Publication Interview with Jamie A. Swenson: If You Were a Dog

FSG/Macmillan, Sept. 30, 2014
illustrated by Chris Raschka

Please describe the book.

From the flap: “With joyful, impressionistic illustrations for Caldecott Medal-winning illustrator Chris Raschka and spare, rhythmic text that invites playful interaction, If You Were a Dog is the perfect read-aloud for your favorite little animal.”

As the story progressed from inception to copy-edited version, what were the major changes?
When I first started writing this book – I was all over the board in terms of what the kids might imagine being. A dog? A cat? A cloud? A paintbrush? Eventually, I revised and settled on using only animals. The other main difference between the first drafts and the final version is the ending – which was non-existent for years. Originally, the book was just a bunch of seemingly non-connected, yet fun and poetic questions.

How did those changes come about?
I focused on using only animals after one of my critique group members (a nonfiction writer) mentioned that some of the scenarios were animate and some were inanimate objects and it bothered her! It hadn’t bothered me until that moment – but then I clearly saw how I was not focused in the manuscript. The ending came about after Phyllis Root suggested that an ending that tied everything together might be a good thing. The moment she suggested I do this, it became clear to me what was missing and I added the final piece of the puzzle!

As far as copy-edited version changes – the only change made from the original purchased text to the finished text was one sentence. The original sentence read, “But you are not a dog, or a cat, or a fish, or a bird, or a bug, or a frog, or a dinosaur or anything of the sort … you are a kid who can …” My editor took out the words “you are a kid who can” and suggested simply “… you can…” which is fine, it has the same meaning, but in truth, I still like my version better! hee hee hee …

The one thing I am surprised that didn’t change are all the hyphens. I used a lot of them because I love them so. I thought they would be the first thing to go. “If you were a dog, would you be a speedy-quick, lickety-sloppidy, scavange-the-garbage, frisbee-catching, hot-dog-stealing, pillow-hogging, best-friend-ever sort of dog?” See. Lots of hyphens. In this case, they are necessary modifiers. I will, however, concede that in most cases I overuse them. Sorry. I am working on that issue. My critique group had FITS over this manuscript and kept arguing whether I was using the hyphens correctly or not. Eventually, I decided to just let the future editor decide and kept the hyphens they way I wanted them.

When did you first begin work on it? When did you finish?
This book was one that initially flowed out of me in the course of a few days – but then took a few years to figure out why it wasn’t working. The book sold in Dec. 2009 – my first sale! And will be out in Sept. 2014. That was a long, yet worthwhile, wait.

What research was involved before and while writing the book?

I actually did do a lot of research when writing this book – I wanted to know what dogs, cats, fish, birds, bugs, frogs, and dinosaurs really did before playing with how I described each one. I find it helpful to read nonfiction articles about the animals I’m using in my picture books because I often stumble upon a word, a description, an action, or a sound that I might not have thought about if I was just relying on my own brain to think it up.

Boom! Boom! Boom! , your first book, was published in 2013. What have you learned about the business of writing since then?

That it doesn’t get any easier once one book, two books, or three books are in the world. Each book is its own challenge and the writer needs to focus on the work at hand – not the books that are already out. It’s easy to get distracted from the work-in-progress while trying to support the books that are out there – there needs to be a balance between creative writing time and marketing support time. Also, one writer can only do so much to support any book – the rest is up to the publisher and the world.

Where do you do most of your writing?

I write at my kitchen table and in my head as I walk my dogs.

Do you remember the first book you loved?

The first book I truly loved was Katie John by Mary Calhoun. It was an early chapter book; I bought it from the school book fair. I read that book about a hundred times when I was in second and third grade. I wish I still had a copy of it so I could read it again, but, alas, it was lost at some point as I grew into longer books such as Anne of Green Gables. (I just Googled Katie John and see that it’s available online – hooray for the internet!)

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Jamie A. Swenson is a July 2009 graduate of the Hamline MFAC program. She lives and writes in Janesville, Wisconsin. To learn more about Jamie and her writing, please visit her website.

The Inkpot Interviews: Jamie Swenson

Jamie Swenson is a July ’09 graduate of the MFAC program. Her first book, Boom! Boom! Boom! was released in May. Currently serving as the RA for the Wisconsin chapter of the SCBWI, Jamie lives and writes in Janesville, Wisconsin. You can find out more about Jamie on her website.

Please describe the book in under 50 words.

Here’s what the publisher wrote:
“Flash! Crash! Boom! Boom! Boom! One rainy night, in the midst of a storm, a brave little boy is cozy and warm. He’s all snuggled up, safe in his room—when ‘Arrooo,’ howls dog, ‘is there room?’ Of course there’s room—and all is well—until … Flash Crash Boom! Boom! Boom! What happens when too many friends start to squish in? That’s when the fun is sure to begin.”

Would you tell us a bit about the story’s development?
Boom! Boom! Boom! was actually one of the very first picture book manuscripts I ever wrote. I believe I wrote it about two years before entering Hamline. It is most certainly one of the most revised of my books—and it traveled through every single Hamline advisor I had—each giving it a little suggestion (or a big one)—and each leaving a mark on it and me! The major change from my very first draft was the introduction of a real main character. I believe it was Marsha Chall who wondered, “Who is telling this story?” At the time she saw it, it was little more than a rhythmic poem—it was not yet a real story. The manuscript had received at least three glowing rejections, but something was missing. There was no one for the reader to relate to—not really. Just a floating voice. It started: “Flash Crash Boom Boom Boom! A beagle jumped onto my bed.” After Marsha’s suggestion I revised the opening to, “One stormy night, I jumped into bed. Safe with a book and my bear named Fred.” Of all of the tweaks, nudges, and overhauling of this story—that one line probably did the most work in making this a story with a main character. It might not seem like a big change—but the idea that a real person, with a book, and a bear named Fred, seemed to make all the difference.

While this book did go through revisions during the writing process, none were made with my editor at FS&G. It’s a little different, I think, with rhyming text. Either it’s working and you don’t need to change it—or it’s not and you do. Janine liked it the way she acquired it—and I think that is due to all the work that I had already put into the text.

Chris Raschka

How did it come to the attention of its editor?
About six months after graduation (Oct. 2009), I sent a different manuscript out to four or five houses as a simultaneous submission—simply based on which houses were open and accepted picture books. That manuscript, If You were a Dog was eventually fished from the slush and acquired by Janine O’Malley. That book has the wonderful good fortune of being illustrated by Caldecott Medalist, Chris Raschka—which was actually doubly good luck for me—because Mr. Raschka is a very busy man and couldn’t start that project until 2012 at the earliest. So, Janine said, “What else do you have?” Again, lucky me—I happened to have eight picture books ready from my Creative Thesis. I sent her an additional three or four—and in spring of 2010 she picked Boom! Boom! Boom! (Hoorah! Hoorah! Hoorah!) and David Walker, who is also a talented illustrator, was able to get started on it right away—so it only took from about March 2010 to May 2013 for this one! GRIN.

What research was involved?
I researched publishing houses! I relied heavily on the Children’s Writers Market. I highlighted every possible house that was open and listed the names of the acquiring editors. I sent the manuscript to around five houses, and I’ve yet to hear from the other four.

Did you ever workshop this story at Hamline?
No, I never workshopped this manuscript—at least—not that I recall. I did work on it with Marsha Chall and Phyllis Root—not as much with Lisa Jahn-Clough or Marsha Qualey (because we worked on novels instead of picture books).

What was your critical thesis?
"What Haunts You?: Elements of the Middle Grade through Young Adult Ghost Story"

What was your creative thesis?
A combination of part of a supernatural middle grade novel and about eight picture books. 

Did you discover and fall in love with any books while in the MFAC program?
Oh my goodness, yes. I work in a library so I was already deeply in love with so many books; still, through required reading at Hamline I found some titles that I had either missed, or judged by the cover and hadn’t read (oh, the horrors!). After hearing M.T. Anderson speak at a residency I went back and re-read Feed with a greater appreciation for the crafting of that book. I also found books by my fabulous advisors that I love—including Marsha Qualey’s Come in from the Cold, Lisa Jahn Clough’s ALICIA books, Phyllis Root’s Kiss the Cow, and Marsha Wilson Chall’s Prairie Train.

Without naming names, tell us who your first readers are. When do you share a piece of writing?
My first readers are my critique group members, two of whom also graduated (in different years) from Hamline’s MFA program. We were already together as a critique group when our first member headed off to Vermont, and then switched to Hamline. I was second to go—and then one more of us went and finished the program. The other three writers laugh and say that they’ve lived through THREE MFA programs now, so surely they deserve some type of honorary status!

I share a manuscript when I feel it has a voice and some form of direction—but it still needs input from another person. If I share too soon, they cannot help. If I share too late, that ship has sailed and I might not hear what they tell me. Sometimes, I will share, revise, share, revise, share, revise—until they say, “STOP!” And then it’s either ready to go to my agent who will likely make me revise again anyway—or—it just isn’t there and I put it away and hope that I figure it out someday. 

Can you briefly describe your writing life? How has it changed since you graduated?
The major change in my writing life since graduation is the lack of a real deadline. I floated for about six months after the program—and then I started being more intentional about my writing time again. Because I work part-time, I have to make good use of my non-work days. I schedule my writing time just like I schedule my work time—I have to be there at a set time and stay for a set number of hours—whether or not I FEEL LIKE IT—just like my ‘other’ job!

What are you working on now?
My first book is just out, my second book is scheduled for January 2014, and my third book is still with Mr. Raschka (take all the time you need, Mr. Raschka!). I continue to play with picture book ideas, and I am working on my first early chapter book. I haven’t done very much with my novels since leaving Hamline—but all in good time!

What would you like to say to current or prospective students?
Keep at it. Listen to all those bits of wisdom that float out of your advisors’ mouths. Ron [Koertge] is right—MFA students spend way too much time thinking and not enough time writing. Writers “on the outside” do that too! Quit analyzing everything or waiting for the perfect time in your life to write. It will never come. WRITE it now! You will never be perfect. Your writing will never be perfect. But if you never write anything—I guarantee you won’t get any better AND you’ll have nothing to show for it! I am as far from perfection as can be, but I love writing and I love storytelling and I love playing with words. I don’t plan to stop any time soon—and neither should you. I think if I excel at anything, it’s listening to revision suggestions and revising my work. Don’t fear the revision process.

Now, don’t you have a packet due soon? Scoot.