Congratulations on the release of Wild Things: Acts of Mischief in Children’s Literature (Candlewick, 2014)! What was the initial inspiration for the book?
Betsy: Well, back in the day (I think it was about 2009 or so) I noticed that there were a great many really top notch children’s literature bloggers out there that had sites that were unique and interesting.
Two of them in particular caught my fancy.
There was Peter Sieruta, who ran a historical children’s lit blog called Collecting Children’s Books, and there was Jules Danielson, who with another person was running the Seven Impossible Things Before Breakfast illustration blog.
I don’t think anyone would have read those blogs alongside my own and thought we necessarily had similar voices, but that didn’t stop me from reaching out to them and saying, “Hey! Let’s write a book!”
Of course I had no idea what kind of book to propose. So we put our heads together and came up with the notion of writing about the true and often little known stories behind children’s books.
It was just our great good fortune that we ended up with Liz Bicknell at Candlewick as our editor. She took one look at our behemoth of a manuscript (every time I tell this story it gets bigger, but I swear it was around 700 pages) and said that the first thing we needed to do was cut it down and the second was to rally round a theme.
After some discussion we realized that one point that kept coming up time and again in our manuscript was the fact that people have this view of children’s literature that it’s some cute little fluffy bunny, sunshine and daisies world where all authors and illustrators skip through meadows with a childlike sensibility. The truth is far more interesting, so we took that interesting truth and made a book out of it.
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Jules: As Betsy said, we wanted to debunk the romanticized notion of children’s literature that is so prevalent today (with, say, the Average Person on the Street).
There’s also some condescension that occurs too (“oh, it’s just kiddie lit,” as if it’s not worth anyone’s time to discuss or study), and we do address that in our book as well.
So, taking a look at acts of mischief can go a long way in showing that these are books written by adults, who don’t necessarily live infantile lives.
One illustrator with whom we spoke said that when she tells people she illustrates children’s literature for a living, she gets the sense that a lot of people expect her to act like a well-behaved child herself. And that’s an unfortunate thing.
As for the word itself, the sub-title of our book comes from a lecture that Patricia Lee Gauch once gave at the Eric Carle Museum of Picture Book Art in 2011. It was called “Picture Books as an Act of Mischief,” and it’s a wonderful lecture. (It can be read here.) We secured her permission (and the Carle’s permission) to use it for our book.
What was the timeline from spark to publication, and what were the major events along the way?
Betsy: Jules may have to correct me on this but as I remember it we first came together as authors in 2009. We tapped my agent, the amazing Stephen Barbara, and he hooked us up with Candlewick and Liz. Then for the next three years we worked on it together. 2010 and 2011 weren’t particularly significant. There was a lot of running to libraries, consolidating ideas, and editing one another.
In 2012, however, things took a significant turn. By this point we’d
submitted the manuscript to Liz and been told to cut it down. We were
in the midst of doing that when I received a phone call from Jules on
the evening of May 26th. She said she’d been on Facebook and saw that
Peter’s brother John had written via Peter’s account that Peter had died
the night before.
Honestly, I had a hard time understanding what Jules meant by that. Neither of us had ever met Peter in person but we were fairly certain it would happen someday. His “voice” online was so clear and distinctive that there was no confusing it with anyone else. The idea that it was now gone . . . well, it was inconceivable.
By this point Peter had turned in all his writing and we were just culling things down, but now Jules and I found ourselves in the odd position of having to edit the manuscript for the first time without Peter’s guidance, wit, and humor.
We did so, happy at least that the book would carry on his voice in some form. In 2013 we spent the better part of the year making absolutely 100 percent sure that our sources were dead on and that we had permission for everything in this book. It was hard work, the hardest I think it’s safe to say we’ve ever done on a piece of writing, but in the end it was worth it. Voila. Wild Things.
What were the biggest challenges and triumphs in bringing the book to life?
Betsy: Peter’s death was the biggest challenge, no question.
How do you cut a chunk of the book that he loved without getting his permission to do so? It was some comfort that we got to put some of his stories onto our book’s blog, but it still wasn’t quite the same.
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That was a challenge and so was getting the permissions for the book. I guess you could say that the permissions were both the biggest challenges and the biggest triumphs.
Every time we got a permission to use something, whether it was a photo or a quotation, we felt like breaking out the champagne.
Jules: What Betsy said! Peter’s death really threw us for a loop, and it’s a really bittersweet time now, since the book is finally out and we’re excited – yet he was really pumped for this day to happen, and he’s not here for it. It’s not the same without him.
Our only consolation is that his voice lives on in this book.
And, yes, permissions can be the devil, so each one we tracked down and nailed (from image permissions to text permissions) was, as Betsy said, a little triumph.
Who is your intended audience?
Betsy: That was a question we had right from the start. To what extent do you specialize?
When our book was still in its monolith state, we had a lot of stories that were hugely interesting to us, but might not catch the eye of someone who wasn’t already into children’s literature.
So when we honed things down, we realized that we’d have to narrow our focus a bit. That tale about the true story behind the Newbery Award winning book Onion John (Crowell, 1959) might be awesome, but how many people have ever heard of Onion John (or care to)?
In the end we hope that this book will appeal not only to people who already work with children’s books in some fashion but also to those adults that have fond memories of the books of their youth and might be curious about some of their back stories.
Judging from the current trend of children’s book biopics (“Saving Mr. Banks,” the upcoming Shel Silverstein picture, the upcoming C.S. Lewis & J.R.R. Tolkien feature, etc.), there’s a definite interest.
What did you learn about writing nonfiction?
Betsy: Source everything from the start so that you don’t have to go back over your work a million times just to make sure you got things right.
Learn how to make Source Notes. Keep your Bibliography in order. And definitely be flexible.
|Third circle of hell, illustrated by Stradanus.|
If the estate of a great big author or illustrator decides that the only way you can include a piece of information is to pay them untold gobs of money, have back up material to replace the stuff you’re not allowed to use.
Oh. And photos permissions belong in a circle of Dante’s Inferno that few people should ever have to visit.
Jules: Yes, keeping notes of each and every little thing cannot be emphasized enough. Also, be clear on what you are expected to do and what your publisher will do.
Candlewick was great to work with, but since this was my first nonfiction book (well, it was my first book), I admit to some naïveté over the amount of work involved regarding permissions.
I thought, for instance, that surely some intern at the publisher’s camp would handle, say, image permissions for us! Nope, you as the author handle all of that yourself. This is fine, but be prepared.
I’d also add: Be willing to let go of that really great quote you wanted in the book but can’t quite afford (I have a Madonna story along those lines … oh, Madge), because it’s outrageously expensive, and embrace paraphrasing.
What advice do you have for fellow nonfiction writers?
Jules: I don’t want to sound like a broken record, but my first piece of advice would be, once again, to keep copious, seriously nerdy and detail-oriented notes about each and every source and where you got it, and become one with the notation of page numbers.
Also, I should say: It was a joy to write with Betsy and Peter, so my advice would be much different if I had done it alone. I had them to lean on; I had them to turn to with questions or teeth-gnashing or advice. We probably went a long time without saying word one to our wonderful editor, because we had each other. I feel like they made me a better writer.
|Visit Wild Things!|
How did your tie-in website come to be?
Jules: There were many stories we wanted to share that were cut from our book. We turned in, as Betsy noted, a manuscript that was much longer than what was required. I think we cut about a third of the book.
We also had to re-organize and re-structure the book, and after that happened, many stories no longer fit. We thought sharing them at a site would be a fun thing.
It’s a lot like, as Betsy puts it, the Director’s Cut version of the book.
Would you like to admit to any mischief of your own?
Betsy: Golly. What kind would you prefer?
I can definitely say that I’ve been a bit mischievous in my promotion for this book. You see, there were certain stories out there that we knew and just couldn’t use because the perpetrators (so to speak) were still alive and kicking and probably wouldn’t appreciate us bandying about their names.
Still, I’ve slipped references to these stories into some of our blog posts. For those in the know, when I say “the dead cat story” they know exactly what I’m referring to. Or when we mention “the most infamous Caldecott speech of all time” (the one that more librarians claim to have witnessed than could have actually fit in the banquet hall), you’ll see some surreptitious nods. Or the story that involved someone punching someone else out.
I can’t use it. I can’t even allude to who might have been involved or where it might have taken place.
But buy me a drink some time and I might easily spill all.
Jules: Most people don’t know about the great Pooh Bear Heist of ’99. … Nah, I’m too guileless, and I’d get caught.
Instead, I’m going to answer for Peter – in a way. Peter pulled off many an April Fool’s joke at his site, Collecting Children’s Books, and they were so much fun.
Here’s one bit of mischief, probably my favorite.
I think he really got some people goin’ for a while there.
Betsy Bird is the youth materials collections specialist for the New York Public Library and the author of Giant Dance Party, illustrated by Brandon Dorman (HarperCollins, 2013). She has also written a nonfiction text for library students, called Children’s Literature Gems: Choosing and Using Them in Your Library Career (ALA, 2009). In addition to writing for The Horn Book, she is the creator of the blog A Fuse #8 Production. Betsy was born in Kalamazoo, Michigan, and now lives with her family in New York City.
Julie Danielson is a regular contributor to Kirkus Reviews and BookPage and has also written for The Horn Book. At her blog, Seven Impossible Things Before Breakfast, she has featured and/or interviewed hundreds of picture-book creators. Julie, who lives with her family in Tennessee, also teaches picture books as a Lecturer for the School of Information Sciences’ graduate program at the University of Tennessee, where she got her library degree in 2002.
Wild Things!. Illustrations copyright © 2014 by David Roberts. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.