms of breaking into the kidlit work-for-hire space, I recommend putting the effort in to create a quality package of writing samples. They request ‘unedited’ samples, so it can’t be work that you’ve already had published, so it does take time to research and write the samples, even though they aren’t long (I did 2-3 pages for middle-grade and about 500 words aimed at a younger audience). Specific resources that I found useful include:
 
Evelyn Christensen has created an amazing list of potential work-for-hire markets on her website as well as a great list of tips:
http://www.evelynchristensen.com/markets.html
http://evelynchristensen.com/markettips.html
 
I also highly recommend Laura Purdie Salas’ book Writing for the Educational Market for guidance in creating a packet to send to work-for-hire publishers.
Do you write freelance writing across genres- if so, which genres do you write in? And what are some of the topics you write about?
I have written in a wide variety of genres! Some of the topics I’ve written about are sustainability/environmentalism, biography, and outdoor adventure.

“My advice to someone who would like to pursue freelance writing would be to consider their own networks and experience. Is there a niche area where they could offer expertise as a freelance writer? If so, is there a contact they could approach? I found that once I had some contracts completed, people began to refer me to others, especially when I let them know I was looking for additional work.”

In terms of breaking into the kidlit work-for-hire space, I recommend putting the effort in to create a quality package of writing samples. They request ‘unedited’ samples, so it can’t be work that you’ve already had published, so it does take time to research and write the samples, even though they aren’t long (I did 2-3 pages for middle-grade and about 500 words aimed at a younger audience). Specific resources that I found useful include:

Evelyn Christensen has created an amazing list of potential work-for-hire markets on her website as well as a great list of tips:

http://www.evelynchristensen.com/markets.html
http://evelynchristensen.com/markettips.html

I also highly recommend Laura Purdie Salas’ book Writing for the Educational Market for guidance in creating a packet to send to work-for-hire publishers.

- Thanks so much for sharing this information with us, Megan! These are terrific resources.

Do you write freelance writing across genres- if so, which genres do you write in? And what are some of the topics you write about?

I have written in a wide variety of genres! Some of the topics I’ve written about are sustainability/environmentalism, biography, and outdoor adventure.

So, you write non-fiction, which is so exciting because I love learning new things. Can you tell us a little bit about what it’s like writing non-fiction middle-grade novels as well as picture books and how that might differ from writing or pitching fiction?

I also love learning new things! When pitching fiction for the trade market, either with your agent or direct to publishers you need to have the full manuscript ready to go. Middle-grade non-fiction is different as it is usually sold on proposal rather than on the full manuscript. My process is to start with research and see if I can come up with a hook, structure, and a basic table of contents. If I decide I’d like to go ahead with the idea, I do more research, potentially interview an expert, and fully develop my outline. Then, I usually write at least one sample chapter. All those components will be part of the proposal that will go on submission to editors, alongside market information, curriculum tie-ins, etc. If an editor acquires the book, that’s when I would research and write the full manuscript. For picture book non-fiction, I write the full manuscript (and usually back matter as well), and that’s what goes on submission.

Now, you’ve worked on freelance projects, but you’ve also published multiple middle-grade non-fiction novels and just recently had the announcement of your debut picture book (congratulations!) that’s scheduled to come out in 2025. I’m curious: for your published middle-grade and picture book, did you have literary representation? If so, who were you represented by, and how did you end up with your agent?

Great question! For my first two middle-grade non-fiction books, I did not have an agent. Instead, I pitched my ideas directly to editors myself. In 2021, I signed with an agent. Since then, all my books have been sold through my agent.

I’m represented by Stacey Kondla at The Rights Factory. In 2021, I queried a number of agents, and right from the start, Stacey was excited about my work, and I ended up signing with her that summer.

-OH MY GOODNESS- CONGRATULATIONS!! This is HUGE news and definitely cause for celebration!

For those deciding which publishing route to take- agent, or no agent- traditional, or independent- could you talk a little bit about the differences between both and reasons why someone might choose one option over the other and vice versa?

Working with an agent is helpful for a number of reasons. They are familiar with the market, they build relationships with editors, and they can help you bring your work to the next level – important in such a competitive marketplace, and there are limited publishers that accept submissions directly from authors, so agents definitely open doors for authors in terms of access. That being said, there are publishers that accept submissions directly from authors, so some writers might want to go that route. I think it's a personal choice!

For some of our readers who may be new to the publishing scene, could you share a little bit about the steps involved with your publishing journey? (Querying & submission process, timeframes, rejections, champagne rejections, the close calls, the big call, and the final YES)

For sure! It’s definitely a long journey and can feel even longer because there is a lot of waiting involved. When I queried agents, I sent out about 15-20 queries in my first round. My agent was in that first round, and so for me, the querying process was relatively quick. After she got in touch and said she liked my work, we had ‘the call,’ and she offered representation. Yay! Then we got to work putting together a project for submission to editors. Querying editors also takes time and waiting for responses can take weeks to months to even longer! For my upcoming non-fiction picture book, I believe it took around six - seven months from the day we went on submission to an offer, and from what I’ve heard, that’s actually quite a fast timeline! However, not all manuscripts that go on submission sell, and that’s true for all the writers I know. Last year I had a project that I loved, and it did a number of rounds of submission to editors. While I received some nice feedback about the writing, ultimately, it did not sell to anyone, and I’ve had to put that one in the back of the drawer – at least for now!

“[Publishing] is definitely a long journey and can feel even longer because there’s a lot of waiting involved… Querying editors also takes time and waiting for responses can take weeks to months to even longer!” @MeganClendenan
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“Working with an agent is helpful for a number of reasons. They are familiar with the market, they build relationships with editors, and they can help you bring your work to the next level, which is important in such a competitive marketplace…”

CHALLENGES, SETBACKS, AND MOTIVATIONS

“So much of what happens in publishing can’t be controlled. You can’t control what editors want or what the market is doing, supply chains, book bans, or what types of books are selling. You can’t control how long it takes a book to be published or variables like printing costs, etc. I try to keep myself focused on what I can control– which is creating quality work!”

What are some of the hurdles that may present themselves on the road to publishing?

So much of what happens in publishing cannot be controlled. You can’t control what editors want or what the market is doing, supply chains, book bans, or what types of books are selling. You can’t control how long it takes a book to be published or variables like printing costs, etc. I try to keep myself focused on what I can control, which is creating quality work!

What are some challenges you’ve faced, and how’ve you been able to overcome them?
Balancing writing with the rest of life can be tricky. Work-for-hire contracts are often on tight deadlines, and so other projects, especially those without contracts and deadlines, often get pushed to the background. And life can throw curve balls! Earlier this year, I was in a serious car accident and could only minimally work for three months. I managed to fulfill my current contracts (with some extended deadlines from editors!), but I couldn’t move forward with any new work, so I’ll have to catch up. It was frustrating, but to get myself back on track, I try to find one hour a day – or at least 30 minutes – to work on a writing project that pushes me creatively. I find this helps me stay inspired and move forward more productively with all the tasks I need to accomplish.
When dealing with publishing setbacks/discouragements/etc. what has helped/inspired you the most to stay on the course and continue?
Rejection and setbacks are part of being a children’s author – that being said, it can still sting. Every author I know puts so much effort and heart into their writing, myself included. I rely on my writing friends to help me weather rejections. We support each other through setbacks and meanwhile, I continue to develop new ideas, which keeps me focused on the present. I’m also inspired to write by reading. I read a wide variety of fiction and non-fiction, and many of my ideas have been sparked by reading. It’s pretty awesome that reading is a part of my job description!
For those who may be dealing with discouragements or difficulties, what words of advice or wisdom would you like to share?
Find a community of other kidlit writers! Being connected to other people who understand the industry and can offer support has been invaluable to me.

TIPS, TRICKS & RESOURCES

Here on the blog, we love sharing writing resources. I know you’ve participated in a number of groups. I’d love to hear more about some of the writing organizations you’ve worked with. (Inked Voices, 12x12, SCBWI) Could you share with our readers a little about what each organization has to offer and how it’s personally benefited you?

Absolutely! I am so grateful to all the writers' organizations I belong to; they each offer a little something different, and they have enhanced my writing and connected me to other writers. I’ve been a member of Inked Voices for many years, and it is a fabulous resource for finding critique partners and there are many other resources, such as monthly craft webinars and genre-specific community networking groups. I’ve found many wonderful critique partners on Inked Voices! I have joined 12x12 for the last two years, and it’s also an incredible resource for picture book writers. They have amazing monthly webinars and book chats, and I always take the time to watch those. For time reasons, I haven’t spent as much time using the resources available on 12x12, but there’s so much to benefit writers, and everyone in the community is very welcoming. I’m also a member of SCBWI and I have benefited from the many online resources and webinars they offer.

Speaking of AMAZING resources, you also offer resources on your website (which I’d love to link here for readers to find on my Teacher Corner tab also). Could you tell us about the resources you offer? Who are they for, and how can they be utilized?

I have free downloadable resources on my website for each of my books. They are educator guides meant to be used alongside the books to help inspire critical thinking about the topic. They could be used by teachers or parents, or older readers could use them independently if they choose. I try to create a range of discussion questions, writing exercises, and some interactive activities that might be useful in a number of subjects, for example, Language Arts, Social Studies, or Science. I’d love for you to link them here for readers. Thank you! The guide for What Do We Eat? is currently in the works and will be posted soon!

-Wonderful!

In writing, there are really no shortcuts- it requires a lot of effort, time, and commitment. But if you had a trick up your sleeve to share- what would it be?

I wish I had a trick up my sleeve, but in all honesty, I think the trick is to stay persistent and keep writing and revising.

Any final tips?
I’m going to repeat myself and say 1) don’t give up, and 2) find some writer friends to share the journey with.

-Thanks so much, Megan.

“…The trick is to stay persistent and keep writing and revising.”

“I am so grateful to all the writers’ organizations I belong to; they each offer a little something different, and they have enhanced my writing and connected me to other writers.” @MeganClendenan
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BOOKS + EVENTS

We’ve finally made it to the land of books. I would love to hear all about your wonderful work! What was the inspiration behind it? How did the story begin (the story behind the story?) How long did it take to get from concept to manuscript to where you are now? Everything. Go!

What Do We Eat? How Humans Find, Share and Grow Food
Releasing September 17th, 2024, from Orca Books

Summary; Imagine carrying meals with you as you parachute into a war zone. Or trying to stay well-fed while building the pyramids. People have always found ways to work together to put a meal on the table. What Do We Eat? is a delicious celebration of human creativity and cooperation, wrapped up in bite-sized slices of history, with a look at what scientists and inventors are cooking for the future. We are gobbling up Earth’s resources, and food is not shared equally. But today, there's a magic tree transforming the dry African plains, food “ambulances” on the move and cities that have declared access to food a human right. Hungry to find out more? Let’s roll up our sleeves and find out what’s for dinner.

Inspiration behind What Do We Eat?

During the Covid-19 pandemic, there were times when I went to my local grocery store and found empty shelves. I began to wonder: how difficult would it be to survive without going to the grocery store? That led me to more questions. How did people in difficult situations in history eat? What about people exploring the world? Escaping from injustices? Stranded far from home? How do people facing climate change adapt? This book is the result of all these wonderings (and a LOT of research!). From concept to publication was more than four years!

Cities: How Humans Live Together (Orca Books, 2023)

Summary: If you could design a city that would be both a great place to live and good for the planet, what would it look like? Today, about four billion people—more than half the world’s population—live in cities. This number could rise to seven billion by 2050. Cities: How Humans Live Together travels through time to explore questions like When and why did cities form? How did people access food and water? Where did they go to the bathroom? Peek into the past to see how cities have changed through time and explore what could make cities more sustainable and welcoming for today and tomorrow.

Inspiration behind Cities: How Humans Live Together

At university, I studied environmental urban planning, but I ended up on a different professional path. But, I remained curious and interested in cities and urban planning, and I wanted to write a book about cities around the world, past, present, and future. I loved researching cities for this book! This book was also about four years from concept to publication.

Fresh Air, Clean Water: Defending Our Right to a Healthy Environment (Orca Books, 2022) explores the connections between our environment and our health and why the right to live in a healthy environment should be protected as a human right. The book features profiles of kids around the world who are taking action and important environmental rights court cases. Hear the powerful stories of those fighting for change.

Inspiration behind Fresh Air, Clean Water

I was inspired to write this book after working as a grant writer at an environmental legal non-profit, where I worked to obtain funding for many cases, including about the right to a healthy environment. The idea that the right to fresh air and clean water could be fought for as a human right, just like the right to free speech, was such an exciting idea to me. Years later, I was inspired by youth-led climate lawsuits, and I was able to interview many youth activists, which was my favorite aspect of writing this book!

What do you hope your readers will take away from each story?

With all my books, I want to leave readers with a sense of hope and the possibility that change is possible, even when considering topics like climate change. That the power of human innovation, resourcefulness, and cooperation goes a long way. I hope my books spark questions, discussion, and curiosity.

Have you been able to host any fun author events? And what has the response been to your stories?

I love visiting schools, libraries, and festivals (it’s always exciting to be able to be there in person!) to share my books. One favorite author event was a two-part writing workshop I did with a group of high school students around the theme of Earth Day. Even though my books are aimed at a younger audience, it was wonderful to connect with high school students and get their perspective. I learned a lot by speaking with them!

As well, I’ve been fortunate that readers of Fresh Air, Clean Water have shared their thoughts as well as ‘climate march’ signs in response to the book (creating a climate march sign is one of the activities on my free Educator Guide for the book – found on my website). With these students’ permission, I put together a video to showcase their art and thoughts. You can find this on my website under Resources & Fun Stuff.

I also love connecting with schools virtually because it allows me to reach so many more locations! This fall, I’ve got some events planned around the release of What Do We Eat? and I’m so excited to finally share this book with readers.

-Very cool, Megan!

“I want to leave readers with a sense of hope and the possibility that change is possible… I hope my books spark questions, discussion, and curiosity.”

GIVEAWAY

For the month of September, Megan is offering the following giveaway prize to one winner.

Prize #1: A signed copy of WHAT DO WE EAT? How Humans Find, Grow and Share Food (middle-grade non-fiction)

HOW TO ENTER THE GIVEAWAY

Leave a comment on this post!
And if you haven’t already, like this post and subscribe to the blog and/or newsletter!

That’s it!

DEADLINE TO ENTER: September 30th, 11:59 PM CST

Want extra entries? Share this link and tag the host IG @chelseasworldofbooks X @chellysbooks to have another entry added to the prize pool.

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 a copy of one of their books or by requesting it be purchased at your local library! Using the sponsored links below supports this blog.

Book Links

Purchase Design Like Nature Biomimicry for a Healthy Planet

Purchase Fresh Air Clean Water

Purchase Cities How Humans Live Together

Megan Clendenan shares her experience with writing and publishing across non-fiction PB & MG and shares a look at the different options and routes to publication, including work-for-hire projects and writing for nonprofit groups, as well as landing literary representation and traditional publishing.

Purchase What Do We Eat?

Megan Clendenan is a freelance writer and award-winning children’s book author. She loves writing books that explore history, society, and the environment, and she hopes to inspire young readers to think critically about the world around them. Her books include DESIGN LIKE NATURE: BIOMIMICRY FOR A HEALTHY PLANET, which earned a starred review from School Library Journal (2021, Orca Books, co-authored with Kim Ryall Woolcock), FRESH AIR, CLEAN WATER: OUR RIGHT TO A HEALTHY ENVIRONMENT, which won the 2023 Green Earth Book Award (2022, Orca Books), CITIES: HOW HUMANS LIVE TOGETHER (2023, Orca Books), WHAT DO WE EAT: HOW HUMANS FIND, GROW AND SHARE FOOD (Orca Books, Sep 2024) and JUST IN CASE,[1] a non-fiction picture book that will publish in September 2025 with Charlesbridge. To learn more and find free educator resources visit her at www.meganclendenan.com. Megan lives near Vancouver, British Columbia, with her family & two fuzzy orange cats.

Twitter: @MeganClendenan Instagram: @MeganClendenan

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APRIL 17TH, 2024, FEATURE INTERVIEW WITH FORMER K-1 TEACHER AND LITERARY SPECIALIST, NOW CHILDREN’S BOOK AUTHOR AND EDITOR, MAYA MYERS

Posted on April 17, 2024January 25, 2025 by Chelsea’s World of Books in Feature Interview Series, View all blog posts

It’s time for our second Feature Interview of April, and today’s guest is a literary superstar. Not only does Maya have a background in literacy and education, but she’s also a current project manager in the world of publishing, an editor, a children’s book writer publishing across genres in kidlit, and married to a picture book author and illustrator, Matt Myers! But, before we get started, in case this is your first time visiting the blog (welcome), here’s a brief introduction to what feature interviews are all about and how they can benefit you!

WHAT ARE FEATURE INTERVIEWS AND WHY ARE THEY SO GREAT?

In a nutshell, here’s what a “feature interview” is. Every month, I sit down with literary professionals –authors, illustrators, editors, and agents– at all stages of their careers- from newly debuting to well-established, seasoned best sellers- and we discuss all things kidlit publishing. (Many of my guests are also former or current educators and librarians!)

These interviews are a great resource for kidlit writers and illustrators no matter where they are in their journey. Not only do they offer current information on market trends, but they also give readers an up close & personal look at the world of publishing from a diverse collection of creators and perspectives.

Here’s a list of just a few of the helpful things we discuss:

Where to find both FREE and PAID for writing memberships, craft workshops, contests, and other resources
How to query agents and editors and what they’re looking for
Where to find kidlit community and support from other writers or illustrators
Diversity, empathy, and kindness in kidlit and why it matters
How to improve your skills and set goals
Writing across genres
How to deal with setbacks/disappointments and WAITING
Helpful tips and suggestions for aspiring authors and illustrators
Pros and cons of small publishers, hybrid (or indie) publishing, and being agented vs. unagented
What to do after you sign with your first agent – and/or make your first book deal
How to promote your books as a debuting author or illustrator
Behind the scenes of hosting author events- library/school visits
How to get your books into bookstores & schools
And of course- during each feature interview segment- we share new publishing deals & host giveaway prizes for our readers!!! ** Giveaway PRIZES and instructions on HOW to enter are listed at the bottom of each interview**

Not that we’ve shared a little about what’s in store… it’s time to jump into our interview!

BEGINNINGS

Maya, I’m so excited to have you with us today! I loved your book NOT LITTLE and was happy to see all the various ways you work in the world of kidlit. But before I get too deep into the details… I like starting my interviews at the very beginning.

I know you were “once upon a time” a kindergarten teacher. And now you’re a children’s book author – writing across genres! – (among other things).

So, for the author side of things, when and how did you get your start in publishing? Was it something you always knew you wanted to do, or was it something you discovered later in life? And did your previous work as an educator have anything to do with your desire to write kids’ books?

In my first career as an elementary school teacher, I designed my teaching units around books. Books were always a big part of my own life and my kids’ lives, too. When I started freelance editing, I reached out to children’s publishers because I had a lot of experience reading children’s books. But I didn’t really think I’d ever write one—until I did! I started writing picture books around the time my youngest daughter (now 16) started school. She said the funniest things and one day, I was sitting in the next room listening to her talk to my husband, and I decided to take a shot at preserving some of her childhood by writing about it.

What were the beginning stages of your publishing journey like? Can you tell us about the early stages- querying- rejections and how you wound up with your agent?

I was lucky enough to know Neal Porter (my first editor) through my husband, who has worked with him for years. Neal read my very first story and encouraged me to keep writing, and graciously read a number of manuscripts for me over several years. The first time I showed him Not Little (my first published picture book), he liked it but said it wasn’t quite right for him. I felt good about it anyway, so I submitted it to a couple of agents, but with no luck. About six months later, I shared a completely different type of book with Neal, and while he liked it, he said he just wanted a good, solid story from me. I asked if he remembered the story about the little girl who stands up against bullying, which I had recently revisited and tweaked the ending of. I still really loved it and told Neal I didn’t think I could do much better than that. He asked to see it again, and this time, he said it was perfect and he wanted to publish it! I was shocked and thrilled. My husband’s agent’s assistant was just moving into representing clients of her own, and she accepted me as one of them.

WORK-FOR-HIRE + WRITING ACROSS GENRES

Not only are you traditionally published and agented by the lovely Hannah Mann at Writers House, but you also do work-for-hire books and work as an editor and project manager. This is the dream! Or at least- I think it’s the dream.
As someone who would love to dip her toe into work-for-hire work herself, can you tell us more about what’s involved in this process? Is it similar to the querying process? And does your agent have anything to do with your work-for-hire projects, or is this done separately?

I initially shared my resume with National Geographic Kids as a freelance copyeditor and proofreader, and I didn’t hear from them for a year. When they did reach out, it was to ask if I was interested in writing a leveled reader. I had never done anything like that before (and this was before I’d sold my first picture book), but I was excited to try! That project led to a few others like it, as well as some bigger books, and also to some project management work for NGK and then with other companies. My agent connected me with another publisher that does some projects this way, but these projects are generally not agented. I’m contacted by the publisher or organization; they offer a job with a flat fee and a schedule, and I can accept it or not.

I’ve heard that the work-for-hire projects can be more selective, and oftentimes, they’re written in-house. Can you speak to this? Would you say it’s more difficult than getting your work published traditionally with an agent and publisher?

I guess this depends on the type of project. For the work-for-hire projects I’ve done so far, I’ve just been offered the jobs, so it’s been WAY easier than trying to sell a manuscript. To me, these WFH projects feel closer to editorial work than to creative work; I’m making a product to fit a prescribed mold rather than coming up with a concept and an original way to present it. It’s a collaborative process with a whole team. I’m proud of the end result, of course, but I feel a different sense of ownership for the books I’ve generated from my imagination.

Circling back to publishing across genres in kidlit… I wonder, do you have a favorite to write or read? PB? MG? Chapter books? Personally, I write mainly picture book manuscripts- and I love reading picture books- but I also really love reading middle-grade. What about you?

I started out writing picture books with no intention of expanding to other audiences. My first chapter book started as a picture book; it was my agent’s idea to make it longer and for older kids, and I wasn’t sure it would work, but it turned out I really enjoyed writing with more room for dialogue and description.

I love that my work as an editor lets me read as a full-time job! This gives me a chance to read a lot more MG and YA than I would otherwise have time for, and I really enjoy both. I always love picture books, too, and I miss having little people to read to on a regular basis!

What tips can you give other writers or illustrators who are trying to break into the industry?

I think no matter what age you’re writing for; a unique voice and perspective will always serve you well. And if your main character can surprise the reader in some way—give them something that’s a little different from what they were expecting because of the way the character has grown or changed in the course of the story—that helps create a more satisfying ending.

“I think no matter what age you’re writing for; a unique voice and perspective will always serve you well. And if your main character can surprise the reader in some way—give them something that’s a little different from what they were expecting because of the way the character has grown or changed in the course of the story—that helps create a more satisfying ending. “

OTHER ROLES IN PUBLISHING: SHARED PASSIONS & INSPIRATION

In addition to writing across kidlit genres, you’re also an editor and work as a project manager. Can you tell us more about those positions? What’s involved in each? And do they have a positive crossover- if any- to your writing career- or vice-versa?

I do freelance developmental editing, copyediting, and proofreading for various publishers and authors. I enjoy working with text at all these different levels—big picture to tiniest detail. Project management tends to be more organizational—making sure all the moving pieces come together at the right time and in the right ways—and I’m often also the text editor for these projects (for example, a set of leveled readers) as well, so the job brings together lots of skills I’ve developed over the years as a freelancer.

As a writer, I definitely get inspired by editing other people’s books, and I hope I’m an easy author to work with because I have some experience with the process of the book actually getting made.

I think it’s beyond words cool that your husband also works in the kidlit arena with you. How fun to have that shared passion! And as I was writing these questions, I kept wondering how it all happened. So, here’s my question.
Which came first- the chicken or the egg? The chicken being your husband Matt, the egg being your beginning to publication. Were your two paths linked? Did you begin writing together? Did one of you start first? Were you already married when you started writing, or did the writing dream begin afterward?

Who says I’m not the chicken?? Just kidding—Matt has been at this much longer than I have, since years before we got married. He found my feedback on his own writing helpful and encouraged me to get into editing. Then, when I started writing, he encouraged me to share my work with Neal, who encouraged me further. My first story was inspired by watching Matt and my youngest bond over imaginary play.

What is it like being married to an author/illustrator? Do you ever brainstorm ideas together or get to work on projects together?

We are always each other’s first editor—an in-house (literally) critique group. We talk about story ideas, some of which come to fruition for one of us and some that fade away. If authors got to choose their own illustrators, I would choose him again and again; however, I’ve been so incredibly lucky with the illustrators for my books that I’m glad I didn’t have that option! We have not yet worked on a project together, but we hope to someday.

A double book launch for me and Matt at Park Road Books in Charlotte, North Carolina

I was also excited to see that you live in Charlotte, North Carolina (I have family there). I actually grew up in a small town outside of Asheville- and only moved to Tennessee a few years ago after getting married. (I lived there from ages 12-28). I’ve been penning tales since I was 4, so when my family moved me to NC at age 12, it definitely stirred my creative inspiration for writing. From regular weekly drives through the Blue Ridge Parkway, trips to the orchards, swimming in creeks on the side of the road, and finding hidden waterfalls along the trails, there was so much to spark the imagination!

Do you find your inspiration in similar ways, being out in nature? If not, what kinds of things inspire you to write? And what do you enjoy writing about most?

I grew up in rural Maine, and I’ve always been inspired by nature; my next picture book (Good Morning, Morning, coming in 2026 from Neal Porter Books, illustrated by Jennifer Mann) is about a child greeting the day by connecting with all the different things in their natural world. I have also always loved young kids and the funny things they say and think and do. I like watching them put the pieces of the world together, figuring out how things fit and where they fit in all of it. It feels really satisfying to represent a kid’s world view in a story.

Speaking of writing and inspiration… one thing I’ve found to be invaluable on this journey is being a part of the writing community. It helps keep you motivated to continue going even when things get tough. Do you have any recommendations or favorite places to go to find a writing community?

A lot of libraries host writing groups, and your local SCBWI chapter can also be a great resource. Attending book launches at your local bookstore is an excellent way to support both authors and bookstores, and to meet other authors and help build your own local writing community.

“A lot of libraries host writing groups, and your local SCBWI chapter can also be a great resource. Attending book launches at your local bookstore is an excellent way to support both authors and bookstores, and to meet other authors and help build your own local writing community.“

THE JOURNEY: CHALLENGES & WORDS OF WISDOM

We love cheerleading and hearing all the good things that happen for our fellow writers. But sometimes, hearing only the positives (aka half the story…) can be misleading and, at times- disheartening- because people might feel like they’re the only ones struggling. So, what are some challenges you’ve personally had to face on your publishing journey, and how have you been able to combat them?

I think the hardest things for me have been waiting and rejection. Both have certainly gotten easier over time as I’ve come to know what to expect. It was three years between when I sold my first picture book manuscript and when the book came out into the world. It’s usually many months between the time a manuscript goes out on submission and the time an editor makes an offer or (more often) a pass. It’s important to me to stay busy with other things, or I’d spend all my time obsessing over whatever book is out on submission—it’s better if I don’t think about it at all! Especially since more often than not, chances are that book will never sell. Even though I have an awesome agent and my published books have been very well received, it is still very hard to sell a new book. I know my books are not for everybody, and I do not take rejections personally. I keep a spreadsheet with notes about what worked and didn’t work for various editors, and I review those notes as I’m developing new ideas. And I know that if I never sell another book again, I’ll still be incredibly proud of the ones that have been published.

In your professional opinion, what makes publishing so hard? And what words of wisdom do you have for those just starting out?

Like any art, writing is inherently a subjective business, so some people will like your work, and some will not. Rejection is never easy, and there are very few rejection-free paths to publishing. It can be hard to believe in something you created when other people don’t seem to get it—but that doesn’t mean no one will ever get it.

One of the best things we can do to keep our work relevant to the current market is to keep reading new books that are being published. See what’s out there, what you like and don’t like. Then you can see both where you can fit in with the crowd and what holes you can fill with your unique voice.

While we’re talking about “words of wisdom,” do you have any “do’s and/or don’ts” to share with our readers?

Do make a storyboard for your picture book. You don’t have to be able to draw. Just thinking about where the words will go on the page will help you figure out page turns and will help you lower your word count.

Do leave room for the illustrator to do their job. In a well-balanced picture book, neither the text nor the illustrations will be as effective separately as they are together. The words don’t need to describe what things look like, and the more you can stay open to different ways your book might ultimately look in the end, the happier you are likely to be with the illustrations.

Do put every project away for long enough that you can forget how it goes. Then, try to come back to it and read it with fresh eyes. Pretend someone else wrote it. What parts work well? What could be done better?

Do share your work with others and listen to what they have to say. That’s not the same thing as doing everything they say, not at all. But hear it, decide whether it resonates with you, and either act on it or release it.

“Like any art, writing is inherently a subjective business, so some people will like your work, and some will not. Rejection is never easy, and there are very few rejection-free paths to publishing. It can be hard to believe in something you created when other people don’t seem to get it—but that doesn’t mean no one will ever get it.“

“One of the best things we can do to keep our work relevant to the current market is to keep reading new books that are being published. See what’s out there, what you like and don’t like. Then you can see both where you can fit in with the crowd and what holes you can fill with your unique voice.“

BOOKS, BOOKS, BOOKS!

Okay, we’ve made it through all the nitty-gritty publishing questions, and now it’s time to celebrate- with books! We’ve danced around the topic of your writing across genres. Now, let’s hear about your stories! Tell us about your books!

Each story tells about a part of us. What do each of your books mean to you personally? Why’d you write them? And what do you hope they will do for your readers? What was each journey like for your story? Which one was published first- your debut book deal? What were the emotions of the process? And about how long did each book take- from the beginning (writing) to book deal and publication?

For some of our readers who are new to publishing, it might come as a surprise that not all authors in the kidlit arena are illustrators- in fact, most aren’t. Can you share a little bit about the illustration process for your books and how much or little you were involved in that?

My debut picture book was Not Little, illustrated by Hyewon Yum (Neal Porter Books / Holiday House, 2021). My inspiration for this book came from a number of tiny but fierce kids I’ve known over the years, who seemed to make up for their “little” stature with outsized spunk and determination. One of them is my youngest, who was very small as a young child and a precocious reader. She was perpetually indignant that the school librarian wouldn’t let her check out big chapter books and was often looked at skeptically when she would order (and polish off) a whole pizza in a restaurant.

I wrote this story in 2017 when there was a new level of vitriol and unkindness flying around in the world, and I wanted to remind my own kids and others that anyone can fight back against cruelty without being cruel. I sold the manuscript in 2018, and the book was published in 2021.

I made these Dot dolls as a pandemic project—one for Neal, one for Hyewon, one for me.

I was originally hoping that Neal, my editor, would select Matt as the illustrator for my first book; after all, they’d been working together for years, so why wouldn’t he pair us up? So when Neal told me that he’d decided to go with someone else, I was a little bit disappointed. But I loved Hyewon’s work, and when I first saw the dummy (sketches) for Not Little, I was so excited to “meet” the main character and her family that I burst into happy tears. 

An illustrator’s note in the manuscript had said she came from a big family, but the multigenerational blended family Hyewon imagined was greater than I could have hoped for! 

I knew I wanted to get to know that family better, so that’s where I started the follow-up book Not Perfect, which I wrote and sold in 2021 and which is out now, in 2024 (again, a three-year turnaround). Not Perfect is for all of us who strive for perfection. It’s a reminder that it’s the striving itself—the trying, the making mistakes, and the bouncing back and trying again—that makes us strong.

Meeting Hyewon Yum at the Society of Illustrators Original Art Show, 2019

As I mentioned earlier, my first chapter book started out as a picture book called Little Red Writing Hood. My agent loved it and got it ready to go out on submission. Then, at the last minute, she said she thought the story was better suited to older readers and suggested that I rewrite it as a chapter book. It took me about a year to get on board with this idea, but once I started, I really loved writing for older kids. And when we sold that manuscript to Krissy Mohn at Capstone (summer of 2022), she said she wanted a series of four books—and all the manuscripts were due within six months! So I had to make room in my schedule for a lot more writing than I usually do, but it was a lot of fun, and I’m so thrilled to have all four books coming out this year (the first two are out now; the other two coming in August). 

Eleanor Howell did an incredible job with the illustrations! Each of the books has a curriculum-based focus (writing, scientific method, research, and graphing), nestled into some of the real social and emotional struggles that elementary-aged kids face. I liked getting back to teacher mode for these curriculum-based stories, and I really hope the books will be helpful to teachers—and fun for kids to read!

For all my books so far, and for almost all of the dozens of books I’ve seen my husband illustrate, the writing process and the illustration process are pretty separate. The author has the freedom to create the story as they envision it, and then the editor has the fun job of playing matchmaker: choosing an illustrator they think will bring this story to life in an effective, engaging way, then giving them the freedom to do just that. In return for your trust, you get the gift of having an artist enhance your story by turning your ideas into a visual experience.

What has/have been your favorite part/parts of being a published author? If you have more than one favorite – feel free to share! I know it’s hard for me to pick a single favorite, so I totally understand if you can’t choose just one.

I love connecting with kids and making them feel empowered to do things—whether it’s recovering from frustration or, standing up to a bully or writing a story of their own. It’s also super fun to work in the same field as my husband, and getting to make friends within the kid lit community together.

These pictures are awesome. Thanks so much for sharing them with us and for joining us today, Maya.

Thanks so much for having me!

But we’re not quite finished yet. Now it’s time for our GIVEAWAY.

GIVEAWAY PRIZE: Maya is offering a signed copy of Not Little or Not Perfect.

HOW TO ENTER THE GIVEAWAY

Subscribe to the blog
Like this blog post
Comment below, letting me know you’ve done 1 & 2. (Please note: If the guest is offering more than one prize, please specify which prize you’d like in your comment.)

Deadline to enter: April 30th, 2024, 11:59 PM CST

And that’s it!

FAQ:

Did you enjoy this interview? Thank the author & host by purchasing a copy of one of their books or by requesting it be purchased at your local library! Using the sponsored links below also supports this blog.

PURCHASE Not Perfect

PURCHASE Not Little

PURCHASE Rosie Woods in Jack and the Bean Shock

PURCHASE Rosie Woods in Little Red Writing Hood

PURCHASE Rosie Woods Rosielocks and the Three Bears (available for pre-order now)

PURCHASE Rosie Woods The Three Billy GOATs Graph (available for pre-order now)

PURCHASE National Geographic Kids Little Kids First Big Book of Baby Animals

PURCHASE National Geographic Kids Llamas

PURCHASE National Geographic Kids Puffins

PURCHASE National Geographic Kids Hippos

PURCHASE ADHD and Me

Already own a copy of one of these? Consider leaving a brief review on Amazon, Goodreads, or Barnes & Noble.

Maya Myers writes books for kids. Her debut picture book, NOT LITTLE, was named a 2022 ALSC Notable Children’s Book. She’s also a freelance book editor and publishing project manager, working with both authors and publishers on all sorts of books, from phonics readers to memoir and everything in between. She’s a former kindergarten teacher, K-5 literacy teacher, and piccolo player. These days, when she’s not wrangling words, she’s probably cooking, digging in the garden, playing a board game with lots of pieces, or (surprise!) reading.

Maya grew up playing in the woods on the coast of Maine in a little town that is still almost thirty miles from a stoplight. She attended Duke University and has called North Carolina home ever since. She lives in Charlotte with her husband, author/illustrator Matt Myers, three kids, six chickens, and a twenty-three-pound cat.

ohmayaword.com (author site) mayamyersbooks.com (editorial site)

DECEMBER 2023 FEATURE INTERVIEW WITH COPYWRITER AND CHILDREN’S BOOK AUTHOR HOWARD PEARLSTEIN, CONDUCTED BY KIDLIT WRITER, BLOGGER & LIBRARIAN CHELSEA DICICCO

Posted on December 1, 2023December 1, 2023 by Chelsea’s World of Books in Feature Interview Series, View all blog posts

Hello, and welcome back to Chelsea’s World of Books blog. It’s time for another Feature Interview. If this is your first time visiting, let me tell you a little about what makes these segments so valuable.

WHAT’S SO GREAT ABOUT FEATURE INTERVIEWS?

Feature Interviews are an INVALUABLE resource for 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, and we discuss everything publishing.

Here are some of the things we talk about:

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.

Author Bio

Howard Pearlstein is the author of nine picture books that have been translated into five languages. His upcoming titles in 2024 and 2025 include This Book Is Not For You and The Bad Book for Good Kids, both published by Familius. Howard is also the founder of Copy Rocket, an advertising copywriting agency, and has worked on some of the world’s most popular brands, including Toyota, Verizon and Mitsubishi. A California native, Howard now lives in Birmingham, Alabama with his wife, Debi. Howard has three daughters, Amanda, Jacquie and Emily, who live across the country, and one dog, Maeby, who still lives at home.

bEGINNING

I love starting these interviews by asking my guests how they ended up in the wonderful world of kidlit. Can you tell us how you arrived here?

How I ended up in the world of kidlit is a much longer story than we have time for today. But I can say that in 2018, I went through a period of self-reflection. Up until that point, my entire career had been in advertising. I loved the career and was proud of the work I had created. But, as I looked back, I realized that I hadn’t created anything for myself, anything personal. Since advertising really is telling a story with an interplay of pictures of words, I had a revelation that I should be able to write picture books. Of course, I had no idea what I was doing, so the first thing I did was Google “How to write picture books.”

And you’re the founder of a copywriting advertising agency. Can you tell us how that lends a role in your writing career?

I’ve been a copywriter since graduating from college and I truly believe that my advertising experience has provided the perfect training for writing picture books. In many ways, the process is similar:

- You have to come up with a concept on how you will communicate an idea.
- You have to understand who your target audience is and what motivates them.
- You need to know what goals you’re trying to achieve.
- You then need to create words and visuals that go together to tell the story in the most creative way possible.
- You also need to use the fewest words possible to get across your message.
- You want the final product to be something that speaks to the audience on an emotional level since that’s what sells.

PUBLICATION ROUTE: QUERYING & SUBMISSIONS/ AGENTS & PUBLISHING HOUSES

Can you tell us a little bit about your publication route. When did you first start querying agents/submitting to publishing houses?

After deciding to write picture books in 2018, I began querying my first manuscript, Orange Porange, in 2019.

Were you agented for your first book deals? If not, can you explain what the submission process was like when sending manuscripts directly to publishing houses? And share some details on the timeframe that it took for you to land your first publishing book deal?

I began the submission process without an agent. In fact, I just signed with an agent last month (finally), Jes Trudel with The Rights Factory. Without an agent, the submission process is extremely tedious. First, you have to find which publishers accept unsolicited manuscripts. Then you have to research each publisher individually to see if their list aligns with your story. Then, you have to put together a query letter. Since I was so new to publishing, I again had to turn to Google and ask, “How do you get a picture book published.” Luckily, there’s a wealth of great information available.
With Orange Porange, I started querying in July of 2019 and was lucky enough to find a home for it in August with Marshall-Cavendish.

Now I understand you recently got some very exciting news. Would you like to share this with us?

I touched on it earlier, but I finally have an agent! I had queried Jes Trudel with The Rights Factory with a new manuscript, and, on her Query Manager page, she allowed authors to submit additional manuscripts. I took advantage of that and was definitely excited when she reached out to me and wanted to talk. We had a great Zoom call, and I signed with her about a week later.
I do hope everyone keeps in mind that I’ve been querying agents relentlessly for 5 years. In fact, one agency told me to stop querying them altogether. Querying publishers and agents is not an easy process.

CHALLENGES, ROADBLOCKS & INSPIRATION

What are some difficulties you’ve personally faced throughout your publication journey and what helped you to overcome them?

Constant rejection is by far the biggest difficulty. You receive one form rejection letter after another – or nothing at all. For me, what helped to overcome this difficulty was always keeping my commitment to my goal (to be a picture book author) front and center at all times. Challenges, obstacles, and difficulties don’t matter when you’re 100% dedicated to your destination.

I love that! "Challenges, obstacles, and difficulties don't matter when you're 100% DEDICATED TO YOUR DESTINATION."

What has been your biggest source of inspiration to keep going?

My biggest source of inspiration is my desire to make a career out of writing picture books. Right now, the royalty checks don’t come anywhere close to paying the bills, so I know I need to keep writing more (and better) books to make that goal a reality.

AUTHOR EVENTS: SCHOOL & LIBRARY VISITS AND FESTIVALS (INCLUDE PICS)

Let’s talk about author visits! Being a librarian and kidlit author myself, author visits are one of my FAVORITE things! Can you tell us a little bit about some of your experiences visiting schools/libraries/festivals?

I just had my first author visit on Halloween, and it was fantastic. I wanted to make my presentation perfect, so I spent weeks working on it. I think this idea that it had to be perfect came from my advertising background, where so much is always riding on client presentations. My wife finally told me to just relax and have fun. I did and ended up having a great time presenting to first graders and then second graders. I’ve always heard that you have to be prepared for anything with school presentations. This is definitely true – and I wasn’t prepared for one question. I read one of my books, Tribeca, about a three-legged cat, and one of the students asked if I had a pet. We recently had to put our dog to sleep, so I was caught completely off-guard by the question and didn’t know what to say. I finally answered, “I used to.” So, besides that moment, the visit was awesome.
I’ve also recently been trying to get out into the community by having a booth at a local farmers market and a book festival. Those have been a lot of fun and very rewarding in the sense that it’s very rewarding to hand someone something you’ve created, and they pay you for it right on the spot. I’m hoping that attendance at these types of events will lead to more exposure for me beyond the events themselves.

Any suggestions for authors or illustrators who may be newly debuting on how to go about booking visits like these?

I wish I knew the secret to cracking the school visit code. I got lucky with my one school visit because it was at my wife’s former school. I’ve reached out to other local schools and haven’t heard a word back from any of them. I’m thinking the key to this, just like getting published, is to be completely committed and to not let anything deter you.

PUBLISHING RESOURCES & TIPS

If you had to share three of the greatest resources you’ve found in the kidlit publishing industry so far, what would they be, and why are they so valuable?

There are so many resources out there that it’s difficult to choose just three. When I began writing picture books, I simply scoured Google for any and all info I could find. I can’t remember all the sites I visited. However, once I started submitting, I found several good resources for finding publishers that accept unsolicited manuscripts. One source for that that seems particularly thorough and up-to-date is https://bitsykemper.com/publishers/. I also listened to quite few podcasts. Two that I found the most useful The Yarn (Travis Jonker and Colby Sharp) and Literaticast (Jennifer Laughran). Finally, there’s a regular newsletter called QueryTracker Weekly Update. I think it’s by the same company that does Query Manager. Anyway, this newsletter provides updates on which agents are open for submissions and the genres they represent. It’s where I saw that Jes was open, so I highly recommend that people sign up for it.

Are there any tips you would like to share with our readers that you wish you had known when you were just starting down the road of kidlit publishing?

Besides not knowing anything about picture books, I also didn’t know how slow the publishing industry is. Having spent my entire career in advertising, I’m used to a start-to-finish process that can take as little as the same day to maybe a month or so for large-scale TV commercials. With publishing, everything moves slowly. For example, I signed the contract for my book that’s coming out in 2025 back in 2021.

And now, we’re moving onto my favorite part of the interview- the books!

BOOKS!

I would love to hear about some of your books and the inspirations behind them! Could you tell us a little about them?

Here’s the inspiration for a couple of books:

Connor Crowe Can’t Let Go

• My wife and I went out to breakfast one day and it seemed like every parent was on his or her phone rather than paying attention to their children. When the kids started getting antsy, the parents gave them their phones to occupy them. I thought this was incredibly sad to see families barely interacting with each other. I remembered a story from when I was little about a boy who pushed vegetables onto his fork with his thumb, even though his parents told him not to. He kept doing it and one day vegetables started growing from his thumb. At first it was cool, but then the vegetables grew out of control. I thought a similar premise could work for a boy who’s addicted to his device and then realizes the consequences. I wanted this story to be a cautionary tale about the dangers of choosing devices over people.

Tribeca

• My oldest daughter Amanda, a lawyer with the department of justice, called me one day and said I should write a picture book about the three-legged cat she and her girlfriend had fostered and that was eventually adopted by a family with a three-legged dog. I told her it was a great idea, but I’d only write it if she wrote it with me. Luckily, she agreed. I wrote a first draft, sent it to Amanda, she refined it, and then we went back and forth a few times to fine tune it. Writing the story from Tribeca’s perspective and about the thoughts and fears a foster cat could have made the process a lot of fun. When we started sending out queries, one publisher, Margie Blumberg from MB Publishing, gave us some really wonderful feedback. We revised the manuscript with her insights and continued with the querying process. I really think her input helped this story get out of the slush pile.

Do you have a favorite book that you’ve published? If so, which one and why? (If you have more than one favorite- feel free to share!)

Orange Porange is near and dear to my heart because it was my first published book (and I think the story is funny and sweet). But, I have to say my favorite is The Old Man Eating Alone. First, I really love that it has such a different premise than most picture books. It covers death and dying and it’s about a friendship about an old man and a young girl. I also love the illustrations by Hilde Groven. I think they’re beautiful. But the main reason it’s my favorite is because it was inspired by my youngest daughter Emily. She has always been very empathetic and one of the things that upset her the most, from a young age, was seeing old men eating by themselves. I have no idea why. But I took this idea of an old man eating alone and thought about how I could transform this sad premise into something else. While the story has sadness and deals with dying, it gives the reader an opportunity to look at loss from a different perspective.

Do you have a favorite spread in your books? We’d love to see it/hear about it! Why is it your favorite? And who is the illustrator behind it? (feel free to share pictures of your favorite illustrations if you’d like to!)

I have so many illustrations that I love, but I’ll include one from Orange Porange. One of the main reasons that it’s so special is that it was illustrated by my friend and former advertising partner, Rob Hardison. When I was learning about picture books, everything I read said that the publisher chooses the illustrator. But when I signed the contract with Marshall-Cavendish, they said that I could choose my own illustrator. Rob and I had worked together for years and had done so many great ads. I knew he was a talented illustrator, so I asked him if he wanted to work with me on this. Luckily, he did. We conceived the idea of the characters together, but then Rob brought them to life perfectly. I chose this particular illustration because I love the way Rob made Orange and Purple look so happy. I have no idea how, with just a few lines, he was able to have them express so much joy.

Thank you so much for being with us today, Howard, and for sharing all this great information with our readers. We’re so glad to have had you with us. But don’t go away just yet- because we’ve now arrived at our PRIZE GIVEAWAY portion of the interview.

GIVEAWAY PRIZE

During the month of December, 2023, Howard is offering the following giveaway prize to one winner:

A classroom/library visit (zoom / in person, if local) or book reading.

* LIBRARIANS AND TEACHERS, WE’RE LOOKING AT YOU!*

HOW TO ENTER THE GIVEAWAY

During the month of December 2023:

Subscribe to the blog
Like this blog post
Leave a comment below letting me know you’ve done both. (If the guest is offering more than one prize, please specify which you’d like in the comments below.)

Entry window: December 1^st-31^st.

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 one of these books! Using the sponsored links below also helps support this blog.

Sally Ann McFidgetbottom

Orange Porange

The Invitation: An Orange Porange Story

Orange Porange: The Missing Ball

The Magic Mirror: An Orange Porange Story

Tribeca

The Old Man Eating Alone

Conner Crowe Can’t Let Go

The Liebrary