1.We understand that you have an undergraduate degree in Motion Pictures and a Masters in Journalism. How did you come to write children’s books? How does your training affect your writing?
After graduating from film school, I worked briefly for a magazine and then got a job writing a reading program for grades K-4. I worked for them for five years, writing about two hundred fifty books. I was very fortunate in that I had someone pay me while I learned writing for children.
My film background was helpful in that it taught me to think in terms of scenes.

2. Can you tell us about any children’s literature you’ve read (at any time in your life) that you found especially memorable and /or inspiring.
When I was younger I loved adventure stories and enjoyed Treasure Island and the Hardy Boys. Later I was influenced by Sid Fleishman’s books as well as by the English author Leon Garfield.

3. You’ve written sixty children’s books. How would you describe your writing and editing process?
I generally write a fairly complete first draft. While working on the draft I take notes about what I want to add in the rewrites in terms of character development and plot, and on subsequent drafts, I add in material.

4. How has your writing process changed since you first started writing children’s books?
I’m much more careful on first drafts and on blocking out the plot in advance to make sure I don’t write myself into a corner.

5. Do you do any special research?
Anytime I have to be historically accurate I do research. I know that editors, or readers will catch me if I don’t. Besides, research always turns up interesting material that enlivens the story.

6. Do you think kids, boys in particular, are different today or are dealing with different problems than we faced?
The world is different, but I think elementary school age kids are basically the same. I’d like to think that the kinds of things that interested me, adventure, treasure, humor, are still of interest to today’s kids.

7. What are your key concerns in writing for boys (ages 8-12)? How do those concerns translate into writing techniques?
With boys (maybe with anyone) you’ve got to keep things moving along. Cliffhangers are important as is a strong opening. I also like to inject as much humor into the story, as possible, when appropriate.

8. What do you want young readers to take away from your books?
I want them primarily to be entertained. I want them to become lifelong readers so I want them to have an enjoyable reading experience.

9. Any advice for other writers?
Be persistent. Study books, study the field, and write as much as possible. It’s not easy to publish a book but if you approach everything professionally eventually you will succeed even if it takes years to do so.

10. How are you able to balance writing and running the SCBWI?
Since returning from Maine four years ago and working full time for the SCBWI, it’s been very hard to continue my writing. The SCBWI is a full-time job. I’m currently revising a novel, but finding the time and switching gears from administration is difficult. I freelance wrote for twenty-five years and now I have tremendous respect for those who can balance a full-time job and write as well.

11. How did SCBWI come into being?
Lin Oliver and I were working at the above reading program in the early 1970’s. We wanted to join an organization to improve our skills. When we didn’t find one, we started the SCBWI.

12. How has it changed since 1971?
We’ve grown, of course. At the end of the first year we had 50 members –now there are more than 18,000. We offer publications, grants, awards, workshops and soon a host of services online. We’ve become truly global and much more professional.

13. How has the publishing industry changed since 1971?
There are probably fewer large publishers, but probably more total books published each year. I also think the books are better now than in 1971. I’d like to think that the education and services the SCBWI has provided its members have helped make those books better.

14. How do you think the development (or decline) of ebooks and the Internet will affect children’s publishing?
The biggest plus will be in keeping books in print. Any book scanned into a database and available in print on demand form need never go out of print. This is a big benefit to not only authors and illustrators, but also to libraries and readers.

15. Describe the SCBWI you’d like to see in five years time. Ten?
In the future we’ll have many more services and events online. Members will be able to participate in classes and workshops generated from all over the world.

16. What role do you think SCBWI plays internationally, alongside other international children’s literature organizations?
We’re probably the only large international organization that provides basic information on the field of children’s books to authors and illustrators. Of course, we expect to see a lot of growth in our international regions in the coming years and so will be providing the kind of information the international membership needs and deserves.

Thanks, Steve!