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.

Illustration Notes [To note? Or not to note?] by Guest post author Beth Anderson

 Today I welcome back author Beth Anderson to the Grog Blog. Her latest picture book, Thomas Jefferson's Battle for Science: Bias, Truth, and a Mighty Moose! published May 14, 2024, from Calkins Creek.

Illustration notes are one of those things authors always have questions about. To note? Or not to note? We’re told they have negative effects. But we also tend to think they’re necessary at times. As a writer of narrative nonfiction, I know details have to be right, but at the same time, I don’t want notes to detract from a read by an editor or overstep with an illustrator.

As I pored over the pre-publication passes for THOMAS JEFFERSON’S BATTLE FOR SCIENCE: BIAS, TRUTH, AND A MIGHTY MOOSE!, checking art and text before it went out for printing, I was amazed at how illustrator Jeremy Holmes had merged text and art. The finished spreads were so seamless and intertwined that I couldn’t tell what I had written in the manuscript and what he had added in illustration. When I see books like that, I often wonder what specifically was in the text, illustration notes, and added in art.

So, I went back to see the evolution…

The submitted manuscript had a few illustration notes within the story, including a few optional quotes that could be used. I also had a note for the editor at the end, as I usually do, containing some specifics on the situation in a few scenes to help clarify for an illustrator what wasn’t contained in the text.

Then I looked at the editorial revisions…

Most all the illustration notes in the story disappeared during this process. Why? The revisions clarified so the notes weren’t needed. Sometimes the addition or changing of as little as one word can eliminate the need for a note.

 That brought me to compare that final manuscript with the book to see how Jeremy worked his magic…

Well, first of all, it was abundantly clear at the sketch stage that he had dug deep into research himself. The art was filled with magnificent details. Some spreads had a somewhat graphic novel-ish (yes, I’m sure that’s the correct art term) look that included bits of text. So…where did some of those text pieces originate?

Here are a few examples of text in art and art in text: 

Take a look at this spread and guess what came from me and what came from Jeremy… 

My text had the first three exclamation words (because, of course, I love sets of three!), and he added the 4^th. With his format using four panels, the addition of “poppycock” was perfect.

On a previous page, there are a couple similar words added in the art that were his.

 Jeremy also used little white boxes with comments or a few words in various spots. A few originated in my text, and he moved them into the art, but most of those are his creation. Some of those boxes add humor, others offer historical tidbits (which could have come from a scene  illustration note, but I don’t think they did).

 There are also a few primary source documents in the art. Jeremy’s choices showcase priceless examples that enhance the story and most definitely provide something for kids to pore over on a second read and likely inspire “Whaaaaaaat?”…LOL…“ew.” One of the documents was the bill for the moose. I had tried to find a way to include pieces of it in the text, but it ended up being cut. Jeremy didn’t know that. What fun to see it on the page in the art!

 He totally got my tone and angle, and made it all come to life. He amped up the emotional arc, added to pacing, and brought so much creative fun to the story. And in the end, guess what, he didn’t need my illustration notes. He didn’t use the quotes I offered, didn’t depend on my scene details. He illustrated his vision of the story and integrated it perfectly with mine. Luck? No. Skill. A skilled and wonderfully creative illustrator, chosen by a skilled editor, Carolyn Yoder, who matched just the right illustrator to the text!

 So, my conclusion is…

Unless your story is very different than what the reader needs to see, the old adage applies—the fewer the illustration notes, the better. For me, cutting them forces more clarity in the writing.

 We hope you’ll enjoy the story!

 

Watch the introductory video!

Publisher book page: https://astrapublishinghouse.com/product/thomas-jeffersons-battle-for-science-9781635926200/

For signed copies, visit Old Firehouse Books here: https://www.oldfirehousebooks.com/book/9781635926200

 

Educator Guide: https://astrapublishinghouse.com/resources/thomas-jefferson-guide/

Class Video Visit with Beth Anderson and illustrator Jeremy Holmes from Second Star to the Right Bookstore: https://youtu.be/ijn7pN3MoE8  

For more on Beth’s books and to explore her blog, visit https://bethandersonwriter.com 

 

Lydia Lukidis Dances Through Space ~Christy Mihaly

I'm very pleased to welcome Lydia Lukidis to GROG. Lydia has written 50+ children's books including her most recent, Dancing through Space: Dr. Mae Jemison Soars to New Heights, illustrated by Sawyer Cloud. I had a few questions for Lydia:  

Welcome, Lydia! Please tell us about your writing life and why you write for kids. 

LL: I began reading at age 4 and writing at age 6. I loved writing poetry and was self-taught, it was my biggest hobby, though I didn’t consider becoming an author until years later!

I love writing for children because of their innocence, imagination, and wacky sense of humor. I somehow connect to children and I suppose my mind still thinks like a child's. I prefer writing nonfiction but I don’t want to put myself in a box either, and I still like writing fiction. I have a new early reader graphic series coming out next year based on a comic I created when I was 10. I’m lucky that my agent, Miranda Paul, allows me the freedom to write from the heart, wherever that may take me.

CM: I agree, I worry about getting tired of always sticking to the same genre -- it's fun to play around and explore. But I've noticed you love STEAM.

What do you love best about writing nonfiction?

LL: I prefer writing nonfiction because we live in such a wondrous world and I think children are naturally curious, just like I am. Having a degree in Pure and Applied Science, I love finding ways to make information about our world interesting and accessible for children.

CM: So you are a Serious Scientist, and also an Artistic Person.

How are you staying creative? What do you do to fill your creative well?

LL: I was always an artist first. I drew, made crafts, crafted jewelry, and wrote poetry. I studied science in college and I do have an analytical side. But I believe that to truly understand all facets of our world, we need to look at it through the lens of both art and science. Writing is a creative outlet for me, but I also love making graphics. I still craft in my spare time and make art with my daughter. Creativity is what drives me!

CM: Yes, making art with kids can be inspiring!

Okay, some questions about how you wrote this picture book biography of astronaut (and dancer) Mae Jemison.

How long did it take to get from inspiration to finished book?

LL: I began writing DANCING THROUGH SPACE in 2014 and it took TEN years for the book to get published! It went through many incarnations and I also went through several agents, it was part of my journey. I learned a lot about the kidlit industry and about myself as a writer with this book. Everything unfolded the way it was meant to!

A spacey spread from Dancing through Space

CM: Ten years ... but the book is better for it, right? Books often take a long time. I'm looking forward to the 2026 publication of a picture book biography that I started writing in -- wait for it -- 2012. Lots of drafts, many revisions, and a dose of publishing craziness.

In Dancing through Space, you highlight the twin passions of Jemison's life by telling a dual narrative. Tell us more about what sparked your story concept and how you made it work.

LL: I didn’t figure out the hook (the intersection of dance and science) for years. Yes, it took years to figure it out! My early drafts were probably terrible. But every time I read about Mae, I was drawn to the same thing; that she loved to dance and appreciated the arts. I finally realized that’s the hook I was missing! It brought the story to the next level and it felt right to structure this as a dual narrative.

Showing the dual narrative structure of Dancing through Space

CM: Anything you want to share about your illustrator, Sawyer Cloud, or the publisher, Albert Whitman?

LL: I’m really lucky because I felt that Josh, my editor at Albert Whitman, really understood what I was trying to do. The editing process was very smooth. I was equally lucky to be paired with Sawyer Cloud, whose mesmerizing illustrations captured both reality and magic.

CM: In reading your book, I noticed Mae’s parents were so supportive. Some of her teachers and peers were not. Can you tell us more? 

LL: Mae’s parents were instrumental in helping her discover her inner scientist. When she had a question, instead of answering that question, they would ask her to look it up. That helped her foster autonomy and confidence. Her parents encouraged her to study whatever she wanted, whether it was science or dance.

Unfortunately, girls were not encouraged to study science at that time, especially Black girls. Her Kindergarten teacher questioned Mae’s desire to be a doctor and asked her if she would like to be a nurse instead, which was offensive. And when Mae attended Stanford University, many of her professors ignored or belittled her, despite her brilliance.

But none of that mattered to Mae. The word “no” did/does not exist in her vocabulary. She doggedly pursued her dreams time and time again. She made history being the first Black woman to fly to space and accomplished whatever else she set out to do.

CM: Mae is amazing and kids are going to love this book.

For our GROG readers, do you have any wise writing advice? Recommended resources? Revision tips?

LL: Revising is not the easiest process for me. Sometimes, I know something is wrong with a manuscript but I have no idea how to fix it. There’s no specific equation that works for me each time, but here’s a breakdown of how I edit:

➜ Once I pound out the first draft, I put it aside.

➜ I revisit it and make any necessary edits, playing around with structure and voice (it’s important to experiment).

➜ When I feel the manuscript is the best it can be, I send it to my critique partners (if you don’t have any CPs, get some!! They are an essential part of the process).

➜ I take what critiques resonate, and then get back to editing.

➜ Again, I put the work aside (for me, this is an essential step).

➜ During this time, I read and write other books, this helps keep the creative juices flowing.

➜ When I return to the manuscript, I may realize it’s still not working, in which case I shelve it indefinitely.

➜ If I feel strongly about trying to make it work, I may pay an editor to take a look at it.

➜ If I feel the manuscript is “amazing,” then I send it to my agent Miranda to get her feedback, and then we usually edit some more until we submit it to editors.

CM: Y'all, this is all great advice! Thank you, Lydia.

What upcoming projects are you excited about?

LL: I’m excited to announce UP, UP HIGH, a companion book to DEEP, DEEP DOWN published by Capstone. It ventures up high into the Earth’s atmosphere to uncover its secrets. Though it may seem like there’s nothing up there, readers will be surprised at what you can actually find. That book spins into our universe in 2025.

I also occasionally write funny fiction! I just landed a contract for a 2 book early graphic novel deal, GROUCHO THE GROUCHY GROUNDHOG, the first book releases in 2025.

Lydia, thank you for sharing about your book and your process today. Congratulations on all your writing -- and good luck with the writing (and revision) ahead.

Lydia Lukidis is the author of 50+ trade and educational books for children. Her titles include DANCING THROUGH SPACE: Dr. Mae Jemison Soars to New Heights (Albert Whitman, 2024), DEEP, DEEP, DOWN: The Secret Underwater Poetry of the Mariana Trench (Capstone, 2023) which was shortlisted for a Silver Birch Express (Forest of Reading) award, THE BROKEN BEES’ NEST (Kane Press, 2019) which was nominated for a Cybils Award, and NO BEARS ALLOWED (Clear Fork Media, 2019). A science enthusiast from a young age, she now incorporates her studies in science and her everlasting curiosity into her books.

Lydia's Social Media Links: 

Web: http://www.lydialukidis.com/

Purchase links: https://www.albertwhitman.com/book/dancing-through-space/

Blog: https://lydialukidis.wordpress.com/

Twitter: https://twitter.com/LydiaLukidis

FB: https://www.facebook.com/LydiaLukidis/

Two New Little Golden Book Biographies ~Christy Mihaly

 

Diana Murray

Happy New Year, friends! We're celebrating GROG's 10th year in 2024! (More to come.)

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Christy Mihaly

Today I (Christy Mihaly) am excited to be interviewing the prolific and talented picture book author Diana Murray. Diana and I are friends who met in an online poetry critique group, Poets' Garage. We're both clients of the amazing Erzsi Deak of Hen&ink Literary Studio. And yesterday (1/2/24) we both celebrated book birthdays of books in the Little Golden Book Biography series. Diana wrote about Arnold Schwarzenegger, and I wrote about Mel Brooks, and we thought we'd chat about them a bit today.

You may have noticed LGB has begun a series of bios of a range of artists, celebrities, political figures, and famous folks -- most notably the million-copy-selling Taylor Swift: A Little Golden Book Biography. 

For Diana and me, writing these LGB biographies was a fun change from our usual work.

We each asked one another three questions ... here goes:

Christy: So, Diana, you are known for writing wonderful poetry and rhyming books about knitting pirates, unicorns and witches ... not exactly nonfiction works. Why did you want to write a Little Golden Book biography?

Diana: This was a huge departure for me. Not only is it my first nonfiction book, but it's the first book I've written in prose! I was thrilled to be asked to write it because I love a challenge and I love writing to a prompt. The chance to explore another genre was very exciting and fun for me. Plus, I'm a huge fan of Arnold's movies. "Conan the Barbarian" was one of my favorites during high school -- I must have watched it 50 times. I'm also a first-generation immigrant so I related to him in that way. I understand what it's like to feel grateful for the opportunity to be here. 

CM: You certainly rose to the challenge, Diana. I'd say on your first prose nonfiction work, you nailed it! I also liked learning a new fact about you. What is a favorite fact that you learned about Arnold in the process of writing this book?

DM: I thought it was funny that they dubbed over all his lines in his first movie, "Hercules in New York," because of his accent. And, without his permission, they even changed his name on the movie posters to make it sound less "foreign!" That was in 1970. If only those producers knew what a huge star he would become!

CM: Oh, that is so wonderfully ironic. Talk about overcoming challenges! I know you previously wrote a very adorable fiction/colors LGB, Firehouse Rainbow. I'm sure writing about Arnold was quite different -- were there similarities in writing the two books?

DM: There were two main similarities. One was keeping in mind the audience and making the text appealing for that age group. The other was thinking about page turns and illustrations. You want to create a little tension between page turns. Something that will make readers want to flip the page to learn what happens next. And you need to vary the scenes and locations to create variety -- you can't have the action happening within a single location so it's the same illustration across several spreads.

Now it's my turn! Here are my questions for you, Christy:

DM: You have written several other fabulous nonfiction picture books, such as Hey, Hey, Hay! A Tale of Bales and the Machines That Make Them and Free for You and Me: What Our First Amendment Means. Did that experience make this project easier? How is writing a biography different? 

CM: It's true I think of myself as primarily a nonfiction writer (and I've written many purely nonfiction, educational books), but in picture books I tend to write informational fiction, inventing a story line to convey information in a kid-friendly way. So the challenge in writing the LGB biography was to tell a compelling story for young kids in a few words without making anything up and without leaving out anything important. Honestly, that's always going to be a challenge!

DM: It's such a good question that I have to ask you, too: What's a favorite fact that you learned about Mel Brooks?

CM: I learned a great deal, but found Mel's childhood particularly fascinating. He grew up as Melvin Kaminsky in Brooklyn, without a father and with very little money. He says that he and his three older brothers didn't just share a bedroom -- they all slept in one bed.

DM: I was impressed by how kid-friendly and fun your biography text is.  What are some strategies you use to keep nonfiction from sounding too dry?

CM: Oh, thanks, Diana. One of the first things I did was read a bunch of other LGB biographies to get a feel for how other authors were approaching these short, 24-page biographies. The whole ethos of Little Golden books is to make these stories accessible. 

As I wrote, I paid careful attention both to word choices and to which areas of Mel's life would interest kids. For each spread, I asked: What would a kid want to know? What would a kid think was funny, interesting, intriguing? What would make a young person care about Mel's story? I wrote quite a bit about his childhood, showing how his upbringing affected his life. In describing Mel's later life, I let kids know how important his best friend Carl Reiner was in his life, and also how he overcame many setbacks along the way. And as I chose words and cut excess, I tried to keep the tone light and humorous -- because, Mel Brooks.

Thanks for the great questions, Diana, and your great answers! 

GROG readers, we'd love to see your comments ... Who do you think should be the subject of the next Little Golden Books biography?

Back Matter: A Chance to Be More Than a Story, Guest Post by Beth Anderson

Today we have a guest post by author Beth Anderson, who recently had a new picture book biography released, CLOAKED IN COURAGE: UNCOVERING DEBORAH SAMPSON, PATRIOT SOLDIER, illustrated by Anne Lambelet, published by Calkins Creek. I, (Tina Cho), love learning more about the writing craft from Beth. Today she teaches us about back matter. 

For readers, back matter can be scary. Dense paragraphs covering page after page. UGH. Even an author, NF fan, and former educator like me has to admit to sometimes closing the book rather than committing to all that “grown up” text at the end of a gorgeous picture book experience. I know it’s where the author shares lots of great stuff that didn’t fit in the story….but, there’s always the potential of a gigantic info dump. Too much deters. What’s important? What will enhance the story you’ve told? What might answer questions arising from the text? What will invite more thought and exploration?

Creating Back Matter for CLOAKED IN COURAGE

As I wrote CLOAKED IN COURAGE: UNCOVERING DEBORAH SAMPSON, PATRIOT SOLDIER, so much of what I was doing was trying to sort out facts from fiction. Her story had been corrupted early on by one man’s desire to make her into his version of a heroine. And much of that misinformation was carried forward in other sources. One source, Masquerade: The Life and Times of Deborah Sampson, Continental Soldier by Alfred Young, focused on that process of finding the truth, and his historical detective skills were as fascinating as Sampson’s story. So, when it came to back matter, I knew I wanted to share some of that process and my learning with students and educators—some tips along with a few challenges of being a history detective. That choice has resulted in positive comments from reviewers and readers. And I hope it becomes a teaching tool in the classroom.

“The Challenge of Being a History Detective”

It all begins with the Google search, right? In researching colonial times, it helps to know that there was no standard spelling. (See AN INCONVENIENT ALPHABET for that story for kids. 😊 ) Sampson’s name was originally spelled SAMSON. Other names in the story also had multiple spellings. So with that understanding, your access and search widens.

 Then I shared some examples of primary sources. They’re “golden” but can’t be blindly trusted as 100% truth. Critical thinking is essential. I offered some thoughts on the value of secondary sources and went into setting. In the classroom, setting is defined as “time and place,” but I wanted students to think about all that involves for a book like CLOAKED IN COURAGE. I provided specifics such as Continental Army life, using disguises, traditions, and media influence. Also, the importance of trying to understand the meaning of what we learn within the context of the times, not today’s world.

Finally, I provided transparency with some notes about the details in the story that are in question, and that there is so much we can never know. Reading about how the public reacted to her, we know that Deborah Sampson tested the tolerance of her time. She broke barriers, and those courageous actions had a lasting impact. While the book was in the publication process, Congress passed a bill providing protections for female soldiers and veterans—The Deborah Sampson Act. We added that to the back matter because including connections to today helps bring relevance and meaning to stories from the past.

 And there’s more! The back matter in CLOAKED IN COURAGE contains an Author’s Note, which allows kids to see the writer’s personal connection to the story. The Bibliography might be a bit more interesting considering the history detective information. I’m a big fan of quotes and love to include one from or about the main character to give a stronger sense of the person. In this book, I shared a quote about Deborah Sampson from her pension approval signed by John Hancock, someone kids encounter in the basic history of the time. And of course, Acknowledgments—Thank You’s are important in any endeavor, and readers see that it is indeed a collaborative effort.

A Bit on the Benefits of Back Matter

·       For young readers and listeners: extends interest in a book over time, sparks curiosity, enriches story.

·       For teachers: becomes a teaching tool, supports curriculum, adds a higher reading level and different types of text, can support English Language Learners and struggling readers with graphic elements.

·       For publishers: increases range and potential for marketability, can catch reviewers’ eyes.

·       For authors: adds value to your submission, shares more of the story, can be the starting point for a school presentation.

Making Back Matter Inviting

To invite young readers in think about: “density” of text; short sections; graphics, images, and engaging visuals; interactive pieces such as Q&A or search & find.

To support educators consider: What might connect to curriculum or support classroom skills? Further resources are handy. Author’s (and illustrator’s) Notes contribute to understanding objectives like “author’s purpose” and “author’s point of view.” A variety of information formats can expand literacy skills.

 Transparency: Truth matters. Share inconsistencies in research and fictional elements to encourage critical thinking.

 

More Ideas for Back Matter

Afterword, Words to Know/Glossary, Timeline, Diagrams, Activities, Call to action, Letters, Crafts, Recipes, Experiments, Fun Facts, and Photographs of people, places, processes, realia, etc.  Please feel free to share more ideas in the comments!

 Thank you so much, Beth! And here's my little review of Cloaked in Courage.

Another fantastic picture book biography from Beth Anderson, illustrated by Anne Lambelet, about Deborah Sampson, secret patriot soldier, who used her rebel spirit to push boundaries for women. Never giving up, she accomplished all that she set out to do and more. Beautiful illustrations accompany this riveting text. Impressive back matter explains the usage of primary and secondary sources and how Anderson composed a story using little and conflicting information about her. 

Beth Anderson, a former educator, has always marveled at the power of books. Driven by curiosity and a love for words, she writes untold tales, hoping to inspire kids to laugh, ponder, and question. She’s the award-winning author of CLOAKED IN COURAGE, FRANZ’S PHANTASMAGORICAL MACHINE, REVOLUTIONARY PRUDENCE WRIGHT, TAD LINCOLN’S RESTLESS WRIGGLE, “SMELLY” KELLY AND HIS SUPER SENSES, LIZZIE DEMANDS A SEAT!, and AN INCONVENIENT ALPHABET. Beth has more historical picture books on the way.

https://bethandersonwriter.com  
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Educator Guide link - https://bethandersonwriter.files.wordpress.com/2022/10/cloaked-in-courage_educatordiscussion-guide.pdf