In today’s Feature Interview, I’m chatting with Cindy Williams Schrauben about growth mindset and the value of reading aloud. We’ll also discuss ways to put yourself out there as an author and share personal experiences of the author journey.
Cindy, it’s my pleasure to welcome you to the Feature Interview guest series. Could you tell us where you’re joining us from today?
Hi Chelsea. Thanks for having me. West Michigan.
How did you hear about the Feature Interview series, and what made you want to apply?
I follow you online and admire your content.
Could you tell us what kind of books you write? (Age group and genre).
I have written books for children, including picture books and a middle-grade novel, which is in the works. I will also be venturing into the adult novelty book market soon.
When did you first begin your writing journey, and what did those beginning stages look like for you?
I jumped into the journey with both feet when my daughters left for college. It was time to challenge myself. It took nearly 8 years of studying, attending conferences and classes, and penning several manuscripts before I was able to realize my life-long dream of publishing a picture book.
What are some of the challenges you’ve faced on your author journey, and how were you able to stay the course?
The challenges were many, but I think the hardest part was believing in myself enough to ‘stay the course’ as you say. The key for me was getting involved in the kidlit community – joining critique groups, reading about other authors’ journeys, entering contests and challenges, etc. These connections gave me courage and helped me to manage my expectations.
What have been some of your greatest joys and highlights in publishing?
There are so many – receiving a book deal, seeing the illustrations for the first time, getting a starred review from Kirkus, etc. I am also looking forward to an upcoming visit to a children’s hospital to read to some brave kids. I also love encouraging aspiring authors, but the best part continues to be sharing my love for books with kids.
When would you say it’s “too late” to pursue publishing?
Never! My first book was published just after my 63rd birthday, and I don’t plan to stop anytime soon.
Why would you say it’s beneficial as an author to put yourself out there? And what are some different ways/examples of doing this?
It can be exhausting, but publishing a book isn’t enough if no one sees it. Interviews such as this, blog tours, giveaways, social media posts, in-person events, etc all help with visibility. It is hard, though, because there needs to be a balance between self-promotion and providing valuable content. I try to follow the 80/20 Rule – 80% content for authors or parents/teachers (such as the social media post below) and 20% book promotion. For content, I have chosen to concentrate on the topics of Growth Mindset and Social-Emotional Learning.
What kind of author events have you been a part of locally or otherwise, and how did you go about setting up these events? Did your publisher/marketing team reach out? Did you reach out? Was contact made via phone/email,/in-person?
I attend and/or organize events on a regular basis, ranging from book festivals, bookstore signings, school visits, launch parties, local media appearances, podcasts, etc. I was responsible for setting up most of these on my own (usually via email). I have three tips. First – go where the kids are instead of hoping they will come to you. I held the launch event for my first book, THIS COULD BE YOU, at a children’s museum on a busy Saturday. Over a hundred kids were already visiting the museum that day, so my audience was ready-made. That leads to tip number two – just ask! The museum was a dream location, and I never expected it to come to fruition, but the staff was excited to bring a unique opportunity to their visitors. The third tip is this– don’t be discouraged when you plan an event, and no one shows. It has happened to all of us. Evaluate the situation and improve your processes for next time. I also encourage other authors to think beyond your book in order to offer great programs for your community. I recently partnered with a local elementary school to break a Kid’s World Record entitled “The Most Children Sharing Handmade Hearts.” Though this event matched the theme of my second book, HANK’S CHANGE OF HEART, the day was about celebrating kindness rather than the book specifically. It was great fun and happened just because I asked (Tip #2, again.)
We’d love to hear about some of your author events and experiences and see some photos if you would like to share a few!
When reading over your bio, I loved how you described your books as being books to “inspire kids to live their best lives.” Could you elaborate on what this means to you?
Sure! Encouraging kids to love books and reading is, of course, a big part of my journey, but it goes further. Both of my books have a social-emotional learning foundation. I am a firm believer that books can provide learning opportunities without being preachy. HANK’S CHANGE OF HEART applauds kindness and sharing, while THIS COULD BE YOU empowers children with a growth mindset by persuading them to believe in themselves.
Let’s talk a little bit about growth mindset for home and in the classroom. In your application, you expressed your passion for empowering parents and children with a growth mindset and inspiring them to learn from each other as they go. Can you talk a little bit more about how you do this?
Growth Mindset is a term coined by Dr. Carol Dweck from Stanford University. Her research shows us that we can develop our abilities through dedication and hard work and that failure helps us to learn and improve. I love to talk with kids about famous people who have achieved great things after facing years of defeat. By understanding the power of a growth mindset, adults can make a huge difference in the lives of children. It is often as simple as changing our vocabulary. For example, “I can’t do it” vs. “It didn’t work, yet, but I’m still trying.”
I know you also have a collection of growth mindset activities and educator guides. I’d love to add a link to those for readers to have access to on Teacher Corner as well!
While we’re on the classroom side of things, could you talk a little bit about reading aloud and its value?
There is a great deal of research out there to support the value of reading to kids. The advantages range from improving a child’s own reading abilities and listening skills, expanding their vocabularies and language skills, to fostering bonds. A statistic that always amazes me is this one from the Child Mind Institute: “… young children whose parents read to them daily have been exposed to at least 290,000 more words by the time they enter kindergarten than kids who aren’t read to regularly. And depending on how much daily reading time kids get, that number can go up to over a million words.”
Now, for our writers out there, could you tell us a little bit about mentor texts? What are they? How do you use them? How can they be helpful?
Mentor texts are valuable for writers in a number of ways, ranging from learning about the industry and what is being published to honing our own craft and revising. There is nothing more helpful, in my mind, than reading the work of other children’s book authors and asking, what works? What doesn’t? Why? And how can I apply that to my own work?
Is there any particular book/author that inspires/inspired you to write?
I have always been enamored by rhymers like Dr. Seuss and Shel Silverstein. I love to write in rhyme – it’s like a puzzle.
What advice would you like to offer writers who are just beginning their publishing journey?
Don’t give up. The journey can be long and hard, but it is worth every moment. I have a YouTube Podcast to encourage authors. You can take a look here: https://www.youtube.com/@Cindy-Williams-Schrauben
Thank you so much for joining us today, Cindy!And now it’s time for our FIRST giveaway pool of the year.
GIVEAWAY This month, Cindy is offering an AMA Zoom. (two winners)
HOW TO ENTER THE GIVEAWAY LIKE AND SHARE this article to X and/or Instagram and mention my handle X @chellysbooks / Instagram @chelseasworldofbooks. If you don’t have X or Instagram, you can enter the giveaway by LIKING and COMMENTING at the bottom of the interview. ENTRY WINDOW: Once the Feature Interview is posted, you will have one month (roughly 30 days) to enter. The entry window for this feature interview giveaway will close once next month’s feature interview is posted. At that time, the next month’s feature interview giveaway window will open. Meaning, there will always be a giveaway opportunity.
Example: January Feature Interview is posted: January giveaway window opens/begins. February Feature Interview is posted: January giveaway window closes/ends, and February giveaway window opens/begins.
NOTE: Feature Interviews come out on the third Wednesday of every month.
Questions? Visit the FAQ page or drop a comment below.
Did you enjoy this interview? Thank the author & host by purchasing or reviewing a copy of one of their books or by requesting it be purchased by your local school or library! Using the sponsored links below to purchase also helps support this blog.
Cindy Williams Schrauben lives in West Michigan, where she writes books for children that range from the truly serious to the seriously silly. When not writing or sharing her books, this award-winning author might be found dissecting her grandsons’ shenanigans for story ideas, reading on the beach, or eating ice cream… ideally all at once. Her books, THIS COULD BE YOU (starred review from Kirkus) and HANK’S CHANGE OF HEART, inspire kids to live their best lives. You can connect with Cindy at http://www.cindyschrauben.com.
Today, I’m talking with returning guest children’s book author Heather Stigall. In this month’s Feature Interview we’ll be trekking through the ups and downs of publishing and sharing intimate details of the daunting questions: “What do I do if my agent and I end up parting ways and/or my editor leaves?’
But before we do… here are a few things to know about feature interviews.
THE SCOOP: WHAT ARE FEATURE INTERVIEWS & WHO ARE THEY FOR?
Feature Interviews are a free resource for writers and illustrators at every stage of the publishing journey.
Every month, I collaborate with industry professionals—authors, illustrators, editors, and agents— many of whom were or currently are also educators and librarians, to discuss all things publishing.
What can these interviews offer YOU?
These interviews give readers an up-close and personal look at the world of publishing from an array of different perspectives on every side of the desk and offer insight into tips, resources, and advice on how to:
stay current with market trends
hook an agent or editor
find writing community & other resources
discover workshops, contests, and other events
figure out which path of publication is right for you
know if your agent is a good match
And more!
AND… if that’s not enough, every guest offers at least one giveaway prize—sometimes more. This means you have multiple opportunities to win prizes every month! *If you’re interested in entering the giveaway, scroll to the bottom of the interview for instructions.*
Not that we’ve shared a little about what’s in store… it’s time to jump into our interview!
Heather, it’s so nice to have a returning guest visit the blog. The last time we shared a chat was in the October 2023 Feature Interview. Now, fast forward to April 2025. How time has flown by! Since then, you’ve been through the mountains, so to speak, on your publishing journey.
When reading over your application for the Feature Interview segment 2025, I thought it was interesting and kind of comical how the route to publishing sometimes takes such unorthodox paths… far from linear. Publishing moves at a pace and rhythm of its own choosing and, more often than not, in quite chaotic upside-down and crisscross patterns, but eventually, things DO move forward, which is hopeful. Speaking of which… let’s jump into the first question.
Could you share a little about your 2025 project and its significance to your writing journey? What makes this book special, and what interesting experiences has it had?
Thank you for having me back, Chelsea! You are so right about the far-from-linear path that publishing often takes, and my journey has been no exception! To answer your question about what made my 2025 project special, in short, it got me my first R&R (“revise and resubmit”), my first request for more work, and landed me my first agent. All amazing things!
To expand on that a little, in the spring of 2021, I had the opportunity to submit a manuscript for a professional critique through a webinar I hosted for our chapter of SCBWI (Eastern Pennsylvania’s chapter of The Society of Children’s Book Writers and Illustrators). I submitted a story that had been through several rounds of revision and critiques by my critique partners. The agent had a lot of positive feedback about the story’s character, voice, language, themes, and marketability, but she also had some suggestions for how she felt I could improve the plot’s middle section. Then, much to my surprise, she said that even though she was taking on “very few picture book text these days,” she “encouraged” me to query her for representation and was “happy to take another look” at my story. I knew then that I had something special!
I did a few more revisions and that summer, I queried her. Within two weeks, she responded, asking me to send more work! A first for me! She specified that she was not asking for an exclusive submission, but to check in with her if I received an offer of representation while she considered my work. So, I began sending my story out to other agents while waiting to hear back. One of those submissions was to Beth Marshea of Ladderbird Agenc,y who was a 12×12 Picture Book Challenge Featured Agent (“Gold” members of 12×12 receive special monthly submission opportunities). Beth responded the very day I sent her my manuscript to say, “When I tear up at the end of a PB I have to talk to the author!” After talking with Beth and sending her more work, she offered representation. I then went back to the agents who had my work and had not yet responded, including the first agent who was considering my work, but I ultimately signed with Beth. A few weeks later, we went out on submission with my story about a boy who wanted to be friends with a ghost!
For many writers AND/OR illustrators looking for literary representation, it’s the dream goal to find “the agent” and ideally work together for, if not the remainder of, then at least a significant chunk of their author and/or illustrator career. But, as we know, that’s not always the case. Agents move and sometimes leave the industry altogether, and so do editors.
Many creators might shudder in fear at the thought of “starting all over again” and wonder, ‘What happens if my agent/editor ends up leaving the business or we end up parting ways? Where does that leave me and my book? What are the next steps to take?’ Since you have some experience with the things listed above, could you share a bit about your experiences, as well as the steps you were able to take?
Again, you are so right, Chelsea! I had a wonderful working experience with Beth. She was enthusiastic about my work, we got a book deal on the first story I sent her, she negotiated my contract, and we went out on submission with a second story. But in the spring of 2023, Beth informed me that she decided to take a step back from representing authors. She would continue to represent me on the book I had coming out and negotiate any offers we received on the story we had on submission at that time, but that would be our last project together. I was so disappointed! And the thought of querying authors all over again was daunting.
But that wasn’t the only roadblock I encountered that spring. A month after Beth informed me that we would be parting ways, Beaming Books (with whom I had a contract for GILBERT AND THE GHOST) informed me that the acquiring editor would no longer be working for them. Then, the following month, the publisher informed me they decided to push GILBERT AND THE GHOST’s publication date from Fall 2024 to Fall 2026! I had the option to withdraw from my contract, but I knew that even if I received a new book deal the following day (hah!), the publication date would likely be the same (or farther out).
I took a little time to let all this news sink in and after collecting myself, I retrieved my old agent research and updated it. I polished the stories I felt had the most promise. I crafted a new bio for my query letter that included my new publication credits. Then, I spent the summer and fall querying agents again. I collected rejections again. But this time, I got three requests for more work, and it took less time to find new representation (six months vs. almost four years). Now, I’m represented by the amazing Amy Nielsen of The Purcell Agency. And (bonus!) Beaming Books decided to push the publication of GILBERT AND THE GHOST to 2025!
-WOW! Truly an amazing journey, Heather. And this speaks to your resilience and adaptability- which we all know are greatly needed qualities to stay afloat in this ever-changing industry.
Let’s talk a little about R&R’s. What experiences did you have with R&R’s, and how did they impact your writing? Explain.
Great question! My experience with an R&R is a perfect example of how subjective this business can be. As I mentioned above, the agent who requested an R&R on GILBERT felt the middle section needed revision and offered reasons why (she had some questions about the story’s believability). It is interesting to note that she felt the story’s ending was “sweet and satisfying.” I agreed with almost all her suggestions and revised accordingly. When I queried her, I thanked her for offering to look at my revision (which served as a reminder that she did) and briefly explained how I addressed her concerns. I also explained why I decided not to revise one item she commented on. She must have liked the changes I made because that led to her asking to see more of my work.
Interestingly, however, somewhere in the process of making these revisions, I had another critique opportunity with a different agent, and she had some different opinions. For example, she wanted Gilbert’s family to be more empathetic to his cause; to encourage him to be brave along the way. I wanted them to act more as antagonists (just not in a mean way), so I decided to ignore that suggestion. The agent also felt that an editor might shy away from my story because the ending wasn’t “decisive” enough. It was my intent to leave room for reader interpretation at the end, so I ignored that suggestion as well. I did agree with a few of her other suggestions, but I only incorporated the feedback that resonated with me.
I’m glad I followed my instincts, because the agent I ultimately signed with obviously loved the version of the story I chose to stick with, and it was the version that resulted in a book contract.
-I really love how you explained this, Heather, and I think it’s SO incredibly important for creatives to learn this balance as well, knowing what feedback to take and what feedback to ignore. Being flexible and open to edits and changes to your work is something you’ll always need to have in this field. That being said, knowing what resonates with your vision is crucial. If an agent suggests an edit that doesn’t align with the “heart” or “vision” of your story, knowing how to stand your ground and tactfully defend/explain your vision will go a long way in having a happy relationship, as well as being satisfied with your end product.
Let’s talk about unexpected – shifts in plans (and timelines). You mentioned that since signing the book contract and losing your agent AND the editor being let go, AND THEN the publisher pushing the pub date out by another TWO YEARS- Ahh!- that you then got a new agent -(yay!) and after this, the publisher pushed your pub date back up by one year. *Oh-my-goodness. Talk about a ROLLER COASTER. I almost got whiplash just from writing this…*
During this uncertain time, I can only imagine the overwhelming emotions you may have been going through. How did you manage to keep it together and stay the course? And what advice would you give to authors and/or illustrators who may be facing similar up-and-down challenges?
A wild ride, for sure! Of course, I was crushed to receive news that I had been “orphaned” and then that my book had been orphaned too. I was starting to feel invisible, just like the main character of my story. But I knew others who had been through similar situations, and I asked them about their experiences. It helped to know I wasn’t alone. I also counted my blessings. I had the support of my critique partners, family, and the kidlit community, and my first book was about to launch (PAISLEY’S BIG BIRTHDAY released in August 2023). I told myself that the delayed publication date for my second book would allow me more time to promote the first. I could also use the extra time to research and query agents as well as polish more manuscripts when received a request for more work. I took comfort in the fact that I found an agent who believed in me once, so I had faith I could do it again. And, in the process, I continued my “rejection ritual” that helps take the sting out of all the NOs. When I receive a pass on a submission, I put a dollar in my “Rejection Jar” (which I’ve recently re-named my “Not Yet Jar,” because at school visits I encourage students to think in terms of “not yet” instead of “no”). When I receive a “yes” I spend the money in the jar on something for myself. So, my advice to those who are facing challenges like this is: Take the time you need to grieve, find your support system, take a breath, get back in there, and believe in yourself!
-Something that I really loved that you said when you were expressing the up and down journey with this book was: “One of the main themes of the picture book is to believe and not give up, so I guess it’s fitting that it’s path to publication took believing and perseverance as well!” All I could think was YES, that is absolutely the truth!
No doubt, there were disappointing moments during your journey: close-calls, near-misses, and some tears shed along the way. But, at the end of the day, when it’s all said and done, would you say the rewards outweigh the moments of struggle? Explain.
Absolutely! I tend to look at the bright side of things, so when I hit a hurdle or roadblock, I tell myself that there is a reason for it. So maybe the delay in GILBERT’s publication was to allow me to savor PAISLEY a bit longer. I’ve had so much fun planning a launch, doing storytime events, school visits, book festivals, and more. Now I feel even more prepared to launch book number two and look forward to all the fun I’ll have sharing GILBERT AND THE GHOST with all those readers out there.
What have been some of the happiest moments of your publishing journey?
Oh, there have been so many! Besides signing with two agents and getting two book contracts, some of my happiest moments have occurred while promoting at events. I am fortunate to live near a few indie bookstores, and I’m a frequent visitor of Children’s Book World in Haverford, PA, so I asked them if they would host a book launch for my first book, PAISLEY’S BIG BIRTHDAY (they’ve agreed to host my launch for GILBERT too). Paisley is a bunny, so I baked and decorated carrot cupcakes and bunny-shaped sugar cookies and made “carrot” savory treat bags. I had several surprise guests, including my aunt who is a big fan of picture books (she was a kindergarten teacher in her former life). I had commissioned her to make me stuffed toys that looked like the main character and her brother, Paisley and Pip, so it was especially meaningful to have her at my launch. Paisley and Pip now come with me for all my book events!
Another highlight was meeting the illustrator of PAISLEY’S BIG BIRTHDAY, Natallia Bushuyeva. This was very unexpected, as she lives in France! My husband competes in triathlons and qualified for the 2023 World Championships in the half-IronMan which was held in Finland that year. After his race and before coming home, we vacationed for a few days in Paris and arranged to meet Natallia. We met at a little café and signed each other’s copies of PAISLEY. How cool is that?
I love sharing my love of books with children. I have done several storytime events at bookstores and libraries and have also done some school visits. Everything from the kids’ enthusiasm to the questions they ask to the fan mail is more than enough reason to know pursuing children’s book writing was the right path for me.
Why do YOU write? What does writing mean to you?
I write to engage the creative part of my brain and to connect with my inner child.
What do you hope your stories will give your readers?
I hope to connect with the children who need or want to hear the stories I want to tell.
What’s something that you think every author and/or illustrator should know about publishing that you wish you had known sooner?
I think it’s important to understand that children’s book writing and illustrating is a business. We can pour so much of ourselves into our stories, so it’s understandable why rejections feel personal and can downright hurt. But there are so many reasons why an agent or editor passes on a manuscript, even a well-written, marketable one. Keep writing and submitting – your “yes” is out there!
What are some writing resources/contests/groups/workshops/etc. that have benefited you most along the way? How have they helped you? Did they help you find community, critique groups, accountability partners, deepen craft, etc.?
I am the poster child for trying out writing resources! I could name so many specific resources I’ve used that have contributed to my journey in kidlit (way too many to list them all here), but I’ve grouped them in more general terms:
The library and bookstores: I check out stacks of books from my local library regularly. Not only have I read books on the craft of writing, but reading books in the format/genre in which I write (mostly picture and chapter books) helps me see what I can do to improve my own writing and to see what books are being published and by whom. Bookstores are also great because you can see how books are being positioned and promoted to boost sales.
Joining SCBWI led to finding my critique group; attending local and not-so-local, in-person and virtual conferences and events; and to a volunteer position. That led to connecting with other writers/authors, illustrators, and industry professionals; learning more about my craft and about the industry; and improving my writing, revision, and critiquing skills.
Joining challenges (like 12×12, StoryStorm, Reading for Research Month, and March on with Mentor Texts) challenged me to write and read more, connected me with like-minded creators and more critique partners, and encouraged me to persevere.
Entering contests (like PBParty, the Rising with the Stars mentorship, and the #PBChat mentorship), and applying for awards and conferences (like SCBWI awards/grants and the Rutgers One-on-One Plus conference) challenged me creatively and pushed me to get my work out there.
Subscribing to (a ton!) of podcasts, blogs, publisher mailing lists, and author/illustrator newsletters, has been hugely influential. I’ve learned about writing, marketing, and author visits; about classes, workshops, contests, and mentorships; about industry trends and changes; about agents, editors, and publishers; and more. These sites (Chelsea’s is one example) often offer opportunities to win prizes like free books and critiques, and I have been the winner of a few. Bonus: Subscribing is FREE!
What do you think the main keys are to staying the course and keeping your joy in publishing? Feel free to share as many keys as you like! We’re open to all the wisdom.
Prepare (learn your craft and about the industry; work on what you can control). Practice (write, revise, share, submit, repeat). Have a Positive attitude (celebrate small successes). Persist!
Speaking of wisdom: what’s one piece of writerly advice/wisdom that you feel has been most helpful to you as a writer?
Keep going!
Okay, now we’ve entered the book portion of the interview. Tell us about your newest book! Starting with: What was your inspiration?
My newest picture book, GILBERT AND THE GHOST (illustrated by Jess Mason; Beaming Books, August 2025), began with two things – a title idea and a childhood memory. The title came about during Tara Lazar’s 2020 StoryStorm challenge. I like wordplay and thought “ghost writer” had potential for a picture book title (notice it’s not the title of my book now). The childhood memory came from my happy place – the beach. Beginning when I was two years old, my parents and my aunt and uncle rented the same beach house every year. I have many fond memories of summer days with my cousins at the beach, but as I brainstormed ideas for what to do with my fabulous title, I recalled one memory in particular. Before we left our rental for the season, we would hide a note somewhere in the house, hoping to find a reply when we returned the following year. Surely someone would want to be our pen pal! The next year, we’d check our secret hiding spot. Did anyone reply? No. But our note was missing! Someone must have read it, right? Maybe they did reply, but another renter received the note before us. So, we tried again, for several years, believing that eventually we would become friends with another beach lover, even if we never met. With that memory in mind, I wondered if I could write a story about a child who wrote notes to a ghost he believed lived in his neighborhood, even though no one else believed. A friendship story between a child, who understood what it was like to feel invisible, just like a ghost, and a ghost, who might want a friend too. So, I did!
Here is what the jacket copy for GILBERT AND THE GHOST says:
The ghost at 632 Savannah Street is real . . . right?
Gilbert often feels invisible, just like the ghost living at 632 Savannah Street. Despite his family’s disbelief, Gilbert leaves gifts for the ghost: a friendship bracelet, a plate of cookies, even a drawing with a note. When each disappears one by one, Gilbert finds that believing and friendship are worth the effort.
For kids who might often feel unseen, Gilbert and the Ghost is a ghostly tale of overcoming obstacles and finding friendship in mysterious places. Gothic, whimsical illustrations make this picture book perfect for spooky season, while its earnest themes make it worth a read all year round.
I didn’t plan it, but I realized much later that the story themes in Gilbert are a lot like what many authors/illustrators experience when they are trying to succeed in the industry. Gilbert, who sometimes feels invisible, believes in something most others around him don’t; but he perseveres and patiently keeps trying to achieve his goal (even though sometimes that’s difficult). I think we in the kidlit community can relate to feeling invisible when we submit into the “void” and often hear nothing back. Yet, like Gilbert, we persevere and try to be patient (even though that’s often difficult!). I am fortunate to have a very supportive family, and I’ve found the kidlit community to be extremely encouraging, but I know some creators encounter a lot of unsupportive (even if well-meaning) “doubters” just like Gilbert does with his family. So, I dedicate this book to all of you out there who are taking the steps to pursue your dream. I believe in you!
You shared something with me about feedback you received from the publisher on your book’s ending, and I really loved this experience because I think it’s very important as a writer to know when to budge and be flexible on something and when to tactfully stand your ground on something that speaks to your authentic author “voice” and the intention and vision that you have for your work. Could you tell our readers about your experience with this?
Absolutely! Before we got an offer from Beaming Books on GILBERT, the acquisition team came back with a few questions, one of which was about the ending. Earlier in this interview I talked about receiving agent feedback regarding what she felt was an indecisive ending, so I worried I might not receive an offer from Beaming if I gave them the “wrong” answer. But it was also important to me that the ending stay true to my intent. I don’t want to give the ending away, so I will refrain from providing specifics, but I will say that I crafted a carefully worded answer to their question, sent it to my agent for approval, and she sent it along to Beaming Books. Thankfully, they offered!
What are you most excited about with the publication of this book?
Even though I’ve seen the final digital version, I’m looking forward to holding a copy in my hands! It’s been a long wait for this book and I’m incredibly proud of it. I’m also excited to see the educator guide my daughter is creating for the book (she’s a teacher and created a fabulous one for PAISLEY), for a ghost-themed book launch at Children’s Book World, and for more readings and school visits with children!
When does the book come out, and when can we pre-order?
GILBERT AND THE GHOST officially releases on August 19, 2025, but you can pre-order now! Ordering links can be found on my website HERE.
I have a special offerfor everyone who pre-orders the book—freeSWAG! To get your SWAG, email or message me with proof of your pre-order purchase (you can use the contact form on my website; links below).
Any last words of inspiration that you’d like to share with our readers today?
Take a lesson from Gilbert – believe in yourself!
Thank you for joining us again, Heather. It’s truly been a treat having you. We’re all wishing you the best and continued success on this mountainous journey that is kidlit publishing.
Thank you, Chelsea, for having me on your blog again!
But that’s not all, friends! Now it’s time for…
A GIVEAWAY!!!
This month, Heather is offering a choice of either one signed copy of GILBERT AND THE GHOST or one critique of a fiction picture book, up to 800 words (preferably fiction).
HOW TO ENTER THE GIVEAWAY
Leave a comment on this post!
And if you haven’t already, like this post and subscribeto the blog and/or newsletter!
That’s it!
Want extra entries? Share and tag on X @chellysbooks or Instagram @chelseasworldofbooks, and I’ll add your additional entry to the giveaway pool.
DEADLINE TO ENTER: 11:59 PM CST ON LAST DAY OF APRIL 2025
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Heather Stigall uses her experience with children and her degrees in Child Development, Psychology-based Human Relations, and Social Work to create stories that speak to kids. She is the Critique Group/Meet & Greet Coordinator for the Eastern PA SCBWI Chapter, a member of the 12×12 Picture Book Challenge, and a wife and parent to five children and one pup. When she’s not writing, you can find Heather hanging out with her kids (hopefully at the beach), reading, eating chocolate, baking, or creating all sorts of treasures. Her debut picture book, PAISLEY’S BIG BIRTHDAY (Clavis Publishing) released in August 2023, is available in five additional languages and is a 2023 Keystone to Reading Elementary Book Award nominee. Her second picture book, GILBERT AND THE GHOST (Beaming Books) is due out August 2025. You can connect with Heather through her website, HeatherPierceStigall.com, and her social media links at https://linktr.ee/HeatherStigall. PAISLEY’S BIG BIRTHDAY (Clavis, 2023) GILBERT & THE GHOST (Beaming Books, 2025)
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Working in a creative field can be tricky… and mentally exhausting. This career path is littered with wonky obstacles and challenges, one of those being the struggle to keep creativity alive. So where does the happy medium lie between balancing life and keeping creativity thriving?
In this exclusive interview with Bold Journey Magazine on February 19, 2025, we discuss the ups and downs of publishing and ways to keep fresh ideas growing. I share my personal tips and challenges and ways that I’ve been able to juggle life with creative endeavors, as well as different resources/things that have helped me along the way. Check it out HERE!
Welcome back to another Feature Interview about kidlit publishing on Chelsea’s World of Books blog. Today is an exciting day! Not only am I coming to you with this terrific information from special guest, Children’s Book Author and Acquiring Editor at Blue Whale Press, Roseanne Frank, but it’s also the anniversary of my book birthday for ADHD AND ME. Hip-hip-hooray!
But before we get started… just in case this is your first time here, let me tell you a little about what makes feature interviews so great…
WHAT’S SO GREAT ABOUT FEATURE INTERVIEWS?
Feature Interviews are an INVALUABLE resource for kidlit writers and illustrators at every stage of their publishing journey. Not only are they a great way to stay current on market trends and learn more about the industry’s ins and outs, but they also give readers an up close & personal look at the world of publication from the perspectives of a diverse collection of creators. Personally, my favorite part about these interviews are the connections I’m able to make- and share with you all!
Every month, I sit down with members of the writing community (authors, illustrators, editors, and agents), and we discuss all things kidlit publishing.
Here are a few examples of topics:
Writing workshops and resources
Diversity in literature and why it matters
Where to find support and community
How to improve writing craft and set goals
How to deal with setbacks/disappointments and WAITING
Helpful tips and suggestions for aspiring authors and illustrators
Querying agents, contract negotiations, book deals, and time frames
And, of course- NEW BOOKS!
So, now that you know what to expect… let’s get into our interview.
Children’s Book Author & Acquiring Editor for Blue Whale Press, Roseanne Frank
Roseanne Frank is a former early childhood educator with a degree in reading and clinical diagnosis. Her journey to publication started in the adult space and spreads across the scope of both indie and traditional publishing. Roseanne is the social media director for the SCBWI Long Island, NY chapter, the founder of the site Parents Love Picture Books, and a freelance editor and writing consultant for Clear Fork Publishing and Kidlit41. In her free time, she enjoys hosting Elements of Picture Book Writing workshops for several local libraries. As of January 2024, she was appointed as Blue Whale Press’ new Editor of Acquisitions. When she’s not doing writerly things, she likes to watch old movies, especially old horror. She has two grown children, a delicious King Charles Cavalier, and a husband who has always been super supportive. She lives on the beautiful north shore of Long Island, NY, and wherever she goes, she has to have trees.
THE BEGINNING: WHY? WHEN? HOW?
Roseanne, it’s such a treat to have you with us today! The first question I love asking my guests is about the beginning. Why? When? How? Could you share the beginning stages of what led you to the wonderful world of literature?
Hi, Chelsea! Thank you so much for hosting me! I’m so excited to be here! My journey into writing is quite circuitous. It started while on the alumni board for the School of Education for Manhattanville College, and back in 2010, they had a call for articles for their newsletter. So, I submitted one on Multiple Learning styles in the classroom. When I saw my work in print, I was hooked! I continued to write articles for the newsletter (links to them are on my website) and then sought out other avenues to write. I found a site called Indies Unlimited. Each week they had a visual prompt for a flash fiction contest – you had to tell a story in 250 words or less. Foreshadowing for future writing endeavors? Perhaps.
I continued writing weekly for almost 7 years for other outlets and other contests and worked at honing how to tell a complete story that engages the reader in such a short space. I loved flash fiction – still do. It’s like a puzzle to try to write a micro-story that has a beginning that grips the reader, a rising action, and a satisfying ending. Then I leaned into my first love – children’s literature. It was there all along, just…dormant. I wrote a couple of too-long stories and sentthem out with too-long query letters, which – of course – received rejections. Then everything changed when I went to my first SCBWI event and met someone who would invite me to join their local critique group. This group of talented writers has been invaluable, and my children’s writing has improved on the fast track. And what I found was that my experience writing flash fiction was the perfect prep for picture book writing!
Which came first- being an editor or a writer? Explain.
Writing came first. But editing and critiquing are part of the process of learning how to look at a story, what works, what doesn’t, and why, and how to make it better. By critiquing others’ work you become an active learner of all the elements of picture book writing, and then it helps you craft your own well-written stories. I found that I loved pouring over other writers’ manuscripts and helping them create a story that not just conveyed their story idea but did it in such a way that employed all the exciting elements that make a great children’s book. During the pandemic, I opened a FIVERR account, and now I edit through that platform with a great following of return clients. Then I was added to KidLit411 resource website and as a freelance editor for Clear Fork Press.
Do you think one benefits the other? Explain.
I can’t stress enough the importance of reading, critiquing, analyzing, and giving feedback on other writers’ work to improve your own. The love of editing came out of writing. But by editing, my writing improves too.
What challenges have you faced along the way, and how have you been able to push forward?
Oh, buckle up for this one. ALICE IN THE PALACE was originally signed with a publisher in 2017. They closed before they even put out their first book. Then it caught the attention of an agent. Sent them more manuscripts and had a phone call. We got disconnected during the call and then (this is CRAZY) they ghosted me. ALICE was then signed with another publisher, which is where I was paired with the awesome illustrator, Ashleigh Heyns. The illustrations were almost done… and they closed. Ash and I continued to submit the manuscript as a team when Clear Fork picked it up. In the meantime, I continued to write and submit, and I signed with Touchpoint Press’ faith-based imprint for WHISPERS FROM GOD, due out this March, again after a long, bumpy road. ALICE is finally out in the world 7 years later.
How to push forward – that’s a great question because this industry is fraught with disappointment. Two things I felt kept me sane: a great support system (my writing pals), and always working on something else and submitting something new. One rejection in, send two stories out.
“Two things I felt kept me sane: a great support system (my writing pals), and always working on something else and submitting something new. One rejection in, send two stories out.“
WRITING ACROSS GENRES
You mentioned in your bio and application that you started out your career as an author in the adult space. Can you tell us a little bit about that?
I started writing flash fiction for adults. My stories tend to be like Twilight Zone episodes with a Stephen King vibe. I especially enjoy endings with a twist you never saw coming, which is how my adult collection, BITE SIZE READS, came to be. Sometimes my ideas aren’t quite kid-friendly, so writing for adults is a great outlet. Also, I write for adults under RB Frank to keep the genres separate.
How did you get from point A to point B, point A being the adult space and point B being children’s?
I think learning how to write concisely and effectively made moving to a picture book structure easier than, say, moving from longer narrative writing. So when I started with kidlit, I was already primed to write.
Do you still enjoy writing for both, or have you entirely switched to writing for children?
I am 97% with kidlit! I veer off to the adult space only occasionally with projects like KVETCH & SKETCH, which is a humorous art therapy and journal activity book – not for kids! And my one foray into the YA space with LEGACY & LEGEND. It’s historical fiction set in the Revolutionary Era on Long Island, with horror and paranormal elements woven in. It was a labor of love, a story that haunted me for a while that I needed to tell. I love that it’s a book for that in-between age group (MG & YA) that everyone says they’d like to see more of.
ROUTES TO PUBLISHING: INDIE VS TRADITIONAL, AGENT VS NO AGENT
Now, you’ve had experience with both independent publishing as well as traditional. Can you share a little bit about both experiences and explain some of the pros and cons of each?
After years of writing flash fiction, I found I had a collection of solid stories. And while organizing the stories, I found that they fell naturally into categories. I decided to self-publish. It wasn’t even a question if I should submit the whole collection anywhere because I had a vision for the presentation that was hyper-specific and really unique; the stories are grouped by how long they take to read. I love irony so although the stories are short, the title is not: BITE SIZE READS: slightly twisted, deliciously dark, really short stories for people with very little time or very short attention spans.
It was the same way with my picture book, THE WITCHES’ DANCE. I did the artwork and I had specific goals for the back matter to include recipes, activities, a read-aloud, and QR codes for links. I felt it was too directive to propose to a publisher, so this was another indie project.
The pros are that I had complete control over the production and distribution, and I kept a greater percentage of the royalties. The cons of self-publishing is that there is a learning curve to the process. Then there’s marketing – not unlike traditional publishing. My experience with traditional publishing is with a small publisher, and I will say that I do like working with small publishers as they are willing to include the author in all stages of production.
And regardless of which path you take, marketing ALWAYS seems to be a challenge. That’s why I started Parents Love Picture Books. It’s a way for readers and creators to connect easily.
What are some reasons you might recommend one vs the other and why?
If you have a very specific idea about your story and you are not willing to compromise on the story, or you envision the illustrations a certain way, then you may want to consider going indie. One of the services I offer is to work with authors in the creation of their book, compiling the illustrations and text – almost like an art director – and setting it up for publication on whatever platform they’ve chosen.
If you are a writer with a great story and you’re okay collaborating with an editor and letting an illustrator work their magic (because they do!), then send those babies out and find the perfect home for it!
As someone who has experience with independent publishing, what are some tips and suggestions you’d like to share with other authors or illustrators considering this route of publication?
Have a plan. Learn the process beforehand and the sequence of when things need to be done. I work with a lot of authors who self-publish, and more often than not, authors have the illustrations done before they choose the size of the book or the platform. Then, when we get to formatting, the authors have to pay to have the illustrations re-done because they’re the wrong size or ratio or they’re not the digital quality that is required.
Have a plan for which platform you want to use and familiarize yourself with their distribution, lead times, and royalty reporting. Make sure you’re okay with all those things.
Edit. Then edit again. Then have someone else edit it.
Make sure your illustrator is excellent. Artwork sells the book first. If you cheap out on the artwork, it will show.
Don’t use Comic Sans. For anything.
Familiarize yourself with other successful indie books and traditionally published books for what makes those books visually captivating.
Finally, your expenses should be for illustrations, editing, and maybe, formatting. The latter you can learn to do on your own. You don’t have to lay out thousands of dollars for an “all-inclusive” service; you can do it!
Are you currently represented by an agent/agency? If you are agented, can you share what some of the benefits are? If you’re not agented, are you actively querying for representation? Why or why not?
I am not represented and I'm not actively seeking representation at this time, but you never know. This is something that works for me. I feel I have the control to send the stories I want to the publishers that I think will be a good fit. Agents do great work, but I think they have so many clients they can’t represent ALL my stories. They are able to get into closed houses, but for me, right now, I’m okay pursuing smaller publishers.
This is all such brilliant advice, Roseanne. Thanks for giving our readers so much to work with and consider!
“Have a plan. Learn the process beforehand and the sequence of when things need to be done.Have a plan for which platform you want to use and familiarize yourself with their distribution, lead times, and royalty reporting. Make sure you’re okay with all those things.“
“Edit. Then edit again. Then have someone else edit it. Make sure your illustrator is excellent. Artwork sells the book first. If you cheap out on the artwork, it will show. Don’t use Comic Sans. For anything.“
“Familiarize yourself with other successful indie books and traditionally published books for what makes those books visually captivating.“
WRITING BLOGS, WORKSHOPS & RESOURCES
Let’s talk about writing resources & workshops. You mentioned that you’re the social media director for the SCBWI Long Island, NY chapter. How did you end up doing this, and can you tell us what it involves?
The position of social media coordinator for the LI chapter became available not long after I joined SCBWI, and I jumped on the opportunity to take that on. I like being involved and being on the inside of things. For almost 5 years now, I’ve posted on Instagram, X, and Facebook. Sometimes, I come up with posts on my own, share writing or illustrating information, repost events from SCBWI or other chapters, or promote events that we’re hosting.
For some of our aspiring writers who are very new to publishing and may not be familiar with SCBWI, would you mind telling us a little more about it and all of the things it offers? Why would a writer be interested in joining? What resources and opportunities will they find here?
SCBWI (Society of Children’s Book Writers & Illustrators) has been around for about 50 years. They are a worldwide organization that is dedicated to supporting children’s book writers and illustrators with events, resources, and networking opportunities. They also offer online events, in person conferences, showcases, awards, grants – you name it! You can find your regional chapter on their site scbwi.org. Membership is a game-changer if you’re serious about diving into kidlit.
You also mentioned being a freelance editor and writing consultant with Clear Fork Publishing and Kidlit411 website. Can you share more about this and the specific services you offer?
I edit picture books, novels, and business content. I offer consulting - which can include developmental edits, feedback & critique - for picture books only. Some clients have requested formatting and production services, so I offer custom orders for those services. I actually love doing that because I get to see a book from beginning to end! Anyone interested can find more detailed info on my site rbfrank.com – Consulting & Editing.
It's great to know that you offer these services! And earlier you mentioned Parents Love Picture Books, which is a website that you founded. Can you tell us more about what that is and how it began? What inspired you toward this venture, and when did you start?
Parents Love Picture Books is fairly recent, 2021. I realized that there wasn’t a One-Stop Shop for parents, teachers, or educators to just stop by and peruse new books. There are blogs and posts on social media and Amazon but not one place where they could see suggestions in one place categorized by fiction and non-fiction. It’s a simple site. New books highlighted on the homepage, a section for non-fiction, and an archive. Each book cover is clear and has a clickable link for easy purchase. A win-win for everyone!
I love that you saw the need for this and took it upon yourself to provide it. Congrats on such a wonderful idea! But that's not all you offer in the way of resources. You also take an active interest in your local libraries. (Which, being a librarian myself- I am cheering for! I wish we lived closer so I could host you in our library!)
Let's talk about what role you play with your local libraries. Which is, hosting an Elements of Picture Book Writing workshop for multiple libraries in your community. Can you tell us how this all started? Is it something you do independently, or is it a partnership program? Do you create the materials yourself or use templates/information from a specific website or place? I'd love to learn more about it!
Teaching is always in my blood. Whether it’s kids or adults, it doesn’t matter. I enjoy being part of the learning process for both. I approached a few libraries with the idea of hosting a picture book writing workshop for adults (since I hadn’t seen one).
I run two workshops; one in the evening and the other during the day. The workshops are student-driven, and we focus on their work and the elements that make a picture book work. To start each class, I read a mentor text and then ask open-ended questions to determine where they are in the writing process. Are the participants looking at the superficial elements, or are they recognizing the deeper levels like pacing, language, page turns, and the relationship between art and text? Then I know how to proceed in our discussions, and we workshop their stories with everyone’s participation.
Wow, Roseanne. What a superstar! I love that you (again) saw a need that wasn't being met- and filled it. So, okay. You take notice- you decide what you want to do. Then what? What was the process like for getting into the library, and what kind of responses have you received from your attendees?
Approaching libraries is a lot like querying. I sent out emails with a proposal, and then I waited. The response from attendees has been great, and I’m so pleased about that. Our groups have people who return every session. I’ve come to know them and vice-versa, and they make hosting these writing groups so enjoyable. They’ve become not just a writing group but a social, engaging group. We eat lots of chocolate.
You can't go wrong with lots of chocolate and great company.I'm sure you're writing participants are very grateful to have a free program like this to help aid them in their writing careers! For these workshops.. are they something you regularly host, or is it a one-time event that you’ve done for various locations?
The sessions are 6 classes: one session in winter, two in spring, and two in fall. Right now, I’m in two libraries.
So cool!While we're on the subject of workshops… have there been any workshops that you’ve attended that you really enjoyed and would recommend to other writers/illustrators? If so, which ones were they and what made them special?
Any of the SCBWI events are great. I’ve attended webinars or in-person events from the parent SCBWI or virtual through other regional chapters. I find they’re affordable, and they always over-deliver! I love Rosie J Pova’s events, Storytime Sprint, Picture Book Summit, and Julie Hedlund’s events. Kidlit411 site and social media groups are invaluable for information and upcoming workshops. The blog Writer’s Rumpus has an extensive list every month of events and opportunities for writers and illustrators. The kidlit community is incredibly giving, and you can find lots of free opportunities on social media.
Can you share three (or more) resources or practices you’ve found to be most helpful on your writing journey?
Three things that I do that really help in all aspects of writing are:
- Read a lot of picture books. - Be part of a great critique group. - Be involved, whether it’s attending in-person or virtual events. Networking is invaluable, and you really get a pulse of the ebb and flow of children’s books and the market.
Do you have any suggestions or words of wisdom you’d like to share regarding workshops, resources, or something else?
When you read picture books, read them as a writer. Approaching a book as a reader is different than reading as a writer. Put your writer hat on and ask yourself questions about the elements that make your mentor texts work. How is the pacing? Is there an interesting use of language? How does the author build tension? How do the illustrations help tell the story, and why did they make those choices? Recognizing what works in other’s stories will help you in your craft as well.
So well put!
Read a lot of picture books. Be part of a great critique group. Be involved, whether it’s attending in-person or virtual events. Networking is invaluable, and you really get a pulse of the ebb and flow of children’s books and the market.
NEW VENTURES ON THE HORIZON: PUBLISHING HOUSES & SUBMISSIONS
If I remember correctly, January 2024 was the official announcement of your new position as Editor of Acquisitions at Blue Whale Press. Congratulations! How is that going?**Update for readers: Roseanne's official post for her position went out YESTERDAY- February 20th, 2024!**
So far, so good! Blue Whale is an imprint of Clear Fork Press, and Callie Lovvorn is the founder of both. From the very beginning, we had a similar vision for the imprint and are working to build a great front and back list.
What type of work does this position involve, and what kinds of stories are you/this publishing house looking to acquire?
I read submissions, and once acquired, I work with the authors on any edits to get it in the best shape for publication. We are looking to acquire STEAM and STEM chapter books, middle grade, and Hi-Lo. I’d love to see neuro-diversity characters who are part of the story, not the focus of the narrative. All kids should see themselves represented. I’d love a mini-Indiana Jones or a math whiz, as in the TV show NUMB3RS. I’m fascinated by cryptozoology, lost worlds, space, art history, and time travel (ie, Time & Again by Jack Finney or A Wrinkle in Time). We’re also excited to look for books that fill a niche of the lower YA genre. You can go to the Clear Fork or Blue Whale site or my MSWL.
Is your agency open to unsolicited submissions? If not, how can people submit?
We do accept unsolicited. There are gems out there. I know it! Please read and follow the submission guidelines on the website. We’ll be open at certain times of the year, so follow us on social media. **Note for readers- Blue Whale and Clear Fork websites are currently under maintenance during this relaunch time- please be patient. Once links are up and running correctly, I will post them here. **
Is Blue Whale Press a traditional publishing house or a paid-for self-publishing guided service and platform? And can you explain the difference between the two?
Blue Whale is a traditional publishing house, so we don’t offer advances but royalties from sales. The difference between a traditional house and a self-publishing or “vanity” press is that we don’t ask for any money upfront. The publisher gets paid when they sell books.
Any manuscript no-nos or tips you’d like to share with our readers?
Please, please, know how to format your manuscript. Following the guidelines shows me you are familiar with the industry and are taking the time to present your work in its best form. The query letter I’m not so particular as long as it includes all the information somewhere in it. There is a HUGE collection of resources and links regarding submissions on my site. Feel free to stop by and take a look!
Please, please, know how to format your manuscript. Following the guidelines shows me you are familiar with the industry and are taking the time to present your work in its best form.
BOOKS, BOOKS, BOOKS!
We've finally arrived at my FAVORITE part- the books! Can you tell us about your books and how they came to be?
Thank you so much for asking and for giving me an opportunity to highlight my work.
My kids and teaching littles are the inspiration for my children’s books. You just have to be present to see the unfiltered imagination that sparks ideas that, for us adults, have been tucked away. I’ll see a situation, and when I recognize an idea or theme, I ask those ‘what if ’ questions. One ‘what if ’ question leads to another until a story forms. Then I flesh out the characters, themes, and layers.
ALICE is about a princess whose imagination gets her into a bit of trouble with the king, and when he says, “No more pretending,” Alice isn’t Alice, and the palace is not the same. It’s a celebration of the joy of imagination and being your authentic self.
THE WITCHES’ DANCE was a poem I wrote for my kids one Halloween. It is about the witches who come to the clearing on Halloween night to dance around the firelight for their festive ball. It’s written in fun rhyme, and I include activities and a link to a read aloud with sound effects from Smarty Pants Magazine.
LEGACY & LEGEND started as a nightmare I had one night. Literally. I wrote down that one scene and then built the story from that. I wove in elements I love like horror, paranormal, history, and Celtic lore. The back matter is extensive, referencing real locations, legends, and religion.
For your children’s books, how did the illustration process work? Explain.
For THE WITCHES’ DANCE, I did the artwork. I was an art major and still work in various mediums. It was created with watercolor and collage.
For ALICE, I found Ashleigh Heyns from the publisher’s list of illustrators. It was a very collaborative process with the publisher and Ashleigh. Ashleigh is patient and super talented, and she was a joy to work with. Highly recommend working with her if you get the chance.
Any last words you’d like to share with those reading today?
- Comparison is the thief of joy. Everyone has a different path and their own timeline. - Keep writing. - Not every story is a winner. Some are just practice, and that’s okay. - YOU CAN DO IT! You can!
Thanks so much for joining us today, Roseanne. Your interview answers were just terrific and I hope they can help others who read them today.
But that’s not all. We still have ONE final item left on the agenda. And that is THE GIVEAWAY!
GIVEAWAY PRIZE
Roseanne is offering the following giveaway prize:
Critique, feedback, and one revision review for a non-rhyming picture book under 1,000 words OR an above-the-slush submission to Blue Whale at any time. (Please make sure the story is a fit for the imprint). View sample books HERE.
The winner can choose either one. Please put “Chelsea’s World of Books Blog” in the subject line.
HOW TO ENTER THE GIVEAWAY
During the month of February 2024: Deadline: February 29th 2024 12PM CST
Subscribe to the blog
Like this blog post
Comment below letting me know you’ve done BOTH. (Please note: If the guest is offering more than one prize, please specify which prize you’d like in your comment.)
And that’s it!
FAQ: What if I was already subscribed to the blog? Does that mean I won’t qualify for the Prize Giveaway? Not at all! If you subscribed before this month, all you’ll need to do is LIKE this Feature Interview and leave your COMMENT below this post, within the deadline (current month/year entry was posted).
Did you enjoy this interview? Thank the author & host by purchasing their book or requesting it be purchased by your local library! Already own a copy? Consider leaving a brief review. Using the sponsored linksbelow not only supports the author, but helps support this blog.
