Amelia Earhart: The book that almost did not fly.

Young, Terrell A., & Ward, Barbara A. (2011). Amelia Earhart: The book that almost did not fly. Journal of Children’s Literature, 37(1), 48-53.

Here we have a fascinating look at the process of putting together a children’s nonfiction book. In this case, the book is the 2009 winner of the National Council of Teachers of English’s Orbis Pictus Award for Outstanding Nonfiction, Amelia Earhart: The Legend of the Lost Aviator, written by Shelley Tanaka and illustrated by David Craig. The authors interviewed the author, the illustrator, the art director, Chad Beckerman, and the book’s publisher, Howard Reeves (Abrams Publishing). The account here is nicely detailed, but also concise. As I finished reading, I found myself wanting to know more about how nonfiction books are created.

It is obvious that the process is different for every book, and as in this case, that each book in effect takes on a life of its own. For example, I had always assumed that usually the original idea for a book comes from the author, and the illustrator is then called in to try to bring the author’s words to life. That was not the case with the book featured here. It was illustrator David Craig’s passion for Amelia Earhart’s story, his meticulous, beautiful illustrations of moments in Earhart’s life, and his patience and persistence with the numerous snags and delays in the creative process that really made this book happen. The author only came on board much later, and though her work was of course integral to what the book eventually became, it was Craig who breathed the first life into the project, and his illustrations seem to be central to the path the book took to publication. In fact, at times Tanaka had to write text to fit the pictures Craig had already made, rather than Craig illustrating to fit Tanaka’s text.

We also get a glimpse here of the important contributions of designers and art directors toward what a book eventually becomes. We read about decisions on font style, which seem to be minor things but can really be important in terms of a book’s overall impression. We read about a disagreement regarding historical accuracy between the illustrator and a historian employed by the publisher that led to revisions of one illustration that the illustrator was particularly attached to, as well as a dispute about whether or not to use a computer-generated image on the cover versus a painting (I sense from the illustrators words that some of these feelings of disagreement still linger even after the book’s publication). All of these details come together to provide a picture of just what it takes to make an excellent nonfiction book for children. After reading this account, I want to take a look at the book itself. I think that older children and young adults might enjoy reading this article as part of a study of how nonfiction books are produced, perhaps prior to attendance at a local children’s literature festival that features nonfiction authors. Those of us who love children’s books, and appreciate the work of those who create them, will be fascinated by articles like this.