Interview: Sarah Kurpiel
SARAH STEINBACHER: Your most recent picture book, MORE THAN A TREE, is a “sympathetic picture book of mourning and regrowth” (Publishers Weekly) that’s an “excellent addition to any library’s collection, especially those needing stories dealing with a loss” (School Library Journal, starred review). Why do young children need stories about loss?
SARAH KURPIEL: Hi there! Thanks for having me on the blog! MORE THAN A TREE (Rocky Pond Books / Penguin) is about a young girl struggling to say goodbye to her beloved backyard tree. The tree has stood outside her window all her life. It’s like an old friend. So, when she learns the tree has to be removed, it comes as a bit of a shock. While I didn’t set out to write a book about grief, that’s the story that naturally emerged as I explored this corner of my childhood memories. The book is fiction, but it’s loosely inspired by real-life events. When I was a kid, my family had a large, old tree in our backyard. My brothers and I played around it all the time. It sparked many imaginary games. One year, the tree started creaking, even in light wind. With time, it got worse. I was a kid who got really attached to objects: a tiny tea set, an old book, a smooth seashell, a large rock shaped kind of like a turtle in my backyard (this last one makes an appearance in the book). So, losing that tree was a big deal to little me. With this picture book, I sought to capture the real feelings I felt as a kid but situate them in a fictional narrative where I could also show the comfort we can find in memories and in nature’s renewal. MORE THAN A TREE organically became a gentle introduction to loss. I hope young readers find helpful, hopeful, and comforting.
SARAH STEINBACHER: School Library Journal said, “The lovely pastel artwork mirrors the gentle spirit of this story, which also comes with a message of hope and responsibility. This one has its own quietly joyful message of shared family experiences and the healing that comes over time” (starred review). Bulletin added, “This gentle picture book from Kurpiel has sweet text accompanied by soft strokes of watercolor in soothing, muted tones of blue, yellow, and green.” In the current market, why are quiet picture books relevant and valuable?
SARAH KURPIEL: Different types of books light up different parts of our personalities. I’m an eclectic reader. (Sidenote: “eclectic” is my favorite word!) When I’m reading children’s literature, I love bouncing from laugh-out-loud, action-driven stories to soft, lyrical, emotional stories to cute-funny character-driven stories to fascinating non-fiction stories and so on. I have favorites in each of these categories. I think the more types of stories kids have the opportunity to explore, the better. Quiet picture books don’t have a lot of action. Their plot is mostly internal. Their language is usually lyrical. But the term “quiet” can be misleading because quiet books often explore loud emotions. For me, the best quiet picture books are deeply authentic. Even when entirely fictional, they feel so true that the distance between book and reader disappears. I think those types of books are incredibly valuable for young readers. They’re part of the wonderful, varied landscape of picture books.
SARAH STEINBACHER: A LITTLE LIKE MAGIC, is “a gem of a picture book, a simple story elevated to poignance by visuals that evolve from gentle to whimsical, a pitch-perfect narrative voice, and organic disability inclusion” (Bulletin, starred review). Why is vital for children to see disability kidlit and disabled joy? And how do you use your own experiences as a disabled person to craft authentic and organic disability stories?
SARAH KURPIEL: From the first draft of A LITTLE LIKE MAGIC (Rocky Pond Books / Penguin), I knew the main character would use a power wheelchair, like I do. I wanted her disability to be incidental to the story, but also intentional and accurate. In other words, her disability isn’t the focus of the story, but it does impact how she navigates the world and informs some of her worries—especially in a wintery setting. I love when I see accurate incidental representation of disabled people in books, TV, and film. Just seeing disabled people in books and on screen living their lives, being part of the story in an accurate way—it makes a big difference; it creates a sense of belonging. I hope that one day disability will be so normalized that disabled and non-disabled kids alike won’t feel surprised at all when they see disabled people in books, on screen, in their families, in their schools, in their communities, and so on. We’re not there yet, but I do see improvement.
SARAH STEINBACHER: In A LITTLE LIKE MAGIC, “rhythmic text…demonstrates that ephemeral moments should be treasured and that venturing outside one’s comfort zones can be richly rewarding” (Kirkus). Bulletin added that you have “a keen ear for a child’s perspective, as sparce text clearly conveys the narrator’s progression from relatable reluctance to contemplative wonder and, eventually, anticipatory joy” (starred review). What tips do you have for capturing that child-like voice and perspective?
SARAH KURPIEL: A LITTLE LIKE MAGIC was my first time writing a story in first-person using a childlike lyrical voice. I tried as much as possible to stay true to that voice throughout. That mostly meant using short sentences and simple words (although the words sometimes have multiple layers of meaning). When writing in a childlike lyrical voice, we can sometimes run the risk of writing sentences that are too long or too poetic. As we revise our manuscripts at the sentence level, I think it’s helpful to ask ourselves, “Would a kid ever really say anything like this?” If the answer is, “Definitely not,” look for a different way to say the same thing.
SARAH STEINBACHER: Centering on a young artist, SNAKE’S BIG MISTAKE is “a thought-provoking picture book” (Booklist) that offers “a relatable lesson in how to make amends after a misstep” (Kirkus). As an author-illustrator, how does your art impact your writing and vice versa?
SARAH KURPIEL: Years before I wrote SNAKE’S BIG MISTAKE (Greenwillow Books / HarperCollins), I randomly drew a “portrait” of a very serious snake sitting in a chair with perfect posture. It made me laugh. I knew right then that I wanted to draw more snakes in the future. So, I included an argyle sweater-sporting snake in my picture book ELEPHANT’S BIG SOLO. When it came time to make a follow-up book, who better to take the lead this time around than Snake? I had a blast doodling him. I already knew what he looked like, so I focused on experimenting with creative ways a snake might express emotions through body language. In this way, art guides my book ideas and writing.
SARAH STEINBACHER: With SNAKE’S BIG MISTAKE, “the power of the story comes from showing how destructive lies and deceit can be” (Booklist). Given the current kidlit dialogue, how do you thread the needle between the story’s important theme and the dreaded label of ‘didacticism’?
SARAH KURPIEL: For me, I focus on heart and, whenever appropriate to the story, humor. I try my best to let the story itself lead me where it naturally wants to go.
SARAH STEINBACHER: Your picture book, ORIGINAL CAT, COPY CAT, is “a familiar story of house-bound pet rivalry” (Kirkus) with “a simple, older-sib-recognizable plot” (Bulletin). Which do you enjoy most—writing or illustrating? How do the two processes differ for you? Which do you come up with first—the story or the art?
SARAH KURPIEL: Illustrating comes much easier for me—not because I’m particularly confident in my drawing skills (I’m not), but rather because I enjoy it so much. If I wasn’t drawing for publication, I’d be drawing anyway. Writing the words, on the other hand, is a slow process for me. So, when I have a story idea, I usually start with a loose outline and maybe a few key lines, doodle the characters and thumbnail the story (which leads to new ideas), and then work out the precise words. My process isn’t always so straightforward as that, but it’s generally what happens.
SARAH STEINBACHER: Your debut picture book, LONE WOLF, is “a funny little tale about belonging, regardless of the perception of outsiders” (Bulletin) and “a tender family story…[with] pawsitive vibes all around” (Kirkus). How did you balance humor and heart in this story?
SARAH KURPIEL: LONE WOLF (Greenwillow Books / HarperCollins) was inspired by my childhood dog, a Siberian Husky named Mikayla (her name is Maple in the book). She had loads of personality, which huskies are well known for! She was always making me laugh. Because of that, I had plenty of real-life husky humor to draw upon. I also remembered how people often compared her to a wolf, and that memory always stuck with me. When I started thinking about this concept as a possible picture book, I asked myself, “What would my dog have thought of getting compared to a wolf again and again?” Perhaps she would feel self-doubt, like she didn’t really belong, or like she was doing something wrong. This led me to the heart of the story. Finding the perfect mix of humor and heart is a challenge. I did my best, but I’ve also learned so much about making picture books since my debut. Still, I look back on LONE WOLF fondly, and I’m always delighted when readers of all ages enjoy the book and tell me how it reminds them of their own dog.
SARAH STEINBACHER: LONE WOLF is “engaging” (Booklist). School Library Journal added, “With lovely cadenced phrasing, and a winning heroine, this delightful debut picture book is strongly recommended” (starred review). What tips do you have for crafting a relatable animal main character that kids connect with?
SARAH KURPIEL: It’s all about conveying emotions in facial expressions (especially the eyes) and body language. Depending on the mood of your story, the expressions might be over-the-top and silly or they might be subtle and serious. Kids read pictures closely. They notice the details. They notice how the characters are feeling. So, when designing an animal character, really think about how that specific animal might uniquely express its feelings. Unless you’re aiming for creating a realistic animal, you can really use your imagination here. For example, in SNAKE’S BIG MISTAKE, Snake’s body gets tangled up in knots when he’s worried.
SARAH STEINBACHER: How has your experience as a librarian influenced your writing?
SARAH KURPIEL: My background is in academic libraries, so I don’t (usually) get to work with children’s books. However, my first library job involved cataloging children’s books used by college students studying to become teachers. That’s how I came to read A SICK DAY FOR AMOS MCGEE written by Philip Stead and illustrated by Erin Stead, which is the book that set me on a path toward making books myself. And later, I worked as a librarian at a small college that had a fairly large picture book collection–which I made ample use of as I was learning to write and illustrate . Finally, and perhaps most importantly, since I work in the library field, I’m engaged in conversations on topics like information literacy, intellectual freedom, and accessibility, all very relevant topics in the world of children’s publishing.
SARAH STEINBACHER: What has your kidlit journey been like so far? And what advice do you have for new authors?
SARAH KURPIEL: For as long as I can remember, I’ve loved to draw. Growing up, I’d borrow art books from the library, draw people from magazines, pour over comic strips in the Sunday paper, and doodle imaginary characters. Drawing was a relaxing hobby. It wasn’t until after I graduated college and settled into my career as a librarian that I finally decided to give making picture books a real try. After about a year and half of drawing nearly every day, I fell into a style that felt like me. And that’s when a lucky thing happened: an agent’s assistant spotted one of my illustrations. After a few months spent building my portfolio and revising my dummy, I was offered representation and, shortly after, got my first book deal. I was thrilled. Since then, I’ve written and illustrated five more picture books. My style has changed a lot over the years. There’s always more to learn, new things to try. I feel very fortunate to have this opportunity to create stories for kids.
As for advice, well, first I’ll give the evergreen advice of read lots of picture books. Besides that, I recommend always keeping a notebook or sketchbook close by to remind yourself to be on the lookout for inspiration throughout your day. Doodle things that spark your interest and jot down your ideas—no matter how small—before they flutter away. You never know what might lead to your next book idea.
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