A Labor of Love: Writing a Compilation of Nonfiction Biographies~a guest post from Vivian Kirkfield

We start 2021 with a fabulous guest post from author Vivian Kirkfield, with a look at writing picture book biographies, using her newest, stellar compilation of picture book biographies, FROM HERE TO THERE: INVENTIONS THAT CHANGED THE WAY THE WORLD MOVES as a mentor text. Being one of Vivian's critique partners, I had the privilege of seeing these 9 stories all come together in one book. Vibrant illustrations accompany Vivian's rhythmic texts. I will say, my favorites are the stories of Bertha Benz and Raye Montague. Take it away, Vivian!

Thank you so much for inviting me to Grog Blog, Tina! I’m so excited to be celebrating the launch of my newest book baby, a nine-story compilation of nonfiction picture book biographies, illustrated by the brilliant Gilbert Ford and published by Houghton Mifflin Harcourt.

Book Baby. When I first heard that term many years ago, I wondered what it meant. A writer friend explained that it was what authors call their new books. Having experienced childbirth three times, I wasn’t sure about equating having a baby with creating a book. The planning. The pleasure. The pain.

Hmmm…then again, maybe creating a book is a lot like having a baby. Especially this one about visionaries whose innovations altered the landscape of the planet. But how, you may be asking, did such a compilation book come about?

The path to publication started in 2016 when I wrote a story about Eric Wickman, the founder of the Greyhound Bus Company. I had gotten in the groove of writing nonfiction bios a year before and I already had a contract for Sweet Dreams, Sarah. My sister told me about a friend who was a friend of Eric’s granddaughter. A Swedish immigrant, Eric came to America in 1905 with only $60 in his pocket. After several failed business ventures, he opened a car dealership, but when he couldn’t sell even one car from his showroom, he bought it himself and started a shuttle service.

That felt like such a great story to me. I did some research and was able to speak with the granddaughter who was extremely helpful. When the story was ready, my agent sent it out on submission – and in the summer of 2017, the amazing Ann Rider at HMH let us know she loved it. However, she had a concern because Eric Wickman is pretty unknown and she worried that the bus wasn’t a popular enough vehicle to merit a stand-alone picture book. Would I be willing to write a few more narrative nonfiction bios about inventors of other things that go?

Of course, I said YES! Ann originally asked me to give her a list of 5 or 6 ideas. I submitted a short list with a brief description of what I might write. I guess you could call that a proposal, but it was nothing like a true nonfiction proposal…here’s a glimpse of what I sent her:

READY! SET! GO!

From the beginning of time, people longed to go. Fast. Slow. High. Low. First, they walked. Next, they used animals. Then they set their sights on faraway lands, peered into the depths of the oceans, and cast their eyes on the stars, and wondered…how can we get there?

With a bucketful of determination, a willingness to work hard, and a spark of imagination, these visionaries changed the way we go.

Note to editor Ann:

I’m attaching the two sample stories: BUS (tightened from 650 words to 420, hopefully keeping all the fun and quirky bits that you loved) and BIKE (which you mentioned you thought would make a very kid-friendly chapter).

And here are some ideas for the other three or four things that go, but I am open to any ideas you have and can research and write on any topic you prefer.

COMPUTER-DESIGNED SUBMARINE: of great interest because it gives the collection some diversity (Raye Montague is an African-American woman, one of the hidden figures, not of NASA as portrayed in the movie, but of the Navy during the 1950’s).

SKATEBOARD: originally created by surfers in California to use when stormy oceans prevented them from riding the waves. They screwed roller skate wheels onto their boards and surfed the city streets. And in 2020, skateboarding will debut as an official sport of the Tokyo Olympics.

HOT AIR BALLOON: has a fabulous aha moment and was invented by two brothers working together as a team –  the creative genius with ADHD, and the practical scientist who kept the project on point. (I wrote this as a stand-alone picture book, but can tighten it for the compilation).

CAR: might never have left the workshop of Karl Benz if not for his wife’s secret plan to promote the car by taking the kids on a road trip to grandma’s house. (there is a stand-alone picture book coming out in October from Charlesbridge)

Ann and I chatted, both via email and on the phone, as we made decisions regarding what stories I should write. Early on, she encouraged me to be careful with my research:

Looking forward to chatting, Vivian!   Just fyi, as you write the stories, its best to keep notes for the back matter close at hand.   Documentation has become more important these days; all direct quotes, for example, need citation.   We can discuss further but, in the meantime, attached please find documentation guidelines from HMH.

 Over the next few months, I researched and wrote. In October, Ann decided that instead of targeting Grades K-2, we were going to gear the stories to Grades 3-6. In addition, she suggested we change the title to THINGS THAT MOVE so that we could include robotics. By December, I had a better idea of what I wanted to do and had already written a few of the stories although I still didn’t know how many stories there would be. I reached out to Ann again with this email:

 Hurray! What a joy to connect with you! Yes, I, too, am excited about this project and thrilled to join with you in shining a light on the lives of these incredible visionaries.

 You mentioned that Eric Gets America Moving is perfect in tone and format...this truly helps me as I craft the other stories for the collection. I thought it would be cool to have inventions that span air, water, and land. Each was a ground-breaking moment in history that changed the way the world moved and left a legacy that touches our lives today. In addition to that BUS story:

·  TRAIN (All Aboard: George Stephenson and the First Steam Passenger Train - which you have seen and which already has the sidebar notes).

·  BIKE (With His Own Two Feet: Karl Drais and the Invention of the First Bicycle - this needs sidebar notes and I hope you love this story as much as I do...I think kids will think it is cool to find out how and why the first bike was built)

· BALLOON (The Boy Who Dreamed of Flying: Joseph and Etienne Montgolfier and the First Manned Balloon Flight which has an awesome AHA moment and is polished, but would need sidebar notes). Or, if you'd rather have a story about an airplane/drone, I could write that.

· ROBOT (George's Robot...taking your suggestion, I wrote a story about the man who invented the first industrial robot which should appeal to kids who love science fiction. It also has a great AHA moment.

· CAR (Genius Camp: How Three Men and a President Paved the Way for Better Roads. It's about how Henry Ford, Thomas Edison, and Harvey Firestone took President Warren G. Harding on a camping trip to convince him to sign a bill to allocate $162 million for better roads...this story is polished, but needs sidebars - or if you don't feel that topic relates closely enough to 'inventing', I also had started writing a story about Bertha and Carl Benz and the first gasoline powered automobile.

· SUBMARINE: I thought injecting some diversity into the collection might be a good idea (Raye Montague is an African American woman) and it gives the book something that moves in the water. The story has a great AHA moment, but I need to flesh the story out and I wasn't sure if creating a program that designs submarines with a computer was too abstract an invention for the book. If you'd prefer another water vehicle, I am happy to research and write that one.

This makes seven...so if you only want five or six, we can eliminate whichever you wish. Or Ann, I am totally open to any suggestions regarding these stories or any others you would prefer for THINGS THAT MOVE. I embrace feedback, revision is my friend, and I look forward to working with you. 

 

At this point, Ann let me know that she really wanted 7-10 stories…and she definitely wanted one about the rocket. She also preferred the story about Bertha Benz over the Genius Camp one. I felt we needed more diversity as well – and I suggested doing a story about the folding wheelchair, which opened doors for mobility-challenged individuals. She loved that idea!

 

In one of her previous emails, Ann had let me know that she loved the structure of the BUS story. And that information was very helpful as I wrote each subsequent manuscript because ‘all’ I had to do was use BUS as a template and recreate the magic. 😊

 

1.     Engaging opening lines.

2.     Child main character who has a dream/goal.

3.     AH-HA moment.

4.     Fun language/great rhythm/excellent pacing.

5.     Legacy paragraph that shows how the invention impacts us today.

6.     Satisfying ending that echoes the opening lines.

 

Once I had my list of visionaries, I researched them, online at first, and then I dug deeper, using books, newspapers, and when I was lucky, interviews with family members. I would write a rough draft and revise and give it to one of my critique groups. And would move on to the next story. When I received feedback on a previous manuscript, I’d revise that one. Somehow, with the help of my amazing critique partners who were always ready to look at a new draft or a revised one, I did it!

 

The contract called for all of the manuscripts to be delivered to Ann’s inbox by May 1, 2018. Counting back nine months brings us to the end of August which is when I started to seriously write these manuscripts. Nine months. Yup…creating this compilation was definitely like having a baby – and, like having a baby, it was definitely a labor of love!

 

 

Vivian Kirkfield~

Writer for children—reader forever…that’s Vivian Kirkfield in five words. Her bucket list contains many more than five words – but she’s already checked off skydiving, parasailing, banana-boat riding, and visiting critique buddies all around the world. When she isn’t looking for ways to fall from the sky or sink under the water, she can be found writing picture books in the picturesque town of Bedford, New Hampshire. A retired kindergarten teacher with a masters in Early Childhood Education, Vivian inspires budding writers during classroom visits and shares insights with aspiring authors at conferences and on her blog where she hosts the #50PreciousWords International Writing Contest and the #50PreciousWordsforKids Challenge. She is the author many picture books including Sweet Dreams,( Sarah (Creston Books); Making Their Voices Heard: The Inspiring Friendship of Ella Fitzgerald and Marilyn Monroe (Little Bee Books); From Here to There: Inventions That Changed the Way the World Moves (Houghton Mifflin Harcourt) and the upcoming Pedal, Balance, Steer: Annie Londonderry, First Woman to Bike Around The World (Calkins Creek/Boyds Mills & Kane, Spring 2023). You can connect with her on her website, Facebook, Twitter, Pinterest, Instagram, Linkedin, or just about any place people with picture books are found.

 

 

 

Guest Post by Beth Anderson: Being There: In Search of Setting + a Give-away!

Beth Anderson is no stranger to the Grog Blog. She offers wonderful picture book biography wisdom. Her new book, "Smelly" Kelly and His Super Senses: How James Kelly's Nose Saved the New York City Subway debuts October 13th from Calkins Creek, & it is fabulous! Today Beth shares about setting in picture book biographies. 

Setting is one of the basic elements of story, and when a story is set in a different time or place than our own, it calls for research. Searching out clothing, technology, buildings, transportation, and more, we aim to avoid anachronisms and make our characters’ world come to life. But setting is more than a “costume” or façade to make a story look right. Setting creates conflict, brings meaning, and is a vital part of point of view. So how can you “be there” as a character when you can’t travel to a place or time?

When I researched Elizabeth Jennings for Lizzie Demands a Seat, I pored over maps to get the lay of the land and locate her home, streetcar route, church, and courthouse. Putting myself in 1854 New York City, I imagined her footsteps clicking…wait…was there pavement? Basic questions like this lead us to seek out and examine images. Details on daily life, clothing, and weather help enhance scenes. 

But as I got to the heart of Lizzie’s story, I needed information on social aspects of life like class, gender, race, traditions, “unspoken rules,” and attitudes. How did she fit in her time and place? How did setting clash with her character? We can understand segregation on transportation being unjust, but how did it impact black lives? And Lizzie as a teacher—an educated, African American female who likely loved children—isn’t unusual today. But when we embed that fact in setting, we see her as exceptional. And when we look deeper, Lizzie as educator indicates she’s part of the abolitionist movement to secure equal rights and end slavery. Looking at her world through her eyes intensifies the emotions and adds meaning. Learning about the social fabric came from reading widely beyond her immediate surroundings, and about what happened before and after her actions. 

     

“Smelly” Kelly and His Super Senses called for setting research with a different focus. James Kelly’s story was more dependent on understanding the physical setting. I studied photographs of New York City from the 1930s to 1950s. I pored over subway maps to find locations of various incidents. And to “be there” as a character with super senses, I had to perceive his world as he did—through his senses. What would he have smelled with his super sniffer? What sounds would’ve bombarded his ears? I found some amazing historical maps— stench, sound, and industry maps! The sound map linked to newsreel clips! Though I didn’t use much of what I discovered, I could immerse myself in his sensory world. 

I’ve always wondered what was beneath those sidewalk grates and manhole covers. I needed to know about subway tunnels and access to infrastructure beneath the street. You Tube is a treasure trove! From teens exploring abandoned tunnels to workers building the subway, I learned about the underground world. [And let me add a special shout out to You Tube. I’ve used how-to videos, re-enactments (musket shots!), tours, historical footage, videos of animals, street sounds, drives through the countryside, and so much more.]

 Kelly’s radio crackled…” Wait a minute—would he have had a radio? How did he get messages to go check out clogs or leaks? An expert answered my question. No radios. He would have used phones marked by blue lights in the tunnels. Note for illustrator. 

Skyscrapers went up…their foundations went down. The city grew. How did that impact Kelly? Broken lines and mains, more miles of track to inspect [museum records]. Drips and leaks threatened cave-ins and explosions. Kelly could be electrocuted by the third rail. Inherent dangers inspire fear, tension, action.

 Why did he investigate a leak in a hotel and a stink in a tavern? Ahhh, everyone blamed that new-fangled, mysterious underground subway. Articles revealed attitudes.

 Media and trends influence how people see their world and sometimes offer interesting possibilities for imagery and writing. Smelly Kelly’s time, the heyday of detective stories and the emergence of superheroes, inspired me to play with both, and I ended up with a superhero thread that tied into the special heart that framed my telling. 

Different stories and characters require you to dig into different aspects of setting. In An Inconvenient Alphabet, I needed to delve into education, reading, writing, and language of the Revolutionary War period. Primary sources revealed traditions, attitudes, implications, and plenty of odd spellings which provided conflict and helped me take readers into the mix.  

It’s important to get the details of setting right and present your character’s world accurately. Even if you’re writing fiction, setting details make your world real and enhance the telling. There are plenty of online tools to gain access to a character’s world: maps of all kinds, Google Earth, You Tube, photographs, images, personal narratives, first-hand accounts, town records, digitized archive materials, varied media of the time, and EXPERTS! But to get past merely “dressing” your story in setting, consider the impact of all you’ve learned about the time and place on your character and the deeper meanings that emerge. Setting isn’t a backdrop and props, it’s sort of a living entity that affects character decisions, actions, and emotions. Some of the most important parts of setting involve aspects you can’t see.

 Dig deep and wide. Wrap yourself in the social fabric. Visualize physical details. Take in the sensory world like Smelly Kelly. But don’t just “stand” in that time and place. Immerse your heart in it. Be there. So your reader can be there, too. 

Thank you, Beth! To win a copy of "Smelly" Kelly & His Super Senses, please leave a comment for Beth by October 31. (U.S. addresses only)

Beth Anderson, a former English as a Second Language teacher, has always marveled at the power of books. Armed with linguistics and reading degrees, a fascination with language, and penchant for untold tales, she strives for accidental learning in the midst of a great story. Beth lives in Loveland, Colorado where she laughs, wonders, thinks, and questions; and hopes to inspire kids to do the same. Author of AN INCONVENIENT ALPHABET (S&S 2018), LIZZIE DEMANDS A SEAT! (Calkins Creek, 2020), and “SMELLY” KELLY AND HIS SUPER SENSES (Calkins Creek, Oct. 2020), Beth has more historical gems on the way.

Book Trailer for Smelly Kelly: https://www.youtube.com/watch?v=EfUyhYJbJBk

Signed copies of my books available at Old Firehouse Books https://www.oldfirehousebooks.com  

and Boulder Book Store https://www.boulderbookstore.net

  

  

Lindsey McDivitt, Ageism in Picture Books, and a GIVEAWAY ~ by Patricia Toht

Author Lindsey McDivitt's welcome page on her website sums up the ABCs of a cause that is near and dear to her heart:

As Lindsey says, "I'm passionate about tackling the issue of ageism -- particularly in picture books. Unfortunately (and often unknowingly) we are teaching negative attitudes about older adults to very young children. Kids need realistic and positive images of old. We all do."

According to GeoBase, the estimated life expectancy of a child born in the United States in 2018 is 79.3 years. That's a lot of life! But the American culture is one that places a high value on youth. 

"Negative stereotypes about aging are baked into our culture, and they're harmful to our health and happiness," Lindsey says. "Many books for kids lead them to believe that old = bad or sad. But that is adults socializing them to believe it."

In her own writing, as well as in her blog, "A Is for Aging," Lindsey seeks to promote positive images of growing older. I asked her about her new book, NATURE'S FRIEND: THE GWEN FROSTIC STORY, and her quest to tackle ageism.

PT: Hello, Lindsey, and welcome to the GROG! You are passionate about healthy and positive images of older people in picture books. Do you think the characterizations of aging are improving these days?

LM: I do think it's improved somewhat, particularly with the popularity of picture book biographies perhaps. They often show kids long, satisfying lives and many accomplishments in late life. I love that!

Lindsey's new release, NATURE'S FRIEND, illustrated by Eileen Ryan Ewen, is the story of renowned nature artist Gwen Frostic.

Gwen suffered a debilitating illness as a child, but turned to nature and art for strength. Her persistence and independent spirit led her to study mechanical drawing and work in a bomber manufacturing plant during World War II. After the war, she started her own stationery company in Michigan and built the business by creating and selling her own linoleum block prints.

PT: Gwen Frostic worked until a few years before her death, one day shy of her 95th birthday. What do you think might have been her secret for a long, fulfilling career?

LM: Since childhood, Gwen refused to take in society's stereotypes telling her how she should live her life. She stayed focused on her goals and pursued them with dedication. So age simply wasn't a reason to stop.

PT: Her specialty was lovely linoleum block prints of nature. Have you ever tried your hand at linocuts or other art media?

LM: I recall trying linocuts way back in junior high school and enjoying them. They require slow, careful work! My main artistic endeavor is creating mobiles from driftwood I collect on the beaches of Lake Michigan and Lake Superior.



PT: You've mentioned that you're drawn to the Great Lakes and the Mississippi River. What do you think attracts you to them?

LM: I believe it's their vastness. There's something about standing on the edge of an enormous body of fresh water. It's awe inspiring, much like the ocean, and gives me a sense of where I am on our beautiful planet. 

Lindsey's photo of Lake Superior

PT: In addition to NATURE'S FRIEND, what books can you recommend that show healthy and realistic examples of aging?

LM: A recent book that I love is HENRI'S SCISSORS by author/illustrator Jeanette Winter. It zeroes in on famous artist Henri Matisse near the very end of his life, when he discovers his art anew and creates some of his most well known works.

Another absolute favorite is HARRY AND WALTER by author Kathy Stinson and illustrator QinLeng. The two main characters are the best of buddies separated by almost eight decades, and this picture book avoids every possible cliche!


Here's a link to five more picture book biographies that highlight older role models - http://www.lindseymcdivitt.com/2017/05/26/5-picture-book-biographies-highlight-older-role-models/

PT: Thank you, Lindsey! Many happy writing years to you!

As Lindsey says: "Role models matter!" Books that portray vibrant older people who continue to live full lives and pursue their passions are important for young readers. KidLit authors and illustrators can help by being thoughtful in our depictions of aging. 

Find Lindsey's website here and her blog here. On Twitter, her handle is @AisforAging. On Instagram, mcdivittlindsey. Connect on her Facebook page at lindsey.mcdivitt.3.


And now...

** Readers, what's YOUR favorite book with older characters? Comment below for a chance to win a copy of NATURE'S FRIEND! **

Suzanne Slade Talks Picture Book Biographies (and a Giveaway!) ~ by Patricia Toht

Kidlit friends, are you familiar with Suzanne Slade? If not, it's time you've met!

Suzanne is the award-winning author of over 100 books! Her picture book biographies are mainstays in schools and libraries. Her newest is DANGEROUS JANE, a lovely and lyrical look at Jane Addams, who devoted her life to social reform and helping the poorest in society. She was co-founder of Hull House, the first settlement house in the US, and won a Noble Peace Prize in 1931.

Suzanne began writing this book in prose form in May 2013. Her files are filled with 82 revisions of that early piece, titled "Unstoppable Jane." She then decided to change the main theme to "dangerous," and created 18 different versions of DANGEROUS JANE. In August 2014 (after 15 months of revisions), she decided to try the story in free verse. After 26 more revisions in free verse, it found a publishing home at Peachtree Books. Now THAT'S dedication to a project!

I love picture book biographies, and I fancy writing one some day. But I admit that I am completely intimidated by the research! Well, since we have an expert in our midst today, let's pose a few questions to Suzanne:

Q: Hi, Suzanne! Thanks for stopping by! My first question is, what inspired you to write about Jane Addams?

S: For as long as I can remember, I've admired Jane Addams and how she helped found Hull House in Chicago to help struggling immigrant families. Several years ago, I stumbled upon the fact that she was the first American woman to win the Nobel Peace Prize, and I was surprised I didn't know anything about Jane's important peace work. Curious, I began researching in earnest. When I mentioned my discoveries about her tireless work for peace to my friends, not one was aware of her peace work either. 

So I decided I needed to share her tumultuous, true story with young readers -- how Jane went from being a beloved humanitarian, to the FBI's "Most Dangerous Woman in America," to the first American woman to win the Nobel Peace Prize. I hope her fascinating story inspires a new generation to be kind to all people, regardless of their backgrounds, and to never stop striving for peace. 

Q: As a nonfiction writer, how do you organize your research? Do you use a program like Scrivener? Or do you use notecards or binders?

S: My organization "system" is rather old school. It consists of three items for each book:

1. Email folder - This contains all the email correspondence with experts/historians, permissions to use photos/artwork, etc.
2. Paper folder - I fill this with hand-written notes from telephone interviews, brochures or papers from museums, photocopies of research materials, and various story drafts.
3. Source doc - This is a lengthy, ever-growing computer document I'm continually updating which contains website links (below each link I copy significant paragraphs from that site), book sources (below each book title I note page numbers with specific facts found on each page), links to online books I couldn't get in hard copy from library, and a list of sources where I found pertinent quotes. This document also has a photo sources list, along with a small copy of each photo for reference. Since Sources docs often become rather long and unwieldy, I bold the facts that end up in the story so I know exactly where I found each one. The length and size of Sources docs for different projects varies greatly. The last story I wrote had a 14-page Sources doc. Another for a space project was 35 pages and had so many hi-res photos that the file was too large to email!

Suzanne's DANGEROUS JANE folder contains a brochure
from her Hull House visit, hand written notes from that visit,
copies of 1917 newspaper articles, a 'book dummy',
various story drafts, and more.

Q: At what point in your research do you conduct interviews?

S: I generally do interviews after I've finished a fair amount of research and have a completed rough draft. That way, I'm asking somewhat educated questions and will hopefully gather the facts and details really needed for the story. Of course, I also note extra information the expert may expound upon so I have that background info. But I don't want to waste the expert's time, so I try to think of all the questions I may need answered before we talk. For DANGEROUS JANE, I interviewed several Hull House staff, and conducted email interviews with Jane Addams experts from the Swarthmore College Peace Collection, the Cedarville Historical Society, and a few notable historical authors, and others.

Now if the subject of my story idea is alive, I will try to contact him or her earlier in the draft process -- after creating a story outline, but before writing a complete first draft. For example, when I proposed a leveled reader project to one publisher about Alan Bean, the fourth man on the moon, I knew we'd want to include photos of his artwork (he now paints moon scenes). So I contacted astronaut Bean early on to see if he'd be willing to participate in the project. Fortunately, he said yes, and I had the privilege of chatting with one of the twelve brave explorers who has walked on the moon. Definitely an out-of-the-world experience for me!

Q: You juggle so many different projects, sometimes releasing multiple books a year. How do you do it all? One book at a time, or multiple projects? (And do you ever sleep?!)

S: If things are going well, I'm generally juggling several books which have been acquired and are at various stages in the publishing process. (I have six books-in-the-works right now with five publishers.) I only work on one or two brand new stories at a time. Meaning, I may have one I'm fine-tweaking and/or submitting and another that's in the earlier researching/writing phase.

Before I begin a new story, I make sure I have at least two weeks without author events or any other interruptions, so that I can really get into the research and writing, and stay immersed until I have a full rough draft. As an aside, it's a scary sight when I'm wrestling down a first draft of a story. I pace around my house with uncombed hair, talking out loud, and asking myself questions. I hand write my first drafts, so handwritten pages with scribbly sentences and huge crossed-out sections are strewn everywhere, along with thick books filled with hundreds of sticky notes. 

I usually get a fair amount of sleep. I do lose sleep, though, when a story is not quite working and I can't figure out why. I keep a pad of paper and pen by my bed because sometimes I suddenly wake up with an idea to "fix" a story. Actually, some of my best ideas strike in the middle of the night. I also don't sleep particularly well before a school visit. But that's okay because the night after a visit, I sleep like a log!

Q: How much backmatter is the right amount? What do you think of sidebars? Do they distract from the telling of a story?

S: This is a tough question because the amount of backmatter depends on several things: the topic of the story, the amount of information covered in the main text, the personal preferences of the editor and publisher, and the length of the book (number of pages). For DANGEROUS JANE's backmatter, we included a great quote by Jane, two outstanding photos of Jane doing what she did best (caring for children and fighting for peace), an Author's Note with more details about her peace work, a Timeline, Selected Bibliography, Sources for quotes, and Acknowledgments of those who graciously helped with the research.

Backmatter from DANGEROUS JANE

Sometimes the amount of backmatter isn't decided until the book designer lays out the book to see what fits. Even then, things can change. For example, my book THE INVENTOR'S SECRET was originally slated for 40 pages (I think), then was bumped out to 48 pages so it would have 9 (yes, NINE!) pages of backmatter. There was so much cool science content in the story that we knew curious readers would enjoy -- like early car models, inventions, patents, etc. -- that we ended up sharing more than we originally planned.

As far as what backmatter to include in a story submission, I suggest a writer simply provide the content he or she thinks is extremely interesting and pertinent to the main topic(s) of the story, knowing that the publisher may or may not decide to include it all in the book. 

Regarding sidebars, personally I'm not a big fan of sidebars in a picture book. But for some topics and layout styles, they work extremely well. Again, it depends on the topic and vision of the publisher. If an author thinks that sidebars would be great with a story, there's no harm in including them. Then just see what the publisher thinks of them and edit accordingly.

Q: Do you share your research with the illustrator? Or does the illustrator do his or her own research?

S: I always email my Sources doc to the editor after acquisition so he or she has the option of sharing it with the illustrator.  So far, every editor has forwarded my sources to the illustrator. I also ask the editor to let the illustrator know I'm happy to answer any questions as best I can.

Illustration of the interior of Hull House with period details
in clothing, home decorations, etc.

Of course, illustrators do their own research to learn about settings, buildings, clothing, and hair styles, etc., but at least my notes give them a list of reliable sources (and experts) to start with, which hopefully saves them time. Alice Ratterree, who illustrated DANGEROUS JANE, did a great deal of her own research, which really shows in her gorgeously detailed and accurate illustrations.

Wow, Suzanne! Thank you so much for shedding light on the research process, as well as tips on writing and organizing a picture book biography.

And now, readers, I have a special treat! 

It's time for a 

GIVEAWAY!

For your chance to win a copy of DANGEROUS JANE, please  comment below and tell us the best way to reach you. 

Good luck!

To find out more about Suzanne Slade, visit her website.

These Biographies Are NOT "Slight" by Kathy Halsey

Define "Slight," Please

Recently I attended an informative book talk hosted by an educator/books festival impresario. She discussed 60 books in 90 minutes and her knowledge of the genres was impressive. However, she kept referring to the picture book biographies being reviewed as "slight." These "partial" stories did not include birth to grave information.

#77380669 / gettyimages.com

Now, being a non-fiction aficionado, beginning my first draft of architect Mary Colter's life, I beg to disagree. A partial take on someone's life is not "slight," it's actually a creative way to draw young children into a true story. These slice of life stories are a way to open up a biographee's life via little-known facts, a focus on one event, or on the motivating circumstances that created the drive to be unique or outstanding. I personally find this type of biography fascinating, and I know kids and their teachers would prefer them, too!