​What do you love about instructing children in the creative writing process? 

I teach high school and college students and work with both beginners and advanced writers depending on the class. So it's a toss-up--there's nothing like working with a student on their very first story, helping them find the courage to put pen to page, to find their voice and delve into their imagination and explore, to experiment. But I also find great joy in working with students who already have a great deal of experience. Editing, at the sentence level, is a wonderful process as well, and helping a student prepare a piece for their MFA application or for submission to a literary journal is incredibly rewarding.

Tell us about your connection to Judy Blume, who praised your YA novel, Fingerprints of You.

Judy discovered my work in a contest shortly after I received my MFA. She read a short story of mine, which she found in the slush-pile for the Key West Literary Seminar fiction award, and something just clicked. In the end, I won the fiction prize and was awarded a trip to FL for the conference, where she and I met. She was kind and generous and honest with me about my work, which was invaluable. At the time, I was writing a novel, but I was struggling to make that leap into the publishing world. I had moved around a great deal after college and didn't have a community of writers to lean on, so her support and eventual friendship made a world of difference. She has become one of my greatest champions, and I'm so very grateful. 

What do you love about Charlottesville's writing community?

The truth is that, in the end, we do the work alone. Alone at the desk, at the computer, in our notebooks and in our heads. But having a community to lean on makes all the difference when you're wading through struggles in your work. One of the things I love most about the writing community here is the diversity of work being produced. There are writers of all kinds--all genres and styles and forms, and I find that to be very inspiring and motivating. Meeting authors who are writing work unlike my own encourages me to branch out and try new things on the page, to take risks. 

What do you love about the Virginia Festival of the Book?

How much time do we have?!? I've been working with the festival as a volunteer and a panelist since I moved to town in 2008, and each year it never ceases to amazing me how many prestigious authors there are, how many dynamic events, how many thought-provoking panels... and it's ninety-nine percent free! It's such an important piece of our community. 

Tell us about your novel that is coming out in May.

My new novel, Invisible Fault Lines, is a young adult novel whose storyline hinges on a missing person mystery in San Francisco in 2006. The central character, Callie Pace, is determined to discover what happened to her father after he disappeared from work, but she has no clues and no leads. Because it takes place during the hundredth anniversary of the San Francisco Earthquake of 1906, it also weaves in a historical fiction element. So the book is part contemporary fiction, part historical, and part mystery. There's also a dash of fantasy depending on how you read the ending. It's about grief and faith and the different ways we cope with loss. It's also about San Francisco, family bonds, presidential quotes and punk music. This book was a leap of faith for me, and I took a lot of risks when writing it, so I'm really excited send it out into the world. 
Kristen-Paige Madonia is the author of the young adult novels Invisible Fault Lines (Simon & Schuster Books for Young Readers, May 2016) and Fingerprints of You (Simon & Schuster BFYR, 2012). Hailed by Judy Blume as “A remarkable young novelist,” Madonia was the 2012 D. H. Lawrence Fellow, and her short fiction has appeared in such publications as the Greensboro Review, Five Chapters, New Orleans Review, and American Fiction: Best Previously Unpublished Short Stories by Emerging Writers. She has received awards and fellowships from the Sewanee Writers’ Conference, the Hambidge Center, the Vermont Studio Center, Juniper Summer Writing Institute, Virginia Center for Creative Arts, Hedgebrook Writers’ Retreat, Millay Colony for the Arts, and the Studios of Key West. She was the 2010 recipient of the Tennessee Williams/New Orleans Literary Festival award and was granted the Marianne Russo Fellowship to attend the 2008 Key West Literary Seminar. She holds an MFA from California State University, Long Beach and currently lives in Charlottesville, Virginia where she teaches creative writing at the University of Virginia, James Madison University and WriterHouse. She is also a Faculty Mentor with the University of Nebraska’s low-residency MFA in Writing Program. Visit her at kristenpaigemadonia.com or @KPMadonia on Twitter.

How has being a mother influenced your writing choices?

This year, I have one child in elementary school, one in middle school and one in high school.

Because of them, I have been honored to log many volunteer hours in schools. I have served on PTO boards, chaired talent shows, planned class parties, shelved library books, sharpened box after box of pencils, gone on dozens of field trips, helped kids learn to read, helped kids write fiction and poetry, chaperoned dances and carnivals.

All of this has afforded me the opportunity to be an observer of universal childhood milestones and rituals--to remind my adult-self of things my child-self had experienced and forgotten. I hope this deepens my characters’ emotions and dialogue in a way that rings true with readers. 

Do you find that the stories you create contain a recurring theme? If so, explain.

My main characters tend to face enormous problems for their age and be underdogs of sorts.

In Gatherin’ Up the Mountain, Mattie and her family face eviction from their mountain home during the Great Depression when the Blue Ridge Parkway was being built in Shenandoah National Park. Josias grapples with Haitian poverty, illiteracy, and land erosion in Josias, Hold the Book. And Anett works with the Danish Resistance to hide Jews and ensure their safe passage to the Gilleleje harbor for escape to neutral Sweden during World War II in The Whispering Town.

I never expected Mattie, Josias and Anett to solve world problems. It’s too big for them. For anyone. But I did require them to be brave and kind problem-solvers in the immediate world around them, with their families, friends and neighbors. Their actions leave their readers with pin pricks of hope.

How has participating in and being in attendance at the Virginia Festival of the Book helped you grow as a writer?

I have been presenting panels at the Virginia Festival of the Book for 15 plus years. One of my critique groups, The Moseley Writers, has been offering an encore panel called “Off to a Good Start: How to hook an editor on the first page.” Participants email the first 100 words of a fiction piece to us before the panel. When we receive the entries, we read them a couple of times and make notes independently. During the panel, we read aloud as many of the entries as we can, anonymously, then discuss what’s working and what can be improved in light of: tone, pacing, setting, characterization and voice.

We’ve gotten positive feedback from not only authors who put their work forward but also audience members who didn’t submit work. It’s a learning experience for everyone. I’m happy to participate in this panel because of the children’s authors who were helpful and kind to me when I was making the switch from newspaper and magazine work to children’s fiction. For me, it’s a way of paying it forward.

I also attend panels at the festival to be inspired by other writers, in particular Lois Lowry, Katherine Paterson and Kate DiCamillo. When I started writing for children it was short magazine fiction and picture books. I started playing around with some middle grade novel ideas but often felt overwhelmed by the comparative length of the manuscripts. When Kate DiCamillo spoke at a recent festival, she talked about her writing day. Her goal is to write two pages every weekday, taking the weekends off. I had never considered a pages per day goal. I thought, “I can do that.” It made all the difference to me organizing manuscripts in a way that gave me daily success in completing goals. It changed my entire outlook.

What do you enjoy about Charlottesville's writing community?

The children’s writing community in Charlottesville is filled with kind, generous and supportive people. They are quick to form fast friendships with other children’s writers and promote each others’ work over social media and in-person at book launches, lectures and panels. They are warm, have wonderful senses of humor, and most love chocolate. The chocolate is really important for all sorts of ups and downs.

What writing project are you working on?

I recently finished revisions on a middle grade novel about a rescue horse. Over the next couple of months, I plan to work on some picture book ideas that have been put on hold while finishing said novel.
Jennifer Elvgren is a former print journalist whose picture book, The Whispering Town (Kar-Ben Publishing, 2014), received the Andersen Prize, been named to the ALA Children’s Notable Book List, is a Sydney Taylor Honor Book, and a Jane Addams Honor Book. She is also the author of Josias, Hold the Book (Boyds Mills Press, 2006) a Bank Street College Best Books selection and the recipient of the Américas Award for Children’s and Young Adult Literature. Her additional children’s fiction has appeared in Ladybug, Spider and Highlights for Children. She can be found online at jenniferelvgren.com.
    

How did your manuscript, A Place Where Sunflowers Grow, find its home with Lee & Low?

This will take some explaining! I give credit to my mom, Ibuki Hibi Lee. She published a book about my grandma entitled Peaceful Painter Hisako Hibi: Memoirs of an Issei Woman Artist (Heyday Books, 2004). The book contains my grandma's memoirs and some of her paintings, including several that she created while incarcerated during the Japanese American internment.

My mom's book inspired me to start outlining a picture book biography about my grandma using her artwork as illustrations. I had recently heard about Lee & Low's New Voices contest and began working toward the goal of submission. Meanwhile, Children's Book Press, a longstanding publisher of multicultural/bilingual children's books, approached my mom. They wanted her to write a picture book set in a Japanese American internment camp and to incorporate a camp art school. My mom was five years old at the start of the internment; she attended the camp art school where my grandma and grandpa, who were professional artists, taught. However, my mom had just been through the long process of writing and publishing her book (during which time she battled cancer and won). She was ready to get back to living her life!

That's when I happily stepped in. Lucky for me, Children's Book Press was open to giving me a shot. I stopped outlining the picture book biography about my grandma and started writing a historical-fiction picture book set in a Japanese American internment camp. Children's Book Press really liked the first draft, although it took a few rounds before I was offered a contract.

So, that's the story! An amazing opportunity landed in my lap and I accepted it with much gratitude.

Well, that's almost the whole story. Sadly, Children's Book Press closed its doors during the recession. Fortunately, it eventually became an imprint of Lee & Low, a publisher with a similar vision. It's kind of wild that my book, although not the story I had originally intended to submit to Lee & Low, ended up there several years later! I am proud to call Lee & Low its new home. 
​
What was your emotional reaction to having your book illustrated by Felicia Hoshino?

​Oh, Felicia’s illustrations blew me away. She managed, at once, to capture the harsh conditions of the Japanese American internment camp AND the gentle feeling of the story. Also, she surprised and moved me by incorporating some of my grandma’s art concepts into the illustrations. My publisher played the perfect matchmaker in choosing Felicia!

What have you enjoyed about attending and participating in the Virginia Festival of the Book?

Every year I ask my husband, who often travels for work, to avoid travel during Festival week so he may deal with the house and kids! I attend as many sessions as I can manage. This is a town that already loves books, so the Festival only ramps up the buzz in the air and I feed off of that energy. I learn; meet other writers, authors, and professionals in the field; and gain inspiration that carries me forward for months. As far as my participation goes, presenting my book at the Festival was one of the most positive experiences I've had; there was such a genuine interest from the audience to learn.

What do you love about Charlottesville's writing community?

Especially in light of its small size, Charlottesville is home to lots of writers. It has a vibrant, supportive writing (and reading) community! I discovered WriterHouse a couple of years ago and have learned a good deal about the craft and business through classes and workshops. I met my fellow critique group members in a WriterHouse workshop; they are my go-to for manuscript feedback, support, and lots of laughs.

What projects are you working on now?

I'm working on several picture book manuscripts, ranging from a biography of an Asian American politician to humorous stories about growing up. I'm also prepping to launch my author website and blog.
Amy Lee-Tai is a mom to two girls and two cats, and is a former reading specialist to elementary and middle school students. She authored A Place Where Sunflowers Grow, illustrated by Felicia Hoshino (Children’s Book Press, an imprint of Lee & Low, 2006). It is a historical fiction picture book about the Japanese American internment and won the Jane Addams Children's Book Award for Younger Children in 2007. When not reading and writing, Amy loves to take walks, eat dark chocolate, drink strong coffee, and connect with family and friends (although she hasn't yet tried doing all those things at once). 

Why did you feel the story behind The Girl Who Carried Too Much Stuff needed to be told?  

First of all, I have always been a lover books--they have surrounded me ever since I was little. However, I never dreamed of becoming a writer. Then I became a stay-at-home dad to my three young daughters, which also thrust me into the role of primary-bedtime-story-reader. As I read more of these books, I became enamored with these wonderful stories, and beautiful illustrations. I began to look forward to story time just as much as my girls did, and I must say I certainly grew to love picture books more as an adult than I had as a child.  

It was then that I began to notice how underrepresented people of color are in children’s literature. The actual statics are staggering! When my daughters began to ask why there are so few books with prominent African American characters in them, I decided that instead of complaining about it, I’d act. As Toni Morrison stated, “If there’s a book you want to read, but it hasn’t been written yet, then you must write it.” I felt it was my duty to be the change I wanted to see in world.

The general theme of the book is a universal one. It touches on the issue of over-consumption and materialism that is widespread in our culture today. Our society sends the message that the more “stuff” we have, the more successful we should feel. This book attempts to show that this may not be the case, in a fun way of course.

Why did you decide to use Kickstarter to fund the creation of your book? 

I may not have dreamed of becoming a writer, but I’ve always had an entrepreneurial bent, and I’ve always admired those who’ve chosen to adopt the mindset and attitude toward seeking out change! The publishing industry is changing, and now more than ever, we authors can get our books into the hands of readers without the gate-keepers of traditional publishing. Print-On-Demand has changed the game. Besides, readers don’t care how a book is published, as long as the book is good. I met Bethany Carlson of The Artist Partner, who assists authors that choose the Indie-Publishing route. Bethany is a Kickstarter pro! She convinced me that crowd funding is a great way for authors to launch an independent book project. So in keeping with the entrepreneurial spirit, I went for it, and I’ll say it was a successful venture.

What were some of the challenges you faced while going through the process of self-publishing your book?

The major challenge I’ve faced thus far with indie-publishing has been the learning curve. I didn’t go to school to major in publishing, so I’m literally learning as I go. But when I decided to publish, I knew I didn’t want to go through the query process. I didn’t want to sign off the rights to my book (which had become my baby); I wanted to have creative control over the outcome. Plus, I knew that whether or not I went the Independent or Traditional route, I’d still have to pretty much do my own marketing. So once I made my decision, my first hurdle was to find an illustrator, an editor, a book designer, a printer/distributor, a marketing plan, and the funding. None of this was really “hard” it just required some effort on my part.

What have you done to prepare for being a participant in the Virginia Festival of the Book? 

Well right away, I needed to order more books from my printer (LOL). Beyond that, it was just a matter of organizing all the events I’m appearing at…10 in all. 

What do you enjoy about Charlottesville's writing community?

Charlottesville is rather well-known for having a strong writing community. My family and I moved here from Kansas City a little over 2 years ago. One of the reasons why was to be closer to my family who lives in Baltimore. But I also moved here with the express purpose of immersing myself in the local writing scene…I came here to make my writing dreams come true. In the process, I’ve meet and worked with many fine local scribes like Amy Lee-Tai, Jane Jackson, Carolyn O’Neil, Bethany Carlson, and Kathy Erskine. Moving to Charlottesville has been one of the best decisions of my life.

Marc Boston is a lover of books, and a stay-at-home dad who was inspired to write original stories to read to his daughters during bedtime. Marc was born in Baltimore, and raised in Kansas City. Today, he lives with his wife Rachael and their three daughters in Charlottesville. He can be found online at  marcboston.com.

 As an author, what do you enjoy about school visits?

School visits give me an opportunity to meet readers I wouldn’t otherwise get to meet--namely, awesome teachers and librarians and kids! My teaching career was spent working with high-schoolers, but I’ve found that the little ones are just as fun, as well as super-cute. Also, as a former teacher, I am intrigued by education issues in general, so I enjoy visiting different schools and seeing how a love of books is encouraged in classrooms at schools with varying demographics and philosophies.

In your opinion, can a Skype visit be just as fun? 

I won’t deny that Skype visits are different from in-person visits. I sing and dance with little ones in person, and that is harder, though not impossible, to do over Skype, since I’m working with a desktop computer in my kitchen, not a studio. But today’s young students have grown up with the amazing technology we have today--stuff we couldn’t have dreamed of when I was their age. So for them, talking with someone over Skype does not feel miraculous; it’s just another way of communicating. I don’t think it throws them off balance in any way. That means that most of what I do with them translates just fine to Skype. I do miss the hugs, though. You can’t Skype a hug!

Tell us about your recent deal with Disney.

A couple of years ago, my agent called to tell me that Disney Junior was interested in optioning VAMPIRINA BALLERINA for a preschool television series.  The option didn’t mean they were going to make it into a series; it meant they were asking for exclusive rights to do so if they wished. However, after many months of development, Disney Junior announced this spring that Vampirina is in production and will premiere some time in 2017. Chris Nee, the creator of the award-winning Disney Junior series Doc McStuffins, is executive producer, Norton Virgien is the co-executive producer, Nicky Phelan is directing, and Brown Bag Films from Ireland will do the animation. It really couldn’t be in better hands. The show and the books will complement rather than duplicate each other; we should think of two distinct timelines in a sci-fi universe. The books are the books and the show will be the show. I won’t have any input into the show itself, but LeUyen Pham and I are creating another Vampirina book. Think Beach Blanket Bingo meets Monster Mash, as Vampirina heads to the beach.

How has participating in and being in attendance at the Virginia Festival of the Book helped you grow as a writer?

I’ve been involved with the Virginia Festival of the Book for a long time now. I moderated panels of children’s authors for several years, then I sat on panels, then I put together panels--now my favorite thing to do are school visits. Schools in our area often schedule their author visits for Festival week, so we are all celebrating books together. It’s hard not to feel motivated and excited about our work when we are celebrating books.

What do you enjoy about Charlottesville's writing community?

University towns are always full of interesting people, aren’t they? And some of the most interesting people to me are other writers. My critique group began years ago after a panel at the Virginia Festival of the Book, and not only are we still together, but we’ve all published books. They’re not just my colleagues; they’re my friends. As the Charlottesville Events Coordinator for the Mid-Atlantic Region of the Society of Children’s Book Writers and Illustrators, I’ve had the chance to be at the hub of many children’s writing events in town. I’ve also begun teaching at WriterHouse, so I’m meeting new writers through my classes there. Children’s writers are renowned for being some of the most encouraging and helpful people around, and our children’s writers in Charlottesville are no exception. It’s a great place to live as a writer.
Anne Marie Pace is the author of  Never Ever Talk to Strangers (Scholastic Book Clubs 2010), A Teacher for Bear (Scholastic Book Clubs 2011) and the Vampirina Ballerina series (Disney-Hyperion) that is illustrated by LeUyen Pham. Her upcoming picture books include PIGLOO (Henry Holt & Co.), GROUNDHUG DAY (Disney-Hyperion), BIG-EYED BUG (Beach Lane Books), and the next adventure for Vampirina (Disney-Hyperion)! Anne-Marie’s favorite pastimes include reading, cooking, choral singing, walking in the woods, traveling, and (most importantly) spending time with family, friends and her two awesome beagle mixes (AKA mutts). She can be found online at annemariepace.com and Tweeting @AnneMariePace.

How have your world travels impacted your writing? 

I think being exposed to different cultures helps you think a little more openly, differently, outside your own culture a bit. Growing up overseas helped me to be a little less focused on my own culture (or at least, less apt to assume it was always right) and look at life through different eyes. That’s very helpful when stepping into the shoes of the characters in your books who may think differently from you. It was very helpful in writing Caitlin in Mockingbird, a girl on the autism spectrum, for example. 

Moving around makes you flexible and helps you deal with the curves life throws you, which is very helpful in dealing with rejections from editors! And seriously, being flexible is helpful when it comes to revisions in your work or last minute changes in a school visit or even travel snafus on your way to a presentation—once I hit the road north, after my Charlottesville flight was cancelled, booking it for the DC area, all while awaiting a call from the publisher to tell me which airport to go to!

How has reading books written by diverse, international authors impacted you as a writer? 

I always say that travel is the best education. Well, reading books from other countries is like traveling. You get a feel for the culture, the thoughts, feelings, and opinions of people from another land. That’s a gift. At the very least, it helps you think a bit more multi-dimensionally. Authors are always asking themselves, “What if?” especially when we get stuck. I ask myself “What if?” a lot more because my mind is open to other ways of thinking. 

For example, Australian Boori Monty Pryor’s picture book, Shake a Leg, has multiple stories within the story which relate to the overall theme. Usually, as authors, we think you can’t have multiple stories in a picture book because it’s too confusing for kids, but it’s reflective of Pryor’s culture and effectively done in his work.

What do you hope children reading your books will gain after spending time with your characters, especially those who've overcome difficult circumstances?

Hope. That’s the main thing. Whatever they’re going through in their own lives, I want them to see that there’s always hope, there’s always a way to deal with whatever the problem is, and they’re always people to help. I’d also like any reader to come away with empathy for the character and the character's situation.

One of the things I love about reading novels is learning something painlessly. So in my work, I do like to put in information--about the Middle Ages as in The Badger Knight, for example--information that’s important to the story, not gratuitous, but the kind that's interesting, too. 

And I hope that I can keep readers entertained! Reading a book should be engaging and, hopefully, fun. You definitely want your reader to come away with the feeling that it was worth it.

How has participating in and being in attendance at the Virginia Festival of the Book helped you grow as a writer?

There are so many wonderful opportunities VABook offers. You can meet fellow authors, make connections, maybe even start a writing group. You might submit the first page of your manuscript for a panel critique. You could meet an agent or editor and find out exactly what they’re looking for. Just attending a session is inspiring and I find myself scribbling notes—either new story ideas or thoughts on my works in progress. And moderating panels has shown me how different authors write, how they present, and what they know about the industry, all of which is enlightening.

What do you enjoy about Charlottesville's writing community?
​
It’s a rich, varied, welcoming community of writers. There’s WriterHouse which offers so many kinds of classes in all different genres, literary events like the Virginia Festival of the Book, bookstores to browse in and run into authors, and some kind of electricity in the air that buzzes with inspiration. And my own writing group is here! What’s not to love?

Kathryn Erskine, the daughter of a diplomat, spent her childhood years in the Netherlands, Israel, South Africa, Scotland, Africa, Canada, and the United States. She was a lawyer for 15 years before she figured out that she really wanted to be a writer when she grew up! Kathryn still travels a fair amount, giving speeches, visiting schools, and doing research. Kathryn's books have won numerous awards, including the 2010 National Book Award for Young People's Literature for her middle-grade novel, MOCKINGBIRD (Philomel, 2010). Her latest middle-grade THE BADGER KNIGHT (Scholastic Press, 2014), set in Medieval Scotland and England, is no exception. It was chosen to be among the Children's Book Committee of Bank Street College of Education's list of 2015 Best Books. Her forthcoming picture book, MAMA AFRICA, about Miriam Makeba, South African civil rights activist and singer, will be illustrated by Charley Palmer (Farrar, Straus & Giroux). She can be found online at kathrynerskine.com.

For you, how is working on an illustration for children different than when illustrating for the adult market?

I always tap into the kid in me when approaching any assignment because that's the part of me that contains all my enthusiasm for making art. As a result, I tend to incorporate a certain degree of humor or fun into most of my work. So it ends up just being a matter of slightly changing my mindset when switching between the two. I actually had to make an effort to develop a slightly different drawing style to accommodate assignments where humor or whimsy simply would not be appropriate. In general, I feel much more free when doing children's illustration. For kids everything is new, so literally anything can happen.
 
Tell us about your process, your style of medium for children's illustration?

I usually start out by sketching various different ideas in a small sketchbook until I get something I like. From there, I scan the sketch into Photoshop where I will start refining things a bit, usually making small changes to the composition such as correcting/exaggerating the proportions, or moving various elements around to get things just right. Digital tools really help speed up this process and give me much more flexibility to try things I might not have time for otherwise. Once I have things the way I want them, I'll print the image and trace it onto bristol board using a Huion LED light pad.

​I find that there is a lot of energy in a sketch that can be difficult to replicate in a finished drawing, and this way helps me to preserve some of that. After tracing the drawing (making subtle refinements as I go) I go over the pencil work in ink using a nib pen and India ink. I then scan the completed ink drawing back into Photoshop and add all the color digitally. I usually make a point to add some natural textures to my digital coloring in order to give the finished piece a more traditional feel.

What impact has Charlottesville's writing and art community had on your work?

As a freelancer who works mostly from home, I don't often get the chance to interact with other artists or writers, so I find being part of a group makes a big difference. I've been meeting with the local Urban Sketchers group for a couple of years now and that has had a big impact on my drawing skills. SCBWI has been helpful in introducing me to local writers, which I'm grateful for since I'm not as experienced with writing professionally.

What children's project are you working on?

I'm currently illustrating a book for Brandylane Publishers called Short Pump Bump, written by Angie Miles. It's a collection of fun poems that focus on some of the people and places that help give Richmond its character.

I've also got a couple of graphic novels for children that I'm developing, one with a Halloween theme, and the other about a boy who gains super powers, called Kid Hercules.

How has participating in and/or being in attendance at the Virginia Festival of the Book helped you grow as a storyteller?

This will actually be my first year participating in the Festival of the Book while seeing myself as a storyteller. I've already got several events I'm planning to attend, including a couple at Telegraph Art & Comics.
 
Scott DuBar first started drawing as a small child and never stopped. Scott’s humorous illustrations appear regularly in several magazines across the country. He is a versatile artist whose designs and illustrations have garnered numerous awards and recognition. His subject matter ranges from the whimsical to the socially relevant. He currently works out of his home in Charlottesville, Va where he lives with his beautiful wife, Vidya. Scott can be found online at scottdubar.com and Tweeting @baliscott.

Why do you enjoy entering (and winning!) writing contests?

Earlier in my career, I was more likely to enter writing contests. The benefits to winning a contest can be publication of your piece, recognition among your peers and others, and/or a cash award. Often your entry fee goes to supporting the literary entity, which is great. Entering contests can be quite expensive, so you need to weigh the cost versus the benefit. (On the bright side, once I was able to buy a nice kayak from contest prize money.)

In your opinion, what ingredients are included in a good critique of someone's work?
​
Someone giving a critique should be both honest and kind. And, sometimes the kindest thing a person can do is to be completely honest. Here are elements to consider when giving a critique: plot, characters, point of view, tone, voice, style, structure, word choice, grammar, rhythm of the prose, punctuation, target audience, marketing.

How has participating in and being in attendance at the Virginia Festival of the Book helped you grow as a writer?

I’ve participated in the Virginia Festival of the Book for the past twenty years. At my first time, I read a short story called, The Day the Virgin Mary Appeared on My Cafeteria Wall. An editor happened to be in the audience. It’s a long story, but ultimately I was offered a book deal from that encounter. Throughout the years, I’ve participated both as a panelist and as a moderator. I’ve met some terrific writers. All in all, it’s been an enriching and wonderful experience.

What do you enjoy about Charlottesville's writing community?

The writers here are a generous group, very supportive. People turn out for each other’s events, review each other’s work and help in many ways. We are fortunate to have in town WriterHouse, Virginia Festival of the Book, the Blue Ridge Writers and the Virginia Writers Club. I feel blessed to be here.

What are you currently working on?

I’m working on a novel about an Italian-American family. It’s set in central Connecticut.

Deborah M. Prum, author of Fatty in the Back Seat, has won nine awards for her fiction which has appeared in The Virginia Quarterly Review, Across the Margin and other literary publications. Her audio book, First Kiss and Other Cautionary Tales, is a collection of her essays which have aired on NPR-member stations and also have appeared in The Washington Post and other publications. Her two iBooks are Czars and Czarinas, on Russian history, and  Back Talking on the Mountain of God,  a collection of poems and photos from six artists. She’s written articles regarding the craft of writing for Writer Magazine, The Writer’s Handbook, and for the Society of Children’s Book Writers & Illustrators. She can be found online at deborahprum.com and on Twitter @DeborahPrum.

Why do you love about writing nonfiction for children?
 
Mostly, I enjoy communicating really cool nuggets of information to children. For example: Did you know that there are more chickens in England than people? Or that the longest war in history was almost certainly between the Netherlands and the Isles of Scilly. It lasted for 335 years and no one died.
 
How has being an editor with publishers like Scholastic influenced your writing choices?
 
It’s not so much that working for publishers such as Scholastic has influenced my writing choices, but rather that I have learned so much from the editors in such houses in terms of how to write engaging nonfiction for children.
 
What do you enjoy about Charlottesville's writing community?
 
Well, there are a lot of writers in Charlottesville. I love to hear about the projects that people are working on, as well as their experiences in the world of publishing.
 
What do you love about the Virginia Festival of the Book?
 
Just as with the Film Festival, it’s great to be able to spend time talking about something you love; listening to authors discuss their work or their process; and generally being surrounded by people who share your passion.
 
What children's project has been one of your favorites to create?
 
This is by far the most difficult question to answer. In the 1980s, I worked for Marvel Comics in New York City. I have so many great memories of that time. My first published piece was for Marvel. In the 1990s, I worked for Dorling Kindersley in London. During that time, and in partnership with Disney, I helped create a 24 book encyclopedia series full of astonishing facts. The series, which sold over a million copies, was called Mickey Wonders Why. The team I worked with were some of the most creative people in children’s publishing. More recently, I have created a number of nonfiction series which have been translated into several languages. So I guess there isn’t really one favorite experience.
Rosie McCormick has worked in children’s publishing for over thirty years. Although originally from the United Kingdom, she actually began her career in New York in the early 1980s. While studying for a Master’s Degree in Comparative Literature at Columbia University, she began working for Oxford University Press. A year later, she responded to a rather unusual job posting in the New York Times, only to discover that the company in question was none other than Marvel Comics. She was hired to be an assistant editor. Rosie’s first ever publication, in 1987, was issue No. 12 of the comic book Psi-Force, entitled “The Candy Man”. After Marvel, she became an in-house writer for Scholastic, working in their elementary classroom magazines department. Scholastic published Rosie’s very first children’s book. After a number of years in corporate publishing in New York and in London, she became a fulltime, freelance writer and editor. She has published more than fifty children’s books, and is represented by Red Fox Literary.

Twenty- one years ago, I was elated to hear of Charlottesville's inauguration of  the Virginia Festival of the Book. I decided to attend a daytime event, a luncheon with Judith Viorst, author of Alexander and the Terrible, Horrible, No Good, Very Bad Day. How I enjoyed myself, even though I had to hurry back to a baby sitter that was charging by the hour. Every year since, I've looked forward to March with its promise of spring and the arrival of the VABook.
Over the years, I've collected some truly interesting VABook experiences, like the time I was telling an agent how much I enjoyed her presentation. (It was a very small Society of Book Writers and Illustrators event in a coffee shop and no one else was around, so I had her undivided attention.) She asked me what I wrote and I couldn't remember. Or the time I sat crisscross on the floor, squeezed next to a (now award-winning) author and we whispered to each other the entire time. (We should have been paying better attention to the presentation!)
Then there was the time my first page was being read aloud to a packed room, and both the audience and panelists responded so favorably that afterward I spun the page into an entire middle-grade yarn (and just last year got an agent with it, too!) But one of my most memorable VABook experiences was when I heard Rita Dove reading her poem about biracial violinist George Bridgetower. And when Boyd Tinsley of the Dave Matthews Band played his violin--WHAT MAGNIFICENCE THAT!
I've laughed. I've listened. I've learned A LOT about writing and the world of publishing from the wide variety of presenters that the VABook brings to this part of Central Virginia.
To celebrate this year's VABook, I decided to host a KidLit C'Ville Blog Party, in which during the duration of the VABook, March 16-20, I will be interviewing ten published children's book writers and illustrators who call Charlottesville home. They are KidLit pros across the genres, creators of children literature from picture books to young adult tomes of the highest caliber. It's no wonder they've been VABook presenters over the years.
I hope you will stop by each day and say "Hey!" to these lovely ladies and gents who ooze joy and enthusiasm for all things KidLit!