Category: Author Interviews

Author Interview: Charlotte Offsay

On 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 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:

  1. A no in publishing is often just a no for now. Don’t give up on the projects you believe in!
  2. 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.
  3. 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:

  1. Get idea. Get super excited about idea. Share idea with anyone who will listen. Don’t pay any attention to their reaction.
  2. 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.
  3. Gather notes together. What kind of foundation do I have?
  4. 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.
  5. Write solid draft. Send to critique group for feedback. Let feedback simmer. Get bored of the project and move on to a different one.
  6. Something reminds me of idea. Revisit feedback and revise. Send it to a different critique group/​writing partner for fresh eyes.
  7. Edit and send to my agent for feedback.
  8. 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.
  9. Sketch!
  10. Send back to agent for feedback. Pick 3 pages to make into final art.
  11. Overthink and make 6 different cover sketches. Stick with the first idea I had.
  12. Put it all together. Agonize over a pitch. Get impatient and send it to my agent.
  13. Agent sends project out.
  14. Cross all fingers. Refresh email. Move on to the other 10 projects I’ve started already.
  15.  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.

  1. 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.
  2. 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!
  3. 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:

  1. 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)
  2. 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.
  3. 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

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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!

Author Interview: Marty Kelley

On By Only Picture BooksIn Author Interviews

Here’s a little secret about getting interviewed at OPB—if you make books about unicorns, zombies, and farts…you’re in! And while you might think that’s the only reason that author, artist, and teacher Marty Kelley is joining us today, you’d be wrong. He’s also the creator of Imaginary Ancestors, an interactive storytelling project where you get a “brand-​new, completely fictional family member into your life.” Awesome, right?

There’s more to Marty than just his knack for weaving the hilarious with the heartfelt. With a background in elementary education and freelance illustration, Marty possesses a unique perspective on storytelling that’s both educational and entertaining. His experiences in the classroom inform his understanding of children’s innate curiosity and humor, aspects that he deftly incorporates into his work. Marty Kelley is a multi-​dimensional artist who not only tickles our funny bones but also sparks our imagination and speaks to our inner child.

Oh, and he’s the author of this fine book, which is the first of his I’ve read.

Let’s dive into the interview to find out more about Marty right now!

Marty’s Website

 

RVC: Rumor has it that you get your start as an artist by drawing “historically accurate pictures of spaceships dropping bombs on dinosaurs.” True story or is this just more bang-​up work from the Office of Disinformation?

MK: 100% true disinformation…

RVC: Hah. Okay. What’s the REAL story?

MK: I’ve always loved to draw. I spent a lot of my school career drawing ridiculous doodles in notebooks and in the margins of my school books. I spent a lot of my recess time erasing those same sketches from the margins of my books. I’ve always enjoyed creating art and stories that exist in some sort of strange juxtaposition with one another. Spaceships and dinosaurs, for example.

RVC: Please share the story of the comic strip you created during high school. 

MK: I had high hopes of being the next Gary Larson and creating a comic that could rival The Far Side. To that end, I created a single-​panel comic called Major Weirdness. It was exactly as good as a comic from a dorky, untrained 14 year old would be. I sent it to a few syndication houses and a few kindly took the time to send me actual rejection letters instead of just using my comics as place mats.

I eventually decided to start a bit closer to home. I packed up all my comics in a binder, tossed it in my backpack, and rode my bike to the local town newspaper where asked to see the Editor in Chief. The editor took the time to sit down with me and look at my work. After pointing out that I had spelled Weirdness wrong on every panel, she offered to print my comic in the paper once a week, for which I was offered the exorbitant payment of $10 per comic. I still feel like they overpaid me.

RVC: Great story. Now, after high school, you studied animation at The School of the Museum of Fine Arts. Soon after graduating, you returned to school to become a teacher. What’s the backstory here?

MK: My art school years were great and I loved the Museum School, but their unorthodox way of running a school gave me, as an 18-​year-​old kid, WAAAAAY too much freedom in my choices. Rather than taking several foundation courses in many aspects of art, I was able to focus everything on my tunnel-​visioned view of being an animator. I really just burnt myself out on it in two and half years. After a few bumpy attempts at other things, I got a job as an aide in a local elementary school. I absolutely loved working with kids. After following my girlfriend (now wife) to Florida, where I experienced some of the worst jobs of my life (I’m looking at you, Mystery Fun House…), I went back to school to get a “real job” teaching second grade.

RVC: What are some specific ways that being a second-​grade teacher prepared you to become a professional writer and illustrator of children’s books?

MK: Honestly, I think my time teaching was one of the most important factors in any success I’ve enjoyed as an author/​illustrator. I learned firsthand what kids actually enjoy. I learned how they read and why they make choices that they do in selecting books. As a very frequent presenter at schools, my background as a teacher was invaluable in making me comfortable in front of crowds and understanding how to keep 150 kindergarten kids entertained in a gym for 45 minutes. Something not for the faint-hearted.

RVC: What convinced you to make complete shift to being a story creator?

MK: Lunch duty. You have no idea…

RVC: I can only imagine!

MK: Honestly, I started doing Author Visits to other schools when I was teaching. I’d take a personal day here and there and zip off to another school to talk about books and make some pretty decent money. When I visited the elementary school that I attended as a kid, the largest newspaper in the state came and did a big feature story about it.

When I returned to school the next day, several co-​workers suggested that the next time I was “sick,” I try to avoid statewide publicity about it.

The superintendent, however, was delighted by what I was doing and allowed me to continue visiting other schools a few times per year because she could see that I was working hard to promote literacy. I eventually had to start turning down requests because of my pesky day job. It was at that crossroads, just married, in a new home, with a brand new baby boy, that I decided to chuck teaching and throw myself headlong into the breach. It was terrifying and very, very challenging, but I’ve never regretted it for a minute.

RVC: Share the story behind your first published picture book.

MK: I was working on a few books with no success. Like anybody trying something new, I had no idea what I was doing or how to go about doing it. This was in the olden days before the internet, when dinosaurs roamed freely through our towns. I began haunting the library and bookstores and eventually was able to sell Fall Is Not Easy to a small publisher. I was advised by people in the business that I should try to negotiate a flat fee because books from small publishers rarely sell many copies. I ignored that advice. That first book was in print for over 25 years and did sell a decent number of copies over its life.

RVC: I’m glad you bucked the trend there. Terrific! What was the most useful lesson that book taught you?

MK: Don’t lie to a publisher and tell them that the artwork is almost done when you haven’t, in fact, even started it. Rookie mistake.

RVC: You’ve been waiting patiently for me to ask, so here it is. Almost Everybody Farts—great picture book about farts, or the greatest picture book about farts?

MK: I’m biased, of course, but I’d suggest that it’s the only book about farts that matters.

RVC: What kind of reception did that manuscript have when you summoned the courage to send it in? 

MK: It was a strange mix. That book holds two personal records for me: Fastest rejection and fastest acceptance. When my agent, the incomparable Abi Samoun at Red Fox Literary, sent the manuscript out, we got an email back from a well-​known editor at a huge house exactly 28 minutes later. She was NOT a fan of fart books. 7 minutes after that, an offer came in from another publisher, followed by a second offer from a different publisher. It was the first time one of my manuscripts has gone into a bidding war, too.

RVC: What’s your favorite thing about that book (beyond that cool story you just shared)? 

MK: Thinking about the fact that in a law office somewhere, a lawyer actually had to write an eleven-​page legal contract that had the word “fart” in it about 57 times. That, and the fact that it makes kids laugh so hard. It’s really a joy to share that one at schools and see the kids shriek with laughter.

RVC: You and I know that tons of things don’t make it to the final product when we’re talking about picture books. So, what didn’t make it into that book that you wish did?

MK: HA! On the endpapers, there are a bunch of random people farting. Doctor, yoga instructor, princess, etc. When I originally submitted those pages, they included a nun. She made it through the first round of edits, but then the lawyers got involved. It was decided (not by me) that the book was potentially controversial enough without including a flatulent nun. There was also a page where an uncle was farting directly in a kid’s face. The marketing people thought it was “too aggressive.”

RVC: I think they missed a hilarious opportunity there. 

MK: I still disagree with the marketing folks, but we all need to learn to compromise.

RVC: Let’s talk process. How do you go about creating a picture book? 

MK: I really don’t have a set process. I tend to be a bit unfocused overall, flitting from one thing to another. I’m very curious and really enjoy trying new things. Very basically, I usually start with words. I will scrawl ideas and concepts in my sketchbook. Sometimes they seem to just flow, but much more often, it is a process that takes months or years. I heavily revise everything I create. I typically have pictures in mind, but they tend to get made after the words are finished unless I’m working on a graphic novel. Those are a totally different creative process for me. I think those through almost like a movie or TV show, relying much more heavily on pictures to tell the story and carry a lot of the humor. I really enjoy process and the act of creating.

RVC: How do you balance the relationship between text and illustrations in your work?

MK: Again, it depends on the book. As I mentioned earlier, I really like work that has some juxtaposition of ideas in it. I like stories where the pictures and words don’t always tell the same story, but they work together to create something new. It’s enjoyable to me to have the illustrations show or suggest something other than what the words are saying. For me, that’s a fun element of humor to exploit and play with.

RVC: Have you ever faced writer’s or artist’s block? If so, how do you overcome it?

MK: Oh, heck yes. It happens to everyone at some point. Often, I will just put the project down and take a break, either by working on something else or just doing something completely different. It can sometimes take years for me to take an idea that I like and turn it into an actual, workable story. I’ve also found over the years that projects I struggle with can occasionally be abandoned in favor of projects that incorporate elements of the original project. Lots of my books contain elements that were scavenged from previous “failures.”

RVC: What’s the most rewarding part of making picture books?

MK: Sharing them with a gym full of kids who laugh hysterically. It’s unimaginable rewarding to realize that something you created is bringing that much joy into the world.

RVC: You’re well known for having terrific school visits/​presentations. What are a few of your secret go-​to moves (that other writers should maybe copy)?

MK: Be authentic. Don’t try to be something you think kids will like. Be honest and real with them. Also, tell fart jokes.

Seriously, though, don’t tell fart jokes if you’re not the fart joke kind of person. You know when someone is being insincere. Kids do, too.

RVC: I quite agree. What else?

MK: I keep my presentations very visually engaging. I spend weeks every summer crafting a new digital slideshow for school visits. I work very hard refining the presentation and I go into each school prepared and ready to give it my all.

I keep the kids engaged with interactive elements including places for them to shout things out. I cover all aspects of the writing process in an age-​appropriate way. You really, really have to have a sense of who you’re talking to. Explaining your personal philosophy of using gerunds as a vehicle to further the exploration of the limits of language to a gym full of kindergarteners is probably not the smartest move a presenter can make. That doesn’t mean talking down to them, but making sure that you’re meeting them where they are with useful information presented in an engaging, appropriate way.

Also fart jokes.

RVC: You seem to have a running gag with the trademark symbol on your website and interviews, so let me just ask. What’s the deal there?TM

MK: What’s the deal there?™ is a trademark owned by Marty Kelley Enterprises, Ltd.. My lawyers will be contacting you.

RVC: On no! I’m terrified™.

MK: It’s just my silly push-​back against the ridiculous culture of proprietary nonsense everywhere.

RVC: Fair enough™! Now, what advice would you give to parents, librarians, and educators for selecting quality picture books?

MK: If a celebrity wrote the book or it it’s based on a cartoon series or a movie, maybe keep looking.

RVC: As someone who reads a lot of celebrity books as research (because I write them in my role as The Picture Book Whisperer), I agree with you.

MK: It really depends on what you’re looking for. If you want kids to become enthusiastic lifelong readers, let them choose the books they want. If you think it’s too hard for them, sit with the kid and read it together. If you think it’s too easy for them, take a breath and step back. Not everything has to be a challenge. Not everything needs to be quantified and graded. Let them read what interests them. Suggest other books that may be interest-​adjacent as a way to broaden their reading horizons. Reading for pleasure should actually be a pleasure.

RVC: Here’s one last question for this part of the interview. It’s Brag Time! What awesome upcoming things do you want to share with us? 

MK: The stuff I’m most excited about lately isn’t book stuff. I do have a new picture book coming out in 2026 that I’m excited about, but lately I’ve been working on a lot of sculptural work that incorporates stone, steel, and wood. It’s a joy to work on these and it’s such a different process than creating on paper with words or images.

I’ve been creating and selling a lot of these sculptures and it’s been a really exciting new avenue of creativity to explore.

RVC: Alright, Marty. Great job on the above, but here’s where your true colors will show. It’s the LIGHTNING ROUND! We’re talking zip-​zappy fast questions followed by hustle-​bustle quick answers. Are you prepared to face this challenge? 

MK: You bet™.

RVC: If we overheard you singing in the shower, you’d be belting out…

MK: “Think” by Aretha Franklin. Also, “Get out of my bathroom while I’m showering!”

RVC: If there was a picture book about your life, what would it be called?

MK: Wait, what?

RVC: Your studio is on fire! What’s the one thing you grab on your way out the door?

MK: The fire extinguisher.

RVC: An industry trend you wish would go away?

MK: It’s a tie: Celebrity “authors” and books created to sell toys.

RVC: The unicorn (or fart or zombie) picture book you WISH you wrote?

MK: Well, I hadn’t really given that any thought, but I think you just made it: Unicorn Fart Zombies™.

RVC: Funniest thing a kid reader of your books said to you?

MK: After presenting for 30 minutes to a group of kindergarten students about how I create my books, a kid raised his hand and asked “Do all wrestlers drive red trucks?”

I have no idea where that came from but I told him, “Yup. With whomping stereos.” and he seemed satisfied with that answer.

RVC: Thanks so much, MartyTM!

Author/​Illustrator Interview: Tadgh Bentley

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This month’s interview is with Author/​Illustrator Tadgh Bentley, a British illustrator and writer who now lives in Ohio with his wife, son, and dog. He’s a fan of penguins (witness his Little Penguin series), so we know he’s a truly terrific person. He’s also keen on creating books about critters of all types, as evident from such picture book titles as Samson, the Piranha Who Went to Dinner and his Dino Detective and Awesome Possum chapter books.

Tadgh is also a self-​trained illustrator, which impresses me to no end.

Let’s get right to the interview to find out more about Tadgh, his books, and his process for creating them!

Tadgh’s website

RVC: Let’s start with the most important thing. How do you pronounce your name?

TB: It’s pronounced “Teague” like “league” but with a T. It’s a Gaelic name.

RVC: Aha, okay. And you have an accent, too, I can’t help but notice.

TB: So, I’m British. I’ve been here [in the US] for 11 years. My wife is from a little town called Logan in southeastern Ohio. We met and then moved here 11 years ago, and I’ve been desperately trying to hold on to my accent ever since. Not that I’ve got anything against the American accent, but there are some British people here whose accent is not quite British and not quite American, which just sounds very strange to me.

RVC: You didn’t go to school to train to be a writer or artist. What was the original plan?

TB: The original plan was to keep on trying to think of a plan, really. In my teenage years to my early 20s, I didn’t really know what I wanted to do. I ended up doing sociology at the University of Bristol, and then I decided to teach.

RVC: What level were you teaching?

TB: I was trained in elementary education, but my last stint was teaching fifth and sixth-​grade English Language Arts. I taught the TAG (Talented and Gifted) class, which allowed me to have the same set of students for two years. This long-​term engagement let me get to know my students well and was one of the most rewarding aspects of my job.

RVC: How did you go from teaching into creating picture books?

TB: I’ve always journaled fairly regularly and I read a lot when I was younger. But I didn’t have a creative outlet for that interest. Then shortly before moving to the US, I was in a bookstore looking for a book to read. And I just kind of noticed Oliver Jeffers’ Lost and Found. I picked it up and was captured by it straightaway. I hadn’t considered picture books until that point, but I’d always been a doodler.

RVC: Let’s talk about your art ability. You’re self-​taught, right? So, when did you know you could create art at a high enough level to do this?

TB: I have this fairly relentless inner voice that’s constantly saying, “You’re not there yet.” That can be useful when I’m aware of it. I always emphasize to young people that my formal education in writing ended in high school and everything I’ve learned has come from the Internet. But it’s also about the process over results, learning from dead ends. So, I find comfort in hearing that even successful people like Peter Brown have their doubts.

RVC: Do you have a story of a failed picture book that led to something good?

TB: Currently, I’m working on an idea about a bear that invents a roller coaster. Putting that aside has led me to revisit another project that I now see in a new light. It can be crushing to not have a product at the end, but you have to keep creating.

RVC: What are your feelings about digital art?

TB: My entry into illustration came through photography and later Photoshop. While I find digital art valuable, especially for book production, it feels a bit like a “fraud” since there isn’t a physical, unique artifact at the end. This led me to explore oil painting, which has been deeply satisfying.

Working with physical paints has taught me far more about color than years of digital work. For digital artists, I recommend experimenting with a simple palette of physical paints to better understand color mixing.

RVC: Great advice. And speaking of advice, do you have an agent?

TB: I do. It’s John Rudolph at Dystel, Goderich & Bourret.

RVC: He sold your first book?

TB: Yes, my first book was Little Penguin Gets the Hiccups. I wrote it during an eight-​month period when I couldn’t work after moving to the States.

RVC: What’s the story behind that first book?

TB: I was having dinner with my wife, Emily, when she got the hiccups. The idea of a mouse getting hiccups popped into my head, which eventually turned into a penguin. I created a complete dummy and John Rudolph picked it up. He liked everything but the art initially. He said my willingness to listen to feedback and make changes was crucial in his decision to take me on as a client.

RVC: What’s it like working with a recurring character?

TB: My experience with the Little Penguin series was more about navigating the structure rather than handling recurring characters. We had this formula—introduce a problem that Little Penguin has caused, then show him trying to solve it. At first, I thought it’d be helpful, but it ended up making things more complex. I liked adding new characters like Kenneth the bird or a polar bear. I’ve always enjoyed stories where there are little details to discover upon multiple readings.

RVC: Me, too.

TB: It also allowed me to enrich the story world, which I naturally tend to visualize as a broader, “real” universe. This sometimes leads me into overthinking, but it’s a part of my creative process.

RVC: I note that the majority of your characters are animals, not humans. Is this a conscious choice?

TB: It wasn’t intentional. Early on, I was somewhat uncomfortable drawing humans. I’ve been writing stories that involve humans, but those never really materialized. Currently, I have several projects underway featuring non-​human characters—like a bear on a roller coaster, a hedgehog in a bouncy castle, and a bird that can control the sun.

RVC: Which of the characters from your published picture books do you most identify with?

TB: Frank from One Chicken Nugget comes to mind. I’m an introverted person, but much like Frank, my brain is always active and running around. He’s a bit out of control, but I feel a kinship with him.

RVC: How does it feel to work as both an author and illustrator?

TB: For Dragons Eat Noodles, I was just the illustrator. The experience made me realize how traditionally separate the roles of author and illustrator are in the publishing industry. I found this surprising because, for me, the words and pictures are deeply interconnected and inform each other.

RVC: I think it’s important for people to understand that perfection isn’t achieved on the first try. To that end, I sometimes ask if interview subjects are open to sharing drafts. Are you?

TB: Absolutely. I have a wealth of early material for my first book and One Chicken Nugget as well. I believe the hard work involved in revisions is what makes the creative process authentic.

RVC: How does your family influence your work?

TB: My four-​year-​old son Fionn, who’s obsessed with rockets, has been a big influence. He’s inspiring me to write stories about space. Fionn’s way of engaging with the world really inspires me. In One Chicken Nugget, I snuck in a rocket on every page for him.

Aside from that, my family has always supported my love for reading, though I’m the outlier when it comes to artistic pursuits.

RVC: Do you keep tabs on markets other than the U.S., like the UK?

TB: Currently, all my book deals are for North America. As a Brit, I would love to have a book published in the UK. Now that I’m focusing solely on writing and illustrating, I’m planning to broaden my horizons.

RVC: What do you wish you knew when starting in children’s literature?

TB: One of the most important lessons I’ve learned is to focus on the process rather than the end product. While it’s true that I sometimes struggle with finishing projects, the shift in focus toward the creative process has been beneficial for my overall growth and enjoyment in my career.

RVC: One last question for this part of the interview. What’s a picture book that has really inspired you?

TB: The Rabbit Listened by Cori Doerrfeld. An unbelievably gently, important story.

RVC: Great choice, Tadgh. But now it’s time for the LIGHTNING ROUND. Fast questions + fast answers, please. Are you ready!

TB: Absolutely.

RVC: What’s something surprising that’s on your music playlist?

TB: I’ve got a fairly eclectic range, but there’s a really good band called Lankun–it’s Irish folk.

RVC: Five things you can’t do your job without.

TB: Time. Patience. Pencil. Paper. Imagination.

RVC: Who sets the standard for picture book art for what illustration?

TB: Jon Klassen’s style really stands out. The colors, textures, and simplicity of it all. My favorite picture book is We Found a Hat. I just think it’s beautiful.

RVC: What’s the last picture book that actually have you laughing out loud?

TB: It’s The Legend of Rock Paper Scissors by Drew Daywalt. I was reading that with my kid, and it’s hilarious. It talks about characters getting their “battle pants” on and such. Fionn was laughing in the most adorable way.

RVC: Who’s a picture book author you’d LOVE to illustrate for?

TB: If there are any astronauts out there writing picture books…let me know!

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

TB: Humor, meaning, and simplicity. That’s what I aim for.

RVC: Thanks so much, Tadgh!

Author Interview: Henry Herz

On By Only Picture BooksIn Author Interviews

This month’s Author Spotlight shines on Henry Herz. Known for his whimsical and educational tales, Henry has authored over a dozen books for kids and many short stories for adult audiences. Considering he got a late start in writing thanks to his background in engineering and political science—yeah, we’ll talk about that!—he’s been impressively prolific.

In addition to writing his own stories, Henry’s also edited anthologies for both kids and adults, such as The Hitherto Secret Experiments of Marie Curie (YA horror) and Beyond the Pale: A Fantasy Anthology (adult fantasy, urban fantasy, and paranormal stories). Considering Jim Butcher was in that collection, I’ll have to ask about that book, even though it’s most certainly not picture book-​ish in any way. It does have kidlit queen Jane Yolen aboard, though, so that changes things some.

Alright, I can’t wait any longer. Let’s get right to the interview to hear from Henry!

RVC: Let’s talk about the STEAM elephant in the room. You’ve got a BS in Engineering from Cornell, an MS in Engineering from George Washington University, and an MA in Political science from Georgetown. What was the plan with all of that?

HH: Ha. My degrees actually do reflect a plan. My career began as a defense analyst, so engineering degrees in operations research (applied math) combined quite naturally with a degree in national security studies from Georgetown. The thing absent in the plan was any thought of writing fiction, though I loved reading it since elementary school, from Where the Wild Things Are up through The Lord of the Rings.

RVC: Okay, that’s a fine plan. But you eventually found your way to writing, so what sparked your interest in writing children’s books, and how did you make the transition into this career?

HH: About fifteen years ago, I wanted to share my love of fantasy with my young sons. They were too little for watching most of the fantasy movies. Struck by inspiration one day, I came up with a way to share the joy of entering the magical realms of fantasy. I would write a fantasy chapter book for them. That decision had two unintended consequences.

First, I did not anticipate was that my boys would give me feedback on the story.  They devised some of the character and creature names, and made plot line suggestions.  And who better to help make the story appealing to kids than other kids?  So, the goal of interesting my sons in fantasy transformed into also encouraging them to write.

Second, I discovered that I loved writing for kids. We ended up self-​publishing that book. I was hooked. I became a SCBWI member, joined a critique group, and kept honing my craft until I sold my first picture book, Monster Goose Nursery Rhymes, to a traditional publisher, Pelican.

RVC: It seems like you get a particular kick out of mashing things up, or combining unusual things, like Little Red Cuttlefish (fairy tale + underwater story).

HH: Yes, if mixing chocolate and peanut butter produces a popular candy, why not combine two unlikely topics or literary elements to write an engaging book or story.

RVC: Good point!

HH: Now that you mention it, I think that half my picture books are mashups:

Monster Goose Nursery Rhymes = monsters + nursery rhymes
When You Give An Imp a Penny = monster + the circular structure of If You Give a Mouse a Cookie
Little Red Cuttlefish = underwater version of Little Red Riding Hood
Cap’n Rex & His Clever Crew = dinosaurs + pirates
How the Squid Got Two Long Arms = underwater version of a Rudyard Kipling Just So Story
2 Pirates + 1 Robot = pirates + robots

Some of my short stories are also mashups, including:

“Cheating Death” = teenage Marie Curie + Pet Sematary
“Bards of a Feather” = Pied Piper + The Witcher
“The Cost of Gold” = HBO’s Deadwood + Native American ghosts
“Libbie and Dewey’s Excellent Adventure” = teenage Marie Curie + time travel
“The Repairwoman” = Aladdin’s Magic Lamp + sci-​fi noir
“Norsemen Cruise Line” = Dracula + cosmic horror

Mashups are fun!

RVC: Mashups absolutely are fun! Now, let’s jump to one of my favorite books of yours. Talk about the origin of I Am Smoke, a story where the smoke itself serves as a narrator through time.

HH: I find the employment of fictional elements to convey facts a great way to engage with young readers and teach them without them realizing it. Fiction can be the melted cheese we pour on top of the broccoli of nonfiction.

RVC: Yum!

HH: Now, there are some picture books with anthropomorphic characters, but I’d never seen smoke treated as a character. And who better to explain the various ways in which people have employed smoke than smoke itself? But I needed an overarching structure. I considered the chemistry of smoke. It turns out that wood smoke is primarily carbon dioxide, ash, and water vapor. Water vapor got me thinking about the water cycle—water evaporates from rivers, lakes, and oceans to form clouds. Eventually, the water precipitates as rain or snow. Rinse and repeat.

Then I considered the carbon dioxide given off by wood smoke. Two oxygen atoms and one carbon atom.

Carbon.…

Inspiration struck like lightning splitting a tree. Plants are the lungs of the Earth. They breathe in carbon dioxide through their stomata. They drink up water through their roots. Sunlight provides energy to split those molecules. The plant forms cellulose from carbon, oxygen, and hydrogen, sequestering more and more carbon as they grow. Conversely, burning tree branches releases the stored carbon. Eureka! Smoke has a “cycle” too.

RVC: Did people get it right away?

HH: 27 publishers declined the manuscript until Tilbury House bought it.

RVC: Wow.

HH: This is a lesson to all aspiring authors: be persistent. And I feel vindicated, because I Am Smoke earned the following acclaim: Kirkus starred review, ALA Notable Children’s Book 2022, School Library Journal’s 100 Scope Notes – The Most Astonishingly Unconventional Books of 2021, Kirkus 150 Most Anticipated Fall Books, National Council for the Social Studies 2022 Notable Social Studies Trade Books for Young People, Children’s Book Council’s Sept. 2021 list of anticipated bestsellers, San Diego Union-Tribune’s Fall arts preview 2021: Top book picks this season, School Library Journal’s Predictions! NYT Best Illustrated Children’s Books 2021, Evanston Public Library’s 101 Great Books for Kids List of 2021, School Library Journal’s Fuse 8 Production – 2021 Science and Nature Books, New York Public Library’s Best Books for Kids 2021, School Library Journal’s Fuse 8 Production – Best 2021 Nonfiction Picture Books, Evanston Public Library’s Blueberry Award Honor, Winner of the Book Launch Award from the Society of Children’s Book Writers & Illustrators, Towner Book Award nominee from The Washington Library Association, SCBWI Crystal Kite Award finalist, UNLV’s Children’s and Young Adult Literature: Notable Children’s Books 2022, Bank Street College of Education Best Children’s Books of the Year, SCBWI Crystal Kite Award finalist, UNLV’s Children’s and Young Adult Literature: Notable Children’s Books 2022

RVC: That’s a fantastic list–congrats!

HH: Thanks!

RVC: Beyond the lesson about persistence, what was the most important lesson that book taught you?

HH: Where there’s fire, there’s smoke. Both are dangerous. But both can be beneficial, too. The helpful uses of fire are more obvious, like providing light and heat, cooking food, making ceramics, and keeping predator animals away. Controlled fires clean forest floors, nourish the soil, promote the growth of established trees, and reduce the frequency of huge fires.

Smoke, on the other hand, was trickier. Smoke from a building fire can be deadly. Smoking cigarettes is bad for you. What surprised me most in researching the story was the many applications of smoke to help people through the millennia and across the globe. Smoke has been used to coax seeds to sprout, to drive out pests from homes, to send signals over long distances, to cover foul smells, to calm bees when harvesting honey, to flavor and preserve food, as part of religious ceremonies, and even to heal.

RVC: How do you approach the balance of education and entertainment in your books like How the Squid Got Two Long Arms?

HH: If I’m writing fiction, then I always start with entertainment in mind. I develop the story arc and develop the characters. I like to emphasis any educational elements in the back matter, so as not to distract the reader from the story. For example, the author’s note at the back of How the Squid Got Two Long Arms provides some nonfiction information about squid. STEM back matter increases the appeal of the book to parents and educators.

RVC: Please talk about the anthologies you’ve edited and how that work differs from writing your own books.

HH: I love curating and editing anthologies. It’s great fun to be part of a team that includes highly skilled authors. I learn a ton. What’s funny is that I only realized after doing five of them how similar that is to project management. Because editing an anthology involves managing creative people (see also herding cats), tracking schedule, tracking budget, diplomatically offering constructive feedback to authors who in many cases are far more acclaimed writers than I am. I’ve edited or co-​edited six anthologies so far, with two more sekret projects in the works:

  • Beyond the Pale adult dark fantasy anthology (Birch Tree Publishing) – stories by Saladin Ahmed, Peter S. Beagle, Heather Brewer, Jim Butcher, Rachel Caine, Kami Garcia, Nancy Holder, Gillian Philip, Jane Yolen.
  • Coming of Age: 13 B’nai Mitzvah Stories middle grade anthology (Albert Whitman & Co.) – stories by Sarah Aronson, Nora Raleigh Baskin, Barbara Bottner, Stacia Deutsch, Debbie Reed Fischer, Debra Garfinkle, Henry Herz, Alan Katz, Nancy Krulik, Stacie Ramey, Jonathan Rosen, Melissa Roske, Laura Shovan, Jane Yolen.
  • The Hitherto Secret Experiments of Marie Curie young adult horror anthology (Blackstone Publishing) – stories by Mylo Carbia, Stacia Deutsch, Sarah Beth Durst, Henry Herz, Alethea Kontis, Susanne Lambdin, Dee Leone, Jonathan Maberry, Emily McCosh, Seanan McGuire, Steve Pantazis, Lissa Price, Bryan Thomas Schmidt, Scott Sigler, Christine Taylor-​Butler, Jo Whittemore, Jane Yolen.
  • Wink young adult contemporary fantasy/​sci-​fi anthology (Brigid’s Gate Press) – can’t announce the full lineup, but it includes eight NY Times bestselling authors.
  • Combat Monsters adult World War II fantasy anthology (Blackstone Publishing) – can’t announce the full lineup, but it includes seven NY Times bestselling authors.
  • A Great Miracle Happened There contemporary middle grade anthology (on submission) – can’t announce the full lineup, but it includes seven NY Times bestselling authors.

RVC: Here are the much-​anticipated Jim Butcher questions. How big of fan are you of the Dresden Files?

HH: A very big fan. I love how he writes his fae, and the clever tactics he devises for Harry.

RVC: What was it like working with Jim? 

HH: Beyond the Pale was a reprint anthology, so I didn’t work with him on his story for that. It’s an action-​packed tale of his criminal mastermind, John Marcone. I did get to meet Jim when he was on a San Diego Comic-​Con author panel I moderated.

RVC: Did you ask him what the @!$@# happened with the 2007–2008 TV series? 

HH: Ha, no. That is a sensitive subject for him. One of the best things about that series was that an actor with an English accent played a character with an American accent, and an actor with an American accent played a character with a British accent.

RVC: Please share some insights into your writing process. How do you develop your ideas, and what tools or rituals aid your creativity?

HH: I’m definitely a plotter (not a pantser). I don’t really have any tools or rituals beyond coffee. Creative ideas pop into my head when my muse sees fit. I have learned to shift projects if I feel stalled on a particular story, returning later with a fresh perspective. On other occasions, I submit to an open call for stories where the theme tickles my fancy. In that vein, I’m desperately hoping my submission gets accepted into a Winnie the Pooh – Cthulhu Mythos mashup anthology.

RVC: Who doesn’t have that literary hope? Now, Henry–we’ve got time for one final question for the regular part of this interview. It’s brag time! What’s coming up that you’re really excited about?

HH: The first “sequel” to I Am Smoke comes out next year, I Am Gravity. A third and fourth picture book for that series are ready to follow. My anthologies Wink and Combat Monsters are scheduled to come out next year. A publisher has expressed interest in my anthology, A Great Miracle Happened There. I have stories schedule to appear in a US Space Force-​themed anthology from Baen Books, a Conan-​themed anthology from Titan Books, a Dracula-​themed anthology from Dracula Beyond Stoker, and an essay about occult detective fiction will appear in the 100-​year anniversary issue of Weird Tales Magazine. Visit www.henryherz.com for all your Henry news needs.

RVC: Congrats on all that great news, but let’s shift gears to…The Lightning Round. Zip-​zap-​quick questions and zoomy-​swift answers, please!!! Are you ready, Henry? 

HH: Yes!

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

HH: If you mean in addition to the actual phone app, Gmail.

RVC: You get one freebie for 2024—personal chef, personal maid, or personal masseuse?

HH: Damn. A Sophie’s Choice. Personal chef, so I’d always eat healthily.

RVC: Five things you can’t do your job without.

HH: Desktop computer, Internet access, web browser, email, social media.

RVC: The last picture book that made you LOL?

HH: Wombat Said Come In by Carmen Agra Deedy.

RVC: Best compliment a kid reader ever gave you?

HH: When they drew their own version of one of my book covers.

RVC: Thanks so much, Henry!

HH: Thanks for hosting me.