Review: I Am Tama, Lucky Cat

You’ve probably seen the smiling cat figurine with the waving right front paw, but have you ever wondered why it’s there? Told from the cat’s point of view, this charming 32-page picture book tells children one of the possible stories behind it with straightforward prose and stunning artwork. It can be enjoyed both for the story itself and as an introduction to or study of Japanese culture. Backmatter includes an author’s note and acknowledgements. Highly recommended.
Book information:

  • Title: I Am Tama, Lucky Cat: A Japanese Legend
  • Author: Wendy Henrichs
  • Illustrator: Yoshiko Jaeggi
  • Publisher: Peachtree Publishers
  • Publication date: August 1, 2011

See other posts from this week’s Nonfiction Monday at Telling Kids the Truth: Writing Nonfiction for Children.

Note: I viewed this digital ARC via NetGalley and do not receive any compensation for this review.

Nonfiction Monday book review: Spiky, Slimy, Smooth

I must admit, when my own daughter entered kindergarten and started the unit on texture, I was surprised. Yes, textures are all around us, but what’s to study? These kids are already experts. After all, they’ve been feeling textures since before they were born (often with their mouths)!
I soon realized that’s exactly the point, though. They are all around us, but do we have the words to describe them? Have we really ever thought about how things feel, or why? This isn’t important only for its scientific implications, it’s also critical for good writing! I enjoyed seeing my children go through this topic and gain a new appreciation for the things around them. And I especially loved trying to help them come up with exactly the right words to describe a common, or not so common, texture.

In SPIKY, SLIMY, SMOOTH (Lerner/April 1, 2011/32 pages/ages 4-8), Jane Brocket combines beautiful, bold photos of everyday objects with deliciously descriptive language.
While the reading level seems a bit too advanced for most kids who will likely be studying textures as part of their science curriculum, it will make a great read-aloud for their teachers looking for an engaging way to present the topic. Brocket’s text includes many interactive elements, and her kid-friendly photos will have young learners wiggling their toes, delving into their memory banks, and stretching their imaginations to experience the textures themselves.
Happy Nonfiction Monday! You can see the rest of the roundup over at Rasco from RIF here.

Review: Tom Thumb


I just finished an advance reading copy of TOM THUMB: THE REMARKABLE TRUE STORY OF A MAN IN MINIATURE by George Sullivan (Clarion; February, 2011; 208 pages; grades 5-9).

Writing non-fiction is like putting together the pieces of a puzzle, says author George Sullivan… “I like nonfiction because I’m a very curious person, and the research that I do I find introduces me to new worlds,” he said. “I’m always interested in finding out what people were really like—how they live, what the family life was like, what motivated them.” (full article here)

I think he succeeds in conveying that sense of curiosity and wonder to his readers, and TOM THUMB should be of great interest to middle-graders for both pleasure reading and researching reports.
In TOM THUMB, Sullivan pieces together the puzzle behind the real-life story of Charles Sherwood Stratton (a dwarf who would later become famously known as Tom Thumb), as well as those of P.T. Barnum and Tom Thumb’s wife, Lavinia.
Written as a narrative, the text chronologically follows Tom Thumb’s life and beyond, weaving an interesting biography and tale of history and showmanship. Sullivan treats his subject with careful dignity and respect.
In addition to the story itself, librarians, teachers, and researchers will appreciate the attention to backmatter, including acknowledgements, about the sources, end notes, bibliography, books and articles list, and an index.
In my mind, the book also raises some interesting opportunities for discussions in classrooms and children’s book clubs:

  1. The book makes it clear that Tom Thumb apparently enjoyed playing his roles and living life as a performer in the public eye, but others, most notably Barnum and Tom Thumb’s own parents, also profited from his on-stage antics. At what point does it constitute exploitation to treat people this way? What factors might have made it acceptable historically? How is it different today? What types of exploitation, if any, still exist today? Should they be banned?
  2. The book reveals Barnum’s skills in self-promotion, marketing, and knowing what audiences wanted and were willing to pay for. It also reveals several knows cases of “humbuggery,” or instances where he knowingly deceived audiences to draw bigger crowds and more profit. Is this behavior acceptable for a “showman?” What might “humbuggery” look like today, and how do we try to protect consumers from it? Are we successful? How can we be on the lookout for “humbuggery” in today’s media?

Sullivan has written more than 100 books for children, and he’s still writing in his 80s. He shared some of his tips here, including:

“I write very early in the morning, when my mind is fresh and when I know I’m not going to be interrupted by the telephone or visitors or whatever might occur during the day,” he said. “I do a great deal of work in the early morning hours.”


“You take the project and you break it into pieces,” he said. “You have an outline that breaks it down into different categories. Then you research each of these pieces, instead of trying to do everything all at once.”

Good advice. And Sullivan has certainly built a book, and a career, worth emulating.

Review: The Many Faces of George Washington

I recently signed up for, which lets publishers connect their upcoming books with reviewers, media, librarians, booksellers, bloggers, and educators. It’s easy to use, helps me keep up with what’s happening in the market, and—lucky for you!—it allows me to share these new works I love with my blog readers!

The first book I downloaded was one I’d heard about the NFforKids Yahoo group for nonfiction children’s book writers. THE MANY FACES OF GEORGE WASHINGTON: REMAKING A PRESIDENTIAL ICON, a middle-grade available on 4/1/2011 from Carolrhoda Books, was written by friend and former SCBWI regional advisor Carla Killough McClafferty. I found the unique concept to be extremely intriguing. The following is excerpted from the front flap copy:

“George Washington’s face has been painted, printed, and engraved more than a billion times since his birth in 1732. And yet even in his lifetime, no picture seemed to capture the likeness of the man who is now the most iconic of all our presidents… In 2005 a team of historians, scientists, and artisans at Mount Vernon… tapped into skills as diverse as eighteenth-century leatherworking and cutting-edge computer programming to assemble truer likenesses.”

I was not to be disappointed, and gobbled this 120-page book up in a single afternoon. Equal parts history and technological thriller, THE MANY FACES OF GEORGE WASHINGTON brilliantly alternates between the historical context of the man and the modern-day techniques used to rediscover his real appearance. Below, Carla graciously shares some insights and behind-the-scenes information on how this amazing book came to be.

LT: How did you find out about this fascinating story of recreating George Washington’s likeness, and what made you decide to pursue it as a middle-grade nonfiction book?
CKM: I love to watch The History Channel—which comes as no surprise since I write nonfiction books about historical topics. One day in 2007, I watched a documentary titled The Search for George Washington. It showed how Mount Vernon brought together a team of experts from the fields of science, history, and art in order to find out what George Washington really looked like. Their work resulted in three life-sized representations of Washington at the ages of 19, 45, and 57, which are exhibited at Mount Vernon. I was fascinated by the project. The 3D scanner images of the Houdon bust made me sit up and take notice—probably because my first career is as a radiologic technologist. The idea for THE MANY FACES OF GEORGE WASHINGTON: REMAKING A PRESIDENTIAL ICON was born as I watched that documentary. I recognized immediately that this new information discovered by the Mount Vernon team would provide a fresh look at George Washington that would perfect for a book. I love to write for a middle-grade audience because they already have a general knowledge of many things, but they are willing to add deeper layers to their understanding.
LT: What kind of reader do you think this book will appeal to?
CKM: I work hard to make sure my books can be read, understood and (hopefully) enjoyed by readers from ten years old through adulthood. I write simply and explain everything—but I write about complex topics. What I hope is that a ten year old reader understands the text without a struggle—and an adult reader does not feel they are reading a kid’s book. Regardless of the age of my readers, my goal is to interest them in a topic they didn’t know they would be fascinated by, and write it in such a way that the information will stay with them.
LT: I think you’ve definitely achieved that here, through both the way the book is written and the wide variety of subject areas it covers: art, history, science, technology. What was your favorite part to research and write? What was the hardest part for you? How did you deal with that?
CKM: Every part of this book was enjoyable for me. But if I had to say, it would be that I loved getting to know George Washington as I researched his life. I began this project with very little knowledge of Washington or the American Revolution. As I studied, I began to understand how amazing this man was, and how astonishing it is that America won independence. I’ve even come to think that without George Washington—the war might have NOT have been won.
CKM: My favorite part relating to the creation of the Washington figures was getting to know many incredible people involved in the project. I absolutely love the folks at Mount Vernon. Diana Cordray, the education center manager/special projects coordinator, has helped me in a thousand ways. It was also a treat to get to know the artists Steven Horak, Sue Day and Stuart Williamson and watch them work. I now count these amazing people among my friends.
CKM: The hardest part was locating many of the people who contributed to the project in various ways in order to interview them. I kept asking questions and searching around until I found them.
LT: During your research, what surprised you the most?
CKM: The most surprising thing was the man, George Washington. He was handsome, dashing, and brave. He was the best horseman AND the best dancer in Virginia. Today we would say he was a “man’s man”. And the ladies liked him too.
LT: How much time did you spend researching overall, and how long did it take to write the book? How much time did you spend researching “on location?”
CKM: This book has taken three years from the time I really determined this is the book I just HAD to write until it was released. I’ve spent three weeks in Virginia, at Mount Vernon, Yorktown, and Colonial Williamsburg. I also spent a week in New York City doing research.
LT: How do you manage all of the research for a book like this? What’s your organizational system? Does it evolve over the course of a project?
CKM: My organizational system is constantly changing, and I’m always looking for better ways to work. For this book I read more than fifty books about George Washington. I bought most of them off of Ebay and Amazon so I could mark them up and make notes in the margins. In this way, I didn’t have to write massive notes; I could just refer back to the books themselves. Plus I have three huge Rubbermaid containers where I file notes and research from places other than books.
LT: Did you do all the photo research for the book too? Can you tell us about that process?
CKM: From the very beginning of my research on a book, I’m looking for the right images. It all happens at the same time, yet I understand that in the end some images must be deleted for space considerations in the end. I’m thrilled with the way the book looks. The design team at Carolrhoda did an amazing job.
LT: I agree. The end result is gorgeous! Another thing I love is the way the book is structured, with the buildup of the problem and their approach to solving it, followed by alternating historical chapters and modern-day re-creation chapters. I think this approach really serves to engage both types of readers, those more interested in the history as well as those more interested in technology, to keep reading and learn new things in both areas. Rather than stick to chronological order or present both stories separately, how did you arrive at this particular structure?
CKM: How to structure the book was one of the most difficult issues of this project because the scientific investigation went backwards in time, from older Washington to younger Washington. I considered doing it countless ways, but each way presented challenges and problems. In the end, Andrew Karre, my wonderful editor at Carolrhoda, felt it would be best to go back and forth between the figures and the biographic material. From there, I had to figure out how to make it work. It was a challenge because I had to figure out how to deal with the reverse order of the de-aging process, start the bio section with young George Washington, and not backtrack to the science.
LT: What did you learn from this book, as a writer, that you’ll be able to apply on future projects?
CKM: For my last book, In Defiance of Hitler: The Secret Mission of Varian Fry, I researched and wrote at the same time—and I finished that book faster than any of my other books. With this George Washington book, I spent months reading book after book without writing any text. In the end, this gave me a good foundation about Washington and the Revolution, but it slowed down the whole process. I won’t make that mistake again. In the future, I’ll research and work on the text at the same time.
LT: What was your revision process like, including how many times you revised and at what stage(s) of the process?
CKM: When I get a good rough draft and I go through the entire thing again and again and again until I think it is right. I revise it keeping the entire book in mind since what I write on one page influences what comes later and before. I don’t keep track of how many times I revise the entire manuscript before sending it out—I just keep working until it is done.
LT: Tell us about the pitch and sales process you went through with this book. How much did you have researched and written when you pitched your agent (Susan Cohen at Writer’s House)? And when she then pitched it to editors?
CKM: I talked to my agent Susan Cohen about it and she suggested I write a proposal. She read the proposal and suggested some changes. I did a lot of research before I was able to write the proposal in a way that would reflect what I wanted to do in the book. My previous books were with FSG, but my editor was no longer with FSG, so Susan began sending the proposal out about end of 2008 to other houses.
LT: You mentioned Andrew Karre at Carolrhoda was very supportive of the book’s concept and also had some input into the structure of the information. Can you tell us what it was like working with Carolrhoda, and how it might have differed from other publishers for your previous books?
CKM: Andrew Karre is an excellent editor and has been wonderful and. From the first day, he was enthusiastic about the book and saw the project the way I did. During revisions, he had suggestions on adding or omitting material. I considered his edits carefully, but in the end he would give me the final say on what to do with it. He trusted me as the author, and I trusted him as the editor. It must work both ways.
CKM: My other books have been with FSG. I worked with two different editors there through the years, Robbie Mayes and Beverly Reingold. Both of them were excellent editors. I’d say the biggest difference between working with FSG and with Carolrhoda is that at FSG we worked on a physical hard copy of a manuscript and with Carolrhoda, Andrew and I worked on an electronic manuscript.
LT: What are you working on next?
I’ve always had to finish one project completely before I move on to the next one. Now that The Many Faces of George Washington: Remaking a Presidential Icon is out, I need to decide. But it seems I’m not quite ready to let go of George Washington—maybe there is another book there somewhere.
LT: Carla, thanks so much for sharing such detailed and honest answers with us!
CKM: Thank you! It is always so much fun to talk about my books when they finally come out.
I encourage you to find out more about Carla and The Many Faces of George Washington here!