Welcome, Everyone!

And don’t worry – you haven’t lost track of time 😊 It isn’t suddenly Tuesday again, we’re just having a Thursday Edition of Tuesday Debut so you can meet today’s debut-ess and see her gorgous and informative book!

Since this is an extra post this week, I’ll get right to it!

Are you ready??? 😊

It is my pleasure to introduce you to the one and only Natalia Iacobelli, author of PAINTING THE LIGHT: The Story of Berthe Moristo, First Woman Impressionist. Please join me in giving her a warm welcome!

Title: Painting the Light: The Story of Berthe Morisot, First Woman Impressionist
Author: Natalia Iacobelli
Illustrator: Rosanna Tasker
Publishing House: Reycraft Books
Date of Publication: September 8, 2026
Fiction or Nonfiction: Creative nonfiction (or “biographical fiction” as there is invented dialogue!)
ISBN: 9781478886440 
age range of your book: 8-12

Painting the Light follows Berthe Morisot’s extraordinary path from a young girl with artistic dreams to her breakthrough as the only woman among the founders of Impressionism and an acclaimed painter whose works now hang in major museums worldwide. 

SUSANNA: Welcome, Natalia! Thank you so much for joining us today! We are so excited to hear all about your journey to publication with PAINTING THE LIGHT. Where did the idea for this book come from?

NATALIA: The impetus for the idea was actually quite simple: I was searching for a picture book about Berthe Morisot, the female founder of Impressionism, to read to my children and I couldn’t find one. So, I decided to take it upon myself to tell her story! In many ways, it became a true a fulfillment of Toni Morrison’s powerful advice: “If there’s a book you want to read, but it hasn’t been written yet, then you must write it.”

I found mentor texts to be an invaluable part of my process. I sought out every picture book about artists I could find—not to replicate what had already been done, but to study the different ways authors transformed a person’s life into a compelling narrative for children.

Cafe where Natalia started writing this book in 2020

SUSANNA: That was a smart way to go about it! Nonfiction topics can be huge. How did you narrow your topic and find a kid-friendly angle?

NATALIA: I knew I had to begin with Berthe as a girl in order to create an emotional connection with young readers. But I also wanted to show the extraordinary legacy she created and the impact she left behind. The earliest iterations were fairly straightforward cradle-to-grave biographies, and while they captured the facts, they lacked the spark I was searching for. It was only when I discovered light as the central theme of her journey that the story truly came alive. That became the thread that brought her artistry, her passion, and her world vividly to life on the page. 

SUSANNA: What was your research process like?

NATALIA: While I had studied Morisot in college and was already familiar with her work, I knew I needed to dig much deeper to do her story justice. I’m a leave-no-stone-unturned researcher, so I immersed myself in every book, article, exhibition catalog, and primary source I could find. Once I had shaped the manuscript and outlined her story, I reached out to Berthe Morisot scholar Dr. Cindy Kang of the Barnes Foundation, who graciously reviewed the manuscript, verified historical details, and helped ensure its accuracy.

Books Natalia used during her research

SUSANNA: How long did it take you to write this book?

NATALIA: I wrote the first draft in 2020, and the manuscript was acquired in 2022. Like many picture books, it evolved considerably over the two years through countless revisions. Each round helped sharpen the story, deepen its emotional arc, and shape it into the book readers will hold in their hands.

SUSANNA: Did you go through many revisions?

NATALIA: Yes—many! Revision is my favorite part of the writing process because it’s where the story truly reveals itself. Every revision is an opportunity to uncover the heart of the story. My first draft is really just me discovering what the book wants to be. Once I have that foundation, I start looking for the emotional core—the thread that ties everything together. For Berthe’s story, that thread became her lifelong pursuit of light. Once I found it, every revision became about strengthening that central idea and making sure every scene supported it.

SUSANNA: Did you include charts, tables, sidebars, back matter, glossary, or other elements? How did you go about gathering the information for those and presenting them?

NATALIA: Back matter is my guilty pleasure. In fact, I often begin there. As I’m researching, I’m constantly collecting fascinating details that won’t all fit into the narrative. The back matter gives me a place to share those discoveries and invite curious readers to keep exploring—it’s an extension of the story.

SUSANNA: When did you know your manuscript was ready for submission?

NATALIA: I knew the manuscript was ready for submission when every revision felt like refinement rather than reinvention. Early drafts underwent major structural changes, but once I found the story’s emotional throughline—Berthe’s lifelong pursuit of light—everything else began to fall into place. At that point, I wasn’t changing what the story was anymore. I was simply making each sentence stronger and more lyrical.

SUSANNA: When and how did you submit?

NATALIA: I began by querying in 2020 and signed with my first agent in 2021. We spent a short time revising the manuscript before going out on submission, and the process moved fairly quickly. Unfortunately, after our first round failed to generate any offers, she was unwilling to revise the manuscript and pursue a second round. It was an unfortunate experience, but one that taught me a great deal about the publishing industry and the importance of perseverance. After we parted ways, I knew that wasn’t the end of the story. I still believed deeply in the manuscript and was determined to see it on shelves, so I began sending the story directly to publishers that accepted unsolicited submissions. In August 2022, I received an offer from Reycraft in my inbox. They had found the manuscript in the slush pile and loved it. I always tell people, a manuscript is never dead!

SUSANNA: How long after you found out about your book going to acquisitions (if you did) or after you submitted were you told it was a “yes”?

NATALIA: I sent the submission out in May and received an offer in August. I was never notified that it was going to acquisitions at Reycraft.

SUSANNA: When did you get “the call”, which these days is more likely to be “the email”?  (Best moment ever! 😊) and how did you celebrate (if you care to share 😊)

NATALIA: Prior to receiving the offer, the story had received interest from three other publishers and went to acquisitions once but ultimately didn’t pass. While disappointing, the interest confirmed that the story had potential and gave me the encouragement to keep pursuing the right home for it. The morning I received “the email” from my editor at Reycraft, I was working from home in my pajamas. I had to read it a few times to believe it. After all the querying, revisions, submissions, and disappointments, the moment I had been hoping for was suddenly there: an “offer” in my inbox!

SUSANNA: That is a wonderful and amazing moment, isn’t it? Hard to even believe it is really real! 😊 How long was it between getting your offer and getting your contract to sign?

NATALIA: It took three months—I received the offer in August and my contract arrived in November (which is actually pretty quick)!  

SUSANNA: Was the contract what you expected in terms of advance, royalty percentage, publication timeline, author copies etc.?

NATALIA: The contract was fairly straightforward. I received what I believe was a good advance, which I was delighted with. The royalty terms were also favorable: 10% on hardcover sales and 8% on paperback. In addition, Reycraft provided me with 10 author copies of the book. As for the publication timeline, I was initially told it would be released in 2025, but after some reshuffling, it was pushed to 2026. It was disappointing at the time, but in hindsight, it was worth the wait.

SUSANNA: 10% on hardcover and 8% on paperback is nice! Can you tell us a little about the editorial process?

NATALIA: I had an editorial meeting with my editor after signing, and she mentioned that the manuscript was already in very good shape. There weren’t any dramatic changes to Berthe’s life story itself, but we spent time sharpening the language and ensuring every word earned its place on the page. There were a few scenes in the middle that needed to be rearranged, and we also reworked the backmatter a bit.

SUSANNA: What was your experience of the illustration process like?

NATALIA: I included no art notes with my manuscript, so I went into it with an open mind. When I saw the art, I was blown away by Rosanna’s talent! Once I received the color proofs, my editor invited me to share any observations or suggestions, which I really appreciated. The process was more collaborative than I expected. We had a thoughtful back-and-forth over a few details to make sure everything felt historically accurate and served the story. While there were a handful of artistic choices that differed from what I had originally envisioned, those moments became some of my favorite parts of the book.

text copyright Natalia Iacobelli 2026, illustration copyright Rosanna Tasker 2026, Reycraft Books

For example, when Berthe is walking through the museum and notices no works by female artists hanging on the walls, Rosanna chose to cast Berthe’s shadow against one of the frames. I thought that was brilliant.

For the line, “While other girls dipped and twirled in their finest ballgowns, Berthe dipped and twirled her paintbrush, determined to follow her dream,” I had envisioned Berthe working at her easel, but Rosanna chose to feature her sketchbook instead, and it’s now one of my favorite spreads of the book!

text copyright Natalia Iacobelli 2026, illustration copyright Rosanna Tasker 2026, Reycraft Books

SUSANNA: Did you get to see advance reviews from Kirkus, SLJ, etc? What was that like?

NATALIA: Yes! The book recently received an advance Kirkus review, which was so exciting to find out about! They describe the book as “A glowy celebration of a woman who dared to see—and paint—the world differently.”

SUSANNA: Nice! How long did it take from offer to having the first copy in your hand?

NATALIA: I received my offer in 2022 and held the first copy in my hands in 2026. The wait was excruciating, but it was well worth it.

SUSANNA: What kind of marketing and promotion has your publisher done for this book?

NATALIA: The team at Reycraft has been quite involved. Their marketing for the book has included:

• National Review Campaign to Key Reviewers, Media, and School & Library Contacts
• Digital Advance Copies sent to select content creators and available on Edelweiss
• Trade, and Educator Advertising
• Social Media Campaign
• Feature at Educator and Librarian Conferences
• Promotional Teacher & Librarian Activities for Bookstores and Libraries
• Featured on Reycraft Books Parents, Educators, and Librarians Social Media Networks and Websites

SUSANNA: Describe any marketing/promotion you did for this book.

NATALIA: Marketing was something I hadn’t really prepared for, but it has quickly become an enjoyable part of the publishing journey. It’s been exciting to step out from behind the pages and share the book with readers, booksellers, and educators. So far, I’ve created promotional flyers to share with bookstores and local businesses, designed bookmarks for events, and participated in a blog tour to help introduce the book to new audiences. I’ve reached out to local bookstores, libraries, and museums with Impressionist collections. I’ve enjoyed connecting with people who are passionate about children’s literature, art, and women’s history. I’ve discovered that marketing can be a creative extension of the writing process. It’s another opportunity to find meaningful ways to invite people into Berthe’s world.

SUSANNA: What is the most important/helpful thing you learned on your way to publication? (Or what is your most helpful piece of advice for up and coming writers?)

NATALIA: My advice to emerging writers is to embrace the process. Read widely, study the craft, seek feedback, and don’t be afraid of revision. And, finally, believe in the stories that won’t leave you alone. Berthe’s was a story I felt compelled to tell because I couldn’t find the book I was looking for. Holding onto that “why” helped me persevere through all the challenges throughout the process.

SUSANNA: Anything else you’d like to share about your book’s journey from inspiration to publication?

NATALIA: What you see is a beautiful book in the hands of readers. What you don’t see are the hundreds of rejections and setbacks collected along the way. The journey from idea to publication is rarely a straight line, and this book was no exception. There were many moments when I had to remind myself why I started—to share Berthe Morisot’s story and create the book I had wished I could find on the shelf. The path was much longer and more winding than I had imagined, but that makes holding the finished book all the more meaningful.

SUSANNA: Great advice! Thank you so much for taking the time to participate in this series and paying it forward to other writers, Natalia! We so appreciate the opportunity to learn from you! Wishing you every success with this and future titles!

Readers, if you have questions for Natalia, please post them in the comments below and if she has time I’m sure she’ll respond!

Author Natalia Iacobelli

Website: https://nataliaiacobellibooks.com/#books
@nataliaiacobellibooks
@reycraftbooks

You may purchase Natalia’s book at:
(all links below are book-specific)

Indiebound/Bookshop.org
Amazon
Barnes&Noble

We can help our debut authors successfully launch their careers by:

– purchasing their books

– recommending their books to friends and family

– recommending their books to our children’s teachers and librarians

– recommending their books to our local libraries and bookstores

– suggesting them as visiting authors at our children’s schools and our local libraries

– sharing their books on social media

– reviewing their books on Goodreads, Amazon, Barnes&Noble, and other sites where people go to learn about books.

Thank you all for stopping by to read today!  Have a lovely, inspiration-filled Tuesday!  Maybe today is the day you’ll write your debut picture book 😊

Missed any previous Tuesday Debuts?  Check them out HERE!