Q&A with Christy Mihaly

  

 

 

Christy Mihaly is the author of the new children's picture book America's Founding Myths...and What Really Happened!. Her other books include Music and Silence. She lives in Vermont. 

 

Q: What inspired you to write America’s Founding Myths...and What Really Happened!?

 

A: There are so many apocryphal tales and misunderstandings in the history we teach kids. I wanted to set the record straight and reveal the true stories, which are so much richer and more nuanced than the myths.

 

It’s so important. If we don’t understand our past, if we keep perpetuating the myths of our founding, we can’t understand our present – and we can’t work together for a better future. Let’s not sugarcoat our history. Let’s understand it so we can build a better future. I hope this book is a start.

 

Also, I love writing nonfiction for kids. And I had prior experience with the publisher, Barefoot Books, when I wrote Barefoot Books Water: A Deep Dive of Discovery (published in 2021).

 

So, when Kate DePalma of Barefoot Books contacted me about creating a big, illustrated book for the nation’s 250th anniversary, I was game. Once we came up with the idea of myths and true stories, I knew that’s where we wanted to go.

 

Q: How did you choose the myths to include in the book?

 

A: This was tough! I started with a much longer list, and as a team we boiled it down to fifteen main myths.

 

We looked for fun and kid-friendly aspects of the stories. And we decided we needed to start before Columbus. Our first myth is that there was this NEW WORLD over here, just empty and free for the taking. Here, we showed (or reminded) readers about the vast diversity of Indigenous civilizations and the millions of inhabitants of the continent now called North America.

 

We end the book’s myths with the adoption of the Constitution in 1787. The myth is that the founders created this perfect democracy that guaranteed everyone was equal. And we had a few true points to make about that.

 

For the rest, we looked for myths that would appeal to kids. I looked for eyewitness testimony and other primary source materials. Using direct quotations from 250 years ago helped bring the past alive for readers.

 

And we chose myths that were central to the founding and would allow us to showcase facts behind the red-white-and-blue myths of the Noble Founding Fathers.

 

We worked especially to highlight the contributions of three groups that have traditionally been written out of much of the nation’s history: Women, Black Americans, and Indigenous People.

 

Q: The Kirkus Review of the book says, “A timeline, speech bubbles, and lift-the-flap ‘True or False’ quizzes reinforce the book’s core message: History is layered, debatable, and dynamic.” What do you think of that description?

 

A: I think that’s great! The book’s introductory spread asks, “Where does history come from?” And we point out that history is messy and our understanding of the past changes as new events take place and we look at the past from different perspectives.

 

In addition to providing facts to counter the myths we’ve heard, our book reminds kids to ask questions. On each spread, we pose a “challenging question,” intended to inspire the reader to think deeply.

 

For example, on the opening spread, “How do YOU think the story of America’s founding changes if we acknowledge that the land wasn’t ‘free for the taking’?” And, on the spread about the Boston Tea Party, “Do YOU think it is ever okay for protesters to break the law?”

 

Then in back matter, we provide media literacy resources, including specific questions a reader can ask to interrogate a source and its reliability: Is it fact or opinion? Who is saying it? What might the speaker’s motivation be? What are they omitting? Can you confirm with an independent source of information?

 

This is all intended to help kids see that history is stories we tell, and we need to ask where these stories come from.

 

Q: What do you think Marta Sevilla’s illustrations add to the book?

 

A: Marta’s work is central to the book. We wanted dynamic, fun illustrations that would lighten the book’s tone and engage young readers. Because our book is telling kids they’ve been lied to! (Like, “sorry, kids, George Washington and the cherry tree? Didn’t happen.”)

 

We didn’t want kids to go away feeling disillusioned, or to conclude that history is just a big disappointment. So, Marta’s comic-book vibe really appealed to us.

 

Also, we wanted flaps. The publisher approved these big (expensive) gatefolds on the left-hand side of every main spread, which are such fun when presenting the myths. You see the myth, then lift the flap to learn what really happened. This setup is so engaging for kids, and Marta’s cartoons and funny graphics help make it work.

 

Finally, the technique Marta uses of collaging historical images with modern photos and cartoons developed as the book progressed. It adds an additional dimension to the book’s content – another twist on: Can you believe what you see? What is true and what might not be?

 

Q: What are you working on now?

 

A: I’ve been talking about America’s Founding Myths and working to get it into the hands of young readers.

 

I also have some new ideas inspired by my research for this book. I’m exploring the story of a lesser known early First Amendment advocate, as well as the evolution of various American ideas and technologies. But these thoughts are still percolating so I can’t tell you much about them yet.

 

Q: Anything else we should know?

 

A: Thanks for asking! I could use some help with America’s Founding Myths. So, I have a request.

 

I’ve been disappointed to see that, despite great editorial reactions (stars from Booklist and SLJ), some readers are leaving negative reviews complaining that the book is “anti-American.”

 

Yeesh. See all my answers above. America’s Founding Myths counteracts myths with evidence. Seeking the truth is an American value. Let’s not insist that all patriotic Americans must believe a single old (mythic) story and retell it in unison. Let’s seek to learn the true history together.

 

So – if readers feel so moved, I’d so appreciate if you would take the time (I know it’s a big ask!) to post your honest reviews alongside those one-stars. It’s more important than ever and will help new readers find our book. Many, many thanks. Stars to you!

 

--Interview with Deborah Kalb. Here's a previous Q&A with Christy Mihaly. 

Q&A with Amy Fellner Dominy

  

 

 

 

Amy Fellner Dominy is the author of the new children's picture book A House with No Door: A Sukkot Story. Her other books include Monster Down Deep. She lives in Phoenix. 

 

Q: What inspired you to write A House with No Door?

 

A: I knew I wanted to write a story about a Jewish holiday, but which one? My happy place has always been outdoors, so it made sense that I was drawn to Sukkot. Also, it wasn't a holiday we celebrated at home when I was growing up. My synagogue had a sukkah and I helped decorate that, but I'd never built one.

 

So when I started researching how to build one, I was struck by how unique a sukkah is. It has so much historical significance, but also such a connection to nature.

 

Then I read that a sukkah has a minimum requirement of two full walls and part of a third wall. In other words, it doesn’t have to have four walls and a door. That’s what I was used to growing up in Phoenix, Arizona. Sukkahs were houses with no doors.

 

In a time when our society feels so closed off, I wanted to explore the idea the everyone is welcome in a house with no door.  

 

Q: What are some of your favorite Sukkot traditions?

 

A: I love the idea of inviting in others. I’ve always taken that literally to mean welcoming neighbors and friends. I’ve since discovered that for some it’s also a welcome to spiritual guests. I say the more the merrier.

 

Q: What do you think Rotem Teplow’s illustrations add to the book?

 

A: I think her lovely illustrations are the perfect complement to the text. They bring readers into the story (and the sukkah) and invite them to hang out a while. There is just so much to see and explore in her art. It’s exactly the right feeling to go with the story.

 

Q: You’ve written for different age groups--do you have a preference?

 

A: I’ve published for teens, tweens, and toddlers, and I’ve always felt so fortunate that I could write widely. I’m drawn to a character or a story idea, and it doesn’t always fit into an age group or category.

 

That said, I especially love middle grade because that’s a time of life when kids are figuring out who they are and who they want to be.

 

And I couldn’t give up on writing picture books. They’re ridiculously hard to write considering how few words are on the page, but so rewarding. Sharing a picture book with an audience of young kids and hearing them laugh or sigh…watching them lean forward so they don’t miss a word…it’s one of the very best parts of being an author.

 

Q: What are you working on now?

 

A: I’ve just finished a picture book about Shabbat that I hope will find a home. I’m also writing a new action-adventure middle grade about a Jewish character battling her fears and the challenges of nature.   

 

Q: Anything else we should know?

 

A: If you’re a librarian, parent or educator, I love to do visits. Reach out if you’re interested! Virtual visits are always an option. amy@amydominy.com

 

Also, I write a monthly newsletter about the journey of writing and life. I love welcoming new readers. Sign up at amydominy.com/newsletter.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Amy Fellner Dominy. 

Q&A with Erin Cotter

  

Photo by Loren Cressler

 

 

Erin Cotter is the author of the new young adult novel A Dangerous Bargain. Her other books include A Traitorous Heart. She lives in Austin, Texas.

 

Q: What inspired you to write A Dangerous Bargain, and how did you create your character Virgil?

 

A: A Dangerous Bargain was inspired by AI. I was sitting in the airport traveling to promote my second book when I learned from the Atlantic LibGen database that my book had already been pirated to train AI less than two weeks after its release.

 

I was angry and heartbroken. What’s the point of writing a book without doing any of the labour of it? How could anyone call themselves an artist when they were skipping the creative process?

 

I began to wonder if bygone artists would be as pissed about this as I was, and this turned into imagining what an age of AI would’ve looked like during the Italian Renaissance—one of my favourite time periods—and A Dangerous Bargain came from there.

 

I knew I wanted Virgil to be someone who needed to learn to be nice to himself. He has a lot of baggage in the beginning of the story—some of it his fault, some of it not—and his walls are so high, they could protect medieval Italian village from a siege.

 

His name is a chosen name because he likes the thought of being someone who can lead people through darkness—a direct nod to the fact that the famous Roman poet Virgil is Dante’s guide through hell in The Divine Comedy.

 

A Dangerous Bargain explores some heavy topics such as forgiveness, guilt, and reckoning with the cost of bad decisions, so Virgil himself goes on a personal journey through his own darkness and emerges on the other side knowing he’s worthy of love and self-kindness.

 

Q: How would you describe the dynamic between Virgil and the young Leonardo da Vinci, who appears as another character in the book?

 

A: The boys are rival apprentices in a Renaissance painting studio, and have been at odds with each other for years. Serious, buttoned-up Virgil is endlessly annoyed by Leonardo’s cocky charm and lack of respect for the rules.

 

I love their banter, the he-said-he-said of it all, and how you get a hint that if they could just communicate and figure out their own problems, they might be able to create something incredible. They respect each other, think they don’t like each other, but also can’t stop obsessing over the other. This is the most fun I’ve ever had writing a romance.

 

Q: The author Pascale Lacelle said of the book, “Erin Cotter reminds us of the inherent humanity of art—and the power in letting beauty shine through flaws.” What do you think of that description?

 

A: My first thought is that wow, Pascale is SO nice to have said that! My second thought is that this is exactly what I was trying to explore with story.

 

The humanity of art is so very important right now to me. The fast technology changes coupled with the hyper-capitalist moment we’re all currently living through feels dangerous to human creativity.

 

I don’t think outsourcing our imaginations to robots, or feeling like we can only create something if it’s profitable helps us as individuals or as a society.   

 

Q: Anything else we should know?

 

A: I once got locked inside a municipal park in Italy, and I was really hoping I could bring that anecdote into this story, but there wasn’t room. Maybe for the next one! 

 

--Interview with Deborah Kalb 

Q&A with Sara Z. Carson

  

 

 

Sara Z. Carson is the author of the new novel Dark Messiah. She lives in Brooklyn. 

 

Q: What inspired you to write Dark Messiah, and how did you create your character Nell?

 

A: I have been interested in the dynamics of cults since I was far too young; when I was a kid, I saw the Powers Boothe miniseries The Guyana Tragedy: The Story of Jim Jones when it was rerun on TBS, and I was fascinated because I just couldn’t understand how such a thing could happen.

 

I initially approached cults through the true crime genre — I read books about Jonestown and I read Helter Skelter. And I find the men at the center of these organizations are very similar to each other and become a little boring over time. They all have really troubled dynamics with their mothers, they are all very interested in genocidal dictators, they’re often credited with being evil geniuses when they’re really just con men.

 

But what’s always interesting are the people who surround cult leaders, and how they are often concurrently victims and perpetrators.

 

I was working on another book that was an entirely different subject matter, and I was speaking with Brendan Cahill, who would become my publisher, about that project and he said, “I really want you to write a book about the Peoples Temple.”

 

I struggled to find a way in. When you look at the series of events that surround Jim Jones and the Peoples Temple, there’s so many layers of tragedy — systemic failures, abuse, political opportunism — that it’s overwhelming.

 

I spent a lot of time kicking at it, and I went to the Peoples Temple Flickr page and looked at so many photos, and read so many individual profiles, and stumbled onto Judy Houston, a 14-year-old girl who, with her sister Patty, was sent to Jonestown.

 

Their father was probably murdered by the Peoples Temple when he tried to defect, and the series of events that followed resulted in Congressman Leo Ryan’s investigation.

 

So I had some narrative beats, and I was so interested in the duality of being a teenager and doing teenage things, while being part of an organization that dictates your every move and feeling. I also looked at Patty Hearst because I really wanted to understand what it means to survive an incident like this.

 

My mother has been downsizing her home and she gave me a bunch of my diaries from my teen years so there’s some of that in there too. 

 

Q: Can you say more about how you researched the novel? What did you learn that especially surprised you?

 

A: I went very deep into reading — memoirs from people who escaped cults, like Sarah Edmondson and India Oxenberg (who were both in NXIVM) — and books like Jeff Guinn’s The Road to Jonestown and A Thousand Lives by Julia Scheeres.

 

I found a few really focused books about young people in Jonestown, And Then They Were Gone by Judy Bebelaar and Ron Cabral, which was a really extraordinary look inside the day-to-day lives of young people who were part of Peoples Temple.

 

I also found a book called The Children of Jonestown by Kenneth Wooden, which has a sensationalist style but goes through a lot of the ways that Jim Jones manipulated social safety nets like the foster care system and Social Security, and how he leveraged his relationships with local politicians.

 

The website Jonestown & Peoples Temple: A Digital Archive is an extraordinary resource of letters, documents, remembrances, and so many photos from the founding of the Peoples Temple through its end, and I spent a lot of time on that site looking at photos because they show us a very different perspective of the experience of being a member — there’s so much hope and happiness on people’s faces.

 

You see how much joy they experienced as they built this community and became a real family.

 

I also spent a lot of time watching things like the Johnny Depp v. Amber Heard trial and reading about Patty Hearst, two women who suffered immensely in the public eye for not being perfect victims.

 

I think what I was really taken with was the idea that there’s not a type of person who ends up in a cult as much as there are circumstances that drive someone to be seduced into one: being in a state of uncertainty or having recently suffered a loss makes a person a target. 

 

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

 

A: We iterated a lot on the title and this one ultimately resonated with me because it was simple. The man at the center of this organization isn’t what he claims to be, and in fact he is there to deceive and do harm and to bring people into the worst parts of themselves.

 

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

 

A: We’re extraordinarily judgmental about other people’s experiences and responses here in the year of our lord 2026 in America, and we have a very narrow view of what circumstances qualify a person to be considered a victim.

 

We’re hard on survivors who don’t follow a linear path to recovery. I would love for people to be more curious and compassionate about how trauma manifests itself.

 

I would also love for readers to consider how we center these terribly unremarkable men who all seem to have the same handbook and techniques, and ask questions about them, and are sometimes dismissive of the remarkable and unique people who they victimize and harm.  

 

Q: What are you working on now?

 

A: I am working on my follow-up, which will take place in the club scene in New York City in the 1980s. I would describe it as a combination of Rosemary’s Baby and Oliver Twist, with a garnish of Disco Bloodbath.

 

Q: Anything else we should know?

 

A: Visit my website sarazcarsonauthor.com where you can find my newsletter and social media handles!

 

--Interview with Deborah Kalb 

Q&A with Tara Badstubner

  

 

 

 

Tara Badstubner is the author of the new novel Every Room Remembers. She lives in Pennsylvania.

 

Q: What inspired you to write Every Room Remembers, and how did you create your character SJ?

 

A: Every Room Remembers began as a response to the anxiety I felt about losing someone I loved during Covid. The constant barrage of images took up enormous space in my head. A dear friend encouraged me to write into that fear rather than look away from it, which is the best advice anyone has ever given me.

 

The story found its real shape later, at a small writers' retreat in upstate New York, where five other writers and I experienced a haunting together.

 

SJ arrived on her own as I worked, and she is not based on any one person. She began as the character through which I explored grief, but the longer I wrote, the more alive and autonomous she became.

 

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

 

A: My working title was Lovely Creatures, but at the time there were several novels with "creature" in their titles, so we went looking for another. Every Room Remembers came out of a collaboration with my publisher, and I think the book is stronger for the change.

 

For me it alludes to the energy a space absorbs over time, from the history of the land, from the people who have lived there, from everything that happened to them under that roof. The gradual accretion of lived moments creates an atmosphere, peaceful or angry, melancholy or joyful, until the rooms themselves become characters.

 

The Osprey House is the clearest example in the novel. SJ arrives at a house under construction, one with a long legacy of pain and loss, and over the course of the book we watch the two of them change together.

 

Q: The author Kate Moses said of the book, “Badstubner’s characters find a way to walk into their unimagined futures, where love and memory, the author reminds us, have the power to outlast us all.” What do you think of that description?

 

A: I am grateful for Kate's thoughtful reading of my novel, and I think she goes straight to the heart of it. The book started as an exploration of grief and my own fears.

 

What surprised me was where it went, the way hope crept onto the pages without my planning it. In the end this is a story about resilience, community, and enduring love. That was a surprise even to me.

 

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 usually know my final scene going in, but with this novel, I didn't. The ending only became apparent to me about halfway through the first draft, which felt fitting given the book's themes. My characters were navigating their own uncertainty about what lay ahead, and so was I as I wrote them.

 

In general, reading each scene out loud is my greatest tool for navigating changes. It's how I catch what needs tweaking or what needs a complete revision, since dialogue that sounds stilted on the page reveals itself the moment it's spoken, and emotional beats that read as flat on paper either land or fall short once I hear them.

 

I read every scene this way, often more than once, before I trust it's doing the work it needs to do.

 

Q: What are you working on now?

 

A: My second novel, about an adult brother and sister, True and Tennyson, who spend a long weekend together remembering the summer of '83 and the events from it that shaped their adult lives.

 

Q: Anything else we should know?

 

A: I have several personal essays and craft essays coming out in the next few months. The links to these can be found on my Instagram account: https://www.instagram.com/tarabadstubner and on my author page: https://www.tarabadstubner.com. Upcoming events can also be found there.

 

--Interview with Deborah Kalb 

Sept. 25

 

 

ON THIS DAY IN HISTORY
Sept. 25, 1897: William Faulkner born.

Q&A with Melissa Stoller

  

 

Melissa Stoller is the author of the new children's picture book Stella's Special Recipe: A Rosh Hashanah Story. Her other books include Hazel and Mabel. She lives in New York City. 

 

Q: What inspired you to write Stella’s Special Recipe, and how did you choose the recipe to include?

 

A: First, thank you so much for this wonderful interview, Deborah! I appreciate chatting with you about my latest picture book, Stella’s Special Recipe: A Rosh Hashanah Story, illustrated by Valerya Milovanova, which released from Kar-Ben Publishing on August 4, 2026.

 

I was inspired to write this story because I have wonderful memories of cooking stuffed cabbage for the Jewish holidays with my grandmother and mother, and I still enjoy preparing holidays meals with my three children.

 

In this story, Stella is finally able to help cook a holiday recipe to celebrate Rosh Hashanah, the Jewish New Year. This special recipe has been passed down from her great-grandmother to her grandmother to her mother and now to her, and she hopes to add a special ingredient and a little bit of love to the recipe.

 

I wanted to write an intergenerational story about family heritage, holiday traditions, and the love that is passed down through rituals and recipes.

 

Before I submitted the manuscript to Kar-Ben, my mother and my youngest daughter spent the day with me testing our family recipe – we shared stories as we cooked and I have so many beautiful memories and photos from that day. My mother sadly passed away in 2024, but I am so thankful she knew this story would become a book!

 

Q: I’m so sorry for your loss…

 

What do you think Valerya Milovanova’s illustrations add to the book?

 

A: Valerya’s illustrations are brilliant and truly brought Stella, her mother, and the cooking process to life. I especially love Stella’s expressions as she tries to find just the right ingredient to add to her family’s recipe.

 

Also, a big part of the story features Stella in her garden picking ingredients like tomatoes and cabbage for the recipe, with butterflies and bees fluttering and buzzing nearby. Valerya captured those perfectly and she shows the joy Stella feels as she is finally old enough to help cook the holiday meal.

 

The vibrant colors and all the details, such as the heart necklace and apron passed down through the generations, will keep readers turning the pages and asking to hear the story over and over.

 

Q: What are some of your favorite Rosh Hashanah traditions?

 

A: I love holiday traditions! When my children were younger, we always went apple picking and used those apples to dip into honey and to make apple crumble and apple honey cake. And of course, we cook stuffed cabbage among other family holiday recipes like brisket and matzah ball soup.

 

We also always do Tashlich together, where we throw pieces of bread into a moving body of water to say I’m sorry and ceremoniously cast away our sins from the past year. Living in New York City, we throw our bread into the East River or into the Atlantic Ocean on Long Island.

 

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

 

A: I hope readers will find many layers in this story. At its core, it’s a story about Stella taking her place among her family, especially the matriarchs who have lovingly handed down their recipe and shared their love through the generations.

 

Young readers can admire Stella for trying her best to add her unique touch to the recipe. And adults can discuss family traditions, holidays, and gardening. I hope the story will even inspire some intergenerational cooking projects and recipe testing!

 

Q: What are you working on now?

 

A: I’m always working on many manuscripts at the same time, and I try to infuse humor and heart into my storytelling. I usually draft picture books, but I’m also writing a Jewish-themed chapter book series. Stay tuned!

 

Q: Anything else we should know?

 

A: While this is a story centered around the Rosh Hashanah holiday, readers can enjoy it any time of year! Parents, grandparents, and other adults can share the story with their young readers, and talk about their own family histories, ancestors, favorite holiday traditions, and special recipes.

 

I hope that this book, inspired by my family recipes and culture, sparks conversations and connections out in the world. For a complimentary curriculum guide and enrichment materials, visit my website at www.MelissaStoller.com

 

Thank you again for these thoughtful questions, Deborah! I enjoy your blog, and now I’m so happy to take part!

 

--Interview with Deborah Kalb 

Q&A with Bonnie Grubman

   

 

Bonnie Grubman is the author of the new children's picture book Harriet Hubbard and the Sold-Out Hanukkah. Her many other books include Little Miss Muffet Meets the Itsy-Bitsy Spider. She lives on Long Island, N.Y. 

 

Q: What inspired you to write Harriet Hubbard and the Sold-Out Hanukkah?

 

A: I was getting ready for the holiday and went over to my China cabinet to rummage through the drawers for my Hanukkah paraphernalia.

 

I found a couple of paper plates, plenty of chocolate gelt with questionable expiration dates, enough appliqued heirloom towels to adorn my kitchen—and only half a box of candles. As for the decorations, the paper dreidels on the string had seen better days.

 

That’s when I realized it was time to get a jump start on my shopping. After all, last year the bakery had run out of jelly donuts by the time I got there.

 

And that’s when Harriet Hubbard was conceived—with a playful nod to Old Mother Hubbard, who went to the cupboard. Thanks to that familiar rhyme, the story was born.

 

Q: Can you say more about how you created Harriet?

 

A: I wanted Harriet to share my joy in hosting gatherings full of food, love, and celebration. I imagined her as a spirited, grandmotherly woman with plenty of flair, but without relying on stereotypes. (Hence, the skates)

 

Q: What do you think Noa Kelner’s illustrations add to the book?

 

A: Noa Kelner’s illustrations bring charm, personality, emotion, tension, humor, and warmth to the story through wonderfully expressive characters.

 

Harriet’s cat adds another fun layer of child appeal—especially when the tabby rides in the shopping cart. I also love how the artwork reveals something Harriet herself has yet to discover.

 

Her detailed illustrations are rendered in beautiful colors and are in perfect harmony with the rhyme. Thank you, Noa, for making the story come alive!

 

Q: What do you hope kids take away from the story?

 

A: I hope children learn that plans can fall apart and that feeling disappointed is perfectly okay. Above all, I want them to see that being together is what truly matters.

 

Q: What are you working on now?

 

A: Thanks for asking! I am working on a lyrical bedtime series that explores different habitats.

 

Q: Anything else we should know?

 

A: Like Harriet Hubbard, I used to roller-skate—though never through a market.

 

I can whistle (using two fingers) with the kind of volume to stop a basketball game.

 

I love children and children’s literature, and I believe picture books are among the most important books we write.

 

As a veteran nursery school educator, and picture book author, I am devoted to preserving the magic of childhood.

 

I love to laugh until my cheeks hurt.

 

--Interview with Deborah Kalb