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.
Illustrator and author, K. G. Campbell discusses Flora & Ulysses, The Illuminated Adventures and more with Ronna Mandel!
I had the good fortune to sit down with K. G. (Keith) Campbell earlier this month when he joined Kate DiCamillo for a Flora & Ulyssesbook event at Vroman’s in Pasadena. He’s a charming L.A. local with an intoxicating accent who’s not only an extremely talented and versatile illustrator, but an author, too. This Q & A focuses mostly on his artwork.
Click here now to enter our giveaway. Thanks to Candlewick, we’re giving away 3 copies of Flora & Ulysses, The Illuminated Adventures (Candlewick Press, $17.99, ages 8-12). Please write FLORA in the subject line, include your address and enter by midnight on Sunday, November 10, 2013.
GRWR:A quote I read called you an “up and coming illustrator.” How do you know when you’re no longer up and coming, but have arrived? What’s changed?
K. G. CAMPBELL: Well I think that’s a description from Candlewick Press and at the time I’d had only published one book, Lester’s Dreadful Sweaters for which I won the (2013) SCBWI Golden Kite Award. But since then I won the Golden Kite and an Ezra Jack Keats (New Illustrator) Honor for Lester. Flora & Ulysses had just come out and also Tea Party Rules by Ame Dyckman had also just released. I think you know you’re no longer up and coming when you no longer have to search for work. Candlewick just came to me recently and offered me another project
GRWR:Did you take it?
K. G.: Yes, actually. And also I’ve turned down a few. I guess that’s when you know – when you don’t have to pound the pavement.
GRWR:Tea Party Rulesis with which publishing house?
K. G.:Tea Party Rules is with Viking. My second picture book with Kids Can Press, which is my manuscript, is due to come out next spring. It’s called The Mermaid and the Shoe.
GRWR:Can you please tell us the process when you try to develop the characters after after receiving Kate’s (DiCamillo) manuscript and how long it takes?
K. G.: So obviously the first thing that you do is read the manuscript. You try and get a feel for the characters which isn’t difficult for Kate because her characters are so three dimensional, quirky and hilarious. You look for visual clues you have to be really careful to see if there’s any physical descriptions in there. And you go from there.
Being an LA local, what I tend to do is a little casting. I go in search of the perfect Flora or the perfect Phyllis or whoever it is. But unlike a casting director, I can select from anyone who’s ever lived. They can be friends or family, they can be famous actors They can be TV actors. They can be film actors. They can be theatre actors. They can be fictional. I try to find a type that will fit that character. Then that sort of gives me a feeling how they’re going to react physically in any given situation they’re faced with, expressions and all that stuff. And then I do the sketches based on that. And then, in this case, but it’s not always the case .., well, they always go through the art director and the art director has some input as to whether they think that physical manifestation of the character is appropriate. In this case, because Kate is Kate, they (the sketches) also went to her. Often, usually in fact, they wouldn’t go to the author. The author has very little input in the illustrations. But Kate had something to say. Some characters were modified from my original sketches. Now they are what they are so that’s perfect.
GRWR:Who was the most difficult character to draw or create?
K. G.: I think the most difficult was probably Ulysses himself, because, and it’s actually technical reasons. It’s a middle grade novel so the format is quite small. All of the images are printed as 5×7. I drew them very slightly larger just so it would crisp up as it was reduced, but I didn’t want to draw so much larger that I didn’t know what was going to happen to them. Ulysses is a squirrel and everybody else is a human being and human beings are much larger than squirrels. And in fact, I made Ulysses slightly larger than real life so that he would be visible. So getting the amount of character that we wanted to into Ulysses when his scale was so small, that was the most difficult part.
GRWR:Who was the easiest to draw?
K. G: Phyllis.
GRWR:I love the look of Phyllis. I feel like I’ve met her before.
K. G.: I wanted someone with a crazy, curly hairstyle, girlie, melodramatic. And I actually had a person in mind for Phyllis. She was inspired by a Broadway actress. Phyllis is like my original sketch. Some changed a bit, some changed a lot. But not Phyllis.
GRWR: What medium do you work in?
K. G.: I usually work in water color and colored pencils combined but Flora & Ulysseswas executed entirely with colored pencils, no water colors.
GRWR:You’ve lived in Kenya, Scotland and California. Is one locale particularly more inspiring for you as an artist?
K. G.: Yeah, I would say Scotland, probably. The weather and the atmosphere make it a less attractive place to live, but it’s definitely a very romantic and gothic setting. And it makes for a good location for the kind of gothic stories that I like. Not that Scotland was the setting for either Lester or Ulyssses. It wasn’t. But in my future writing I think some of it will be set there.
GRWR:Since you do not consult with the author, is it scary interpreting their vision or is that a challenge you enjoy?
K. G.: It’s definitely more difficult illustrating for other people’s manuscripts than my own. Obviously not all illustrators are in my position. Not all illustrators write as well so they may not make that comparison. For me I do have that comparison and it’s definitely more difficult and more time consuming because you have more parties involved who make changes, so it becomes a bit more difficult. I wouldn’t say it’s more intimidating or daunting, but it’s more of a challenge.
GRWR:Do you prefer to illustrate others’ books or do the entire book yourself.
K. G.: It’s easier to illustrate my own, but illustrating other people’s work does take me to places that I wouldn’t have gone. So in that sense the product that emerges at the end is perhaps more surprising and unexpected. It becomes something of a team effort almost like a play, I suppose, or when you have several screenwriters working together it becomes a collaborative process and the creation is the product of that.
GRWR:You studied art history, did interior design yet always felt the call to illustrate even as a child. What stopped you from pursuing that from the start?
K. G.: Well that’s quite a complicated answer. And to be honest I’m not 100% sure that I have an answer to that. I was flattered and encouraged to take an academic route as I graduated from high school. My academics were pretty strong and I wound up going to a fairly prestigious school which is Edinburgh University. And really at that point I made the decision not to go to art school and I put down the pencil and I didn’t pick it up again for decades. I got onto a different path.
GRWR:But it was always tugging at you to return to it?
K. G: Yeah. And the more I delved into exploring children’s literature and illustration, the more I felt compelled to do it, the more I felt very strongly that I had the talent and the skill to participate in that world. So I began to take it more and more seriously and so here I am.
GRWR:At that point, did you go back to school?
K.G.: No. As an artist I’m more or less self-taught. I’ve done some life drawing classes. Obviously I’ve done a bit of research on the materials and stuff online, but on the whole you would call me a self-taught artist. I did however go to UCLA and Art Center Pasadena for some night classes in creative writing, in children’s writing and specifically in illustrating. I did a class with Marla Frazee who’s a well-known children’s writer and illustrator who lives here in L.A. She teaches at Art Center. While it wasn’t an art class per se, it wasn’t teaching you to draw, it was teaching you how to use whatever skills you had and whatever style you had to illustrate and how images participate in a book and how they enhance a text. I did a great writing class with Barney Saltzberg who’s another local author/illustrator who has had a string of books published. He teaches a night class at UCLA in writing for kids basically.
GRWR: Did you find when you weren’t working in the field of children’s books that you were still drawn to it, that you still loved wandering around the children’s books department of a bookstore?
K. G.: Oh all the time! In fact I never really stopped reading children’s literature which a lot of my adult peers find a little odd. But definitely my favorite books probably are children’s books or perhaps adult books that have a fairy tale quality to them to some degree. I love sort of sophisticated middle grade novels. Philip Pullman, who wrote The Golden Compass, is one of my favorites.
GRWR:Which illustrators have most influenced you?
K. G.: Edward Gorey, Tim Burton and Lisbeth Zwerger, an Austrian artist.
GRWR:How many hours per day do you devote to your projects?
K. G.: Well, I try to do a full workday. I am my own boss. I’m probably not working a full eight or nine hours, but maybe about six or seven hours a day. And depending on where I am in a project will dictate how much of that time is allocated to illustrating and how much is allocated to writing. An ideal scenario is kind of half and half – three and half hours writing and three and half hours illustrating. Something like that. But in the real world, as deadlines loom for my illustrating projects, I find that the writing has to take a back seat to some extent because the illustrations have to get done and that’s what happens.
GRWR:Any advice for new illustrators?
K.G.: I would certainly say if you haven’t, then take a class, some classes, in illustrating specifically because it is a distinct branch of artistic output and it’s about bringing to a text something that perhaps the text doesn’t already contain. But it has to be complementary. And in many cases, especially in picture books, you’re telling a story along with the text. Sometimes you are a carrying a subplot as well, and you can throw in characters, usually a pet or something, that aren’t mentioned in the main text and you can have things going on, a whole storyline, that’s purely visual. So I think understanding what illustration is is very important. It’s more important than any level of artistic skill or style.