Have Swag, Will Travel: Spicy Kidlit Opinions (That Absolutely Nobody Asked For) by Mary Boone

Dear Readers, here comes an info-packed Have Swag Will Travel guest post with book event insights and experiences from author Mary Boone. Mary has written more than 70 nonfiction books for young readers, so she certainly has a heap of book event experiences to draw from. Her most recent titles include Unfathomable: 20 (Wild but True) Stories of the Sea (Bright Matter/Penguin Random House) and The Flying Feminist (Andersen Press), which is coming out .... soon! 

Take it away, Mary! 

by Mary Boone and Andrea Turk

My Spicy KidLit Opinions (That Absolutely Nobody Asked For)

by Mary Boone

I just had a book's release date delayed – AFTER its release date. If you’ve ever had travel plans derailed after you’ve settled into your seat on the plane, you know the feeling.

So yes, I’m feeling a little spicy.

Which makes this the perfect time to share a few of my kidlit hot takes regarding book activities and swag. Some of these are opinions I’ve held for years. Others have developed after countless school visits, bookstore events, library programs, conferences, and festivals.

Agree. Disagree. Tell me I have no idea what I’m talking about. That’s half the fun.

1. Coloring sheets are not crafts.

I know that this one may be controversial, but I said what I said. I believe if you’re invited to lead a story and craft time at a bookstore or library, the craft needs be something, well … crafty!

Don’t get me wrong. Coloring has its place. It’s calming. It’s inexpensive. It’s easy. It buys parents five peaceful minutes while they finish their coffee. But it’s also something most kids do ALL.THE.TIME. 

If your event promises a craft, build a paper airplane, fold an origami raccoon, or create a shark with a moving jaw. Fold, tape, experiment, invent.

Kids probably won’t remember which crayon they used to color a fish, but they’ll remember that you taught them a technique or exposed them to craft materials they’ve never used before. 

2. The best book crafts are going to require prep work.

Want booksellers, librarians, and parents to be wowed by how easily preschoolers were able to create adorable book-related crafts? The key is pre-planning and, perhaps, a bit of prep work.

As a parent I was never keen on crafts that required me to lug around mosaics covered in drippy glue or clay masterpieces that may never harden, I love a craft that can be FINISHED in just a couple of minutes. No waiting. No dry time. Just finish and go. That means, that double-stick tape with an adhesive backing has become my best friend. (Here’s a link to the one I’ve been using.) 

I started using this tape with the fish kites we made in conjunction with my book School of Fish. 

I knew kids would love decorating their fish and choosing their crepe paper streamers, but also I knew families would hate the mess of liquid glue or even glue sticks. A couple strips of double stick tape proved to be such a great solution, I’ve used it with many book projects since, and I’ve also added adhesive-backed googly eyes, adhesive dots, and self-adhesive pin backs to my craft bag. 

While promoting my book Pedal Pusher, I knew that I wanted to help kids create bike drivers’ licenses and I very briefly thought about hauling a small laminating machine to events. Too complicated – too much risk a kid might touch something hot! So, I searched for solutions and found small badge-size lamination pouches that required no heat and no machine. All this is to say there often are products out there that will make things easier.

Craft prep may also mean that I pre-cut ribbons or punch holes. Kids still get to choose colors and styles, but I do whatever I can to simplify the process and minimize the mess. “Engineering” crafts that are fun, easy, and memorable is now one of my favorite things. 

3. People don’t want stickers advertising your book.

That giant sticker of your book cover? Your mom may put it on her laptop, but most folks won’t.  A funny shark wearing sunglasses? A cricket accompanied by the proclamation “I Ate a Bug.” Those are the types of stickers that may actually make it onto someone’s water bottle.

The best swag doesn’t feel like advertising. It feels like something people genuinely want. If your sticker can exist independently of your book and still make someone smile, you’ve probably designed a winner.

4. No one has ever thought: I wasn’t going to buy this book … but then I got a sticker/pen/bookmark.

If I have $100 to spend on an event, I’m putting it toward an activity or experience before I buy a single giveaway.

I’ve watched kids taste roasted crickets and build aluminum foil boats to see whose design stays afloat the longest. I’ve invited young readers to fly paper airplanes across a bookstore and to use magnetic poles to “fish” for salmon trivia questions. Months later, those are the moments they tell me about – not the bookmark I gave them.

Experiences become stories. Stories become memories. And those memories become connected to your book in a way a pencil or button almost never will.

5. Bookmarks should earn their keep.

If you decide to create bookmarks (I often do, there’s nothing wrong with doing so!) make sure they’re memorable. If your bookmark is just your book cover printed on cardstock, then it’s basically a tiny flyer.

Give me something fun instead. Include odd facts. Add some jokes or conversation starters. Make it something worth keeping even after they’ve finished the book.

For my newest book, The Flying Feminist, I skipped bookmarks in favor of female aviator trading cards. Could you stick one between the pages of a book? Sure. But you could also trade them with your friends, learning about the amazing accomplishments of women like Betty Skelton, Bessie Coleman, and Katrina Mumaw along the way.

6. Adults love kid swag.

This is only a hot take if you haven’t spent much time around teachers, librarians, booksellers, parents, or conference volunteers.

I have watched fully grown adults light up over stickers. I’ve had librarians ask, “May I have one?” before kids even enter the room. Sometimes I think I’m ordering stickers for educators and kids are simply a delightful bonus. That’s OK. 

Adults are typically the people recommending, purchasing, shelving, and sharing our books. If they leave smiling, it’s a huge win!

7. Swag isn’t absolutely necessary.

Not every title needs branded pencils, temporary tattoos, tote bags, magnets, buttons, activity sheets, postcards, bookmarks, coloring pages, and six different sticker designs.

Sometimes the most memorable thing you can offer is a fantastic read-aloud, an engaging conversation, and a kid who leaves excited to read the book.

That’s pretty great swag.

Wow, Mary! What fantastic tips. I've done hundreds of book events over the years, and I still gained some very valuable ideas and insights! Thanks so much for sharing your experience with us!

And now, dear readers, you know what to do. The best way to thank an author whose insights have been helpful and/or inspiring to you is to support their work. Buy their books. Request them from your library. Read and share them with others. Mary's books are available everywhere books are borrowed and sold, including your own local, indie bookstore, or online at bookshop.org. *Disclosure: As an affiliate of Bookshop.org I may earn a small commission from books purchased through links on this post.

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Mary Boone has written more than 70 nonfiction books for young readers,  the most recent of which are Unfathomable: 20 (Wild but True) Stories of the Sea (Bright Matter/Penguin Random House), Flying Feminist (Andersen Press), Pedal Pusher (Henry Holt & Co.), School of Fish (Albert Whitman & Co.), and Bugs for Breakfast (Chicago Review Press). Mary lives in Tacoma, WA, where she shares her office with Airedale terrier named Ruth Bader. To learn more, visit her website or follow her on social media @boonewrites. 

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Have Swag Will Travel: Tips for Planning Book Events is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including, Lucy's Blooms, Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, 16 books in the Story Time With Signs & Rhymes series, and the forthcoming title, Mama's Home (and Baby Too!). Dawn is a contributing author to the award-winning book, Oregon Reads Aloud, and a frequent presenter at schools, libraries, and educational conferences. Contact Dawn using the form at the left, or learn more at www.dawnprochovnic.com. Subscribe to Dawn's newsletter and never miss an update.

Birth Stories for Books: KAUAI'S CALL, by Jena Benton

Hello, readers! Today, I'm so happy to share an info-packed Birth Stories for Books interview with Jena Benton, author of the sweet picture book, KAUAI'S CALL (illustrated by Kristi Petosa-Sigel, Island Heritage, 2024). 

by Jena Benton and Kristi Petosa-Sigel

Jena's inspiring path to publication involves lots of practice, professional development, perseverance, memory mining, good luck, and more! Let's get to it! 

Dawn Prochovnic: Welcome to the blog, Jena. I've enjoyed getting to know you a bit through our shared involvement in 12x12 and your own blog, and I'm excited to dive in and learn about your path to publication for KAUAI'S CALL.

When you compare one of your earliest drafts of this story to the version in the published book, what stands out for you in terms of what is most different? Likewise, is there anything in particular that stands out that was included in your earliest drafts and survived the revision process?

Jena Benton: Thank you so much for having me on your blog Dawn. I have to laugh at this question, as the very first draft looked nothing like the final product. This story went through SO many revisions and changes from initial idea to final published story. Most different? The main character was a girl based on a memory from my childhood, now it’s a rooster. I was never a rooster! What stayed the same is the problem at the heart of the story: both stories dealt with stage fright. More on that in a minute. ;)

Dawn: I love seeing responses like this. It helps us all to know that the magic is in the revision process! 

Reflecting on the journey from idea to published book, are there any individuals, experiences, or opportunities that you credit with opening the door for you to bring this story to publication? (I'd be particularly interested in hearing how you connected with your publisher, as it seems as if they are the perfect fit for your book!)

Jena: I’m reminded of something I heard Kwame Alexander say at a writing conference: “It was good luck; but luck is what you make of it.” Or something similar. In the end, luck is what ultimately leads to publication, but it’s also right time, right place.

I was digging into picture books (reading them, writing them regularly, etc.) and networking (attending conferences, joining the writing community and making friends, etc.). ALL of this led to the final product. My book wouldn’t have been published if it wasn’t for everything I was doing and everyone I was meeting. It’s a tapestry of support that was woven together. What do I mean by that?

I joined SCBWI and 12x12 to learn more. I attended their conferences and really dug into the craft. I read picture books voraciously (they’re my passion), as well as attempting to write them. Through all of that, I discovered Tara Lazar’s StoryStorm (as it’s now called). One of her prompts led to my initial idea: think of a memorable childhood event and fictionalize it. I immediately thought of a talent contest I had entered, memorizing a poem for weeks, but when it was “show time” I couldn’t utter a single word because of stage fright. I wrote a crappy first draft and revised until I realized it wasn’t quite working as it was based on a faulty premise: someone winning a talent contest. There are no winners in today’s talent contests; it’s a showcase of talent! 

I shelved the story and thought I was done with it, but then came back to it one day. I can’t remember why. I wondered if there as an animal that would be “on stage” and immediately thought of a rooster. That changed the problem of my story’s problem! I set the story in a barnyard with a rooster I called Chauncey. I loved the way his name sounded and was attached to that name for far too long. In fact, I was attached to many aspects for far too long. I had a friend critique it and she was brave enough to tell me it would never sell; there were too many stories of roosters struggling to crow set in a barnyard.

I knew there was part of the story though that really worked. It’s different than your average rooster story because I researched a TON of chicken facts for it. It’s very … chicken-y! Everyone who read it commented on that. So I thought about why I would even want to write a chicken story. WHY chickens? I didn’t own chickens, live on a farm, or collect them. Again, I instantly thought of my honeymoon on Kauai, Hawaii. There were roosters and chickens EVERYWHERE. Our car had been surrounded by them at a pullout by the beach. And I knew I had to change the setting to Hawaii.

Interior spreads from of KAUAI'S CALL by Jena Benton and Kristi Petosa-Sigel

I knew of a Hawaiian publisher because of personal experience. I’d traveled to Hawaii numerous times. Little-known fact: Alaskans love to go there for vacation in winter. And every time I’d gone, I’d purchased Hawaiian picture books for my classroom. Another little-known fact: a lot of Pacific Islanders move to Alaska. I wanted my students to feel “seen” in the books I read to them. It was through that “luck” that I knew of (and dreamed about) this local Hawaiian publisher. I sent the story to them and a year and a half later, they accepted it. So you see, publication of my book was all because of a multitude of people, multiple drafts over several years, and a variety of lucks!

Dawn: Oh, Jena. What an inspiring backstory. I love everything about it. Your perseverance. The courage and honesty of your critique partner. The preparation via professional development opportunities. The memory mining. The letting go of your darlings. It's all there in this one story-behind-the story!  

Who do you see as the ideal reader for this book and/or what would you love to hear a bookseller or librarian say as they hand-sell this book?

Jena: Honestly? There are a variety of audiences! It’s a father-son story so it appeals to the dads out there (one father told me thank you as there weren’t a lot of “dad books” out there). It’s about persistence, and patience which are huge needs in the SEL market. Chicken stories were nonexistent in Hawaii (as far as I could see in the fiction picture book market) so this appeals to the tourists who are amazed at all the chickens running wild in Hawaii (the “jungle fowl” are protected by law). Hawaiian kiddos adore this story because they can “see” themselves in it (the kids I’ve met at school events in Hawaii were thrilled: “I have chickens in my backyard!”). And kiddos in general love it because they totally understand Kauai’s frustration at not being able to do something he wants to do so deeply. I’ve heard so many positive comments that have warmed my heart, but I admit it’s a quiet book that slips under the radar. I’ve never heard a bookseller or librarian hand-sell it. I can’t begin to imagine what they might say.

Dawn: I especially love that you wrote a book that gives you an excellent excuse to return to Hawaii for author visits! 

Speaking of which, one of my favorite parts of being an author is connecting with young readers at school, library, and bookstore visits, and I’m always looking for fresh tips. Do you have any pro tips or suggestions for fellow author/presenters in terms of planning successful (in-person and/or remote) book-related events? 

Jena: Ha! Oh boy. I had a steep learning curve and learned a LOT doing school visits (and bookstore visits). Let’s see. I’ll pick a few things of the top of my head. First, know that if it’s not your thing to public speak, you absolutely don’t have to do it. No one is going to make you. Seriously, I know a lot of writers or illustrators who get stressed out about the thought of doing it because they’re terribly introverted (which is normal for us creatives). So don’t do it. 

Second, know that it’s NOT the same thing as teaching (if you’re a teacher like me). It’s a different kind of presentation than the small intimate setting of a singular classroom (even if you’re presenting in a small classroom). These kids are strangers and don’t have a relationship with you. You won’t be able to “manage” them (like you might as a teacher), but you can come up with techniques that work like classroom management: a game (like a quiet panda we all help feel safe during a presentation), a reward (if you’re quiet for x amount of time, I promise we’ll do y), etc. Just know that the teachers should still be there with you too (you shouldn’t ever be alone) and they should manage the “audience” for you. BUT it helps to have tools for these kinds of things too.

Third, if you feel totally out of your element and don’t know how to even start: look for the webinars (I watched every one I could find and learned SO much in advance of my first school visits), communities (there’s a great Facebook group of authors and illustrators that tries to share advice), etc. Research and learn about the process, just like you did for writing and/or illustrating!

Finally, here’s a small tip I picked up along the way. If you’re bringing your presentations on a thumb drive, tie a giant garish ribbon to it. I got this from another author. She used a red ribbon. It stood out so she never forgot her thumb drive and the owner of the computer never wanted to keep it. I tried it with a special lanyard that clipped onto my thumb drive and it works!

Dawn: Brilliant tips, Jena! (And I especially love that even as a skilled educator, you had to prepare as an author for book events.) Thank you so much! 

If you could go back in time, what would you tell your pre-published self? Or, said another way, what do you know now, that you wished you would have known a bit earlier?

Jena: Your day is coming. I volunteered with SCBWI, interviewed authors and illustrators on my website, and generally worked with a lot of writers and illustrators who were newbies like me. I saw a lot of them get published, but I didn’t. I know this hurts. I hear a lot of beginning writers and illustrators still struggle with this and I’ve known a few to give up. DON’T give up! If you keep working, you will succeed. We create our own luck, remember? 

Image from KAUAI'S CALL by Jena Benton and Kristi Petosa-Sigel

Dawn: Thank you for your positivity and encouragement, Jena. I think a lot of our readers will appreciate this and be bolstered by your words of encouragement. 

Do you have anything you’d like to tell us about what you’re currently working on? 

Jena: I have many stories I’m very excited about right now. I keep writing and revising and subbing. Some of them have nonfiction facts about things that fascinate me (including one dummy I keep subbing), one is a picture book “murder” mystery that makes me giggle hysterically (but I worry it’s too dark for the market), and there are some I have just written that I’m quite pleased with. I’m trying to conquer both the writing and the illustrating of some of them. We’ll see what happens. Time will tell.

Dawn: These projects sound very enticing! I look forward to hearing news about them some day in the future!

What is the best way for readers to stay abreast of your work, get in touch with you or learn more about your book(s)?

Jena: My website, jenabenton.com, leads to all the things (social media, portfolios, school visit info, shops, etc.). That’s the best place to find me. :)

Dawn: Fantastic. Thanks so much for sharing your Birth Story for KAUAI'S CALL with us, Jena! I know it will inspire others to keep working at their craft. I feel inspired myself! 

And now, dear readers, you know what to do. The best way to thank an author whose insights have been helpful and/or inspiring to you is to support their work. Buy their books. Request them from your library. Read and share them with others. KAUAI'S CALL is a sweet and inspiring story that you won't want to miss. It would be an especially great story for a family to read together in preparation for a trip to Hawaii and/or a visit to a farm with chickens and roosters. 

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Photo Credit: Adler Boncher Creative

Jena Benton is an educator and author who grew up on a small island in Southeast Alaska so she is drawn to island life. She also loves to travel and has visited the Hawaiian islands many times over the years. When she is not teaching or writing, you might just find her painting or enjoying the wildlife found in Anchorage, Alaska where she currently lives. You can learn more about her at her website https://jenabenton.com/.

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Birth Stories for Books is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including, Lucy's Blooms, Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, 16 books in the Story Time With Signs & Rhymes series, and the forthcoming title, Mama's Home (and Baby Too!). Dawn is a contributing author to the award-winning book, Oregon Reads Aloud, and a frequent presenter at schools, libraries, and educational conferences. Contact Dawn using the form at the left, or learn more at www.dawnprochovnic.com. Subscribe to Dawn's newsletter and never miss an update. 

Birth Stories for Books: NO IFS, ANDS, OR BUTTS, by Megan Woodward

Howdy friends! Here comes an info-packed Birth Stories for Books interview. My guest is Megan Woodward, whose latest picture book is the super humorous, NO IFS, ANDS, OR BUTTS (illustrated by Janelle Wahren, published by Albert Whitman & Company, October 2026). 

by Megan Woodward and Janelle Wahren

So find a spot to sit your own butt down, and let's get to it! 

Dawn Prochovnic: Welcome to the blog, Megan. Neither of us can pinpoint when we first met each other, but since we're both based in Portland, Oregon, we got to know each other gradually as we both kept showing up at the same book events (a SCBWI gathering here, a book tabling event there...) back when you were promoting your debut, This Book is Definitely Not Cursed, and I was promoting Lucy's Blooms and my potty humor books. Earlier this year I was lucky enough to join your critique group, and now, both of us are launching new fall 2026 releases. Hooray! 

As I've mentioned, your new book, NO IF, ANDS, OR BUTTS, is absolutely hilarious. 

Megan Woodward: THANK YOU!!

DP: I'm  eager to learn more about how it came to be. I'd like to start by learning about the inspiration that sparked the idea for this story, and the process and timeframe between your initial idea for the book and the story that was formulated fully enough to submit to an agent or editor. 

MW: This idea started with the title. Sometimes I play around with idioms and puns in order to come up with funny story ideas, and so I was doing that when I came up with NO IFS, ANDS, OR BUTTS. Almost immediately, I pictured an uptight narrator who didn't want anything inappropriate in the book, including butts. And the cast of uncooperative characters (who happen to have butts) was a natural development from there. 

DP: It's such a great title and concept!  

When you compare one of your earliest drafts of this story to the version in the published book, what stands out for you in terms of what is most different? Likewise, is there anything in particular that stands out that was included in your earliest drafts and survived the revision process? 

MW: Quite a lot of what made it into the final draft was in the original. Like the Bear butt/ bare butt joke, the underwear/ under where joke, the pirate booty joke, the head butts joke, and the butt hole/ wholesome jokes. Also, Taco's line about not having a butt in the traditional sense, was always there. (Taco was a fave from the very start). 

DP: That's so funny. I had to re-read the book after reading this answer, to be certain I had caught all of the jokes! I suspect readers will catch more and more of the humor with each read!  

MW: But a lot of things changed too. The book banning jokes were added later, as was the illustrator drawing a butt for the rolling hills. A lot of dialogue was trimmed and shortened. And I took out a whole section of pee jokes, which weren't as funny and took the potty humor too far. Also, I originally had a chicken and cat character in there as well, but took them out as it was too many to try and juggle. I will say that the version we submitted to publishers is almost exactly what got published. My editor at Albert Whitman had almost zero notes. 

DP: I'm not surprised about the editor having almost zero notes. Given our critique group work, I've seen how tight your manuscripts are, and I have first-hand knowledge of your AMAZING sense of humor. Having attended an early offering of your (fantastic!) FUNNY ON PAPER webinar, I know humor is a very broad topic, but I'd really like to drill down and learn more about how you went about infusing this particular story with humor–give us a little sense of your process in this regard, if you will. 

MW: A lot of the jokes in this book just popped into my head as I was thinking about the book idea. Of course, some of them don't work as well once you get them on paper, (or on a laptop), so that's when a critique group comes in handy to tell you what's working and what's not. But the humor for this was really fairly easy because of the set up: uptight narrator who doesn't want anything inappropriate + characters who are constantly misunderstanding (or purposefully twisting) the narrator's demands to make things more and more inappropriate. 

(Honestly, an idea like this kind of writes itself). 

Basically, I just had to come up with homophones that could be twisted. For example, "no bare butts" could be understood as "no bear butts." And the narrator's insistence on a "wholesome book" could be misunderstood as adding "some holes" to the book–which the characters, trying to be helpful, offer to hide their holes in–"Butt holes!" It was simply a lot of word play and butt-related double entendres.

Humor also relies a lot on escalation, so making things worse as the book goes along makes it funnier. I also relied a lot on relatability: kids love to giggle at words that sound inappropriate, and they get a kick out of an overly controlling/ serious adult being overwhelmed–so those elements really give it a lot of kid-friendly humor. Also, with a background in comedy screenwriting, I used a lot of character driven humor, to distinguish between character voices and make them funny in unique ways. (I talk about all these different types of humor techniques and how and when to use them in my webinar.) 

DP: Ha! You make it sound so easy! But again, I can definitely vouch for the fact that your webinar makes it easier to understand how to write humor! I highly recommend it! 

Reflecting on the journey from idea to published book, are there any individuals, experiences, or opportunities that you credit with opening the door for you to bring this story to publication? (I'd especially love to hear about your decision to work with Albert Whitman if you're willing to talk about that–I realize it's a potentially prickly subject). 

MW: My agent, Amy Nielsen, championed this book from the very beginning when I queried her with it. She said it made her laugh out loud at a time when she really needed to laugh, and after I signed with her, it was the first thing to go out on submission. 

Okay so Albert Whitman–I don't mind answering, as I think this industry needs more transparency from all of us–(warning: this is a long answer, but I wanted to give it the nuance I think it deserves.) 

I was, of course, very hesitant when they sent over their offer–based on their troubled history and what I'd heard from other authors and people in the industry. But I also talked to someone who understood bankruptcy law better than I do (which is not at all)–and they told me that in order for a business to be able to pay money they owe–in this case royalties to authors, and to also continue operating after going bankrupt, they need to bring in profit. And in order to bring in profit, they have to buy and sell more books, because that is how a publisher makes money. If nobody sells books to them, how will they move forward with any of this? So I am hoping that by working with them on this book, it will contribute to helping them to pay the royalties they owe, as well as continue putting out the important, meaningful, and diverse books they are known for.

(Also, full disclosure: We received no other offers on this book after my agent notified the many other publishers it was on sub to. It's a boundary pushing book that I knew might be a hard sell elsewhere. Thus, it was a choice of publishing with Albert Whitman or risking not getting it published at all. This book was one of my personal favorites and I would have hated to miss the opportunity of getting it into kids' hands, so I wasn't willing to make that gamble.) 

So far, I can say that Albert Whitman has been wonderful to work with. Josh Gregory is a dream editor who cares deeply about diversity, representation, and the kinds of books and messaging he's helping create. He's easy to work with, super responsive, and found an awesome illustrator–shout out to Janelle Wahren! Also–he and his team apparently all laughed so hard at my manuscript when they first read it, and unbridled enthusiasm for your book is what every author wants from their publisher.  They also paid me my advances on time, and they have gotten this book made in UNDER A YEAR–which is pretty much unheard of in this industry.

Obviously, the decision to work with Albert Whitman is one that not everyone will be willing to make, and that's totally fair! It's a personal choice. But do I hope they continue to stay in business and also pay the authors to whom they owe money. They are a much needed smaller publisher–and they're willing to take chances on out-of-the-box books like mine, that the big five may not. Trust me, we want publishers like this to stick around. 

DP: Thanks for sharing so much background, Megan. That's super helpful. 

You have a unique perspective as both a children's book author and bookseller at one of Portland, Oregon's most beloved children's bookstores, Green Bean Books. With this in mind, who do you see as the ideal reader for this book? and/or what would you love to overhear another bookseller say as they hand-sell this book to a young reader or other potential buyer?

MW: Oh yes, Green Bean Books is a magical store! We get a lot of requests for funny picture books. Those are often the ones kids want to read over and over. Anytime any book seller says a book made them laugh-out-loud, it's almost always an automatic sale. So I think I'd just want any bookseller to say that they burst out laughing while reading it. That's the dream. 

DP: I think you're going to have that dream fulfilled. It's definitely laugh-out-loud funny. 

One of my favorite parts of being an author is connecting with young readers at school, library, and bookstore visits, and I’m always looking for fresh tips. Do you have any pro tips or suggestions for fellow author/presenters in terms of planning successful (in-person and/or remote) book-related events? 

MW: Think like a kid! How do you make your book or your topic appeal to them in a kid-friendly way? For my debut book, not only was my book itself interactive and silly, but I had a silly activity that I could do with a roomful of kids, as well as a puppet of my book's character which spoke to them and answered questions. For smaller events, we made nose hair out of yarn. (It was part of the book.) They loved it. 

DP: I got to see that activity in action on more than one occasion, and I can attest that kids loved it, indeed.

MW: I also learned that it's important to ask teachers what their discipline techniques are in case the kids get a bit rowdy. Is there a phrase or signal that gets their attention and lets them know to calm down? I've never studied or worked in education, so school discipline isn't something I know much about. Teachers do. Ask them for help! 

DP: That's such a valuable tip, Megan! Thanks for passing that along.

If you could go back in time, what would you tell your pre-published self? Or, said another way, what do you know now, that you wished you would have known a bit earlier?

MW: Well, first I would tell myself to get into kid-lit way sooner. I discovered it late, and wish I had started in college. But also, I'd tell myself to get a backup job, as this career isn't reliable or consistent or very financially viable. But then, maybe if I had a backup job, I wouldn't have pursued writing as hard as I have... 

Also, I'd tell myself that publishing is so sloooooowwwwww. And requires a lot of patience. And not to put too much stress into book promotion or social media or doing things that I really don't love, because it doesn't move the needle on sales all that much anyway. 

DP: More great advice. Thanks. 

Is there something you wish someone would ask you about your path to publication for NO IFS, ANDS, OR BUTTS, that you haven’t had the opportunity to share yet? 

MW: Most children's books are important in their own way–whether they're teaching a non-fiction topic, expanding empathy, helping with SEL issues, telling a thrilling tale, providing representation, championing diversity, sharing knowledge of the world and cultures, helping us understand ourselves and each other better, or just encouraging a love of reading through laughter and joy. Mine mainly falls into the last category–which is essential because it's this category that often helps get kids into reading and leads them to all those other equally important books. And hey, if it also leads to a conversation about the problems of book banning, a discussion about the human body, or a lesson about homophones, that's great too. But mostly, I want it to make kids laugh, and then reach for another book. Fewer and fewer people are reading–both adults and kids, and it's one of the biggest dangers to our society. We need to stay literate. Laughter helps us get there. 

DP: YES to all of this! 

Do you have anything you’d like to tell us about what you’re currently working on? 

MW: Oh I always have so many projects going. I write a new picture book about once a month, and have stacks of those piled up (metaphorically–they're in my laptop). I'm keeping my fingers crossed for two character driven picture book series my agent is sending out on sub this fall. And I'm excited about a soon-to-be-announced picture book coming in Spring 2028. But I'm also trying to lean into middle grade. Currently, I'm working on a MG humorous fantasy series called TOMBMATES, and an illustrated early middle grade/ (or maybe chapter book) series called TALES OF A FAIRY CRABMOTHER. 

DP: You continue to amaze me with how prolific you are! I love that I get to cross paths with you regularly! 

What is the best way for readers to get in touch with you or learn more about your books?

MW: Probably my website: www.meganwoodward.com

DP: Thanks so much for sharing your Birth Story for NO IFS, ANDS, OR BUTTS with us, Megan!  

And now, dear readers, you know what to do. The best way to thank an author whose insights have been helpful and/or inspiring to you is to support their work. Buy their books. Request them from your library. Read and share them with others. NO IFS, ANDS, OR BUTTS is available for preorder now everywhere books are borrowed and sold, including your own local, indie bookstore, or online at bookshop.org. *Disclosure: As an affiliate of Bookshop.org I may earn a small commission from books purchased through links on this post.

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Photo Credit: Carlstrom Photography

As a child, Megan Woodward lived and traveled all over the world, but always felt at home with her head in a book. She’s a comedy screenwriter and a freelance writer and editor, but her true love is writing for kids. She loves all things food and humor related, which is why she can often be found laughing with her mouth full. She cannot whistle, but she CAN make a sound like a baby dinosaur (or so she believes). She lives with her son and two cats in Portland, Oregon, where it rains all the time, but never on her parade. Learn more at www.meganwoodward.com . 

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Birth Stories for Books is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including, Lucy's Blooms, Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, 16 books in the Story Time With Signs & Rhymes series, and the forthcoming title, Mama's Home (and Baby Too!). Dawn is a contributing author to the award-winning book, Oregon Reads Aloud, and a frequent presenter at schools, libraries, and educational conferences. Contact Dawn using the form at the left, or learn more at www.dawnprochovnic.com. Subscribe to Dawn's newsletter and never miss an update.

Birth Stories for Books: THERE'S SOMETHING ODD ABOUT THE BABYSITTER, by Elayne Crain

Here comes another Birth Stories for Books interview packed with info and inspiration. My guest is Elayne Crain, author of the very funny picture book, THERE'S SOMETHING ODD ABOUT THE BABYSITTER (illustrated by John Ledda, Feiwel & Friends at Macmillan, 2025). 

by Elayne Crain and John Ledda

Elayne's interview is packed with loads of behind-the-scenes details related to bringing a book from idea to publication and beyond—you won't want to miss a morsel of this one! So let's get to it! 

Dawn Prochovnic: Welcome to the blog, Elayne. As I recall, we first "met" at a SCBWI-WW virtual intensive featuring the amazing editor, Elizabeth Law, prior to the launch of your debut picture book. I knew right away that you were a funny one! And now, here we are on the other side of this year's in-person SCBWI-WW conference (that you had a major hand in organizing!), AND you recently celebrated the one-year book birthday for, THERE'S SOMETHING ODD ABOUT THE BABYSITTER (illustrated by John Ledda Feiwel & Friends at Macmillan,). I'm eager to learn more about your path to publication for this very fun book.

Elayne Crain: That is so kind, Dawn. 😊 I do love cracking-wise—making others laugh is a dopamine factory for a nerd like me.

DP: Well you sure do have a knack for it! 

I'd like to start by learning about the inspiration that sparked the idea for this story, and the process and timeframe from your initial idea for the book to the story that was fully developed enough to submit to an agent or editor.

EC: Thank you so much! The initial idea came in two waves. Primarily, I wanted to write a story about a subject I had a lot of personal experience with—babysitting (as both a hapless, frequently-babysat kid and later as a babysitter). Additionally, I wanted the babysitter to be a messy character that also evoked empathy. So, I was in the “auditioning strange babysitters in my mind” stage when my kids and I caught an episode of Shaun the Sheep where the sheep stack up to get pizza—and I thought, “Ah-ha--that…but raccoons!” (I have a special soft spot for pest animals, so it was always going to be one of those.)

Here’s the timeline of what happened when:

First Draft (That I Can Tell): 03/02/2021

Revised Short PB: Forever-and-a-Day

Brought to SCBWI First Pages Event with Kat: 11/01/2022

In between: revisions 

Received Offer from Kat: 05/24/2023

Contract Signed (w/ Macmillan): 08/16/2023

In between: John Signed onto Project

Rough Sketches: 09/13/2023

PW Announcement: 09/19/2023

Revised Sketches: 11/16/2023

Cover and End Papers: 01/16/2024

Interior Art: 03/19/2024

Font Options: 03/27/2024

First Pass: 05/02/2024

Second Pass: 05/30/2024

Third Pass: 06/17/2024

Target.com (First Time I Saw the Book Online!): 07/08/2024

E-galley and Contact Form: 08/02/2024

Second Proofs: 09/16/2024

Introduced to MacKids Marketing and Publicity Smarties: 04/23/2025

Found out about Kids’ Indie Next Pick: 05/19/2025

Book Launch: 06/03/2025

DP: Wowza! That's a great overview of the nuts and bolts of the process and timeline! Thanks for sharing that!

When you compare one of your earliest drafts of this story to the version in the published book, what stands out for you in terms of what is most different? Likewise, is there anything in particular that stands out that was included in your earliest drafts and survived the revision process?

EC: I’ll start with the two survivors I’m most proud of—one is the whole idea that Freddie’s parents could be clueless enough NOT to spot that the babysitter was actually a bunch of raccoons. I mean, a lot of people just thought that whole concept didn’t make any sense, so the story was a no-go in several people’s eyes/rounds of critique. (Not kids’ eyes—they totally believe parents can be oblivious, I’m sorry to report to fellow parents, ha ha.) 

I also *love* bookending, callbacks, and wordplay. So, naturally, when the beginning of the story says, “Freddie and the Babysitter regarded one another,” I had to add the line at the end, “Freddie and the Babysitter re-regarded one another.” And yes, re-regarded is a made-up construct I added for fun read-aloud reasons (re: ‘rere’—it made me giggle). And I can’t tell you how many people “helpfully” told me that wasn’t a real word. But c’mon—it’s a real word NOW; it’s in a book! 

DP: I LOVE THIS!! 

EC: What is most different is the opening. I must have tried nearly every possible way three stacked raccoons could conceivably arrive to babysit—and some of them, twice. When I finally hit upon the idea of tethering Freddie’s unhappy past babysitter experiences to set up his expectations with this NEW babysitter, that’s when it finally felt like things were whistling well together.

DP: Way to be persistent! (And the opening of your story is very inviting — you nailed it!) 

I'd also like to learn more about how you went about infusing this story with humor — and if you have tips and/or resources for other book creators that want to lean into humor (me!!), I'm all ears!

EC: The best advice I have is also the simplest/most obvious/therefore hardest. One, the idea of the story needs to be genuinely funny, specifically to you. It makes YOU laugh. Not that you have to laugh ‘til you cry, but it makes you grin, involuntarily. Don’t try to “make” an idea funny, you know? Work with a funny idea; that way, the baseline, the concept, is already doing a lot of work for you.

Second (and this one takes time), discover and hone your specific sense of humor. One way you can do this-—and I have to give credit to creative Ruth Chan for sharing this idea at an SCBWI webinar-—is to carry a small notebook and write down anything that makes you crack up/tickles you. By forcing yourself to notice these things over time, you will come to see that certain themes and patterns are YOUR unique sense of humor, and that will be fun and natural for you to build on. It’s just like Mary Poppins said, “You find the fun, and snap! The job’s a game!” 

If all else fails, at least inject some hard k sounds. (I just added a pickle barrel to a story for this very reason.) 😂

DP: Ha! Fantastic tips, Elayne! 

Can you tell me more about how you formatted your manuscript for queries and/or submissions, because it seems to me this is an example of a manuscript that would have needed some art notes to make sure agents/editors knew what you had in mind!

EC: Yes, my manuscript included art notes, and honestly? I didn’t need most of them. But I was new to this, and very excited. 

The art notes/illustration notes question is such a hard one, only because editors feel ALL KINDS of ways about art notes, which makes agents feel ALL KINDS of ways about them. Naturally, illustrators (generally!!!) dislike them. Having said that, I definitely use them. I try very hard not to OVERUSE them (which is way too easy to do, and where the whole "try not to do them" advice comes from). 

But here's an example from this story:

You can see (from the final product) that the voices did NOT happen off-page, so I could have left that note off, and (looking back), I should have. At the time, I was trying to signal that Freddie's parents didn't actually see the Babysitter all that much, that they were out the door quickly. The second note, however, is crucial...it's essentially the entire setup for the book. And I included the mustache and hat because they are part of the story later. So, these days I would have included only the second one.

Another note about notes: if it's something you are including as a joke and it's essential, include it. If you just have a VERY FUNNY IDEA, you can include it, but as a “maybe.” Like, let’s say you have a piece of dialogue that says, "Robots are ill-mannered." You could add, so it's obvious it's a joke, [Illo: maybe robot drinking tea wearing fancy gloves]. The “maybe” shows you are just brainstorming, vs. [Illo: "robot drinks tea wearing fancy gloves”] which reads bossy, and really, it doesn't HAVE to be fancy gloves and tea, unless at the end, say, the robot becomes a tea sommelier or something, and the illustrations are part of the setup for that.

DP: Super helpful examples and details, Elayne. Thank you so much! 

Reflecting on the journey from idea to published book, are there any individuals, experiences, or opportunities that you credit with opening the door for you to bring this story to publication? 

EC: Oh goodness, there were so many—and, luckily, I have thanked all those individuals, I believe. But what I can add here is how instrumental my SCBWI (the Society of Children’s Book Writers and Illustrators) membership was in this whole process—joining was honestly one of my top life decisions (dramatic…but true!).

Prepare yourself for a touch of eyeroll (I’m about to quote myself—bleccch)…I owe so much to the other creatives in our industry, who push me every day to try to be a wonderfully human storyteller—through support and healthy strive drive! As I said in a post about my SCBWI anniversary, I have been so lucky to be surrounded by so many wonderful creators, who raise my own creative aspirations (to, let's face it, monumental levels) simply by being their thoughtful, lovely selves. 

Having said that, remind yourself—as often as you need—how far you’ve come, too! When you see people moving mountains in gorgeous, fun, and inventive new ways every day, it's easy to forget that you, too, have been transporting some bedrock.

This book happened because I attended an SCBWI First Pages webinar and connected with editor Kat Brzozowski through it. But it ALSO happened because I had been working my tail end off to have MANY stories, and because I put myself out there. It happened because I was an active SCBWI member, and also because I was in a critique group (where another member told me about this event). It happened, too, because I did a mentorship with Jessica Young, who gave me great notes on the original story manuscript. 

I don’t know where to stop the thanks—there were so many people—but I do know which person made the biggest difference in this book becoming real—and that was my editor, Kat.

At the time, I didn’t have an agent, and I brought the first page of this particular story (which ended up being the first three spreads, ms-wise) because I loved it, but it didn’t seem to be getting much traction in the agent-querying trenches. Luckily, Kat saw in it what I saw in it—and then some—and I think she actually said, “This one is really weird, but it’s my kind of weird.” Then we chatted in the webinar chat about Sideways Stories from Wayside School by Louis Sachar, which was another huge sign that we were on the same page for humor. (And yes, I’m still pinching myself for being in the right place at the right time, somehow, to have met her and gotten to work with her! She really is amazing.) It took a while to get the rest of the team on board, but we did it—with a lot of revision work on my part, too, I should add. I’m so grateful that she didn’t give up on it, or me, during that time.

DP: This is such an inspiring and motivating backstory, Elayne. Yay, you! 

Who do you see as the ideal reader for this book, and/or what would you love to hear a bookseller or librarian say as they hand-sell this book?

EC: We have been SO lucky with this book. With the bookseller support from the Kids’ Indie Next last summer, and we just recently found out we were one of 10 picture books selected to be a Florida Sunshine State Young Readers Award Junior Book pick, so I guess we can still assume that kindergarten through 2nd grade is the sweet spot for this silly, yet from-the-heart, tale of three tails in a trench coat. 

I think I’d just be happy for them to say ANYTHING, honestly. Any positive note from a bookseller or librarian is gold, as far as I am concerned—they know their stuff!

DP: Indeed! 

What would be your dream review for this book? Who would this review be from? And where would this review be published or posted?

EC: Ah, reviews! You know, we only ever got two reviews—one from Kirkus and another from LitHub (thankfully, both very positive!). So, as far as dreams go, I would have loved to get a few more from trade publications, to get the word out about the book more widely. (Luckily, word of mouth seems to be helping quite a bit!) As far as reader reviews, I read the first 20 or so that came in—but I quit while I was ahead. So, I actually have no idea what they say—I do love getting letters from kids. I guess those are my very favorite reviews!

DP: Well said! 

Speaking of kids, one of my favorite parts of being an author is connecting with young readers at school, library, and bookstore visits, and I’m always looking for fresh tips. Do you have any pro tips or suggestions for fellow author/presenters in terms of planning successful (in-person and/or remote) book-related events? 

EC: This is a great question, and I do think that it totally depends on the sort of book you bring with you. But for me, with this book, I’ve found the most important aspect is my tone with the students. I introduce myself by acknowledging that their first question is always, “Why is this lady here?” and by sharing what I was like at their age (they love seeing my kindergarten, first- and second-grade pictures). Then we read the book—and I say “we” because they have jobs to do during the story, too-—and then we make a story that builds off the book, all together. We wrap up with a Q&A—which is my very favorite part. Because I’ve built up a rapport with them by then, it’s always a lot of fun, and normally quite energetic.

I think it helps—and this is going to sound SO basic—but to really think, if YOU were the kid, what would be fun for you? What would make you feel a “part” of what’s going down? And then, try to do that.

DP: That's fantastic advice, Elayne. Your author visits sound like a great opportunity for young readers! 

If you could go back in time, what would you tell your pre-published self? Or, said another way, what do you know now that you wished you had known a bit earlier?

EC: “What are you doing? Sit down and start writing those children’s book ideas you’ve been putting off. Also, work hard on your sketching! You’ll thank me later!”

DP: I'm so glad you brought up the sketching! I've noticed from your social media posts that you are actively working on the illustration side of the picture book craft, and I see from visiting your website that you eventually hope to illustrate one of your own books. I'd love to hear more about how things are going for you on this side of the equation.

EC: Oh, man, I really love art—even though the last time I took a formal art class (outside of high school ceramics) was in 5th grade. (I do take workshops sometimes!) And a lot of my very favorite children’s illustrators are self-taught, and I can’t tell you how inspiring that is. 

Still, I feel like I’m in a tender place with it at the moment—I’ve gotten just decent enough to see how much more I need to do to get to the level that I see others at. (Especially given that children’s book illustrators are some of the best illustrators alive.) So! It’s going well, but ALSO going to be long-term; right now, I’m holding those two truths tightly together and trying to trust the process. I am SO incredibly grateful for the support the community has given me, as I’ve worked on this.

Elayne With Her First Illustration Portfolio

And, until I’m able to illustrate some of my own work, I will enjoy (fingers crossed!) getting partnered with some of those amazing folk!

DP: Sounds like a fantastic approach! 

Is there something you wish someone would ask you about your path to publication for THERE'S SOMETHING ODD ABOUT THE BABYSITTER that you haven’t had the opportunity to share yet? 

EC: That’s a really great question! Well, we are in a really fascinating field. When you have a dopamine-valuing system, as I do, I often have to remind myself that the real work is in the less sexy parts of the process—the extra round of revision, making a dummy (again!) to see if you can improve pacing. I guess what I can say, from experience, is none of it is wasted. Either the story will become slightly better—or you will become a slightly better storyteller—and if you are very lucky, both will happen. But you can only control the work you put in, so that’s where the effort needs to go (and go and go).

DP: Such a wonderful, encouraging perspective, Elayne. 

Do you have anything you’d like to tell us about what you’re currently working on? 

EC: Ah, that’s a great question! Well, I’m working on three main things: a rhyming revision that is a dinosaur story, revision of a prose picture book about a girl who has to change her expectations in a big, honking way when she’s partnered up with an animal she wasn’t quite expecting, and a newer story that (for one of the first times ever), I started with character sketches and have been building the manuscript up after the fact—this particular one stars a ghost and a possum in a meet-awkward for the ages. 

DP: Sounds like more fun  is underway! I look forward to continuing to follow your work! 

Speaking of which, what is the best way for readers to get in touch with you or learn more about your book(s)?

EC: I love this question! And, I LOVE snail mail! Classes, scout troops, or individuals can send me author mail at:

Elayne Crain

P.O. Box 15440

Seattle, WA 98115*

* I would ask they remember to include YOUR address, if you want a response! 

DP: Super fun, Elayne! I hope you get stacks and stacks of raccoon snail mail!  (And for folks who prefer the web, you can find Elayne here and on social channels such as IG and Substack @elaynecrain.) 

Thanks so much for sharing your Birth Story for THERE'S SOMETHING ODD ABOUT THE BABYSITTER with us, Elayne! 

EC: Thank you, Dawn! I really appreciate it! 

And now, dear readers, you know what to do. The best way to thank an author whose insights have been helpful and/or inspiring to you is to support their work. Buy their books. Request them from your library. Read and share them with others. THERE'S SOMETHING ODD ABOUT THE BABYSITTER is available everywhere books are borrowed and sold, including your own local, indie bookstore, or online at bookshop.org. *Disclosure: As an affiliate of Bookshop.org I may earn a small commission from books purchased through links on this post. 

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Elayne Crain is a proud creator of childish things — predominantly funny (meaning both peculiar and humorous) picture books, with additional forays into early graphic novels, Shel Silverstein-y poetry, and two middle-grade novels. She’s also diligently building her author-illustrator skills (a long-term investment). Elayne’s debut book, "There's Something Odd About the Babysitter" (illus. by John Ledda, Feiwel & Friends/Macmillan), was selected as a Kids' Indie Next List and 2026-27 Sunshine State Young Readers Award Junior Book pick. 

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Birth Stories for Books is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including, Lucy's Blooms, Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, 16 books in the Story Time With Signs & Rhymes series, and the forthcoming title, Mama's Home (and Baby Too!). Dawn is a contributing author to the award-winning book, Oregon Reads Aloud, and a frequent presenter at schools, libraries, and educational conferences. Contact Dawn using the form at the left, or learn more at www.dawnprochovnic.com. Subscribe to Dawn's newsletter and never miss an update. 

Birth Stories for Books: NIGHTY NIGHT, DINOS, by Deborah Holt Williams

Hello, readers! Today I'm delighted to share with you a fantastic Birth Stories for Books guest post by Deborah Holt Williams, author of the darling new picture book, NIGHTY NIGHT, DINOS (illustrated by Anna Doherty, June 2026). 

by Deborah Holt Williams and Anna Doherty

Deborah's inspiring story is one of hard work, perserverence, and success, and I'm so happy to share it with you, today. (Something extra special about this book is that it's published by Familius, the publisher of my next book!)

Take it away, Deborah!

My Path to a Multi-Book Contract

by Deborah Holt Williams

I’ve been making up and writing down stories since I learned to write in first grade. My family moved a lot, and my Little Golden Books from my grandparents didn’t always make the move. I had a brilliant idea—if I could write my own, I’d never be without books! So at age six, I decided I would become an author.

I read and wrote all through my school years, and in high school I was a correspondent to our community newspaper, the Tonawanda News. I got a journalism degree in Madison and wrote for the UW campus paper, the Daily Cardinal, and got hired to work at a small town paper in Evansville, Wisconsin after graduation.

I got married and we moved to the Colorado mountains. As the family grew to include five children, I made up a lot of bedtime stories but I was too busy to write them down. When the last child was in school full time in 1998, I joined SCBWI and started submitting. I read in the Children’s Book Insider newsletter that two teachers had started a publishing company and were looking for early readers, so I sent in a story I used to tell my youngest, called “Awful Waffles.” And they bought it! And then they bought four more over the next few years. The teachers sold their little company to the educational house Continental Press, and none of my new submissions were accepted from then on. But at least my five little books are still in the catalog, helping kids learn to read after 25 years.

The next chapter in my writing career came after ten years of rejections. Finally in 2010 I sold a poem to Highlights, and over the next few years I sold 12 more and also sold stories to Jack and Jill, Turtle, Appleseeds and other magazines and on-line sites for kids as well. I loved working with Highlights and I started attending their workshops in the Pennsylvania woods, but my dream was still to write a beautifully illustrated, hard cover, traditionally published picture book.

The magazine chapter was followed by another ten years of rejections. But I took classes, entered contests and never gave up, My first picture book, Nighty Night, Dinos, began as an entry in a bedtime poetry contest in January of 2020. It didn’t win.

But I loved that poem, so I reworked it as a board book and submitted it to Familius on February 15, 2021 and heard back the very next day! The head of the publishing company (with the wonderful name of Christopher Robbins) really liked it, but Familius had several other dino board books coming out at that time. So we kept in touch, and in 2023 he asked if I would add four more stanzas so they could make it a 32-page board book! YES! Absolutely! I revised the manuscript and sent it in, with hope in my heart.

And speaking of my heart…In November of 2023 I underwent a procedure where a device was threaded through an artery and into my heart to prevent blood clots from forming which could cause a stroke. It required staying one night in the hospital, and when I couldn’t sleep I turned on my laptop around midnight, and there in my inbox was the contract for Nighty Night, Dinos! It would be released in June of 2026.

I was thrilled, but cautious—I’d been subbing stories since 1998 and I’d had two books that had come close in the past. (One made it all the way to the acquisitions committee of a wonderful publisher and the final NO came in 2014--while I was getting chemotherapy for my triple negative breast cancer. That was a low point in my journey! But I'm fully recovered.) So when I got an email from Familius early in 2025 I was sure it was to tell me that, since paper came from Canada and since books are printed in China, and both countries had been charged tariffs, that it would be too expensive to create my book.

But I opened the email—and it asked if I would consider writing a series of Nighty Night books! They sent me eight possible topics and invited me to think of others. In April of 2025 I signed the contract for Nighty Night, Puppies and then in June of that year I signed one for Nighty Night, Bears! Both of these are due out in 2028, thirty years after I joined SCBWI and began subbing to agents and editors. I’ll be 77 years old! Persistence and luck, finally rewarded.

Nighty Night, Dinos, with lovely illustrations by Anna Doherty, will be out in June of 2026. It has received very positive reviews from the School and Library Journal and Kirkus. 

I have to again mention that this all happened after many many years of rejections. The key is to keep going. Enter contests, take classes, subscribe to other authors' blogs and newsletters (like Dawn's!), and participate in a critique group. Write one story after another! And one of the most helpful tips I can offer is--volunteer at your local library! I go in for about an hour a week and they give me a rag and a bottle of cleaner and I wipe off books in the children's section. It gives me the chance to look at what's new, and to see which publishers put out books like what I'm writing. I check out several books which benefits the library's circulation and gives me the chance to study books for what works and what doesn't. I'll turn 75 shortly after my first picture book comes out. Hopefully your road to publication won't be quite as long as mine, but hang in there and keep on writing and submitting! Never give up on a dream!

What an inspiring story-behind-the story, Deborah (and an important reminder to keep learning, keep writing, keep submitting, and keep believing in your dreams)! Thank you so much for sharing your experience with us. Brava! 

And now, dear readers, you know what to do. The best way to thank an author whose insights have been helpful and/or inspiring to you is to support their work. Buy their books. Request them from your library. Read and share them with others. NIGHTY NIGHT, DINOS is available everywhere books are borrowed and sold, including your own local, indie bookstore, or online at bookshop.org. *Disclosure: As an affiliate of Bookshop.org I may earn a small commission from books purchased through links on this post. 

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Deborah with her dinosaur in her garden
in the mountains of Colorado

Deborah Holt Williams is a retired preschool teacher, library story-time lady, and reading specialist. She’s also a mom to five grown children and a grandmother to six. She has loved dinosaurs since finding her first fossil in first grade.

 

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Birth Stories for Books is an occasional feature of Dawn Babb Prochovnic's blog. Dawn is the author of multiple picture books including, Lucy's Blooms, Where Does a Cowgirl Go Potty?, Where Does a Pirate Go Potty?, 16 books in the Story Time With Signs & Rhymes series, and the forthcoming title, Mama's Home (and Baby Too!). Dawn is a contributing author to the award-winning book, Oregon Reads Aloud, and a frequent presenter at schools, libraries, and educational conferences. Contact Dawn using the form at the left, or learn more at www.dawnprochovnic.com. Subscribe to Dawn's newsletter and never miss an update.