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11 Resolutions For 2026 From The Mixed-Up Files Team

To kick off the new year, I polled the busy members of From The Mixed-Up Files of Middle-Grade Authors to share their bookish goals for 2026, whether for reading, writing, or something else. Here’s what they said: 

New Year's 2026 Writerly Resolutions

“I’d like to stretch my writerly wings and attempt something out of my wheelhouse, like a picture book or chapter-book series. It’s time to shake off the cobwebs in 2026!” — Melissa Roske

“Instead of reading and writing more, more, more, I want to engage with books in an intentional and thoughtful way.” — Jennifer Kraar

“I’d like to finish the second draft of the middle grade fantasy I’m working on!” — Jackie Peveto

“Like Melissa, I’d like to try something new in 2026 – maybe an adult novel or even some short stories. Time to shake things up 🙂.” — Patricia Heinrich Bailey

“Finish a picture book manuscript I’ve been writing and explore some new topics in a middle grade or YA book. Also make a dent in my to-be-read pile!” — Karen Latchana Kenney

“I’d like to carve out the time to meet my writing goals.” — Faran Fagen “My resolution is to re-read at least 15 of the classics, both adult and children’s.” — Jo Hackl 

“Write for at least a little bit 6 days a week!” — Sarah Allen

“I have a few new projects I’ve started and a couple of projects that need to be revisited and revised…but nothing feels finished. I need to focus and finish one of these projects.” — Susan Koehler

“Revise my current work-in-progress to be full of kid-brain imagination and get it ready to query in summer.” — Kate Penndorf “Spend some time with my manuscript every day – even if just for a few minutes.” — Landra Jennings

And for me? I recently started using Pagebound to keep track of the books I’ve read and want to read, and I’ve set a goal there to read 26 books in ’26. Here’s to reading all the books you have in your TBR pile!

Here’s to a healthy and happy 2026! And don’t forget to tell us your goals on MUF’s Facebook or Instagram pages. 

—The MUF team 

Graphic Novelist Interview: Katharine Woodman-Maynard

Graphic Novelist Interview: Katharine Woodman-Maynard

 

It’s such a pleasure to spotlight the immensely talented Katharine Woodman-Maynard today on the Mixed-Up Files blog. She’s a graphic novelist whose gorgeous and faithful adaptation of Natalie Babbitt’s Tuck Everlasting is getting all kinds of well-deserved attention. Kirkus says it’s “as wise and wonderful as the original” in its starred review, and School Library Journal says Katharine “achieves the seemingly impossible task of enhancing a much beloved classic” in its starred review. It also made a few best-of-2025 lists—Kirkus and SLJ! Congratulations Katharine and welcome to the blog! 

Tuck Everlasting: The Graphic Novel, by Natalie Babbitt; adapted and illustrated by K. Woodman Maynard

In this timeless story about immortality, friendship, and growing up, young Winnie Foster learns of a hidden spring in a nearby wood and meets the Tuck family, whose members reveal their astonishing discovery of the spring’s life-changing power. Now Winnie must decide what to do with her newfound knowledge—and the Tucks must decide what to do with her. But it’s not just the curious girl who is interested in their remarkable tale. A suspicious stranger is also searching for the Tucks, and he will stop at nothing until he finds them and uncovers their secret.

From Newbery Honoree and E. B. White Award winner Natalie Babbitt, Tuck Everlasting is a modern-day masterpiece that has been a staple on home bookshelves and in classrooms and libraries for half a century. Drawing closely from the original text, it is now brought to visual life in K. Woodman-Maynard’s gorgeous watercolor artwork. The perfect book for new readers and long-devoted fans alike, Tuck Everlasting: The Graphic Novel is sure to be an all-time favorite for every generation.

 

Interview with Katharine

What drew you to adapting this story into a graphic novel?

Tuck Everlasting speaks to my soul in a way that few books do. I’m also only interested in adapting books where I feel that the graphic novel medium can add something to the story. And what so draws me to it—the wonderful descriptions of the magic of nature, the symbolism, the vibrant characters, and the profound and deceptively simple message—are also what would make this book ideally suited to the graphic novel medium.

How did you figure out what to include from the original version and what to leave out? 

I take adaptations very seriously. I only work with source material that I love and I try to be as truthful to it as possible. This doesn’t always mean a literal interpretation—sometimes I have to make minor changes or tweaks to the pacing or content to better suit the graphic novel medium, but I believe the most important thing is to keep the essence and the emotions of the book intact because that is one of the things that made a book so beloved in the first place. Of course, I have to cut down quite a bit on the amount of text that I include compared to the original book. And I try to show as much as I can with the art even when there isn’t room for all of the text.

What was one of the most challenging aspects during the creation of this book?

I struggled with how to condense the start of the book. In the original, which I love, there’s quite a bit of narration before you get to the plot. In interviews, Natalie Babbitt talked about how kids complained of how slow the start of the book was, so I knew I wanted to get to the action faster. I ended up moving some of the narration to later in the chapter, once the reader was hooked to the story. And I added in a map of Treegap, where much of the story takes place, and included narration with it in order to make it more visually interesting while still conveying information to the reader.

Can you describe your artistic process for creating the spreads of this book? And do you have a favorite spread? If so, why?

I work in a lot of iterations and start out working very sketchily and bit by bit the work becomes more and more refined. I switch between digital and traditional mediums depending on where I am in the graphic novel process. I digitally create the line art using the app Clip Studio Paint and then print it out on watercolor paper and watercolor it by hand. Then I scan the art back in and add in the text, speech bubbles, and panel borders digitally. It’s a ton of work, but I love it.

My favorite page spread is when Winnie enters the Wood for the first time. I love the tree branches used as panel borders and the idea came out of a diary comic I made about how much I love being in the woods and the wonder and beauty I feel there.

 

How did you come up with the gorgeous color palette and what do some of your color choices mean?

I collected various art for inspiration but really it was a lot of trial and error based on the mood I’m trying to evoke in the book, and how the watercolors work together when mixed or layered, and side by side on the page. I try to limit the color palette for each scene and it’s not necessarily realistic to the real world, but the emphasis is more on the emotion of the scene. I also had to consider if a specific color is necessary to include in the scene, like whenever The Man in the Yellow Suit appeared, I needed to use yellow in that scene.

I love the intricate details in your book, like the meaningful chapter title pages and the swirling, twisting dialogue of The Man in the Yellow Suit. Can you describe why you made some of these artistic choices?

I’m always interested in ways I can use the graphic novel in interesting ways and speech bubbles and panel borders are unique to the medium. As with most of my choices, it’s about enhancing the mood of the scene. So, for The Man and the Yellow Suit, his speech bubble tails are more snake-like, to match his character. And they wrap around Winnie’s parents when he tries to blackmail them which I find really creepy.

What are you working on now? 

I’m working on an original middle grade graphic novel. It’s a little early to talk about it, but I’m excited to work on my own story although I love classics. I also work as a writing and art coach for graphic novel creators looking to level up their stories with an eye towards publication.

Thank you so much for joining us on the blog today, Katharine, and for sharing about your creative process! 

All About Katharine

As a child, cartoonist K. Woodman-Maynard grew up with undiagnosed learning disabilities and struggled to learn how to read and write. Instead, she dove into the world of storytelling through her art, which is what she continues to do to this day. K.’s debut, The Great Gatsby: A Graphic Novel Adaptation, was called “hugely rewarding” by The Wall Street Journal. She’s a graduate of Harvard University, where she studied animation, and has worked as an animator, designer, and illustrator for companies such as Capital One, TOMS, and Nickelodeon. In addition to making graphic novels, K. leads workshops; works as a comics coach; and has a weekly Substack newsletter, Creating Comics, where she encourages artists to create more and feel less bad about themselves in the process. She lives in Minneapolis, Minnesota, with her spouse and an enthusiastic dog.

Find Katharine here: Creating Comics Substack Newsletter, Instagram, TikTok, Website, Tuck Everlasting: The Graphic Novel

Let’s capture personal stories

The winter holidays often bring stories to the table. I think this is the perfect time of year to encourage middle graders to capture their family stories. We can draw parents into reminiscing about growing up, encourage grandparents to tell how they or their grandparents migrated to find their own homes, or how they fell in love, created their families, and chose a variety of holidays to celebrate. We can ask about childhood memories that capture a snapshot of history from a personal perspective. In doing so, we’re encouraging middle graders to gain perspective into the struggles and successes that built their communities and families.

My own kids, who were adopted, have a wide range of emotions about these assignments and they embrace these as part of their stories. I love hearing how they hold the stories coming out of their legacies. One of my daughters has two Ancestry trees; her adopted family tree and her birth family tree. A son wants to learn more about his ancestors who were poor farmers from another country. He’s visited the land of his birth. And he was also close to his adopted grandparents and wants to share their stories. Both of my daughters like to share stories of the relationships they have with birth and adopted siblings and parents.

In reality, most of our stories usually only go back one or two generations before we lose sight of why ancestors left their native countries and how they traveled across the country we now live in.  I can trace my family back to the Revolution on my maternal side, but I only know my father’s grandfather was a lumberjack buried in the Northwest. I don’t know how or why my Irish ancestors came to the US on that side of the family. That helps me realize that my children’s responses to family histories is often complicated but it’s also rich. Asking a classroom full of diverse kids means some will balk at telling stories because they’re not traditional, or they’re sad, or confusing. How do we tell stories of leaving a country we love while fearing persecution or poverty? What happens when the parents who raised us have no choice but to send us away? Even when we stay together and remain in the land of our birth, we have stories that should be love-filled but also might include frightening, sad, or lonely events that no one wants to talk about.

I sent myself down a rabbit hole of imagining forgotten stories and how kids can fill in lost histories. My search also focused on the need to talk openly about emotions and how we respond to our own stories. What writing prompts can we offer to bring out these stories? What can we offer kids who don’t feel they have sharable memories?

Memoirist and publisher of She Writes Press Brooke Warner focuses on great guidance for finding and sharing memories. While we think of memoir as truth telling, we also recognize that telling a family story doesn’t always mean others see events in the same way we do. Teaching kids to write personal stories means we need our writers to understand that our stories tell our own emotional truth and two family members might not see the story in the same way. We might tell kids that we interpret meaningful moments in the ways they impact us. That is our truth. Warner focuses on this important distinction when she says. “Emotional truth allows you to fill in those blanks with what would have happened based not on what you remember, but on what you know. What you know, for instance, is how your mother would have reacted to your dad not coming home one night, even if you don’t recall the exactness of the scene you’re writing in which that happened.”Brooke's craft of memoir

She suggests writers take advantage of “memory pops” or those small snapshots of life that pop into your head without any context. The writers’ job is to provide a context musing about what led up to that memory pop and what followed.

To find these “memory pops,” we might ask questions such as what is the first time you remember experiencing joy, or sadness, or hunger, or peace? What is your first memory of your grandparents? Can you tell us about a journey you were excited or afraid to take?

For more information on writing memoir, Warner has written a great guide, Breaking Ground on Your Memoir.

 There are tons or game-like resources that writers can use to draw family stories out. Tales is one intriguing game that might be brought into a classroom to wake up those memory pops.A game for families

Warner refers to the Disney film Inside Out.  While the film focuses on emotions which always provide a flow of writing ideas, it also follows characters into a memory dump, a site where memories are buried. That might be a great motivator for kids to consider what happens when we leave our memories behind and what gold we might find if we help ourselves or our family members to recall buried memories. I’d take it a step further and ask family members to re-describe a scene from their perspectives to capture multiple viewpoints. The film’s concepts have been re-imagined as a series of books that teachers and librarians might add to your shelves.A film about understanding feelings

Family HistoryNovels are also a great way to get middle graders thinking about how stories shape lives. Two of my favorite are Lisa Yee’s Maizy Chen’s Last Chance which used a unique framework of story within story to show Maizy’s history, her mother’s, her grandparents, and her great grandparents’ stories.

Dan Santat’s graphic memoir, A First Time for Everything, provides readers with insights into being an only child and gaining independence.Gaining Independence

Kate DiCamillo’s Because of Winn Dixie is a great look at single parent families.Single Parent Families and community

When I consider most middle grade novels, family history finds its way into the script so use your imagination and bring the books you love to your students. Help them discover the family stories and use these as beginning discussions to get them writing.

We don’t have unlimited budgets to bring in books and movies and games, but we have a ton of imaginative ideas for story starters. Here are some writing prompts I’ve used with students from middle grade through college. Feel free to bring them into your classrooms and, please, feel free to share your ideas in comments:

  • Bring in a recipe that you love. Write about the experience of making this or tasting this for the first time. Or students can write a recipe and talk about how it might make them feel to make this or eat it.
  • Find an old photo and write about the circumstances you believe surround the snapshot. Better yet, have students bring photos or create illustrations to tell their family stories and turn these into books that students can bring home as family gifts.
  • Write down a few memory pops and then fill in the story around that pop.
  • Bring in a grab bag of different smells or flavors and have kids pick them with their eyes closed. Write about any memories that these smells bring to you. Of course, make sure, ahead of time, that you’re not including any allergens.
  • Define what is old.
  • Interview a parent or grandparent about their native land. Ask them why they left or stayed.
  • Interview family members about the best day of their lives, the worst day of their lives.
  • Write about what makes you happy, sad, fearful, hopeful.
  • Where do you spend family celebrations?
  • What do you celebrate in your home?
  • What do you wish your family could do together?

For more ideas than you could ever hope for, here are a few websites:

Resilient Writers100 New Writing Prompts for Memoir Writers

Storii70 Question Prompts to Capture Childhood Memories

Writer-ish50 Impactful Memoir Writing Prompts to Get You Writing TODAY