Month: December 2018

Only Picture Books’ 18 Favorites of 2018

On By Only Picture BooksIn OPB Favorites, Picture Book Lists

What better way to close out 2018 than with a list of OPB’s 18 favorites from this past year?

Some of these titles appeared in the (digital) pages of OPB.

Some didn’t. (Alas, this isn’t a comprehensive PB review site like PW, Kirkus, or others.)

But make no mistake–I’m a fan of these 18 titles. I’ll even offer up a sentence or three for each to give a sense about why I liked them.

 

Note #1: Every book listed below is a total winner via my super-​subjective estimation. By that, I mean:

  • I own a copy. (Yep. Not just the freebie ARCs/​galleys here!)
  • I’d be happy to read any of these with a child.
  • I’d be happy to re-​read any of these, even without a child handy.
  • I’d be happy to have written, illustrated, and/​or edited ANY of these.
  • I’d be pleased as Hawaiian punch for any of the involved authors, illustrators, and editors to hit up OPB for an interview. HINT HINT HINT!

Note #2: They aren’t ranked in any particular way, save alphabetically by title. Want to know the #1 picture book of 2018? Read them yourself and make your own choice. Post your choice as a comment here. Or offer it up on your social media. Or add your glowing recommendation on an Amazon or Goodreads page.

Note #3: I like notes.

Note #4: There should be more picture books about sloths. (Please refer to question #1 of the Speed Round of editor Kait Feldmann’s OPB interview for proof of this profound sloth lack!)

Note #5: Refer to notes 1–4, as needed.

Are You Scared, Darth Vader? by Adam Rex (3 July 2018)

I often bring a picture book to share at my SCBWI PALs meetings, and this one brought the house down. It’s loads of fun, but it’s far more than just a Star Wars nostalgia riff. Well done, Mr. Rex!

 

Carmela Full of Wishes by Matt de la Peña, illustrated by Christian Robinson (9 October 2018)

If you liked Last Stop on Market Street, you’ll love de la Peña’s new book that powerfully spotlights children who are worthy of our attention. Plus Robinson’s acrylic paintings are rich and captivating. Simply terrific.

Enjoy an Oct 2018 interview about Carmela Full of Wishes with Matt and Christian at PW.

 

A Day in the Life of Marlon Bundo by Marlon Bundo and Jill Twiss, illustrated by EG Keller

To everyone’s surprise, political satire and picture books can go together like chocolate and peanut butter. Plus Jim Parsons really rocks it on the audio version.

 

The Day You Begin by Jacqueline Woodson, illustrated by Rafael López (28 August 2018)

It’s a memorable, inclusive story with lyrical writing and dreamy art. This is a book for every child who feels alone (which is to say “everybody” at one time or another).

Here’s The New York Times article on two of Woodson’s books (including this one).

 

Drawn Together by Minh Lê, illustrated by Dan Santat (5 June 2018)

This gorgeous book shows the power of art–and the creative process–in action. It’s a visual WOW.

Here’s a June 2018 NPR interview with Minh Lê about Drawn Together.

 

Giraffe Problems by Jory John, illustrated by Lane Smith (25 September 2018)

About twice a month, I go to my local library and grab two huge bags of whatever picture books catch my eye. Then I read them all at home. That’s the story of how I got introduced to this book, and it was the star of the whole batch by far. Clever. And full of positive messages too.

Here’s a Dec 2018 “speed interview” with Jory John on this cool book.

 

Grumpy Monkey by Suzanne Lang, illustrated by Max Lang (15 May 2018)

The simplistic yet powerfully expressive illustrations are first-​rate. Plus there’s something wonderful about a grumpy monkey screaming “I’m not grumpy!” This is great for a kindergarten reading session. They’ll all make the faces along with the characters for sure.

 

How to Code a Sandcastle by Josh Funk, illustrated by Sara Palacios (15 Mary 2018)

No rhymes or delicious puns here, but instead you have a kid-​friendly book that shows how to break down a seemingly big problem into small, manageable steps. It’s smart, useful, and just silly enough to keep all the learning fun.

Here’s a “Simply 7” interview (by Jena Benton) with the always-​interesting Josh Funk.

 

I Am Human: A Book of Empathy by Susan Verde, illustrated by Peter H. Reynolds (2 October 2018)

I’ve been paying attention to this picture book team since I Am Yoga and they continue to deliver. This book is a fine celebration of the beautiful imperfectness of humanity. It’s a book that says it’s okay to make mistakes, and that’s a fine lesson for young readers that counteracts the over-​tested, over-​scheduled, must-have-GPAs-higher-than‑4.0 world in which we live.

 

I Walk with Vanessa by Kerascoët (24 April 2018)

I’ve been a fan of this husband-​wife team since their graphic novel Beautiful Darkness. This picture book shows just how magical a wordless story can be.

Here’s a fine review of I Walk with Vanessa at Unleashing Readers.

 

Julián Is a Mermaid by Jessica Love (23 April 2018)

This is a book that could’ve gone wrong in a host of ways … but doesn’t. It’s beautiful and empowering without being preachy.

Here’s a May 2018 interview with Jessica about this book at Seven Impossible Things Before Breakfast.

 

Mixed: A Colorful Story by Arree Chung (3 July 2018)

This celebratory book feels more relevant by the day. I’m also a fan of the graphic, eye-​catching style.

Read the full review of Mixed at OPB!

 

Night Job by Karen Hesse, illustrated by G. Brian Karas (11 September 2018)

This gentle story has a great big heart and Karas’ mixed media illustrations are spot-​on in every way.

Here’s the starred review of Night Job at Kirkus.

 

Pride: The Story of Harvey Milk and the Rainbow Flag by Rob Sanders, illustrated by Steven Salerno (10 April 2018)

I know Rob pretty well and despite that (just kidding, Rob!), I think this book is tremendously good and tremendously important. When Rob visited my Writing Picture Books class at Ringling College in spring 2018, he shared this book with them–it became the #1 most talked-​about book of the entire semester for the students, and for that reason alone, it’s got to be on this list. I also really dig the back matter timelines.

 

The Boo-​Boos that Changed the World: A True Story About an Accidental Invention (Really!) by Barry Wittenstein, illustrated by Chris Hsu (13 February 2018)

The retro look draws me in as much as the well-​told story about a now-​omnipresent first aid item.

Here’s a March 2018 speed interview with Barry at The Children’s Book Review.

 

The Eye that Never Sleeps: How Detective Pinkerton Saved President Lincoln by Marissa Moss, illustrated by Jeremy Holmes (6 November 2018)

The hip cartoony style works well with the text to present a memorable read about one of America’s greatest detectives.

 

The Wall in the Middle of the Book by Jon Agee (2 October 2018)

This book proves to be quite the discussion starter on the concepts of perspective and assumptions.

Here’s an October 2018 Q&A with Jon at PW.

Here’s an October 2018 interview with Jon at Let’s Talk Picture Books.

 

We Don’t Eat Our Classmates by Ryan T. Higgins (19 June 2018)

The character? Hilarious. The ending? Delightful. It’s the type of back-​to-​school book I wish I had when my kids were little.

Here’s a Q&A with Ryan at PW.

Editor Interview: Kait Feldmann (Arthur A. Levine/​Scholastic)

On By Only Picture BooksIn Editor Interviews

The final Industry Insider interview for 2018 is with Kait Feldmann. And not to toot my own OPB horn here, but the following is SO GOOD that it’s totally worth sending out on Xmas eve. Feel free to tuck this post under your tree and wait to open it until Xmas day, if you want! 

That being said–here are 11 fun facts about Kait to get us started! Why 11 and not 10? Because at OPB, you always get a little extra literary love. Plus there’s always the This is Spinal Tap connection to be enjoyed.

  1. Her fancy title? “Editor at Arthur A. Levine Books, an imprint of Scholastic.”
  2. How many n’s in “Feldmann”? Two.
  3. When did she join Scholastic? May 2014.
  4. She assisted on Newbery Honor-​winner Echo by Pam Muñoz Ryan, The Marvels by Brian Selznick, and The Tales of Beedle the Bard: The Illustrated Edition by J.K. Rowling, illustrated by Lisbeth Zwerger.
  5. “Book hoarder, insomniac, and lover of all things sloth.”
  6. She’s a “proud hapa.”
  7. Sometimes wishes “referral” were spelled “refferrall.” (Ryan’s note: Don’t we all?)
  8. What does Kait yearn for in a manuscript? “Meaningful, character-​driven stories with humor and heart.”
  9. Also “likes a little whimsy, light layers of magic.” (Ryan’s note: Witness the Potterhead Q&A exchange below! And note what Kait’s both reading and holding in the picture above!)
  10. Wants to see more picture books featuring kids of color.
  11. Submission WARNING from Kait! “I have a stone-​cold heart the size of a pea and am not moved by sweeping texts that explore ideas like love, family, tradition, etc., through a glimpse into many different kinds of experiences. Instead, I prefer to see specific narratives that focus on a particular character’s emotional journey. Universal through the specific!”

Arthur A. Levine website: www.arthuralevinebooks.com
Personal Website: www.kaitfeldmann.com
Twitter: www.twitter.com/kaitfeldmann
Tumblr: www.scattershotsilly.tumblr.com
Manuscript Wish List: www.manuscriptwishlist.com/mswl-post/kait-feldmann/

RVC: How did you first get involved with the publishing world?

KF: My first foray into publishing was an internship with Scholastic, which was offered after providing my mom (children’s book author Lisa Yee)  notes on Warp Speed that she passed along to her editor, Arthur Levine. He liked what I had to say and asked me to intern for him. I hadn’t considered an editorial career before, but that experience ignited my passion, and I spent the rest of my college years taking on any kind of book-​related work I could, interning remotely, assisting a local independent publisher, freelance editing, and selling fine writing pens in Vroman’s stationery department where I’d sneakily pretend to be a bookseller on the side.

RVC: So in your current editorial position at Arthur A. Levine Books, you’re primarily looking to acquire picture books and graphic novels. What appeals to you most about these ways of telling stories? 

KF: Images bring something to a story that I think, when done right, can really enhance the world of words. And you can play with story in the book format in a way you simply can’t do in another medium. A great example is Tillie Walden’s I Love This Part, which I might call a middle-​grade picture book. It follows two girls through their relationship and break up in glimpses—each spread a different scene from their love story, not necessarily in order. Tillie only uses two colors, but she plays with them thoughtfully, saturating scenes of affection with purple and going grayscale in times of turmoil. She also plays with proportion and surrealism in a way that you’re just going to have to see for yourself…some things words can’t properly express.

RVC: Any advice on how to make this type of magic happen?

KF: Read widely. Really understand the ins and outs of the picture book form, know how to pace and paginate a story, study the way art is composed (notice the room left for text; the difference between spots, single pages, and full-​bleed spreads…). This is important even if you’re a writer only! Make it a habit to browse your library or bookstore every month or so to get a feel for what’s out there. In a submission, I can tell who does this and who doesn’t.

RVC: Plenty of relatively competent submissions hit your desk daily, I’m sure. In fact, just tell us. What’s an average week for you? How many new submissions come at you?

KF: It fluctuates depending on a number of factors, including whether I’ve been to a conference recently and how responsive I’ve been to agents (I try to be speedy! The catch is that the quicker I respond, the more submissions I get—it creates a sort of Hydra effect that’s quite stressful!).

Taking a look at a random week, I see: six agented submissions (three are international—already published but looking for a North American/​English-​language publisher), and 72 unagented submissions. 

RVC: How can you tell when writers haven’t done their homework for a submission? What’s the giveaway?

KF: Well, there’s the cosmetic stuff—I get a lot of “Dear Editorial Department,” “To Whom It May Concern,” or “Dear Kate Feldman” (note both first/​last misspelled). It’s not an automatic rejection if you have a generic or misspelled salutation, but since it’s your VERY FIRST impression, it does stand out…in a bad way.

Then there’s the pitch. My acquisition profile is easily Googleable, as are most editors’ and agents’. My bailiwick is picture books and graphic novels but I get a lot of MG/​YA novel submissions that are clearly copy-​pasted from a template. I’m also very vocal and specific about publishing diverse books and creators, yet I get a number of queries that either ignore that or say “I know you’re interested in diversity so my book might not be for you but I’m going to try anyway.” What? No! That’s almost worse than not doing your homework. It’s taking the time to do your homework wrong and turning it in anyway.

Query letters are like cover letters—if you want to stand out you need to personalize each one you send to show why you are a great fit for that position. In a way…you are applying for a job. There’s a lot of work ahead, so show that you’re serious and have thought it through.

RVC: When a submission hits your desk and you’re intrigued, do you Google the author? If so, what are you looking for?

KF: Yup, I’m a Googler. I don’t always know what I’m looking for—I guess just a broader sense of who the person is. What they like. What they stand for. How active they are in the book community. And of course, any red flags! It hasn’t happened often, but there were a few instances where I came across a Tweet and thought ohhhh…yeah, we won’t get along.

RVC: So speaking of getting along … we first met at the SCBWI conference in Orlando this past June. What do you get out of being a speaker at events like that?

KF: I love discussing craft and publishing and find that I learn and grow from my experiences at writers conferences, too. And of course, I always hope to make lasting connections. One of the first authors I signed, the indomitable Aida Salazar, is someone I met at SCBWI LA. My colleague Nick Thomas had a critique with her and passed along her work. We both fell so hard for her writing that we offered a two-​book deal right away. Her debut novel, The Moon Within (which Nick edited), comes out February 26, 2019 and her picture book, Jovita Wears Pants: The Story of a Revolutionary Fighter (that one’s mine!) follows in 2020.

RVC: Every editor and agent I speak with has a conference horror story or two–they were cornered in a bathroom stall, or someone slid 500 pages of a YA werefox thriller under their hotel door … three pages at a time … at 2 a.m. in the morning.

What’s YOUR conference-​related writer horror story?

KF: Omg, can anyone beat the 2 a.m. page slide? Imagine the editor sitting on the other side, reading in suspense, waiting for the next pages to follow…(kidding—I’m sure that’s NOT what happened and don’t encourage that behavior).

Mine is the time I was talking to an author at a bar and a man asked to join us—he was friendly but very focused on me, wanted to know all about my interests outside of publishing. It didn’t read as flirtatious but it was clear he had an agenda, and that shifted the dynamic of the conversation in an uncomfortable way. A month or so later I’d forgotten all about it when I received a big box packed with my favorite things…and at the very bottom, a manuscript. From Bar Guy. It was completely inappropriate, and under Scholastic’s Code of Ethics, also considered a bribe.

RVC: That’s crazy. And speaking of crazy, here’s a semi-​popular belief among writers: Editor’s don’t edit much anymore–they primarily just acquire (or more often, not!). While that might be true in some book areas, I don’t find that as valid to say about picture book editors.

How much time do you put in on any given picture book manuscript? How much before the sale is made? How much after?

KF: Is that true?? Perhaps in some circles, but that’s not how I was trained, and it’s not how I work! I typically schedule picture books to publish two years out from when I sign them, minimum! We go through rounds and rounds and rounds and rounds of editing. It really varies depending on the book and the creator and our working style—I try to adapt to provide what each creator needs from me, but sometimes neither of us knows what that looks like until we’ve taken a few different tacks!

There’s one creator who I approached cold and asked to develop a project from scratch—we worked for ten months on creating a story I could share with my acquisition team—but all that time working together and figuring out our style meant that by the time we officially signed it up we were flying.

RVC: What’s the most common misconception about being a picture book editor? What do authors–and possibly even agents–have wrong?

KF: The best way to make a children’s book editor bristle is to say “Oh how cute! You edit picture books? That must be so easy!” But I’m sure your readers know well…IT ISN’T EASY!

The one thing that bothers me even more, however, is people who underestimate the picture book audience. First of all, we should be writing UP to kids, not down. Kids are so smart, emotionally and intellectually, and they know instantly when their worth is being devalued. Second, picture books are not just for kids. They’re for anyone who loves a good story!

RVC: Alright–it’s time for the Speed Round! Go! What zoo animal deserves more picture book coverage?

KF: I’m very happy that sloths are finally having their moment, but they deserve moooooore!!!

RVC: You semi-​frequently tweet about amazing workplace discoveries. The office copier’s ability to corner staple. The “move to folder” dropdown in Outlook. What’s the latest breakthrough?

KF: The secret tunnel that leads to a cupcake store. You think I’m kidding.

RVC: Grammar gaff that drives you the most bonkers?

KF: Er…I’m not the bestest at grammar myself.

RVC: You’ve openly confessed to being a Potterhead. Spill the (Bertie Bott’s Every Flavour) beans. Most underappreciated character?

KF: Angelina Johnson.

RVC: Three current picture book authors who are setting/​raising the bar?

KF: Jessica Love (Julián Is a Mermaid); Minh Lê (Drawn Together, illustrated by Dan Santat); Tillie Walden (I Love This Part).

RVC: The most unforgivable thing in a picture book submission is …

KF: Getting the person’s name wrong!

RVC: What would like to see written on your literary tombstone?

KF: Here lies Kait, who died as she lived, under a pile of books.

RVC: Thanks so much, Kait. What a way to wrap up the first year of OPB! Thanks!!

Educational Activities: Porcupine’s Pie by Laura Renauld

On By Only Picture BooksIn Educational Activities

Porcupine’s Pie
Author: Laura Renauld
Illustrator: Jennie Poh
Beaming Books
9 October 2018
32 pages

Three things to note about Porcupine’s Pie:

  1. This book won the 2017 Beaming Books picture book writing contest.
  2. Laura Renauld has been participating in Tara Lazar’s PiBoIdMo/​Storystorm event since 2011. (Read the OPB interview with Tara Lazar here!)
  3. Porcupines are awesome.

Want to know a bit about the story itself? Porcupine can’t wait to share Fall Feast with her woodland friends, so when everyone she greets is unable to bake their specialty due to a missing ingredient, Porcupine generously offers staples from her pantry. When Porcupine discovers that she, too, is missing a key ingredient, the friends all work together to create a new Fall Feast tradition.

Need some reviews of Porcupine’s Pie?

The Classy Chics

Connected2Christ

Bridget and the Books

Foreword Reviews

Heck of a Bunch

And enjoy an interview with author Laura Renauld on this book at the Beaming Books blog.

Educational Activities inspired by Laura Renauld’s Porcupine’s Pie:

  • Before Reading–Ask students:
    • “What do you already know about porcupines?”
    • “What characters do you think will appear in this story?”
    • “What type of pie do you think Porcupine is making?”
  • After Reading–Each of Porcupine’s animal friends has made special Fall Feast food in the past. Which of those sounds most delicious to you–Squirrel’s Famous Nut Bread, Bear’s Famous Honey Cake, or Doe’s Famous Apple Tart?
  • After Reading–If Porcupine met one more animal on her journey (besides Squirrel, Bear, and Doe), what animal would that be? What would that animal’s special Fall Feast dish be?
  • Science–While a porcupine and a hedgehog seem like the same animal, they’re actually quite different. Find out more about some of those differences here: 
  • Cooking–With an adult’s help, make your own Friendship Pie! (The recipe is at the back of the book.) Or try these other yummy-​sounding pie recipes: 
  • Craft–With an adult’s help, try out some of the following porcupine crafts: 
  • Further Reading–Despite having a prickly body, porcupine are actually little bundles of love. Read some of the following picture books about porcupines and answer the following: (Click on the book cover for more information on any of these titles!) 
    • Which of these porcupines has the prickliest personality?
    • Which of these porcupines likely has the best stuffed animal friend?
    • Which porcupine would you invite to your birthday party?

Author Interview: Tara Lazar

On By Only Picture BooksIn Author Interviews2 Comments

This month’s author interview is with Tara Lazar (rhymes with “bazaar”), a mother of two who is “pushing a stroller along the path to publication.” You probably know her thanks to her terrific website/​blog as well as her quirky, funny picture books, such as these.

Before we launch into the official OPB interview, let’s get to know Tara a bit via a quick Truth or Lie game. Which of these feels as honest as a cue ball? Which seem as bogus as a four-​dollar bill?

  • Tara chooses cheese over chocolate every single time.
  • Tara walks with a blue cane.
  • Tara once lived in a house that was pink, pink, pink.
  • Tara’s a former figure skating champion.
  • Tara’s hamster, Ozzie, is the world’s cutest.
  • Tara can’t stand coffee.
  • If Tara were stranded on a deserted island and could only have one type of food every single day, it’d be tacos.

Answer Key: All are true! (Yep. Even the thing about coffee.)

So now that you’re starting to get a sense of what Tara’s all about, read on and learn more about the amazing Tara Lazar who sometimes wishes her name were “Tara Laserbeam.” (Spoiler: She’s s total hoot!)

Website: www.TaraLazar.com
Blog: www.TaraLazar.com
Twitter: @taralazar
Facebook: www.facebook.com/authortara
Pinterest: www.pinterest.com/taralazar/

RVC: So what type of kid were you? And how did that childhood prepare you for a career as a picture book author?

TL: Teacher’s pet. Super sharp, but also crazy-​weird. Creative. Writing, acting, drawing, or making something all the time.

I think the acting prepared me to write with a strong voice. I become the character. Being weird as a kid means you are cool as an adult. I never grew up past 8, probably because my parents separated shortly after then and my innocence was shattered. I try to remain that 8 year old as much as possible. In fact, most of my strong memories come from that time period.

RVC: How big of part did books and reading play into those early childhood years?

TL: A big part. I remember my elementary school library telling me that Ally Sheedy wrote and published She Was Nice to Mice at just 12 years old. I was 8 at the time and although 12 seemed like a lifetime away, it was also close enough to become a goal, to become an author myself. It only took me 30 more years!

RVC: I’m always interested in how someone’s first picture book happened. What’s the story of YOUR first picture book? 

TL: I have told this story before, so I am going to boil it down to its most essential elements–I wrote new stories constantly. I brainstormed new ideas several times a week. I stopped submitting and concentrated on my craft. I attended conferences and learned. I made writing friends. After almost two years of this, I wrote The Monstore, my breakthrough manuscript which my critique partners assured me would sell. The Monstore helped me land my agent, Ammi-​Joan Paquette, and my first contract for that book followed shortly thereafter.

RVC: How vital is it for aspiring picture book writers to find an agent first?

TL:  I think now more than ever it is advantageous to have an agent. More houses are closing their doors to unsolicited submissions simply because they receive too many manuscripts to sort through efficiently and find the treasures. An agent opens doors for you and also helps to guide your career.

It is not impossible to be published without one–my friend Josh Funk was discovered in the slush pile–but I think you will get a bigger advance and a bigger publisher (with greater distribution and marketing power) with an agent.

RVC: What does your writing process look like?

TL: First comes the concept, which I write down. Then there’s a lot of thinking. It marinates in my mind subconsciously until I know I’m ready to give the first draft a shot. It’s a gut feeling I cannot explain. Typically it’s weeks or months after the initial idea, but if the idea gets me super excited, then it’s sooner. 7 Ate 9 happened right away, idea then manuscript. BOOM, BOOM.

Because of this marination, when I finally get butt in chair, the first draft emerges in somewhat decent shape, and quickly–anywhere from a day to a week.

I spend far more time thinking about a story than I do actually writing it.

Then the story goes to my critique group for a round or two. I don’t do more than two revisions for my group because we all lose that “fresh look” ability, and I believe there is “over-​revising.” Then I give it to my agent who often gives me editorial notes and I revise until she is happy with the story (again, no more than two rounds) and ready to submit.

RVC: There’s no way around it–you’re a prolific writer. Beyond the two-​revisions-​and-​onward strategy, do you have any tips for those who struggle to get projects done?

TL: I think all writers have an undeniable need to write. But it’s important not to compare your output to another writer. We all have our own pace and we need to respect that. My best advice is to learn your process.

What works best for you? Routine? No routine? Experiment and find out.

RVC: So let’s talk about PiBoIdMo (Picture Book Idea Month), which you created in November 2009. Why did you create it? 

TL: PiBoIdMo was patterned after NaNoWriMo, hence the awful name. I began it because I believe picture books are all about great concepts. And to have a winning concept, you need a lot of concepts from which to choose. For every twenty to thirty story ideas, maybe one is worth pursuing. If you spend every day recording at least one idea, you will have a trove of potential stories by the end of the year and never be without one to write.

RVC: And PiBoIdMo became Storystorm in 2017 because…

TL: Again, the name was the worst. I would have created a better name had I thought about it for more than two seconds. No one could pronounce PiBoIdMo and the name didn’t conjure up and idea of what the event was. So I chose Storystorm to suggest a story brainstorm, and I moved it to January so it comes after the holidays instead of during them.

New year, new ideas, a fresh start.

RVC: In addition to being a successful picture book author, you’re a frequent speaker on MS. How do those two careers align?

TL: Get around, over, and through obstacles any way you can. Don’t let them stop you. This message is applicable to writers as well as those who suffer from chronic illness.

RVC: You’ve got a couple of new books coming out soon. Which has the most unusual path from initial idea to publication?

TL: Your First Day of Circus School. The manuscript had so many art notes that it was difficult to read through and understand. So my agent suggested putting it in grid format, which I blogged about here.

https://taralazar.com/2012/​10/​03/​art-​notes-​in-picture-​book-​manuscripts/​

RVC: How many number puns did you have to throw out to make 7 Ate 9 work? And is that more or less than you have to toss during the revision process of your other picture books?

TL: I didn’t throw any out. The important thing when writing with puns is to ensure the story still makes sense with them. The mystery of the story and the solution can be understood by all ages. With the exception of the title, no major plot point relies on a pun.

With all my books, I am more likely to be adding during revision than cutting.

RVC: Okay, it’s time for the Lightning Round! Zippy quick answers, please. Ready? Who’d you rather have as a week-​long houseguest–Sauron or Voldemort?

TL: Voldemort, because he’s English and if I serve Twinings Earl Grey, he’ll most likely act civilized.

RVC: Top three cheeses in order of yumminess?

TL: Manchego, goat cheese, and burrata.

RVC: Norman’s (from your book Normal Norman) middle name?

TL: Frank.

RVC: Name an up-​and-​coming picture book author whose work is always on your MUST-​READ list.

TL: Oh, there are so many!  This field is bursting with talent! But since I just bought Neck & Neck, I’ll say Elise Parsley.

RVC: Your #1 goal as a picture book writer.

TL: To keep being a picture book writer!

RVC: Favorite thing a child has ever said about one of your books?

TL: It happened just last week–a girl said, “you are the author of FAMOUS books.”   She complimented my lemur sweater, too, for bonus points.

RVC: Thanks so much, Tara!

Picture Book Review: Gittel’s Journey: An Ellis Island Story by Lesléa Newman

On By Only Picture BooksIn Picture Book Reviews

Gittel’s Journey: An Ellis Island Story
Author: Lesléa Newman
Illustrator: Amy June Bates
Abrams Books for Young Readers
5 February 2019
48 pages

This month’s PB review is by Ryan G. Van Cleave (Top journey-​taker at Only Picture Books) and Ringling College of Art and Design Illustration Professor (and OPB pal) John Herzog.

–Ryan’s Review of the Writing–

Gittel’s Journey tells the story–based on a pair of oral tales from the author’s family–of a nine-​year-​old girl being sent to America in the latter part of the 19th century while her mother has to stay behind because of an eye infection. Along the lengthy journey, the address on a piece of paper becomes smudged, so poor Gittel doesn’t know where to go when she arrives. I’ll hold off on revealing the ending but suffice to say, it’s both heartfelt and glorious.

Gittel’s Journey is one of those books that–even without the back matter–runs closer to 1,000 words than the 300 that so many literary agents and editors claim is the new norm. But the story necessitates it. And never did I have that somewhat common thought as I read: “Wow, this feels looooooong.”

That extra space allows for Newman to offer quiet moments of delicious sensory detail such as Gittel grabbing onto the ship’s “cold, wet railing” or how when she finally arrives at Ellis Island, the “ocean spray smacked Gittel in the face, and when she licked her lips, she tasted salt.” It also allows the the room for this story to unfold with the quiet tenderness it deserves. Nothing feels rushed.

Newman’s skill with language is also on full display with how she weaves in Yiddish words (always italicized) throughout the story. The context of those words give more than enough clues as to their meanings so not knowing Yiddish isn’t an issue.

The extensive Author’s Note, bibliography, and short glossary all add to the story and provide more interesting context to the immigrant experience as well.

This is a terrific book with spot-​on illustrations (see below for John’s glowing review on that aspect) that brings social issues into the realm of picture books in an effective, memorable way. It’s a fine, fine book worthy of your bookshelf space.

4.75 out of 5 pencils

 

–John’s Review of the Illustrations–

In today’s political and social climate in our great American experiment, we need a book like Gittel’s Journey. We need it to remind us of our past, where we come from, and why we’re here. We need it to remind us of the immense value of patience, kindness, and bravery. We need it to remind us of what made America truly great.

The story here is incredible, and based on the true events of a young girl who travels to America alone in search of a better life–without the use of a smart phone or GPS (terrifying). An amazing story like this requires amazing illustrations, and the work by Amy June Bates does not disappoint. In fact, it stands toe-​to-​toe with the story and–dare I say–elevates the book to a whole new level.

In a sea of muted browns and grays, little Gittel stands out with her red hood, pink apron, and bright green bag. We know this is her story. The progression of color throughout the book is breathtaking, helping guide is from that which is familiar to that which is not and back again. Gittel’s home country is depicted in very warm, inviting tones while her journey is very muted, cold and drab. Thankfully, the warm tones return at the end as Gittel’s cousin meets her for the first time, and into the final page when Gittel is reunited with her mother. It’s this mastery of color progression that makes us care about the safety of Gittel, and relieved when she is reunited with family.

The print quality of this book is exquisite. I love that tinted paper was used–a nod to a time long past. The whites used in the illustrations really pop against the colored paper, and helps create contrast and appealing movement in the images. The sketchy figures, the watercolor, the stamp-​like borders and filigree–all of it transports me back to what I would imagine this time period was like, yet fuzzied and faded by time.

This is an important book, both for children and adults. As Americans, we seem to have such a short memory when it comes to how important immigrants are to this country. It’s books like this that help us remember that, and what this country should stand for:

“The Statue of Liberty,” said a man standing beside Gittel, as he
waved his cap in the air and wept. “She’s welcoming us to America.”

Gittel’s Journey is a masterpiece.

5 out of 5 crayons

John Herzog is an illustrator and educator. His clients include, Hasbro, James Patterson, Houghton Mifflin Harcourt, and Highlights for Children. He also teaches illustration classes at Ringling College of Art and Design. He lives in Florida with his wife, two kids, a pair of tarantulas, a bearded dragon, and a fish.