Jan is Jan Fields, moderator of this interview/workshop, and Web Editor of the ICL Web Site. While red signals our guest speaker's responses. Green shows names or usernames of people and the questions they asked of our speaker.

Jan: Welcome to our HISTORICAL FICTION workshop with Linda Aksomitis. Linda Aksomitis, a former ICL instructor, is the internationally published author of nineteen books in numerous genres. Three of these are historical fiction for young readers: Longhorns and Outlaws (September 2008), Run (finalist for the 2008 Saskatchewan Book Award), and Adeline's Dream (part of the acclaimed From Many Peoples series). She also teaches an online Library Training Certificate program for Credenda Virtual College, as well as the course, Introduction to Internet Writing Markets, offered through community colleges around the world. Find out more about Linda at: www.aksomitis.com and www.outlawbooks4kids.com

Jan: Linda, your new historical fiction novel is certainly not a "girlie" book -- what drew you to the setting? What did the idea grow out of? Tell us the story of the story.

Linda: Jan, I think this story really grew out of my childhood - it just took me about 45 years to get around to writing it. As a kid, I watched old westerns every Saturday night at midnight with my dad and brothers, and absolutely loved them, along with the t.v. shows of the era, such as Bonanza, Maverick, The Big Valley, Rawhide, and many others. When I was about ten, my family started raising appaloosa horses (before that we'd had sheep for quite a few years, then cows), so my hands-on experience with horses began as I started barrel racing, horse shows, and trail riding. Then I married into a rodeo family and learned all about cattle ranching, so the "research" continued, and that's where the Longhorns part of the story comes from.

Linda: The Outlaws part of the novel came from some initial discoveries I made while on assignment as a travel writer in Montana, which I added to during the research I did for one of the travel guides I wrote for Backroad Mapbooks, Southern Saskatchewan. I was particularly interested in the outlaw, Dutch Henry (one of the border outlaws of Montana/Saskatchewan), so a lot of the background for my main character, Lucas, was developed around him going to the frontier with his brother searching out a cousin who would turn out to be this outlaw. Lucas's interest in the Pinkerton Agents seemed a good balance for somebody intrigued with outlaws, and let me take Lucas's interests in various different directions.

Linda: A lot of what drew me to the era and setting was also thinking about what I like to read, since I love stories full of adventure and discovery. At heart I'm much more of a "boy" reader than a girlie one, when the truth is told.

GLADYS: I am trying my first historical fiction and have found some information on my subject on line, in the library but the most just came in from the Library of Congress in Washington DC. I appreciate what ICL taught me. My question would be how much "fact" do you need in historical fiction?

Linda: Gladys, that's a good question. And the answer is - it all depends. You need to use facts to create the setting/time period (so pollution and saving the planet won't be an issue on everyone's minds in 1950, etc), to include details in your plot (so your story fits correctly into the timeline), and to add in relevant description. For example, one of the research problems that took me several hours to find out in Adeline's Dream was what type of hairbrush was used in 1910, so I could describe it as Adeline's mother brushed her hair. You'll need to be attentive to language, so your characters in 1930 don't sound like today's kids - you can use the etymology dictionary to help you on this one. This link tells you the history of the slang term "bimbo," which you can see meant something entirely different between 1919 and 1920 to now: http://www.etymonline.com/index.php?search=chap&searchmode=none

Linda: On the other hand, if your story is a completely character driven and set in a rural area where news from the "outside" isn't relevant, then you really just have to create an authentic period piece where your character interacts in the world of that time.

TRACEYMCOX: I'm wanting to write a picture book on Jefferson Davis. He was captured about 10 miles from my house. I would like to find letters that he wrote while 'on the run' and include them in the text. My question is do you think I would be able to find any? If so, how can I go about it? (I've tried going to the historical site... they don't have any and are trying to help) Also, b/c it is about the only confederate president we had, do you think this pb would have any hope of seeing daylight. It's a touchy subject, esp. here in the south.

DARLA SUE: Have you tried writing to the National Archives in Washington, DC or your local and state archives? Ask a genealogist for tips on finding documents..these people are sleuths at finding elusive information. I've tramped through many old dusty attics of court houses and written many letters for searches and sometimes..BINGO I get just the info I wanted.

Linda: Darla Sue, some great tips! Tracey, sounds like an interesting subject -- do put together a proposal and pitch it to a few publishers to see if there's interest.

Linda: In terms of research, a lot of material is archived in Federal and state archives, along with libraries that might have special collections of personal letters and other material. Luckily, more and more content is being digitized these days for even easier access. Project Gutenberg - http://www.gutenberg.org/ has the Speeches of Hon. Jefferson Davis delivered during the summer of 1858 available on their site. Google books has a limited preview of Jefferson Davis, Private Letters 1823 to 1889 at http://books.google.com/books?id=qWVYMp1Dlu8C&printsec=frontcover&dq=%22jefferson+davis%22

Linda: I rely on Project Gutenberg and Google Books for lots of material no longer copyright protected when I'm doing historical research.

LOUISA: I want to write historical fiction. I was wondering, whenever you write a historical fiction novel, do you always have to have a bibliography at the end of the book to back up what you have written?

Linda: Louisa, while publishers don't always include a bibliography to show your historical research in the finished book (mine called the bibliography "For Further Reading"), they usually want to see one themselves. Of course that depends on the book and topic. If you're writing a family story about your grandmother's life during the Great Depression of the 1930s, you may not need to do a lot of additional research other than using her diary. Many fictional stories I'd write based on my own childhood would also be considered historical fiction these days, so a bibliography would only be necessary for any additional research I carried out.

OAHU: I feel that my historical setting is so crucial to the story I almost want to treat it as one of the characters. Is that practical or possible?

Linda: Oahu, in the genre of survival fiction the setting does become like a character in the book -- often taking the role of the antagonist. One title that's very popular done this way is Hatchet, by Gary Paulsen. Would this work in historical fiction? I suspect it could work, as long as setting was handled as an integral part of the story. What I'd recommend though, is to be careful the story doesn't present a lecture on how difficult it was in the past compared to today. The Spark Notes literary analysis of how Hatchet is constructed does a great job of showing the literary devices and writing style that help Paulsen avoid doing that. http://www.sparknotes.com/lit/hatchet/

LOUISA: I like writing western novels, almost like you. The period in history that I like the most is the 1800's. The reason why I asked was because I noticed that some historical authors (Lori Copeland, for example) didn't have a bibliography at the end of her stories and I was just wondering if that was majorly important. 2.) Do the stories have to be historically accurate? Like, if you were writing a story with Daniel Boone in it, would it have to be historically accurate to the letter?

Linda: Louisa, yes, publishers and readers expect novels to be historically accurate to the degree that a good researcher can make them. The publishers, of course, are the key people to worry about, since they're the ones you'd like to impress with your wonderful story! If you want to take liberties with history, you can add an afterward to explain what you've skipped/changed, and why, however, with so many books in the slush pile, that could be enough to have a publisher say no to a great story.

Linda: One thing that many authors do, particularly with the medieval period in history, is to write fantasy rather than historical fiction. They study the period to learn the details, myths, and legends, but then take their own twist on events or what people did. This can be a way around your challenge. You'll find lots of well known titles use this technique, from the Lord of the Rings, to the Chronicles of Narnia and Tales of Redwall.

COLORADOKATE: When I try to write historical fiction, I get hung up on wanting to have every last detail completely accurate--the speech patterns, the popular culture (songs, peoples' hobbies and interests, whatever), the clothing, the food, the price of bread... you get the idea. And I never get anything written because I'm not sure, even with research, that I'm giving an authentic view of the period. How do you balance the importance of authenticity with, well, just telling the story?

Linda: Kate, I think it's very important to get it "all" right - clothing, events, details, etc. With speech I look for the flavour without overpowering the reader, which is why there's a glossary in Longhorns and Outlaws to give you the meanings of the cowboy phrases I've included.

Linda: I think the way to get started writing a novel set in any given historical period is to really just sit down and get started, the same as any other novel. Who's telling the story? What's it about? What's going to happen? I outline my novels in advance, so I take all that great historical research and build it into a chronological storyline that has lots of opportunities for excitement and adventure, along with the character growth that's going to propel any good story, no matter when or where it's set. One of the key things to remember with writing historical fiction is that the story is still what the reader's there for, so the historical details just become the backdrop. You, as the writer, are in control of where the reader goes in the story, so take your reader into all those really awesome scenes you've imagined with the details you've found, and don't worry about things your character wouldn't be interested in or be exposed to.

Linda: In writing workshops I give I always try to help writers develop an awareness of what type of writer they are -- character, for example, where the story begins for the writer with thinking about a particular character and his/her problem. Since you're focusing on the background details, perhaps you're a setting driven author as I am, so you'll be able to get to the story if you step back and think about who might be living in the place you've researched. What are they doing there? What do they want to do? If you're dealing with particular events, how is that character going to be changed by the events? Is the character a boy or a girl? What difference will this choice make to the story?

Linda: Anyway, I never sacrifice authenticity, but work to create characters authentic to their time period. That way I can feel I've been a time traveler myself, and have taken young readers back with me.

COLORADOKATE: Thanks, Linda... that's reassuring. I think I need to just start writing! I have an outline, and the story I've planned is probably more character-driven than anything, but some of the historical events of the era (the Vietnam war) are the catalysts for the MC's struggles and growth. I've just found a source for recordings of TV news from the period, so I'm more comfortable now...

Linda: Sounds great, Kate! What a great source that will not only provide you with specific details but a lot of visual information as well.

Alice: Hi, I loved historical fiction but when I try to write it, my characters come across sounding very wooden. How do you make them sound historically accurate but also like flesh-and-blood young adults?

Linda: Alice, I think the thing with dialogue is to make each character sound unique, so they come to life with their own individual style of language. Using speech from, say the Middle Ages, would make a novel tough for modern kids to read, so rather than using old English, writers try to set a nice balance between historical fact and creating fictional characters. In order to make sure that I'm not using language or expressions that are beyond the time of my characters I rely on an etymology dictionary to see the history of the words. This is a great online one I use all the time: http://www.etymonline.com/

Linda: Creating strong dialogue is a challenge for all writers, not just those writing historical fiction, so you'll find the many techniques recommended for writing dialogue helpful.

Alice: How important do you think it is for the historical timeline to be perfect? Would it be okay for my young character not to grow quite as much as he really would have during the course of the Civil War? And if that's not okay, would the fact that he would be practically an adult at the end of the book make it not publishable as a young adult novel?

Linda: Alice, that's an interesting question. Generally books don't cover long periods of time, but rather start and finish within a limited time frame of an historical period. This means that you may jump into the middle of the Civil War, rather than covering the whole period. To get a good idea of what publishers are looking for I always suggest reading a number of books already written in the time period/topic that I'm working on, if there are some available.

Linda: Here are some booklists for books about the Civil War for young readers, but you'll find your local librarian may be your best guide to her collection:
http://library.loganutah.org/books/children/civilwar.cfm
http://www.lincolnbicentennial.gov/for-kids/suggested-reading/k-6/default.aspx

Linda: In terms of accuracy, I never interfere with important events on an historical timeline, so that the reader gets an accurate view of the period. I have changed inconsequential events a month or two to suit a story, such as in Adeline's Dream I had a minor earth tremor occur in July instead of in May, where records indicate it happened -- the tremor wasn't historically important, but helped further the plot of my story. My afterward also gives information about the time shift.

Linda: Young adult novels are often written with a coming-of-age theme, where the young protagonist is on the brink of adulthood at the end of the story, so having your character age would likely work fine.

COLORADOKATE: Linda, what kind of research do you do before you start writing? Do you do some kind of general research to get a feel for the period? What would that be--reading other novels set in the period? Reading novels written in the period? Reading history books about the period? Or do you spend more time on researching specific details that you know you'll be including in your novel?

Linda: In terms of preliminary research, I do a lot of it, generally over a period of years while a novel idea is formulating. I'm actually a setting driven author, meaning that I begin a story by identifying the place/time/important historical events where/when it will happen, then thinking about the characters that would find themselves there and how they'll react to the situations. My research includes fiction and nonfiction reading, although one of the most important types of research for me is more tactile. I visit museums and old buildings, taking photos and touching/feeling the materials, then begin to add in activities that will be relevant. With Longhorns and Outlaws, for example, I took a train trip across Montana on an historic train and rode horseback through Montana's rugged terrain. In terms of directed research, while I have certain things I know I want to find, I follow up all kinds of what seem to be irrelevant details, but that end up being some of the most important when I'm editing. One example is the backstory in Longhorns and Outlaws, of how Lucas lost his family in the Galveston Hurricane of 1900 - I didn't find that information or work it in until the third draft, however, it was the precise detail that tied so much of what I'd already developed for his history together.

Lisa: Do you ever find it difficult to decide what research to include and what to omit? How do decide what can fit and what needs to go? Does educational value play any role in the decision?

Linda: Lisa, interesting questions! So far I haven't had to leave out any research I've done, mainly I guess because I start with a pretty thorough outline. After outlining, I write two ways, the first being to take my outline and research additional materials as I write, the second being to take my outline and put in $$$ where I want to find specific details that I don't already know. With the second method then one rewrite is very much research based.

Linda: I decide what to include by examining my plot and the growth of my character. I look at the event/research/info and decide if it will propel plot or develop character, and if it won't, I just pass on it for now. I once read -- and thoroughly agree -- that you should be able to justify every detail, word, and paragraph you add to a story. Nothing should be plain filler, so that helps me weed out lots of information that doesn't propel the story during editing. When I write fiction I aim for a good satisfying story, whereas when I write educational materials for a publisher, then I focus on the information I think the reader should have. I try not to get the two intertwined.

JENNIFER: Is historical fiction selling? I read somewhere that historical fiction sales were declining. Do you find it has gotten harder to market a historical novel?

Linda: Jennifer, I think publishers are always looking for a good story, irregardless of the genre. Of course, after Harry Potter there was a whole upsurge in publishing fantasy, and now the current big "thing" is horror fiction. While I have ideas that might fit into whatever's currently hot, I try to focus on developing the ideas I think will be the best stories I can tell, knowing I'll feel a lot better putting the manuscript in that envelope and sending it off to a publisher if I truly believe I've done the best job I can right now. That said, I find publishers are just as receptive to historical fiction as ever, at least the ones I'm researching.

LAURAMLEE: Do you ever mix in real characters from history with your own?

Linda: Lauramlee, that's a question I often get. Yes, I do include "real" historical characters in my fiction, and sometimes I create fictional characters based on real people from history. In Longhorns and Outlaws all of the outlaws and outlaw incidents are based on real instances from history. Since the main outlaw, Dutch Henry, has a significant role in the story, I've made it clear his character is inspired by the real outlaw and add an afterward explaining what is real. However, I also have the Sundance Kid and some of the gang make an appearance in the book, and I base that scene on historical data and use their real names/dates/places for the scene, which I also note in the afterward.

Linda: The key, I think, to deciding which historical figures you can use as themselves is in the data that's available to you, so that you can create them as realistically as possible. If you have very little data, then you're best to create a fictional character if they have much of a role in the story. Also, it depends on the type of role you give characters in your story -- if you have them do something that can't be verified by historical documentation, then you're best to use fictional characters rather than invent a fictional past for a real person. Often, I'll slip in information about real people from history as part of the setting/historical documentation, just as I would in real conversation. In that case, you need to use exact dates/statements/situations just as you would with any other historical fact.

TINA: Currently I am writing a on Ellis Island and would like to know if I include interviews where would they go in the story? How would you write them in the story?

Linda: Nice to meet you here, Tina. Sounds like an interesting setting! Without knowing the plot of your story, your question is pretty tough to answer. Whatever you include in your novel needs to serve a purpose -- develop character, propel plot, increase conflict, develop setting. In a novel the story is more important, whereas in creative nonfiction the facts are the key. Would the research you're working with work in a nonfiction book telling the real immigrant story, quoting from various interviews?

Linda: If you're writing fiction you likely have a single character in mind, along with his/her family, so their story is the only one you'll be looking at (or perhaps a best friend's story too). You could sprinkle information from an interview throughout the novel as your main character's backstory, but of course a little backstory takes you a long ways in a novel. For example, as your main character sees her new home, you could include memories of the place she's left, working in details you discovered in an interview. Adeline's Dream, my first historical novel, is an immigrant story, and I included details from Pier 21 in Halifax when I wrote it.

OAHU: Are there any techiques in historical fiction that have been overused and publishers don't want? Example: A minority student has trouble getting along with the rest of the class.

Linda: Oahu, what an interesting question! No, I can't think of any particular technique or style that's been so frequently used in fiction that publishers don't consider it. Some time periods, of course, have had a lot more novels set in them, so you may want to do a thorough investigation on what's available before you get started. I always read all the novels I can get that are set in a time period I'm considering, to be sure the story I envision provides a new twist or look at that part of history.

QSILVER: I've only just tried this retreat maze for the first time. Question: What is an e-book? I saw on your website that you teach about e-markets for children's books. I've asked librarians and they don't have a clue.

Jan: An ebook is a book that is presented in a digital form. Some are read on computers, some are read by special ebook readers like a nifty new KINDLE which I've heard almost feels like electronic "paper" -- I haven't seen one, myself. Ebooks can also even be read on some text enabled cell phones. Technology is opening all new ways to read ebooks.

Jan: By and large, children's books have not be really successful as ebooks. In fact, honestly, few books have been really successful as ebooks. One place where ebooks do amazingly well is Romance fiction (and especially Erotica). Another area where there is a lot of hope for success in ebooks is textbooks...where ebooks could be much less expensive and easier to transport for college level textbooks. But in most genre fiction, ebooks just don't sell well. Most folks would rather have a print book.

Jan: Some ebook publishers sell both electronic and print versions of books -- with the print versions being quite expensive (and sometimes not very well produced), but that does offer more alternatives for buyers who aren't completely comfortable with electronic books only. Still, by and large, ebooks are not a hugely viable form for children's writers if your goal is to reach many kids with your work. There are some electronic "magazines" that are published online. Magazines like STORIES FOR CHILDREN, STORY STATION, and others that have no print form but exist only as digital files. They do get some readership (though often a large percentage of readers are writers rather than kids) and some even pay for material. They can be a good place to enter the publishing market with some experience working with an editor, and getting that kind of feedback. They usually do not have nearly the readership of a print magazine though.

Jan: So, that's about what I know about them. I know some writers who adore working in ebooks -- even children's writers, but they do have considerably fewer sales than print publishing.

Linda: Back in the beginning of my book publishing career, I did do a couple of children's ebooks simply because I was focusing on Internet marketing and always believed in practical experience being the best teacher. There were essentially no sales (other than my writing group members), so I withdrew them from the variety of e-book publishers they were with and moved on. The only exception, in my experience, was that one Australian e-book publisher also offered POD or print-on-demand for the books, so my YA novel, Snowmobile Challenge, also came out in a print version. The print version was a finalist in the 2003 Saskatchewan Book Awards for Children's Literature. Like you Jan, however, I don't recommend ebook publishing for children, since parents generally feel their children spend too much time in the electronic world between the Internet, Instant Messaging, video games and Wii, etc. without encouraging them to read ebooks. The course I teach (adult writing markets) is called Introduction to Internet Writing Markets and is carried by community colleges around the world.

Lisa: Do you do school visits? And if so, do you do anything in particular to help students connect with the historical periods in your books? I know Verla Kay dresses up in costume. Do you have any props or special things you do?

Linda: Lisa, yes I do lots of school visits. I create a powerpoint show for each book I do, so that with Longhorns and Outlaws I take students along on the numerous different research trips I made, showing them the terrain and museum pieces that were important to the story. It helps them visualize the scenes -- especially things like the actual poster of the outlaws, which is on the second page of the novel. I sometimes use artifacts too, so that students can see and touch things that were used historically. In terms of costumes, I haven't done a lot in that area other than to dress western.

Jan: How do you think being a photojournalist has affects your writing career -- I know you've published some of your photos in books, but do you think having that eye for visual affects your work in other ways too?

Linda: Jan, yes, I think being a photojournalist has had a big impact on my historical writing! For one thing, I need to visit a setting and take my own photos of it if at all possible, so when I return to the photo during my writing I can remember all the other sensory details that contribute to vivid scenes. I think it's very important to include the smells, sounds, and feel of things as well as the visual details. Since I'm a setting driven author -- I start with setting or the when/where of creating a novel rather than the characters (who) or the plot (what), that may be what made me pursue photojournalism in the first place. I need to be able to drop in bits of details throughout a novel to make it come to life for me and the reader.

Jan: Capturing setting "memory" through photos is such a fantastic idea, because being able to retrieve those rich sense memories can be tough...cool. I think I'll try that, even though my photos certainly aren't photojournalist material but I can see how anything that helps us lock in to those sensory details is such a help.

Linda: Jan, of course, all of this is made even easier with digital photos, so I can take a 1000 every place I travel.

DANI: First, thank you for taking the time to answer our questions. Do you have a recommendation as far as cameras for $1000 or less? I know that's not a lot of money for a really good camera, but it should be adequate, shouldn't it? I'm interested in taking quality photos that I can use for describing landscapes in my stories. A few months ago, I started looking into getting a digital camera for writing good description because the scenery in Southern CA is so beautiful. Sometimes it takes my breath away and I say, "WOW." I'd also like to use it when I travel so that I can later write about what I see. It seems that optical zoom is a good idea. Also, DSLR. I think the camera that I saw a few months ago was a Nikon D90 or something, but I am not sure. Would that be good for what I need? There may be some that are better, but I don't know what they are. What do you think?

Linda: Danielle, the cost of digital cameras has dropped a lot! Since I prefer straight digital, rather than SLR (these have traditional camera features combined with digital -- if you're a pro with a traditional camera this is the type for you), you can get a good one for under $1000. I prefer straight digital as I've found them to be superior for the action photography I do with racing without adding on thousands of dollars worth of accessories and spending tons of time adjusting. I've tried about 4 different brands and prefer the Canon (Powershots are good) for ease of use and superior color. In terms of features, you need to look for the best optical zoom you can afford (not digital, as digital zoom just zooms in on the photo rather than on the object you're taking a photo of) and an adequate megapixel (I currently have 8 megapixels and have sold cover photos to travel magazines in the 8x11 glossy size). Have fun with your camera!

DANI: Ok. I can cope with straight digital. I didn't want to deal with all that adjusting anyway. My targets won't be moving, so action wouldn't be an issue...unless there's an earthquake.

OAHU: I have a plan for a series of historical novels. Should I just write the first book so it stands on it's own and not lead to others in the series?

Linda: Oahu, yes, it's a good idea to write your first novel so that it stands on its own -- publishers usually want to see if a character/story is popular before agreeing to publish a series. I have a friend who has 40 books out, who planned a trilogy and even had the publisher market it as a trilogy, but sales were disappointing and the publishers pulled the plug after the second book, so the third will never arrive for readers. Needless to say, the author also has a third manuscript written that has little to no potential to ever be published.

Linda: You can, however, set up your novel in such a way as to leave it open for sequels, but still be a satisfying stand alone novel. Make sure your main character is multi-dimensional and has such a strong character that there's lots of potential for growth through first and subsequent books. Another friend of mine ended up writing a series on a book that didn't start out that way, and she had jumped the main character ahead two years in age at the end of the first, which made the next books more challenging.

Linda: While Longhorns and Outlaws wasn't contracted as the first of a series, I'm working very hard at promoting it, and on writing the first sequel, to make sure the publisher is interested in taking the next one.

Jan: I saw on your website that you like science fiction (yay -- I miss Stargate Atlantis). Have you ever considered writing in that genre? I grew up with a deep adoration of science fiction -- a major Star-Trek-a-holic and watcher of all things space -- but I've never written a bit of science fiction. I found it interesting that you also love science fiction but write something totally different. Why do you suppose that is? Could you ever see yourself trying something spacey?

Linda: Ah Jan, you've uncovered my secret - historical fiction is really my second love, and science fiction, my first. However, the research it takes to write really strong science based science fiction (which is what I like, as opposed to the SF that is mainly made-up fantasy) is just not something I have time to commit to right now. During my school days I loved history, and studied and read about it a lot, but for some reason didn't spend as much time on the science areas, so now I have to fill in that background knowledge. I guess it may have been partially the era, as in those days girls weren't supposed to be good at science and math, so I was just drawn along with the trends (math was very easy for me, so I was good at it anyway). I do have the outlines of several science fiction stories growing in my mind, but it may be awhile until I'm able to fill in the scientific gaps that will propel the stories and bring them to life.

Jan: Thanks Linda for sharing so much with us -- and I wish you the super best with your outlaws!

Linda: I'd like to thank everyone at ICL, especially Jan Fields, for having me visit during my Virtual Tour for Longhorns and Outlaws. During the five years I was an instructor at ICL I also grew very much as an author - both from interacting with many dedicated beginning writers and using all of the course materials provided by ICL. The ICL markets information is superior to anything I've used before or since being part of ICL, so I consider a lot of my current success a result of those five years here. Speaking of current success, I'd also like to tell you all that Longhorns and Outlaws has just been announced as a finalist for the Foreward Magazine Award for Juvenile Literature! See: http://www.forewordmagazine.com/botya/search2k8.aspx?srchtype=category&srchval=28

Jan: Bravo on the award! Congratulations.

Linda: I hope you all enjoy the journey to publication, finding pleasure in each step along the often arduous uphill climb.

LOUISA: Thanks for taking the time out of your busy schedule to answer our questions!

CHIPPY: Linda, thank you so much for taking the time to come and answer all the questions. I'm sure we have all learnt something from the last few days.