“An enchanting picture book about the joyful, mysterious, awe-inspiring messages of light.”
This beautiful book begins with light’s first daily message to a young child: Awake
And continues to explain all the ways light speaks to us—in our daily lives…
and throughout space and time—covering both natural and manmade light sources.
Christine Layton’s spare, poetic text leaves plenty of room for illustrator, Luciana Navarro Powell’s luminous art to shine in this nonfiction concept book. Young listeners will pour over Powells’ beautiful art as they listen to Layton’s lyrical, mysterious text while older readers delight in unraveling its mystery. (And for those who just can’t wait, Layton provides a more detailed, scientific look at some of the abstract concepts in the book like the way light “echoes off planets and moons” or “tells lies.”
Light Speaks would make an excellent science and ELA text for the classroom—especially when paired with more straightforward nonfiction like Light Waves by David Adler and Anna Raff (Holiday House, 2018)—as it would lend itself to cross-curricular discussions about science and poetry.
Kirsten, you make the dual narrative structure look easy. But I know it is anything but! Did you set out with the intention to write a dual narrative? If not, at what point in the process did you decide on this format?
Kirsten W. Larson:This was a last-minute decision, believe it or not. In May 2017, my agent Lara Perkins (of Andrea Brown Literary Agency) and I were preparing to sub this book as a run-of-the-mill picture book biography. Meanwhile, I was working on a blog post featuring Hannah Holt’s query letter for THE DIAMOND AND THE BOY (Balzar + Bray, 2018). The book itself was still over a year away from release, but the query stuck with me. Hannah pitched her biography of Tracy Hall, who invented lab-produced diamonds, as “a two-tale picture book—a turn and flip. … The two stories meet in the middle with a shared phrase.”
That was a total lightning bolt moment. I finally saw a way to add more hooks to my story and appeal to readers of both biography and informational books – by telling two stories at the same time. I went back and added the story of star formation alongside Cecilia’s formation as a star scientist.
EB: That’s fascinating! The story is so seamlessly woven, I never would have guessed that it was a last-minute decision. What was the most challenging part about writing a book with this structure?
KWL: I think what sets this book apart from other parallel biographies (and made it very challenging to write) was the idea of having a shared line of text on every spread that applied to both stories – the star and Cecilia. It seemed like a good idea when I came up with it, but then it proved to be much harder to pull off. At one point I told Lara I couldn’t do it, and we should forget about it. But she kept encouraging me. She knew I could do it. But it was so, so hard.
Then, once I was working with editor Melissa Manlove of Chronicle Books, she had the additional idea of wanting to be able to read those shared lines only, without the additional text about Cecilia, and have it make sense for the youngest readers. The whole thing was a real puzzle, but I’m so happy we were able to get everything to work. It makes this book truly special.
EB: I’m so glad that Lara kept encouraging you, and that you stuck with it. You’ve created the perfect mentor text for aspiring authors of dual narratives. What advice would you give them?
KWL: I think this is a case where you have to be careful about the form not overtaking the writing, much like when you are writing poetry or even lyrically. For me, it helped to plot out both stories independently, step by step. I nailed down Cecilia’s major plot points, asking myself questions like “What’s the inciting incident?” “What’s the all is lost moment?” etc. Then I wrote down step-by-step how stars formed before trying to line the two stories up and brainstorming what language might connect them. I am a very visual writer, and I actually thumbnailed the stories in my journal trying to match things up and experimenting with language. You can see some of my journal pages here.
EB: I love the scene at the beginning, where Cecilia’s mother sets her down in the snow, and she expects a warm blanket, but instead finds her toes freezing! “It’s the first time Cecilia learns things aren’t always as they seem,” is such a powerful statement that foreshadows her discoveries to come. At what point in your research did you come across that particular anecdote, and how instrumental was it in building your scenes and threading that theme?
KWL:The theme of this book was always the “ingredients” of a successful scientist, characteristics like being a good observer, curiosity, passion, and persistence. The book always showed how Cecilia exhibited those characteristics even as a child. For example, the scene where she watches slimy slugs in the garden was there from the start as was the scene about the bee and the bee orchid, which really set her on her quest for discovery.
But, to your question, I came across that story of Cecilia and the snow very early on in my research. Yet even though I knew about that story from the beginning, I didn’t include it until I started working on the parallel structure! I needed something that came before Cecilia in the dust and dirt of the garden, something that nodded to the star she would become.
That’s when I added this moment in the snow. I just tracked down a document on my computer when I “unwrote” Cecilia’s story, summarizing what needed to happen spread-by-spread in a line or two. That’s the last thing I wrote before I pieced the two stories together.
EB: Those same ingredients of curiosity, passion, and persistence clearly apply to you and your research as well! Can you tell us a bit more about your research process?
KWL:This book was a bit of a departure from my usual research process. Typically, I like to start with secondary sources for context before digging into primary sources to hear my characters’ voices in letters, diaries, and autobiographies.
At the time I started my research, there weren’t many book-length secondary sources about Cecilia at all. Dava Sobel’s GLASS UNIVERSE wasn’t out yet, nor was Donovan Moore’s biography. So I moved pretty quickly to primary sources like Cecilia’s published autobiography, her oral history from Harvard, and her research papers including her dissertation.
I did a lot of research around the edges, including the women who worked at Harvard Observatory and the field of astronomy and astrophysics to understand what was known in the field of astronomy at the time Cecilia was working. I talked to physicists and astronomers to discern the magnitude of her contributions.
EB: How much of yourself do you see in Cecilia?
KWL:What I’ve learned through this book and WOOD, WIRE, WINGS is that “STEM people” and “creative people” have so much in common. We’re all creative. We’re all problem solvers. We all take feedback. We all fail. So, yes, I feel a great affinity for Cecilia, especially that feeling of being lost and feeling hopeless, as well as that thrill of the shiny bright moment when an idea comes together and a new piece of knowledge or art comes into the world.
EB: Speaking of shiny and bright and everything coming together, Katherine Roy’s illustrations are breathtaking. What was it like seeing her preliminary sketches and watching them evolve?
KWL:Katherine’s work on this book is incredible, and it’s such a thrill to see her splattering paint and using toothbrushes to give the impression of star formation.
The original visual idea for this book, which I put in art notes for our editor, was to split the story horizontally, with the star’s story on the top and Cecilia’s below. I saw some early sketches, and it wasn’t working the way we hoped. The star story seemed very disconnected from Cecilia’s. When Katherine shifted the two stories to a side-by-side the whole thing really started coming together. This just goes to show you the tremendous power of illustrators who know far more about visual storytelling than authors do. This book was such an adventure!
EB: I couldn’t agree more, from a reader’s perspective, that this book is an incredible adventure! One of my new all-time favorite picture books. Thank you so much for giving all of us a peek into your process.
Elisa Boxer is an Emmy and Murrow award-winning journalist whose work has been featured in publications including TheNew York Times and Fast Company. She has reported for newspapers, magazines, and TV stations, and has a passion for telling stories about people finding the courage to create change. She is the author of several nonfiction picture books including The Voice That Won the Vote, A Seat at the Table, One Turtle’s Last Straw, SPLASH! (a Junior Library Guild Gold Standard Selection), Covered in Color (called “compelling from cover to cover” in a Kirkus starred review) and Hidden Hope (called “an important true account to add to all collections” in a School Library Journal starred review). Elisa lives in Maine, and has more children’s books on the way. Visit her at https://www.elisaboxer.com