by Gloria G. Adams
Mike Armstrong has a simple goal for
writing books for kids: “I want to do what so many
children’s book authors did for my daughter - write books that children and
parents will enjoy reading together. Books that will make them both laugh, help
spark their interest in reading, and encourage them to seek out the next book.
And the next one. And the next. “
Before becoming a writer, Mike worked as a
marketing professional, which involved traveling to other countries. The
poverty and hopelessness he witnessed in some of them changed his career path;
he became the director of several non-profit organizations that helped people
improve their lives.
When his daughter was born and Mike became
a stay-at-home dad, he discovered the world of children’s books, which led him
to a new career as a children’s author.
What inspired you to write Best
Day Ever?
I was a stay-at-home dad with my daughter for
10 years, and in the early years I took it pretty seriously. I felt like every
moment was a crucial teaching moment, and so I had a tendency to over-schedule.
But it was exhausting, and honestly, it wasn’t very fun for either of us. Then
one day I was watching her play in the backyard with a stick, and she was
having the best time ever. That’s when I realized that letting her spend time
with her imagination was far more important – and more fun - than anything else
I had planned. And that moment was the seed for Best Day Ever.
Tell us about how you found an
editor who bought the manuscript and what the process was like from contract to
publication.
I think my path to publication was
different than most. I had scheduled a critique with an editor at an SCBWI
conference for another manuscript that I had been working on for two years.
Then, at the last minute, I switched out the manuscript with something new I
had just finished drafting (the reason why is a whole other story). After
reading it, his exact words were, “I can fix this.” Not the most glowing of
critiques, but he was interested in seeing more. He sent me home with some
notes that I followed to the last detail, and he acquired the revised
manuscript shortly after. But then he left the publisher. I was so worried it
would get dropped that I flew to New York and meet with my new editor to make
sure she was on board. She was. Then she left. Then I met with the next one.
Then two more left. I’m now on my fifth editor, and each time I was convinced
that my book was going to end up on the chopping block. And each time I would
tamp down my excitement. So, I’ve been on a bit of an emotional rollercoaster
for the past two and a half years. And then, of course, the pandemic hits, my
release gets delayed, and even more anxiety. But now it’s out, and it was
totally worth it. I think.
What was involved in getting an
agent?
Basically, I parlayed my offer into
representation. Once I knew that a publisher was interested in my manuscript, I
put together a short list of agents that I thought would be good. Then, when
the publisher eventually offered to acquire it, I sent out emails to my short
list telling them that I had a pending offer and wanted representation.
Fortunately, it worked.
Were you able to collaborate at all
with your illustrator, Eglantine Ceulemans?
I was fortunate in that my
publisher presented me with three different illustrators, and we ended up
agreeing on the one I preferred. And I couldn’t be happier with Eglantine’s
illustrations. My publisher also asked for my feedback on the illustrations
several times during the process, but I never actually communicated with
Eglantine. Honestly, I didn’t have very many comments. Illustrating is not my
strong suit, so I figure it’s best to defer to the experts.
I took your workshop on marketing
and it was incredibly organized and thorough. How did your marketing plans work
out in spring of 2020 when your book came out in the midst of a pandemic? Which strategies do you think have worked
best so far?
Thanks, I’m glad someone got something out of my session. And yes, COVID basically ended up trashing the marketing plan that I spent two years developing. I made tons of contacts at bookstores, libraries and schools, had over 30 readings and signings scheduled for the spring/summer, and was on my way to scheduling a bunch of school visits in the fall. All of it went out the window. I also had a few things in my personal life go sideways at the same time, so my marketing efforts weren’t nearly as robust as I had hoped. That said, I’m taking a hard look at virtual book marketing, and am beginning to seriously question the benefits of working within the confines of a traditional publisher.
From where do you get your story
ideas?
I steal all my ideas from fellow
author and “writing nemesis”, CJ Penko. I’ve never met anyone with so many
ideas. She’s a machine, and she’s going to publish a ton of books. Otherwise,
the ideas really come from everywhere. I think that the more you write, the
more you see potential story ideas floating past throughout the day. That said,
lately I've been trying to meditate on themes I’m passionate about. I have a few
things that I really want to write, so I’m trying not to get distracted by new
ideas. Because new ideas are always more fun to think about than old ones. New
ideas can be the mortal enemy of final drafts.
Tell us about your writing process.
My process is a mess, honestly. I
try very hard to be methodical and follow a process of 1) identifying a theme,
2) creating a character, 3) developing a plot, and then outlining the whole
thing. But it never works out that way. So basically, I’m saying I have nothing
of value to offer here. That said, I think that different processes work for
different people. And at the end of the day, the important thing is that you
write.
Can you tell us what other books
are in the works?
I’ve got a couple more books with
Anna and Will that I’d like to get published. After that, I want to write a
story about one of my favorite Buddhist parables. From there, who knows? Maybe
I can steal something new from CJ.
What is the best part for you about
being a children’s author?
Without a doubt, it’s that it
inspires my daughter, and that she sees a viable path toward something that I
never thought was possible for me. She’s nine, and she wants to be a
writer/illustrator. For Easter, she gave to two fully-formed, hand-written graphic
novels – roughly 10-12 pages each – as a gift. She spent months working on
them. Before that, I used to think I had stuff that was important to me. Now I
have stuff that’s important to me.
What is one piece of advice that
you would give to writers?
Your ego is your enemy. Don’t let it stop you from sharing your work with anyone who will listen, or from hearing the feedback you get from those people.
And, sorry, I really want to know,
is William YOU?
William is definitely a part of me.
He’s the part of me that takes things too seriously, who doesn’t need anyone’s
help, and forgets to enjoy life. And although I love William, I’m working hard
to be less William and a little more Anna.
Here’s the weird thing, though. I never spoke to Eglantine about the character’s appearances, nor did she ever see a picture of me. And yet, William kind of looks like me. More than one person has mentioned it. Go figure.
Plotter or
Pantser? A plotter who longs to be a pantser.
And don't miss this special interview with his daughter:
https://youtu.be/DbQgaddAfWk
