Birth Stories for Books: TURKEY ON THE RUN!, by Alayne Kay Christian

Howdy readers! Get ready to gobble up a Birth Stories for Books interview that's stuffed to the brim with helpful info and inspiration. My guest is Alayne Kay Christian, author of the fabulously funny picture book, TURKEY ON THE RUN! (illustrated by Neha Rawat, published by Flamingo Books, Penguin Random House, Sept 29, 2026). 

by  Alayne Kay Christian and Neha Rawat

Alayne's interview includes heaps of behind-the-scenes details (she even shares some 'before and afters' of the text she originally put on the page and the text that made it into the book). So let's get to it!

Dawn Prochovnic: Welcome to the blog, Alayne. As I recall, we first "met" via a picture book launch group back in 2021, and then we collaborated on a few educational posts for your excellent blog. I learned back then that you have an affection for weeds (The Weed that Woke Christmas), and I have an affection for dandelions(Lucy's Blooms) AND NOW you have a new book baby: TURKEY ON THE RUN! I'm  eager to learn more about your path to publication for this very fun book.

I'd like to start by learning about the inspiration that sparked the idea for this story, and the process and timeframe between your initial idea for the book and the story that was formulated fully enough to submit to an agent or editor. (I especially love the hilarious refrain, "Run, run, run as fast as you can. You won't catch me for your roasting pan!" and I'd love to hear if there was a memorable moment when that line came to you!)

Alayne Kay Christian: First, thank you for inviting me to your blog. And congratulations on your forthcoming book Mama’s Home (and Baby Too!). It sounds and looks adorable.

Now for my first answer: The inspiration for Turkey On the Run! came to me over twenty years ago. I used to have a hobby where I made and sold greeting cards. I had a Thanksgiving one where it had a turkey running around frantically trying to convince people to eat ham or pizza. Or maybe think of their health and start a vegetarian diet. I always thought that was so funny, and it stuck with me. 

Now, that I look at the card, I kind of wish I had added pizza as a food—perhaps veggie pizzas only, since the story inadvertently became perfect for vegetarians and pescatarians.

When I looked back at my first sh***y draft, I found that the fun refrain was there from day one, so I’m thinking it might have played a big role in my inspiration. I initially had “Run, run as fast as you can” and Claire Tattersfield, my editor at Flamingo, added a third run. “Run, run, run as fast as you can.”

Interior image from Turkey on the Run, by  Alayne Kay Christian and Neha Rawat

From what I can find, the first draft was written on November 28, 2014. The final draft, before the offer, was written around June 5, 2024. So, I worked on it on and off for nearly ten years!

DP: Wow! That's a story of devotion. I'm so glad you stuck with it. It's such a fantastic read-aloud! 

AKC: The process/timeline went a bit like the following:

First draft Nov. 2014

Worked on it several times in 2015 and went through a few rounds with my critique group. I also got a positive response from agent Stephen Fraser, which I found encouraging. 

I only worked on it once in 2016 and then didn’t touch it again until December 2019 with a file name “still working on it Turkey Trot.” 

It sat there until April of 2022 when I revisited it with a new critique group.

I stepped away from writing in 2023 because of health issues. But in 2024, once the health issues were resolved, and I had regained my strength, Turkey Trot called to me once in again.

On February 22, 2024, I pitched the story on #PBPitch Twitter, and my now agent, Jackie Kruzie, who I happened to also know, emailed me and asked to see it! 

Following is the pitch: 

“Reimagining THE GINGERBREAD MAN a clever turkey escapes the roasting pan & runs from one establishment to another trying to convince patrons to eat anything but turkey. But when a growing parade of pursuers corners Turkey, he needs more than words to save his neck. Humor #PBPitch”

Jackie loved the story and asked to see more of my work, which she also liked. Finally, in March of 2024, fourteen years after I parted ways with my previous agent, I got an offer of representation! It was meant to be. 

In June 2024, Jackie mentioned my TURKEY TROT SURPRISE story to Claire Tattersfield, the editor at Flamingo Books, and she said she would like to see it. By July, the offer had been completed and a contract was on its way.

DP: thank you for sharing this, Alayne! What a story of persistence, dedication, and a dash of good fortune! 

When you compare one of your earliest drafts of this story to the version in the published book, what stands out for you in terms of what is most different? Likewise, is there anything in particular that stands out that was included in your earliest drafts and survived the revision process?

AKC: The difference between my first draft and final draft are night and day. The first draft was VERY wordy with a more traditional storytelling style. I think one of the huge things I noticed going back to the first draft was there was a great deal of stage direction and extensive detail. Following the original Gingerbread Man story, there were other refrains that took up a lot of word count. And there wasn’t really any rhyme, and what rhyme I did include was not good. One thing that changed along the way, was that I added the rhyme, but not until after I took Renée M. LaTulippe’s Lyrical Language Lab course in 2015. It took me until recently to really start getting the hang of this rhyme thing. But had I not taken her course, I never would have even tried. Or I would have tried and not realized how bad my rhyme was.

I think the best way to show how much the story changed from first draft to final story is to share the beginning from the first draft and the beginning from the final version. Any errors are left intentionally, since it was a first draft. The first draft took 180 words to get to the refrain. The final version took only 51 words to get to the refrain. Oh! And the first version talks about killing the turkey . . . what?!

FIRST DRAFT

Once upon a time, there were a little old woman and a little of man who lived in a condo in a great big city. The little old woman planned a lovely Thanksgiving dinner. She decided to roast a tasty turkey. But only the freshest turkey would do, so the little old woman sent the little old man out to the country to trap a great big turkey. 

Later that day, the little old man returned with a plump, perky turkey. But who would kill the turkey?

“It is my job to stuff it and roast it,” said the little old woman. “I’m not killing it.”

“It is my job to trap it,” said the little old man. “I’m not killing it.”

And while the two of them squabbled, the turkey gobbled and wobbled away shouting, “Don’t eat me!”

“He’s getting away!” shouted the little old woman trotted after the turkey with the little old man following behind. But the turkey ran too fast for them. 

“Stop, stop!” cried the little old woman. But the turkey ran even faster, chanting,

Run, run as fast as you can

You can't catch me

For your roasting pan!

DP: How kind and helpful of you to share this first draft alongside the final version (below), Alayne. It's so beneficial to see what it looks like to simply get words on the page, and then to see what a meaningful difference revisions can make. (And wowza-- not only did the first draft make mention of killing the turkey ... it was a key discussion point! Talk about stakes! ; )

FINAL VERSION

Turkey was out for his morning run when—

BAM!

He trotted right into a trap.

“You’re just what my wife ordered,” the old man said.

[Puts Turkey in the truck. Cut from country to city and a welcome sign]

WELCOME TO GOBBLE GROVE

“What a perfectly perky turkey,” the wife said. “We would like to invite you to—”

Before she could finish, Turkey zoomed away faster than a lightning bolt.

“Run, run, run as fast as you can.

You won't catch me

for your roasting pan!”

Things that remained from the first to final versions are the basic plot line, many of the original characters and establishments. Though, some got cut and some got added. Of course, the “Run, run, run” refrain remained from beginning to end. However, I did try several bad variations before settling on it. Following are just a few. As you might have noticed the first draft said, “You can’t catch me.” But the final version says “You won’t catch me.”

Chase me and run as fast as you can,

but you’ll never get me in a pan.

Chase me and run as fast as you can,

you can’t catch me

I’m the turkey man. (Turkey man? What was I thinking?)

Chase me and run as fast as you can,

You can’t get me

In a turkey roast pan

Run, run as fast as you can

You can’t catch me

For your big roasting pan

Run, run as fast as you can

You won’t get me

In your turkey roast pan

I must have loved the line, “They zipped into the dining room, zig-zagged around tables, and darted out the door.” because it is one of the few things that was in the first draft and the final.

Interior image from Turkey on the Run, by  Alayne Kay Christian and Neha Rawat

DP: What a fun detail (and how rewarding to go back to the beginning and uncover that detail!)

AKC: Originally, the ending had an appearance made by the Gingerbread Man himself when all the character’s attention turned to him from a bakery scene, which allowed Turkey to escape. Eventually, the ending ended up being similar to what it is in the published book. But I have to say, I was thrilled when my agent Jackie and I sat down and brainstormed a new ending and made some other fun tweaks. I think we added even more humor, and we created a nice “must watch the illustrations” twist that I love.

DP: OH my goodness, Alayne. What a helpful montage this is with before and afters. Thank you again for sharing this!  

I'd also love to learn more about how you went about infusing this story with humor--and if you have tips and/or resources for other book creators that want to lean into humor (me!!), I'm all ears! 

AKC: That’s a tough one. I’m still trying to figure out the humor thing myself. I think the basic concept alone is funny. A turkey working so hard to get people to eat anything but turkey? Pretty funny in my opinion. But I think Turkey’s misunderstanding is funny. And the part where the reader gets to see why each character is joining the chase in the illustrations is funny. So, kids are in on the secret. The idea that the little old lady isn’t carrying around turkey parts in her bag is funny. Turkey’s misreading of the Turkey trot is funny. Readers know what Turkey doesn’t know. Also, there is a bit of tongue-in-cheek at the end when Turkey’s place of honor looks a bit more like a dinner platter than a seat. And of course, Turkey’s imagination related to his demise is funny, too. I could go on and on, but I won’t. I will add that I think Neha Rawat’s fantastic illustrations amped up the humor tremendously. I am very grateful for the pairing. 

Interior image from Turkey on the Run, by  Alayne Kay Christian and Neha Rawat

Interior image from Turkey on the Run, by  Alayne Kay Christian and Neha Rawat

DP: The book is very, very funny. Text, illustrations, and the magic of the pairing! Brava, brava!!

Reflecting on the journey from idea to published book, are there any individuals, experiences, or opportunities that you credit with opening the door for you to bring this story to publication? (I'd especially love to hear about your experience submitting to/working with Sylvie Frank -- I don't think I'm alone in saying she's top on my list of editors I dream of working with!)

AKC: Sylvie is one of my dream editors as well. But Sylvie is not the editor for Turkey On the Run!. She moved to Flamingo around the time that my editor, Claire Tattersfield, moved fulltime to Viking. Claire used to be editor for both Flamingo and Viking. Claire has been the absolute best to work with. She is super approachable. But most of all, I think she might be even more excited about our book than me, ha, ha. If that were possible. And she gets excited about each step of the journey which I love. She has championed it from day one and continues to do so.

DP: I'm so glad you CLAIRE-ified things for me! ; ) I'd thought I'd read somewhere that Sylvie had acquired the manuscript--Claire sounds like a dream to work with as well!

AKC: I definitely credit my agent, Jackie Kruzie, for opening the door to publication. I truly believe that without her, this story would have never achieved publication. And of course, Claire for falling in love with it and convincing the acquisitions team that it is a winner. I don’t think any of my stories would have a chance without my fabulous critique partners and friends. Pardon me as I list a few names, Donna Congelosi, Carrie Finison, Diane Tulloch, Hannah Holt, Tina Cho, and Vivian Kirkfield.

DP: That sounds like a dream team of critique partners, too! 

Who do you see as the ideal reader for this book and/or what would you love to hear a bookseller or librarian say as they hand-sell this book?

AKC: Oh, that’s another tough one. Most of all, I believe the ideal readers are children. But then parents, teachers, and librarians because they are often the ones that help get fun books in front of children. I don’t think the bookseller would have to say anything about the vibrantly active and fun illustrations. The cover alone speaks to that. I think beside stressing what a fun read it is, I think a bookseller might talk about the subtle message that things aren’t always what they seem. They might also talk about the opportunities the book offers to practice observation skills and open discussions about why Turkey and the other characters in the book might be thankful in the end, which could segue into discussing what the readers are thankful for. I think the vegetarian and pescatarian possibilities might be an interesting angle for a bookseller. I really didn’t see it until my writing friend Donna Congelosi and her daughters noticed it (they are vegetarians) and then some reviews on Goodreads have already mentioned it. So, that one took me by surprise because as I mentioned earlier it wasn’t done intentionally, but I kind of like it.  

Interior image from Turkey on the Run, by  Alayne Kay Christian and Neha Rawat

I love all the text in Penguin Random House’s promotional text, but I would love to hear booksellers say, the following which is part of that text. “Told in bouncy, rhyming verse that fans of The Gingerbread Man will gobble right up, this spirited twist on the traditional holiday tale is stuffed with humor, heart, and holiday cheer.”

A hilarious and wholly original Thanksgiving book, destined to become a holiday classic!

DP: What a delicious feast for young readers! 

What would be your dream review for this book? Who would this review be from? And where would this review be published or posted? 

AKC: How about the New York Times as part of it being a New York Times best seller? A woman can dream, right?

DP: Indeed!! 

One of my favorite parts of being an author is connecting with young readers at school, library, and bookstore visits, and I’m always looking for fresh tips. Do you have any pro tips or suggestions for fellow author/presenters in terms of planning successful (in-person and/or remote) book-related events? 

AKC: That is not something I have focused on as of yet. However, I can recommend a Facebook group that I think is valuable in getting started and learning more about school visit, called: Create Engaging School Visits. 

DP: That's a great resource, Alayne. Thanks.  It reminds me of another FB Group resource: Kim Norman's Cool School Visits. 

If you could go back in time, what would you tell your pre-published self? Or, said another way, what do you know now, that you wished you would have known a bit earlier?

AKC: I have so many things. One thing that always comes immediately to mind is don’t be in a hurry. When I look back at work I submitted years ago, I realize I needed much more time to mature as a children’s author. On the other hand, you do need to submit at some point. That’s how we learn. In preparation for submitting, I would say good critique groups are a must. Not only to help you learn more and more about your craft, you also get to develop a tough skin. The tougher the skin, the easier the submission path. I’ll just add one more and then stop.

When you read picture books to learn about picture book writing, it is important to do more than read them. I spent my first couple of years reading around 100 – 200 picture books a month. The problem was that I didn’t know why I was reading them. I truly thought I was going to pick it all up by osmosis. It didn’t happen. I could tell which ones I liked and which I didn’t like. But I couldn’t tell you why. Taking Susannah Hill’s Picture Book Magic course gave me enough information that I started understanding the parts of the stories I needed to study more. Doing critiques also helped me see what I needed to study more because I was driven to explain what I was seeing that wasn’t working in other people’s manuscripts, and I couldn’t do that without clear examples and understanding it myself. The more you can dissect picture books as you grow as a writer, the more you will understand. It takes a long time to “get” it all. I’m still studying and probably always will. It is amazing how something so seemingly simple as a 300–500-word book is so extremely complicated, but there are a lot of important components to making it all work. Sometimes, the less words, the harder. There is a reason it can take ten years to get some picture books submission ready.

DP: Yes, and yes! Such important insights, Alayne. Thank you!

Do you have anything you’d like to tell us about what you’re currently working on?

AKC: I am patiently waiting for the announcement of my next book, which is 100% rhyme. I can’t wait!!!!

DP: How exciting! I can't wait to hear more about it!

AKC: I am a prolific writer, so I always have a lot of pans in the fire. Since I joined a rhyming critique group, I am forced to always have some rhyming stories on hand for my turn to submit a story. And I love that. Rhyming is heaven to me! I have a million ideas in my Storystorm files, but what I find interesting is when I am struck with an idea that I must write, that is where I always go. And I seldom have to search my list for my next idea. I also like to pull out old stories to consider through my more-experienced author’s eyes and then see what I might turn them into. Finally, I have been trying my hand at graphic novels, which is interesting and a bit scary. 

DP: It sounds like your hands are indeed full! 

What is the best way for readers to get in touch with you or learn more about your books?

AKC: You can find links to many of the places you can buy Turkey On the Run! on the Penguin Random House website here.

It is available for preorder and will be released on September 29.

For An Old Man and His Penguin and The Weed That Woke Christmas, if you want a more affordable option, you can get the softcover on Amazon. The hardcovers are available through most online book stores.

DP: Thanks so much for sharing your Birth Story for TURKEY ON THE RUN! with us, Alayne! 

AKC: Thank you for having me! I’m super excited. After big disappointments with a small publisher, I am over the moon to be working with Flamingo and Penguin Random House. I can’t wait to hold the book in my hands. To see Neha’s illustrations and my words will be a dream! 

DP: I'm so happy for you! 

AKC: You can find downloadable classroom companion teacher guides for Turkey On the Run! here . There are questions for students related to comprehension, observation, inference, etc. There are vocabulary worksheets and puzzles, contrast and compare Venn diagrams and T-charts, writing and drawing exercise, sequencing worksheets, crafts and much more. I am gradually adding more companions to the web page, so teachers should keep checking back. I expect to get some worksheets and coloring sheets for the youngest readers in the near future. 

DP: Fantastic! Thanks for sharing!

And now, dear readers, you know what to do. The best way to thank an author whose insights have been helpful and/or inspiring to you is to support their work. Buy their books. Request them from your library. Read and share them with others. TURKEY ON THE RUN! is available everywhere books are borrowed and sold, including your own local, indie bookstore, or online at bookshop.org. *Disclosure: As an affiliate of Bookshop.org I may earn a small commission from books purchased through links on this post. 

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Alayne Kay Christian is a former acquisitions editor, an award-winning children’s book author, and a picture book writing mentor/teacher. Her top published picture books are . . .

Image supplied by the author

Turkey on the Run!

An Old Man and His Penguin: How Dindim Made João Pereira de Souza an Honorary Penguin

The Weed That Woke Christmas: The Mostly True Story of the Toledo Christmas Weed.

Born in the Rockies, raised in Chicago, and now a true-blue Texan, Alayne’s writing shares her creative spirit, the kinship to nature and humanity that reside within her heart, and a bit of her funny bone.

Alayne is a member of the Society of Children's Book Writers and Illustrators. She has studied picture book and chapter book writing under some of the top names in children's literature. Alayne teaches a picture book writing course Art of Arc: How to Analyze Your Picture Book Manuscript (deepen your understanding of picture books written with a classic arc). In addition, she shares her knowledge with writers through free and affordable webinars and she is available for school visits and speaking engagements. 

To learn more about Alayne visit her websites and blog at . . . 

https://alaynekaychristianauthor.com/

Art of Arc http://www.alaynekaychristian.com/contact.html

Blog https://alaynekaychristian.wordpress.com/

You can find Alayne on social media at . . .

X @alayne_kay

Facebook: https://www.facebook.com/alaynekay.christian

Blue Sky @alaynekaychristian.bsky.social

My Facebook Author’s Page: https://www.facebook.com/AlayneKayChristianAuthor/

My Amazon Author’s Page: https://amazon.com/author/alayne_kay_christian

Goodreads: https://www.goodreads.com/author/show/1933927.Alayne_Kay_Christian

YouTube Channel: https://www.youtube.com/channel/UCY6yndWtpXwX6CIRoFi7X4g

Instagram: https://www.instagram.com/alaynekay/

LinkedIn: http://www.linkedin.com/pub/alayne-kay-christian/12/168/525/

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Birth Stories for Books is an occasional feature of of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including, Lucy's Blooms, Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, 16 books in the Story Time With Signs & Rhymes series, and the forthcoming title, Mama's Home (and Baby Too!). Dawn is a contributing author to the award-winning book, Oregon Reads Aloud, and a frequent presenter at schools, libraries, and educational conferences. Contact Dawn using the form at the left, or learn more at www.dawnprochovnic.com. Subscribe to Dawn's newsletter and never miss an update.

Birth Stories for Books: KAUAI'S CALL, by Jena Benton

Hello, readers! Today, I'm so happy to share an info-packed Birth Stories for Books interview with Jena Benton, author of the sweet picture book, KAUAI'S CALL (illustrated by Kristi Petosa-Sigel, Island Heritage, 2024). 

by Jena Benton and Kristi Petosa-Sigel

Jena's inspiring path to publication involves lots of practice, professional development, perseverance, memory mining, good luck, and more! Let's get to it! 

Dawn Prochovnic: Welcome to the blog, Jena. I've enjoyed getting to know you a bit through our shared involvement in 12x12 and your own blog, and I'm excited to dive in and learn about your path to publication for KAUAI'S CALL.

When you compare one of your earliest drafts of this story to the version in the published book, what stands out for you in terms of what is most different? Likewise, is there anything in particular that stands out that was included in your earliest drafts and survived the revision process?

Jena Benton: Thank you so much for having me on your blog Dawn. I have to laugh at this question, as the very first draft looked nothing like the final product. This story went through SO many revisions and changes from initial idea to final published story. Most different? The main character was a girl based on a memory from my childhood, now it’s a rooster. I was never a rooster! What stayed the same is the problem at the heart of the story: both stories dealt with stage fright. More on that in a minute. ;)

Dawn: I love seeing responses like this. It helps us all to know that the magic is in the revision process! 

Reflecting on the journey from idea to published book, are there any individuals, experiences, or opportunities that you credit with opening the door for you to bring this story to publication? (I'd be particularly interested in hearing how you connected with your publisher, as it seems as if they are the perfect fit for your book!)

Jena: I’m reminded of something I heard Kwame Alexander say at a writing conference: “It was good luck; but luck is what you make of it.” Or something similar. In the end, luck is what ultimately leads to publication, but it’s also right time, right place.

I was digging into picture books (reading them, writing them regularly, etc.) and networking (attending conferences, joining the writing community and making friends, etc.). ALL of this led to the final product. My book wouldn’t have been published if it wasn’t for everything I was doing and everyone I was meeting. It’s a tapestry of support that was woven together. What do I mean by that?

I joined SCBWI and 12x12 to learn more. I attended their conferences and really dug into the craft. I read picture books voraciously (they’re my passion), as well as attempting to write them. Through all of that, I discovered Tara Lazar’s StoryStorm (as it’s now called). One of her prompts led to my initial idea: think of a memorable childhood event and fictionalize it. I immediately thought of a talent contest I had entered, memorizing a poem for weeks, but when it was “show time” I couldn’t utter a single word because of stage fright. I wrote a crappy first draft and revised until I realized it wasn’t quite working as it was based on a faulty premise: someone winning a talent contest. There are no winners in today’s talent contests; it’s a showcase of talent! 

I shelved the story and thought I was done with it, but then came back to it one day. I can’t remember why. I wondered if there as an animal that would be “on stage” and immediately thought of a rooster. That changed the problem of my story’s problem! I set the story in a barnyard with a rooster I called Chauncey. I loved the way his name sounded and was attached to that name for far too long. In fact, I was attached to many aspects for far too long. I had a friend critique it and she was brave enough to tell me it would never sell; there were too many stories of roosters struggling to crow set in a barnyard.

I knew there was part of the story though that really worked. It’s different than your average rooster story because I researched a TON of chicken facts for it. It’s very … chicken-y! Everyone who read it commented on that. So I thought about why I would even want to write a chicken story. WHY chickens? I didn’t own chickens, live on a farm, or collect them. Again, I instantly thought of my honeymoon on Kauai, Hawaii. There were roosters and chickens EVERYWHERE. Our car had been surrounded by them at a pullout by the beach. And I knew I had to change the setting to Hawaii.

Interior spreads from of KAUAI'S CALL by Jena Benton and Kristi Petosa-Sigel

I knew of a Hawaiian publisher because of personal experience. I’d traveled to Hawaii numerous times. Little-known fact: Alaskans love to go there for vacation in winter. And every time I’d gone, I’d purchased Hawaiian picture books for my classroom. Another little-known fact: a lot of Pacific Islanders move to Alaska. I wanted my students to feel “seen” in the books I read to them. It was through that “luck” that I knew of (and dreamed about) this local Hawaiian publisher. I sent the story to them and a year and a half later, they accepted it. So you see, publication of my book was all because of a multitude of people, multiple drafts over several years, and a variety of lucks!

Dawn: Oh, Jena. What an inspiring backstory. I love everything about it. Your perseverance. The courage and honesty of your critique partner. The preparation via professional development opportunities. The memory mining. The letting go of your darlings. It's all there in this one story-behind-the story!  

Who do you see as the ideal reader for this book and/or what would you love to hear a bookseller or librarian say as they hand-sell this book?

Jena: Honestly? There are a variety of audiences! It’s a father-son story so it appeals to the dads out there (one father told me thank you as there weren’t a lot of “dad books” out there). It’s about persistence, and patience which are huge needs in the SEL market. Chicken stories were nonexistent in Hawaii (as far as I could see in the fiction picture book market) so this appeals to the tourists who are amazed at all the chickens running wild in Hawaii (the “jungle fowl” are protected by law). Hawaiian kiddos adore this story because they can “see” themselves in it (the kids I’ve met at school events in Hawaii were thrilled: “I have chickens in my backyard!”). And kiddos in general love it because they totally understand Kauai’s frustration at not being able to do something he wants to do so deeply. I’ve heard so many positive comments that have warmed my heart, but I admit it’s a quiet book that slips under the radar. I’ve never heard a bookseller or librarian hand-sell it. I can’t begin to imagine what they might say.

Dawn: I especially love that you wrote a book that gives you an excellent excuse to return to Hawaii for author visits! 

Speaking of which, one of my favorite parts of being an author is connecting with young readers at school, library, and bookstore visits, and I’m always looking for fresh tips. Do you have any pro tips or suggestions for fellow author/presenters in terms of planning successful (in-person and/or remote) book-related events? 

Jena: Ha! Oh boy. I had a steep learning curve and learned a LOT doing school visits (and bookstore visits). Let’s see. I’ll pick a few things of the top of my head. First, know that if it’s not your thing to public speak, you absolutely don’t have to do it. No one is going to make you. Seriously, I know a lot of writers or illustrators who get stressed out about the thought of doing it because they’re terribly introverted (which is normal for us creatives). So don’t do it. 

Second, know that it’s NOT the same thing as teaching (if you’re a teacher like me). It’s a different kind of presentation than the small intimate setting of a singular classroom (even if you’re presenting in a small classroom). These kids are strangers and don’t have a relationship with you. You won’t be able to “manage” them (like you might as a teacher), but you can come up with techniques that work like classroom management: a game (like a quiet panda we all help feel safe during a presentation), a reward (if you’re quiet for x amount of time, I promise we’ll do y), etc. Just know that the teachers should still be there with you too (you shouldn’t ever be alone) and they should manage the “audience” for you. BUT it helps to have tools for these kinds of things too.

Third, if you feel totally out of your element and don’t know how to even start: look for the webinars (I watched every one I could find and learned SO much in advance of my first school visits), communities (there’s a great Facebook group of authors and illustrators that tries to share advice), etc. Research and learn about the process, just like you did for writing and/or illustrating!

Finally, here’s a small tip I picked up along the way. If you’re bringing your presentations on a thumb drive, tie a giant garish ribbon to it. I got this from another author. She used a red ribbon. It stood out so she never forgot her thumb drive and the owner of the computer never wanted to keep it. I tried it with a special lanyard that clipped onto my thumb drive and it works!

Dawn: Brilliant tips, Jena! (And I especially love that even as a skilled educator, you had to prepare as an author for book events.) Thank you so much! 

If you could go back in time, what would you tell your pre-published self? Or, said another way, what do you know now, that you wished you would have known a bit earlier?

Jena: Your day is coming. I volunteered with SCBWI, interviewed authors and illustrators on my website, and generally worked with a lot of writers and illustrators who were newbies like me. I saw a lot of them get published, but I didn’t. I know this hurts. I hear a lot of beginning writers and illustrators still struggle with this and I’ve known a few to give up. DON’T give up! If you keep working, you will succeed. We create our own luck, remember? 

Image from KAUAI'S CALL by Jena Benton and Kristi Petosa-Sigel

Dawn: Thank you for your positivity and encouragement, Jena. I think a lot of our readers will appreciate this and be bolstered by your words of encouragement. 

Do you have anything you’d like to tell us about what you’re currently working on? 

Jena: I have many stories I’m very excited about right now. I keep writing and revising and subbing. Some of them have nonfiction facts about things that fascinate me (including one dummy I keep subbing), one is a picture book “murder” mystery that makes me giggle hysterically (but I worry it’s too dark for the market), and there are some I have just written that I’m quite pleased with. I’m trying to conquer both the writing and the illustrating of some of them. We’ll see what happens. Time will tell.

Dawn: These projects sound very enticing! I look forward to hearing news about them some day in the future!

What is the best way for readers to stay abreast of your work, get in touch with you or learn more about your book(s)?

Jena: My website, jenabenton.com, leads to all the things (social media, portfolios, school visit info, shops, etc.). That’s the best place to find me. :)

Dawn: Fantastic. Thanks so much for sharing your Birth Story for KAUAI'S CALL with us, Jena! I know it will inspire others to keep working at their craft. I feel inspired myself! 

And now, dear readers, you know what to do. The best way to thank an author whose insights have been helpful and/or inspiring to you is to support their work. Buy their books. Request them from your library. Read and share them with others. KAUAI'S CALL is a sweet and inspiring story that you won't want to miss. It would be an especially great story for a family to read together in preparation for a trip to Hawaii and/or a visit to a farm with chickens and roosters. 

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Photo Credit: Adler Boncher Creative

Jena Benton is an educator and author who grew up on a small island in Southeast Alaska so she is drawn to island life. She also loves to travel and has visited the Hawaiian islands many times over the years. When she is not teaching or writing, you might just find her painting or enjoying the wildlife found in Anchorage, Alaska where she currently lives. You can learn more about her at her website https://jenabenton.com/.

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Birth Stories for Books is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including, Lucy's Blooms, Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, 16 books in the Story Time With Signs & Rhymes series, and the forthcoming title, Mama's Home (and Baby Too!). Dawn is a contributing author to the award-winning book, Oregon Reads Aloud, and a frequent presenter at schools, libraries, and educational conferences. Contact Dawn using the form at the left, or learn more at www.dawnprochovnic.com. Subscribe to Dawn's newsletter and never miss an update. 

Birth Stories for Books: NO IFS, ANDS, OR BUTTS, by Megan Woodward

Howdy friends! Here comes an info-packed Birth Stories for Books interview. My guest is Megan Woodward, whose latest picture book is the super humorous, NO IFS, ANDS, OR BUTTS (illustrated by Janelle Wahren, published by Albert Whitman & Company, October 2026). 

by Megan Woodward and Janelle Wahren

So find a spot to sit your own butt down, and let's get to it! 

Dawn Prochovnic: Welcome to the blog, Megan. Neither of us can pinpoint when we first met each other, but since we're both based in Portland, Oregon, we got to know each other gradually as we both kept showing up at the same book events (a SCBWI gathering here, a book tabling event there...) back when you were promoting your debut, This Book is Definitely Not Cursed, and I was promoting Lucy's Blooms and my potty humor books. Earlier this year I was lucky enough to join your critique group, and now, both of us are launching new fall 2026 releases. Hooray! 

As I've mentioned, your new book, NO IF, ANDS, OR BUTTS, is absolutely hilarious. 

Megan Woodward: THANK YOU!!

DP: I'm  eager to learn more about how it came to be. I'd like to start by learning about the inspiration that sparked the idea for this story, and the process and timeframe between your initial idea for the book and the story that was formulated fully enough to submit to an agent or editor. 

MW: This idea started with the title. Sometimes I play around with idioms and puns in order to come up with funny story ideas, and so I was doing that when I came up with NO IFS, ANDS, OR BUTTS. Almost immediately, I pictured an uptight narrator who didn't want anything inappropriate in the book, including butts. And the cast of uncooperative characters (who happen to have butts) was a natural development from there. 

DP: It's such a great title and concept!  

When you compare one of your earliest drafts of this story to the version in the published book, what stands out for you in terms of what is most different? Likewise, is there anything in particular that stands out that was included in your earliest drafts and survived the revision process? 

MW: Quite a lot of what made it into the final draft was in the original. Like the Bear butt/ bare butt joke, the underwear/ under where joke, the pirate booty joke, the head butts joke, and the butt hole/ wholesome jokes. Also, Taco's line about not having a butt in the traditional sense, was always there. (Taco was a fave from the very start). 

DP: That's so funny. I had to re-read the book after reading this answer, to be certain I had caught all of the jokes! I suspect readers will catch more and more of the humor with each read!  

MW: But a lot of things changed too. The book banning jokes were added later, as was the illustrator drawing a butt for the rolling hills. A lot of dialogue was trimmed and shortened. And I took out a whole section of pee jokes, which weren't as funny and took the potty humor too far. Also, I originally had a chicken and cat character in there as well, but took them out as it was too many to try and juggle. I will say that the version we submitted to publishers is almost exactly what got published. My editor at Albert Whitman had almost zero notes. 

DP: I'm not surprised about the editor having almost zero notes. Given our critique group work, I've seen how tight your manuscripts are, and I have first-hand knowledge of your AMAZING sense of humor. Having attended an early offering of your (fantastic!) FUNNY ON PAPER webinar, I know humor is a very broad topic, but I'd really like to drill down and learn more about how you went about infusing this particular story with humor–give us a little sense of your process in this regard, if you will. 

MW: A lot of the jokes in this book just popped into my head as I was thinking about the book idea. Of course, some of them don't work as well once you get them on paper, (or on a laptop), so that's when a critique group comes in handy to tell you what's working and what's not. But the humor for this was really fairly easy because of the set up: uptight narrator who doesn't want anything inappropriate + characters who are constantly misunderstanding (or purposefully twisting) the narrator's demands to make things more and more inappropriate. 

(Honestly, an idea like this kind of writes itself). 

Basically, I just had to come up with homophones that could be twisted. For example, "no bare butts" could be understood as "no bear butts." And the narrator's insistence on a "wholesome book" could be misunderstood as adding "some holes" to the book–which the characters, trying to be helpful, offer to hide their holes in–"Butt holes!" It was simply a lot of word play and butt-related double entendres.

Humor also relies a lot on escalation, so making things worse as the book goes along makes it funnier. I also relied a lot on relatability: kids love to giggle at words that sound inappropriate, and they get a kick out of an overly controlling/ serious adult being overwhelmed–so those elements really give it a lot of kid-friendly humor. Also, with a background in comedy screenwriting, I used a lot of character driven humor, to distinguish between character voices and make them funny in unique ways. (I talk about all these different types of humor techniques and how and when to use them in my webinar.) 

DP: Ha! You make it sound so easy! But again, I can definitely vouch for the fact that your webinar makes it easier to understand how to write humor! I highly recommend it! 

Reflecting on the journey from idea to published book, are there any individuals, experiences, or opportunities that you credit with opening the door for you to bring this story to publication? (I'd especially love to hear about your decision to work with Albert Whitman if you're willing to talk about that–I realize it's a potentially prickly subject). 

MW: My agent, Amy Nielsen, championed this book from the very beginning when I queried her with it. She said it made her laugh out loud at a time when she really needed to laugh, and after I signed with her, it was the first thing to go out on submission. 

Okay so Albert Whitman–I don't mind answering, as I think this industry needs more transparency from all of us–(warning: this is a long answer, but I wanted to give it the nuance I think it deserves.) 

I was, of course, very hesitant when they sent over their offer–based on their troubled history and what I'd heard from other authors and people in the industry. But I also talked to someone who understood bankruptcy law better than I do (which is not at all)–and they told me that in order for a business to be able to pay money they owe–in this case royalties to authors, and to also continue operating after going bankrupt, they need to bring in profit. And in order to bring in profit, they have to buy and sell more books, because that is how a publisher makes money. If nobody sells books to them, how will they move forward with any of this? So I am hoping that by working with them on this book, it will contribute to helping them to pay the royalties they owe, as well as continue putting out the important, meaningful, and diverse books they are known for.

(Also, full disclosure: We received no other offers on this book after my agent notified the many other publishers it was on sub to. It's a boundary pushing book that I knew might be a hard sell elsewhere. Thus, it was a choice of publishing with Albert Whitman or risking not getting it published at all. This book was one of my personal favorites and I would have hated to miss the opportunity of getting it into kids' hands, so I wasn't willing to make that gamble.) 

So far, I can say that Albert Whitman has been wonderful to work with. Josh Gregory is a dream editor who cares deeply about diversity, representation, and the kinds of books and messaging he's helping create. He's easy to work with, super responsive, and found an awesome illustrator–shout out to Janelle Wahren! Also–he and his team apparently all laughed so hard at my manuscript when they first read it, and unbridled enthusiasm for your book is what every author wants from their publisher.  They also paid me my advances on time, and they have gotten this book made in UNDER A YEAR–which is pretty much unheard of in this industry.

Obviously, the decision to work with Albert Whitman is one that not everyone will be willing to make, and that's totally fair! It's a personal choice. But do I hope they continue to stay in business and also pay the authors to whom they owe money. They are a much needed smaller publisher–and they're willing to take chances on out-of-the-box books like mine, that the big five may not. Trust me, we want publishers like this to stick around. 

DP: Thanks for sharing so much background, Megan. That's super helpful. 

You have a unique perspective as both a children's book author and bookseller at one of Portland, Oregon's most beloved children's bookstores, Green Bean Books. With this in mind, who do you see as the ideal reader for this book? and/or what would you love to overhear another bookseller say as they hand-sell this book to a young reader or other potential buyer?

MW: Oh yes, Green Bean Books is a magical store! We get a lot of requests for funny picture books. Those are often the ones kids want to read over and over. Anytime any book seller says a book made them laugh-out-loud, it's almost always an automatic sale. So I think I'd just want any bookseller to say that they burst out laughing while reading it. That's the dream. 

DP: I think you're going to have that dream fulfilled. It's definitely laugh-out-loud funny. 

One of my favorite parts of being an author is connecting with young readers at school, library, and bookstore visits, and I’m always looking for fresh tips. Do you have any pro tips or suggestions for fellow author/presenters in terms of planning successful (in-person and/or remote) book-related events? 

MW: Think like a kid! How do you make your book or your topic appeal to them in a kid-friendly way? For my debut book, not only was my book itself interactive and silly, but I had a silly activity that I could do with a roomful of kids, as well as a puppet of my book's character which spoke to them and answered questions. For smaller events, we made nose hair out of yarn. (It was part of the book.) They loved it. 

DP: I got to see that activity in action on more than one occasion, and I can attest that kids loved it, indeed.

MW: I also learned that it's important to ask teachers what their discipline techniques are in case the kids get a bit rowdy. Is there a phrase or signal that gets their attention and lets them know to calm down? I've never studied or worked in education, so school discipline isn't something I know much about. Teachers do. Ask them for help! 

DP: That's such a valuable tip, Megan! Thanks for passing that along.

If you could go back in time, what would you tell your pre-published self? Or, said another way, what do you know now, that you wished you would have known a bit earlier?

MW: Well, first I would tell myself to get into kid-lit way sooner. I discovered it late, and wish I had started in college. But also, I'd tell myself to get a backup job, as this career isn't reliable or consistent or very financially viable. But then, maybe if I had a backup job, I wouldn't have pursued writing as hard as I have... 

Also, I'd tell myself that publishing is so sloooooowwwwww. And requires a lot of patience. And not to put too much stress into book promotion or social media or doing things that I really don't love, because it doesn't move the needle on sales all that much anyway. 

DP: More great advice. Thanks. 

Is there something you wish someone would ask you about your path to publication for NO IFS, ANDS, OR BUTTS, that you haven’t had the opportunity to share yet? 

MW: Most children's books are important in their own way–whether they're teaching a non-fiction topic, expanding empathy, helping with SEL issues, telling a thrilling tale, providing representation, championing diversity, sharing knowledge of the world and cultures, helping us understand ourselves and each other better, or just encouraging a love of reading through laughter and joy. Mine mainly falls into the last category–which is essential because it's this category that often helps get kids into reading and leads them to all those other equally important books. And hey, if it also leads to a conversation about the problems of book banning, a discussion about the human body, or a lesson about homophones, that's great too. But mostly, I want it to make kids laugh, and then reach for another book. Fewer and fewer people are reading–both adults and kids, and it's one of the biggest dangers to our society. We need to stay literate. Laughter helps us get there. 

DP: YES to all of this! 

Do you have anything you’d like to tell us about what you’re currently working on? 

MW: Oh I always have so many projects going. I write a new picture book about once a month, and have stacks of those piled up (metaphorically–they're in my laptop). I'm keeping my fingers crossed for two character driven picture book series my agent is sending out on sub this fall. And I'm excited about a soon-to-be-announced picture book coming in Spring 2028. But I'm also trying to lean into middle grade. Currently, I'm working on a MG humorous fantasy series called TOMBMATES, and an illustrated early middle grade/ (or maybe chapter book) series called TALES OF A FAIRY CRABMOTHER. 

DP: You continue to amaze me with how prolific you are! I love that I get to cross paths with you regularly! 

What is the best way for readers to get in touch with you or learn more about your books?

MW: Probably my website: www.meganwoodward.com

DP: Thanks so much for sharing your Birth Story for NO IFS, ANDS, OR BUTTS with us, Megan!  

And now, dear readers, you know what to do. The best way to thank an author whose insights have been helpful and/or inspiring to you is to support their work. Buy their books. Request them from your library. Read and share them with others. NO IFS, ANDS, OR BUTTS is available for preorder now everywhere books are borrowed and sold, including your own local, indie bookstore, or online at bookshop.org. *Disclosure: As an affiliate of Bookshop.org I may earn a small commission from books purchased through links on this post.

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Photo Credit: Carlstrom Photography

As a child, Megan Woodward lived and traveled all over the world, but always felt at home with her head in a book. She’s a comedy screenwriter and a freelance writer and editor, but her true love is writing for kids. She loves all things food and humor related, which is why she can often be found laughing with her mouth full. She cannot whistle, but she CAN make a sound like a baby dinosaur (or so she believes). She lives with her son and two cats in Portland, Oregon, where it rains all the time, but never on her parade. Learn more at www.meganwoodward.com . 

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Birth Stories for Books is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including, Lucy's Blooms, Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, 16 books in the Story Time With Signs & Rhymes series, and the forthcoming title, Mama's Home (and Baby Too!). Dawn is a contributing author to the award-winning book, Oregon Reads Aloud, and a frequent presenter at schools, libraries, and educational conferences. Contact Dawn using the form at the left, or learn more at www.dawnprochovnic.com. Subscribe to Dawn's newsletter and never miss an update.

Birth Stories for Books: THERE'S SOMETHING ODD ABOUT THE BABYSITTER, by Elayne Crain

Here comes another Birth Stories for Books interview packed with info and inspiration. My guest is Elayne Crain, author of the very funny picture book, THERE'S SOMETHING ODD ABOUT THE BABYSITTER (illustrated by John Ledda, Feiwel & Friends at Macmillan, 2025). 

by Elayne Crain and John Ledda

Elayne's interview is packed with loads of behind-the-scenes details related to bringing a book from idea to publication and beyond—you won't want to miss a morsel of this one! So let's get to it! 

Dawn Prochovnic: Welcome to the blog, Elayne. As I recall, we first "met" at a SCBWI-WW virtual intensive featuring the amazing editor, Elizabeth Law, prior to the launch of your debut picture book. I knew right away that you were a funny one! And now, here we are on the other side of this year's in-person SCBWI-WW conference (that you had a major hand in organizing!), AND you recently celebrated the one-year book birthday for, THERE'S SOMETHING ODD ABOUT THE BABYSITTER (illustrated by John Ledda Feiwel & Friends at Macmillan,). I'm eager to learn more about your path to publication for this very fun book.

Elayne Crain: That is so kind, Dawn. 😊 I do love cracking-wise—making others laugh is a dopamine factory for a nerd like me.

DP: Well you sure do have a knack for it! 

I'd like to start by learning about the inspiration that sparked the idea for this story, and the process and timeframe from your initial idea for the book to the story that was fully developed enough to submit to an agent or editor.

EC: Thank you so much! The initial idea came in two waves. Primarily, I wanted to write a story about a subject I had a lot of personal experience with—babysitting (as both a hapless, frequently-babysat kid and later as a babysitter). Additionally, I wanted the babysitter to be a messy character that also evoked empathy. So, I was in the “auditioning strange babysitters in my mind” stage when my kids and I caught an episode of Shaun the Sheep where the sheep stack up to get pizza—and I thought, “Ah-ha--that…but raccoons!” (I have a special soft spot for pest animals, so it was always going to be one of those.)

Here’s the timeline of what happened when:

First Draft (That I Can Tell): 03/02/2021

Revised Short PB: Forever-and-a-Day

Brought to SCBWI First Pages Event with Kat: 11/01/2022

In between: revisions 

Received Offer from Kat: 05/24/2023

Contract Signed (w/ Macmillan): 08/16/2023

In between: John Signed onto Project

Rough Sketches: 09/13/2023

PW Announcement: 09/19/2023

Revised Sketches: 11/16/2023

Cover and End Papers: 01/16/2024

Interior Art: 03/19/2024

Font Options: 03/27/2024

First Pass: 05/02/2024

Second Pass: 05/30/2024

Third Pass: 06/17/2024

Target.com (First Time I Saw the Book Online!): 07/08/2024

E-galley and Contact Form: 08/02/2024

Second Proofs: 09/16/2024

Introduced to MacKids Marketing and Publicity Smarties: 04/23/2025

Found out about Kids’ Indie Next Pick: 05/19/2025

Book Launch: 06/03/2025

DP: Wowza! That's a great overview of the nuts and bolts of the process and timeline! Thanks for sharing that!

When you compare one of your earliest drafts of this story to the version in the published book, what stands out for you in terms of what is most different? Likewise, is there anything in particular that stands out that was included in your earliest drafts and survived the revision process?

EC: I’ll start with the two survivors I’m most proud of—one is the whole idea that Freddie’s parents could be clueless enough NOT to spot that the babysitter was actually a bunch of raccoons. I mean, a lot of people just thought that whole concept didn’t make any sense, so the story was a no-go in several people’s eyes/rounds of critique. (Not kids’ eyes—they totally believe parents can be oblivious, I’m sorry to report to fellow parents, ha ha.) 

I also *love* bookending, callbacks, and wordplay. So, naturally, when the beginning of the story says, “Freddie and the Babysitter regarded one another,” I had to add the line at the end, “Freddie and the Babysitter re-regarded one another.” And yes, re-regarded is a made-up construct I added for fun read-aloud reasons (re: ‘rere’—it made me giggle). And I can’t tell you how many people “helpfully” told me that wasn’t a real word. But c’mon—it’s a real word NOW; it’s in a book! 

DP: I LOVE THIS!! 

EC: What is most different is the opening. I must have tried nearly every possible way three stacked raccoons could conceivably arrive to babysit—and some of them, twice. When I finally hit upon the idea of tethering Freddie’s unhappy past babysitter experiences to set up his expectations with this NEW babysitter, that’s when it finally felt like things were whistling well together.

DP: Way to be persistent! (And the opening of your story is very inviting — you nailed it!) 

I'd also like to learn more about how you went about infusing this story with humor — and if you have tips and/or resources for other book creators that want to lean into humor (me!!), I'm all ears!

EC: The best advice I have is also the simplest/most obvious/therefore hardest. One, the idea of the story needs to be genuinely funny, specifically to you. It makes YOU laugh. Not that you have to laugh ‘til you cry, but it makes you grin, involuntarily. Don’t try to “make” an idea funny, you know? Work with a funny idea; that way, the baseline, the concept, is already doing a lot of work for you.

Second (and this one takes time), discover and hone your specific sense of humor. One way you can do this-—and I have to give credit to creative Ruth Chan for sharing this idea at an SCBWI webinar-—is to carry a small notebook and write down anything that makes you crack up/tickles you. By forcing yourself to notice these things over time, you will come to see that certain themes and patterns are YOUR unique sense of humor, and that will be fun and natural for you to build on. It’s just like Mary Poppins said, “You find the fun, and snap! The job’s a game!” 

If all else fails, at least inject some hard k sounds. (I just added a pickle barrel to a story for this very reason.) 😂

DP: Ha! Fantastic tips, Elayne! 

Can you tell me more about how you formatted your manuscript for queries and/or submissions, because it seems to me this is an example of a manuscript that would have needed some art notes to make sure agents/editors knew what you had in mind!

EC: Yes, my manuscript included art notes, and honestly? I didn’t need most of them. But I was new to this, and very excited. 

The art notes/illustration notes question is such a hard one, only because editors feel ALL KINDS of ways about art notes, which makes agents feel ALL KINDS of ways about them. Naturally, illustrators (generally!!!) dislike them. Having said that, I definitely use them. I try very hard not to OVERUSE them (which is way too easy to do, and where the whole "try not to do them" advice comes from). 

But here's an example from this story:

You can see (from the final product) that the voices did NOT happen off-page, so I could have left that note off, and (looking back), I should have. At the time, I was trying to signal that Freddie's parents didn't actually see the Babysitter all that much, that they were out the door quickly. The second note, however, is crucial...it's essentially the entire setup for the book. And I included the mustache and hat because they are part of the story later. So, these days I would have included only the second one.

Another note about notes: if it's something you are including as a joke and it's essential, include it. If you just have a VERY FUNNY IDEA, you can include it, but as a “maybe.” Like, let’s say you have a piece of dialogue that says, "Robots are ill-mannered." You could add, so it's obvious it's a joke, [Illo: maybe robot drinking tea wearing fancy gloves]. The “maybe” shows you are just brainstorming, vs. [Illo: "robot drinks tea wearing fancy gloves”] which reads bossy, and really, it doesn't HAVE to be fancy gloves and tea, unless at the end, say, the robot becomes a tea sommelier or something, and the illustrations are part of the setup for that.

DP: Super helpful examples and details, Elayne. Thank you so much! 

Reflecting on the journey from idea to published book, are there any individuals, experiences, or opportunities that you credit with opening the door for you to bring this story to publication? 

EC: Oh goodness, there were so many—and, luckily, I have thanked all those individuals, I believe. But what I can add here is how instrumental my SCBWI (the Society of Children’s Book Writers and Illustrators) membership was in this whole process—joining was honestly one of my top life decisions (dramatic…but true!).

Prepare yourself for a touch of eyeroll (I’m about to quote myself—bleccch)…I owe so much to the other creatives in our industry, who push me every day to try to be a wonderfully human storyteller—through support and healthy strive drive! As I said in a post about my SCBWI anniversary, I have been so lucky to be surrounded by so many wonderful creators, who raise my own creative aspirations (to, let's face it, monumental levels) simply by being their thoughtful, lovely selves. 

Having said that, remind yourself—as often as you need—how far you’ve come, too! When you see people moving mountains in gorgeous, fun, and inventive new ways every day, it's easy to forget that you, too, have been transporting some bedrock.

This book happened because I attended an SCBWI First Pages webinar and connected with editor Kat Brzozowski through it. But it ALSO happened because I had been working my tail end off to have MANY stories, and because I put myself out there. It happened because I was an active SCBWI member, and also because I was in a critique group (where another member told me about this event). It happened, too, because I did a mentorship with Jessica Young, who gave me great notes on the original story manuscript. 

I don’t know where to stop the thanks—there were so many people—but I do know which person made the biggest difference in this book becoming real—and that was my editor, Kat.

At the time, I didn’t have an agent, and I brought the first page of this particular story (which ended up being the first three spreads, ms-wise) because I loved it, but it didn’t seem to be getting much traction in the agent-querying trenches. Luckily, Kat saw in it what I saw in it—and then some—and I think she actually said, “This one is really weird, but it’s my kind of weird.” Then we chatted in the webinar chat about Sideways Stories from Wayside School by Louis Sachar, which was another huge sign that we were on the same page for humor. (And yes, I’m still pinching myself for being in the right place at the right time, somehow, to have met her and gotten to work with her! She really is amazing.) It took a while to get the rest of the team on board, but we did it—with a lot of revision work on my part, too, I should add. I’m so grateful that she didn’t give up on it, or me, during that time.

DP: This is such an inspiring and motivating backstory, Elayne. Yay, you! 

Who do you see as the ideal reader for this book, and/or what would you love to hear a bookseller or librarian say as they hand-sell this book?

EC: We have been SO lucky with this book. With the bookseller support from the Kids’ Indie Next last summer, and we just recently found out we were one of 10 picture books selected to be a Florida Sunshine State Young Readers Award Junior Book pick, so I guess we can still assume that kindergarten through 2nd grade is the sweet spot for this silly, yet from-the-heart, tale of three tails in a trench coat. 

I think I’d just be happy for them to say ANYTHING, honestly. Any positive note from a bookseller or librarian is gold, as far as I am concerned—they know their stuff!

DP: Indeed! 

What would be your dream review for this book? Who would this review be from? And where would this review be published or posted?

EC: Ah, reviews! You know, we only ever got two reviews—one from Kirkus and another from LitHub (thankfully, both very positive!). So, as far as dreams go, I would have loved to get a few more from trade publications, to get the word out about the book more widely. (Luckily, word of mouth seems to be helping quite a bit!) As far as reader reviews, I read the first 20 or so that came in—but I quit while I was ahead. So, I actually have no idea what they say—I do love getting letters from kids. I guess those are my very favorite reviews!

DP: Well said! 

Speaking of kids, one of my favorite parts of being an author is connecting with young readers at school, library, and bookstore visits, and I’m always looking for fresh tips. Do you have any pro tips or suggestions for fellow author/presenters in terms of planning successful (in-person and/or remote) book-related events? 

EC: This is a great question, and I do think that it totally depends on the sort of book you bring with you. But for me, with this book, I’ve found the most important aspect is my tone with the students. I introduce myself by acknowledging that their first question is always, “Why is this lady here?” and by sharing what I was like at their age (they love seeing my kindergarten, first- and second-grade pictures). Then we read the book—and I say “we” because they have jobs to do during the story, too-—and then we make a story that builds off the book, all together. We wrap up with a Q&A—which is my very favorite part. Because I’ve built up a rapport with them by then, it’s always a lot of fun, and normally quite energetic.

I think it helps—and this is going to sound SO basic—but to really think, if YOU were the kid, what would be fun for you? What would make you feel a “part” of what’s going down? And then, try to do that.

DP: That's fantastic advice, Elayne. Your author visits sound like a great opportunity for young readers! 

If you could go back in time, what would you tell your pre-published self? Or, said another way, what do you know now that you wished you had known a bit earlier?

EC: “What are you doing? Sit down and start writing those children’s book ideas you’ve been putting off. Also, work hard on your sketching! You’ll thank me later!”

DP: I'm so glad you brought up the sketching! I've noticed from your social media posts that you are actively working on the illustration side of the picture book craft, and I see from visiting your website that you eventually hope to illustrate one of your own books. I'd love to hear more about how things are going for you on this side of the equation.

EC: Oh, man, I really love art—even though the last time I took a formal art class (outside of high school ceramics) was in 5th grade. (I do take workshops sometimes!) And a lot of my very favorite children’s illustrators are self-taught, and I can’t tell you how inspiring that is. 

Still, I feel like I’m in a tender place with it at the moment—I’ve gotten just decent enough to see how much more I need to do to get to the level that I see others at. (Especially given that children’s book illustrators are some of the best illustrators alive.) So! It’s going well, but ALSO going to be long-term; right now, I’m holding those two truths tightly together and trying to trust the process. I am SO incredibly grateful for the support the community has given me, as I’ve worked on this.

Elayne With Her First Illustration Portfolio

And, until I’m able to illustrate some of my own work, I will enjoy (fingers crossed!) getting partnered with some of those amazing folk!

DP: Sounds like a fantastic approach! 

Is there something you wish someone would ask you about your path to publication for THERE'S SOMETHING ODD ABOUT THE BABYSITTER that you haven’t had the opportunity to share yet? 

EC: That’s a really great question! Well, we are in a really fascinating field. When you have a dopamine-valuing system, as I do, I often have to remind myself that the real work is in the less sexy parts of the process—the extra round of revision, making a dummy (again!) to see if you can improve pacing. I guess what I can say, from experience, is none of it is wasted. Either the story will become slightly better—or you will become a slightly better storyteller—and if you are very lucky, both will happen. But you can only control the work you put in, so that’s where the effort needs to go (and go and go).

DP: Such a wonderful, encouraging perspective, Elayne. 

Do you have anything you’d like to tell us about what you’re currently working on? 

EC: Ah, that’s a great question! Well, I’m working on three main things: a rhyming revision that is a dinosaur story, revision of a prose picture book about a girl who has to change her expectations in a big, honking way when she’s partnered up with an animal she wasn’t quite expecting, and a newer story that (for one of the first times ever), I started with character sketches and have been building the manuscript up after the fact—this particular one stars a ghost and a possum in a meet-awkward for the ages. 

DP: Sounds like more fun  is underway! I look forward to continuing to follow your work! 

Speaking of which, what is the best way for readers to get in touch with you or learn more about your book(s)?

EC: I love this question! And, I LOVE snail mail! Classes, scout troops, or individuals can send me author mail at:

Elayne Crain

P.O. Box 15440

Seattle, WA 98115*

* I would ask they remember to include YOUR address, if you want a response! 

DP: Super fun, Elayne! I hope you get stacks and stacks of raccoon snail mail!  (And for folks who prefer the web, you can find Elayne here and on social channels such as IG and Substack @elaynecrain.) 

Thanks so much for sharing your Birth Story for THERE'S SOMETHING ODD ABOUT THE BABYSITTER with us, Elayne! 

EC: Thank you, Dawn! I really appreciate it! 

And now, dear readers, you know what to do. The best way to thank an author whose insights have been helpful and/or inspiring to you is to support their work. Buy their books. Request them from your library. Read and share them with others. THERE'S SOMETHING ODD ABOUT THE BABYSITTER is available everywhere books are borrowed and sold, including your own local, indie bookstore, or online at bookshop.org. *Disclosure: As an affiliate of Bookshop.org I may earn a small commission from books purchased through links on this post. 

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Elayne Crain is a proud creator of childish things — predominantly funny (meaning both peculiar and humorous) picture books, with additional forays into early graphic novels, Shel Silverstein-y poetry, and two middle-grade novels. She’s also diligently building her author-illustrator skills (a long-term investment). Elayne’s debut book, "There's Something Odd About the Babysitter" (illus. by John Ledda, Feiwel & Friends/Macmillan), was selected as a Kids' Indie Next List and 2026-27 Sunshine State Young Readers Award Junior Book pick. 

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Birth Stories for Books is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including, Lucy's Blooms, Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, 16 books in the Story Time With Signs & Rhymes series, and the forthcoming title, Mama's Home (and Baby Too!). Dawn is a contributing author to the award-winning book, Oregon Reads Aloud, and a frequent presenter at schools, libraries, and educational conferences. Contact Dawn using the form at the left, or learn more at www.dawnprochovnic.com. Subscribe to Dawn's newsletter and never miss an update.