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.

***

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.

Interview & Give-away! Carol Baldwin tells the Whole Truth

by Sue Heavenrich

Welcome Back from your Summer Explorations!

This week GROG has invited Carol Baldwin to share her experiences writing a historical novel. Plus we have a book give-away. So read on...

Carol has published articles for children and nonfiction books for adults. This spring her debut YA novel hit bookstore shelves. Half-Truths (Monarch Educational Services,  April 2025) is a historical novel that takes readers back to 1950. The main character is 15-year old Kate Dinsmore, who lives (and works) on her family’s tobacco farm in rural North Carolina. But Kate has dreams of a future far beyond the tobacco fields. She wants to become a journalist, and the editor for the local paper encourages her to follow her dream.

Kate decides that to get to college where she can study journalism, she’ll need the financial support of her wealthy grandparents. So, she crafts a plan to live with them in Charlotte, only to discover that there’s more to high society than going to school and getting good grades. She’s expected to attend lessons in the social graces so she can become a debutante. Meanwhile, and despite their racial differences, she forms a tentative friendship with Lillian, her grandmother’s teenage maid. When Kate discovers an old family photo while exploring her grandmother's attic, she unearths a secret that will not only threaten her friendship with Lillian and her status with her new society friends, but will cause her to question whether she has what it takes to be a true journalist.

This is a perfect book for kids who love stories but say they don’t love history. It’s a story that will get kids thinking (and perhaps talking) about racial discrimination, segregation, the Ku Klux Klan (KKK), racial violence, injustice, and societal norms. And, even though Carol started working on this story 18 years ago, it’s a great springboard for discussion about what’s happening in our country at this time. So, I was happy that Carol accepted my invitation to chat on the GROG about her writing…

Me: What inspired this story?

Carol: I give a lot of credit to Joyce Moyer Hostetter for encouraging me to discover a story in my own backyard. [Joyce writes middle grade historical fiction] I live in Charlotte, but I didn’t grow up in the South and I wondered what life was like back before the Civil Rights movement. I started digging for stories, asking questions like: Where were the old plantations and graveyards? Who were the debutante girls of 1950? I wanted to know about the history that is under our streets. Meanwhile, I had this idea in the back of my head that I wanted to write about a girl who moves from a farm to Charlotte and into a higher social class. 

Me: I imagine you did a lot of research to lay the groundwork for this story. 

Carol: One of the reasons it took me 18 years to write this book is that I enjoy meeting people and talking to them. When I started, there was so much I didn’t know so I took myself on a self-guided African American Heritage tour.* I interviewed as many folks as I could, including former debutantes, Korean War veterans, and people who picked tobacco as kids, and many more—about 100 altogether!

*go to http://landmarkscommission.org/local-history/driving-and-walking-tours/ 

then click on "African-American Heritage Tour."

I remember visiting a community center that had been a former Rosenwald school, and looking at photos on the wall. Seeing the people in the photos triggered an idea that the girls could have been related. In my conversation with Vermelle Diamond Ely, we talked about how she knew light-skinned Black girls who had passed. I considered including that as part of Lillian’s story, but ultimately decided against it. 

I was excited to discover that the Blue Willow china that is featured in my book, was a popular pattern at the time. There’s a story painted on the china, and I was able to incorporate that story into my own story. I happen to love stories within stories, and there are several in Half-Truths.

Me: How did you manage to keep focused on your story over all those years?

Carol: I definitely went off track a couple times. At one point I had Lillian’s brother dying from a racially motivated incident. Then I realized that had nothing to do with the heart of my story. I spent two years writing the book from both girls’ points of view per an editor’s suggestion. Although it definitely helped me see my story through Lillian’s eyes, I went back to the original idea of writing it from Kate’s POV. 

As for the research, I wanted to make my story authentic. But that tendency to over-research became part of the problem, and in the end, there were stories that didn’t make it into my book. One thing I did to keep me focused on the kernel of my story was to remind myself that Half-Truths is about the relationship between the two girls, Kate and Lillian. If I were to give writerly advice, it would be this: Research wide, but keep in mind the focus of your story so that readers can say, ‘this book is about ___.’ In my case, the book is about a White girl and a Black girl who discover they are second cousins while coming to grips with who they are as young women in the 1950s.

Me: What’s next for you?

Carol: I’m working on another historical novel set in the late 1800s. It’s the story of Kate’s paternal grandfather who is a glassblower’s apprentice. I’ve already done some research on glassblowing – including a hands-on experience in a workshop in Charlotte. As much as I relish diving into the research, I’ll try to be mindful to stay focused on the story!

You can catch a glimpse of Carol’s new project at her blogpost here (which is where I grabbed this photo!)

Thank you so much, Carol. And now, for everyone who’s managed to stick with us this far, go find a story in your backyard. It might be history … or it might be (like so many of mine) about something in your garden! 

You can find out more about Carol, her books, and workshops on her website, carolbalwinbooks.com

enter the GIVE-AWAY! 

Carol is giving away an autographed copy of Half-Truths to one lucky person. You need to live in the US to be eligible. Simply leave a comment before August 26th to be entered! Make sure you include your name somewhere in the comment if you want to be entered in the drawing. We’re doing the drawing old-school, in a manner that Kate and Lillian would be familiar with: putting names in a hat and drawing a winner. Winner will be announced in the first September post, with instructions on how to claim your book! 

Smithsonian Learning Lab ~ by Christy Mihaly

Did you know you can gain access to more than one million images, recordings, and texts from the collections of the world's largest museum, education, and research complex? Whether you're a writer, an educator, a curious mind, or just looking for some fascinating procrastination . . . check out  the Smithsonian Learning Lab. 

You don't have to live near Washington, D.C. to browse the extensive collections of the Smithsonian Institution. This national resource is open to anyone with an internet connection. A visit to the Smithsonian's web pages enables you to see material from 19 museums and galleries, 9 major research centers, and the National Zoo -- woo! 

But if you want to really play with these national collections, sign up for the Learning Lab. Joining Learning Lab is a two-step process but it doesn't take long, and the reward is that you'll be able not only to delve into the Smithsonian's vaults, but also to organize your own online collections of images and resources. The Learning Lab, according to the Smithsonian, is a toolkit that facilitates users' finding, customizing, and sharing digital museum resources. 

As a demo project, I input "Halloween" in the search box on the Learning Lab site. Such a search will generally retrieve images of various artifacts, articles, and videos relevant to the queried topic. My search identified not only a myriad of resources, but also two Learning Lab collections related to Halloween that had already been created. The first, by a Smithsonian employee, curated 46 "spooky delights and dark treasures" from the vaults including vintage Halloween greeting cards, postage stamps, and spooky artwork. The other collection, created by a member, focused on "Frankenstein." Specifically, it included a series of images of Frankenstein's "creature" over time, showing how our conception of the monster has evolved. Cool!

Then I created my own collection. Making your own a collection could be useful in keeping track of research for a book or other research project. It can also be tons of fun. My Halloween collection included photographs from the 1940s of children's Halloween parties. I was intrigued by the kids' costumes (think witches, gypsies, and vagabonds -- no superheroes). I also perused an array of Halloween-themed articles from Smithsonian Magazine, covering topics from tips on science-themed costume ideas to a description of President Gerald Ford's 1975 "Halloween Massacre." (The latter, for those too young to remember, involved little blood but much reshuffling of White House personnel.)

The Learning Lab, launched in the summer of 2016, seeks both to help educators utilize the Smithsonian's resources in their lesson plans, and to facilitate online collaboration. About 100 teachers helped develop the toolkit. Members sign up to post and share collections, quizzes, and assignments. From the home page, a member has three options: Discover (to search the archives); Create (to put together customized collections, lesson plans, and notes); and Share (to post collections, invite students to participate in quizzes, etc.) Check it out!

Special thanks to super-educator, Susan Koch, for pointing me in the direction of the Smithsonian Learning Lab. I invite GROG readers to sign on at the Learning Lab and share in the comments what you discover there. Enjoy!

Reading, Writing and ... Research?

Some tips to help you discover the hidden treasure of your next project.

by Leslie Colin Tribble

Have you ever had the most perfect idea for a nonfiction picture book hit you like a tsunami? The idea washes over you, engulfing you in its absolute brilliance and you rush to your computer, ready to type as fast as your thoughts are flying. 

But then you stop because you realize this will require research. You realize you have no idea where to begin, where to start. How will you find all the juicy information that will make your book different from the rest? How do you actually DO research for a picture book?

I asked several of the Groggers how they start sleuthing for information. Read on to learn about research techniques from this group as well as some pointers from the recent Week of Writing (WOW) retreat.

Look It Up at Your Local Library

Nearly all of the Groggers said their first step is visitng their local library. Start locally but search statewide to save some time. Utilize your library system's inter library loan to request materials. It's gnerally cheaper to pay the fee for an ILL than purchase all those books. It also helps you decide which books are the best resources and which ones you really won't need.

Delve into the digital goodness of WorldCat.org. This online card catalog resource "connects you to the collections and services of more than 10,000 libraries worldwide." WorldCat displays materials in libraries near you, including other states. This is a great way just to see what's already been written on a topic.

Browse the Bibliographies

After you've read all those books from the library, check out the bibliographies. There's a goldmine of resources hidden in those pages. Some bibliographic resources might be out of print or hiding in a locked case at a library you can't get to. Marcie Flinchum Atkins recommends checking abebooks.com for out of print or unusual books.

Another resource that can be helpful is the bibliography and links at the end of a Wikipedia article. But as Candace Fleming reminded the attendees of the WOW Retreat, Wikipedia is not a source. Use it as a first step if you need help getting started finding materials.

Identify the Experts

Often during your research you'll find a few names of experts which keep popping up. These are the folks you'll want to contact for an interview down the road. Experts are the final go to resource after you’ve done all your other research.

While you're in your discovery phase, you'll want to keep in mind the four paths of research which Candace Fleming talked to WOW participants about.

• First are the primary sources. These are autobiographies, interviews, eyewitness accounts, journals or anything else that came directly from the subject of your research.
• The second path are your secondary sources - newspaper and magazine articles, biographies and other books about your subject.
• Third comes my personal favorite - travel. If you can get to a place that was intimately connected with your subject then you’ll have a deeper understanding of the person and what makes them special. However, travel can be expensive and time consuming. Sometimes we have to fore go this path of research. Sigh.
• Finally, after you’ve done your homework, talk to the experts. Interviewing experts at the end of your work is a great way to fill in any gaps or unearth that nugget that will make your story glow.

Now you have a road map to start your research project. This discovery process can sometimes be as much fun as the actual writing, especially if you can add in some travel to your book work. Now get out there and get that research done!

Historical Fiction: History + Heart by Pat Miller

History is a recording of the facts as they were witnessed or conjectured based on evidence. It tells us what happened. Historical fiction is bound by the facts of a time period and setting, but it tells us what it was like. Historians rely on "just the facts, ma'am", researching and unearthing the closest thing to truth they can find. But the writer of historical fiction is interested in having you feel like you are actually there, you are experiencing the times and tribulations of the past when you time travel through his words.

In perusing several dozen historical fiction picture books from the past few years, I discovered that all had an author's note at the back to explain what parts were accurate, how the story was inspired, or to add further detail. The books seemed to fall into four groups:

  

 

1. Imagined people in imagined situations. This seems to be the most common. The writer researched the times and setting, and then set her characters and plot into a historical setting that is an accurate portrayal of a time at least 30  years in the past.

That Book Woman by Heather Henson is told by a boy who begrudgingly admires the female rider who brings books to their mountain home, refusing any kind of trade. "..it would not bother me at all if she forgot the way back to our door. But here she'll come right through the rain and fog and cold.  / That horse of hers sure must be brave, I reckon." Time and the woman's tenacity stirs the boy's mind. "And all at once I yearn to know what makes that Book Woman risk catching cold, or worse." Over the long winter, he submits to reading lessons from his gentle younger sister. Back matter tells of the Pack Horse Librarians who brought books that were "free as air" to Appalachian dwellers throughout the 1930's.

Who Was the Woman Who Wore the Hat? by Nancy Patz. The author saw a hat in Amsterdam's Jewish Historical Museum and poignantly imagined the woman might have worn it and what she might have done in her life.

Finding Lincoln by Ann Malaspina relates the story of a white librarian in 1951 Alabama who lets an African American boy into the whites only public library after hours, risking her job for what both believe is right. 

Whatever Happened to The Pony Express by Verla Kay relates the journey of a series of letters from Prudence in Plymouth Township, PA, to her brother in Sacramento, as communication improves from 1851 - 1870.

 

2. Imagined people in historical situations. Research is essential to all historical fiction. Often, a historical event comes to life when the writer inserts a fictitious character into history, who then becomes the eyes and ears of the reader.

Sky Boys: How They Built the Empire State Building by Deborah Hopkinson is unusual in its use of second person, which gives immediacy and experience to this miracle of metal and sweat.

A young boy is separated from his father when Baba is sent to a labor camp during the Cultural Revolution in China in Red Kite, Blue Kite by Ji-li Jiang. They manage to communicate hope across the distance when each flies a kite visible to the other. 

You might have trouble reading Shooting at the Stars: The Christmas Truce of 1914 aloud to your students without a tear or two. Author John Hendrix begins with an author's note, then tells the story through the letters and voice of an imagined British soldier.

  

 

3. Historical people in an imagined situation. Authors get playful with this category, but their research is still necessary. Though this may be an imaginary situation for the Wright Brothers, for example, they must remain true to their personalities and beliefs. These are fun to share, and all include an author's note to sort out the facts from the imagined. Get a new slant on the lives of men and women you or your students may think you know.

Dear Mr. Washington by Lynn Cullen is about the mayhem wreaked by the artist's children as George tries to sit for his portrait with Gilbert Stuart. 

In Abe Lincoln's Dream by Lane Smith, a young girl separated from her tour group of the White House answers questions from the ghost of Abe Lincoln, and comforts him with information about the progress of his nation.

The Wondrous Whirligig: The Wright Brothers' First Flying Machine by Andrew Glass explains how a toy brought home by their father inspires the brothers Wright to create a flying contraption in their backyard.

Levi Strauss Gets a Bright Idea: A Fairly Fabricated Story of a Pair of Pants includes humor, dialogue, and tall tale details added to the true story of the creation of blue jeans.

In Chasing Freedom: The Life Journeys of Harriet Tubman and Susan B. Anthony Inspired by Historical Facts, Nikki Grimes brings together the two historical figures, who had actually met, for a series of interesting conversations about their ideals, their lives, and their hopes for their country.

A Boy Called Dickens by Deborah Hopkinson brings to life the childhood that inspired so much of his writings. The fiction comes in when Hopkinson makes researched guesses and fills in the blanks in the historical record.

   

4. Historical people in an historical situation. Sometimes authors discover big gaps in their subject's lives for which there is no documentation. Or they include dialogue based on what they were likely to have said. When details are supplied based on researched conjecture, or words not actually recorded in diary, interview, or written record are used as conversation, the book becomes historical fiction, no matter how meticulous the rest of the research is. This often gives the writer the opportunity to increase the emotion or the immediacy of the story. Author's notes, like those in Amelia and Eleanor Go for a Ride, explain which details were imagined.

Amelia Earhart and Eleanor Roosevelt were two bold and principled women who took a brief flight over the capitol. Amelia and Eleanor Go for a Ride by Pam Munoz Ryan slightly embellishes the solid research to paint a powerful picture of these amazing women.

George Washington Carver spent many weekends traveling the Alabama countryside to bring his agricultural knowledge to farmers and children. Susan Grigsby imagines such a visit in In the Garden with Dr. Carver.

Shoeless Joe and Black Betsy were the winning combination of White Sox hitter and his beloved bat. Author Phil Bildner brings Joe Jackson's story to life in historically accurate detail, but he supplies much of the dialogue in context.

During the German extermination of Jews in WWII, there were many courageous heroes. One of them was King Christian X of Denmark. Carmen Agra Deedy based The Yellow Star: The Legend of King Christian X of Denmark on oral histories and historical research.

Candace Fleming based Papa's Mechanical Fish on true stories of the eccentric inventor, Lodner Phillips. Her note shows his submarine being raised from the Chicago River in 1915, and her research and imagination filled in the blanks.

The sorrow of slavery is readily felt in Henry's Freedom Box: A True Story from the Underground Railroad by Ellen Levine. Henry Brown was sold away from his mother, and later, from his wife and three children. With help from abolitionists, Henry escaped slavery by mailing himself in a box from Richmond to Philadelphia. 

Especially for children, historical fiction can bring the emotion and the universal experiences of the past to life. It adds heart to times before their birth, and makes the accomplishments and trials of historic figures to life. For history--read facts. For living history--read historical fiction.

Author Kim Teter & her FIRST book. Say Ciao! if you like VENICE

How would you like to research your first novel for students while visiting Venice?
That's what one author did.
And the result is history-drenched results in the poignant, ISABELLA's LIBRETTO.

Kim Cross Teter is a debut novelist who traveled far to research her

historical fiction story of a unique young musician.

Isabella, age 14 or 15, has no real family name because she is a Venice, Italy foundling.

The setting is a real Venice orphanage of the early 1700s.

And the celebrity character woven deeply into the story actually worked in the real orphanage! He was world-renowned composer Antonio Vivaldi.

Like the best historical fiction sleuths, Kim uncovered a little-known fact;

Vivaldi conducted an all-girl orchestra. This is the setting of ISABELLA'S LIBRETTO.

I met my new friend author Kim Cross Teter at AUTHORS in APALACH, a Florida coastal weekend connecting avid readers to constant scribblers. I couldn’t wait to get my copy autographed for me. I’m glad to “see” Kim again today at our Group Blog. Please give this former Nashville area bookseller & future multi-book novelist, a warm welcome for her debut & award-winning, story, ISABELLA’s LIBERTTO.

Q

What was it like to walk through the functioning building in Venice, which was the site of the former, historic, Ospedale della Pieta? Is the copy of the Pieta still there?

Today, one of the buildings that comprised the orphanage contains offices and a small museum that documents the history of the Ospedale della Pietà, but the building where Isabella and her friends lived in 1715 is now the Metropole Hotel.

http://www.timeout.com/venice/museums/venue/1%3A22510/piccolo-museo-della-pieta-antonio-vivaldi

I was very disappointed that the music hall where Vivaldi worked with the girls has been turned into hotel rooms, but I was able to walk up the same staircase that those amazing women climbed 300 years ago. I did stop half way up with a sense of wonder about the history that had unfolded in that space. I also had the luxury of an afternoon without a schedule so that I could wander the lanes around the ospedale and soak up the atmosphere, and of course, I followed the path that Isabella and Catherine took to see the fireworks!

The statue of the Pietà that is so important to Isabella is a creation of my imagination.  The stunning church that is known today as “Vivaldi’s Church” wasn’t built until the 1740’s. Before that time a church was connected to the ospedale, and what remains of that church is now the bar in the Metropole Hotel! I knew that the earlier version of the church contained at least four statues, so I thought it fitting that one of them might be the representation of the Pietà, which was a common theme of art. 

(Below, author Kim Teter at the former Ospedale in Venice, Italy)

Q

The characters Cecilia and Catherine are Isabella's close pals. And then young Monica arrives, in need of great compassion and understanding. Is there something about all-girl schools that forge friendships deeper than would otherwise be possible?

I think that in the case of Isabella and her friends, the bond that connects them so strongly is the lack of parents and a traditional family.  Because each of them yearns for a sense of belonging, they become sisters in the truest sense of the word and nurture each other. In my depictions of the girls’ associations with the older women, I was influenced by memories of my experience in a Catholic grade school.  Signora Priora is very closely modeled on my own perception of my sixth-grade teacher, Sister Felicitas.

Q

You don't play an instrument yet music is a big part of your life. Explain.

Oh, I fully credit my children with my love of music!  

All three of them—Caitlin, Sean, and Claire--were very talented musicians who took private lessons and played in school ensembles, as well as the community youth orchestra.  When my oldest declared her desire to major in music education, I took a music appreciation course to learn more about the passion that was so important in their lives. It was in this class that I learned about Vivaldi and his association with this remarkable all-female orchestra.  My kids have been my biggest cheerleaders with Isabella’s Libretto, and all have helped me in one way or another.  Claire even took one for the team and accompanied me to Venice.

Q

Your next novel is set in your home state. Can you share a bit about the kinds of research you are tackling for it?

During and shortly after World War II, more than 45,000 prisoners of war were interned in Texas.  I grew up in the Texas Panhandle, and an Italian POW camp was based not far from my hometown of Amarillo.  This summer I’ll be visiting the site of this camp to learn more about a fascinating set of events that took place there (and I only found out about them recently).  I’m hoping to interview some people who still might remember some of the details.  And then I’d like to go to Italy and find some of the former prisoners there who might still be alive. (Because I think all research should involve a trip to Italy—ha!)

Q

As a first-time novelist, can you share two or three tips you wished you had known at the beginning of this quest? (And the Texas POW story sounds like one we all want to read.)

I certainly did not foresee how much time I would need to spend promoting and marketing Isabella’s Libretto!

I am published by a small press, but I’ve spoken with authors who are published by bigger houses who say the same thing. I have struggled with my balance between promoting this book and writing the next, and I have tremendous admiration for those people who are succeeding in this area. That said, I also could not have anticipated how many dear friendships I would gain as I have traveled throughout the Southeast to talk about Isabella’s Libretto, and how much I would enjoy the experience of festivals, school visits, and book signings. I have been extraordinarily blessed to meet and get to know very kind people who are generous in wanting to help others.  

One of those is you, Jan Godown Annino, and I hope to see you again in the Florida Panhandle or at another literary event.  Grazie mille for giving me a chance to share some of my experiences with my debut novel. And best of luck to you!

Q A bit of aw, shucks here Kim. Thank you, right back!

It’s a joy to return to your site & see new posts about new fans for your novel:

http://www.kimteter.com/isabellas-libretto.html

My hubby and I were recently in several coastal towns, including Apalachicola, Florida. This time it was an opportunity to watch modern day impressionist painters work in the open air, at a variety of locations. And I was soaking up more history for one of my works-in-progress, a MG novel set along the Florida coast, but not so long ago - the early 1970s. Paolo & I thought of not only visual artists, but writers & musicians, who can all draw inspiration from charmed historic setting, wherever they are. So glad the City of Venice, Italy, was your muse, Kim.

+ GIVE AWAY!
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