Finding My Why

By Sarah Aronson 

At the end of every year, I go through my files to declutter and assess the collection of untapped ideas, false starts, and stories that didn’t find a home. In these entries, I see good ideas that made me curious. Stories that didn’t stand out. Even in the worst of the overworked and failed artifacts (the ones I call cadavers), I see my writing heart in search of connection.

 

I call these glimmers my why.

 

My why can stem from a memory, an interest, a purpose, or my obsessions. It is my personal connection and my stakes in the story. And if it isn’t there, it doesn’t matter how interesting the research is. The story rarely sings. This year, I also found two notes to myself (which inspired this essay): If you are stuck, Sarah, go back to your why. If you can’t give of yourself, you may not have found it.

 

Sometimes, when I stumble on an idea for a picture book biography, the why is obvious. That makes it easy to mine. When I decided to write Just Like Rube Goldberg, I had a lot of connections to draw on. As a kid, I tried to build the breakfast machine from Chitty Chitty Bang Bang. (Note: use plastic!)

 

I played Mousetrap all the time. My dad shared his comics. As I began to do the research, I discovered another strong why: I noticed how people are distracted by their phones—and how much inspiration we miss when we can’t disconnect. It was just like Rube said: we can’t let machines make us lazy. We need to play! We need to use our brains! The story came out fast.

 

Abzuglutely: Buttling Bellowing Bella Abzug began with a similar lifelong connection. Bella was my childhood hero. As I wrote, I found my why in her commitment to speaking her truth. And helping all kinds of people. And the challenges of being a trailblazer. I felt those challenges. And her mission.

 

But other times, the why is a little less obvious. Or it changes with time and the experiences I’m having in the moment. When that happens, I have to keep learning. And digging. And reading. And reimagining. Over and over again, I must ask myself what my story and I share.

 

I like to take this work to the journal for a bit of side writing. I ask a lot of questions like: 

 

What do you love most about your story?

What is easy to write? What does this person stand for?

What do I have to say about this person?

How long have I known about this person, place, or event?

Do we share any ideas? If we were eating dinner together, what would we discuss?

What do the themes in this story mean to me?

Are your guiding beliefs on the page?

As you sit down to write, what do you want?

What do you fear? What are you hiding?

What don’t you want to share? (Then share it!) What is the most important scene in the book?

How do you feel when you read it?

What is happening in the world that makes the story more urgent?

Why is this my story to tell? Is my heart in this story? Or is my ego talking?

What inspired you to take it on? What is the conversation you wish to have with readers?

 

When I asked other writers how they find their why, I got flooded with responses. Everyone talked about curiosity and learning—and their love of doing research! They also talked about the desire to expand their interests and expose kids to forgotten people and stories and worlds. Friends, this is essential. We live in a time where some people want to change history—a world where they fear history and facts.

 

They also told me about their personal connections to their subjects.

 

Librarian and writer Melanie Meadors found her why through connecting to ancient texts. While writing Fantastic Flora, Ann McCallum Staats challenged herself to make a boring topic interesting for both her and the reader. Larisa Theule found connection to human ingenuity while writing Concrete. Elizabeth Tracy started writing Mystery Driver after listening to a story on the radio. But she found her why when she began to incorporate her love of STEM and physics.

 

Jennifer Swanson believes that the why is the connection that makes the book hers to write. For example, she wrote Up Periscope about US Navy hidden figure, Raye Montague, in part because Jen loves STEM! But her story was grounded in a shared experience. They both attended the US Naval Academy. 

 

Because the why becomes not just a theme, but a purpose and guiding light, it informs every decision we make in the process, from POV to page turns to the details that make the cut. The why gives us a voice, and often, an authentic point of view or vibe. When we are connected to a story, we can craft with intention how to increase anticipation (even when the reader knows what’s going to happen). We can confidently choose the details that belong in the front matter and the back.

 

All these elements invite readers to connect to the story. It forces readers to care. And when readers care, our books do something magical: they start conversations and even bigger connections, growth, and change. Isn’t that why we write?

 

In 2023, I got a challenge from a fifth-grade reader. He asked, “Why do so many books for kids feel like they were written for our teachers . . . and not really for us? Why do they all taste like medicine?”

 

Writers, nonfiction should never read like medicine. Nonfiction is exciting. It is interesting. It is story. When we know the why, our books don’t need to preach, because they are too busy helping our readers take action and make decisions for their futures.

 

Are you ready to stretch?

 

Think back to the moment you found your idea. Whether you were taking a walk, or reading a book, or listening to the news, or eavesdropping on some strangers: What was going on in the world? What made you decide to begin the research process? What were your obsessions? Do they show up in the narrative? If not, why not?

 

Write down what you love most about your story. What delights you? Or maybe what makes you want to rant? Is there something that scares you? Or something that excites you? What inspired you to take this chance and stretch further than you ever thought you could? Writing a nonfiction book is a wildly ambitious endeavor. So, find that connection. Know why this story is yours. Share your obsessions. And your heart. And the why that inspired you to work so very hard.

 

It’s worth every struggle.

 

Your readers are waiting.

 

Sarah Aronson began writing for kids and teens when someone in an exercise class dared her to try. Since then, she has earned an MFA in Writing for Children and Young Adults and published a variety of books for kids and teens from Head Case, to Beyond Lucky, The Wish List series, as well as Just Like Rube Goldberg, illustrated by Robert Neubecker, Brand New Bubbe, illustrated by Ariel Landy, and Abzuglutely!: Battling, Bellowing Bella Abzug, illustrated by Andrea D’Aquino.

 

When Sarah is not writing or reading (or making great soup or riding her bike along Lake Michigan), she is talking to readers about creativity, writing, social action, and of course, sparkle power! She loves working with other writers one on one or in one of her classes at the amazing Highlights Foundation. Warning: When she gets really excited, she makes funny faces and talks with her hands. Don’t be shocked if she talks about the power of play.

 

In March 2024, Sarah was awarded the Prairie Writer Award for contributions to literature and literacy. In 2025, she joined the Board of Directors of the Jane Addams Peace Association. She lives in Chicago, Illinois.

Writing about a Living Subject: Tips & Challenges

By Danna Zeiger

It is a rare gift to be able to write about a living subject. 

Early in my writing adventure, I realized how tragically few books with disability representation existed, let alone cerebral palsy. I knew I needed to introduce the world to my dear friend, Dr. Kathleen Friel. I was lucky to be mentored by Dr. Friel in my very first undergraduate lab, studying corticospinal development and repair. She was patient, kind, funny, and also the first person with cerebral palsy I had met in academia… and she was researching potential therapies for cerebral palsy!

After countless questions from fellow writers, I thought it would be helpful to share tips for writing about living individuals based upon my experience. 

Tip #1

You must ask for permission, first, unless the living person is super famous (and even then, proceed with caution). Reading a newspaper article about someone isn’t sufficient fame to give you the right to write. Seek out the individual and obtain written permission. If you’re lucky, you might be able to interview them and ask some questions along the way.

Rewriting the Rules: Dr. Friel is famous—she has won national awards for her research and advocacy; she is a reputable and well-regarded researcher and professor; and she has even had articles written about her both in lay media and in scientific journals. However, she is not of “household fame” and I needed her explicit permission. Regardless, I wouldn’t dream of writing her story without consent.

I approached Dr. Friel before conducting my research, timidly asking if she would be up for my writing a children’s book about her. Surprised, perhaps amused, she said “sure!”! I sent her a few questions but mostly researched and used my own knowledge to write my manuscript.

Tip #2

Consider your subject! Think about accuracy. Think about how this person will feel when they read your manuscript about them! I recommend, for especially sensitive topics, finding sensitivity readers.

Rewriting the Rules: In my opinion, this is the hardest part of writing about a living subject—and probably made this project harder than any of my others. I had heart palpitations thinking of Dr. Friel reading my manuscript. What if she hated it? Disagreed with something I said? Wished I’d approached it differently? What if… I didn’t do her story justice? These very ideas kept me up at night. Dr. Friel is incredible in every right. If a reader walked away thinking otherwise, it would be entirely my fault. 

I sought multiple sensitivity readers through various drafts. I read articles and books about cerebral palsy and the different ways to approach it. I knew Dr. Friel’s research intimately well, having worked in the lab together, but I also reread her papers and even her Ph.D. thesis—which I had never done before! Although I’m a scientist myself, I still checked that even the most simplest of explanations were always accurate.

Tip #3

Share your manuscript with your subject only after it has been accepted for publication and with your editor’s explicit permission. There are many reasons: picture books are hard to envision for the untrained eye. Your subject isn’t necessarily a writer and might have a different vision. The final version will likely be different than what you originally drafted.

Rewriting the Rules: I know Dr. Friel personally and this was especially hard! Upon acquisition, I was able to share the exciting news, but I didn’t send her the manuscript until final approved edits. It turns out, my final version was quite different than the one I submitted—and so much stronger! I’m grateful to our team of four (incredible editors Carol Hinz, Leila Sales, and two sensitivity readers) examining every word. 

When I finally sent it to Dr. Friel, I cried with relief when she reacted so positively and excitedly!

Tip #4

Through the book process, collaborate with your subject! Seek their pictures, thoughts, etc.

Rewriting the Rules: Dr. Friel sent all kinds of childhood pictures that were helpful for Josée Bisaillon, the illustrator, as well as close-up pictures so that Josée could really capture cerebral palsy authentically.

Tip #5

Work on promotion together and have fun doing it! Share every review, award, and announcement with your subject!

Rewriting the Rules: Reveling in every positive review, every influencer share, every award with Dr. Friel has been the best reward! We’ve done events together, including a launch event, and a No Place for Hate sponsored interfaith discussion. Having Dr. Friel and her family share their experiences in-person are core memories. I could listen to them for hours! Their excitement and partnership in this adventure have enriched it beyond imagination. 

Writing about a living subject was nerve-wracking but also immensely rewarding. I love seeing my beautiful, inspiring, and smart friend everywhere!

 

 

About the author: Danna Zeiger’s debut STEAM nonfiction picture book, Rewriting the Rules: How Dr. Kathleen Friel Created New Possibilities for Brain Research and Disability (September 2025) was named Best of 2025 by School Library Journal and the Chicago Public Library, and won 2026 Outstanding Science Trade Books for K-12 by the National Science Teachers’ Association. Danna is also a 2024-2026 PJ Library Sephardic Stories Initiative writing fellow. Learn more about Danna, STEM, and nonfiction at https://www.dannazeiger.com/.

Writing for the School Library Market

By Sue Bradford Edwards

Nonfiction writers create many types of work.  I’ve written activities for preschoolers and how-to articles for my fellow writers.  Still other writers create lesson plans, picture book biographies, and encyclopedias.  Each type of nonfiction writing requires a different skill set.  

My current focus is writing for the school library market.  Maybe this is something that would be a good fit for you.

 Diverse Interests

First things first, it is a huge help if you have a wide range of interests. My first book for this market was about the ancient Maya.  I’ve also written about puggles, Ariana Grande, cancel culture, and the assassination of President John F. Kennedy.  

When my editors contact me with the newest list of subjects, I have an easy time making one or more selections. That’s because I’m interested in so many things. I'm interested in history and anthropology, biological sciences and current events. Textile history fascinates me.  I knit, crochet, weave, and embroider.  I am about to sign up for a programming class. 

My interests and educational background have helped me explain evolution, what a drainage system is, how fracking works, and how a vaccine gives you immunity. If your interests are widespread, this field might be a good match for you.

Keen on Research

You also must love research to take on these types of books.  Periodically, an editor will suggest a resource they want me to use, but I generally find all research materials on my own.  

The types of sources I use vary by topic. When I wrote about The Who, most of my sources were published books. I pulled in books from university libraries throughout my area and also made a trip to Half Price books.  

Researching Food in Space, I combed through a variety of NASA materials. I dug through NASA’s online archives.  I read government reports. I sought out industry interviews with food scientists.

During the COVID pandemic, I wrote a book on the topic. This meant that right up until publication I was using medical sources and statistical data to update the text. If you are someone who loves to look things up, this type of writing might be for you.

Fast Drafting

Can you write over a thousand words a day? From the time I am assigned a book until I have to turn in the full manuscript can be anywhere from six weeks to three months. Often, I only have six weeks. Many of the books are 15,000 words long. This means I can’t wait for my muse to pay me a visit.

After my outline and sample chapter are approved, I get to work on the full draft. At that point, I may only have three weeks to write the full book. When I know where I am going with a chapter, I can usually write 1600 to 1800 words comfortably in one day. I don’t do this every day, but I can do it for about a week. After I revise the manuscript and take it to the right reading level, I hand it off to my editor.  Are you also a fast writer? 

A Willing Team Member

Although you will write on your own, you are also part of a team. Because these books appear in series, I am one of several authors.  

Sometimes I've had amazing ideas for book sections, but I've had to cut those ideas from my finished book.  Why?  Because the idea fit better in someone else’s title in the series.  Sometimes your book will be the one that has to make way. Other times your description of a process will be mined for use in other books in the same series. That’s what happened when I explained the process of evolution.  

Writing for the school library market, you often work with content experts and multiple editors on each book. This means that you must reconcile the comments and concerns of several different people. Finding a solution may be tricky, but I love watching my books take shape and knowing that in less than 18 months many of my books will be in the hands of teachers, librarians, and students throughout the United States.  It’s a great field if you are interested. 

Sue Bradford Edwards is a nonfiction author who lives in the St. Louis area. She has written over 80 books for the school library market. When she called her mother to say she wanted to write for children, she could actually hear her mother shrug over the phone.  “It’s about time you figured it out.” When her family travels, they look for historic sites and natural wonders. Absolutely nothing beats an alpine desert.  

Subscribe to Sue's newsletter here for a free copy of her book, What to do When Your Book Is Banned.

The IT factor in Picture Books

By Joyce P. Uglow

It is well known that nonfiction picture books play a big role in supporting students’ development of scientific literacies and cultivates critical reading skills. NF PBs possess the IT Factor! Case in point, “Nonfiction Picturebook Reading in Early and Elementary Education: A PRISMA-P Systematic Review” in ILA’s December 9, 2025 Reading Research Quarterly, points out the importance of NF PBs. Diana Muela-Bermejo and Rosa Tabernero-Sala stated that children who have limited exposure to NF PB tend to exhibit lower reading comprehension skills. Furthermore, it has been said that nonfiction awakens curiosity, fosters a desire to learn, and inspires a sense of wonder. NCTE’s position statement on the role of NF for K-12 students states nonfiction is a “deeply enriching aesthetic experience.”  

The IT Factor in NF PB awakens curiosity and fosters a desire to learn. 

Just in Case: Saving Seeds in the Svalbard Vault by Megan Clendenan, illustrated by Brittany Cicchese, published by Charlesbridge on October 14, 2025, received the 2026 NCTE Orbis Pictus Award® for Outstanding Nonfiction for Children.

I love the engaging organization, rich language, and intrigue in Just in Case! This book is a wonderful example of how an author’s curiosity about a relatively unknown topic prompted further research. Megan Clendenan heard about the seed vault, went on to discover more, and found the right words, the IT Factor, to awaken curiosity on the topic for kids. Books like this inspire kids and foster a desire to learn more on their own. In addition to the gorgeous illustrations, I noticed how the ingenious fact box headings drew my attention to the not-to-be-missed information. Equally brilliant is the use of the engaging title in a refrain. 

The IT Factor in NF PB inspires a sense of wonder. 

There is real magic in Julie Winterbottom and Susan Reagan’s Magic in a Drop of Water: How Ruth Patrick Taught the World About Water Pollution, published by Rocky Pond Books on March 25, 2025. It earned a starred review from Publishers Weekly! 

Julie’s fabulous first line delivers the IT factor right out of the gate. “When Ruth was five years old, she fell in love with pond scum.” What? Pond scum?! I was hooked immediately, engaged from the first to the last line. In Julie Winterbottom’s words on uGROnews Creative Point of View about Magic in a Drop of Water, she said, “I think it helped that I chose a subject that I felt very passionate about so that I could keep going when the research and writing was challenging.” 

 

The IT factor in NF PBs… not everything makes it into the book.  

As nonfiction writers do, I unearthed a plethora of facts during my research for STUCK! The Story of La Brea Tar Pits, published by Bushel and Peck Books, illustrated by Valerya Milovanova. I decided it best to focus and stick with a predator–prey fray to tell the origin story of La Brea. The handful of those featured extinct species allowed me to include info about the Ice Age ecosystem and lead kids to dig deeper into the topic. I left other tidbits to uncover in book talks, educational resources, and school visits. (BTW… Adults and kids are intrigued and utterly surprised that no dinosaurs got stuck at La Brea.)

 

Here is my 2026 IT Factor challenge for you and me:

• Focus on a first line that hooks the reader.
• Choose surprising research tidbits that spark imagination and inspire readers to ask questions. 
• Plant curiosity.
• Use intriguing text features.
• Follow up with amazing back matter. 
• Let your passion for the topic seep into the narrative.
• Enjoy finding the IT Factor for your next books!

 

 

About the Author: Joyce P. Uglow writes poetry and lyrical picture books about nature, science, and our planet. She is the NSTA / CBC 2026 Outstanding Science Trade Books award-winning author of STUCK! The Story of La Brea Tar Pits (2025 Bushel & Peck Books). Joyce currently serves as the Co-Regional Advisor for SCBWI Wisconsin and a Mighty Kidlit mentor. She loves family gatherings, gardening, and exploring National Parks, the world’s mountains, rocks and water with her husband, Larry. Visit Joyce’s website to learn more.

 

How to Write Picture Books Inspired by Headlines

By Nancy Churnin 

Have you ever considered writing a book inspired by a newspaper article?

My newest book, The Miracle Menorah of Mariupol, which comes out Sept. 1 with illustrations by Marissa Moss, was inspired by an article that moved me with its message of hope in a time of war and despair.

There are challenging aspects to working from contemporary story. The first is checking the veracity of the story – not something you could ever assume and especially not now at a time when AI is increasingly common. The second is making sure the book reads like a picture book and not another version of the article. Finally, are you writing something that will stand the test of time – something a newspaper article does not need to do, but a book does? After all, the article runs for a day. Your book will not come out for a couple of years after it sells, and the hope is that it will continue to be read long beyond that.

 

The Miracle Menorah of Mariupol is not the first time I have drawn stories from headlines. Two other books about contemporary stories that I discovered through articles: Manjhi Moves a Mountain, the story of a man who spent 22 years chiseling a path through a mountain so the people in his poor village could get access to schools, medical help, and work on the other side and Rainbow Allies, the story of a community of kids who found a beautiful way to show love and support to a couple that came home to find their home egged and their pride flag torn down.

 

Here are the steps I took: 

1. Make sure you have the facts. Look for primary and secondary sources. For both The Miracle Menorah of Mariupol and Rainbow Allies, I interviewed people who were there and wrote the story with their support and encouragement. With Manjhi Moves a Mountain, I did extensive research and interviewed a professor at Southern Methodist University who traveled to India frequently with her students and knew the facts and the area well.

    

2. Make sure your book reads like a book. As a longtime journalist, I know how to write a newspaper article quickly. I also know one of the primary rules is to show and not tell and keep a professional emotional distance. In picture books, you also show, don’t tell, but you need to know the thoughts and feelings of your subject and reveal them through the slice of the journey that you are telling. In journalism, your story needs to be relevant to the day it is published. In picture books, you must think in global and eternal terms of what your story means. The Miracle Menorah of Mariupol is about a caretaker of a synagogue destroyed by war who decides to light candles in the community menorah he discovers miraculously intact in the rubble. The lighting of the candles helps unite the hearts of a dispersed community with hope for when they will celebrate together again. 

    

3. Are you writing something that will stand the test of time? To bring the message of The Miracle Menorah of Mariupol home, I alternated the contemporary story with the first Hanukkah when people decided to light a menorah found in the Great Temple of Jerusalem that had been damaged by occupation and war. I decided if people have been telling the Hanukkah story for 2,000 years, maybe The Miracle Menorah of Mariupol might be able to tag along for a while, too.

The Miracle Menorah of Mariupol, illustrated by Marissa Moss, releases Sept. 1 from Creston Books.

About the author: Nancy Churnin is an award-winning author who writes children's books about people (and animals!) who have made a positive difference in the world. Her books have won the National Jewish Book Award, South Asia Book Award, Sydney Taylor Honor and Notables, Grinspoon Jewish Story Award and been picked for Junior Library Guild, Silver Eurekas, National Council for the Social Studies Trade Book Notables, Bank Street College of Education Best Books, A Mighty girl, and multiple state lists, including the Texas 2X2 and California Reads, and have received starred reviews. A former journalist and proud daughter of a retired teacher, Nancy loves visiting schools and encouraging kids to follow the dreams that can make them heroes of their own stories. Find her, along with resources, teachers guides, and projects at www.nancychurnin.com.

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Fact Checking: What to do with Irrelevant Facts, Unreliable Sources, or Time-Specific Facts

By Darcy Pattison

As nonfiction authors, we stick to the facts! I am terrified of a book being published with mistakes. But what if the facts are not as straightforward as True or False? 

When kids research a topic for an essay or research paper, one of the hardest tasks is sorting through information to find the relevant information while discarding information that is off-topic or irrelevant to the writing task. It’s the same for those who write nonfiction books for kids. 

Spelling and Location Names Changes Over Time

Every history writer will have a story about conflicting names for a location. For my book, George Washington’s Engineer, I found maps that conflicted when naming a location. Rufus Putnam served as engineer to General Washington during the Revolutionary War. During the frigid winter of 1775-1776, Washington asked Putnam to build a wall to protect troops. Winter soil, however, was frozen making it impossible to dig a foundation to build a fence. Putnam researched ideas and found a solution that allowed the Colonial army to stop the siege of Boston without firing a shot. 

I needed to follow the troop movements around Boston, but it quickly became complicated because place names change rapidly; or, the spelling of the place name varies widely. 

For example, in documents of the time, Lechmere Point is also called Leachmor Point or Leachmoors Point. I had to decide how to handle this. For consistently, I used Putnam’s spelling whenever possible. If he didn’t name a location, then I used the spelling from maps of the time. For purposes of the story, it’s more appropriate to use the name used at the time; but I also try to include today’s name when possible. 

 

Fact Checking Memoirs: When Memory is Faulty

One valuable resource for George Washington’s Engineer was the autobiography of Rufus Putnam. Such documents are available through various sources online.

Putnam wrote that he read Attack and Defense of Fortified Places by the British engineer John Mueller, which inspired his idea of using chandeliers (a structure to hold bundles of sticks) to build a portable wall. I based my story on Putnam’s statements. My fact checker, however, found a copy of Mueller’s book online and the chandeliers are not mentioned. Mueller wrote several books, though, and after checking other titles, she found the chandelier information in Field Engineer by John Mueller. In other words, Putnam had a faulty memory when he wrote his autobiography. He correctly remembered reading a book by Mueller but misremembered the title of the book that inspired his engineering feat. 

 

International Date Line and Time Zones: When Facts are Irrelevant

On March 11, 2011, an earthquake struck off the shore of Japan causing a huge tsunami that killed thousands and damaged a nuclear plant. But the waves from an earthquake travel out in concentric circles, which meant the tsunami traveled across the Pacific Ocean and eventually struck Midway Island. On the island is the largest colony of Laysan albatrosses that includes the oldest known wild bird in the world, Wisdom. In early drafts of my story, Wisdom, the Midway Albatross, I wrote the date as March 10. Why? As the tsunami crossed the Pacific Ocean, it crossed the International Date Line before reaching Midway. 

Because we live on a globe that rotates, we divide the earth longitudinally from the north to south into 24 roughly equal sections, each section representing one hour of the day. In the middle of the Pacific Ocean at roughly 180 degrees is the International Date Line. When you cross the date line traveling east, you subtract a day, and if you cross the line traveling west, you add a day. 

By Japanese time, the tsunami hit at about 2:40 pm on March 11. Midway Island lies just east of the date line. It took about 10 hours for the tsunami to travel across the Pacific Ocean to Midway where it struck at about 11:46 pm, March 10, Midway time, but lasted for four hours into the early morning of March 11. That meant it technically struck Midway the day before the earthquake, which caused the tsunami.

However, the exact times and dates were irrelevant to the story. I used the date, March 11, when the earthquake struck Japan, but just added the ten hours. Trying to explain about the International Date Line was off topic and too complicated for the story. The story just says the tsunami traveled across the Pacific and struck at about midnight, and then “The next morning…”

When you write nonfiction for kids, you need to find the facts. But sometimes, you must interpret changing place names, leave out confusing and irrelevant information, or correct a primary source. 

Children’s book author and indie publisher DARCY PATTISON has written over seventy fiction and nonfiction award-winning books for children. Five books have received starred PW, Kirkus, or BCCB reviews. Awards include the Irma Black Honor award, six NSTA Outstanding Science Trade Books, six Eureka! Nonfiction Honor book (CA Reading Assn.), three Best STEM Book, two Junior Library Guild selections, two CLA Notable Children’s Book in Language Arts, two Notable Social Studies Trade Book, an Arkansiana Award, and the Susannah DeBlack Arkansas Children’s History Book award. She’s the 2007 recipient of the Arkansas Governor’s Arts Award for Individual Artist for her work in children’s literature. Her books have been translated into eleven languages.