Author Interview: Matt Forrest Esenwine, Paul Czajak, & Josh Funk

On May 13, 2024May 13, 2024 By Only Picture BooksIn Author Interviews6 Comments

Matt Forrest Esenwine recently had the opportunity to catch up with two friends he’s known for many years: authors Josh Funk and Paul Czajak. All three began their children’s lit careers around the same time and have watched and supported each other ever since.

The three of them recently caught up via video and spent an hour chatting about their careers, the craft of writing, and some of the pitfalls they’ve encountered along their publishing journey. Some of their choice comments are shared here; if you’d like to watch the entire video, just click THIS LINK!

Paul, on getting into the industry: “You get this idea, you have no idea what to do with it…but I did hook up with a critique group…and they were the ones who hooked me up with SCBWI [Society of Children’s Book Writers and Illustrators]. So I went there not knowing anything, as to what to expect.”

“But I found the workshops were amazing, and it just really lit a fire under me to really get into this craft.”

Matt, on networking at conferences: “We’re all in this together – the editors, the agents, the authors, the illustrators. Everybody is working towards the goal of bringing great literature to kids. So once you realize that there’s not really a hierarchy – we’re all kid lit creators – once you realize that, the conferences can be much more enjoyable because you don’t feel any kind of intimidation.”

Josh, on his first manuscript’s success: “At the SCBWI conference that we met, I read a draft of a picture book called Lady Pancake & Sir French Toast and about 6–8 months later, after many critiques…I got an offer for that book. I also had a couple others that I had interest, one of them was…Dear Dragon, and another one I had interest from Scholastic, and all that together helped me get an agent.”

Paul, on his first manuscript: “Early on, especially with rhyming, you start in your own head, you’re forcing meter, you’re forcing rhyme, you’re forcing these rhythms and things like this – and it’s not until you get a little better at it that do you know that you’re doing that.”

Josh, on landing his long-time agent: “I was fortunate that I had a bunch of things all come together at once. It was after that SCBWI conference that I sort of met the right people, and put my foot out there to try to volunteer for the next year’s SCBWI, and do a little more…I got critiques from Paul and your critique group and other people I’d met and I had three books kind of close to being acquired at the same time – all of them did – and all that together really helped me get an agent. Along with a personal reference from a friend of mine who I’d also met at that conference.”

Paul, on getting – and losing – his agent: “Everything I sold to Mighty Media [the “Monster & Me” series] I sold myself…it wasn’t until I moved to New Jersey…I got an agent. He sold two books…but his tastes kind of changed. He wanted nothing to do with rhyme anymore. He signed me knowing my Monster series was rhyme, then all of a sudden he’s just like, “Yeah, rhyme’s not really selling, so really don’t bother.” I couldn’t send him anything that was rhyming. It’s not like I wrote solely in rhyme, I mean, the only rhyming books that sold were “Monster and Me.” But I do still like to rhyme…if it works in rhyme, that’s just, in my head, that’s the way it’s supposed to be written. I can’t put it into prose. It doesn’t work.”

Josh & Matt, on the importance of using the right words – and spelling them correctly: There’s a line in [Lady Pancake & Sir French Toast] that was “Pancake rappels down a rope of linguini” and it’s interesting because Paul suggested the word “rappels”…in one of his critiques, and he spelled it not “rappelled” like I’m climbing down, but “repelled” like I pushed away. I didn’t notice it, I sent it off to publishers, it was acquired, THEY didn’t notice it – it didn’t get edited out until the copy editor got a hold of it!”

“But honestly, though, the copy editor wanted me to change the word. They were like, “a) you spelled it wrong, b) I think the word ‘rappelled’ is too advanced for a picture book.” And I tried to change it…you could say “climbed down,” but that’s too much mouth movement, and these are the kinds of things I think about when I’m writing…Pancake “slid” down? I don’t know.”

Matt: “It really couldn’t BE any other word. Speaking as someone who is all about poetry and word choice and that sort of thing…you’ve got the assonance [Matt’s note: I meant “consonance”, meaning the repetition of consonant sounds!] of the “R”’s and “L”s: She’s “RappeLLing down a Rope of Linguine.” The R and the L just tie the whole line together….it has to be that word. I mean, I have “mizzenmast in Flashlight Night!” If I can put “mizzenmast,” you can certainly have “rappel”!

Josh: “The thing is, you’re seeing Lady Pancake climb down a rope of linguine.”

Matt: “It’s all about context.”

Josh: “Right…I asked my editor, “Can we say no?” This was my first book. “Can we say no to the copy editor?” My editor’s like, “Oh, yeah, of course you can!”

Paul, on his picture book Seaver the Weaver: “That’s a book about the orb spider, an orb spider who doesn’t want to do circular webs, he wants to do other geometric shapes…That one actually caught the eye of Jane [Yolen]. That’s like my own little claim to fame; it’s the one thing I pat myself on the back for! I got a direct message from Jane Yolen saying ‘this is a classic,’ so I thought that was better than anything.”

Matt, on the ups and downs of the industry: “Maybe three years ago…I was asked to write a book about a particular subject, I wrote the subject, they purchased the manuscript, they hired the illustrator, they got the whole thing done, .pdf is done, it’s ready to go to print…the parent company said, ‘Nah, I don’t think so.’ So it’s not a book until it’s a book.”

Josh, on keeping the “Lady Pancake” series fresh: “I like to change up the genre with each Lady Pancake & Sir French Toast book.”

“The first one is a race, they’re racing for the last drop of syrup; the second one is called The Case of the Stinky Stench, which is a mystery; the third one is Mission: Defrostable, it’s an action-adventure spy thriller; the fourth one is called Short & Sweet where they shrink into tiny little kids and that one, it’s sort of like a sci-fi comedy mixed with a magical body swap…and then the fifth one is The Great Caper Caper, that is when the Evil Count Caper, the food, steals the light bulb and they have to break into his Las Veggies Casino to steal it back, so it’s a Las Veggies heist. And Attack of the Scones [due out this fall] is an alien invasion…it’s amazing I got away with doing all these silly, absurd things.”

Matt, on not having a say in choosing illustrators: “I’ve never been unhappy with the illustrations an editor has chosen. Editors and publishers have far deeper pockets and a far bigger network from which to draw the talent than I ever could.”

“I would never be able to get a Fred Koehler (ill. for Flashlight Night) or Patricia Pessoa – and with my book I Am Today, I wrote the text about…a young child kind of thinking about what they want to do, they recognize there’s a problem…they should be able to make a difference now. But Patricia created the entire plot of the book! The whole plot of my book was completely hers. She just used my words as a structure to create an entire narrative I had nothing to do with.”

Paul, on his “sort of new” Monster and Me book: “There was one story that [Might Media Press] purchased but never got published, never saw the light of day, and that’s Monster Needs to Go to School. And so just recently they cut a deal with Abdo Books, which deals a lot with libraries, and [the series] is getting new covers and a newfound life – and Monster Needs to Go to School is actually going to hit the shelves because of this.”

“Even though it sold years ago, it’s finally hitting the shelves now…it was illustrated, everything was done – they just never made it a book!”

Josh, on the difficulty of the market: “Picture books are hard…whether you’re writing in rhyme or not, they’re hard, but rhyme does make it sometimes a little trickier.”

“There’s the business aspect, that is like it’s just not likely to translate into other languages. If it’s a good enough story then it will, but you know, rhyme doesn’t translate…and there are some editors that are like, “Yeah, I just don’t do rhyme.” It’s because it’s hard to do it right, and there’s a stigma associated with it, and even if you do do it right – which I believe the three of us know how to – it does make it tricky. And so if it’s hard for me to sell a book in rhyme or my agent to sell a book in rhyme…it can be challenging.”

Matt, on time management, writing, and day jobs: “I still haven’t figured it out. I do voiceover work and am a stay-at-home dad, and so I have to fit everything wherever I can fit it. I wish I could have a structure; I don’t, really. I might be running errands when I would normally be writing or…if the kids have a late after school thing, well, I’ve got an extra hour of writing. But the next day is going to be tied up doing something else, or I’ve got a voiceover job I wasn’t expecting so now that has to take precedence – I never know what my day is going to look like.”

Paul (a chemist, by trade): “When I first moved to Jersey, I played the part of the stay-at-home dad…my wife had a great paying job, and we figured well, I’ll stay home and write, that way we don’t have to pay for child care…And the writing was fantastic, I had all the free time in the world, I was writing everything, you know? And decided to start novels and all sorts of things….I love staying at home with the kids, I wouldn’t give that up.”

Josh (a software engineer/coder): “I’m married to a teacher, so she works like 80 hours a week, on average…so I have a lot of free time outside of when my wife is working in the evenings or on the weekends, so some of that time I spend with the kids…it’s the people who are teachers and writing – those are the ones that I don’t understand how they do it! But yeah, I mean I think that I have a 40-hour a week day job and my wife works twice as much.”

Josh, on the importance of timing: “There’s a book about tea party farts, and there’s a book about a giant poop party…it’s really about finding the right editor at the right time, as long as your story’s good enough.”

Author Interview: Rob Sanders

On April 8, 2024April 8, 2024 By Only Picture BooksIn Author Interviews

Welcome back to Rob Sanders, the first person we’ve asked to come back for a second interview. He was the first-ever Author Interview when we launched OPB exactly six years ago, and his career has taken off in a way that makes asking him for a follow-up interview a no-brainer.

Now, if you want to know about Rob’s past, hit up that other interview. This one’s going to dig into all Rob’s been up to lately, what’s he doing now, and what’s coming up later. Plus, we’ll tackle some bigger aspects of the industry because Rob’s the right person to offer real insight.

Let’s get right to it, then!

RVC: Since our last interview (April 2018), how has your approach to storytelling evolved? What do you know/do now that you didn’t know/do then?

RS: Probably the only way I can answer that question is to say I’ve stayed open to possibilities. Since 2018, I’ve written books (or had books acquired) that are fiction and nonfiction picture books, worked in collaboration with another author on two nonfiction biographies, published my first historical fiction middle grade novel in verse, and have a book of poetry releasing this year. Many authors have a “writing lane” in which they are marvelously successful. That model just doesn’t work for me. I guess I’m a drive-all-over-the-road kind of writer. I like variety. I like finding unique approaches to stories. I like finding the one best way for me to tell a story.

The more I write and the more I’m published, the more I know how much I don’t know. Authors I teach and critique often want me to tell them which of their manuscripts will be the most successful, which will be the right one to submit, which will get published. Golly-gee-willikers, I don’t know. No one does. The industry is far too subjective for that kind of prediction. (And if I did have that kind of crystal ball, I wouldn’t experience rejections myself, would I?)

Every story is one “yes” away from being published. Writing takes perseverance, tenacity, and a pretty thick skin. But to answer the question … since 2018, I think I’ve become braver. Braver in my selection of topics. Brave enough to stand up for and represent my work to others. Brave enough to take risks.

RVC: I get your drive-all-over-the-road kind of writer approach because it’s what I do, too. But one of the challenges I’ve faced as a result of that is that branding becomes more of a challenge.

RS: Honestly, Ryan, I spend very little time thinking about platform, brand, and the like. Maybe I should be thinking about that, but I don’t. What do I do? I think of my published work as my brand. In query letters, my agency always includes something like “Rob Sanders, a pioneer in LGBTQIA+ nonfiction and the author of …” which firmly establishes or reestablishes me in the mind of an editor. I keep a list of reviews, honors, and awards for all my titles and have them available for publishers who request that.

Years ago, I had a wonderful website built and over time, my designer helped make it everything I envisioned and more. I send updates to my designer once or twice a year and/or when there’s new information (a review, award, new book, etc.) to share. I have a presence on Facebook and Instagram (I recently gave up Twitter/X) and I grow my reputation further by judging writing contests; teaching classes; serving as a mentor for various organizations; writing for blogs, newspapers, etc.; critiquing; and more. I feel that my time is best spent when I’m creating and focusing on my writing and when I’m helping others on their creative journeys.

RVC: How do you specifically navigate the challenge of writing for a dual audience—engaging both children and the adults who read to them (and who most often buy the books)?

RS: Can I say golly-gee-willikers again or is this a family show?

RVC: We’re a hearty bunch. We can take it!

RS: How do I write for two audiences? Well, I don’t.

RVC: Interesting. What do you do then?

RS: I find the best way into a story, the best way to “package” it or tell it and I write the best story I can. I stay open to input from others and revise my pants off and then I work with my agent to find the best editorial/publishing fit for each manuscript. Truthfully, that match takes a bit of serendipity or a bit of luck. But when an editor makes an emotional connection to a story, they will become that story’s champion to others on the acquisition team. When that acquisition team begins to feel the same passion for a story, they will represent it positively to their sales staff who will represent it positively to book buyers who represent it to customers. Ultimately, a well-written children’s book will attract adults—the purchasers—precisely because they know or feel that kid readers will make a connection with the book—just like that acquiring editor did.

RVC: You brought up three intriguing ideas there, and I want to talk about each in greater depth. The first one is the idea of revising your pants off. What does the revision process look like for you?

RS: Each project presents its own revision demands. Of course, we all begin by looking at word choice, story arc, character development, and the like. But there are other things that may be even more important. To me entry point, structure, and presentation are huge. By entry point I mean that “thing” that helps pull a kid into a story, gets them to keep reading, and what they relate to in the story. Structure refers to how the story is told, built, sequenced, and so on. And presentation—probably a sibling of structure—is how the manuscript actually appears on the page. I can give you an example …

RVC: Please do!

RS: When I was writing about the first legal gay marriage in the US, the story of Michael McConnel and Jack Baker was compelling to me. There were twists and turns, legal battles, court cases, intrigue, and a wedding. I wrote the first few drafts recounting those events. But each draft seemed to lack kid appeal. I kept asking myself, “Why would a kid care about this?”

So, I started to think about what I enjoyed most about the many weddings I attended as a kid. And the obvious answer was—cake. I decided that the wedding cake (prominently featured in the photos from Michael and Jack’s wedding) had to be included in the story. The cake became the entry point. But how would I tell the story, how would it be structured? I decided that parallel narratives—one that told the story of how a cake is made and the other telling the story of how a relationship is formed—would be my structure. To present that on the page I literally wrote the cake’s story flush left and indented three or four times over whenever I was telling the relationship story. Throughout the manuscript the typed page presented that back-and-forth story telling which gave a visual clue to my agent and potential editors about how the story could be shown in a book.

This is a nonfiction example, but the same three things—entry point, structure, and presentation—apply to my revision of fiction, too.

RVC: What do you think is the most common misconception writers have about revision?

RS: I think most of us writers fall into one of two revision camps—the this-is-too-hard camp and the that’s‑good-enough camp. Most writers stop revision too soon because of the difficult nature of what they’re facing or because they’re content with the progress they’ve made. We have to fight our way through those two roadblocks to really dig into revision successfully. Beyond that, I think many writers feel revision is completed once a manuscript is acquired. Oh, no, my friend, it’s just begun. Even the “simplest” of picture books, a concept book, or a wordless picture book may have multiple revision notes from an editor. And there may be multiple rounds of revisions. The two ways to be successful at this level of revision are to be professional and to meet deadlines.

Being professional includes taking the comments to heart, revising the best that you can, and noting for the editor any revision comment with which you don’t agree and explaining why. At this stage, revision really becomes a conversation (usually on paper) between the editor and the writer. My goal with revision deadlines is to return my work well before a stated deadline. That’s the kind of thing editors appreciate and remember.

RVC: You also said you “work with my agent to find the best editorial/publishing fit for each manuscript.” What’s your role in that? I think some people assume that they only need to hand a manuscript to an agent, and then they can/should wipe their hands clean of it. It’s all on the agent now. “Go make the publishing magic happen, Agent! Make the royalty checks rain!”

Are you regularly discussing publishing houses and editors with your agent? Are you checking the Rob Sanders submission database and strategizing?

RS: Regularly, no. As needed, yes. Because I attend live and virtual writing events and am often on faculty for events, I meet lots of editors and hear them speak. Sometimes I’ll hear an editor say something that prompts me to think that one of my manuscripts might be a fit for them. I let my agent know that right away. When I’m at a convention wandering through the booths of various publishing companies, I pay attention to the books on display. I introduce myself and chat up the folks in the booth and hear them talk about their books. If I feel that my work might fit with that publisher’s goals or aesthetic, I remember to let my agent know. Or I might text my agent right then and there asking, “What do you know about Publisher B and Publisher T? They have some great work on display.” When my agent is ready to send something out on submission, we look at the proposed submission list together. I might suggest an editor or two to add to the list, or editors that we might send to if we have a round two of submissions, and I might even suggest someone on the list be removed. I don’t demand anything from my agent. We discuss things and come to an agreement. Sometimes my suggestions pay off. (Of course, sometimes they don’t! LOL!)

RVC: Another topic you mentioned above is about readers (including editors) and making an emotional connection with them. Clearly, an obvious way to do that is to have a topic that’s inherently emotional, such as your fine book, Stonewall, A Building, an Uprising, a Revolution. But I get the sense that you do more than simply choose a topic that’s inherently emotional. What kind of specific things do you do in terms of creativity and craft to create or heighten the emotional impact of a picture book story?

RS: We all wonder what makes an editor or an acquisition team say, “Yes!” to a manuscript. Undoubtedly, there are many answers to that question, but I don’t think an emotional topic alone is the answer. To me, the main reason an editor and/or acquisition team says, “Yes!” is because they feel something when they read a manuscript. An emotional connection is made. Wiley Blevins from Reycraft once said that every editor on the Reycraft team had to emotionally connect with a manuscript for the company to make an offer to acquire. In other companies, you may just need to make that connection with the acquiring editor who will then champion the book to others in the company.

Many people at Random House have told me a story about Michael Joosten, who was my editor for Pride and Stonewall. When Michael pitched Pride to the folks at his company he welled up and began to cry. Michael was so convinced of the need for that book and so related to its content that his emotional connection came pouring out. His connection helped others connect and be enthusiastic about the book, too.

Of course, the emotional connection doesn’t have to be tears. It might be belly laughs; a warm, fuzzy feeling; a stirring of memories; or a million other things. Robert Frost is credited with saying, “No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.” Your own emotional connection to the story is a hint that others may connect with it, too. If you don’t feel that emotional connection, then others may not feel it either.

RVC: Let’s circle back to you and how you operate. Some writers fuel their creative efforts with constant reading, but others insist that they must put aside books when the muse strikes. Where’s the intersection of creativity and reading for you?

RS: They say the first step to healing is admitting you have a problem, so here goes: I’m a picture book-aholic. I’m constantly reading new books, dipping back into favorite books, ordering books that I hear others talk about, etc. And I always have writing projects going on. So, creativity and reading are smashed together for me. I have to feed my creative muse and I do that by reading, going to museums, spending time at the beach, seeing plays and musicals, and more. For me creativity and reading go hand in hand. I’ll be quick to add that one size does not fit all. Each of us has to find what works for us and then work it!

RVC: What books are on your nightstand right now?

RS: I don’t have a nightstand, but I have books to read piled up in my office, on my dresser, in a chair in the living room, and in the bathroom. (And that doesn’t include books that are in research stacks.) I pulled one book from each of the four stacks mentioned above and here’s what I found:

Your Guide to Not Getting Murdered in a Quaint English Village by Maureen Johnson and Jay Cooper

Reimaging Your Nonfiction Picture Book: A Step-by-Step Revision Guide by Kirsten W. Larson

Desert Queen by Jyoti Rajan Gopal

Farmhouse by Sophie Blackall

RVC: What question are you asked most frequently about your writing career?

RS: I’m frequently asked about my nonfiction: “Why do you write controversial books?”

RVC: What’s the answer?

RS: I don’t write controversial books. I write about history. History is not controversial. But not teaching history is controversial.

RVC: Here’s the last question for this part of the interview, Rob. What’s on tap for you next? What upcoming things are you most excited about?

RS: I have three books slated for release this year and three more next year. Coming this year are:

Queer and Fearless: Poems Celebrating the Lives of LGBTQ+ Heroes
April 2024
Illustrator: Harry Woodgate
Publisher: Penguin Workshop

We Are a Class!
July 2024
Illustrator: Hannah Abbo
Publisher: Beaming Books

Between You and Me
December 2024
Illustrator: Raissa Figueroa
Publisher: HarperCollins

RVC: Alrighty now…it’s time to sound the alarm, buckle your literary seatbelts, and batten the hatches because we’re going to plunge straight into the high-stress depths of THE LIGHTNING ROUND!!! Six questions followed by six answers in zippy-skippy fashion, please.

Rob…are you prepared for the electrifying challenge?

RS: Bring it on!

RVC: What outdated slang do you use on a regular basis?

RS: Coolio.

RVC: What’s the most interesting or unusual talent you have?

RS: I don’t know if I can still do it, but I used to be able to twirl a baton.

RVC: If you could sip lemonade on the porch all afternoon with three kidlit creators, who would it be?

RS: Jane Yolen, Tomie dePaola, and Maurice Sendak. (I’m pretty sure they all knew one another so it would be a lively time.)

RVC: Who’s a nonfiction picture book writer you want everyone to read?

RS: Barb Rosenstock.

RVC: Who sets the standard for funny picture book rhymes?

RS: I have to name two people—I love the humor of Tammi Sauer and the rhyming of Lisa Wheeler.

RVC: Complete the sentence in six words or fewer. Rob Sanders is a writer who…

RS: … teaches and a teacher who writes.

RVC: Thanks, Rob. It was great having you back here with us at OPB.

Author Interview: Candy Wellins

On March 11, 2024March 11, 2024 By Only Picture BooksIn Author Interviews

Welcome to Candy Wellins, a former teacher who has a BA in journalism and an M.Ed. in literacy education. In addition to writing picture books, she’s a full-time Texas mom to “three wonderful children who keep me up-to-date and immersed in children’s literature.”

When she’s not reading, writing, or mothering, she loves to:

Run
Travel
Run and travel together. She’s currently on a quest to run a half marathon in each state.
And after all that, she loves to nap!

With that, let’s get right to it so we can find out more about Candy’s story and her books!

RVC: What aspect/part of yourself today gives away where you’re from and how you were raised?

CW: Not to be too on the nose, but my books are a pretty good reflection of that. Saturdays Are For Stella reflects my close relationship with my grandparents and Mabel’s Topsy-Turvy Homes showcases the mixed feelings of growing up in a divorced home. Although it’s a biography at heart, The Stars Beckoned imparts my overall love of family. And my latest book, A Geoduck Is Not A Duck is certainly an homage to the place I grew up, Washington state.

RVC: What influence did your parents have on you as a future writer?

CW: They read to me and always made sure I had access to lots of books. I can’t think of anything more special or important to a child than owning books and having a library card. I still remember the excitement I had of signing up for my first library card and checking out my first book (Little Bear by Else Homelund Minarik and Maurice Sendak).

RVC: Let’s jump ahead a bit and talk about college. What was the plan for that journalism degree?

CW: I loved writing and telling stories from a young age—and I was good at it. A journalism degree felt like a way to do that and make money, but ultimately a journalist’s life was not for me. I’m not that extroverted!

RVC: What’s the #1 thing from your journalism days that serves you best as a picture book writer?

CW: Not to overwrite. Keep it clear and concise and get to the point!

RVC: Please explain the shift to the master’s degree in education.

CW: I always loved working with children. I babysat all through high school and was a substitute teacher as I worked my way through college. Eventually I decided my heart was more in education than journalism so I went that route instead.

RVC: What was the turning point for you as a writer? When did you fully commit?

CW: Being a picture book writer was always a pipe dream. It felt so fantastical—like being a Olympic gold medalist or Oscar-winning actress. It sounds fun, but it will never happen.

Then in early 2016, I met a new neighbor who happened to be a children’s author. My mind was blown. She was so normal and her path toward publishing felt so doable. That night, I sat down at my computer, found a class for picture book writing and enrolled. It started less than a week later and I’ve been in, fully committed since then.

RVC: Describe what it took from that turning point to your first sale.

CW: It took writing (in some form or another) practically every day. Now, mind you, writing is not always pencil to paper (or finger to keyboard). Sometimes it’s analyzing the latest picture books, attending a class or workshop, networking in the industry or participating in a critique. Even letting ideas percolate as I run or shower or cook dinner counts as writing. But ultimately, it’s about doing some form of work daily. It has to become routine and you have to love doing it.

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

CW: I really wanted to write a grandparent story so I started brainstorming every idea I could associate with grandparents and grandchildren. One thing I wrote down was “Pictures all over the fridge” because one of my grandmothers had her entire refrigerator covered with photos of the grandkids. It reminded me a bit of teenage girls who cover their bedroom walls floor to ceiling with posters of the boys they like. I started imagining a love story that centered around a grandparent/grandchild but also showcased the same emotions as first crush.

My critique group thought it was cute, but had trouble figuring out the characters and distinguishing them as grandparents and grandchildren. In revisions I focused on making clear it was a grandparent story and even included the grandma’s death. Another critique showed me I was on the right track, but still needed something to make the story meaningful. I kept thinking about how no matter how much we love our grandparents, it’s inevitable that our time together is brief. How do we make the moments last? That pushed me toward thinking about how a grandparent’s impact lasts long after they’re gone. Adding a new sibling to the story was the perfect touch to Saturdays Are For Stella.

RVC: What’s the most useful lesson that book taught you?

CW: Get a good critique group and listen to them. We are often so invested in our work it’s hard to hear an outside perspective. But when we listen to constructive feedback, it really can make all the difference in our work.

RVC: What do you like most about Charlie Eve Ryan’s art?

CW: I especially love her soft color palette and her ability to showcase emotions.

RVC: You had a stretch where you were publishing a book a year there. How did that happen?

CW: Luck? Timing? Persistence? I’m constantly creating, revising, and submitting. When I go on a hot streak, I soak it up because there are long dry spells in publishing too.

RVC: I hear you there! Now, I’m a sucker for nonfiction picture book biographies, and when they’re lyrical, too? Yes, please. Tell me about The Stars Beckoned.

CW: First of all, I’m not a space person at all. I have no interest in exploring anything that isn’t firmly rooted to planet Earth. But I love interesting people. In 2018, I was teaching a group of middle schoolers and we were talking about the US/Soviet Space Race. They were mostly interested in America’s firsts—the first to go to space, the first woman in space, the first to walk on the moon. I knew the answers to all those, but I didn’t know who the first to walk in space was. When I looked up the answer, I discovered Ed White’s name along with an interesting quotation. Upon finishing his spacewalk, he said, “This is the saddest moment of my life.”

I got goosebumps. Here was a picture book waiting to be told. After all, what kid can’t relate to such big emotions as the saddest moment ever? But was I the person to do it? I quietly did the research and decided that I didn’t need to be a space enthusiast to tell his story. Space exploration was just one aspect of Edward White. More importantly he was a passionate person who followed his dreams relentlessly and that was something I could really connect with.

RVC: Something most people don’t realize is how much over-researching and overwriting we nonfiction picture book writers tend to do. What’s the coolest thing that didn’t quite make it into the book?

CW: Just one? Ok, here’s a fun one. NASA used to let each crew name their own missions. For White’s Gemini IV flight, he and pilot James McDivitt wanted to call the mission Eagle. They had even planned an Eagle emblem they would wear as a patch on their spacesuits. NASA ultimately decided against letting them call their flight Eagle as they wanted to save it for a more monumental mission (You may recall hearing the words “The Eagle has landed” on such a mission a few years later).

Left without a plan B, White and McDivitt went without a name and just had drugstore American flag emblems sewn on their suits instead. Wearing the American flag has since become a tradition and every American astronaut since them has worn one.

RVC: Since that book uses rhyme, I’ll ask the question most writers want me to ask. What’s the most common misconception about rhyming picture books?

CW: The mistake I see most often is focusing only on rhyme and forgetting all about meter. If the story doesn’t have rhythm, even a good rhyme can sound bad.

RVC: What’s your best tip for getting rhymes right?

CW: Read lots of good rhyming books. Hearing it done right is the best teacher.

RVC: Tell me about a time in your writing career where things didn’t go the way you wanted.

CW: I’ve been working on a picture book biography since 2016. I’ve tried telling it as a picture book, a novel-in-verse, a graphic novel. So far, nothing is working, but I love this person’s story and I’m not giving up on it yet.

RVC: Good for you–I’m sure you’ll nail it eventually. Now, who are your literary heroes? What have they meant to you?

CW: I think the great thing about books is there are so many people doing it well in so many different ways. I’m constantly finding inspiration—from authors who wrote decades ago to debut writers. Everyone who’s persevering and sharing stories is a hero of mine.

RVC: In all your experience with the picture book industry, what has most surprised you?

CW: I’m still surprised by the reaction some of my books get. Of course, I have very visceral reactions to a lot of things I read, but it still blows me away when someone has that response to something I wrote. A young reader told me after reading Mabel’s Topsy-Turvy Homes that it was the first time she felt seen by a picture book. That one got me!

RVC: If you had to summarize the most important thing you’ve learned about writing picture books, what would it be?

CW: To slightly misquote the great Winston Churchill: never, never, never give up. Writing picture books is all about the long game.

RVC: Great point! After COVID, I try to ask a health and wellness question each time, so here’s yours. What do you do to de-stress or for downtime?

CW: I prioritize exercise every day. And I love doing puzzles—jigsaws, Wordle, crosswords. I think I’m up to about six different ones I do every morning before any real work begins.

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

CW: My latest picture book, A Geoduck Is Not A Duck, comes out on March 5. I’m super excited because this is my first funny picture book and I really hope it gives readers a good chuckle. It’s the story of a misguided news crew on the hunt for a gooey duck spotted on a Pacific Northwest beach. What the hapless crew doesn’t realize is that a geoduck (pronounced “gooey duck”) is nothing like the slime-covered aquatic bird they are looking for. It’s a comedy of errors mixed with lazy journalism all done in comic format.

RVC: Okay, Candy. It’s time for the much ballyhooed SPEED ROUND. Zippy fast questions followed by zoomy quick answers. Are you ready?

CW: I was born ready.

RVC: What’s the most interesting or unusual talent you have?

CW: I can name every British monarch in order from 1066 to today.

RVC: If you could instantly become an expert in any field, what would you choose?

CW: Genetics. I’m so fascinated by the subject.

RVC: If you could spend a day inside the world of one picture book, what would you pick?

CW: Anything by Richard Scarry. I’d set myself up nicely in one those little Swiss chalets and be very comfortable. Skiing by day, books by the fire at night, and a hundred labeled foods to choose from whenever I get hungry.

RVC: What’s the last picture book you read that actually made you LOL?

CW: It’s not a picture book, but the entire Dory Fantasmagory series by Abby Hanlon is absolutely hilarious. My kids can’t get enough of them. I will randomly say a line from one of the books every now and then just to get my kids to laugh. It works every time.

RVC: Finish the sentence. I’m not ready for a writing session without…

CW: A little peace and quiet.

RVC: What’s your picture book philosophy in five words or fewer?

CW: The world needs your stories.

RVC: Thanks so much, Candy!

Author Interview: Charlotte Offsay

On February 12, 2024February 12, 2024 By Only Picture BooksIn Author Interviews5 Comments

Hello, everyone! This is Abi Cushman. I’ve had the privilege of writing illustration reviews here on Only Picture Books, and today, Ryan has given me the reins as interviewer. I’m thrilled to share this Author Interview with Charlotte Offsay, who has written five picture books to date, including How to Return a Monster, The Big Beach Cleanup, and A Grandma’s Magic. One of her picture books, The Quiet Forest, was illustrated by me, so it was especially fun to ask her a few questions about her process.

First, a little bit about Charlotte. Charlotte lives in Los Angeles, CA with her husband and two kids. She has a background in finance, and now she writes picture books and runs a very popular Instagram account, @picturebookrecommendations, where she shares picture books she loves.

And now, let’s get to the interview.

AC: Charlotte, when I was working on illustrating your manuscript, The Quiet Forest, I was doing my best NOT to talk to you about it because it seems like that’s the way it works in traditional publishing: that the author and illustrator not really communicate during the process. But now that it’s done, I’m so happy to ask you some questions!

CO: I have been a big fan of your work for years and was delighted when our editor, Catherine Laudone (whose own OPB interview is here), said you had agreed to illustrate The Quiet Forest. It certainly is hard to not communicate during the book making process but I am delighted to get to chat more now, and I appreciate your enthusiasm and partnership!

AC: So first, I have to ask. You have a background in finance. How did you go from working in finance to making children’s books? And can we expect your next picture book to star a plucky financial analyst?

CO: I worked in finance for a number of years but decided to leave the corporate world to become a stay-at-home mom. I have always had a passion for stories and began writing for my children when my daughter was 3 and my son was 1.5 – they are now 8 and almost 10. I became inspired after an afternoon of baking with them and wrote my first picture book manuscript about it, which is actually now my fourth published picture book, Challah Day! I took a number of classes after writing that first manuscript, starting with UCLA extension’s introduction to picture book course, joined groups such as SCBWI and 12x12 and eventually met my critique partners and agent – the rest is history! It hadn’t occurred to me to write a finance themed book but perhaps I’ll have to add one to my Storystorm list this year!

AC: That is so amazing that the first picture book manuscript you wrote ended up being published. I love Challah Day! Jason Kirschner’s illustrations are seriously so fun, and you really captured the joy of baking with kids in it.

Speaking of joy, your Instagram page, @picturebookrecommendations, is devoted to picture books you love. What draws you to picture books?

CO: When friends and family heard that I was writing picture books and taking classes they would often ask for book recommendations. I created @picturebookrecommendations as a way to share the picture books that my kiddos and I love reading. I adore picture books. They are a pathway to learning, adventure, giggles, snuggles and connection. Picture books offer something for every age and the incredible way the illustrations and text elevate one another never fails to amaze me. I wholeheartedly believe that a passion for reading is one of the greatest gifts we can give children and an incredible way to better understand both one another and the world around us – all of which begins with picture books.

AC: I agree. Picture books are so special. I have such fond memories reading picture books as a kid and then as a parent.

What does a typical day look like for you as a writer?

CO: A typical day these days looks very different from when I first started writing. When I started out and was learning the nuts and bolts of picture books, my kiddos were tiny and I would fit my writing time into the cracks, obsessively trading calls with critique partners during nap time and jotting notes on my phone while pushing my kiddos in the stroller.

These days my kids are in elementary school and while mom life still keeps me busy, I tend to be able to carve out blocks of writing time – I love a good three-hour block if I can fit it into my schedule! I don’t write every day the way I used to, but I seem to be much more efficient (at least most of the time) when I do sit down to write.

That said, when I get a picture book idea that I just know needs to be a book, it crawls under my skin and I am incapable of doing anything else until I get my thoughts onto paper the way I want them. I revert to those obsessive habits, writing and editing non-stop for days on end, jotting notes on my phone in the carpool line and consuming endless amounts of chocolate as I write the same lines over and over again in different ways until I find the just right words.

AC: Tell me more about your process for developing a story after you get the idea. Does it vary from book to book?

CO: My process varies from book to book. Usually I write obsessively, trying to get the words bouncing around in my head onto paper without too much self-editing. Sometimes this means letting myself start in the middle or even the end. I don’t tend to plot out my books, but at some point I usually always reach a roadblock and need to get creative. Sometimes this means printing out my manuscripts and creating paper dummies with stick figures, which enables me to see where things need to be moved around. Other times this means a chart with characters and actual holes that need filling in – this is what I ended up needing to do for The Quiet Forest. Other times, it is heading to mentor texts and writing out the plot arcs of other books to see what my story might be missing, and still others I try an entirely new structure or character to see if that unlocks things.

I think my main throughline with my manuscripts though is that I always write my “heart” or my “why” at the top of my manuscript–what made me sit down and want to write it in the first place. I always find that a helpful light post as I search for my way through, but try to remain flexible as the way forward isn’t always visible!

AC: Ooh, that’s a really good way to stay focused while you’re writing or revising a story. On a related note, how do you ensure your stories have an It Factor–something special that makes them stand out from the crowd?

CO: I wish I had a good answer for this. Such a great question. Honestly, I think my best work comes from the heart. I try to write about the things that are most important to me or the things in my life that are consuming me at the time and channel them through a child lens. I know other authors who can generate story ideas in other ways, for example mashing up two things that don’t obviously go together (such as dragons and tacos), but for me, it needs to be personal to shine on the page. That said, I write a lot of personal stuff that definitely doesn’t shine and needs to sit in a drawer until I can find the right way to re-imagine it.

AC: I want to chat a little bit more about The Quiet Forest, which comes out March 12 from Paula Wiseman Books. This book has alliteration, onomatopoeia, and a cumulative structure. Did you set out to make a book with all these different literary elements? Or did you add another layer in as you revised?

CO: I had been looking to write a book about spreading kindness for a while. Every year I participate in Tara Lazar’s Storystorm and had written the same theme for a couple of years in a row but hadn’t been able to find the right way in. I had also been wanting to try writing a cumulative structure picture book for a while and had that on my Storystorm list as well. I decided to combine the two and sat down with a number of cumulative structure picture book texts to figure out how to write it. It ended up being a bit of a brain teaser to get the structure right. Picture books can look quite effortless in the finished product but at least for me the cumulative structure was quite challenging. The alliteration came quite early on and I then added in the onomatopoeia as a way to keep the text tight but hopefully also elevate the read-aloud experience.

AC: In The Quiet Forest, each animal is described at the beginning using alliteration, such as a mischievous mouse or a rattled rabbit. And then at the end, you use alliteration to show how each animal’s problems have been alleviated. Were there any characters or scenes you had to cut because you couldn’t get the alliteration to work from beginning to end?

CO: Oh my goodness, SO many. I swapped out a lot of different animals when the alliteration wouldn’t work right from the beginning but others got swapped out when the initial alliteration worked but then I couldn’t make them work in reverse – the story builds in mischief/chaos in one direction and then unwinds in kindness in the other. The story had a skunk at one point! I also wanted to make sure that each animal increased in size and could at least theoretically be found living in the same area of the world, which led to a lot of swapping out as well.

AC: Did you have to make a lot of changes to the manuscript after it was acquired?

CO: Catherine was instrumental in helping me with the structure and so once that was unlocked there were only minor word edits to be done after she acquired it.

AC: Oh, so did you work with Catherine on the story before she acquired it?

CO: Yes, I first connected with Catherine during an Inked Voices workshop and my agent later subbed the manuscript to her.

AC: Oh nice! I love hearing about different paths to getting a book acquired. And it’s always so satisfying when you click with an editor and get feedback that still fits in with your vision for the story.

Were the illustrations like what you were expecting? Were you surprised by anything? And be honest. Unless I would be insulted by your answer, in which case, feel free to tell lots of lies.

CO: I never could’ve dreamed up how wonderful these illustrations would be and am absolutely delighted by how much they elevate the book – they are simultaneously hilarious and huggable and I adore them. I did laugh out loud when I saw the moose painting. I spent SO much time making sure all the animals could realistically exist in the same place and that the sound words accurately fit the animals. So that was a big surprise but I wouldn’t want it any other way, the moose painting is PERFECT. I have no idea how you managed to cook up such a wonderful second storyline in the art and then so masterfully bring it all back together at the end – it is truly incredible.

AC: Haha, oh yes, but you see, here in Connecticut, we have moose that are skilled in plein air painting. So don’t worry, it’s totally realistic.

What’s a book you wish you’d written?

CO: Room on the Broom by Julia Donaldson. It is a true masterpiece. It is a brilliant read-aloud, the story is engaging, and I never tire of re-reading it. I think that is perhaps why I am particularly delighted with how our book has turned out… I am not even going to try and imply that we are rivaling the famous Julia Donaldson BUT I will boldly say that I think our book is SO much fun to read aloud and the story and characters make me giggle that much more with every re-read.

AC: Oh, I love Room on the Broom! It’s definitely fun to read aloud and one of my favorites too. And I adore Axel Scheffler’s illustrations. He’s a big influence on my art, actually. When I was first thinking about how to illustrate The Quiet Forest, I looked at a bunch of forest books, including The Gruffalo, which is also by Julia Donaldson and Axel Scheffler, to see how other people left room for the text even though the scenes had a lot of trees in them.

What’s something about writing or publishing that you wish you knew when you first started out?

CO: How many talented and incredible people I would get to meet along the way. One of my favorite parts of this journey has been getting to not only meet the people that I fangirl over, but also to actually come to call some of them friends. I get to connect with such incredibly talented people and it never gets old. The kidlit community is such a warm and inclusive space and I am so honored to be a part of it.

AC: I agree. The kidlit community is really wonderful. What are you excited to be working on now?

CO: I am currently brainstorming new story ideas and am excited to see where they lead me.

AC: I can’t wait to see what you come up with! And now for the speed round. Ready? Last podcast you listened to?

CO: Prof. Mel Rosenberg’s New Books Network Podcast as part of prep for an interview I did with him – highly recommend checking it out!

AC: Cutest reptile?

CO: I am not a big reptile fan but I do love your snake character in Animals Go Vroom! so let’s go with that!

AC: Aww, thank you! Career you wanted as a kid?

CO: To be an author.

AC: Hooray! You did it! Who would play you in a TV movie about your life?

CO: Jennifer Aniston.

AC: Skydive or scuba dive?

CO: I’m terrified of heights, so scuba dive 100%!

AC: What’s the best question a kid ever asked you?

CO: If I could come back and visit their class again tomorrow.

AC: That is so sweet. I love that! Thank you, Charlotte, for answering all my questions and sharing your process with me.

Abi Cushman is the author-illustrator of funny picture books, including Animals Go Vroom! (Viking), Soaked! (Viking), and her nonfiction debut, Wombats Are Pretty Weird: A [Not So] Serious Guide (Greenwillow, 2023). She has also worked as a web designer for over 15 years, and runs two popular websites of her own: MyHouseRabbit.com and AnimalFactGuide.com, which was named a Great Website for Kids by the American Library Association. In her spare time, Abi enjoys running, playing tennis, and eating nachos. (Yes, at the same time.) She lives on the Connecticut shoreline with her husband and two kids.

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Author/Illustrator Interview: Anne Appert

On January 8, 2024January 8, 2024 By Only Picture BooksIn Author Interviews, Illustrator Interviews4 Comments

This month’s Author/Illustrator interview is with queer, nonbinary storyteller Anne Appert “who uses whimsy and humor to inspire and connect with readers on their own journeys towards becoming their most authentic selves.” In all of Anne’s social media, I find variations of the following: “nonbinary artist, author, aunt, alliterator.” Such splendid use of similar sounds, wouldn’t you say?

Need more about Anne? There’s this, too. “When not creating stories and art for children, I like to dye my hair every color of the rainbow, make stickers, and teach myself how to roller skate.”

Anne’s the author/illustrator for Blob (2021) and the forthcoming picture book What If You Wish? (March 5, 2024), both from HarperCollins. Anne’s also the Illustrator Coördinator for the NJ chapter of SCBWI and an adjunct professor at Montclair State University where they teach digital painting and children’s book illustration.

Let’s get right to the interview to learn even more about Anne!

RVC: Growing up in New Jersey, how did your surroundings influence your creativity and storytelling?

AA: While I grew up in a very suburban area of New Jersey, I had a large yard and a wooded area with a stream that became a stage for elaborate games of pretend with my twin and next-door neighbor/best friend. My entire family is creative in some way: my mom is a skilled knitter and sewer and my dad is a musician and teacher. My siblings and I were always encouraged to use creativity and imagination in everything we did. For me and my twin, every craft, LEGO building, board game, and blanket tent led to games of pretend. In a way, my imaginative play was just the beginning of my journey as a storyteller, and I never gave it up (one could argue that I never grew up). Now I try to capture that feeling of whimsy and possibility from childhood in both my art and my words.

RVC: Is there a book/reading experience from that time that really stands out in your mind?

AA: My parents are vociferous readers, and my siblings and I were all infected with this love of reading as well. My childhood was filled with trips to the library, used bookstores, and listening to books on tape in the car. I spent many nights falling asleep reading a book under the covers (and broke several pairs of glasses this way, much to my parents’ chagrin).

RVC: Yep, I’ve totally been there.

AA: Reading was such a part of my family culture that it’s hard to pick just one experience; however, there are two routines that stand out to me when I think about my family and reading. My dad would make up bedtime stories to help us fall asleep, often building on the story from the night before to create wonderful worlds of characters. (I still would love to have Bobo the Bear in one of my own books.) My mom would read us chapters of books like Charlotte’s Web, and, as we got older, read the books we read to chat about them with us.

RVC: Why did you choose to attend FIT (Fashion Institute of Technology)? What was your intended career path post-graduation?

AA: The way I chose FIT was a bit circuitous, much like publishing! My high school did not have an art program, but I liked drawing, and I was good at math, so I planned on becoming an architect. When I started to receive brochures from schools with architecture programs, I stumbled upon one that also listed Illustration as a course of study. I hadn’t realized one could study illustration, and after seeing this, immediately decided I wanted to go to school to become a picture book author/illustrator. I went to a portfolio review day where art schools from all over the East Coast sent faculty to look at portfolios, which was where I decided to apply to FIT. 17-year-old me thought it was VERY COOL that there was a fashion school close to me, the faculty were kind and encouraging, and, as part of the SUNY (State University of New York) system, it was affordable.

Additionally, while looking at colleges, my older sister’s friend told me not to bother applying to schools other than my local state school, and I wanted to prove them wrong. Because I knew I wanted to make books, I took every writing class I could at FIT and have a minor in English. After graduation, I attended conferences and learned more about the industry while also working as a draftsperson in an engineer’s office, a freelance designer for a home goods company, and at the FIT Library. Now I work as an author/illustrator and also as an adjunct professor at Montclair State University.

RVC: That’s a win, for sure. What key moment or experience at FIT stands out for you?

AA: I’m not sure I can pick just one! (You’ll notice this is a recurring thing for me.) College was such a formative experience for me as a person and an artist. However, I’ll stick with two. My first class was at 8 am on Mondays and I was terrified because I had never taken an actual art class. The professor was a tall, eccentric presence with very strong opinions about ART. Halfway through the semester we had to show him our work from his class. He flipped through my art quickly, scoffing, and with disgust said, “There is NOTHING here for me.” Rather than get discouraged, I decided to prove him wrong. (I really like to prove people wrong about me!)

RVC: Good for you!

AA: When I was a third-year student, my history of illustration professor was kind and passionate about both illustration and teaching. He pushed me to try more things with my art than I ever had, to think more deeply about the decisions I was making and encouraged me to apply for an internship. While I didn’t get the internship, he gave me a copy of the letter of recommendation he wrote for me. For the first time, I realized that someone wholeheartedly believed I could and would be a successful illustrator. I went from feeling like a constant underdog and imposter to believing in myself. When I’m feeling discouraged, I take out that letter to remind myself I can do this.

RVC: I love professors like that. Now, let’s talk about your first author/illustrator picture book, Blob. What’s the story behind that story?

AA: Oh, I love telling this story! Blob started out of spite. (Are you sensing a theme with my motivation yet?)

RVC: It’s becoming clearer as we go. 🙂

AA: I had been with my agent for about a year, putting together ideas, making illustration samples and dummies, and getting a lot of no’s. Most of my illustrations had animal characters, which people kept calling the wrong things (e.g. someone thought a skunk was a badger, a squirrel was a cat, etc.). Out of frustration, I said to a friend: “That’s it. Since no one can tell what I’m drawing, I’m just going to draw a blob.” So, I did. After an overwhelmingly positive reception on social media, I decided to write Blob’s story. We sent it on submission, got a lot of no’s again, including one from HarperCollins.

RVC: This is a great story. What happened next?

AA: A couple months later, I did a portfolio review through an organization called the Children’s Book Illustrator group in NYC. I put some Blob illustrations in my portfolio and met with a different editor from HarperCollins. This editor loved Blob and asked if I had a story for them. I said yes, sent the dummy the next day, and the next week I got a call from my agent that HarperCollins had made an offer!

Though Blob is a humorous book, a lot of Serious Me also ended up in there. As a twin and part of a big family, people often put no effort into learning my name or who I was when I was a kid. I also experienced a lot of anxiety over the question “Who do you want to be when you grow up?” These themes snuck into Blob’s journey without asking. After the book was done and off to the printers, my editor asked me to write a marketing letter discussing my why behind creating Blob. This exercise was the final step in my realization that I am nonbinary, and Blob’s journey was my own questioning journey.

RVC: What’s the most valuable lesson you learned from making that book?

AA: I would not be me if I stuck to one so here are my top 3:

A no in publishing is often just a no for now. Don’t give up on the projects you believe in!
Though we write and illustrate picture books for children, creating them is often a powerful part of a storyteller’s own journey of self discovery.
Always make your purples brighter than you think you need to.

RVC: Thanks for overdelivering–OPB readers appreciate that. Now, let’s talk about process. What are the steps in how you go from idea to manuscript?

AA: I am an idea generator. I constantly think of new ideas and get excited about them (just ask my partner or any of my critique partners–I am annoyingly enthusiastic about new ideas). The process varies widely for me depending on the project. To generalize, my process looks something like this:

Get idea. Get super excited about idea. Share idea with anyone who will listen. Don’t pay any attention to their reaction.
Let idea simmer. Do more ideas keep coming to build on this idea? Is a theme emerging? Has the character introduced themselves to me? Make random notes in my phone, in notebooks, on post its, in my sketchbook, whatever I am holding.
Gather notes together. What kind of foundation do I have?
For picture books: Draft once the beginning and ending sentences come into my head. For longer projects: Outline once the beginning and ending scenes come into my head. If it’s a picture book: Create folder for drafts in google drive. For longer projects: Set up notebook specifically for project to gather notes and feedback in.
Write solid draft. Send to critique group for feedback. Let feedback simmer. Get bored of the project and move on to a different one.
Something reminds me of idea. Revisit feedback and revise. Send it to a different critique group/writing partner for fresh eyes.
Edit and send to my agent for feedback.
Start planning the dummy: plan all the page breaks. Write out what I intend the art to be on each page. Set up pages for dummy in Procreate and transfer texts/notes to correct pages.
Sketch!
Send back to agent for feedback. Pick 3 pages to make into final art.
Overthink and make 6 different cover sketches. Stick with the first idea I had.
Put it all together. Agonize over a pitch. Get impatient and send it to my agent.
Agent sends project out.
Cross all fingers. Refresh email. Move on to the other 10 projects I’ve started already.
Repeat.

RVC: That’s a fantastically detailed accounting of your process which I really appreciate you explaining so clearly. What’s the hardest part of the process?

AA: I have a really hard time finishing projects if I’m the one setting deadlines for myself. I LOVE new ideas, so I get distracted by the potential of a new project ALL the time. I’m not kidding when I say I have about 10 projects started, and that may be an underestimation. If someone else gives me a deadline, that project will get finished! Picture book dummies are a lot of work and so much of the middle part of the process gets boring for me.

RVC: Let’s talk about community. You’ve been involved with SCBWI since 2012. How has this organization shaped your career?

AA: I would not be where I am without SCBWI. Once I became active in the organization in about 2015, I met my first critique partners and learned all about the industry. At an NJ SCBWI event I met author/illustrator Mike Malbrough, who mentored me through creating a query ready portfolio and dummy. At another I met my good friend, author/illustrator Mike Ciccotello, who got me started using Procreate which unlocked my illustrative voice. An agent at these events gave me invaluable advice on my portfolio and dummies through paid critique opportunities over several years, then introduced me to my first agent.

Through SCBWI, I met many writers and illustrators who are now some of my closest friends. I continue to meet new critique partners and receive invaluable feedback from industry professionals at SCBWI events. At the NY SCBWI conference last winter, I connected with the editor who just hired me to illustrate my first chapter book series. And finally, beyond my career, I met my partner at an SCBWI conference, and I feel so lucky to have such a creative, supportive person in my life. (And not just because they HAVE to listen to all my ideas now.)

RVC: When’s the best time for an aspiring picture book creator to join SCBWI?

AA: When they can! I believe SCBWI is especially helpful for those at the start of their careers, who are looking to learn more about craft and create their own connections with like-minded storytellers. SCBWI, like many organizations, is what you make of it, and I’ve always found it to be a great space to find your community.

RVC: What’s an SCBWI resource that too few people take advantage of?

AA: Too few people take advantage of what their local chapter is doing! The regional chapters of SCBWI are run by wonderful volunteers who try very hard to provide programming for their members. Additionally, many of the smaller regions have continued to provide virtual programming, most of which you can register for even if it’s not your chapter! I’ve gone to several wonderful webinars through chapters I would never have been able to travel to and attend their events.

RVC: Sticking with the theme of community…are there other communities you would recommend to aspiring and early-career picture book creators?

AA: If you are local to NYC, I highly recommend that illustrators join the Children’s Book Illustrator Group. Since the pandemic, all their programming is virtual, so it’s possible that you can join even if you are not local. They do several webinars throughout the year with industry professionals that are specifically for illustrators.

I also highly recommend the Highlights Foundation. They have been instrumental in me getting any creative work done in the last 3 years. They have amazing online classes for people at any stage of their writing careers, including both longer format classes and mini two-night intensives. Additionally, they run workshops and in-community retreats in person at their campus in Pennsylvania. If you want some focused writing/illustrating time where you don’t have to worry about where to sleep or what to eat, you can also do your own personal retreat there! I’ve met great writers and illustrators who have become critique partners, cheerleaders, and friends through classes and visits at the Highlights Foundation.

RVC: You’ve got another book coming out in March 2024. What’s the elevator pitch for What If You Wish?

AA: How about the publishing copy?

A gentle child embarks on a magical journey and transforms their worries into wonder by simply asking “What if?”

When a spring breeze blows,
a quiet promise whispers,
What if?
What if you close your eyes and
make a wish?

In this sweet and inspiring book by Anne Appert (Blob), one child learns the true power of positive thinking, perseverance, and wonder.

RVC: Sure, that works splendidly. Now, how was the process of creating this book different from Blob?

AA: The two processes were not even remotely the same. Why make this easier for myself? The contract for Blob was for two books, and What If You Wish? developed with more initial input and collaboration from my editor. When I signed, she mentioned that she wanted to explore doing my second book in an ink and watercolor style in which I had done some art for my Instagram account in 2019. I’ve been working digitally for a long time now, so I hoped she would forget this request. She did not. (Illustrators: a prime lesson in “don’t post art in a style you don’t want to work in”)

I wrote two outlines for my editor, and together we picked the stronger idea which we were both excited to work on. The text is lyrical, almost a poem, and there were a lot of emails about word choice for this project. Because color is an important part of the storytelling in this book, I did my dummy sketches in color for both her and my art director.

RVC: Sounds good so far. What happened next?

AA: I panicked. When I first started making art in high school, watercolor was my medium of choice, and remained so through college. As a strictly digital artist since then, I was not confident that painting with watercolor would be like riding a bike. This lack of confidence impeded my ability to start the art, so I taught myself how to create watercolor paintings in Procreate in order to give myself more flexibility. I loved it! While I say not to post art in a style you don’t want to work in, secretly I always dreamed of creating a book with watercolor illustrations. All my favorite childhood artists used pen and watercolor. I am so happy my editor pushed me out of my comfort zone, and now I often work in digital watercolor.

RVC: What’s the most important thing people should know or understand about What If You Wish?

AA: If you are a fan of Blob, What If You Wish? is VERY different in style, both in the text and in the art. I pushed myself during this project, mentally, creatively and artistically, and I’m proud of what I made. In a way, having two books with such very different approaches is very indicative of who I am as a person, constantly changing my creative approach and trying new things. I hope that those who are familiar with my work are encouraged to believe that they don’t have to fit in any one box either. I wish that creatives, both the kid kind and the adult kind, can read this book and reconnect with their sense of wonder and possibility.

RVC: I note that you offer a variety of critique and story development sessions via your website. What’s your superpower in terms of helping other creatives?

AA: As I said earlier, I am an idea generator. I am constantly thinking of new ways to approach things or look at things. I do this not only with my own work, but with the work of those who ask me for help. Because of this, I’m able to get to the heart of the story a creator is trying to tell with their words and/or pictures, or I’m able to ask questions to enable them to reach that answer themselves. Then, either by working together or by asking the writer or illustrator some generative questions, I help them create the framework in their story and make choices that allow this heart to shine as bright as possible.

RVC: Looking back, is there anything in your career you would have done differently?

AA: Hmmm. I think we can trap ourselves thinking “if I had done something this way instead…” or “what if I had chosen this other path …” The fact is, I didn’t! Without the choices I did make, I truly believe I would not have ended up where I am today, and I’m pretty excited and hopeful about my career. Instead, I’m going to continue keeping my “what ifs?” In the present and look forward to the future they create.

RVC: That’s a fine answer!

AA: One thing I would have done differently as a student (and since, as creatives, most of us are constantly looking to learn more): I would have taken more advantage of the knowledge of my professors and my teachers. Feel my fear and ask questions anyway.

RVC: Well, that’s another fine answer.

AA: Okay, fine. Figuring out I had ADHD and how that informs the way I work MIGHT have come in handy a little earlier in my career.

RVC: Hah, leave it to you to go from no answers to three.

AA: Happy to help!

RVC: If you had to summarize the most important thing you’ve learned about making picture books, what would it be?

AA: By now you KNOW I’m going to give you more than one answer.

Creating words and pictures for kids isn’t always going to be fun. Sometimes it’s really hard. Sometimes it REALLY SUCKS. Sometimes you’ll wonder, what if I just give up? It’s okay to feel this way.
Also, have fun! 🙂 Pursue the ideas that excite you. It’s okay if you are writing just for you. Forget about writing a book with a message! You’ll find writing and illustrating has a sneaky way of showing up with a message anyway. Once it does, you can tease it out even more!
Sometimes bad ideas are good. Sometimes good ideas are bad. SPOILER: ideas are just ideas. I let myself get excited about ALL of them. I will likely only pursue a few. Because guess what? There will also always be more ideas.

But most importantly: Kids are SMART. They feel BIG feelings. They make seemingly impossible connections. Don’t dumb down your art or writing for them. They will know. They will ALWAYS know. Instead, access your inner child and see what happens.

RVC: Since COVID, I’ve been asking a question about health and wellness in each interview. Here’s yours. How do you defeat negativity, either coming from yourself or the outside world?

AA: Oof. Read my next book What If You Wish? To find out!

RVC: I’m hoping the readers will!

AA: Okay, commercial over. I struggle a lot with anxiety and thus negativity from myself is a bit harder to overcome. I tend to spiral. To be completely honest, I handled this during COVID by disengaging a lot. (Animal Crossing anyone? Stardew Valley–also SUPER fun.) However, I find therapy an incredible resource, as well as trying to stay connected to those I know care about me. Journaling helps too, when I remember to do it. I also found I REALLY enjoy making stickers, so finding a creative outlet that is kidlit adjacent but not book making has been wonderful.

With negativity coming from the world, I’ve been trying to stay informed as much as my mental health allows and then engaging where I can by amplifying informed voices on social media, helping financially where I can, and working to become more informed myself.

One thing I’ve learned about myself is that, in addition to loving ideas, I love encouraging, nurturing, and enabling other creatives in their pursuits as much as possible. (I say yes too often!) Giving back is my small way of fighting against negativity. Within publishing, I support efforts to increase diversity and inclusion wherever I can, again both by amplifying efforts and financially where possible. I also donate my time by offering critiques through various kidlit auctions and fundraising efforts. Last summer, I was able to give back by mentoring two trans picture book illustrators through the #PBRising Stars mentorship program which was such a blast. I learned so much and made even more connections that I will cherish in my career.

In short, the opposite of disengaging is what helps me defeat negativity in all areas of my life. Funny how life works.

Professionally, I defeat negativity by being incredibly spiteful. You’ve probably picked up on that.

RVC: Fantastic answer. Let’s wrap up this part of the interview with a glimpse into the future. Beyond the forthcoming 2024 picture book, what’s next for Anne Appert?

AA: ALL THE THINGS! At least, that’s what I’m hoping. Publisher’s Weekly just announced my first chapter book illustration project, a series called Zoomi & Zoe written by author extraordinaire Corey Ann Haydu and published by Quirk Books, coming out in 2025! I am hoping to do more collaborative projects in the future, and I am happy to start with this one. I currently have about a gazillion projects in various stages of development: a heap ton of picture books in progress, a pile of early reader graphic novels simmering, a couple middle grade graphic novels bubbling, even a novel in verse project! (Have I mentioned yet how much my brain loves ideas? NO? Shocking.)

I am manifesting finished projects! Then hoping they find homes in the world. I’ve discovered I really like teaching aspiring artists and writers, so I hope to do even more teaching and speaking in the future. I am planting my what-ifs, and looking forward to seeing what they bloom into. And who knows? Maybe there’s something even my brain hasn’t thought of yet! I look forward to being delightfully surprised.

RVC: Okay, Anne. It’s now time for the much ballyhooed, always exciting, never equaled LIGHTNING ROUND. Zippy zoomy questions followed by zappy cracky answers, please. Are you revved up and ready to respond to this request?

AA: As an over thinker, absolutely not. So let’s do this!

RVC: If you could only have one app on your phone, it’d be…

AA: Spotify.

RVC: What’s the most ridiculous thing you’ve argued with someone about?

AA: The best way to spell Anne. (OBVIOUSLY it’s with an “E”)

RVC: What word do you always mispell misspel missppell get wrong?

AA: Necccesary. Necesarry. Necessary! (Or really any word with some combination of same sound c’s and s’s)

RVC: You’re having a dinner party with three picture book creators. Who gets an invite? (Bonus points for a detailed menu!)

AA: Because I was not given parameters on if they needed to be living, here is my invite list that includes both past and present picture book creators:

Gyo Fujikawa. She illustrated the version of The Night Before Christmas I grew up with and I adore how she illustrates children. Because of this, we’d need to have sugar plums. (I highly recommend looking up her work! Additionally, Kyo Maclear wrote and Julie Morstad illustrated a lovely picture book biography about her called It Began With A Page: How Gyo Fujikawa Drew The Way)
Sophie Blackall. I had the immense privilege of visiting her writing/illustrating retreat center, Milkwood, this summer. I love her work and would happily spend much more time talking with her about books and process and life. We would need to have cake, of course.
Michaela Goade. Her illustrations are gorgeous and I would love to pick her brain about her approach using mixed media. In honor of her Caldecott honor author/illustrator debut, Berry Song, we would need to have wild berries. Perhaps I can add some homemade whip cream.

OK OK. I have a sweet tooth. This is a dessert party, not a dinner party.

I am using incredible restraint to follow the rules and not add at least 3 more people to this list. There are just so many amazing people working in kidlit!

RVC: What’s a recent terrific author/illustrator picture book that didn’t get enough attention?

AA: Sandra Salisbury’s Spreckle’s Snack Surprise! The endpapers are particularly fun.

RVC: Three words that describe your picture-book-making journey.

AA: Fickle, Frustrating, Fabulously Fantastic!

RVC: Thanks so much, Anne!

AA: Thank YOU, Ryan!

Author Interview: Deborah Kerbel

On December 11, 2023December 11, 2023 By Only Picture BooksIn Author Interviews1 Comment

This month’s Author Interview is with Canadian writer Deborah Kerbel. To make her feel at home, I’ll be using the Canadian spellings throughout (colour, etc.). Fun, right?

I first learned about her work via the graphic novel Fred & Marjorie, but since then I’ve sampled her MG novels, YA novels, and many picture books. She’s got a new picture book that just came out—Next Door (Kids Can Press)—and we’ll be sure to ask her about that in the interview. We’ll also talk about how she handles writing so many different types of stories.

To help us get a better sense of Deborah, here are 8 Fun Facts.

My favourite books growing up were the Wizard of Oz series of books and anything by Beverly Cleary, Judy Blume, and Gordon Korman.
My celebrity teen crush was Andrew Ridgeley from Wham! (if you’re thinking, who’s that? then you clearly weren’t around in the 80s).
Before becoming a full-time author, I held an eclectic mix of jobs in fashion and music retail, telemarketing, restaurant hostessing, financial writing, and pajama modelling.
My favourite foods are Pad Thai, Italian zucchini flowers, and lemon gelato.
My #1 writing fuel? Strawberry Twizzlers.
My biggest phobia is raw tomatoes (**shudder**).
My go-to karaōke song is “Don’t Stop Believin”–in my dreams, I always hit that long, high note.
My guiltiest reading pleasure…any book for “grown ups” makes me feel like I’m cheating on my towering TBR pile of kidlit books.

With a list like that, you practically don’t need anything more, right? Well, OPB is nothing if not thorough, so here’s an entire interview to make sure you know what makes Deborah as awesome as she is.

RVC: You can probably tell I’ve been binge-watching Marvel superhero movies because my first question is this—what’s your origin story as a writer?

DK: Growing up, books were a big deal in my house. My dad’s an author, too, so I suppose there’s a good amount of ink running through my veins. I was always reading something–it didn’t really matter what…comic books, novels, the back of cereal boxes. I just wanted to consume all the words I could get my eyes on. I always tell kids if you read enough books, eventually words and stories of your own will start spilling out. I guess that’s what happened to me.

RVC: That’s a story I hear a lot from the people I interview here.

DK: The first book I ever wrote was for a school project when I was 7 or 8 years old. (It was also the last book I ever attempted illustrate, but let’s not go there.) I love writing stories for young people and hopefully helping them to grow into lifelong readers.

RVC: What was the most important book of your childhood?

DK: It’s SO hard to choose just one. But I’ll go with Ramona Quimby, Age 8 by Beverly Cleary. I even had the haircut to match!

RVC: Like you, I grew up in the 80s. What’s an 80s thing that deserves a comeback?

DK: With the Canadian winter fast approaching, I vote we bring back leg warmers. Cozy and très retro-cool!

RVC: Absolutely! Now, what career plan did you have when you attended Western University in London, Ontario?

DK: I had no career plan. I was really just winging it, taking courses that interested me while confident I’d figure it all out. Looking back now, I guess it shows I’ve always been a pantser, not a plotter. Plus, I’m an eternal optimist. Which is likely one of the reasons I’ve made it this far as a writer.

RVC: You write all kinds of things for kids. What are some of the challenges of writing such a wide range of stories?

DK: I suppose the biggest challenge is not having a literary “brand.” Readers aren’t always sure what to expect from me next. Probably because even I don’t know what I’ll do next! (See my previous answer about “pantser.”)

RVC: Picture books clearly hold a special place in your heart. Why?

DK: I love the collaborative nature of a picture book. I enjoy the challenge of writing a compelling story in so few words and pages. And I adore seeing the visual interpretation of a story that grew from my imagination. It’s such a special and unique creative process. And they’re so much fun to write!

RVC: Let’s help out the writers who follow OPB. What are some of the most common problems with picture book manuscripts.

DK: I think the #1 mistake is when I see writers prioritizing a message, moral, or a lesson before a good story. #2 mistake would be over-writing the text and not leaving enough space for an illustrator to join in with their vision.

RVC: And the secret to overcoming those is…?

DK: The secret to overcoming both is reading as many newly published picture books you can get your hands on, and thinking critically about the story and whether it speaks to you (or not) and why. Also, join a critique group of fellow picture book writers and be open to honest feedback.

RVC: If you had to summarize the most important thing you’ve learned about writing picture books, what would it be?

DK: All the same elements that are crucial to writing a good novel–plot, pacing, tension, character development, etc.–are just as important in a picture book.

RVC: What do you think is the most common misconception about picture books?

DK: That they’re easier to write than a novel. (Hint: they’re not!)

RVC: In your perspective, how different is the kidlit industry in Canada from that in the US?

DK: Well, for starters it’s much smaller. Everyone knows everyone in the Canadian kidlit world. Also, I’m not sure how it is in the US, but Canadian kidlit creators are incredibly supportive of each other. It’s like a warm and fuzzy maple-syrup flavoured family up here.

RVC: Sounds delicious! What role does your family play in your writing and revising process?

DK: My kids used to inspire my stories when they were little. They’re young adults now so, unfortunately, they offer a lot less picture book content for me to harvest. And my husband is my biggest cheerleader. He reads all my manuscripts before I send them out on submission and gives excellent (but honest) feedback.

RVC: Once COVID hit, I’ve tried to ask a question about self-care in every interview. What do you do to de-stress?

DK: A long walk with a good audiobook works for me every time.

RVC: You’ve got a new picture book out. What’s the elevator pitch for Next Door?

DK: Next Door is a wordless picture book about friendship, acceptance, breaking down barriers, and finding common ground, no matter our differences.

RVC: Where did the idea for this book come from?

DK: The main character in the book wears hearing aids and was inspired by my late sister, Kim, who was born profoundly deaf but had an easy way of making connections with people, regardless of speech or language barriers. The book is dedicated to her as well.

RVC: That sounds like a lovely way to honor your sister. Now, here’s the last question for this part of the interview. What should we expect from you next? What are you really looking forward to?

DK: I’ve got seven more books coming up the pipeline (one middle grade novel and six picture books), so this is a tricky one to answer. I’m excited for them all, but the one that comes to mind first is No Huddles for Heloise, a picture book an introverted penguin who cherishes alone time and personal space (kind of like me). It’s coming out in Winter 2025 with Orca Books.

RVC: Okay, Deborah. I know you’ve been thinking about this the entire time, and now it’s here—the SPEED ROUND! Wahoo! This means super-fast question followed by stunningly swift answers. Are you ready to meet the challenge?

DK: Let’s do it!

RVC: If you could only have one app on your phone, it’d be…

DK: Waze. (Wonky sense of direction here.)

RVC: Funniest word in the English language?

DK: Kerfuffle.

RVC: Guiltiest pleasure to order at Timmie’s?

DK: A sour cream donut.

RVC: What “old person” thing do you do?

DK: Fall asleep during movies.

RVC: Who sets the standard for picture book rhyme?

DK: Dr. Seuss.

RVC: Your picture book philosophy in five words or less.

DK: They can change the world.

RVC: Thanks so much, Deborah!