Dianne Ochiltree Children's Author

Book/Author Profile: Sixteen Runaway Pumpkins, written by Dianne Ochiltree

Written By: Lyn Sirota
http://www.lynsirota.4T.com/

(published in Sprouts magazine, Fall 2004, on New Jersey/SCBWI website)

Put on your overalls and grab your red bandana, it's time to help Sam catch sixteen hill-rolling, ditch-jumping, stump-bumping runaway pumpkins! Author, Dianne Ochiltree grabs her readers from the very beginning of harvest time in her new book, "Sixteen Runaway Pumpkins" due to be released in September 2004.

Sarah Nielsen, Associate Editor of Margaret K. McElderry Books describes Sixteen Runaway Pumpkins as a "fun, rhythmic, bright, pumpkin-counting adventure with a twist!" The August 1, 2004 issue of Kirkus reviewed the book as "A rollicking rhyming tale—part math, part problem-solving—starring a young raccoon who must figure out what to do with 16 pumpkins that don't sit still. Lanquetin's illustrations are charming and give young readers a chance to seek small details, such as the incensed mouse whose home had been one of the picked pumpkins. A cute opener for autumn and a nice bridge across science and math for elementary-school teachers."

About the editing process: A Q&A with Sarah Nielsen

Q-What sparked your interest in this manuscript?
A-Having worked with Dianne previously on Ten Monkey Jamboree and Pillow Pup, we were already great fans of hers, and were excited about publishing more of her work. We saw the first draft of this manuscript several years ago, and Dianne was open to reworking the manuscript a few times before it was just right. It had all the elements we were looking for – likable characters, a fun rhyming text that would make a terrific read-aloud, and a math element to give the book even greater appeal.

Q-What was it like working with Dianne?
A-Dianne is a dream to work with. Not only does she keep an open mind throughout the editorial process, as I mentioned above, and remains willing to rewrite, rethink, and revisit a page or a line or a character, but she has a great enthusiasm for children's literature that truly is reflected in her work. Dianne has done her homework and knows that while a cute story is good, a book that brings even more to the table, like a math element, or a holiday hook, is bound to have even more appeal.

Q-How did you select the illustrator for this book? Please share some pertinent information about her?
A-The artist that we selected for Sixteen Runaway Pumpkins is Anne-Sophie Lanquetin, a French artist, who was also the illustrator for Ten Monkey Jamboree. We already knew what a good team Dianne and Anne-Sophie made, and how well each artist's work complements the others. We love Anne-Sophie's bright, young illustration style, and the lush oranges, blues and reds bring such vibrancy to this already high-energy story.

Q-Would you provide specific advice and tips for writers?
A-We urge writers to take some time before sending their work out for consideration, to take off their writer hat and look critically at their manuscript the way an editor might. They should read their work out loud and have it read aloud to them, particularly for picture books, so they can hear their words and rhythms and see if there are any spots that are troublesome; share their work with other trusted writers
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and friends to get feedback and fresh opinions; go to the bookstore and see how their work stacks up – will it stand out? Most importantly, after taking these steps, writers must remember that no manuscript is perfect right off the bat! Keep an open mind toward change and remember that this is your chance to make your work as strong as possible before editors see it.

Q-What do writers need to focus on to be successful in this competitive field?
A-Writers should hit the bookstores and libraries and read, read, read. See what books are out there, take note if a subject matter has been done to death or where there is a need for something different, and check out what the competition is like. At the same time, writers should take note of books that have a similar style or feel to their own writing. Keep track of who publishes those books, so when the time comes to submit their work they have a sense of where their manuscript might fit best.

About the writing process: A Q&A with Dianne Ochiltree

Q-Dianne, what prompted your idea for this book?
A-When our sons were little, my favorite autumn outing with them was the trip to the pick-your-own pumpkin farm, so of course when I think of harvest time, these happy memories often come to mind. I remember their excitement, wanting to get the "very best" pumpkin in the field, and then liking one pumpkin more than the last. We always managed to pile in a bit too many pumpkins in our cart, or a few pumpkins that were a bit large for the wagon, and our trip to the cash register was always iffy…would we actually get them all back to the barn without a few bruises or cracks? Needless to say, like Sam's, our pumpkins didn't always stay in the wagon!

Q-Was it your idea for Sam to be a female raccoon?
A-I originally wrote the manuscript with the idea that Sam could be female or male, an animal or a human. The basic story makes sense for any of those possibilities. Over the course of the creative process, Sam evolved into a spunky girl raccoon, and I think she makes a perfect main character for this pumpkin-picking adventure.

Q-How many drafts did it take to write the book?
A-Like all my stories, the pumpkin book took many drafts to shape into its final form—I couldn't guess how many! What I can tell you is that, like all my other rhyming/math picture book manuscripts, it was developed along three lines: the plot line, the math element, and the actual rhythm/rhyme scheme.

I generally start with a setting and a math concept; then move on to plotting a storyline and developing characters. The plot has to work both as a story and a mathematical equation so this takes some time. Throughout, I work on the rhythm and rhyme, although it's typical to devote several months at the end to polishing that aspect of the manuscript alone. There are revisions throughout the writing process, and revisions after a manuscript is acquired.

Typically a first draft is very long, a dozen or more pages and is pared down through the writing process to 5 or 6 pages. From start to finish, it takes me at least two years to write a rhyming math picture book, because there are so many elements to balance. And like all picture books, every word left in the final text has to count!
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Q-Describe the message, or takeaway, of the book.
A-If there is any message, I'd hope that it might be to help kids remember that sometimes "mistakes" are opportunities to learn to be creative and to grow. And that when things don't go as planned, you can still have fun!

Q-Was there anyone in particular that helped guide the book in the writing/editing process?
A-My editor at McElderry took a lot of time to work with me on the drafts of the book, making comments and suggestions that helped me pare down and sharpen the text. In between those revisions, I did drafts that were submitted to my writers critique group for their comments and suggestions. It was very helpful to receive feedback from both the editorial and the writer's perspectives. It's impossible for any of us to see all the "holes" in our manuscripts on our own—we're just too close to it sometimes to see the big picture.

Q-Were there stumbling blocks encountered in the development of the book?
A-There were no stumbling blocks, really; just the ordinary bumps in the road that are part of the creative process itself. There's always a lot of give-and-take between author, illustrator and publisher as a picture book is being developed. Fortunately, my background in advertising copywriting and time spent editing marketing newsletters has accustomed me over the years to working collaboratively on creative projects. My editors and McElderry Books have always been open to an exchange of ideas, and their suggestions have, without question, made my writing stronger. Revision is the key to success.

Q-Can you provide other writers with tips for self-marketing and for do-it-yourself book promotion?
A-Publishers today have little time, staff or budget to promote the majority of writers and illustrators represented on their list, so it's more important than ever for people to consider ways to market themselves and their work.

There are countless books and articles written on the subject and it's well worth anyone's time to read a few. In general, I think an author or illustrator can make a good start by asking his or her editor at the outset of their relationship, when a work is acquired, "What can, or should, I do to help promote our book?" Because each imprint at each publisher handles things in a different way, you will eliminate guesswork and wasted effort from the outset.

The publishing industry is ever changing and it's important to keep up with the new faces and trends, to keep our work marketable. Publisher's Weekly is a good resource as are websites such as "The Purple Crayon," "Smartwriters" and SCBWI's discussion groups and online articles. Networking with established writers and illustrators and attending marketing-oriented workshops at writers conferences will provide you with lots of savvy, attention-getting ideas.