Sculptor and Spy: Debut Novel by Julie Phend ~interview with Christy Mihaly

Julie Phend

Greetings, and welcome back from summer break! Today we interview GROGger Julie Phend about her recent book, Sculptor and Spy: Romance and Rebellion in the Time of the American Revolution.

This is compelling historical fiction for readers of all ages. It focuses on Betsy Wright, a real person and wax artist who Julie imagines as a spy in the Revolutionary War.

As a nonfiction author, I especially admire how well Julie brings a turbulent historical period to life with compelling characters, romance, and adventure. I was intrigued by her writing process and the decisions she made about what to include, facts and fiction, in writing this book.

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GROG: Julie, you're a former middle-school language arts teacher and now a children's author. How has your teaching background influenced your writing?

Julie:

I loved teaching literature and writing, my own favorite subjects. In our school, the language arts curriculum was tied to the social studies curriculum: the study of American history. So, in my classes, students were reading and writing about the period of history they were currently studying. This was fun for me, as I’d always enjoyed history. But I noticed that some periods of American history were well-represented in literature, while others, including the American Revolution, were sadly lacking. I was especially disappointed by the lack of good books featuring female characters during that period. I think this lack led me to later research and write the story of Patience Wright and her family.

I think your teaching experiences also led you to write your earlier book, too?

Yes. When we studied WWII, we brought veterans in to talk to the students. One of those vets was Stanley Edwards, whose story of being a young pilot shot down on D-Day captivated me. Mr. Edwards’ health was fading, and I wanted to capture his story for future generations of students. This led to our collaboration on the book D-Day and Beyond: A True Story of Escape and POW Survival, which was my first published work. 

What brought you to write this story about Elizabeth Wright?

I discovered Patience Wright (Elizabeth's mother) years ago, at the Spy Museum in Washington, DC. In an exhibit on Women Spies, there was just a short paragraph saying she was a wax artist who traveled to London to sculpt Benjamin Franklin, King George III and other notables. She sent spy messages to the Continental Congress inside wax heads shipped to her sister in Philadelphia.

I found the idea of a woman who was both an artist and a spy very intriguing and wanted to know more. At the time, there was far less information on the internet, but I found a 1976 biography of Patience Wright by Charles Coleman Sellers. As I read it, a picture of this woman emerged. Besides being talented, Wright was bold, brash, and outspoken, truly unusual for a woman of her time. In addition, she was a widow who left her three children in America when she went to London. Patience Wright’s story seemed like an intriguing topic for a novel—one that might fill a gap in literature of that period. Thinking of my students, I wondered what it would be like to be Patience Wright’s child. That question became a central theme for the book.

I know you did a ton of research, from New York to London to Savannah and points between. You must have deep knowledge to write convincingly of this time and these places, and I think you nailed it. Tell us about the research.

I was fortunate to live in London for several months. While there, I pursued this topic through many different venues. While I did do library research, the “hands-on” experiences were even more valuable. I followed Patience and Betsy Wright throughout London, locating where they lived and visiting Benjamin Franklin’s home nearby. I toured Buckingham Palace and walked the paths of St. James’s Park. I visited Madame Tussaud’s wax museum and talked with their historians. I took countless walking tours, soaking up the knowledge of London’s incredibly knowledgeable tour guides and becoming familiar with the geography. I even became a trial junkie, attending trials at the Old Bailey and Court of the King’s Bench, learning the language and customs of the English court system. 

Julie consulting with Ben Franklin

Back in the states, I visited New York, finding the approximate location of Patience Wright’s home and waxwork, the Battery and shipyards, and the Fraunces Tavern, which was the scene of much of the New York Sons of Liberty activity. The original Fraunces Tavern is now a museum devoted to Colonial and Revolutionary-era history and is a wealth of information on the topic. I also visited Boston, Philadelphia, and Savannah, all sites of Revolutionary War history, many of which appear in the book. Wherever I went, I toured colonial homes, becoming immersed in the way of life of the period. 

I think the reader can sense your depth of understanding in the pages of your book. As with all historical fiction, you faced the peculiar challenge of creating believable characters from and around historical figures. How do you give us characters consistent with known facts – how do you decide what to make up and what to alter? For example, was the real historical Betsy Wright a spy, or not?

These were really hard decisions for me, and I rewrote the book several times trying to get it right. My earlier drafts stuck to known facts, but that left too many unanswered questions. Editors and agents who reviewed the work urged me to find the story lurking under the facts.

To answer your specific question, there is no historical evidence that Betsy Wright was a spy. Patience gets all the credit for that. At the same time, Patience was such an outspoken person that she wasn’t a very effective spy. But there is very little known about Betsy, other than that she married Ebeneezer Platt and started her own waxwork business after the war. I couldn’t even find a portrait of her. It made her very appealing as a main character because it allowed me to create her as I wished, within known facts. I speculated that a quiet, little-known young woman could be a more effective spy than someone as recognizable as Patience Wright. 

I love how you point out that there were many women spies during the Revolution. My own recent book, America's Founding Myths, mentions women spies during the Revolutionary War period, and points out (as you do) that women made effective spies because they were disregarded and often not taken seriously.

I particularly appreciate your back matter notes revealing what is true and known, and what is not, about the figures and events in your book. Those questions are always in the back of my mind when reading a story like this. Your thoughts about back matter?

I, too, love reading the back matter of a historical novel to find out which parts are true. It’s hard to decide how much to include in the Author’s Notes, but I hope I’ve answered the reader’s most pressing questions.

I believe you have! Regarding the fictional elements ... I loved Ten, your "street urchin" character – what made you create him?

Ah, Ten!  He just walked (or rather, ran) onto the page when I was writing the Covent Garden scene, and I immediately fell in love with that cheeky little boy.  I’m not one to look a gift horse in the mouth, so I went to work finding ways to incorporate Ten into the story. (I wrote several charming scenes featuring Ten that didn’t make it to the final draft because they don’t tie directly to the plot. I’m thinking of putting some of these deleted scenes on my website, like the “outtakes” from movies and TV shows.)

I love that idea, Julie! I'll look forward to reading your outtakes.

The relationship between sisters Betsy and Phoebe in your book is important and difficult, as sister relationships can be. What inspired you to write it this way? 

History tells us that Phoebe stayed in London and married a painter, William Hopner, who frequently used her as his subject. His portraits reveal Phoebe to be a lovely young woman, but I think she also looks rather vain. This, coupled with her decision not to return to America, led me to characterize her as self-centered and a Loyalist, both of which would put her in opposition to Betsy’s goals and lead to intense sibling rivalry. Growing up with two sisters of my own, I can appreciate that dynamic. 

Anything else you want to tell us about your characters and their stories?

The true story of American Patriot Eb (Ebeneezer Platt), was the biggest surprise, and the hardest to uncover. It gave me great satisfaction to dig out the facts behind his capture and arrest. I had to invent some parts of Eb and Betsy's story. I still don’t know how Betsy really discovered him in Newgate Prison or exactly why he was released, but Ten helped me find a fictional resolution. 

I'm wondering how long it took you to write this book?

It's been in the works for years! Being a true “pantser,” I started to write before I even finished researching. My first draft was from Phoebe’s point of view, when she accidentally started the fire in the waxwork, but I quickly decided that Betsy had the more compelling story. My early drafts began when Betsy first arrived in London, but I found I needed to give the reader more time with Eb, especially after I discovered how exciting his side of the story was. 

As an inexperienced novelist, I made lots of mistakes, got stuck in the middle, and only outlined the book then. But I was determined to learn. I took courses, attended conferences of the Historical Novel Society and the Society of Children’s Book Writers and Illustrators (SCBWI), got professional critiques from editors and agents, as well as feedback from beta readers and my two wonderful critique groups. At one point, I had an agent who fell in love with the book but was unable to sell it or tell me what needed to change. After that, I put the project away for almost five years while I wrote two middle-grade novels (still unpublished). But this story still called to me, and the nation’s 250th birthday was coming up, so I pulled it out, completely revamped the outline, and rewrote it again, this time with the benefit of experience and input from my many readers and editors. I’m finally satisfied and truly proud of how it turned out.

Persistence pays off! And the book is better than it would have been, had you met with immediate success, right? Okay, tell us about your publisher.

The book is self-published, and StoryWeaver Press is my own imprint. That’s another whole story and a huge learning curve, but I’m pleased with the outcome.

That is very impressive! How can readers find your book?

Sculptor and Spy: Romance and Rebellion in the Time of the American Revolution is available in print and eBook on Amazon, Bookshop, and anywhere books are sold. It may be necessary to ask for it in bookstores and libraries. 

The paperback ISBN# is 979-8-9954922-0-7. 

Thank you, Julie! If it's not already clear, I highly recommend Sculptor and Spy. And I can't wait to see what you come up with next.

The Researcher’s Treasure Hunt: Finding the Heart of "The Secret War"

By Todd Burleson

If you looked at my Google Drive right now, you wouldn't see a neat folder for a published novel. You’d see a decade-long archaeological dig.

Writing The Secret War wasn’t a straight line; it was a 13-year journey of uncovering the "wrong" stories to eventually find the one that truly mattered. As authors, we often feel like we’re on a long road trip where we’ve been pulled to the side with a flat tire or a busted radiator. There were even long stretches where it felt like the car had broken down entirely and I simply abandoned it—only to find it still there a year later, waiting to be repaired and driven again.

But in those moments of being "stuck," we notice the horizon at sunrise even more. Inspiration is everywhere if you are looking for it.

From Identity to Authenticity: The Shift from Jamie to Jamie

In the early versions of this manuscript, the protagonist was a 13-year-old Black girl. I spent months lost in the fascinating history of the Coffey School in Chicago and the incredible WASPs (Women Airforce Service Pilots). I loved learning about these pioneers, but as a new writer, I began to feel a deep responsibility toward representation.

Black and female characters have, for too long, been written through the lens of cis white men. I felt that as a debut author, I wanted to focus on an identity I "knew" from experience to ensure the story remained authentic. Jamie eventually became the boy I wish I could have been in 1944—someone who would have given anything to look Orville Wright in the eye.

The Heart vs. The Blood: Centering the Young Reader

Orville Wright was the inspiration for this entire project and has fueled my lifelong fascination with flight. In my initial drafts, the adult characters were front and center, but I realized I needed to bring the story back to a relatable reader audience.

I shifted the adult storylines to the background to ensure the boys remained the heart and soul of the book. If the boys are the heart, Orville is the blood pumping through their veins—his presence is felt everywhere, even when he is pushed into the shadows as a 72-year-old recluse in chronic pain.

From Trope to Truth: Trading "Green Goo" for Reality

As an educator and librarian, I’ve read thousands of middle-grade books, and I’ve learned that young readers don’t need "kid gloves". They need empathy and truth.

In my early drafts, the antagonist, Billy, was a cartoonish bully whose father suffered from a sci-fi version of "radiation sickness"—complete with glowing green goo. I eventually realized that by leaning on lazy tropes, I was robbing the story of its power. I traded the "goo" for the terrifying reality of the Dayton Project. In the final version, the tragedy is real: Billy is a victim of the system he’s trying to protect, carrying a warm, gray piece of Polonium-210 like a treasure while the adults look the other way.

The "Magnesium Glow" of the Future

The adult story that I "killed" in The Secret War hasn't actually vanished. It has become my next project, currently titled Magnesium Glow. This book is a narrative non-fiction biography of Colonel George Hatcher, the man who gave Orville his final flight on April 26, 1944. It explores the "Venn diagram" that brought these two amazing men together in Dayton, and I am incredibly proud to finally give Hatcher’s story the focus it deserves.

Looking Toward the Horizon

It is tough to give writing the time it deserves when you are working, raising kids, and simply surviving. But with retirement from my 34-year career in education now on the horizon, I am overjoyed. I’m looking forward to building more efficient routines while still allowing myself the time to wander the lakeshore and soak in the beauty of Kenosha.

The "Writer’s Math" of my journey—writing 500,000 words to find the 35,012 that mattered—wasn't a waste. It was the fuel.

What "scraps" are sitting in your own files waiting to become their own story? How have you balanced the "survival" of daily life with the need to wander and find inspiration? I’d love to hear about your own creative path in the comments.

The Weight of the Window Banners: Anchoring Grief in Middle-Grade Fiction by Todd Burleson

The Weight of the Window Banners: Writing Grief and the WWII Home Front

Hello, GROG readers! Todd here.

I’ve been thinking lately about what it means to truly “hold one’s breath” on the page.

When we write historical fiction, especially about an era like the American home front during World War II, it is tempting to fill our early drafts with the big movements. We tend to focus on the troop deployments, the battles, and the busy smoke of factories. But I have come to believe that the most accurate map of 1944 was not found in the war room. It was found in the windows of ordinary homes.

Hanging there were small, simple banners. A Blue Star meant a family member was actively serving. A Gold Star meant they were not coming home. As writers, we know these are not just historical props or set dressing. They are the silent beacons by which a community, and our characters, navigate their own vulnerability.

Finding the Compass in the Story

In drafting my middle-grade novel, The Secret War, I found myself deeply drawn to twelve-year-old Billy. For him, the Blue Star in his window is a compass. He is desperate to be a “good soldier” for his brother, Mike, who is fighting in the Pacific. It is this very desire to serve, to stay “on course,” that makes him so vulnerable to the shadows of the era.

But in Chapter 18, the flight path changes. A yellow Western Union telegram arrives. The Blue Star turns to Gold.

I know that including the death of a sibling in a book for young readers is a heavy choice. But over my decades in the classroom and the school library, I learned something vital. Children do not need us to sanitize the world. They need us to help them breathe through it.

Trusting Our Young Readers

History is not just a series of dates. It is the quiet, terrifying courage of ordinary people. By trusting our young readers to sit with the complexity of that Gold Star, we are not just teaching them about 1944. We are using our stories to teach them the most profound human skill. We are teaching them the ability to bear witness with kindness.

Anchoring Grief in the Tangible

This brings me back to those window banners and why physical objects are so crucial in our craft. Death is a massive, abstract concept. For a young reader, comprehending the permanence of loss can be completely overwhelming. But an object, a Gold Star in a window, a faded photograph, an empty chair at the dinner table, or a pocket watch that no longer ticks, gives that grief a physical form.

It gives the character something tangible to hold, to hide, or to finally let go of. When we anchor the heavy reality of death to a specific object, we give our readers a safe container for their empathy. The grief becomes something they can see and understand without being completely consumed by it.

I would love to hear from you all. How do you approach the heavy topics in your own writing? What physical objects have you used in your manuscripts to help ground your characters when they are facing a profound loss? Let's discuss it in the comments!

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A quick note: If you are looking for a wholesome, screen-free summer read that introduces ten to thirteen-year-olds to incredible real-world history, The Secret War is out now in all formats! You can find it on Amazon, and I have also put together a free Educator’s Resource Kit with a 1940s Student Field Notes workbook over at toddburlesonwonders.com.