Category Archives: Mini-Views

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MINI-VIEW: MEREDITH MUNDY WASINGER

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MINI-VIEWS:

Pint-sized interviews that leave you smiling.
MEREDITH MUNDY WASINGER has been a Senior Editor at Sterling Publishing since 2005, following eleven years with Dutton Children’s Books. A Colorado native, she is a big fan of pugs, poetry, and gardening (guerrilla and otherwise). She is currently looking for character-centered picture books; original non-fiction with pizzazz; and unusual activity books for children of all ages. Sterling does not publish original fiction (aside from picture books) or non-fiction that would be geared purely toward schools and libraries.
I had the pleasure of meeting Meredith at our recent Ventura/Santa Barbara SCBWI Writers’ Day and am so pleased that she agreed to do an interview for us!

What does your job entail as an editor at Sterling Publishing?
It’s a job filled with variety—never a dull moment! I spend much of my day writing and answering emails from authors, illustrators, and agents to keep projects that are already in process moving along. Part of each day is devoted to requesting contracts, reviewing catalog and jacket copy, compiling editorial notes for authors whose manuscripts have been accepted, or reviewing and commenting on sketches/final art that have come in for particular books. Our editorial team has an acquisitions meeting every two weeks to discuss future projects we hope to acquire, and we meet every month or so to read new submissions that have arrived. The mail is very hard to keep up with—so many manuscripts!—but we do everything we can to avoid making authors wait interminably.

Could you give an overview of Sterling’s list and its philosophy?
Our list is quite eclectic, and reflects the interests of our small staff. Our range is from board books for babies to sophisticated biographies for older readers to puzzle-and-game books to picture books of all kinds. We are publishing our first middle-grade chapter book series next year (The Doyle & Fossey Science Detective series, by Michele Torrey, illustrated by Barbara Johansen Newman), and if that is well received, we may consider acquiring more chapter books. But for now we are not accepting any chapter books or novels.

Our philosophy is simple—we want to publish only the very best books to be read by the widest possible audience. This makes reading submissions pretty easy, really, since we can rule out anything that’s too generic, or too slight, or too specific in terms of its topic, or too much like anything that’s already out there. We look for originality, excellent writing, unforgettable characters, clever twists on familiar themes, and humor.
I’m reading more and more about the economy affecting book sales and the publishing industry. Is the economic downturn affecting Sterling in any significant way?
We have been asked to be exceptionally careful with our budgets, as has everyone in publishing. We are cutting costs everywhere possible—from sending out electronic Christmas cards instead of paper ones to avoiding using overnight mail unless absolutely crucial. We know how tough the retail environment is right now, and we are hopeful that next year will bring brighter news to all retailers, not just booksellers. It does seem that the children’s book market has more resiliency than other sectors. People tend to buy for their children (and their pets!) even if they are not buying for themselves.

On the lighter side, what is your favorite children’s joke?
One morning a traffic cop is directing traffic in a busy intersection. A guy pulls up in a fancy convertible filled with penguins.
“Hey, mister!” the cop calls out. “I want you to take those penguins directly to the zoo!”
“Sure thing, Officer,” says the driver.

Later that day, the cop sees the same carload of penguins pull up in the intersection.
“Hey, mister!” he yells. “I thought I told you to take those penguins to the zoo!”
“I did,” says the driver. “We had a great time. Now we’re going to the movies!”

Thanks so much, Meredith!

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MINI-VIEW: SANDRA YOON

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MINI-VIEWS:
Pint-sized interviews that leave you smiling.

Sandy Yoon has worked in all kinds of libraries for almost 34 years. Her master degrees are in English (CSUB) and School of Library and Information Management (USC). Her current occupation is Coordinator of Library Media Services for the Bakersfield City School District. She’s also adjunct faculty for Fresno Pacific University in the Teacher Librarian graduate program. Currently, she is president of the California School Library Association and an Area Director for the California Reading Association.

Traveling is a great excuse with two children who are Navy aviators. Reading is a passion that has endured since she gave her oral book reports in first grade. Her love of storytelling is an offshoot of the reading bug and a family chock full of interesting stories.

I thought Sandra could offer writers and illustrators a unique perspective in regards to school visits and networking.

You are involved with one of the largest California author fairs in the state (Kern Reading Association YAF), so you’ve had much experience in observing authors in action. What advice would you give to authors/illustrators who are starting to do school visits?
I coordinate the author selection and financials for the annual Kern Reading Association’s Young Authors’ Fair ($100,000 for authors, book sales, and school payments). The event is actually a combination of committed volunteers who assist with every aspect of the schedule and timing.
The advice I would give to authors/illustrators who are starting to do school visits—communicate! Once you have the booking then you need to ask for schedules (autographing, lunch, breaks), transportation details, honorarium (how will it be paid), AV possibilities (most schools do not have state-of-the-art microphones, etc.), and physical description of the speaking area (is it a classroom, auditorium, library). How big is the audience? What ages/grade levels will be in the same presentation? How many presentations does the school/library expect for the honorarium that is being paid?

What are some advantages that writers/illustrators could benefit from by joining state reading and library associations, and attending their conferences?
Advantages of joining state reading and library associations: exposure! The author/illustrator may have to pay their own expenses but the contacts made at state conferences are invaluable. I’ve selected numerous authors and illustrators because I saw them in action at a state event. It also provided a venue to talk to other people who have had the presenter at their school/library in the past.

What is your favorite children’s joke?
I love knock, knock jokes!

Sandra asked me to post a knock-knock joke for her, since she loves them all. So, I thought this one might work for her, especially when mid-May rolls around 😉

Knock-knock.
Who’s there?
Harvey.
Harvey who?
Harvey done yet?

Thank you so much, Sandra!

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MINI-VIEW: DAN HANNA

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MINI-VIEWS:

Pint-sized interviews that leave you smiling.

DAN HANNA lives high in the treetops of the Brazilian Rain Forest where he illustrates (and attempts to write) children’s picture books. He periodically lowers his work to a devoted monkey-like companion who then submits it to various editors throughout the world. His first book, THE POUT-POUT FISH (Farrar, Straus & Giroux) was launched in March 2008.

Mr. Hanna doesn’t have any children of his own but he does have a BOYish grin, he’s YOUNG at heart, has CHILDish tastes and two KIDney stones.

How does it feel to have your first book (and author Deborah Diesen’s first book) be on the NY Times Bestseller’s list for children’s books? Did you ever imagine it would be this successful?

It feels like a hot air balloon ride. But not like one of those rides where the basket catches on fire or the balloon hits a power line or something.

My imagination was all over the place. At the low end, I imagined it showing up in the 99 cent stores. At the high end, I imagined it becoming the basis for a world-wide religion where true believers would genetically alter themselves to resemble characters in the book. So getting on the NY Time’s List was right about in the middle.

I’m just kidding of course. It was like a dream and it never occurred to me as a possibility. I still don’t understand how it could have happened. I think maybe my fairy godmother went around buying tons of books and now she has about a zillion copies in her fairy garage.

You’re a wonderful illustrator with an extensive background in animation; now that you’ve illustrated your first picture book, do you have any advice for aspiring picture book writers? How about aspiring illustrators? (okay, that’s really two questions, but I have to give equal time to each craft 🙂
Buy one thousand parrots and place them in a room with a looped recording saying something like: “Dan Hanna can sure draw fish!” Then release the parrots, using a helicopter, over each of the major publishing houses. When the editors leave for lunch they’ll hear the parrots in the trees screeching “Aaaaccck, Dan Hanna can sure draw fish!” Now I know this scheme seems rather elaborate, but it worked for me.

Deborah and I were very fortunate to be included in Alice Pope’s 2009 edition of CWIM (Children’s Writer’s & Illustrator’s Market). In my interview there’s an extensive list of equally dubious “how to get published” advice.

What’s your favorite children’s joke?
My favorite is actually the “Interrupting Cow” joke but somebody [Jay Asher] already – MOO!
Q: Why doesn’t anyone play poker on the Serengeti?
A: Because there’s too many cheetahs.

Very funny! Thanks, Dan!

MINI-VIEW: CAROLINE HATTON

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MINI-VIEWS:
Pint-sized interviews that leave you smiling.

CAROLINE HATTON is a scientist and a children’s writer. She has accumulated knowledge of drugs in sports and expertise in anti-doping science since the 1984 Olympics in Los Angeles when she went to work for Don Catlin, a preeminent champion of drug-free sports. Her idea of a fun 100-meter race is barefeet on the beach without prize money or recorded times. In 1996, she began pursuing her life-long dream of writing for children. The Night Olympic Team is her fifth children’s book. Her first novel, Véro and Philippe, made the Los Angeles Times children’s bestsellers list. You can read the beginning of all her books by clicking HERE.

With the Olympic Games in full swing this week, I thought this would be the perfect time for us to get to know Caroline a little better. I’m very grateful that this very busy author was able to do a Mini-View for us!

Could you please tell us about The Night Olympic Team. When did you get the idea to write a children’s book about doping in the Olympics?
It was at the 2002 Winter Olympics in Salt Lake City, after we found a prohibited drug in athletes’ samples. During a discussion with other scientists in the lab, bright ideas were flying around like sparks. A rush of excitement made me jump up from my chair and pace all over the room, feeling ready to burst. That’s when I thought, “Some day, I will write this story for children.”

How did you come up with the idea to make it a “science sleuth” theme?
I didn’t. Life did! The book simply shows how the drama unfolded and reflects my emotions.

Do you have a favorite tip for someone interested in writing children’s nonfiction?
Look for story. Like fiction, nonfiction can take readers on the emotional ride of their lives. Look for engaging elements: likeable, real-life characters; conflict; high stakes; the clock ticking; suspense; and surprises. Then spin a good yarn.

What is your favorite children’s joke?
Q: What do you get if you cross a chicken and a T. rex?

A: A Tyrannosaurus pecks.

Thank you, Caroline!

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MINI-VIEW: JAY ASHER

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MINI-VIEWS:
Pint-sized interviews that leave you smiling.

JAY ASHER is the author of the New York Times Bestseller’s list young adult novel, THIRTEEN REASONS WHY. He got the idea for THIRTEEN REASONS WHY at a museum. While taking an audio tour, he was struck by the eeriness of the voice in his ear—a woman who described exactly what he was looking at, but wasn’t there.

Jay lives on the central coast of California. THIRTEEN REASONS WHY is his first book. Find out more about him at http://www.discomermaids.blogspot.com/.

Thirteen Reasons Why has had huge success in its young life. Did you ever foresee the kind of attention it has received and how do you keep grounded with all of the attention it (and you) have gotten since its release? And possibly related to that, what project are you currently working on?
If the book found its audience (which required the help of booksellers and librarians), I thought it could be a real word-of-mouth success because of its mix of suspense, a unique structure, and the issues it discussed. I just didn’t think the initial audience would be so big. From there, the teens took over and began recommending it to their friends. I definitely didn’t expect to see it on the New York Times Bestseller list, though. When it first appeared on that list, it was such a shock that I actually started crying.

As far as staying grounded, a full-time job definitely helps. But, more than that, the letters I receive from teens are so heartwarming and inspiring. Many of them open up about their own lives and tell me the ways in which the book positively affected them. I can’t feel anything but honored by that.

I’m working on my next novel for teens right now. There will definitely be more humorous elements in this book than Thirteen Reasons Why…but hopefully just as engaging.

Do you have a favorite novel-writing exercise, tip or piece of advice that you find most useful, and are willing to share with other writers?
Thirteen Reasons Why was the first manuscript I wrote without anyone looking at it (other than the first 12 pages) before it was finished. Since I was writing such a personal story, I didn’t want anyone swaying the emotional aspects of my words yet. But I did hold several brainstorming sessions with my wife and two writing friends (and co-bloggers) Robin and Eve. After it was finished and polished to the best of my abilities, then I let other people read it…one at a time. After each person critiqued it, I made alterations and then passed the manuscript on to the next person. That way, the story was seen through fresh eyes each time as opposed to the same people critiquing every stage of the revision process.

What’s your favorite children’s joke? (I know as a frequent winner of the SCBWI summer conference joke contests, you’ve got to have a few jokes on hand ;-).
Knock knock!

Who’s there?

Interrupting cow.

Interrup—-

Moooooooooooo!!!

Thanks, Jay!

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MINI-VIEW: MS. VIOLA, PERSONAL COACH for SHRINKING VIOLETS PROMOTIONS

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MINI-VIEWS:

Pint-sized interviews that leave you smiling.

Ms. Viola is an internationally acclaimed personal coach and consultant for introvert celebrities, politicians, and famous authors/illustrators. In 2007, she received her PhD in Jungian Type Analysis from Vassar University. (But don’t bother trying to verify this due to the unfortunate eensy explosion they had in the Admissions Office.) Ms. Viola writes a syndicated column for Innie Mag and is the Coach in Residence for Shrinking Violet Promotions.

Other than developing a website/blog (in today’s cyber world, that’s a given,) what do you say is the most important marketing strategy for an introverted writer/illustrator?

Well, since I do represent the Shrinking Violets, you know how Mary and Robin love to spin ad nauseum about how important it is to write the best book you can. There’s that, of course. And they are forever sporting that Comfort Level Inventory. But, really, Terry, I think professional brow grooming is completely underrated. I’m conducting a field study right now on the correlation between high book sales at signings and good eyebrow care. Liz Gilbert has sold over one million books. Look at her brows! They are pitch perfect. Need I say more?

What bit of survival advice would you give to an introverted writer/illustrator who knows that they should attend conferences, workshops, etc., but knows it will be uncomfortable, deplete him or her of energy for days after, and would instead opt for a root canal?

Oh, just get the rotten little tooth pulled and get a shiny new dental implant. Wha-a-tt? Oh, conferences? Let me give you a little sports analogy, darlings. If you want to play in the Super Bowl, you’ve got to go to Spring Training. I know many of you don’t want to hear that, but publishing is, after all, a world of relationships and connections. You deserve every advantage you can give yourself.

This rule does not apply to you if you are JK Rowling, of course, but you’re not. (You should have seen her before I got hold of those eyebrows—you could have hidden a Weasley twin in each one.) And after a long day at conference, really, there is always room service and nice fat book to spoon with.

What is your favorite children’s joke?

Honestly, Terry, I just don’t think it is kind to make fun of children. I may need to do some coaching with you. Call me, dear.

Thank you, Ms. Viola! (I think…)

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MINI-VIEW: HAROLD UNDERDOWN

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MINI-VIEWS:
Pint-sized interviews that leave you smiling.

HAROLD UNDERDOWN is a freelance editorial consultant. He has worked at Macmillan, Orchard, and Charlesbridge, and has experience in trade and educational publishing. Among the books he has edited are Evelyn Coleman’s and Daniel Minter’s The Footwarmer and the Crow, Yumi Heo’s One Afternoon, Larry Pringle’s and Bob Marstall’s An Extraordinary Life, Lisa Rowe Fraustino’s Ash, Grace Lin’s The Ugly Vegetables, and Sneed Collard’s and Michael Rothman’s The Forest in the Clouds. He is also the editor for the Young Patriots Series, published by Patria Press.

Harold enjoys teaching, and in that role wrote The Complete Idiot’s Guide to Children’s Book Publishing, now in its third edition. He founded and runs “The Purple Crayon,” a respected web site with information about the children’s publishing world at http://www.underdown.org/. He speaks and gives workshops at conferences, including the SCBWI’s national conferences in LA and NY, and smaller conferences all over the country.

I’m so honored that Harold agreed to do an interview. And in the spirit of his never-ending generosity, he not only answered the standard three Mini-View questions, but he gave us an additional answer too.

How do you think the rising cost of fuel will affect the children’s book industry?
I don’t think it will have much of an impact. A family that struggles with an extra $20/week in gas costs is not a family that had a lot of money available to buy children’s books before the price of gas went up. The families that buy significant numbers of children’s books are relatively well off and not likely to be affected.

How is today’s economy affecting the children’s publishing business and what are the prospects for its future?
It’s not clear yet how much the current economic situation is going to affect our business. People who lose jobs or are struggling with a mortgage won’t be buying children’s books, of course, but the real impact won’t be felt until we see how state and local tax revenues are affected. If school and library spending is cut, that will have big impact on the business, in the short term.

In the long term, I’m not too worried about the children’s book business. Over the past several years, we’ve had to adjust to reduced spending by schools on books, as they had to shift their resources to testing materials. Under a new administration, I’m hopeful that more money will be available at the federal level AND that the testing required by NCLB will be at least scaled back, meaning schools will have more money available for real books.

What is your prediction of the picture book market?
That there will continue to be one! There’s been a lot of talk about the picture book market being weak compared to the demand for novels, but it never disappeared, and some companies are already talking about doing more picture books. Demographics have an impact on what’s being published, but not a huge one.

What is your favorite children’s joke?
Q. Why did the chicken cross the road?

A. To get to the other side.

Q. Why did the rabbit cross the road?

A. Because it was stapled to the chicken!

(I picked that because it’s an example of the kind of joke I’ve heard my daughter tell–the kind of joke that makes kids laugh uproariously, but generates only puzzled expressions on adult faces…)

Thank you, Harold!

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MINI-VIEW: MARY HERSHEY

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MINI-VIEWS:
Pint-sized interviews that leave you smiling.

MARY HERSHEY’S first book, a tall tale of sibling rivalry, entitled MY BIG SISTER IS SO BOSSY SHE SAYS YOU CAN’T READ THIS BOOK was published by Random House in 2005. THE ONE WHERE THE KID NEARLY JUMPS TO HIS DEATH AND LANDS IN CALIFORNIA was released by Razorbill last year, and was selected for the 2008 New York Public Library Best Books for Teens List. Her third book, TEN LUCKY THINGS THAT HAVE HAPPENED TO ME SINCE I NEARLY GOT HIT BY LIGHTNING, will be out this July, and she is currently working on her fourth book with Random House. In addition to being an author, Mary works for the Department of Veteran Affairs, is a personal coach, a former undercover hooker, and a wannabe yogi. She lives in Santa Barbara with her partner and two bipolar cats.

Mary is also a contributor to one of my favorite blogs in the whole wide world, Shrinking Violets Promotions, where she and Robin LaFevers help introverted writers (such as yours truly) learn how to promote their books and explore the world as an “innie.”

What is the most important aspect of writing a humorous novel and how do you achieve that?
Uh, how many humor writers does it take to answer that question? Four. One to answer it, one to make a joke about it, one to go around for the next six months telling it, and one to try in vain to screw it into a light socket. :->

It’s a great question, Terry, and one could write volumes on it. Here’s the cliff notes. I think the most important aspect is knowing your audience. You need to ‘get’ and target the developmental stage of humor that comes with the reader’s chronological age. It is essential to understand the social, cultural and the contemporary variances in humor. What might be funny in 1983 is not necessarily funny in 2009. Humor is a tool to be used to achieve a specific effect on the reader. At it’s very finest, humor has the ability to delight, teach, and relieve–helping the reader to both transcend and reclaim one’s humanity.

This is a “Which came first, the chicken or the egg” kind of question. When writing a story, do you already have certain humor aspects in mind (funny plotline twists, main character traits and quirks, humorous secondary characters) or are these things discovered/developed as you progress through your story?
I always start with character, but that is a highly personal decision, not a craft one. There are essentially four types of humor: physical humor, humor of situation, humor involving play on word, and humor of character. In any one book, or even one scene, you may use any combination of all four of these. Where you choose to start building your story is unique to you.

I begin with character, experiment with their voice, and then I find just the right setting and situation for them. A stellar example of that is Lauren Tarshis’ Emma Jean Lazarus Fell out of a Tree, a middle grade novel released in 2007. Emma Jean is a powerful character that drives this marvelously funny book all the way. Another storyteller might start with a seed of a humorous situation, then build from there, finding character(s) that would ‘fit’. For example, apparently author/illustrator Mo Willems asked himself one day–What would happen if a pigeon tried to drive a bus? Physical humor and humor involving play on word usually grow from the characters and situations you have chosen.

So to summarize, chickens are funnier than eggs, but research has proven that ducks are the funniest animal at all. I hope that clears things up once and for all, Terry.

What’s your favorite children’s joke?
Why did the boy tiptoe past the medicine cabinet?

He didn’t want to wake up the sleeping pills.

Thanks for the insightful answers and chuckles, Mary!

MINI-VIEW: ANN WHITFORD PAUL

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MINI-VIEWS:
Pint-sized interviews that leave you smiling.
ANN WHITFORD PAUL writes picture books, poetry and early readers. Her books have won numerous awards including NY Times Notable books, Carl Sandburg Award for Children’s Literature, Bank Street College Best Books list, Notable Science and Social Studies Books, National Parenting Centers “Seal of Approval,” 2001 Recognition of Merit from the George C. Stone Center for Children’s Books of the Claremont Graduate University, and been nominated for numerous state reading awards. She teaches writing at UCLA Extension and her new titles include Count on Culebra, If Animals Kissed Good Night and Snail’s Good Night.

I’ve had the pleasure of taking one of Ann’s courses at UCLA and she recently presented a poetry workshop for my SCBWI chapter. She’s a marvelous teacher, master of poetry and has an extremely generous heart.

While many of us love to write in rhyme, not all stories are best told this way. How do you determine if a story is best suited to be written in a rhyme?
This is a tough question. My stories for younger children (toddlers) usually feel poetic from beginning inspiration. I hear a definite beat and the first few lines come easily. That doesn’t mean those lines are any good, or even that they’ll make it into the final manuscript, just that the writing starts out effortlessly. If, on the way, I discover I’m stretching to find rhymes, or the rhythm isn’t solid, and especially if my story goes on too long—over 400 words at most, it’s time to reevaluate.

Just because kids love rhyme and it helps them when it comes to reading, doesn’t mean it’s the best way to tell every story. However, if I do switch to prose, I make sure it’s poetic and that the words I chose bring forth a physical reaction that’s in line with the story. Little Monkey Says Good Night was always in prose, but became poetic when I focused on word sounds and onomatopoetic language. If Animals Kissed Good Night, started out as prose, but felt flat. Switching it into rhyme gave it new life. That’s what I love about writing. Every story is a new adventure.

Do you have any key advice for how to determine if your rhythm and rhyme is working?
The key word for both is consistent. If you start out with a rhyme pattern, you must continue that pattern. If you break the rhyme scheme, there must be a reason related to what’s going on in your story. For example, don’t break the rhyme scheme just because you can’t find the right word. Break the rhyme scheme if your character is suddenly thrown into danger. The same is true for rhythm. In my book Everything to Spend the Night, the girl had unpacked all of her goodies to stay at Grandpa’s. When she discovered she didn’t have her pajamas, I added an extra beat and broke the rhythm to signal to the reader that something was wrong. The best advice I can give regarding determining if your rhythm is working is to have someone else read your work and listen to where the stresses fall. If another person isn’t available, read your lines as though they were prose.

What is your favorite children’s joke?
Q: What is Snake’s favorite subject in school?
A: Hisssssstory.

Thanks, Ann!

MINI-VIEW: ROBIN LaFEVERS

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MINI-VIEWS:
Pint-sized interviews that leave you smiling.

R. L. (ROBIN) LA FEVERS has taught plotting workshops for the SB/Ventura SCBWI Region and is on the faculty of the Santa Barbara Writer’s Conference. Her current book, THEODOSIA AND THE SERPENTS OF CHAOS, was published by Houghton Mifflin in April of 2007 and was a Junior Library Guild selection, Summer Booksense Pick, and has been nominated for an Agatha Award. Theodosia and the Staff of Osiris will be out in November of 2008.

Last year I had the pleasure of attending one of Robin’s plot workshops—her insight and writing advice was tremendously helpful. While she is probably too modest to mention all of her many credentials, I must add that Robin is also a contributor to one of my favorite blogs, Shrinking Violets Promotions.

With the immense popularity of fantasy in recent years (resulting in so many published fantasy titles), how do you make your story unique enough to stand out amongst the rest?
I think there are a couple of answers to this first question. The first is to create vivid characters the reader can’t help but bond with and care for. This is one critical element that can be easily overlooked in fantasy because writers get so involved in constructing their world and the bells and whistles of their magic systems that the characters can get lost. So first, create vivid empathetic characters.

The second thing would be to utilize an under-explored mythos as the basis for your fantasy. The thing is, there are so many fascinating jumping off points for fantasy worlds, and they don’t all have to be wizards or witches or vampires or fairies. However, if you simply have to use one of those, consider completely re-inventing or re-imagining it or adding something new and fresh that help make your version of that fantasy world stand out.

What would you say is the most important aspect of developing a plot?
Hm. I’m going to cheat a little and say there are two critically important aspects of developing a plot. One, it has to be developed organically from your unique character—meaning, it has to grow out of that character’s own unique quirks and weaknesses and strengths. I firmly believe that character IS plot, so how you develop that character will determine that plot. An example would be a kid who chose to retaliate against a bully in a passive aggressive way versus an out and out confrontation. Two very different approaches from two very different types of people, each would lead to a distinctly different plot.
The second, and I would say equally important aspect of developing a plot, is to make sure the conflict is big enough to sustain a novel (or whatever length project you’re writing.) It can be a more subtle, internal-type conflict or a big external conflict (although ideally books should have a little of both) but it needs to matter enough to the characters that it’s able to drive the narrative to its climax and resolution. Many of my early (deservedly unpublished!) books—and so many manuscripts I read for critique—peter out about one third of the way through because the conflict doesn’t truly test the very core of the main character. So really examine the main conflict of the book and make sure it’s compelling and enough of a driving force to keep the reader turning the page until the very end.

What is your favorite children’s joke?
This is so embarrassing because I’ve never been much of a joke teller and my absolutely favorite joke when I was a kid was: What’s black and white and red all over? Of course, the answer was a newspaper, but as we got a little older and a little sillier, we had obnoxious fun with made up variations—a bloody zebra!—and worse, but I’ll spare you those.

Thanks so much, Robin!