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. 

**********

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. 

**********

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. 

Have Swag Will Travel: An Interview with Anna Monders About Her Booktalk Blog

Nikko Prochovnic, Class of 2020
Photo Credit Owls Eye Photography

Hi friends. My blog has been a bit quiet lately. Much of my personal attention has been focused on celebrating my son, who is a member of the high school graduating class of 2020, and much of my professional attention has been focused on sharing resources with parents, teachers, and librarians who are now teaching/ providing library programming from home.

If you haven't yet checked out the wonderful (and growing) compilation of educational resources available on the SCBWI website, I encourage you to do so. There are book readings, writing workshops, art demonstrations, enrichment activities, etc. for all ages, (for example, I've posted a self-guided workshop about creating character voice in the "workshops" section of the database, some detailed activity guides in the “activities” section of the database, and some sign language resources in the “bilingual” section). More resources will be added by authors and illustrators each week. Here is the link: https://www.scbwi.org/digital-directory-for-remote-learning-resources/  Please feel welcome and encouraged to share this collection of resources widely, particularly with anyone who is teaching / offering programming remotely and/or homeschooling their own kids.

Speaking of resources, prior to the pandemic, I interviewed Anna Monders about her booktalk blog, and I'm so happy to be able to share that interview with you today:

Dawn Prochovnic: Hi Anna. Thanks so much for stopping by. Last fall we were both presenters at the Oregon Association for School Libraries conference. One of your sessions was called “You Can Booktalk!” which prompted me to visit your excellent booktalk blog, and talk with you today about… yep, you guessed it, booktalks! 

So, for those readers who haven’t yet visited your blog, (what are you waiting for folks?!), can you tell us what makes a booktalk, a booktalk?

Anna Monders: Let me start by talking about what a booktalk isn’t. It’s not a summary of a book, or a review of one. I like to think of it more like a movie trailer with live-action theatre. It’s storytelling. And it’s performance art.

In my booktalk presentations at schools, each book gets 1-3 minutes in the spotlight. In that short amount of time, I want to make my audience DESPERATE to read the book. I tell them enough about the characters and story to get them caught up in it. I try to leave them with their curiosity burning.

DP: I’m hooked already! I've also heard you and others say that booktalking is a way to get kids excited about reading. Can you give an example or two of how a booktalk inspired a young reader that you’ve worked with?

AM: I have five years’ worth of examples! A couple years ago, I was booktalking Katherine Rundell’s The Wolf Wilder in fifth and sixth grade classes.

At one school, there was a class copy of this title visible on the shelf—but no one had read it. After I booktalked it, there was a crazy rush for the book (nearly ending in a seven-kid tackle heap).

Booktalks can open the doors for kids who don’t think they like to read, or who don’t think they like particular genres. I recently heard a sixth grade boy at an underprivileged school say after booktalks: “I’ve never been so inspired to read before.” Another time, a girl came up after the presentation to tell me she didn’t like mysteries, but that now she really wanted to read Nooks and Crannies [by Jessica Lawson].

I’ve had several boys tell me that they read the entire Michael Vey series after I booktalked the first one at their school.

DP: These are great examples, Anna. How wonderful to be able to reach kids in this way. And, I read in your bio that you present booktalks to over 5000 kids per year. Wow! That’s amazing. Can you share some of the basics of how you put a booktalk together and what it “looks like” or sounds like when it’s delivered?

AM: I present booktalks as part of Jackson County Library’s outreach to elementary and middle schools. Each spring and fall, I prepare 30-35 books, and I present the program to as many classes as I can fit in my schedule—generally 200+ classes per year. Because I’m going to be booktalking each title 50 or 100 times, I can take the time to prepare well.

I start with A LOT of reading. My program serves fourth through sixth grade students, so I’m primarily focused on middle-grade titles. I read reviews, keep an eye on award lists, ask around for recommendations, and look at most of the new titles for this age that come into our library. I like to get a stack of books ready, and then sit down and read the first few pages of each. Most I will discard at this stage. If it’s suddenly an hour later and I’ve missed my bus home, then I know I’ve got a winner!

As I build my list, I try to maintain a balance of genres and work to include enough variety so there will be at least one or two titles to appeal to each kid in the class. Most of my titles are fiction, but I include some nonfiction and graphic novels as well.

Once my selections are made, I write the booktalks. Each booktalk is 150-300 words long, and it takes me several drafts to get the script smooth. I find it helpful to read it aloud a bunch of times, cutting anything that doesn’t need to be there. Then I practice some more; I pace around my office, or up and down the bike path, talking to myself. Starting out, it can be useful to record and watch the practice sessions.

I try to have a strong booktalk ready before I take it into the schools, but I often do a few more revisions once I see what is and isn’t working for my middle grade audience. Usually the script settles within a couple of weeks, and I’ll have it memorized without really trying. (I do keep a “cheat sheet” script taped to the back of the book for emergencies, but the presentation is way more fun once it feels like storytelling rather than a rehearsed script.)

When I’m in front of my audience, it’s all about being “on”—providing a dynamic, live performance. I want the kids to get completely caught up in the stories, so I put myself in that space too.

DP: Your level of preparation is such a gift to young readers. I love the idea of a booktalk being a dynamic, live performance. Do you have a template or “formula” that you use to put your booktalks together?  Are there any particular do’s and don’ts you would offer?

AM: I don’t have a particular formula that I use—different books need different approaches—but being a writer myself helps me shape my booktalks. I look at:

1) Who is the main character? This is the person (animal, entity) the reader is going to connect with, so getting to know this character is an important part of the booktalk. I often include a couple of quirky details about the character or their situation.

2) What important change happens at the beginning of the story? This inciting (and hopefully exciting) incident can often be used as the primary hook for the booktalk. It sets the story in motion. Many of my booktalks will have a paragraph about the character and their situation when the story opens, then the second paragraph introduces the change, opening with some form of, “Then one day…”

3) What does the main character want more than anything? What is getting in their way? This combination of desire and obstacles shapes the course of the story and gives the audience a glimpse of the central question the story will answer. 


A few years ago I had a full day of classes at a middle school. At lunch time, a sixth grade girl from the first period class came back into the media center where I was set up. “I have a question about one of the books,” she said. “A couple of them actually.” And then she proceeded to go down the line of books and ask the central question I’d alluded to, but hadn’t stated directly: “Did he pull it off?” (Great Greene Heist.) “Do they survive?” (Michael Vey.) “What happened to the cousin?” (London Eye Mystery.) “What’s wrong with the kids? Are they robots?” (Under Their Skin.) “Do they get in a big fight?” (Hidden.) “Did she make it?” (The War That Saved My Life.) “Who was the girl?” (Listen to the Moon.) She wanted her curiosity satisfied.

DP: This is absolutely awesome!

AM: As for do’s and don’ts. I’d say the most important thing is not to give too much away. Except on rare occasion, I only include story elements revealed in the first quarter of the book, and often less.

Other guidelines I follow are:

• Treat the booktalk as a performance. Bring energy, enthusiasm, funny voices, dramatic pauses, props…

• Use what the author has given you in the book. Make use of direct quotes or specific phrases the author uses, to give a flavor of the story. Exploit an appropriate chapter cliffhanger in the early part of the book to use as a cliffhanger end to your booktalk.

• Choose books with a good hook. Mysteries and thrillers are an easy place to start. But that being said…

• Be honest in the booktalk. Do not make a quiet friendship story sound like a spine-chilling adventure just so more kids will pick it up. You may deter the true audience for the book, and you’ll disappoint the adventure-obsessed reader who does try it.

DP: This is such great info, Anna. I want to listen in on your booktalks (more on that later!) Also, I want to point out that the three things you look at when shaping a booktalk are also good things for authors to look at when shaping the books we're writing! 

I'm curious if there are particular approaches/formats that you’ve learned that kids really enjoy the most? Does your approach vary for different age groups of young readers?

AM: I love including some interactive aspects in my presentations. It helps kids get engaged in the talk. One of my favorites was handing out superpowers after booktalking The Mighty Odds by Amy Ignatow.

In the story, the main characters each gain an unusual superpower. Nick can suddenly teleport, but only four inches to the left. Cookie can read people’s minds, but only if they’re thinking about directions. Farshad gains super strength, but only in his thumbs… When I was working on my booktalk for this title, I came up with similarly bizarre superpowers and wrote them on popsicle sticks. (i.e. You have super hearing, but only for insect noises. You can breathe under water, but only within sight of a shark. You can communicate by telepathy, but only while singing 1980s songs…)

After booktalking this title, I would let a handful of kids draw out a popsicle stick and learn their new superpower. The kids loved it. LOVED IT. It was totally fun. And I kept the superpowers in a handy duct tape pouch that I then used as a lead-in to booktalking a duct tape craft book and introducing the library’s teen duct tape club.

DP: You are brilliant! I LOVE this SO MUCH!

AM: Other times, I’ve included a bit of reader’s theatre. Last year I booktalked Mac Undercover, the first book in Mac Barnett’s series, Mac B., Kid Spy. I took a key scene – where the Queen of England calls up Mac out of the blue and asks him to find the stolen Crown Jewels – and I wrote out a very short dialog. Kids loved to volunteer to be the Queen or Mac. There were some great Queens of England! I now have a virtual booktalk for Mac Undercover (it's totally fun -- the 89-year-old mother of a British friend of mine recorded the Queen's part of the dialog for me -- remotely from her care home in England!).

DP: What fun! I incorporate reader's theatre into my picture book-related activities (examples for Pirate and Cowgirl here and here), but I've not considered that as an activity option for older readers. Great idea!

What inspired you to start giving booktalks?

AM: Jackson County Library Services, in Southern Oregon, offers a free booktalk presentation to any fourth, fifth, or sixth grade class in the county. When I found out about the program, I thought it would be an awesome job to have. A few years later, I was hired as their new booktalker.

I was already involved in the kidlit writing community, so I was thrilled to have a position that required reading kids’ books and one that got me out sharing books with my target audience. It’s heartening to see students get so enthusiastic about stories!

DP: It sounds like a perfect job match, indeed! I'm wondering if you have a favorite booktalk experience you’d like to share?

AM: One of my favorite experiences is when kids call me “evil.” It means I’ve done a good job getting them totally caught up in the story, and then—slam—I leave them with an unforgivable cliffhanger. One time a sixth grade boy told me, “If I hear one more cliffhanger, my head is going to explode!”

DP: That is so marvelous. 

Any mishaps or cautionary tales that others might benefit from knowing about (or simply get a kick out of)?

AM: Flexibility is key for a successful school visit—whether it’s a booktalk visit or author visit. At some point, there’s going to be a fire drill, intruder drill, earthquake drill. Or a last-minute assembly. Or a substitute teacher who didn’t know to send the class to the library.

I always carry an extra set of handouts because sometimes I have one teacher signed up for a presentation, but they don’t tell me their teaching partner is bringing a class in as well. Being easy-going about the whole thing makes the experience better for everyone.

At the same time, I have learned to set certain boundaries: yes, adding an unexpected fourth grade class to a fourth grade presentation is great. Adding a seventh grade class to a fourth grade presentation…not so much.

DP: Excellent advice, Anna. 

As you likely know, I have two new potty-humor picture books that came out last October. One is cowgirl-themed and the other is pirate-themed, geared for kids ages 3-8, for whom potty humor is at the height of its glory. If you have any great ideas for book talking either of these titles to young audiences, I’m all ears!

AM: I wish I had a great suggestion for you! The techniques I use with the middle graders transfer easily to teens and adults, but I haven’t tried it with picture books. Picture books have a different sort of magic – and the great advantage of actually being able to read aloud the entire book in a short amount of time. I am currently considering adapting my program for third graders, so maybe soon I will have more thoughts on working with a younger audience!


DP: I actually think many of the tips you've provided will transfer to younger audiences, but I suspect you will gain even more insights if you decide to bring your programs to third graders. 

Before we wrap up, let’s shift gears a bit. I suspect that the same elements that go into a successful booktalk, could be applied to a successful agent/editor pitch. Based on your experience developing and delivering booktalks, what tips would you suggest to authors as they develop and deliver pitches for their books?

AM: When I first pitched my middle-grade novel to agents at the Willamette Writers Conference, I was intimidated by how limited the time was. Years of sweat went into that manuscript. Tens of thousands of words. Plot twists. Character development. How could I share everything I needed to in only seven minutes?!

What I’ve learned from booktalking is how much information can be conveyed – and how much desperate enthusiasm can be generated – in just 2-3 minutes. That’s all it takes. A couple of minutes is absolutely enough time to pull listeners into a unique story world and get their curiosity engaged.

When I returned to Willamette Writers to pitch again, after a couple years of doing booktalks, I wrote a “booktalk” for my manuscript. I asked myself the same questions I was using on my real booktalks: Who is the main character? What important change happens at the beginning of the story? What does the main character want more than anything? And why?

I used specific details and wording from my manuscript, as I often do in my regular booktalks, to give a flavor of the writing. I ignored a lot of the backstory that I had included in my original round of pitching—instead I went for visual details that would either convey the specificity of the world or the stakes for the character.

DP: This is really excellent advice, Anna, and I especially love the term "desperate enthusiasm." I will definitely try to create that the next time a prepare a pitch, or even a query letter. 

Is there something you wished I would have asked you that you haven’t had the opportunity to share?

AM: It’s hard to imagine I have anything more to say! Maybe just one last thought: A booktalk isn’t about convincing someone to read a particular book. It’s about opening up stories so kids can see which ones resonate with them. I reassure kids at the beginning of my presentation that I am not there to tell them they “should” read any of the books I’ve brought. Instead, I want them to see which books they are excited to read. Maybe they’ll like all of them. Or maybe only one—and that’s okay. It’s their choice that is important.

DP: That's such an empowering approach, Anna, and a perfect note to end on. 

I can't thank you enough for sharing your expertise with us. 

AM: Thank you, Dawn, for inviting me to share about booktalking! I hope this is a useful glimpse into the process.

DP: I've learned so much from you, Anna. It's VERY useful, indeed. Thanks again for taking the time to share with us. 

Readers: Between the time that I interviewed Anna and the time when I formatted the interview for publication, COVID-19 significantly changed the way that authors, librarians, teachers, and booksellers can interact with readers. Anna has recently created a virtual booktalk channel on YouTube, where she will post weekly booktalks for readers in grades 4-7. I encourage you to check it out and share it with others. You can search "JCLS booktalks" on YouTube, or follow this link. 

**********
Anna Monders has been the booktalk specialist for Jackson County Library Services in Southern Oregon for the past five years. She presents booktalks to over 5000 kids a year, primarily in fourth to sixth grade. She’s thrilled when kids in her audience swarm the school library or go home and beg their parents to take them to the public library. Many of her booktalks are available on The Booktalk Blog.







**********
Have Swag Will Travel is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, and 16 books in the Story Time With Signs & Rhymes series. Dawn is a contributing author to 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.

Birth Stories for Books, BUG, by Robin Koontz

from BUG by Robin Koontz and Amy Proud

I am so pleased to share author, Robin Koontz's, birth story for her forthcoming picture book, BUG (illustrated by Amy Proud, Sterling Publishing, April, 2019).

Robin is one of the first people I met in the local writing community when I started on my path to publication journey about 15 years ago. I attended my first writing conference (the Pacific Northwest Children's Writing and Illustrating Conference, facilitated by Linda Zuckerman) in the summer of 2004. One of the most valuable take-aways from that conference was the advice to join SCBWI, which I immediately did. Soon after, I received a welcoming email from Robin, who was the Regional Advisor for SCBWI-Oregon at that time. Robin let me know how to get connected with a critique group, she sent me info about local events that SCBWI-Oregon was hosting, and she sent me a sample of the local chapter's newsletter, as well as a link to the online chat group.

Soon after reaching out to Robin, I started attending SCBWI-Oregon events and volunteering to help with events and other logistical aspects of the chapter. It was through these experiences, and the people I met through these experiences, that I found my writing community, and found my way to writing and revising manuscripts that would eventually become my body of work. Thank you Robin, for helping me learn how to navigate this crazy world of publishing, and thank you for taking the time to share your path to publication story for your latest book, BUG.

Planting the Seeds for Publication
by Robin Koontz   

Thanks, Dawn, for the invitation to share the birth story of Bug, my new picture book being released on April 2, 2019.

The seed for Bug was planted when I was about five years old. I loved bugs and I loved to draw, while school, including math, was not on my list of loved things. I grew up to pursue a career in art, and first began illustrating children’s books in 1985. My fascination with bugs and all other animals continued, and they played major roles in my various projects.

Up All Night Counting and Creepy Crawly Colors, pop-up books written and illustrated by Robin Koontz 

In those good old days, children’s books were much easier to get published. Editors would take on a diamond in the rough and work with a writer to get it polished. And once published, nobody seemed to mind if a book wasn’t a big-seller. Back then, quality and variety mattered more than sales numbers.

During that period, I published seven picture books and six early-readers, almost all of which I illustrated. I also worked long hours illustrating activity books and other educational products for School Zone Publishing Company. I made good money doing what I loved. Life was sweet.

Then, long story short, the children’s book market took a dive during the 1990s, leaving hundreds of authors and illustrators behind. I had been so swamped that I hadn’t pursued other illustration jobs, and wouldn’t have had time to take them on anyway. When School Zone switched to using licensed characters, my career went from feast to famine. And after 10+ years of successful self-employment, where I was free to play during the mornings and work into the wee hours if need be, a 9 to 5 gig didn’t look very appealing. My partner of 42 years, Marvin, was self-employed as a designer and builder and doing okay in spite of the recession. We had learned to live practically and had socked away a few royalties for a rainy day. I decided to keep traveling on my chosen path and joined the tougher new world of getting and staying published.

I established new contacts and nurtured the old, continued to create new manuscripts, and kept all of my projects circulating. I also began to try something new: writing non-fiction books for kids. I honed my skills, learned from friends in the industry, and started landing projects. To note, nobody wanted me as an illustrator in this market; they only needed writers. While I missed writing and illustrating picture books and early readers, it was a fun new world. It was especially enjoyable because as a kid, I was pretty bored by the books offered to us. As a nature nerd, I probably missed out on pursuing a career in science because of the lack of inspiration/connection in school. Now I had the chance to write the books I would have loved. I could hopefully help kids get excited about things they’d never considered before, maybe even help set them on a career path that they’d never heard of or thought about.

As of yet, I haven’t turned down a job that sounded interesting no matter what the challenge or the deadline, and I’ve sold a few series of my own design. Marvin and I self-published two books: Building a Small Cable Suspension Bridge and Building a Wood-Framed Panelized Yurt. And as always, there are a variety of projects simmering that I hope to sell someday.

So, back to the birth of Bug. In winter of 2015 I had time to pursue an evasive idea that had been simmering for a while. All I knew was that it was about a little girl who loved bugs. At that point I didn’t know if it would be a biography of someone like Edith Patch or a fictional story. Meanwhile, there was also a quest to learn a different style of illustration. I wanted to try a scratchboard effect using the computer. It was a backwards way to draw: pulling white out of black rather than drawing black on white. It felt good to dabble with illustration again and to try on a new style.

Image Source: Robin Koontz

But hey! What was Bug’s story? It was time to get to work. When it was all said and done, Bug was brainstormed, researched, written, rewritten, trashed, started over, rewritten, revised, revised again, tweaked, submitted, revised again with editorial direction, and after not that many months, sold to Meredith Mundy at Sterling Publishing. After a bit more tweaking, Meredith and the art director included me in the search for the illustrator. When we chose the talented Amy Proud, we had to wait for Amy to finish up committed projects before she could start. The publication date moved from spring 2018 to this spring.

Wait. What? A story that began with an illustration would not be completed by its original illustrator?? Nope. Once I wrote Bug’s story, I knew my style was wrong for it. I pictured illustrations much like those that Amy ultimately produced. In fact, I’ve written other stories in recent years that are not suitable for my style (little animals with dots for eyes). It allows me to broaden the field of what I write about when I know another illustrator might take on the challenge. So, when I submit a story, I include sample illustrations if I feel that I could be the right illustrator, otherwise I just submit the story as a writer. That’s what I did when I submitted Bug. I’m not recommending that others do the same; it’s just what works for me. And I think that Amy Proud did Bug proud!

BUG by Robin Koontz and Amy Proud

Here’s the teaser on Amazon and Indiebound for Bug:

“Bug is the nickname-that-stuck for a quirky little girl who‘s mad about insects and drawing . . . and hates arithmetic. But when her teacher promises the class they can go on a field trip to the science museum only if everyone does well on their math test, Bug knows she HAS to pass. This humorous, character-driven story shows kids who struggle with math (or any subject) that there are many ways to find the correct answer—if you use your imagination and count on the things you love.”

Bug is already getting positive reviews. Kirkus wrote, “A respectful boost of encouragement for young minds that may be struggling with school.” That line made me smile. Thanks again, Dawn, for sharing the birth story of Bug!

Robin, this is such an encouraging and inspiring birth story. You've taught us to keep working at the stories we love AND open our minds to different paths and possibilities than we might have originally imagined for ourselves. I have no doubt that the books you have written for children have inspired a new generation of scientists, and I have no doubt that this post has inspired many authors and illustrators. Thank you so much!

*******
Robin Koontz loves to learn and write about everything from aardvarks to ziggurats. Raised in Maryland and Alabama, Robin now lives with her partner Marvin in the Coast Range of western Oregon. In her spare time Robin likes to grow plants, lurk on Facebook, yell at the TV, and walk in the woods. You can learn more on Robin's blog, and you can see her complete list of books on Wikipedia.com. Robin is Regional Advisor Emeritus for the SCBWI Oregon.




********
Birth Stories for Books is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty? (forthcoming, 2019), and 16 books in the Story Time With Signs & Rhymes series. Dawn is a contributing author to 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.

The "Writing Community" Part of the Writing Life

Image Source Linked Here

There are many things I love about being a writer, and in particular, a children's author. I think I've made it abundantly clear that I love the experience of school and library author visits and the opportunity to correspond with young writers. I've blogged plenty about "The Writing Life," but I realize I've not yet mentioned how much I appreciate the community of writers that I'm a part of. 

I've made writing friends through the national SCBWI organization and my local SCBWI-Oregon chapter, as well as through Willamette Writers and the Authors Guild. I've made new friends on Twitter, and developed friendships on Facebook and on Facebook groups such as Portland KidLit and Storytime Underground. I've met new friends (and caught up with old friends) at author events at my local bookstores (Green Bean Books, Annie Blooms, Dudley's Bookshop Cafe, and Powell's Books to name a few). 

I've also made new friends by following up with authors who have posted on group blogs such as GROG Blog, by writing guest posts on others' blogs, such as this post I wrote for Tara Lazar's blog, by hosting interviews with other authors on my own blog, and by participating in creative experiences such as Tara Lazar's Storystorm and Vivian Kirkfield's #50PreciousWords Contest (which ends TODAY, March 6, 2019)...and which brings me to what prompted me to write today's blog post: 

Vivian's contest is described here, but essentially, the goal is to write (and share) a story with a beginning, middle, and end that is 50 words or less. I've posted my story on Vivian's blog, but I also thought I'd post it here:

*****

Vacation! (by Dawn Prochovnic, 48 Words)

Climb the stairs to the attic.

Find my suitcase.

Clunk, clunk, clunk back down the stairs.

Make a pile of socks, shirts, and shorts.

Fill my suitcase.

Zip, zip, zip until it’s closed tight.

Load the van.

Wave goodbye to the neighbors.

Vroom, vroom, vroom. Away we go.

*****

Thanks for hosting this fun, creative event, Vivian. It got me writing today!

Dear Readers: Where have you found YOUR writing community? I'd love for you to share in the comments, so we can all continue to build community and develop new friendships. And, even if you don't learn about Vivian's contest until after this year's deadline, I'd encourage you to take a look at the posts on Vivian's blog and go make some new friends!

(Oh, and check out Vivian's latest books ... she has a heap of them! I'll be featuring Vivian's path to publication story in the Birth Stories for Books series next month on my blog!)