Carolyn Crimi on Pugs, Bugs, and What Makes Her Laugh

Some writers are born with a knack for plotting. Others with an ear for dialogue. But few come into the world with as finely tuned a funny bone as author Carolyn Crimi. She has written 13 picture books that are sure to elicit laughs and snorts from the youngest readers – as well as their adult companions. Carolyn is back with another of her joyful romps through storyland with Pugs in a Bug, illustrated by Stephanie Buscema (Dial, 2012). Part counting book, part rollicking adventure, Pugs in a Bug also features greyhounds in a bus, sheepdogs in a jeep, and even bulldogs driving cabs. It is a great fit for dog lovers everywhere.

Question: Pugs are adorable and inherently funny. Volkswagen Beetles are adorable and inherently fun. How did you hit on the stroke of genius to put the two together?

Carolyn Crimi: It just so happens that I own a Volkswagen Bug, although unlike the one in the book, mine is rarely a “clean,” green Bug. It is simply “green.” The very first time I put my pug, Emerson, in my VW Bug, I squealed, “A pug in a Bug!” That was about 10 years ago. I still have both my pug and my Bug, and now I also have a book about them.

Q: Lots of people have great ideas all the time. How do you take your creative, clever notions from idea stage to published book?

CC: A lot of my ideas never make it into books. That’s fine. Not all of my manuscripts are good enough to be made into books. Many people are surprised when I tell them that I have about 100 manuscripts of different lengths and degrees of completion in my computer, and yet I only have 13 books published. I’d say that most of my picture-book writing friends have just as many unsold manuscripts. Troubles arise when you feel you must publish a manuscript. Sometimes I’ll spend a long, long time on a manuscript and think that just because I’ve spent so much time and energy on it, I’ll sell it. Unfortunately that’s not the way it works.

If I really believe in a manuscript, I’ll revise it many times before sending it out to a publisher, while some manuscripts are just exercises that never leave my computer. It’s a different journey for each.

Q: Where does your creativity happen? On long walks in the woods, while scrubbing the dishes after dinner, at writer's retreats in the Vermont mountains?

CC: I’d say D, All of the Above. Although I’ve gotten an inordinate number of story ideas on my daily walk through the streets of Evanston.

Q: Because you write for the youngest readers, you must have a strong sense of the joys of being a child. Do you draw on memories from your childhood? Or have you just maintained a great connection to your younger self?

CC: I’d say that I actually have a strong sense of the agonies of childhood. Although I like to think that my books end on a hopeful note, they usually start with a problem that I’m having now or that I had as a child.

No one ever believes me, but I was a shy child. Right now I’m working on a book about a shy bunny who won’t say hello. I remember hating that whole, “Say hello to Mrs. Brown” rigmarole. I have always had stage fright, even though I love being on stage (go figure!), so Rock ‘N Roll Mole (Dial, 2011) stemmed from many memories of being petrified while on stage. I think if I started from a joyful or blissful memory of childhood, I’d write a pretty boring book.

Q: With characters from your books like these pugs, a rock-n-role mole, and a buccaneer bunny, you clearly have a sense of humor. What inspires you to write such fun and funny books? What makes you laugh? 

CC: I like taking stereotypes and turning them inside out. A bear pirate isn’t nearly as funny as a bunny pirate. Likewise, a lion rock star would be expected, but a mole?

These are the kinds of things I think about. Like, all day. Hippo fairies, pig princesses, warthogs in love, professorial monkeys, it’s all funny to me. Animals make me laugh in general. There’s not a day that goes by when I’m not laughing at my pug.

I write humor because I need humor. When I’m sad or frustrated, I’ll watch a funny movie or read a funny book. I cope with the world through humor. And hey, it’s a lot cheaper than therapy.

My Funny Valentine: Brenda Ferber's 'Yuckiest' Picture Book

Valentine's Day is almost here, and love is in the air. Or if that's not love, it's a serious craving for chocolate. We'd like to celebrate the big day by talking to Brenda Ferber, author of the brand-new picture book The Yuckiest, Stinkiest, Best Valentine Ever (Dial, December 2012). Brenda has also published two middle-grade novels with Farrar, Straus and Giroux, Jemma Hartman, Camper Extraordinaire and Julia's Kitchen, winner of the Sydney Taylor Book Award in 2007.

Question: Your other books are middle-grade novels. What inspired you to write The Yuckiest, Stinkiest, Best Valentine Ever and speak to a younger audience? 

Brenda Ferber: With my novels, I write for the adolescent I used to be because those memories are so close to my heart. But I honestly don’t remember much from when I was very young. However, when I wrote Yuckiest Stinkiest, I had two second-graders and a first-grader, so I was knee-deep in story ideas for that age-group.

The impetus for this particular story came when I was charged with bringing a Valentine’s Day book to my daughter’s class party. I looked in the book store and the library, but I didn’t find anything I thought would appeal to this group of sophisticated second-graders. I knew they’d be bored by anything moralistic, and they’d cringe at anything too lovey-dovey. I was looking for an adventurous, humorous book to share with them about Valentine’s Day, and I couldn’t find one. So I decided to try to write one myself.

I remembered the year before, when my then first-grade son had come home from school on Valentine’s Day and begun sorting his class valentines into two piles – good and bad. I wondered how he was determining which valentine went into which pile, especially since he wasn’t even opening them. It turned out he didn’t know or care who the cards were from; the good ones had candy attached. For him, Valentine’s Day was Halloween in February. It was all about the candy.

Contrast that with my younger son, who was a born romantic. He had big crushes since preschool, and he was very giving and demonstrative with his love. For him, Valentine’s Day was the perfect holiday because it was a day to share and celebrate love, his favorite thing. I wanted to write a story showing these two ways of approaching the holiday, because in my opinion, Valentine’s Day is about both candy and love. To make it funny, I exaggerated my sons’ characteristics and turned things upside down by having the valentine – who you’d think would be all for love – be the character who prefers candy to anything mushy or romantic. Then, to make it adventurous and to raise the stakes, I created a big chase.

In the original story that I read to my daughter’s class, the chase actually went around the world and ended with the valentine jumping into a bubbling volcano. Alas, I discovered a valentine suicide is not the best ending to a picture book! Over the next five years, I revised the story extensively, changing just about everything except the main concept. It was great fun and rewarding to see the story develop into what it is today.

Q: Did you find writing a picture book to be freeing in some ways from a middle-grade book? Were there more opportunities to tap your funny bone? 

BF: I don’t know if freeing is the right word. I felt a ton of pressure. I have a good sense of humor, but I’m not actually funny. I surround myself with funny people, and I love to laugh, but I’m not usually the person who makes other people laugh. Yet, here I was, determined to write a funny picture book. I wasn’t sure I could do it, but I tried. The thing that helped was that whenever I write, I approach it as a reader, so even though I’m putting the words on the page, I’m imagining reading those words for the first time and reacting internally the way a reader might. When I made myself laugh, I knew I was on the right path.

Q: What were you hoping to convey to young readers with Yuckiest? Not so much hitting them with a message, but in the spirit of the book? 

BF: Ultimately, it’s a book about vulnerability. It takes a ton of courage to tell someone how you really feel, especially when you can’t be sure if those feelings will be reciprocated. But nothing risked is nothing gained. Leon starts the story not even considering vulnerability. He’s never been hurt, so why should he worry? But the valentine and everyone he meets on the chase make him aware of just how complicated and risky love is. 

The image of Leon totally freaked out when he realizes this cracks me up because it's so real. Love is complicated! Love involves risk and vulnerability. But in the end (spoiler alert!), of course Leon’s crush loves him back, and not only that, but the valentine falls in love, too. So I guess what I’m saying is, it’s okay to be afraid of love, but don’t let that stop you. That said, readers might come away from the book with a completely different interpretation, and that's okay with me.

Book Giveaway Alert! Brenda will send a free, autographed copy of her book to one lucky reader who adds a comment to this post!

Q: Having an illustrator, and such a remarkable one as Tedd Arnold, can add an exciting dimension to a story – for both the reader and the author. Can you speak to what it was like seeing Tedd's interpretation of your story? And what his illustrations do for readers? 

BF: I absolutely fell in love with Tedd Arnold’s illustrations for my book! He added a whole other level of depth and humor to the story. There are so many fun details that make multiple readings a joy. For example, you might notice that when Leon is thinking about his crush, his pupils are heart-shaped. And the little girl who loves all this romance has a small tear in her eye that grows bigger as the story progresses. And then there’s the teen who goes on and on about how she can find out if Leon’s crush loves him back. She talks so much that her words literally get squeezed off the page.

Tedd makes the characters truly come alive. I imagine kids and adults will enjoy poring over the illustrations time and time again. I also love the way the book looks like a large, vibrant Sunday comic. I think this format will especially appeal to older picture book readers, and since the story concept is funnier the older you get, this illustration style seems to me to be the perfect fit.

Q: What do you hope young readers take away from your books – from Yuckiest to Jemma to Julia?

BF: I think reading is such a personal experience that I can’t really care what people take away from my books. I just hope they take something. When I first started out on my writing journey, I created a mission statement, and it holds true today. It goes like this: I aim to write books that touch the heart and soul and allow readers to see themselves and the world in a new way. So if I can make you laugh with this picture book, or cry with one of my novels, or if something I’ve written gives you that aha moment where you see things in a fresh and different way, then I’ve done my job.

Amy Timberlake Hits the Target With 'One Came Home'

Author Amy Timberlake's interest in birding comes through in her latest middle-grade novel, One Came Home, out this month from Knopf. Set in the town of Placid, Wisconsin, in the 1870s, 13-year-old Georgie is a straight-shooting girl – both with her rifle and her mouth. And that mouth is the reason her big sister, Agatha, takes off with "pigeoners" tracking the massive passenger pigeon migration. When the sheriff turns up with an unidentifiable body that's wearing Agatha's teal ball gown, the town assumes the worst. Everyone, that is, except Georgie.

This is not Amy's first rodeo – she's the author of the middle-grade That Girl Lucy Moon (Hyperion, 2006), which was a 2007 Amelia Bloomer Book, and the picture book The Dirty Cowboy (Farrar, Straus and Giroux, 2003), winner of a Golden Kite Award and Parents Choice Gold Medal.

Question: One Came Home is set in Wisconsin in 1871. How did you come to settle on this place and time period?

Amy Timberlake: 1871 Wisconsin found me more than I found it. See, I'm a birder. I was reading A.W. Schorger's The Passenger Pigeon – minding my own business so to speak. This was a scholarly tome written in the '50s, and I wasn't expecting to find a novel in it. But then I turned a page, saw a map of Wisconsin, and covering a large swath of the map was this "nesting" in 1871. The historian said it was one of the largest passenger pigeon nestings in recorded history. I'm from Wisconsin, and this was news to me. I was stunned – absolutely stunned. Why didn't I know about this? That's when I knew I had to write about this. And when you add in the tumult of a billion crow-sized birds whizzing around at 60 mph – well, that seemed like a perfect setting for a story. Doesn't it sound good to you? I mean, it's like something out of science fiction, except it actually happened.

Q: The protagonist, Georgie, is deeply devoted to her sister, Agatha. Can you speak to sibling relationships and what you wanted to convey in the telling of their story? What did you draw from in your own life?

AT: I do have a younger brother, and I do love him. In kindergarten I brought him as my "show and tell" item. Yes, he was my favorite possession, as only a younger brother can be to an older sister. Man, he was a good sport!

In the book, I did want to explore the transition sibling relationships make as the siblings grow up. There comes a point where you've got to let your sibling be themselves and accept them for who they are.

Q: A memorable part of One Came Home involves passenger-pigeon migration and the massive scope of these birds' flight – sometimes spanning 10 miles at a time and blackening the sky. How does this play in the story and why?

AT: It's a setting – a living, breathing setting. Once you've got such a dynamic setting, suddenly there's a lot of material to comment on. It helps develop the characters too. Both Agatha and Georgie take a keen interest in the natural world, but in opposing directions: Georgie takes to hunting, and Agatha is a self-taught naturalist. In addition, the nesting draws all those "pigeoners" (pigeon hunters)  too. And then there's the compromises that the nesting forces on all of those that live near it – the noise, the pigeon dung, etc.

Q: Does One Came Home have an environmental message? Is Georgie at heart an environmentalist? Agatha too?

AT: If you write a historical story where an extinct species plays a prominent role, the absence of that species in the 21st century echoes – there's nothing that can be done to avoid it. What I mean is that as a 21st century reader, you're reading One Came Home knowing the birds are never coming back.

Depiction of passenger pigeon hunt, 1875. Wikimedia Commons.

But as the author, I did not want to write a "message" book, or an "environmental" book. One Came Home is first and foremost a Western, an adventure, and it's also got a mystery tucked in there for fun. It is enough – I think – to write the passenger pigeons into the book and let that speak for itself.

I also tried to be careful to not put 21st century thoughts in my characters. (I may not have always succeeded, but I did try.) Agatha's interest in the natural world is based on people from the 19c. In addition, all of my characters would be well-versed (literally) in biblical teachings about respecting life from the Christian tradition, so I let that guide me. Neither Georgie nor Agatha would call themselves an "environmentalist."

Am I an environmentalist? Sure. On a personal level, one of the questions I am grappling with is how we deal with animals that impact our human lifestyles. For instance, what do we do about grizzly bears, polar bears, cougars, and other large animals that need huge swaths of land to roam in? Are we ready to give up land? In the case of climate change (which impacts lots of animals) are we willing to make changes? These are changes that are uncomfortable at a personal level. They require sacrifice.

No one (and I'm including myself here) likes sacrifice . . .  I don't have any answers here, just that I'm not seeing anything in 21st century American life that suggests we'd be ready to welcome back something as tumultuous as the passenger pigeon. It's like we no longer possess the flexibility and tolerance for wild-ness – we need the natural world to be exactly as we want it to be. (On second thought, maybe we never possessed this tolerance. We've spent significant chunks of our history trying to tame Wilderness.) Still, I want to hope that I can change myself and that I can learn to take all the inhabitants of this world into consideration as I make choices. Legislation is part of this too, but it seems like it's gotta happen on the ground before it'll happen in Congress.

Q: What themes and messages do you like to explore in your writing? What ideas do you want to bring up for young readers to consider in their own lives?

AT: Readers are the ones that get to decide about themes and messages (I think). But I'd like it if kids read One Came Home and, as a result, started thinking and talking about extinct species. This'll lead them to thinking about animals that are threatened with extinction, which will lead to questions, and questions will lead (I hope) to good things.

Jacqueline Kelly, author, MD, and Newbery Honoree

Photo courtesy of Macmillan

When Newbery season rolls around, we can't help thinking about our favorite books and personal picks. In honor of one of the top prizes in children's literature, we interview Jacqueline Kelly, recipient of a 2010 Newbery Honor for her debut novel, The Evolution of Calpurnia Tate.

Calpurnia Virginia Tate is one of the most memorable characters to come along in children's literature in years. The only girl out of seven children, Callie Vee, as she is known, spends the sweltering days in her sleepy Texas town down by the river with her grandfather. With the story set in 1899, Callie Vee is expected to thrive in the domestic arts – needlework, cooking, playing the piano. Her mother has high expectations. But Callie would much rather be finding answers to questions about the world around her –about the grasshoppers on the lawn, about a mysterious plant, about a book called Origin of the Species. Callie finds an unexpected accomplice in Granddaddy, a naturalist, who happens to have his own copy of Charles Darwin's infamous book. As the year winds down, Granddaddy helps Calpurnia see how much their world is changing – and that new and exciting opportunities await her in the brand new century.

Question: You have a medical degree as well as a law degree, not to mention a Newbery honor under your belt as well. You must have an inquisitive mind and a passion for learning and doing. Is Calpurnia you?

Jacqueline Kelly: I either have an inquisitive mind or else I get bored easily and have to move on to something else. Yes, Calpurnia contains a lot of me. I would say she is about 60 percent me, about 30 percent my own mother, and about 10 percent various friends of mine. (I'm fortunate to have a funny mother who is nothing like the character of Mother in the book.)

Q: What inspired you to write the story of a girl coming of age in 1899? 

JK: The entire book was inspired by a huge old Victorian farmhouse that I bought in the little town of Fentress many years ago. Maybe it's because we moved houses frequently when  I was growing up, but I love old ancestral family houses and the sense of living history within them. I love looking at old photographs from a hundred years ago and thinking about what kind of lives the folks depicted in them must have lived.

Q: Of all places to set your book, why in the parched little town of Fentress, Texas? 

JK: I fell in love with the house, which had sixteen foot ceilings and was flooded with light. It could have been in any little town in any state, and I would have reacted to it the same way.

Q: Calpurnia is more than just a 'tween butting heads with her mother. She  is an inquisitive young girl who wants to understand what she sees happening around her. She wants to experience life and things that interest her, not just satisfy outdated expectations of what others think she should be. What do you want your readers – especially young girls – to take away from Calpurnia's character?

JK: I want young girls to realize that it was not so long ago that they would not have had much to say about how they lived their lives, and how important it is that they guard their independence. I want them to know that their grandmother's grandmother didn't even get to vote. How quickly things changed for women in the twentieth century. Thank goodness!

Q: You are also the author of Return to the Willows (Henry Holt and Co.), a sequel to The Wind in the Willows by Kenneth Grahame, that came out last year. Can you talk about your writing life – when do you have time for it? Do you still practice medicine? How much time are you able to devote each day to writing? And what will we see next from you?

JK: I practice medicine part-time, a few hours per week. A good writing day for me is 3-4 hours in the morning while I still have caffeine coursing through my veins. I wish I could write every day, but unfortunately I can't right at the moment. I hope this will happen in the future. I am working on a sequel to Calpurnia that is about Callie and her younger brother Travis. No idea yet when it will be published.