Lew did NOT like my idea of donating the basket of books.
But then we drove by a Little Free Library, situated right at Lew’s old preschool, and he said he thought it might be okay to donate a few books to the Ormewood School. So we did that.
Then we drove a little further down Woodland, and found…. THIS!
Wow, Lew was really impressed with the metalworking! He rewarded the library with a few books.
We continued to head to the thrift shop, but guess what we ran into, right on that same street?
After that we dropped off the big bag of clothes, and it was time to head back to the school to get Mose. But on our way we got a little sidetracked…
And then, at the elementary school itself, we simply couldn’t resist…
All on our drive home from school!
Now we were down to four books (which someone insisted we could NOT give away). So we decided to go home for a snack.
But not without doubling back to one of our previous stops first. Because, as Lew explained, “Mose, you have GOT to see the faucet.”
Faucet? What faucet?
But every year I’m a little dismayed by how overwhelmingly women illustrators seem to get overlooked in early Caldecott conversations.
To be clear– I LOVE the books that win. I love the men who (mostly) make the books that win. Many of these men are my friends, and I believe that they are talented and creative and brilliant and worthy of awards. ABSOLUTELY. Last year, despite all my ranting about gender-bias, my own top pick for the medal was illustrated by a man.
I also believe women are worthy. Yet, somehow, when we start to generate buzz within our own little community, we PREDICT success for men. Which creates a certain sense of inevitability.
How does it begin? I don’t know. Maybe there are more marketing dollars for dudes. Maybe men are more inclined to illustrate. Maybe we, the women who buy most of the books, simply adore dudes. Maybe men are more inclined to make “Caldecott-style” illustrations. Or maybe MEN ARE SIMPLY BETTER AT ART THAN WOMEN AND I AM WRONG ABOUT EVERYTHING I HAVE EVER SAID ON THE MATTER.
In any case, it happens. Statistically.
Last year I made this list of AMAZING PICTURE BOOKS CREATED BY WOMEN. It was great fun, and I heard from a lot of folks that they were introduced to books they hadn’t seen before. I know some folks even sold a few books via the list.
So I invite you to help me make a 2014 edition, by leaving a comment below, with your very favorite woman-illustrated picture book of the year. OR BY VOTING ON THIS HANDY GOODREADS LIST! Please don’t self-nominate or self-promote in this space. If you’ve truly created something awesome, no doubt someone else will mention it for you! Just link to your favorite book in a comment, and I’ll pull an image of the cover, and add it below.
And if you’re a list-maker yourself, a blogger or journalist or librarian who runs a mock Caldecott… and you find yourself with a dude-heavy list, consider adding a few women to the mix. If women-illustrated titles don’t jump immediately to mind, you might want to ask yourself why that is…
I’ll kick things off myself, with a few favorites of my own:
A BOY AND A JAGUAR, by Alan Rabinowitz, illustrations by Catia Chien
LIFE, LIBERTY, and the PURSUIT of EVERYTHING, by Maira Kalman
TELEPHONE, by Mac Barnett, illustrations by Jen Corace
NANA IN THE CITY, by Lauren Castillo
FIREFLY JULY, by Paul B. Janeczko, illustrations by Melissa Sweet
EXTRAORDINARY JANE, by Hannah E Harrison
AVIARY WONDERS, INC, by Kate Samworth
FLIGHT SCHOOL, by Lita Judge
VIVA FRIDA, by Yuyi MOrales
FLASHLIGHT, by Lizi Boyd
A PIECE OF CAKE, by LeUyen Pham
THE IRIDESCENCE OF BIRDS, by Patricia MacLaughlan, illustrations by Hadley Hooper
THE RIGHT WORD, ROGET AND HIS THESAURUS, by Jen Bryant, illustrations by Melissa Sweet
THE TROUBLEMAKER, by Lauren Castillo
QUEEN ON WEDNESDAY, by Gabi Swietkowska
WATER WATER WATER, by Nancy Elizabeth Wallace
SNOWBOUND SECRETS, by Nivola Uya
THE GARDENER’S SURPRISE, by Sonja Wimmer
BEFORE WE EAT, by Pat Brisson, illustrations by Mary Azarian
LOUISE LOVES ART, by Kelly Light
THE NUMBERLYS, by William Joyce, illustrations by Christina Ellis
FROODLE, by Antoinette Portis
SHOE DOG, by Katherine Tillotson
WHERE’S MOMMY? by Beverly Donofrio, illustrations by Barbara McClintock
EL DEAFO, by Cece Bell
THIS ORQ (HE CAVEBOY), by David Elliott, illustrations by Lori Nichols
THE BABY TREE, by Sophie Blackall
SLEEPOVER WITH BEATRICE AND BEAR, by Monica Carnesi
MAPLE, by Lori Nichols
THE FARMER AND THE CLOWN, by Marla Frazee
ONCE UPON A MEMORY, by Nina Laden, illustrations by Renata Liwska
THE TWINS’ LITTLE SISTER, by Hyewon Yum
THE PROMISE, by Nicola Davies, illustration by Laura Carlin
MONDAY, WEDNESDAY, AND EVERY OTHER WEEKEND, by Karen Stanton
UNI THE UNICORN, by Amy Krause Rosenthal, illustrations by Brigette Barrager
BABY PENGUINS LOVE THEIR MAMA, by Melissa Guion
DON’T TURN THE PAGE, by Rachelle Burk, illustrations by Julie Downing
THE JACKET, by Kirsten Hall, illustrations by Dasha Tolstikova
TWO SPECKLED EGGS, by Jennifer K Mann
HENNY, by Elizabeth Rose Stanton
EARLY BIRD, by Toni Yuly
KING FOR A DAY, by Rukhsana Khan, illustrations by Christiane Kromer
EMILY’S BLUE PERIOD, by Cathleen Daly, illustrations by Lisa Brown
DAY DREAMERS, by Emily Martin
HERE IS THE BABY, by Polly Kanvesky, illustrations by Taeeun Yoo
Please Louise, by Toni and Slade Morrison, illustrations by Shadra Strickland
BEAUTY AND THE BEAST, by H. Chuku Lee, illustrations by Pat Cummings
I WISH I HAD A PET, by Maggie Rudy
FLORA AND THE PENGUIN, by Molly Idle
HERE COMES THE EASTER CAT, by Deborah Underwood, illustrations by Claudia Rueda
EDGAR’S SECOND WORD, by Audrey Vernick, illustrations by Priscilla Burris
ZOE’S JUNGLE, by Bethanie Deeney Murguia
SUMMONING THE PHOENIX, by Emily Jiang, illustrations by April Chu
SLEEPYHEADS, by Sandra J Howatt, illustrations by Joyce Wan
NAKED< by Michael Ian Black, illustrations by Debbie Ohi
CATNAPPED, by Leeza Hernandez
PUDDLE PUG, by Kim NOrman, illustrations by Keika Yamaguchi
MR. CORNELL’S DREAM BOXES, by Jeanette Winter
But before I answer the tour questions, you should know that Melissa’s book, The Prairie Thief, would make a wonderful summer read for anyone who likes my books. (Melissa and I share a lot of the same literary loves). SLJ called it : “A charming, inventive tale that reads like a delightful mash-up of Little House on the Prairie and The Spiderwick Chronicles…Mystery and suspense keep the pages turning. [A] top-notch story.” Also, look how cute it is!
Okay, so, here are the questions, and my answers…
WHAT ARE YOU WORKING ON?
I always have a slew of open files on my laptop. So much so that it’s a little embarrassing. I also work on certain picture book manuscripts in hard copy, longhand– things I need to see laid out across the page. Currently I’m fiddling with a Choose-your-own-adventure book called Oh, Snap! as well as a followup book for Charlie and Mouse (2016, Chronicle), a little chapter book attempt called Tula Bloom Runs Away, (about a snarky fairy and an elderly unicorn named Bob), a collection of songs for neglected holidays, and some poems.
That said, I generally have one main project I’m focused on. This year it’s been a novel called The Orphan Island, which I just finished up a draft of. It’s a weird one. A story about 9 kids who live alone on a well-stocked (and slightly magical) island. Every year a boat arrives at the island, and carries away the oldest child, leaving a new toddler in his/her place…
HOW DOES YOUR WORK DIFFER FROM OTHERS IN ITS GENRE?
Oh, wow. I don’t know. My books are all in dialogue with classics, I think. My books are all stand-alones. My books are all just a little bit magical. My books rarely have villains in them. I don’t believe in villains, I don’t think.
WHY DO YOU WRITE WHAT YOU DO?
I don’t know how to answer that question.
I write what interests me. I write until I make myself cry, or laugh, or until I get stuck and confused.
Maybe I try write the books my child-self would have wanted to read? I write books that help me learn things about human nature, that teach me something about the world, that let me think about and wrestle with questions I find worthwhile.
I write a lot of books that can never be published. I also write a lot of adult poems nobody will ever see.
In a lot of ways, I’m very selfish. I don’t want to please the largest number of kids possible. I don’t think about reluctant readers. I don’t think about sales or the market, really. At least not when I’m drafting. I think about language and ideas. Writing is a puzzle for me. When the result is a book, that’s great! When it isn’t, that’s also pretty great.
HOW DOES YOUR WRITING PROCESS WORK?
I scribble. I write down ideas in a little notebook I carry with me, or a box of post-its I keep beside my bed. I often open up a blank document, type one sentence in it, and then forget I did that.
Eventually, if that scribble sticks in my brain enough that I remember it exists, I go back to it. I stare at it. I try to figure out if it might be worth keeping. Sometimes the scribble gets fit into a WIP, and sometimes the scribble becomes a first line or a title. Often with picture books, I sit down with the scribble, and the words tumble out, and in an hour I have a book. Usually, that book isn’t worth showing to anyone or revising. I have hundreds of “failed” projects like that.
With novels, I usually begin with a question. For Bread Box the question was, “What if a kid could wish for anything they wanted, but then they discovered they were stealing?” For Seven Stories Up, the question was, “Can one person ever really change another person?”
The hardest part with the novels, for me, is sitting down to start. Believing that the question I’m asking is worth spending a year on. I think about the question, develop the characters, sketch out an outline. And eventually there’s a day when I take a deep breath, and start typing. That’s the hardest part for me. The first paragraph can take weeks. And then, ALWAYS, I end up slicing the first page off the manuscript. After all that, it never sticks.
But I write. And I write. And eventually, I have a draft. I use an outline, but it always shifts and changes, as the book grows. As I write, I get to know the characters better, and I come to realize my outline was wrong. The characters are NOT people who can make the choices I wanted them to. The end is almost always entirely different from the end I had planned.
And then I rewrite the book 2 or 5 or 7 times. And then, maybe, if I’m lucky, it’s a book.
With my current manuscript, THE ORPHAN ISLAND, I actually did something new. I painted the island, and the characters. I found I was having trouble seeing the people and the place, and an artist friend suggested I try accessing the story in a visual way. It was amazing.
For this one I also began in longhand, on legal pads. I gave up after about 50 pages, because it hurt my hands (I have arthritis). But that was really important for me, I think. I felt like I was a kid again, scribbling, generating ideas, having fun thoughts. I needed to get away from the seriousness of writing as a job. I needed not to think about publishing.
I think that may be the most important part of my process. Remembering what it feels like to play. To be a kid alone with new ideas. To be excited by invention, engaged fully with my own imagination. To let the book be MINE.
Like I said, I’m selfish…
I feel totally uncomfortable tagging people for something like this. So I tag YOU! If you want to share your process, let me know, and I’ll post a bit about you and your books in the space below. How’s that?
It’s that time of year, when an author’s thoughts turn to…
ANd while I’ve tried to keep my travel down the last few years, this fall I don’t have a new book out, that I have to do promotional events for, which frees me up to visit more schools.
If you’ve never seen an author visit in action, I’m here to say that (whether or not the author is me) it’s something kids never forget.
My author visits fall into three basic types:
1. TRADITIONAL AUTHOR TALK(which to be honest, remains my favorite): DUring which I tell kids about how I started writing when I was 8 years old. I focus on how THOSE books were my true first books, even if they were made of wallpaper scraps. I show them artifacts from my writing life, and explain how I made my own childhood dreams come true. I stress things like THE IMPORTANCE OF BOREDOM AND FAILURE. I give them explicit instructions on HOW TO GET BORED. Seriously! And I promise, they love it!
2. WRITING WORKSHOP: usually for older kids, and smaller groups, I offer a workshop in how character and plot are interwoven. We create our own character, set them loose in a story, and see what paths they choose. We talk about precision of language, narrative structure, “going deep,” and all sorts of other awesome things. This is a ton of fun, and I always suggest that the class pick up where we leave off, and turn the story into a longer illustrated class project.
3. HISTORY ISN’T BORING: my most recent book, Seven Stories Up, is set in 1937 Baltimore, and it’s a lot of fun to walk the kids through the process of learning how to do historical research. I show them slides of images (from gross old fashioned candy to vintage underpants), and snippets of songs and films. I explain how we need to submerge ourselves not just in the facts, but in the feelings. We discuss the things THEY might like to research (ninjas, princesses, video games) if they were writing a book.
I’m also always willing to put together special events to meet the needs of any given school, and have developed programs about everything from Jewish picture books to poetry, both in-class and via skype. Let me know what you need!
SCHOOL VISITS ARE GREAT! But you don’t have to take my word for it. Here are a few of the teachers I’ve worked with!
“Ask your kids about Laurel Snyder!! This children’s book author visited SSA this week to speak to our grades 2-6 students about growing up with an imagination and a strong love for writing. Her unexpected tales and exceptional story telling skills captivated her audience and captured their hearts. The grade 6 students even broke out into a spontaneous standing ovation!” (Solomon Schechter Academy, Montreal)
“Today was an incredible day, and the energy that the kids had about Laurel’s books and writing was electric. They had so many ideas stirring in their minds. I can’t wait to see the stories that students create after this inspiring day. Thank you, Laurel!” (David C Barrow Elementary, Athens, GA)
If you’re interested in booking a school visit, drop me a line, and we can discuss the arrangements!
Almost exactly a year ago, after finishing four books I’d sold on proposal, I decided I needed to go back to writing alone. I needed to work at my own pace, however slow that was. I needed to write weird, if that was what came. I needed to get back to feeling like I felt as a kid, and a poet– just a girl playing with words. Flying blind.
I promised myself I wouldn’t even show my agent.
And then I spent 6 months outlining, and staring at the ceiling. I watercolored characters and setting. I wrote the first few chapters with a mechanical pencil, on a yellow legal pad. I played. And eventually, I hit my stride.
Well… last week I typed the words THE END, and took a week away. Then, today I read my rough draft of The Orphan Island, and I LIKE IT. A LOT!
Weird it is! It’s too short, and it straddles the MG/YA line in a funny way. It’s got a kind of slight magic that people may be bored by. It’s full of fish guts and fig-drying and bee hives and sand. It ends with a kind of cliffhanger, to an equally weird sequel, a book that may or may not be called The Wordless World.
But I’m proud of the work I’ve done. And I’m proud that I did it without a net. It’s good to know I can still write just for me, alone.
So there’s that.
PS: I feel the need to add that I’ve loved every bit of the collaborative experiences I’ve had with my last books, and wouldn’t change a thing! I just… needed to work all by myself for a little while. Figure out what I’d write if I were alone on a (figurative) desert island.
The punchline? I wrote about a desert island.
When I was a kid, I lived at the library. Both our school library at Roland Park Public Elementary/Middle School and also the Enoch Pratt Library– Govans, Hampden, and especially Roland Park branches.
I really can’t imagine who I’d be without those places– calm and happy and full of ideas and readers, when my life was not always so calm.
My own kids have an amazing school library, for which I’m beyond grateful. But I see budget cuts happening in the Atlanta-Fulton Public Library Systemand my heart sinks.
What can you say about a culture that doesn’t value its libraries? Some things MUST be valued in non-monetary terms. There HAVE to be entities that survive beyond the ruthless nature of the “free market.”
Libraries are islands of culture and intellect, in a world that often moves too fast to ponder, investigate, or dream. I wish some billionaire would step up and endow the libraries.
They may not generate their own revenue in the short-term, but I truly believe our country will suffer greatly for the loss of them.
In 2010 I published a middle grade novel called Penny Dreadful. It was a fun book. Some people liked it. It went on to become an EB White Readaloud HONOR book. Huzzah!
But I get a lot of emails about it. Because in the book there is a very minor character, a boy named Twent, who happens to have two mommies.
Last night I received one such email, and because I was having a very hard week, I ignored the email. Typically I respond to these emails. I try to explain. Because maybe (just maybe) the author of the letter is not only writing me a mean letter. MAYBE they are open to a response. I don’t want to miss that chance, if it’s real. But last night I didn’t.
S0 I thought I could respond here, today. ANd then, in the future, when I get these emails, I can direct readers here…
Anastasia writes of Twent (among other things):
“How do you explain that? OUR FAMILY IS VERY AGAINST THAT.”
And I will answer her:
Ahhh, Anastasia, good question! How do I explain it? It’s really very simple.
The world is very full of people. No two people are alike. They live many different kinds of lives. Some of them are nuns. Some of them are corporate lawyers. Some of them are the owners of magical chocolate factories. But we cannot all be nuns, or magical chocolatiers. For this reason, we have many different kinds of books. To reflect the many kinds of lives people live. In some cases, we expect people to SEE THEMSELVES in the pages of books. In other cases, we expect books to expand the way people see the world. Maybe YOU have never met a magical chocolatier, but thanks to Roald Dahl, you can!
When someone writes a book, they cannot ask, “Who will I offend with this particular book?” Because every book will offend someone. A writer can only tell a story, and if they are fortunate enough to find a publisher, hope some people want to read it.
It makes me sad to hear you were offended by my book. I didn’t mean to do that. I wasn’t writing it for YOU. But I’m not sorry for Twent’s moms either. I won’t apologize for them.
I wrote Penny Dreadful to reflect the world I live in. A world populated by many kinds of people, not just nuns and corporate lawyers and magical chocolatiers. My neighborhood has many gay families in it, in addition to people who aren’t white, and Jews like me. There are also some folks who have hearing loss, or are blind. My neighborhood has musicians in it, and artists, and world travelers, and gardeners, and women with very long hair, and people who like to make their own jam. All of these people climbed into my book when I wrote it, because I wanted the book to reflect the world I inhabit.
Honestly the book has received criticism for being “unbelievably diverse.” People find this difficult to accept, especially since the book is set in the south. I would argue that the people who make these complaints are not comparing my book to the actual world of humans, but to the very whitewashed landscape of traditional nuclear families in which most children’s books have been set. I would further argue that the people who argue that THE SOUTH is not diverse in this way should try visiting the actual south. That is just another stereotype.
In any case, this is how I “EXPLAIN” Twent’s two moms. Twent has two moms because many kids I know have two moms. Twent is a minor character, a friend Penny meets along the way. The same way that I, a girl with a mom and a dad, have friends with two moms or two dads. Should I not have written the world I love and inhabit?
I’m guessing what upset you most about the book was that you got no WARNING. There is no backmatter to inform readers that they might encounter diversity in this book. You may feel that your daughter should have had a chance to choose for herself that she was about to encounter a few lines of text in which there were gay people. I don’t know how this would work. Should I have also included a warning label: WARNING: THIS BOOK HAS SOME JEWS IN IT?
Books are the best way I know for kids to encounter the world beyond their own experience. Books build empathy and understanding. They get kids ready for what they’re going to stumble into when they take their first job, or open a copy of the New York Times (yeah, I know that’s unlikely, but I still get the paper myself, so play along).
I don’t expect your kid to turn gay. I don’t actually want your kid to turn gay, or Jewish, or into a magical chocolatier. I’d just like to think that when she encounters magical chocolatiers in books, you won’t scare her away from them. I’d like to think that you, as her mother, will engage with her question. That you’ll explain that you understand her surprise, since she’s never met a chocolatier before. You can explain that YOUR family doesn’t make chocolate, personally. But yes, the world has chocolate in it, made by magical chocolatiers, and isn’t it nice that the world is such an amazing place, full of surprises and mysteries…