CLOAKED IN COURAGE: Interview with Author Beth Anderson

Welcome to a very special visit to the blog by author Beth Anderson. I'm always excited about a new release by Anderson, since her picture books are reliably informative, entertaining, and packed with surprising facts and people who I feel I should have known about but did not. Her works always inspire me to improve my own research and writing and topics. I am especially pleased when Beth finds the time to respond to my endless questions about how she produces such wonderful and important works. (Prepare for a longer-than-usual post, but it is TOO GOOD to break into two parts! Read on!)

I had countless questions, but narrowed them down in hopes that her responses would be expansive, and she did not disappoint. I’m always informed and inspired by her interview content and urged her to proceed in whatever way allowed her to share her intentions and processes. Beth has been rigorous in her research and also in labeling of her books, often indicating that they are informational fiction rather than nonfiction. In nonfiction, every quotation, statement of fact, made and event must be verifiable from reliable sources. When a clearly authentic life or events becomes the topic of study, but sources suggest two or more versions of various details, or no content can be found to explain some details, it can be useful to weave the facts into a realistic and supportive narrative that allows for some kinds of conversations and interpretations. Then back matter can clarify the what and why of facts and fabrication or omission within the main text.

So, I'll get on without further delay.

Calkins Creek, 2023
Imprint of ASTRA Books

SB:  Welcome, Beth. your profile picture books are often categorized as informational fiction, which allows you to generate stories that are compelling and complete through narrative literary style while incorporating an astonishing amount of factual content. CLOAKED IN COURAGE: Uncovering Deborah Sampson, Patriot Soldier succeeds in that approach with a wealth of fascinating facts despite the many mysteries still surrounding your subject. As you do so well, your author note makes clear what gaps and confusions interfered with finding definitive answers, then discussing your wide range of primary and secondary sources. Were there particular gaps that caused the greatest frustration? Things you still wonder most about to this day?

 

BA: This is one of those stories with some conflicting information and no way to prove exactly what’s correct. Technically, I’d call it historical fiction, one type of informational fiction. The categories seem to morph these days. But like my other books that fall into this category – I’d say it’s 95% nonfiction. What appears to be the most complete account of Deborah Sampson’s life is a bio by Herman Mann. He used her input, but apparently he didn’t think it was exciting or edgy enough so he took liberties, adding parts suspiciously like another book of the time and also putting her in battles that occurred before her enlistment. Mann also wrote her speeches when she went on the road as a lecturer. So… that whole book and her speeches are unreliable. But…historian Alfred Young took Mann’s book and examined every little piece, a truly great feat of historical detective work—and a huge help to me.

Probably the one piece of information I wanted most for the story was specifics on Sampson’s war wounds. Was it one musket ball in the thigh? Or two? One in the shoulder? The thigh and shoulder wounds vary a bit in different accounts. Did she dig it out successfully? Or was it too deep? I went after all that for a very long time. Experts have differing opinions. There is ample evidence that she was wounded. And two sources independent of Mann report that a shot remained in her. Deborah received an “invalid” pension and those records would have details, but unfortunately, they’re lost. There are multiple accounts of her digging out a thigh wound. Since her injuries were important to the story, I had to do the best I could. 

 One thing I wonder about is why she allowed Mann to embellish her life according to his vision of a heroine. She was so strong in so many ways. I have to think she longed for acceptance, needed to raise her family, and that the social restraints against women made her walk a narrow line between acceptable and unacceptable. 

Oh, and I’d really like to know how she hurt her finger! 

SB: Following up, among aspects of your writing that I admire most is your capacity for incorporating verifiable facts without relying on the dreaded (and usually boring) “information dump”. An example occurs in the second full spread in which very young Deborah is seen riding away from home on a wagon with a very old man, having been “put out” to serve another family by her mother. It was necessary to avoid starvation and have “a chance” at surviving. Within that one paragraph and a single line that follows, readers are introduced to that process, and come to understand that her mother was assumed to be widowed with many small children, that she was struggling with sadness (possible depression?), and desperately lacking in money and food. What dramatic and jarring truths about historic practices this reveals, and yet remains a very personal and nonjudgmental element of Deborah Sampson’s personal history. I’m trying to imagine how many pages of sources you must have read to reach these few effective words on the page, and how you do it! Any insights on how you determine what matters most and how to frame it within personal stories?

BA:  I’ve been realizing lately, as I revise another manuscript, that I have an aversion to long paragraphs on the page.  😆  Exactly what you said. Danger! Info dump! One of the major challenges is weaving in needed context without dumping a bunch of information that stalls the narrative. I try to embed it with action but it’s always difficult. 

 I learned a lot researching this story! I knew about the beginning of the Revolutionary War before I started REVOLUTIONARY PRUDENCE WRIGHT, however with Sampson’s story, I knew very little about the period of her enlistment from 1782-83. I had to dig into the Continental Army, traditions about women, media of the time, social customs, and so much more. Searching far and wide deepens my understanding of the character, motives, and stakes. The custom of children being “put out” or “bound out” was overwhelmingly sad from Deborah’s POV until I asked the questions WHY? and WHAT DOES THAT MEAN FOR THE CHILD, EXACTLY? And then, how does this serve the story? To find that, I had to look through her mother’s eyes. I had to make this harsh reality comprehensible while keeping the story moving. The challenge becomes what to use and what to leave out. TMI (too much information) slogs and loses focus. No enough confuses.

 

Interior spread, Cloaked in Courage, Calkins Creek, 2023

As you guessed, there’s a lot more, from multiple sources, that’s not on the page, so here’s a bit of background info and my goals line by line. This was a TOUGH spread, the inciting incident. 

·      Deborah watched Mama slip into sadness. I needed to look from Deborah’s eyes and not make her mother the villain when she was going with her only option. I have to say it took a long while to get to this line.

·      Too little money. And never enough food. These are realities a child can understand. Many complicating factors and details really aren’t necessary. This sets up Deborah leaving as giving her a chance for a better life. I used phrases to hit hard and slow the reader to take it in. And the previous spread, with its absolutely gorgeous and perfect illustration, just hinted that Deborah wants more from life and is looking to the future. 

·      And Papa hadn’t returned from the sea. The reality of her father “lost at sea” was that he had deserted the family. TMI. All Deborah would’ve known is that he never came back. Now Mama’s situation is clearer. 

·      With no way to earn a living, Mama offered her children what she could—a chance.   Women were basically unable to raise children on their own because the only skills they were taught were to care for children and run the home. Most women had no way to earn a living. It’s also the beginning of the idea that hardship can have hidden value.

·      Following tradition, she scattered them to different homes, “putting them out” to earn their keep. Mom was doing what was expected or normal—tradition. “Putting children out” was basically the foster care system of the time. It provided a way for kids to be cared for and, in some cases, to pay a debt. In the first two homes, Deborah provides help for elderly women, and in exchange, they provide food, shelter, and (lucky Deborah) teach her to read and write.

·      Including five-year-old Deborah. Putting her age (needed info) here is impactful and pushes the reader forward to see what happens to her. (And the illustration is so perfect!) 

 

I appreciate that you said this was “nonjudgmental” because my goal was to let the reader take in the historical truth and not tell them what to think. There’s no blaming, just the reality. This scene is about sympathy. And while it’s a terrible situation to think about, it was an important piece of Sampson’s story. The reader will root for her as she finds her way! Upon reflection, a reader can see how this scene supports Deborah’s choices to be independent and able to earn a living. 

 

SB: I loved the ways in which you laid the groundwork within Deborah’s background, ways in which her personal development serving in several homes built her physical and mental strength, her reading ability, and important awareness of the political movement toward rebellion and revolutionary war. Of course, the illustrations contributed greatly to your lively text, providing a sense of her as prepared to take a stand as a woman on her own, not following societal routines of marriage by age eighteen. Her recognition that common gender roles should not, would not limit her choices in life is so deftly revealed. It sets the stage for her superior achievements while serving as a revolutionary soldier, cloaked not only by her uniform but by her successes. Are there particular aspects of her lifetime of accomplishments that you most admire?  

BA:  I was driven by the question What makes us who we are? Getting into the details of her indentured servant years, it became easy to see how she develops the skillset for her future. I really enjoy the pre-writing process when I try to “build” the story with pieces found in the research—a puzzle! She did “male” and “female” work, was surrounded by the call for independence, and, when I looked at the books available to her, wow! Certainly all us know that we’ve been shaped by our experiences, the social conditions, and what we read and hear. I had so much for that section, but had limited space. I was thrilled that Anne Lambelet was able to show so much in the art. I loved offering up a chance for readers to consider the impact of the Boston Tea Party and Declaration of Independence from the POV of a teen girl!

The idea of excellence and integrity as a shield was really interesting to me. My understanding is that it started in her childhood, and it amazes me that a child that was “put out” pushed herself forward so tenaciously. I admire her boundless spirit and how she was able to serve for seventeen months without being discovered. One of my favorite moments in the story is when she returns from Philadelphia to face her commanding officer with the truth of her gender inside the envelope she carries. She faced severe punishment, a fine, and imprisonment for dressing as a man and lying about her identity. Male soldiers deserted all the time. She easily could have, too. But she didn’t. When I look at a character who accomplishes something outstanding, I’m impressed and inspired. But what really intrigues me are the decisions. Why?

 And for all her strengths, an important part of her story is her weaknesses. She lied. She took a bounty and then chickened out. That makes her story all the more powerful to me. 

SB: The trajectory of Sampson’s life after serving is left open to the reader’s imagination. By that point in this account you have offered enough information for readers to have opinions about what Deborah might encounter in the way of obstacles, and also in potential support among open-minded individuals, as she set out alone. She intended to make the most of herself, seeking “a chance”, as her mother had done for her so long ago. We readers certainly anticipate that Deborah Sampson would not let obstacles stop her. Did this ending reveal itself to you all along, or were there other options you considered? I’ll admit this one feels perfect to me, yet I can’t help but wonder what other approaches might have made a case in your mind before finally deciding.

BA: Originally, I took the story further to include her return, starting her own family, her lecture tour, being her own business manager, and fighting for her pension. I kept shortening that section, and by the time I got to editorial revisions, those extras were cut way back and what Sampson did in the future went to back matter. As the manuscript was fine-tuned and the “heart” thread sharpened, it just sort of popped that there was a natural ending when her enlistment was over. She had broken free, proved herself, and we know she’ll face anything. Going on to include more loses something and doesn’t resonate in the reader’s mind. 

 SB: I must always ask you to share what you can about other upcoming books, maybe including hints about ones that must still remain unrevealed.

 BA:  I have three books with editor Carolyn Yoder coming!

THOMAS JEFFERSON’S BATTLE FOR SCIENCE: BIAS, TRUTH, AND A MIGHTY MOOSE is in final art with illustrator Jeremy Holmes. What I’ve seen so far is AMAZING! The story is history + science + humor—all my faves. (Spring 2024)

 Illustrator Sally Wern Comport is working on sketches for HIDING IN PLAIN SIGHT: KATE WARNE AND THE RACE TO SAVE PRESIDENT LINCOLN. I’m looking forward to those—always an exciting moment!  No doubt inspired by all the Nancy Drew books I read, this is about Warne’s role in foiling the Baltimore Plot as the first female detective in the US. (Spring 2025)

As yet unannounced is the story of another spunky female who “exceeds expectations” and has connections to Madison, WI; Illinois; and Washington, D.C. (I know that Madison connection got your attention, Sandy! HA!) By the time this posts, I should have editorial revisions finished and the manuscript moving on to an illustrator…..Can’t wait to share!

And always…a WIP!  (SB: Work-in-Progress)                                                                  

Thanks so much for your insightful and dig-deep questions, Sandy! And for all your heartfelt support!

SB: Beth, thank you so much for this opportunity to join in support of your book. It is truly a marvel and one that must have Deborah grinning from whatever “beyond” she might be in!  I wish she had left even more of her story available to you, and to all of us, but you made masterful work of extensive evidence. Your treatment of her impressive and inspiring life deserves wide support and awareness. I’m delighted to offer that.

My full review of the book was in a recent post, and you can read it HERE. I'm not alone in praising this offering. To read other reviews and interviews about this book click HERE or listen to this terrific podcast/interview with Beth on "Confetti Moments", HERE. (It's episode 74 or you search without the link.)

I’m delighted to say that the publisher sent me an actual copy of CLOAKED, and the physical object is simply incredible. 

 

Meet Beth Anderson's Remarkable, Revolutionary Deborah Sampson-- CLOAKED IN COURAGE

CALKINS CREEK, 20232
Imprint of Astra Books

CLOAKED IN COURAGE: Uncovering DEBORAH SAMPSON, Patriot Soldier is written by Beth Anderson (longtime fan here!) and illustrated by Anne Lambert  (new fan here!).

This latest offering by a talented researcher/author reveals information about an unknown/unsung woman of the American Revolutionary War. Anderson's writing provides efficient, lyrical narrative, rich with authentic details. Research from a range of sources is woven into a reliable and compelling portrait of the life of Deborah Sampson. Because data gaps and conflicting information left three details unverifiable, Anderson clearly states that this account is informational (or historical) fiction and that the most accepted versions of those details was used.

From the the first pages, readers learn of Deborah's early life challenges, with illustrations suggesting that even as a young child in deep poverty she dreamed of a better life, and a wider world.  

On that opening spread, in large font, a central thesis is stated: Maybe it was just Deborah. 

Interior Spread: Cloaked in Courage

Hard facts of life surface on the next spreads leading to Deborah spending her youth without family, in service (and heavy labor) to a variety of other families. In each circumstance she worked hard, learned all she could (including to read and write), built confidence and strength in her mental and physical potential, and also notes impacted by the events and  principles of the growing colonial rebellion leading to the Declaration of independence and the Revolutionary War.

At eighteen she refused the traditional path of marriage, made a living with trade skills often reserved for men, and then disguised herself as a man and enlisted in the army to fight for freedom. But when her ruse was discovered, she ran away before she could be arrested. In another area where she was not known, she tried again and enlisted as soldier Robert Shurtliff. The following spreads show her as managing every challenge effectively, translating skills from her early service years to those required of soldiers, including taking part in battles. After being wounded, she attempted to dig out the bullet herself to avoid discovery in a medical examination.

She gained respect and was advanced to service for officers, chosen for her outstanding performance in active service. 

With the war nearly over, she had one last mission. But when Sampson fell ill and lay unconscious in the hospital on the brink of death, a doctor discovered her gender.  Stay tuned, there's more to come.

Gorgeous illustrations incorporate information and details that expand the compact text and the landscapes of Sampson's life at every stage. Those are physical, emotional, social, and political. Look closely at that cover art, so evocative of the time, of the complex roles Deborah chose to assume, and the radiant quality of her heroic decisions. This approach both equates and elevates her role compared to those of other soldiers of the revolution. Throughout, we see her full authentic self, the one who grew strong through adversity and hard labor, as well as a limited reflection of that within the career and service she chose despite restrictions that should have locked her into more traditional roles. 

No spoilers are offered here, since I've already revealed much about this remarkable woman and book. Just know that there are substantial and exciting surprises throughout, as well as some questions raised. The important author note in back matter provides readers with some answers  and explains why others don't have easy answers. 

I highly recommend this new title and urge you to read the post that will follow in a few days. Beth kindly agreed to respond to my questions about her research and writing for this important new picture book which you can read then. If the wait has you eager to know more (as I was) I guarantee it will not disappoint. While waiting, check out her interview about previous titles HERE.

Beth Anderson Writes... So Well!

KidsCanPress, 2022

I'm so  excited about the informational fiction picture book FRANZ'S PHANTASMAGORICAL MACHINE, written by Beth Anderson and illustrated by Caroline Hamel. I shared some of my detailed thoughts about it in a recent interview, HERE. I’ve also enjoyed reading interviews with Anderson by other bloggers, HERE and HERE, involving the origin/creation story behind this book. She wrote reflections on the heart and power of this particular book on her own blog, HERE, which I highly recommend.  

I've had the pleasure of interviewing Beth about her previous books, HERE and HERE. I'm excited that she found time to respond to my questions again, so I tried to make them count! What I most wanted to ask about is her skill with the craft of writing, particularly word choice and word play.

SB:  Beth, welcome back! Thank you so much for joining my readers again to share your time and talent with us. 

Beth:

Thanks so much for inviting me back to talk about FRANZ! 

SB: Your educational background and prior professional career focused on languages and communication, so it’s not surprising that the texts in your books feature word play, apt word choices, and text structures and patterns that strengthen storytelling. The opening text for FRANZ’S PHANTSASMAGORICAL MACHINE uses sparks of questions when we meet young Franz as he encountered a cuckoo clock on the wall of his home:

“He put his ear close to the chirping bird. What makes that sound?

He peered at the gears. What makes them move?

He peeked behind the small door. What’s going on in there?”

None of these are remarkable or phantasmagorical words, but the astonishing magic of curiosity and questioning in a child-mind (of any age) shines through and sets the stage for a satisfying resolution phrase all the way at the end of the book. It does so by presenting a familiar situation in light, lyrical language. 

These are three memorable and inviting lines. Those few words include internal rhyme, assonance, and alliteration, despite being seemingly simple. The call/response format of observation and italicized inquiry requires no dialogue marks or tag lines. They are beautifully direct.

With that lengthy introduction, here’s my question-- How’d you do that? And then sustain such skill throughout the text? Please share your approach to first stage drafts and refinements. Any insights will be welcome.

 

BETH:

The beginning of the story went through many changes. The early versions were more about Franz Gsellmann’s love of tinkering and building and were definitely more “telling.” Then, since I had read how he was fascinated by nature, I tried out some tree imagery, and this is where I began moving more toward establishing his curiosity as a young child. I was learning to go to the emotional level, I think. And I was also discovering the “heart.” 

Then instead of dual imagery of nature and mechanical objects, I focused solely on the mechanical. When I submitted it, I think I had three images—a light bulb, a music box, and a clock—all paired with the question What’s going on in there? That question drove me through the story, I suppose because it’s kind of a joke in my family. That was the singular question I had throughout. I loved the ordinariness of it, the fun of it, and how it applies to so many things. [Think about it…it’s good for when the kids lock the bathroom door and you hear all kinds of shrieking and splashing. Good for when you witness strange comings and goings. Good for when you listen to a music box.] That question was my signpost of curiosity throughout the story for Franz and others, a way to show that we are all naturally curious, and…it could carry many different emotions with it. 

 

But…when we began editorial revisions, the editor wanted more specific STEMish questions. And somewhere in that process, I came up with the absolute best, most perfect opening line EVER (for me)! Unfortunately, it didn’t work with illustration as it required too much time in childhood growing from baby to young boy. Talk about killing a darling! OUCH! That was hard. (But I’m holding onto it in case I can ever use it for another story.) Moving through revisions, we did a lot of experimenting with questions. Too technical didn’t sound right. I wanted ordinariness, questions every child might ask, as the base so the move to extraordinary would be more interesting and show we all have that capacity. Of course, I had to play with sound and rhythm for a while, too, until I got that just right.  

 

The creativity and whimsy in the story drove some of my word choices, as well as the machine itself. I watched videos of the machine over and over, noting sensory details like shapes, movement, colors, and sounds. I played with those on slips of paper as I wrote. I used the list of items in the machine (1,960!) and sorted them different ways as I experimented with them in the text. The details of the machine were an aspect of what I loved about the story and essential to the fun. Being able to organize the details in different ways helped make it all manageable. In the end, I lost a portion of all that word nerd fun to serve pacing. But I think you have to go bigger before you can cut back, because often the cutting back is more like “compression,” finding ways to include more in fewer words. 

 

Aside:  DANG, I am so curious about that perfect opening line, but I am certain I will get the fun and satisfaction of reading it eventually. And for readers who haven't heard the expression "killing your darlings". This is the figure of speech writers use when a particularly FAVORITE line, or chapter or character or ending or...anything!!! must be removed for the good of the overall story. It is difficult to do when an editor or agent or critique partner urges that choice, but it is clearly wisdom and growth when the writer herself recognizes that sacrifices must be made for the good of the story.

SB: Thank you for such clarity and insight! That felt like a mini-masterclass in how excellence emerges with continued reflection and wise revisions, not to mention the editorial process AFTER a work is under contract. 

After such a demanding question, let’s deal with some fun facts that give your thinker a rest! In several places I learned that you tinkered in your dad’s workshop with your own creations. Will you tell us about some of the things you constructed, fixed, designed, etc.? Do you still have any of them? Any that you wish you DID still have? Any that later came into our world to make you feel you missed out on a valuable patent? Where did your own ideas come from? Did you have a cuckoo clock in your home (or other curiosity-sparker?)

 

Beth:

I was raised a “maker,” though no one used to call it that. For generations before us it was about survival and “making do.” Both of my parents were always ready to tackle any project, and I’m thankful that I was raised with that attitude of trying and learning.  (I could go on endlessly about their projects and creations!) The solo tinkering endeavor which I distinctly remember over all the others was making a “mixer” in the basement workshop. I made a stand with a crank that turned a plastic scoop. In actual use it would have been a disaster, but that didn’t dampen the fun of making something mechanical. (I “invented” crude versions of things that were already invented, so no patents for me—though my great-grandfather had a few!) My tinkering projects are long gone, probably due to the quality of the workmanship. (HA!) Some of my early craft items are still around. I continue to enjoy various kinds of crafts, and I think I was drawn to weaving because it’s mechanical, too. I see the same love of “making” in my grandchildren. Allowing kids to experiment and create builds an array of life-skills along with a sense of capableness and independence. I wish all kids could have that experience. I hope FRANZ’s story will provide an invitation without intimidation.

 

I remember being fascinated by an aunt and uncle’s player piano, as well as the inner workings of our own piano. I’d peer inside to watch the hammers as I tried to play at the same time. And yes, we did have a cuckoo clock! So amazing with the little bird, the door that opened, the sounds, the mechanics of the clock, the chains and weights that worked their way down. A feast for curious eyes and minds! It fit perfectly into FRANZ’s story, and I ended up down a rabbit hole examining cuckoo clocks!

Aside: Beth mentioned weaving, and during the time I've come to know her (virtually) I realized she is quite the accomplished weaver. As a child I had a small tabletop loom and can tell you this about weaving:

A) I loved it!

B) It requires enormous patience in planning, setting up the loom, managing the many strands and directions and elements with an even hand, and EVEN MORE patience. 

C) All of the traits in "B" form an analogy for the writing process Beth described in my first question.

SB:  Thank you for revealing how deeply connected you are to that analytical inner process. Your craft advice is priceless and you  offered delightful insights into your own creative/constructive childhood. Now I’d like to ask about sustaining confidence in yourself. You referred to the value of that in children, but as adults we often lose the self-confidence we had as children. Franz certainly had a knack for believing in his dreams. You’ve written about this original text being rejected, then eventually helping you find, then partner with an agent who appreciated Franz, and YOU, and the magic of a creative spirit. (Curious readers can read about that HERE, and in your dedication to your agent for this book.) But then, as seems to happen so often, this story did not sell right away, even with a dedicated agent. Would you share some tips for sustaining faith in yourself and your stories during the all too familiar rejections that precede success, and even continue after your well-earned recognition and great reviews for other work? What keeps you going?

 

Interior spread: FRANZ'S PHANTASMAGORICAL MACHINE

 

Beth:

I think many of us have our own whisper that urges us on. But it’s also the encouragement of others like critique partners and those you’ve dared to share a manuscript with. Those are the people who keep pushing you forward to learn and improve. (The generous  and supportive kid lit community is a blessing!) The fact that FRANZ opened the door to representation was huge. Having an agent who believed in FRANZ sustained me, as well as the sale of other manuscripts. In a school visit several years ago, a child asked me if I had any “encouragers.” I loved that! “Encouragers” are so vital to us at every age! I see many stories, too, as another kind of encourager! 

 

When I first started subbing, I didn’t understand rejections as well as I do now. Submission isn’t the end of the process and doesn’t mean you’re done. One of the lessons from subbing FRANZ was to pause after each round of submissions, glean anything we could from the feedback, and revise more. That keeps you actively in the process and moving forward. Also, if we use the word PASS instead of REJECTION, as editors do, it seems more healthy. (Yes! Word choice is powerful!) 

 

Honestly, I think age helps, too. With more life experience, you’ve withstood some of life’s rejections, faced a variety of challenges, and probably gained some confidence along with an ability to persevere. Though writing can be very personal in ways people can’t imagine, we have to be able to detach a bit and know the “pass” isn’t a rejection of us as human beings. I’ve learned that editors pass for all sorts of reasons. And after you’ve experienced the publishing process you understand that editors have to truly love your story to work on it for several years to make it the best it can be. After all you’ve invested in a manuscript, you don’t want anything less than that.

 

SB: Every word rings true, Beth, including the impatience of youth and a growth as we age. Your comments also called to mind some lyrics that are universally true- "to everything there is a season and a time for every purpose under heaven".

You've been so generous in your responses, so this is the bonus, for you and for readers here. Please, please, please update us on any upcoming releases that you are allowed to discuss.

 

Coming November, 2022  

BETH:

I’m really excited about sharing CLOAKED IN COURAGE: UNCOVERING DEBORAH SAMPSON, PATRIOT SOLDIER in November. The illustrations by Anne Lambelet are fabulous! It’s a story of courage, perseverance, possibility, and how we find strengths in our challenges that ultimately make us who we are.

 

And then in 2023, THOMAS JEFFERSON’S BATTLE FOR SCIENCE: BIAS, TRUTH, AND A MIGHTY MOOSE has all that I love in a story—history, science, and humor! It’s in the final art stage right now and, oh my, oh my, Jeremy Holmes has brought soooo much to the story with his amazing illustrations. I am thrilled that some of what I had to leave out of the text, he has brought into illustrations after his own extensive research. 

 

Aside: I love that your note makes clear the need to TRUST your work to an illustrator without trying to direct or take charge. I'm sure that both illustrators were inspired enough by the work to invest research and talent to bring the full story to the page. This is a perfect example of developing your work, then believing in yourself and your story.

Beth Anderson: writer, weaver, tinkerer

SB: These upcoming titles are so exciting to anticipate. In one case you've found a sadly neglected historical figure to spotlight, and in the other you took a VERY familiar historical figure but pursued information about him that most readers will find entirely new and revealing-and fun! What's more, I know that you have others "in the pipeline" (more figurative language from the publishing world!) that will be equally exciting, informative, and entertaining. All of this makes your participation in these interviews even more generous with your time and attention.

 

And thank you so much for letting me join the release celebrations for FRANZ'S PHANTASMAGORICAL MACHINE!  The book is terrific and I can easily imagine Franz, in some other dimension, grinning at his newfound fame! He would be thanking you, too, I'm certain. And I'm also certain that I'll be reading your new books and hoping to ask you a few more questions with each!