I am still working on launching THE BLACK ALABASTER BOX. It is off to a good start, but a publisher alone can’t get the word out. Getting the word out depends on the goodwill of friends, new fans, and hard work. I’m adjusting to the idea of fans. I tend to see them as fans of Grace Willis and Mr. Nichols and the outlaws you love to hate, Junior and Ruby.
I’ve had a lot of fun meeting with kids, reading to them, and talking about the book. This spring I visited was The National Trails Museum Independence, Missouri and left a copy of the book for their library. What a fine research collection they are building along with an interesting museum, well worth the trip to Independence.
I was in Kansas City for a visit to Briarcliff Elementary School where my fifth grade friend, Jamison Sherman and his class hosted an author visit. It was a lot of fun reading from the book and talking with kids who had some really great questions about writing process and character development. There were some personal questions, too: “How old are you?” I think that with all my white hair there was the serious thought that I might have set out on the Santa Fe Trail with Grace Willis in the late 1800s.
Some days I feel like that! The past week I’ve been playing what my daughter calls “the mad artist.” That’s me in the picture above: the mad artist working at the dining room table. Not mad as in angry; I’m thinking of mad as an adverb as in “totally mad, extremely cool.” (We all have our fantasies.)
So while I’m launching Book one, I’m madly working on illustrations for Book two. The thing about historical fiction, even fantasy that situates itself within an historical era, is that it is easy to miss important details. Illustrating the chapters, as I did in Book one, often reveals some new bit of history that I’ve overlooked. Take Big Red, for example.
Big Red is the White-Faced Hereford calf that James Matthias’ gets ready for exhibit at the county fair. Finding images to create a sketch that is satisfying to me was not such a struggle. Getting him right was a challenge. BUT later in the book, Big Red is kidnapped–I suppose one could say rustled. He’s hauled away to the Oklahoma National Stockyards to be sold for World War I Bonds. This sends me double-checking my facts: when was the Oklahoma National Stockyards opened (1910, whew, that works) Finding a satisfying image of a 1917 truck was a search in itself. But an image of the backside of a prize-winning Hereford Bull riding in the back of a 1917 truck?) I finally managed to make a sketch that feels right. Big Red the Calf and Big Red in the truck are below. (I still need to do something about that right rear wheel–it’s too dark.)
Then one sketch of the stockyard later, I ask myself, “When did the stockyards get that fancy entrance?” and I discover the completed sketch won’t work because the entrance was there, but it first read “Oklahoma National Stockyard Co.”–start over with a new sketch. All part of trying to keep the history as right as I can and part of the mad artist’s life!