Picture Book List: 15 Books About Astronomy

On By Only Picture BooksIn Picture Book ListsLeave a comment

Calling all stargazers and curious minds!

With Spring Astronomy Day approaching on May 3, 2025—a day dedicated to bringing astronomy to the people—​it’s the perfect time to explore the wonders of the cosmos with your little ones. We’ve curated a stellar collection of 15 picture books that illuminate the mysteries of space, stars, and planets, igniting curiosity and wonder in young readers.

So grab a blanket, step outside under the night sky, or cozy up indoors, and let these stories launch your imaginations into the universe!

If I missed your favorite picture book that’s out of this world, drop it in the comments!

A Hundred Billion Trillion Stars by Seth Fishman, illustrated by Isabel Greenberg (May 2020)

From Goodreads: “Did you know that the earth is covered in three trillion trees? And that seven billion people weigh about the same as ten quadrillion ants? Our world is full of constantly changing numbers, from a hundred billion trillion stars in space to thirty-​seven billion rabbits on Earth. Can you imagine that many of anything?

The playful illustrations from New York Times–bestselling artist Isabel Greenberg and the friendly, straightforward voice of author Seth Fishman illuminate some of the biggest numbers in the universe—a hundred billion trillion stars—and the smallest—one unique and special YOU. Here is a book for story time, for science time, for math time, for bedtime, and all the times in between.

Perfect for curious children, classrooms eager for STEM content, and readers who have devoured Ada Twist, Scientist and How Much Is a Million?”

  • 40 pages
  • Reading Age: 3–7 years

A Moon of My Own by Jennifer Rustgi, illustrated by Ashley White (September 2016)

From Goodreads: “An imaginative young girl travels the world with her faithful companion, the moon. In her enchanted adventure she visits all seven continents while the moon goes through its cycle of phases as portrayed in silhouetted art. “Explore More” sections for kids and adults offer information and activities on phases of the moon and other aspects of astronomy and geography.”

  • 32 pages
  • Reading Age: 3–10 years

Astro Girl by Ken Wilson-​Max (November 2021)

From Goodreads: “The stars are the limit for a little girl who acts out her wish to be an astronaut — inspired by a very special person.

Astrid has loved the stars and space for as long as she can remember. “I want to be an astronaut!” she says to everyone who will listen. While her mama is away, Astrid and her papa have fun acting out the challenges an astronaut faces on a space mission — like being in zero gravity (“I can do that all day long!” she says), eating food from a kind of tube, and doing science experiments with the help of cookie sheets. When at last it’s time to meet Mama at the air base, Astrid wears her favorite space T‑shirt to greet her. But where exactly has Mama been? Channeling a sense of childlike delight, Ken Wilson-​Max brings space travel up close for young readers and offers an inspiring ending.”

  • 32 pages
  • Reading Age: 4–8 years

Bright Sky, Starry City by Uma Krishnaswami, illustrated by Aimée Sicuro (May 2015)

From Goodreads: “A little girl and her father have an opportunity to appreciate the wonders of the night sky. Phoebe helps her dad set up telescopes on the sidewalk outside his store. It’s a special night ― Saturn and Mars are going to appear together in the sky. But will Phoebe be able to see them with all the city lights? Raindrops begin to fall, followed by lightning and thunder. Phoebe is filled with disappointment as she and her father hurry inside to wait out the storm. But suddenly the power fails and then, amazingly, the rain and clouds disappear. Phoebe and her dad and all kinds of people spill into the street. And there, in the bright night sky, the splendor of the planets and a multitude of stars are revealed for all to see. An illustrated afterword includes information about the solar system, planetary conjunctions and rings, moons, telescopes and light pollution. A glossary and recommended further reading are also included.”

  • 32 pages
  • Reading Age: 6–9 years

Curiosity: The Story of a Mars Rover by Markus Motum (March 2018)

From Goodreads: “Discover the incredible story of the search for life on Mars, told from the unique perspective of Curiosity, the Mars Rover sent to explore the red planet.

Markus Motum’s stylish illustrations and diagrams reveal how a robot travelled 350,000,000 miles to explore a planet where no human has ever been.”

  • 56 pages
  • Reading Age: 4–9 years

The Fly Who Flew to Space by Lauren Sánchez (September 2024)

From Goodreads: “Lauren Sánchez, Emmy Award-​winning journalist, pilot, and philanthropist, takes readers on a high-​flying space adventure with Flynn the Fly in her picture book debut.Bold and inquisitive, Flynn is a little fly with big aspirations. School is tough, and it’s all too easy to be distracted by the rocket company down the road–especially while daydreaming about becoming an astronaut! One day while exploring, Flynn flies aboard a rocket that suddenly takes off! Follow Flynn on an exciting journey to space to learn more about our precious planet—from amazing natural wonders like the Amazon rainforest, to the atmosphere that protects it all. After all, big dreams and a curious mind can lead to the most amazing discoveries! With a book jacket that doubles as a glow-​in-​the dark poster, this engaging picture book from debut author and Emmy-​award winner, Lauren Sánchez, features exquisitely detailed illustrations by Clio-​award winner, Raleigh Stewart, and introduces important STEAM concepts. Encouraging exploration and conservation, Sánchez—and Flynn—will have little readers reaching for the stars.”

  • 32 pages
  • Reading Age: 4–7 years

Go for the Moon: A Rocket, a Boy, and the First Moon Landing by Chris Gall (June 2019)

From Goodreads: “Written and illustrated by Chris Gall, Go for the Moon! captures the fascinating detail and inspiring adventure of the moon landing. It is a captivating celebration of one of humankind’s greatest technical achievements and most extraordinary feats of exploration.

The Apollo 11 astronauts have prepared carefully for their attempt to be the first men to land on the moon. The young narrator of this book has prepared carefully, he explains the design of the spacecraft, the flight from the earth to the moon, and the drama of touching down–while shadowing the astronaut’s voyage with one of his own.”

  • 48 pages
  • Reading Age: 5–8 years

How to Be on the Moon by Viviane Schwarz (June 2019)

From Goodreads: “In the follow-​up to How to Find Gold, best friends Anna and Crocodile are going on another intrepid adventure — this time, to the moon.

It’s almost impossible to get to the moon. It’s out in space, which is dark and empty, and it’s very far away. If Anna and Crocodile are going to make it to the moon, they’ll need some special skills, like being able to do math and having a lot of patience. They’ll also need to build a rocket. Not to mention the sandwiches for the journey. Luckily, when Anna and Crocodile put their minds together, nothing can stand in their way. Full of the same cheerful charm that made How to Find Gold so endearing, Viviane Schwarz’s pitch-​perfect text and wonderfully colorful illustrations launch this story off the page in a true celebration of curiosity and the magic of imaginative play.”

  • 32 pages
  • Reading Age: 2–5 years

Just Right: Searching for the Goldilocks Planet by Curtis Manley, illustrated by Jessica Lanan (January 2019)

From Goodreads: “Do you wonder
if humans
are the only beings
who wonder
if they are alone
in the universe?

Our sun is a star.
In the night sky are all kinds of stars,
and orbiting those stars
are planets like the ones in our own solar system.

Could those planets have life
like we do on Earth?

Planet Earth is not too big,
not too small, not too hot,
and not too cold. It’s just right.
Our very own Goldilocks planet .…

Follow a young girl
as she explores these questions
in this gorgeous book about the wondrous search
for another Goldilocks planet.”

  • 48 pages
  • Reading Age: 5–9 years

Mae Among the Stars by Roda Ahmed, illustrated by Stasia Burrington (January 2018)

From Goodreads: “Inspired by the life of the first African American woman to travel in space, Mae Jemison.

When Little Mae was a child, she dreamed of dancing in space. She imagined herself surrounded by billions of stars, floating, gliding, and discovering.”

  • 40 pages
  • Reading Age: 3–6 years

Pluto Gets the Call by Adam Rex, illustrated by Laurie Keller (November 2019)

From Goodreads: “Pluto gets a call from Earth telling him he isn’t a planet anymore, so he sets out on a journey through the solar system to find out why in this funny and fact-​filled romp that’s perfect for fans of The Scrambled States of America .

Pluto loves being a planet. That is, until the day he gets a call from some Earth scientists telling him he isn’t a planet anymore! You probably wanted to meet a real planet, huh? So, Pluto takes the reader on a hilarious and informative journey through the solar system to introduce the other planets and commiserate about his situation along the way. Younger readers will be so busy laughing over Pluto’s interactions with the other planets, asteroids, moons, and even the sun, they won’t even realize just how much they’re learning about our solar system!”

  • 48 pages
  • Reading Age: 4–7 years

Rocket Says Look Up! by Nathan Bryon, illustrated by Dapo Adeola (June 2019)

From Goodreads: “Meet Rocket–a plucky aspiring astronaut intent on getting her community to LOOK UP! from what they’re doing and reach for the stars in this auspicious debut picture book. Honored as a Chicago Public Library 2019 Best of the Best Book!A comet will be visible tonight, and Rocket wants everyone to see it with her–even her big brother, Jamal, whose attention is usually trained on his phone or video games. Rocket’s enthusiasm brings neighbors and family together to witness a once-​in-​a-​lifetime sighting. Perfect for fans of Ada Twist, Scientist and Cece Loves Science–Rocket Says Look Up! will inspire readers of all ages to dream big as it models Rocket’s passion for science and infectious curiosity.Author Nathan Bryon, an actor and screenwriter, and Dapo Adeola, a community-​minded freelance illustrator, bring their fresh talents, passion, and enthusiasm to the picture book medium.”

  • 32 pages
  • Reading Age: 2–4 years

Twinkle, Twinkle, Little Star by Jane Cabrera (September 2023)

From Goodreads: “A favorite lullaby becomes a celebration of love in this lushly illustrated version featuring animals from all over the world.”

  • 32 pages
  • Reading Age: 1–3 years

Where to Hide a Star by Oliver Jeffers (October 2024)

From Goodreads: “World-​renowned artist and picture book creator Oliver Jeffers brings to life an endearing story about the magic of friendship—and sharing what brings us joy.Celebrate twenty years of The Boy in this highly anticipated new adventure from the internationally bestselling picture book creator of Lost and Found Oliver Jeffers! Once there was a boy who would often play hide-​and-​seek with his friends the star and the penguin. The star was always easy to find, but one day it went missing. So, the boy radioed the Martian for help, and soon found himself on an exciting spaceship rescue mission to the North Pole! But there, he discovered that he wasn’t the only one who had always dreamed of having a star as a friend …The out-​of-​this-​world, long-​awaited sequel to the much-​loved Boy stories, loved all around the world—now introducing a brand-​new character!”

  • 48 pages
  • Reading Age: 4–8 years

You Are the First Kid on Mars by Patrick O’Brien (May 2009)

From Goodreads: “As we look back to the beginnings of the space race, 2009 is also the year for looking forward to humankind’s next step toward the stars.In the spirit of books that once imagined colonies on the moon, Patrick O’Brien has created a unique look at your first trip to Mars. Using the most up-​to-​date designs and theories of what it will take to establish a base on Mars, you are off on an incredible journey, over 35 million miles to the red planet. Filled with details, and vividly brought to life, this is an adventure that you are never going to forget.”

  • 48 pages
  • Reading Age: 4–8 years

Editor Interview: Maria Correa (Random House Children’s Books)

On By Only Picture BooksIn Editor Interviews1 Comment

Maria Camila Correa is an editor at Random House Children’s Books, where she acquires and edits innovative and engaging picture books. With experience in multiple aspects of publishing—including editing Dr. Seuss books and international acquisitions—Maria brings a global perspective and an eye for storytelling that captivates young readers.

In addition to her editorial work, Maria is also an author and translator. She’s written several Little Golden Book biographies, including Selena, Bob Ross, and Rita Moreno, as well as Spanish Is My Superpower! As a translator, she’s worked on books like Mi hermano está lejos (My Brother is Away) and Mi Little Golden Book sobre Taylor Swift.

With her unique perspective as an editor, author, and translator, Maria is helping shape the future of children’s literature. Let’s dive into her journey and what excites her most in new projects.

RVC: When you were a child, what role did books play in your life? Did you have a favorite that shaped your love for storytelling?

MC: Books completely shaped the way I saw the world. I was (am?) an only child, and my parents were both big readers—my dad was a journalist, and he read stories to me very theatrically, acting them out and doing voices, so the stories came alive. He also frequently took me to puppet shows, which I loved—and still do (I just saw Song of the North, an Iranian epic told through shadow puppets, at the New Victory Theater in NYC).

I was born and spent the first seven years of my life in Colombia, and a lot of the books I was exposed to were Spanish translations of European books; my very favorite was Ophelia’s Shadow Theatre by Michael Ende, which is now sadly out of print. It was very dark for a picture book—about an old lady who, after being fired from her job in a theater, takes home the shadows left behind from all the plays. Without a job, she becomes homeless, and the shadows form a traveling theater and stage plays to help her earn a living. In the end, the old woman takes in the ultimate shadow—Death.

RVC: Wow, what a story!

MC: Obviously, this isn’t the kind of story we tend to publish here in the US, but it moved me deeply, and I think this kind of emotional depth is something I still look for when acquiring; the memory of this experience also informs my belief in kids’ ability to engage with complex themes, and in their aesthetic sensitivity.

RVC: Let’s talk more about what informs your work. Your academic background is in photojournalism and children’s literature. How do these two fields influence the way you think about picture books?

MC: Well, photojournalism sharpened my eye and gave me a language with which to talk about visual storytelling that is transferable to picture books. It also taught me to be observant, and to consider different ways of approaching the same subject. The master’s in children’s literature gave me context. It was a master’s in education, and there was also a focus on literacies—literacy acquisition in the traditional sense but also visual and digital literacies—so that’s another perspective from which I try to approach my books, especially early readers.

RVC: Your Master’s dissertation focused on postmodern picture books and Suzy Lee’s wordless Border trilogy. What about that type of storytelling fascinates you?

MC: I love storytelling that is open to interpretation. Wordless picture books invite readers to co-​create meaning, and they can be incredible tools for encouraging critical thinking. Without text to guide them, the reader has to determine for themselves what is happening, what the visual cues signify—and each reader will take something different from the story. In Shadow, Mirror, and Wave (aka The Border Trilogy), Korean artist Suzy Lee uses the gutter of the book as a delineation between opposing forces (in Shadow and Mirror, she plays with the real vs the imaginary). My dissertation explored these books from a psychoanalytic lens, which was a fun exercise (she says in hindsight), but at surface level these stories are very accessible for kids—in some ways more accessible than a traditional picture book, since they allow readers to engage with the story without text as a barrier.

RVC: Thanks for this quick dive into the interesting work of Suzy Lee! Now, you’ve worked in both the UK and US publishing industries. What are some key differences in how picture books are developed in each market?

MC: I’d say there are more similarities than there are differences, but two come to mind. One is the cadence to which we publish; in the UK, production timelines are often determined by book fairs, so that projects are ready to be shared at Bologna or Frankfurt, and in the US, that timeline is established based on the publication date of the book.

The other difference is that there is just more money in US publishing—and this is reflected in everything from industry salaries to author and illustrator advances, and, in my experience (though I worked for a then-​indie publisher in the UK that was particularly adept at this model), this is an incentive for British publishers to have their own staff write/​develop books in-house.

RVC: You acquire about 10 picture books per year at Random House. What’s the first thing that makes a manuscript stand out to you?

MC: I look for originality—is there anything new about the concept/​execution, or is this something I’ve read a thousand times before?

Don't Think of Tigers by Alex LatimerRVC: How do you balance acquiring books that feel fresh and original while still being accessible to young readers? I’m thinking about books like Floor It and Don’t Think of Tigers.

MC: Well, I try to remember the reader, and the experience of reading a picture book, which is usually a shared experience between an adult and a child. Originality is not at odds with accessibility—it can be, if you get really avant-​garde, but even though I personally love those very strange and experimental books, I want the books I publish to be enjoyable to kids first and foremost. I like picture books that are funny and playful and irreverent—that wink at the reader mischievously instead of trying to teach them something.

RVC: You’ve edited Dr. Seuss books, including How the Grinch Lost Christmas! What was it like working within such an iconic brand?

MC: Honestly, it was a full-​circle moment for me. I remember reading Green Eggs and Ham in ESOL class when I moved to the U.S., so having the chance to create new Seuss stories is very special—and I say “is” because I’m still working on a new line of books called Seuss Studios, where we find emerging author-​illustrators from diverse backgrounds and give them access to unpublished Dr. Seuss sketches, which they use as inspiration for their own stories. It’s a cool project that mixes brand legacy with the creators’ unique artistic vision and personal background, and it’s been very exciting to be a part of it.

RVC: That sounds fun! Let’s talk a bit more about emerging authors. What’s something about editing picture books that surprises most debut/​emerging authors?

MC: The timeline! Most picture books publish at least two years after being acquired, so it’s a long, drawn-​out process. When an editor signs up a book, they are committing to spending the next few years of their lives working on that project with that creator.

RVC: What’s the most common revision note you find yourself giving authors?

MC: Let the art say that.

RVC: What kinds of picture books are you hoping to acquire next? Any themes, formats, or storytelling styles you’d love to see?

MC: I’m really intrigued by the idea that the popularity of horror will trickle down into the picture book space, and I’m open to seeing darker, creeper stories that still feel age-​appropriate for kids. I’m also looking for stories by Latin American creators that aren’t necessarily about that cultural experience and that don’t feel like they pander to white readers.

RVC: In addition to editing, you’ve also written several Little Golden Book biographies. What drew you to writing nonfiction for young readers?

MCC: I enjoy the research, and they have a built-​in narrative arc, so in that sense I find them less challenging than writing fiction. But I also think it’s rewarding to shed light on figures whose lives kids can draw inspiration from.

RVC: You’ve translated books like Mi hermano está lejos (My Brother is Away) and Mi Little Golden Book sobre Taylor Swift. What do you find most rewarding about translation work?

MC: Expanding the audience for any book is incredibly rewarding, as is the feeling of having understood and captured the author’s intention behind the original work.

Lately, I find myself thinking about the rise of AI and the threat this poses to translators, but translation is an art—it isn’t mechanical. As Japanese translator Fischer Udagawa said in a recent  PW article, “a translator translating an author’s prose to move an audience is doing something fundamentally creative and artistic, like a musician playing a composer’s piece or an actor speaking the lines of a playwright.”

I am very passionate about the role of translated literature in encouraging cross-​cultural dialogue, and I think translated children’s books open kids’ minds to other experiences and ways of seeing the world. I think, as an industry, we should be looking to other cultures and translating more books into English.

RVC: What’s the biggest challenge when translating a picture book? Are there specific things that are harder to adapt between languages?

MC: Translating rhyme is always challenging but can be equally rewarding. Idioms and slang are also difficult to translate—you have to find an approximation that captures the essence or vibe of the original rather than the literal definition.

RVC: As someone who is not from the US, why do you think it’s important to tell stories by writers from different backgrounds and experiences?

MC: I think editors and publishers have a responsibility to reflect the richness and diversity of the world kids are living in. Especially now, when those books are being challenged and banned. Stories make us feel connected and remind us of our humanity, and by presenting kids with a multiplicity of perspectives, we cultivate empathy.

RVC: What is it you think is special about the picture book as a format?

MC: Picture books are limitless in potential—the dialogue and tension between text and art makes them a uniquely powerful reading experience. They also tend to be quite short, and I love shortform storytelling because it forces the creator to distill their ideas into their most essential form. And often (and certainly in my case), picture books are the foundation for a lifelong love of reading.

I love that Mac Barnett, who was recently named the National Ambassador for Young People’s Literature, is celebrating picture books with his platform Behold, The Picture Book! Let’s Celebrate Stories We Can Feel, Hear, and See.

RVC: One last question for this part of the interview. What upcoming projects at Random House are you especially excited about?

MC: I’ll call out a picture book publishing each season next year: in Spring, I’m excited about Croûton, a very charming picture book about a shelter cat (Croûton) who thinks she’s the one adopting her human; in Summer, To Knit a Ghost features a little witch instructing readers on how to literally knit a ghost, featuring funny and witty interjections by her ghost friends; in Fall, there will be a sequel to Alfie Explores A to Z, an incredibly detailed seek-​and-​find, this time featuring escaped dogs and time travel.

(I am so grateful to get to do what I do.)

RVC: Alright, Maria—it’s time for the fast and fun LIGHTNING ROUND! Super-​quick answers only! Ready?

MCC: Come at me, Ryan.

RVC: What’s your favorite punctuation mark?

MC: The question mark. The design is—let’s face it—sexy, and it signifies curiosity, which—let’s face it—is also sexy.

RVC: You’re stuck in a library overnight—what section are you exploring first?

MC: Picture books (surprise, surprise!).

RVC: What’s a picture book title that would make a great band name?

MC: Julián Is a Mermaid.

RVC: You can collaborate with any historical figure on a book—who’s your pick?

MCC: Frida Kahlo.

RVC: A picture book from your childhood that still holds up today?

MCC: Frog and the Stranger by Max Velthuijs.

RVC: What’s one word you’d use to describe the PERFECT picture book?

MCC: World-​expanding.

RVC: Thanks so much, Maria!

Reading Activities: Nearly Exactly Almost Like Me by Jennifer Bradbury, art by Pearl AuYeung

On By Only Picture BooksIn Reading ActivitiesLeave a comment

Nearly Exactly Almost Like Me
Author: Jennifer Bradbury
Illustrator: Pearl AuYeung
11 February 2025
Atheneum/​Caitlyn Dlouhy Books
40 pages

Book description from Goodreads: “A loyal big brother makes a case for why his adopted little brother is just like him when a pesky kid on the playground questions their physical differences in this charming picture book.

When they hear the singsong tune of an ice cream truck, two brothers race to get in line! Big brother beats little brother and holds their spot. But when little brother catches up, another kid challenges him joining his brother in no cutting! Everyone knows that cutting doesn’t count when you’re siblings, but the kid doesn’t believe they can be brothers when they don’t look anything alike.

The brothers may not be biologically related, but they’re still brothers, and they have so much else in common! They both like candy way too much, love swimming but hate baths, and know their parents love them. Big brother knows that differences on the surface don’t matter when in his heart, his little brother is just like him.”

Need some reviews of Nearly Exactly Almost Like Me?

Reading Activities inspired by Nearly Exactly Almost Like Me:

  • Before Reading–From looking at the front cover: 
    • What do you think the title Nearly Exactly Almost Like Me means? What does it suggest about the characters?
    • Look at the two kids on the cover—how do they seem alike? How do they seem different?
    • What does it mean to be part of a family? Does everyone in a family have to look alike? Why or why not?
    • Have you ever had someone assume something about you that wasn’t true? How did it make you feel?
    • What are some ways people in a family can be similar besides their appearance?
    • Why do you think the author wanted to tell this story? What message do you think it will have?
    • What questions would you like to ask the author before reading the book?
  • After Reading–Now that you’ve read the story: 
    • How did the big brother react when someone questioned whether Dev was really his brother?
    • What were some of the things the brothers had in common? What were some ways they were different?
    • How do you think Dev felt when the other child didn’t believe they were brothers?
    • Why do you think it was important for the big brother to show that family is about more than just looking alike?
    • What was your favorite moment in the book? Why did it stand out to you?
    • How did the illustrations help tell the story? What details in the pictures stood out to you?
    • How do you think the skeptical kid at the playground felt at the end of the story? Did their view change?
    • Would you recommend this book to a friend? What would you tell them about first?
  • The “Almost Like Me” Sibling Challenge: Grab a friend, sibling, or family member and write down ten things about yourselves—your favorite foods, hobbies, pets, bedtime routines, anything! Then, compare your lists. How many things do you have in common? What surprised you? Just like Dev and his big brother, you’ll probably find that the things that matter most go beyond appearances!
  • Family Portrait—Remixed!: Most people think of family portraits as everyone smiling for a photo together, but what if a portrait captured something deeper? Instead of drawing a picture of just how your family looks, make a family portrait that shows what makes you all unique. Maybe you love the same food, play the same games, or share inside jokes. Include those details in your artwork to celebrate what really makes your family yours!
  • What’s in a Name? A Family Storytime: In the book, Dev and his brother share family traditions and history. Now, let’s explore your own family’s story! Ask a parent, grandparent, or guardian about your family history. Do you have a name with a special meaning? Are there stories about how you became part of your family? Write down what you learn and share it with someone close to you.
  • “You Can’t Tell By Looking!” Discovery Game: People often assume things about others based on how they look, but appearances don’t tell the whole story! Play this game with friends or classmates: Everyone writes down one fact about themselves that others wouldn’t guess by looking at them. Then, mix up the papers and take turns reading them aloud, guessing who wrote each one. It’s a fun way to see how much more there is to people than what we see!
  • The Love List: What Really Makes a Family?: Dev and his brother know that family is about love, not just looks. Think about what makes your own family special—whether it’s a family you were born into, adopted into, or chosen. Make a list of ten things that show love in your family. Do you have special traditions? Do you help each other in different ways? Decorate your list and keep it as a reminder that family is about what we do, not just what we look like!
  • Letters of Belonging: A Note to Someone Who Feels Left Out: In the book, Dev faces a moment where someone doesn’t believe he and his brother belong together. Write a letter to someone (real or imaginary) who might feel left out or different. What would you say to make them feel welcome? Decorate your letter and share it with a friend, family member, or teacher to spread kindness!
  • Books, Books, and More Books!: Check out these real-​world picture books about family, adoption, and sibling bonds:

The Day You Begin by Jacqueline Woodson, illustrated by Rafael López

This heartfelt story is about feeling different but finding connections with others. Like Nearly Exactly Almost Like Me, it reminds us that even when we don’t look like those around us, we all have something in common.

A Family Is a Family Is a Family by Sara O’Leary, illustrated by Qin Leng

This book introduces a classroom full of children, each with a different type of family. Some have two dads, some live with grandparents, and some are adopted. It beautifully illustrates that what makes a family is love.

 

We Belong Together: A Book About Adoption and Families by Todd Parr

A warm and simple book that explains adoption in a way young kids can understand. It celebrates how families come together in different ways and the love that binds them.

Big Brothers Don’t Take Naps by Louise Borden, illustrated by Emma Dodd

A sweet story about an older brother passing on wisdom to his younger sibling. It highlights the joys of having a little brother—whether they look alike or not!

 

 

Real Sisters Pretend by Megan Dowd Lambert, illustrated by Nicole Tadgell

Two sisters play pretend, reminding each other that even though they weren’t born into the same family, their bond is real. Like Nearly Exactly Almost Like Me, this story affirms that love is what makes a family.

Author Interview: Katrina Moore

On By Only Picture BooksIn Author Interviews3 Comments

Hello, OPB family! I’m thrilled to be taking the reigns over for Ryan this month and conducting this month’s Author Interview with the oh-​so-​kind and talented Katrina Moore. I’ve been a huge fan of Katrina’s work for years and it was an absolute thrill to be able to meet her in person at NCTE in Boston last fall. Before we jump in to the interview, here’s a little about Katrina:

Katrina Moore is an author and former elementary educator. She holds a M.A. in Teaching and taught for thirteen years in Maryland, Massachusetts, New York, and New Jersey. She writes in Georgia, where her mission is to create books that children will hug for ages. She is the author of the humorous TEENY HOUDINI chapter book series (Teeny Houdini: THE DISAPPEARING ACT is nominated for the 2025 Washington State Otter Award), as well as several acclaimed picture books including THE STAR IN YOU, CHANG’E ON THE MOON (a 2024 Bookstagang Best Illustrated book), GRUMPY NEW YEAR,  HOPE IS A HOP, ONE HUG, GRANDPA GRUMPS (a 2023 Georgia Picture Book Award finalist, and 2025 Illinois Monarch Award nominee), and SOMETIMES LOVE ( a Bank Street College of Education’s Best Books of the Year). Her forthcoming books include the BIG JOB FOR LITTLE BABIES board book series, illustrated by Benson Shum. WHO’S DIGGING? publishes August 2025, and WHO’S BUILDING? publishes spring 2026. Another picture book in the beloved Grumps series, SCHOOLTIME GRUMPS, will publish summer 2026.

When Katrina is not building new literary worlds, she is cooking without a recipe, painting outside the lines, adventuring, or snuggling up with her two kids, husband, giant pups, and of course, digging into a cozy book. Connect with her at www.katrinamoorebooks.com, or on Instagram @katrinamoore1011  and Twitter/​X @kmoorebooks.

RGL: Hi. Katrina! I’m so thrilled you are here! To start, can you please tell us a little about your childhood? Were you one of those kids who was always writing?

KM: Hi, Rebecca! I’m so happy to be here, too! Thank you, and Ryan, for inviting me to Only Picture Books!

RVC: Happy to have you both here! Take it away, folks.

KM: I grew up as one of five kids, as the middle child, in a very big and busy family. It was a lot of fun, but I always needed and treasured some “me” time. So, while we played “Log Cabin,” or “Mermaids,” or “Quicksand Monster,” I was often scurrying off to find my own little nook, to spend some quiet time with my imagination. From an early age, I filled notebooks with drawings, musings, and lots of poems. I was often creating things – 3D art sculptures from found and repurposed materials around the house (these got me in a bit of trouble!), cakes, cookies, paintings, and dresses. Making something messy into something beautiful (and still sometimes, messy) has always been something I’ve gravitated toward.

Sometimes these ideas would start in my notebook, and sometimes they would be recorded there, afterwards. But always, journaling and writing have been something that I’ve done for myself – as reflection, as an escape, as a starting point to a bigger project, and as a way to fuel and capture my many passions, even as a kid.

RGL: I resonate so much with all of this! (Except for the four siblings. I only had one, and that was PLENTY!)  I know you worked as a teacher for more than a decade. What ages and subjects were your favorites to teach?

KM: Yes! I taught for over thirteen years as a public school elementary teacher. I taught every grade from kindergarten to fifth but spent the most time teaching second and third grade. One of the reasons I loved teaching in elementary school was that I got to teach all the subjects, and therefore, was able to do a lot of interdisciplinary teaching – a lesson or project that covered many learning targets but just felt like a fun project sparked by curiosity that nurtured the whole child.

While there’s something to love about every grade, and age of development, I really loved teaching the primary grades – kindergarten, first, and second. It’s probably the same reason that I love writing for children in these grades, as they’re the target age range for picture books (though, I’d also argue that picture books are really for ages 0 through over 100!).

RGL: Absolutely agree!

KM: There’s an unfiltered honesty at these ages that is so refreshing, and a way of viewing the world that is beautiful and admirable. They’re so smart, and while I’m teaching them important skills, they’re teaching me every day, too. They experience many new things and handle so much more than they get credit for. I have a deep respect for children that always came through in my teaching, and hopefully does through my writing, too!

RGL: Oh, it it definitely does. Did you use a lot of picture books during lessons or as read-​alouds in your classroom? What were a few of your favorite books to share with your students and why?

KM: I did! I read picture books aloud as much as I could, which was at least three times a day. I started every day with a morning meeting (even when I taught fifth grade!), and that always included a picture book read aloud. A favorite that I shared, year after year, during the opening week of school, was MY TEACHER IS A MONSTER (No I am Not) by Peter Brown, which invited them to discuss perspective, closely read the illustrations, feel super-​smart when they figured out what was going on with how the teacher looked, It’s such a fun book that it set the right tone for what learning in our classroom would feel like.

RGL: I don’t know that book, but can’t wait to go check it out now!

KM: Oftentimes, a picture book would make a great opener for a new topic we were going to learn. A great example of this is WATER IS WATER by Miranda Paul and Jason Chin, which was an excellent introduction to our water cycle unit in second grade, as well as a mentor text for poetry, and led to amazing student-​to-​text connections about the ways water is a part of their everyday lives.

RGL: LOVE, LOVE, LOVE that book!

KM: And, always, during the closing circle, at the end of the day, after some sort of reflection-​of-​the-​day activity, I would read a picture book. My favorite ones were always those that sparked rich conversations with my students, and allowed them to ask and wonder about things that they never encountered before, such as THE BOOK OF MISTAKES by Corinna Luyken. Reading this one aloud to students not only nurtured their growth mindset, but empowered them to reflect on their own “mistakes” and share how they could pivot when things didn’t go their way (which happens in elementary school, and as we know, all through adulthood, an awful lot!)

My favorites, as the above were, have multiple takeaways deeply ingrained into the stories, but are, first and foremost, books that understand and respect children, open their world, and entertain them.

RGL: You were clearly an incredible teacher. I wish I’d been in your class! How do you feel your experience as a teacher influenced your writing style and/​or the subjects you chose to tackle as an author? Can you give an example?

KM: My “mission” as an author is to write books that children will hug for ages. That is, I want to make books that children genuinely love. They love it because they see themselves in the story, because they connected with the subject so deeply, or because it makes them think anew, or feel a certain way—and they want to hold onto that.

When I wrote ONE HUG, I wanted to give a voice and stage to the little Chinese-​American girl in me who never saw herself accurately represented in the media. Like the characters in ONE HUG, my cultural identity influences my life, but it’s not my whole story. I wrote it for little-​me, but saw so many of my students in the story, too. Now, it’s so heart-​warming to hear from all different kinds of readers about how much their child, and their families connect with this book—and ones who are sleeping with the book under their pillow because they love it so much.

RGL: Awww, that’s the best. My son used to sleep with books too. So sweet!

KM: When I wrote THE STAR IN YOU, it was a love letter from my teacher heart—a message to each student, to let them know that even if they can’t see their own star, that I can.

Ultimately, the reason I write is the same reason I became a teacher. It’s driven by my desire to nurture children’s love of themselves, and of the world, and to feel confident and empowered by their place in it.

RGL: You are absolutely doing that! So, still wearing your Teacher hat for a little longer, I’m curious what advice do you have for authors? How can we get teachers to fall in love with our books?

KM: Write a book that you really love writing. There are various entry points for connection with a story, and as an author, we never really know the specific way in which a reader will connect with our books. However, when an author is genuinely having fun with their story, or their passion for their subject comes through, it’s often tangible. That, in itself, helps a book stand out to any reader. Specifically for the teacher reader, a book can earn a place on their shelf if it’s one that can be used and reused for multiple lessons, multiple times of the year, and will be one that helps to engage the reader that’s sitting at (or on) their toes during the read aloud. The ones I ended up buying (with my little to non-​existent budget!) were ones that I ended up checking out so many times from the library, it made more sense to own it!

RGL: Such great advice. Thank you! Just curious, do teachers really use back matter and Teacher’s Guides?

KM: Yes! Back matter, when done well, is an incredible tool for a teacher–diving deeper into content that is connected to the curriculum, and offers the information in a child-​accessible way. It’s also excellent for extension. When a young reader wants to know more, but maybe there wasn’t enough time during the read aloud or the lesson, they can further research a topic on their own during a center, or as an independent activity, using the backmatter as a jumping off point. Teacher’s guides are great, too! I’d say the best ones are easy to use, and include activities that are curriculum based/​tied, and pretty self-​explanatory because teachers are very busy people!

RGL: That’s such a great point! So, when and why did you decide to leave teaching to become an author full-​time? What do you miss most about it?

KM: As of this July, I’ll have been writing and authoring full time for two years. I never left because I didn’t love teaching – I truly, truly did! But teaching full-​time is more than a full-​time job (mentally, emotionally, and physically), even when you try to be as efficient as possible (as I did). When I would finish my teaching day, I tried to be as present as possible for my children, dogs, and husband – so my mommy and wife hat would work overtime, too. That didn’t leave a lot of time for writing, which I both needed to do (to meet deadlines and because I don’t feel like “me” when I haven’t written in a while) and wanted to do—because I love it, and it feels like a “calling”. I would write in the wee hours of the night when I very much needed to be sleeping. Suffice to say, it wasn’t very sustainable, long term.

RGL: Good for you for recognizing that and taking care of yourself. Both my mom and sister were/​are teachers and it’s so true that they work much more than a full-​time job. Teachers are serious superheroes.

KM: What I miss most is seeing the same group of children every day and actively being a part of their growth and development. But my favorite part of the teaching day was reading together. During author visits to schools, I still get to do that, so I’m getting to experience the magic that happens during that time, still!

RGL: I love that. Well, you may not be teaching kids anymore, but I happen to know you are amazing at teaching other writers. You don’t know this, but about 7‑ish years ago (I want to say it was 2018 maybe?), when I was just getting my feet wet in the Kidlit world, I attended a session that you presented at the New Jersey summer SCBWI conference about revising, which included a whole slew of tips, including color-​coding different aspects of your manuscript with various highlighters. Your presentation seriously blew my mind. Do you still use that system for revising your own stories? Can you share one or two of your very favorite revision tips?

KM: Thank you, Rebecca! Yes, “Revising Your Writing Into A Pot of Gold” is the workshop where I go through my “Rainbow Revision” technique. It is still one that I use today – though not every time. Basically, you use a different color when you are focusing on one aspect of revision. To mentally, and tactilely switch gears, you change the color of your tool to focus on the next aspect. I don’t always need to go through all the “colors”, and what a specific project needs during revision feels more intuitive now. But I absolutely refer back to, and still use, that as my revision checklist before I feel a project is ready.

My absolute favorite, do-​it-​every-​time, revision tip is to paginate and pace out your manuscript. That doesn’t mean that when you turn it into your agent or editor you should designate the pagination, but as a step in your revision, you should absolutely do this so that you can feel and see the beats of your manuscript, and know which scenes and pages have too much going on, and where your story is feeling static (like perhaps you’ve realized there are four consecutive pages where the action has not changed). I have a lot of different ways that I do this, but a simple one is adding extra spaces between where I think a natural page turn should be. There should be about 12–15 spreads (sections of text between the spaces). How does the pacing feel? Is there too much action in this scene to be shown visually? Are you maximizing the word choice at each page turn?

I share some more revision checklist questions and techniques over on my free Writer’s Blog.

RGL: What a great resource. Thanks so much for sharing. Okay, let’s now dig into your stories a little more. Your books are so full of authentic, kid-​friendly emotion. Take SOMETIMES LOVE, for instance. Here is a story about the long-​time friendship between a little girl and her pup, from whom she has to separate when her mom is deployed overseas (don’t worry, dear readers, it has a happy ending!). The reader, along with the child character in the story, experiences so many emotions in this book – affection, joy, sadness, disappointment, worry, excitement and love, just to name a few. When writing, are you consciously thinking about all the emotions you hope to elicit in the reader?

KM: Thank you, Rebecca. Yes! An emotional journey is just as important, and sometimes (depending on the story), more important for a character to go through as a physical journey. A step in my revision is always to create an emotional map for the story. What is the emotion the character(s) are feeling on the page? What do I hope the reader will feel on this page? (Does it work? Or Not?). It’s not something I worry about while writing my first draft. But it’s always something I check for during revision!

RGL: As a fellow rhymer, I am truly in awe of your rhyming talent and ability to tell such meaningful stories with so few words. In ONE HUG, HOPE IS A HOP, THE STAR IN YOU, and SOMETIMES LOVE, your poetic texts are beautifully sparse while the plots of each of these books is mostly shown in the illustrations. What is your writing process like for these types of books? How do you decide when to add illustration notes and when to hold off and allow the illustrator to fill in the gaps?

KM: Thank you. One of the best parts of being an author-​only for a picture book is that I know part of the magic will happen when the illustrator brings my words to life, and instills their own vision into the story through their visual storytelling and artistic choices. The result of the text and art working together, and one not being able to fully work without the other, makes this format so unique – and exciting. So I’m always keeping that in mind.

For a text that I’m only writing, I still think visually. So, as I’m writing, I am mindful about what will be shown through the art, and then I focus the text on what is essential to the story here? What do I want to convey that can’t come through the art? What words are necessary? For my books that are poems, as are all the ones you mentioned above, they usually begin with a strong concept that I feel compelled to explore.

I’ll begin by word mapping and jotting down all the words that are associated with the concept. Then, I focus on what do I want to say about it? That’s how I usually narrow down which words I absolutely must keep. And then, it’s a puzzle of how this can be shown visually, and what cadence corresponds to it, and what meter meets the tone I want the read aloud to take on. Notice that I didn’t mention finding rhyming words. Though the rhyme must be perfect, or it throws off the entire read aloud experience, it really needs to serve the story, and not the other way around. So I make sure my story is set first, and then I fret about the meter and the rhymes!

RGL: Oh, yes. So many people don’t understand that writing in rhyme is really NOT about rhyming words, but about meter and rhythm, and that story always – always—must come first.

KM: Each of the above stories was sent (to my agent, to my editor, and then to the illustrator) with art notes. Because I do not want to overstep, but know that I need to convey important information about what’s happening in the narrative via art notes, I keep them to the essentials. What is happening in the plot that they need to know. I will usually give one overarching art note before the text, and then, per spread, what is happening in the action (if it’s not clear via the text). For example, in SOMETIMES LOVE, since there was an overarching art note, the first three spreads did not need a specific art note. It wasn’t until the next one, “Sliding, scratching, through the halls, love will sometimes break through walls” that I needed to include the art note: [dog anxious when girl leaves] 

RGL: Thanks for sharing all of that insider info. I love hearing about other writers’ processes. Even in your books that don’t rhyme, like your picture books GRANDPA GRUMPS and GRUMPY NEW YEAR, and your chapter book series TEENY HOUDINI, you use so much rich lyrical language – onomatopoeia, internal rhyme, metaphor/​simile, alliteration, etc. Have you always been a poet at heart?

KM: Thank you for noticing that! Yes. The first “writing” that I filled my notebooks with as a child were poems. I’ve always loved poetry and connected deeply to it. Perhaps because poems create such strong imagery, and usually explore something in a new or creative way. I am a very visual person, and an out-​of-​the-​box thinker, so I’m drawn to a format, and using poetic devices, that make images come to life in my mind, and one that allows us to think about something in a unique way. I also believe that poems, like picture books, are best enjoyed when read aloud. And what a treat it is when words can string together to sing, and boom, and make you feel something!

RGL: I couldn’t agree more! I was also a huge poetry lover/​writer as a kid. Let’s talk now about your incredible range. You’ve published a chapter book series, picture books in both rhyme and prose, a folktale retelling, and later this year you will release a toddler board book series called BIG JOBS FOR LITTLE BABIES, beginning with the first book, WHO’S DIGGING? (Readers, Katrina generously shared a sneak-​peek of this one with me and I have to tell you, it is absolutely adorable!) What made you decide to dip your toes in all these different waters?

KM: Hooray! I’m so glad you enjoyed it, Rebecca. I can’t wait to share the BIG JOBS FOR LITTLE BABIES series with the world in August! That’s a good question, and it’s not something that I’ve intentionally done. The stories that I end up writing are ones that will not leave me alone. As mentioned earlier, I am a person who wears many hats, and oftentimes, many at once. So, for me to take the time to turn an idea into a draft, and to revise that draft to a show-​ready state, it’s got to be one that’s literally keeping me up at night and begging to be written. And, it turns out, most of those were (and are) picture books, but also chapter books, and board books. Some stories are more suited to one form than another, and I just let the “heart” of the story and my “voice” as a writer come through and then go from there (and then make sure it conforms, or not—purposefully to that format). I enjoy the challenge, balance, and freshness of working on multiple projects, and in multiple formats at once.

RGL: That’s so amazing. Which format or genre is most enjoyable for you and/​or most challenging?

KM: Picture books come most “naturally” to me and forever have my heart. I love both the range of ways they can be written, and the range of the readership—especially how you can truly not outgrow them. When done well, there is such magic that happens between the pages of a picture book, and well after it’s closed, between the book and the reader(s) that is unique to that format. At the moment, drafting a middle grade novel is proving to be the most challenging (though also rewarding and energizing!) I am so used to cutting down words, and sticking to essentials, in the picture book format, and then having very controlled language and sentence structure in the chapter book format, that the freedom to build out a scene with words and elaborate (because the only details the reader will get are through the text in a typical novel) feels unnatural to me. I’m certainly stretching new muscles (and it’s mighty fun!).

RGL: I feel that. I honestly can’t imagine writing anything longer than a picture book! Do you think you’ll ever round out your Kidlit portfolio with an MG or YA novel? Or maybe even a graphic novel?

KM: Yes, definitely! As mentioned above, I’m working on some middle grade novels now. So hopefully I’ll be able to share more on that front, soon.

RGL: Oh, I can’t wait to hear more! Alright, now that all the tough questions are out of the way, it’s time for the LIGHTNING ROUND! Are you ready?

KM: Bring it on! 🙂

RGL: Bunnies or Puppies?

KM: Puppies!

RGL: One hug or a thousand kisses?

KM: One hug!

RGL: Three things that make you grumpy:

KM: Traffic, being hungry, and being sleep-deprived!

RGL: Have you ever worked as a magician?

KM: No, but I LOVE magic, and performed many tricks on willing (and unwilling) family members growing up.

RGL: Favorite magic trick?

KM: When you pull something unexpected out of a whole, closed fruit, that definitely shouldn’t have been there! It was the inspiration for the trick in Teeny Houdini : The Super-​Secret Valentine. When a magician performed that trick for me the first time, I was blown away!

RGL: Teacher who was most influential in your life:

KM: So many! But my first was Ms. Galvin, my Montessori teacher who taught me in first and second grade. She made me feel “seen” and special, and showed me how impactful little acts of kindness and generosity can be.

RGL: Nicest thing a child reader has said to you about one of your books:

KM: That I wrote about them in my book.

RGL: What makes your heart sing?

KM: When a person, especially a child, feels empowered to be fully and unapologetically themselves.

RGL: Thank you so much for sharing so much of yourself with us today, Katrina. You and your books are pure joy!

 

Rebecca’s BIO:

Rebecca Gardyn Levington is a children’s book author, poet, and journalist with a particular penchant for penning both playful and poignant picture books and poems – primarily in rhyme. She is the author of WHATEVER COMES TOMORROW (which has been translated into 9 languages and is the winner of a Crystal Kite Honor and a Northern Lights Book Award), BRAINSTORM!, AFIKOMAN, WHERE’D YOU GO?, LITTLE DREIDEL LEARNS TO SPIN, WRITE HERE, WRITE NOW, and I WILL ALWAYS BE… (on bookshelves 4/​15/​25!) with seven additional rhyming picture books forthcoming. Rebecca writes reviews and conducts author interviews monthly for the Picture Book Builders blog. Her award-​winning poems and articles have appeared in numerous anthologies, newspapers, and magazines. She lives with her family in Summit, N.J., where she enjoys bouncing on a mini-​trampoline, playing Mah Jongg, and eating chocolate-​peanut butter ice cream (although not usually at the same time!).

Find out more and sign up for Rebecca’s monthly newsletter at www.RebeccaGardynLevington.com.

Picture Book Review: How Do You Eat Color? by Mabi David, illustrated by Yas Doctor, translated by Karen Llagas

On By Only Picture BooksIn Picture Book Reviews
Author: Mabi David
Translator: Karen Llagas
Illustrator: Yas Doctor
Eerdmans Books for Young Readers
12 March 2024
40 pages
This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and longtime OPB friend, Austin McKinley.

—Ryan’s Review of the Writing—

Some books teach. Some books delight. How Do You Eat Color? does both, inviting readers on a sensory journey through a rainbow of foods. Originally published in the Philippines and translated by Karen Llagas, Mabi David’s text transforms something as simple as eating fruits and vegetables into a bright, imaginative experience.

Right from the opening lines, David frames color as something to be savored: “Do you know how red tastes? Does it tickle the tongue?” The text moves like a poem, full of playful repetition and evocative phrasing that encourages readers to think about food in new ways. Colors are seen, yes, but they’re also felt, smelled, and experienced. Green is crisp and fresh in leafy greens, yellow is syrupy sweet in mangoes, and purple sighs into the deep quiet of night. The language invites young readers to slow down and engage with their senses, making the book as much about mindfulness as it is about nutrition.

One of the book’s strengths is how naturally it weaves in food literacy without ever feeling like a lesson. Instead of a straightforward “eat the rainbow” message, David embeds the idea within a day’s journey, letting readers explore colors through time—waking up to the brightness of tomatoes and pineapples, winding down with the earthy comfort of yams and plums. This structure gives the book a gentle rhythm, making it a soothing read-​aloud that works well for bedtime or storytime.

Adding to the book’s depth is its robust back matter, which expands on the nutritional and cultural significance of various fruits and vegetables. It introduces young readers to foods they may not be familiar with—moringa, bitter melon, and dragon fruit, among others—while explaining their health benefits and offering ideas on how to try them. There’s also a section on how families can incorporate more plant-​based foods into their diets, reinforcing the book’s gentle encouragement toward curiosity and exploration.

If there’s one small area where the book might not connect with every reader, it’s that the experience is more sensory than story-​driven. The poetic style is engaging, and the journey through colors is immersive, but some readers may wish for a clearer narrative thread tying the moments together. Rather than following a traditional plot, the book leans into mood and atmosphere, which makes it a rich and inviting read but may leave some younger listeners looking for a bit more structure.

That said, How Do You Eat Color? is a fun celebration of food, culture, and the joy of discovery. Fans of April Pulley Sayre’s Rah, Rah, Radishes! (for its joyful food exploration) will likely appreciate what David has created here. Paired with Yas Doctor’s lush, textured illustrations (which Austin will dive into below), this is a book that encourages kids to engage with food using all their senses—one delectable color at a time.

4.25 out of 5 fruit baskets

—Austin’s Review of the Illustrations—

It seems almost like gilding the lily to describe illustrations that are visual poetry on their own. They really need to be seen to be experienced.

Over the course of 13 incredibly colorful spreads, two young children and a friendly chameleon explore landscapes of giant fruit and veg that are as delicious to look at as it is implied they taste.

A landscape of house-​sized pineapples as far as the eye can see, mangondolas, and regiments of carrots. A citrus sunset, a garlic clove clutch and plum pillows.

Especially fun is the fact that, since this book originated in the Philippines, the selection of edibles includes options not often featured in American children’s books. Dragon fruit, red beans, hibiscus and rambutan all make an appearance.

It’s a figurative turn for artist Yas Doctor, whose Instagram features more abstract work in a fine art vein. It’s definitely worth exploring if you like the watercolor washes and whimsical cartooning.

Yas Doctor’s bio in the jacket describes a love of gardening, and that clearly translates to the lavishly textural treatment of the plant matter that populates each of these artworks.

There is objective work—line art and kinetic shapes—to be seen in her online portfolio @heypatatas, as interesting and conceptual as the work in the book. It’s easy to see why she was a good choice for the project.

Nothing in that catalog, however, suggests the kind of horticultural focus and variety of palette we see displayed in How Do You Eat Color? We can be glad she had the opportunity to explore this medium and creative brief, too.

Aimed at very young readers—think Very Hungry Caterpillar—How Do You Eat Color? makes an equally valid scientific observation: fruits that are especially colorful and pleasing to the eye are also the most nutrient rich and healthful.

The point is made that a variety of multicolored plant life on your plate is more than aesthetically appealing, it’s a good nutritional strategy too.

Also that if you live in an incredibly colorful landscape, a chameleon capable of reflecting it makes an especially beautiful pet.

Your little one will no doubt be entranced by the imaginative world of How Do You Eat Color? and perhaps enticed to eat their vegetables, too!

4 out of 5 melon moons

Austin McKinley makes comic books, cartoons, movies, video games, screenplays, novels and novellas through his company, Flying Car. He shot and appeared in the award-​winning feature documentary The New 8‑Bit Heroes alongside director Joe Granato. His comic illustrations have also been published by Image Shadowline, Devil’s Due/​1st Comics, Alias/​Blue Water Press, Avatar, Boom!, Blue King Studios, and FC9. He wrote and illustrated Squareasota, a weekly cartoon in the Sarasota Herald-​Tribune for seven years.

Most recently, he illustrated graphic novel Tales of Mr. Rhee vol. 5: Rockstar Paranoia, and wrote and illustrated RIOT Force: Tools of the Rich, a creator-​owned graphic novel, both for Source Point Press.

Agent Interview: Jessica Saint Jean (Root Literary)

On By Only Picture BooksIn Agent Interviews1 Comment

Jessica Saint Jean is a literary agent at Root Literary, where she’s on a mission to bring bold, narrative-​driven art to the forefront of children’s publishing. With nearly 15 years in the industry in a variety of roles, she knows the ins and outs of both storytelling and design. Jessica represents illustrators and author-​illustrators across formats like board books, picture books, middle grade, and graphic novels, and she’s all about finding projects that pair striking visuals with unforgettable stories.

Jessica’s sharp eye for expressive art and her knack for nurturing creative careers make her a standout advocate for her clients (I know this is true–I asked a few!). Known for her love of Airtable, color-​coded spreadsheets, and deep-​dive submission lists, she balances organization with boundless enthusiasm for great storytelling. In this interview, Jessica dishes on her career, her favorite projects, and what it takes to succeed in today’s competitive kidlit market.

Learn more about Jessica here:

RVC: You’ve worked in publishing for almost 15 years, first as an editor, then on the art side of things, and now as an agent. How have those roles shaped your approach to representing illustrators and authors?

JSJ: My time working in-​house at publishers informs just about everything I do as an agent. Though I was never actually an art director! At Candlewick, I worked in the Art Department but I had a pretty unique role – I wore many hats, but my primary responsibility was to coördinate illustrator commissions: after an editor acquired an author’s story for a book that would be illustrated (a picture book text for example), I would help select which artist Candlewick would hire to illustrate that book, and then negotiate the deal with the illustrator’s agent.

RVC: Oh, that’s interesting. I bet that gave you some great insight.

JSJ: Being part of that process searching for the perfect illustrator for a particular story gave me a lot of key insights into how I represent my clients and promote their work with publishers – from what type of information is helpful to share in email campaigns to helping my clients develop their portfolios.

And of course, negotiating many illustrator deals on behalf of the publisher gave me a lot of great intel now that I do the same thing from the other side of the desk!

RVC: How did your time at Barefoot Books and Candlewick Press influence your understanding of children’s publishing, particularly for illustrators?

JSJ: Barefoot is a small publisher, so beginning my career there gave me a great overview of all facets of children’s publishing – I was working in the same room as the Creative Director, the heads of sales and marketing, the CFO, etc. I kept my ears open and offered to help doing lots of different types of tasks that needed doing. It made my workload a little overwhelming but also taught me a lot! At larger companies, it can be harder to learn about what your colleagues are doing in different departments, and how their work impacts yours (and the bottom line). So that early role as an editor gave me experience in many corners of this business, which helps me guide my clients through lots of different situations.

And my time at Candlewick gave me a deep understanding of the market. To inform my work commissioning illustrators, I got to know every agent representing kidlit artists and each of their lists, met college students graduating from illustration programs, kept a close eye on all the key children’s lit awards, and, of course, read as many picture books as I could. It all helped hone my artistic tastes and commercial instincts.

RVC: Let’s talk about Root Literary. Why did you choose it, and how does it align with your vision for your clients?

JSJ: When I became an agent, I wanted to build a boutique list of illustrators at an agency that wasn’t currently representing illustrators so I had room to establish the look and feel of my list. But after several years working solo on so many aspects of my job, I realized I could grow my business (and my clients’ careers!) faster if I had colleagues who represented illustrators too.

Two agents at Root Literary, Molly O’Neill and Kurestin Armada, were already representing illustrators and I loved both of their lists. We have similar tastes without actually overlapping, so I felt my roster of illustrators would harmonize well with theirs. And I love Root’s approach to agenting – it’s very collaborative. So, I knocked on Holly Root’s proverbial door and was over the moon when she invited me to join the team.

RVC: What’s the story behind the first picture book you edited? 

JSJ: I started at Barefoot as an editorial intern and worked my way up, so I was initially supporting the other editors’ lists. The project that looms the largest in my mind all these years later is Barefoot Books World Atlas, which was an extraordinarily complex project to create! I will never forget that the day we finally sent it off to the printer was the same day South Sudan became an independent state. So… I started a list of reprint corrections before the book even hit the press. That might be a record?!

RVC: I bet it is! Now, how did this experience compare to the first picture book you repped as an agent?

JSJ: The first deal I closed as an agent was for Ashley Yazdani’s Cosmic Wonder: Halley’s Comet and Humankind, which, ironically, also takes a sweeping look at history and the earth. But thankfully with zero maps!

RVC: Let’s dig into the agenting side now. What’s a typical day like for you?

JSJ: It is super hard to describe a typical day as an agent because there are so many different facets to our job. And very, very often, what I spend all day doing isn’t necessarily what I planned to work on. We sometimes have to make quick pivots if time-​sensitive things come up, like a surprise offer on a book (yay, the best disruption!) or a sticky situation our clients need help navigating.

The easiest thing to say is that I spend a lot of time writing emails. So, so many emails!

RVC: That’s a popular answer, to be sure. What’s a misconception about picture books that you’d like to debunk?

JSJ: Picture book authors, you do not need to hire an artist to illustrate your book! In fact, I am begging you not to do this. Publishers like to pair illustrators with picture book texts themselves (see: my old job at Candlewick!) so most of the time, it’s actually detrimental to your book if you submit it with an illustrator already attached. (Unless, of course, you are an author-​illustrator planning to illustrate the book yourself.) It’s also better for the illustrator to be hired by the publisher, who can give them a share in the book’s royalties and handle all the accounting for that, etc. So, save yourself and everyone else the trouble!

RVC: For illustrators who also write, what unique challenges or opportunities do you see during the submission process?

JSJ: Sometimes an editor might love an author-illustrator’s art style but not connect as much with their story, or vice versa. An editor needs to love both to acquire a book. But the upside when editors pass on a submission but fall in love with one facet or another of a creator’s work, is that there’s usually an opportunity to follow that lead and connect on another project – even if it ultimately takes a while to get all the stars to align!

RVC: In another interview, you mentioned sometimes relying on “gut feelings” when matching projects to editors. Can you share an instance when your intuition paid off in a big way?

JSJ: One of the first submissions I sent out as an agent was a very special book, Lonely Bird by Ruth Whiting. It’s whimsical and sensitive, warm and hopeful but also a little melancholy, and the art is absolutely incredible (realistic oil paintings with paper collage) but a far cry from the digital styles that are very on trend right now. So, in short: it’s an amazing book but I worried it wasn’t going to be an easy sell. I knew I had to get it in front of the right editor, someone who would really “get” this story creatively and who would also know how to position it in the market so readers would understand it too.

I was still getting to know a lot of editors, so I did a ton of research while building my submission list. But when a book is doing something pretty different than what’s out there, you can only connect the dots so much – ultimately you have to trust your instincts. And I knew exactly who I was going to share Lonely Bird with at Candlewick from the jump: Mary Lee Donovan. She’s a brilliant editor and I had a good feeling that she was going to see the same magic in Ruth’s debut that I did. And happily, I was right! She made an offer not only for Lonely Bird, but two sequels as well, at lightning speed. She’s been an incredible partner to help bring Ruth’s vision to life.

RVC: That’s a great success story. Now, you recently launched a newsletter. Care to share what and why?

JSJ: There are a lot of smart people who are sharing their knowledge of the publishing industry in various places (including here!), but I’ve found there isn’t quite as much out there specifically for children’s book illustrators. I wanted to help contribute to that knowledge pool, but I didn’t want to do it on traditional social media platforms run by algorithms. I was intrigued by substack (I used to love blogs back in the day) and wanted to learn more about it. And I figured, what better way to do that than to start a newsletter myself? I’m still finding my rhythm with writing posts but I really love that corner of the internet.

RVC: Best of luck with the newsletter! One final question for this part of the interview. What are some upcoming client projects that you’re really excited about?

JSJ: Oooh, I love this question! I cannot wait for The Dinosaur Seed by Lindsey Yankey to hit shelves this summer. It’s such a unique book – the story is told completely through the dialogue of four kids as they play pretend at the park, almost like a short play. I really want to do a dramatic reading of it with a few of my friends each voicing one of the characters. And the art is absolutely exquisite. I think kids are going to love it.

I’m also super excited about Floor It, written by Bex Tobin Fine and illustrated by my client Federico Fabiani. It transforms a baby’s ordinary crawl across the floor into a racecar-​themed adventure, with lots of clever wordplay and mesmerizing, slightly surreal art. I’m a huge Formula 1 fan so love all the racecar jokes.

And last but not least, my client Hayden Goodman illustrated a fabulous new take on The Night Before Christmas, which is coming out this fall. It’s set in a NYC apartment building, and it’s funny and sweet and absolutely gorgeous. There are lush cutaways of all the different families’ homes with tons of little details to discover, and Santa has a fresh look and a magnificent magical pipe.

RVC: Alright, thanks for that–best of luck with all of those projects. But now…it’s time for the LIGHTNING ROUND. Let’s zip through questions and zap in those answers. Are you ready, Jessica? 

JSJ: Ready!

RVC: What’s the most Virgo thing you do every day?

JSJ: Ha! So many answers to this, but the #1 thing may be the way I tag almost every single email I send/​receive with myriad color-​coded labels.

RVC: What’s the most unexpected thing you’ve ever used Airtable for?

JSJ: Gardening! I have a base where I track all the perennials I grow in my yard, the care instructions, when they bloomed each year, etc. It’s ridiculous but also fun. I call it my “recreational spreadsheet.”

RVC: How many projects can illustrators juggle without losing it?

JSJ: This depends on the illustrator. Though I try to encourage my clients to have only 2 new picture books publish per year, max. For lots of reasons, but workload chief among them.

RVC: A picture book from 2024 with underappreciated-​but-​awesome art?

JSJ: I have to mention Lonely Bird again, because the second book in the series, Lonely Bird’s Dream has the most incredible art. Ruth’s process is fascinating – she paints in oil, which is its own special feat, but she also creates all her illustrations in real life and photographs them as references for her paintings. Which means she’s literally built all the flying contraptions that Lonely Bird builds in the story, and she spends a lot of time lying on the floor taking photos from Lonely Bird height. She did a few interviews talking about her process that I recommend checking out!

RVC: If your life were illustrated as a picture book, what would the title and art style be?

JSJ: I’m very bad at brainstorming good titles in real life (I desperately wish I were better at this!) so whatever I came up with myself, the editor would probably gently suggest we change, haha. I don’t know if I could choose just one art style! I would need someone else to spearhead the illustrator search for my own book. Doctors are the worst patients, and all that.

RVC: What’s your favorite quotation about agenting, publishing, or writing kidlit?

JSJ: “Tell them stories….That’s what nourishes them. You must tell them true stories, and everything will be well, everything. Just tell them stories.” from The Amber Spyglass by Philip Pullman (my all-​time favorite book!)

RVC: Thanks so much, Jessica!