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Barney Saltzberg is a writer/illustrator and musician. He has written and illustrated close to fifty books for children, including the best-selling Feel and Touch series, which has over one million copies in print.

What is a successful picture book (professionally and personally)?

Barney believes the rhythm of a page turn is so important. It's like music. Also the element of surprise. He wants to write a book that resonates every time.

Picture books are often placed in different categories whether more commercial sales or school and library. What considerations do you make when writing your books?

Barney says he doesn't think about that when he writes the books that I write and the marketing department and schools find where it fits.

On ways you get feedback on your work:

You have to be careful of who you share your work to and at which stage. While Barney did have a critiques earlier in his career, he now has authors/illustrators that he turns to for feedback when needed.

Barney tries not to go into the book store a lot. There are times he see another book and thinks, Wow, I wish I wrote that. As writers, we're trying to find our voice but if we compare ourselves with others, it's going to be a problem.

People like to classify picture books (boy books/girl books). How do you feel about that?

"We live in a world where Toys R Us has a girl aisle and a boy aisle and it drives me nuts."

Barney's next book is called WOULD YOU RATHER BE A PRINCESS OR A DRAGON? Barney's answer is that you can be both. Barney thinks parents will have some issues with this one.


Hey, all...can't wait for this one!

Favorite picture book childhood:



ARE YOU MY MOTHER? by P.D. Eastman

"I remember thinking it was hilarious when I was a kid."

Barney says there's a sense of humor and a sense of angst in the story, and the book works on so many levels. As a kid it appealed to his elevated sense of humor, that he as a kid got this inside joke. Having been lost as a child, there's a sense of wanting to find out what happens.

Final thought:

When getting feedback that Barney doesn't think works for him, he always takes the opportunity to sleep on it first before reacting and making a decision about it.

Don't wait for inspiration, make yourself go to work every day.

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Jessixa Bagley and Don Tate took part in our panel on picture books. Jessixa is the Golden Kite winner for picture book texts, and Don has won numerous awards for his critically acclaimed texts and illustrations.

What makes a picture book successful? 

There's a sense of completion to it, Jessixa said. It doesn't assume that the reader has knowledge about the subject. There's nothing left hanging. It's like an amuse bouche, a perfect bite. She's also drawn to books with a really deep meaning—a meaning that can be joyful too.

Don loves it when people can flip through his book and know the story by the pictures. He loves making emotional connection with readers. We connect with our readers through emotions. Page turns help guide readers from left to right through the story. "I like it when the illustrator has really done their job ... and you want to linger and live in that space for a while."

When it comes to developing stories for markets 
Don doesn't illustrate books differently on whether they're commercial or more for libraries. Don loves to illustrate books about little-known historical figures, which typically puts his books into the school/library market. This lets him do more school visits.

Jessixa also doesn't think about making books directly for markets, and thinks that books with emotional content can be really useful in school markets.

What collaborations help? 
Don is in several critique groups. They help him make his manuscripts stronger for agents.

Jessixa says you should treat your work like a baby egg. Nurture it until it gets a little more solid, and then you can share it. You won't be as hurt by the feedback. It won't be as bruising. It will be able to hatch. "We've all had the experience where you work on something really hard and you show it to someone and they don't respond to it, and you're gutted."

Advice: 
Don: Be sure to keep your stories child-focused. It's important to engage a child by beginning in childhood. Children like to see themselves represented on the first page of a book. He's not a fan of labeling books by gender. Sometimes, books appeal more to boy than to girls. But you don't need to labels. "Let the readers find them where they will."

Jessixa wasn't a girly girl. She wasn't a tomboy. She was just herself, so she gravitated toward identity-neutral things. There is universality to her work that she wants to extend. "I have a hard time with the fact that there are pink LEGOs and those are the girl LEGOs."

"Allowing the space to have things appeal to more people, whether it's gender or diversity, is going to make us all a lot stronger."

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By Nick Eskey

For the three years that WonderCon has been in the Anaheim convention center, I’ve been very fortunate to attend it. I say fortunate because compared to my local San Diego Comic Con, this one is much more relaxed. Replacing the large media influence and the sardine-cramped spaces, there is ease and Fandom. Easily one of the industry’s conventions that is more beloved by fans.

The convention itself is very well run, usually smooth-as-silk. A few hiccups that occurred this year were the downed elevators used for celebrity talent (which was of course not the fault of WonderCon) and the last minute change of entrances for badge pickup (my press email said Hall H, only to find out I had to go all the way back to A). I did like the addition of the turn-styles at the entrance of the fountain. This did add a redundancy in checking badges, but it kept the people who were passing out advertisements and postcards away from the main doors.

I can’t really say how long I walked the convention sales floor, I just know my feet got a workout. Artists, independent publishers, and exhibitors inhabit much of the booth spaces.
Though the right side is designated as Artist’s Alley, the far left also seemed like a secondary one, with people showing off their original comics or sketches for sale. Quite a few booths were also selling handmade “geekery” like cartoon-inspired dolls, 3D printed figures, and even tentacle kitty plushies. I spent most of my allotted money on art prints (and said tentacle kitty plush).

I really do wish there was more in the way of panels this year. Last year there were a few big movie announcements shown in the Arena area, but for this one it was all smaller panels on the 2nd and 3rd floors. This is where I think SDCC is far superior. It always has the big talent and over the top showings. It is still nice to have the “how to get into the industry” or documentary panels, but a dash of excitement here and there definitely would add considerably to the lineup.

The big announcement was of course that WonderCon would not be in Anaheim next year, but in LA. From what was told at the talkback panel on the last day of the convention, lack of availability surrounding that time period forced the hard decision on the board. As luck would have it, LA’s convention center had a cancellation, and welcomed WonderCon to fill the spot. We all might be a little spoiled in how the Anaheim convention center sits in between two large hotels, as well as being in walking distance to and from Disneyland Park, but isn’t that part of the fun?

LA does boast a collection of hotels and other attractions, but come on; Disneyland. DISNEYLAND!

I’ll still be heading to WonderCon 2016, believe you me. The convention survived it’s San Francisco birth, and flourished in its Anaheim move. Because of this, I am optimistic that it will become even better in this next move. After the explosion of SDCC, CCI has learned that they need to build on WonderCon piecemeal.

Who knows, 2017 might have the convention back in Anaheim. As of now, nothing is set in stone for the far future.

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On 4/23-24/14, I participated in the Sharjah Children’s Reading Festival in the United Arab Emirates; while I was here for four days of the two-week event, other featured American children’s book authors/illustrators included Peter Brown, Meghan McCarthy, and Stephen Messer.

Our appearances consisted of two types: morning talks at schools in Sharjah and an evening panel with academics from the Arab community.

Both were considerably different than any previous author experience I’ve had, and my compatriots had similar reactions.

Both of my Sharjah schools were all-girl and Arab; some authors spoke at Australian or Indian schools and/or all-boy schools. My students were about 12 and 13 years old.

Simply getting to the schools was an adventure. In my first week in the UAE, I’ve been in a lot of cars (not to mention three hotels), and none of the drivers have used GPS. I don’t recall seeing traffic lights in Sharjah. (And the hotels don’t have addresses in the sense we’re used to—no street number. Just “Corniche Street.” Or sometimes even just “near the Expo Center.”) Drivers seem to be guesstimating how to get to places.

My two schools were not only all-girl but also all-shy. I understand. I get the impression they rarely if ever have guest speakers, and almost certainly never a foreign, male guest speaker. I was surprised and impressed that the schools were open to a visitor like me.



Shyness aside, the students were very sweet, and at the first school, the girls did come around by the end of my hourlong talk; a few asked questions, in part thanks to their teacher’s words of encouragement (in English). She invited me to come back and even gave me her cell phone so I could give her notice.

Using humor in this context was tricky. Different culture, different sensibility. The one time I remember the girls at the second school laughing was at the end of my presentation. I was trying to make them feel comfortable enough to ask questions so I said I have children of my own and they ask me lots of questions:

• “May I please stay up later?”
• “May I please have another cookie?”
• “Daddy, would you please stop talking?”

It was that last one that elicited some giggles.



On 4/23/14, Peter and Meghan were on a panel with two Arab speakers. The topic was something like “reading and media.” Each of the four panelists spoke for about 10 minutes each. (We were told in advance that some panelists would not be sticking to the already-vague topics. It’s a cultural thing.)

One of the others on their panel was, I believe, a children’s book author as well. The last was an Egyptian psychiatrist whose focus was the prevention of predatory behavior online. Certainly important, and she was certainly well-spoken, but a strange pairing with children’s authors.

The highlight of that panel (for me as an audience member) was what turned out to be one of many “incidents” during panels at the festival. While the psychiatrist was explaining the gravity and prevalence of child endangerment via the Internet, a man in the audience began to call out at her (in Arabic). Everyone—panelists and audience members alike—had small Star Trek devices in our ears for translations (English to Arabic or vice versa, depending on what you needed).

But the translator in the back of the room could not clearly hear the shouting audience man, who continued to interrupt the psychiatrist (and therefore disrupt the room) to the point that the translator began to plead “Peter Brown, Peter Brown, I can’t work like this! Please intervene!”

Though Peter was sitting next to the psychiatrist, what he (or anyone) could have done to remedy the situation was anyone’s guess. Luckily, the psychiatrist seemed to shut down the shouting man by saying “There is a fine line between commenting and insulting.”

On 4/24/14, Peter, Meghan, and I went from Sharjah to Dubai to see the Dubai Mall, currently the world’s largest in terms of area, and Burj Khalifa, currently the world’s tallest building. When in a foreign country for the first time, ordinarily none of us would likely go to a mall, but in the UAE, it’s another story.

The mall is indeed a spectacle. It is home to a huge, shark-filled aquarium in which you can scuba dive; presumably the sharks aren’t the human-chomping kind. The mall also includes almost any store you’ve ever heard of and probably at least a couple twice because the second one didn’t know the first one existed.



Five times a day in Muslim communities, the call to prayer goes out. I haven’t heard it five times a day—it depends on where you are—but when I do here, it’s quite lovely. And it was even piped into the mall.


That night was my panel. It was supposed to be me and two Arabs in the field, but only one showed. The topic was equally vague as the night before; it involved the importance of the book and also the development of curriculum.



Due to the disruption, Peter and Meghan’s panel didn’t get to audience questions but mine did. However, it was not like Q&A during American panels. A woman asked question that the moderator didn’t ask us to answer—the mic was passed immediately to another audience member who made a statement, then another. Only then did the moderator ask me a question—but it didn’t seem to be a question that had come from the audience. I was confused but did the best I could, and some people were nodding so I guess I didn’t waste their time completely.



It was a curious honor that anyone who came to a panel about education with a focus on the Middle East would care what an American author with no Arabic experience had to say. But I am all for bridging gaps between cultures whenever possible.

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If you’re a warm blooded human and have been out in public, then you’ve most likely heard that wildly popular and award winning song from the movie Frozen. Yeah, you know the one I’m talking about. The one that has gotten so far wedged into your head that brain trauma is the only remedy. Well don’t worry. This article isn’t about that song.

No one can deny that Frozen hasn’t been a homerun for Walt Disney Animation. It has won the first Oscar award for an animated movie for the 91 year old Disney Animation Studios, and reports are claiming that it’s the highest grossing animated picture for the company, ever! A lot of time, planning and work went into this sweep of a film. But aside from the producers, the voice actors, and the animators, there are those that worked well behind the scenes who made the movie the hit it has become: The story artists.
This year at Wondercon Anaheim we were joined by four story artists who worked on Frozen: Jeff Rango, Fawn Veerasunthorn, Nicole Mitchell, and Normand Lemay. Each of them shared what they felt what the term “story” meant for them. Jeff Rango, whose first work with Disney after his three years at Cal Arts was designing the Titans for a little animated film named Hercules, shared that for him, “Story is the architecture of a movie. And [that] the story artist is the architect.”

Jeff is also the man who worked on making the scenes match up well with the movie’s music. “The songs are pretty much done before we start [working] with the scenes. I listen to the songs and try to design the scenes around them.” Jeff worked closely with the music and lyrics composers, Kristen Anderson-Lopez and Robert Lopez, during much of the process. Since the pair lives on the East coast however, Jeff had to do it all over the web. And because he really didn’t live near the animation offices, he had to get there early to make up for the three hour time difference. But he made it work. “Since my drive was an hour and a half both ways, it let me listen to the music probably over a thousand times. It allowed me to get a feel for it.”

Fawn Veerasunthorn, Thailand born and having worked with Disney since 2011, shared that she felt the story process was broken up into two parts. The first of which is more or less pitching ideas, communicating and elaborating with others verbally, and also a little bit of “worrying” too. The ideas that make it through then are then put to a storyboard and sketched out. “With the scene that included Elsa and Anna after the coronation, we originally had it that Hans wasn’t going to be there. But as we sketched it out, we felt that Anna was just talking about her invisible boyfriend. There wasn’t enough Hans.” With the sketches, the story team was also able to focus on some repeating symbolisms. Over and over in the movie we see the gloves (protection/security) and doors (fear/hiding). They were able to decide where these symbols were most effective for each particular scene.

Before any of the scenes are animated, the general ideas have to be discussed and finalized. To get a better idea of what would work for the animation, the artists create what are called “screenings.” They’re basically the proposed scenes drawn out in pencil and animated like a slow flip book. Potential dialogue is also given to each of these hand drawn scenes. “Screenings help put into perspective what will and will not work for the story,” says Normand Lemay. Normand, the Canadian born story artist, has worked for Disney Animation for four years, with Frozen being his first credited work.

What about the snowman do you ask? Where did he come from? Well, you have Jeff Rango to really thank for that. Seen as the more comedic one of the team, he helped to design and name that silly but brainless pile of snow called “Olaf.” “I’ve lived in San Diego, and in [Ocean Beach] there use to be ‘Big Olaf’s Ice Cream.’ I pushed for that guy to be named Olaf.” Jeff also helped much with Olaf’s comedic singing scene, which personally was my favorite singing scene. Guilty pleasure you can call it. But that cute and funny snowman almost ended up on the cutting room floor if it weren’t for one scene that helped solidify his importance. “We decided that it should be Olaf who helped Anna realize that Kristoff might be her real true love and answer,” says Nicole Mitchell. She’s worked with Disney Animation for the last six years, first entering through the trainee program. “That she was loved. It helped Olaf to become a [real] piece of the movie.”

There’s a lot of work that goes into an animated feature. A lot of it is what you see in the final product on the big screen. But like any house, it should be build on a strong foundation. Next time you sit down in a theatre, or flip on your favorite animated movie, don’t forget to thank those who helped form the supporting beams that hold the entire thing up, and allowed it to become something great.

~Nicholas Eskey

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My second time in Tennessee took me to two schools in one day and the Knoxville Children’s Festival of Reading the next day.

The first school was a Jewish day school, where the setup enabled me to take this photo of two symbols which, to me, each speak of peace:


The other school was an Episcopal day school, so it was a day of unity.

The festival was the morning after rain, and held on a field, which had turned to grassy muck, which meant the one pair of shoes I brought was the wrong pair of shoes. Luckily, that was the only downside; the crowds were fun, I received a special gift, and I sat on a panel with people whose work I admire.



During that panel, a girl in the audience asked us a question I found profound: how do we as adults relate to the kids we write for? 

I wish I could say my answer was that I stuck out my tongue, but it was not that clever. Whatever I did stammer out was heartfelt, but still a real missed opportunity on that one.


If you have ever wondered what a panel of authors looks like the night before the panel, mystery solved:

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That “lives” could be a verb or a noun; we discussed both.

Me, two other cowboys, and two fine cowgirls (AKA Brian Floca, Chris Barton, Meghan McCarthy, and Shana Corey) moseyed on down old San Antonio way for IRA, where we did a panel called “‘But Kids Haven’t Heard of That!’: Why Teaching Unconventional Nonfiction Is Important.”

Moderated by the tireless Susannah Richards, Associate Professor of Education at Eastern Connecticut State University, each of the five authors did a fifteen-minute presentation, then collectively took questions from Susannah and the audience.

I was as much an avid audience member as participant. Adding to my excitement was the fact that I’d proposed the panel—twice actually (it was rejected for 2012)—stocking it with four of my favorite nonfiction picture book writers, not to mention friends.

Here is feedback on the proposal from IRA decision-makers:

• The panel of authors should draw a big audience.
• Appropriate subject matter for this symposia. The panelists are authors and have significant information to share with the audience.
• This proposal presents a clear evidence base and also is convincing and motivating. The content was detailed and gives a clear idea of what will transpire in the session. The objectives align with the content. This is an excellent proposal.

Here is feedback on the panel from an attendee:

I attended a panel meeting of nonfiction authors. One author in particular, Marc Tyler Nobleman, stuck out to me. … Mr. Nobleman’s book [Bill the Boy Wonder: The Secret Co-Creator of Batman] is a must read. [He] is an excellent storyteller; it’s just, he’s not telling you a story—he’s telling you facts. I have never seen nonfiction this cool and interesting before now.

Panel’s-eye views:



After, as we unwound at the River Walk, another author ally, Erica Perl, joined us. However, I was the only one who wanted homemade ice cream.


For diehards and readhards, here is the meat of the proposal:

Educational Significance

For some students, nonfiction has a stigma: boring. This is perplexing: why would a true story inherently be less intriguing than something made up? In years past, nonfiction was often written in a dry manner. In addition, there was less risk in subject matter and style.

Today, however, the authors writing nonfiction for young people recognize the dual responsibility they have. First, they must continue to present accurate (and, when possible, new) information. And now, they must do so in an engaging fashion. The marked shift from “textbook” to narrative nonfiction is a considerable benefit for young readers.

In exercising creative freedom with respect to tone, chronology, perspective, and subject matter, contemporary nonfiction writers are boosting the excitement of teachers and kids alike. Such fresh material lures reluctant readers and further stimulates active readers.

We’ve seen an increase in nonfiction picture books described as a “first of its kind.” We’ve seen an increase in picture books subjects that have never been the focus of even a book for adults (The Day-Glo Brothers, Strong Man, Surfer of the Century, Boys of Steel). We’ve seen a rise in the level of sophistication of—and the amount of pages devoted to – back matter. The reason: there is an audience and an educational missive to support it.

Yet with library budgets in crisis, it can be difficult to get unconventional nonfiction into schools—and with test preparation time increasing, educators may struggle to make time to introduce it. In our increasingly blended world, however, it is critical to re-emphasize a diversity of subject matter. (No slight to Benjamin Franklin, Muhammad Ali, Babe Ruth, or the Obamas’ dog, each of whom has starred in multiple picture books.)

This panel may include but is not solely about multicultural subjects. Rather it focuses more broadly on subjects generally not taught in curriculum.

2012 IRA attendee feedback:

• Very appropriate subject matter! Nonfiction needs to be addressed, especially with Common Core being the focus!
• Informational text deserves greater attention, especially unconventional informational text. The panel format will be appealing to the audience. The panelists have valuable information to share. The topic is grounded in literature that is relevant and substantial. I believe this session will be of interest to a broad cross-section of IRA members.

Evidence Base

Forty-five states have adopted the Common Core Standards.

Publishers Weekly (7/18/12): “By the 2014-15 academic year, the initiative calls for 50% informational text (including…nonfiction trade books) in elementary school and 70% in high school-on average, across all curricula. … [A]ccording to the Core: dull-looking nonfiction is out. … ‘Visual elements are particularly important in texts for the youngest students and in many informational texts for readers of all ages.’”

New York Times (3/11/12): “Children in New York City who learned to read using an experimental curriculum that emphasized nonfiction texts outperformed those at other schools.”

School Library Journal (4/1/12): “‘The advent of Common Core presents school librarians with both a great opportunity and a great challenge,’ says kids’ book editor and author Marc Aronson. ‘The emphasis on nonfiction from elementary school on puts them front and center, since few current homeroom teachers know nonfiction in their grades as read-alouds, as pleasure reads, or as opportunities to compare different narrative approaches.”

Horn Book (March-April 2011): Author Susan Campbell Bartoletti writes that in her teaching experience, fiction-reading kids would hold up a favorite book and ask for another like it. But nonfiction readers “wanted to read [books] about things they didn’t already know.”

Jim Trelease, author of The Read-Aloud Handbook, stated that an unconventional nonfiction “panel is a super idea and one that will draw a top audience.”

Increasingly, picture book nonfiction includes an author’s note about the author’s research process—a process that every student must learn in English class. And the best of these authors’ notes read like detective novels.

Sites such as teachwithpicturebooks.blogspot.com promote picture books in the classroom—even in middle and high school. Neither “short” nor “illustrated” automatically makes a book only for young people.

Reading nonfiction capitalizes on existing interests and generates motivation. Reading unconventional nonfiction challenges perspectives and brings fuller, often cross-disciplinary understanding to any historical period.

Reading nonfiction helps to build schema and vocabulary knowledge. Reading unconventional nonfiction empowers students to experiment with topics they may not presume to like or understand, and often enlightens them when they can make a connection between that material and curriculum.

- end of proposal excerpt -

Oh, and circling back to the cowboy theme: the last morning, I was almost trampled by a stampede…of teachers and librarians…headed to a booth for a free bag featuring Superman on one side and (for them) the bigger draw, Wonder Woman, on the other.

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Chris Barton.

Shana Corey.

Brian Floca.

Megan McCarthy.

Me. (I am still in alphabetical order this way.)

On 4/21/13, from 3 to 5:45 p.m. (yes, almost three hours!), at the International Reading Association Convention in San Antonio, we five authors, moderated by Susannah Richards, Associate Professor of Education at Eastern Connecticut State University, will panel-discuss the importance of unconventional nonfiction...the stories that are not yet widely known, the people who are not textbook names.

Please join us. This group has never assembled before, and may never again. Therefore (speaking of nonfiction), history will be witnessed. Unconventional nonfiction will be glorified.

And, of course, books will be signed:


I am signing two more times on Monday 4/22/13: 

• Anderson's, booth 1003, 10-11 a.m.
• Overlooked Books booth, booth 2519, 11 a.m.-12 p.m.

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It's kind of hard to believe, but now that I've put in the trees, I feel like I'm nearing the end.  I still have work to do in each panel, but at this point, it's details, fine tuning, and fairy minor adjustments.  If all goes well, I'd say that I have about a week of additions and "fixings".   I'll have to move the panels around in order to finish some parts - to make sure that the continuity from one panel to the next is accurate. Then, I'd give myself another week of obsessively staring, analyzing, and more fixing.  After that, I guess it will be time to put the protective top varnish on and seal it.

Yesterday, I put in several more trees and shrubs and extended some of the yellow flowers.  I may add a few more in, but probably not much.

I also started to put in the pumpkin stems, although I think I'll switch them to the browner side.  But, as you can see, this panel has really come together!

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I've been working on a couple of different things lately.  I've stepped back into the chef panel, doing a little here and a little there.  I put in a layer of color on the architectural elements and started the grape leaves creeping across the top.  I added a couple of minor veggies and filled in the purple grape at the bottom. 

My challenge here was the splash.  I originally started using cerulean blue and was horrified - blech!  Switching to ultramarine was much better...but, wait a minute!  I didn't try pthalo.  Might have to try that tomorrow.


Another thing I started was a study of a tree - the type of tree that will go in panels 1 and 2.  This is especially challenging because it's a truck load of green, green, and more green.  I have 3 different greens in the hillside and another 3 (or more) greens that make up the tree.  I'm having to find ways to create contrast, even though in the reference pictures that I'm using, it does blend together at times.  I need to work on it a bit and work out the kinks.

Not very accurate color, but wanted to share what I have so far

I think I have a studio guest at night.  I'm not sure, but I think it might be this guy:


I've heard him rustling around here and there.  I suppose we can share the space for now...so long as he doesn't start using my paints.

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Well, lots to tell today.  First of all, I did a phone interview with the Santa Maria Sun last week (a local weekly paper) and it is in this week's issue!  Exciting stuff for me - you can check it out here.

Secondly, I was pretty frustrated with yesterday's progress - or lack thereof.  I didn't really have the time that's needed to spend on the strawberry girl, so I had to leave her in a pretty poor state - I hate to walk away from something without some degree of resolution.  Then, this morning we ended our history study of the Renaissance for the school year with a biography DVD on Michelangelo.  To see his amazing work and then go out to the garage to my mural was rather humbling as an artist.

Anyway, I am happy to say that I was able to solve - or at least improve - several issues on the strawberry panel today.  I fixed skin tones, proportions, and adjusted contrast (particularly the background wave vs. figure's skin tone).  I spent a lot of time trying to get her arms and hands in believable positions - grrrrrr. I worked on the flowers and strawberries, but there is work to be done there still - in this case, I need to tone down the contrast and have the seeds blend in a bit more.


One of my favorite details today is the hair - I gave her some curls and I like the color (I thought the strawberry girl should have red hair).

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As Grace mentioned, we're in Fresno together for the IBBY regional conference. They asked us to speak together about Where the Mountain Meets the Moon. To prepare, we dug up all of the old drafts of the novel, and also my editorial letters/edits (to my horror, I discovered that although I had saved the different drafts with my edits in Track Changes, I had neglected to save any of my editorial letters, as they had been in emails and not saved as separate documents. Luckily, Grace was able to find them in an old email account. Whew!)

Some of the fascinating (at least to us!) things we found:
The 1st draft was 22,859 words; the final draft was 42,840 words, almost twice as long!
The 1st draft had 26 chapters, and the final book had 48 chapters.
The green tiger was not in the original draft.
In the original draft, the parents didn't try to follow/find Minli.
In the original proposal, Minli was named "Cai" (and then "Kai").
The first working title was God of the West. The next title was Never-Ending Mountain.

I also read a portion of my first editorial letter for the book. As I mentioned at the panel, my letters with Grace tend to be a little more casual than to some other authors who I don't know as well. With Grace, I cut to the chase quickly--but I always start with praise! Here's a sampling:

Hola!

So, I thought I'd get down in writing some of the things we discussed over the phone. But just to reiterate, I loved it. I think overall, it's extremely well crafted with a wonderful story arc. The novel is moving, magical, and engaging. I think this is in really great shape! I have a few main comments, most of which we've discussed:

1) The novel feels a little slight right now, and things overall feel a little too easy for Minli. I'd like to add at least one more big challenge for her, and also make a few of the existing challenges a little more difficult/drawn out. For example, she seems to find the King in The City of Bright Moonlight too quickly--she should struggle with this more. I like the idea you mentioned, of having her spend one night with the boy and the buffalo.

Overall, don't be afraid to put your characters in peril! I don't think I worried once about whether Minli would succeed in her quest, or feared for her safety or her life. This made for a comforting, pleasant read, but I think more conflict overall would go a long way toward making this more rewarding.

...

3) It's not believable that her parents would just wait around for her at home for her to come back--have one or both of them go after her? Or have them send someone else after her? If they do stay behind, you need a convincing reason why, and also her reunion with them at the end needs to be more dramatic. Wouldn't they cry? And what did they do while she was gone? Did they set up a shrine to her? Pray for her every day? Maybe they sent the old man selling the fish after her, or maybe a man from the village, or a kind traveler passing through?

It was interesting looking back at the publication history of this very special book--and we had fun telling the story, too. We should be on more panels together, don't you think?

***

If you're in the Los Angeles area tonight (Monday, October 24), head out to the Mysterious Galaxy Bookstore at 7:30 for Laini Taylor's signing of