Writing About Scientists in the Field — While Working With Scientists in the Field

By Karen Romano Young 

                                                          

“Want to see something amazing?"

When you’re a children’s writer and illustrator accompanying scientists on a ship, at
an Antarctic research station, on a sample-gathering hike or dive, or in a laboratory, there’s only one answer to that question: “Sure!”

Your face may tell another story. And you may live to regret going along.  But it’s best not to give a qualified response.  It’s no use asking, “Alive or dead?” “Is it gross?” Or “Will I be glad after I see it?”

When you’re embedded with scientists — questionable term in itself — it’s best to keep an open mind, and a lid on your disgust response, as well as any expression of mystification.  I spend a lot of time fine-tuning my poker face, and pretending I know what’s going on.

Coming April 2022, by Karen Romano Young with illustrations by Angela Hsieh (What on Earth)
Based in part on field work at Palmer Station, Antarctica and aboard the science
research drilling ship JOIDES Resolution. 

Here are a few more useful things to say:

“Can you help me explain this to fourth graders?” (Translation: I’m not sure I know what you’re talking about.)

“Is there an everyday comparison I could use to explain this?” (Translation: instead of saying that Phaeocystis antarctica plankton “produce” dimethylsulfoniopropionate, can I say that they fart out a material that gives the sea its smell — and that moisture gloms onto to form clouds?)

“What can I do to help?” (Translation: I’m willing to get my hands dirty, as well as to look at ‘something amazing.’ Go ahead and blow my mind.)

I hope I’m not making working with scientists in the field sound like a trial, or a trial by fire. The rewards are immense. Yes, scientists may use jargon heavily; may geek out about incomprehensible objects, concepts, and processes; and may be proud (and occasionally lofty) about their advanced degrees and prestigious institutions.  But they are just like anyone else: they love to have their story told, to share what they know, and to feel understood, as well as fascinating.  (I’ve yet to find one that wasn’t.)

With my science team from Maine’s Bigelow Laboratory for Ocean Sciences,
with whom I went to Palmer Station as part of the National Science Foundation’s
Antarctic Artists and Writers program.

To become a scientist, I’ve learned, one has to be obsessed, and that obsession may have started a long time ago, in childhood. In fact, most scientists trace their science identity — their willingness to geek out about a topic not everyone is interested in, their view of themselves as capable inquirers and researchers, and their ability to learn about or build whatever they need to get their work done — to middle school or earlier.

Who does that remind you of?

I’ll tell you who it reminds me of: myself. My writer self. A bit shy, a bit independent.  Willing to go deep on a topic, to investigate it closely, and to sustain the effort needed to finish an article, story, drawing, or book.  Able to handle rejection, able to chase down acceptance.  And able to assess my own place in the system I’m part of. 

Mostly, for me, that system is publishing. I understand my audience and the place my books have in that world, as much as scientists comprehend the contributions they’re making to their field.

This is just part of what I’ve learned by traveling at their sides — diving in submarines, pulling water samples onto rollicking inflatable boats, breaking ice occupied by walrus, fainting in the heat of the summer Caribbean. I’m in a strong position to refute the stereotypical white-coated identity of scientists with my own view of their extreme adventures, their thrilling lives.

Increasingly, my own identity is changing, as I contribute stories of scientists and their work to both their world and the publishing world. I’m working to invite and involve readers from typically underrepresented communities to science fields, to show them that they belong.  I’m saying to them, “Want to see something amazing?”

          Not the tail feathers of a dead penguin.

          Not the dissected form of a giant tube worm.

          Not the green flash just after sunset on a clear horizon at sea.

          Not the blip of a massive iceberg on a radar screen.

          Yes, all those things. But also a mirror: you have a lot in common with scientists. And a window: Take a look at what is going on out here! And a door: come on, walk through.

Dr. Peter Girguis and I worked together on outreach and deep sea science aboard E/V Nautilus.
He’s part of my forthcoming book Diving for Deep-Sea Dragons (ChronicleKids, 2024).

 

Give It a Try: 

Why not use drawings and words to tell your science stories? Visual storytelling can reach more people and can inspire new kinds of story and information sharing for you, and your young artists.  Begin by drawing an animal and labeling its parts.  Then, if some part of an animal has more of a story, highlight it and write it up.  Add to this science writing by describing your animal's behaviors, relationships to humans, family life (how many babies does it have? who takes care of the babies?) and even higher level content such as cladograms,  family trees that show species relationships. One more plus: how about a title that shows something more about the animal? 

 

Meet the Author: Karen Romano Young is an author, illustrator, science comics creator, deep sea diver and polar explorer.  She's the author and sometime illustrator of more than 30 books for children, and the creator of #AntarcticLog,  a weekly comic about the climate, and the new comics-based project about science careers I Was A Kid. (see it at IWasAKid.com) She frequently works with scientists doing communications and visual storytelling, taking part in expeditions from the Arctic to Antarctic and many places in between. 

 

PROMISING TRENDS IN CHILDREN’S NONFICTION

 by Dr. Virginia Loh-Hagan      

   

“Nonfiction” sounds so binary. Essentially, it refers to writing that is not fiction – with fiction serving as the standard. However, we, readers, know that the spectrum of books is way more than just two choices: (1) fiction or (2) nonfiction. We also know that fiction is not secondary to nonfiction. In fact, in many, many cases, the truth is stranger than fiction – and much more interesting (and in some cases, way scarier).

Nonfiction, or more specifically, informational texts, have been greatly elevated by the Common Core Standards, which focused on informational texts as learning resources. In the past several years, nonfiction has blossomed. It is fair to say that nonfiction is in its “heyday.”

Today’s nonfiction not only educates but it also entertains. I credit the late and great Kathleen Krull (1952-2021), for making nonfiction fun and “sexy.” She helped popularize nonfiction picture biographies. Her signature witty style was to add “juicy bits of gossip” to her subjects. She also interjected her own voice, which broke the nonfiction mold. She hooked readers with fun facts and a bit of sass.   

Gone are the days of “boring” nonfiction. The following are the top five promising trends in children’s nonfiction.

• Today’s young readers read in pictures. (Just watch a kid swipe through Instagram. Images tell stories, way more than words can.) Nonfiction graphic novels continue to appeal to our screen-obsessed youth. This makes sense in a world of social media and streaming.
• Today’s young readers want to be “in the know.” They want to know things before anyone else. Nonfiction that addresses obscure or little-known fun facts excites a generation that has information at their fingertips. (The key to good nonfiction is when readers are hungry to learn more. We have all googled “facts” after reading or watching something.) 
• Today’s young readers want to get a lot of content with as little reading as possible. (Think: Bite-size.) A trend in nonfiction is presenting information in chunks; for example, anthologies and collections are on the rise. Reading books from cover to cover is not necessarily the norm anymore. Readers like to flip through pages and learn something right away.
• Today’s young readers are activated. They are watching current events unfold and want to learn more. More and more nonfiction address issues related to racial justice, human rights, marginalized communities, and more. A trend that I, personally, love seeing is an increase in books about the Asian Pacific Islander Desi American (APIDA) experience, which helps to combat escalating anti-Asian hate.
• Today’s young readers are, in many ways, the same as yesterday’s young readers. Gross and goofy will always be gold. Young readers love and have always loved humor. Today’s young readers also love all things “edgy.” (We have a popular culture that loves true crime, cults, and all kinds of whatnot.)

That stated, the key to any good nonfiction is a good story. Fiction or nonfiction matters not. What matters is being compelling. Find the story in nonfiction and tell it.

 

ABOUT THE AUTHOR:

Dr. Virginia Loh-Hagan is the author of more than 350 books for young readers. She likes to write about her Asian American heritage and about anything on the odd side. Currently, she serves as the inaugural Director of the Asian Pacific Islander Desi American (APIDA) Center at San Diego State University. She is also the Co-Executive Director and Director of Curriculum Development of The Asian American Education Project. In addition, she is a former K-8 classroom teacher and university teacher educator. She is committed to supporting equitable classrooms and to increasing the voice and visibility of APIDA communities.

Creating Compelling Nonfiction Characters For Kids

 by Andrea J. Loney

 

Early in my picture book writing journey, I started volunteering with a Saturday story time program for a local elementary school. I’d plop down on the rug with a half dozen kids, read them a picture book or a few chapters of a middle grade book, and make crafts with them after we’d finished the reading.

The response to our book of the month was always fascinating. With some stories, the kids would lean forward and whisper, “Then what, Miss?” until I turned the next page. Then during the crafting session, they’d continue to discuss the characters, the story, or the ways the book related to their own lives.

Watching those fiction and nonfiction books find a home in the hearts and minds of young readers always inspired me. Even now when I write, I imagine myself reading the manuscript at story time and asking myself “Are the kids excited for this next page turn? Or are they snoozing on the rug?”

So, after reminiscing on my story time adventures and rereading a stack of nonfiction mentor texts, I’d like to share these five tips for creating compelling nonfiction characters for kids.

    1)  Start a familiar story from an unusual focus
    2)  Make sure your topic is relevant to the interests of kids born after 2010
    3)  Drive your story with feelings that children can easily relate to
    4)  Use humor!
    5)  Write from your personal connection to the subject

    Now, you don’t need to use all five tips in every nonfiction book (well, except for #3). These tips can apply to nonfiction for all ages, including biographies, historical events, STEM topics, and even stories about inanimate objects. 
    

    1) Start a familiar story from an unusual focus

Before She was Harriet is one of the hundreds of books written about the legendary Harriet Tubman. But Lesa Cline-Ransome begins her version of the tale with Tubman as an elderly woman, then works backward through her life’s story until we meet the subject as a young girl gazing up at the stars. And her name’s not even Harriet… at least not yet. 

2) Make sure your topic is relevant to the interests of kids born after 2010

Today’s kids enjoy books that center on current topics and shared cultural experiences. Even though When the Beat Was Born: DJ Kool Herc and the Creation of Hip Hop begins in the 1970s, Laban Carrick Hills’ picture book shares how a Jamaican immigrant child’s love of music, family, and community led to an American musical artform that still influences popular culture across the globe.

3) Drive your story with feelings that children can easily relate to

If kids aren’t emotionally engaged in the struggles of your main character, they’re more likely to lose interest.

While writing VIP: Stacey Abrams: Voting Visionary, I knew that kids could understand how shy young Stacey’s love for her family and her community inspired her to speak up and fight for fairness. But I didn’t expect kids to share her interest in tax law, spreadsheets, or romance novels.

However, kid-sized emotions can encompass more than fear, sadness, or anger. Curiosity, awe, and wonder also keep kids turning those pages. Lori Alexander’s All in a Drop: How Antony Van Leeuwenhoek Discovered an Invisible World  takes place almost 400 years ago in the Netherlands. But Antony’s insatiable curiosity about microbes and the shocking (and hilarious) things he does because of it make this chapter book biography a compelling (and itchy) page-turner for almost any kid.

4) Use humor!

In nonfiction, humor can shake up a bunch of “dry” facts and leave readers with a greater appreciation of the topic. For example, children can read a textbook chapter on how Pluto was discovered then later demoted as a planet. Or those kids can read Pluto Gets the Call  by Adam Rex and giggle their way through the delightful graphic novel format, the fun and informative facts about our galaxy, and poor Pluto’s misery over being roasted by the entire solar system (don’t worry – there’s a kid-relatable happy twist at the end).

5) Write from your personal connection to the subject

Writing about a topic that’s especially close to our own lives can add extra resonance to the story. Author-illustrator Don Tate is well known for his wonderful picture book biographies about Black creatives. But in the author’s note of his picture book Strong as Sandow: How Eugen Sandow Became the Strongest Man on Earth, he shares how the book tapped into one of his earlier passions – competitive bodybuilding. Don had personally faced some of the same physical challenges as Eugen Sandow. When he shares that book with schools around the country, kids get excited to show off their own muscles too.

As you hone your storytelling craft, I hope that these five tips can help you create nonfiction characters that stay in your young readers’ hearts and minds (and maybe even funny bones) for years to come.

 

Give It a Try:

Brainstorm at least 15 nonfiction story ideas using the five tips listed above.

1)  How could you revisit a well-known topic by starting the story at an unexpected point in the timeline?

2)  What topics can you find that reflect the immediate interests and existential concerns of today’s kids?

3)  How could your story give kids inspiration and hope for the future?

4)  Can you find the funny in your topic?

5) Could any of your interests, passions, or hobbies inspire a nonfiction story?

Meet the Author: 

Andrea J. Loney’s books include the new middle grade biography VIP: Stacey Abrams: Voting Visionary, picture book Double Bass Blues (Caldecott Honor), and the biography Take a Picture of Me, James Vanderzee ( (Lee & Low Books New Voices Award Winner and NAACP Image Award Nominee). Her upcoming works include the picture book biography Curve and Flow: The Elegant Vision of LA ARCHITECT PAUL R. WILLIAMS (Knopf), and the futuristic chapter book series Abby in Orbit (Albert Whitman & Company), all coming in September 2022. Andrea lives in Los Angeles with her family. Learn more at andreajloney.com.

Power Up The WOW Factor (Page by Page and Scene by Scene)

 by Anna Crowley Redding

 

True stories are powerful. They can spark passion. They can satiate and ignite our curiosity. They can inspire us in ways we never dreamed of. True stories not only help us discover and understand the world around us. But they also help us to discover and better understand ourselves. Powerful. 

As writers, our task is to tell the story so powerfully that the effects of our true tale fall like dominoes in someone else’s imagination and life.

That’s a tall order––and a worthy endeavor. I’ve got just the tools to help you get there. Here’s a checklist to help you uncover every opportunity to make your nonfiction pop off the page. 

First things, first. Reading your story, chapter, or scene––is it clear? Does it make sense? It’s easy for writers to learn so much about a topic that you accidentally leave out important details because they are so alive in your own head but missing from the page. It’s also easy to include every single fact you found, which can make the writing convoluted as the story veers off-track. 

Give It A Try: Read your story with fresh eyes to find out if it is clear and easy to understand.

Dress up time! You have the bones of your book down on the page. But did you include some showcase facts? What’s the difference? In a narrative you need a beginning, middle, and end. Your main facts are your Who, What, Where, How, and Why? But your showcase facts are the cool twists, turns, and tidbits you discovered along the way.

In my nonfiction picture book, The Gravity Tree, my job was to write a biography of a tree. Here are the main facts. The tree started out as a seed. One of its falling apples inspired Isaac Newton. The tree almost died in a storm, but it survived and still lives today.

But along the way, I discovered that Albert Einstein and Stephen Hawking visited the tree. Part of the tree was sent to space. Those are my super fun showcase facts, they make the story sparkle with surprise, depth, and delight!

This idea also applies to writing other types of nonfiction. For example, in writing a book about the solar system that is a collection of facts, you have your main facts that might include the names, composition, and location of planets. Showcase facts might be learning that the sunshine hitting your skin right now left the sun a little more than eight minutes ago! Another showcase fact: it rains diamonds on Neptune! What a cool surprise to engage your reader.

Give It A Try: Make a list of showcase facts about your topic. Now, go through your text and see if there are spots where these special twists, turns, and tidbits can liven your book. 

Maserati time! Let’s shift gears. No, really, let’s shift gears. Read your story out loud. Make sure the wording and story structure allow for varied pacing, just like shifting gears in a car. Rev up when your story is more intense with shorter sentences that convey the quick pace. Downshift when your heroine has failed. If your story about a narrow escape reads like breaking news on every single page, you will wear out your reader, deplete their emotional well, and miss an opportunity to invite your reader to re-engage. Likewise, if you are explaining microbiomes, make sure your manuscript doesn’t have the pacing of a textbook on every page. You want to feel like you are shifting speeds throughout your work.

Give It A Try: Go through each scene and assign it a number 1-10. Imagine ‘1’ is slow and quiet. Image that ‘10’ is for rip-roaring action of a frantic search or runaway train. Now that you have assigned a pacing “gear” to each scene, chapter, or page, make sure you are shifting gears to tell your story with maximum impact. 

I get so emotional, baby! Okay, I’ll stop singing Whitney Houston. But let’s do take her advice. Have you found the emotional heart of every scene? Go back through and make sure. Label each scene by its emotion. In The Gravity Tree, when the tree is struck down by a terrible storm, my language and pacing needed to reflect the sadness of that scene. In our planet example, the sense of discovery, the feeling of a quest, and your own enthusiasm for the topic is a critical ingredient.

Give It A Try: Go through each section and assign it an emotion. Now, make sure that emotion is truly coming through.

Word Choice Now, take each scene, page, or chapter on its own and focus on the words. Have you picked the best verbs? Is there an opportunity for alliteration to make something pop? Would a refrain make the work sing? Would a parallel sentence structure do it? 

I can tell you I’m sitting by a fire. Or I can say, “My fingertips tapped the keyboard, setting their own rhythm to the crackle of the fire.” See the difference?

Give It A Try: Examine each small moment of your text and highlights words that could use an upgrade! Then brainstorm or research words that best convey what you are trying to say.

Embrace Tension! Tension is a compelling storytelling tool. When readers wonder what’s going to happen next or feel that they can’t wait to learn more, you are doing a great job! To pull this off, make sure that you stay in each moment of your book and communicate the tension and (when appropriate) the stakes. Emotion, pacing, and showcase facts can help you. Whether you are taking us along for the ride of a narrative or teaching us something fact by fact, you are building a foundation of knowledge.

Give It A Try: Make sure the baton of tension is being passed from page to page.

Can I have a moment? Don’t shortchange your ending. Give us a minute to live one more second in your book. This is like the final wave before a visitor pulls out of the driveway. Make sure your reader walks away from your book with the very purpose with which it was written. For The Gravity Tree it’s this: you may feel as small as the tiny apple seed in this book, but you also have the potential to change the world.

Give It A Try: Write down the purpose of your book, why you are writing it in the first place. Now ask yourself if your book delivers on that promise.

 

Meet the Author:  Anna Crowley Redding is the award-winning author of more than six nonfiction books for kids and teens including The Gravity Tree, a Kirkus Best Book of 2021. Anna’s middle grade nonfiction Black Hole Chasers is a Junior Library Guild Gold Standard selection and was also named a Best Book by New York Public Library. Her next nonfiction picture book, Courage Like Kate: The True Story of a Girl Lighthouse Keeper, is coming out from Random House Studio in August 2022. Want to learn more about Anna’s approach to writing award-winning nonfiction, you can visit her at AnnaCrowleyRedding.com

 

Bringing NF to Life With Authentic and Expressive Illustration

 by Dave Szalay

 

My relationship with nonfiction initially began while watching certain TV shows with my dad, such as The Undersea World of Jacques Cousteau, Mutual of Omaha’s Wild Kingdom with Marlin Perkins, and a 26 part BBC documentary called The World at War, narrated by Sir Laurence Olivier. A few years later, we gathered for 8 straight nights to watch Alex Haley’s miniseries, Roots. Media was so different then. If you missed a program, there was no rewinding or saving to watch later. Most homes had one TV. Consuming stories through TV was a planned event, and the time was limited and precious. Limitations of early broadcasting meant media consumption was more balanced with other forms of delivery and consumption, such as reading.

Early on, I struggled to read. I was slow, and it was frustrating to me, however, I had a nice collection of picture books that helped me engage with storytelling. I could focus better on bite-size amounts of text, reinforced by illustrations or photos. Chapter books don't have many pictures, but reference books do. I could spend hours browsing through my old set of hand-me-down encyclopedias and National Geographic magazines..

I was age nine when my teacher, Mr. Wilson, recognized that I constantly doodled throughout the day in class. I didn’t realize that until many years later that drawing helped me listen. During a lesson, he stopped and walked over to see what I was drawing. I was fascinated with space travel, and it was an Apollo Lunar Space Module. I feared I was in trouble, but surprisingly, he kindly explained that he had an idea that might help me. He asked me to follow him and to bring my drawing.

We met the art teacher, Mrs. King, in her classroom. Mr. Wilson suggested that I join a group of her older students for a big art project in place of his history lessons. Mr. Wilson gave me special permission to help paint a wall-sized mural celebrating our city’s sesquicentennial. Mrs. King provided a stack of reference images including founder Col. Simon Perkins, Ferdinand Schumacher, the Oatmeal King, boats and people of the Ohio Canal, blimps and tire factories, and early inhabitants from the Mingo and Delaware tribes. This immersive project about the past was pivotal to my future career. Nearly 45 years later I was invited to illustrate The Superlative A. Lincoln, Poems About Our 16th President by Eileen Meyer, published by Charlesbridge. 

With over 15,000 books, Lincoln is one of the most written about people in history. I wanted to bring my visual voice to the style and expression of the book. My goal in nonfiction is to creatively illuminate the characters and their surroundings, and stay true to the history. Nonfiction authors provide an abundance of invaluable reference material with their manuscripts. Reference material is a great springboard before diving into my own visual research. I look for tangible details and nuances that will transport the reader to the time and place of the story.

The timeline of this book spans around 50 years. Lincoln came from humble beginnings, and he maintained a folksy, approachable presence along with a great sense of humor. I show these traits by using an earthy color palette with patterns and simple shapes. The finish of the art has the feeling of a patina with texture and grain. My interpretation of the people in this book have a hint of whimsy, offering a nod to Lincoln’s casual demeanor and sharp wit.

I cross reference both photographic, (if they exist) and artistic depictions of people around the time period. On the five dollar bill, Lincoln’s hair is parted on the right. It was the last image I referred to while designing the character. The entire book was illustrated before an editor asked me to change the part to the left on all 15 images. Reviewing my references, I found most showed a left part and a mole on his right cheek. The mole helped verify his left-sided part in case a 19th century daguerreotype was flipped. I’m still not sure why the portrait on the five dollar bill is different. 

Knowledge of a character’s socioeconomic status and heritage can inform details in wardrobe or hairstyles.  A sense of geography, climate, time of year, and time span can help me frame the story accurately. Period architecture, fashion trends, decor, and landscapes, help me visualize environments. I map out components of a story like a filmmaker casts actors, designs wardrobe, scouts locations, and builds sets. I consider it staging the story. 

The following examples show how I combined the author’s material with my visual research.

Image 1. The Superlative A. Lincoln, page 7.

Young Lincoln in the one room cabin learning to write with charcoal from the fireplace. Included are period appropriate books Lincoln was known to have read. Early books were pretty small.

Image 2. The Superlative A. Lincoln, page 13.
Lincoln at age 17, the Rail Splitter with a riverboat, luggage and travel clothes appropriate to the 1820s.  Also shown are a period wheelbarrow and small flatboat. 

Image 3 The Superlative A. Lincoln, page 17.

Twenty-three year old Captain Lincoln and soldiers in frontier-style dress during the 1832 Black Hawk War. Characters marching out of a military camp. 

Image 4 The Superlative A. Lincoln, page 27.

Lincoln working at a messy desk in his White House office (now known as the Lincoln bedroom). Lincoln was a busy and focused man during the Civil War, but he could also be loose and casual at home. He loved cats, so a sleeping pet on his lap seemed like a charming detail. 

Image 5 The Superlative A. Lincoln, page 37.

Imaginary scene with Lincoln viewing posters with nicknames. Early posters would be made using hand-set letterpresses with woodcut block type. The art and decorative elements are reminiscent of 19th century political art.

 

Give It a Try: Find visual details, nuances, and quirky little historic facts to flavor your illustrations.

 

Meet the Illustrator 

Dave Szalay is an illustrator/Designer, and an art Professor at The University of Akron. He holds an MFA in Illustration, an MA in Communication, and BFA in Graphic Design. Past clients includes global corporations and institutions. Recent clients include Harper Collins, Penguin Random House, Charlesbridge, Nord-Sud, Sleeping Bear, Cricket, Highlights, Boston Globe, Ignite Mag., and The National Parks. His work has been awarded at the National Portfolio Showcase at SCBWI, and  the American Advertising Awards, 3 x 3, Creative Quarterly, Highlights, and the Ohio Arts Council.

Digging Deeper: Researching the Past in Unexpected Places

 by Katherine House

Whether you are getting started on a research project or are stuck on a current one, I hope some of these research resources will be helpful. This list is excerpted from a talk I gave at the SCBWI Iowa/Minnesota Nonfiction Day in September 2021.

Archives Dedicated to Specific Groups

Many books that touch on the African American experience mention the New York Public Library’s Schomburg Center for Research in Black Culture in their acknowledgements. How do you find holdings related to a specific group of people? Try some of these directories:

Directory of African American Archives and Libraries

Directory of American Indian Archives and Libraries

Directory of Jewish Archives and Libraries

Directory of Women’s Archives

Catalogs, including trade catalogs

One of my favorite Christmas presents last year was a facsimile of the 1945 Sears Christmas Book. I love poring over the pages, examining clothing styles, the toys advertised for girls vs. boys, even the marketing language. You may be able to pick up catalogs issued by major retailers at antique stores or on eBay. Don’t overlook trade catalogs, though. These gems can describe football equipment from the 1920s, cars driven in a certain year, or the typewriter model used by a famous author. The Hagley Library is one source of trade catalogs. 

Corporate Archives

Looking for an image of the original Betty Crocker for a book about cooking? Want to learn more about stagecoach robberies? Try the General Mills or Wells Fargo corporate archives. Little-known corporate archives offer manuscript collections, photographs, advertising material, annual reports, trade catalogs, and much more. Rules vary about public access; sometimes permission must be requested from the marketing department. In other words, you’re likely to get further if you are writing about the company in a favorable light or exploring a wider topic, such as nineteenth century farming. Even if the facility is closed to the public, don’t be afraid to email or call to see if someone will answer basic inquiries.

Fascinating look at what one corporate archives (John Deere) offers

List of corporate archives in the United States and Canada 

Lesser-known Government Libraries

Everyone knows about the National Archives in Washington, D.C., but the National Archives and Records Administration also operates several regional branches nationwide. For example, the Seattle location houses many Chinese Exclusion Act case files.

Beyond the National Archives, many federal agencies—and likely state and city agencies—operate a library or store potential reference materials dedicated to their missions. When I was writing my book about lighthouses, I conducted research at the Coast Guard Historian’s Office, which featured an extensive collection of books about lighthouses, as well as clipping files containing newspaper articles, press releases, and photos. Another example? The U.S. Army Corps of Engineers operates libraries around the country and a larger facility in Washington, D.C. 

Partial List of Federal Government Libraries

Living History Museums

The most famous living history museum in the United States is Colonial Williamsburg, but you can find them all over. Visit one in-person to learn about regional architecture, period clothing styles, transportation methods, and more. Some offer classes that provide an in-depth look at an industry or craft. (True story: my husband and I once took a blacksmithing class at Old Sturbridge Village in Massachusetts.) Some of the larger ones operate research libraries; the one at Sturbridge boasts account books, diaries, friendship albums, ledgers and more. Living history museums are also great places to find experts specializing in food, apparel, customs of a certain region or ethnic group, or historic trades/industries. The Association for Living History, Farm and Agricultural Museums offers an online directory of museums in North America.

Membership/Professional/Trade Associations

Most people think of dog shows and purebred pooches when they think about the American Kennel Club. I don’t. Instead, I relish the time I spent in the organization’s magnificent library and archives in Manhattan. To be sure, most organizations don’t have expansive research facilities open to the public. But even the smallest ones may put out a publication with helpful information, offer industry statistics (is daily milk consumption in the U.S. increasing or decreasing?) or be able to connect you to an industry expert or historian. Use this directory of associations; it allows you to sort by topic or location.

National Register of Historic Places data base

Learn more about the places (and the people and events behind them) listed in the National Register. 

Specialty Newspapers

Expand your perception and definition of newspapers. Specialty newspapers can provide unique perspectives and details you won’t find other places. These include ethnic newspapers, labor newspapers, military newspapers, and sports publications. Before the Sporting News went digital, I visited its office in the St. Louis area, where I obtained detailed articles about specific baseball games and traditions. (Sporting News is now available from Paper of record.)

Colleges and secondary schools publish newspapers that may be helpful for learning about a person, a town, a time period, a specific event, or an issue, such as voting rights. Some college newspapers have been digitized; check the library’s special collections/university archives tab on the library’s web site.

Even in unusual circumstances, people have published newspapers to connect their communities. For example, the Library of Congress holds newspapers from Japanese-American internment camps. Civilian Conservation Corps camps also put out newspapers. (Try checking a state library or state historical society where the camp was located.)

A quick note about online data bases: Numerous sites offer online access to newspaper articles (www.newspapers.com, www.newspaperarchive.com, etc.). You may be able to access some of them at your public library or by signing up for a free trial. The Library of Congress’ Chronicling America site also provides access to many newspapers. Wondering where to find a specific newspaper? Check out this comprehensive directory.

Enjoy the hunt!

Give It a Try

Use one of the resources listed, such as the National Register data base, to look for additional information—or a potential expert or resource—that will help with a work in progress.

 

About the Author

Katherine House is the author of two nonfiction books for young readers published by Chicago Review Press: Lighthouses for Kids: History, Science, and Lore with 21 Activities and The White House for Kids: A History of a Home, Office, and National Symbol with 21 Activities, which was named an NCSS/CBC Notable Social Studies Trade Book. A native of the Washington, D.C., area, she lives in Iowa City, Iowa, with her family.