Month: December 2019

Only Picture Books’ 19 Favorites of 2019

On By Only Picture BooksIn OPB Favorites, Picture Book Lists

It’s the end of 2019, and here at OPB, we always close out each December with a list of our favorite pictures books of the past 12 months.

Some of these picture books appeared in OPB in one capacity or another. Because of space considerations and other factors, some didn’t. Regardless, all of the following books are worthy of attention and space on your shelves. I’ll even share a few words as to why they’re on this Best Of list. Enjoy!

(Don’t read anything into the order, though–it’s simply alphabetical by book title because, well, that’s easy to do.)

Another by Christopher Robinson (5 March 2019)

I confess that I resist wordless picture books on principle…except when they’re done this well. The fun shapes here remind me of Paul Klee, and the dreamy story is quite compelling.

 

Astro Girl by Ken Wilson-​Max (3 Sept 2019)

There’s so much here to like. A determined girl wanting to be an astronaut. An effective single parent (Papa). Dramatic acrylic artwork. Solid backmatter. Well done, Ken Wilson-Max!

 

Bird Count by Susan Edwards Richmond, illustrated by Stephanie Fizer Coleman (1 Oct 2019)

This book about young Ava becoming a “citizen scientist” is SO cool. Learn all about the New England Christmas Bird Count, too, as well as facts about winter birds uncovered via birding ID techniques. Find out more about this book via our OPB review here.

 

Crab Cake: Turning the Tide Together by Andrea Tsurumi (5 Feb 2019)

Got a budding environmentalist in your life? This funny story about a crab’s actions in the aftermath of a disaster (trash being dumped into the ocean) will surely be a hit. There’s a fine message here about getting past mishaps and challenges. I’m a fan of the rich artistic textures in these pages, as well.

 

Dr. Seuss’ Horse Museum by Dr. Seuss, illustrated by Andrew Joyner (3 Sept 2019)

An unrhymed Dr. Seuss manuscript? Sounds crazy, but that’s exactly what we have in this look at how different artists have depicted horses. The full-​color reproductions here (Picasso, Seurat, Manet, and more) help make this a solid introduction to art. It’s not like most other Dr. Seuss books, but if you can get past that, it’s a good one regardless.

 

The Good Egg by Jory John, illustrated by Pete Oswald (12 Feb 2019)

This one just tickles my fancy, as much because I had a neighbor who used to call me “A darn good egg!” as the fun art here by Oswald. Add in Jory John’s quirky take on perfectionism, and that’s the good read you’ll find here.

 

The Important Thing About Margaret Wise Brown by Mac Barnett, illustrated by Sarah Jacoby (21 May 2019)

This is a standout biography of a a first-​rate picture book writer, done in the style and tone of Margaret Wise Brown herself. The book is quirky, so don’t expect it to fully adhere to the standard chronological form most biographies take. The story’s also about taking risks and experimenting–great lessons for young readers to encounter.

 

Just Because by Mac Barnett, illustrated by Isabelle Arsenault (10 Sept 2019)

The child in this bedtime book fires off questions instead of sleeping, and the dad sends back amazing, imaginative answers versus the easy-​but-​unhelpful “just because” answer a tired adult might be inclined to give. The unexpected retro illustrations give this a nice feel.

 

Magic Ramen: The Story of Momofuku Ando by Andrea Wang, illustrated by Kana Urbanowicz (5 March 2019)

Here’s the true story of how Momofuku Ando dreamed about making a new kind of ramen noodle soup that was easy to make and tasty. Why? Because he saw lines of people waiting for food in Japan right after World War II, and he believed that “the world is peaceful only when everyone has enough to eat.” A useful Afterword gives fine bonus information for teachers, parents, and librarians.

 

Planting Stories: The Life of Librarian and Storyteller Pura Belpré by Anika Aldamuy Denise, illustrated by Paola Escobar (15 Jan 2019)

This book won a ton of awards largely because it’s the well-​told biography of puppeteer, storytelling, and NYC librarian Pura Belpré, who was a champion of multicultural literature. A librarian who supports multicultural lit might not sound that odd today, but consider that she arrived in American in 1921! The author’s ability to move from English to Spanish within the story without translations or italics? Very impressive.

A sizable amount of backmatter offers plenty of depth on the life and doings of this important figure.

 

The Proper Way to Meet a Hedgehog and Other How-​to Poems by Paul B. Janeczko, illustrated by Richard Jones (25 Feb 2019)

This poetry anthology by Janeczko showcases poems by Kwame Alexander, Pat Mora, Nikki Grimes, Marilyn Singer (see her OPB Author Interview here!), and more. All of the poems are a how-​to of one type or another, ranging from how to be a snowflake to how to bird watch. It’s a fine collection with just enough range and style.

 

Small in the City by Sydney Smith (3 Sept 2019)

Some readers might not be happy with the situation–a child in the city looking for a lost pet. But it’s poignant, realistic, and filled with anything but false promise, all done in poignant, sensitive language. This story could’ve gone wrong in a host of ways in the hands of a less attentive author/​illustrator.

 

Smile: How Young Charlie Chaplin Taught the World to Laugh (and Cry) by Gary Golio, illustrated by Ed Young (26 March 2019)

Charlie Chaplin’s life held a lot of sorrow early on, yet Charlie knew sadness and humor went hand in hand. This book does a fine job of telling his story–and his own special sense of fun–through lyrical text accentuated by interesting collage-​style illustrations.

I’m quite taken, too, by the silhouette of the Little Tramp–Chaplin’s most famous on-​screen character–that becomes animated when the pages are flipped.

 

Stonewall: A Building, an Uprising, a Revolution by Rob Sanders, illustrated by Jamey Christoph (23 April 2019)

While Stonewall is obviously picture book worthy, this book lets the Stonewall Inn ITSELF tell this vital tale. It’s not only an essential addition to LGBTQ literature, but an essential addition to literature in general.

Bonus note: Rob was kind enough to be the very first Author Interview @ OPB. It’s interesting to see how his philosophy of picture books from a few years back still plays out so powerfully in his current work.

 

Sulwe by Lupita Nyong’o, illustrated by Vashti Harrison (15 Oct 2019)

Sulwe’s skin is dark as midnight, but all she wants is to be bright and beautiful. This debut picture book by actress Lupita Nyong’o offers readers a magical journey that ultimately help them realize that true beauty always comes from within. That art here is beyond striking. Lovely.

 

A Tiger Like Me by Michael Engler, illustrated by Joëlle Tourlonias, translated by Laura Watkinson (1 Aug 2019)

Sometimes a kid might want to imaginatively become something else–like a tiger. In this story, that’s what happens, and he goes on wild-​tiger-​kid adventures. But at the end of the day, he’s happy to snuggle in bed with tiger-​mom and tiger-​dad. A sweet story.

 

When Grandma Gives You a Lemon Tree by Jamie L.B. Deenihan, illustrated by Lorraine Rocha (5 March 2019)

What kind of kid would EVER want a lemon tree for a birthday gift, right? Well, it turns out that in some situations, it’s the best gift of all. You even get a great recipe for lemonade here with this moving story.

Check out OPB’s interview with the author here, where we talk about–among other things–this very book!

 

When Sadness Is at Your Door by Eva Eland (29 Jan 2019)

There aren’t enough quality books about emotional literacy, but this is one of them. The simple illustration style adds a fine dimension to this important story.

 

Who Wet My Pants? by Bob Shea, illustrated by Zachariah OHora (17 Sept 2019)

It’s hard to imagine anyone tackling the tough topic of wetting one’s pants, but leave it to the ever-​amusing Bob Shea to do exactly that. The clever, silly pictures really help make this a memorable read.  There’s still plenty here for younger readers to appreciate even if they miss the more sophisticated aspects of the humor in play.

 

Editor Interview: Carol Hinz (Millbrook Press & Lerner Publishing)

On By Only Picture BooksIn Editor Interviews5 Comments

OPB readers, friends, and fans, what better way to wrap up 2019 than getting to know Carol Hinz, Editorial Director of Millbrook Press and Carolrhoda Books at Lerner Publishing Group? Her Twitter bio gives a lot of extra insight into who she is and what she’s about: “Also knitter, baker, ballerina, and wrangler of two small humans.” Talk about some pithy bio data, right?

Since OPB is all about underpromising and overdelivering, here are three more Carol Facts to enjoy.

  1. First book publishing job was an internship at Graywolf Press.
  2. Favorite color? Blue (in all shades and hues).
  3. Most unusual airplane carry-​on item? She brought her figure skates to the NCTE conference in Baltimore at the end of November so she could skate at the rink that’s along the harbor. Carol says, “It was totally worth the effort—and all the funny looks I got when people at the conference found out I’d done it!”

With that, let’s get to the Qs and As!

RVC: You ran into a pre-​career crossroads in high school—science and English. We know which choice you made (obviously!), but what appealed to you so much about science?

CH: I’ve always been a curious person, and I think my science classes and my English classes fed my curiosity in different ways. With science, I loved finding out more about the ways the world—and the universe—works, and at least at the high school level, I liked that the questions I was grappling with had definitive answers. There’s something comforting about being able to follow a procedure or a certain line of thinking and come up with a consistent result.

RVC: An example of that scientific curiosity appears in the range of books you’ve edited, like The Vast Wonder of the World: Biologist Ernest Everett Just and If You Were the Moon, or Dazzle Ships: World War I and the Art of Confusion and One Plastic Bag: Isatou Ceesay and the Recycling Women of the Gambia. What’s an unexpected topic or two you’d love to deal with via a book at some point?

CH: I like to be surprised by books—whether that surprise comes from encountering a topic I was previously unfamiliar with or from encountering an innovative presentation of a familiar topic. And I think many reviewers, educators, parents, and kids (especially kids!) enjoy being surprised as well.

I’m not someone who has a running list of super specific topics I’m looking for, but here are some things that have been on my mind lately:

  • Books that incorporate antiracist concepts and work toward dismantling white supremacy in ways that are engaging and meaningful for children (and adults).
  • Books that present science topics other than biology. Kids in the typical picture book age range often love animals, but I’d love to see some innovative, kid-​friendly approaches to other areas, including technology, mathematics, and engineering.
  • This last one isn’t a specific topic, but I’m looking for BIPOC authors and authors from other marginalized backgrounds to write about all manner of topics. Particularly in nonfiction, the vast majority of authors are white, and I would love to see a greater diversity of voices and perspectives represented.

RVC: I share that BIPOC wish, as well, and I’m doing what I can here with my cadre of students at Ringling College of Art and Design’s Creative Writing program. (Watch for their manuscripts in about three years!)

But let’s talk directly about where you work. One of the things I like about Lerner is that they take the time to carefully brand their products via imprints. I think of Millbrook as being curriculum + engagement. With Carolrhoda, it’s more imagination + inspiration. 

CH: Yes, that’s a great way of putting it! I typically say that for Millbrook, I’m looking for books that present curricular concepts in playful or unusual ways. And in Carolrhoda, I’m looking for quirky humor and books that give children an opportunity to see the world (or themselves) in new ways.

RVC: One of the things I admire about your work as an editor is how you’re not afraid of going right after tough topics, as readers encounter in Can I Touch Your Hair? Poems of Race, Mistakes, and Friendship, and Sachiko: A Nagasaki Bomb Survivor’s Story, to name just two examples. How do you negotiate the balance between what readers NEED and what readers WANT? And while we’re at it, let’s add in the challenge of what parents, teachers, and librarians think, too, right?

CH: Thank you, Ryan. With the books you mention, a couple of key things were not rushing the editorial process and incorporating the feedback of other people—both colleagues at Lerner and expert readers. I don’t think any one person is going to have perfect instincts for how to handle a challenging topic on the first draft or on the first read through a manuscript. But having time to sit with it, to read other, relevant writing on the topic, and to get feedback from fellow editors or consultants is enormously helpful.

Beyond that, we also need to be humble—the authors and I are going to do our best, but all books, especially those that grapple with topics not traditionally covered in children’s books, will still be criticized. Not every reader is going to be looking for the same thing from a book on a given topic, and we have to be okay with that, whether or not we agree with the criticism.

RVC: While Can I Touch Your Hair? has received a lot of critical praise, some readers are uncomfortable with parts of it—most specifically the poem called “The N‑Bomb.” That’s a prime example of what we’re talking about here, isn’t it?

CH: Definitely. I think adults (particularly white adults) don’t give kids enough credit for what they can handle. This often comes out of a desire to protect kids from all the terrible things that are a part of our world. But we need to keep in mind that not all kids receive that protection, and we can’t control when a kid is going to first encounter something biased, racist, or hateful. To those adults who feel uncomfortable, I say: Isn’t it far better for a kid to encounter the N‑word (or some other “difficult” subject matter) for the first time in the pages of the book, when there’s time and space for a kid to think about it and talk with a trusted adult about it, rather than encountering it first in some other way when there might not be opportunity for thought and conversation?

For more, check out a blog post that Irene Latham, Charles Waters, and I wrote about this very topic.

RVC: Thanks for extending our conversation with the link to that informative post. Much appreciated!

Let’s move back into your work as an editor in general by asking a question few editors get asked. How do you measure success?

CH: Ultimately, success is a book reaching a young reader who appreciates it. And I want our books to get into the hands as many of those young readers as possible, which means connecting with the people who put books into kids’ hands—booksellers, educators, librarians, and parents.

RVC: How do you achieve such a thing?

CH: There are different routes to achieving this goal. It could be getting multiple starred reviews, winning one or more awards, getting on state reading lists, having an author who does a lot of school visits and events, or some other combination of things. Success isn’t always the moments we see on social media—and a whole lot of work and revision and doubt and hope go into every single book we make, with the goal of each book finding its own path to readers.

RVC: Since you brought up the idea of writers/​books finding a path to readers … a lot of writers come to OPB to gain insight into how to improve their chances of selling a picture book manuscript, and sometimes that means investigating the submission process itself as much as talking about issues of craft. So, let’s help them out. Plenty of editors encounter phrases and words in cover letters and queries that are an absolute turn off. Got any to warn writers away from using with you?

CH: Ultimately, I’m a lot more interested in the manuscript than I am in the cover letter or query. That said, I’m turned off by bashing an entire category or genre because an author thinks their work is better than all of it, comments that the author’s child/​neighbor/​grandchild loves the story (because I need people who don’t already know and love the author to also love the story), and an obvious lack of knowledge about a certain genre or category (e.g. a 3,000-word picture book).

RVC: Let’s go with one more writer-​friendly question. How has nonfiction changed over the years of your editing career, and what trends/​shifts might we expect in 2020 and beyond?

CH: Oooh, interesting question. There’s definitely more interest in STEM and STEAM topics and less interest in historical topics (unless the book is about a historical “hidden figure” of some sort). Animal life cycle books used to be a nonfiction staple, but I almost never see them anymore unless they have an innovative approach (such as My Awesome Summer by P. Mantis by Paul Meisel.)

The last few years I’ve been thinking a lot about the different categories of nonfiction, as described by Melissa Stewart. For picture books, I’m seeing lots of narrative nonfiction, some really great expository literature, and a small amount of traditional nonfiction. (For more about nonfiction categories, check out Melissa’s blog and read her School Library Journal article on the topic.)

I’m also seeing a lot of interesting approaches to blending nonfiction and fiction. For instance, Flower Talk: How Flowers Use Color to Communicate by Sara Levine, illustrated by Masha D’yans is narrated by a cantankerous cactus, but the information conveyed is all true. I realize books like this can pose a challenge for librarians—where to shelve them?—but I also expect to be seeing more in this vein.

Word counts remain higher than for fiction. With narrative nonfiction, I generally go for 1,000 or fewer words in the main text, though Dazzle Ship: World War I and the Art of Confusion by Chris Barton is about 1,400 words and Let ’Er Buck!: George Fletcher, the People’s Champion by Vaunda Micheaux Nelson is 1,500 words. Expository literature typically has a lower word count, though a book with multiple levels of text (such as those in Jess Keating’s World of Weird Animals series) may go higher.

Including back matter and providing sources has become increasingly essential, and I’m enjoying just what a wide range of elements authors are including in back matter. Different topics will necessarily be served by different back matter.

Incremental but important progress has been made in publishing picture books by and about BIPOC and people from other marginalized backgrounds (and those books being recognized with starred reviewed and awards), and it’s my belief that this is not a trend but rather part of a permanent, ongoing shift.

Overall, I believe it’s a great time to be making nonfiction. There’s so much room for creativity and experimentation in terms of both format and topic, and I am inspired by all the great nonfiction I’m seeing out there!

RVC: A few years back, you (delightfully) interviewed your own kids on the Lerner Books blog. I’d like to wrap up the first part of this interview with variations on three of the questions you asked them. Here we go. 

#1—What do you like best about being a mom who is a children’s book editor? 

CH: I love that what I do in my job has such a meaningful connection with being a parent: my experiences with my kids inform my work and my experiences with making books inform the way I raise my children. I also think that the act of reading picture books aloud is incredibly powerful, and doing so night after night after night can’t help but shape my understanding of how to make a great picture book.

RVC: #2—What’s your favorite picture book to have worked on?

CH: All of them! That’s a valid answer, right? Truly, I love the books we publish and feel so lucky to be able to work with such incredible authors and illustrators.

If I had to pick a picture book that has had particular meaning for both me and my kids this year, I would choose A Map into the World by Kao Kalia Yang, illustrated by Seo Kim. My 6‑year-​old son loves it [OPB Note: Carol was kind enough to provide a snapshot of her and the aforementioned son enjoying that very book!], and we’ve been reading it multiple times a week for months now. Although it’s a book I completely adore, I was surprised to see it have such staying power for him. This blog post shares more of the story behind the book and how it has led to some very meaningful connections for both of my kids.

RVC: #3—How many picture books have you read them in their lives?

CH: Oh, probably a couple thousand.

RVC: That’s a good answer, Carol, but it’s wrong. According to child #2, it’s 5,952. But you were close!

And now, we move on to the SPEED ROUND where the point values are doubled, and the answers will zing as fast as the answers zoom. READY?

CH: You betcha!

RVC: Best place in Minneapolis to get hot dish?

CH: Probably in a church basement or at someone’s home! Instead, I’d like to recommend the fantastic fry bread tacos at the Four Sisters Farmers Market. I went there on a day last fall when illustrator Marlena Myles was signing copies of Thanku: Poems of Gratitude with the Hennepin County library system, and there I discovered that books and fry bread tacos are a great combination! (Though you do need to be careful not to spill on your book…)

RVC: Favorite late-​night reading beverage?

CH: Water.

RVC: Who’d you most like to edit a picture book from? LeBron James, Kim Kardashian, or Ariana Grande? 

CH: Hahaha! Whichever one of them has spent the last 5+ years reading recently published picture books, drafting multiple manuscripts, and working with a critique group as they honed their writing skills—and would respect my editorial input. 😉

RVC: A Lerner picture book that’s totally awesome yet somehow underappreciated?

CH: Love, Agnes: Postcards from an Octopus by Irene Latham, illustrated by Thea Baker. It’s an innovative look at the giant Pacific Octopus life cycle as portrayed via a series of postcards exchanged by Agnes, various other sea creatures, and a boy on land. It’s clever and charming, whether you’re primarily interested in the storyline or in the octopus facts!

RVC: The coolest picture book of 2019 that wasn’t edited by someone named Carol is …

CH: Gah, this is so hard! I’m going to cheat and break this into a few categories.

For fiction, I’d have to say Home in the Woods by Eliza Wheeler. Every aspect is so well done, and the text, the illustrations, and the design work wonderfully together to create a cohesive whole. Both of my kids also love it!

For nonfiction, I’m going to go with The Undefeated by Kwame Alexander, illustrated by Kadir Nelson. When I first saw the book, I thought it was gorgeous but perhaps too sophisticated for a young audience. But when I brought it home and read it to my younger son, he was very engaged. While he and I had previously talked about race in different ways, we’d not talked much about systemic racism and the long history of racial injustice in the United States, and this book opened the door to some really powerful conversations.

For a science-​themed picture book, I’d say Moth: An Evolution Story by Isabel Thomas, illustrated by Daniel Egnéus. I’d been hearing good things about it and finally got it from the library. My 6‑year-​old son  and I both learned a lot! It is such a clear presentation of a complex idea, and the illustrations are fantastic as well.

RVC: Sum up your picture book philosophy in three words.

CH: Make me care.

(By which I mean that you the author start off invested in the story you’re telling or the topic you’re writing about. But your readers may not be invested in the same way, so you need to find a way to make me–and all readers–care about it.)

RVC: Thanks so much, Carol! This was a sincere pleasure.

 

Educational Activities: This Book Is Gray by Lindsay Ward

On By Only Picture BooksIn Educational Activities

This Book Is Gray
Author: Lindsay Ward
Illustrator: Lindsay Ward
Two Lions
1 December 2019
40 pages

Book description from Goodreads: “Gray just wants to be included. But the other colors are always leaving him out. So he decides to create his own project: an all-​gray book. Once upon a time, there lived a wolf, a kitten, and a hippo…

Gray just knows it’s going to be perfect. But as he adds page after page, the Primary and Secondary colors show up…and they aren’t quite so complimentary.

A book within a book, this colorful tale explores the ideas of fitting in, appreciating others, and looking at things from another perspective and also uses personality and wit to introduce basic color concepts.”

Need some reviews of This Book Is Gray?

Educational Activities inspired by Lindsay Ward’s This Book Is Gray:

  • Before Reading–From looking at the front and back cover: 
    • What do you think this book will be about?
    • Where and when does this story seem to take place?
    • What does the word “gray” make you think of?
    • What type of creature is on the front cover?
    • Why do the creatures on the back cover appear to be so happy?
    • If you could ask the author any question before you read the book, what would it be?
  • After Reading–Now that you’ve read the story: 
    • What were the most important events in the story?
    • How did you react when the colors arrived and wanted to take over Gray’s story?
    • Which of the verbal puns (like “sometimes we can be a little off-​color” etc.) did you most enjoy?
    • If the story had a sequel, what do you think it would be about?
  • Writing–Gray is an underdog character who rarely–if ever–gets to tell his own story his own way. What characters from other books would like the same chance to tell their stories? Select one and write that story. If you feel like drawing pictures to go with the story you’re writing, get some crayons or colored pencils and draw away! What type of story will your character tell? What challenges will they face, and how will they overcome them? Consider sharing the finished story with a friend or adult.
  • Interview–Sometimes the best way to get to know someone is interviewing them. If you interviewed Gray with the following questions, how might Gray respond? Consider inviting an adult or friend to either ask questions (or answer them) as they imagine Gray might. Feel free to add more questions of your own! 
    • What are your hobbies?
    • What makes you laugh?
    • What scares you?
    • What is your earliest memory?
    • What secret do you have?
    • What is your dream job?
  • Craft–With an adult’s help, try some of the following color-​themed crafts: 
  • Further Reading–This Book Is Gray is about a number of things, including the world of colors. Which of these other books about colors have you read? (Click on the book cover for more information on any of these titles!)

 

Author Interview: Carol Gordon Ekster

On By Only Picture BooksIn Author Interviews2 Comments

The final Author Interview of 2019 is with … Carol Gordon Ekster. Here are nine biographical bullet points to help you get to know her a bit better.

  1. Elementary school teacher for 35 years.
  2. Does yoga daily.
  3. As an adult, finally learned she loves dogs!
  4. Used to live in Brooklyn, right near the boardwalk and beach.
  5. Graduated from Boston University.
  6. Has a Master’s degree in reading and language.
  7. Married Mark, a high school pal.
  8. Has a daughter, Dara, who “continues to fascinate me and teach me new things all the time.”
  9. Belongs to five picture book critique groups.

With that, it’s time to interview away. Here we go!

RVC: Let’s start with a different question than I normally ask in these interviews. You’re more prolific on social media than many writers I encounter—witness 39k thousand tweets, for example! What’s your social media strategy? (And your secret for success, too, if you don’t mind sharing!)

CGE: Thanks for noticing, Ryan! I work hard to keep active on Twitter. I promote other #kidlit authors whenever I can. I share #amwriting content that I think is valuable. You don’t want to just promote your own books. That’s not how it works. But Twitter is my favorite social media platform for authors. When I can, I follow #PBchat nights. I learn from the agents, editors, and other authors and illustrators who are in the trenches of this children’s literature world. It’s all so interesting and informative. I keep up with others getting contracts, new books coming out, incredible resources and opportunities, etc. And I’ve done #PBpitch. It’s how I sold my fifth book. Last October when I participated, an editor liked my pitch, I sent in my manuscript and was offered a contract. You can read about my #PBpitch success here: http://www.pbpitch.com/book-dealssuccess-stories.html

Twitter is also a fun way to connect with readers and educators. As a retired teacher, I love connecting with educators who share a passion for books and use them consistently with their students. I also follow @nerdybookclub and nerdcamps (like @nErDcampVT and @nErDcampLI) on Twitter.

I limit my time on any social media as I don’t want to take too much time away from actual writing, but this is absolutely an important aspect of writing. It helps you build your platform, which is imperative if you want to get your name and books out there. Don’t forget though, I’m retired from teaching with no little ones around, so I have the time and opportunity to devote to my writing life.

RVC: How specifically did your years of teaching prepare you for this terrific second career?

CGE: Well, not only was my master’s degree in reading and language, but it seems that all the workshops and courses for recertification all throughout my career dealt with either writing or picture books. Though I never wanted to write myself (at the time), I did feel having writing workshops for my fourth graders was imperative to their education and growth as individuals. We didn’t write fiction. They wrote about what they knew. Each child left my class with a book of their writing from the year…something I know families cherished. Reading so many picture books throughout the year to support all aspects of my curriculum as well as social issues that arose, as well as helping children write, prepared me for becoming a children’s author.

When I started writing at the end of my career and sharing my work with students, it was a fantastic experience for them to see me go through the writing process. I loved hearing their feedback and I think it was invaluable for them to see how I worked to improve my writing through revision.  My background also helps me create follow-​up activities for my books as well as know how to interact with children in readings or school visits.

RVC: Your picture book career seemed to have officially begun on a beach in the summer of 2002. Talk about what happened, and what the process was in terms of moving from an idea to publication with that first book.

CGE: I took lots of courses and workshops on writing, but I never wanted to write. I found writing challenging. Then a few years before retiring, it’s like the universe aligned for me to have another career. I’m absolutely not the sitting around type, so this was a gift. Out of the clear blue, I walked off the beach on this particular day, went to get Post-​its and a pen from my car, and wrote my first picture book that day. It seriously felt like I had no control in this action. Writing happened to me. I never looked back and dug into the writing life. That first manuscript was didactic, too long, read more like a magazine article, and would never sell. I joined SCBWI and a critique group, and the stories kept coming. The 20th manuscript I wrote, Where Am I Sleeping Tonight?, was the first one to sell. Six years after that day on the beach, I held my first published book in my hand.

RVC: Listed among the bio tidbits above is the fact that you’re in five critique groups. How does that work for you? Do you run the same manuscript by each group?

CGE: I started in one group, but then so many people joined as we met in a public library. This meant that we had to open it to the public. I could no longer share my work every time we met. I started writing later in life, so I think that’s why I write so much, making up for lost time. I had so many manuscripts to share that I began to seek out other groups. I keep a spreadsheet of the manuscripts I bring to each group, and sometimes I do bring the same one to different groups, but I’m not consistent about that. I simply have too many stories!

RVC: You’re a long-​time member of SCBWI. What’s the #1 most useful thing that organization did for you? Why should aspiring picture book writers consider joining?

CGE: I honestly wouldn’t be published without SCBWI. My first two manuscripts were bought in response to my submitting to publishers who listed a call for submissions in the Bulletin. In addition, the professional support, conferences, resources, and opportunities for submission to editors, have helped me with my craft and my career. Aspiring picture book writers need to join SCBWI if they’re serious about this business. It’s essential.

RVC: From what I’ve read about you in other interviews, it sounds as if you’re playing a pretty big game in terms of submissions. What’s the ratio of how many books you’ve sold vs. how many manuscripts you’ve submitted? How do you keep the energy up? The organization/​record-​keeping?

CGE: Yes. I do submit quite a bit. Let’s just say at this point, I’ve collected close to 2,000 rejections from agents and publishers. If you want to do the math, I’ve sold five books, two magazine articles, and one e‑book. I used to have a paper sheet for each manuscript, but that became burdensome as I approached 100 manuscripts. I recently transferred that information to a Google document, which is much easier. I keep my energy up by believing in the process. For my newest acquisition, Some Daddies, which will be out in 2021, I saw the difference in what an agent previously said (“I like it. There aren’t enough daddy books”) to the response I got from the acquiring editor: “We love how this book celebrates the diversity of what it can look like to be a dad. This is so important for young kids who are starting to notice other children’s parents and compare them to their own, as well as how they develop their perception of healthy masculinity. This is a joyful book with a serious message—the type of book we would be proud to publish at Beaming Books.”

That’s what you want, an editor to love your manuscript. That’s what you’re waiting for.

RVC: What happens when you get a rejection? Do you have a standard response strategy?

CGE: I move on and think about where to send it next! I have to believe it’s just not the right publisher or agent.

(Okay, I feel a little badly, especially when I first send something out and have hope in my heart…but I get over it.)

RVC: While you’ve claimed that you don’t LOVE book promoting, you sure seem committed to doing a lot of it. What’s a book PR success story in your past?

CGE: I don’t love promoting, because it can be uncomfortable. I like the creative aspects, like thinking about who will be interested in knowing about this book. I enjoy offering advice to my writing buddies about where they might sell their books. I’m not sure how successful I’ve been, but I know that for my book on shared custody, I reached out to many divorce lawyers in my state who had resources on their website. And I recently noticed a five-​star review on Amazon that said, “I am a divorce attorney. I give this book out to clients who have children going through this. It is a great way for parents and children to have healthy conversations about their situation.”

In the past, I’ve had fun thinking outside the box. I contacted a few bakeries to sell Ruth the Sleuth and The Messy Room. The story begins and ends with chocolate chip cookies. Two bakeries took books on consignment. One owner told me many people read the book, but only a few buy it. I didn’t sell a lot of books. Sometimes it’s not about sales. I believe that you never know where one reading of a book may lead.

RVC: What’s the most important thing people should know or understand about being a traditionally published picture book author?

CGE: You’ll need patience, perseverance, and dedication. And you have to learn to accept this path with all its twists, turns, disappointments, expectations and joys. It’s not an easy path, but it IS an amazing journey. Learn to feel gratitude for being able to touch lives in this way and remember to enjoy the ride!

RVC: How do you keep a picture book from being too didactic, yet still have lessons in it? I’m especially thinking about Where Am I Sleeping Tonight? here.

CGE: Oh, goodness. I’m still a teacher at heart. A lot of my stories are too didactic. But I’m working on it. Where Am I Sleeping Tonight? (A Story of Divorce) is a bit lesson heavy (I deal with responsibility in this book as well as divorce), but it’s also heartfelt and helps children through this emotional and difficult situation. I know it makes them feel less alone.

RVC: Without giving away too much, what are you working on now?

CGE: I always work on a few things at once…and tackle whatever I’m moved to work on. It’s so wonderfully opposite my teaching life. No daily schedule. No ringing bells. I decide when and what I want to work on, which is mostly a mix of fiction stories, concept books, and some biographies.  There are 27 items in my “still revising” folder and another document with many ideas that I haven’t really developed yet. There…I didn’t give anything away!

RVC: Fair enough! It’s time to transition to THE LIGHTNING ROUND. Cheetah-​fast questions and race-​car-​quick answers, please! Ready?

CGE: Ready!

RVC: Favorite place to get a gift card for?

CGE: Starbucks or a bookstore.

RVC: Best delivery system for chocolate?

CGE: This will sound weird but I get it in my calcium…it’s dark chocolate, looks like candy, and is delicious!

RVC: What’s your secret talent?

CGE: Ooh…I wish I had one!

RVC: If your books were children, which one are you most proud of?

CGE: As long as the others didn’t find out…I’ll whisper to you that it’s probably Before I Sleep: I Say Thank You, because I believe teaching children gratitude can make for a happier society. And it went into its third printing in the first two years. (But I do have reasons why I love each one of my books. And now I feel guilty. You’re a very tough-question-askerer!)

RVC: An under-​appreciated but awesome picture book of the past year?

CGE: It’s so hard to pick just one. I read so many picture books every week. But I loved a recent book that I read. It’s beautifully written and a touching book: Small World by Ishta Mercurio, illustrated by Jen Corace.

RVC: Best compliment a student ever gave you?

CGE: A compliment that I always appreciated hearing was, “You make learning fun,” because I worked really hard to ensure students experienced the joy of learning.

RVC: Thanks so much, Carol!

 

Picture Book Review: A Crazy-​Much Love by Joy Jordan-Lake

On By Only Picture BooksIn Picture Book Reviews
Author: Joy Jordan-​Lake
Illustrator: Sonia Sánchez
Two Lions
17 Sept 2019
32 pages

This month’s PB review is by Ryan G. Van Cleave (Fan of All Things Crazy–especially Love–at Only Picture Books) and Ringling College of Art and Design Illustration Professor (and OPB superfriend) John Herzog.

–Ryan’s Review of the Writing–

I’ve got a soft spot in my picture-​book-​loving heart for stories that help children better understand what it is to be loved (like Sam McBratney’s Guess How Much I Love You, Robert Munsch’s Love You Forever, and Matt de la Peña’s Love, to name just a few of my favs), and A Crazy-​Much Love is in that same sweet spirit.

From the very first line–“You are the one, precious child–did you know?”–it’s clear that this story is from the point of view of eager, excited, and thankful parents who are telling their daughter exactly how she came to be part of their family. Not just any part, either, but a vital, important, and unique part, as seen in lines such as: “You were the one we hoped for, and prayed for, and piled up stuffed bears for.”

From first words to first steps to a first ride on a trike, the parents recount milestones with joy, compassion, and love. At times, though, the child asks questions that any child–adopted or not–might eventually wonder. “How much is the crazy-​much love?” and “How long does it last, the crazy-​much love?”

It’s a nice touch to have the child laugh when asking those tough questions because, as the story says and the parents know, “you already know.” Of course she does. There’s a sense of ritual to this family’s origin story that feels like the sort of thing they regularly tell, just as some kids love to flip through photo albums or request a favorite story over and over.

The answer to the child’s questions powerfully comes across via the smiling faces of the entire family in the art as well as in the powerful refrain “It was you” which, at the very end of the story, becomes “It is YOU.” It’s no surprise to learn that author Jordan-​Lake is drawing upon her own experience of adopting a child from China here because the emotions here feel honest and true.

This is a terrific addition to anyone’s bookshelves, whether they’re part of an adoptive family or not.

4.5 out of 5 pencils

–John’s Review of the Illustrations–

2019 has been a year marred by incessant bedlam. Every day, news organizations dish out an onslaught of stories that detail corrupt leadership, international conflict, wealth inequality, civil and equal rights violations, and so on and so on. Given all of this madness, how grateful I am to close out this year with a review of A Crazy-​Much Love, in which the only major conflict is a child sneaking their dog onto a school bus.

The story by Joy Jordan-​Lake is a simple yet effective one: Told from the perspective of an eager young couple, they adopt a child from another country and narrate the book, telling said child about their “crazy-​much love” for them. The book is a straightforward love letter from parent to child that most everyone can relate to, and (thankfully) strives to be nothing more.

Contrasting that simplicity are the wonderful illustrations by Sonia Sánchez. While they are on the messy side, they’re chock-​full of all-​too tangible expression and life. The compositions and colors start off fairly simple, then become more visually rich and complex after the child is brought home. I really enjoy how the “crazy-​much love” is first depicted as simple shapes and colors, then evolves into more complex shapes and colors as the child grows older. The character designs are also incredibly fun and relatable, with subtle nods to the likes of Quentin Blake and Mary Blair.

I must admit that A Crazy-​Much Love really struck a chord with me on a personal level, as I have some incredibly close friends who have adopted several children. It’s fantastic to see a book like this where their story, along with countless others, is represented. If anything, I’m thankful to end the year reviewing a book like this, which extols the virtues of love, patience, and compassion. We’re definitely going to need them as we head into a potentially turbulent 2020.

4.75 out of 5 crayons

John Herzog is an illustrator and educator. His clients include Hasbro, Dreamworks TV, Houghton Mifflin Harcourt, and Highlights for Children. He also teaches illustration classes at Ringling College of Art and Design. John is a member of the Society of Illustrators and SCBWI, and received the 2018 SCBWI Magazine Merit Award for his Highlights High Five cover illustration. He lives in Florida with his wife, two kids, a tarantula, a bearded dragon, and a fish.

He is represented by Shannon Associates.