Posts Tagged “writing for children”

Author Spotlight: Stephan Pastis

By Melissa Roske on October 6, 2023 / Author Interviews

You’re in for an extra-special treat, Mixed-Up friends! Today, Stephan Pastis, the author/illustrator of the wildly popular and critically acclaimed New York Times bestselling Timmy Failure series—which was lauded by Kirkus as: “Wittier than the Wimpy Kid”—as well as the creator of the syndicated comic strip Pearls Before Swine, is here to chat about his latest illustrated MG novel, Looking Up. It’s out from Aladdin/S&S on October 10. (Spoiler alert: It’s AMAZING!!!) For a never-before-seen sneak peek at Stephan’s illustrations, read on…

Summary of Looking Up

Living alone with her mother in a poorer part of town, Saint—a girl drawn to medieval knights, lost causes, and the protection of birthday piñatas—sees the neighborhood she has always known and loved disappearing around her: old homes being torn down and replaced by fancy condos and coffee shops. But when her favorite creaky old toy store is demolished, she knows she must act.

Enlisting the help of Daniel “Chance” McGibbons, a quiet, round-faced boy who lives across the street (and whose house also faces the wrecking ball), Saint hatches a plan to save what is left of her beloved hometown.

Interview with Stephan Pastis

MR: Welcome to the Mixed-Up Files, Stephan. So happy to have you here!

SP: Thank you for inviting me! And for all the kind words!

MR: First and foremost, I gobbled up your novel faster than a pint of Cherry Garcia ice cream—and that’s saying a lot. I absolutely LOVED it. Can you tell us what inspired you to write this story?

SP: Well thank you! I wanted to write a Don Quixote-type story, but instead of with a man fighting giants, mine would be about a little girl futilely fighting against the redevelopment of her neighborhood. Also, I had never done a middle-grade novel with a little girl as the main character, so I liked that challenge.

The Saint Comes Marching In

MR: Saint, the big-hearted, piñata-rescuing 11-year-old protagonist is, hands down, one of the most lovable and unconventional characters I’ve encountered in middle-grade fiction. How did you capture the essence of this wonderfully quirky character, and lay it out for readers on the page?

SP: Hahah thank you! I think I had just read Catcher in the Rye before writing it, and I loved Holden’s voice, how he talked directly to the reader, so there’s a little bit of that influence in there — maybe mixed in with the slightly delusional perspective of Don Quixote. I like characters who are overwhelmed by their surroundings and ill-equipped to deal with change.

Word Up!

MR: A discussion of Saint wouldn’t be complete without a mention of her impressive vocabulary. Saint uses such words as: “mendacity,” “depravity,” “sanctity,” “pilfered,” “germane,” “critical juncture,” “legal ramifications.” This is a bold move, considering it’s common wisdom for middle-grade writers to employ vocabulary that most of their audience is familiar with. Your thoughts?

SP: I think I did that with Timmy Failure too. Maybe it’s just the appeal of words like that coming out of a little kid’s mouth. The incongruity of their age and the maturity of the words makes me laugh. I think I pilfered “mendacity” from the Burl Ives character in a Cat on a Hot Tin Roof. He shouts it over and over.

The Truth About Turtles

MR: As a follow-up, can you tell me about Saint’s love for her pet turtle and “life partner,” Dr. Rutherford B. Hayes? There’s a ton of fascinating material to unpack here…

SP: Well, she doesn’t really have an active adult in her life. So I needed someone who could be the voice of reason, and give Saint perspective and wisdom. Of course, he’s also a blowhard, not to mention curmudgeonly, so he’s not the best at that. Plus, I liked the metaphor of the turtle—someone who retreats from the world into their own shell.

Promises, Promises

MR: Let’s move on to Saint’s relationship with her mother. You set up the story with Saint’s declaration that: “My mother breaks all her promises.” How does this affect Saint’s life overall, and what does this say about promises—and promise breaking?

SP: Yeah, that’s a complicated relationship. I think Saint needs a lot more than she’s getting from her mom, especially at the point of her life she’s in. And since she’s not getting what she needs, she’s lashing out. I don’t know if Saint’s mom breaks any more promises than the average mom; I think Saint’s just at a breaking point and can’t take any more disappointment.

Only the Lonely

MR: Loneliness is another prominent theme in your book. Both Saint and her across-the-street neighbor, Daniel, suffer acutely from loneliness. Without sharing any spoilers, can you tell us how Saint’s loneliness manifests itself in her life? What about Daniel’s?

SP: Well, without an active parent in her day-to-day life, she copes by making friends with turtles and piñatas (which she rescues from kids’ birthday parties), and by living mostly in her imagination. I think her imagination is her coping mechanism. Daniel’s as well.

Invasion of the Latte Sippers

MR: Looking Up also explores the issue of neighborhood gentrification; specifically, when one group of residents feels intruded upon by a new, unfamiliar population. What were you aiming to say about gentrification, and displacement in general?

SP: Well, you see a lot of it in the Marigny and Bywater neighborhoods of New Orleans, where I spend a lot of time. And when it happens, the neighborhoods slowly lose what’s unique about them—namely, long-time residents who really are what give the city its personality.

The Juggler

MR: In addition to being an author of illustrated middle-grade novels—including the über-popular Timmy Failure series—you are the creator of the syndicated comic strip Pearls Before Swine, which appears in over 800 newspapers. You’ve also cowritten the Disney+ movie Timmy Failure: Mistakes Were Made. How do you juggle everything without dropping the ball? I can barely walk and chew gum!

SP: Thank you! Well, I work pretty much seven days a week, but because I love it, it never feels like work (or very rarely). That’s the real key—loving what you do. It’s cliché, but true. I had a truly stressful job as a lawyer for 10 years, so this never feels like work compared to that.

Timmy Failure: The Movie

MR: Speaking of the Timmy Failure: Mistakes Were Made movie, how much time did you spend on the set? And, maybe more important: Did you get to meet Wallace Shawn? 🙂 Also, is there a Timmy Failure: Mistakes Were Made sequel in the works? Rumor has it that you’ve been working on the script.

SP: I was on set every day for the entire four months of pre-production and filming, half in Vancouver and half in Portland.

And yes, I did meet Wallace Shawn! I talked to Wally whenever I could. I wrote the script for the sequel, but I’m not sure if it will get made. Would be great if it did, though.

Stephan’s Writing Routine

MR: What does your writing/illustrating routine look like? Do you have any particular rituals?

SP: Crazy ritual. I turn off all the lights (I just have the light of the computer screen), light incense, and play really loud music.

MR: What are you working on now, Stephan? Enquiring Mixed-Up Files readers want to know.

SP: A book of all my travel adventures. I travel a lot and have been to a lot of unique places. [For more on how travel opens our eyes as writers and readers, check out this article from the MUF archives.]

Lightning Round!

MR: And finally, no MUF interview is complete without a lightning round, so…

Preferred writing snack? Those little pretzels stuffed with peanut butter.

Coffee or tea? Coffee for sure. I wouldn’t trust anyone who said tea.

Zombie apocalypse: Yea or nay? Yea.

Superpower? To shut out all distractions when I write.

Favorite comic strip (besides Pearls Before Swine)? The Far Side.

Favorite place on earth? New Orleans, Louisiana.

If you were stranded on a desert island with only three things, what would they be? A Confederacy of Dunces by John Kennedy Toole. The Joshua Tree by U2. Tacos.

MR: Thank you for chatting with us, Stephan. It was an absolute pleasure, and I’m sure MUF readers will agree!

SP: Thank you!

All About Stephan

Stephan Pastis is the creator of the syndicated comic strip Pearls Before Swine, which appears in over 800 newspapers. He is also the creator of the Timmy Failure Book series and the cowriter of the Disney+ movie Timmy Failure: Mistakes Were Made. He lives in Northern California with his wife and two kids. Learn more about Stephan on his website and follow him on Twitter, Instagram, and Facebook.

Author/Illustrator Spotlight: Carole and Jeffery Boston Weatherford

By Melissa Roske on September 18, 2023 / Author Interviews

You’ve in for a special treat, Mixed-Up friends! Joining us on the blog today are Carole Boston Weatherford and Jeffery Weatherford, the author-illustrator/mother-son duo behind the middle-grade verse novel, Kin: Rooted in Hope. The novel, which explores the history of Carol and Jeffery’s family tree, shaped by enslavement and freedom, has been hailed by Publisher’s Weekly as “a layered text that highlights the perseverance of the Weatherfords’ ancestors and the horrors that they endured,” and by Kirkus as “a striking work that reshapes the narrative around enslavement.” It’s out tomorrow, September 19, from Simon & Schuster.

A Summary of Kin: Rooted in Hope

Carole and Jeffery Boston Weatherford’s ancestors are among the founders of Maryland. Their family history there extends more than three hundred years, but as with the genealogical searches of many African Americans with roots in slavery, their family tree can only be traced back five generations before going dark. And so from scraps of history, Carole and Jeffery have conjured the voices of their kin, creating an often painful but ultimately empowering story of who their people were in a breathtaking book that is at once deeply personal yet all too universal.

Carole’s poems capture voices ranging from her ancestors to Frederick Douglass to Harriet Tubman to the plantation house and land itself that connects them all, and Jeffery’s evocative illustrations help carry the story from the first mention of a forebear listed as property in a 1781 ledger to he and his mother’s homegoing trip to Africa in 2016. Shaped by loss, erasure, and ultimate reclamation, this is the story of not only Carole and Jeffery’s family, but of countless other Black families in America.

Carole and Jeffery Boston Weatherford: The Interview

Carole and Jeffery… Welcome to the Mixed-Up Files. It’s honor to have you here! Carole: Kin is told from a fascinating array of perspectives. In addition to accounts from your ancestors, the Copper family, key figures include: Frederick Douglass and Harriet Tubman; your ancestors’ enslavers, the Lloyd family; an archeologist; Francis Scott Key, who wrote “The Star-Spangled Banner.” Non-human narrators are represented, too: Wye House; the Chesapeake Bay; a cemetery. How did you inhabit each character as deeply, and as authentically, as you did?

CBW: I realized after writing my first verse novel, Becoming Billie Holiday, which was in first person, that I had this ability to channel the voices of my subjects. I ask my characters to speak to and through me. It helped that I grew up visiting my great-grandparents’ house in the area. So, I was already rooted in the land long before writing Kin.

The Magic of Scratchboard Art

Jeffery: While we’re on the subject of illustrations, Kin features more than 40 black-and-white pieces of scratchboard art. Can you tell Mixed-Up Files readers more about this medium? What made you choose scratchboard for this particular book?

JBW: Certainly! Scratchboard art is a distinctive and evocative medium, offering a visual dance between darkness and light. At its core, scratchboard is a form of direct engraving where the artist scratches off dark ink to reveal a white or light-colored layer beneath. It’s a medium that requires precision, foresight, and an intimate understanding of light and shadow.

For Kin, I felt that scratchboard was the perfect choice because it mirrored the book’s underlying themes—the contrasting narratives of hardship and hope, of oppression and freedom, of the dark past and the light of progress. Much like our own stories where we strive to find clarity amidst confusion, scratchboard art involves meticulously carving out light from the darkness. It’s about finding and showcasing beauty, no matter how deeply it’s buried. The medium’s inherent contrasts and textures brought depth to the narrative, providing readers with not just a story to read, but an experience to feel.

Additionally, the tactile nature of scratchboard echoes the raw, visceral emotions and historical touchpoints present in Kin. Just as the book delves into the intricate tapestry of ancestry and legacy, the scratchboard technique, with its layers and intricacies, became a metaphor for the multifaceted journey of discovery and understanding.

(For more on the fascinating medium of scratchboard art, click here.)

I Call Their Names

Carole: Much of the material for Kin came from the Lloyd family’s ledgers, including the names of your ancestors, which you call out frequently—almost like an incantation: Yellow Molly; Chicken Sue; Prissy; Daphne; Old Suckey; Charity; Nurse Henny; Barnett; Peg Shaw… How do these names resonate with you?

CBW: Wye House, the Lloyd’s flagship plantation, was once home to more than three hundred enslaved people. Their marginalized voices begged to be amplified and their stories to be told. I invoked the names of the enslaved residents of Wye House. Perhaps that was my way of asking their permission to channel their voices and conjure their stories.

Remembering… And Forgetting

Carole: Early on in the book, you reveal that your great grandfather never talked about his father-in-law, Isaac Copper, who fought in the Civil War after his enslavement at Wye House. You then pose the question: “Was forgetting less painful than remembering?” Could you elaborate on this?

CBW: I don’t know whether my great-great-grandfathers told my great grandparents about enslavement. History can be heart-rending—even traumatizing—especially when it comes to enslavement. As one formerly enslaved woman said in the 1930s, “My folks don’t want me to talk about slavery.” Sadly, many firsthand recollections of enslavement vanished before ever being passed down. On one hand is a reluctance to recall painful memories; on the other, the grief over what is forgotten or unknown. I wish I had inherited more stories.

Poetry in Motion

Jeffery: In addition to being a children’s book illustrator, you’re a performance poet. How has your experience as a poet guided your work as an illustrator—and vice-versa?

JBW: My journey as a performance poet has deeply enriched my perspective as an illustrator. Engaging in spoken word and poetry, I’ve been exposed to the raw, unfiltered emotions of an audience, and I’ve felt the weight of words in a room—the palpable tension, the riveting silences, and the roaring applause. This intimate dance with emotions and public vulnerability has emboldened me in my artistry.

It’s often said that public speaking is a fear greater than death, and if that’s true, then through my countless performances, I’ve confronted and embraced that fear many times over. This recurrent act of braving the stage has translated into an audacious spirit in my illustrations.

Art, much like poetry, is an act of audacious vulnerability. It necessitates the courage to mar a pristine canvas, to take risks, and to lay one’s soul bare for the world to witness. My poetry has taught me to speak, while my illustrations have taught me to visualize; and together, they’ve allowed me to weave narratives that are both visually and emotionally resonant. The synergy between both realms is profound—while my poetry gives voice to my emotions, my illustrations provide them a visual stage.

Fertile Ground for Creativity

Carole: You wrote many of the poems for Kin on your family’s farmstead in Copperville, Maryland. What was this experience like for you? Did this rural location help you feel connected to your ancestors in any way?

CBW: I sense ancestral spirits there. My great-great grandfather Phillip Moaney co-founded Copperville during the Reconstruction. The village is less than two miles from Wye House where my forebears were enslaved. My family’s small farm in Copperville is fertile ground not only for agriculture but also for creativity.

African Homecoming

Carole and Jeffery: In 2016, you travelled to Africa to learn more about your ancestors—some of whom descended from royalty. How did this trip deepen your understanding of your family’s history? How did it affect you personally?

CBW: The purpose of our African homecoming was to share our debut collaboration, You Can Fly: The Tuskegee Airmen. At the time, we had not begun work on Kin. Off the coast of Dakar, Senegal on Goree Island, we toured Maison des Esclaves (The House of Slaves). Shortly after our return, I learned from an art exhibition that my great-great grandfather descended from royalty and was known as the Royal Black. That knowledge filled me with pride and inspired me to research our roots.

JBW: The trip was NWA NWA, which means incredible, amazing, magnificent! I felt like I was returning home. Getting to stand on the Goree Island I could feel the power of my ancestors and the light of their smiles. It returned something to me that I cannot explain.

It’s All in the Research

Carole: As a follow-up, what sort of research did you do for Kin? Without birth records, marriage licenses, and death certificates available to trace your family’s genealogy, it must have required a tremendous amount of time, patience, and skillful detective work.

CBW: I was researching family history long before I envisioned Kin. Once, I began work on the book, I studied plantation ledgers, letters, military records archeological reports, the landscape and material culture to reconstruct my ancestors’ milieu. I also read Frederick Douglass’s firsthand account of enslavement at Wye House. Last but not least, I visited the burial ground for the plantation’s enslaved residents. Amidst unmarked graves in a grove of trees, I broke down and cried.

Jeffery: How did the research affect, and enrich, your artwork?

JBW: The research process has been instrumental in shaping the authenticity and depth of my artwork. By delving deep into historical accounts, personal narratives, and cultural contexts, I’ve been able to tap into a reservoir of emotions, experiences, and textures that might have otherwise remained elusive.

Family Affair

Carole and Jeffery: This isn’t your first children’s book collaboration, but I suspect it’s the most meaningful. How has Kin brought you closer, both as collaborators and mother and son? Also, how has this project differed from other books you’ve created together?

CBW: Kin was truly a family affair, conceived with collaboration in mind. Kin is the book of our hearts, an offering to our ancestors and to our offspring, born and unborn.

JBW: We have been working together for a long time, this book has allowed us to dive into family history on an entirely different level and share that experience with the rest of the family.

On the flip side, how do you handle disagreements when it comes to creative decisions? Does the mother-son dynamic ever get in the way? When it does, what are your strategies to resolve the problem?

CBW: I can’t recall a disagreement, maybe because I’m the boss. Joking! Seriously, I consider myself an illustrator’s author. My words are evocative enough for illustrators to express their vision for the art. I was blown away when I saw Jeffery’s art for Kin.

JBW: We don’t particularly argue about the process, to be honest–just about chores that need to be done for tidying up spaces. Kidding. I don’t have many chores from my mom anymore. All jokes aside, it’s been a wonderful experience working with her, and going all over the world to enrich the youth.

It’s Personal

Carole: You have written more than 70 award-winning books, but my research reveals that Kin is your most personal one yet. Was there a watershed moment, or inner force, that impelled you to share your family’s history?

CBW: In late 2016, I went to an exhibition of Depression-era paintings by Ruth Starr Rose, a white artist who came of age at Hope House, the former plantation where my great-great grandfather was the gardener. I was awestruck that Rose’s paintings depicted my relatives, whom the curator referred to as Maryland’s founding families. I suspect that one painting shows my father as a boy. The exhibition also featured a photograph of my great-great grandfather, whose face I had never before seen. The exhibition underscored for me the significance of my family’s history.

Carole and Jeffery: Thank you for chatting about KIN today. I know your book will resonate with readers as much as it did with me.

Bios

Carole Boston Weatherford

Carole has written many award-winning books for children, including You Can Fly, illustrated by her son Jeffery; Box, which won a Newbery Honor; Unspeakable, which won the Coretta Scott King award, a Caldecott honor, and was a finalist for the National Book Award finalist; Respect: Aretha Franklin, the Queen of Soul, winner of the Coretta Scott King Illustrator Award; and Caldecott Honor winners Freedom in Congo Square; Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement; and Moses: When Harriet Tubman Led Her People to Freedom. Carole lives in North Carolina. Visit her at CBWeatherford.com.

Jeffery Boston Weatherford

Jeffery is an award-winning children’s book illustrator and a performance poet. He has lectured, performed, and led art and writing workshops in the US, the Middle East, and West Africa. Jeffery was a Romare Bearden Scholar at Howard University, where he earned an MFA in painting and studied under members of the Black Arts Movement collective AfriCobra. A North Carolina native and resident, Jeffery has exhibited his art in North Carolina, Georgia, Maryland, and Washington, DC. Visit him at CBWeatherford.com.

Happy Birthday to A Horse Named Sky!

By Sue Cowing on August 31, 2023 / Articles

We are delighted to wish Happy Birthday to A Horse Named Sky, which Greenwillow Books just released. It’s the third in Rosanne Parry’s acclaimed Voice of the Wilderness novels. This one features a wild colt captured and forced into service by the Pony Express. We’re talking with Rosanne about how she wrote this story.
MUF: Rosanne, congratulations on another marvelously crafted (and beautifully illustrated) novel that invites readers into the world of a wild animal. Like all your novels, A Horse Called Sky is based on curiosity and on extensive research. Was some of that done on location, in the places where wild horses live or have lived? If so, what was that like?

ROSANNE: I did travel quite a bit to learn about the wild horses in my story. I visited the Virginia Range just east of Reno, Nevada where my story begins and I camped and hiked in the Steens Mountain Wilderness in Oregon where my story ends. I hiked over the summit of the Sierra Nevada mountains on the Pony Express Trail and I talked to all kinds of people. Paiute historians, wild horse conservationists, ranchers, geologists and hydrologists, and a variety of people who own, train or ride horses much more often than me.

MUF: In researching wild horses, what were some of the discoveries about them and their society that most interested you?

On the lookout!

ROSANNE: I have been fascinated by how horses communicate with their whole bodies in some very big and obvious ways and in some very subtle ways. Once when we were looking at mustangs from 100 yards away or so (like you are supposed to) a yearling got curious about me and approached. She walked right up to me, and then turned her head and neck to the side which is how a horse invites you to come closer. It was so sweet! I wanted to hug that little horse so much! But about 20 yards behind her the mare was fixing me with a look! Lips pressed together. It was subtle but I could see in an instant how unhappy she was. I did not take one step closer to the yearling! And as soon as she saw her mother watching her, she sprinted away from me.

I also saw a large group of mares and their stallions together and a smaller group of bachelor stallions alongside them. The youngsters got a little boisterous with each other. They started with just snorting and kicking dirt at each other. But then they reared up and started throwing kicks. One of the older stallions lifted up his head and gave one snort in the direction of the younger males. They stopped fighting instantly. A subtle gesture with a huge response. It really made me think about the structure of a band of wild horses. They are very deferential to each other. The males do fight, but for the most part they are very conflict avoidant. It’s pretty inspiring.

MUF: There is much information in the back of your book about the status of wild horses and their environment in the present. You could have written a contemporary story about wild horses. What was your thought in setting your novel during the brief run of the Pony Express in the early 19^thcentury?

ROSANNE: It was the dearest ambition of my 8 year old self to be a pony express rider. 1. Outdoors 2. Moving fast 3. Excellent pay 4. Very little supervision. Four of my favorite things to this day! When I learned that the pony express had in fact taken mustangs off the range to run the more difficult and dangerous sections in the mountains of the west, I knew I had a story kids could really root for. And then I dug into the history of the Piaute War and the Comstock silver mine in the Virginia Range and the enslavement of Indigenous Americans in California, & the surrounding territories, and the history of Black cowboys. Well it was all very interesting and piece of American history not so commonly talked about.

MUF: You set a task for yourself by having an animal character be your narrator. He can only communicate and connect with readers using perceptions and responses a horse would have. Readers then have to guess at the actual object, animals, or words for things (and they do). I love the way Sky classifies humans by the colors of their hides and “manes” and identifies the stallions, colts, and mares among them. What things did you have to think hardest about to get them across through Sky?

ROSANNE: I love to think about how an animal perceives the world. It was very different to write about a prey animal as the last two Voice of the Wilderness books were predators—a wolf and an orca. Horses, even well cared for domestic horses, are always on the alert for danger. They notice the smallest things and every change of mood in the members of their family band.

The hardest part to write was thinking through the human interactions, understanding how horses regard humans and try to communicate with them. When I chose the wrangler who teaches Sky to accept a saddle and bridle, I chose a former slave. A person who would have a natural compassion for a creature who has newly lost his freedom. I studied both historic and contemporary horse training methods. The more gentle training model the wrangler uses was fairly common in the 1800s. Writing the actual steps in the gentling process from the point of view of a horse who doesn’t know what’s going on took lots of drafts.

MUF: And now let’s hear from Sky’s illustrator, Kirbi Fagan. Kirbi is recognized for her cover art in adult, YA, and Middle-grade fiction as well as comic books projects such as Black Panther/Shuyri and Firefly. She illustrated this book in pan pastels.

MUF: Brava, Kirbi! Aren’t horses one of the more difficult animals to draw? Love helps, right?

KIRBI: Thank you. It does take a certain kind of artist to take on drawing over a hundred illustrations of horses! My agent asked if I was tired of horses after I turned in my last revisions. I’m not. In fact, I think my inner horse girl is living her best life. Horses have lived alongside people for so long, it’s one of the animals humans can recognize quickly. That’s why, even for a novice, it’s easy to spot a bad horse drawing. All of this to say, yes, drawing horses is tough.

MUF: Are wild horses an extra challenge?

KIRBI: I visited as many different horses as I could, I did proper studies to refer to, and drew in the field. I felt prepared (and inspired!). Seeing the range of diversity from horse to horse is freeing and helped me loosen up. Mustangs are on the more petite side, and I was lucky to meet Maggie, who lives about an hour away from me, who fit the size of Sky’s band roughly. Thanks Maggie!

MUF: Does being free but also having to provide for themselves change wild horses’ appearance or stance or carriage, compared to domestic horses?

KIRBI: The truth is, a lot of wild horses are dehydrated and undernourished. Likely worse today than during the Pony Express times. Today, wild horses will show characteristics of draft horses and thoroughbred horses. When most people think of wild horses many think of the swath of colors and markings. This reputation is well deserved. Wild horses roam great distances and these rugged terrains are not kind. Manes are ragged and mangled, sometimes even with burrs. They bear all sorts of battle wounds. They aren’t groomed, so when their coats change with the seasons, it’s a string of bad hair days!

MUF: Thank you, Rosanne and Kirbi, for taking time to share some of what went into creating this book! Readers, treat yourselves to Rosanne’s unique and moving way of writing an animal’s story in A Horse Named Sky. Also in the other two books in the Voices of the Wilderness series: A Wolf called Wander, and A Whale of the Wild. (And keep an eye out for Kirbi’s debut author/illustrated picture book appearing in 2025).

Posts Tagged “writing for children”