Creating Pim in my makeshift Creature Shop

Someone asked me what I was going to do with the art dolls of my goblin characters, and the question caught me off guard. They couldn’t figure out what purpose they would serve for my books. Was I doing a marionette puppet show? Was I creating models for a movie? I didn’t want to tell them the truth: “I’m creating the characters from my book because that world is very important to me, and I want to see it visualized… And, because, for 25 years I’ve wanted to work in Jim Henson’s Creature Shop, so I’m pretending I am.”


I hadn’t sculpted for four years, so I think there were multiple years of pent-up creativity and at least two years of planning and mental creation going on. I was secretly terrified that I wouldn’t be able to sculpt Pim the way I saw him in my head. But as his face began taking shape, his personality came through in the clay. I tried to give him a more relaxed expression; his mouth just opened as if he were about to speak. His big, square teeth and broad, wet nose give him a comical and friendly look.

Pim was sculpted in Fimo Soft clay (Oh, the irony — that clay is anything but soft! Still great stuff, though) on top of a wire, foil, and masking tape armature. After his sculpt was finished, he was cured in the oven and I painted him with layers of acrylic paint. His big, amber eyes were highlighted with copper and gold metallic paint to give them that magical glint.

While working on this piece, I keep admiring the INCREDIBLE illustration work of Bailey Quillin Cooper. I hope the future holds many more collaborations with her.


This is after 3.5 hours of carefully gluing on alpaca, wool roving, and American bison hair (the whiskers). I was smart enough to think ahead and create holes to plug the whiskers in. But forcing wiry strands of glue-covered buffalo hair into the clay head was a task! I also glued a lot of alpaca hair to my fingertips in the process of furring his over-sized, tasseled ears.


The marble resting in his paw appears in the beginning of the book and plays a part in the story’s resolution. This is the actual, antique ruby marble that inspired the book, a treasure I found it my grandparents’ basement when I was 9.


Now that his head is finished, I’m working on sculpting his hands. One hand is posed to hold the marble, and the other is shaped so that he can “hold” your hand. He will have sewn clothing and a soft body. His arms and legs have armatures inside them that will give some pose-ability. I’ve already begun sculpting Wilden, who I’ll show you in my next post later this week.


Goblin toes! A little monkey-ish with their long digits and prominent big toes.

One Book after Another: Early Children’s Fantasy

This post is less about one single author or book than about a whole group: THE group, which includes those authors who set the standards for writing a good children’s fantasy story. When I daydream about the books that I’d love to see my own books shelved alongside, I end up thinking about a lot of children’s novels that were written prior to the 1920s. Authors like L. Frank Baum, Edith Nesbit, Lewis Carroll, and George MacDonald wrote wonderful children’s stories filled with places and characters that have influenced every generation of children’s authors since.


I’ve noticed that there is a certain tone and voice that a lot of Victorian and Edwardian children’s writers use. I read somewhere in an article about E. Nesbit that the attitude towards children changed during their era from writing about children as they “should be” (as in the trite morality stories of the 1800s) to writing about children “as they really were.” I think this captures the tone I was picking up on; these authors are talking to their young readers, not talking at them.

“So I will only tell you the really astonishing things that happened, and you may leave the book about quite safely, for no aunts and uncles either are likely to write ‘How true!’ on the edge of the story. Grown-up people find it very difficult to believe really wonderful things, unless they have what they call proof. But children will believe almost anything, and grown-ups know this. “- E. Nesbit, Five Children and It 

Not only do these books present magical worlds that exist only for their children readers (adults could rarely see any of the fantastical beasts or appreciate the magic), but the authors seem to insist that there is a chasm between adults and children, and as long as the reader remained a child the fantastic was theirs to embrace. This brings a special magic to these stories, and it’s an element that I’ve tried to harness in my own writing. I wanted to create characters that children could claim as their own and relate to, in ways that were communicated on their level. This doesn’t mean dumbed-down, but sharp-witted and speaking with creative abandon. Nothing is too outlandish for them to say; and they’re often very intelligent, even despite being childlike.

The Psammead

One of my favorite pieces of dialogue comes from E. Nesbit’s Five Children and It, a wonderful story about five siblings who uncover a Psammead, or sand fairy, as they are digging on the beach. The sand fairy is very ancient and cranky but he has the ability to grant daily wishes, and after a little pestering the children persuade him to grant their desires. The wishes only last until the evening, and if they wish for any sort of object, it will either vanish or turn to stone at the end of the day. Their wishes range from having their baby brother grow up into a man, to wanting an army to siege their own personal castle, to some pretty hilarious, accidental wishes.

My favorite passage is their initial introduction to the Psammead;

The children stood round the hole in a ring, looking at the creature they had found. It was worth looking at. Its eyes were on long horns like a snail’s eyes, and it could move them in and out like telescopes; it had ears like a bat’s ears, and its tubby body was shaped like a spider’s and covered with thick soft fur; its legs and arms were furry too, and it had hands and feet like a monkey’s.

‘What on earth is it?’ Jane said. ‘Shall we take it home?’

The thing turned its long eyes to look at her, and said: ‘Does she always talk nonsense, or is it only the rubbish on her head that makes her silly?’

It looked scornfully at Jane’s hat as it spoke.

‘She doesn’t mean to be silly,’ Anthea said gently; we none of us do, whatever you may think! Don’t be frightened; we don’t want to hurt you, you know.’

‘Hurt ME!’ it said. ‘ME frightened? Upon my word! Why, you talk as if I were nobody in particular.’ All its fur stood out like a cat’s when it is going to fight.

‘Well,’ said Anthea, still kindly, ‘perhaps if we knew who you are in particular we could think of something to say that wouldn’t make you cross. Everything we’ve said so far seems to have. Who are you? And don’t get angry! Because really we don’t know.’

‘You don’t know?’ it said. ‘Well, I knew the world had changed – but – well, really – do you mean to tell me seriously you don’t know a Psammead when you see one?’

‘A Sammyadd? That’s Greek to me.’

‘So it is to everyone,’ said the creature sharply. ‘Well, in plain English, then, a SAND-FAIRY. Don’t you know a Sand-fairy when you see one?’

It looked so grieved and hurt that Jane hastened to say, ‘Of course I see you are, now. It’s quite plain now one comes to look at you.’

‘You came to look at me, several sentences ago,’ it said crossly, beginning to curl up again in the sand.

‘Oh – don’t go away again! Do talk some more,’ Robert cried. ‘I didn’t know you were a Sand-fairy, but I knew directly I saw you that you were much the wonderfullest thing I’d ever seen.’

The Sand-fairy seemed a shade less disagreeable after this.

I have a soft spot for grouchy characters, so the Psammead charmed me immediately. In the story, the Psammead is the more “adult” character in how he interacts with the children; he always acts as though he doesn’t have time for them or is being pestered, but he also has a bit of a softer side that makes him endearing. He has a sense of self-importance, seeing himself as someone with experience – of course, the Psammead is never surprised by the negative outcomes of the children’s wishes, and he allows them to deal with the consequences and sometimes learn from them.

Other fantasy books that I’d recommend from this same era – aside from the more popular Alice in Wonderland/Through the Looking-Glass and the Oz series – include The Water-Babies and The Princess and the Goblin.

One Book After Another: David and the Phoenix

The book David and the Phoenix by Edward Ormondroyd was first published in 1957 (I have an edition from 1958). It was sort of an accidental thrift store find for me, because I always scour the kids’ book section for obscure children’s fantasy books that I’ve never heard of before. It was the illustrated dust jacket, which features the main character, that attracted me to it: David standing on the beach with the Phoenix and a gentle-faced sea-monster asleep in the sand. I was instantly convinced that this tattered copy was worth the read. I later created a sculpture based on the cover illustration, but for some reason I can only find a couple work-in-progress shots:


Basically, the general premise of the story is that a young boy moves with his family to a new house and is instantly drawn to the mountain that looms just beyond the back fence. His longing for exploring the mountain is what leads him to encounter “the one and only, the Unique, Phoenix.” Rather than being a ferocious, mythological bird creature, the Phoenix is a highly educated and charmingly arrogant character. After being convinced to stay, and not fly away to South America in order to avoid the scientist that has been hot on his heels, the Phoenix becomes David’s friend and mentor. Together they plot how to turn the tables on the persistent scientist – who doesn’t just want to study the Phoenix but has plans to shoot him! It’s not until they purchase the most frightening wail from a former banshee (who turned to being a witch, because running a witch apothecary is where the money is at) that they succeed at derailing the scientist’s plans. If your weakness is unlikely friendships with lovable monsters, then this book’s beautiful ending might make you sniffle.


Aside from the charming plot and illustrations, it was the conversations between the Phoenix and David that lent inspiration to my own writing. Here is where Ormondroyd’s writing truly shines. The Phoenix is an extremely witty character and is always imparting his wisdom on the impressionable young David in something close to a proper English accent. (When I read his lines, I always imagine a voice similar to Roddy McDowell’s). What the Phoenix feels is important and common knowledge always borders on the fantastic and amusing. While they are wildly different, the two characters, boy and bird, find kinship in their love for adventure and strawberry ice cream.

Go read it online through Project Gutenberg. Or, if you get lucky, you can purchase a copy at your local bookstore!

I’ll leave you with a favorite passage from the book. The Phoenix knows a thing or two about the other fantasy creatures:

“Gryffins,” explained the Phoenix, “are the small, reddish, friendly ones. Gryffons are the quick-tempered proud ones. Gryffens—ah, well, the most anyone can say for them is that they are harmless. They are very stupid.”

“I see,” said David doubtfully. “What do they look like?”

“Each looks like the others, my boy, except that some are bigger and some are smaller. But to continue: Sea Monsters, Leprechauns, Rocs, Gnomes, Elves, Basilisks, Nymphs—ah—and many others. All are of the Better Sort, since, as I have many times truly observed, one is known by the company one keeps. And your education will cost you nothing. Of course it would be agreeable if you could supply me with cookies from time to time.”

“As many as you want, Phoenix. Will we go to Africa?”

“Naturally, my boy. Your education will include—”

“And Egypt? And China? And Arabia?”

“Yes. Your education will—”

“Oh, Phoenix, Phoenix!” David jumped up and began to caper, while the Phoenix beamed. But suddenly he stopped.

“How are we going to travel, Phoenix?”

“I have wings, my boy.”

One Book After Another: The books that turned me into a writer (Starting with Mercer Mayer)

As I considered what to fill my blog with, it dawned on me that I could share with my blog readers the books that have influenced my development as a writer. As most writers will tell you, our passion to write usually began with an insatiable appetite for reading. The more books we consumed, the more stories began to form inside our own busy minds.

The obvious person for me to begin with talking about is Mercer Mayer. His work has had an impactful presence in my life from the time I was first learning to read. Just Go to Bed and I Was So Mad were Little Critter books that my parents fell back on whenever my brother and I wouldn’t go to bed or when we got into heated arguments over Legos. Characters like Little Critter and Little Monster were relatable and the books were always visually zany and entertaining. Mom would encourage us to take the time to look for the frogs and other quirky creatures always hidden within the main illustrations. There was another layer of story existing within each page.

While many of his books hold a special childhood memory for me, it’s been One Monster After Another and Professor Wormbog in Search for the Zipperump-a-Zoo that have most captivated my imagination. The beautiful illustrations throughout these books are the kind that you can stare at all day long; there are so many layers and different creatures, with all sorts of witty speech bubbles and hidden, inside jokes. The Trollusk and Little Laff are my favorites of all his monsters. I should also mention that, for some reason, Professor Wormbog was a stylistic influence on me as a child; his pith hat, long white mustache, and safari jacket were the epitome of cool.


How is this NOT the epitome of cool? He has his own monster zoo, even! 

As I was writing my own book, I was trying to ensure that my words were as vivid as Mayer’s illustrations are. When I described the setting, I wanted it too be made up of the same bold lines and dark colors I saw in the Trollusk’s forest from One Monster after Another. When I imagined what the bramble goblins looked like, I fused Mercer Mayer’s monsters with Brian Froud’s goblins. They would have to be varied and unexpected; a little frightening, but entirely charming.


Mercer Mayer’s stamp collecting Trollusk 

My Mercer Mayer book recommendations:

  • There’s a Nightmare in My Closet (1968)
  • A Special Trick (1970)
  • One Monster After Another (1974)
  • Professor Wormbog in Search for the Zipperump-A-Zoo (1976)
  • How the Trollusk Got His Hat (1979)
  • Just Go To Bed (1983 Little Critter book)

Submission season


The work around here never ends for Mr. Bacavis, Annette, and myself. There are queries left to write and edit, and plenty of squeak toys to disembowel! (Don’t belittle Nettie’s job; she does good work!).

With the manuscript polished and ready to go, I’ve begun the most terrifying part of the process! I pushed myself through the writing blocks and bumps, learned to take criticism from beta-readers, handed over my story to brutally honest kid and adult readers, embraced the endless hours (days, weeks, and months) of revision, and now, at long last, I have submitted my work to be considered by several different literary agencies. And the work doesn’t end there, or even when I do, at long last, find the right agent. But I don’t want the work to end; I want it to last as long as the words keep coming and the ideas keep plaguing my imagination.

To keep my focus on writing and away from the discouraging things (rejection, impatience, and self-doubt) I have begun scribbling down the ideas for a sequel to Beyond the Bramble. Another adventure for Lila and her goblin friends, one that introduces new characters and more unexpected obstacles for her to overcome. Another adventure worth going on…

The Responses Begin to Pour in!


The editing never ends! But the book really gets sharper and better with every re-write. Thanks to all of the readers who have already given such great feedback. So far, it feels like everyone who has read the book has given me different sorts of feedback. Some have focused more on characters, while others have focused on grammar, story flow, and the meaning beneath the surface of the story. I feel like I need to add a chapter just to thank everyone for being a part of the process. Annette would like me to mention that she is very much a part of the process too. She nips my toes when I’ve been writing for too long, and she does her best to provide me with plenty of mischievousness to write about.

The feedback I have been getting has been positive and extremely constructive. As people sent me their comments on the book, I bounced them off of my dashing editor (Mr. Bacavis) and we kept revising and improving the book. The result of all this feedback is that my book’s plot is getting stronger and its language more vivid.

What did readers want to see more of? Readers wanted to know more about how the characters looked and what their deeper motivations were. Best of all, the readers wanted to know what would happen next to their newly discovered friends: Lila, Annette, Wilden, and Pim. Having kid readers come back to me with eager questions and genuine concern for the characters let me know that something within the book was working.

Best compliment of all? A girl who isn’t a strong reader and shies away from books thought it was fun to read part of my book aloud with her mom. I could quit here and I’d be happy with that measure of success.

The Advance Reader’s Copy

Advance Reader Cover.jpg

Feast your eyes on this beautiful cover art – I hope it makes you excited for the chance to read the book behind it! Bailey Quillin Cooper (check out Bailey’s Blog) did an incredible job with this advance reader’s cover. She created an eye-catching illustration that really captures the personality of three of the main characters and gives the reader a few hints about what they might encounter within the story.

On Wednesday, a big stack of these advance reader books will be showing up at my front door. I have no intention of self-publishing my book, these printed mock up books are still just rough drafts and the intention is that I can hand my test readers something physical. Already, I’ve sent digital copies to ten different readers from four different countries. Up until this point, it was only myself, the editor (Mr. Bacavis), the illustrator, the beta-reader, and a couple of close friends who had even read the book. The responses were all encouraging and it helped to propel me forward through all the editing and re-writing. A big thank you to all of them!

But let’s be real; it felt safe before, but now my creation – or “baby” – is going to be read by a wide range of different readers. It is actually very terrifying for me. I have to constantly fight the voice inside that says, “Everyone will hate it! It is so trite – and talk about a boring book… yeesh!” (My inner voice is a total jerk and an unfair critic of everything I do).

However, in spite of my complete terror and unease, this is thrilling. I am inching closer to a goal I have been passionate about since putting together my first handmade books as a kid. Creating stories has always been a natural thing for me (my mom has the file folders of childhood writing to prove it). I am a writer. Now, I’m getting the opportunity to prove it to myself and to actual readers. Let the madness begin!

The Goblins of the Bramble


“Pim” illustrated by Bailey Quillin Cooper

Something about seeing three of my story’s main characters fully illustrated made everything about this book seem legit and authentic. I feel like now that they exist on paper no one can stop them from invading the minds of future readers.

Bailey Quillin Cooper, illustrator extraordinaire, was and is the only other person I trust to truly understand the goblins of the bramble (She is no novice to goblins and other fantasy beings).  I wanted Bailey, to take the characters in her own direction and to bring them “to life” (however cliché that may sound). She did that and so much more! I’m amazed how she took my basic sketches and scribbled notes and fused her vibrant imagination with mine. I’ve really never been more pleased and excited by a collaboration!

I think her blog post introduces the characters perfectly, so I’m sending you directly there! While you are on her blog, be sure to take the time and check out her other incredible projects! There is an entirely magical world living in Kringle Forest.

Bailey Quillin Cooper’s Illustrations for Beyond the Bramble




Some time after draft three…

I’ve revised my draft over the course of several months (three drafts so far), with the help of some awesome test readers and my ever-willing editor husband (well, willing to an extent. I think I did detect a slight groan the last time I mentioned we should do another edit, just in case we missed anything).

My book is almost formatted for printing, and we are just planning to do one more read-through before we get 8 test-reader paperback copies. It will be exciting to hold a physical copy of my book, but I’m not stopping there—I plan to see it traditionally published! These copies are intended for getting more valuable feedback, especially from kid readers.

Between revising dialogue and adding in some more character descriptions, I’ve also been sketching out ideas for the goblin characters in Beyond the Bramble: 


Early on, I had contemplated doing my own illustrations but had changed my mind after reading an article about the creation of Yoda (see An interview on the topic of Yoda). There were so many different visionaries, artists, fabricators, and puppeteers that were involved in creating Yoda. This is why he was so dimensional and lifelike—he wasn’t just the figment of one artist’s mind. For my characters, I have already given each of them a voice, a name, and a general description. I wanted a brilliant illustrator to take it from there. Fortunately, I know an incredible illustrator who also appreciates the world of goblins and all things magical. But more on that later!