Alvina, thanks so much for allowing me to interview you!

Delighted to oblige!

First question for you. Despite being an über busy vice-president and editor-in-chief at Little Brown Books for Young Readers, why did you decide to volunteer your time to mentor a children's book author from a diverse background, even without knowing if the manuscript you chose from the selections you received from The Word: A Storytelling Sanctuary would ultimately be publishable?

I have worked my whole career trying to bring diverse voices to children's books. As an industry we are working really hard to publish books written and illustrated by authors and illustrators from all walks of life. So when I heard about working as a mentor with The Word, a non-profit whose vision aligns with my own, I felt like it was something I wanted to be involved in. Actually, I wanted other Little Brown editors to get on board, too, and they were happy to do so. Aside from critiquing at SCBWI conferences, I was also really interested in seeing how a mentor-mentee relationship worked. 

So very generous of your time, Alvina! Okay, here's question two. (Admittedly, this question makes me feel awkward since I'm way more comfortable highlighting the work of other kidlit authors and illustrators, but if I don't ask it, I won't have much of an interview, will I. So here goes.) Why did you choose to mentor me and my middle-grade manuscript Mama's Chicken & Dumplings? 

I was presented with three choices. As I read the first fifty pages of each middle grade, I was looking for something that had the most potential. A manuscript I could help. I fell in love with the voice and the characters found in Mama's Chicken & Dumplings. I responded to it. Even if this manuscript is not the one that gets published, perhaps this kick will bring its author to the next manuscript that will. 

Ha-Ha! I believe its author appreciates the editor's kick. Okay, here's my last question for you. Why would you encourage other editors in the children's book community to carve out time from their busy schedules to mentor writers from all walks of life?

If editors are serious about bringing a range of inclusive books for readers from diverse backgrounds, then there's nothing quite like getting involved in mentoring like this.

Thanks for taking the time to answer my questions, Alvina. But I really have to go now. I've got a manuscript to revise, and I'm in the midst of obsessing over chapter one. 

Happy to stop by! But chapter one? Really? Do we need another kick?

A chocolate-covered truffle kick might do the trick.  

Alvina and Dionna's editor-writer mentorship program is sponsored by The Word: A Storytelling Sanctuary. The program pairs four aspiring writers from underrepresented groups with an experienced editor who provides substantive feedback to help raise their already strong manuscripts to their best position for submission to potential agents and editors.

The program offers each author an opportunity to gain knowledge from experienced acquiring editors. It does not, however, guarantee publication. It is free of cost to the authors due to the generosity of the volunteer editors. Learn more about The Word's 2019 mentorship program HERE and read a PW Bookshelf article about it HERE.

​Illustrations are used with permission from the publisher.

Salutations, Karen!  So happy to have you here! Please, do tell about your journey to becoming a kidlit author.

Glad to be here, Dionna!

​To answer your question, I’ve always loved to read, but I didn’t start writing books until I had read The Artists Way  by Julia Cameron. Part of The Artist Way program is to free-write three pages a day. You write about anything—how grumpy you feel, what you ate for breakfast, what is annoying you. You just dump. The idea is that by page three you have cleared away enough of your brain clutter to find out what is underneath. And for me what was underneath was the dream of writing a children’s book. The beginning of my manuscript The Hayley Show was started in my morning pages. Although I didn’t sell it, that book got me my agent.

In 2010, I joined SCBWI, which became a wonderful source of support and information. Through SCBWI, I learned about Vermont College of Fine Arts Writing for Children and Young Adults MFA program. And it was at VCFA that I wrote Charlie & Frog. 

Why did you decide to write this story, one that features the Deaf community?

I never planned to write about the Deaf community. I always felt that my writing life and my life as a sign language interpreter were separate entities. But all those years I was interpreting, this story was percolating—I just didn’t know it. One of my advisors at VCFA, A.S. King, wanted me to write something new. She felt I would grow more as a writer with new material. So I began writing short stories. And then one day, while sitting at my computer, this story started to come out of me. And Frog, who is Deaf, came to me clear and strong. Her character was easy to write. 

What about your characters and their friendship mirrors your life-experiences?

I tend to be more like Charlie, the quieter one. Frog fights for what she wants and has never met a stranger. Not that being quiet means weakness. Charlie is anything but weak. But Frog helps Charlie find his own strength by modeling her own power and inner drive. That is true for me, too—my closest friends show me how I can embrace my own strengths. Also, as a kid, I had fun exploring with my best friend. I wanted Charlie & Frog to have that same freedom to explore the village of Castle-on-the-Hudson. And who wouldn’t want to ride a gondola across the river on their own? Sign me up!

How did you find a home for Charlie & Frog at Disney-Hyperion and why were you pleased?

When my agent tried to sell The Hayley Show, I had about seventeen rejections (I lost count!), and one editor who was interested, but who couldn’t convince her publishing house to buy it. Ten years later, I was fortunate to have five editors who wanted Charlie and Frog! (Moral: Don’t give up! Keep writing!)

My editor at Disney-Hyperion, Tracey Keevan, is terrific. Tracey happened to watch a documentary about Martha’s Vineyard one week before she received my manuscript. Two hundred years ago, Martha’s Vineyard had a large Deaf population. Both hearing people and Deaf people signed on the island. When looking back, islanders often couldn’t remember who was Deaf and who was hearing because everyone signed. Tracey was excited to work on this story after watching that film. And I was thrilled that Disney-Hyperion hired a Deaf artist, Carlisle Robinson, to illustrate the inside chapter artwork of Charlie & Frog!

What are you working on now, and why are you enjoying it?

I am currently promoting my second Charlie & Frog book--The Boney Hand! It was published in June 2019. I love the characters and setting of Charlie & Frog, so it’s wonderful to be immersed in them again. I am also working on a picture book. Picture books just make me happy. And it’s a nice change of pace from a middle-grade book, as they are so different from each other.

Karen Kane’s path to Charlie & Frog led her from a small village near Rochester, NY, to the bustle of Washington, DC. The people she met along the way inspired her writing with their warmth and humor, especially those in the Deaf community. Karen graduated from the National Technical Institute for the Deaf and received her MFA in Writing for Children and Young Adults from Vermont College of Fine Arts. When she’s not writing, Karen spends her days as a sign language interpreter at Gallaudet University or lost in the stacks of her local library. Charlie & Frog, her debut novel. was nominated for  a ​2019 Edgar Award Nominated Book in the Best Juvenile category! Find her online at Karen Kane Books.

Salutations, Angela! Thanks so much for stopping by to chat with us. So, how did you find your way to becoming a kidlit artist?

I always knew I wanted to do something creative. However, it wasn’t until college that I decided I wanted to be an illustrator. There were so many majors in art school. It was difficult to pick just one. Thankfully, I had a 2D-design teacher whose work inspired me to study illustration. His work was similar to Lane Smith’s traditional illustrations, and it reminded me of how much I loved the The True Story of the Three Little Pigs. It rekindled my childhood obsession with creating books. 

From there, it wasn’t a direct shot into doing kidlit. I studied general illustration and thought I would be an editorial illustrator. There was such a prestige about that type of work. Still, outside of class I found myself drawn to children’s book illustration. I even placed in an international children’s book illustration competition called Teatro while I was still a student. Despite that, it wasn’t until the last semester of school when I took a children’s book illustration class that everything aligned. 

For the first time, I could play with camera angles, humor, and a rhythm. I could tell stories, something I always loved. I could get lost creating a whole world for a book. I also had an excuse to read a ton of a kidlit! With some hard work and some luck, I started getting interest in the work as soon as I graduated. Then I was recommended to SCBWI by Abigal Samoun, who at the time was still an editor. She now has her own literary agency called Red Fox Literary. 

SCBWI really helped launch my career. I received my first small book from Children’s Book Press at Illustrator’s Day in San Francisco. More importantly my book,  Maria Had a Little Llama, began as assignment from a SCBWI Spirit conference in Davis, California. I am happy to say I’ve been illustrating for over ten years and writing six years professionally. 

​What do you love about being a children's book creator? 

I love telling a narrative and being able to draw things that I find amusing. I’ve always been on the sillier side so this is the perfect outlet for me. Also I adore the marriage of words and pictures. As a child, I could get lost reading a book and that never went away. Now, more and more, it’s the interaction with the kids that really motivates me. Seeing what they relate to during school presentations—not just what I relate to—gives me inspiration.  

As you've been honing your craft over the years, what's one of the biggest things you've learned so far.

Luckily, I studied illustration, so my learning curve with the craft has been easier. I think the biggest things is learning how to draw kids well. It’s been a bunch of practice and studying different illustrator’s work. I’ve even created a graduate character design for a children’s book course at the Academy of Art University. When it comes to being an author, the learning curve has been larger. I often force myself to write for practice and I read children’s literature as much possible.

Probably the biggest learning curve though, is realizing the amount of promotion and business skills you need to have. People assume because it’s a creative field and everything can be done at home that you don’t have to network or promote, but that’s a huge part of the job. After all, this children’s literature is its own business.

​What types of manuscripts do you love illustrating and why?

My favorite books to illustrate are ones that either feature animals and/or have plenty of room of interpretation. Probably one of my favorite books to illustrate was MARTA! BIG AND SMALL. It has minimal text so I was able to come up a with concept for where these animals lived. That was great collaborative project. I also love illustrating my own stories because there is even room to be creative!

What are you working on now and are you having fun?

I am working on a picture book with Candlewick. It’s still in the early stages, but it’s about a girl who is scared of bees. Coming up with expressions and reactions has been so much fun. I’m also working on a few story ideas. I find that it’s important to always be generating new projects for myself. It keeps me busy and hopefully it turns into a book! 

Angela Dominguez was born in Mexico City but grew up in the great state of Texas. She is the author and illustrator of several children's books and a two-time recipient of Pura Belpré Illustration Honor. Her debut middle grade, Stella Díaz Has Something To Say, was a New York Public Library and a Chicago Public Library pick for Best Books for Kids in 2018, winner of SCBWI Sid Fleischman Award, and an ALA Notable. When Angela is not in her studio or visiting schools, she teaches at the Academy of Art University. She is represented by Wernick and Pratt Literary Agency.

Salutations, Susan! Thanks so much for stopping by to share with us the ins and outs of what you do as a copyeditor for publishers of books written for younger audiences.

Hi, Dionna! Glad to be here. What do you want to know?

Once an author sells a manuscript, when does a copyeditor step in with his or her red pen?

The minute a contract is signed, an author is welcomed to the editorial process, where the manuscript will be honed and polished to its greatest shining potential, most likely with help from a copyeditor.

But what, exactly, does a copyeditor do? 

Once the author and editor have ironed out the big-picture components of the story—plot and character development, structure, pacing—most likely through a few rounds of revision, the manuscript heads to copyediting. Here the focus on the text goes from wide-angle to close-up. The copyeditor puts the manuscript under the microscope, correcting errors, querying questionable passages, and preparing a style sheet, a record of editorial choices that's used throughout the production process to keep everyone on the same, well, page. 

Through several reads, the copyeditor will scour the manuscript word for word, sussing out errors and inconsistencies. He or she will correct faulty spelling, grammar, punctuation, and usage and ensure consistency in spelling, hyphenation, numerals, fonts, and capitalization. The copyeditor will track continuity of plot, setting, and character, keep on top of chronology, and fact-check people, places, and events for accuracy. He or she may also eliminate wordiness and clichéd writing, smooth out transitions, and revise sentences for flow and readability. 

WOW! I had no idea a copyeditor did so much! Is there more?

Whenever the copyeditor comes across a confusing or possibly incorrect passage in the manuscript, he or she will flag it with a query. Just like it sounds, the query is the copyeditor’s question to the author on behalf of the reader. If a phrase, sentence, paragraph, or turn of events doesn’t seem to make sense, instead of revising the passage directly, the copyeditor will ask about it in a query, leaving the tweaking up to the author. The helpful copyeditor will often suggest a possible revision in the query.
 
The copyeditor will also format the manuscript to comport with the publisher’s in-house style guide. The style guide is a compilation of editorial preferences specific to that publisher. For example, some publishers like signs, labels, and words on T-shirts to be set in SMALL CAPS. Others prefer ALL CAPS. Or Initial Caps. Or “Initial Caps with Quotation Marks.”

But what if editorial changes are made, and the manuscript evolves?

To keep track of all editorial decisions made while working on a manuscript, the copyeditor will create a style sheet. This document lists character names and info, unusual words not in the dictionary, treatment of words and numbers, story timeline, and other issues specific to the manuscript. This helps all those working with the text at the publishing house—editors, copyeditors, proofreaders—keep things consistent. That way, green-eyed Tasha Clark of 212 Erie Place who turned fifteen on page 6 doesn’t become brown-eyed sixteen-year-old Sasha Clarke of 221 Eerie Court on page 206.

When the copyeditor is finished, the manuscript will be returned to the author's editor, who might add more comments before forwarding it to you. 

Do authors sometimes get overwhelmed by all the corrections and suggestions?

An author can, understandably, feel overwhelmed by the copyeditor’s corrections and queries. All those marks! My advice to them is don’t freak—the copyeditor’s working in your best interest. However, the book is, of course, the author's—so the author shouldn't think every correction or revision must be accepted. There’s a magic word in copyediting: stet. It means “go back to the original.” The author can override any of the copyeditor’s marks with that simple word (though the editor may disagree and discuss with the author why).

Remember, the copyeditor’s always got the author’s back. Your copyeditor’s mission is to help make the book its absolute best. Once all the issues spotted in copyediting are addressed and resolved, the manuscript will be ready to move to production, continuing its transformation from words tapped out on the computer to that gorgeous book in a reader's hand.  

Authors should feel privileged to have your red pen and sharp copyeditor's mind keeping watch over their manuscripts, Susan! I know I'm honored to have your trusty red pen upon the Highlighter, the newsletter serving the Mid-Atlantic SCBWI, of which I am the content editor!

​How might publishers contact you?

They can find me at SusanVanHeckeEditorial.com, my copyeditor's website and thanks again for having me, Dionna! 

The pleasure's all mine!

It's such an honor having you here, Rashin! I love your art. It's full of light and love, and it gives me a warm and fuzzy feeling inside. And I'm sure children reading your books feel the same!

Thank you! I'm happy to be here!

Why did you decide to write and illustrate SAFFRON ICE CREAM?

The reason I wrote this story was because I wanted to open a new window by sharing my immigration story with kids. I wanted to talk about real Iranian families and culture. There are a lot of misconceptions about Iran in the media, and that makes me sad. I also wanted to share with my audience all the wonderful moments I had growing up in Iran. At the end of the day, everyone loves ice cream, and I hope one day kids will experience the awesome taste of Persian ice cream—saffron ice cream—for themselves!

Would you describe the events in SAFFRON ICE CREAM as autobiographical? 

SAFFRON ICE CREAM is based on my life but some part of it is fiction. In 1979, I was born in Khorramshahr, a border city next to the Persian Gulf in the southern part of Iran. I was only nine months old when Iraq attacked Khorramshahr and the long eight-year war started. We lost our house and everything we had. My family, with many other refugees, had to move to the northern part of Iran by the Caspian Sea, where I spent most of my childhood. We spent many summer times going to the Caspian Beach. Despite the war and all the difficulties, my amazing parents created a happy childhood for me.

After moving to New York, I was excited when I planned a trip to Coney Island Beach. It was a flashback to all my childhood memories. I was curious. Would there be any rules like those we had on our Iranian beach? Would there be saffron ice cream?

​While fine-tuning SAFFRON ICE CREAM, what was it like working with Arthur Levine, your editor, and Marijka Kostiw, your art director? 

When I met Arthur at the SCBWI conference in New York, we talked about a new story idea about Iran. Later, I came up with the Caspian Beach idea. Arthur suggested “Saffron Ice Cream” for the title and I loved it. Arthur was such a kind soul to work with and an amazing editor. He was there for me through the whole process. He helped me to add more adventure and whimsical touches to my manuscript. 

Marijka was fun to work with and a wonderful art director. She kept me updated about the latest feedback from the design and marketing team. Arthur and Marijka gave me all the space and freedom to draw and experiment with different ideas and techniques. They were always supportive. When I was drawing the dummies, they helped me have a better visual understanding about New York City, encouraging me to include subway signs and outfits from different cultures. It was such fun—our teamwork!

​Congrats about your new release, Fearless Public Speaking! And thanks for stopping by to chat with us about it. 

Thanks for having me, and yes, it's exciting! Fearless Public Speaking was just published by SparkNotes, distributed by Sterling Publishing, on May 7, 2019!

What's the book about and why did you decide to write it for young people, ages 12 and up?

Fearless Public Speaking teaches young people how to plan, prepare and deliver a speech with confidence. Outlining, ad-libbing, composing, performing, writing and reciting-- everything you need is found in this fun yet practical guide. I wrote it because many people fear public speaking and a lot of time that fear starts when they’re children. But it doesn’t have to be that way. Actually, I believe that stage fright is your friend--that nervous energy you feel is the power-source that will enable you towards fearless public speaking!

How did you find your home for your book?

SCBWI was the secret ingredient in my success. I had been sending the project out for a long while on my own. But it was when I went to the SCBWI Mid-Atlantic Fall Conference that I had a turn for the better. I met an editor there and initially pitched her a picture book. She didn’t like that book but she said she did like my writing and encouraged me to submit something else. So I did.

What did you enjoy about working with your editor?

My editor was very patient and encouraging. I submitted two books to her before she said yes to Fearless Public Speaking. Although the first two books didn’t appeal to her, she didn’t make me feel like a loser. I felt that I should just keep trying. The third try was the charm!

Why do you hope young people will read it?

Not being afraid to speak in public is a huge advantage. As soon as you get comfortable with standing in front of an audience, you've locked into a powerful personal plus. Besides, if you learn to really enjoy it--it can be a love-and-money combination. To be able to do something you find fun, while boosting yourself professionally, impressing influencers, and even becoming a source of income....it doesn’t get better than that.
      
What are you working on now?

Currently, I’m shopping around a middle-grade novel about a girl who forms a double Dutch team. In real life, I started a double Dutch team--not as a girl but as an adult. In 2018, DC Retro Jumpers did a three-city tour in Russia as cultural ambassadors, teaching and demonstrating double Dutch! Check us out at dcretrojumpers.com.

Joy Jones has addressed countless audiences-- performance poetry, training workshops, storytelling, classroom teaching. She is the director of the performance poetry group, The Spoken Word and founder of the multigenerational double Dutch team, DC Retro Jumpers. Joy is the author of several books including Private Lessons: A Book of Meditations for Teachers. and Tambourine Moon, which was selected as one of the best books for children by the black caucus of the ALA and featured on the Bernie Mac show. Fearless Public Speaking debuted May 7, 2019. JoyJonesOnline.com

Welcome, Zara! Thanks for stopping and for sharing your kidlit journey with us!

Thanks for inviting me!

Do tell! How did you find your way into illustrating for children?

I don’t know that I can pinpoint the exact path, or even when I “started.” My answer may be considered a clichéd illustrator’s, but I can’t remember a time when I didn’t draw. The form those drawings have taken has always been one that leaned with a whimsical bent. 

That being said, my path to illustrating children’s books has been a long and winding one. Although in retrospect it should have been the obvious place for me to start (considering my love of stories and drawing), for some reason it was not. I think I was so convinced I couldn’t do it that I had to try everything else I possibly could before I finally let myself admit that this was where I wanted to be. 

So I led a few creative lives before I stumbled into the wonderful world of children’s publishing. And now I never want to leave!

What do you love about illustrating for children?

I love that anything is possible. Children don’t care that elephants are supposed to be grey or that people don’t usually wear snails on their heads. Their minds are open and they are interested in EVERYTHING. The smallest thing in an illustration might be the thing they obsess over. I keep that in mind when I am drawing and try to stuff each page full of interesting bits and pieces for them to find.

Describe your process, please. 

I’m pretty loose when it comes to how I work. I don’t have a set process in place, but rather let the project dictate how I will approach it. It’s a little hokey, but I tend to do a lot things based on what feels right.

For the book I’m working on right now, I read the manuscript a number of times just to get the voice and flow of it stuck in my head. Then I gave myself lots of opportunities to let my mind wander—walking the dog, gardening, cooking. I do my best thinking when my body is otherwise occupied, and that’s where I find a lot of my ideas and meet my characters.
 
I do a lot of doodling, too, trying to coax the things I see in my head out onto paper. In theory, these doodles are all in a special notebook I start at the beginning of the project. In reality, they are often on scraps of paper and drawn with whatever happens to be handy.

I’m also a total creative magpie. I keep scrap files for inspiration and tend to collect interesting patterns and color combinations that I might want to remember for some future project, so I’ll often pull these out when I am looking for inspiration or trying to spark new ideas.

How would you say your family, cultural influences, your travels, and/or your life's experiences shape your work?

I think they are woven into everything that I do. From the subjects I choose to illustrate to the stories I choose to tell. Every one of them is somehow touched by my experiences, whether I realize it at that moment or not.
 
I don’t think we can extract ourselves from our work no matter how much we might try, but luckily those are the things that make us unique and give our work it’s unique character. 

What type of children's books do you want to continue to illustrate?

I want to illustrate books that feature diverse characters—especially characters that are part of more than one culture. This is particularly important to me as a Latina, a Jew, the wife of an immigrant and as a mother of a child growing up at the intersection of multiple cultures. 

Zara González Hoang grew up in a little bungalow in the great white North. Surrounded by snow she spent her days dreaming, doodling and listening to the colorful stories of her dad’s life growing up in Puerto Rico while trying to figure out where she fit in as a mixed-race Latina Jew in a sea of Scandinavians. (She’s still figuring that out.)

These days, she lives outside of DC in a magical suburban forest with her Mad Man husband, her son, and curly coated corgi. She still spends her days dreaming and doodling, but now instead of listening to stories, she’s starting to tell some of her own.

Zara's first picture book, Thread of Love--published by Beach Lane Books  an imprint of Simon & Schuster in 2018, and written by mother-son team Surishtha and  Kabir Sehgal--was chosen by Seattle Public Library as one of the best picture books of 2018! Find her and her delightful portfolio at zaralikestodraw.com and  follow her on Twitter and Instagram @zarprey. Zara is represented by Andrea Morrison at Writers House. 

Welcome, Leah! Thanks for stopping by!

Nice to be here, Dionna!

Do tell a little about the Kweli conference, and how you found your way onto the planning committee.

Kweli--The Color of Children’s Literature Conference--is a wonderful day-long kidlit writers and illustrators event (with optional Masterclasses on Friday). This year it will be held Saturday, April 6, 2019, at The Graduate Center of the City University of New York. In 2014, after reading author Walter Deans Myers op-ed piece "Where Are the People of Color in Children's Books?", Laura Pegram, editor-and-chief of the Kweli Journal and Kweli conference founder, decided to create an event that is exclusively for Indigenous people and persons of color who were writers and illustrators. As she puts it, “we honor Walter Dean Myers' legacy with a conference that celebrates and supports our voices, our stories, our truth.”

In 2016, I stumbled across a post for an upcoming Kweli conference that was happening that weekend. I didn’t do much thinking, I just sent an email to inquire if walk-ins where permitted and once I got a "yes" back, I booked a train ticket. There was no way I was going to miss it! I had never been to a children’s writing conference where Indigenous and persons of color were the majority. It was a wonderfully refreshing experience to see and hear from creatives who had many of the same concerns as I do. But it wasn’t just about the struggles. Kweli is also a celebration of our many successes. After that first year, I was hooked and about a year later, when Laura asked if I was interested in becoming involved, I was honored to be a part of it all.
​
What do you love about working behind the Kweli scenes, creating a lineup that is both rich culturally and holds promise of a real educational experience for attendees?

I go to a number of conferences and retreats and it’s nice to create programming that I hope to see. Also, I love that Kweli is a good mix of new and established voices. 

Share one or two of your most memorable experiences while either attending or planning for the conference.

Kweli is a very unique experience. I will never forget the welcome I received during my first conference. It’s hard to explain, but when you are used to being one of the only people of color in a room, it was nice to see and meet so many other POC creatives in one space. They were doing so many amazing things in their work and were just as curious and eager as I was to learn more about craft and the business-side of writing.

May people from any background, not just persons of color, attend the conference?

Kweli is a conference exclusively for Indigenous and POC creatives. It’s an opportunity for this community to come together to speak about issues and concerns that are unique to our experiences as well as general discussions on craft and the ins and outs of publishing. Kweli’s aim is not to exclude, so the organization does offer a literary festival during the summer that is open to anyone interested in attending.

What is the process for a published author or illustrator who would like to be considered for the Kweli faculty?

At the moment, the planning committee creates most of the sessions offered, reaching out to people we feel will work best for each panel or session. Since we want to highlight newer voices on the publishing side of the table as well, we often get recommendations from IPOC editorial assistants, designers, or marketing experts. Everyone, especially Laura, does a pretty good job of knowing which authors and illustrators are coming out with new work that can be highlighted each year.

Leah Henderson is the author of the middle grade novel One Shadow on the Wall, an Africana Children’s Book Award notable, and a Bank Street Best Book of 2017. Her forthcoming picture books include Together We March, Day For Rememberin’, and Mamie on the Mound. She also has a new middle grade novel  The Magic in Changing Your Stars on the horizon.

Raised in Andover, Massachusetts, Leah has fond memories of getting up to all kinds of shenanigans that often made for great tall tales told late into the night. Growing up in a family of curious travelers, she has always known where there is adventure, there is story. Through seeing the world, Leah has witnessed the richness that can be found within everyone’s individual story. That is why writing the world she sees is so vitally important to her. These days, when she’s not off exploring, you can find her writing, laughing, or playing soccer at midnight with her dog, Boston, in Washington, D.C. Learn more about her and her books at leahhendersonbooks.com.

​Hi Dionna! Thanks for having me!

​KidLit411 is such a wonderful resource for those trying to master the skill of writing for children! Do share how it came into being.
​
Five years ago, my critique partner, Elaine Kiely Kearns, had an idea to create a resource website for writers, to share articles on children’s writing and illustrating. I joined her effort and we created the website KidLit411.

Since then, your website has been named a best website for writers many times over! Congrats on that! Why do you think that is?

KidLit411 contains over thirty pages of writing and illustrating topics, from contests and awards to writing tips and agent submissions and many more. The pages include sixty to one hundred articles on each topic. We also interview at least one author or illustrator each week, featuring their recent books or work. Subscribers get a weekly update of all the new articles added to the website, about a dozen a week.

Since we began, we’ve featured over three hundred authors and illustrators in our Author and Illustrator Spotlights. Our website gets twenty-five thousand to thirty-five-thousand page-views a month! 

The best part of KidLit411 is the community of authors and illustrators we’ve connected with, both online and in real life. We run an active Facebook group of over 6,300 children’s writers and illustrators and two companion pages where people can find critique partners, the KidLit411 Manuscript Swap and the KidLit411 Portfolio Critique Swap. Every day, people ask and answer questions in our group on all sorts of topics, from self-publishing to querying to mentor texts and more.

Despite being a writer and illustrator yourself, why do you continue to spend your time keeping KidLit411 up and running?

Personally, running KidLit411 is very gratifying. Elaine and I work great together and have a system to keep the interviews and links coming every week. Although it does take work, I feel so connected to the kidlit community. A side benefit is that we’ve created a platform that helps our own author careers. While promoting other authors and illustrators, we develop great relationships and friendships with those who in turn help us when our books come out.

Why do you think KidLit411 has such a continued following?

We try to keep our community engaged. Most years, we run a multi-day book "birthday" bash giveaway, where we give away books, editor critiques, agent query passes, and writing and illustrating courses. This year we ran a contest for illustrators to help design our website banner and Facebook group cover photo. The top two winners got cash prizes, and the top ten are having their banners featured on our website over the course of the year. 

We always welcome kidlit peeps to join our Facebook group or follow our website and get connected. We can be reached at kidlit411 (at) kidlit411 (dot) com. Your blog readers are welcome to join us!

Thanks so much for the invitation, Sylvia, and for stopping by! It's been an honor hosting you!

The pleasure is all mine!

Sylvia Liu creates stuff, mostly for kids. She's inspired by aliens, robots, bunnies, cephalopods, and more. Her love for writing and art began while she was growing up in Venezuela. While working at her first career in environmental law at the U.S. Department of Justice and the non-profit group Oceana, she loved protecting the oceans. And now she loves writing and illustrating for kids just as much. Her 2016 picture book, A Morning with Grandpa, illustrated by Christina Forshay, was a  Lee & Low New Voices Award Winner! She also writes speculative middle-grade fiction, and is represented by Jennifer March Soloway at the Andrea Brown Literary Agency. Find Sylvia blogging at Sylvia Liu Land, and her amazing resource--listed by industry professionals like Writer's Digest, Feedspot, and Freewrite as one of the best websites for writers, consecutively for several years--at KidLit411.

​How did you find your way to becoming a kidlit illustrator?

Before I decided to change careers, I used to be a high school teacher for German and English literature and so books always had a very important status in my life. When I had my three children, I obviously introduced them to kidlit early on and that’s when my creative side emerged again and it could not be stopped. It was a very powerful calling that made me see who I really am.

Your work infuses such true-to-life humor! How do you find your inspiration?

I just think I try to look at things in a humorous way whenever possible. Life can be too hard otherwise.

How would you say your cultural heritage influences your creative decisions when you are creating art for children?

My art is a direct reflection of my cultural heritage and upbringing—you will find a lot of the spirit of European kidlit or even music I was brought up with in my illustrations and stories. Themes with darker emotions are not taboo and unconventional characters are very common in European stories for children.

Please share a little about your process.

A normal work day without any pressing deadlines usually starts with a long walk with my dog to clear my head or even find inspiration in nature. Then I start drawing in my tiny studio until my children come home from school. In the evenings I often work on my manuscripts. 

When I’m working on projects together with editors, I usually spend some days reading the manuscript I’m supposed to illustrate. Then I begin rough sketching and collecting material. Next stage is the storyboarding and then, when everything has been approved, I start working on the final coloured illustrations.

What are you working on now? And are you enjoying it?

I’m currently working on a picture book about an English bulldog as the main character and am very much enjoying it. There are other projects in the pipeline I can’t officially talk about yet!