Caroline Starr Rose

picture book and middle-grade author

The Gift of Time

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One of the most important elements in drafting and revising a manuscript is the gift of time. In the beginning, it’s having the time to play with ideas and experiment with words as a story starts to come together. In the revision stage, time gives a manuscript breathing space and room to grow into what it’s meant to be. I find simply having my project at the back of my mind in the hours that I’m not writing lets the story percolate. (Am I the only one who thinks of the brain as a brewing coffee pot?)

Sometimes it’s simply the passage of time that is most important. Perhaps I hear something on the news or have a conversation with a friend that plays into the work I’m doing. Or maybe it’s through reading or thinking or going on walks — all things that take time — that I grow as a writer alongside my manuscript. Time shows me if the idea I had today still hold strong tomorrow. Returning to the writing day after day lets me make connections I might not otherwise see.

I’ve been given months to revise during first-round edits of my next book, The Burning Season. My understanding of Opal and her world has changed so much in the weeks I’ve been working. Crunch time will come with this manuscript when production and publication deadlines loom. But for now I’m so grateful to sit with the story, to trust that solutions will eventually arise if I am given the time and make the time and let time pass as it does anyway.

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Planning on giving one of my books as a present? I’d be happy to send a personalized bookplate and bookmark for your reader. Simply email me a copy of your receipt and your mailing address by 12/15, and I’ll send them on their way.

“This story came out of my own wonder.” An Interview with Janet Fox, author of WINTERGARDEN

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Glowing and warm, full of life.
— Kirkus, starred review

 A story of tender care and nature’s contrasts . . .
—Publishers Weekly, starred review

A lyrically hopeful story about a young girl who learns nurturing green-thumb lessons from her patient mother.
— Shelf Awareness

Please tell us about your book.

I’d love to! WINTERGARDEN is a picture book about a young girl who learns to plant edible foods on her winter windowsill. Here’s the synopsis from Neal Porter:

“With a little bit of love and care, a few seeds nestled in pots, and a good windowsill, there’s no better time to make an herb garden with mom than in the dead of winter. Together, a young girl and her mother can grow everything you find in a spring herb garden, from oregano to parsley and baby greens, carefully tending their plants to watch them thrive, all while frigid snow falls just outside the window. The multiple harvests of fresh greens are just what they need to stay warm through the coldest and darkest season. When Spring finally arrives, there’s one thing on the girl’s mind: more seeds!

In Wintergarden, author Janet Fox’s poetic text is accompanied by the dreamy watercolor artwork of acclaimed illustrator Jasu Hu. Additional material at the back of the book includes information on how to grow your own wintergarden, to make sure you and your family can share fresh greens year-round.”

What inspired you to write this story?

I wrote this book from personal experience, during the worst part of the Covid lockdown. I’ve always loved gardening and done a lot of seed starting indoors. Here in Montana we have a short growing season, and we were craving greens. I put together a little mini “greenhouse” with grow lights. 

And this story came out of my own wonder at how to make food from tiny seeds.

You’ve written young adult, middle grade, and picture books. What are some differences between writing novels and picture books? What are some similarities?

I think of picture books as poetry. Less is definitely more – few words, lots of “white space”, lots of room for interpretation. And word choice is crucial as each word has to do a lot of work. A single image or concept dominates the story.

Novel-writing is all about building the characters, especially the protagonist. Of course, the words still matter, and I still tend to lean into a more “poetic” style of writing, but I build my novels kind of like an actual structure, where the words hang on the frame of the protagonist’s interior and exterior arcs and the story’s theme.

Neal Porter Books, an imprint of Holiday House, is known for making gorgeous books. Could you give us a glimpse into your experience once the manuscript was acquired?

Oh, I am so thrilled with the art. I had no input, of course, so the first thing I saw were general sketches. The artist is Chinese, and she was trapped in China (having lived in New York) with her parents during Covid, so her experience of being in a place where the beauty of growing your own food was so much like mine was uncanny. I think that lent an air of “meant-to-be” to the story and art. When I saw the final work, and especially the double spread that flips the book (I’ll leave it at that), I cried.

Neal asked me to verify that the vegetation as she depicted was true to the vegetation I wrote about, and it was, down to every leaf and blossom. 

What’s next for you?

After WINTERGARDEN comes out in November, I have 2 more books under contract. The first is another middle grade – I’m calling it The Hardy Boys meet Holes – and the second is a big nonfiction project for YA readers about the biochemist Rosalind Franklin, coauthored with Debbie Dunn. 

And I’m setting up a series of courses for kidlit writers in a mentorship program (I’m calling it Fox’s Den) that opens in early 2024. I’m keeping busy!

On Writing

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Because for me the most important thing is just the amazing satisfaction one gets, somebody like me gets, just by arranging words on a page and then rearranging them so that they flow differently, better or clearer or say better what you want to say and then to go back and look at them and read them and change them again a little bit. I could just do that all day long.
— Lois Lowry

Classroom Connections: Small Shoes, Great Strides by Vaunda Micheaux Nelson

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age range: grades 2-5
genre / format : narrative nonfiction; picture book
topics: school integration; Civil Rights Movement
Vaunda Micheaux Nelson’s website

Micheaux Nelson and Bostic’s information-packed picture book examines an overlooked story of civil rights . . .[An] affirming look at “three unlikely leaders in small shoes” who “took great strides.”
— Publisher’s Weekly, starred review

An unmissable story about everyday courage whose notes about the importance of overcoming discrimination remain timely.
— Foreword, starred review

A welcome spotlight on the undersung history of three girls whose bravery and endured torment carved a path for generations.
— Booklist, starred review

What a treat to interview my dear writing friend and critique group member, Vaunda Micheaux Nelson. Vaun, please tell us about your book.

Small Shoes, Great Strides: How Three Brave Girls Opened Doors to School Equality is a nonfiction picture book about public school desegregation in New Orleans.  Escorted by United States Marshals, first graders Leona Tate, Tessie Prevost and Gail Etienne made history on November 14, 1960 by bravely entering the previously all-white McDonogh 19 Public School amidst ugly protests.  It was an important step in the struggle for fairness in education.  The significance of simply going to school was not understood by them at the time and, for decades, the women didn’t speak much about it.  In recent years, the McDonogh Three (as they came to be known) have begun to talk, and I am honored to help share their story.

What inspired you to write this story?

I love history, specifically under-told stories in black history.  I am especially attracted to fascinating contributors about whom I know nothing, whose stories compel me.  Learning that the McDonogh Three entered their school on the same day as Ruby Bridges made me ask, “Why didn’t I know about Leona, Tessie and Gail?”  When I realized they integrated McDonogh 19 ten minutes prior to Ruby Bridges at Frantz Elementary, I was even more intrigued and so resolved to tell their story.  All due respect for Ms. Bridges’ accomplishments and contribution, I feel discrepancies in history should be acknowledged and corrected.  I hope I accomplished this. 

Could you share with readers how you conducted your research and / or share a few interesting tidbits about your writing process with this book?

Being able to meet and interview Leona, Tessie, Gail and retired U.S. Marshal Herschel Garner was unforgettable.  I was blessed to hear this story from the individuals who lived it, and I’m indebted to them all for their generosity.  In addition to interviews, I used books, newspaper and magazine articles, audio and video resources, Orleans Parish School Board minutes and other school documents.  The fact that hurricane Katrina destroyed considerable New Orleans school district records, as well as many personal artifacts belonging to my subjects, complicated and frustrated my research.  As to the writing process, after immersing myself in the material, I construct the story line to be as straightforward and accessible for my target audience as possible.  I employ back matter to expand on the information without having to interrupt the primary narrative.  This allows more advanced readers to satisfy their curiosity for what broadcaster Paul Harvey called “the rest of the story.” 

What topics does your book touch upon that would make it a perfect fit for the classroom?

  • school desegregation
  • the Civil Rights Movement
  • discrimination
  • the U.S. Marshals Service
  • education
  • Brown vs. Board of Eduation
  • separate but equal

Here’s a fabulous interview Vaunda recently did about Small Shoes with The Horn Book’s Roger Sutton.

Quick Lit: What I’ve Been Reading Lately

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The Hiding Place by Corrie ten Boom

I saw The Hiding Place movie when I was a girl. I’ve read a few other Corrie ten Boom books. I’ve even owned this one for a couple decades, but it wasn’t until my book club picked it that I finally dug in. What a story!

Corrie and her family worked as part of the Dutch Resistance during World War II, helping Jews in their community find safe shelter and hiding a number of people in a secret room in their home. Arrested for their work, sent to prison and then concentration camps, the ten Booms held to a remarkable, unshakable faith in God’s goodness in the midst of horror and the power of love to overcome hate. The book ends with these words: “Jesus can turn loss into glory.” So many things I will continue to think about. So many truths to embrace.

The Covenant of Water by Abraham Verghese

It feels like everyone is reading this, has just read it, or plans to read it soon. This book is an absolute masterpiece covering three generations of a St. Thomas Christian family in Kerala, India. Some members of the family have “the condition” — a mysterious illness that causes them to drown or if they grow old, become deaf and struggle with balance. The matriarch of the family, Ammachi, prays that someday someone will be able to help with the illness. Various characters and storylines intertwine over the decades, keeping readers guessing at their eventual connections and if Ammachi’s prayer will be answered.

Author Abraham Verghese narrates his audiobook beautifully. It is evident he feels tenderly toward his characters and loves the world he created. This is a story of caste and class, faith and mystery, family and secrets, suffering and humor and the gift of pain, medicine that is art and art that is healing. Enthralling.

The McNifficients by Amy Makechnie

Lord Tennyson, an esteemed miniature schnauzer of a certain age, serves as the six McNiff children’s nanny. As summer begins and everyone’s home, there’s plenty of upheaval to keep Tenny busy: sibling spats, a brood of chickens, a toddler that is learning to walk, summer camp, a secret pet snake, and the news that Tenny might be replaced by a human nanny.

This middle-grade novel is a delightful romp told from a very proper dog’s perspective. Funny and sweet with plenty of love (and clever doggish observations), readers will root for Lord Tennyson and his chaotic, endearing family.

Research Trip: Exploring the Gila!

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Since I’m currently working on edits for The Burning Season, I thought I’d run this post from April 2022 again. It’s a taste of my new verse novel coming summer 2025.

If I were posting strategically, I wouldn’t be telling you this right now. I’ve got a book coming out in three months. That’s supposed to be my focus. But I can’t help sharing the fabulous time I’ve had this week in southern New Mexico (and anyway, this blog is about more than promotion, right?).

On Tuesday I hiked the trail to Signal Peak tower, one of ten fire lookout towers in the Gila National Forest. (You might remember I sold a verse novel set in the Gila that comes out two years from now. Up until this point I’ve relied on books and videos and pictures to write this book. It was time to go and explore.) I’d been in touch with the forest manager, and he’d told me the tower wouldn’t be occupied yet, but I was free to hike up and look around.

Guess what? The lookout, Jim, and his adorable dog, Smoke, had come to the tower eight days before! I got a tour and a personal guide who could answer my questions. It was incredible.

Here’s the Osborne Firefinder, which is set in the middle of the 12′ x 12′ cab. (I asked Jim if the cab — the working and sometimes living area at the top of the tower — was the typical 12′ x 12′ size. He wasn’t sure, so he measured it for me.)

The Firefinder was invented in 1911 and hasn’t changed much in the last hundred years. It’s the primary tool used in fire detection. First, a lookout finds the “smoke” through the brass sighting then lines it up with the vertical crosshair. The lookout then takes the azimuth reading from the edge of the Firefinder (the angular distance from north) and uses the map on the Firefinder (the tower is at its center) to locate the smoke with the measuring tape strung across its middle. Jim’s tape is missing, so after finding the azimuth, he uses this drop-down string map to locate the smoke.

All towers have a map like this of the surrounding area. Signal Peak is “nearby” other towers (also marked), such as Hillsboro, Bear Wallow, and Mogollon Baldy. To get a precise reading, Jim calls another tower to see if they can site the smoke, too. Using the strings, he determines where the azimuths cross. It’s called triangulation and is a very accurate way to locate a smoke.

I’ve placed my imaginary tower on an imaginary mountain I’m calling Wolf, which is pretty much Mogollon Baldy. That means my character, Opal, interacts with some of these same towers. How cool is that?! I asked if it would be okay if I change my Signal Peak lookout’s name to Jim. It was the least I could do as a thanks for his kindness. He seemed pleased with that.

Jim told me his cab is the fancy kind. These cabinets were custom made. That’s Smoke’s water bowl to the left.

Something incredibly cool for me was to hear Philip Connors over the radio. His book, FIRE SEASON, is what pointed me to the Gila for my imaginary fire tower.

There is no electricity at the towers. Everything is gas powered. (Though I see a plug? Don’t ask me to explain.) At Jim’s location, he is able to get internet. He’s also able to drive to his tower. Most towers have spotty or no internet and require lookouts to hike in.

I’ve got three people living in my tower, so I’m going to need to rethink the placement of some things. The table has gotta go, for example, unless I can have a fold-up mechanism? I could also make my cab bigger than the standard. I’ve read that some are 15′ x 15′.

In 2014, the Signal Fire raged close enough to the tower the lookout had to flee, using the trail to get away. Just to show you how close to the tower the fire came, I took this picture maybe one hundred feet from its base.

I learned so much during my time in the Gila. My trek to Signal Peak was the absolute highlight of my trip. Now I’ll add new bits and pieces to my manuscript and send it back to my editor by the middle of the month.

PS — Can you see Smoke on the catwalk?

Writing and Reading Links

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“I’ve learned that I have to keep the book and publishing stuff forever separate from my personal identity. I have to always remember that failure isn’t about me but rather the result of a fickle market that is controlled by an industry that is ultimately speculative in nature…”
What I Would Do Differently With a Career Do-Over (given all the insights and knowledge I have today) :: Susan Dennard

“I don’t owe it to anyone on social media apps to show them any part of my day. My time is better spent in process and practice.”
The Shiny Luster of the Internet is Gone :: Julie Falatko

From art critic David Sylvester in 1969: “The kind of attention that they get now, the kind of atmosphere of excitement which attends today the creation of works of art, the way that everything is done too much in the public eye, it’s really too much. The pressures are of a kind which are anti-creative.”
Artists must be allowed to make bad work :: Austin Kleon

“Next time you’re planning a read aloud, check the back of the book to see if the author (or illustrator!) has left a note for you. As JoEllen McCarthy writes, ‘When sharing authors’ notes with students, we can talk about the ways the creators are letting us in on their secrets. We get insight about what sparked the idea for the story, learn about their intentions for writing, and are invited to think more deeply about and beyond the book.’”
Don’t Skip the Author’s Note :: Stenhouse

“In most interviews on my blog as well as for my interviews with authors of books I illustrate, I ask the interviewee if they have any advice for young writers and illustrators. The following are some excerpts from their advice; click the name beside the advice to read the full interview. Big thanks to all who have been generous enough to offer advice for up-and-coming writers and illustrators!”
Advice for Young Writers and Illustrators from Industry Pros :: Debbie Ridpath Ohi

 

Revision is Not the Art Form

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I’ve learned a thing or two over the years from my critique group member and friend, Uma Krishnaswami. One thing I’ve heard her often repeat is the reminder that XYZ isn’t the art form. The story is the art form. XYZ might be an author’s note or a system for gathering research or any of the myriad other things that go into the writing life (…or regular life, if you want to extend the metaphor).

This is something I’ve been thinking about as I explore my next verse novel, The Burning Season, through first-round edits.* Early edits are traditionally the messiest. The biggest changes happen in this phase. I threw out two thirds of Jasper in edit rounds one and two (meaning I did it twice over) and two thirds of Miraculous in that book’s first round. It’s hard. It happens. And if it makes the book better, it’s got to be done.

I am prone to categorize and measure and analyze the way I work, the things I read, and the big and little ways I conduct my life. I have a bit of Ben Franklin in me, a friend likes to say. I like goals! Records! Comparisons! But a problem arises when I decide this is the way I do XYZ. The more I force my approach to my work or insist it unfolds in a way similar to how it’s happened in the past, the more I realize I’m making the system the art form.

So. Here I am showing up to my edits most days of the week. Sometimes it looks like what I’ve done with other novels. Sometimes it doesn’t. A book will teach you how to write it. That’s something else Uma told me once.

Here I am trying my best to learn.

*A (confusing) clarification: authors often use the words edits and revision interchangeably. Revision is the big-picture work (sometimes called developmental edits) that happens before small-scale changes (called line edits). Copy edits are another thing entirely — grammatical and spelling errors and stylistic inconsistencies, to give a few examples. I’m sure it’s not helpful to learn that an editor writes an editorial letter to her author in order to guide revision.

GUT REACTION by Kirby Larson and Quinn Wyatt

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Gut Reaction, coming March 2024!

Kirby and Quinn, please tell us about your book.

In this story, Tess Medina is starting at a new middle school, worried about fitting in and making friends. Plus she’s got a feeling in her gut she just can’t shake. She is also coping with the recent loss of her dad and what that means for her favorite pastime, baking. After a bumpy start, Tess’s creative baking skills cement new middle school friendships which give her the confidence to enter a baking competition. Just as things start to fall into place, Tess’s gut starts to fall apart. Will she make it to the competition? Will her new friends still have her back? And what’s her new normal going to look like? 

How did you come to write it? 

We wanted to share Tess’ story because when I (Quinn) was young, I was diagnosed with Crohn’s disease. Growing up with a chronic illness can feel isolating, and we wanted to reach out to kids and let them know they are not alone. 

Quinn, what was it like writing with your mother? Kirby, what was it like writing with your daughter? 

Quinn: Well, it took a lot of convincing to get my mom to write this story; about 10 years of asking. Her reluctance wasn’t because she didn’t want to work with me, but my years as a kid dealing with a chronic illness were difficult not just for me but for her as well. Once she finally felt ready, we got to work. Tess was born at a weekend writers’ retreat, with just the two of us. Her story went through many changes, though. I would send snippets or anecdotes to my mom who would flesh them out and send them back for me to edit and add. There was lots of back and forth! One of the big challenges was to figure out a way to make what Tess was going through accessible and not too scary while staying true to the realities of dealing with IBD (irritable bowel diseases). 

Kirby: Writing with my daughter was wonderful and heartbreaking. Let me start with the heartbreaking part first. It was so difficult to watch Quinn suffer as a child/preteen with an undiagnosed illness. But reading her first-hand accounts of what it was like to be in her body, in her situation, nearly undid me. I always knew she was strong but until I read her words, I had no idea. The wonderful part was finding a way to use Quinn’s story to do two things: first, to build a pathway of hope for other teens who might now be suffering from hard-to-discuss diseases and, second, to foster empathy in those who are blessed with good health.

What do you hope young readers take away from Tess’s story? 

We hope that young readers who are dealing with a chronic condition feel less isolated, and we hope those that do not have to deal with one gain more of an understanding. We also see this story as a celebration of friendship. There’s a lot of humor and hope, too.

What’s next for the two of you? 

Kirby has the third book in a chapter book series for younger readers coming out in January. As for Team Tess, right now we are focused intently on getting GUT REACTION out there and in the hands of as many kids as possible. If readers of your blog have ideas for how we can spread the word, we are all ears! We have bounced around ideas for a second book, though what that will be is still in the works. Tess definitely has more to share.