Q&A with Rick Williams Sr.

  

 

Rick Williams Sr. is the author, with his grandsons, Brady and Caleb Williams, of the Dragon & Dinosaur Chronicles middle grade series, which includes Star Life Keepers and Orion Fire Storm. 

 

Q: What inspired you to write Star Life Keepers?

 

A: Thirty years ago, I met a fellow entrepreneur, Ted Savas, in Silicon Valley. Ted was a lawyer but had established a publishing business to focus on his passion: Civil War books that preserved the legacy of firsthand accounts. I was interested in writing books, and Ted encouraged me to find some aspect of the war that had not been fully addressed.

 

I began collecting Civil War letters and diaries, mostly from common soldiers and lower-level officers. Serendipitously, I acquired the personal collection from Captain Patrick H. White, an uneducated Irish immigrant who had become captain of the elite Chicago Mercantile Battery. White and five of his artillerists had received the Medal of Honor for bravery during the Vicksburg Campaign in May 1863.

 

Edwin Bearss, the Chief Historian Emeritus of the National Park Service, took me under his wing and taught me how to research and write a book on this unknown military unit. I wrapped creative, narrative nonfiction around letters and diaries. Ted Savas supported us and published Chicago’s Battery Boys in 2005.

 

My next book featured my journals of a Prussian engineer, mapmaker, and artist whose great-grandson was Jim Henson, creator of The Muppets. Jim’s family assisted me, including introducing me to Jim’s mother.

 

During our two interviews, she told me stories about how Jim’s grandmother (her mother) had taught him to read classical literature and to paint. Using his grandmother’s training in the visual arts, Jim created Kermit the Frog at the age of 19.

 

Those stories inspired me to engage hands-on with my seven grandchildren, which led to the formation of Dragon & Dinosaur Chronicles.

 

I later spent a decade studying how to write thrillers, attending seven annual meetings of the International Thriller Writers, where bestselling authors taught fledgling authors how to craft suspense novels.

 

In 2018, I was almost done with my first international thriller when my oldest grandson, 8-year-old Brady, was inspired by my writing and proposed that we develop a book together.

 

Q: How did you and your grandson collaborate on the project?

 

A: In Stephen King’s landmark book On Writing, he postulates that authors are often like archaeologists who “uncover the bones of a story.” In my case, I needed to find out what kind of book Brady wanted to write.

 

After exploring his initial vision, I discovered that Brady wanted to leapfrog grade levels and write a middle-grade epic fantasy book based on his concept of Dragons & Dinosaurs. He developed his protagonists—Jason, Amanda, and Elisa—while I analyzed the careers of J. R. R. Tolkien and C. S. Lewis to find out how they wrote their books.

 

I was a Lord of the Rings fan but had never read The Hobbit. Nor had I ever read the Chronicles of Narnia books.

 

After studying them, I moved on to the Game of Thrones series and began an in-depth evaluation of Brandon Sanderson’s work, listening to the first 16 years of his Writing Excuses how-to podcast. I worked my way through The Way of the Kings and Mistborn to Evil Librarians, the latter becoming an inspiration for our journey.

 

On January 8, 2021, at 8:57 p.m., I received the following text from Brady: “I finished the 1st book of Evil Librarians!!! I am so happy ”

 

Brady and I deconstructed the Evil Librarians series and followed Brandon Sanderson’s foundational principle—something familiar but something different—as we conceived our first book, Star Life Keepers.

 

Like Sanderson, we decided to provide frequent illustrations so young readers could better visualize what they were reading as they moved from chapter books to novels. I hired Prayan Animated Studios in India to create original artwork of creatures Brady invented, including the Dragon Girl, a Tiger Man, and a Flying Velociraptor.

 

Q: How did you create the world in which the story is set?

 

A: First, I had to find out what kind of book Brady wanted to create as a fourth grader. His mother, Megan, was my “champion” for this writing collaboration. She gave me Magic Tree House chapter books as examples of fast-paced fantasy stories for kids.

 

I went to our local public library and the woman in charge of the children’s section gave me a guided tour. She agreed with Megan that the Magic Tree House books could serve as a prototype for our writing adventure.

 

Brady had other ideas.

 

I took Brady out to lunch, and we visited a local Barnes & Noble. A kind shopkeeper took us on a tour of the bookshelves and elicited from Brady what he wanted to write about—and what he didn’t want to write about. She helped him to select books to read during this exploratory period. I thought John Flanagan’s Ranger Apprentice series would be a great model for us…but was overruled.

 

We went on to study movies and TV shows, which I used to teach Brady about the Hero’s Journey, high stakes, conflict, plot twists, etc.

 

Since this was a joint effort, I decided early on that we would negotiate and compromise as we built our story. Brady and I finally opted for a middle-grade fantasy book—with a splash of science fiction—that would be a mash-up of Narnia & Lord of the Rings combined with Eragon & Jurassic Park, plus Evil Librarians-style artwork.

 

After I had a better understanding of what Brady wanted to write about, I bought him dragon and dinosaur action figures. His “inspiration piece” was a purple, five-headed dragon that later became part of the book’s back cover and website.

 

To build scenes, we had playtime using action figures, cardboard boxes for buildings, and crumpled blankets for terrain. We also went to construction sites and climbed dirt hills, shot bows and arrows, and threw stick spears. A key to the process was to have fun: Brady often told me that having fun while making up stories was one of his favorite parts of our storymaking process.

 

I also used Google and Pinterest images to find dinosaur crossbreeds and humanized hybrids for Brady to choose from. Sometimes he made sketches for me. I also used a variety of imagineering concepts to build the world with Brady. In my arts & crafts room, we took a multimedia approach to make scenes and maps: from drawing and painting to writing on blackboards and whiteboards to using my iPad.

 

Without guidance from my friend, Steve Tamayo, I probably wouldn’t have pursued writing a novel with Brady. Steve had earned his master’s degree from Oxford and became an expert on Lewis and Tolkien. He encouraged me to move ahead and agreed to help formulate Star Life Keepers.

 

Steve also had written a book on ethnicity and harmonious relationships. We decided to teach kids about multicultural teamwork by having human, elf, and shapeshifting dragon characters cooperate to defeat the invading dinosaurs. Steve was writing a novel, too, so we focused on the basic fiction strategy: show the kids diverse collaborations without telling them.

 

I had spent a decade in China, including setting up a genomics company, and was interested in weaving Chinese history and astronomy into Star Life Keepers. With three Chinese cousins, Brady agreed to let me create a family from Tiantan, our version of ancient China.

 

My college degree was in speech and hearing science, and my close friend was 90 percent deaf. So, Brady supported my idea that Jason would have a hearing problem and wrestle with the challenge of dealing with hidden hearing aids in the fantasy world…while his batteries only lasted a month.

 

Following Brady’s principle of always having fun, I created Bukania as the main country in our world based on his middle name, Buchanan.

 

Brady’s younger brother, Caleb, played a pivotal role in building our Star Life Keepers world and helped me develop the sequel, Orion Fire Storm. In honor of Caleb’s help, we called the parallel universe Belacamber—which is Caleb’s name spelled backward!

 

Q: Did you know how the novel would end before you started writing it, or did you make many changes along the way?

 

A: I knew how Brady wanted the Dragon & Dinosaur Chronicles series to end but I must collaborate with grandchildren and Story Advisors to develop captivating endings for each novel. Since our books are family-oriented, Brady wanted an ending for Star Life Keepers that tied to Jason’s missing father.

 

We’ve gone from a trilogy to a five-book series based on how Tui Sutherland structured Wings of Fire. Having a strong ending for each book, and a satisfying end to the series, is challenging, but we keep writing one step at a time.

 

Q: What are you working on now?

 

A: Brady and Caleb have grown up, so I am now working with external Story Advisors to develop Book 3, Young Dragonriders. Morgan is the 15-year-old daughter of a doctor friend. We’ve worked together for almost two years, communicating through her mother and Zoom.

 

Morgan started out editing Orion Fire Storm and our Story Writing workbook. For Young Dragonriders, she has moved into Story Development, adding some amazing plots and creating an archivist/illustrator young woman who has become more prominent in the story.

 

My other Story Advisor is the 15-year-old son of my Native American friend in Montana. I wanted “Montana Caleb” to critique how I have developed ideas about Native American tribes, as Tolkien did with his elves.

 

For example, the first elf tribe that readers encounter is the Evergreen Nation. They are like Native Americans in the Northeast USA, plus I drew from the Lewis & Clark journals regarding the Mandan tribe. For Orion Fire Storm, I created the Red Cliff Nation in honor of the many years that Montana Caleb and his family spent working in Arizona’s Navajo Nation.

 

He agrees that I have been appropriately honoring his Native American heritage, and we have developed a new Northfront tribe, the Kingdom of Silvermere, for Young Dragonriders. I’m now helping him to write his own fantasy book.

 

I have been collaborating with my adopted Chinese granddaughter to create a crossover series called Constellation Isles, which is the source of dark magic. One of my fondest memories of this storymaking journey was when I took her and Caleb to a restaurant where they had their own booth, ordered from the menu themselves, and together critiqued our first workbook.

 

Q: Anything else we should know?

 

A: I retired early from being a biotech CEO so my family and I could do our small part to enhance childhood literacy and creativity, as reflected in our saying: Read our stories…Create your own.

 

We have already completed a number of projects to support students and families:

 

Two novels: Star Life Keepers and Orion Fire Storm

 

Orion Dragons’ Holiday Tale short story: origin story about how the Royal Dragons received gifts from the Alnitak star in Orion’s Belt

 

Dragons & Betrayals short story/novelette: The War of the Dragons & Dinosaurs

 

Story Writing: A Workbook of Creative Writing Prompts for Kids 8-12

 

Spark’s Storymaking Kit: a step-by-step guide to get started creating stories

 

Creative Writing Lab: a free collection of roadmaps and self-guided resources for Young Creators who want to make their own stories (available on www.thestorymakinghub.com)

 

My daughter-in-law, Megan Williams, has championed this writing-with-kids journey as I’ve collaborated with Brady and Caleb. She summarized the positive effect that this intergenerational, storymaking journey has had on her children:

 

“Our boys were given a safe space to share ideas, build a world, and be active participants in the production of a story. Which is a priceless experience that I truly believe has shaped a lot of their confidence in their teen years.”

 

I’m grateful that The Children’s Book Review is helping to introduce our storymaking-and-engagement model to the parenting and education community—as we all work together to give children an opportunity to share their unique “heart voices” while making stories.

 

For parents and educators who have questions about our family’s storymaking experience—such as what worked and what didn’t work—feel free to contact me directly: rick@rickwilliamsbooks.com

 

--Interview with Deborah Kalb. This Q&A was conducted in partnership with Rick Williams Sr. Readers who follow along on this virtual book tour will have the chance to win an out-of-this-world prize pack! Three winners will each receive signed hardcover copies of Star Life Keepers, Orion Fire Storm, and Story Writing: A Workbook of Creative Writing Prompts for Kids 8–12. One grand prize winner will receive all of the above plus an Amazon Kindle Paperwhite Kids—perfect for diving into even more adventures.

Q&A with Eloisa James

  

 

 

Eloisa James is the author of the new novel The Last Lady B. Her many other books include Wilde in Love. She is a professor of English literature, and she lives in New York City and in Florence, Italy.

 

Q: What inspired you to write The Last Lady B, and how did you create your character Evie?

 

A: Lately I’ve been loving romances with spooky elements—gothic without too much danger and no gore.

 

I first came up with Evie’s situation (married to a man whose first three wives died in the haunted abbey), and then I wrote the scene where Evie rescues a piglet—which is pure Evie. I didn’t want a heroine in a white nightgown running screaming into the night, but I love the idea of a heroine leading a piglet on a pink ribbon.

 

Q: The book’s publicity describes it as “Jane Austen meets The White Lotus”--can you say more about that?

 

A: I looked for inspiration to Jane Austen’s Northanger Abbey, where Austen embeds a romance in a novel that mocks and loves the gothic genre. My husband and I adore The White Lotus, especially the opening scenes when you learn someone has died but you don’t know who or how.

 

In The Last Lady B, the reader doesn’t know how Evie’s elderly husband’s first three wives died. You learn from the cover copy that her husband dies—but how?

 

Q: What role do you see ghosts playing in the novel?

 

A: I didn’t want a vengeful, scowling ghost stalking around the abbey leaving bloodstains in his wake. If I became a ghost, it would be for one reason: to protect my children. There’s my ghost, in a nutshell.

 

Q: The novel is set in a remote part of Scotland--how important is setting to you in your writing?

 

A: Setting is far more important in a gothic novel than in a historical romance. In Wilde in Love, for example, the bog outside the Wilde mansion is important, but it doesn’t set the tone of the novel. Lady B needed the eerie quality of endless fir trees, howling wolves, and a haunted abbey with secret passageways.

 

Q: What are you working on now?

 

A: I’m writing a crazy, fun novella in which a (virgin) heroine inadvertently sleeps with her brother-in-law, becomes pregnant, and is thrown out into a dark and rainy night. I’ve moved from Austen to Dickens, but I’m loving it!

 

Q: Anything else we should know?

 

A: The Last Lady B is available in two different formats! If you’d like a personalized trade paperback with Evie on the cover, preorder from the Ripped Bodice. If you’d like a hardcover, depicting a different but still marvelous Evie, turn to Julia Quinn’s Kickstarter campaign for her romance subscription service. The novel is the same, and both covers are delightful!

 

--Interview with Deborah Kalb. Here's a previous Q&A with Eloisa James. 

Q&A with Deborah K. Shepherd

  

 

Deborah K. Shepherd is the author of the new memoir An Old Man's Darling. She also has written the novel So Happy Together. She was a social worker for many years, and she lives in Maine. 

 

Q: Why did you decide to write this memoir, and how would you describe the relationship between you and your first husband?

 

A: I was never going to write this memoir. After my first book, a novel, was published when I was 74, I really thought I was one and done.

 

There were some similarities between my real life and the narrative (I set it in Tucson, where I went to school; some of the characters were composites of people I had known) but the main story, about a woman in middle age who leaves her husband and children to pursue an old love, was complete fiction.

 

Nonetheless, I got so many questions of the “Is this about you?” ilk, that I couldn’t imagine writing a book that really was about me and my life with my 34-years-older-than-me husband.

 

Then I found a cache of letters from him and, in reading them, was transported back over 50 years to a time when we were so entranced with each other and the “miraculousness” of our relationship that we tried to write a book together. We didn’t write it though, and it would have been a very “one-note” book if we had.

 

My first husband, Bill Shepherd, was the love of my youth. We were so filled with stardust that I wonder if either one of us gave a thought to the power differential between us, and that there might be an element of manipulation.

 

Now, in the 21st century, with it all filtered through the events of the last 50 years, the headlines about powerful men and underage girls (I was of age, but at 21, barely out of adolescence) and a feminist sensibility, I can see that some of the elements of an exploitative relationship (e.g., grooming and secrecy) were present when he courted me.

 

Nevertheless, we built a life together, mostly loved each other, and raised two kind, loving, and decent children, who are contributing members of society.

 

Q: The Kirkus Review of the book called it “a thoughtful and multidimensional examination of love, power, and self that doesn’t shy away from asking difficult questions.” What do you think of that description.”

 

A: I think it’s a valid description, and I’m glad the reviewer at Kirkus “got it.” As I wrote in the book: “Looking back, it all swirls together—objectification/sexual attraction/passion/obsession/possession/desire/intimacy/love—like the tendrils of a sweet pea. If you try to separate them, you are in danger of killing the flower.”

 

Q: How was the book’s title chosen, and what does it signify for you?

 

A: The title is taken from a proverb by John Heywood, a 16th-century writer. The full text is “Better to be an old man’s darling than a young man’s slave,” and implies a relationship with an older man would provide, among other things, more financial security than one with a same-age partner.

 

I was my husband’s worshipped and adored darling, but we were by no means financially secure throughout our nearly 20-year relationship. Many of our conflicts were around finances, so there is some irony in the book’s title.

 

Note: the term “slave” has been rejected in recent years, the preferred term being “enslaved person,” but the proverb was written in 1546.

 

Q: What impact did it have on you to write this memoir, and what do you hope readers take away from it?

 

A: At first, I was entranced to reread Bill’s love letters but then started to see them in an added light. I began to question some of the ways in which I’d been courted, something I had never done when we were both head-over-heels enamored with each other.

 

Some of those questions made me uncomfortable and I think I started writing the book to find some answers. Sometimes the writing of it made me weep, especially when I delved into the later years of our relationship, and sometimes it brought me great joy and gratitude for being so loved, and sometimes I asked myself  “What were you thinking?”

 

There are no easy answers. I would hope that readers not judge, but be more attuned to the grey area, that a relationship does not have to be either/or, but can be both/and. I am now more comfortable in that grey area, not just in thinking about my relationship with Bill, but in many other aspects of what it means to live as a human being on this planet.

 

Q: What are you working on now?

 

A: My first book was published when I was 74, and my second at 79. I don’t think I have another book in me, and even if I did, I wouldn’t have the bandwidth for everything that comes with launching a book into the world.

 

But I’m still writing, mostly personal essays,  some of which are being published and some just for myself. I’m really taken with the shorter form, and love telling a whole story in 1,000 words, 500 words, or even 100 words.

 

Q: Anything else we should know?

 

A: If you’re interested in reading more of my writing, my website, deborahshepherdwrites.com, provides links to my published pieces and to my blog.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Deborah K. Shepherd. 

Q&A with Louise M. Aamodt

  

 

 

Louise M. Aamodt is the author of the new children's picture book A Forest Begins Anew. She is also an educator, and she lives in Minnesota. 

 

Q: What inspired you to write A Forest Begins Anew?

 

A: Many years ago, I was teaching a weather science unit and read the book Lightning! by Lorraine Jean Hopping. Three lines about the cause/effect relationships after a fire (burnt trees > beetles > woodpeckers > bluebirds) stopped me in my tracks.

 

I’m always fascinated by the interconnectedness of nature, but I hadn’t heard of this particular relationship. Once I dipped my toe into the research, I was hooked. 

 

Q: How did you research the book, and what did you learn that especially surprised you?

 

A: I was new to writing nonfiction back then, so my early research was messy, to say the least. As I learned more about finding strong sources, I had to go back and reexamine everything multiple times to make sure it was accurate. I’m a bit of a perfectionist, so it was a painstaking process.

 

I’d advise writers to document every single rabbit hole they explore, whether valid or not, so they can sift through them later if/when ideas become muddled. 

 

One thing that surprised me was learning about the history of fire suppression in the United States. As a kid, I remember Smokey the Bear ads that villainized fires and urged us to extinguish them all, which actually led to more megafires in some cases due to excessive fuel buildup. These days, although climate change exacerbates megafires, we actually do have more scientific, data-driven methods behind us.

 

Q: What do you think Elly MacKay’s illustrations add to the book?

 

A: She’s amazing! I intentionally chose some advanced vocabulary for this story, and Elly’s art helps make those big words–and concepts–accessible and inviting for even the youngest readers. It’s a beautiful pairing of words and art. Her shifting use of color and light portrays the emotional arc perfectly. 

 

Q: The Kirkus Review of the book called it a “beautiful testament to nature’s—and our own—ability to flourish after devastation.” What do you think of that description?

 

A: I’m thrilled that the underlying theme shone through. This is a nonfiction book about wildfires, yes, but it’s really a story of hope and perseverance.

 

Adversity of all types can feel so overwhelming that sometimes it’s hard to see the light at the end of the tunnel. It was of utmost importance to me that this book portrayed equal parts science and optimism. 

 

Q: What are you working on now?

 

A: I have two more upcoming nonfiction picture books under contract, with many, many more manuscripts looking for a home. I’m drawn to writing nonfiction, often with lyrical or rhyming elements. I also love creating back matter and layered text. If a concept sparks for me, I relish the challenge of relaying that same excitement to readers. 

 

Q: Anything else we should know?

 

A: This is my debut book, and interestingly, it goes against two common bits of advice. First, it’s in rhyme, which we’re generally warned to avoid because it’s so hard to get the meter right. Second, it uses the word “dead,” which is apparently a no-no for young readers, and had to be handled with care. Nevertheless, A Forest Begins Anew made it through anyway. Write what’s in your heart, and readers will feel it.

 

--Interview with Deborah Kalb 

May 12

 

 

ON THIS DAY IN HISTORY

May 12, 1812: Edward Lear born. 

Q&A with Brittany Polat

  

Photo by Keni Parks

 

 

 

Brittany Polat is the author of the new book Jesus & Stoicism: The Parallel Sayings. Her other books include Stoic Ethics.  

 

Q: What inspired you to write Jesus & Stoicism?

A: An editor at Ulysses Press reached out to me about creating this book to follow in the footsteps of one of their bestselling titles, Jesus and Buddha: The Parallel Sayings by Marcus Borg.

 

Borg was a Lutheran pastor and scholar of the historical Jesus who thought that different religions are simply individual manifestations of a universal path. I really admire his work and I loved the idea of this project!

 

I also realized that the relationship between Stoicism and Christianity had not been fully explored, so I was happy to bring more attention to the topic through this book.

Q: What are some of the parallels between Christianity and Stoicism?

A: In this book I focus primarily on ethical parallels, of which there are many.

 

Both Jesus and the Stoics defined success in internal (spiritual/psychological) terms rather than external (worldly) terms, which led them to reject and disapprove of wealth, power, and social status.

 

They were extremely critical of selfishness and hypocrisy, which they saw particularly in the upper classes of their respective societies.

 

They promoted internal virtue—or to use the preferred Biblical term, righteousness—which led to inner peace and social harmony.

 

There is so much more we could mention, but those are some of the major points of agreement.

Q: What do you think are some of the most common perceptions and misconceptions about Stoicism?

A: Unfortunately there are many misperceptions of Stoicism that have cropped up over the centuries.

 

One is that Stoics are not supposed to have any emotions, which of course is not true. The ancient Stoics recognized emotions as an important part of human life, but they noticed that strong negative emotions like anger, envy, and sadness can cause huge problems. So they developed a system of eliminating those bad emotions while promoting good emotions like joy and goodwill.

Another misperception is that the Stoics are detached from other people, but again, this is not true at all. It’s based on a misinterpretation of some of the ancient texts.

 

In reality, Stoics learn how to love others and have good relationships without falling prey to the wrong kinds of attachments, which are similar to cravings. We begin to approach our relationships with wisdom, leading to inner peace and a deeper happiness.

Q: What do you hope readers take away from the book?

A: I hope readers come away with a renewed appreciation of the ethical parallels between Stoicism and Christianity, which are two renowned wisdom traditions that have shaped Western history and culture.

 

I also hope readers find inspiration for their own lives—when both Jesus and the Stoics are pointing us in the same direction, we know we need to listen!

Q: What are you working on now?

A: At the moment I’m working on two collected editions of Stoic writings for Pan Macmillan’s Collector’s Library: Embracing Resilience and Getting Along with Difficult People.

 

Each book has selected texts relevant to its theme, so if someone needs practical guidance on overcoming difficulties or getting along with difficult people, they will have Stoic advice right at their fingertips! The books should be out in 2027.

Q: Anything else we should know?

A: I would say that if you’re interested in learning more about Stoicism, make sure you get your information from trustworthy sources. There continues to be so much misinformation circulating online.

 

I recommend relying on books and articles associated with the nonprofit Modern Stoicism, or reading works published by university presses or classic imprints. And make sure to read the originals yourself—you can’t go wrong with Marcus Aurelius’ Meditations!

 

--Interview with Deborah Kalb 

Q&A with Deirdre Sullivan

  

 

Deirdre Sullivan is the author of the new children's picture book Little Passenger. Her other books include the young adult novel Savage Her Reply. She lives in Dublin, Ireland.

 

Q: What inspired you to write Little Passenger?

 

A: Becoming pregnant was not a straightforward journey for me; there was a lot of hoping. When my child began to grow in me, I really wanted them to stay, and when we hit the 12-week milestone, I bought them a book, and began to read a bedtime story every night. It helped to keep us connected and allowed me to share something I love with this small life in the liminal space.

 

It was a lovely ritual, but being me, I began to overthink it, because the small life inside me had no context for suppers, or mermaids, or Wild Things. One night when I couldn’t sleep, I wrote a poem just for her, and that was the beginning of Little Passenger. 

 

Q: How was the book’s title chosen, and what does it signify for you?

 

A: I called her that, along with other names, when she was growing in me, and I remember one friend saying they really liked the phrasing of it. It was an organic part of the poem, and it was my relationship to her as well. I was her first home, and I’m grateful to my body for growing her until she was ready to meet the world. 

 

Q: What do you think Jessica Love’s illustrations add to the book?

 

A: I was consistently blown away by Jessica’s responses to the book; she met it with such understanding and care. There were several visual narratives she worked through before finding the inspiration for the book as is, and it was a privilege to have insight into her process.

 

I feel her art met my words more seamlessly than I could have imagined, and I feel very grateful to have had such a beautiful experience making Little Passenger with her, and the team at Walker. 

 

Q: The Publishers Weekly review of the book says, “It’s a warmth-filled portrait that binds the loving act of making a quilt to one experience of growing a family.” What do you think of that description?

 

A: I wanted to imbue the text with reassurance, warmth, and love, without being saccharine, and while retaining a sense of emotional truth, which has always been key to me with writing.

 

The visual narrative, all those special details, the colour saturation, the quilt developing and growing with the pregnancy, that was all Jessica. I think it was very heartfelt for both of us. 

 

Q: What are you working on now?

 

A: I have two more lyrical picture books under contract at the moment, and I’m working on some poetry and short fiction as well. I’m reading and researching a lot about birds right now, as well as folklore and mythology. I tend to fill the bucket up and then let it spill over. 

 

Q: Anything else we should know?

 

A: Pregnancy and motherhood aren’t easy or simple, and the journey is different for everyone. It’s magical and messy, primal and painful.

 

There’s no one truth for any of us in this world, and with parenthood, there are so many feelings and experiences and complexities that co-exist. There’s no one way, or right way. There’s only you and them, and your love will be shaped differently from other people’s because it’s yours.  

 

--Interview with Deborah Kalb