When I interviewed Cecil Castellucci a few months ago, I was impressed at the level of praise she had for her editor, Kara LaReau. So I contacted Cecil to see if LaReau would be open to discussing her new endeavor, Bluebird Works Creative Consulting. Before starting the interview, here’s a brief bio from her blog: “Hatched in a small town in southern Connecticut in the early 1970s, I eventually flew the coop and received my Masters in Fine Arts in Writing, Literature, and Publishing from Emerson College in Boston, Massachusetts, and later worked as an editor at Candlewick Press in Cambridge, Massachusetts and at Scholastic Press in New York. Now, I’m spreading my wings again — managing my own creative consulting firm, developing my writing career, and maintaining a cozy nest in Providence, Rhode Island.” My thanks to LaReau for her time and thoughts.
Tim O’Shea: How long have you been a book editor–how many books have you edited in your career?
Kara LaReau: I’ve been editing for more than ten years — first at Candlewick Press, then at Scholastic Press, and now via my own creative consulting firm, Bluebird Works. Honestly, I have no idea how many books I’ve edited; it must be at least a hundred!
O’Shea: What’s the most challenging manuscript you’ve ever edited?
LaReau: Each book presents its own thrills and challenges, so it’s difficult to single out one in particular. I’d say the most challenging situations, in general, were those where the author was reluctant to consider my suggestions. If the author and editor don’t have a reciprocal sense of trust, the story goes nowhere.
O’Shea: Do you find writers are typically open to constructive criticism and revision–or do some authors have to be coaxed more than others?
LaReau: I have had a few experiences where the author had to be reassured. As an author myself, I know how it feels to share your “baby” with someone else; critiquing someone’s work requires a great deal of diplomacy and respect.
O’Shea: In editing an author, have you ever had to convince the writer to step away from an idea, because the story was not evolving as either of you had originally intended?
LaReau: I’ve never put my foot down and told a writer that they CANNOT do something. Rather, I invite them to share their reasoning for making certain choices, and I reciprocate by sharing my point of view. Often, what emerges from that dialogue is a new, better idea that neither of us would have imagined on our own. I love it when that happens.
O’Shea: David Elliott said of you: “She gets it all, from the smallest subtleties of the writer’s craft to the vagaries of the market.” What are the challenges ahead for the children’s literature market?
LaReau: Where to begin! Well, the downturn in the economy has led to an industry-wide contraction, which I think is a good thing; we were a bit bloated there for a while. Certainly, the emergence of electronic publishing is also a factor, though I have no idea how that’s going to pan out. The coming months and years are going to require a significant degree of nimbleness on the part of the publisher. I just hope everyone’s ready.
O’Shea: In addition to editing writers, you also serve as editor to illustrators as well. What kind of editorial advice is critical when working with illustrators (versus working with writers).
LaReau: Much of what I discuss with illustrators is very similar to my work with writers; when it comes to picture book-making, it’s all about the relationship between the art and the text, and how to achieve the best balance between those elements. Sometimes the text needs to be tweaked to accommodate the art, and vice versa. But we’re all on the same team with the same goal; I do whatever I can to get that point across, and to let the author and illustrator know I always have their best interests in mind.
O’Shea: When collaborating with your sister (Jenna LaReau), do you think you’re more critical of her work (in the creative process) because she’s your sister and you have a level of familiarity you do not enjoy with most other collaborators?
LaReau: I wouldn’t say I’m more critical of Jenna’s work; we do have a shorthand in the way we communicate with each other, so it’s often quicker to convey thoughts and suggestions than it might be with someone else. But the other collaborator I’ve worked with, Scott Magoon, is actually a friend of mine (we worked at Candlewick together), so there’s a certain degree of simpatico there, too. I really enjoy having an open dialogue with illustrators; the best ideas emerge when creative people are able to put their heads together.
O’Shea: In terms of your own stories, will you be writing more Rabbit & Squirrel or Rocko & Spanky stories?
LaReau: Sadly, Rocko & Spanky’s adventures have come to an end. And I can’t see myself writing another Rabbit & Squirrel story; I think those two have reached their natural conclusion. But I do have two new picture books in the works with Scott Magoon, the illustrator of Rabbit & Squirrel and Ugly Fish; the new titles will be published in 2011 by Roaring Brook Press.
O’Shea: You’re going to be involved in two writing programs this year–is this the first time you’ve worked in writing programs or have you taught previously?
LaReau: I’ve given talks at various writing programs and writing conferences, but this will be the first time I’ll be serving on the faculty. I’ve always been interested in teaching, so I hope this is just the beginning of that aspect of my career.