Q&A with Jane Ward

  

Photo by Jason Grow

 

 

 

Jane Ward is the author of the new novel Should Have Told You Sooner. Her other books include In the Aftermath. She lives in Ipswich, Massachusetts. 

 

Q: What inspired you to write Should Have Told You Sooner, and how did you create your character Noel?

 

A: I began reading a book of Welsh folk tales while I was largely stuck in the house during the pandemic year of 2020. This child’s book – One Moonlit Night by T. Llew Jones – caught my eye the year before when I was browsing a used bookstore, and I bought it. I had loved folk tales and mythologies when I was a child, and there it was in my TBR pile when I needed some escapism!

 

The Welsh have a rich tradition of folklore, much of it centering around special places across the land where humans and otherworldly beings may meet and interact.

 

In one story, “The Lady of Llyn Y Fan Fach,” a young farmer named Gwyn visits such a place, the lake named in the title, and while he is there, a most beautiful fairy rises from the water and speaks to him. In that instant they fall in love with each other.

 

The fairy, Nelferch, agrees to marry Gwyn, although she seems to realize right from the start their union will end in disappointment and pain. And of course it does. 

 

Long after finishing the story, I kept thinking about Nelferch and Gwyn and all the ways we might harm those we profess to love. From there, on my early morning dog walks, I began imagining a more contemporary pair and how such a love might play out between them.

 

These two became Noel and Bryn. As I conceived them, I realized they both brought a lot of unresolved childhood pain to their early relationship.

 

When Noel was a child, Noel’s mother died. And because she never knew her father, she was left to be raised by her grandmother. She grew into someone who desperately wanted a family of her own, but she was haunted by the idea that she might be left again. All the assumptions and then mistakes she made as she navigated all her adult relationships had their seed in this fear.

 

Q: How would you describe the dynamic between Noel and Bryn?

 

A: When they first come together in their 20s, they are two young people of similar backgrounds–Bryn, too, had suffered a lot of loss in childhood and was raised by a loving grandfather although deeply affected by being abandoned by his mother. I think these scars are what they recognize in each other early on.

 

They also share an idealized image of what life together will look like, as if they both crave family and stability to know they’re worthy of people sticking around for them. When it all falls apart, there’s a sense of that center disappearing and both lose their way as individuals. 

 

But the wonderful thing about growing up and growing older is the space we might give ourselves for self-reflection. When they find themselves in each other’s orbit 30 years after their first love story, they are trying to be profoundly different people together. The connection is still there, but it plays out much differently with courage, forgiveness, and a real willingness to do the work.

 

Q: What do you think the novel says about motherhood?

 

A: A few things, I think. There are many ways to make a family–adoption, stepparenting, mentoring among them–and the common denominators are love and intention.

 

Even then, with all that going for us, motherhood is hard and we all second guess ourselves. Sometimes, our relationships with our children are hampered by our own childhood experiences and it takes a great deal of self-awareness to overcome that.

 

Regarding the adoption that forms the central mothering experience in the book, every adoption story will play out differently, every reason for the adoption is different, but what can’t change is that every adoption begins with an abandonment of some kind.

 

Giving that space to be understood rather than ignoring it might be one of the biggest challenges facing adoptees, adoptive parents, and the parents who relinquished the child. 

 

Q: Why did you decide to focus on the art world in the novel?

 

A: I love to travel and I’m a dual US/UK citizen. I love walking in the outdoors when I’m in England and Wales, but I also love visiting London museums.

 

However, at the time I started writing during pandemic isolation, I wasn’t traveling anywhere. So I decided to travel in my imagination, replaying some pre-pandemic trips.

 

I had been in October 2019 and saw the wonderful William Blake show at Tate Britain, and I started thinking, What if I set this new book in the art world? 

 

That led me to imagining Noel and Bryn meeting in a London university in the 1990s. Their studies of art history and studio art would give them a common interest and a common world. They would “get” each other.

 

So, the setting took off from there, and I have to say, I really enjoyed letting myself write about a place I know and love so well while I was essentially housebound. Talk about armchair travel!

 

Q: What are you working on now?

 

A: I am working on a sequel to Should Have Told You Sooner, and I’m about three-fourths through the first draft.

 

I am also taking notes on the book that follows that, which will be a contemporary Gothic-style novel set in French-speaking Switzerland. It’s a fish-out-of-water story, the kind that leaves the main character unsure of what’s going on around her, but also uniquely positioned to see that the strangeness she feels might actually be a product of something bigger and darker.

 

Q: Anything else we should know?

 

A: I’m not a visual artist, but I knew I had to understand how the pieces of art featured in the novel were made. I had a specific technique in mind for Henry’s work but I had no idea how to accomplish it.

 

By sheer luck, I met a Massachusetts artist, Sue Fontaine, who uses a similar technique in her work. She let me spend a day with her in her studio. I watched and asked questions to make sure I was getting all the details right.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Jane Ward. 

Q&A with Jonathan Crawford

  

 

 

 

 

Jonathan Crawford is the author of the new book Surviving Jonathan: The 360 Degrees of Resilience. He is a keynote speaker and resilience strategist.

 

Q: What inspired you to write Surviving Jonathan?

 

A: My life didn’t follow a straight line. It was filled with dysfunction, addiction, homelessness, trauma, and hard lessons. But what changed everything was a shift in mindset. That shift didn’t just change my circumstances, it changed who I became.

 

As I started to experience personal and professional success, I realized something surprising: success didn’t automatically bring purpose. I was still searching.

 

Writing Surviving Jonathan became that search. It’s my way of turning pain into perspective and perspective into something that can impact others across a wide spectrum of life experiences.

 

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

 

A: The original title was Crack Life to CEO Life, which told part of the story, but not the truth of it. Over six years of writing, I evolved. I had to confront something deeper: I wasn’t just a product of my environment; I was also contributing to my own cycles. That realization changed everything.

 

Surviving Jonathan came from that truth. It means learning to face yourself, take accountability, and break the patterns that are holding you back.

 

For me, the title represents growth, self-awareness, and transformation. It invites curiosity. Not just about my life, but about your own.

 

It’s also the foundation of what I now call the 360 Degrees of Resilience—the understanding that transformational resilience isn’t one-dimensional. It’s emotional, mental, relational, and identity-based resilience.

 

Q: What role has resilience played in your life?

 

A: Resilience didn’t just help me—it saved my life. It gave me the ability to endure when quitting would’ve been easier. It built strength in places nobody could see. It kept me moving when everything in me wanted to stop.

 

But resilience changed meaning for me over time. It transformed into evolution. It’s who you become because of what you’ve been through.

 

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

 

A: Writing this book took my healing to another level. It forced me to revisit parts of my life I had buried and to finally make sense of them. Even now, I still catch myself slipping into survival mode. But the difference is awareness. I can recognize it, challenge it, and choose differently.

 

What I want readers to take away is this: You can’t heal what you won’t face. And you can’t grow if you’re still running from yourself. This book is about confronting your truth so you can finally live beyond survival.

 

Q: What are you working on now?

 

A: Right now, I’m building a community around the idea of surviving yourself. That’s where real transformation starts.

 

I’m also developing a companion framework to Surviving Jonathan that provides practical tools people can use in their personal and professional lives.

 

And I’m focused on speaking, working with organizations, educators, and individuals to close the resilience gap across generations. Because the world is moving fast, and people aren’t just struggling with change, they’re struggling with who they need to become to navigate it.

 

Q: Anything else we should know?

 

A: Here’s the truth I stand on: You don’t just overcome your story, you learn how to use it. Resilience isn’t circling back to what was, it’s becoming someone new. The hardest person you’ll ever have to face is yourself. Growth starts the moment you stop blaming and take ownership of your crap. You can’t build a new life with an old mindset. 

 

--Interview with Deborah Kalb 

Q&A with Gabbie Benda

  

 

 

Gabbie Benda is the author and illustrator of the new middle grade graphic novel Serendipity. She is also an educator.

 

Q: What inspired you to create Serendipity?

 

When I was a kid, I really struggled with perfectionism. I was really used to being seen as “smart.” I didn’t really need to study for tests, but I always had good grades.

 

However, as time went on, courses got harder and I never really learned how to apply myself to something I wasn’t naturally good at. My spark for learning was gone, and I fell into this all-or-nothing mentality.

 

When I started writing Serendipity, I really wanted to create something that spoke to that experience. I wish I had internalized the lesson Serendipity aims to share at an earlier age--that there’s more to life than how others grade you.

 

Q: Did you work on the text first or the illustrations first--or both simultaneously?

 

A: I worked on both at the same time, actually! I started by writing a story outline, and then worked on the drawings and text by writing all the speech bubbles by hand. Then later I created a script with all the final, more edited text. 

 

Q: The Kirkus Review of the book called it a “humorous story that will help tweens gain self-awareness and set healthy boundaries.” What do you think of that description?

 

A: I love it! It’s nice to know that someone other than me thinks I’m humorous, haha!

 

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

 

A: I always feel like I struggle the most with the ending. The hardest scene was probably when Basil and Serendipity are on stage. I feel like I rewrote that about 100 times!

 

It was hard to find a balance between Serendipity really doing something that Basil would understand as apologetic, while still letting Basil keep her spotlight moment. I’m really happy with what I ended up with, though!

 

Q: What are you working on now?

 

A: Everything! I’m always working on something fun, whether it’s keeping up with my sketchbook practice or making more risograph prints! I’m possibly working on some new stories now too, hopefully things I’ll be able to share more about soon.

 

Q: Anything else we should know?

 

A: Never stop drawing! That’s pretty much it, thanks so much for chatting with me!

 

--Interview with Deborah Kalb 

April 27

 

 

ON THIS DAY IN HISTORY
April 27, 1759: Mary Wollstonecraft born.

Q&A with Will Hillenbrand

  

 

 

Will Hillenbrand is the author and illustrator of the new children's picture book Light as a Feather: Fifteen Phenomenal North American Birds. His other books include The Voice in the Hollow. He lives outside of Cincinnati, Ohio. 

 

Q: What inspired you to write Light as a Feather, and how did you choose the birds to include?

A: Light as a Feather began in an unusual way—if there even is a typical way for an original book to take shape. The bird portraits first came about as a gift for a dear friend who was battling cancer. I chose birds because their wings symbolize hope and uplift, sending images I hoped would bring lightness and comfort.

 

Watercolor felt right: it’s an airy, gentle medium, perfect for creating bright, happy images to lift her spirits. Each daily bird was meant to remind my friend she was loved and that we were with her, even from afar.

 

When she began to feel better, she returned the favor by sending me creative titles for each bird in reply to text messages. Her thoughtful titles inspired me to share my images and her titles on social media, as a kind of open prayer for her continued healing.

 

What I never expected was the groundswell of requests from others: so many people asked if these birds could become a book. At first, I hesitated—the images were deeply personal, not intended for publication. But when a stranger created a book cover using my artwork, I began to reconsider.

 

My original plan was simply to make daily birds for my friend’s recovery, and on the day her doctors declared her cured, I sent her a bluebird—the bluebird of happiness. I could have stopped after those months, but I felt compelled to continue.

 

What began as a handful of paintings became a yearlong project that eventually grew to over 400 bird portraits. From this flock, I selected 15 birds for the book—familiar backyard birds from across North America.

 

I wanted young readers to recognize these birds, to marvel at their extraordinary abilities, and to find awe and wonder in the everyday wildlife all around us.

 

Q: Did you work on the illustrations first or the text first--or both simultaneously?

 

A: My process was a bit unconventional. Most of the major bird portraits were created first, which felt a little unusual compared to how many books are developed.

 

My son, a geologist and scientist, once told me, “I start with a question.” That advice resonated with me as I began this nonfiction journey.

 

I wanted the book to be both educational and playful, so instead of leading with a question as the main headline, I often used wordplay, like “Birds with a Built-In Spoon,” followed by a subhead that asked a question like “Why do birds have different bill shapes?”

 

This approach gave the book unity while letting me showcase the remarkable diversity among bird species.

 

The process became almost like a ping-pong match: the art would inspire a question, which led to writing, and then the writing would spark ideas for the infographic illustrations—these were different from the large portraits, as they needed to be interactive and help tell the fascinating stories behind each bird’s life.

 

Honestly, I often felt so immersed in the creative flow that it was hard to pinpoint a strict order; the illustrations and text truly evolved together, each sparking new ideas for the other. And of course, I mixed in plenty of research and reading to keep stirring the creative pot.

 

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

 

A: Researching this book was an adventure in itself—and at times, a little overwhelming! I’m reminded of the Anthony J. D’Angelo quote: “In your thirst for knowledge, be sure not to drown in all the information.”

 

I read widely, starting with a New York Times review of Joan E. Strassmann's Slow Birding, and I picked up the book and read it. It made me think that I, too, wanted my reader to slow down and wonder about our wonderful world. That discovery sparked a joyful journey through many more titles, including works by David Attenborough and other naturalists.

 

I filled notebooks with observations and sketches, watched countless nature documentaries, and set up a video camera in our backyard to observe birds firsthand. I attended talks, used the Merlin app on my phone to better recognize birdsong during my morning walks, and made a point to simply pay more attention to the living world around me. 

 

What surprised me most was how much there is to discover right outside our doors. Even common backyard birds have extraordinary behaviors and adaptations that often go unnoticed. This process didn’t just deepen my knowledge—it also renewed my sense of wonder, and I hope that feeling never fades.

 

Q: The Kirkus Review of the book called it a “well-crafted blend of art and science that will spark curiosity about our feathered neighbors.” What do you think of that description?

 

A: Receiving such kind words from Kirkus truly touched me. It reminds me of how people often reference Leonardo da Vinci, a true Renaissance man whose pen and ink allowed us mere mortals to glimpse the inner workings of the world, making the unseen visible and illuminating mysteries for generations.

 

While I would never compare myself to such a genius, I feel grateful if my book can offer even a small glimmer of that same illumination—bringing art and science together to invite readers into a deeper sense of wonder about the world right outside their window.

 

If this book sparks curiosity and appreciation for our feathered neighbors, then I am deeply fulfilled.

 

Q: What are you working on now?

 

A: My next nonfiction book is currently titled Endless Night: How Mammals Survive Winter. In this new book, my focus ranges from the tiniest mouse to the mighty moose, as I explore the incredible ways mammals endure the coldest, darkest months of the year.

 

I often catch myself shivering on a winter night—even inside my cozy house, wrapped in a sweater and warm socks and blanket, while the wind howls and sleet batters the windows. Yet out in the wild, these animals face the elements head-on, night after night. Their strength and resilience never fail to amaze me.

 

When the book is finished, I will invite you to discover together how these remarkable creatures survive—and thrive—through the endless nights of winter.

 

Q: Anything else we should know?

A: Yes, there is something else I’d like you to know. I am so grateful for you and your love for readers. Thank you for taking the time to craft such thoughtful and inspiring questions—questions that will excite and illuminate the lives of our beloved young readers.

 

--Interview with Deborah Kalb 

Q&A with Laura Dockrill

  

 

 

Laura Dockrill is the author of the new children's picture book Sockflea: A Stuffie in the Wild. Her other books include Gray. She is also a performance poet and an illustrator, and she lives in London. 

 

Q: What inspired you to write Sockflea: A Stuffie in the Wild?

 

A: We went on a family holiday a couple of years ago and when packing for our trip my son (aged 5 at the time) said he didn’t want to bring a soft toy or stuffed animal with him. No matter how much I told him that he might miss his toys in the night he didn’t listen, he was adamant. “I’m five! I’m big now!” he insisted. In all the packing - for some reason- I trusted him! Silly me. 

 

Cut to in the middle of the night: him crying his eyes out saying how he couldn’t sleep without his favourite teddy (a worn little bunny named Sugarpie that he’s had since he was a baby who actually features in the book as a different character.) He was totally homesick.

 

So up I get, in the middle of the night and improvise with a pair of socks to create a new friend! A bundle of socks like a little body and the toe bits flop down to make ears. We named them: Sockflea.

 

Sockflea and my son became inseparable. They spent the entire holiday together- I even made my niece a friend called “Pop” made from a tiny pair of blue popsocks (Pop’s really naughty!). Although, just like in the book, sometimes my son will catch me wearing Sockflea on my feet!! 

 

P.S. We chose camping as the holiday because this is a huge secret but I HATE camping! So I could really relate with all the fears! Don’t tell anyone. 

 

Q: How did you create your elephant child and caregiver?

 

A: This was actually [illustrator] Eva Byrne’s magic and elephants are what made us fall in love with Eva’s work. She sent a few samples and at the back was this gorgeous little elephant and it was like a lightbulb moment. They suit the characters so much. 

 

Q: Can you say more about what you think Eva Byrne’s illustrations add to the book?

 

A: As above, Eva bought the joy of the elephants but she’s done such an incredible job of creating the atmosphere and energy of the trip. She captures nature so beautifully too - the frogs and plants.

 

My favourite thing about her work is the adult’s reaction and response to the child. You can really feel the adult trying to have a holiday too. She brings so much levity and comedy, and managing the emotions of the little one.

 

The nighttime spreads are really fantastic - you can feel the exhaustion of the adult, and the fear and anxiety in the little one’s expressions are spot on.

 

But my absolute favourite bit is the stuffies she’s illustrated at the beginning, they are just hilarious. I actually have an illustration of Bad Debbie on my studio wall! 

 

Q: The Kirkus Review of the book says, “Friends are literally what you make of them in this highly amusing jaunt into the unknown.” What do you think of that description?

 

A: Ha! I haven’t seen that but I love it. The whole point of the book is that. The real comfort isn’t Sockflea but the parent’s creativity and invention, that they’ve done something to reassure their little one - like sacrificing their socks (lol) to improvise something special and unique.

 

Toys don’t need to be expensive and new. We can use our imaginations to think outside the box and we’re never too old to play. 

 

Q: What are you working on now?

 

A: I’m working on a TV show and a new book for adults, but I’d love to do more with Sockflea! Maybe I can create baby Pop! 

 

--Interview with Deborah Kalb 

Q&A with Marc S. Perlman

 

 

 

Marc S. Perlman is the author of the new novel The Riddle of the Trees. He is also a lawyer, and he lives in New York City. 

 

Q: What inspired you to write The Riddle of the Trees, and how did you create your character Jack Miller?

 

A: I’ve always loved the excitement and cross-border intrigue of espionage novels and thought I might someday try my hand at writing one. 

 

In 2011 I travelled to Eastern Europe to visit the villages where my family came from. While bicycling through the Belavezskaya Forest from Poland to Belarus I realized I had my story. It only took me another 10 years to finally write it! 

 

The inspiration for Jack Miller is me, only more daring and prone to making bad decisions. 

 

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

 

A: Much of the novel follows my travel itinerary from my 2011 trip to Poland, Belarus and Lithuania. So, many of the place descriptions are from memory, photos and the extensive notes I took while travelling.  (I’ve posted some photos of the book locations on my website.) 

 

I also read books, articles and more books and about Belarus, post-Soviet Russia, the Russian and Belarusian intelligence services, Russian and Belarusian prisons, NATO presence in Poland and the Baltics, the Suwalki Gap, and the Holocaust. I also relied on Wikipedia, Google maps, and Yizkor (or remembrance) books written in Yiddish. 

 

I love studying history so the research process was enjoyable. Where I didn’t have good research, I used my imagination and artistic license to fill in the gaps. 

 

Perhaps naively, when doing research for the prison scenes, I was surprised by the level of depravity which still exists in these prisons to this day, and our unpreparedness for a major conflict in Eastern Europe.  

 

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

 

A: Since the bulk of the novel takes place over a two-week period, I outlined the plot using the page of a calendar, filling in the events for each day. Therefore, when I finished outlining and started writing I did know the ending.  

 

However, early readers quickly let me know that they didn’t appreciate my intentionally ambiguous and suspenseful ending, which they said left them cold. So I went back and wrote a more conclusive and satisfying ending.  

 

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

 

A: On a light note, I hope readers have fun following along with Jack and Anna on their adventures. 

 

More seriously, I hope the book can help readers appreciate the stifling conditions so many people are enduring around the globe and the oftentimes dangerous sacrifices so many nameless people are making to fight that tyranny. Also, families, like individual people, can bury painful or shameful memories.

 

Q: What are you working on now?

 

A: Several years ago, a friend and I wrote a children’s book about a gefilte fish which was illustrated by my mother. We’re aiming to publish that this year. 

 

I’ve also started outlining two new novels: one a low-tech sci-fi story and the other a sort of fantasy taking place in New York City and the Adirondack Mountains at the turn of the 20th century. 

 

I’m very excited about both projects but eventually I’ll need to make the difficult decision of which one to focus on first and which one to set aside for later.

 

Q: Anything else we should know?

 

A: I hope to be back on this blog answering questions about my next book in less than 10 years! And, I hope readers enjoy The Riddle of the Trees and spread the word if they do.

 

--Interview with Deborah Kalb