Tag: writing blog

AUGUST 21ST, 2024, FEATURE INTERVIEW WITH INTERNATIONALLY PUBLISHED GRAPHIC NOVELIST AND CHILDREN’S BOOK ILLUSTRATOR DEBASMITA DASGUPTA, CONDUCTED BY CHILDREN’S BOOK WRITER, BLOGGER, AND FORMER LIBRARIAN CHELSEA DICICCO

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

Today, I’m talking with AWARD-WINNING south-Asian graphic novelist and artist Debasmita Dasgupta. We’ll be diving under the cover of books and art and the powerful relationship between stories and voices and the messages they carry to today’s youth.

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!

BEGINNINGS & INSPIRATIONS: WHY, HOW, WHEN?

Debasmita, it really is a pleasure to welcome you to the blog. Every month I feel so appreciative of the conversations I’m able to have with different members of the publishing community. Welcome! It’s great to have you with us - all the way from the UK. Today, I’d love to ease into the publishing waters with some pre-publication chit-chat. 
First question. What kind of role has literature played in your life, both as a young child and present day?

Literature has always been my go-to source for inspiration and imagination, both in my childhood and now as an adult. Every time I read, whether it's words or pictures, a new world of possibilities unfolds before me. I absolutely love that experience!

Have writing and illustrating always been something you’ve been passionate about, or was this a later-in-life discovery?

Art, and particularly Art-for-Change, has always been my passion. However, that passion became my profession over the years as I had to hone the craft of storytelling.

Now let’s talk about the “when, why, and how.” When, why, and how did your publishing journey begin? Was it something you always knew you wanted to do, or was it something you realized later in life? And when/how did that journey first take root?

It was on a Sunday afternoon when I heard a TED talk by Shabana Basij from Afghanistan. It was a moving experience. I felt something had permanently changed inside me. Over the next few days, I watched that talk over and over. Her honesty, simplicity, and power of narration moved me. Shabana grew up in Afghanistan during the Taliban regime. Despite all odds, her father never lost the courage to fight for her education. He used to say, “People can take away everything from you except your knowledge”. Shabana’s story gave me a strong impulse to do something, but I didn’t know ‘what’ and ‘how.’ That’s when my red sketchbook and pencil caught my eye. Before I’d even realized it, I had taken my first step. I illustrated Shabana’s story and posted it on a Facebook page, “My Father Illustrations”. It was an impulsive reaction. I found Shabana’s contact and shared the illustration with her. Shabana was so touched that she forwarded it to her students, and then I started getting emails from a lot of other Afghan men! The emails were a note of thanks as they felt someone was trying to showcase Afghan men in a positive light. I realized that if there are so many positive father-daughter stories in Afghanistan, just imagine the positive stories across the world! My journey had started. I started looking for moving father-daughter stories from across the globe. Some I found, some found me. With every discovery, my desire to create art for change kept growing. I shared over 350 stories from 56 countries.

That was the beginning of my artistic career. That Facebook page went viral. Many international media including the Huffington in the USA, wrote about it. And I was recognized as an artist on the global stage. From there I started to receive publishing offers to illustrate children’s books. A new universe welcomed me with open arms.

ROUTES TO PUBLISHING: TO QUERY OR NOT TO QUERY?

I know you’re represented by Alice Williams Literary Agency, based in London. Could you tell us about your agenting journey? How/when did you find your agent match? Was it through cold querying, did you meet at a writing event, or was it something else? And what kind of project did you pitch/query/submit- was it art only, or did you have text too?
 
I was fortunate when Alice stumbled upon my work on Instagram through a SCBWI event, and she approached me. Eventually, we met in London and loved speaking with each other. Since then, we have been working together. 

Alice represents me only for my picture book/graphic novels with big press in the UK and the USA. Sometimes, I write and create pitch materials that she submits to publishers. In addition, she also gets me only illustration projects for stories written by other writers. In the second scenario, she is mostly approached by art directors/editors who are familiar with my artwork.

For some of our newer-to-publishing readers who might be trying to navigate the waters of the literary world and aren’t sure which way to go, could you explain a little bit about what a literary agent’s role is in an author and/or illustrator’s career, and some of the benefits of having one?

A literary agent first of all advocates for your work. Artists or creatives are mostly not the best to market themselves. Agents help with that. They study and evaluate your body of work and pitch it to potential clients. When you get a job, your agent manages all the paperwork including fee and other terms negotiation in the publishing contract.

When you first set out on your publishing journey, did you know that you wanted to seek traditional publishing, or did you also consider other routes? And what was the determining factor that led you to traditional publishing as the right route for you?

I was always interested in traditional publishing because I felt that was the most sustainable way forward for my career. I left a decade-long full-time career in international relations before moving into the publishing world. I had managed projects with the United Nations and the European Commission before I found my calling in illustrated literature. It was a big decision for me, so I was determined to get into traditional publishing where there were advance payments plus royalties from publishers. These help me pay my bills.

-MORE ABOUT PUBLISHING- Some authors choose to query an agent for representation so that they can pursue traditional publishing houses for their work. Others choose to submit directly to smaller, select houses or imprints (editors) without literary representation (agents). Alternatively, some authors choose to go it alone and self-publish - which has endless options. And still, others choose to do a little bit of both- which is called “hybrid” - where you might do some independent work, publish articles for magazines, do work-for-hire, AND also have a literary agent representing select projects and genres of your work, to submit to larger publishing houses, that you wouldn’t have the opportunity to submit to directly on your own. *Many large publishers do not accept “unsolicited,” aka “work from authors/illustrators that do not have literary representation.”

IMPORTANT NOTE: Publishing is not a “one-size-fits-all,” and one route to publication may be perfect for one person and not another, so if you’re trying to figure out what route to take, make sure you’re basing that decision on what works best for you, and weigh the variables accordingly, to YOUR situation.

TIPS & RESOURCES

Prior to publication- and even since- have there been any resources you’ve found valuable in the writing/illustrating community that you’d like to share?

I love technology. I think we, the artists/creatives, should use technology to our advantage. Illustration tools such as the Adobe Creative Suite and Procreate are super helpful for my illustration process. There are also free alternatives to these tools that one could use if they are unable to afford licensed tools. 

In general, I am always on the lookout for new free resources (such as newsletter creation & distribution tools, form submission tools, data gathering tools, editing tools, business management tools, etc.) that can enhance my freelance career.

What are some struggles you’ve faced on the road to publishing, and how were you able to overcome them?

The biggest challenge is that you have to do everything on your own. So, the more informed you are, the better time and cost-effective it is. Knowledge and practice are the only ways to keep you going.

If you could share the most precious pieces of advice that you know NOW and that you wish you had known sooner with other authors/illustrators, what would it be?

Happiness is a Habit. Don’t create your stories to compete with another storyteller. Create your stories because that’s your happy place, and you belong there. There is nothing more precious than your happiness, but to be happy, you have to create art every single day.

-I absolutely love this piece oof advice!

“Happiness is a Habit. Don’t create your stories to compete with another storyteller. Create your stories because that’s your happy place, and you belong there.”

TIMEFRAMES & EXPECTATIONS

Could you share the timeframe of your publishing journey from the beginning to the first book publication for our readers?

My first picture book was published in 2010 (illustrated by me), and my first graphic novel, “Nadya,” was published in 2019 (words & pictures by me).

Here's the full timeline for my first graphic novel Nadya:

In September 2018, I attended an art residency in Spain. During that residency, I developed the story of "Nadya" along with some character sketches and sample frames. After coming back from Spain, I was super pumped up so I posted a sketch on my Instagram sharing my state of mind and the fact that I have completed drafting a manuscript for my first GN. Next day, I got a message in my inbox from an editor at Scholastic India. She was following my work for a while and was wondering if I would want to share the MS with her team. I was thrilled! Without any further delay, I prepared a pitch deck with my MS, sample sketches, colour palette, and query letter. They liked my proposal and within 2 months, I signed my publishing contract with them. Editing, polishing, proof-reading, and fine-tuning of the script happened over next two months, after which I immediately started working on the illustrations. "Nadya" was finally launched in September 2019.

What are some publishing expectations vs. realities that you’ve experienced? And what common publishing misconception have you noticed?

Myth: Publishing illustrated stories is a complete immersive artistic process and you don’t need to know your audience / market / industry. 
Reality: Publishing an illustrated book is 50% art and 50% business. As a creative, you don’t have to understand the whole business implementation part. However, to stay in the business, you can’t ignore it completely. 

Myth: If only I have 50k followers on Instagram, I will get many publishing contracts. 
Reality: Aim for some quality Instagram followers, such as editors/publishers, who will offer you paid work.

Myth: Picture books are easy to write and draw.
Reality: Every picture book is a labor of love, and it takes months (if not years) to create one quality book.

MOTIVATIONS & HEART

Earlier, I asked you about the “why, when, how.” But I always love to dig deeper into the why, BECAUSE… the why is where our HEART and MOTIVATION lives. That magical place holds all of the reasons WHY we’re writers and illustrators, to begin with. So, I’d love to ask… what do your stories mean to you on a personal level? 

My stories are my raison d'etre, my identity. 

And what do you want your readers to feel/experience/learn when reading them?

I want my stories to help readers start a dialogue, if not with anyone else, at least with themselves. A dialogue may not give you all the answers, but every dialogue will open a plethora of possibilities.

EMPATHY, AWARENESS, DIVERSITY

As we progress into a newer era of understanding, empathy, and awareness of differences around us, ranging from everything from cultural identity to different abilities and more, we’ve been able to see that shift in publishing where there’s been a push for amplifying and raising up previously underrepresented voices. Which just makes my heart GLOW with excitement for all of the children who are now seeing themselves reflected on the page, as well as for all the educational awareness and early-developed empathy that this is creating in our culture of young readers, who may not otherwise have had the access or influence to learn about these things, and now, thanks to these powerful voices and stories, they now have that opportunity. It’s just… so beautiful. Could you share in your own words what effect you think this change is having on young readers and why having inclusive and diverse voices in books- especially children’s literature, is so important?

When children read and see characters who resemble them, share similar backgrounds, or face similar challenges, it affirms their importance and validates their experiences. Having diverse voices in children's literature also challenges stereotypes and combats prejudice. It helps children appreciate diversity and learn to discover more bridges that connect people and less walls that divide them.

BOOKS!

That brings us to the book portion of the interview. We’d love to hear all about your books! Inspiration? Publication? In the works? Share it all. 


My inspiration for my most recent YA graphic novel, Terminal 3, written and illustrated by me and published with Penguin Random House India:

The seed idea for Terminal 3 germinated in 2013 when I created a passion project, a Facebook page called ‘My Father Illustrations’, to feature stories of fathers defending the rights of their daughters from across the globe. Some stories I found, some stories found me. With every discovery, my desire to create art kept growing — I’ve shared nearly 350 illustrated stories of fathers and daughters from 54 countries. During that time, one day, I came across the story of Tajamul Islam, a kickboxer from Kashmir’s Bandipora district, and how her father had supported her. That was the beginning of Khwab’s story, which finally took the shape of Terminal 3.

My first upcoming graphic novel this year is:“ZardoZi - stitched with love” with HarperCollins India.

Why I want to tell this story: 

Most of the time, people we know tell us who we are supposed to be. They create borders around us defining our gender, sexuality, characteristics, identity --- and this list is endless. Both men and women fall prey in the hands of patriarchy. Under such circumstances, what happens when a boy finds his passion, which is considered to be feminine? He is bullied, shamed and forced to run away from his dreams. “ZardoZi-stitched with love” is a story that questions such archaic values with humor and hope through a stylish timeless tale.

My next graphic novel releasing soon is: Faiza is a Fighter, with Soaring Kite Books (SKB) USA 

My inspiration behind the story of Faiza: 

The word "Faiza" means victorious / winner in Urdu. Sometimes you're broken. You're left orphaned at a dead end with a crushed confidence. However, that end could be a new beginning if you discover your inner strength. You can knock out the murmur of terror with a silent roar of courage. Then even if you lose, you will still emerge victorious from the depths of fear.

Thanks so much for sharing your inspiration behind these stories, Debasmita!
Below, you can browse a list of Debasmita's books along with pictures and blurbs:

Written by Lakshmi Thamizhmani

Illustrated by Debasmita Dasgupta

During her town’s Ganesha Chaturthi festival, young Prema comes up with an innovative plan to save the river from pollution. Persevering through multiple obstacles, she convinces her friends to help her create natural clay Ganesha statues to replace the plaster ones that harm the river when they dissolve. Created by an author and artist from different parts of India and set in modern-day India, this inclusive tale of activism, ingenuity and sustainability is sure to inspire young readers. Endnotes include information about Ganesha Chaturthi, a recipe for homemade sculpting dough and instructions for making an earth-friendly statue.

Support the author & this blog by purchasing through this sponsored link.

It’s August 2019 and Khwab Nazir is waiting to board the plane at Terminal 3 of New Delhi International Airport. Set to represent India at an international jiu-jitsu tournament, Khwab nervously looks towards her unknown future. She also reflects on her complicated past-of growing up against the insurmountable difficulties
of life in Kashmir.

Between happiness and emptiness, desire and grief, penance and peace-Khwab has endured. She has a dream that life will be a paradise, one day. Breathing against the backdrop of conflict, Terminal 3, is the story of the everyday people striving to live their dreams in the Valley.

Support the author & this blog by purchasing through this sponsored link.

Ten-year-old Zi loves embroidery. He is growing up in a world filled with expectations. Everyone around him – family, friends, neighbours – seems to have a say in who Zi should be.

Surrounded by all the noise, Zi’s own voice yearns to break free. Will Zi find the strength to be who he wants to be?

ZardoZi is a heartwarming story that touches on history, identity and the power of breaking free. Finding oneself is a remarkable adventure, filled with surprises, challenges and the joy of embracing our authentic selves. ZardoZi is all about that.

Support the author & this blog by purchasing through this sponsored link.

Faiza wants to win the biggest boxing tournament in town. When the odds are stacked against her, will she be able to achieve her dream without the presence of her biggest supporter?

Life in hilly northern India is not easy. Every day, Faiza has to scale the mountains to reach her school or to fetch water from the stream. Faiza doesn’t have many friends or relatives who believe in her, but her dream of being a world champion boxer and the support of her only parent, her dad, and her grandma keeps her going.

When her dad’s travel is delayed due to a landslide, she has to enter the boxing tournament without her coach and support system. Will she give up or forge out on her own? Sometimes your biggest cheerleader is the voice inside of you. Fight, Faiza, fight!

Support the author & this blog by purchasing through this sponsored link.

Do you have any favorite illustrations? If so, we'd love to steal a peek at a few!
Check out some of Debasmita's illustrations below.

Captions:
Top left illustration: "character illustration"
Top middle illustration: "Cooler colour palette-going out of my comfort zone"
Top right illustration: "Incorporating cultural details"
Bottom left illustration: "One of my favourite colour palettes"
Bottom middle illustration: "Showing collective action by children"
Bottom right illustration: "Use of fabric motifs"
Have you been able to host any fun book events at local bookstores/libraries/schools/somewhere else?
Regular online workshops with updates on my Instagram.

Any final words of wisdom that you’d like to share with readers today?
I would like to share a few words from my graphic novel, “Terminal 3” –
“Failure is never the last answer. It only means, you have to try one more time.”

Thank you so much, Debasmita. 
And now… 
It’s time for a GIVEAWAY!

GIVEAWAY

For the month of August, Debasmita is offering one giveaway prize to TWO winners!

PRIZE 1: Picture Book giveaway- 1 copy of Ganesha Goes Green

PRIZE 2: Portfolio Review for an emerging illustrator via Zoom (preferably a POC)

HOW TO ENTER THE GIVEAWAY

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

That’s it!

DEADLINE TO ENTER: August 31st, 2024, 11:59 PM CST

PLEASE NOTE: IF THE HOST IS OFFERING MORE THAN ONE GIVEAWAY PRIZE, SPECIFY WHICH PRIZE YOU WOULD LIKE IN THE COMMENTS BELOW. THIS DOES NOT GUARANTEE THAT YOU WILL WIN THAT PRIZE.

FAQ:

What if I was already subscribed to the blog? Does that mean I won’t qualify for the Prize Giveaway? Not at all! If you subscribed before this month, all you’ll need to do is LIKE this Feature Interview and leave your COMMENT below this post within the deadline (the current month/year entry was posted).

Did you enjoy this interview?

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

Debasmita Dasgupta is a UK-based, award-winning south-Asian graphic novelist and artist. An advocate for BIPOC (person of color) rights in media and arts, Debasmita’s visual stories have been published by Penguin Random House, HarperCollins, and Barefoot Books, to name a few. Her illustrated animation work has been showcased by the StoryCentre NYC and the Raindance Film Fest in the UK and Canada. In a career spanning over 15 years, she has also written and produced international films to narrate stories of Under-represented communities. Her art has been exhibited worldwide, and over forty international media outlets have featured it.

Debasmita mentors aspiring and emerging visual storytellers from diverse backgrounds. BIPOC creators can contact Debasmita Doodles at debasmitadoodles@gmail.com or stay in the know through her two Instagram accounts, @debasmitadasgupta or @debasmitadoodles.

To learn more about Debasmita, connect with her using the links below.

LinkTree

Twitter

Instagram

Looking for a specific topic? Browse the list below to find a link to information on one of these topics:

Pros and cons of small publishers, hybrid (or indie) publishing, and being agented VS. unagented.

Where to find FREE and PAID for writing memberships, craft workshops, contests, and other resources.

How to query agents and editors and what they’re looking for.

Where to find kidlit community and support from other writers or illustrators.

Diversity, empathy, and kindness in kidlit and why it matters.

Writing across genres.

Purchase a copy of Chelsea’s Book, ADHD AND ME HERE.

For eight-year-old Malory, who has ADHD, school isn’t always an easy place to be. But Malory isn’t the only one who has difficult days. Sometimes it’s her classmates, teachers, or parents. Malory tries her best to focus, but oftentimes, her mind wanders, leading to trips to the Principal’s office and phone calls home.

Malory’s art teacher Ms. Julie understands how it feels to think a little differently from others. Born with Autism, Ms. Julie found comfort and calm through art. Now she uses it to help others to find their safe, creative haven too. In this inspiring neurodiverse story, Malory will discover that with a little bit of love and support from friends, you can do anything and, along the way, learn the power of believing in yourself and embracing your differences.

AUGUST 7TH, 2024, FEATURE INTERVIEW WITH CHILDREN’S BOOK AUTHOR, EDUCATOR, AND FOUNDER OF HAPPY DAYS IN FIRST GRADE TEACHING BLOG, HA DINH, HOSTED BY KIDLIT WRITER, BLOGGER & FORMER LIBRARIAN, CHELSEA DICICCO

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

Today, I’m talking with the educator, children’s book author, and founder of Happy Days in First Grade Teaching Blog, Ha Dinh.

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

THE SCOOP: WHAT ARE FEATURE INTERVIEWS & WHO ARE THEY FOR?

Feature Interviews are a free resource for writers and illustrators at every stage of the publishing journey.

Every month, I collaborate with industry professionals—authors, illustrators, editors, and agents— many of whom were or currently are also educators and librarians, to discuss all things publishing.

What can these interviews offer YOU?

These interviews give readers an up-close and personal look at the world of publishing from an array of different perspectives on every side of the desk and offer insight into tips, resources, and advice on how to:

  • stay current with market trends
  • hook an agent or editor
  • find writing community & other resources
  • discover workshops, contests, and other writing 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!

THE BEGINNING: ROAD TO PUBLISHING

Welcome, Ha Dinh! It’s so nice to have you with us today.  I love having educators on the blog because I feel like they have a special connection to the world of kids. Which is especially great when writing kidlit. Speaking of which…

The first question I love asking my guests is how they landed here in the world of publishing for children. How and when did your publishing journey begin?

First and foremost, thank you so much, Chelsea, for having me and allowing me to share my stories with you and your audience!  I have always wanted to be a Children’s book author since I was a kid but never seriously pursued it until 2020 when my beloved mom passed away. I realized then that if I didn’t write the stories that were inspired by my childhood and my culture, they would be lost for my children and all the children who may also need them.  

Once I wrote the draft of my debut picture book, WHERE WILDFLOWERS GROW, I worked on revising and editing it for a year before entering the #PBPitch Contest on Twitter, where I luckily found my agent and editor for the book. 

Have you always enjoyed writing and/or reading?

Growing up, I loved journaling and writing.  But since I came to America when I was 5 years old and didn’t know English,  learning the language was a daily challenge for me.  Reading allowed me to learn English and reading picture books encouraged me to write my own stories. 

-I love this! What a special connection you had with books at that young age.-

Do you think your role as an educator influenced/influences your inspiration for writing and publishing?

I know in my heart that being an educator propelled me to my dream as an author.  While I always loved writing, I also saw the lack of Vietnamese-American representation and stories in the children’s book space.  As an educator, I knew that that was a need that I could meet for our children. 

Can you walk us through some of the stages of how you got your footing in kidlit?

Starting a new journey can be daunting with so much uncertainty.  I was so nervous since I didn’t know anyone personally who had been traditionally published.  However, through various online contests including #PBChat, #PBPitch, and #50PreciousWords Contest and SCBWI, I have been blessed to have met many encouraging fellow creators and industry professionals, who allowed me to share my work, hone my craft, and supported me in my journey.

ROUTES TO PUBLISHING & CHALLENGES

I know you’re represented by Belcastro Literary Agency, which tells me that you were interested in going the traditional route to publication rather than independent. For some of our readers who are considering which route to take (and what the differences are), could you share a little bit about how these paths differ and why you chose to go the traditional route?

With teaching full-time, raising young children, and running my teaching resource online business, my time for writing and publishing was very limited when I started my journey.  Therefore, I knew that the traditional route was best for me as it has allowed me to stay creative, and my wonderful agent has been amazing at handling more of the business side for me.

Any words of wisdom or advice you’d like to share with writers and/or illustrators who are trying to decide what course to take?

I think the best advice is to follow your heart and take the route that you feel is best for you.  

What have been some of the challenges you’ve faced on your publishing journey, and how have you been able to endure/overcome them?

Rejection is such a big part of publishing, and while it’s something that we all can expect as creators, it still stings.  However, I have learned that rejection is redirection and when our work lands in the right hands, all the heartache was all worth it even if it took some time to find the right match.

-Beautifully put. “…Rejection is redirection.”-

Do you have any favorite writing resources, tips, or organizations that have helped you to stay on the path?

My favorite tip is to continue to be open to inspiration.  Sometimes a small conversation or a mention of a memory from childhood can spur into an entire story for me. When that happens, I feel like the story writes itself in my head and I’m just capturing it with my words.

Rejection is such a big part of publishing, and while it’s something that we all can expect as creators, it still stings. However, I have learned that rejection is redirection and when our work lands in the right hands, all the heartache was all worth it…

eDUCATIONAL RESOURCES: KIDS AND FAMILY

We touched briefly on your educational background. Could you tell us more about that? How long have you been teaching, and what specifically (age range/subjects) do you teach?

After receiving my bachelor's degree in English and Humanities from the University of Louisville, I received a Master of Art in Teaching degree in Early Elementary Education. In addition to wanting to be an author, I always wanted to be the kind of teacher that I was so blessed to have had growing up. I taught for three years in second grade and 13 years in first grade. After 16 years of teaching, I felt it was the right time for me to dedicate myself to writing and creating educational resources full-time.  

Speaking of education… let’s talk about your teaching blog, Happy Days in First Grade. When did you first launch your teaching blog, and where did you find the inspiration for it?

When I started teaching in 2007, I found myself scouring the internet for hours at home looking for teaching resources for my classroom.  After years of searching, I decided to create what I needed for my classroom instead and began sharing what I made with other teachers online. What started as a hobby quickly turned into a business that has allowed me to support myself, my family, and my community of elementary educators who love finding new, innovative, and engaging ways to reach and teach their students.  

Could you tell us a little bit about the resources you offer there and who they are for?

I create teaching resources mostly for the primary grades (kindergarten, first grade, and second grade).  From core subjects to classroom decorations to organizational tools for teachers to STEM to Makerspace teaching materials and more, my resources are created to help students have fun while learning and growing. 

I love sharing educational resources with readers and would be thrilled to add your Happy Days in First Grade Teaching Blog to my list of resources on Teacher Corner on my website. *If you have any extra resources you’d specifically like to share, please send me an email with any/all, and I’d be happy to add them too. If you’d like to see examples, check out the “teacher corner” tab and see what other authors have there.* 

Thank you so much! 

** Grab your free WHERE THE WILDFLOWERS GROW activity packet & educators guide on TEACHER'S CORNER of this blog by CLICKING HERE.**

What kind of feedback have you received from your audience?

I have been so lucky to receive many wonderful and glowing reviews from my audience. In the 10 years since opening my store, I have received 8,200+ reviews with a 4.9/5 rating. 

What do you hope your readers will gain from visiting your blog?

Besides classroom activities, there are lots of book lists with recommendations for various holidays and seasonal themes, information on my picture books and upcoming projects, Author Visits, my TpT Shop, travel ideas, and insights into my Author Life.

BOOKS AND REPRESENTATION

We’ve arrived at the book portion of the interview. Hooray! Tell us about your books. 

My debut picture, WHERE WILDFLOWERS GROW, was inspired by my memories of living and leaving a refugee camp in the Philippines in 1989 for America after my family and I had moved from Vietnam. While it is an immigration story, it is also a story of friendship, joy, and finding hope in new beginnings no matter where we are.  WHERE WILDFLOWERS GROW was published in 2023 by Waterbrook & Multnomah, an imprint of Penguin Random House and edited by Bunmi Ishola. 

My second book, THE JADE BRACELET, is based on a jade bracelet that my late mom gifted me when I was seven years old. Similar to my feelings toward the bracelet at the time, the main character loves her mom but would rather blend in at school and wear the same colorful and sparkling bracelet that her friends wear at school instead.  When Picture Day with the bracelet turned into a big ordeal, the main character has to decide if she wants to keep the bracelet or buy a new one. It is a book on understanding and appreciating one’s own family traditions while still holding onto one’s identity. The book is slated to be released April 2025 by Random House Studio and was edited by the Maria Modugno.

My third book, THE MOON LANTERN, follows Huy, a Vietnamese-American boy who wants to celebrate the Mid-Autumn Festival with his own lantern.  As other children make traditional star lanterns for the holiday, Huy makes one to honor the moon instead.  This story introduces readers to this wonderful festival that is celebrated by numerous Asian countries while also sharing the mythical tale of a poor Vietnamese woodcutter and his magical banyan tree that is at the heart of the festival. 

Writing is such a personal thing. And it can be vulnerable, too. Which is, I think, a big part of what makes books so beautiful and important. At its core… writing is an expression of oneself. Can you tell us… what does each story mean to you personally? And what do you hope it will offer readers?

Each story means so much to me and was written with so much reflection and inspiration from my childhood memories. WHERE WILDFLOWERS GROW reminds me of finding hope in new beginnings, THE JADE BRACELET reminds me to hold onto family traditions as treasured gifts, and THE MOON LANTERN reminds me of finding beauty in traditions while also making them uniquely our own. 

In recent times, we’ve seen a huge effort in today’s society to help boost previously underrepresented voices and stories and give them the space they deserve. In your interview application, you talked about Vietnamese American culture and how your stories offer representation that allows young readers to connect to characters who are experiencing similar emotions and events while also learning more about experiences that they may not be familiar with. Can you talk in more detail about this?

While there is more Vietnamese American representation in Children’s literature in the last 5 years, there are still so many more Vietnamese American stories to tell, characters to write, and perspectives to share. I hope that with the addition of my books and those of other Vietnamese American authors, libraries across the country will be filled with more representation for our community and children everywhere.

-I love this thought!-

In your words… why is representation in literature so important?

Representation in literature helps all of our readers feel seen, heard, valued, and connected to the world around them.

If you could leave your readers with any last thoughts, what would they be?

Follow your heart and make all your own dreams come true!

Thank you so much for joining us today.
And now… 
It’s time for a GIVEAWAY

“Representation in literature [is important because it] helps all of our readers feel seen, heard, valued, and connected to the world around them.”

GIVEAWAY PRIZES

For the month of August, Ha Dinh is offering the following giveaway prize to ONE winner.

-Picture Book MS Critique

HOW TO ENTER THE GIVEAWAY

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

THAT’S IT!

Want to get EXTRA entries? Share a link to this feature interview on social media (Pinterest, X, Instagram) and tag me X @chellysbooks or Instagram @chelseasworldofbooks, letting me know, so I can add YOUR extra entry!

DEADLINE TO ENTER: August 31st, 2024, 11:59 PM CST

FAQ:

What if I was already subscribed to the blog? Does that mean I won’t qualify for the Prize Giveaway? Not at all! If you subscribed before this month, all you’ll need to do is LIKE this Feature Interview and leave your COMMENT below this post within the deadline (the current month/year entry was posted).

Did you enjoy this interview?

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

Purchase Where Wildflowers Grow

Author, mom, and founder of the Happy Days in First Grade Teaching Blog. Elementary school educator with 16+ years teaching experience. Debut picture book, WHERE WILDFLOWERS GROW was published in June of 2023 by Waterbrook and Multnomah, an imprint of Penguin Random House. Second book, THE JADE BRACELET will be released in the Spring of 2025 by Random House Studio. Connect IG & Twitter: @hellomrsdinhFacebook:@happydaysinfirstgradeWebsite/blog http://www.happydaysinfirstgrade.com

Purchase ADHD and Me

Looking for a specific topic? Browse the list below to find a link to information on one of these topics:

Browse books by feature interview guests + some of my other favorites on my bookshop.org page HERE!

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

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

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

WHAT ARE FEATURE INTERVIEWS AND WHY ARE THEY SO GREAT?

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

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

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

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

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

BEGINNINGS

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

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

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

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

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

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

WORK-FOR-HIRE + WRITING ACROSS GENRES

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

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

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

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

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

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

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

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

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

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

OTHER ROLES IN PUBLISHING: SHARED PASSIONS & INSPIRATION

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THE JOURNEY: CHALLENGES & WORDS OF WISDOM

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

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

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

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

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

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

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

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

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

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

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

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

BOOKS, BOOKS, BOOKS!

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

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

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

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

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

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

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

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

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

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

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

Eleanor Howell did an incredible job with the illustrations! Each of the books has a curriculum-based focus (writing, scientific method, research, and graphing), nestled into some of the real social and emotional struggles that elementary-aged kids face. I liked getting back to teacher mode for these curriculum-based stories, and I really hope the books will be helpful to teachers—and fun for kids to read!
For all my books so far, and for almost all of the dozens of books I’ve seen my husband illustrate, the writing process and the illustration process are pretty separate. The author has the freedom to create the story as they envision it, and then the editor has the fun job of playing matchmaker: choosing an illustrator they think will bring this story to life in an effective, engaging way, then giving them the freedom to do just that. In return for your trust, you get the gift of having an artist enhance your story by turning your ideas into a visual experience.

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

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

Thanks so much for having me!

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

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

HOW TO ENTER THE GIVEAWAY

  1. Subscribe to the blog
  2. Like this blog post
  3. 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.

PURCHASE Not Perfect

PURCHASE Not Little

PURCHASE Rosie Woods in Jack and the Bean Shock

PURCHASE Rosie Woods in Little Red Writing Hood

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

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

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

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PURCHASE ADHD and Me

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

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

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

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

FEBRUARY 21ST, 2024, FEATURE INTERVIEW WITH HYBRID AUTHOR AND ACQUIRING EDITOR of BLUE WHALE PRESS, ROSEANNE FRANK, CONDUCTED BY KIDLIT WRITER, BLOGGER & LIBRARIAN CHELSEA DICICCO

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

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

  1. Subscribe to the blog
  2. Like this blog post
  3. 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 links below not only supports the author, but helps support this blog.

Roseanne Frank Books

Children’s Books

Adult Books – Under RB Frank

Chelsea DiCicco’s Book

Celebrate Malory’s 3-year book birthday by purchasing your copy of ADHD and Me today!

Connect with Roseanne

Website: rbfrank.com

Parents Love Picture Books

X (Twitter) @writingoutloud2

Instagram – @writingoutloud

Facebook – RBFrank

FEBRUARY 7TH, 2024, FEATURE INTERVIEW WITH BILINGUAL, NEURODIVERSE CHILDREN’S BOOK AUTHOR AND ASSISTANT LITERARY AGENT RACHEL S. HOBBS, CONDUCTED BY KIDLIT WRITER, BLOGGER, & LIBRARIAN CHELSEA DICICCO

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

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:

  1. Subscribe to the blog
  2. Like this blog post
  3. Leave a comment below letting me know you’ve done 1-2. (If the guest is offering more than one prize, please specify which you’d like in the comments below.)

And that’s it!

Deadline: February 29th (that’s right- it’s a leap year!)

FAQ: What if I was already subscribed to the blog? Does that mean I won’t qualify for the Prize Giveaway? Not at all! If you subscribed PRIOR to this month, all you’ll need to do is LIKE this Feature Interview and leave your comment below this post.

Did you enjoy this interview? Thank the author & host by purchasing their book or by requesting it be purchased at your local library! Already have a copy? Consider leaving a brief review. Reviews are one of the best gifts you can give an author or illustrator. Don’t believe me? Ask one!

Using the sponsored links below also helps support this blog.

Purchase Rachel’s book: TANGO RED RIDING HOOD

Bilingual, (English//Spanish) Picture Book

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Neurodiverse, Picture Book

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AUGUST 2023 FEATURE INTERVIEW WITH CHILDREN’S AUTHOR, JESS TOWNES, conducted by Chelsea dicicco

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

Author Bio   Jess Townes is the author of several picture books, including the forthcoming Sometimes I Cry. A lifelong storyteller, Jess has worked in public education, non-profit development, birth, and lactation services, as a freelance writer and actress, and currently works as a bookseller at Main Street Books in St. Charles, Missouri, but her favorite part of any job is the connections she builds with other people. She believes there is no better path to those connections than through our stories. Jess lives outside St. Louis with her husband, two teenagers, and two black cats.

Beginnings

It's time for another great FEATURE INTERVIEW. Today, we're welcoming guest Jess Townes to the blog. It’s such a pleasure to have you with us, Jess! I loved learning about your colorful and varied work experiences as a doula and advocate for Spanish speakers in the public school district as well as your history with nonprofit fundraising, among other cool things. So, tell me, what was the series of events that landed you here in the wonderful land of children’s book writing?
 
There's an expression about endings, I think it originated with Aristotle, that says they should be "surprising, but inevitable," and that's sort of how I feel about landing in the world of children's literature. I did not grow up wanting to become an author. I'm not sure it ever made my list of what I wanted to be when I grew up, and that list was long and varied, from journalist to Rockette to the first female Catholic priest (for the record, I wasn't even Catholic). Yet, I fell in love with children's books at a very young age and never fell out of love long past the age that our culture dictates I should have. I've always been a storyteller, and most of my work has involved advocacy for children, so in a way, though it was a surprise, it was perhaps inevitable that I eventually paired my love for story and my connection with children in this way. 

I saw on your author’s website that you memorized Richard Scarry’s illustrations. So, I’m guessing books played a large part in your young childhood. Can you tell us more about some of your favorite childhood book memories and how they influenced you then or maybe still influence you today? Books were a foundational part of my childhood. In early elementary school, I was completely obsessed with The Babysitters Club. I loved and admired all of them. Kristy's leadership, Claudia's artistic talent, Maryanne's empathy, and Stacey's ability to adapt to change. They felt like friends to me, and when I was going through difficult moments in my own life, I turned to them for comfort and consistency. As I got a little older, I discovered Judy Blume, and her books were a revelation. She wrote things that nobody talked about but everyone experienced, and reading them stripped away shame and self-doubt. I believe she shaped the future of children's literature through her vulnerability, and so many of the books I love and sell as a bookseller today might not have ever been published had she not paved the path for them. Another thing I wanted to talk with you about is your day job! I remember you mentioning that you work as a bookseller at an independent bookstore in St. Charles, Missouri (which is so cool)! It seems like a very fitting job for someone who enjoys reading and writing. I work in a library, and I love being surrounded by books and book lovers. I imagine you do too! Can you tell us a little more about the bookstore where you work and what it’s like working there? I love my job at Main Street Books! We are located on a historic cobblestone street in St. Charles, Missouri, where many of the buildings are over two hundred years old. It's a vibrant tourism location that hosts multiple festivals every year, from a floral festival in May to Halloween to Christmas. The street is charming, and you really get to know your neighbor merchants. We are a general interest bookstore, which means we have a little bit of everything, and our staff reads across all genres. I love getting to know our local readers as well as meet people from all over the country who are visiting. Working as a bookseller gives me a behind-the-scenes peek at the other side of publishing, which I find helpful in understanding the industry. And it's always so exciting when I get the chance to sell one of my writer friend's books!

Books & Writing

When it comes to your own writing… do you ever host storytimes or book signings of your books where you work?

Yes, I launched both of my first books with a signing/storytime at Main Street Books. It's my bookish home, so it feels right to start there. 

Speaking of your books… let's talk more about those! I know you have Spellbound, which came out in January 2022; Groundhog Gets it Wrong, which came out in January 2023; and your next book, Sometimes I Cry, is coming out THIS Fall! Can you tell us about your newest book? 

Sometimes I Cry is definitely the most vulnerable of the books I've published so far. It's an exploration of all the different kinds of moments in life that can move us to tears, and as an easy crier myself, it hits very close to home. Growing up, I sometimes felt ashamed or embarrassed by how easily I cried (I'm that person that cries during commercials, for example), but once I had my own kids, it became important to me to model crying as a normal, healthy part of being human in a complex world. I started to notice the ways that boys, in particular, were discouraged from crying and wondered what our world would look like if men were able to access and express their full range of emotions in healthy ways. This book was born in my part from my desire to help create that world, and I really hope young readers see themselves on its pages. 

So now that we've wandered into the territory of one of my all-time favorite topics- books- I'd love to hear a little more in-depth of the behind-the-scenes of the creation of these stories. Can you share a little about how your books were born? What was the inspiration behind them?

Spellbound was inspired by my work as a doula. I had the privilege of watching many families welcome a new baby into their homes and the varied reactions of the existing children. While some became immediate caregivers, others took some time to adjust to a new sibling, and I wanted to honor that reality in a playful but honest way. Groundhog Gets It Wrong was inspired by a winter in my region where the groundhog called for an early spring, and it actually came true! It made me wonder how often this rodent gets it right, which got me thinking about making mistakes and the aftermath of those mistakes.

Book Publishing Territory & Timeline

I know I have a lot of readers who are at different stages of writing and publishing. Some are just starting out with finding a home in the writing community and joining their first critique groups. Others are already a part of the writing community and now have polished manuscripts that they are querying to find an agent. Some are now agented but don't yet have book deals. And others may be agented with multiple book deals. So, I like to ask questions that help give more information about each stage.
 I'll start with the beginner questions.

When you first started writing, can you tell us how/where you discovered your writing community? Were there any groups or things that helped, in particular?

There were two groups in particular that were an enormous help to me as a beginner children's writer - the 12 x 12 Picture Book Challenge and SCBWI. I met my first critique group through SCBWI, and they remain close friends and writing partners to this day. I attended workshops and conferences through SCBWI, eventually becoming a Co-RA of my local region. It's hard to imagine my publishing journey without this organization that I have learned so much from. Likewise, 12 x 12 continues to be a huge part of my writing life! The program helped me challenge myself to write drafts and practice craft on manuscripts that I knew would never be published, which for me, is an essential part of the process. But more importantly, I meet writers through this community that understand the ups and downs of the publishing journey and the specificity of picture book writing. I currently serve as a Critique Ninja for 12 x 12, and I am honored to give back to a community that has given me so much. 
 
From the time you first started swapping manuscripts and getting feedback on your work, how long did it take you to start querying agents, and what was that process like?

It took me a long time to be ready to swap manuscripts and seek feedback on my work. I wrote privately for a couple of years before even joining SCBWI and learning about critique groups. Once I did have those groups in place, I started querying agents about six months later and was fortunate to sign with my agent very quickly after that.
 
Once you started querying, how long did it take you to find your agent match?

I received an offer to revise and resubmit from my current agent within a month of querying agents, and I ended up signing with her a few months after that. 
 
Once you found your agent, how long did it take to get your first book deal?

Much longer! I was with my agent about a year and a half before we had our first offer. We had a couple of other manuscripts go through acquisitions more than once, so I got a lot of experience in getting oh-so-close to a deal but not quite crossing the finish line. This is a part of the process even after multiple book deals. Each time on submission is like starting over.

Discouragements, Set-backs, Words of Wisdom

We've gone over the timeline. Now let's talk a little bit about the in-betweens.
Were there any points throughout your publishing career that you felt discouraged? If so, what/who helped you overcome it?

Yes, of course. So much of publishing is outside our control, and keep in mind that my own publishing timeline fell in the middle of a global pandemic. There has been near constant uncertainty about everything from shipping to supply chains, sales, a changing market, the fate of brick-and-mortar bookstores, book challenges, and bans, the future of AI, etc. I try to remind myself that I can only impact so much. The things inside my control are the stories I write and, to a smaller extent, the ways I share my work in the world. I try to focus on what I can control, as well as the joy I find in the craft of telling a story, instead of the many things outside my control. 
 
What were some of the struggles you faced during your writing career?

Because writing is not my full-time job, it can be a struggle to give my stories the space and time they need to grow into what they could be. Balancing work, family, health challenges, volunteering, and the many things life throws at us with an extra job like writing can be a lot. Sometimes, writing is able to take the front seat and other times, it has to wait patiently in the background. I miss being away from my stories in those seasons, but I trust that something new will always be waiting. I think a lot about this advice from Stephen King -  "Put your desk in the corner, and every time you sit down there to write, remind yourself why it isn't in the middle of the room. Life isn't a support system for art. It's the other way around." 


Are things all breezy and easy now? Explain.

If you've read this far, you probably already know my answer to this! Of course not, but I don't expect there will ever be a season in my writing career where all things are breezy and easy. This is an ever-changing industry with new challenges every day. The best we can do is honor our craft and adjust the best we can. We can remind ourselves of why we write in the first place and follow that "why" as long as it makes sense to you and your life.

 
Is there anything you know now that you wish you had known earlier on that you think might be helpful for other writers?

This is a hard question because what motivates one person can discourage someone else. I like data. I like understanding the reality of the publishing industry. For me, working as a bookseller has opened my eyes to the absolute miracle it is to get a single book published, ever, much less have that book find a lasting place on the shelf. I know the numbers, I know the odds, and for me, this helps me understand why it is that so many beautifully crafted stories have a hard time finding a publishing home. Recognizing that this is out of my control is freeing to me as a writer and artist. But I always hesitate to share those numbers in a concrete fashion because I've seen it have the opposite impact on others.
 
Anything else you'd like to share?

I want to thank everyone who has ever shared one of my books with young readers. So much of this process, in the beginning, involves other adults reading your work, but there is something so deeply gratifying about the moment you finally get to share your book with kids. Their reactions, connections, and responses to my work have been the best part of this journey, so thank you to all of you who help make that happen.

Fun questions:

Favorite book(s)- and why? (I'll allow up to 5 because I know choosing favorites is hard).

Impossible! I'm a bookseller! How could you do this to me? ;) How about instead, I name five picture books from recent years that I've loved sharing with young readers?

After the Fall by Dan Santat
Little Witch Hazel by Phoebe Wahl
The Vamos! books by Raul the Third
The Longestletsgoboy by Derick Wilder and Catia Chien
Big and Small and In-Between by Carter Higgins and Daniel Miyares

Favorite color?

Green
 
Favorite place, real or imagined?

Grand Teton National Park
 
Favorite quote?
 
"Instructions for living a life. 
Pay attention. 
Be astonished. 
Tell about it." 
― Mary Oliver 

Thank you, Jess for joing us today. And now it's time for...

THE GIVEAWAY PRIZE

This month, Jess is offering multiple-choice prizes.
A signed book of your choice! Or, if you’re a teacher or librarian, a 30-minute zoom call with classroom/patrons. (This could be a fun storytime idea!)

QUESTIONS-ANSWERS

How do I enter the giveaway?

Simply like August’s Feature Interview post (the one you’re reading now) and subscribe to the blog. And that’s it! You’re entered.

How long will I have to enter the giveaway?
The entire month of August 2023
Deadline: August 31st

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Did you enjoy this interview? Support this author by purchasing one of their books below! Using these direct purchase links also supports this blog.

GROUNDHOG GETS IT WRONG 
SOMETIMES I CRY
SPELLBOUND