Put Interviewing in Your Writer's Toolbox

by Sue Heavenrich

Nonfiction author, Patricia Newman has a new book coming out next week:  Sharks Unhooked, The Adventures of Cristina Zenato, Underwater Ranger. Illustrated by Becca Hall, this picture book is meant for kindergarteners through fourth-graders. The combination of engaging text and illustrations invites readers into the life of Cristina who, from an early age, dreamt of protecting her shark friends. 

It’s a great story, complemented with plenty of back matter … and tucked into that back matter was a source note citing an interview that Patricia Newman had with Cristina Zenato.

“Wait, you interviewed Cristina?” I asked Patricia.*  “How did you decide that an interview was the best way to gather information?" And with that, we were off on an interview!

Patricia: I often write about scientists and other people living and working in the world, and interviewing is almost always the best way to gather primary source material for my books. Interviews help me tell my story from different perspectives, and often bring me to the location where the research happened and give me some familiarity with the actual tools used. 

At the beginning of most middle-grade projects, I schedule a twenty-minute interview with my subject to explain the book-making process and help the subject understand the time commitment involved. I also ask some basic questions that I’ve developed after checking out several online sources, such as newspaper articles, scientific studies, videos, etc. After this first interview, I usually have enough material to write a proposal for my editor. If I receive a contract, I either schedule an in-person research trip or Zoom interviews.

Picture books don’t normally require proposals, and I did not write one for Sharks Unhooked so my first interview with Cristina lasted about an hour. Afterwards, I read more widely including the resources she suggested before booking a second interview with her.

As nonfiction writers, we’re obliged to gather as much primary source material as possible. Most internet sources provide great background, but you really want to find the unpublished, the new, the different. There’s no substitute for meeting your subject and developing a personal rapport.

Sue: What did you do to prepare for your interview with Cristina Zenato?

Patricia (photo from her website)

Patricia: I usually start by scouring the library and the Internet for books, articles, media interviews, reports, websites, photos, videos, maps, diagrams – anything I can get my hands on. I want to be as informed as possible to use my slotted interview time wisely. 

When I first started, I made up long lists of questions. But interviewing a subject in the field while walking and holding a digital audio recorder and a notebook is not practical! I find it best to ask a few large-concept questions to get the ball rolling. My interviews are much more like conversations. I let my subjects talk as long as they like, trying to keep interruptions to a minimum. Most people don’t think in succinct interview responses; they wander, add detail, and often go off on tangents. That meandering is where the good stuff is!

With Cristina, I began with two main questions: how did your fascination with the ocean develop? And why did you want to learn to dive? As she talked, her passion bubbled to the surface. All I needed to do was clarify details and ask follow-up questions.

Sue: I love that you think of interviews more like conversations. So did you just pick up the phone and talk? 

Patricia: I researched and wrote Sharks Unhooked in 2021, so the pandemic put a major crimp in my research travel. I relied on Zoom (as most of us did), and of course, recorded the interviews using Zoom’s record feature.

  

Recording interviews is essential. After each interview, I listen to the recording while making notes in my research notebook. I mark the parts I like and also make a list of any follow-up questions that I’ll ask during the next interview. 

Depending on the scope of the book, I usually interview each subject at least twice. Two shorter interviews are usually easier to schedule than one marathon. As I begin writing, I often send short emails with easy clarification questions.

Note: Patricia mentioned that when she’s out in the field doing interviews, she uses a hand-held digital recorder that connects directly to her computer via USB so she can download interview files at the end of each day and charge the recorder.

Sue: I didn’t notice any direct quotes in the book. How did you integrate Cristina’s interview responses into the picture book text?

Patricia: When I write middle-grade nonfiction, such as Giant Rays of Hope, I integrate several quotes that scientists have shared with me in our interviews. And all the quotes are sourced at the back of the book.

But Sharks Unhooked is a lyrical picture book, and integrating exact quotes gave the text a clunky feel. Except for one. “You have sharks!” is a direct quote from our interview. Basically, I listened to the poetic, flowing way Cristina spoke about sharks and their underwater world, and I tried to mimic that poetry with the cadence of the text, alliteration, and line breaks. I do, however, include direct quotes in the back matter.

Sue: One of the things that happens during an interview is that folks veer off track. How do you make sure you get the information you need?

 

Patricia: I welcome those winding twists and turns! When I write a book, I give myself the luxury of time when I interview an expert. I’m not a journalist on deadline trying to churn out five column inches. I want a deep dive.

My conversation with Cristina covered her childhood, her adolescence, and her young adulthood before she ever swam with sharks. I needed that information to build a solid case for why sharks were so important to her. Life’s winding road makes our subjects who they are. That’s where you find the nuggets to hook your readers and connect them to your story. 

Every expert I’ve ever interviewed is excited to talk about their life’s work. Let them!

Sue: Thank you so much for sharing your interviewing tips, Patricia. You can find out more about Patricia and her books at her website, www.patriciamnewman.com

Of course, not everything I asked Patricia made it into this post – just as not everything she asked Cristina made it into her book. As for citing interviews for bibliography or sources, Patricia keeps it simple. Here’s how she cited one interview:  

Zenato, Cristina, interview by Patricia Newman. 2021. (August 3).  

*our conversation happened via email!

If the idea of interviewing someone is scary, here are four resources to help you get started:

Anatomy of Nonfiction, by Margery Facklam and Peggy Thomas (Writer's Institute Publications, 2011). Chapter 4 has a huge section about doing interviews. 

Talk to Me: How to Ask Better Questions, Get Better Answers, and Interview Anyone Like a Pro, by Dean Nelson (Harper Perennial, 2019).

“10 Interviewing Tips for Journalists,” by Alison Hill. Writer’s Digest,  Apr 27, 2022.

https://www.writersdigest.com/journalism/10-interviewing-tips-for-journalists

“An illustrated guide to the basics of interviewing,” by Annie Aguiar. The Poynter Institute for Media Studies, October 31, 2023. It’s short, visual, and to the point.

https://www.poynter.org/reporting-editing/2023/illustrated-guide-interviewing-basics-journalism/

Why Many Writers Are Moving to Substack (And Why You Might Want to, Too) by Todd Burleson

If you're a writer, blogger, or storyteller looking for a better way to connect with your readers, Substack might be exactly what you need. It is more than just a blogging platform that combines newsletter functionality, a website for your writing, and built-in community tools. This makes it easier for writers to grow their audience without the frustrations of traditional blogging.

The GROG is exploring Substack as a new home for its content, though we will continue to post on Blogger as we transition. In the meantime, we want to introduce our readers to Substack and explain why so many writers are making the move.

What Makes Substack Different?

At its core, Substack is about direct connection. Instead of relying on algorithms or hoping people find your latest post through social media or search engines, your writing goes straight to subscribers’ inboxes. This direct approach gives writers more control over their audience and engagement.

Here are some of the features that set Substack apart:

• A clean, easy-to-use writing space without the distractions of ads or complex site management

• A built-in recommendation system that helps readers discover new writers

• Support for multiple content formats, including writing, podcasts, and video

• No costs for free publications, with the option to introduce paid subscriptions if desired

Why Writers Are Choosing Substack Over Traditional Blogs

Many writers who have used platforms like Blogger and WordPress are moving to Substack. Here are a few of the reasons why:

Writers Own Their Audience

Social media platforms control visibility through algorithms, and traditional blogs can be difficult to promote without external traffic sources. On Substack, writers fully own their subscriber lists. Every time a writer publishes, their work goes directly to their readers' inboxes. There is no need to rely on social media algorithms, and if a writer ever decides to leave Substack, they can export their entire subscriber list.

Less Time Managing a Website, More Time Writing

Maintaining a traditional blog can take significant effort, from managing hosting and updates to formatting posts and troubleshooting technical issues. Substack removes those barriers by handling the infrastructure so writers can focus on their content.

With Substack:

• There are no hosting fees

• There are no charges for email distribution to subscribers

• There are no plugins or technical maintenance required

For many writers, Substack simplifies their publishing process. Instead of managing a website, they can devote more energy to writing and engaging with their readers.

Substack Helps Writers Get Discovered

Publishing on a personal blog can sometimes feel like sending work into the void. Without an existing audience, it can be difficult to attract new readers. Substack has a built-in discovery system that helps writers expand their reach.

• Writers can recommend other publications, creating opportunities for cross-promotion

• Readers who subscribe to similar newsletters receive personalized recommendations

• Featured sections on Substack highlight engaging content, allowing new writers to gain visibility

Instead of relying solely on social media or search engine traffic, Substack creates pathways for writers to be discovered organically.

A Single Platform for Blogging and Newsletters

Most writers today use multiple platforms to connect with their audience:

• A blog for long-form content

• An email newsletter to reach subscribers directly

• Social media to engage with readers

Substack simplifies this process by combining all of these elements in one place. Every post is automatically sent as an email to subscribers while also living on the writer’s Substack website. This means there is no need to maintain separate platforms for blogging and newsletters.

Writers benefit from:

• Less duplication of effort

• More direct engagement with readers

• A streamlined workflow that reduces administrative tasks

Why the GROG is Exploring Substack

The GROG is committed to supporting writers, and we believe Substack provides exciting opportunities to connect with our readers. As we explore this new platform, we are looking forward to:

• Reaching readers more directly through email distribution

• Reducing the need for technical maintenance

• Taking advantage of Substack’s built-in recommendation features

• Streamlining our publishing process so we can focus on quality content

We will continue posting on Blogger as we transition, and we look forward to sharing more details about our Substack plans in the future.

Join Us for Our Webinar on Substack

To introduce our community to Substack, we will be hosting a webinar on March 26. This session will provide an overview of Substack’s features, explain how writers can use the platform effectively, and answer questions from attendees.

This Webinar is FREE, but limited to the first 100 attendees.

HERE is a short form to sign up.

GROG Webinar on Substack

Wednesday, March 26 · 7:00 – 8:00pm

Time zone: America/Chicago

The webinar will cover:

• The basics of setting up a Substack publication

• Best practices for growing an audience

• How writers can use Substack to build community

• A preview of the GROG’s plans for Substack

If you are curious about Substack and how it might benefit your writing, we invite you to join the conversation.

We look forward to exploring this platform together and continuing to support writers in finding new ways to connect with their audience.

What is an Imprint, Anyway?

 For an aspiring writer, publishing is confusing enough -- so many editors! So many publishing options! And then adding another layer to the confusion cake is the question: What is an imprint, anyway?

Here's my definition, from Fran's Dictionary of Publishing

Terms: An imprint is a little publishing house
inside a big publishing house.

Okay, that might not have helped.

 So let me explain. 

You've probably heard of the Big Five Publishers: Penguin/Random House, Simon and Schuster, HarperCollins, Macmillan, and  Hatchette. Each of these big houses has many imprints that are grouped with other, similar imprints. 

Here's a look at HarperCollins (visit the interactive image here). This is the children's book group.

 

 Each of these imprints exists for a reason: Because they produce unique books. Heartdrum specializes in books by Native American authors. Another imprint, Allida, which takes its name from the Korean word for "to inform," also focuses on bringing new voices to light, as does Amistad. Harper Alley, meanwhile, focuses on graphic novels.

Even smaller publishers have imprints. Here's a screenshot from the Globe Pequot Press website.

 

Let's take a quick look at two imprints, Globe Pequot and Down East Books. Both were previously independent companies that focused on New England, though Down East was more firmly focused on Maine. Today, Globe Pequot still focuses on New England, but it also publishes books about other parts of the country; the landing page for the imprint includes books such as Austin Food Crawls and Pennsylvania's Coldest Cases. Although there are a couple of kid-centered books on the website, there are no middle-grade novels, picture books, and the like. 

Today, Down East publishes a range of titles, both Maine-centered and not, for adults and children. (Confession: Down East published my first book, The Orphan Seal, and my latest, She Went to Space.)

In short, imprints, like the publishing houses they comprise, have individual personalities. They focus on different parts of the book market. And they can also change over time; for example, Clarion Books used to publish just nonfiction many years ago, but now they offer a wide range of books, fiction and nonfiction, series and stand-alones, for all ages.

So, what does this mean for you as a writer? A couple of things:

1) Find the right fit. Before you submit to any imprint, look at the books the imprint publishes. This will give you a better chance of placing your manuscript.  

2) Visit the website. The world changes fast nowadays, and publishers launch new imprints frequently.

3) Check your resources. Publisher's Weekly and Publishers Marketplace will keep you up to speed, and I strongly recommend Harold Underdown's Purple Crayon website.

It takes time, I know. But it's worth it.

To Quote or Not to Quote: How to Use Quotes Effectively in Nonfiction Picture Book Biographies--guest post by Vivian Kirkfield

Today I (Tina Cho) welcome my critique partner, Vivian Kirkfield, to the Grog Blog. Vivian has so much picture book wisdom to share. Her latest picture book biography, One Girl's Voice: How Lucy Stone Helped Change the Law of the Land, illustrated by Rebecca Gibbon, published in February by Calkins Creek. Something that stood out to me as I read this story was the number of quotes that Vivian shared. I thought she should teach us about using quotes. Take it away, Vivian!

I’m thrilled to have this opportunity to share what I know about using quotes…the words of a real person…in narrative nonfiction picture book biographies. I’ve used quotes in several of my books…last year in PEDAL, BALANCE, STEER: Annie Londonderry, the First Woman to Cycle Around the World, illustrated by Alison Jay…and most recently in my newest book, ONE GIRL’S VOICE: How Lucy Stone Helped Change the Law of the Land, illustrated by Rebecca Gibbbon. Both books are published by Calkins Creek/Astra Books for Young Readers – and edited by the incredible Carolyn Yoder (who loves quotes!).…

Using the actual words that a person said (or wrote) is a powerful technique that can draw the reader in, and help the reader really get to know the character. And it can show a prospective editor that you have done your research.

There are three questions I will try to answer for you:

1.    Where can you find quotes for the character you are writing about?

2.    Which quotes should you use?

3.    How can you add them to your manuscript?

Finding the quotes is the first challenge. If the person you are writing about is alive, you may be able to find books they’ve written or interviews they’ve done…in magazines, newspapers, and even on YouTube. When I wrote MAKING THEIR VOICES HEARD: The Inspiring Friendship of Ella Fitzgerald and Marilyn Monroe, illustrated by Alleanna Harris and published by Little Bee Books, I found quite a few of their interviews on YouTube. ANYTHING a person says or writes can be quoted. I didn’t use any quotations in the text of the book, but I did use them in the back matter when I delved more deeply into the lives of those two icons.

As I researched Annie Londonderry for PEDAL, BALANCE, STEER, I found an article she had written for The World, a New York newspaper, after she returned from her globe-trotting trek in 1895. I snagged a dozen or more wonderful quotes from that column.

And for ONE GIRL’S VOICE, the new book about Lucy Stone, I discovered that Lucy’s daughter had written quite a lot about her mother in several books…and in each chapter, she quotes her mother. Lucy was also a great letter-writer and many of those documents are public record in the Library of Congress. Words written in a letter can also be quoted.

I thought it was especially important to use quotations in a book about a woman who used her voice – with each quote, we are ‘hearing’ Lucy Stone’s voice.

The next challenge is to determine which quotes to use. Anyone who writes nonfiction can tell you that one of the problems of doing research is that there always seems to be too much information. What to keep and what to leave out. That same problem can arise when using quotes…not only which quotes to use, but how much of the quote. When I first submitted the Annie Londonderry manuscript, I had not included ANY quotes. But after two R&Rs, I studied other books that the editor had worked on and I discovered that she loved quotes – I added a ton of them – and many of them were LOOOOONG! But the editor acquired the manuscript…and then asked me to trim the quotes to get to the heart of what Annie was saying.

 By the time I sent the Lucy Stone manuscript, I had a more accurate feeling about how many quotes to include – and how long they should be.

My process is to do the research, keeping a VERY careful record of the location of any quotes I might want to use. But I write the rough draft first…and then I see where a quote might strengthen the story or give the reader a deeper understanding of the character.

The final challenge is to decide where the quotes will be placed. Sometimes, a quote might fit perfectly as part of the text.

And other times, a quote might function best when offset, perhaps on the illustration page.

When submitting a manuscript, I think you can always put each quote at the beginning or ending of the text on the spread where you think it will enhance the reader’s experience (in italics) and the editor who acquires your manuscript (let’s think positively!) and/or the illustrator who is hired to do the art will have a vision for how the quotes should be displayed.

To quote or not to quote…if you are writing narrative nonfiction picture book biographies, I encourage you to check out previously published books and study how those authors successfully used quotes. And I hope you check out ONE GIRL’S VOICE…there is a quote on almost every page. At school visits, I encourage the students to raise their hand as soon as they spot the quote – in that book, each quote is offset as part of the illustration – and most of them are written in cursive. It’s a great way to encourage the kids to be observant…and they love to participate!

I hope I’ve helped demystify the use of quotes when writing nonfiction picture book biographies. If you have any questions, please reach out in the comments or contact me via my website: www.viviankirkfield.com.

Writer for children—reader forever…that’s Vivian Kirkfield in five words. Her bucket list contains many more words – but she’s checked off skydiving, parasailing, and going around the world in less than 80 days. A former educator, Vivian inspires budding writers during classroom visits and shares insights with aspiring authors at conferences and on her blog where she hosts #50PreciousWords and #50PreciousWordsforKids. Her nonfiction narratives bring history alive for young readers and have received the Silver Eureka, Social Studies Notable Trade Book, Best STEM Book K-12, Bank Street College of Education Best Book, and Junior Library Guild Selection.