Twelve years ago, I took a beginning class for aspiring children’s writers, and my instructor, a prolific author, read my first picture book manuscript and said, “You ARE going to submit this.” That helped.

What do you most love about the writing life?

The freedom. For the most part, nobody’s telling you what to write, when to write, how to write. You sink or swim on your own. I like that challenge.

What advice would you give writers who are closing in on the 100 rejection mark without an acceptance of any sort?

Every author I know has cringe-worthy manuscripts squirreled away that they once thought were brilliant. You HAVE to learn to look at your own work with a critical eye. That’s tough sometimes, but crucial.

If someone has been continually hitting brick walls, I’d advise them to STOP and back up the truck. Remember, it’s not about the quantity of work you have circulating; it really is the quality that matters. Ideally, we need to submit only those manuscripts that editors will find irresistible. If they can say no, they will.

Oh, yeah. My advice. Select two or three favorite manuscripts and have them professionally critiqued. A fresh perspective is invaluable.

Also, if you’ve never tried writing for magazines, give it a try. Submitting to magazines taught me a lot, and the occasional acceptances made me feel like a “real” writer and gave me the confidence to deal with editors without blathering incoherently (well, sometimes). And don’t fret about selling your work for all rights. Really. The odds that you’ll ever in a million years “turn a magazine story into a picture book” are virtually nil. The two are entirely different animals. Now somebody will write to me to say they did that. Tip: Good nonfiction sells like crazy.

How many total stories have you written? Even count those that you’ll never show anybody.

Oh, boy. I’d have to guess….50? I don’t think I have any that I’ve never shown anybody, even the stinkers. Hey, I didn’t KNOW they were stinkers at the time. Over the years, my embarrassment threshold has fallen to the point that I no longer have one.

Do you submit your books via an agent or do you submit on your own?

I have an agent, but I sold my first four books on my own. I signed with her just in time for her to negotiate the fourth. I LOVE not having to worry about where to send something.

Do you break or have you broken any conventional rules of picture book writing?

Yes. For one thing, writers are told not to write in rhyme. Two of my four published pbs rhymers, as are the next two, STANZA and TOM’S TWEET.

Also, I remember how nervous I was about dropping Ste-e-e-eamboat A-Comin’! into the mail, because it was so out of the box. A rhyming, historical mood piece? Yipes! Yet it sold quickly. I’ve since learned that the more unnerved I am about letting an editor see something, the better it’s received. Unique is good.

Were there certain picture books that influenced you as you first pursued publication?

Reading my kids Kevin Henkes’ JULIUS, BABY OF THE WORLD is what inspired me to try writing pbs in the first place. The page where Lily’s up a tree, shouting to a passing pregnant woman that she’ll live to regret the baby under her shirt was so … irreverent and hilarious. I wanted to do that – write books for kids that adults would enjoy reading.

I saw that Ste-e-e-e-eamboat A-Comin’! was awarded the Bank Street Best Children’s Book of the Year award. Did you expect to receive such great recognition with that story or was it just icing on the cake?

Well, actually it was one of many “best” books on Bank Street’s annual list. Still, pretty cool. It WAS the only picture awarded best juvenile fiction by Friends of American Writers, a Chicago group. Very cool to fly to Chicago to speak at their luncheon.

Your upcoming book Stanza looks fun. Where did you get the inspiration to write about a poetry writing canine?

I wanted to write a book in which a dog was the main character. I wanted to set it in the city but write it in rhyme – in the style of an old west gunslinger ballad. As in most cases, one thing led to another, and it took on a life of its own. I’m very excited about Stanza. The interior art is so fun, and the cover is AMAZING. There’s a passage in which he’s hiding in an alley late one night, struggling to write a jingle (for a dog food company’s contest) that perfectly illustrates my writing process:

He scribbled and scrawled.

Reconsidered.

Erased.

He wadded up papers.

He pondered.

He paced.

He scoured his thesaurus.

He struggled for rhymes.

He started from scratch at least eighty-two times.

Yep, that’s me.

We are both great people of faith, by that, I mean we both believe the Chicago Cubs can do good in any given year. Let me ask you this, which will happen first, you winning a Caldecott Award or the Cubs winning the World Series and which would you prefer?

Now, Brian. If you’re REALLY a Cubs fan, you KNOW I have to go with the Cubbies or take responsibility for jinxing them in ‘09. Although, I have been considering taking a drawing class….

Can you share with us something about you nobody else may know?

Um…I have big feet? My dad used to tell me, “Well, honey, you won’t blow over.”

I want to give a big thanks to Jill for a wonderful interview and my apologies for dredging up that big feet memory

We hope you’ve enjoyed our interview with picture book author Jill Esbaum.

Here’s Jill’s latest book. Buy it today!

Stanza	There’s a slobbery thug in town, and his name is Stanza. He bullies everybody. He eats chicken pot pie. And . . . he writes poetry. On the sly. At night. Because he’s extremely afraid his bully brothers will find out. But Stanza doesn’t let that stop him from entering one of his poems into a jingle contest. Does he win? Well, what if he did . . . not?

Visit Jill’s Website

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It was great to have Natalie take time out of her very busy schedule to answer some questions. When you’re done reading, don’t forget to visit her blog.
 
 
 
Natalie, can you describe a typical week in your life at the Bradford Literary Agency?

I wouldn’t say any week is typical! I represent a very broad range of subjects, and so the things that pop up and conversations I have vary week to week. I may be pitching and talking to children’s editors one week and pitching and talking to romance editors the next. A good chunk of time is spent emailing back and forth, checking in on payments or pitching or following up on submissions or verifying delivery dates or putting out fires, or on phone calls with clients, potential clients, editors, sub rights (audio, film) agents, potential rights partners, etc. I may have contracts or royalty statements to review, maybe an ebook to format. I do all my reading and edits on nights and weekends.

What part of being an agent do you find most rewarding and the most difficult?

The most rewarding part is making dreams come true; the hardest part is navigating what happens when they don’t.

I’ve heard strange tales of would be authors pitching book ideas to agents or editors in the oddest of places. Do you have any strange story pitch experiences you could share?

I had a woman pitch to me while breast feeding her five year old child. I could not for the life of me tell you what that book was about.

I’m seeing more agents these days who now only accept picture book submissions from author/illustrators. Do you feel this is a growing trend and is it a policy you may take up in the future?

I would say it’s a growing trend, but not a policy I would ever anticipate taking up. I certainly am pickier about text only, though picky in general about picture books.

When reading picture book submissions, what are some of the biggest mistakes you see authors make?

I think the biggest issue I see with picture book submissions is familiarity. True, most picture books boil down to basic themes, but it’s the fresh and surprising twist on that theme that makes them stand out. Something that’s sweet but not fresh, something that’s cute but not I LOVE THIS SO MUCH I WANT TO READ IT OVER AND OVER AGAIN just isn’t going to cut it.

If someone would like to become a literary agent, what are the first steps they should take and are there special skills or personality traits that would help them succeed in the field?

Agenting is still very much an apprenticeship business. You learn by interning. So the first step would be to get an internship, and keep interning. Eventually, maybe an office job at an agency will open up, and you can work up to agent from there. I think any agent needs to be proactive, have thick skin, be pragmatic, and also business-minded. Understanding market trends and recognizing what will sell, not necessarily what’s well written, is key (though ideally, it’s both!).

I love your Adventures in Agentland blog, especially the Wednesday Love/Hate posts. I saw on one such post that you absolutely hate excuses. In fact your exact words were:

Natalie, how did this tough thinking on excuses become so much a part of you?

I deal with rejection on a daily basis; I juggle twelve different hats at any different time. When I was writing and submitting, I must have gotten hundreds of rejections; but did that mean I would just give up? No. My path ended up taking a different turn, but I wouldn’t have gotten there if I’d just sat down and cried and given up. The publishing landscape went into a crisis and complete overhaul with ebooks just as I started – but that’s a challenge to tackle, not an excuse to use for calling it quits. This is not a business you can sit back and whine in if things aren’t going your way; you have to take steps to GET there. And as an agent, it inspires me to have a client who won’t give up – it makes me work so much harder to make things HAPPEN for that client when I know they’re working hard, and believing in themselves.

You’ve worked at two San Diego area agencies. Have you ever thought about living and working in that other place way out east?

Yes, but not very seriously. So much is done via phone and email that it’s not necessary to live in New York anymore to be an agent; I still go to New York and take appointments and get actual face time, but I love San Diego so much!

In addition to writing picture books and interviewing outstanding agents and authors, I also run a pizza related website so I must ask you about pizza. Where in San Diego can I find the absolute best tasting pizza and what makes that pizza so delicious?

Hmm. I think Lefty’s Chicago Pizzeria. They have deep dish and it’s really, really good!

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What is the oldest picture, drawing or painting of yours still in existence?

I believe my mother saved a drawing of our church I did in Sunday School when I was about four; it wasn’t for the art, though. I had crayoned a charmingly precocious question about the Sunday School lesson below the picture.

Who was the first person to say you had a real talent for illustration?

I think I always drew, and my family sort of took it for granted and never thought to discuss it, particularly. The first person to really encourage me was a junior high art teacher (who was probably just thrilled to have someone in his class who actually wanted to be there). I remember you and the cafeteria murals you let me work on, Mr. Baltzegar!

Did you have other encouragers along the way?

When I went back for my BFA (had graduated in English the year before), I was a graphic design major–which at that time was part of the fine arts curriculum. My design professors encouraged me, but it was my drawing instructor, Clark Stewart, who planted the seeds of an illustration career. (Gosh, I can’t believe I’m remembering these names!)

You’ve transitioned from graphic designer of business publications to children’s picture book illustrator. Was that an easy transition for you?

Mentally, yes–I had been wanting to try illustrating for children for–oh, years and years. It took the internet to make it possible, since I was located in the Southeast, nowhere near any book publishers.

In practical terms, it took about a year to pull together a portfolio of samples. I had been doing publicity for my daughters’ dance company and designing orientation packets for a local university–that was as close as I had been to illustrating for children until then.

How do you feel about the future of the picture book industry?

Well, I think the new delivery systems are tremendously exciting. Anything that encourages reading is good–and the interactive platforms will be particularly useful for a whole range of concept books and nonfiction publications.

I do think of picture books as an art form, and I think holding a printed book and turning the pages engages a child in an important way. I’ve heard speculation that printed books will become more like artisan objects, lovingly crafted–and expensive. That might be an attractive notion artistically, but I’m not in any way a book snob: I hope there are always mass-produced books on sale at grocery stores and similar outlets, books every child can afford to own.

Will you need to change the way you illustrate books to make your drawings adaptable to digital media like electronic Ubooks, iPads and other forms of digital media? If so, in what way?

That’s something I’m in the process of investigating. There doesn’t seem to be an industry standard yet with regard to size and resolution of artwork for the various formats. The good news is, I already work small, having conformed long ago to the technical limitations of my home scanner–and I don’t have a lot of detail that would get lost when sized down. I think I will liven up my palette a bit. The watercolor washes I rely on now tend to fade out. This might even get me to experiment seriously with digital art. I use vector illustrations in my design work occasionally, but haven’t done much illustrating on the computer.

Of the books you’ve illustrated, which one was the most fun to work on? Which was the most challenging?

My first book commission was both–most fun and most challenging. It was not a picture book; it was a book club edition of The Voyages of Doctor Dolittle. I was asked to do the color cover and black and white line “section openers”–full page illustrations to introduce each of the book’s six parts. I was thrilled, because I remembered how much I always loved “book club day” as a child. The thought that a new generation of children would be introduced to a classic character like Dr. Dolittle through my illustrations was beyond exciting.

I also felt tremendous pressure to get it right. I owned the Trophy edition, which featured the illustrations of the author, Hugh Lofting–how could I possibly top that? I had also seen a lavishly produced edition illustrated by a Famous Artist–who had done a gorgeous job of the cover–only it was inaccurate: the parrot, Polynesia was not the right species! (Polynesia is quite specifically described in the book as an African Gray–not nearly as colorful and exotic as the South American beauty pictured on the later edition–and I thought kids would notice).

So there was lots of research, and great satisfaction. The cover is still one of my favorite pieces–but the economy stepped in at the wrong time. The book club publisher went bankrupt while the color plates were being prepared for printing, and the book was never published. Oh, well.

Is there a certain author whose books you would love to illustrate?

I would love to do other remakes of classic children’s books. One of my all-time favorites as a child, The Twenty-One Balloons, is about due for an overhaul, if anyone‘s listening!

What were some of your favorite picture books as a child and as a mother reading to your children?

I came along just when Little Golden Books made their debut, and they certainly had the desired effect on me. I adored all my Golden Books–with the printed “bookplate” on the inside front cover for me to write my name on. Later, I made friends with a teacher who lived in our neighborhood, and who had ALL the Dr. Seuss books. She let me come over any time and sit for hours reading and re-reading them.

My husband and I were deliberately eclectic in our choices for our two daughters–their favorites ranged from mass-market Sesame Street tie-ins to Winnie-the Pooh. No book was an unworthy book in our house. My own favorite from that era was definitely Richard Scarry. And it’s easy to see how much the girls cared for his books–most of them have been literally loved to death.

Were any of those picture books an influence on you or an inspiration to you in your own career?

Absolutely! If I could come close to Richard Scarry’s vibrant, confident style, I would die happy. I was also greatly influenced by master draftsmen such as Maurice Sendak and Mercer Mayer, to name two. And I have to give a special shout-out to Joan Walsh Anglund from my own era. She was perhaps best known for her licensed greeting cards, which featured very stylized, deceptively uncomplicated child characters, but–oh, my goodness! She illustrated a landmark book, The Golden Collection of Children’s Poetry, edited by Louis Untermeyer, that pretty much blew me away as a child. Her pen and ink illustrations are amazing.

What words of wisdom would you give aspiring picture book illustrators?

Practice, practice, practice, until you’re comfortable enough with your chosen technique to forget about it, and concentrate on story-telling. Many beginning illustrators (myself included) have portfolios full of lovely, well-designed pieces that are better suited to the licensing market: they would make fabulous decorations for calendars and T-shirts and a whole host of children’s products. But picture books require attention to story, and story must have a sense of place as well as characters who are believably grounded in that place, and who interact with each other and react to events.

If you couldn’t pick up a pencil, paintbrush, or any other medium to draw, what career choice would you choose?

I’m a space science geek, so I would be whatever kind of engineer it would take to get me behind the scenes at NASA.

Who is the most famous person to ever taste your chicken/zucchini soup?

Since I make my chicken-zucchini soup only for family, I’ll have to rely on one of my daughters or sons-in-law becoming famous one day.

What question about illustrating have you never been asked that you always wanted to be asked?

Gee–how about the one I’m always afraid will be asked: why do you keep doing this when it’s so darned hard?

Okay, (go ahead and answer that question. : )

The quick answer is, I really have no idea. I think I’m just stubborn. Most of us get by on persistence, after all.

Finally, can you tell us something about yourself that no one else knows?

Ha–no! That’s my problem–I tend to babble on at the least encouragement (haven’t you noticed?). I think I even mentioned on somebody’s blog that I have this strange compulsion to save the little plastic closer-thingies from bread wrappers. I keep them in a plastic bag. That’s about as juicy as it gets, folks!

The post Interview with Illustrator Bonnie Adamson appeared first on .

Sheri Bell-Rehwoldt Reading to a Group of Children

Your question made me laugh! I didn’t “know” if people would appreciate my first newspaper or magazine article. I simply hoped I didn’t come off looking like a ding-dong. LOL! When I wrote my first book, which was a career guide for teens, I simply hoped it would help guide readers towards a fulfilling career. When I wrote my first fiction book, You Think It’s Easy Being the Tooth Fairy?, I just really hoped it would earn out my advance so I wouldn’t have to pay it back. HA! I’m pleased to report that I’ve received numerous royalty checks!

What was the first positive comment you received about your writing?

Oh, gosh, it’s been a good 10 years since I started. But I do remember a local magazine editor telling me I had a good sense of article flow, and several people I wrote about told me I made them sound interesting, for which they were very grateful. HA! I didn’t try writing a book until I’d written a ton of articles. The only way I could mentally approach book writing was to think of it as a bunch of magazine articles – step-by-step, bit by bit.

How did your writing progress after that first positive?

I just wanted to get good at writing feature stories. I remember telling other more established writers, those I met personally who were also writing for local paper and magazine outlets, that I wanted to polish my own articles, rather than an editor doing it. I distinctly remember them rolling their eyes! HA! It took me a while to figure out that while they, too, wanted to produce a great story, they were not interested in editors coming back with numerous revision requests. I spent hours and hours on a single story – even those I got a mere $50 to write – because I was so fearful of having an editor reply with “You might want to rethink writing as a career choice.” HA! Seriously, a writer’s ego is so fragile in the beginning. It often takes numerous credits and kudos before you stop feeling like an imposter.

Sometimes people find it difficult to submit their work to editors. Have you ever had that problem?

Writers are very territorial about their stories, though they do know that editing usually improves a story. But sometimes editors actually insert errors as they edit. Grrrrr! After getting yelled at by a source whose quote was changed, I quickly learned to ask to see the final draft of magazine stories to ensure that didn’t happen. I always get to review the final draft of my books. I always reply with a long list of suggested revisions (now’s the time to catch typos!). It’s certainly a dance between author and editor!

Do you remember your first rejection?

Sorry, no. Simply because I received too many of them. HA! Pitching story ideas to editors is my least favorite part of being a writer. But I have some writer friends who would rather pitch than write. Go figure! What was more painful to me was having Chronicle Books, the publisher of Tooth, turn down a middle grade fiction book draft I later pitched them. If I recall correctly, my editor said, “This is crap. Go back to writing picture books.” I can laugh now, but at the time I was devastated.

Did your first rejections spur you on to try harder or bring you down for a while?

Magazine pitching is hard work, and if you’ve put a lot of time into your pitch, trying to show the editor that you’ve done some story research, including stats and who you’ll interview, it can feel like you’ve wasted your time when they pass. But that’s the time to not drop the idea. It’s the time to dust off their rejection and pitch it to another editor. Most writers end up writing for only a handful of magazines, sticking with those editors who are easy to work with. Once they have a foot in the door, they no longer have to provide those long, detailed pitches because the editor trusts them to deliver. That is the best part of the editor-writer relationship: two-way trust.

I love your book YOU THINK IT’S EASY BEING A TOOTH FAIRY? What inspired you to write the book?

I signed up for a picture book workshop at The Chautaqua Institution in upstate New York. A week before the workshop, I still hadn’t come up with a story draft, which was the only course requirement. One morning I started thinking about Santa Claus. My brain eventually tripped through other famous story characters. When I thought about the tooth fairy, I started wondering why she’s always depicted so dainty. Does nightly tooth nabs sound like a dainty job? NO! That’s why my tooth fairy character is an action gal, with her own high-tech gadgets (patent pending!).

In your school visits, have you found a lot of children who want to be writers?

What I’ve found is that children love writers. Seriously, they treat you like you’re a rock star when you visit their school. What’s funny is when they ask for your autograph, like it’s a big deal. It is pretty funny being asked to write my name on arms and legs, when the kids run out of paper. LOL!

What are your words of encouragement to young students who want to be an author just like you?

Read a lot of books. Learn to watch for how your favorite authors write their sentences and use punctuation. And write a lot. Journaling is a good way to start. Or give yourself a short daily writing assignment. Something along the lines of “Today was awesome because…” or “When I turn 25, I will….” or “My brother is so dumb that he….” LOL! Overall, my advice is to remember that without a plan, there’s no result. Force yourself to read and write weekly, if not daily. You simply can’t get good at expressing your thoughts without practice.

I saw that YOU THINK IT’S EASY BEING THE TOOTH FAIRY has been translated into French and Hebrew. How did that come about?

Chronicle holds the foreign rights to Tooth. It’s their job to try to get it published in other languages/formats. I believe there’s a Korean version in the works as well. And Scholastic Books recently created an audio CD and soft cover version of Tooth.

Also, have you had any French or Hebrew fan mail come your way?

I don’t get fan mail in the traditional sense, but I do get online comments. Or a teacher will pass a pile of letters my way.

Can you share any news about upcoming children’s books you have in the works? Our readers would love to know what to expect next.

Well, I’m still tweaking that middle grade novel my Chronicle editor told me was crap. HA! I’ve rewritten it about 25 times. It’s certainly much better, but I’m still not sure it’s finished. Or maybe I’m just gun-shy about putting it out there with that old rejection hanging over my shoulder. But, as they say, “NO GUTS, NO GLORY!” So I will have to get to it, right?

For you, what is the most enjoyable aspect of writing?

Holding the published book in my hands. Sorry, but it’s true! Writing does not always come easily to me. A part of me still can’t believe I stumbled into being an author! I really enjoy hearing that kids – and parents – find my books fun, interesting, and valuable. One of my books features crafts projects, including a recipe for making what looks like vomit. To see the excitement on the faces of boys – who typically hate reading – is very rewarding. I’m so grateful that I helped to nudge them to read, even if I had to do it with vomit. HA!

Finally, something I always ask my interviewees. Can you tell us something no one else may know about you?

Hmmmm… you probably already know that I held onto a car for three days at a car dealership hoping to win it….and that I have a twin sister….and that Tooth has sold more than 18,000 copies. Oh, wait! I know! I woke up this morning with my upper eyelids swollen to about 10x their normal size. Seriously, I looked like one of those bug-eyed toads you see in nature books. I think I must have rubbed my eyes last night, after using cotton balls to remove my toenail polish. I still look freaky, 12 hours later, but there’s an upside: now I have inspiration for my Halloween costume! LOL!

Here are two ways to find out more on Sheri Bell-Rehwoldt:

The Children’s Books of Sheri Bell-Rehwoldt
The Writing and Editing Website of Sheri Bell-Rehwoldt

The post Interview with Author Sheri Bell-Rehwoldt appeared first on .

Today, she was nice enough to answer some questions for our website readers.

Rachelle in Action

It may be unknown to some people, but you are a very talented children’s entertainer. How long have you been getting paid to act like a clown?

It might look like I’m blushing, but that’s just the face paint   I have been “Tickles the Clown” for about 16 years. I eventually added other characters: “Wacky Witch” for Halloween shows, “Tickles the Elf” for Christmas, and “Princess Meshugana” for Hanukkah and Purim. I also do storytelling programs as “Mother Goof.” Making kids happy is the best job in the world.

Many writers find author visits to be frightening. How has your experience as a children’s entertainer prepared you for author visits?

I think I’d be awfully nervous if I weren’t already accustomed to being in front of a crowd of kids–not to mention adults who are naturally assessing my program. Also, knowing how to make kids laugh results in an educational program that is entertaining as well.

You had your first book published (Tree House in a Storm) in 2009 by Stemmer House. Can you tell me a little bit about your journey to publication? Was it a long arduous journey or were you an overnight success?

Don’t I wish it was an overnight success! No, I worked long and hard for it. In my early years of writing I got only rejection letters from book publishers. I would have concluded that I just wasn’t a very good writer, but then I decided to submit to magazines.   One day I got an acceptance from Highlights Magazine and was on top of the world. Literally the very next day they accepted another story I’d also submitted. Ten months later a third. This success gave me confidence to continue submitting appropriate manuscripts to book publishers. I did get plenty of rejections for Tree House in a Storm before landing a publisher. I use these rejection letters in my author visits to discuss the revision process.

You write about some amazing topics. Recently you wrote about a painter who has been blind from birth.  Can you tell us more about this story and how you came up with the idea?

Once when googling something unrelated, I got a hit for a site about a congenitally blind painter named Esref Armagan. It piqued my curiosity enough to stray from what I was doing and read about it. I was immediately hooked, and ended up reading everything I could about him, including medical and psychological journal articles. I was determined to write a children’s biography about this amazing man. He lives in Turkey and speaks no English, but that didn’t stop me. I contacted his manager–an American woman living in Turkey–and conducted 3-way Skype interviews (with her as interpreter). The book is complete and I’ve even acquired a number of expert reviews, but, as one editor told me, it will be hard to sell in the US since Esref is virtually unknown here. While I continue to submit to educational publishers in the US, I’ve begun seeking an agent in Turkey or England.

A lot of your stories are vey helpful in a classroom setting, how do you see teachers using the story of Esref with their students?

His story would be beneficial in both art and science curricula. In the book, I go into detail about how this man, who has not seen so much as light or shadow, actually paints realistic images with color, perspective, and shadows. Scientists at Harvard have studied his brain, making breakthroughs in the area of perception and the brain. Most of all, Mr. Armagan is an example of breaking barriers. Never underestimate what motivated people can do.

Not only have you had a book published, you’ve also had many articles published in magazines such as Highlights, Pockets, Birds & Bloom and some Scholastic titles.  Do you receive more joy from writing book manuscripts or articles?

When I started writing, I thought nonfiction was dull and had no interest in it. But then I discovered that when something fascinated me, whether a fiction or nonfiction idea–I wanted to write about it. Some of these manuscripts were more appropriate as magazine pieces, and I’m fine with that. One day I was surprised to receive a check from Highlights. They had sold a nonfiction story they’d published a year or two ago to an educational testing service, resulting in new royalties. I like knowing hundreds of kids will be reading it (even if it’s because they have to).

Looking over your list of published works, I see you write a lot about physical or emotional challenges. Can you share why you have a tendency to write about these circumstance?

Perhaps my interest seeing how people overcome barriers is consistent with my other career (I’ve been a social worker a lot longer than I’ve been a clown!). I find such stories inspiring. But while I’ve had work published about a blind skier (Highlights), skiers with other handicaps (Scholastic Scope) and a child’s recovery from cancer (Catholic Forester Magazine), I’ve also written about the tooth fairy, an orphaned squirrel, and missing socks. I don’t limit myself to any particular theme.

You write. You entertain. You also offer a critique service for other writers.  How does your service work?

I have published fiction, nonfiction and poetry for children, and so am open to critiquing all three types of kidlit. Writers send me their work as email attachments. I’ve had clients from the US, Canada, the UK, India, Australia, and Mexico. My website has a link to my service, which provides details, including my affordable fees. References are also on the site.

You have had many clients use your critique service over the years. Do you find your clients are committed writers looking to improve, or people who give picture book writing a shot because it seems a fun thing to do?

Most are serious but new writers. Writers who are just doing it for enjoyment wouldn’t typically look for a critique group or critique service. That indicates a level of commitment

Since you run a critique service, do you have time to be part of a critique group? If you are part of a group, how do you benefit?
I’ve been part of several critique groups over the years. I am currently in two (in-person and online) which have been together for several years. Once I started a new group just for chapter books.

Being active in critique groups is the one thing that advanced my writing the most. New writers often believe that a thumbs-up from their family member/kids/teacher/librarian is evidence of good writing. Unless the person providing feedback is a writer who can dissect a picture book or article, the only real benefit is a boosted ego. My website, www.ResourcesForChildrensWriters.com, has a category for critique groups, with links to sources for finding one to join. They are free.

Only two more questions….

Can you give me a list of your five favorite picture books you read or had read to you as a child and your five favorite picture books on the market today?

I can’t honestly say I was a big reader as a kid. I mostly liked to write and draw. But I remember a few books I loved as a child: The Little Engine that Could, The Pokey Little Puppy, and a lot of Dr. Seuss books. When I was a bit older my favorites were Charlotte’s Web and Stuart Little.

My list of current favorites is long. I love Toni Buzzeo’s lyrical writing in The Sea Chest. Eileen Spinelli is my idol when it comes to rhyming picture books. The Zack Files (early chapter book series by Dan Greenburg) make me pee in my pants from laughing so hard.  I’m in awe of Donna M. Jackson, who writes nonfiction science books (for ages 9-12) in a way that is can’t-put-downable and easy to understand.

Finally, can you share one thing about yourself that friends and fans can find out only from reading this interview? Remember, this doesn’t have to be about writing.

I collect frog figurines. I must have over a hundred of them–marble, glass, carved wood, jade, pewter, metal–including many from other countries. We also even have a  real 13-year-old aquatic frog that my daughter got as a tadpole. As it turns out, the illustrator of my book, Rex Schneider, has a thing for frogs as well. This led to my suggestion that he hide them in all the pictures of our book. And he did.

To learn more about Rachelle and her writing, please visit  www.Rachelleburk.com. To learn more about writing, visit her Resources site which as over 250 links within 30 distinct categories. You can find it at www.ResourcesForChildrensWriters.com. It has won two awards, including the Preditors and Editors Very Useful Site Award!

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Can you remember the first encouraging comment you received about your writing?

Oh, that’s easy! My parents. I can’t remember any one particular comment, it’s more like an overall feeling of pride they had in my writing. I ate up any fictional writing assignment and loved book reports. I wrote five page letters to my friends and composed poetry for my eyes only.

Interestingly enough, it never occurred to me that I might want to be a writer until my daughter was born and I began reading books to her.

What do you most love about the writing life?

I just had a blog entry on this!

I love the research, the revisions, school visits, the sense of accomplishment a final draft brings me, the writing friends I’ve met along the way, the stories about how readers have used my book to keep their Grumpies away . . .

The only thing I don’t love about it, is the waaaaaiting.

I especially love the way it fits into my life. My family and I run a campground May through October, and the hours then are intense. But all those other months are mine to write in! The two mesh together better than you would think. Having 132 families as “company” every weekend give me more writing ideas than I could ever use in my lifetime. The kids who visit with me in my store/office really brighten my day.

Do you also write magazine articles or do you focus entirely on picture books?

While a student of the Institute of Children’s Literature, I completed a magazine writing assignment which went on to be published in a May ’97 issue of My Friend magazine. That was my first writing sale. The title was “If You Were A Baby Alligator . . . ”

But my first love at the time was still picture books, and because I can only write a few months of the year, I concentrated on that genre.

What advice would you give writers who are closing in on the 100 rejection mark without an acceptance of any sort?

Having gotten close to 100 rejections before holding The Three Grumpies in my hands, I know this is going to sound cliche, but I have to say, “Keep plugging along.” Attending retreats and conferences where you can connect with other writers is always an inspiration and will help keep you going. Join a critique group, not only for the learning value, but for the cheerleading moments. Join an on-line list serve to chat with other writers and commiserate together. Study books on how to write, for even my well published friends say you can never stop learning the craft.

Take heart . . . many, many well published writers hit that 100 mark before their first book sold.

How did family and friends view your writing before they could actually hold THREE GRUMPIES in their hands?

Before I sold The Three Grumpies, not too many people knew I was writing to submit. Those few who did were interested in the process, but I think they saw it more as a hobby to help me get through the long winter nights between camping seasons.

My then 10 year old daughter (a budding author herself!) was a fabulous cheerleader and a great sounding board for my manuscripts. She’d probably tell you she never doubted it for a minute.

How many total stories have you written? Even count those that you’ll never show anybody.

Oh, wow . . . I have to go look it up!

Twenty three picture books. And six chapter books.

That’s a lot more than I thought there’d be! More than half those picture books will never see the light of day, I’m afraid.

Do you break or have you broken any conventional rules of picture book writing?

There are rules? Really?

I’m a firm believer in writing the story that’s waiting to be told. If it’s strong enough, it will find a home. It might just take a little longer, that’s all.

Are there certain types of picture books you prefer to write? Humorous? Educational? Sentimental?

I don’t set out to write a certain type, but I tend to lean toward humorous and quirky. Lately, I’ve seen a pattern in my picture book ideas – they all have a family theme to them.

Were there certain picture books that influenced you as you first pursued publication? Certain books you may have read your daughter that inspired you?

I have this worn, faded, falling-apart-at-the-seams copy of Going On A Bear Hunt by Helen Oxenbury. My two year old daughter loved it so much, she memorized it to the point where my parents thought she’d learned to read. I’d always enjoyed writing, but I think it was her love of picture books that first inspired me to try my hand at that particular genre.

In the beginning stages of my writing, I took a Children’s Lit course at a local college. Part of the lesson plan was to read 100 picture books and briefly comment on why they made my list. I was in heaven! I sat on the floor of our little local library, pulling them off the shelf one by one. Those I enjoyed the most came home with me to read to my daughter. Chicka-Chicka-Boom-Boom, Can’t You Sleep Little Bear?, Stellaluna, anything by Eric Carle, Rainbow Fish, Fly Away Home, The Day the Relatives Came, and anything by Lynne Plourde . . . oh, the list goes on!

I’ve just read on your livejournal page that THREE GRUMPIES is about to be published in Korean. Wow! How did that happen?

I have no idea! The Grumpies went out of print in the US recently, so I really wasn’t expecting much of a royalty statement. But I saw a new, unfamiliar listing, and contacted Bloomsbury. Sure enough, Pixelhouse Korea had bought rights. So far, The Grumpies has been published in US, UK, German and Danish. Being grumpy is obviously a very universal theme!

Can you tell us about any picture books you currently have making the rounds at publishers?

I really don’t have any picture books “out there” at the moment. The couple I’ve written still need some tweaking, although I think they’re very close.

The last two winters, I’ve focused on finding my middle grade voice by writing/revising four manuscripts. I have one that my agent is subbing at this moment, and two others I think are very promising. I’ll spend this summer mulling over the revisions I want to make and writing small scenes here and there. Then when October arrives and I wave goodbye to the last camper as I shut the gate behind them, I’ll dig into those manuscripts.

Can you share with us something about you nobody else may know?

I’d do almost anything for ice cream in any form; frozen yogurt, soft serve . . . you haven’t lived until you’ve had frozen custard!

I have lots of favorite flavors too; strawberry, coffee, vanilla, butter crunch, chocolate chip, heath bar. In fact, I’m eating frozen mocha yogurt as I write this!!

Visit Tamra’s Blog -> http://tamra-wight.livejournal.com/

Visit Tamra’s Website ->http://www.thethreegrumpies.com/

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