What do you think about it now in the early stages of this new millennium?Ī: Changes in the book industry may change the media through which books reach our children, but radio, computer, TV, or anyfuture technology will never replace the personal experience of reading a book. Q: Your career has seen many changes in the children's book industry. Every day, both ordinary and unusual things and relationships shift and change through the writer's point of view. Where do your ideas continue to come from?Ī: To ask where I get ideas, no matter how many books I've written, is like asking where I get the air I breathe.
Q: You have written over seventy books for young audiences. The love of the final book stems in each case from wanting complete fulfillment of the work in question. Q: What have you relished most about each role?Ī: I love the editor's recognition of a problem to be solved, for the story's sake, and the delight a writer herself takes in finding her own solution to any possible failure in the manuscript. They must resist the temptation to offer their own words as a solution when something is weak instead they should alert the writer to this weakness, so that if the writer agrees, she may solve the problem in her own words and way. They must forget outside suggestions, or the temptation to follow suggestions separate from their own visions.Įditors must resist the desire to insert their own idea of how and where the story goes.
Writers must shut out everyone else while they write. Q: Now has being an editor, publisher, and educator in the world of children's literature affected how you do as an author?Ī: Being both a writer and editor affects different expressions of the same personality.
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