I know it’s only February, but I’m pretty sure it’s going
to be my favorite picture book biography of 2019. It’s hard to imagine anything
better.
Here’s a brief description:
To her adoring public, Hedy Lamarr was a glamorous movie star, widely considered the most beautiful woman in the world. But in private, she was a brilliant inventor.
To her adoring public, Hedy Lamarr was a glamorous movie star, widely considered the most beautiful woman in the world. But in private, she was a brilliant inventor.
During
World War II, Hedy collaborated with another inventor to develop an innovative
technology called frequency hopping. It was designed to prevent the Nazis from
jamming torpedo radio signals to make the weapons to go off course. Frequency
hopping is still used today to keep our cell phone messages private and protect
our computers from hackers.
When
Hedy was finally recognized for her incredible accomplishments in 1997, the
87-year-old had just three words to say: “It’s about time.”
Why do I love Hedy
Lamar’s Double Life so much? Because it does a phenomenal job of explaining
some pretty technical physics concepts in a way that any upper elementary student
can understand. The text, art, and design work together to show and describe
how Hedy’s brilliant idea—frequency hopping—works and why it’s so important.
The text makes use of meaningful, kid-friendly
comparisons and superb scaffolding. It also includes plenty of details
to bring Lamarr to life as a character.
The illustrations seamlessly integrate diagrams that show
how changing frequencies can thwart an enemy’s efforts to tamper with
torpedoes.
The design incorporates quotations from Lamarr that
highlight her passion for science and inventing, and make the presentation more
personal.
I was really curious about how all the different
components of this book came together and I thought you might be too, so I
asked author Laurie Wallmark if she’s be willing to answer a few questions.
Luckily, she said yes.
MS: You are extremely talented at explaining complex science ideas to your elementary-aged
audience. Do you have a science background?
LW: My science background is both through self-study and traditional
coursework. As a child, I was a math/science kid. I read every popular math and
science book I could get my hands on. For two summers in high school, I
attended summer math and science programs sponsored by the National Science
Foundation and taught by college professors. My undergraduate degree is in
biochemistry, and one of my masters degrees is in Information Systems—combining
people, processes, and technology to produce useful information. (The other is
an MFA in writing for children and young adults.)
MS: What are some of the nonfiction craft moves you employed to make the
technical information in this book easy to understand?
LW: My MFA thesis was on how to explain STEM (science,
technology, engineering, and math) in picture books. Here are three of the techniques
I explored.
1. You don’t always
have to use the technical term when you’re describing something. For example, I
wrote, “Hedy made a flavor-cube that changed plain water into soda.” I didn’t
write, “Hedy found a way to carbonate water.” The science of carbonation has
nothing to do with Hedy’s story, so I didn’t need to include a word that I
would then need to define.
2. When you want or need to use a technical word, it
helps to provide the definition immediately adjacent to the word in the text instead
of only in a glossary at the back of the book or in a sidebar. I wrote, “The
speed of the [piano] wire’s movement, or its frequency, produced the correct
note for that key.” Without stopping the flow of the story, the readers can understand
what the term “frequency” means. As a secondary benefit, in this case, children
also learn a bit about how a piano works.
3. Another technique I use is to compare a technical
concept with an idea more familiar to children. To explain how missile guidance
systems worked, I compared them to walkie-talkies. (Since modern-day children might
not know what a walkie-talkie is, I used technique #
2 and gave its definition—a two-way radio.)
MS: For fiction picture books, the author and illustrator often do not
interact and the author is not involved the art and design process. Was that
true for this book or did you have a chance to review and comment on the
sketches?
LW: I was lucky in that I had the chance to review and
comment on several iterations of sketches and final art. Sometimes my comments
related to the scientific or historical content (see next question), and sometimes
they were just my opinion. Sometimes the editor and art director took my
suggestions, and sometimes they didn’t. When you’re a picture book author, you have
to be able to let go of control over the illustrations and the design of the
book.
MS: I love the way this book employs a fun art style, making
even the most technical drawings seem friendly and approachable. Does illustrator
Katy Wu have a science background?
LW: Katy doesn’t have a scientific background. For a book
like this, that’s where the author and illustrator combination can be useful. For
example, at one point in the text, I explain how the existing torpedo guidance
system worked and why Hedy’s system, “the hopping of frequencies,” would be
better. With my nonexistent artistic skills, I sketched how the waveforms should
look for Katy. She then turned this simple sketch into the beautiful
illustration you see in the finished book.

MS: Whose idea was it to incorporate quotations into the design? Where did
these quotations come from?
LW: Using quotations actually started with my book, Grace Hopper: Queen of Computer Code. Grace
made so many witty, memorable comments, that I knew I had to include them with my
story. The hard part was choosing which quotations to put on which page and
which needed to be left out entirely.
Since I had the same editor, Meredith Mundy, for my Hedy
Lamarr book, it seemed natural to include quotations again. I had a treasure
trove of relevant sayings to go along with the story. They came from primary
and secondary sources, both in print and on video. These included interviews
and presentations Hedy gave as well as articles, documentaries, and books.
MS: Thanks so much for giving us a window into your creative
world, Laurie. Now I appreciate Hedy Lamar’s Double Life even more.