From PW: Holiday Gift Guide 2024: Children's and YA
Julie Benbassat's THERE'S THAT SUN AGAIN
Our new Design professor at Hollins University is the incredibly talented Julie Benbassat. She's been taking off in the illustration world the last few years and we're lucky to have her inventive and imaginitive voice and talent in our program. Want proof? I talked to her about her most recent picture book, THERE'S THAT SUN AGAIN, written by Mk Smith Despres for Neal Porter Books.
e: Hi Julie! We've loved having you as part of our Hollins family!
What was your creative process/medium, can you walk us through it?
I knew I wanted to do something different for this book than what I did for THE BOOK FROM FAR AWAY, specifically in how I rendered the final art. I started off with sketching the child characters and my own Philly neighborhood I was living in at the time.
Mk’s poetry evoked images of a city landscape so I took in as much of my neighborhood as I could. With these sketches as well as some cute drawings from my very young cousins as inspiration, ideas began to form into whole compositions. I guess you can pinpoint my process as: Sketch, Thumbnails, More Sketches, Dummy Sketches, Linework, and then Color.
For the final pieces, I used a mixture of traditional pencil line art and digital coloring in Procreate. Mk’s poetry lent itself to this warm feeling that can only be expressed by the soft lines that graphite can give. I used a Kol-i-noor mechanical pencil specifically to get that buttery soft feel. It’s a drafting tool so it can get very fine details if sharpened while giving subtle shading gradients on its sides.
Procreate was used to color the piece with slight alterations in photoshop. I always try to restrict myself to as few layers as possible to maintain that sense of permanence that traditional media gives. I also made sure to start off each spread with a golden undertone to enhance that sun feeling. What can I say? I love the color yellow.
e: What was your path to publication?
I received the manuscript from my agent, Rebecca Sherman at Writers House, with a lovely note from the Holiday House editor, Taylor Norman, who said such wonderful things about my work and how this manuscript felt right in my hands. I immediately was in love with Mk’s writing style and honored by Taylors words, so I jumped on the chance to work on THERE'S THAT SUN AGAIN. We signed the contract and then went to working together in the next few months. It was such a pleasure to work with the whole Neal Porter books team, from Taylor’s expert input and Jennifer Browne’s page design instinct. They made the book just as special as Mk’s manuscript did.
e: Is there a unique or funny story behind the creation of this story?
I didn’t personally write it so I can’t say anything to the creation of the manuscript per say but I did find a lot of inspiration from these animal drawings my cousins made. They range in ages from 5 to 12 and have such a joyous way of drawing I wanted to bring to the children’s drawings in the book. One of these drawings hangs in my studio right now just because of how much I love it.
e: What do you think makes an illustration magical, what I call "Heart Art” - the sort that makes a reader want to come back to look again and again? I’m looking for your definition of “Heart Art.”
Personally, illustrations that bring you into the world/ concept so seamlessly you forget about the law of art. I used to be so enthralled by artists who applied realism (I still am) but as I’ve gotten older I see effective artists as people developing their own way of visualizing the world and stories they want to tell. It’s the reason Ezra Jack Keat’s shape dominant works are just as evocative as the more rendered works of Jessie Willcox Smith. How does this person draw a bird versus the next, and how do we as humans still recognize them both as symbols for birds. That’s the power and beauty of illustrating stories. You are allowing for people to suspend their belief through the way you see the world and in turn inspire them to create their own.
e: How do you advertise yourself (or do you)?
A mixture of social media and reaching out in real life. The world of publishing is in a strange place, where you are the one oftentimes advertising your book more than the publisher. That has positives and negatives, but you have to try and make the best out of it. Many of my fellow illustrators have very little followers but put so much effort into reels, blog posts, and public outreach that it makes up for the lack of social media presence. I have a good number of Instagram followers, but I hardly see that translate to helping me sell books. I recently had a successful book launch for THERE'S THAT SUN AGAIN at my local bookstore, Children’s Book World, and most of it came down to reaching out to people I knew in the area and not social media. It’s a capricious aspect to the job but you get a hang of it eventually.
e: What is your favorite or most challenging part of being a creator?
My favorite part is getting to work on a range of projects that offer up so much variety in subject matter. One day I’m illustrating an editorial article about the mafia and then I’m illustrating a chapter book about a girl growing a tree on her head. (This is for an upcoming chapter book with Candlewick woohoo!) It keeps the job from getting monotonous and gives me a chance to learn something new.
The most challenging aspect is trying to make work without feeling beholden to impossible expectations. I consider myself new-ish to publishing, as I worked as an editorial illustrator for most of my professional career before transitioning to books. In that time, I developed a toxic trait of never feeling like my work was good enough. (Editorial can be cut throat). This transition to books has made me open my eyes to how vast the art world is, and the idea of the “best art” doesn’t really exist in that way. I still have issues unpacking those high standards for myself but I’m working on it.
Is there something in particular about this story you hope readers will take away with them, perhaps something that isn’t immediately obvious?
I hope that readers, young and old, will read this book as it was intended to be: a poem. It’s not just a story of two children becoming friends over the course of a day, it’s also a story of sensations that children might feel in times of change (adults too). I’ve done a few readings of it out loud and the warmth of the words feels like soup for the soul. A gentle slam poetry to the heart that reminds you how much one can feel over the course of a day.
Lovely! e: What are you working on next or what would be your dream project?
I’m currently in between finishing that chapter book about a girl growing a tree on her head, doing final art for a book about a fox named Mungo and planning out dummy revisions for a book about an art collector turned suffragist. I am so grateful to have this range of work and am excited to see what 2025 has in store.
My dream project is something that alternates from day to day but right now it would be working on a book on fairytales/ myths around the world. I love those old Rackham and Dillon illustrations and if I could do something like that, that would be so cool. Fairytales and mythology have guided children and adults alike through hard times and I think we need that more than ever right now.
e: Thank you, Julie! Can't wait to see more of your evocative work!
What was your creative process/medium, can you walk us through it?
I knew I wanted to do something different for this book than what I did for THE BOOK FROM FAR AWAY,
I received the manuscript from my agent, Rebecca Sherman at Writers House, with a lovely note from the Holiday House editor, Taylor Norman, who said such wonderful things about my work and how this manuscript felt right in my hands. I immediately was in love with Mk’s writing style and honored by Taylors words, so I jumped on the chance to work on THERE'S THAT SUN AGAIN. We signed the contract and then went to working together in the next few months. It was such a pleasure to work with the whole Neal Porter books team, from Taylor’s expert input and Jennifer Browne’s page design instinct. They made the book just as special as Mk’s manuscript did.
e: Is there a unique or funny story behind the creation of this story?
I didn’t personally write it so I can’t say anything to the creation of the manuscript per say but I did find a lot of inspiration from these animal drawings my cousins made. They range in ages from 5 to 12 and have such a joyous way of drawing I wanted to bring to the children’s drawings in the book. One of these drawings hangs in my studio right now just because of how much I love it.
Personally, illustrations that bring you into the world/ concept so seamlessly you forget about the law of art. I used to be so enthralled by artists who applied realism (I still am) but as I’ve gotten older I see effective artists as people developing their own way of visualizing the world and stories they want to tell. It’s the reason Ezra Jack Keat’s shape dominant works are just as evocative as the more rendered works of Jessie Willcox Smith. How does this person draw a bird versus the next, and how do we as humans still recognize them both as symbols for birds. That’s the power and beauty of illustrating stories. You are allowing for people to suspend their belief through the way you see the world and in turn inspire them to create their own.
e: How do you advertise yourself (or do you)?
A mixture of social media and reaching out in real life. The world of publishing is in a strange place, where you are the one oftentimes advertising your book more than the publisher. That has positives and negatives, but you have to try and make the best out of it. Many of my fellow illustrators have very little followers but put so much effort into reels, blog posts, and public outreach that it makes up for the lack of social media presence. I have a good number of Instagram followers, but I hardly see that translate to helping me sell books. I recently had a successful book launch for THERE'S THAT SUN AGAIN at my local bookstore, Children’s Book World, and most of it came down to reaching out to people I knew in the area and not social media. It’s a capricious aspect to the job but you get a hang of it eventually.
My favorite part is getting to work on a range of projects that offer up so much variety in subject matter. One day I’m illustrating an editorial article about the mafia and then I’m illustrating a chapter book about a girl growing a tree on her head. (This is for an upcoming chapter book with Candlewick woohoo!) It keeps the job from getting monotonous and gives me a chance to learn something new.
The most challenging aspect is trying to make work without feeling beholden to impossible expectations. I consider myself new-ish to publishing, as I worked as an editorial illustrator for most of my professional career before transitioning to books. In that time, I developed a toxic trait of never feeling like my work was good enough. (Editorial can be cut throat). This transition to books has made me open my eyes to how vast the art world is, and the idea of the “best art” doesn’t really exist in that way. I still have issues unpacking those high standards for myself but I’m working on it.
Is there something in particular about this story you hope readers will take away with them, perhaps something that isn’t immediately obvious?
I hope that readers, young and old, will read this book as it was intended to be: a poem. It’s not just a story of two children becoming friends over the course of a day, it’s also a story of sensations that children might feel in times of change (adults too). I’ve done a few readings of it out loud and the warmth of the words feels like soup for the soul. A gentle slam poetry to the heart that reminds you how much one can feel over the course of a day.
Lovely! e: What are you working on next or what would be your dream project?
I’m currently in between finishing that chapter book about a girl growing a tree on her head, doing final art for a book about a fox named Mungo and planning out dummy revisions for a book about an art collector turned suffragist. I am so grateful to have this range of work and am excited to see what 2025 has in store.
My dream project is something that alternates from day to day but right now it would be working on a book on fairytales/ myths around the world. I love those old Rackham and Dillon illustrations and if I could do something like that, that would be so cool. Fairytales and mythology have guided children and adults alike through hard times and I think we need that more than ever right now.
e: Thank you, Julie! Can't wait to see more of your evocative work!
Friday Links List
From PW: Author and illustrator Bruce Degen, best known for his detailed, humorous artwork depicting the fun and informative field trips of Ms. Frizzle’s class in the Magic School Bus picture book series, died on November 7 of pancreatic cancer at his home in Newtown, Ct. He was 79.
From PEN America: Banned in the USA: Beyond the Shelves - "During the 2023-2024 school year, PEN America recorded 10,046 instances of book bans."
Debbie Ridpath Ohi's Guide to new Bluesky users!
From the NYTimes: How ‘The Wild Robot’ Was Born in a Weedy Patch of Manhattan
From Writer Beware: Someone Else is Impersonating Writer Beware
Students and Horses
Hollins University has a strong equestrian program with a lovely stable full of extremely well-cared for horsies. I've written before about going up on Sundays and grooming the horses - it was my zen every summer when I returned to teach. Sadly, since campus is now where I work full-time, that is something I haven't been doing as much of. So, when one of my students, Caroline, expressed interest in pursuing a stable job and asked if I would be willing to introduce her to the folks at the barn (she's a bit shy), I jumped at the chance——but not just to introduce her to the fine folks who manage the stable, but to also introduce her to what working at the barn might be like. I introduced her to Elise, the barn manager. She met and petted all the dogs. With her calm demeanor, all the critters loved Caroline. The farrier was there that day too, so she got to see a horse being shoed. It was a busy day at the barn! Luckily, I'd called ahead, so they were expecting us and already had a horse ready for us to brush. This is "Also."
One of the students working at the barn showed Caroline how to clean out his hoofs and pointed out how to avoid the "frog" (the triangle of the hoof that has feeling in it). She showed her how to walk with a horse (always on the left). We watched some of the riding lessons for a while. Students were trotting (and posting) and cantering - things that I never need to do again. Then we went to the back stables where Phil was mucking out a stall. Phil is a former Math teacher. He shared how he loves the calm, beauty, and physical labor of working at the stables. I can relate. I used to be a groom for the Atlanta Polo Club and I love being in stables. Even mucking out a stall is enjoyable. Phil let Caroline try it out.
Of course, the big payoff of working hard in the stable is seeing the beautiful Hollins' view spread out before you. The whole experience simply does a heart good.
Happily, Caroline has been back and has found her happy place. No surprise there. It's long been my happy place too!
Friday Links List
From The Bookseller: Penguin Random House is adding language to the copyright pages of their newly printed books explicitly forbidding the contents from being used to train AI!
From the BBC (via PW): Dracula author's lost story unearthed after 134 years - an amateur historian stumbled upon the pre-Dracula short story "Gibbett Hill" in a Dublin newspaper from 1890. SO COOL!
From the Washington Examiner: A world without boys’ chapter books
It's TINKER DAY!
We never know when it's going to be, only that it will be on a lovely day in the fall. We wake up to the alert at 7:00am - IT'S TINKER DAY! (Click the image below to see the whole crowd on Youtube!)
Tinker Day is an annual celebration at Hollins University and has been for over 100 years. You can see photos of Tinker Day going back to the 1880s HERE.
On Tinker Day, classes are cancelled. Students, faculty, and staff dress in costumes and hike up Tinker Mountain. The reward: a picnic of fried chicken, songs, skits, and Tinker Cake. A newer tradition is that President Hinton puts together a hilarious video each year to prepare - always based on a movie. Last year's movie theme was FERRIS BUELLER. This year was CLUELESS! (Click on the image below to watch on YouTube and you'll see why we love her so much!)
The day begins with a gathering on the Quad.
Everyone is buzzing as we laugh and enjoy everyone's costumes.
Everyone gets into it! Here I am with Erin who runs our study abroad programming (she's dressed as a Hollins student and I'm a wood spirit).
And here's Erin with the housing team - they chose to be Hobbits this year!
Here I am with Brenda who always dresses THE BEST.
Even our security and maintenance guys get into it!
We enjoy a speech from our fabulous President Hinton.
Then each undergraduate class performs a silly song followed by the Hollins' alma mater sung by the HU Chorus. The hike follows and it is not for the meek! For those of us with bad knees, we can walk the campus loop, get a free lunch and enjoy a quiet day to catch up. It's always a special day no matter how you participate, and one that we all look forward to! Mostly, I just can't believe I work at a place where it's necessary to keep costumes on hand. How awesome is that!?
HAPPY! HAPPY TINKER DAY!
On Tinker Day, classes are cancelled. Students, faculty, and staff dress in costumes and hike up Tinker Mountain. The reward: a picnic of fried chicken, songs, skits, and Tinker Cake. A newer tradition is that President Hinton puts together a hilarious video each year to prepare - always based on a movie. Last year's movie theme was FERRIS BUELLER. This year was CLUELESS! (Click on the image below to watch on YouTube and you'll see why we love her so much!)
HAPPY! HAPPY TINKER DAY!
Ferdinand and Riverside Street Painting
Saturday morning I volunteered to help paint an enormous street mural near my neighborbood. The art was created by Maggie Perrin-Key who recently did a building mural at Hollins University as well. I pedal through this area of Ferdinand often on my e-bike, so was thrilled to be able to make it a safer and more beautiful route. All said, there were over 70 of us who pitched in to make it happen. I worked for a few hours doing a lot of 'cutting in' on the design and ended up in the video shared on the local news a few times. Click the image below to see the news story on Youtube and learn more about the effort and the awesome folks who made it happen!
WE CELEBRATE THE LIGHT
HEYS (Heidi): The three of us are so excited to be here on Dr. e’s blog to talk about our new book WE CELEBRATE THE LIGHT which just came out in time for the holidays represented: Diwali, Winter Solstice, Christmas, Chankah, Bodhi Day, and Lunar New Year.
JY do you want to start by telling everyone how the book came into being? For those of you who don’t know, JY and I are mother and daughter and this book is our 25th together.
JY: This book began in an unusual way--because an editor asked us to write it. She is an editor that we have done this kind of book for before and it is right up our alley! What she did was give us the idea for the book and we did the research and the writing.
HEYS: That’s right. Cecily Keiser is the editor we worked with on the book I AM THE STORM and she called us to say, “Rise” (that’s her imprint) “needs a winter holiday book. We want it to represent many holidays and also be poetic.” That’s all we needed! So, we got to work.
HEYS: The text, itself, started out much more specific than it is in the final book. In fact, when we started, our first drafts really went into the particulars about what “light” and “traditions” and “family” (and the other threads) meant in each holiday. Like, for light, it began with “light to celebrate the oil lasting 8 days, light shining over a sleeping baby,” etc. But, once that was written, we decided that those specifics weren’t what the book needed. We wanted it to be about the larger themes that we, as humans, all share. So, the text shed a lot of those longer lines and kept the broader strokes. I believe this is what makes the book special.
JY: The other thing we do is we sit down at my dining room table and we speak the lines of the book out loud because children’s books are meant to be read aloud. So, immediately, we can hear the spots that need work. If I don’t see those areas, Heidi will. And if Heidi doesn’t, I will, because the ear and the eye are different listeners.
HEYS: Once we felt the book was at a place to share it with Cecily, we let her in on the next phase of revision. Then we really start on the micro level—workshopping sentences, words, even punctuation. This type of attention to detail is more intense in picture books because, unlike longer-form writing, each word carries so much weight. One change, the whole tone or meaning can shift. I love this part of writing.
This isn’t your first holiday book, JY. How was this book different? Besides working with me, of course.
JY: Three things—we knew the book was already sold which relaxes and relieves the process not having to worry about writing something that may possibly never get sold. This is a book an editor already wants. Second—it’s different in the fact that I didn’t even know of some of these holidays. So, as we were writing, we were discovering. In our family, we celebrate Christmas and Chanakah (which we call Christmakah or Hanakahmas) because our family is very mixed. So we come to this particular book about winter holidays with that openness in mind. We also have friends who celebrate very differently—our community is wide and not everyone celebrates the same holidays. Did this complicate our holidays? Sure. But, I think it actually opened them up to a greater and grander way. I hope this book shows that.
HEYS: It’s worth noting that even people who celebrate the same holidays don’t celebrate in the same way. That was a challenge in this book-- but it also gave us a lot of space to allow many families to see their own traditions in the pages.
JY: Something you may not know about my background is that I minored in college (Smith, 1960) in Religion. This meant, coming to this book (and, also the other holiday books I have written) I had already studied religions--some that many people may not have even heard of-- and I had always been interested in the commonalities as well as the differences.
HEYS: OK, so back to the book. Once the text was in place, Cecily started looking for an illustrator. She called to say the look they were thinking about could be summed up by the word “luminous.” That sounded right to us! Enter Jieting Chen. To say her art is luminous is an understatement.
Jieting, can you tell us something about you? I understand you came to the US to study art as an adult. Tell us about your journey.
JC: Hi! I’m Jieting Chen, originally from China. I’ve loved drawing and anything to do with animation for as long as I can remember, so studying it in college just felt right. After that, I decided to head to the U.S. for grad school to dive even deeper into animation. It’s been such a fun journey, combining my passion for art and storytelling along the way!
HEYS: We were super excited when we found out they were approaching you to be the illustrator. What did you think of this project when it was proposed to you?
JC: I still remember the day I got the inquiry email from my agency. Alex—who’s such a lovely and wonderful person to work with, by the way, asked if I’d be interested in a special project. She explained it was a book about festivals and celebrations from different cultures, which sounded amazing. She did mention it was a bit of a rush, with sketches due in just a month, but I loved the concept right away and thought, “Challenge accepted!” And I’m so glad I took it on—it was such a blast to work on!
HEYS: Well, we are certainly excited that you took on the challenge!! Can you give us a glimpse into your creative process?
JC: I always start my work with research on the characters. I ask myself: Where do they come from? What’s their backstory? How can I best tell their story visually? But for this book, the process was a bit different since it’s packed with so many different cultures! So, I had to focus not just on the characters, but also on the settings—the environments they live in and the props they use to celebrate each holiday.
Luckily, I work digitally, which made it easier to experiment with perspectives and layouts.
HEYS: Luminous! Your colors are luminous!
We worked in a kind of weird way for this book. I sent you a scene description for each page. I believe, this was because of the tight deadline you mentioned—giving you a set scene was supposed to free you up to not have that extra step. I mean, it was certainly not anything I usually do. We writers try to stay out of the illustrator’s way. How was it to work this way? Were there any challenges?
JC: I wouldn’t call it weird, but it was definitely one of the most unique projects I’ve worked on. The book covers seven celebrations, each with its own distinct set of characters and settings. The scene descriptions I received were super detailed—they specified everything from whether the scene was indoors or outdoors, how many characters were involved, what they were wearing, and what each one was doing. But even with all that detail, I still had a lot of creative freedom to bring the scenes to life, which I really enjoyed!
There were definitely some challenges, though. The hardest part for me was illustrating each scene as authentically as possible. I wanted to ensure I was being respectful to each culture, so I spent a lot of time researching traditional clothing, environments, and customs for each festival. There was quite a bit of back-and-forth with the designer and editors along the way, which I really appreciated. This was such a collaborative process, and everyone was working hard to go beyond their own perspectives and backgrounds to make this book the best it could be. I’m so proud of what we created together!
HEYS: We are so proud, too. But, without your art, it’s just a poem. Cecily got it exactly right when she chose you to do “luminous!”
OK here is an important question: Dr. e (Elizabeth Dulemba) whose blog we are guest writing always asks this: What do you think makes an illustration magical, what she calls "Heart Art” - the sort that makes a reader want to come back to look again and again?
JC: I believe “Heart Art,” or the kind of art that draws viewers in, takes a familiar scene and presents it in a way that feels both unique and slightly distant. It’s that sense of contradiction—something that feels both close yet far away, both precise yet abstract—that captivates viewers and makes them want to return to it again and again.
HEYS: I love that! When I am teaching writing, I talk about what make the reader want to revisit the book over and over again—and I think your art is that for this book. There is so much going on. So many details and so many places for the child readers and listeners to find themselves.
JY can I ask you and then Jieting what is your favorite or challenging part of being a creator? For me, my favorite part is when I’m creating a story and the writing, the characters, the story, take over. I know, in reality, I am the one in charge, but there is always a moment when it feels like you are just following along. It feels so magical. Also, for someone like me, who is not an illustrator, seeing my story come alive with art… that, too, is magic.
JY: My favorite part is when I get an idea that I think can become something. My other favorite part is the ending, when I know it has become something.
JC: My favorite part of being a creator is having the opportunity to tell stories visually—whether it’s my own or a writer’s story that I get to interpret through my artistic lens. There’s something magical about translating words into images and creating a world that invites viewers in.
At the same time, one of the biggest challenges is making sure my art resonates with the audience. It’s not just about creating something beautiful—it has to connect emotionally. I always ask myself, “How can I make this scene feel familiar, meaningful, or relevant to someone who sees it for the first time?” Striking that balance between personal expression and universal relatability is both the most exciting and demanding part of the creative process.
HEYS: Is there something in particular about this story you hope readers will take away with them, perhaps something that isn’t immediately obvious?
JY: That it is a book not only about the light and the holidays, but it is a book that is full of poetry, though maybe disguised.
JC: Since this book is all about celebrating light, I made a conscious effort to weave that concept into every illustration. I played with different elements like layout, character placement, light sources, and color schemes—to make each scene feel dynamic and alive. My goal was to create a sense of movement and freshness, so readers feel inspired as they flip through the pages. More than anything, I hope readers walk away with a sense of hope and positivity. Light can mean so many things—joy, warmth, connection—and I hope everyone who reads this book can find their own interpretation of light, both in the story and in their life.
And my hope is that, in this very divided world, every child reader can see how similar we are—how connected we are.
OK last question: What are you working on next or what would be your dream project?
JC: I’ve always wanted to create a book about “loss.” As we grow up, we have to say goodbye to so many things—places, people, moments—but I feel like we’re rarely taught how to navigate that experience. Learning to cope with loss, to accept it, and even appreciate it, is such an important part of life. This idea has been on my mind for a while, and though it’s still in the concept stage, I hope I can bring it to life on paper someday.
JY: I’m working on three new Dino books and a sequel to a picture book based on my mother’s family back in a shtetel in Europe. Heidi and I are working on a book of writing advice and I’m working with my husband on a poetry collection about grandfathers.
HEYS: I’ve just sent off the final revision for a verse novel called THE POETRY OF CAR MECHANICS that comes out next year. The project that is next is the 2nd and 3rd short middle grade novels in an eco-series about kids in a birding club called AVIAN ADVENTURERS. I love each new project.
Before we sign off, is there anything else you'd like to tell us?
JY: I try to follow my own advice—Butt In Chair. Meaning I try to write something every day. As I get older, I am getting slower, but I can still manage a poem or two each day.
JC: I just want to take a moment to thank you for including me in this book. Working on it was such a joyful experience, and I learned so much about different celebrations throughout the illustration process. This project will always hold a special place in my heart, and I truly hope it brings warmth to the readers’ hearts as well!
HEYS: Oh Jieting! You made this book so so special! We celebrate you and your art! Now let’s all go put our Butts in our Chairs and create something new! And, not just the three of us—all you readers, too!
You can find more about Jieting at: jietingchen.combr> On Instagram at @jietingchen_art.
Jane is at: janeyolen.com or on facebook as Jane Yolen and IG as @jyolen
Heidi is at: HeidiEYStemple.com on socials as Heidi Stemple, Heidi EY Stemple, and as Owl Count and everywhere else as @heidieys
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