Join Us for the Ninja Total Experience Retreat!

By Stephanie Bearce

I love Nonfiction Fest. A whole month of learning from the best authors in the business. What could be better?

How about spending a whole weekend hanging out with some of those authors in person? That’s exactly what you can do if you join us for the Ninja Total Experience Retreat this May!

Every year, the Ninja team gathers for a retreat to revise projects, brainstorm new ideas, and share insider information about publishers and editors. We might also play silly games, eat chocolate-drizzled popcorn, and watch Linda Skeers do interpretive dance moves. We’re not all business all the time!

Over the years, so many people have asked if they could join our retreat. And, selfishly, we’ve always said no. After all, there’s only so much chocolate-drizzled popcorn to go around! But this year, we decided to share the fun with all of you.

We’re inviting kidlit authors—of all genres—to join us in Hiawatha, Iowa (home of the interpretive dance studio of Linda Skeers). And yes, we mean all genres. You may know us as nonfiction experts, but the truth is, we Ninjas write fiction, too—award-winning fiction!

What You Can Expect

At the retreat, you can bring up to four manuscripts for critique. You’ll meet in small groups led by a Ninja team member, receiving professional feedback to help refine your work.

But that’s just the beginning. Throughout the weekend, we’ll cover key topics to help you strengthen your craft, including:

• The dreaded query letter—how to make yours stand out (in a good way).
• Interpreting feedback from editors and agents—because sometimes it feels like a foreign language.
• Brainstorming new ideas—for when your creative well needs a refill.

And for those burning publishing questions, Storm Literary agent Lisa Amstutz (who also happens to be a Ninja) will lead an Ask-Me-Anything session, giving you the inside scoop on agents, editors, and the publishing world.

Learning, Laughter, and Yes—Prizes!

Of course, it wouldn’t be a Ninja retreat without some goofy games and equally goofy prizes. You might walk away with a year’s supply of interpretive dance lessons. Or a coveted bag of chocolate-drizzled popcorn. Either way, you’ll leave with new friends, fresh insights, and an extra boost of motivation for your writing journey.

And here’s the biggest bonus—after the retreat, all participants will have the opportunity to submit to Lisa Amstutz. She’s officially closed to submissions, but she’s making an exception for retreat attendees. That alone is worth the price of admission!

Affordable Pricing

We’ve worked hard to keep the retreat affordable because we want as many of you as possible to join us. Every registration option includes all programming and meals:

• Option 1 – A shared room for $350 per person. Bring a writing buddy or make a new best friend!
• Option 2 – A private room for $550 per person.
• Option 3 – Stay off-site but enjoy meals and programming for $275.

That’s a deal that can’t be beat!

 

Ready to Join Us?

So what are you waiting for?

Still need more details? Check out all the nitty-gritty at Ninja Retreat.

We hope to see you in May! But if you can’t make it, stay tuned to our blog. We’ll be sharing more great content throughout the year, and of course, we’ll see you next February for Nonfiction Fest 2026!

 

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 

 

CREATING DRAMATIC TENSION IN NONFICTION PICTURE BOOKS

By Gabi Snyder

 

Dramatic tension is all about keeping your reader hooked. Simply put, dramatic tension is the feeling of suspense that keeps a reader reading. There are several strategies for creating dramatic tension in your nonfiction story. Here are a few.

Questions

When a story poses intriguing questions, you naturally keep reading to learn the answers.

For example, in HONEYBEE: The Busy Life of Apis Mellifera (illustrated by Eric Rohmann), author Candace Fleming uses a question refrain to create tension. A few pages in, we read, “Crawling to a cell packed with sticky, rich pollen, Apis eats…” The spread ends with the question, “Strong enough for flying?” We want to know when the honeybee will fly! We turn the page and read, “Not yet….” The next several spreads each end with some variation of the “flying?” question, and each of the following pages begin with “Not yet.” Fleming waits to answer the question, and our anticipation builds, making the gorgeous double gate page in which the honeybee does fly all the more awe-inspiring.

In LUNA & ME, by Jenny Sue Kostecki-Shaw, we’re hooked immediately with the opening lines, “Have you ever climbed a tree? And stayed there ALL night? Once there was a girl who LIVED in a tree—for over TWO years!” We want to learn more about this girl who lived in a tree. Why did she live in a tree? And how? We read on to learn the answers.

Page Turns/Refrains

In picture books, page turns are often used to create suspense and keep the reader engaged. The page might end with a question (like in HONEYBEE, discussed above) or ellipses (…) that make us turn the page to read the conclusion of a gripping sentence.

In the beautiful HENNA IS…(written by Marzieh Abbas and illustrated by Anu Chouhan), a refrain, just before each page turn, repeats throughout the book. After we read about one element of henna, like how “Henna is nature/ Seeds sprouted into shrubs/ leaves kissed by tropical rain…,” the spread ends with “But henna is so much more…”. We turn the page to learn more about the compelling henna!

Mystery

Like a good whodunit, a captivating mystery, puzzle, or riddle is inherently suspenseful.

The unique picture book WHAT MAKES US HUMAN (written by Victor D.O. Santos and illustrated by Anna Forlati) is written in the form of an extended riddle. The story begins with the words, “I have been around for a very long time. Longer than toys, dogs, or anyone you know.” With each spread, the riddle text and art provide more clues. We keep reading to learn what it is that makes us human!

Another example that introduces a kind of mystery is NOTHING – John Cage and 4’33” (written by Nicholas Day and illustrated by Chris Raschka). The title itself introduces suspense. How is this book about “nothing”!? The book opens with, “A pianist walks into a barn.” It sounds like the set-up for a joke! When the pianist sits down to play a new composition by someone named John Cage, he does… “nothing.” When, we wonder, will this nothing turn into “something”? And when it doesn’t, we wonder why, oh why did John Cage write a composition of “nothing.” We keep reading to find out!

Foreshadowing

Foreshadowing increases dramatic tension by piquing the reader’s curiosity or sense of anticipation.

In ME…JANE, by Patrick McDonnell’s, the story opens with the line, “Jane had a stuffed chimpanzee named Jubilee.” Even readers unfamiliar with Jane Goodall may suspect that detail will be central to the story. Later we read about young Jane, up in a tree. “With the wind in her hair, she read and reread the books about Tarzan of the Apes, in which another girl, also named Jane, lived in the jungles of Africa.” Even the book’s title, ME…JANE, which cleverly reframes a famous line from Tarzan with the focus now on Jane, provides a kind of foreshadowing.

In THE FIRE OF STARS: The Life and Brilliance of the Woman Who Discovered What Stars Are Made Of (written by Kirsten W. Larson and illustrated by Katherine Roy), the story opens with parallel perspectives.  One-quarter of the page is set in space: “Wrapped in a blanket of sparkling space, an unformed star waits for its bright future to begin.” The other three-quarters of the page show us young Cecilia Payne, who begs to put her bare feet in the snow and learns it’s not soft and warm like she expected. This parallel perspective foreshadows a convergence. We keep reading to find out what this curious young girl has to do with an unformed star.

Your Turn

Analyze your favorite nonfiction picture books. How does the author create dramatic tension?

Now look at your nonfiction manuscript. Can you add more dramatic tension by incorporating some of these techniques? Happy revising!

 

About the Author:

Gabi Snyder is the author of several picture books. Her debut, TWO DOGS ON A TRIKE, illustrated by Robin Rosenthal, was a Kirkus Best Picture Books of 2020 selection. Her second picture book, LISTEN, illustrated by Stephanie Graegin, was a 2022 Oregon Book Award finalist. And her third title COUNT ON US!, illustrated by Sarah Walsh, was the winner of the 2022 Sigurd F. Olson Nature Writing Award in the children’s category. Her most recent books include TODAY, illustrated by Stephanie Graegin, and LOOK, illustrated by Samantha Cotterill. Gabi lives in Oregon with her family. Learn more at gabisnyder.com.

 

  

LET LYRICAL LANGUAGE ADD MUSIC TO YOUR WRITING

 
by Buffy Silverman

You’ve revised and polished your nonfiction manuscript. But the language still feels flat. How
can you add sparkle to your words?

Consider using some of the techniques that make poetry a pleasure to read aloud. Lyrical
language can elevate your words and bring your subject to life. Let’s look at a few recent picture books that combine a nonfiction subject with lyrical language.

Read the opening of Leslie Barnard Booth’s ONE DAY THIS TREE WILL FALL aloud:

 

        LOOK AT IT.
        Wounded, worn, twisted, torn.
        One day this tree will fall
        and this story will end.
        Won’t it?

Notice how it captivates a reader with alliteration and internal rhyme. Wounded, worn, twisted, torn rolls off the tongue because of the repeated initial sounds, rhythm, and rhyme. At the same time, these words create a vivid image in the reader’s mind. The brevity of the two-word question at the end of this opening spread entices the reader to turn the page.

The author also uses repetition to create music in her words:

        This tree grew.
        And grew…
        despite wind
        despite ice
        despite
        drought
        drought
        drought.

The repeated words create rhythm that propels the narrative forward.

 

WIND IS A DANCE by Debra Kempf Shumaker also uses repetition to great effect. The phrase

“Wind is a…” is repeated as a refrain that connects the book’s theme. Consider these words that answer the book’s opening question: What is wind?
        

        Wind is a dance—a dance of air.
        Warm air leaps high, while cool air bows low.
        Day by day, fast or slow, wind changes.

Wind is described with other metaphors: a butterfly, a puppy, a boxer, a train. Each metaphor is expanded with vivid verbs that describe both wind and what it is compared to:

        wind is a whisk--
        churning and whipping
        a batter of clouds and rain
        over the warm ocean.

The initial drafts of my 2024 book, STARLIGHT SYMPHONY, were written in perfectly fine
prose. But that perfectly-fine prose was not ready to capture a reader’s (or editor’s!) attention.
Here’s the opening of an early draft:

        The light dims and the curtain rises.
        The musicians prepare to play.
        The flutist plays a cheery melody:
        Ee-oh-lay, ee-oh-lay! sings wood thrush
        from his perch on the maple tree.

I had chosen to compare the songs of nighttime animals to different musical instruments. I had included onomatopoeia so that a reader could hear the animals’ songs. I had written back matter that explained the function of each animal’s song. But the text was still missing something that I couldn’t identify.

I was fortunate to win the SCBWI Michigan picture book mentorship with Kelly DiPucchio in
2019, and sent her the prose version of STARLIGHT SYMPHONY. Kelly’s immediate response was: “Please don't shoot me. LOL!  I love your concept BUT......I feel like this manuscript, in particular, would be stronger in rhyme.” Of course she was correct—a symphony should have musical language! While it was a challenge to change a prose manuscript into one with rhythm and rhyme, it was the revision that this manuscript needed. Here’s the opening stanzas of the final version:

        The lighting dims.
        The curtain lifts.
        Musicians gather.
        Spotlight shifts.

        A flutist’s
        airy melody
        sparkles in
        a lakeside tree.

        Eee-oh-lay!
        Wood thrush sings
        with silver notes
        and copper wings.

The short sentences, imagery, rhythm and rhyme make this a book that I hope readers will want to read and listen to, while still focusing on the sounds of animals.

Writing in rhyme is only one way to add music to your language. Explore other poetic techniques like alliteration, assonance, consonance, onomatopoeia, repetition, metaphors, similes, and personification. Read your work-in-progress aloud. Will a sprinkle of lyrical language add sparkle to your words?

ABOUT THE AUTHOR

Buffy Silverman is the author of many nonfiction books for children. STARLIGHT SYMPHONY (Millbrook Press, 2024) received starred reviews from Kirkus and Booklist. Other recent titles include ON A SNOW-MELTING DAY (NCTE Notable Poetry book, Kirkus star review), ON A GOLD-BLOOMING DAY (CLA/NCTE Notable Book in the Language Arts, Bank Street Best Books) and ON A FLAKE-FLYING DAY. She lives near a swampy lake in Michigan where she enjoys outdoor time with her dog, photographing nature, and writing poetry.

SIDEBARS THAT SHINE

by Nora Nickum

You have probably read nonfiction picture books that include sidebars–additional text that’s outside the flow of the main text and often formatted differently, such as being placed inside a text box or using a distinct, often smaller font. Not all nonfiction picture books have sidebars or need them, though.

So, how do you decide if your project would benefit from sidebars? And how do you choose what information to include, how long the sidebars should be, and more?

Let’s start with some ways that sidebars might be able to boost a manuscript. 

Books with sidebars can reach different kids in different ways. Depending on the reader’s age, level of interest in your subject matter, current attention span, and more, they may be content to focus on the main text, or they may be glad to have additional details ready to dive into right there on the page. In that way, sidebars can be a way to “layer” information for different audiences. I have also found sidebars can help me market my book for a wider age range because I can show there is a thread for younger children to follow, plus optional sidebars that can appeal to older readers.

Sidebars can immediately answer readers’ burning questions. Maybe there are concepts or terms in your main text that some readers will be familiar with, but not all. You could briefly define those terms in sidebars, so the information is readily available to those who need it but can be skipped by those who don’t. Other kids may be so intrigued by your subject matter that they can’t wait to learn more–can you imagine what some of their questions might be, and give them more information in a sidebar?

Sidebars can convey additional information that is fun but not essential. Think factoids, trivia, statistics, and more–things that might add richness and be fun to share but that aren’t essential for understanding your main text.

Sidebars can give you flexibility and allow for varied voices. Sidebars can not only have a different format than the main text, but also a different tone. For example, if your main text is serious, sidebars can be silly (or vice versa). If your main text is lyrical, sidebars can convey more detail without using poetic language. 

If I have decided a particular project could benefit from sidebars, I keep some things in mind when deciding how to write them:

1. Be consistent with length and placement, whenever possible. If I have sidebars on some spreads, I try to have them on all spreads (except maybe the first and last spreads) or occurring at regular intervals. If it feels like I have to force that consistency, I try deleting the sidebars and moving that information to the back matter. It’s also nice to make the sidebars all about the same length, though that didn’t wind up being the case with This Book is Full of Holes (it just takes more words to explain wormholes than to discuss the familiar holes in a backyard sprinkler). When I use sidebars, I also try to keep the main text extra short, so the pages don’t feel crowded with words. 
2. Remember some readers will skip the sidebars entirely. It’s helpful to make sure readers won’t be completely confused if they only read the main text.
3. Consider using a different voice for the sidebars than what is used for the text. Contrast funny/serious or rhyming/prose.
4. Be open to changing it based on editorial feedback. There are, of course, multiple good ways to convey information. An editor may encourage an author to make sidebars shorter or longer (my editor, for example, wanted to make sure the sidebars felt complete–not short just for the sake of being short). Or an editor may suggest deleting the sidebars and integrating the information into the main text or the back matter. Welcome that conversation, and experiment. 

 

Try This: 

Check out some nonfiction picture books that have sidebars. Some recommendations to start with:

●   Up, Up High: The Secret Poetry of Earth's Atmosphere by Lydia Ludikis, illustrated by Katie Rewse (Capstone, 2025).

●   Thank you, Moon: Celebrating Nature’s Nightlight, by Melissa Stewart, illustrated by Jessica Lanan (Knopf, 2023).

●   Bounce! A Scientific History of Rubber, by Sarah Albee, illustrated by Eileen Ryan Ewen (Charlesbridge, 2024).

●   This Book is Full of Holes: From Underground to Outer Space and Everywhere in Between, by Nora Nickum, illustrated by Robert Meganck (Peachtree, 2024). 

First, read through without reading any of the sidebars. Then, read each book a second time and include every sidebar.

●   What was the experience like each time?

●   What kind of content did the authors put in sidebars instead of the main text? What content did they still leave for the back matter?

●   Can you identify another purpose of the sidebars besides the ones I mentioned above? 

Now, read a few nonfiction picture books that don’t have sidebars. How might the inclusion of sidebars have changed the experience, the tone, or the target audience/age?

 

About the author: 

Nora Nickum is the author of multiple nonfiction books, including middle-grade Superpod: Saving the Endangered Orcas of the Pacific Northwest (Chicago Review Press, 2023) and picture books This Book is Full of Holes (Peachtree, 2024) and This Book Bubbles Over (Peachtree, March 2025). She has also published several nonfiction articles for children in Muse magazine. In addition to writing, Nora leads ocean conservation programs for the Seattle Aquarium. Learn more about her at www.noranickum.com.

OUTSIDE THE BOOKSTORE: Niche Marketing

by Roxanne Troup

Everyone knows authors write. But few come into this industry realizing all the other things authors have to learn to succeed—pitching, design, marketing, public speaking . . . And while all those skills can be mastered, the one authors seem to struggle with most is marketing. I get it. Of the thousands of children’s books published each year, how do we break through the noise to help our book(s) find readers?

Niche marketing.

 

Benefits of Niche Marketing

1) Less competition, less noise (more effective use of your time/resources)

2) "Right” readers (those who are already interested in your product)
3) More support (near-instant fan base offering word-of-mouth recommendations/connections)

This is not a bash on traditional sales channels or indie bookstores. We all know how supportive Indies are to local authors—but it’s impossible for one or two local stores to move the needle on a publisher’s P&L statement. That’s why selling through these channels remains the domain of publishing houses. Publishers have the connections to do so; when we try running in that lane, we just end up spinning our wheels. But by focusing on smaller segments of the book community we can find traction.

 

Real-World Examples

My debut, MY GRANDPA, MY TREE, AND ME (illustrated by Kendra Binney and published with Yeehoo Press), uses the lens of an intergenerational family relationship to tell the story of pecans—both their commercial production and backyard cultivation. Its accurate portrayal of farming fit the mission of Ag in the Classroom. So, I did what all nonfiction authors do—research. I found key contacts within that space, and emailed to let them know about the book and offer them my teacher guide. Several of those contacts responded to request bulk quantities of the book, and at least one was instrumental in getting it in front of the Ag Foundation. In January 2024, my book was honored with the Ag Foundation’s Book of the Year award, which meant the Ag Foundation was now behind its success. They bought thousands of copies to distribute to their various Farm Bureaus (many of which also bought bulk quantities to distribute to area schools) and promoted it on their various channels throughout the year. All told, my two dozen or so emails ended up selling around 10,000 copies!  

 

My sophomore release, REACHING FOR THE STARS: A MISSION TO SPACE (illustrated by Amanda Lenz and published with Schiffer Kids) is a forward-looking title celebrating women in space. It collages images from the James Webb telescope into whimsical art to create an awe-inspiring reading experience (and fun look-and-find feature for kids). Knowing how far niche marketing could go, I contacted air and space museums around the country giving them a peek inside the book and asking them to carry it in their gift shops. I don’t yet know what the results of that will be, but I did receive a lovely email from Smithsonian’s gift shop curator saying they would stock it in the National Air & Space Museum!

And you can do the same.

 

Niche Areas to Explore

1)  Organizations—Look for groups whose focus is similar to the subject or theme of your book. Are you writing about endangered animals? The American Revolution? Space? Find organizations who are also raising awareness about that topic. Reach out and see how you can support one another. Perhaps they publish a quarterly newsletter or magazine that needs content. Maybe they’re looking for speakers for an upcoming event. Pitch yourself and your work—just make sure your pitch is focused on supporting the organization’s goals and helping them reach or expand their audience. 

2)  Museums—There are museums everywhere, about everything! Math puzzles…neon road signs…spy gadgets. And nearly every museum has a gift shop. Put that computer keyboard to work and find some connections. Send an introductory email to the person in charge of purchasing, and let them know about your book. Be sure to include a sample page or two and information for wholesale purchases. I like to attach a PDF of my publisher’s sale sheet they can share in case I didn’t pick the right person to contact.

3)  Awards—Book awards make a big-deal-difference in book sales, especially for libraries. We all know that. But there are lots of kidlit-focused book awards beyond those provided by ALA or the CBC. (And these are awards your publisher may not know about.) For example, every year, the American Horticulture Society honors ecology- and garden-themed children’s books through their Growing Good Kids book award program. Google your topic + “book award” to see if anything pops up. You may find something to share with your publisher.

      With a bit of luck (and lead time) you may create some far-reaching publicity opportunities for yourself and your book(s).

 

About the Author:

Award-winning author Roxanne Troup writes picture books that inspire wonder and celebrate family. With a background in education, she also writes engaging nonfiction for all ages. Roxanne lives in the mountains of Colorado and enjoys hiking with her family, gazing at stars, and exploring our amazing world through stories. She loves visiting schools to water seeds of literacy—and occasionally remembers to water the plants in her container garden. Find her online at www.roxannetroup.com.