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

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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)

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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!

Reading Activities: Mamiachi & Me, written by Jolene Gutiérrez and Dakota Gutiérrez, illustrated by Mirelle Ortega

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Mamiachi & Me: My Mami’s Mariachi Band
Author: Jolene Gutiérrez and Dakota Gutiérrez
Illustrator: Mirelle Ortega
7 January 2025
Harry N. Abrams
40 pages

Book description from Goodreads: “Today’s the day! Rosa will take the stage next to her mami and play along with her popular mariachi band. But as they fasten the shiny botonaduras and tie the moños on their charra suits, Rosa begins to worry. What if the audience doesn’t like her? Is she ready to perform?

With her ‘mamiachi’ and madrinas by her side, Rosa’s stage fright is soothed away by the sound of trumpets, guitars, and violins. Centering on the power of sisterhood, community, and music, the warm and lively text by mother-​and-​son writing duo Jolene and Dakota Gutiérrez—joined by Mirelle Ortega’s beautiful illustrations—provides a unique perspective to the male-​dominated world of mariachi. Back matter includes additional context on the history of the beloved Mexican tradition and the rise of all-​female mariachi groups, as well as a glossary, a bibliography, further reading, and a fun, detailed look at a mariachi’s signature charro suit!”

Need some reviews ofMamiachi & Me: My Mami’s Mariachi Band?

As a bonus, here’s a podcast interview about this book (from The Growing Readers) with the author.

 

Reading Activities inspired by Mamiachi & Me: My Mami’s Mariachi Band:

  • Before Reading–From looking at the front cover: 
    • What do you think this book might be about based on the title and images?
    • What do you notice about the characters’ outfits? Why might they be wearing matching clothes?
    • What emotions do the characters seem to be feeling? How do their expressions and body language show this?
    • Have you ever heard mariachi music before? If so, where? If not, what do you think it sounds like?
    • What does it mean to be part of a band? How do musicians work together?
    • Have you ever performed in front of a group of people? How did it make you feel?
    • What questions would you like to ask the authors before reading the book?
  • After Reading–Now that you’ve read the story: 
    • How did Rosa feel before her performance? How did she feel afterward? What helped her gain confidence?
    • How did Rosa’s mother and madrinas support her throughout the story?
    • What role does mariachi music play in Rosa’s family and community? How does the audience react?
    • What was your favorite part of the book? Why?
    • What do you think Rosa learned from her first performance?
    • How do the illustrations help tell the story? What details stood out to you?
    • What is something new you learned about mariachi music? Did anything surprise you?
    • If you could ask Rosa a question about her experience, what would you ask her?
    • Would you recommend this book to a friend? What would you tell them about first?
  • Design Your Own Mariachi Suit: Mariachi musicians wear special suits called trajes de charro, decorated with embroidery, buttons, and bold colors. Look at pictures of real mariachi outfits, then design your own! Draw a suit and color it with the designs and patterns you would want if you were a mariachi. What colors will you use? What symbols or decorations would make it special to you?
  • Make a Mariachi Instrument: Mariachi bands include violins, trumpets, guitars, and a special large bass called a guitarrón. Choose one of these instruments and make your own version using recycled materials! Use rubber bands over a shoebox for a guitar, fill a plastic bottle with rice for maracas, or use an empty oatmeal container as a drum. Play along to a mariachi song and feel the rhythm!
  • Confidence Booster Pep Talk: Just like Rosa, many people feel nervous before they perform. Think of a time when you were nervous about trying something new. Write or draw a pep talk that someone could give to help you feel confident. Then, practice saying it out loud to yourself or a friend. You can even write a short letter to Rosa, encouraging her before her next performance!
  • Create a Concert Poster for Rosa’s Band: Imagine Rosa’s mariachi band is performing a big show! Design a colorful concert poster to advertise their performance. What will the band name be? What date and time is the concert? What will the audience see and hear? Include drawings of instruments, music notes, and the musicians in their mariachi suits!
  • Mariachi Music Listening and Dance Party: Find a mariachi song online and listen closely. What instruments do you hear? What emotions do the music and singing make you feel? Now, stand up and move to the rhythm! Try clapping along or making up a dance that matches the energy of the song. If you have friends or family with you, dance together and create your own mini celebration!
  • Explore the History of Women in Mariachi: At the end of the book, you’ll find real stories about female mariachi musicians. Choose one of the musicians mentioned and research her story. What challenges did she face? What impact did she have on mariachi music? Create a short report, poster, or presentation about what you learned and share it with a friend or class.
  • Books, Books, and More Books!: Check out these real-​world picture books about music and performing:

This inspiring picture book tells the story of a young girl who, with guidance from her mentor, overcomes self-​doubt to achieve her dreams in ballet. The story emphasizes the importance of dedication and self-​belief in the performing arts.

This autobiographical picture book tells the inspiring story of Troy “Trombone Shorty” Andrews, who grew up in New Orleans with a passion for music. Despite challenges, his determination and love for the trombone led him to become a renowned musician, showcasing the rich cultural heritage of his hometown.

 

A nostalgic tale where a grandfather reminisces about his vaudeville days, entertaining his grandchildren with tap dancing and songs. The story highlights the joy of performing and the special bond between generations.

 

 

Inspired by a true story, this book follows a young girl in Cuba who dreams of playing the drums, despite societal norms. Her perseverance and passion lead her to break barriers, emphasizing the importance of following one’s dreams.

 

 

 

This biography introduces readers to Juan García Esquivel, a Mexican musician who pioneered a unique style of music in the 1950s. The book celebrates his innovative spirit and contributions to the world of sound.

 

Author Interview: Lisa Rogers

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This month on the OPB Author-​Illustrator Interview Series, we’re delighted to feature Lisa Rogers—a former elementary school librarian turned award-​winning author! Lisa’s picture books, including 16 Words: William Carlos Williams and “The Red Wheelbarrow” and Beautiful Noise: The Music of John Cage, celebrate fascinating historical figures and creative expression. Her work has garnered starred reviews, prestigious awards, and recognition for its engaging storytelling and lyrical writing.

Lisa’s path to children’s literature was inspired by her career as a librarian, where she discovered her love for sharing stories with young readers. When she’s not crafting her next picture book, Lisa enjoys running, kayaking, and spending time with her loud and lovable hound. Join us as we explore her creative journey, the stories behind her books, and what’s next on the horizon!

RVC: Where did you grow up, and what role did books or libraries play in your childhood?

LR: I grew up in a tiny town on the Jersey shore. It had a little library above an old building that housed the police station. There was a turned staircase, and at the top of the landing, perched on a shelf in front of a stained-​glass window, was a full set of Beatrix Potter’s books. It seemed like the most magical place in the world.

RVC: It sure sounds like it!

LR: I learned to read at a young age, and that’s pretty much all I did. As there were no bookstores nearby, I relied on the library and the books we had at home. Besides encyclopedias, I read poetry, fairytales and folktales—Italo Calvino’s Italian tales, tales from Japan and West Africa, The Thousand and One Nights, and the art, poetry, and biography volumes of Childcraft, which was a multi-​volume resource for kids. I had some Golden Books and can still recite Margaret Wise Brown’s Home for a Bunny. Garth Williams’ endearing illustrations made me love animals.

RVC: Being both a librarian and a children’s author gives you a unique perspective. How did your time curating books for children influence the kinds of stories you wanted to write yourself?

LR: Choosing, sharing, and reading thousands of books aloud was a joy and the absolute best training for a writer. I got to choose the best books I could find! It was my job to read as many as I could! I could pick books I knew students would love (pangolins, please)!

RVC: Yes, pangolins. Plus penguins. And other awesome animals that start with p!

LR: When I started the job, the biography section was dated and abysmal, full of chapter books with invented dialogue. Then talented writers like Jen Bryant and Candace Fleming began making beautiful picture book biographies. I fell in love with them. I tried to write other types of stories, but it now seems natural that my debut, 16 Words, was a picture book biography.

RVC: I’m not at all surprised, either! We’ll come back to this book in a moment. What’s the most common misconception about being a librarian?

LR: We’ve come a long way from the wire-​rimmed glasses-​wearing, hair-​in-​a-​bun, finger-​to-​the-​lips stereotype, but when people ask “Do you still teach the Dewey Decimal System?” as if that’s what being a library teacher is all about, I can’t help but sigh. Sure, each library has its system of organization that students need to learn, but no one’s teaching them to memorize decimals. At least I hope not!

But most folks don’t know what a library teacher does. So I guess Dewey is the go-to.

RVC: After more than two decades as a librarian, what inspired you to take the leap from curating stories to creating your own? 

LR: I had long wanted to be an author, but I needed to earn a living. My first career was as a news reporter; I only fell in love with children’s books when I became a library teacher. I got up the courage to take an SCBWI workshop on writing for children. I started a blog narrated by my hound dog (whose daily Plops o’ Doom inspired Hound Won’t Go), formed a critique group, wrote lots of terrible stories, and became part of the vibrant group of children’s writers in the Boston area.

RVC: Let’s jump to your debut picture book, which celebrates William Carlos Williams and “The Red Wheelbarrow.” What drew you to his poetry?

LR: I’d known “The Red Wheelbarrow” poem since I was a child, so Williams’ imagist style of writing must have imprinted itself on me in some way. That’s similar to the type of poetry I write. I’m an observer, and as a kid spent a lot of time sketching and thinking about whatever was around me. I still do. I love lots of different kinds of poetry, but the ones that leave a lot of space for pondering are my favorites.

RVC: Beautiful Noise is such a unique subject for a picture book. What drew you to John Cage’s work, and how did you make his experimental music accessible to young readers?

LR: I was a noticing and listening child. Growing up at the beach, I paid attention to the sounds of the waves whacking the shore and shushing back and seagulls and constant wind and radios tuned to the Yankee game and lifeguard whistles and kids shouting over it all —all of that. I distinctly remember listening for silence and realized, like Cage, that there was no such thing.

RVC: The best poets and picture book makers learn how to really pay attention, so it’s no shocker that they notice things like this.

LR: I knew about Cage’s “silent” piece, 4’33,”and was intrigued when I saw a photo of Cage listening to a miked cactus as he ran a feather on its spines. But I got caught up in the many fascinating details of his life and work. I pared down the manuscript, added lots of onomatopoeia, narrowed it to just 4’33,” and then, feeling like I couldn’t do Cage’s genius justice, set it aside.

I’d never written in second person before, but a while later, without even thinking about it, that’s how it came out—scribbled on a notepad in one go. It wasn’t a conscious decision, but it turned out to be absolutely the right way to introduce him to children. It’s fun to read aloud and kids immediately catch on to the refrain which makes it even more fun.

RVC: Can you tell us more about the process of researching Beautiful Noise and how you captured John Cage’s creative spirit?

LR: I listened to his music, watched video, went to performances, consulted with composers and scholars, researched newspaper accounts and any book or article I could find, contacted the John Cage Trust to be sure the manuscript was accurate, but with all of that, there was so much compelling material that it got in the way of capturing his spirit. It took stepping away for me to really understand how to do that. It’s still rather mysterious to me. I recommend letting the subconscious take over.

RVC: You’re known for your meticulous research process. What are some surprising discoveries you’ve made while researching your picture book biographies?

LR: Wow, thanks for that great compliment! I found it surprising that my subjects’ lives connected with each other.

Joan Mitchell knew William Carlos Williams through Mitchell’s mother, who was an editor of Poetry magazine; he and poets Edna St. Vincent Millay and Carl Sandburg visited her Chicago home. Cage and Williams knew each other, as did Mitchell and Cage.

RVC: Wow!

LR: Joan Mitchell’s work often was compared to that of Claude Monet, and her home in Vétheuil, France, overlooked a house where Monet once lived. She purported to not appreciate the comparison, but I wonder what she really thought.

RVC: You’ve written both nonfiction and rhyming picture books. How does your process differ between the two?

LR: The same process works best for both–a strong emotion evokes an idea, and I turn that idea around in my mind for a while before I put anything on the page. Then I write words using a soft lead pencil on (preferably) unlined paper and don’t look at it for a while.

RVC: Let’s talk agents. You’re represented by Erzsi Deak at Hen & Ink Literary. How did you find her, and what makes your partnership work so well?

LR: I sent the bones of 16 Words to Erzsi through a submission opportunity provided by the 12 x 12 Writing Challenge. The manuscript was truly that—bones–but she saw something in it and encouraged me to add on a bit more; which apparently succeeded! It really has been a great partnership. I can rely on her to let me know if something isn’t working, and she’ll respect my decision to pull back on a submission if I think it needs revising. I’m so lucky to be agented by someone who gets me, who’s open and honest and smart and believes in me. Plus, she’s fun. She’s the best.

RVC: You mentioned SCBWI before, but I want to circle back. How has being part of communities like this (and The Writers’ Loft) helped you grow as a writer?

LR: They’ve meant everything to my growth–workshops, support, critiques, and most of all, encouragement. The New England SCBWI conference launched me into this kidlit world (this year’s is in Stamford, CT, in May—be there if you can!). I remember a Loft get-​together where I shared that I’d received a champagne rejection and everyone urged me to not give up, so I didn’t. Kidlit writers are such generous people!

RVC: And in the spirit of that generosity…if you could give one piece of advice to your younger self when you were just starting out as a writer, what would it be?

LR: Don’t let fear and self-​doubt in the way of trying to reach your goal. And don’t take so darn long to realize that!

RVC: What’s been your proudest moment as a children’s author so far?

LR: When I found out that 16 Words was going to be reviewed in The New York Times Book Review. My husband proposed to me over The Times—yep, he actually stopped reading and got down on one knee— and the book review is the first section I read on Sundays. I never, ever dreamed that a book I wrote would appear there. Nina Crews wrote the review, and when I saw her at the 2024 Chappaqua Children’s Book Festival, I immediately ran over to thank her for that fabulous, unforgettable moment. It was unbelievably special.

RVC: What can I say but “Wow!” again. But here’s one last question for this part of the interview. What’s coming up next for you? Any new books or exciting projects you can share?

cover.jpegLR: Absolutely! It’s kind of a big year! I’m really excited about two upcoming picture books: Joan Mitchell Paints a Symphony, about the abstract artist’s creative process, gorgeously illustrated by Stacy Innerst, and out in just a couple of weeks!

RVC: Congrats!

LR: Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, illustrated by Susan Reagan, is coming out in September. Rawls’ life story is amazing, and Susan knows how to illustrate hounds, that’s for sure. It’s a beautiful book!

And I’m so honored that my poem, “If I Could Choose a Best Day,” was chosen for Irene Latham and Charles Waters’ anthology. If that wasn’t enough, they picked my poem’s title as the book title! That will be out in March and, with its lovely collages by Olivia Sua, it is a wonderful gift for any child.

RVC: It’s time for The Speed Round, Lisa. We’re going with ziptastically fast questions and zapalicious-​quick answers. Are you prepared for this challenge?

LR: Ryan, except when running, often pulled by my dog, I am not speedy, but I’ll try.

RVC: Favorite snack to fuel a writing session?

LR: No crumbs on the laptop! A tall cup of Harney Hot Cinnamon Spice tea to sip while pondering the birds at the feeder.

RVC: Which children’s book character would you want to spend a day with?

LR: Pooh. Or maybe Eeyore. I’d like to cheer him up. But probably not for a whole day.

RVC: Tucker (your rescue dog) gets to pick your next book subject—what do you think he’d choose?

LR: The science of sniffing. Or howling. The value of a good long nap. His untold backstory.

RVC: Your all-​time favorite library memory.

LR: Whoa! Pulling out one memory in 20 years of teaching amazing kids is so not possible…but here are a few:

  • When a first-​grader asked for a book on fusion, and I had one that they could read.
  • The day everyone, it seemed, left their baby teeth on the story rug.
  • When a student asked me if one of my colleagues was my dad.
  • The first grader who led book club discussions after library class.
  • Any time kids came in excited to be there and left happy.

You really didn’t expect just one memory, right?

RVC: What’s an underappreciated picture book you recommend to kid readers?

LR: Trick question! Any book can be underappreciated unless you take time to study its genius. Kids know how to do that; it’s adults who don’t always remember.

RVC: What legacy do you hope your books leave behind for readers?

LR: I hope they’ll feel that they have something special to share that the world needs and will appreciate—that their unique selves have worth beyond measure.

RVC: Thanks so much, Lisa!

Picture Book Review: Ramon Fellini the Dog Detective, by Guilherme Karsten

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Ramon Fellini the Cat Dog Detective
Author: Guilherme Karsten
Illustrator: Guilherme Karsten
Eerdmans Books for Young Readers
11 February 2025
44 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and author-​illustrator Bonnie Kelso, a good friend of the OPB family.

Ryan’s Review of the Writing

A quiet night. A sudden crash. A beloved pet fish lying helpless outside its shattered bowl. Who’s responsible for this crime? Enter Ramon Fellini, self-​proclaimed dog detective—who, let’s be honest, looks an awful lot like a cat. But he insists he’s a “Master of Disguise,” and with his impeccable costume (his words), he’s on the case.

From the jump, Karsten sets up a wonderfully absurd premise: a detective who’s clearly not what he claims to be, conducting an investigation that makes less and less sense the longer it goes on. The narrator—a well-​meaning but gullible child—takes everything Fellini says at face value, while readers can see the truth hiding in plain sight. That contrast between what’s said and what’s actually happening is where the humor really shines.

The dialogue is quick and punchy, giving Fellini the dramatic flair of a hardboiled detective…if that detective was deeply self-​serving and hilariously bad at his job. His interrogation technique? Mostly asking whether there are any other fish in the house. His crime scene investigation? A lot of suspicious sniffing. His big revelation? Well, let’s just say it’s not one the narrator sees coming, even if the rest of us do.

Karsten’s text is simple but sharp, relying on repetition, wordplay, and well-​timed reveals to land the jokes. Younger kids will enjoy the silliness of Fellini’s disguise and antics, while older readers will catch the slyer humor—the way he keeps almost admitting his guilt, the ridiculousness of his “expert” detective work, and the deadpan way the narrator takes it all in. It’s a book that rewards close attention, since so much of the story is in what’s not being said.

The ending? Let’s just say it’s darkly funny in the best way. The narrator still believes Fellini is a top-​notch detective, while everyone else (including the reader) knows better. It’s a satisfying, if slightly twisted, conclusion to a mystery that was never really a mystery at all.

If you’re a fan of Jon Klassen’s Hat books—where characters insist on their own version of events despite evidence to the contrary—this one might hit the same sweet spot.

If there’s one small place where the book doesn’t quite stick the landing, it’s that the story leans more on humor than tension. While kids will love spotting Fellini’s obvious deception, the “mystery” itself is played for laughs rather than building any real suspense. A touch more intrigue before the big reveal could have made the payoff even sharper.

Ramon Fellini the Dog Detective is an offbeat take on the detective genre, perfect for young readers who enjoy a bit of irony and a lot of laughs. It’s the kind of book where kids will shout “Wait a minute!” long before the narrator catches on, and that’s exactly what makes it fun.

4.25 out of 5 trench coats 🕵️🕵️🕵️🕵️

Bonnie’s Review of the Illustrations

Guilherme Karsten’s illustrations in film noir style is just enough to evoke mystery and drama without being utterly terrifying for young readers.

**Spoiler alert: this is a story about a murderer who cleverly covers his tracks with some smooth talking.**

The cover art introduces long shadows, which are used throughout to build tension and direct your eye toward particular clues. I especially enjoy the use of patterns throughout which bring texture and quirkiness to the scenes. The spread featuring Ramon’s adorable evidence board is a good example of how shadows can bring depth to an otherwise flat (2‑D) illustration style. The limited color palette works well, incorporating enough darkness to set the mood, but leaving a few pops of color to exaggerate clues and the sweet naïveté of the child character.

One criticism of the art is that there are two onomatopoeia pieces of type in the beginning and I would have liked to see more consistency in the type treatment there. Also, there isn’t any more of this throughout the book and I think the story could have benefited from a few more sounds called out. Perhaps a “slurp” as Ramon licks the pitcher containing our goldfish victim, or a “rattle, rattle” as Ramon peers through the horizontal blinds.

Ramon’s gestures throughout are perfectly composed, emphasizing his confidence and mischievous personality. The goldfish is also quite expressive, and I am grateful that we were spared seeing his ultimate demise. The excitement of the neighborhood cats was just enough to confirm the goldfish’s fate. Ultimately, I enjoyed the book and think it would be a fun read for a less sensitive child.

4.75 out of 5 cat whiskers 🐱🐱🐱🐱

Bonnie Kelso has always been a fan of dogs, cats and fish. Her upcoming release Dexter the Stand-​Up Dog is available for pre-​order now. It is the inspiring true story of the internet celebrity canine who taught himself how to walk upright after losing a leg in an accident. Co-​written by Kentee Pasek, Dexter’s owner, you can see the real Dexter on Instagram @DexterDogOuray.

A graduate of the Rhode Island School of Design, Bonnie’s past experience in art spans a spectrum, from abstract painting on canvas to museum-​quality exhibit design. She has worked with clients such as the Smithsonian, National Geographic, and NASA.

She lives in Las Vegas with her partner, two sons, a Boston Terrier, and an unruly cat. To learn more about Bonnie’s work, please visit www.BonnieKelso.com.

Agent Interview: Sam Farkas (Jill Grinberg Literary Management)

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Welcome to Sam Farkas, a literary agent at Jill Grinberg Literary Management who helps bring innovative and impactful picture books to life. With a background in publishing that includes subsidiary rights at Penguin and extensive experience connecting authors and illustrators with global audiences, Sam is passionate about championing stories that captivate young readers.

Her tastes lean toward picture books with kid-​friendly texts that beg to be read aloud, out-​of-​the-​box nonfiction, and books that celebrate our multicultural world. Recent sales like Eight-​Nine-​Tengineers and Floor It! showcase her knack for finding stories that combine heart, creativity, and meaningful messages. In this interview, Sam shares insights into the world of picture book publishing, what she looks for in submissions, and how she supports creators in crafting unforgettable books.

Learn more about Sam here:

RVC: When you were a kid, was it obvious you’d end up in a book-​related career?

SF: In hindsight, yes. I was always reading and writing. Then, as a teen, I spent a lot of time reading publishing blogs (mostly written by agents) because I found the industry so fascinating, but I viewed it more through the lens of wanting to be an author. At that time, I was very against the idea of living in New York City (how that has changed!), so I didn’t think publishing would be open to me. It wasn’t until college that I seriously considered it as a career path.

College of William & Mary – Logos DownloadRVC: Let’s talk about college then. You attended William & Mary as an undergraduate. What did you study there, and how has it shaped your approach to agenting?

SF: When I went to college, I thought I was going to be an archaeologist. I loved history, and I had a very romanticized view of the archaeology field. However, after a semester cleaning potsherds with a toothbrush, I decided that it was not for me, so I abandoned those courses and declared myself a double major in English and History. That said, I still sometimes view my work as an agent through an archaeological lens, especially when I’m digging through the slush. The thrill of discovery. Putting pieces together to unearth a great story. Polishing things up until they shine (with an edit letter, not a toothbrush).

RVC: That’s a lovely way of thinking about it. Now, you worked at Barnes & Noble for a while after college. How useful was that for your future career in the publishing industry?

SF: Very! When I was first interviewing for publishing jobs in 2015, that was the piece of my resume that the hiring managers asked about the most. As a student, it’s easy to get lost in the books you have to read for coursework; working at Barnes & Noble reminded me what’s being published and selling now. (Also, I met my husband while working there, so it was a very influential time in my life!)

RVC: Bonus score! Eventually, you worked directly in publishing as a rights coördinator. How did that prepare you for agenting?

SF: There is a lot of crossover, as both are all about selling rights. The main difference is that as an agent you’re also doing editorial work and managing an author’s career. It’s more overarching. But my time as a rights coördinator taught me how to pitch, how to negotiate deals, how to do a contract, what different markets look like and what we can expect from them.

RVC: What’s a common misconception about book rights?

SF: A lot of new writers don’t think about subrights at all. Or they think that rights sales are a given, when in fact there are a lot of factors that affect how and whether a book sells subrights. A rhyming picture book, for example, is going to have trouble in the translation market—translating rhyme is hard!

Another example: preferences in art style vary dramatically territory-​by-​territory, so what works here doesn’t necessarily work overseas. I’ve sat in many a meeting where I’ve been told, “This will never work for France!” (French editors, if you’re reading, I think you’re great!)

RVC: How has your love for travel and global cultures influenced the way you think about the picture book market?

SF: This isn’t specific to picture books, but I’m often thinking about what makes books appealing to foreign markets—it’s more complicated than whether something is a great book. It can be the length (shorter is better, as translation adds to the page count), details in the art (yellow school buses? Too American), even the genre itself (horror is not nearly as popular overseas as it is here). While it doesn’t affect whether I offer on something, I get really excited when I see a lot of translation potential. It’s special to see a book resonate with readers around the world.

RVC: What’s the most important lesson you’ve learned since joining JGLM in 2018?

SF: Oh, I have to pick just one? I’m going to cheat and pick two.

RVC: Go for it!

SF: 1) Trust your gut. It’s usually correct.

2) It’s okay to be the bearer of bad news. It’s no secret that there are a lot of things in publishing that are very difficult, whether that’s books dying on submission or lackluster marketing support. It’s tempting to try to sugarcoat it, but that helps no one—we have to be honest with our authors and support them as best we can.

RVC: What’s the story behind the first picture book you sold as agent?

SF: The first book I sold as an agent was Charlotte Gunnufson’s Dream Submarine. I had admired Charlotte’s work from my Penguin days—I was there when her book Prince & Pirate published—so I was really excited to represent her.

Dream Submarine is a beautifully multifaceted bedtime book about the ocean at night, and it sold to Candlewick pretty quickly once we took it out on submission.

RVC: The biggest lesson that book taught you was…

SF: Trust your gut! We discussed a lot of projects before deciding which to take out on submission, and there were many strong contenders, but this one felt right. Sometimes, you can’t put into words why one project feels more right than the others, but listen to your instincts.

RVC: In your opinion, what makes a great counting book, like Eight-​Nine-​Tengineers, or other concept-​driven picture books?

SF: It has work on multiple levels. It’s not enough to just be a counting book, or a colors book, or an ABC book—it has to do something else, too, such as tell a great story or bring in additional educational content. Charlotte Gunnufson’s Eight-​Nine-​Tengineers is a counting book, but it’s also a kid-​friendly introduction to environmental engineering, showing how we can work together to build a greener planet.

RVC: When assessing a manuscript, what’s the first thing that makes you think, “Now THIS is something I need to represent”?

SF: I can’t stop thinking about it. When I read a picture book manuscript, I usually know right away if it’s a “no,” but if it’s not a quick “no,” then it goes in my “take a closer look” pile. Occasionally, I will forget about it there, and then that tells me that it wasn’t a good fit and I let it go; but if I keep opening that manuscript, read it multiple times, and can’t let it go, then that’s a sign that I want to work on it.

RVC: How do you support your clients during the submission process, especially when navigating feedback or rejections?

SF: I let the author take the lead in how they’d like me to handle feedback or rejections. Every author is different: some want to hear every bit of news, some only want the highlights, others don’t want to hear a peep until it’s a “yes.” I trust my clients to know what’s best for their mental health, and I’ll work to accommodate that so they can focus on the writing.

RVC: I’m sure authors appreciate your flexibility there.

SF: If we get a pattern of feedback in the passes—multiple editors saying the same thing—then we’ll pause and see if we might be able to address it before taking the book out on submission again. Or if there’s no specific editorial feedback, but the book just isn’t hitting for whatever reason, sometimes we’ll pull it and move on to a different text. The nice thing about picture book writers is they tend to be prolific—if something isn’t working on submission, there’s always a new project waiting in the wings.

RVC: What advice would you give to creators choosing comp titles for their picture book manuscripts?

SF: Choose books that published within the last 5–7 years. Choose books that have done well, but try to avoid mega-​hits, as those tend to be outliers.

RVC: In your “wish list” online, you’ve mentioned a love for out-​of-​the-​box nonfiction. What kinds of nonfiction picture books are you hoping to see in your inbox?

SF: Ah, tricky! I don’t really know until I see it, but I do know that I’m burnt out on picture book biographies. I love picture book bios, but I’ve struggled to sell them, so I’m hesitant to take them on.

RVC: Brag time! What new projects are you most excited about?

SF: I’m really excited for Bex Tobin Fine’s Floor It!, illustrated by Federico Fabiani. It takes a simple conceit—a baby’s crawl across the floor—and turns it into a fun-​filled racecar-​themed adventure. Coming from Random House Children’s Books in Fall 2025!

RVC: Sounds like some high-​octacte fun.

SF: Charlotte Gunnufson’s Hard Hat Hank and the Sky-​High Solution, illustrated by Brian Biggs, is releasing in February on the inaugural Disney Planet Possible list, and it’s a very kid-​friendly construction book with a focus on eco-​friendly building.

And I just welcomed a new client who has a gorgeous literary text that I can’t wait to take on submission.

RVC: Thanks for the updates, Sam. But prepare yourself because it’s now time for the Speed Round. Rocket-​fast questions and racecar-​quick answers. Ready?

SF: Ready!

RVC: Your go-​to snack when reading submissions?

SF: Black licorice.

RVC: If animals could talk, which animal would be the most annoying?

SF: My cat, Paprika, who can already be the most annoying. I shudder to think what she’d say if she could talk. It probably wouldn’t be very nice.

RVC: What’s one thing you couldn’t do your job without?

SF: My awesome colleagues. The women at JGLM are absolute stars—so helpful, and wise, and kind.

RVC: What’s one word every picture book needs?

SF: “The” (although I imagine there are picture books without it!)

RVC: Last picture book that truly made you LOL?

SF: I Quit! by Kristen Tracy, illustrated by Federico Fabiani—the illustration of the cat sticking her face through a loaf of bread makes me laugh every time!

RVC: Your picture book philosophy (or agenting philosophy) in 3 words?

SF: Trust your gut!

RVC: Thanks so much, Sam!