Heidi Henneman

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From running dogs in Alaska’s famous Iditarod to sailing around treacherous Cape Horn by himself to writing more than 190 books, author Gary Paulsen seems to have a passion for life like nobody else. In his new book, The Glass Café (or the Stripper and the State; How My Mother Started a War with the System That Made Us Kind of Rich and a Little Bit Famous), he takes his writing to a new extreme by capturing the unique voice of 12-year-old Tony.

A young boy Paulsen met while living in Hollywood, Tony is, of course, no ordinary kid. He is thoughtful, intelligent, incredibly artistic and the son of a stripper named Al (short for Alice). Even though Al dances for a living, she too is an intelligent, thoughtful person, with a sensibility Paulsen brings out in unsurpassed form. Through a series of misunderstandings, prejudices and comedic moments, he creates an entertaining yet true-to-life account of the struggles single parents often go through and the intense love, protectiveness and loyalty they have for their children.

Paulsen has written numerous books for young readers as well as adults. While he admits there is more adult writing he would like to do, he prefers to reach out to the younger crowd. "I think it’s artistically fruitless to write for adults. They’re locked into car payments and divorce, and not open to new ideas," he explains. "If you really want to write artistically, you have to write for the eighth or ninth grade. Adults just don’t have time to appreciate artistic, new things."

Paulsen has won several Newbery Awards (for such books as The Winter Room, Hatchet and Dogsong), and his titles continue to gain critical acclaim. Oddly enough, English was never one of his favorite subjects in school, and his decision to become a writer came about in a surprising way. "I had become an electronics engineer in the Army, and I was tracking satellites one night when I had an epiphany and realized I needed to be a writer," he recalls.

Even though he had never composed a single story, that night Paulsen walked off his engineering job to begin a career in writing. And the rest, as they say, is history. His many titles have ranged from adult westerns and mysteries to children’s picture books. But his favorites of the bunch are books for young readers that center on tales from his childhood, "all true stories," he says. Paulsen’s next grown-up adventure will be sailing his boat, an 1820s-design sailboat with no motor, around Cape Horn.

"Sailing the Cape is the maximum expression of sailing a boat," he says, "the same way the Iditarod is the maximum expression of running sled dogs." And the maximum expression of writing? "I’m going to write until I die," claims the author.

His trick is to approach the craft the same way he did dog running. "When you’re racing dogs you focus for 20 or so hours at a time, so that’s what I do for writing," says Paulsen. But one thing has changed where his working habits are concerned: instead of writing from the frigid north, he now works on his sailboat, which he navigates on his own for months at a time. "I set the steering vane and write for hours," says Paulsen. During one recent trip, he cranked out four books. "I write until I’m finished," he says, "then I fly back to do book tours."

Paulsen loves the inspiration that being on the open water, miles from land, brings him. "When a story works for me, the hair goes up on my neck," he says. "It doesn’t happen all the time, but when it does, it is elegance." Make no mistake about it: although he has run dogs through 1,200 miles of frozen tundra and although he sails through some of the most treacherous waters on earth, Paulsen’s true passion is writing.

"I am a writer who runs dogs and a writer who sails," he says. "To me, writing is everything. Everything else is just a place to write."

Heidi Henneman writes from San Francisco.

 

From running dogs in Alaska’s famous Iditarod to sailing around treacherous Cape Horn by himself to writing more than 190 books, author Gary Paulsen seems to have a passion for life like nobody else. In his new book, The Glass Café (or the Stripper and the State; How My Mother Started a War with the […]
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His name is Charlie Ashanti, a.k.a. Lionboy. He talks to cats, he moonlights in a circus, he saves his parents from kidnappers and very soon he’ll be known to young readers throughout the world. Charlie’s story, told in the new novel Lionboy, is an unassuming tale full of heroics and adventure, all created from the bedtime stories shared by adult author Louisa Young and her 10-year-old daughter, Isabel Adomako Young. Writing together under the penname Zizou Corder, the dynamic writing duo is taking the U.K. and the literary world, it seems by storm. Their extended tale of adventure, intended as a trilogy, has been compared to J.K. Rowling’s Harry Potter series. The film rights to the book have already been snatched up by Steven Spielberg’s DreamWorks company, and the book is set to be published in 33 languages. The mother-daughter team, who live in London, recently took a break from their busy schedule to answer a few questions for BookPage about their creative process and their whirlwind success.

BookPage: What was your initial inspiration for the stories of Charlie and his adventures?
Louisa Young:
Isabel was my inspiration. She said, tell me a story, and I said, OK, what about? And she said, a naughty little boy called Charlie. We used to tell each other stories all the time when she was little. She’d want a story, and I’d make her do half the work.

In the book, Charlie joins a circus. Have either of you had the desire to run away to the circus?
Louisa:
Oh yes. When I was a teenager there was a fantastic outfit called Le Grand Magic Circus, full of incredibly handsome French and Italian hippies with long curls and satin trousers. I just adored them, and desperately wanted to be one of them. Real circuses though are different. I don’t like the performing animals thing. In fantasy it is beautiful and exciting, but not in reality. It’s just sad.

I’ve read that both of you are allergic to cats. Why, then, did you choose cats to be such an important element in the book?
Isabel:
We didn’t choose them, they just arrived.

Louisa: There’s a lot less decision-making involved in writing stories than people expect. Half the time stuff happens, characters do stuff, and you haven’t the faintest idea why or where it came from.

What kind of cat is your favorite?
Louisa:
The kind that doesn’t poop in our garden. Otherwise I love the Iberian lynx, a wildcat which still survives just in Spain. It has the most charming ears. And it lives in the wild in Europe, which is a pretty extraordinary achievement, given what’s happening to so many wild animals.

Isabel: The cats in our street Missy and Freddy. They’re just ordinary cats.

Are you excited about having your story made into a movie?
Louisa:
It is really exciting to think that our finished product now becomes somebody else’s raw material. At the moment it’s all in the future, and we have no idea what they’re going to do with it. But our producers made the Austin Powers movies, and Memento; and DreamWorks made Shrek, and the screenwriter wrote Edward Scissorhands and The Secret Garden, so we’re in really good hands. People say, oh, what if they ruin your book? To which we just reply, the book is fine! Look, there it is on the shelf. It’s fine! Isabel: Someone said you shouldn’t get excited about a film till you’re getting dressed to go to the premiere because up until then you don’t know if it’s really going to happen. But I’m really excited already.

How has writing this book together affected your mother/daughter relationship?
Louisa:
Well, it hasn’t ruined it. We’re still talking to each other. Plus, it lets us go off on lovely trips together to meet our foreign publishers.

Do you ever have creative differences?
Isabel:
Yes. Mum wants to kill one of the characters and I won’t let her.

 

 

His name is Charlie Ashanti, a.k.a. Lionboy. He talks to cats, he moonlights in a circus, he saves his parents from kidnappers and very soon he’ll be known to young readers throughout the world. Charlie’s story, told in the new novel Lionboy, is an unassuming tale full of heroics and adventure, all created from the […]
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What do you get when you combine two critically acclaimed authors, two alternating voices and a set of twins? One laugh-out-loud look at sibling rivalry and adolescent angst. Newbery Medalist Avi and renowned children's author Rachel Vail combine forces and double our pleasure in Never Mind! A Twin Novel, an inventive tale for middle-grade readers. The dynamic author team recently gave BookPage the inside scoop and outlandish humor of co-writing a novel. BookPage: What inspired you to write this book together? Avi: We were old friends, living in different parts of the country (Denver and New York). One day I mentioned to Rachel that I had asked my twin sister to write a book with me, but my sister had said she "had better things to do." Rachel however said, "I'll be your twin and write a book with you." Rachel: Actually, that's not really how it happened.

Avi: It's not? Rachel: No. I was moaning and complaining about the book I was having trouble writing at the time, and you said it sounded like the book you had wanted to write with your sister.

Avi: And I was happy to get away from the book I was working on at the time, too.

Rachel: So we came up with a premise and named the characters and I joked, "E-mail the first chapter to me by tomorrow morning." Avi: You were joking? Rachel: Totally. But the next morning I checked my e-mail and there it was: a really funny chapter.

There are two main voices in the book, Meg and Edward. Who wrote which voice? Avi: While the two characters have distinct voices, there is nothing in the book that was not, in essence, written by both of us. As writers we each have our strong points and, dare say, weak ones, but opposites. Moreover, we admire each other's particular skills. This made for a fairly perfect fit. In the end, neither of us knows who wrote what, though we can think of a few ideas one or the other put forward.

Rachel: It was always my fantasy, while in the mucky middle of writing a book, that some bookmaker's elves would come and just write the next chapter. I didn't need them to do all the work, but just jolt me to a new place, surprise me. I'd get this book back from Avi and read from page one. Words had been changed, the story improved, and then there was a new chapter at the end, which often ended in a cliffhanger. Then I would write from there and try to leave him in the same lurch.

What similarities do you have with the characters in the book? Rachel: This is a work of fiction. My resemblance to everyone in it is purely coincidental.

Avi: I am a twin, and while I once wanted to be a pop singer, I in fact don't sing well.

What is it about twins that you find intriguing? Rachel: Everything. I have always been fascinated by twins, about what it would be like to have to contend with, in some sense, a double of yourself.

Avi: Nothing. Including my twin sister. Do you plan to write more books together? Rachel: We have a plan but we can not divulge it to anyone at this time.

Avi: Executive privilege and all that.

Rachel: We work very well together, very easily, though we don't, in the old twin clichŽ, finish each other's sentences or anything. We sort of . . .

Avi: Augment, or . . .

Rachel: Edit each other . . .

Avi: Hone the other's points, so to speak, but not finish . . .

Rachel: Well, I trust him to finish mine well. But so far we haven't written . . .

Avi: More that we'll admit to except . . .

Rachel: This interview.

What's the one message you'd like your readers to take away from Never Mind!? Rachel: I don't want them to take any messages away. They should leave all the messages exactly where they found them in the book.

Avi: You never told me there were messages in the book.

Rachel: They're hidden.

 

What do you get when you combine two critically acclaimed authors, two alternating voices and a set of twins? One laugh-out-loud look at sibling rivalry and adolescent angst. Newbery Medalist Avi and renowned children's author Rachel Vail combine forces and double our pleasure in Never Mind! A Twin Novel, an inventive tale for middle-grade readers. […]
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Why are people so strangely drawn to others' misfortunes? Like car wrecks? Or reality shows? Or the hapless misadventures of the Baudelaire children in the Lemony Snicket tales, A Series of Unfortunate Events? Regardless of the reason, it certainly seems to be a steadfast phenomenon. In the best-selling series of novels for young readers by slightly elusive author Daniel Handler, aka Lemony Snicket, three orphaned children are dealt unlucky twists of fate. Just as they seem to overcome one insurmountable obstacle, they encounter yet another unfortunate turn. To be fair, the reader is forewarned about the outcome before any adventures begin. In the opening line of The Bad Beginning: Book the First, the author warns, If you are interested in stories with happy endings, you would be better off reading some other book. And he is true to his word.

The author himself finds it fascinating that his fan base is so vast. "It turns out there is quite an audience of people who enjoy reading about bad things happening to children," says Handler. "It was the sort of thing I would have loved to read when I was eight or nine, but certainly not something I thought adults would actually let children read." In fact, Handler originally presented the idea for A Series of Unfortunate Events to his editor as "proof that it would be a miserable idea [for him] to write for children." Handler's first novel, The Basic Eight, had been set in a high school, and his editor thought it would be a great idea if Handler wrote for young people, instead of about them. Handler initially said no, but came up with the Snicket series as a kind of joke. "We met in a bar to discuss it," recalls Handler, "because I didn't want either of us wasting our time." In the end, however, the editor loved Handler's twisted idea and the Lemony Snicket series was born.

From the very first chapter of The Bad Beginning (the first book) to the last lines of The Grim Grotto (the latest title, which goes on sale Sept. 21), the Baudelaire children Violet, Klaus and Sunny face grief, misery and disaster. The series begins with the children enjoying a day out of the city at a nearby beach, only to be jolted with the news that their family mansion has burned down and their parents have been killed in the fire. The orphans are left an immense fortune, but no legal guardian to care for them. Soon, they are shipped off to live with a money-hungry relative, Count Olaf, who will do whatever he can to get his hands on the Baudelaire bucks including murder, if need be. In the latest installment, The Grim Grotto, the Baudelaires take a wild undersea ride with Captain Widdershins at the helm of a submarine. They must battle poisonous mushrooms, a huge, deadly octopus and a sinister hook-handed man in their effort to outsmart Count Olaf.

The grimness of the storyline hasn't deterred many. Handler's tales have an almost cult following and with every book published the fan base seems to grow. A San Francisco native, Handler initially released the first book to independent bookstores in the area, which immediately started to buzz. Still, Handler was convinced that the books would be failures. "I couldn't believe it when we sold 5,000 copies," he admits. That the books have now sold more than 18 million copies and dominate the New York Times children's book bestseller list is "mind-boggling," he says.

Although Handler had originally signed on to do four books, he was sure he wouldn't make it that far. "I thought that by the second book my agent and editor would tell me, thanks, but we've had enough." Not so. With The Grim Grotto coming out this fall, and two more books (a total of 13) due out by 2006, Handler's appeal seems to be even stronger.

What's more, a movie compilation, Lemony Snicket's Series of Unfortunate Events, is set to open in theaters on Dec. 17. "When a film company looked at advance copies before the books were published," Handler admits, "I thought they were crazy. But as the books sold more and more copies, the interest in the film rights became more and more fervent and it became clear that the moviemakers might not have been so crazy after all."

The film, produced by Paramount Pictures and DreamWorks, features Jim Carrey as the menacing Count Olaf, Meryl Streep as the articulate Aunt Josephine and Jude Law as Lemony Snicket, the narrator who also becomes a character. As author, he was planning to write the screenplay, but after months of effort, he passed the torch on to veteran screenwriter Robert Gordon (Men in Black II).

"I was exhausted, and I realized that I wanted to write books, not screenplays," says Handler. Add to that a producer who quit, a director who got fired and a series of budget disputes, and Handler was convinced, "it was a good time for me to duck out." Taking more of a backseat approach to the film has not bothered the author in the least. "I don't feel like I own the characters," says Handler, "and I don't think, 'How dare you make up your own version of the story.' What I do believe is that any story that goes out into the world belongs to everyone and they can perceive the characters however they please."

One would expect Handler to be pretty pleased with his success and newfound fame, but the well-grounded author seems unfazed. "The goal has always been for me to write for a living," he says, "and that's what I'm doing." That he now gets stopped on the streets of his San Francisco neighborhood is just another peculiar twist to his already slightly strange view of the world. "I'm never quite sure if someone recognizes me from my work or because I grew up here. As soon as I start to think that person is an actual fan, I realize I went to high school with him."

Why are people so strangely drawn to others' misfortunes? Like car wrecks? Or reality shows? Or the hapless misadventures of the Baudelaire children in the Lemony Snicket tales, A Series of Unfortunate Events? Regardless of the reason, it certainly seems to be a steadfast phenomenon. In the best-selling series of novels for young readers by slightly […]
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Books. They intrigue us. They teach us. They inspire us. But what if there were no books? What if the centuries-old texts, the contemporary novels, even the modern-day textbooks all the books that teach us about our past, our present and our future what if they were destroyed? Save for one courageous and determined librarian, it almost happened. Not centuries ago, but today, in a place where knowledge is one of the few possessions one can hold dear, and in a time of upheaval, fear and war: modern-day Iraq. Acclaimed author and illustrator Jeanette Winter shares the inspiring true story of an Iraqi librarian who rescued thousands of volumes in The Librarian of Basra, a new picture book for young readers.

Winter stumbled upon the story while reading the New York Times on a Sunday morning ("Books Spirited to Safety Before Iraq Library Fire" by Shaila K. Dewan, July 27, 2003). The article told the story of Alia Muhammad Baker, a librarian whose house was full to the rafters with books she had saved from an Iraqi library. The library had become a military outpost, and the daring librarian had sneaked out nearly 30,000 books right under the noses of the soldiers just days before the building burned in a mysterious fire.

"I knew immediately that I needed to make a book out of this story," Winter tells BookPage. "It was perfect." But as is often the case with authors, she was knee-deep in another book at the time. Winter didn't want to lose the idea, so she clipped the article from the paper and started a file, and as she worked on her other project, she collected bits of information and research and added to the file.

By the time she actually started working on The Librarian of Basra, the pictures almost painted themselves. Winter had collected images of Basra and Baghdad and had gone to a photo exhibition to see war pictures from Iraq. "One was of a man in a boat in a canal," recalls Winter. "It seemed so peaceful and wonderful, a step into heaven compared to what was going on. It is this photo that inspired her to create an image in the book that she calls her peace picture, in which Alia dreams of what life might be like when the war is over."

Winter finished the book in record time. "It went so quickly," she admits. "There was no mistaking what I wanted to do." Winter contacted her editor at Harcourt and was amazed by the swiftness with which the publishing process got moving. "For those at the publisher and for me, [Alia's story] was a catalyst for our awareness of what has been happening in the world, especially in Iraq," says Winter.

In truth, the story does put a face to the war. "We see the shelled buildings and the tanks on television, but we don't see the individual stories," says Winter. "With Alia, we do." And although Winter's audience is mostly children, she believes that the message she is sending is not a negative one about atrocities or fear. "It's not bad to have a war book for children," says Winter, "but I think you have to focus obliquely."

Her belief is that although war can occur as it does throughout the world if you focus on optimism, you can tell a positive story. "It was the optimism of Alia that interested me," says Winter. "She wasn't getting help from her government, but she knew that to save the books she would be saving the past, present and future of her country."

Winter is not a newcomer to the children's literary scene; she has written and illustrated nearly 50 books. "I don't really know the number," she confesses. "I never know what to actually count." For now, though, The Librarian of Basra tops her list of favorites. "I'm thrilled that [Alia's] story is getting out," Winter says. "It's very rewarding to me." In many ways, she thinks, it was a book she would have enjoyed reading when she was young. Winter, who grew up as an only child, explains, "I like writing about individual people what one person does on their own really speaks to me."

Alia's story certainly spoke to Winter, and without a doubt, this book will touch the hearts of children and adults everywhere.

Books. They intrigue us. They teach us. They inspire us. But what if there were no books? What if the centuries-old texts, the contemporary novels, even the modern-day textbooks all the books that teach us about our past, our present and our future what if they were destroyed? Save for one courageous and determined librarian, […]
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What do you do when you already have seven best-selling books for teens under your belt, numerous awards on your mantel and an uncanny talent for relating life’s toughest challenges with humor and hope? According to author Joan Bauer, you simply have to put your Best Foot Forward.

In Bauer’s latest novel, readers meet up once again with Jenna Boller, the beloved character introduced in Rules of the Road (1998). Struggling with a difficult situation at home, Jenna shines in her after-school job at a shoe store. In Best Foot Forward, Jenna is starting her junior year in high school and the family-run Gladstone Shoes is in the midst of a corporate takeover. "When I finished Rules of the Road, I didn’t think I had another book in me," Bauer tells BookPage from her home in Brooklyn, "but it was so interesting to revisit the characters and realize there was so much growth. It was like running into a couple of old friends that you haven’t seen in a long time."

One of those friends is Mrs. Gladstone, the feisty matriarch of the Gladstone dynasty. This time around, we find her struggling with the takeover of the company she and her late husband built. With a conniving son trying to make a quick buck and a corporate machine that is ready to make a profit at any cost, Mrs. Gladstone serves as a beacon of morality in a sea of unethical chaos. "She speaks her mind and has the kind of courage I wish I had," Bauer says.

Jenna, however, is the real star of the show. Her struggles to decipher right and wrong, her frustration with her family, especially her alcoholic father, and her difficulty in being able to trust other people make her both endearing and tough. "She is a survivor," says Bauer. "Jenna faces hard time after hard time and it makes her stronger." Like Jenna, Bauer herself has been through some difficulties in life. "She and I have the most connections of any of the characters," admits Bauer. "We certainly share some of the pain—my dad was an alcoholic and my grandmother had Alzheimer’s, just like Jenna’s."

But Bauer’s own most difficult hurdle may have been the life-threatening incident that prompted her to start writing for the teen market in the first place. Bauer had just made the move from newspaper journalism to screenwriting when she was involved in a serious car accident, severely injuring her neck and back. During recovery, her enthusiasm for life, not to mention writing, was starting to dwindle. "One day I saw a picture of a guy standing next to this big pumpkin that he had grown. I laughed out loud and thought, who in the world would want to grow something like that." The more she thought about it, the more interesting the notion became. And soon, Bauer started writing a story about a teenager in Iowa trying to grow a record-setting pumpkin. "It was a crazy interconnection in life where this other part of me came rushing in like fresh water," says Bauer. The book, Squashed, which started out as a screenplay, won the Delacorte Press Prize for First Young Adult Novel, and Bauer was soon on her way. "It was one of those moments—the humor in that story saved my bacon," Bauer recalls.

These days, writing itself makes the author feel alive. "There is something about telling stories," she says. "I love struggling with words and creating characters." Bauer claims she got the talent from her grandmother, who was a professional storyteller. "In our house, we explained the world through fiction; it has real truth to it." And Bauer still follows the family recipe. In every story she writes, she tries to explain a little about the world, "a part of the hurt, a part of the present that can be overcome or a part of the world that makes some people nuts."

Interestingly, Bauer found that a shoe store was the perfect setting for making points about commitment and the need to do our best. "I so wanted to have a symbol that I could take deeper," says Bauer. As she sees it, someone who is willing to sell shoes has a helping heart and doesn’t mind getting down on their knees or dealing with smelly things. And, says Bauer, "I like the metaphor of how our feet take us down life’s road." With that in mind, Bauer puts her Best Foot Forward and proves that although life’s journey can be difficult, it can teach us some funny, poignant and powerful lessons.

What do you do when you already have seven best-selling books for teens under your belt, numerous awards on your mantel and an uncanny talent for relating life’s toughest challenges with humor and hope? According to author Joan Bauer, you simply have to put your Best Foot Forward. In Bauer’s latest novel, readers meet up […]
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Just in time for the Chinese New Year, critically acclaimed author and illustrator Grace Lin brings us a heartwarming story of what it means to be Chinese and American in her new book, Year of the Dog. In this autobiographical novel, Lin gives young readers a glimpse of a year in her own young life in 1982: of finding friends, dealing with racism, learning her true talents and understanding her heritage.

Raised in upstate New York, Lin and her family were among very few Asian Americans in their small town. As a result, she had a hard time learning to appreciate her cultural traditions. "While we were growing up, there were very few books about Asian Americans," Lin says from her home near Boston. "We had a book about five Chinese brothers and then Riki Tiki Tavi, but that was about it."

Having little reference to Asian heritage in her school life affected Lin in many ways. "Most of the time, I ignored the fact that racism existed and I spent much of my time trying to forget that I was Asian," the author says. "When someone would point it out to me, it was like a slap in the face." She recalls such a time in the book, when she was excited to try out for the part of Dorothy in her school's production of The Wizard of Oz. Just before the audition, one of her girlfriends told her, "You can't be Dorothy. Dorothy's not Chinese." "Suddenly the world went silent," Lin writes, "Like a melting icicle, my dream of being Dorothy fell and shattered on the ground."

In keeping with Chinese tradition, Lin's fictionalized portrait of her experiences begins not on January 1, but with the first day of the Chinese New Year, in this case, the Year of the Dog. "You know how they say a dog is a man's best friend? Well, in the Year of the Dog, you find your best friends," Lin writes "Since dogs are also honest and sincere, it's [also] a good year to find yourself."

Lin's character manages to accomplish both goals. First, she meets her best friend, known in the book as Melody, the only other Asian-American girl in her class. Melody teaches the author that it's okay to be a little different from everyone else—and that it can even be fun. In real life, that same best friend, Alvina Ling, later went on to edit children's books, and in a wonderful turn of events, eventually became Lin's editor for this book.

Also during the Year of the Dog, Lin finds her true calling: to write and illustrate books. With the end of the year drawing near—and much self-pressure to find her path in life—Lin enters a school-sponsored writing and illustrating contest, and wins."I was crazy about books and I used to make books for every project we had to do in school," Lin recalls. "It was the first time I realized that you could actually do this as a job." Later, Lin took her love for books to the Rhode Island School of Design, where she studied children's book illustration and ultimately found an editor who prompted her to write stories about her drawings. "From then, I started writing like crazy to make up stories to go with my drawings." Soon after, her first book, The Ugly Vegetables, was born.

To date, Lin has written seven books, illustrated 10 others and has seven yet in the works—most of which are inspired by her Chinese-American heritage. Now that there are many more Asian-themed books on the market, several of which have been written or illustrated by Lin herself, the author hopes that other children won't have to face the issues she did. "With the Asian books, I'm inspired to study and learn more about my cultural traditions," says Lin, "and, hopefully, put the kinds of books out there that I would have wanted to read as a child."

Sharing Asian traditions is only a portion of Lin's incredible work. She is also dedicated to a project called "Robert's Snow," a fundraising program that began after her husband Robert was diagnosed with bone cancer. Lin asked 200 other children's book illustrators to create original art on wooden snowflake shapes, which were then auctioned off. The results were overwhelming—they raised more than $100,000—with all of the proceeds going to cancer research at the Dana-Farber Cancer Institute.

The original snowflakes were so popular that Lin had the artwork published in a book called Robert's Snowflakes, the proceeds of which have also gone to the Institute. This year, the amazing and tireless author has again convinced more book illustrators to contribute to the cause. The Robert's Snow 2005 snowflakes can be viewed at www.robertssnow.com, and with any luck, this new Year of the Dog (2006) will be just as lucky as the author's first.

 

Heidi Henneman writes from New York City.

Just in time for the Chinese New Year, critically acclaimed author and illustrator Grace Lin brings us a heartwarming story of what it means to be Chinese and American in her new book, Year of the Dog. In this autobiographical novel, Lin gives young readers a glimpse of a year in her own young life […]
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Best known for his immensely popular Artemis Fowl series, Eoin Colfer departs from his usual territory and delves into the world of crime-solving with his latest book, Half Moon Investigations.

"I really wanted to do something that was quirky and funny," the author says from his home in Wexford, Ireland. Colfer's basis for the new detective novel seems to be a combination of childhood adoration for the Alfred Hitchcock and the Three Investigators series and the adventures he shared with his five brothers. More inspiration came during a big 40th birthday party that he had thrown for himself and a large group of friends he had known since the second grade. "At the end of the night, someone asked when I was going to write a teen book," recalls the author, "and it started us talking about all of our escapades." Shortly thereafter, Colfer set about putting the shenanigans to paper, and Half Moon Investigations came into being.

Of course, he has changed the names to protect the not-so-innocent, but most of his friends know who they are. "It's liberating to write about people I know. It makes it an easy process," Colfer says. He was also adamant about making the stories seem true to life, rather than dealing with fluff cases. "I wanted my characters to solve actual mysteries," he says, "and they do."

What starts as the search for a missing notebook escalates into a whodunit involving stolen iPods, burning playhouses, a deafened dancer, a bludgeoned protagonist and more all seemingly unrelated until our brainiac detective solves the crime spree. Colfer confesses that he fashioned this quick-thinking character after another person he knows: himself. "I wanted to get away from whimsy and darkness of Artemis Fowl and have a good guy, but not a superhero," Colfer says. "To have someone with no clue about how to talk to girls and be unsure of himself, to be quite smart but have a lack of confidence. Much like myself."

As it turned out, it took Colfer a mere eight months to pen the first draft of the book and with so much material to draw on, this might be just the beginning of our journey with Fletcher Moon. "I have a second book planned, the author says, and I would like to do a series." But that's not all he has on his plate at the moment. Colfer is also writing the next Artemis Fowl book and researching a work of historical fiction.

Although Colfer's books are for readers 10 and up, his inspiration comes from a younger audience his two sons Sean and Finn, 3 and 8, respectively. "I started writing picture books for Finn," Colfer says, "after he came home one day frustrated that he couldn't read the books that people were talking about at school."

Six picture books later, he has become a bit of a master. "Picture books are quite intense," the author says. "Every word counts." As it happens, another picture book is in the works as well.

With all of these projects underway, Colfer could be forgiven if he longed for a little spare time. "Not so," says the author, who previously spent 15 years teaching elementary school. "I still treat writing as my hobby, so I think of that as my spare time."

And when he's not writing, he likes to spend time with his children. "I have an office in the back garden, so I commute about 10 meters to work every day," Colfer says. "But there are a few distractions: Every time I look up I see a child stuck to the window like Garfield."

Keeping writing close to home has always been a part of Colfer's lifestyle. His mother wrote plays and taught drama, and his father wrote academic books. "Writing and drawing was the norm in our house," he recalls. In fact, three of his brothers are also involved in the arts a screenwriter, an architect and an archaeologist who moonlights in a rock band but none are as celebrated as the Artemis Fowl author thus far.

Although he has had to deal with a bit of teasing from his brothers, for the most part, Colfer's fame hasn't affected his perspective on life. "I don't think about the celebrity end of it or let it affect me in any big ways," he says, "but I do end up having to buy the beer all the time."

The generous author may be picking up the tab even more often in the next few years. In addition to Colfer's own writings, a comic book series featuring Artemis Fowl will be hitting bookstores in early 2007 and filming for a movie on the same subject is expected to begin later this year.

Best known for his immensely popular Artemis Fowl series, Eoin Colfer departs from his usual territory and delves into the world of crime-solving with his latest book, Half Moon Investigations. "I really wanted to do something that was quirky and funny," the author says from his home in Wexford, Ireland. Colfer's basis for the new […]
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2008 Caldecott Medal Winner

Brian Selznick's The Invention of Hugo Cabret is not your everyday children's novel. Its storyline is drawn from incredible, real, almost unbelievable events; its characters are in-depth, intricate sketches of compelling real-life and imagined personas. Most extraordinary, though, is its format: a mixture of the traditionally written novel, the graphic novel, the picture book and the film storyboard, yielding a unique format that draws the reader into an almost movie-like experience. It is, in short, a work of inspired genius, melding the literary and visual worlds into one beautifully drawn and thrilling tale.

The storyline follows a young Parisian orphan, Hugo Cabret, in the early 20th century as he rescues and rebuilds an automaton, an early robot-like machine, while struggling to stay alive, protect his treasure—his only remaining link to his dead father—and avoid being caught by the police. In the process, young Hugo uncovers the identity, endures the wrath and captures the heart of a crotchety old man who turns out to be a renowned magician and filmmaker—and the very person who created the automaton Hugo is trying so desperately to rebuild. The result is a story of love and loss, discovery and magic.

Selznick is not a newcomer to the children's book world, having illustrated many acclaimed books, including The Frindle, Amelia and Eleanor Go for a Ride, Riding Freedom and The Dinosaurs of Waterhouse Hawkins, for which he won a Caldecott Honor. He has also written one of his own, The Houdini Box, winner of the Texas Bluebonnet Award and the Rhode Island Children's Book Award. "From an early age, I always liked doing things with art," Selznick recalls. "I would sketch on my notebooks in high school, and my advisors kept telling me that I should do illustrations for children's books." But Selznick didn't want to pursue the field. "I rebelled against it for a long time," admits the New Jersey native, who purposely avoided classes on the genre while attending the Rhode Island School of Design, and at one point, steered clear of a visiting Maurice Sendak. Instead, he focused his efforts on theater, but when his dreams of graduate school in that area fell through, Selznick had a change of heart: "I realized maybe everyone had been right about me after all—maybe I should become an illustrator."

With his new ambition to create children's books, but with no practical knowledge of the genre, Selznick used the only resource available to him—his personality. "I charmed my way into working at Eeyore's Books for Children," the author says, referring to New York City's legendary children's bookstore. There, Selznick was taken under the wing of Steve Geck, the store's manager at the time (now an editor at Greenwillow Books), who taught him everything he knew about children's books. "That's really where I first saw the potential for what a book could be," Selznick says. It is also where he was introduced to his first editor, Laura Geringer, who later hired him to illustrate Doll Face Has a Party, the first of many books he would illustrate before trying his hand at writing.

>For Hugo Cabret, Selznick initially set out to write a "regular" novel with perhaps one drawing per chapter, but that concept was soon dismissed. "I wanted to do something unusual with the pictures," he says, "but I didn't know what." While researching the book, the author came across the works of René Clair, an early French cinematographer who incorporated bursts of sounds as narrative elements in his silent films. Selznick became inspired to incorporate pictures in much the same way: bursts of images throughout the text that provide a narrative themselves, not just an illustration of the words. "The goal is that you won't remember what was text and what was imagery," the author says. To this end, Selznick opens the book with a 26-page sequence of illustrations that grabs our attention and "teaches" us how to read the book.

The idea for the book itself was also inspired by a French filmmaker (and magician), George Méliès, who appears as a main character in the story. "It started when I first saw A Trip to the Moon [Méliès' most famous film]," Selznick recalls. "I remember being struck by the film and how beautiful and odd it was." After seeing it, he would periodically come across an article about the filmmaker and file it away in his head. "For about 10 years, I kept learning all these little things about Méliès," Selznick says. He learned that Méliès developed and built his own equipment; that during World War I, his films were melted down by the French army to make shoe soles, and forever after, he hated the sound of tapping heels on hard floors; and that after being driven out of the film business, Méliès ran a toy shop in the Montparnasse train station. Selznick later incorporated all these elements into his book.

Then two years ago, Selznick stumbled upon a review of the book Edison's Eve by Gaby Wood, about the history of automata, and found out it contained an entire chapter about Méliès and his work on the lifelike machines. "His collection of automata had been housed in a museum in Paris, but had all been thrown away," Selznick says, "and as soon as I read it, I had a very clear image of a boy finding these automata in the garbage." Thus our young Hugo Cabret was invented.

It took Selznick two years to complete the book. "You can't rush a story," he says. "It is so important to take the time it needs." These days, the author, who splits his time between Brooklyn and San Diego, is in the midst of a multi-city tour promoting the launch of Hugo. He is also working on the audio version of the book, taking on new illustrating projects and starting to do research for his next writing project. After all, Selznick is not your ordinary author—and if Hugo is any indication—his next book won't be ordinary either.

Director of Creative Services for MAC Cosmetics, Heidi Henneman is currently working on a picture book for all ages.

2008 Caldecott Medal Winner Brian Selznick's The Invention of Hugo Cabret is not your everyday children's novel. Its storyline is drawn from incredible, real, almost unbelievable events; its characters are in-depth, intricate sketches of compelling real-life and imagined personas. Most extraordinary, though, is its format: a mixture of the traditionally written novel, the graphic novel, […]
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Try to imagine a perfect world, where pollution, cell phones and poverty do not exist. A place where world peace reigns and no one has ever heard of war. This is Atherton, and it is the setting of best-selling author Patrick Carman's new book for young readers, Atherton: The House of Power.

Carman is not a novice when it comes to creating strange new worlds. His previous series, The Elyon Trilogy, took his readers into a place filled with talking animals, mysterious beings, evil and magic. In Atherton, Carman pares the planet down to just a few inhabitants rabbits, sheep, figs, horses, people and enormous garbage-eating bugs but he tackles a monster of an issue: the destruction of our environment.

The story is set on a man-made, self-sustaining planet, created by a brilliant but mad scientist. On a quest to understand this strange homeland, a young orphaned boy named Edgar encounters interesting new people, discovers mysterious lands and uncovers a deep, dark secret about Atherton—a secret that could lead to the end of the world as he knows it.

Carman came up with the idea of a self-sustaining planet while on tour for his first book, The Dark Hills Divide, the first entry in the Elyon trilogy. "My family and I were zigzagging across the country in a 40-foot RV," the author recalls, "and every time we stopped for gas, it would really bother me that we were using so much."

At the time, he was reading Mary Shelley's Frankenstein, and over the four months that he spent on the road, the two ideas melded. "I was trying to come up with a topic that was important for young people to grapple with," he says, "and the concept of an environmentally balanced world designed by a mad scientist came to mind."

Carman, who lives with his wife and two daughters in Washington state, takes the challenge of protecting the environment seriously. "The smaller we can make our carbon footprint the better," he explains. To that end, he contributes to a carbon fund when he flies, rides his bike whenever possible and has retrofitted his house to be more green.

Most importantly, Carman makes sure that the next generation is aware of and working on the problem, too. "I talk to schools about trying to have the smallest footprint in their city," he says, "and as it turns out, a lot of young people think that's sort of cool."

Although environmental awareness plays a pretty big role in the book, Carman isn't necessarily trying to send a do-good message to his readers. "When I write, my number one focus is to engage kids to want to read." Having spent the better part of the past three years making author visits to more than 400 schools, Carman knows quite a bit about the subject. "There are a lot of kids, especially boys, who are hard to engage with a book," he explains. "Part of that is because they are surrounded by cell phones, iPods, video games, movies and television. And in the face of all of that, it's difficult to interest kids in reading."

In an effort to attract those would-be readers to his book in particular, Carman has incorporated a slew of interactive features into Atherton, including weblinks to videos, animation and voice recordings of the characters. "I wanted to reach into the world of kids today and bring them into the world of my first love, books," says the author.

In addition, Carman has filmed several behind the book segments that walk the reader through the writing process. "For one segment, I went to a climbing wall so I could get a feel for what Edgar would be going through as he climbed the walls of Atherton," he recalls.

Although Carman clearly enjoys the writing process and speaking to young people, he was not always on this path. Out of college, he started his own advertising firm, and after several years of success with that endeavor, tried his hand at creating board games, developed an online technology company, and dabbled in television production. "I guess I've always been a storyteller," he says, but it wasn't until he started telling bedtime stories to his two young daughters that the true storytelling bug emerged.

With another Atherton book scheduled for next spring, a prequel to the Elyon books coming out in the fall and a couple of new ideas brewing, it looks like he's going to be sticking with this career for a while. "I feel my calling is to go out to schools and get kids excited about reading," he says.

And if he is even half as successful in getting kids to think about their environment as he has been in getting them to read, Patrick Carman might just save this world, one reader at a time.

Heidi Henneman writes from the brave new world of New York City.

Try to imagine a perfect world, where pollution, cell phones and poverty do not exist. A place where world peace reigns and no one has ever heard of war. This is Atherton, and it is the setting of best-selling author Patrick Carman's new book for young readers, Atherton: The House of Power. Carman is not […]
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The signs are everywhere, if you know how to read them: fireworks, birds, poppies, music. Signs of joy, remembrance or of something yet to come or could they be merely figments of your imagination?

In award-winning author Patricia MacLachlan's new book for young readers, Edward's Eyes, we meet a young boy with a special ability. His eyes are not only remarkably beautiful, they are so perceptive that they can see the future, appreciate the past and be fully conscious in the moment. Through Edward, we are able to understand a world that is more magical than many of us can ordinarily perceive. MacLachlan, who won the Newbery Medal two decades ago for Sarah, Plain and Tall, came up with her latest story after a conversation with her son, a former photographer who now works in Tanzania with the renowned primatologist Jane Goodall.

"I saw his driver's license and realized he was an organ donor," MacLachlan says. "Since he no longer uses his eyes for photography, we joked about how great it would be if someone else got a chance to use them." That conversation stayed with MacLachlan for several years. She even went so far as to write the beginning of a book with that concept in mind, but it wasn't until Edward introduced himself to her that things really got started.

MacLachlan, an only child who became a voracious reader and often acted out the stories she was reading with her parents, does not simply make up characters, they come to her. "When I was young, I had all these imaginary friends that I had conversations with," she recalls. In fact, her bond with these imaginary friends was so strong that she insisted her parents set a place for them at their dinner table. "They tolerated it with good humor," MacLachlan says, "but I'm sure it was trying."

As an adult, she draws from this wild imagination and meets characters everywhere in her car, in the shower, in bed or whenever she has a quiet moment to think. The inspiration for her characters' personalities or abilities is usually related to what she is experiencing or noticing at the time. "There is something magical about a child's mind," says the author, who is married to a clinical psychologist, "and I began noticing how some children are more tuned into the world around them than others." Thus Edward's character came with a special gift of sight. Although MacLachlan writes about the beauty this ability reveals, Edward's Eyes is not simply a story about magic or spirituality. Instead, it is a story about the relationships of siblings, the fragility of life and the ability to overcome tragedy. MacLachlan handles these difficult themes with empathy, optimism and a clear prose that speaks directly to the reader without being heavy-handed.

The storyline follows Edward, through the eyes of his older brother Jake, as he grows into a young boy and learns how to throw the ever-elusive knuckleball the poetry of which MacLachlan learned from her son. This eccentric young character goes on to predict his new sister's birth going so far as to name her long before her parents even know her sex and then, shockingly and tragically, dies in a bike accident. But this death is not the end of Edward or of the story. In effect, it is just the beginning of Edward's legacy. After the accident, his organs, including his beloved eyes (corneas), are donated to several patients awaiting these precious gifts of life.

"I thought the idea that someone's heart is beating in someone else's body was pretty powerful stuff," MacLachlan says. It is the journey of these eyes, and their effect on their recipient, a minor league baseball player, that brings the story to its heartwarming and poignant climax.

The author admits it is refreshing to get to know a new character after all the incredible years she spent working with Sarah of Sarah, Plain and Tall, including the sequels and the screenplays, for which MacLachlan received an Emmy nomination. "I felt like I took Sarah into menopause," she says. "It was sad, because I knew her so well, but it is a relief to be writing about another family."

MacLachlan plans to focus her next efforts on several picture books that she is writing with her daughter, Emily. The mother-daughter duo has already published one book, Once I Ate a Pie, and is working on their next collaboration. In the meantime, MacLachlan, a Wyoming native who splits her time between a home in Williamsburg, Massachusetts, and a cottage on Cape Cod, will be on a nationwide book tour for the release of Edward's Eyes, including a highly anticipated trip back to her hometown of Cheyenne. After that, it will be up to the characters she encounters in her back seat or in the bathroom to show her the signs to her next book and MacLachlan certainly knows how to read them.

Heidi Henneman writes from New York.

The signs are everywhere, if you know how to read them: fireworks, birds, poppies, music. Signs of joy, remembrance or of something yet to come or could they be merely figments of your imagination? In award-winning author Patricia MacLachlan's new book for young readers, Edward's Eyes, we meet a young boy with a special ability. […]
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Always carry a notebook—and at least two pens. Those are some of the words of wisdom that first-ever Children's Poet Laureate Jack Prelutsky imparts in his how-to guide, Pizza, Pigs, and Poetry: How to Write a Poem. Having written more than 70 books of poetry in his 40-plus year career, Prelutsky certainly knows a thing or two about the craft. This book, his first-ever work of prose, combines helpful insights, personal anecdotes and several "poemstarts" to help young writers tap into their own creative talents. The book is being published as a companion to Prelutsky's latest book of poetry, My Dog May Be a Genius.

Prelutsky stumbled upon his craft quite by accident. "In my early 20s I was searching," the author recalls in an interview from his home near Seattle. "I always knew I was going to be doing something in the arts." To that end, he acted, he sang folk songs, he made terrariums, he was a sculptor, a photographer and a potter, but the idea of being a poet never crossed his mind. At one point, Prelutsky tried his hand at drawing. "I spent more than six months working on a sketchbook containing two dozen imaginary creatures," he says. As an addition to the project, he sat down one night and wrote verses to accompany the sketches. Soon thereafter, a close friend suggested that Prelutsky show the artwork to his editor. "I had no interest in being published. I didn't even know what I was doing," he says, "but I thought, sure, why not?" His friend's editor happened to be legendary children's book figure Susan Hirschman, who took one look at Prelutsky's work and told him that he was "the worst artist" she had ever seen, but that he did have a natural gift for poetry. More than 40 years, 70 books and a Children's Poet Laureate title later, it seems safe to say that Hirschman was right.

Since that serendipitous encounter, Prelutsky has written poems about witches, vampires, werewolves and skeletons, bananas, pigs, flying turkeys and weasels, baby brothers, moldy leftovers and fed-up fathers, and much, much more. All these subjects are presented in a style that reminds us what it is truly like to be a child—carefree and funny, courageous and silly, and, most of all, curious about the world. As a young boy growing up in the Bronx, Prelutsky had a very active childhood. He would sometimes do childish things, like throwing meatballs out of his sixth-floor apartment window. He could be daring, like the time he and his friend ate worms off the ground. And more often than not, he would do something ridiculous to get himself into trouble, like the time he painted all of his father's underwear with finger paint. "I wasn't the best behaved little boy," Prelutsky admits, but luckily for his legions of young fans, his misbehavior in childhood has led to some very funny poetry. "You have to use your own life to generate ideas," Prelutsky explains. Indeed, the poet suggests that his readers (and future poets) should draw on things that actually happened to them. "Think about something you did, accidentally or on purpose, that made your parents mad at you," the author suggests. "You'll have lots of fun writing about your own misbehavior."

Pizza, Pigs, and Poetry, however, wasn't quite as fun or easy for Prelutsky as his poetry writing. "They had to wring this one out of me," he says. "Prose is not something I do." In fact, he recalls, "I worked on it for several months, and wrote only two pages!" After those first frustrating months, Prelutsky says, "I decided that the book would not be about poetry per se—you don't need me to tell you what a sonnet or iambic pentameter is." Instead, he preferred to talk about the creative process, how to generate ideas and what to do from there. "Once I got into that, I wrote about 30 pages in a day," he says. His tips include such basics as "keep your eyes and ears open," "write your ideas down immediately" and "don't be afraid to exaggerate." For Prelutsky, what makes writing poetry interesting are the surprises encountered in the process. "If the creature you have in mind isn't as big as you want it to be, make it bigger . . . alter its shape and hairstyle," he says. "The only limitation is your own imagination." Prelutsky's own imagination seems boundless. He is currently working on what he calls a "silly" book about birds, inspired by the avian marvels he has seen near his home on Bainbridge Island. Other projects in the works include a lullaby book, a year-round holiday book and a book of scary poems from outer space, just to name a few. "You can never predict when and why an idea is going to happen," the poet says. So, just in case, he always carries a notebook.

Always carry a notebook—and at least two pens. Those are some of the words of wisdom that first-ever Children's Poet Laureate Jack Prelutsky imparts in his how-to guide, Pizza, Pigs, and Poetry: How to Write a Poem. Having written more than 70 books of poetry in his 40-plus year career, Prelutsky certainly knows a thing […]
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Julia Gillian is a master of many things. She is skilled in the Art of Papier-Mâché Making, she is skilled in the Art of Telepathic Human-Dog Communication, and she is skilled in the Art of Chopsticks. Unfortunately, she is not as skilled in the Art of the Trumpet, and even worse, she is learning to be skilled in the Art of Lying.

In award-wining author Alison McGhee’s Julia Gillian (and the Quest for Joy), the second title in her three-part series, we find our precocious and loveable heroine struggling to find herself—and happiness—in the fifth grade. Her best friend is treating her strangely, her favorite lunch lady has been replaced by a tyrannical lunch man, and her dream of becoming a famous jazz trumpeter is quickly being dashed. Julia Gillian is a very serious young girl who never-in-a-million-years would lie to her parents, talk back to her teachers or fake her way through trumpet lessons—until she does.

McGhee captures Julia’s struggles with amazing dexterity, balancing the delicacy of the young girl while respecting the weight of her very mature worries. “I always try to honor the child of whatever age,” McGhee says from her home in Minneapolis. “Too often, adults dismiss the concerns of children—or they are terrified of them, especially teenagers—but children are wonderful, magical beings. They are young, but they have these incredible inner lives, and they are so tender. So I always keep that in mind when writing for children.”

In retrospect, McGhee thinks she might have been a bit like Julia in her own childhood. “I was the oldest child and ultra responsible,” McGhee recalls. “There is some of that in Julia.”

For the most part, however, Julia invented herself. “I created a goal for myself of writing a children’s book, set in my neighborhood, with a young girl who had a big dog,” the author says. “I just let the characters do whatever they do—it’s often a great surprise to me.” This particular character became an accomplished girl with an ever-expanding list of achievements: Skilled in the Art of this, that, and the other. Oddly, she did not become Skilled in the Art of Reading. “I was surprised because I thought she would be like me and bury herself in books all the time,” McGhee says.

The author’s own love of books started at an early age. “My earliest memories were of wanting to be an actor, then a ballerina, then a singer,” she says, “but then when I was six, I started writing stories and I decided I wanted to be a writer.”

After graduating from Middlebury, McGhee spent her off hours writing, but it took six years to get her first short story published, and it was 13 years before Rainlight, her first novel for adults, was published. Her second novel, Shadow Baby, also for adults, became a Pulitzer Prize nominee and a Today Show Book Club selection. “By that time, at least I had an agent,” McGhee jokes.

Her foray into children’s book writing, however, started quite by accident. “I kept a journal about each of my children for every year of their life,” recalls the mother of three. Her sister noticed that there were quite a few ideas for children’s books in the journals, and suggested that she start writing picture books. “It was a huge challenge for me,” she says, but she became skilled in the Art of Picture Book Writing, nonetheless. Her first attempt, Countdown to Kindergarten, won the 2003 Minnesota Book Award and became a Booksense 76 pick, among other accolades.

After that, she delved into writing novels for children.  “Whether I am writing picture books, children’s novels or short novels, I try to hold the same sense of honor and respect for children, their concerns and their amazing ideas.” Indeed, she seems to sympathize with children in a fresh and personal way through her books. In Quest for Joy, McGhee says, “I relate to the fact that she [Julia] is truly at sea and yet she continues to makes things hard for herself. That has been one of the lessons of life for me, too: sometimes it’s OK to ask for help.”

Luckily for Julia Gillian, she learns this lesson as well, and in the end, she does succeed in her quest. As we learn in the book, joy comes in many forms—in the anticipation of new siblings, in freeing oneself from the entanglement of lies, and in the triumphant sounds from a challenging trumpet. For McGhee herself, joy comes in enjoying her children and her dogs, listening to music and reading a wonderful book. She should know. She is, after all, skilled in the Art of Writing Wonderful Books.

Julia Gillian is a master of many things. She is skilled in the Art of Papier-Mâché Making, she is skilled in the Art of Telepathic Human-Dog Communication, and she is skilled in the Art of Chopsticks. Unfortunately, she is not as skilled in the Art of the Trumpet, and even worse, she is learning to […]

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