I am quite stubborn. It can be an advantage or a problem, so I have to keep it in check. So far, it has been mostly good. It has helped me to take the extra step when my body and soul were ready to give up. Sometimes, however, I have to evaluate those extra steps very carefully. What’s my motivation? Are they worth the effort and especially the cost?

I have done a similar re-evaluation a few days ago, when my illustrator raised his fees. It was a perfectly legitimate request. No illustrator of his caliber gets as little money as he does. He initially gave me low fees to help me out, but it’s time that he gets proper remuneration, especially since he has a family to support.

I don’t know if this is of any interest to others, but if you have appreciated the quality of the illustrations in the series of Christian Biographies for Young Readers, published by Reformation Heritage Books (RHB), you may want to know how they come about.

First, I must explain the financial side and my arrangement with RHB. Most people are surprised when they find that I have a publisher but I pay for my own illustrations and photos. The reason is simple. RHB is still a relatively small publisher, and the type and amount of photos and illustrations I have envisioned for these books is beyond most editorial budgets. Of course, there are large publishers who have the means to take on this type of projects, but initially they haven't shown any interest.

When I proposed my first book (John Calvin) to publishers, one very frequent objection was the cost. The first publisher I approached (a rather large Christian publisher) told me that for any company to consider this idea, it would have to be a small paperback book in black-and-white. That's why the illustrations in my first book are not in color. Eventually, they rejected the proposal even under those terms.

Other publishers made similar comments. One told me that I could not choose my own illustrator, and that they never pay much for illustrations anyhow. I don't know what thoughts inspired RHB to publish my books in color with a hard cover and an impeccable layout, but they did, and I am grateful for it. By contract, I am paying all expenses related to artwork and photos. Thankfully, they pay upfront and reimburse themselves from my royalties, otherwise I could never afford it.

There are, as I said, some Christian publishers who have the means to invest in high-cost productions, but they have to believe they will get appropriate returns. It has to make marketing sense. Again, at the time of my first proposal, a publisher told me that single biographies for children would never sell. A few others concurred. No explanation was given. They said it was just something they had experienced in the past. On the other hand, non-Christian biographies are selling fairly well. Why?

I am not a marketing expert and I am not ready to study this rather mysterious field, but one reason why children’s biographies which are not specifically Christian in nature sell well may be that they are backed by teachers and school librarians. On Martin Luther King Jr.'s day, for example, thousands of children throughout our nation are directed to libraries to read about this man. Some biographies are read in schools. Left to themselves, typical school-age children roaming through a library might be more prone to pick up a book about Captain Underpants, but parents and teachers often lead them to different choices.

If this consideration is correct, the question is, do parents and Christian-school teachers believe that biographies are important for children, and do they promote them? I think the homeschooling community is doing very well in this respect. My feeling (and I may be wrong) is that other parents and Christian school staff could do better. I have talked about the benefits of teaching Church history to children in another blog post.

This is where my stubborness gets evaluated. Why am I insisting on quality illustrations? Can I lower the standards? Are they really important? The answer boils down to my initial commitment to produce all-around quality books.

My initial motivation for writing this series, as I have mentioned in other blogs, has been the desire to see Christian biographies for children rise to the same standard I had been noticing in children’s biographies in general, which are constantly improving in quality, accuracy, fairness, and visual appeal.

Accuracy and fairness of course take the cake. Until recently, historical accuracy in children’s books has not been a major concern. In the 19th century, most biographies for children were largely fictionalized and had a strong message which took precedence over the actual retelling of facts. Today we see a much greater interest in accuracy, especially in the homeschooling community where these books are often used to supplement a serious study of human history.

Accuracy in Christian biographies is important not only to teach children what really happened in church history, without embellishments, exaggerations, or cover-ups, but also, in my view, as a way to inform non-Christians. I have already quoted Dr. Diarmaid McCullough, professor of the History of the Church at Oxford, as saying, "It seems to me that the history of Christianity is absolutely essential to talk about because there is so much bad history about it, and arrogance, conceit, dogmatism are all based on bad history." After all, understanding the history of Christianity is essential for anyone who wants to understand Western history and our present time.

To achieve the appropriate accuracy in my books I spend a year studying the subject and consulting experts, who normally read my manuscript and make comments and corrections. Even the illustrations are done under the advice of experts in the field, who have been amazingly gracious in answering all my questions.

Photos are important to show young children that these characters really lived, and we can still see the buildings they saw, the churches they attended, and even some of the furniture or other objects they used.

Art is important to spur the imagination and to keep the attention alive. Besides, since my books are very factual, illustrations give me a way to show what the feelings may have been or how some situations may have appeared to an observer, without having to interrupt my account of facts with too many “maybe’s" or “probably’s."

It’s true that I could just use lower-quality artwork, which would reduce the costs, but I think it’s too late for that. We have set the standard too high in every way. The only solution is to increase sales to be able to pay the illustrator. I believe the project is important and the products are well done. To increase sales I need to raise awareness, especially in schools and in the homeschooling community. Or we could go back to ancient times, when patrons sponsored artistic and cultural enterprises...

Chapter 14

What's true: The visit to the Sinapiuses, including Emilio's fall and the decision to take Theodora to Schweinfurt. Fanino's news are also true.

What's fiction: as usual, the details of the events. There is no indication that Francoise and Olympia went ice-skating, nor that Olympia was not good at sports. I added the scene to lighten up the gloomy progression of events, and I made her unsuccessful in sports because she excelled so much in her studies. It's true, however, that in one of her letters she applauded a young man for putting his studies over sports. The idea of ice-skating was also inspired by Bruegel's painting "Hunters in the Snow" (see detail here - uploaded from Wikimedia Commons).

What's fiction: Again, the description of events. I omitted to mention that Olympia had a maid at that time, but the omission was just to keep the chapter simple and focused on the main event. Even with the maid, I am sure Olympia had to do quite a bit of work in the home, especially since in her letters she complained about the girl's disappointing performance and behavior.

Happy reading!

This question was asked at least three times (with different wording) during the different meetings. It seems that some had identified "doctrine" with rules and regulations. Since, from the start, I had used the catechisms (Heidelberg and Westminster) as main references for teaching doctrine, I explained how the Heidelberg catechism is divided into Guilt, Grace, and Gratitude, and Christian doctrine includes all three sections. The rules and regulations (do's and dont's) are part of the last section. We obey God out of gratitude for his grace, bestowed on us in spite of our guilt. The catechism also explains how we are all - parents and teachers - struggling against our sinful nature but are preserved by God through his Spirit.

This actually opened the door to more questions. When I gave the example of my son driving my car when he was four and watering my bed with a hose when he was three, and I explained how he was irresistibly drawn to all things forbidden, everyone's interest perked up. I actually brought up this story to explain how the Reformed faith changed my view of education. Before, I wanted perfect kids so I could look like a good Christian. Now, I know that my children and I are both sinners in God's eyes.

The next question after that was, How did you deal with him? I replied that recognizing the grip that sin had on this little guy gave me compassion for him. I punished him, of course, but I also talked to him heart-to-heart. We read Romans 7. I explained how I have similar struggles, but through Christ we also have the power to fight.

This led to more and more questions. Later, I was told that in Asia parents never confess their sins to their children (or in front of their children). They are supposed to provide a perfect sample and to expect perfect obedience. In further talks, I made clear that I also expect respect from my children, and that the distinction parent/child is very clear in our home. At the same time, in God's eyes we are equally sinners and fellow pilgrims in this valley of tears.

This question also was rephrased in other ways. Isn't doctrine too dry, too difficult to grasp, not exciting? In this case, I referred to Michael Horton's explanation of the Story (or Drama) behind the doctrine. Doctrine is abstract and dry if it's not based on the Drama - the Story of God redeeming a people for Himself through Jesus Christ. We should always remember the story while we teach the catechism, and we may also remember the catechism as we teach the story. Drama and doctrine are tied together.

This question is tied to the previous one, but many have asked this separately. Obviously, first we need to be excited ourselves. We need to always remember the drama behind it. As Dorothy Sayers said, "The Christian faith is the most exciting drama that ever staggered the imagination of man." We need to capture this excitement and pass it on to our children. Then the need to study doctrine, or theology, will be compelling. When we realize the wonder of the Gospel, this message of good news that is delivered outside of us and that is so foreign to our sinful nature, we want to know more just like a child who sees a rainbow wants to know how it's made.