Enjoy a video presentation on ways to stay positive and keep moving forward in kidlit, despite the slow-moving nature of the industry and the many rejections that litter its path. Find out what necessities to put in your publishing emergency preparedness kit, and how it will help you stay on track.
Toward the end of 2025, I was invited to be a guest presenter for the first-ever virtual and in-person Midsouth Mindset Reset event for my local SCBWI chapter, Midsouth KY/TN. The event would be hosted in February 2026.
This free region-wide hybrid meetup was themed around wellness and designed to help writers and illustrators recharge, refuel, and refill their creative wells.
My presentation would focus on ways to stay positive in a slow-moving industry rife with rejection. Today, I’m sharing those tips with readers. Please enjoy this video, and I hope you will find some helpful takeaways!
P.S. If you are a children’s book writer or illustrator and are not currently a member of SCBWI, I highly recommend checking it out!
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, andagents– 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 andlibrarians!)
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
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:
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 also supports this blog.
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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.
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.
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Hello, writing friends, and welcome back to Chelsea’s World of Books blog. Can you believe we’re in the new year ALREADY? And to get things started, we’re diving into 2024 with a very special guest; Children’s Book Author of one of our favorites, FREAKY, FUNKY FISH, Debra Shumaker!
But before we get started… just in case this is your first time here, let me tell you a little about what makes segments special.
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!
So, now that you know what to expect… let’s get into our interview.
Debra Kempf Shumaker started reading at the age of four and hasn’t stopped since. She grew up on a small dairy farm in Wisconsin but now writes fiction and nonfiction picture books from the suburbs of Northern Virginia. She is the author of the nonfiction rhyming FREAKY, FUNKY FISH, and PECULIAR PRIMATES (Running Press Kids, 2021 & 2022), a social-emotional learning book, TELL SOMEONE (Albert Whitman, 2021), and the upcoming WIND IS (Kids Can Press, 2024). Debra is also the co-host of #PBPitch, a Twitter pitch party for picture books held every February, June, and October. When she isn’t reading or writing, she enjoys hiking, gardening, and watching Jeopardy. Visit her online at www.debrashumaker.com, on Twitter at @ShumakerDebra, and on Instagram at @debrakshumaker.
THE SPARK THAT STARTED IT ALL
Debra, I can’t tell you how thrilled I was to find your name among the many stuffed in my submissions box for the 2024 Feature Interview lineup. Being a librarian and kidlit writer myself, I’ve had and witnessed many delightful read-alouds of your stories. Something that I love about your writing style is how you blend education with fun- and, to top it all off, you incorporate rhyme! Which is something that I think only the real wizardly kidlit writers of the world can successfully tame. But before I go off on a tangent on your books (I promise we’ll circle back to it), I’d love to start our conversation today by asking how you landed in the world of children’s publishing. What was “the spark that started it all?”
First, thank you so much for your kind words! I love hearing that read-alouds with my books are delightful! As far as “the spark,” as many writers can relate, I’ve always loved reading and had the “some day” dream of writing a novel. When I married and had kids, I took a step back from my corporate job and became a stay-at-home Mom. I took the kids to the library several times a week, checking out dozens of picture books. And I was floored. I didn’t remember picture books like those when I was a kid. And I fell in love with picture books. I decided that I was going to figure out how to be a part of the picture book creation. My kids are in their upper teens and twenties now, so it took a while, but I figured it out!
Can you tell us a little bit about what kinds of stories you write and why you write them?
I write both fiction and nonfiction picture books. So far, I’ve had more success with my nonfiction books. But I write whatever strikes my fancy. Many ideas come from some random fact that I read about or some emotions I’m feeling—wonder, joy, fear, sadness, or a complicated mixture—and want to write a story to give a place for kids to either find that wonder or explore their complicated feelings, too. And sometimes, I write a story because an editor asked for a specific story.
I understand that you grew up on a small farm with eight siblings, and you’ve always loved reading. Can you tell us a little more about your childhood experiences with books and maybe share some of your favorites?
Growing up, as I did, we didn’t have a lot of money. But my Dad loved reading, so somehow, we always had books in our house, mostly from rummage sales or from people who knew we had a big family and wanted to pass down books from their family. I also loved Library Day and Scholastic Book Fairs. I don’t remember reading too many picture books, but I remember reading lots of easy readers. My favorite were Disney Encyclopedias. I spent hours and hours reading those!
I mentioned before that I’m a librarian… and I noticed on your website that your favorite day of each week as a young girl was “library day” at school. Which makes me so happy- mine was too! Can you tell us a little bit about the magic you experienced as a young girl in the library and what memories stand out most to you to this day? As I mentioned, money was tight. Also, there were no bookstores nearby. I depended on Library Day during the school year and the Book Mobile (that we would bike to in the summer) to have new books to read. I remember the awe of walking up and down the bookshelves and picking as many as I could fit in my arms. I loved horses and probably read every horse book the library and Book Mobile had.
Now we’ve talked about the past… let’s fast-forward a little. Before becoming a children’s book author, what was life like? What kind of work did you do? And what were the events that led to the switch to writing as a career?
My first career out of college was as a Registered Dietitian for a nursing home. I eventually moved on to training healthcare software to staff in nursing homes, then staff development training for a healthcare software company. Not publishing-related at all. But sometimes, I took writing classes at community colleges because I dreamed of writing a novel someday. After having kids, becoming a stay-at-home Mom, and taking my boys to the library, the spark was ignited, as I noted in the first question. It took me a few years to call myself a writer, and a lot more years to finally get that byline in a magazine, and many more years before getting my name on a book!
THE PROCESS: QUERYING AGENTS/SUBMITTING TO PUBLISHING HOUSES
What was the publishing process like for you? Can you share a little about your experience with querying agents? When did you begin your publishing journey? When/how did you find your agent agent/agency match?
The publishing process was very long. I started writing for kids in 2007, but with three boys in 3 ½ years, very sporadically. Once they started school, I started being more intentional in finding time to write. At first I wrote both picture books and magazine articles and did find success with a few articles in Boys’ Quest, Fun for Kidz, and Spider. By 2011, I had joined SCBWI and started seriously submitting picture books to editors then agents. Participating in challenges like PiBoIdMo (Picture Book Idea Month) and 12 x 12 greatly improved my writing and my understanding of publishing. Around 2015, I finally started getting champagne rejections and requests for R&Rs (revise and resubmits), but didn’t connect with an agent until 2017. That was Natascha Morris with BookEnds Literary. I submitted one of my fiction stories to her through the normal query process. She loved it and asked for a few more, then offered representation. (After she sold my first two books, she did leave BookEnds. I am now repped by James McGowan with BookEnds.)
Once you signed with your agent/agency, what was the submission process like?
The benefit to having an agent is to have the doors to bigger publishers open up. But having an agent also meant that every story I wrote did not necessarily go on sub. She had to feel confident in it, too. But I loved being able to put all my focus on my writing instead of researching agents or houses that took unsolicited subs.
How long did it take to receive your first book deal?
I first signed with Natascha in July of 2017. After a few revisions, she subbed that first story widely. I had several R&Rs, and it went to acquisitions to around 4 or 5 houses, but we never sold that book. It was 18 months and four other manuscript submissions later before we finally found an editor who gave me a YES. And that was for FREAKY, FUNKY FISH in January of 2019.
RESOURCES & WORDS OF ADVICE
The beginning stages of the writing journey is a very tender time. It’s a time for learning and growth. Like everything in life, real growth comes through patience and trial and error. And it can be difficult. Rejections sting. Waiting is hard. But, the further along you go, the stronger you get and the more you learn. What has been your biggest challenge in the kidlit publishing arena, and how have you been able to overcome it?
Rejection is hard. The one thing writers can’t control is agents or editors deciding to take on your book. One thing I could control was to continue to work on my craft and to continue to write and submit. I continually reminded myself that agents and editors were rejecting my stories, not me personally.
If you could share a piece of advice with newly aspiring authors or illustrators, what would it be?
I tell every aspiring picture book author to type up the text of picture books they love. (And that have been published in the last few years.) It’s the best way to get a feel for voice, pacing, page turns, and so much more. By doing this, it will become more innate when they write. Plus, if the book they are typing up has both an author and an illustrator, aspiring authors can get a better idea of how the manuscript looked when it was bought as a text-only document. Odds are, there was a lot of room left for the illustrator. I’ve typed up more than 300 books since 2015, and I continue to do so on a regular basis. My first drafts have improved so much because of this exercise.
Speaking of words of advice… let’s talk a little bit about writing community and resources. What are some of the best resources you were able to find when you started down the road to kidlit publishing?
In my first few years of writing, I didn’t know where to get ideas. I only had two manuscripts that I worked on over and over again. Thankfully, I stumbled upon Tara Lazar’s PiBoIdMo (Picture Book Idea Month) which has now morphed into StoryStorm that happens every January. It trained my brain to always be on alert for ideas, and now I have more than I can handle. Shortly after my first PiBoIdMo, I found Julie Hedlund’s 12x12. This was back when there weren’t agent submission opportunities and “levels”, just a community of writers attempting to write 12 picture book drafts in 12 months. Being a part of that community was priceless. The KidLit411 website is an amazing resource for KidLit writers.
Since we’re discussing helpful resources, I’d like to add the importance of having a strong writing community. Making connections is one of the best things a new writer or illustrator can do. Not only do you learn from each other… but you’re able to support and lift one another up. You can share and celebrate good news- and share and comfort hard news. It’s crucial for your mental health as a creator to have your clan of supporters around you- who both understand what it’s like and appreciate your continued efforts. Where are some places you’d recommend going to find that “kidlit community”?
Besides StoryStorm and 12x12, I love the KidLit411 Community on Facebook. Facebook has many great writing groups for community. But I also highly recommend finding a critique group, or two, or three, either in-person or online. I belong to four! The KidLit 411 website offers a place to find critique partners. And join SCBWI. When you join the national organization, you will get placed in a regional chapter. Conferences are an amazing way to meet fellow creators. Attending my regional conference is how I found my in-person critique group.
Another thing I think can really help to keep a creator’s creative juices flowing and inspired is participating in kidlit events. There are so many great contests out there! One of them is one that you co-host. Can you tell us a little bit about how you started #PBPitch events on Twitter/X, what they are, and what their intended purpose is?
Ah, #PBPitch. I’m so proud of it. It started back in 2015. I had just joined Twitter because in various KidLit groups on Facebook, I kept hearing about #PitMad, which was a pitch party for books for all ages. (For pitch parties, creators post a pitch for a completed manuscript with the corresponding hashtag, and if an agent or editor “hearts” it, it’s an invitation to submit the manuscript.) In March 2015, I participated in my first #PitMad, and there seemed to be very little love for picture books that day. Mandy Yates posted in one of the FB groups that someone should start one for just picture books. I responded that I had no idea what I was doing but would help. As did PJ McIlvaine. And before we knew it, the three of us created #PBPitch and hosted our first one a few months later. We had no idea if anyone would tweet or if any agent or editor would stop by, but they did! We’ve held it three times a year ever since. Each one has resulted in at least one successful agent match or book deal. We have numerous success stories on our website (pbpitch.weebly.com), and I’m sure many more have happened that we just aren’t aware of.
PREPPING FOR DEBUT AUTHOR BOOK LAUNCH: ORGANIZING VISITS/EVENTS: SCHOOLS, LIBRARIES, BOOK SIGNINGS
Okay, so now we have an agent, a book deal, and a launch date. Yay! Now what? Now it’s time to SELL the book. Can you tell us about your experience in preparing for your debut book launch and creating your author brand? What worked best? What didn’t? And why?
My debut, FREAKY, FUNKY FISH: ODD FACTS ABOUT FASCINATING FISH, came out in May 2021 when the world was still largely shut down due to the pandemic. I was able to have a launch outside of my local indie, Scrawl Books, but the weather was quite windy and chilly and sparsely attended. However, in getting ready for my debut, I joined a co-marketing group called PB Debut Troupe 21. Fourteen of us creators had debuts coming out that year, and we shared our joy, commiserated in the frustrations, helped boost each other’s books on social media, and wrote reviews. I’m still good friends with those creators. I highly recommend debuts join or create a co-marketing group!
A great way to boost your brand and share your story with others is by hosting author visits. Can you tell us about some of the visits you’ve hosted? How do you conduct your author visits? How long are they? Do you charge an author fee? Are you the one organizing them, or is it your agent/publisher? If you’re the one organizing, how do you go about reaching out about scheduling your visit?
Occasionally, a bookstore has reached out to my publisher for an author event, but that’s only been once or twice. So, 99% of the time, I am doing the outreach to bookstores, schools, and libraries. For readings at bookstores, I do not charge a fee, but for programs at libraries and schools, I do. For Author Visits at schools, I do 3 - 4 presentations in one day–I don’t only read my book and talk about being an author, I have presentations connected to curriculum. To promote my Author Visits, I’ve attended my state’s librarian conferences to connect with librarians. I’ve also sent out postcards to local schools. I did about six visits last year and loved them, and hope to do more!
What has been the response to the author visits? What has been your favorite part? What has been their favorite part?
My favorite part is being with the kids and exciting them about writing, reading, and science. Hearing them laugh about the facts in my book is priceless. And seeing their eyes light up because they are meeting a real, live author just warms my heart. Their favorite part is probably getting out of regular class, LOL. But I do think many of them love meeting someone who wrote the words in a book they read or heard.
Fox Mill Elementary School in Herndon, VA.
Marumsco Elementary in Woodbridge, VA.
THE BOOKS! RHYME, EDUCATION & HEART
Okay, I promised we’d circle back- and here we are. We’ve finally arrived at my favorite part of the interview- THE BOOKS!
As I mentioned earlier, I’m a big fan of your stories. I love learning, and your books FREAKY, FUNKY FISH, and PECULIAR PRIMATES are such inventive ways to spread knowledge. And your story TELL SOMEONE is just beautiful. But, enough about how much I love your work. I’d love to hear from YOU about each of your books. We touched on the types of books you write and why briefly earlier, but now I want to dig a little deeper. How did each of your stories come to be? What was the inspiration behind them? And what do you hope each story will give your reader?
For my debut, FREAKY, FUNKY FISH, I have to thank my first agent. I had been writing picture book biographies that just weren’t selling. She encouraged me to try something different. Since I love all nonfiction, I decided to try my hand at a science-y picture book and read some rhyming ones about bugs, water, squirrels, etc. I challenged myself to write one about a different animal. I recalled some research I had done about fish for a different fiction manuscript I wrote and remembered how strange some fish were. And wa-la, an idea was born.
For TELL SOMEONE, an editor asked my first agent if she had a writer who would like to try writing a story encouraging kids to talk about their feelings since Albert Whitman wanted to have one on their list. Natascha asked me. My gut reaction was “No,” as I had never written anything “on assignment,” but I pushed myself out of my comfort zone and said I would try. A few months later, I had a contract. After we were in the final stages of FREAKY, FUNKY FISH, I decided to write a companion book about birds, which I titled BIZARRE BIRDS. Running Press Kids felt there were too many picture books about birds and asked if I’d be interested in writing one about primates, so I did!
For my science books, I hope kids are fascinated by the diversity of our world and are inspired to do what they can to preserve it. For TELL SOMEONE, I hope kids are encouraged to talk about their feelings in both good times and hard times. Mental health is important.
There’s a fun musicality that you use in your writing that truly puts the “fun” into “fun facts,” and at the same time, it’s funny. Heart, humor, and education are my favorite combination. And, somehow, you managed to add RHYME into the mix?! Possibly proving that you’re a magician? (Are you a magician?) Can you tell us what inspired you to write your stories in rhyme and what that process looked/felt like?
I love rhyme. My first publication ever was a rhyming poem about a snail who ate a nail in my 3rd-grade newsletter. I frequently wrote “odes” for various occasions growing up, for fun, so I think my debut was destined to rhyme, LOL. When I started writing picture books, I wrote several fiction/concept stories that rhymed but never sold. Some books seem to work better in rhyme, and for both the fish and primates books, I felt rhyme gave them another hook vs. just a list of strange animal adaptations. It’s a lot of work but so much fun, like setting a puzzle.
Did you have anyone try to discourage you from writing in rhyme- and if so, how did you respond?
No, no one discouraged me. I understand meter and know that rhyme is more than just counting syllables and using rhyming words at the end of two lines, so as I revise, I know the rhyme will read smoothly. I won’t quit until it does.
Okay, we’ve talked about rhyme. Now, let’s talk about illustration. Can you tell us about how you ended up with your illustrators and what your first thoughts were?
For Freaky Funky Fish & Peculiar Primates- Claire Powell Tell Someone- Tristan Yuvienco
For both publishers, as is typical in traditional publishing, Running Press Kids and Albert Whitman found the illustrators. For Albert Whitman, the editor and art director, paired my text with Tristan’s art for the pitch at the acquisitions meeting, which was different from Running Press Kids. With them, FREAKY, FUNKY FISH was acquired first, then it took over ten months for them to find an illustrator.
I was absolutely thrilled with both Claire and Tristan once they were selected. Their portfolios were amazing.
Did you envision your characters and stories in a similar way to how they were illustrated?
For FREAKY, FUNKY FISH, I really didn’t have any vision in my head as I had seen so many photos of the fish as I was researching and writing it that I didn’t really give a thought to how they would look illustrated. But seeing Claire’s sketches for the first time was amazing—I loved the personalities she gave all the various fish!
For TELL SOMEONE, I hoped the art would depict various and diverse kids in the different scenarios, so Tristan’s art was in line with what I envisioned. But I was still amazed. His art is so sweet, I want to hug each child in that book.
Do you have a favorite spread from each book?
While I love so much about the illustrations in all three books, my favorite spread in FREAKY, FUNKY FISH is the one with the hammerhead shark and parrotfish. I love Claire’s colors and humor.
For PECULIAR PRIMATES, I love the nighttime scenes–the various primates are so adorable and huggable in that spread!
For TELL SOMEONE, my favorite page is the girl on the first day of school. Tristan’s perspective on this page really emphasizes the girl’s nervousness.
And… you have a new book coming out this Fall. Can you tell us a little bit about that one?
Yes, I do, and I’m so excited about it! WIND IS A DANCE, illustrated by the fabulous Josée Bisaillon, comes out with Kids Can Press on October 1, 2024. This book is a lyrical ode to the wind. I use metaphors to describe various winds we experience—from a ruffling, fluffing breeze to a rumbling, tumbling derecho. I’ve recently seen the colored sketches, and Josée’s art is SO stunning. I cannot wait for the world to see it!
If you could send your past self any piece of writerly advice, what would it be?
Be prepared for the long haul. Getting published is so, so hard, but absolutely worth it.
What’s one last message/piece of advice you’d like to impart to your readers?
If you are a writer and you want to be published, don’t give up. It may take more than 10 years, like it did for me. Work hard on craft and write new stories. Every manuscript you write will likely not get published. I wrote dozens of first drafts and about fifteen polished picture books before my first one was acquired. But I learned something from each manuscript I wrote, not one was a wasted effort.
Thanks so much for joining us today, Debra.
But we’re not quite finished. There’s still one last item on the agenda. And that is… the GIVEAWAY!
GIVEAWAY
Debra Shumaker is offering the following giveaway prize.
“A signed copy of one of my three books!”
HOW TO ENTER THE GIVEAWAY
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