Posts Tagged children’s books

The Leap to Indie: One Author’s Story

Not all authors are lucky enough to get a book published. Some try for years, even decades, without success and eventually give up. Others keep at it, hoping for a book deal, even if the chances are slim. And the others? They do the one thing they swear they’d never do. They publish their own books.

Life After Kat Greene

After my debut novel, Kat Greene Comes Clean, came out in 2017, I was on cloud nine. Becoming a published author had been a long-held dream, and I felt like I’d won the lottery. Until my sales numbers came in. Understandably, my publisher turned down my second book, and my agent tried to find a new home for it. Things didn’t pan out, and eventually we parted ways. I found a new agent, and wrote a third book.

Disappointment and Despair

Despite my new agent’s enthusiasm, editors weren’t feeling the love. “The voice feels too young,” some would say. “The voice feels too old,” said others. Sometimes, editors wouldn’t respond at all. Hopefulness gave way to hopelessness, and it got harder and harder to stay optimistic. I knew I wasn’t a failure, but I definitely felt like one.

My daughter, Chloe, saw me struggling and gave me a book called Self-Compassion: The Proven Power of Being Kind to Yourself. I appreciated the gesture, but I felt too deflated to read it. At the same time, I  knew that if I didn’t make some serious changes, I’d be stuck in a never-ending loop of disappointment and despair.

Breaking Up Is Hard to Do

The first step was breaking up with my agent. We had formed a strong professional bond over the years, filled with trust and mutual respect, and I worried that pulling the plug would feel like a personal betrayal. Thankfully, my agent didn’t see it that way. They admired my courage to forge my own path, and promised to remain friends. It felt like a burden had lifted, perhaps for both of us.

But after I terminated my contract, reality hit. I had no agent, and no clear way forward. Although I knew indie publishing was an option, I doubted it was right for me. Sure, many authors were doing it, but as someone who’s worked in publishing for more than thirty years, it still carried a stigma I couldn’t shake. Plus, all that hard work! All the uncertainty! And all the decisions I’d have to make, from hiring a cover designer to securing an ISBN number, and everything in between. For a risk-averse person with fair to middling decision-making skills, this was my worst nightmare.

Snowy Wings Publishing

And then I discovered Snowy Wings, a group of MG and YA authors who banded together to form their own publishing house. It’s a cooperative model, which means the authors in the collective share resources and advice, and help to cross-promote each other’s books. What could be better than that? So, I contacted the founder, Lyssa Chiavari, and bombarded her with questions. Lyssa patiently answered them, and then invited me to join the group.

My first novel with Snowy Wings, Camp, Crushes, and Other Catastrophes—an epistolary novel that focuses on two thirteen-year-old BFFs, Maddie, who’s getting bullied at sleepaway camp, and Kenzi, who’s back home in NYC, babysitting her bratty little brother—will be published on May 4, 2027.

I’d be lying if I said I’m not freaked out by going indie, and the learning curve is steep. But the thought of having more control over the publishing process is worth the price of admission. And then some. Watch this space! 🙂

Author Melissa Roske smiling and signing a book at a bookstore event. She is seated at a wooden table in front of bookshelves, wearing a sleeveless purple dress.

Melissa Roske is a writer of middle-grade fiction. Before spending her days with imaginary people, she interviewed real ones as a journalist in Europe. In London she landed a job as an advice columnist for Just Seventeen magazine. Upon returning to her native New York, Melissa contributed to several books and magazines, selected jokes for Reader’s Digest, and received certification as a life coach. In addition to her debut novel Kat Greene Comes Clean, Melissa’s short story “Grandma Merle’s Last Wish” appears in the Jewish MG anthology, Coming of Age: 13 B’Nai Mitzvah Stories. Learn more about Melissa on her Website and follow her on  Facebook and Instagram.

Talking Monsters, Wumps, and Inspiration with Tony DiTerlizzi

I had the privilege of chatting with Tony DiTerlizzi, who’s been writing enchanting and award-winning tales for over twenty-five years. Today, we’re taking a special look at his latest book, The Wump.

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Thank you so much for joining us here at the Mixed-Up Files, Tony! As a reader of the Spiderwick Chronicles and many of your other works, I was so excited to hear about your new book, The Wump, and thrilled to have the chance to read it early. This story shows us a boy who lets a monster eat his darkest thoughts and feelings so he can stand up to the bullies in his life before he realizes the protection and revenge the wump gives him come at a cost. Though this dark supernatural coming-of-age story leans into the scary side of our emotions and the steep consequences of our choices, it offers a bright contrast with hard-won friendship and the power of forgiveness. This exploration of light and dark makes for an engrossing read that blends illustrations and prose in a perfectly creepy way.

Your illustrations always add such richness and depth to the stories they help build, and that was certainly true for this book. The two-color illustrations are fabulous.

Tony DiTerlizzi: Thank you for noticing! Whether I am illustrating my own words or working with another author, I consider all aspects of bookmaking when bringing a story to life: how does the trim size attract a reader? Typeface? Art style? Color palette, etc.

I strive for a visceral feeling that entices the reader to pick the book up from the shelf (or select it from an endless stream of online images). Once I get them intrigued, how do I delight the reader when they crack open that cover? It’s a lot of trial and error, discussion with my team and the publisher to arrive at the best visual presentation of the story.

 

Could you tell us about the spark for this book? Did you think of the creature first or a character like Timothy?

Tony DiTerlizzi: “Timothy B. Tibblesworth was a strange lad. He had no friends for everyone thought he was strange indeed.”

I wrote that in January of 2001 when a rush of inspiration for a story flooded my imagination. Scribbled on several spreads of my sketchbook are notes about an oddball outcast and his shadowy monster companion, the wump.

Over the next year I developed the plot, characters and the rules of the monster but I was not satisfied. Regardless, I was obsessed with the idea of a middle grade story about a shadowy beast. I knew there was something special, something honest, there…but I believed then that I did not possess the technical skills to write the story I saw in my mind.

Over the years, I would tinker on the manuscript but still felt it wasn’t up to snuff. It wasn’t until I finished working on the WondLatelevision series that I felt confident enough to tell Timothy’s story at last.

Early sketch of the wump
Early sketches of the wump

The wump is so powerful, both as a character in its own right and as a concept. In many ways, the wump gets even scarier the more we see how it represents the very real anxieties and challenges of being a kid (and even an adult). Did you have a good sense of how Timothy was going to overcome it when you started writing the book? As a reader, I started having serious doubts that he was going to be able to do it!

Tony DiTerlizzi: Sometimes you get lucky and you just know how a story is going to end. It doesn’t always work out so easy with other books I’ve written.

I’ve been intrigued with the idea of monsters eating children since I first cracked open Maurice Sendak’s Where the Wild Things Are. Further, the concept of hate and anger consuming a person goes back centuries in storytelling, from The Strange Case of Dr. Jekyll and Mr. Hyde to Star Wars.

As you’ve pointed out, the wump is Tim’s manifestation of suppressed anger and anxiety. In the wump’s final, most volatile phase, I wondered if I could show it literally eat our hero—when Tim is at his weakest, most vulnerable state.

In this story, devouring a victim is a symbol for control: Tim’s pet praying mantis eats beef, Tim and Logan have a pepper eating contest, the wump eats Tim…so Tim has to eat the wump to gain control of it. I’m simply using the symbology I’ve established to arrive at the only conclusion there is.

The wump isn’t destroyed because you can destroy your shadow self. You cannot fully repress anger or anxiety. All Tim can do is reign it in and control it. Which he acknowledges in the epilogue.

School scene from The Wump 

You mentioned that you often read for inspiration when it comes to tone while you’re working on a book as well as listen to music. Were there specific influences for The Wump? I might guess there were some threads of a few of your favorite authors, like Stephen King and Roald Dahl.

Tony DiTerlizzi: I do like to read certain authors or books to help inspire tonally what I am working on. As you guessed, Roald Dahl’s stories, like Matilda, with its unreliable adults, was super exciting to me.

I’ve been thinking a lot about the page turners I ripped through in middle school. In the mid-1980s Stephen King was everywhere. I enjoyed his short story collections with Cycle of the Werewolf as one of my favorites. In preparation for this story, I returned to King to see how he conveyed the feeling of creepiness. All the primal sensations Tim experiences throughout the story—cold, heat, shivers, trembling—comes from reading King.

And do Timothy and Alberto have their own theme songs?

Tony DiTerlizzi: As for theme songs, Tim’s is right there in the story. He is a fan of his dad’s old cassette tapes from the 1970s-80s. But it’s The Beatles’ medley on side 2 of Abbey Road that is his favorite. Alberto likes dramatic epic soundtracks because that is what plays in his mind when he’s reading his comics or pretending to be a superhero.

 

Timothy’s love and knowledge of bugs are tremendous and make him such a relatable kid for this age of reader. Did you have to do a lot of research into entomology to ground his passion, or did you already have knowledge of cicadas, Hercules beetles, and other Things Small but Important?

Tony DiTerlizzi: Tim is an exaggerated mirror of me during middle school with many similar traits: anxious, a bullied victim with dark revenge fantasies, bookish and a deep abiding love of insects.

I grew up in Florida and enjoyed exploring my backyard, scrubby woods or the local beach. I caught lizards, snakes, tropical fish and loads and loads of insects. I even made a little field guide out of a spiral-bound notebook (a few images are used for Tim’s journal in The Wump). Looking back on it now, I think I was drawn to our six-legged friends because so many consider insects weird, ugly and gross…which is how I saw myself in middle school. I could relate to them.

Tony DiTerlizzi's illustration of Tim from The Wump

In middle grade, we don’t often get to see as far into the future as we do with the epilogue to this story, but it seems like this one needed the jump forward to see how things resolved—and maybe even hint that the wump might reappear. Can you talk about why you decided to give readers a glimpse into Timothy’s adult years?

Tony DiTerlizzi: The epilogue is an aspect of this story that I could only understand from my experiences being a parent. Helping my daughter go through the ups and downs of middle and high school, I was reminded how immediate, how life encompassing, the day-to-day drama of our tween and teen years are.

At that age, we have limited real-life experiences. There’s no wisdom. No perspective. So, I wanted to offer some of that to my readers. I wanted them to know that, regardless of whatever they were going through, “this, too, shall pass.”

Life is nothing but change and adaptation. Sometimes it’s for the better, sometimes for the worse, but we learn and grow from these chapters on our journey through this world. Hopefully it’s to become better versions of ourselves. That’s really what this story is about.

 

What do you hope readers will take away from this book?

Tony DiTerlizzi: All of us cope with anger, frustration and anxiety. None of us have a perfect life. You are not alone in those struggles, dear reader. I see you. I’ve been there.

 

“Never abandon imagination” is a striking call to action for readers and writers alike. What advice would you give to someone who might be struggling to be imaginative, either as part of growing up or as a result of reading too much news?

Tony DiTerlizzi: I feel like imagination is more endangered now than ever: with addictive, attention-sucking technology and unregulated AI expanding at an alarming rate.

When I adopted “Never abandon imagination” as my mantra decades ago, I was thinking of the playful imagination that I tapped into as an adult so that I could remain youthful, hopeful and optimistic for the future. Those was the halcyon days of the 1980s and ‘90s—before social media took over. Before devices were in every hand and the internet was not something we felt compelled to access multiple times throughout a single day.

As a child, I often escaped into fantasy worlds to cope with reality. Books were my silent teachers. For example, “The Hobbit” wasn’t a story about defeating dragons and outwitting Gollum, it was a story that showed me the smallest of us can make a difference. It meant something bigger inside me than just enjoying Tolkien’s exquisite words on a page.

That’s the type of stories I want to put out in the world. That’s what I want to tell the next generation. Imagination, fantasy, daydreams…sometimes it’s not just escapism. It’s another way of seeing and coping with the difficult world we live in and we need it now, more than ever.

 

Because no MUF interview is complete without one, here is the 

Lightning Round: 

  • Coffee or tea?
    • Coffee in the morning, tea in the afternoon.
  • Sunrise or sunset?
    • Depends on where I am. Sunrise in Florida over the Atlantic is something you won’t soon forget, especially if the sea turtles are hatching. Sunset over the hills of western Massachusetts reminds me daily of why we chose to live here.
  • What is your trademark look?
    • Glasses and nerd wear, with vintage sneakers. I have more pairs of ‘80s-style Nikes than I care to admit.
  • Favorite city (besides the one you live in)?
    • I heart NY
  • Favorite insect?
    • I’m still fascinated by mantids. Devil’s Flower Mantis, Ghost Mantis, European Mantis, Malaysian Orchid Mantis, Unicorn mantis…I love’em all!
  • If you could have any superpower, what would it be?
    • Innocuous time travel.

Tony DiTerlizzi - Photo credit "Jim Gipe photo / Pivot Media"

 

Intrigued by what we’ve talked about here? You can grab your own copy of The Whump today!

STEM Tuesday — Computers–Questions to Ask Yourself About AI Use in the Classroom

AI in Schools Has a Cost: Impacts and Responses

by Kamilla Milligan and Alexandra Millarhouse

 

Are you being asked to incorporate AI into your work or classroom? How do you feel about that?

The push for AI seems to be everywhere these days, including in many classrooms. As educators, parents, and creatives, we have concerns.

What does it mean for students? For our future?

We wanted to offer you some of the research we have gathered about AI use in the classroom. We believe that it is important to take into account all of the issues with AI when considering how you can contribute to the conversation in your own district.

While this post aimed at educators, we hope that this information serves anyone who is interested in learning more about the costs and impacts of AI on students and beyond.

AI Impacts in the Classroom

Let’s start with how AI affects students in the classroom. Research conducted by Abdulrahman (2024) identifies ten categories of potential negative impact from AI (see Table) while Ahmad et al. (2021) points out six risk areas. Some of these include:

  • Loss of human connection. Students report a reduction in connections with teachers and other students.
  • Reduced critical thinking, problem solving, and creativity. Research has shown a link between AI use and cognitive decline in students. When machines generate solutions, students lose opportunities for learning and development of creative solutions. For example, there is a cost to using AI at any stage of the writing process.
  • Social knowledge and skill-building risks. AI use has been found to reduce interpersonal skills and tolerance for difference. Current AI models are sycophantic, agreeing with and supporting the logic of users. Those who use AI regularly show reduced ability to respect different perspectives, and increased rigidity in the rightness of their viewpoints.
  • Accuracy and functional risks. AI has significant errors in output and frequent hallucinations, including false information and research citations. 

The Big Picture of AI Impacts

In addition to classroom use, educators should be aware of the larger drawbacks of AI. The harms caused by widespread adoption of AI technologies* to our physical, social and economic environments are well documented, including: 

The Classroom Context: Pressures on Teachers

The push to adopt AI is creating practical and ethical challenges. While many want to take a thoughtful approach to adopting a brand-new technology, they may not have been given time or support to understand the full scale of AI’s potential impacts, let alone make independent choices about if or how it might belong in a classroom. As you look into AI, it’s crucial to understand the context within which AI is being rolled out. 

It’s also important to note that while AI is being pushed in some districts, it’s being paused in others, including NYC and Los Angeles, for many of the reasons noted below. 

Time savings/personalized learning. Educators face increased responsibilities: learning shortfalls and exacerbated gaps in learning; lower attention spans among students; and funding cuts that are deeply impacting school resources (as well as publishing). 

Many schools and school boards assume that AI addresses these systemic problems, for example, by providing time savings (such as in filling out report cards) or by personalizing assignments. This is not necessarily true.

The push for AI use can increase pressures on educators as they are assumed capable of taking on more responsibilities. Instead, they have to manage, review and edit AI products as well as deal with the unintended impacts in the classroom, along with the other, ongoing parts of their jobs.

Additionally, AI creates an even thinner overall system by committing limited resources to AI programs instead of addressing real resource needs since human learning requires interactions with humans, even if technology can play a role. 

“Future-proofing” students’ skills. Some argue that students must learn to use AI to be competitive in the job market. But this assumes a future where AI is ubiquitous. It also assumes that we can “future-proof” students’ skills using current technology. 

However, as one example, writing code was touted and prioritized a decade ago as the skill every student needed to succeed. Yet, as those students enter the job market, coding is now increasingly considered redundant as it is outsourced to AI. 

A future based in AI is also far from guaranteed. Currently (and foreseeably), AI is unsustainable economically and environmentally, and is running out of training materials required to continue to grow. 

"Is AI Profitable Yet?" No. Comparisons of expenses and revenue for major AI companies.

[from https://isaiprofitable.com/]

No matter what the future holds, students will need skills in reading, writing, scientific and math literacy, and critical thinking. 

No Single Solution

We recognize that each school, each classroom, each person is different. But no matter your context or circumstances, the most important thing is to educate yourself enough to make an intentional, researched plan so that you can help guide the conversation in your own area. Recognizing the complexity of this topic, we will leave you with questions rather than answers:

How can we continue to think and talk critically about this technology, and who benefits from its use and widespread rollout?

What choices do we have as individuals in our interactions with AI? What other options are possible, even with systemic pressures encouraging its use?

How can we have higher-level conversations about the root causes that are driving the push to implement AI?

What skills are needed to create a sustainable, equitable future for all on the planet? How is the use of AI building or destroying those skills in students? 

And ultimately, how do we develop informed citizens who are equipped to navigate a changing world, and are capable of understanding their choices and the impacts of those choices on each other and the planet? 

The world is changing. We all need to be problem-solvers, to have the full functioning of our brains, bodies, and humanity actively engaged in facing the challenges we’ll encounter over the coming decades. 

*AI encompasses a wide range of technologies and applications. This overview focuses on those more commonly used in classrooms and by the public, including generative AI, chatbots, use of AI by teachers to generate content or reports, and AI companions.

 

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Kamilla Milligan is a kidlit writer who explores themes of home, connection with nature, and cultural diversity in her stories. Kamilla has lived in Canada, the southern US, and Russia, and applies her PhD in education to her work in equity and human rights. Outside of reading, Kamilla enjoys gardening, fibre projects, and nature walks. Visit Kamilla online at kamillamilligan.com

Alexandra Millarhouse is a researcher, science communication professional, and writer focused on the intersection of nature, science, and self. Her nonfiction picture book, THE ANIMAL QUEENDOM, comes out in Jan 19, 2027 with Simon & Schuster. Living in Vermont, Alexandra is often tracking wildlife across a cemetery, or sitting by the water with a sketchbook. Visit Alexandra online at: foxandindigo.com