30,000 STITCHES: THE INSPIRING STORY OF THE NATIONAL 9/11 FLAG
Written by Amanda Davis
Illustrated by Sally Wern Comport
Associate Publisher-WorthyKids/Hachette Book Group: Peggy Schaefer
What I Love About the Cover:
My husband, children and I were living overseas on 9/11 and remained there for a handful of years afterward so I’ve primarily gleaned info about the tragic events of that day through children’s books, friends’ accounts and documentaries. I continue to learn more new things about 9/11 which is why the cover (by Sally Wern Comport) for Amanda Davis’s new picture book, 30,000 Stitches: The Inspiring Story of the National 9/11 Flag intrigued me when I first saw it. It reminded me of when my children would play the parachute games at nursery and that feeling of joy, exuberance, pride and connectivity their faces conveyed. Add to that the multicultural, multi-generational and multi-abled group of people holding up the iconic flag, and you have all the makings of a moving picture book cover. And though we cannot tell a book by its cover, we can surely get a sense. Here Comport conveys texture, optimism, and subtle details about the myriad individuals involved in the 9/11 flag. There’s no way anyone seeing the book on a bookstore shelf, in the library, in a newsletter or on social media will not want to find out what the story is behind the cover and the book’s title. Read on to get the inside scoop of why this story of hope in the shape of a flag should be added to your TBR lists.
GoodReadsWithRonna:Amanda, now you know my reaction to the cover, what was your initial reaction to the cover? How do you feel it captures the essence of your story?
Amanda Davis: My initial reaction to the cover was that it filled me with light and hope. The bright colors that Sally chose along with the choice to depict a diverse group of people working together to hold up the flag, perfectly highlights the themes of unity, strength and healing, that are the essence of the story. I’m also really happy that the cover is inclusive of all types of people since the flag was stitched by many different people in diverse communities throughout the United States.
AD: Peggy, what direction (if any) was given to Sally regarding inclusivity and the cover concept in general?
Peggy Schaefer: Sally is an amazing and accomplished artist, so we didn’t give her a lot of specific cover direction. The art director talked with her about the cover in general, and she came back with two options. We chose to move forward with this one because, as you said, it captured the emotion and essence of the story. We actually didn’t talk about the cover design until after the interior was storyboarded. This can be helpful, because details come to the forefront as artists work through their sketches.
Inclusivity is a topic that we talk about for every project. In this case, it was essential to accurately portray the story of the flag and all those involved in its journey. We also want every child to be able to find themselves in our books. The importance of being inclusive for young readers cannot be overstated.
GRWR: Amanda, can you talk a bit about the process and challenges of writing a creative nonfiction picture book about a difficult topic in history?
AD: Great question, Ronna. 30,000 Stitches is a creative nonfiction story and with that, in my opinion, comes an added weight of getting the facts and details in both the text and art accurate. On top of that, I wanted to make sure the text navigated the topic of 9/11 in a way that was not just factual but also accessible to children and highlighted the hope that came out of the tragic events. With that said, one of my favorite parts of this process was researching and interviewing the sources for the story. I have a background in journalism so this is right up my alley! I connected with the Ground Zero Superintendent, Flag Tour Staff, and founder of the New York Says Thank You Foundation. I’m honored to have spoken with such selfless, kind, and generous people whose dedication to helping America heal after 9/11 was inspiring. To this day, they continue to give back and be of service to others, which is truly exceptional. I’m grateful they’ve been so generous with their time in helping us get the story right and their willingness to check and recheck for accuracy.
AD: Peggy, can you talk about this fact-checking process from the editor’s perspective?
Peggy:This was an interesting project in that regard. The body of the book, as you said, is creative nonfiction, and there are not a lot of specific details in the story itself. Most of the factual detail is in the back matter, which came from your interviews with those involved in the flag’s journey. Their willingness to review for accuracy was so valuable. A different challenge came in being precise in the art details. Sally is incredibly detail-minded in her art, so it was clear she was paying a lot of attention to detail, and that gave us a big head start. But even as we were drawing to the conclusion of the work, we were checking details in the art, things like uniforms and locations and such.
GRWR: Amanda, were you familiar with Sally Wern Comport’s work before she was chosen as your illustrator? Did you have any say in this process?
AD: Yes! I love Sally’s art! I was a huge fan of her work in Ada’s Violin and thought her textured mixed media style would be perfect in depicting the torn and tattered nature of the flag. There’s actually a funny and fateful backstory here. Before WorthyKids acquired 30,000 Stitches, I had interest from another publisher who asked my agent and I to reach out to illustrators and come back to them with some names. Sally was one of the artists I reached out to and connected with. As fate would have it, after I signed with WorthyKids, Sally found her way onto Peggy’s list of suggested illustrators. When Peggy shared the list with me, I tried to contain my excitement when I saw Sally’s name on there but told her that it was a BIG yes from me.
In the end, it all worked out, and I’m beyond thrilled with the way Sally interpreted the text. Her illustrations bring life and emotion to the text; expanding on the story in a way that words alone can’t do. Through her visuals, we see the many hands and hearts the flag touched. The visual techniques she used convey a beautiful and symbolic parallel between the transformative healing of both the American people and the flag. As the flag heals, the people do, too.
AD: Peggy, how did you find Sally Wern Comport and what factors made you eventually land on her for 30,000 Stitches? Why did you feel Sally’s style was a good fit to help bring the story to life?
Peggy:I’ll answer your second question first. I fell in love with Sally’s style when I saw her portfolio online. Her work is so rich and dynamic. Honestly, her style wasn’t what we had gone out looking for, but it just felt so right. I bought copies of a couple of Sally’s books, including Ada’s Violin—and seeing those reinforced my feeling that Sally was the right choice for the book.
Selecting the artist was a fairly collaborative process. I worked closely with the art director, who sent me a selection of possible styles, and I shared my suggestions with him. And, of course, I shared with you as well. After we narrowed it down, I reached out to several agents about possible artists. Sally’s agent is actually the one who brought her to my attention, based on the description I gave him of what I was looking for. Later, I found out that you had been in touch about Sally. I don’t know if the agent remembered that or if it was a coincidence. I like to think of it as serendipity! Everyone on the team was blown away by Sally’s style. It was so unexpected and conveys so much emotion. I couldn’t be happier that we were able to work with Sally on this project.
GRWR:Amanda, can you tell us about the submission process for 30,000 Stitches?
AD: The submission process for 30,000 Stitches was a good old-fashioned slush pile success. I submitted the story (then called, THE FABRIC OF AMERICA) in February of 2019 via snail mail and seven months later received an email from one of Worthy’s assistant editors asking if the story was still available. I of course said yes, and connected her to my agent for the story, Melissa Richeson. Melissa connected with Peggy and the rest is history! 🙂
AD: Peggy, how did you get your eyes on 30,00 Stitches, and what made you say yes to the project?
Peggy: As you mentioned, the manuscript first came in through the slush pile. As is sometimes the case, we were intrigued from the start, but the book was a little outside the core area that we publish into, so we didn’t act immediately. But it stuck with us, and when we reached out again, you connected us with Melissa. I was so happy to be able to acquire the book because 1) it’s a story I’d love more people to be familiar with; 2) the underlying themes of unity and healing and resilience are so important for kids; and 3) our readers are a generation who did not experience 9/11 firsthand and this is an age-appropriate introduction to this critical moment in U.S. history. But really it was your lyrical use of language that drew me in from the start. Everyone on the team who read the manuscript had an emotional reaction to it—and asked “Why didn’t I know about this?” And more than one told me it brought tears to their eyes or gave them goosebumps. That’s the kind of book I want to publish—books that touch the heart as well as the mind.
GRWR: Amanda and Peggy, this year will mark the 20th remembrance of 9/11, and we recently reached a generation that was not alive to witness the tragic events of that day. What do you hope readers, both young and old, take away from 30,000 Stitches?
AD: Especially after the challenging year we all just faced, I hope that 30,000 Stitches can inspire others. I hope it offers healing to all those in need. I hope it serves as a reminder that light can come from darkness. That we can rise from the shadows if we unite and come together. We are resilient. We are strong. We are connected through our stories. Stories of suffering. Stories of loss. Stories of compassion. Stories of kindness. Our stories are stitched together. Our stories are the fabric of America.
Peggy: I don’t think I could have said it better than Amanda. That’s why she’s the writer!
GRWR: Thanks to you both for this revealing Q&A. I know I learned tons and am sure our readers did, too!
How can readers get their hands on this beautiful story?
You can pre-order a signed copy of 30,000 Stitches through:
And we’re wrapping the reveal with a DOUBLE GIVEAWAY!
1. Complete the form below for a chance to win one of ten (10) signed copies of 30,000 STITCHES. Winners will be selected in May.
2. Amanda is also giving away a 30-minute Zoom call for a picture book author or author-illustrator to discuss a current project and/or answer industry questions OR a 30-minute classroom visit for educators and librarians.
Get extraentries when you pre-order a signed copy of 30,000 Stitches from Silver Unicorn Bookstore here. Please DM a screenshot of the receipt to Amanda on Twitter @amandadavisart.
In the comments below, share a recent bright spot you experienced that gave you hope or joy. Please note that all posts are moderated prior to appearing so be assured your comments will be seen and posted and your name will be added to Amanda’s generous giveaway. Good luck!”
Deadline to enter the contest is Thursday February 4th, at 5:00 PM EST. Amanda will announce winners on Friday, February 5th via Twitter.
Amanda Davis is a teacher, artist, writer, and innovator who uses her words and pictures to light up the world with kindness. After losing her father at the age of twelve, Amanda turned to art and writing as an outlet. It became her voice. A way to cope. A way to escape. And a way to tell her story. She was thus inspired to teach art and pursue her passion for writing and illustrating children’s books.
Through her work, Amanda empowers younger generations to tell their own stories and offers children and adults an entryway into a world of discovery. A world that can help them make sense of themselves, others, and the community around them. A world where they can navigate, imagine, and feel inspired—over and over again.
Amanda is the recipient of the 2020 Ann Whitford Paul—Writer’s Digest Most Promising Picture Book Manuscript Grant and teaches art at a public high school in Massachusetts where she was selected as 2020 Secondary Art Educator of the Year. Amanda is the author of 30,000 STITCHES: THE INSPIRING STORY OF THE NATIONAL 9/11 FLAG and has poetry and illustrations featured in The Writers’ Loft Anthology, FRIENDS AND ANEMONES: OCEAN POEMS FOR CHILDREN. When she’s not busy creating, you can find her sipping tea, petting dogs, and exploring the natural wonders of The Bay State with her partner and rescue pup, Cora. You can learn more about Amanda at www.amandadavisart.com and on Twitter @amandadavisart and Instagram @amandadavis_art.
Check out all the other websites on this exciting cover reveal blog tour.
(One Elm Books; $16.99, eBook available, Ages 9-14)
The release of this fast-paced and interesting middle grade novel was scheduled around Major League Baseball’s Opening Day events. We all know that’s been delayed due to the pandemic, but there’s no reason kids cannot enjoy the thrill of baseball season between the pages of an engaging novel. Pop Flies, Robo-Pets, and Other Disastersoffers readers just that with its insider’s perspective on the sport along with the ups and downs of being on a team. But that’s only part of the story as the title hints. It’s a diverse novel set in Japan that addresses repatriation, dementia, special needs, and bullying. Read below to find out more. Also a pdf of discussion questions is available here.
Thirteen-year-old Satoshi Matsumoto spent the last three years living in Atlanta where he was the star of his middle-school baseball team—a slugger with pro potential, according to his coach. Now that his father’s work in the US has come to an end, he’s moved back to his hometown in rural Japan. Living abroad has changed him, and now his old friends in Japan are suspicious of his new foreign ways. Even worse, his childhood foe Shintaro, whose dad has ties to gangsters, is in his homeroom. After he joins his new school’s baseball team, Satoshi has a chance to be a hero until he makes a major-league error.
GOOD READS WITH RONNA: When did the idea hit you to write a middle grade novel about a school baseball team set in Japan?
SUZANNE KAMATA: Hmmm. I did write a picture book baseball story, which was published in 2009, at my son’s request. Around that time, I started writing an adult novel based on my husband’s experience as a Japanese high school baseball coach. Originally, Satoshi was a character in that novel. Later, maybe about ten years ago, a friend suggested that I write a YA novel about Koshien, the extremely popular Japanese national high school baseball tournament. I took Satoshi out of my adult novel and tried to write a YA novel about him. Even later, readers suggested that it seemed more like a middle grade novel, so I made adjustments. That’s the long answer. I guess the short answer would be that I never set out to write a middle grade novel about a school baseball team in Japan.
GRWR: Let’s talk first about the pop flies portion of your novel’s title. With Major League Baseball put on hold due to the Corona Virus, readers get to vicariously experience the sport in your book. Have you been a baseball mom and, because you write about it so convincingly, do you enjoy baseball?
SK: I do enjoy baseball. My husband was a high school baseball coach for 12 years, and I used to go to his games. So, first, I was a baseball wife. My son played baseball from elementary school throughout high school, and I also taught at a couple of high schools in Japan that were known for their strong baseball teams. I feel like I know a lot about high school baseball in Japan, but I often checked with my husband and son about the details. I read an early draft to my son, and he corrected a few things.
GRWR:Upon his return to his old school, Tokushima Whirlpool Junior High, a private school founded by his grandfather, the main character Satoshi Matsumoto’s old friends and classmates “are suspicious of his new foreign ways.” I love how your book honestly explores the struggles of this thirteen-year-old’s readjustment upon returning to rural Japan after three years living in Atlanta. Can you speak to the pros and cons of the international experience to help readers understand his mixed emotions and the changes that occur in people after a move abroad.?
SK: Personally, I feel that there are no cons to having lived or traveled abroad. I am sure that many kids in Japan don’t feel that way now, but when they grow up they will understand the value of these experiences. For my own children, having a foreign mom and growing up with additional cultural elements (like the tooth fairy, and macaroni and cheese, and speaking English at home) set them apart and perhaps made them feel a bit lonely at times. This was especially true since we lived in a small town in a conservative, somewhat remote part of Japan. However, I wanted them to understand that there was a world beyond the one that they lived in, that even though they were in the minority in the town where we lived, they had a tribe out there somewhere. When you live abroad, you start to look at your own country differently. You can see things that people who have never left cannot. I think, in many ways, you begin to appreciate your own country and culture more. In the book, Satoshi goes through the same thing.
GRWR:The novel’s supporting characters include Satoshi’s grandfather (Oji-chan) who now has dementia and once had a chance for a promising career in baseball before WWII, and younger sister, Momoko , age four, who has cerebral palsy and uses sign language to communicate and leg-braces or a wheelchair for mobility. Are they based on actual people in your life and how are special needs and disabilities treated in Japan?
SK: Yes and no. For many years, we lived with an elderly relative who showed signs of dementia, and my daughter is multiply disabled. She is deaf and has cerebral palsy, and, yes, she has leg braces, uses a wheelchair, and communicates mostly via sign language. But these characters are fictional.
As in the book, children with special needs and disabilities are not usually mainstreamed. There are separate schools for children who are deaf, blind, or who have intellectual or physical disabilities. For the record, my two children, who are twins, went to two different schools.
Children with disabilities, or some other difference, are sometimes bullied.
While accessibility is gradually improving, there is still a degree of shame in Japan surrounding mental health issues and disability. To be honest, certain members of my Japanese family don’t approve of my writing about disability so openly, even though I am writing fiction. However, I think it’s important to do so.
GRWR:A bully named Shintaro plays a prominent role in this story. He bullied Satoshi before his move abroad, and the fact that his dad has ties to gangsters makes him all the more scary. He picks on both Misa, a new student who is biracial and Satoshi, sometimes quite aggressively. Is bullying common in Japanese culture and how does the approach to dealing with bullying in school differ in Japan than in the U.S.?
SK: Bullying is a persistent problem in Japan. Typically, teachers try not to intervene, with the thinking that kids should try to work things out by themselves. Japanese schools have classes in morality, where they might discuss bullying, but most schools don’t have counselors, and some classes have up to 40 students, which is a lot for one teacher to manage.
GRWR:There’s a crucial part of the story where Satoshi’s ego is on full display when he chooses to ignore instructions from his coach. I was surprised by this display of disobedience, especially given all the examples of students being raised to be very respectful. Do you think there are too many rules in a Japanese student’s life and that’s why Satoshi preferred his life in America? Here is good spot to ask you to speak to any cultural differences about being a team player in the US and in Japan.
SK: Independence is valued more in the United States, whereas conformity is valued more in Japan. As a teacher, I have come into contact with many students who have gone abroad for a year or more. They are different when they come back. Generally, they enjoy the sense of freedom and self-expression that they experienced in the U.S. Satoshi enjoyed the more relaxed atmosphere of American school, and he finds it hard to buckle down. Also, in Japan, it’s not good to stand out. It’s better to be humble and to give credit to your teammates than to draw attention to your abilities.
GRWR:Satoshi’s grandfather has a therapeutic robo-pet seal known as Nana-chan. Where did this unusual idea come from because it’s sweet, funny and a plot driver as well?
SK: I first read about these therapeutic robo-pet seals in a Japanese textbook, and then I later saw one in person at a science exhibition. I was immediately charmed – a seal! How random! — and I wanted to put it into a story.
GRWR:I like that there are illustrations included by Tracy Bishop in every chapter although I only saw an ARC and am not sure if there were any changes made before publication. Did you always picture the novel with illustrations?
SK: No. Actually, I didn’t expect that the novel would be illustrated, but I love having my work illustrated, so I was very excited about it. I am glad that the illustrator is Japanese-American, and that she was familiar with what I wrote about. I was very happy with the final result.
GRWR:What advice can you offer to readers who may have international students at their schools here in America?
SK: As they say, “variety is the spice of life.” Make an effort to get to know people who are different from yourself. Be patient with students from other cultures when they make “mistakes” or do something differently from you. You can learn so much from people from other countries.
I would also encourage students to read books, such as mine, about kids in other countries and from other cultures. There’s nothing like a book to build empathy.
GRWR:Is there anything else you’d like to mention?
SK: If readers enjoy this book, perhaps they would be interested to know that I have written two other novels that have a connection to Japan, and are appropriate for middle grade readers – Gadget Girl: The Art of Being Invisible and Indigo Girl. Both feature Aiko Cassidy, a biracial girl with cerebral palsy who aspires to be a manga artist.
Thanks for the opportunity to talk about my writing!
Award-winning author Suzanne Kamata was born and raised in the United States, but has lived in Japan for over half of her life. Suzanne raised two kids and now lives with her husband in Aizumi, Japan.
Thank you so much, Suzanne, for your honest, enlightening replies. I loved learning about your experience as an ex-pat living and raising a family in Japan and how it’s informed your writing. I hope readers will get a copy of Pop Flies, Robo-Pets, and Other Disasters to find out all the things Satoshi dealt with upon his return to Japan. Good luck on your works-in-progress (an adult novel and several picture books), too.
HEY, KIDDO BY JARRETT J. KROSOCZKA (Scholastic; $14.99, Ages 12-18)
A REVIEW & BRIEF INTERVIEW COURTESY OF HILARY TABER
“It must be hard to write a graphic novel about one’s own childhood,” I thought to myself as I opened the book Hey, Kiddo. I remembered meeting the author, Jarrett Krosocszka, years ago in California. He was a bright, sweet man with an open demeanor and ready smile. He reminded me so much of my own brother. I had put that memory right next to his Lunch Lady books in my mind, and they sat on the shelf of memory happily together, side by side. I remember hearing about his forthcoming book, Hey Kiddo, and I knew both the writing about a troubled youth and the reading about it would be a challenge.
As it turns out, Jarrett has written so beautifully about that time that I could not be prouder of him if he had been my own family. Jarrett’s mother, Leslie, suffered from a heroine addiction. She was in and out of jail, and in and out of Jarrett’s young life. He never knew who his father was until he was older. His amazing and often exasperating grandparents stepped in as true parents. This book feels close to home in my heart because it’s about family. It’s Jarrett’s grandparents that I wanted to hug for all the sweet things they did for him. And at times I wanted to sit them down for a good talk! Still, how wonderful they were to him. Wonderful because they loved him deeply and it showed. For all that they smoked, drank, and quarreled all the while they loved Jarrett with a heart and a hat.
Hey, Kiddo sometimes reads as though Jarrett has written it from the perspective of a loving investigator of his own childhood. The author includes small and intimate touches like an image of the actual wallpaper pattern from his grandparent’s home. As we read we step into his childhood world. Also included are photographs of the family along with letters from his mother, Leslie, originating from her time in prison. There are drawings by Leslie just for Jarrett. It’s those letters that show how much she loved him and missed him. I read the book in one sitting, and when I put it down, I thought of Jarrett’s grandparents, Joe and Shirl. I thought that for all that Jarrett had been through, Joe and Shirl were always there for him. Actually, they still are in the way that love can never pass from us completely when it is given with such readiness and generosity. That kind of love death cannot touch. So, now on that same shelf of memory I have about Jarrett are his endearing personality, his ready smile, the Lunch Lady books, a difficult childhood and right beside that childhood is a place for Joe, Shirl, and their Love for him. That was, and is, a love with a capital “l” for sure.
Hey, Kiddo was a finalist for the National Book Award and is a highly recommended graphic novel for teens and grownups.
HT:This is perhaps less of a question and more of an opportunity to tell us why author/illustrator visits to schools are so important. Clearly, a school visit from an illustrator changed your life. What would you say to a debut author or illustrator about what that school visit meant to you?
JJK: Yes, I vividly remember being a third-grader and sitting on the creaky, wooden floor of my school’s auditorium and listening to Jack Gantos talk about writing. While he said, “Nice cat,” to me that day, I have since had so many opportunities to say, “Nice Lunch Lady,” to many young artists. When I was in college, working towards a BFA in Illustration, none of my professors taught me about school visits. From a business perspective, it is a great way to promote your book, but it runs so much deeper than that. To newly published authors I would say:
Work on an engaging presentation to keep the students’ attention.
Enjoy the quiet moments where you can connect on a more one-on-one with the students.
Make sure you bring hand sanitizer. There’s always that one kid whose finger is up their nose throughout the entire presentation. That kid is going to want a high five. Just sayin’…
HT:I think what I learned from reading your book, and reading in general, is that when we feel alone in a painful situation we seldom are. I think this book will resonate with so many readers. Thank you for it. It’s beautiful. To a kiddo who identifies with you while reading your book, who struggles with a parent who suffers from addiction, what would you tell them?
JJK: For those readers, I left a little something for you in the Author’s Note at the end of the book. I hope that you take solace in those words.
Writing transparently is cathartic but self-care is paramount—so write within your comfort zone but push yourself when you are ready.
HOW TO GROW A DINOSAUR Written by Jill Esbaum and illustrated by Mike Boldt (Dial Books for Young Readers; $17.99; Ages 2-5)
If you’re looking for a gift for a child who is about to become an older sibling, look no further than Jill Esbaum’s hilarious and practical guide to big siblinghood, HOW TO GROW A DINOSAUR with artwork by Mike Boldt. Here’s a description from Penguin Random House:
Good news: Your mom’s hatching a baby! Bad news: Babies take their sweet time. And when the baby finally hatches? He’s too little to play! He mostly screeches, eats, burps, sleeps, and poops. He doesn’t even know he’s a dinosaur! That’s where you come in. You can teach the baby just about everything–from peek-a-boo to roaring to table manners to bedtime. Growing a dinosaur is a big job, but you’re perfect for it. Why? Because one thing your baby brother wants more than anything . . . is to be just like you.
INTERVIEW: I was lucky enough to sit down for a chat (via Facebook Messenger) with Jill to talk about the book, finding time to write, and the perks of being a kidlit author.
Colleen Paeff:I love the way HOW TO GROW A DINOSAUR is playful and funny, but it’s also a legitimate how-to guide for older siblings. Did the manuscript start out that way or did it evolve over time?
Jill Esbaum: Thanks, Colleen! That evolved over time. I wrote it to be a simple, entertaining book, but it sort of took on a life of its own. My editor grabbed onto the possibilities right away.
CP:Did you send it to your agent first or did it go straight to your editor?
JE: I sent it to my agent, Tricia Lawrence. I had my Dial editor, Jessica Dandino Garrison, in mind, though, and asked Tricia to send it to her first. It seemed like the kind of goofy humor she might like.
CP:So, you had worked with this editor before?
JE: Yes. We had worked together on both I HATCHED and I AM COW, HEAR ME MOO!
CP:Is it easier to work on something with an editor you’ve worked with before?
JE: Definitely, because you (sorta) know what might work for her/him and what probably won’t.
CP:How long was the process from first draft to publication for HOW TO GROW A DINOSAUR?
JE: I sent it to Tricia in May of 2015, and by October we had an offer. The process didn’t really start until March, when the contract was finally buttoned up. So March, 2016, to January, 2018. Not bad.
CP:Is that faster than usual? Or is that normal for you?
JE: That was about the same as my other recent books. I once waited nearly 5 years, though, so 2 years felt like lightning speed. My last 5 (or so) books have all been about 2 to 2 and a half years from sale to publication.
CP:Wow. That seems fast!
JE: Still seems fast to me, too. My earlier books were mostly 3-year books.
CP:I’m curious about the ratio of stories you write to stories you sell. Do you have many manuscripts in the proverbial “drawer” or do you sell most of what you write?
JE: That’s hard to say right now. My agent has 6-7 picture book manuscripts that started to make the rounds last year. Considering my entire career, though, I suppose I sell…50% of what I write? That’s probably just because I refuse to give up on some that deserve the drawer. I can’t help tinkering with rejected stories in hopes of making them irresistible the next time out. That persistence has often paid off for me. An offer came in last month for a picture book that had been rejected 7-8 times since I wrote it in 2014.
CP:Do you usually work on one project at a time or several?
JE: Several. Right now, I have a chapter book, 3 picture book manuscripts, and a nonfiction project all front and center on my computer desktop.
CP:Are you someone who writes every day or do you have a more flexible schedule? And how do you squeeze it in around farm work, grandchildren, school visits, and teaching a summer writing workshop?!
JE: I don’t feel like I’ve been doing a very good job of it lately, honestly. Working on that. But I can’t always make writing my priority. Family comes first, always. One thing that has also been squeezing out writing time lately is handling the business side of being published. I don’t love it, and it’s a huge time suck. Long, leisurely days of “Hmm, what should I work on first?” are VERY few and far between, these days.
CP:But it seems like you’re so prolific!
JE: I don’t feel that way. I always feel like I should be writing more. For instance, I wrote a quick draft of a new picture book and sent it to my online critique group about 10 days ago. They’ve all weighed in, and I’m chomping at the bit to start tweaking. But I haven’t yet been able to make the time. Part of that is because I have a new book out and am doing my best to promote it, including my first-ever launch party this next weekend. Partly it’s because the flu sidelined a grandson’s babysitter, so I stepped in there. Grammy duty is one of the best parts of my life!
CP:Is hanging out with your grandkids a big source of inspiration for you?
JE: It is! And I hadn’t really expected that. My fingers are tightly crossed for a project going to its final yes/no meeting next month that springs entirely from a moment I experienced while babysitting my granddaughter. Crazy.
CP:I know you write both fiction and nonfiction. Do you have a soft spot for one over the other?
JE: I suppose I have a soft spot for fiction, but only because that comes entirely from my own imagination, and it’s a blast to see that come to life. I love writing nonfiction, too, because all the information I need is easily available to me, and all I have to do is figure out a way to make it engaging for kiddos.
CP:Let’s get back to HOW TO GROW A DINOSAUR. I love the parts in the story where the text is vague, but the illustrations show something alarming, or moving, or downright hilarious. Did your manuscript go to the illustrator with art notes or was that all him?
JE: I did include brief art notes here and there. But much of it was left for the illustrator’s imagination. I don’t think I had an art note for the page in which the baby dino is teething on the cat. And that turned out to be one of my favorite illustrations.
CP:Yes! I love that one. And I love the one where the big brother roars and scares the baby. They both look so sad.
JE: I feel very fortunate that both Jessica and the illustrator, Mike Boldt, understood what I was trying to do.
CP:Do you have a favorite unexpected detail?
JE: My favorited unexpected detail is that Mike inserted picture books here and there with titles that are plays on books of his or mine. There’s I Don’t Want To Be a Stegosaurus (from his book with Dev Petty, I Don’t Want To Be a Frog); I Hatched; and I Am T. Rex, Hear Me Roar! (from my I Am Cow, Hear Me Moo!) Too funny. Illustrators are brilliant.
CP:Yes! I love those, too. And I love how all the illustrations in the books are dinosaurs. It’s so clever.Did you see any artwork while it was in process or did you have to wait until it was complete?
JE: I did get to see the black and white sketches. It was obvious even then that this one would be special.
CP: Do you sometimes feel a sense of trepidation when you give up your manuscript to an illustrator?
JE: No, I never feel that way. I’m always excited to see what they bring to the story. Seeing their sketches feels like unwrapping a gift.
CP:What’s next for you?
JE: I have a couple of nonfiction books coming out in March. Picture book-wise, two projects are in the pipeline that I can’t yet talk about. And my fingers are tightly crossed for a third. Meanwhile, I’ll be writing whenever I can squeeze it in. Enough of that, and projects eventually get finished.
CP:What do you wish you’d known when you first started writing for children?
JE: I don’t think there’s anything I can say I wish I’d known. Getting to this point in my career has been one long, slow learning process, of course. But I can’t wish I’d had shortcuts, because everything that’s happened has made me a stronger writer.
CP:That’s good to know!
JE: The BEST thing that’s happened in the past 20 years: If anybody had told me, early on, that in 20 years I’d have this many amazing and talented author/illustrator friends all over the globe I would have thought that person was nuts. I mean, I live in Iowa; how would I meet them? Ha. Enter the internet. And SCBWI conferences and literature festivals. Meeting so many terrific book people has been one of the highlights of my life.
CP:It’s definitely one of the perks of this business. Thanks so much for doing this, Jill!