Worth Repeating: Critique Guidelines and Tips

I created this document last year to help new critique groups, organized through our local SCBWI chapter. Interest in our critique groups is exploding, so it seems appropriate to post this again.

Critique with the sandwich method. Positive comments at the beginning. Positive comments at the end.                                      Meaty feedback in the middle. Beware of overpowering flavors. You don't want to leave a bad after taste. 

AUSTIN SCBWI CRITIQUE GROUP
SUGGESTED GUIDELINES AND TIPS
June 2010
Critique group coordinator: Donna Bowman Bratton


What is a critique? A critique is an honest evaluation of a manuscript or work-in-progress, offering constructive criticism and helpful suggestions, framed with positive reinforcement.

Why a critique group? The ultimate goal of any critique group is to help each other hone the skills necessary to produce publishable manuscripts, while offering emotional and professional support during the arduous journey toward publication. As a critique group member, you will at times be a partner, a therapist, a sounding board, an impartial reader, an editor, and a cheerleader. Not only will critique of your own work offer fresh perspectives to help improve your personal writing, but by analyzing the works of others you begin to read like an editor.

Keep an open mind. There is potential for improvement in every manuscript, so be prepared to give and receive critical feedback. Writers pour heart and soul into their writing, so it is crucial that each member be honest, constructive, and encouraging. That being said, feedback is purely subjective. Keep an open mind and consider comments carefully. If you find the suggestions helpful, implement them. If you disagree, disregard them. It is, after all, your story.

How can you become a great critiquer and writer? Read. Read. Read. Seek quality published works in the genre you will be critiquing and writing.

Establishing your group’s parameters
Who is the group representative or contact person?
If you will critique remotely, will you use conference calls, email, or SKYPE? 
Create a list of email addresses and phone numbers for group members.
How many members will your group allow? (Five or six is the average)
How frequently will you meet? (Weekly, monthly, etc.) How long will each meeting be?
Will there be refreshments?
How much time will be dedicated to each individual’s critique during the meeting?
Where will you meet? (individual home, coffee shop, library, etc?)
Will you critique after an on-the-spot reading, or submit in advance to allow more time for thorough feedback? How will you submit? Email or snail mail?
How many pages or words should be submitted ahead of time? How far in advance?
During your critique session, is the writer required to remain silent until all feedback is presented or is open exchange welcome? (It is often more time-efficient to hold input from the writer until after his/her critiques have been shared.)

Plan before you critique someone else’s work
1.) Decide how your critique will be presented.
   a.) handwritten comments on the manuscript pages?
   b.) typed notes on a separate document?
   c.) Track changes and comments on the emailed manuscript?
2.) Become familiar with standard manuscript formatting. (refer to: http://www.scbwi.org/Resources/Documents/04_FromKeyboardtoPrinted09.pdf
3.) Read each submitted piece multiple times. The first should be a straight-through reading for effectiveness and style. Comment on your initial impression then dig in to more critical analysis and comments on the second and subsequent read-throughs.
4.) Be specific with your comments.
5.) Familiarize yourself with Strunk & White’s ELEMENTS OF STYLE

General Critique Tips: What to look for
(Note that picture books, poetry, and nonfiction will have unique story structure so some tips will not apply.)

1. Feel free to suggest alternative wording in problem areas, but consider offering questions for the writer to help them come up with their own solutions as well.
“Have you tried...”
“What would happen if...”
“Is this staying true to the character’s personality?”
“Is there a better way to say this?”
“What do you think about...”
“I wonder if the character might....”
“Perhaps...”
“Maybe...”
“Word choice?”
2. If you are critiquing a portion of a longer work, consider how it fits into the work as a whole.
3. Clear beginning, middle, and ending?
4. Does the story start at the right place? End at the right place?
5. Is there a strong opening hook? Dramatic page turns?
6. Does the story have a well developed protagonist and antagonist?
7. Is there a consistent point of view?
8. Is there a consistent tense?
9. Is the piece well researched?
10. Are characters memorable? Does the reader care about them?
11. Is there a clear story problem?
12. Does the main character grow and change throughout the story?
13. Is dialog believable and authentic?
14. Is there a good balance of dialog vs. exposition?
15. Is the plot compelling and age appropriate?
16. Does each scene move the story forward?
17. Are there plot twists/reversals?
18. Is there too much back story? Not enough back story?
19. Internal and external conflict(s)?
20. Does the middle drag or lack movement?
21. Does the writer use “showing” language, rather than “telling”?
22. Does the writer use active verbs
23. Are there too many adverbs and adjectives?
24. Are there repetitive words or phrases? Overused cliches?
25. Is the writing vivid, emotional, fluid?
26. Do sentences begin with a variety of openings?
27. Is the story well-paced? Does it flow seamlessly?
28. Does the reader stumble over a scene, paragraph, or sentence?
29. Is there a story arc with necessary tension to propel the story through dramatic ups and downs?
30. Is the length appropriate for the genre and intended age?
31. Does the ending offer a satisfactory resolution to the story problem?
32. What will kids love about the piece?

What NOT TO DO while critiquing
Do not make harsh comments. 
Don’t dwell too much on spelling or punctuation issues, unless asked to.
Don’t be falsely flattering- Insincerity is unhelpful 
Do not rewrite or restructure another writer’s manuscript. Consider strike-throughs and comments.
Do not line-edit unless requested to do so
Do not be nit-picky. This is a work in progress.
Do not forget to point out the positives. What works well? What impresses you?


Planning for your Critique
• Be prepared with a synopsis, if possible.
• Be prepared to summarize your story in a sentence or two, including the overall theme. This will help you find the real focus of your story.
• ***Keep an open mind.
• Be ready to ask for suggestions or opinions if you’re “stuck”
• Do not be defensive. Your partners are critiquing your manuscript, not you.
• Be gracious.
• Take lots of notes.
• If a comment or suggestion is unclear, ask the critiquer for clarification.
• If unsure about a suggestion, open a new document and experiment with revision.
     You can always press delete if they don’t work for you.
• After your critique, tackle any changes right away, while fresh on your mind.
* Ask your critique partners if you can resubmit your manuscript after revisions.
• Most importantly, never give up.

Quote of the day: "Do not use a hatchet to remove a fly from your friend's forehead." ---Chinese Proverb

2011 Austin SCBWI Conference Highlights

Wow!   That's pretty much how everyone summed up the 2011 Austin SCBWI conference. My only regret was that I couldn't clone myself, allowing me to attend every session with our amazing presenters. Unfortunately, this post will only address the sessions I was able to attend.

Featured presenter, Arthur Levine, head of his own Scholastic imprint and author of a brand new picture book himself, summed up the quality of presentations enjoyed by the 200+ attendeees in his own blog post titled, COMMUNITY,  "...it was, in miniature, what the National Conference is writ large."

During a presentation about the unique relationships between authors and illustrators, Arthur Levine (L) and Julian Hector discuss the inspiration for and process behind their newly released book, Monday is One Day.

 

Arthur Levine (L) and illustrator, Julian Hector

Arthur later led a small group intensive titled "Emotional Connection" that offered a peek into elements that attract an editor to a manuscript. He brought several examples with him, including Jonah Winter's picture book biography, THE FABULOUS FEUD OF GILBERT & SULLIVAN, and the wordless picture book, ARRIVAL, by Shaun Tan, and THE END by David LaRochelle.

HIGHLIGHTS from Arthur Levine
         *An editor must fall head over heels in love with a manuscript, to the point that they can't imagine not buying it. Ultimately, it's a gut feeling.
         * What does he look for in manuscripts?
                      *Books with appealing, convincing voice
                      *Books that make him laugh  (ie: Lisa Yee's MILLICENT MIN, GIRL GENIUS)
                       *Emotional fearlessness (ie: PLAIN KATE by Erin Bow)
                       *Books that show inventiveness (ie: HARRY POTTER by J.K. Rowling

Stephen Roxburgh, editor at Namelos, and founder and former President and Publisher of Front Street Books

Stephen Roxburgh gave an inspiring presentation about the ways e-book publishing is changing the landscape.

HIGHLIGHTS from Stephen Roxburgh
                *Amazon posted 70% of all Ebook sales
                * Our old distribution model is collapsing - we must change with it.
                * Libraries are screwed - recommended Eli Neiberger's speech titled "Libraries at the Tipping Point.
                * Encourages authors to think of content over form. Story is more important than format.
                * Currently, the traditional codex book is becoming outmoded.
                * Publishers have overhead. Ebook publishers have almost none.
                * A $19.95 book has an actual cost of around $2. The other $17.75 is paid to everyone in
                    between.
                * People attach to other people and to things so we are more attached to physical books.
                * Ultimately, this is the best of times for authors and illustrators.
                * Our reach should always outreach our goals.
                * Publishers are embracing e-books. Authors and illustrators must embrace them, too.

Elizabeth Law, VP and Publisher of Egmont USA gave editorial advice

 HIGHLIGHTS from Elizabeth Law
                 * Children's and YA publishing are still considered growth areas.
                 * "Don't let people discourage you."
             Helpful Tips and what the publisher considers
                 * What will the author do for the book? Online presence? Does h/she have specific contacts?
                         belong to organizations? part of social networks?
                 * What age group is the book for? How old is your intended audience? Age of intended
                         audience is more important than age of protagonist, when determining MG vs. YA.
                 * If you can honestly say your book is similar in characteristics to other recent titles or
                         popular characters, do say so. For example, Addams family meets Cheaper by the Doz.
                 * What is your hook? Your unique selling point? Why will a child read your book?
                 * Why is your book a good fit for the particular publisher?
                 * "The book you're writing is the ball game. They'll figure it all out."
                 * Don't be afraid to ask questions of your editor or agent.
                 * "Forget the market. Just write from your heart."
             What do publishers wish they had more of right now?
                 * Boy books
                 * Believe it or not, treatment of religion or spirituality in MG & YA
               

David Diaz and Cynthia Leitich Smith

Caldecott winning illustrator David Diaz spoke about "Keeping it Real" and "Perfecting your Portfolio."
He borrowed the first page of Carmen Oliver's manuscript to show the illustration process, beginning with a color washed door. As Carmen read, her characters took shape. He finished the scene later. (see image at left with David Diaz and Cynthia Leitich Smith in a giggly pose with the completed art.)




HIGHLIGHTS from David Diaz
                      * re: the e-book transition- "Whenever there's upheaval, there's opportunity."
                      * Everyone's afraid of losing the actual form of the book."
                      * Compared the book format transition to music. Recordings began long before the vinyl 
                              album and over time switched to the 8-track, cassette tapes, CDs, and now MP3s
                      * "A fabulous story will translate into any medium."
                      *  "Embrace this new way of thinking about your story. Think more visually."

A Q and A panel ended the day. From Left: Carmen Oliver (at podium,) social media expert Greg Pincus, Stephen Roxburgh, agent Emily Van Beek, Julie Lake (moderating), editor Michelle Poploff, Elizabeth Law, Arthur Levine

BRAVO! The organizers for this remarkable event were Debbie Gonzales, Regional Advisor for Austin SCBWI, Carmen Oliver, Assistant Regional Advisor, and Mark G. Mitchell, illustrator chair. But, a whole team of volunteers worked behind the scenes on conference day. We timed critiques, registered attendees, coordinated a silent auction and portfolio review, acted as gophers, and generally pitched in wherever needed. I appreciate the village required to pull off such a successful conference.

Check out P.J. Hoover's conference recap and Amy Rose Capetta's very cool "three word" photo project to see what a few attendees thought of the day.

The Do's, Don'ts, and "Stuff" of Writer's Conferences

Writers conferences can be fantastic for writers of all experience levels. A little pre-conference planning is a great idea. Most importantly, consider your choice of conferences carefully. Some are geared more toward craft while others focus on the business and marketing side. The best choice for you will depend on where you are in your career.

The key to getting the most out of a conference is preparation. That's right, attendees. Ya gotta do your homework. And get comfortable hearing your own voice. Case in point: A couple of years ago, at a pre-conference social event, a featured editor (whom I had studied in advance) pulled up the chair next to me and struck up a casual conversation about Austin. It was friendly and laid back and lovely. Then she opened the golden door, "So, what do you write?" Though I had mentally practiced my pitch, her timing caught me completely off guard, possessing me suddenly with the intellect of Sponge Bob.
     "Oh, stuff," I said.
Uh, huh. you heard me right. "Stuff." Not the well-rehearsed pitch for my three nonfiction picture books, or the historical novel I was planning. "Stuff." Shortly after that, the conversation ended and she moseyed away to strike up another friendly conversation with the writer across the room. She probably bought that woman's manuscript. Arggh! I'm still kicking myself about it.

I give you the Dos and Don'ts and "Stuff" of writer's conferences:

Don't:
1. Don't stalk the editor or agent- Let them go to the restroom in peace.
2. Don't sneak your manuscript into the agent's or editor's bag, folder, or turkey sandwich.
3. Don't elbow your way into his/her sight line.
4. If you are asked what your book is about, don't whip out your manuscript. Revert to your rehearsed elevator pitch. Think one or two minutes, top.  Above all, don't say STUFF!
5. Don't bring gifts, care packages, or the agent's favorite dessert. Remember, rock stars never fall in love with the pushy groupie. See #1 on stalking.
6. Don't call yourself the next J.K. Rowling, Stephanie Meyer, or Rick Riordan. Be original.
7. Don't knit scarves, socks, or book covers for featured speakers. It's just creepy.
8. If you have a critique with a featured speaker, don't take criticism personally. No tears. No tantrums.
9. Don't wear sparkles, flags, or lighted tops in the hopes of getting noticed.
10. Don't forget- the featured agents, editors, and award winning authors are people, too. Be respectful and friendly.  Remember the golden rule.

Do:
1. Read books by featured authors in advance. It will make their presentation much more meaningful.
2. Get to know books agented by or edited by your speakers. You'll gain insight into their tastes and you'll be ready with conversation starters if the opportunity presents itself.
      (read the comments section of this post for suggestions on finding those titles.)
3. Sign up for conference critiques. If the agent or editor genuinely likes your manuscript, ask if you can submit it to them. And don't underestimate critiques from featured authors.
4. Dress accordingly. Most regional conferences are casual to "professional casual." Wear comfy shoes and dress in layers. You never know if your conference room temperature will be tropical or arctic.
5. Practice your elevator pitch out loud. Again, think 1 minute summary. Not one word-"Stuff"
6. If you are attending alone, find another attendee to befriend for the duration of the conference.
7. Be prepared to take notes and bring a highlighter, just in case.
8. Ask permission first if you're thinking of recording the sessions. It's generally frowned upon.
9. Bring plenty of business cards to share with other attendees. Nobody understands writers like other writers. And, if you're looking for a critique partner, you might meet him or her here.
10. Leave your manuscript in the car. Editors and agents will not be asking for it.
11. Come prepared with questions; for Q and A sessions; about featured books; about process and craft; about submission possibilities; about recommended titles, etc. Be brave and raise your hand.
12. Be friendly with other attendees and when possible, shake the speakers hand and strike up a casual conversation. Feel free to ask general questions, but do not propose your book unless the agent or editor asks what you write.
13. Be your genuine self. Remember, agents, editors, and award winning authors are people, too. They appreciate a friendly chat. But, at the end of a long day, respect that the speakers are tuckered out.
14. Follow up: touch base with your new friends. Send thank you notes to your critiquer.
15. Thank the conference planners. They're writers and illustrators, too. After planning for months, they're probably working behind the scenes, missing all the wonderful action.

Want to ask just the right questions of featured editors? Pop over to editor Madeline Smoot's "Buried in the Slush Pile" blog post for some great advice. 

One final tip. Start a conference/workshop notebook that you can add to with each event. It's an easy, efficient way to keep track of your notes. Later, it will serve as a snapshot of the many ways you strive to progress your writing and publishing journey. And, it comes in handy at tax time when you're trying to recreate writing-related expenses.

Dual Interview- Jeanette Larson and Adrienne Yorinks- Collaborating on HUMMINGBIRDS: FACTS AND FOLKLORE FROM THE AMERICAS

Jeanette Larson, Mark G. Mitchell, Julie Lake Chris Barton, Tricia Hoover, Jessica Lee Anderson, Donna Bowman Bratton

     Found only in the Americas, hummingbirds weigh no more than two sheets of paper, yet they have held the the fascination of people for centuries. HUMMINGBIRDS: FACTS AND FOLKLORE FROM THE AMERICAS (Charlesbridge, February 2011,) co-authored by Jeanette Larson and Adrienne Yorinks and illustrated by Adrienne Yorinks, offers a comprehensive look at the world's smallest bird species. The 64 page book may be targeted to 9-12 year-olds, but adults may prove to be an even bigger audience. The nine chapters, written in expository style, indulge the reader with generous scientific and practical facts: diet, plumage, courtship, flight, habitat and so much more. The book offers extensive curriculum tie-ins that would be appealing to teachers and students, aided by the ample back matter containing an index, glossary, bibliography, resources, and art notes.
     But the book isn't merely an educational introduction to these iridescent creatures. Each chapter concludes with a tale, legend, or story about hummingbirds, originating among native peoples across North and South America. The Ohlone, Hitchiti, Maya, West Indies, Yamana, Aztec, Navajo, and Taino cultures are represented. These tellings are further distinguished by the narrative change in voice and by the dramatic color variations of the pages.
     Visually, the book is stunning thanks to Yorink's artistic illustrations, depicted entirely on quilted fabric. A fabric artist by trade, Yorinks captures the intricate details of the hummingbird world with finesse. One can't help but be captivated by every stitch.
     Jeanette Larson is the author of several professional books for librarians, and contributed to and edited the children's book, QUILT OF STATES (National Geographic, 2005.) She lives in Pflugerville, Texas. Read more about Jeanette at her website, Larson Library Books. And read my January, 2011 interview with Jeanette, titled Behind the Scenes of Public Libraries here. 
     Adrienne Yorinks is the illustrator of several children's books including QUILT OF STATES (National Geographic, 2005), which she co-authored, and MY TRAVELS WITH CAPT'S LEWIS AND CLARK (Harper Collins, 2006) by George Shannon. She lives in Short Hills, New Jersey. Learn more about her by visiting Adrienne Yorinks' website.

Learn more about the collaborative process behind HUMMINGBIRDS: FACTS AND FOLKLORE FROM THE AMERICA'S by enjoying this dual interview.
     
    

Jeanette Larson and Adrienne Yorinks

How involved was the editor in planning the book's content?

JL Initially the original editor, Judy O'Malley, was involved in our discussions about the content. After Judy had health problems, the book was re-assigned to Randi Rivers. She came in to the project after many decisions had been made but she offered a lot of great ideas for clarifying parts of the subject matter, rearranging information, and overall making the book's content better. I love editors!

AY Judy O'Malley was our first editor. She and I had a wonderful meeting at the Javitz center by now several years ago where we talked about the book, writing, illustrations, and design. Jeanette and I were so upset and disappointed when she got ill. Randi Rivers took over as editor and Diane Earley as art director and they were lovely to work with. Our book is unusual and I thought Charlesbridge came on board with us.

What was your time line from initial idea to contract offer and actual publication?

JL It seems like forever! Adrienne and I had wanted to work together on a book after we worked together on QUILT OF STATES. Judy O'Malley at Charlesbridge knew both of us and wanted to work on a project we would do together. I'd say it took about a year for us to find the right project--something I was passionate about and that had a unique angle plus would benefit from Adrienne's textile art. We sent an outline in summer 2005 so, gosh, five and half years from start to finish. The book was delayed a bit by Judy's health problems and the economy but really we bypassed the submission, rejection, submission part so that helped the time line.

AY This has been the longest gestation period for any book I have worked on but looking at Hummingbirds now...well worth it!

What inspired you to choose hummingbirds as the book topic? 

JL As I mentioned, I was looking for a topic that would work well with Adrienne's fabric medium. We had talked about primate sanctuaries and stingrays but nothing was clicking. I couldn't find a real passion (in the case of stingrays) or a good angle (in the case of primates). My husband and I happened to be in Rockport, TX during their annual hummingbird festival weekend. I came out of the hotel and was surrounded by the birds! I started thinking about them and remembered stories I had heard from the Navajo and other cultures so I wondered if I could put facts and stories together.

AY Jeanette and I were keen to do a book together since we have hit it off as colleagues and friends for so many years. We first met when the original art for, Stand For Children, went to Texas. We both love animals and when Jeanette brought up a book on Hummingbirds, I was immediately charmed. My first experience with seeing a hummingbird was about twenty years ago. I had never seen one before and it buzzed me on my deck in North Salem, NY. I had planted many beautiful flowers and the hummingbird flew right into my face hovering near my eyes as if to say, thank you....very delightful. I thought the hummingbird looked just like Tinkerbell.

Tell us about the co-author/illustrator collaboration-

JL We pretty much agreed on content in an outline and then we each began to look for information, interesting facts and such. Adrienne combined our information into a first draft, and we both again worked on additional information, revising, reformatting, and correcting material. I researched and retold the stories. Then Adrienne worked on the art. My input on that was limited to sharing some illustrations and art from native cultures (like the Nazca lines) and suggestions on what might be illustrated. I have almost no artistic talent! All of the content was complete before Adrienne started to work on the art.

AY Jeanette is a wonderful friend and colleague. She was so helpful to me when I was working on, Quilt of States. It seems like she knows a million librarians and when I decided that it would be special to have a different voice speak about his/her state in all fifty states, Jeanette knew at least one in every state! Jeanette would of course be my Texas librarian. I  wanted to celebrate librarians because they have been so important to me in my research for books as well as promoting the book when it is published. It was a pleasure to work with Jeanette on Hummingbirds. We seemed to divide the book up well and also contribute to editing and smoothing out the entire manuscript together.


The scientific and practical information about hummingbirds is extensive. How did you approach the research process?

JL Well, I am a librarian! I did a lot of research, often trying to answer a specific question like "Were there really no hummingbirds outside of the Americas?" I looked at scientific information about fossilized hummingbird remains, what they eat, and why the colors look the way they do. I used interlibrary loan a lot along with online databases to find scientific articles. Adrienne has some great contacts with the Audubon Society so she was also checking facts. The copyeditor also was great, questioning things that didn't make sense to her.

AY I love libraries and spent a good deal of time in my local library. I also borrowed some books from my friend, Wayne Mones who has a fabulous library on bird books! When I research a subject, I read everything I can find lots of times to really familiarize myself with the subject.

The book has terrific curriculum tie-ins that include nine legends and folk tales about hummingbirds from different cultural heritages. Did you have specific curriculum in mind when planning the book?

JL Not really. My undergraduate degree is in anthropology and I'm a children's librarian so I loved the stories. When I realized that the hummingbirds only exist in the Americas it made sense to tie in stories from different cultures in the Americas to add to the science. Actually I was a bit concerned that the mix of topics would make the library catalogers mad at me! Where do they classify the book?

AY I wanted Hummingbirds to reflect the way I study a subject that I am interested in. I like to know facts as well as the stories behind them. To me, that makes the subject interesting and easier to feel that you understand your topic. I was just speaking to a friend who teaches the Montessori method who saw the Hummingbird book. She said that our book is a perfect example of the essence of Montessori learning. Our book speaks about the subject of Hummingbirds as a whole and also discusses its parts. When you do that it covers all disciplines. Just as with my art, which I believe covers all the disciplines as well,  that is how I learn best and how I hope others will feel when they read and explore our book. I was thrilled to hear that our book exemplifies Montessori's teachings, because intuitively that is what Jeanette and I wanted to accomplish with our book---a blending of facts and stories--a celebration of our subject--these remarkable creatures.

Was there a fact or story about hummingbirds that most fascinated or surprised you during your research?

JL Oh, a lot of them! It's amazing to me that such a tiny bird can be such a fierce fighter. I love that the largest of these birds (the giant hummingbird) is still miniscule at 20 grams compared to other birds. The bee hummingbird, the smallest bird in existent, is only 2 grams. Not a huge gap between smallest and largest! In the stories I loved how many had similar story arcs to stories from other cultures. The story, "Why the Hummingbird is Attracted to the Color Red" is a Romeo and Juliet type of story and "Why the Hummingbird Drinks Nectar" will remind readers of "The Tortoise and the Hare." I think seeing these story connections reminds us that we are all more alike than we are different.

AY There are many facts about Hummingbirds that astound me. The first one that comes to mind is that a teeny tiny bird can fly 500 miles across an ocean by itself...Not in a flock. Can you picture that? A being weighing the same as two sheets of looseleaf paper soaring through the air by itself? The second fact is that hummingbirds can see ultraviolet color. We cannot see this. That is how they can see which flowers have the most nectar as flowers when most fertile appear with ultraviolet patterns. (I wish I could see as well as they can! Just imagine the fabrics!)  And the third is that even when migrating 2,500 miles, a hummingbird will remember where every feeder is that they visited the previous year. I have the worst directional sense so this is completely astounding to me!

Do you have any research tips or advice for writers?

JL Get to know your librarian! Regardless of how much information is available on the Internet, a good reference librarian will be invaluable in finding good material or in tracking down elusive bits of information. Also don't be afraid to ask questions. Experts want to help.

AY I always tell adults and kids this story when I lecture. When I was doing research for Quilt of States, I checked out secession on the internet. The one site that kept coming up first and primarily was a site that believed the South had actually won the war. I think I was so horrified that a lot of kids go to the internet and believe that the first site is actually the best site and that their research may stop there. I urge kids to use the internet as well as the library and bookstores. I also tell them that wandering in the library and finding books that are out of print or forgotten has always been a joyful experience to me. It is interesting to see what was published twenty or forty years ago on a topic of interest. Sometimes that knowledge is better than a book published today or at least interesting to see what someone from forty years ago was thinking about the subject you are interested in. 

A Foreword by National Audubon Society Vice President Wayne Moss is included. How did that come about?

JL He is a friend of Adrienne's and was very interested in the project. Birding is a growing hobby for young people and of course the Audubon Society encourages that so Wayne was eager to help with the book.

AY Wayne Mones is a very good friend. He and his wife Holly, ( I dedicated this book to them) have shared their bird watching expertise with me and my husband. They are both excellent birders and I have learned a lot from them. They are such good friends that when I was asked to be in the Florence Biennale, they came to Florence to see the Biennale and eat lots of fabulous food with us! Though it was December and not many birds were around, we had a great time viewing the art of artists representing over 70 countries.


Adrienne, the quilt illustrations are exquisite. Please tell us about your illustration process for the book.
 
AY Thank you so much. Creating the art for Hummingbirds was truly a labor of love. With this book, I did travel to Arizona with my husband to view and photograph Hummingbirds. We spent a lot of time at the Sonora desert museum in Tucson where they have a wonderful hummingbird aviary. I used some of these photographs to create photo-transfers on fabric and some as models for the fabric collages that you see in the book. In this book I used fabric markers, fabric paint, and Glitter! as well as photo transfers, silks, cotton and fabric blends. I never got to use glitter before in any of my book illustrations. It was a lot of fun. I had several friends who also let me use their images of hummingbirds  in this book. They are: Alan and Suzanne Arkin, William Vining, Charles D. Winters, and my husband, Douglas Schoenberg.
   I  particularly wanted the illustrations to reflect the complexity of the text. I wanted the factual sections to be accompanied by very different types of illustrations from the myths. This was also further delineated by creating double spread bleeds for the legends compared to single spread bound illustrations for the factual information. That was one of the things I had discussed with Judy and later with Randi and Diane. I always try to excite my readers so that each page is a surprise.
   All of the illustrations were then photographed by D. James Dee who photographs my large work as well. He is a terrific photographer and worked really hard to capture my illustrations. I was most insistent on having the end papers that you see in the hard cover copy. End papers are special to me and a lot of publishers have stopped doing interesting end papers because they are expensive. From the beginning, Judy agreed they were important and Randi and Diane also decided it was an important expense for our book. The end papers are actually a photograph of a fabric I did for a fabric company in a line called Aviary. I loved this particular design and color way. ( When designing fabric, there is a pattern and then the pattern is created in different color ways.  Imagine if you fall in love with a striped pattern blouse and it comes in Blue and white, as well as green and white, and maybe even pink and orange. These are called color ways.) So the end papers are actually a fabric pattern in my favorite color way of that pattern.

Adrienne, what inspired you to become a fabric artist? 

AY I have always loved fabric. When I was a kid, I made doll clothes for all my dolls. I love manipulating fabric and creating collages from them. I love fabric because it happens to be the biggest palate of them all! I use fabric from as many countries that produce it, to as many time periods as I can find, and every color and pattern that I can find. I also like to buy fabric that I may find "ugly" because you never know when that piece that seems ugly one day, may reveal itself to be perfect to portray an idea or feeling in a large work or illustration. I love vintage fabric, even its smell and texture. When I go into schools I bring some of the fabrics that I have designed as well as fabrics from Africa and Japan so the kids can see them and touch them. In The Alphabet Atlas I called the embassies of the countries represented to see if I could get fabrics from those countries.  A lot can be learned by the fabrics of countries in what is depicted, to the colors and feel of the fabric.

Do you have release parties or book signings scheduled?

JL The book release party is Saturday, March 5 at noon at BookPeople and everyone is invited. I'll also be signing at the Corpus Christi Public Library on Monday, March 14 and at Paragraphs on Padre Boulevard on South Padre Island during Spring Break (March 15). I'm also thrilled to be signing at the Lady Bird Johnson Wildflower Center on July 24 (during their Tribute Day when admission is free) and to have been invited to the Princeton Children's Book Festival in New Jersey.

AY I am actually lecturing tomorrow and signing books at the Reeves-Reed Arboretum in Summit, New Jersey. They are so excited about the book and will be displaying all of the illustrations (there are 39) from May 16 till the middle of August. The original art is all framed now and I am thrilled that the entire book will be featured this Spring at the Arboretum.  I look forward to doing some local signings and of teaming up with Jeanette in New Orleans in June. I will be in Canada next Fall lecturing and hope to sign some copies there as well.

Black History Month- 15 Fabulous Reads for Children

February is Black History Month in recognition of the invaluable contributions that the African American community has made to the culture and history of our nation.

I'm delighted to post 15 picture book (and one early reader) titles from my personal "Favorites" list. We truly cannot know where we are going if we do not know and acknowledge where we have been as a nation. These titles will enlighten and inspire children.

Head to your nearest library or book store, grab a few books and find the nearest child to share with. And, if you'd like to recommend additional titles, just post a comment.