FIVE FLY-TYING TIPS FOR WRITING NONFICTION PICTURE BOOK BIOGRAPHIES

By Jeanne Walker Harvey

I recently came across notes I took when I joined my son, a fishing fanatic, in a fly-tying class. He quickly engaged in the process, while I realized (after fumbling with the tiny bits of thread, feathers and beads) that I was better off with pen and paper tools. Some of the fly-tying tips struck me as advice one can use in writing children’s nonfiction books.

1.  Reference – Gather information on hatches, baits, fish, and tying techniques.

Or in my case, as an author of picture book biographies, I try to gather as much information about the person that I’m considering featuring, and preferably from primary sources (interviews, letters, diaries, videos, etc.)  And, just as it’s important for someone tying a particular fly, say a wooly bugger, to learn about a particular insect’s habitat, it’s necessary for me to learn about a person’s world – the politics, history, customs of the time. I may not include these details in the finished manuscript, but they guide me in my writing about the person’s life or experiences.

2.  Materials – Don’t get hung up on finding exact materials from a recipe. Use what you have.

I can get lost in the incredibly enticing world of research. Sometimes I need to tell myself to stop gathering  information, and instead face that blank page and begin writing. I can always go back and gather more specifics, if needed.

3.  Thread tension – Pull at about 80% of the thread’s breaking strength.

I’m always trying to think about the throughline of my story when I’m writing it. What is the central, unifying idea or theme that holds my narrative together.  What are the challenges or obstacles the person faces? What does the person seek to achieve? What will connect to the child reader? 

In my upcoming picture book biography, THE GLASS PYRAMID: A Story of the Louvre Museum and Architect I.M. Pei (Atheneum/Simon & Schuster), I hit upon the throughline idea of I.M. Pei “planting and growing” the pyramid in a way that addressed the redesign needs of the Louvre, despite challenges and setbacks (resistance from the French, discrimination as a Chinese American, etc.). 

4.  Finishing: Use a whip finish or half hitch to finish your fly for a solid finish

I’m always seeking a solid ending to a manuscript, and in the case of THE GLASS PYRAMID, I was able to weave in (after many rewrites) my theme:

    “What began as I.M.’s secret Louvre project

    blossomed into a cherished symbol of France.

    In the splendid garden of Paris,

    Ieoh Ming Pei patiently planted

    and then grew

    a glorious glass pyramid.”

5.  Steam: Steam your finished flies to rejuvenate them.

When I finish a manuscript, I always ask others to read and critique the finished draft to “rejuvenate” it. But because we write nonfiction, it’s sometimes tricky because other fiction authors may suggest plot additions that are not accurate or supported by evidence. So instead, I ask for their thoughts on clarity of information, pacing, and engagement.

And after I’ve tackled these tips, I toss my finished manuscript out into the publishing waters, and hope for a bite! But no matter what, the process of writing the manuscript (or tying the fly) is always rewarding for me. And so for any of you seeking to tie together a nonfiction piece, I hope you enjoy the process and wish you all the best!

About the Author:

Jeanne loves writing picture book biographies about creative people who overcame challenges. In addition to  THE GLASS PYRAMID, her books include ELSE B. IN THE SEA: The Woman Who Painted the Wonders of the Deep; ABLAZE WITH COLOR: A Story of Painter Alma Thomas; DRESSING UP THE STARS: The Story of Movie Costume Designer Edith Head; MAYA LIN: Artist – Architect of Light and Lines; and MY HANDS SING THE BLUES: Romare Bearden.

She studied English literature and psychology at Stanford University, and lives in Sonoma, California. You can learn more at jeanneharvey.com or follow her on X or Insta  @jeannewharvey