Thank you for dropping by the SCBWI Swiss Regional Blog.
SCBWI members living in Switzerland are now part of the International Central Region. This blog remains so that the previous posts are available for your reading pleasure. You can find out more about International Central Region activities here. If you wish to connect to an SCBWI region in your area, please click here. Sandra Yoong-Chia
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Please help me to welcome back the amazing Katie Hayoz to our interview chair. We have spoken to Katie about her picture books series, A Monster's Guide... as well as the joint project, 50 Amazing Swiss Women. Today we are excited to speak with Katie about her new mature YA book, Of Tainted Heart which is the second part of The Quatrefoil Chronicles. Tell us about your new book. Of Tainted Heart is the second and final book in a co-written duology, The Quatrefoil Chronicles. The duology is an urban fantasy romance, and centers around Slate Ardoin and Cadence de Morel. Here’s a short summary: Slate Ardoin knows little about his past and even less about his future. A self-made conman and thief, he’s self-centered and angry and doesn’t believe in love. But when he loots a crypt in a small, French village rumored to be the birthplace of magic, he releases a series of deadly curses that threaten not only his life, but others’ as well—notably that of Cadence de Morel. Slate must face dark magic…and the possibility that he cares for someone other than himself. What inspired you when working on this project? As I said, this duology is co-written—Olivia Wildenstein is my co-author. Olivia has published many books and is well-loved in the genre of paranormal romance/fantasy. She’s been a writing friend of mine for a few years now, and we used to get together for coffee to talk books. One day, she said, “Hey, we should write a book together.” After a few months, we decided to actually go for it. We brainstormed the characters and storyline over many coffees and then set about writing. Tell us about the creative process for this book. So, both Olivia and I are “pantsers”, which means we write by the seat of our pants, rather than a full outline. So, despite intending to follow an outline, any official plans we had fell by the wayside as we actually wrote. This was both frustrating and exciting. Frustrating, because we often had long text or phone conversations trying to figure out how to get out of the corners we wrote ourselves into, and exciting because we were just as surprised at where it ended up as a reader. The novel is written in two points of view. Olivia wrote Cadence’s point of view and I wrote Slate’s. We each wrote a chapter, then passed it to the other person, allowing a certain amount of freedom in the direction of the story. When Olivia would send me a new chapter, it was like an adventure! I was curious as to what she was going to do with our characters this time around. I imagine it was the same for her. I have to say that while we both tweaked each other’s chapters, Olivia did the heavy lifting on the editing. She was a total star. Did you encounter anything unexpected while working on this project? One reason I hesitated at first to write a novel with Olivia was that I didn’t want any tension between the two of us. We both have different working speeds (Olivia is a fast writer and I am slow), so I was worried that would be a challenge. But she was extremely patient with me. And by trying to keep up a certain pace, I really improved my writing production. Also, neither of us got upset if the other edited/cut/changed something in our chapters. We both were able to let go and not be too precious about our work. Somehow, we managed to write two books of around 120k each without a major blowout or hurt egos. I’m really proud of the both of us. Now for something completely different! Would you rather fly to the moon or go to the bottom of the ocean? Why? OMG. Neither. Both would be an absolute nightmare for me. I would be TERRIFIED. And the thought of being in space…? No. Just NO: So, if I had to choose, it would be the ocean. But you’d have to threaten me with death first to get me to do it. LOL! Thank you Katie for giving us such wonderful insights into the creative process of co-writing. I think it's fabulous how you and Olivia have worked together to create such enticing stories. We wish you and Olivia every success with this series and future books. Sandra Yoong-Chia Bio: Katie Hayoz Katie Hayoz was born in the US but has made Switzerland her home for the past twenty-four years. She writes for kids, teens, and adults. Most nights you can find her stretched out on the couch, reading a book and eating popcorn. Today I have with me the wonderful Katelyn Aronson who has just launched her second picture book of 2021. In May, we helped her welcome Piglette 2 onto the bookshelves. Now we are going to hear all about her latest picture book, Clovis Keeps His Cool. Welcome back, Katelyn! Tell us about your new book. Clovis the bull (and former Cloverdale Chargers linebacker), has inherited his late granny's china shop. He now takes utmost care of his porcelain wares, repeating his granny's motto, “Grace, grace. Nothing broken to replace,” hoping to keep his world in a delicate balance. But Clovis has a past, and eventually, a few old rivals come back to haunt him, reawakening his temper, and that old urge to charge… What inspired you when working on this project? Besides the proverbial “bull in the china shop” expression, this story was woven together from disparate odds and ends in my life. For example, the football and tea party references are nods to my maternal grandparents, who are no longer with me. More than anything, I wish they were still alive today. How I’d love to show them my published books! Clovis is actually dedicated to my grandmother, who was a great inspiration to me (just as Granny Grace is to Clovis in the story.) She also gave me my very first china teapot. Tell us about the creative process for this book. I’ve always loved the “bull in the china shop” idiom—the idea of a bull’s brute strength juxtaposed with shelves of fragile porcelain. That image was begging me to flesh out a story for it. I wondered what kind of character might find themselves in such a situation—being big and strong, yet working in close quarters surrounded by breakable things. Gradually, Clovis’ “gentle giant” persona took shape. It turned out that the more I “dug,” the more I discovered other dimensions of Clovis’ character. Sure, he was a gentle giant, but he also had a temper as big as he was, and a past that would come back to haunt him. Did you encounter anything unexpected while working on this project? I think the most unexpected thrill was recognizing Eve Farb’s illustration of Clovis the minute I saw it. I’ll never forget seeing this very first sample illustration and thinking, “It’s him! It’s really him!”. Her depiction of Clovis was exactly how I’d imagined him. It was a truly magical experience! Now for something completely different! Would you rather be stranded on a deserted tropical island or high up on a snow-covered mountain, Why? A tropical island for sure! I’ve been living in the mountains (for the first time in my life) for the last year, and I have never been so cold on a daily basis. Growing up in southern California never prepared me for this. If I have to be stranded somewhere, I hope it’s never in the snow! Thank you so much, Katelyn! I just love the connection between your grandmother, the china teapot she gave you and Clovis' granny and his story in the china shop. We wish you all the best with this beautiful book. Do look out for more books by Katelyn in 2022 because I know she has a few more books in production. Sandra Yoong-Chia Bio: Katelyn Aronson Katelyn Aronson grew up in southern California and spent six years working in independent children’s bookstores before moving to Europe. Today she divides her time between France and Switzerland, where she teaches at the prestigious Institut Le Rosey and writes children’s books. Clovis Keeps His Cool is the third of six books she currently has in the publishing pipeline. It's summer! But if you are in Europe in 2021, summer has been a sort of miss and hit season. We have had rain, lots of it and then some sunny days and then rain again. The rain has caused big floods, flash floods and lots of damage. But after a few super warm days, some rain would be welcomed, right? So my Summer Prompt for you is also along the same lines. It is, at the same time, inspired by a sport which is new to the Olympics this year; surfing! WAVES! I have watched with interest how the surfers try to catch a wave and ride it. It's so cool. But they crash out on those waves too. One surfer's board even broke on the wave. Waves can be mesmerising to watch, the sounds of waves can be so soothing. Yet waves are also a force of nature and can be destructive. Is there a wave in your story? Will this wave bring with it sweet dreams for your main character or nightmares? Do calm waves fill your picture? Or are these waves which signal a storm? Swim out, go create that illustration or story which is in your head! Ride your wave of imagination this summer! Sandra Yoong-Chia For 3 hours on 20 June 2021, we got together, creative-café-style, in cyberspace, and produced some inspired words and pictures. Here's a little roundup of what some of us worked on:
If you could not join in the fun this time round, not to worry. There will be another Scrawl Crawl. Also there are plans for lots more activities come autumn. So look out for those and sign up when they open for registration.
Do have some fun with the creative prompts posted above. Have a little play with them. Wishing you lots of imaginative productivity! And remember "Anything is POPsicle!". Sandra Yoong-Chia Today is the day; SCBWI Switzerland's Virtual Scrawl Crawl 2021! In just a few hours, a number of us will be gathering online to spend some time being prolific with words and pictures. We will be posting creative prompts to our Twitter account (@SCBWISwiss) every 30 minutes from 2pm to 5 pm (Swiss Time) so remember to check that out and join in for some inventive fun. Here's a peek at what some of our writers and illustrators have been up to or are planning to work on:
We hope that the above few comments from our creatives have inspired you to be productive in your own children's book creation journey . Looking forward to seeing everyone in a few hours! Sandra Yoong-Chia Have you heard? In just 12 days, we will be gathering, virtually, for our annual Summer Scrawl Crawl! Scrawl Crawls are a time where we get together and spend some time being creative; writing, drawing, painting, creating stories. We also share our experiences with each other, share tips and advice, and encourage each other on our creative journeys. Usually, we go somewhere scenic but this year, due to the pandemic, we will be doing this virtually. If you are a Swiss SCBWI member, you would have received an email about it. Do remember to register to ensure that you receive further details. Don't worry if you can not join us on that day, you can still participate by letting us know what you have been working on the week before the Scrawl Crawl. Please also register to get further information on how you can be included in the Scrawl Crawl Kickoff blog post. I am so excited and look forward to seeing you on 20 June 2021, Sunday, at 2 to 5 pm! Sandra Yoong-Chia I am thrilled to welcome back Katelyn Aronson with her new picture book, Piglette's Perfect Surprise, which I like to call, Piglette 2, (find out more about Piglette 1 here) and it promises to be a yummy treat in more ways than one. So let's find out all about this delectable book. Tell us about your new book. Piglette’s Perfect Surprise is the scrumptious sequel to Piglette, illustrated by #1 New York Times Bestselling illustrator Eva Byrne and releasing from Viking (Penguin Random House) on May 25th, 2021. Piglette returns to Paris in search of the perfect present for Madame Paradee. When she comes across a posh pâtisserie, she decides to make the most extravagant birthday cake Paris has ever seen. But the night before the big day, Piglette realizes she may have bitten off more than she can chew. What inspired you when working on this project? Children’s literature is particularly vivid when it solicits the senses, and in these books, I’ve sought to do that, while also exploring questions of the heart. The first Piglette focused on fragrances and finding one's place in the world. In Piglette's Perfect Surprise, I celebrate flavors and desserts. As Piglette is quite the perfectionist in the first book, I wanted her to come up against the problematic side of that perfectionism in the second book. Yes, I may have written this story for my former child-self! As a kid, I used to love to play bakery with my sister (to whom the book is dedicated). And now that I live in France, what could be more inspiring than French pâtisseries? I knew there would be a lot of mouth-watering possibilities for my text but also for Eva Byrne’s illustrations. Since I’m a very visual writer, I am always envisioning the future illustrations as I write my stories. Tell us about the creative process for this book. The process was an absolute delight! When Viking asked me to write a second Piglette, I was thrilled to slip back into my little French pig’s world and imagine what new adventures she might take on. I wanted to draw on something she had dabbled in in the first book, and pastry-making was clearly the most delicious option to explore. I was also excited to bring in a new character, too—the eccentric Chef Pistache. He’s a bit of an odd duck—er, odd pig—being the only character who speaks in rhyme throughout the book. This was my personal homage to the pastry chef/wannabe poet called “Ragueneau” in Edmond Rostand’s Cyrano de Bergerac (my all-time favorite French tale). Did you encounter anything unexpected while working on this project? After illustrator Eva Byrne had finished the luminous illustrations for Piglette’s Perfect Surprise, I got a “perfect surprise” of my own. She sent me an original sketch she had done for the magnificent vertical spread in the book, thanking me for the opportunity to work on this project. It had been a welcome distraction, she said, in times of Covid! I am very much in her debt, so it was humbling indeed to receive her beautiful artwork, which is now framed in my reading nook! I will treasure it always. Now for something completely different! A rich, yummy slice of cheesecake or a luxurious, decadent slice of chocolate cake, Why? Neither! Despite all the drool-worthy desserts gracing the pages of Piglette 2, I’m actually not a cake fan in real life! I’m a pie girl all the way. My American favorite is pumpkin pie. My French favorite is tarte aux myrtilles—blueberry tart. And I’d never say no to a macaron—you shouldn’t either! ;-) Thank you Katelyn for a delicious interview! It was certainly insightful to see how our own childhood experiences can influence our writing. We wish you all the best with the launch of Piglette 2! Sandra Yoong-Chia Bio: Katelyn Aronson Katelyn Aronson was born and raised in Southern California, where she grew up to be an indie children’s bookseller. Today, she lives between France and Switzerland (literally), where she works as a language instructor. She never grew out of passion for picture books, and has quite a few of her own releasing over the next three years. @MademoiselleK8 on Twitter @AuthorKatelyn on Instagram We have an exciting post for you today. Our regional adviser, Elisabeth Norton spoke to Lawrence Schimel, who is an author and translator, about his books which are launched in Switzerland on International Family Equality Day (first Sunday in May). They talk not just about Lawrence's books but they also touch on translation in the world of kidlit and world book rights. Let's listen to their discussions. EN: Today I’m talking with Lawrence Schimel, an author and translator, and founder of the Spanish chapter of SCBWI. Two of his books, Bedtime, Not Playtime! and Early One Morning, will be released in all four Swiss National languages in May. Can you tell us more about the books? LS: These are two fun adventures I created with Latvian illustrator Elina Braslina, that just happen to take place within same-sex families. Bedtime, Not Playtime! is about a girl who's trying to get ready for bed but her dog wants to play. Her two dads read to her her favorite book, the dog gets jealous and steals her teddy bear, hijinks ensue. Early One Morning is about a boy who wakes up before everyone else in the household, except for the cat, and they have adventures together. Our goal was to create fun kidzbooks that took place in rainbow families but took that for granted, it's not in any way a problem or issue, but is just incidental to the fun parts of the story, which are the interactions between the kids and their pets! EN: While many people realize that Switzerland is an officially multilingual nation, most don’t realize that in addition to German, French and Italian, we have a fourth national language, Rätoromanisch, sometimes also called Romansh or Romansch. It is a language with roots back to the time when Latin and Celtic languages were spoken in what is now Switzerland. How did you and your publisher become aware of Rätoromanisch, and what influenced your decision to have the book translated into that language as well? LS: The publisher for these titles in Switzerland is an NGO, Dachverband Regenbogenfamilien, which doesn't normally publish books but knows that books like these were lacking in Switzerland. They had seen on social media as I posted about the 8 previous languages the books had been published in (Catalan, Croatian, Czech, Flemish, Galician, Latvian, Slovenian, and Spanish) and asked if the rights were still available for the Swiss languages, in order to publish them in time for IFED (International Family Equality Day) which is celebrated each year on the first Sunday of May. As a Swiss NGO, they were very aware of the importance of publishing in ALL of the Swiss languages, including Rätoromanisch. I don't know if these are the first LGBTQ books published in Rätoromanisch, but I do believe they're the first LBGTQ kidzbooks published in this language, which is quite an honor! EN: I would imagine that there are not many literary translators who can translate books from English into Rätoromanisch. Once you decided to have the book translated into that language, how did you go about finding a translator? LS: For most books, it is usually the publisher who finds and decides on the translator. In this case, since the Swiss organization who is publishing the book isn't ordinarily a publisher, I helped them to find translators for the German, French and Italian versions. (They knew the collective of Rätoromanisch translators who did the translations.) The original text, incidentally, was written in Spanish, not English. Although I did also offer both a literal English translation of the Spanish original, as well as a rhyming English language version (that is forthcoming in September from Orca Book Publishers in the US, from Peniarth in Wales, and from Oratia in New Zealand, although with lots of variations and edits to the English in each case.) The Rätoromanisch translator also had the German and French and Italian translations to look at as well, so they could see the many different liberties or solutions that had been taken in each situation, and could create something that worked in Rätoromanisch. One thing that's interesting: the artwork in the Rätoromanisch is flipped for the first page of both books, because the sequence of events is inverted: to make the rhymes in Rätoromanisch, the dog, Rex, is not named until the second verse, whereas in the other versions he appears on the left hand page because the story opens with him. Because translation (especially of kidlit) involves not just text, but also the art! EN: The world of book rights can get a bit confusing - sometimes a publisher will hold world rights in a specific language, but often for every new language and region in which a book is published, the book has a new publisher. Can you tell us what was the case for these books? LS: It's been a bit overwhelming for Elina and myself to see the reception these two stories have had over the years, since they were first published in 2018. Mostly the reception has been positive, although in some countries there have been calls to boycott the books, the publisher, or us as their creators. But as of now there are 23 different editions of these books that have been published or are forthcoming, in languages including Welsh, Icelandic, and Russian. (There is a Maltese translation that is completed already, but because of the pandemic, that edition is on hold.) As I mentioned above, there are three different English language editions being published for North America, the UK, and New Zealand and Australia. This means that we could still license English-language editions to publishers in South Africa or Ireland or Singapore, say. While publishers always want as many rights as possible, they're not always able to exploit them effectively, especially in other countries where they may be distributed but are not based, and don't have as active a distribution network or publicity contacts, etc. So having different publishers in each territory means that they'll be able to work more closely with local rainbow family groups, let's say, not to mention kidlit media and bookshops and so on, to make sure the books reach young readers. One thing that's interesting is that Orca is publishing a French-language translation (made from my self-translation into English, so that the two Canadian editions "match") which is a rather different translation from the Swiss version, done by Anne Cohen Buecher, who translates from both Spanish and English and had already translated previous books of mine into French. Anne and I also share a special translator-relationship in that we have both translated some of the same Spanish-language authors, she into French and I into English. So we are always letting the other know about what we're reading or working on, in case it might be of interest to the other as well. EN: Which came first for you - working as an author, or as a translator? LS: I grew up speaking Spanish at home as well as English, so I was constantly translating (even if just in my head) or otherwise living a multilingual life. Because I spoke Spanish, when I got to high school and had to pick a language, I chose first Latin and then Homeric Greek, doubling up and later tripling up on languages when I decided to study Spanish as well, because although I spoke it I had no formal grammatical training in it. But because I had spoken fluency in Spanish, I wound up getting skipped a year into Conversation, so I am still missing a huge chunk of formal grammar in Spanish. My earliest writings were all in English and I began writing (and even submitting my work for publication) when I was in high school. Basically I ran out of things to read and thus started writing out of withdrawal. My early works were often fantasy and science fiction, and I started getting acceptances, to magazines and anthologies, when I was still in high school. My parents had to sign my first professional contracts, because I was still a minor. So I was a writer first, even if it turns out that my first published books were translations (of graphic novels for adults) before any of my own books were published. EN: Does your work as a translator influence you during the creative process as a writer? LS: Translating another writer is definitely a much more intimate relationship with their work than just reading or even editing it. I think it's a very good workout for writers, because you're constantly flexing all these creative muscles and analyzing how to take a sentence apart and put it back together again in the new language. In pre-pandemic times, I used to like to take my notebook to a café, without a computer, to set aside time in which to be creative and write poetry. And very often, so as not to start with the blank page, one of the things I'd do would be to translate a poem, just for fun and love of language, and to jump start the creative muscles and energy. EN: What about afterwards, as your books are being published? LS: Translators of my work have caught all sorts of typos or errors that got through everyone else in the publishing process: me, my editors, the copyeditors, etc. Because you can't translate a sentence without it making sense. There are also times when a translator hits upon a solution that I think is brilliant, and wish I'd thought of it in the first place. For instance, Jochen Weber, who translated the two books into German, titled the one about the girl with two dads HUNDEMÜDE and now I wish I had called the books DOG TIRED in English instead! I am not always involved with choosing the translators, but I try to be in touch with my translators whenever possible--to answer any questions or doubts, etc. And actually, sometimes it is via a translator that a project finds a publisher! My picture book ¡QUÉ SUERTE TENGO! illustrated by Juan Camilo Mayorga, originally published in Colombia by Rey Naranjo, is forthcoming next month in Croatia because the translator, Anda Bukvic, had been interested in the book and proposed it to a publisher she works with who bought the rights. One thing that I think more writers should think about is that by having a relationship with your foreign translators, this means that after those editions go out of print, you can come to an agreement with the translator to try and republish or otherwise exploit the works. (For instance, let's say a novel was translated into German but a German audio edition had never been published; if the author is in direct contract with the translator, after the rights have reverted from the original German-language publisher, they might jointly license these rights again themselves, or come to an agreement to self-publish a German audio edition. Or to re-release the books in the German translation as ebooks and/or POD editions, to keep the title available to new generations of readers.) EN: What advice would you give writers who are interested in exploring the world of literary translation? LS: Obviously, read widely, both in the potential source language but also in the target language. It's important to be familiar with both! SCBWI has a sub-section for translators, and is open to membership by translators as well as authors and illustrators. I was also one of the co-founders of World Kid Lit Month, celebrated each September, but the blog (currently co-edited by Ruth Ahmedzai Kemp and Claire Storey) is a wonderful resource, both for readers and budding or experienced translators (or editors looking to broaden their pool of authors or illustrators or translators): https://worldkidlit.wordpress.com/ The trickiest thing perhaps is to understand how translation is a subsidiary copyright, so it's important to always make sure you have permission from the rights holder before trying to publish any translations. (You can, of course, translate for yourself any text you'd like, but you can't publish it without permission from the rightsholder. Likewise, if there are translations of your own work as an author, the translator cannot publish or republish those works without permission from you--or your publisher or agent, as the case may be. Permission from both author (or their representative) and the translator are necessary to publish any translation, neither party is empowered on their own.) EN: Thank you for talking with me today about your books and about the world of book translation! We wish you all the best with your new releases. If any SCBWI members are interested in participating in the SCBWI Translator Listserv, email your Regional Advisor and they can arrange for you to join. Bio: Lawrence Schimel Lawrence Schimel is a full-time author, writing in both Spanish and English, who has published over one hundred books in a wide range of genres. He is also a prolific literary translator. His picture books have been selected for the White Ravens from the International Youth Library in Munich, Germany, chosen for IBBY’s Outstanding Books for Young People with Disabilities three times, and won a Crystal Kite Award from the Society of Children’s Book Writers and illustrators, among many other awards, honors, and distinctions. His writing has been published in Arabic, Armenian, Basque, Catalan, Changana, Chinese, Croatian, Czech, Dutch, English, Esperanto, Estonian, Farsi (Dari), Filipino, Finnish, French, Galician, German, Greek, Hebrew, Hungarian, Icelandic, Indonesian, Italian, Japanese, Korean, Kurdish, Latvian, Macua, Maltese, Polish, Portuguese, Romansh, Romanian, Russian, Sena, Serbian, Slovak, Slovene, Spanish, Turkish, Ukrainian, and Welsh translations. He started the Spain chapter of the Society of Children’s Book Writers and Illustrators and served as its Regional Advisor for five years. Bio: Elisabeth Norton
Originally from the US, Elisabeth Norton now lives with her family in Switzerland, where she writes picture books, chapter books and middle grade novels and serves as the Regional Advisor for the Swiss region of the Society of Children's Book Writers & Illustrators (SCBWI). She also serves as a reporter for the Cynsations website, covering international aspects of the world of publishing for young readers. You can find out more about her writing and her interviews on her website. I love it when we have published authors who return to speak to us about their latest book so please help me welcome back Julie Abery with two new additions to her Little Animal Friends series of board books, Little Penguin and Little Zebra. Tell us about your new book/s. Little Penguin and Little Zebra are number 5 and 6 in the Little Animal Friends board book series, published by Amicus Ink. The books follow the young animals as they venture out own their own, with mama not too far behind. They feature rhyming narrative poems with active verbs, and warm inviting illustrations by Suzie Mason. What inspired you when working on this project? When my editor asked me to write another two stories for the series, the main criteria she gave me was to continue to find ‘cute and wild’ animals. Each book is based on the premise that baby animals act similarly to our human little ones – all about action and exploring, and I look for comparisons that connect us. Little Zebra takes his first steps, and Little Penguin goes to nursery. Tell us about the creative process for this book/s. As these new stories are part of an established series, the format is fixed, but my creative goal is always to find cute new animal characters and portray some of the individual animal behaviours, using as much specific animal vocabulary as I can. Did you encounter anything unexpected while working on this project? I discovered how difficult it is to find unique and original action verbs for each animal, as so many of them are common across other species! After book 1 and 2, I created an Excel spread sheet detailing the 10 verb pairs in each book, to make sure I didn’t repeat too many throughout the series. Now for something completely different! Chocolate Cake or Cheese Cake, Why? Chocolate cake - preferably sandwiched and dripping with chocolate fudge icing! Scrumptious. Thank you Julie for giving us some insight into your creative journey, especially in a category where the number of words used are so limited. All the Little Animal Friends are so adorable! We wish you all the best with this series as well as your other writing adventures. Sandra Yoong-Chia Bio - Julie Abery Julie Abery is a children's book author and former preschool teacher, who shaped her career by reading picture books to children from around the world. Storytime was her favorite part of the day, when she and her wide-eyed students stepped into the magical world of books. Songs and picture books were her friends, and her favorite method of engaging young minds, helping her deliver language learning with rhyme, rhythm, and repetition. Connect with Julie @ Website: littleredstoryshed.wordpress.com Twitter and Instagram: @juliedawnabery Facebook: julieabery |
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