Author: Only Picture Books

Picture Book Review: Giants Are Very Brave People by Florence Parry Heide (illustrated by Merrill Rainey)

On By Only Picture BooksIn Picture Book Reviews1 Comment

Holiday House
1 August 2023
32 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and freelance illustrator Edna Cabcabin Moran.

–Ryan’s Review of the Writing–

While I was familiar with Florence Parry Heide (1919–2011), the author of over 100 children’s books, I initially didn’t realize that this was a new edition of a 50-​year-​old work. Realizing that situation now actually answers some of my questions about the book, which are likely a result of audiences being so different a half century ago.

Back to the book, though.…

This is the story of a blue-​skinned child named Bigelow. To put it plainly, he’s absolutely a total scaredy-catkid. The clouds could fall on him, after all. And alphabet soup could spell out a magic word that kapoofs him into a mushroom. And rain? Well, of course he’s afraid of rain. Because he might melt.

One day, he goes out for a walk and encounters a very small woman (Mrs. Pimberly) who’s afraid of him because to her, he’s huge. She suggests that he might be less afraid if he acted a bit more fierce–perhaps by giving “a giant short of shout” such as FEE FI FO FUM. While it seems as if Bigelow is the first giant she’s encountered, she says that all giants know that phrase.

Bigelow practices the shout repeatedly while Mrs. Pimberly brews some tea. When she comes out with the tea, Bigelow is LOUD, to which she says, “You certainly scared me. That’s a very good shout. I’m sure it will make you feel much, much braver.”

All that shouting made him hungry, so Mrs. Pimberly makes him a mountain of pancakes (large to her, small to him). After he’s had the tiny snack, he offers to take her home with him, but she declines, saying that she has never traveled or had many experiences. “I’ve never even been on a train,” she says.

Back at home, Bigelow uses FEE FI FO FUM to deal with two of his fears–alphabet soup and bathtime. Maybe acting brave does help someone feel a little braver after all! The kid giant returns the favor to Mrs. Pimberly by bringing her his toy train, which allows her to ride “round and round and round the track.” While it’s unclear how riding a toy train equates to exploring the world, Mrs. Pimberly appears genuinely thrilled with the experience.

Ultimately, I have questions about the story. While children are likely to love shouting FEE FI FO FUM with Bigelow, will they feel less excited that an adult solved/​helped solve Bigelow’s problem (being afraid)? Most contemporary picture books give far more agency to kids in stories. I also wonder how a child who is afraid of everything manages to summon courage to go on long walks away from the safety from home.

Yet Rainey’s graphite pencil and digital illustrations are quite charming, as Edna will explain below. I’ve already mentioned the read-​aloud-​ability of parts of this book, and I’m also charmed by how some readers might not realize how Bigelow is a kid giant until he does himself (which is when he meets Mrs. Pimberly). There’s also a sincerity to the text that still comes through even after 50 years.

All things considered, it’s worthy of a read and an after-​book discussion about courage and fear. Great job, Merrill Rainey!

4 out of 5 pencils

–Edna’s Review of the Illustrations–

Merrill Rainey’s digital illustrations in Giants Are Very Brave People bring a freshness and verve to a bygone storytelling style by late bestselling author, Florence Parry Heide. In contrast with the story’s ambling quality, the art is direct and charming as metrical compositions of richly layered pages. Colors and textures sing. Shape and line work dance. Negative space places the main character, Bigelow, center stage in coping with his exhaustive list of fears.

Bigelow ventures (accidentally) into a place outside his fears as Rainey’s colorful artwork starts to fill the pages. Full and half-​page compositions take Bigelow and readers onto different vantage points [see pages 5 and 7] where he literally and metaphorically  gets a new perspective on things.

He meets Mrs. Pimberly who, in spite of her fear (of giants) begins to befriend Bigelow. She breaks the news to Bigelow that he is a giant and gives advice on how to behave like one. Rainey presents a visual metaphor of Bigelow finding his own voice as a giant. As Bigelow practices his Fee Fi Fo Fum chant [pages 10–11], spot illustrations move across the page spread like musical notes building up to a gigantic crescendo.

A turn to page 12 features a blue person hiding behind a door. It’s not clear right away that this is Mrs. Pimberly as she is painted in flesh tone in the rest of the book. On closer inspection of the text and visuals such as glasses, hairstyle and polka-​dot blouse, we realize this blue character is Mrs. Pimberly after all. Whether or not this is an intentional color change is unclear. Taking small pause, however, in a book that tackles the big theme of fear does not detract from the exuberance of Rainey’s tight but loosely rendered, playful yet rigorous artwork.

The scene on pages 30–31, featuring Mrs. Pimberly riding the train that Bigelow set up, is sure to be a favorite among readers. Rainey’s composition of color, shape, line, texture, and expressive animate and inanimate things, result in a tour de force for this picture book. We are not only treated to a visual symphony that resonates with an old-​timey tale of Bigelow and Mrs. Pimberly, but we are shown how to be brave in the new millennia.

4.75 out of 5 crayons

Edna Cabcabin Moran is an author/​illustrator, multi-​disciplined artist, educator, and advocate for youth voices and diversity in publishing. A Filipina-​American born to immigrants and raised in a military family, Edna grew up in the USA’s east and west coasts, Iceland, and Hawai’i. She is also a dancer with acclaimed hālau hula and dance company, Nā Lei Hulu I Ka Wēkiu, and a teaching artist specializing in STEAM and integrative arts. Her latest picture book, Honu and Moa (BeachHouse Publishing), received a 2019 Aesop Accolade from the American Folklore Society.

https://kidlitedna.com

IG & Twitter: @kidlitedna

Editor Interview: Sandra Sutter (Gnome Road)

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Welcome to Sandra Sutter, the dynamic force behind Gnome Road Publishing, a vibrant press that is lighting the way for readers young and old. With a mission to produce books that engage, inform, and bring joy to the world, Sandra’s press is all about that “R” factor…Re-Readability!

Here’s Sandra’s wonderful mission statement to give us a glimpse into the soul of Gnome Road:

“To Our Readers: We produce books that engage and inform, develop and strengthen a love for reading, and bring smiles and laughter to the world. Our books are made with all readers in mind…”

Just a few aspects to make you go “Wow!”:

  • Gnome Road Publishing focuses on creating cherished, lasting books that light the way on a lifetime of reading adventures.
  • Sandra’s dedication to her creatives is unmatched, offering respect, support, and fostering collaboration and community.
  • Their approach to picture books emphasizes both engagement and education, crafting stories that can be read time and again.

Intrigued? You should be! Let’s dive into the interview and discover the unique insights and wisdom Sandra Sutter has to share about the world of picture books, her own press, and the ever-​fascinating picture book industry.

Prepare to be inspired! 📚✨

Gnome Road’s Instagram

Gnome Road’s Website

SS: That is such a lovely introduction! Thank you for inviting me to your blog to share more about Gnome Road Publishing with your readers.

RVC: We’re happy to have you here, Sandra, and we want to know more. So, please share your journey into the publishing world before founding Gnome Road Publishing. What experiences shaped your decision to start your own press?

SS: Many people may already know that I authored two picture books with another small press, so it is likely no surprise to hear that this was part of my journey into the publishing arena. Probably less well known is that I was once an attorney, mediator, and before that, an addictions counselor. My education, training and experience in those roles definitely shaped who I am as a publisher. They all dealt with bringing people or ideas together, using language and reshaping it to communicate with an audience, and looking at situations systemically. That and needing to be very organized!

RVC: Sounds like perfect training.

SS: Looking back, I can see how my work in those positions drove my desire to find a similar fit in the publishing world.

RVC: Tell us about a challenge you faced earlier in your career that taught you a valuable lesson you’ve applied to your work at Gnome Road Publishing?

SS: When my first book was published (as an author), I did not have the benefit of pre-​release professional reviews. These are very important in directing attention to a book and gaining visibility as a publishing house. We do this for all GRP title releases.

RVC: That’s a useful thing for sure! What’s the most important thing people should know or understand about Gnome Road?

SS: We hope that all young readers can find at least one book at GRP that they love and want to read over and over again. This is central to our mission and helps us in selecting new stories. We like variety, finding new talent, and creating books with layered themes that can reach as many readers as possible.

RVC: You’ve mentioned being an author as well. How does that background help you in your gnomework?

SS: Gnomework! I love that!

RVC: It’s a winner word, no doubt. Feel free to use it regularly.

SS: Apart from the answer that it helps with editing and recognizing good writing, already being part of the Kidlit community helped me tremendously in spreading the word about GRP and finding talented authors and illustrators. I’m also pretty fast at typing–which helps in completing my gnomework.

RVC: Tell us the story behind your first picture book.

SS: I’m going to talk about the first picture book published by GRP rather than my own.

RVC: Fair enough!

SS: Technically, there are two since they came out on the same day. They are Animals in Surprising Shades: Poems About Earth’s Colorful Creatures by Susan Johnston Taylor (illustrated by Annie Bakst) and Science, Matter and the Baseball Park by Catherine Ciocchi (illustrated by Chantelle and Burgen Thorne). In both cases, I knew almost immediately that I wanted to acquire them. They seemed like an excellent fit with the GRP mission statement. Susan’s presentation of poems and carefully constructed sidebar information was enough for me to ask for more–and then to sign the project when she delivered. And Catherine’s rhyming, science-​infused baseball book had kid-​appeal practically dripping off the pages.

RVC: What was the most important thing you learned from that book?

SS: These were some of the first books to test my ability to pair text with the right illustrations. Personally, I think we hit it out of the ballpark (bad pun intended). It is not an easy process, but I’ve learned that being patient and trusting my instincts will pay off.

RVC: You seem astonishingly busy. (from your website: “We are also parents, business owners, and all-​around daily task-​masters.”) How do you manage wearing so many hats?

SS: Yes, that’s true. I’ve had nights I get up at 3:00 am to do work and manage my anxiety about getting it all done. It helps to be organized, too. As things evolved at GRP, I learned to delegate more and have found some great people to help out with different tasks or in areas that would take me two or three times as long (maybe more) to get something done. That helps a lot!

RVC: Why is Louisville the right place for Gnome Road to be located?

SS: That’s an easy one. I live here. It would be hard to locate it somewhere else.

RVC: Hah, great answer! Now, how do you approach the collaboration between authors and illustrators in the creation of a picture book?

SS: Since picture books reflect the vision of both an author and illustrator (actually, of more people–including agents, editors, critique partners, etc.), both parties need to feel heard and to have room to express themselves. I start by finding out more about the author’s vision for the book (if not an author-​illustrator) and ask to see some images that appeal to them. I share a few that interest me, and we discuss potential styles and/​or artists.

Once the illustrator is on board, we talk about the author’s vision early in the process and discuss what the illustrator has in mind. The author is looped in again a little later when character sketches and thumbnails/​storyboards are completed to share thoughts. At that point, the illustrator takes the reins until the images are nearly complete.

RVC: What’s your philosophy on balancing educational content with entertainment in picture books?

SS: I think kids inherently love to learn and to share knowledge with others. And what better way to learn something new than through a book? But still, if readers aren’t connecting with the material and enjoying the experience, then a book won’t be of interest to them for very long. Nor will they want to share it with anyone else. So, entertainment is very important–which is, of course, a different experience for each reader. Bright, vivid illustrations, or soft quiet pastels. Humorous dialogue, or a rhyming informational text. All styles can carry entertainment value. The tricky part is finding how to balance it in the right amounts for each project.

RVC: Please share an example of a particularly successful picture book from Gnome Road and what made it stand out.

SS: One that really stands out this year is My Piano by Jen Fier Jasinski, illustrated by Anita Bagdi. Jen’s writing is superb. She effectively layers social-​emotional themes on top of describing how a piano works (in rhyme and cumulative structure). My team fell in love with the manuscript immediately.

And then…I found Anita to illustrate. She truly nailed it. Somehow she wrapped technical illustrations, an adorable main character, and the magical feel of music all together in one package. It recently earned a starred review from School Library Journal. Hooray!

RVC: How does Gnome Road Publishing ensure the “R” factor (Re-​Readability) in the picture books you publish?

SS: I can refer you to my prior answer about balancing educational and entertainment elements as that has something to do with it. But one thing I think all books with the “R” factor have is layers. Some people might call these hooks, but I think it goes deeper than that. A book that kids want to read over and over again is going to do more than hook them. It’s going to hold their attention long after they finish reading it. In that sense, I think the story has to touch them in a personal way. We hope to produce books that can do that for children from all walks of life. Ensuring the “R” factor means staying open to new topics, perspectives, art and communication styles.

RVC: What are some of the common pitfalls you notice in picture book submissions, and how can authors avoid them?

SS: Do your homework about what a publishing house is looking for or not looking for (in other words, read the information on the submissions page and do some research). See if they have published or will soon publish something that is similar to your project. If they are small–like GRP–then they likely aren’t looking for something on the same topic right away. If asked to limit submissions to one per submission window, please refrain from sending multiple manuscripts. In short, I think being professional, following the requested formats, and staying within the interests of the publishing house will give you a much better chance at getting published.

RVC: I’m intrigued by the Little Gnome imprint. Tell me more!

SS: I think the answer may disappoint you. Originally, we split GRP into different imprints that were rearranged when we decided to focus solely on picture books for a while. If/​when we decide to open up to board books and projects that might be suitable for the 0–3 age group, then Little Gnome will be the imprint used for those.

RVC: One more question for this part of the interview. It’s brag time. What are some exciting Gnome Road things we should be looking for?

SS: Well, a couple of our titles are set up to have sequels, and there might be a few announcements about that coming soon. We have also had some lovely reviews and several titles recognized for great writing or illustrations. Nudi Gill: Poison Powerhouse of the Sea by author-​illustrator Bonnie Kelso was selected as the “Great Reads from Great Places” children’s book to represent Nevada at the National Book Festival in Washington, D.C. Bonnie just returned from that trip where she sold out of her books within hours. (That was another project I thought was perfect for GRP when I saw it in the submissions inbox–and we now have several more books coming out with Bonnie over the next few years. She’s amazing!)

RVC: I hear you there–Bonnie has done an OPB review before, and I’ve interviewed her here, too! But now it’s time to change gears because it’s the BLITZ ROUND—super speedy Qs followed by zip-​zappy As. Are you ready to tackle this challenge? 

SS: Always.

RVC: Coffee, soda, or tea?

SS: Coffee. You saw my answer mentioning 3:00 am above, right?

RVC: If you could be any sea creature for a day, it’d be…

SS: Dolphin. They’re fast, smart, and super cool.

RVC: If your life was a picture book, what would the title be?

SS: Have I Lost My Mind? It’s an interactive search-​and-​find book.

RVC: One book that has profoundly influenced your career?

SS: I don’t know that there is only one, but when I think about GRP looking to publish books that have the “R” factor, I would have to say The Hunger Games (whole series). It’s the multiple layers that really draw me in, and that it’s an “underdog” story. I hope young readers want to read a GRP book as much as I’ve read/​listened to/​seen The Hunger Games.

RVC: In three words or less, the most rewarding part of your job?

SS: Bringing people together.

RVC: Best thing a child has said about a Gnome Road book?

SS: “I love that book!”

RVC: Thanks so much, Sandra!

Educational Activities: A Very Dinosaur Birthday by Adam Wallace (illustrated by Christopher Nielsen)

On By Only Picture BooksIn Educational Activities

A Very Dinosaur Birthday
Author: Adam Wallace
Illustrator: Christopher Nielsen
20 June 2023
Tommy Nelson
40 pages

Book description from Goodreads: “Your family will roar with laughter at this funny read-​aloud from Adam Wallace, #1 New York Times bestselling author of the How to Catch series. What if dinosaurs showed up at your birthday party? From prehistoric presents to games crashing out of control and your snacks going extinct, it’s a dino disaster! Dinosaurs are big, and strong, and scary, and farty, So do you really want them coming to your birthday party? Watch out! Birthdays will never be the same with this silly picture book adventure featuring lively rhymes and hilarious illustrations.”

Need some reviews on A Very Dinosaur Birthday?

Educational Activities inspired by A Very Dinosaur Birthday:

  • Before Reading–From looking at the front cover: 
    • What do you think this story might be about, given the title?
    • What does the setting tell you about the story?
    • How are the children reacting to the dinosaur on the cover?
    • How do you feel about dinosaurs? What makes them interesting or exciting to you?
    • What questions would you like to ask the author before reading the book?
  • After Reading–Now that you’ve read the story: 
    • Did the story meet your expectations from the cover? Why/​why not?
    • What was your favorite rhyme in the story?
    • What did you think about the ending?
    • Did anything in the story surprise you?
    • What lesson did you learn from the story?
    • How did the illustrations contribute to the story?
    • Which picture did you like the most? Why?
  • Design a Dinosaur: Using modeling clay, LEGOs, or other building materials, create your own dinosaur. Think about the body shape, the type of dinosaur you’re building, and how it might move. What would it eat? Where would it live? What would it look like?
  • Make a Dinosaur Rhyme: Write your own dinosaur rhyme inspired by the rhyming lines in this book. You can create a short poem or song about a dinosaur having fun at a party or doing something else you imagine. Share it with friends or family!
  • Dinosaur Dance Party: Put on some music and dance like a dinosaur. You can stomp, roar, and shake your tail. Invite a “dino” friend to join in the fun!
  • Dino Dens: Using blankets, pillows, and chairs, create a dinosaur den. What would a comfy home for a Triceratops look like? How would that be different than for a T‑rex or a flying dinosaur?
  • Further Reading: A Very Dinosaur Birthday is about dinosaurs and birthdays. Let’s focus on the second element and look at other picture books that that explore birthdays. Which of these have you already read? Which of the others would you want to read first? (Click on any book cover for more information on these titles!)

Author/​Illustrator Interview: Kaz Windness

On By Only Picture BooksIn Author Interviews, Illustrator Interviews

This month’s Author/​Illustrator Interview is with Kaz Windness, who—like me!—is a member of the PB23’s picture book group.

I’ve been watching the Herculean efforts she’s put into that group to support the work of other creatives, and that alone is worthy of kudos, praise, and deep-​dish pizza. But wait…there’s more! She’s also an author/​illustrator who’s created several picture books as well as Ready-​to-​Read books like Worm and Caterpillar Are Friends and Cat vs. Vac. Did I mention she created a book called Mother Goth Rhymes? And If UR Stabby?

Perhaps more important, Kaz is a dog person. Specifically “squishy-​faced dogs.” And waffles. And all things Halloween. And thrifting.

And she has a black belt in TaeKwon-Do.

Are you ready to learn even more about Kaz? I sure am!

RVC: Let’s start with a really important topic that’s absolutely not the “correct” biographically chronological way to start an interview. How have you used your platform as an author and illustrator to advocate for neurodivergent individuals?

KW: Anytime anyone can be vulnerable and talk openly about their differences, it’s helps others gain confidence to be vulnerable, too. Neurodivergence is many things, not just autism, and I’ve found that talking about being autistic has helped others get their own autism or ADHD diagnosis, or feel confident in talking about their depression or anxiety. Maybe it’s the autism, but I don’t think any topic should be off-​limits or closeted. I would much rather you told me about your trauma than about the weather or what you had for lunch—unless you had waffles, then tell me all about it! Point being, things that are hidden get twisted.

When we talk, we learn, we heal, and we understand ourselves and our world better. We also make connections, and the ND community is amazing!

RVC: Could you explain how your experience as an autistic individual informs your storytelling? How do you think this perspective contributes to the field of children’s literature?

KW: For one, children’s books are my special interest and always have been. Being passionate about children’s literature informs my understanding of good storytelling, what is happening in the children’s book market, and it inspires my art. Every book I create is plumbing my own psyche in some way, and that includes analyzing how being autistic in a world not designed for me has been difficult, but also how my specialness is something I cherish. I absolutely love hyper-​fixating on a story idea or solving the best turn of phrase or figuring out the just-​right color palette. Those are things that delight me as an autistic person, and that works out nicely for the line of work I’m in.

RVC: Your book Bitsy Bat, School Star (note the OPB piece on it right here! ) uses a bat to symbolize being autistic. How did you come up with this metaphor, and why do you think it’s an effective way to explain neurodivergence to children?

KW: Bats are a big special interest of mine and one of my favorite animals to draw. I created a couple cute and spooky bat picture book concepts, but my publisher wasn’t interested in Halloween books from me.

One day I struck up a conversation with one of my college illustration students–someone who is autistic like me–about growing up neurodivergent. I compared it to being like a bat in a school for mice. Everything can feel upside down, and when I tried to act like everyone else, it made me feel more confused, upset, and more prone to meltdown or shutdown. I began to realize bats were the perfect symbol for being autistic. “Bitsy Bat, School Star” gives voice to a character who is female-​presenting and coded as a high-​masking autistic. This specific perspective isn’t well-​covered, but it’s applicable to many autistic children and relatable to any kid who has ever felt like they are different or misunderstood.

RVC: Thanks for the backstory with that! How important do you believe representation of neurodivergence is in children’s literature, and why?

KW: There are a lot of children’s books on the topic of autism. The number of books isn’t the problem. It’s who has been telling those stories and whose voices aren’t being heard that is what we need to work on. There is so much deeply harmful ableism in the world, so it’s important to let those who are of those group tell their own stories. We are infantized, talked over, and treated like we have a disease that needs a cure. (See also: eugenics.) I also want to take a moment acknowledge that black, brown, non-​speaking and high support needs autistics need more room in this conversation, too.

RVC: Let’s go backwards now. Can you tell us a bit about your journey to becoming a children’s picture book author and illustrator? What inspired you to follow this path?

KW: We were a bookish household without a TV, and my mom read to us constantly. The moment I laid my eyes on Where the Wild Things Are by Maurice Sendak, I decided I was going to become a children’s book author and illustrator.

I went to art school for children’s book illustration and I teach at my alma mater. I also attended children’s book writing and illustrating conferences, entered portfolio showcase contests, and was discovered by my agent in NYC after 15 years of trying to figure out how to break in. I’m ready ready now.

RVC: Awesome! Now, what’s the story behind your first published picture book?

KW: Swim, Jim! is my debut authored and illustrated picture book. It came out last year and just won the Colorado Book Award for children’s literature. The idea came from seeing an article in the Miami Herald featuring a crocodile crossing a canal on a pool noodle. I drew a picture of him, and my agent said “write it!” so I did. It was rejected 65 times before going into auction and publishing with Simon & Schuster.

RVC: Wow, that’s persistent. What’s the most valuable lesson that experience taught you?

KW: One of the great things about it taking so long to get publishing momentum is I know who I am, what I want to say, and I have the confidence and experience to produce good quality work in a short amount of time.

RVC: How has your teaching experience at the Rocky Mountain College of Art + Design (your alma mater!) influenced your writing and illustration work?

KW: I’m for sure a better artist. Figuring out how to revise and improve what isn’t working in student work has applied directly to me improving my own work. I also just love teaching. The students inspire me constantly and are amazing people. I get to do my special interest all day.

RVC: Can you give us an insight into how you balance the text and illustrations in your picture books? How do they complement each other to tell the story?

KW: What they don’t tell you before you break in is that a lot of the direction the story takes, including how much text, how many pages, and general style direction, is a collaboration. As an illustrator-​only, I generally prefer sparse text so the illustrations can do the heavy lifting for the storytelling. For a story like Bitsy’s, more text was needed, and I’m working with an editor that wants to make sure there is a lot of clarity for the reader in the text. It’s still my ideas and my voice, but I will be coached to clarify, explain, and add story beats. I still want the art to elevate the story and go beyond what the text is doing. Show, don’t tell. I’m always looking to distill the most important idea of the text into an illustration that makes you feel something.

RVC: Could you talk about how that happened with If UR Stabby, which isn’t exactly a picture book, but it’s funny. And stabby!

KW: “Allegedly” happened. I take the 5th. It’s not a children’s book, let’s be clear.

RVC: Fair enough!

KW: My publisher for Mother Goth Rhymes, Hermes Press, asked me for another book and said I could do whatever I wanted, so I did. Stabby is a lovable, cantankerous unicorn who deals with life the only way he knows how–horn first. It’s a humorous collection of comics, art parody, and tarot cards (you just have to see the book to understand), and it’s dark. It was cathartic for me to be creating Stabby during the pandemic, and it came out while we were still in the thick of it, so cathartic for others, too.

RVC: You’ve worked on various formats from picture books to graphic novels and early readers. How does your process differ for each one?

KW: Storytelling is storytelling. Almost always, I get the book idea from a sketch and I ask myself what story that character wants to tell, and then I go about writing it. I also don’t think panels are all that much different than any other kind of illustration composition, you just need to know how to use speech bubbles, and for early readers, get the story down into minimal words. Again, it’s another puzzle to solve, and I love solving word puzzles.

RVC: Your books are known for their character-​driven narratives. What process do you follow to create such vivid and relatable characters?

KW: Can I offer a shameless plug instead of an answer?

RVC: Sure!

KW: I teach a class on this at CuddlefishAcademy.com. It’s called Hook! Plot! Pitch! and talks about premise hooks, plotting, and selling your books.

RVC: In your opinion, what elements are essential to create a great picture book?

KW: Honesty, heart. Books should be told with sincerity and by people who either care about children or are willing to be vulnerable about their own childhoods. This isn’t just not a side hustle, it’s a terrible side hustle. Don’t let those get-​rich-​quick TikTok’s fool you. If you are passionate about children’s books, that’s the “why.”

RVC: Tell me about a project or accomplishment that you consider to me the most significant in your career.

KW: Winning the Colorado Book Award for my debut written and illustrated picture book, Swim, Jim! was a real honor. An illustrator friend recently told me that they expect good an unexpected things to happen, and this was definitely one of those things for me. Here’s to more of that!

RVC: What about a time when things didn’t go the way you wanted?

KW: You are asking someone who took 20 years to break in. I will wear out my keyboard if I get into that here.

RVC: What trends have you observed in children’s publishing, and how do you feel they’re influencing the industry?

KW: We are all writing about what we recently experienced, so everyone is submitting grief books right now. I saw a trend in isolation and catastrophic storm books because as a metaphor for COVID and quarantine, and then I saw a trend in what I call “ampersand books,”—that is to say friend books like Worm and Caterpillar are Friends, because we were missing our friends and those narratives were wish fulfillment for renewed connections. I’m currently seeing a lot of tree books, and even have one coming out early next year (Ollie, the Acorn, and the Mighty Idea written by Andrew Hacket/​Page Street Kids). Maybe it’s commentary on environmental concerns or the need for deep roots to survive—maybe both. I would caution authors not to follow trends. Instead, write the book only you can write. Dig into your psyche and pull out your truthiest truths, and tell that story. It takes way too long for a book to publish to ever be on trend. Be YOU.

RVC: What advice do you have for aspiring authors and illustrators who want to break into children’s publishing?

KW: Get professional feedback. Get manuscript and portfolio reviews. Work with a critique group. You’ll get better, and you’ll get support. (CuddlefishAcademy.com offers coaching and critiques.)

RVC: One final question for this part of the interview. What’s something upcoming that you’re excited about, or really want to promote?

KW: It’s back to school time and Bitsy Bat, School Star is perfect for getting kiddos ready for school, and is a perfect ice breaker for first day of school, and it sets the year off right by recognizing the specialness of every child. Free lesson plans at www.BitsyBat.com!

RVC: Okey-​dokey, Kaz. Let’s buckle down and get super serious because it’s time for THE SPEED ROUND! Wahoo! Sizzling swift questions and flappy fast answers, please. Are you ready?

KW: Yes!

RVC: Most misunderstood thing: UFOs, ghosts, or psychic abilities? 

KW: Psychic abilities.

RVC: Pepperoni. Great deep-​dish pizza topping, or the GREATEST deep-​dish pizza topping?

KW: I love broccoli on pizza. Do with that what you will.

RVC: If you could have a conversation with your future self, what advice would you ask for?

KW: Tell me I won’t have to work this hard later on. Tell me that my books will eventually have their own momentum so I can spend more of my energy on creating them rather than promoting them. Tell me that the rock I’m pushing up this hill will eventually roll down the other side and not back onto me. I don’t know if that is advice, per se, but it’s what I would hope to hear.

RVC: A picture book writer (living or deceased) you’d LOVE to illustrate for?

KW: Illustrating is hard. That’s so much pressure! While I’d love to get a big commercial illustration gig, I am THRILLED when someone else illustrates my words. Heather Brockman-​Lee just illustrated When You Love a Book (Viking/​Flamingo Fall 2024) and that was a dream come true. I’m also a huge fan of LeUyen Pham and I would evaporate out of my body and become a cloud in the heavens if she illustrated one of my books.

RVC: Favorite LGBTQIA+ picture book?

KW: I’m super excited for Molly’s Tuxedo by Vicki Johnson.

RVC: Best thing a kid has said about your books?

KW: I’ve had a few people send me pictures of their kids taking my books to bed with them, usually falling asleep with them on their face. Those pictures are better testimonials than words.

RVC: Thanks so much, Kaz! Here’s hoping you can finally convince your agent and editor to let you draw a toilet in a picture book someday. Ah, to have super-​duper scatological dreams….

KW: A toilet someday! Thanks for the opportunity!

Picture Book Review: How the Sea Came to Be by Jennifer Berne (illustrated by Amanda Hall)

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Author: Jennifer Berne
Illustrator: Amanda Hall
Eerdmans Books for Young Readers
25 April 2023
56 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and Florida-​based author/​illustrator Loreen Leedy.

 

–Ryan’s Review of the Writing–

Jennifer Berne’s new picture book, How the Sea Came to Be, is an evocative and captivating exploration into Earth’s aquatic history. The storytelling (divided into three parts—The Birth of the Sea, The Birth of Life, and All That the Sea Came To Be) combines elements of geology, oceanography, biology, and evolution. Written in rhyming verse quatrains, the narrative is as much a lyrical journey as it is an educational resource, offering readers an overview of over 4.5 billion years of oceanic history. Yeah, that’s a lot of room to cover, and she manages it on in a robust 56 pages.

The vivid imagery created by the text grips from the outset, with descriptions that bring to life the primal chaos of the earth’s formative years. I’m also a fan of how Berne goes beyond rhyming to include alliteration (“They blazed and they blasted and boomed”) that add to the meter (mostly iambic) which makes this a fun read-aloud.

Accompanying Berne’s textual journey are Amanda Hall’s mixed media illustrations. I’ll let Loreen dive deeper into those (like the watery pun?), but I find them to be integral components of the learning journey, adding richness to the storytelling. The layout of each spread invites exploration and appreciation, with the varied marine life forms being depicted in their natural, multi-​layered aquatic habitats. I wish there were clearer labels directly on the art, but most of what’s shown is either in the main text or the extensive back matter. The full-​page notes from both creators, glossary, full-​spread chart of “Ocean Creatures Over Time,” and recommended readings and resources adds an extra layer of depth (is that another ocean pun?) that will no doubt be a welcome addition for the home school and classroom market.

It’s a challenge to simplify and present complex scientific concepts in a way that’s both accessible and engaging to young readers. For the most part, that’s what happens here. Ultimately, this picture book inspires curiosity and invites questions about our world’s natural history, making it a solid resource for young scientists or anyone with a keen interest in the marine world.

4.5 out of 5 pencils

 

–Loreen’s Review of the Illustrations–

The rhyming text and impressive illustrations in this nonfiction book present a whirlwind tour of the earth’s oceans from the earliest moments in prehistory up to the present day. Colorfully complex endpapers give a sneak peek of the visual delights to come. Every page invites readers to explore the vastly different environments that once existed (or still exist) on our planet.

Earth’s early period of cosmic bombardment and erupting volcanoes appear in dramatic compositions of orange, black, and white. Monochromatic scenes depict a cooling, rainy world with brand new oceans full of crashing waves. Life begins microscopically small yet with pulsating energy, pictured as tiny circles/​cells that expand into more numerous and complex forms. Soon, simple but more recognizable animals such as sponges and jellyfish cling to rocks or float in the salty waters.

A delightful close-​up view of a worm wriggling along the ocean floor conveys an important milestone in the history of life: the ability to travel in a desired direction. Hard-​shelled arthropods scuttle and swim through a viridian and magenta frieze. One illustration requires a 90-​degree turn of the book to explore the dark depths of the sea where unusual, even glowing creatures dwell. Each spread moves forward in time as cephalopods, fish, reptiles, and whales wander the seven seas in their turn.

The animals are drawn and painted in a lightly stylized, realistic way with a hint of friendly charm. Technical jargon is avoided in the main text, while the back matter provides additional in-​depth information such as an illustrated fold-​out chart of geological eras. Curiously, plants are not mentioned despite their vital role in the food chain. Aside from that quibble, this is a terrific book to engage young readers in learning about major ocean-​related developments in prehistory. The beautifully designed artwork is outstanding throughout with numerous details for young readers to examine and enjoy.

4.5 out of 5 crayons

Loreen Leedy is the author and illustrator of over 45 picture books for children. Most of them include educational content such as math, science, language arts, and social studies topics, presented with humor and enthusiasm. Her titles include My Teacher Is a Dinosaur and Other Prehistoric Poems, Jokes, Riddles, & Amazing Facts; Fraction Action; Measuring Penny; and Crazy Like a Fox: A Simile Story. She lives with her husband on a rural property in central Florida.

Picture Book List: 15 Terrific Books About Teachers

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It’s back-​to-​school time, so what better way to celebrate the awesome teachers in our lives than to put together a list of fun picture books about teachers, schools, and students?

If I missed any of your favorites, drop a note in the comments. Enjoy!

A Bad Case of Stripes by David Shannon (March 1998)

From Goodreads: “‘What we have here is a bad case of stripes. One of the worst I’ve ever seen!’ Camilla Cream loves lima beans, but she never eats them. Why? Because the other kids in her school don’t like them. And Camilla Cream is very, very worried about what other people think of her. In fact, she’s so worried that she’s about to break out in…a bad case of stripes!”

Pages: 32
Reading Age: 3–7

Chrysanthemum by Kevin Henkes (September 1991)

From Goodreads: “Chrysanthemum thinks her name is absolutely perfect—until her first day of school. “You’re named after a flower!” teases Victoria.
“Let’s smell her,” says Jo.

Chrysanthemum wilts. What will it take to make her blossom again?”

Pages: 32
Reading Age: 2–6

Each Kindness by Jacqueline Woodson, illustrated by E.B. Lewis ? (October 2012)

From Goodreads: “Chloe doesn’t really know why she turns away from the new girl, Maya, when Maya tries to befriend her. And every time Maya asks if she can play with Chloe and the other girls, the answer is always no. So Maya ends up playing alone. And then one day she’s gone.

When Chloe’s teacher gives a lesson about how even small acts of kindness can change the world, Chloe is stung by the opportunity that’s been lost. How much better could it have been if she’d just shown Maya a little kindness and opened her heart to friendship?”

Pages: 32
Reading Age: 6–10

Here Comes Teacher Cat by Deborah Underwood, illustrated by Claudia Rueda (August 2017)

From Goodreads: “It’s back to school for the New York Times bestselling Cat when he steps in as a substitute teacher.

Cat is not pleased to be tapped as substitute teacher. Not only is it cutting into his naptime, but a roomful of kittens is a little … much. At school, Cat follows the lesson plan of music, building, and painting–only in gradually more mischief-​making Cat style. By the end, Cat has learned a thing or two about inspiring others by being himself. But even more heart-​melting and humorous is what these adorable kittens have learned from Cat.”

Pages: 88
Reading Age: 3–5

Lilly’s Purple Plastic Purse by Kevin Henkes (May 1996)

From Goodreads: “Hooray For Lilly!

Lilly loves everything about school, especially her teacher, Mr. Slinger. But when Lilly brings her new favorite things

movie star sunglasses (complete with diamonds)
three quarters (shiny ones)
a purple plastic purse (it plays lively music when opened)

to school, and insists on showing them to everyone even though it is not Sharing Time, Mr. Slinger is not amused. In fact, Mr. Slinger confiscates her prized possessions. Lilly’s fury leads to revenge and then to remorse as she sets out to make amends, in this modern classic by the beloved Kevin Henkes.”

Pages: 40
Reading Age: 3–6

My Teacher Is a Monster by Peter Brown (July 2014)

From Goodreads: “Bobby has a problem. You see, his teacher is a monster. But when Bobby runs into his teacher outside of school, he learns there is more to her than meets the eye.”

Pages: 40
Reading Age: 3–9

The Dot by Peter H. Reynolds (September 2003)

From Goodreads: “With a simple, witty story and free-​spirited illustrations, Peter H. Reynolds entices even the stubbornly uncreative among us to make a mark — and follow where it takes us.

Her teacher smiled. “Just make a mark and see where it takes you.”

Art class is over, but Vashti is sitting glued to her chair in front of a blank piece of paper. The words of her teacher are a gentle invitation to express herself. But Vashti can’t draw — she’s no artist. To prove her point, Vashti jabs at a blank sheet of paper to make an unremarkable and angry mark. “There!” she says.

That one little dot marks the beginning of Vashti’s journey of surprise and self-​discovery. That special moment is the core of Peter H. Reynolds’s delicate fable about the creative spirit in all of us.”

Pages: 32
Reading Age: 4–7

Enemy Pie by Derek Munson, illustrated by Tara Calahan King (September 2000)

From Goodreads: “It was the perfect summer. That is, until Jeremy Ross moved into the house down the street and became neighborhood enemy number one. Luckily Dad had a surefire way to get rid of enemies: Enemy Pie. But part of the secret recipe is spending an entire day playing with the enemy! In this funny yet endearing story, one little boy learns an effective recipes for turning your best enemy into your best friend. Accompanied by charming illustrations, Enemy Pie serves up a sweet lesson in the difficulties and ultimate rewards of making new friends.”

Pages: 40
Reading Age: 3–6

How Full Is Your Bucket? (for kids) by Tom Rath and Mary Reckmeyer, illustrated by Maurie J. Manning (April 2009)

From Goodreads: “Through the story of a little boy named Felix, this charming book explains to children how being kind not only helps others, it helps them, too. As he goes about his day, Felix interacts with different people — his sister Anna, his grandfather, other family and friends. Some people are happy, but others are grumpy or sad. Using the metaphor of a bucket and dipper, Felix’ grandfather explains why the happy people make Felix feel good, while the others leave him feeling bad — and how Felix himself is affecting others, whether he means to or not. This beautifully illustrated adaptation takes the original book’s powerful message — that the way we relate to others has a profound effect on every aspect of our lives — and tailors it to a child’s unique needs and level of understanding.”

Pages: 32
Reading Age: 3–7

The Important Book by Margaret Wise Brown, illustrated by Leonard Weisgard (May 1999)

From Goodreads: “Goodnight Moon creator Margaret Wise Brown’s The Important Book is a deceptively simple exercise–taking familiar things like an apple, spoon, or shoe, and finding the most basic association with those things. The most important thing about an apple? It is round. A spoon? You eat with it. A shoe? You put your foot in it. But why, according to Brown, is the most important thing about grass “that it is green,” while the most important thing about an apple is “that it is round”? Why is “that it is white” the most important thing about snow and a daisy? Whether or not you’d distill these things in the same way that the author does, Brown makes us think about the essence of everyday entities in new ways. The illustrations, by Caldecott Medal winner Leonard Weisgard (The Little Island), perform the same function–capturing the spoonness of spoons, the roundness of an apple, the motion of wind.”

Pages: 24
Reading Age: 4–9

The Invisible Boy by Trudy Ludwig, illustrated by Patrice Barton (October 2013)

From Goodreads: “Meet Brian, the invisible boy. Nobody ever seems to notice him or think to include him in their group, game, or birthday party… until, that is, a new kid comes to class.

When Justin, the new boy, arrives, Brian is the first to make him feel welcome. And when Brian and Justin team up to work on a class project together, Brian finds a way to shine.

From esteemed author and speaker Trudy Ludwig and acclaimed illustrator Patrice Barton, this gentle story shows how small acts of kindness can help children feel included and allow them to flourish. Any parent, teacher, or counselor looking for material that sensitively addresses the needs of quieter children will find The Invisible Boy a valuable and important resource.”

Pages: 40
Reading Age: 5–8

The Kissing Hand by Audrey Penn, illustrated by Ruth E. Harper and Nancy M. Leak (January 2003)

From Goodreads: “Chester Raccoon is very scared and nervous about his first day of school. His mom helps to solve his anxiety in a very special way that involves the kissing hand.”

Pages: 32
Reading Age: 2–6

The Name Jar by Yangsook Choi (October 2003)

From Goodreads: “The new kid in school needs a new name! Or does she?

Being the new kid in school is hard enough, but what about when nobody can pronounce your name? Having just moved from Korea, Unhei is anxious that American kids will like her. So instead of introducing herself on the first day of school, she tells the class that she will choose a name by the following week.

Her new classmates are fascinated by this no-​name girl and decide to help out by filling a glass jar with names for her to pick from. But while Unhei practices being a Suzy, Laura, or Amanda, one of her classmates comes to her neighborhood and discovers her real name and its special meaning.

On the day of her name choosing, the name jar has mysteriously disappeared. Encouraged by her new friends, Unhei chooses her own Korean name and helps everyone pronounce it—Yoon-​Hey.”

Pages: 40
Reading Age: 3–6

The Recess Queen by Alexis O’Neill, illustrated by Laura Huliska-​Beith (February 2002)

From Goodreads: “A fresh & original twist on the common issue of bullying. Kids will relate, & parents & teachers will appreciate the story’s deft handling of conflict resolution (which happens w/​o adult intervention) Mean Jean was Recess Queen and nobody said any different. Nobody swung until Mean Jean swung. Nobody kicked until Mean Jean kicked. Nobody bounced until Mean Jean bounced. If kids ever crossed her, she’d push ’em and smoosh ’em lollapaloosh ’em, hammer ’em, slammer ’em kitz and kajammer ’em. Until a new kid came to school! With her irrepressible spirit, the new girl dethrones the reigning recess bully by becoming her friend in this infectious playground romp.”

Pages: 32
Reading Age: 5–7

School’s First Day of School by Adam Rex, illustrated by Christian Robinson (June 2016)

From Goodreads: “It’s the first day of school at Frederick Douglass Elementary and everyone’s just a little bit nervous, especially the school itself. What will the children do once they come? Will they like the school? Will they be nice to him?

The school has a rough start, but as the day goes on, he soon recovers when he sees that he’s not the only one going through first-​day jitters.”

Pages: 40
Reading Age: 5–6