Author Interview: Rajani LaRocca

On May 8, 2023May 8, 2023 By Only Picture BooksIn Author Interviews3 Comments

This month’s author interview with Rajani Narasimhan LaRocca. I had a blast meeting Rajani at a Highlights event a few years ago, but when I saw her present at the 2022 FL SCBWI conference, I knew I absolutely had to have her join the OPB family and share her story in an interview. To put it in a word, she was terrific.

In addition to being a practicing physician (WOW!), she’s a talented author with a passion for creating stories that celebrate her Indian-American heritage and introduce STEM concepts to young readers. In her brief career as a writer, LaRocca has authored several acclaimed picture books as well as books for older kid readers. It’s well worth noting that her middle-grade novel in verse, Red, White, and Whole, was a Newbery Honoree.

In sum, she’s got a husband, a dog, two kiddos, two careers, and a lot of well-received kidlit books. How does she do it all? Let’s find out!

RVC: Before we start, let’s clarify something important. What’s the correct way to pronounce your name? As someone with an easily mess-up-able name, I’m especially sensitive to such things, and I KNOW some people are saying yours incorrectly.

RL: My name is pronounced RUHJ-née (rhymes with FUDGE-née) La-ROCK-ah. Here’s a helpful audio link on Teaching Books.

RVC: Thanks for that! While I’m incredibly impressed that you attended Harvard and Harvard Medical School, I’m going to only ask you one question about your doctorness. Here goes! How did your background as a physician influence your decision to become a children’s book author?

RL: There are lots of things about that a career in medicine and a career in writing have in common, including years of practice and the need to work with a team. But the most important thing they have in common is that both, at their heart, require a fascination for and a love of people. As a doctor, it’s my honor and duty to listen to my patients and understand their stories. As an author, I do the same with my characters.

RVC: What inspired you to write your first picture book (Seven Golden Rings), and how was the journey from idea to publication?

RL: Seven Golden Rings was one of the first picture books I ever wrote! It was inspired by a logic puzzle that my uncle told me and my cousins in India when I was a kid. Decades later, I remembered that puzzle and wanted to write a story in which a character had to solve that puzzle for an important reason. It took me 70 revisions before the story was finally the way I wanted it to be! But ultimately, it found the perfect editor—Cheryl Klein, who was editorial director at Lee & Low Books at the time. Archana Sreenivasan did an incredible job of making the story and math come to life with her illustrations.

RVC: What was the most important lesson that book taught you?

RL: My son was particularly into math from a very young age, and he loved picture books that featured complex math. Seven Golden Rings continues to be a favorite when I do school visits, and it has taught me that stories that feel like folktales and deal with math can have a place in today’s picture book market.

RVC: Looking beyond Seven Golden Rings, I’m starting to notice a musical theme in your books—it’s in Midsummer’s Mayhem and Red, White, and Whole, for instance. How intentional is that?

RL: Music has been important to me since I was a child. I played classical piano since age 9, and I was and am obsessed with 80s pop music, so it’s not surprising that music plays a big role in almost all my stories: Midsummer’s Mayhem, Seven Golden Rings, Red, White, and Whole, my most recent novel, Mirror to Mirror, and my forthcoming 2024 MG fantasy, Sona and the Golden Beasts. To me, music is a powerful force that can connect us to other people across distance and time.

RVC: Even though this is a picture book blog and Red, White, and Whole is MG, I have to ask—in terms of writing craft, what’s something you’re proud about from that book?

RL: When the idea for Red, White, and Whole first came to me, I felt it should be written in verse, because it was an emotional, interior-focused story. But although I’d written poetry and lyrical picture books, I’d never written a novel in verse before. I’m proud that I tried anyway.

RVC: Inquiring minds want to know…what was the Newbery experience like?

RL: It has been an absolutely amazing experience, from the surprise phone call the evening before the announcements, to the announcements themselves, getting to know the fellow Newbery authors—at first virtually and through reading their books, and then in person at the ALA annual conference. The 100^th anniversary celebration and the Newbery-Caldecott banquet are events that I will never forget.

RVC: I’ll bet!

RL: What a dream to be a part of American literary history! And the most mind-blowing aspect of it all is that thanks to this award, so many readers will be reading Red, White, and Whole for years to come. As a kid who always looked for the books with the shiny stickers, I can’t believe that my book has one now.

RVC: Congrats on all that. Now, back to picture books. What has been your most rewarding experience as a picture book author so far?

RL: Seeing what talented illustrators do with my words has been incredibly joyous and humbling.

RVC: Which of your picture books do you feel most connected to and why?

RL: Oh, it’s so hard to choose just one! But I have to say that I’ll Go and Come Back, a story about a girl and her grandmother and love that stretches across the world, is very close to my heart. It was one of the first picture books I wrote, and the first one we sold, and the story is inspired by my relationship with my own grandmother.

RVC: How has your writing evolved since your first published picture book? What have you learned along the way?

RL: I think I’m a little faster at writing picture books now, but there are still picture books that take me months or years to figure out. I write from a place of joy and curiosity—that continues to drive everything I write.

RVC: Let’s go with a couple of bigger-picture questions. Explain the type of research that goes into creating the diverse and culturally rich worlds in your books.

RL: I often write from my own lived experience, using details and descriptions that I am familiar with. I’ve been fortunate to work with illustrators who do their own meticulous research in bringing those worlds to life.

RVC: What role do you think picture books play in fostering empathy and understanding among young readers?

RL: Picture books, with their short texts and gorgeous illustrations, invite people to read them over and over. By seeing people who are both like and not like them in picture books, young readers develop respect for different people, are less likely to see them as “other,” and are more likely to see focus on the things all people have in common.

RVC: What advice would you give to aspiring picture book authors, especially those from underrepresented backgrounds?

RL: Write the story you want to write, the one that calls to you and won’t let you go.

RVC: Which picture book authors or illustrators have most inspired or influenced your own writing?

RL: During my childhood and even during my children’s childhoods, there was very little diversity in children’s picture books. I’m so grateful and proud to be publishing picture books now, with so many diverse authors and illustrators. It is very personally important to me that there are so many Indian American authors and illustrators that are publishing beautiful books today.

RVC: Let’s get practical. How do you negotiate the various demands on your time? What’s your secret? Did you figure out how Michael Keaton cloned himself in the movie Multiplicity? Did you borrow Hermione’s Time-Turner?

RL: Haha! Almost everyone in kidlit has other things that compete for their time. My children are adults now, so I have more time than when they were little. But in general, I’ve always tried not to be too precious about when and where I write—I have worked in my (parked) car, on trains and planes, and in every room of my house. I have worked for 15 minutes at a time because that’s all the time I can spare. I try to get rid of excuses and just do what I can when I can.

RVC: I always like to ask a question about health and wellness, and here’s yours. What do you do to de-stress?

RL: I love being outside when the weather is nice. I also find that time spent with family and friends allows me to de-stress.

RVC: Last question for this part of the interview. What’s an upcoming project or two that you’re especially excited about?

RL: Mirror to Mirror is my dual-POV novel in verse that released in March. It’s a story about identical twin sisters, Maya and Chaya, who are very close and love each other very much. But Maya hides a terrible secret—serious anxiety that causes her a lot of pain, but she doesn’t want to tell anyone about, especially her parents. Chaya tries to help her twin, but soon realizes she’s out of her depth and tries to tell their parents. Maya stops her, and then shuts her out. Then Chaya wonders whether Maya’s anxiety is because of her, so she changes the way she looks, putting in a pink streak in her hair, and trades classical piano for show tunes and modern music so Maya doesn’t feel like she’s the competition. But instead of bringing them closer together, it pushes them further apart. In the last part of the story, the twins make a bet to switch places, pretending to be each other and playing each other’s music. Whoever lasts the longest without being discovered gets to decide what they do about high school, something they’ve been arguing about. Pretending to be each other teaches each sister about her twin … and about herself.

My next picture book, Summer Is for Cousins, is filled with sweet and stunning illustrations by Abhi Alwar, and releases May 16! It’s a story about a little boy named Ravi who is so excited to see his cousins during summer vacation. But his oldest cousin, Dhruv, is very different this year—much taller, with a deeper voice—and Ravi is worried Dhruv won’t remember all the things they used to share, including their favorite flavor of ice cream. This is a book about the sweetest joys of summer: sun, water, food, and family. You can see the book trailer here.

A Vaccine Is Like a Memory, beautifully illustrated by Kathleen Marcotte, releases June 20. It’s a picture book explaining the history of vaccines, how they work, and why they’re important. As a physician, I wanted to explain this important bit of science to young people.

Your One and Only Heart, gorgeously illustrated by Lauren Paige Conrad, releases August 15. This is a nonfiction picture book explaining the biological wonders of the human heart in paired poems.

Masal Chai, Fast and Slow, with lovely illustrations from Neha Rawat, releases September 5. It’s a picture book about Aarav, a boy who loves to go fast, and his thatha, or grandfather, who likes to take things slow. But every afternoon, they meet and make masala chai together. When Thatha sprains his ankle and can’t make chai, Aarav tries to make some for him, with hilarious results.

The Secret of the Dragon Gems, cowritten with my great friend Chris Baron, releases August 29. It’s an epistolary novel about Tripti and Sam, two kids who meet at summer camp when they find two interesting-looking rocks and take them home to their homes in Massachusetts and California. Then they start corresponding via letter, email, text, and video chat, because strange things keep happening, and they start to wonder whether the rocks might be something other than rocks.

RVC: Whew, that’s a whole lot of goodness coming out, Rajani. Well done, but now it’s time for the thing you’ve been waiting for. It’s the very thing that make most people agree to be part of OPB, in fact. It’s…the end-of-interview LIGHTNING ROUND! Prepare yourself for six speedy questions that I trust will elicit six zippy answers. Are you ready?

RL: Yes!

RVC: What makes your eyes roll every time you hear it?

RL: “Irregardless.”

RVC: If someone overhears you singing in the shower, you’re probably belting out…

RL: an 80s tune!

RVC: Best 80s trend that should absolutely 100% be brought back immediately.

RL: Leggings (already back!)

RVC: What’s a STEM topic that isn’t yet covered well enough in picture books?

RL: More books about human biology! I’m trying to contribute more to this myself.

RVC: What’s a recent terrific STEM picture book that attention than it got?

RL: The Fire of Stars by Kirsten Larson and Katherine Roy, a PB bio of astrophysicist and astronomer Cecelia Payne which is combined with the story of the formation of a star, is an absolutely brilliant book.

RVC: If you could choose one key takeaway for a reader of your picture books, what would it be?

RL: There are all kinds of families and all kinds of joy. My picture books try to explore both.

RVC: Thanks so much, Rajani!

RL: Thanks so much for having me, Ryan!

Author Interview: Darshana Khiani

On April 10, 2023April 10, 2023 By Only Picture BooksIn Author Interviews2 Comments

This month’s interview is with Darshana Khiani, a San Francisco Bay area author, engineer, and advocate for South Asian children’s literature. In her own words, she’s “infinitely curious about the world and enjoys sharing my findings with young readers. If I can make a child laugh, even better.”

Darshana has authored a picture book, How to Wear a Sari, and she has two more coming out in 2023. She’s also a South Asian kidlit advocate, helping to spread the word of wonderful new South Asian kidlit books.

In addition to being a wife and a mom to two girls and one dog, she’s also created a wonderful list of Favorite Firsts.

Favorite first friend: Sigrid
Favorite first color: lavender
Favorite first food: pizza and pav bhaji (kind of like a vegetarian sloppy joe)
Favorite first book: Richard Scarry. I still love What Do People Do All Day.
Favorite first subject in school: Math (ironically English was my worst…but I loved creative writing!)
Favorite first song: The Tide is High by Blondie
Favorite first trip: Kenya

What a list, right? Let’s find out even more about Darshana with this interview!

RVC: Fewer than half of the authors I interview are full-time writers. Where does writing fit into your typical workday?

DK: I am a full-time engineer working in high-tech with a family and a dog. So, writing takes places early in the mornings or late at night or anywhere in-between I can find time.

RVC: How has that relationship changed over the years?

DK: I adjust my writing times around my other responsibilities. When I first started, I would take my writing bag to my kids’ practices or write late at night. Now, I tend to write first thing in the morning and on weekends, sometimes during lunch.

RVC: At what point in your life did you first consider yourself to be a writer?

DK: Probably a few years in.

RVC: You ran a blog about children’s books for a long time before you got your own debut picture book published. How did that work inform or help your own writing?

DK: The blog, Flowering Minds, was a great way for me to talk about and recommend books which I love to do. I knew that writers had to read voraciously, so why not be a resource and give recommendations along the way? By reading a lot, it helped me focus on writing stories that hadn’t been done before.

RVC: You’re a champion of South Asian kidlit. What’s the latest report on the state of that as of today?

DK: Thank you for asking. I am floored by the number of books coming out every season by South Asian creators. When I started compiling the lists back in 2016, there were less than 5 South Asian picture books those first two years. Now there are at least 5 picture books a season!

In novels, there is such a variety of books from contemporary, historical fiction, fantasy, mystery, and rom-com. Now all we need is some suspense and horror 😉 and older non-fiction.

RVC: Your debut picture book is a wonderful addition to the world of South Asian kidlit. What’s the story behind How to Wear a Sari?

DK: When I started writing picture books, I wanted to write books for second-generation South Asians like my two daughters. Books that centered their lives in this country. Books that had universal themes about growing up with a South Asian backdrop and a touch of humor.

In the summer of 2016, I was studying 2nd-person POV picture books for a different writing project. I love the elegance and sophistication of saris. However, I’m not the best at wearing them. It can take me upwards of 45 minutes to drape one. I started wondering if it’s this hard for me to wear a sari then what would it be like for a young Indian girl. That was the seed for How to Wear a Sari. A sari can be stylish, sophisticated, a symbol of womanhood in South Asian culture much like wearing high-heels or a long fancy gown is in Western culture.

RVC: Why is the sari so important to South Asian culture?

DK: There are so many varieties of materials, designs, and draping styles. Much of it is unique to the region where the sari was made. It is an expression of identity. Saris span the range from simple cotton ones worn every day while tending house to fancy, elaborate ones for special occasions.

RVC: Back to your book! How to Wear a Sari has an especially resonant ending. At what stage in the drafting process did that emerge?

DK: I knew from the beginning that she was going to run and fall, and that was the original ending. Over the revision process, the fall scene became the climax, and the ending became the spread about getting in trouble with mom. But that left the story on an emotional down note, so I brainstormed possible endings. I came up with the photo album of flops to honor the challenges and spills kids and even adults have when trying new things. I loved it since it felt fresh and brought in another layer to the story.

RVC: As a writer, what was the most valuable lesson you took from this book?

DK: I love the story voice by using a direct narration approach, however, it is a challenge to get character emotion across. Joanne’s artwork is so expressive and was a perfect match for the text.

RVC: You’ve got another picture book coming out in a few weeks. What’s the elevator pitch?

DK: A classroom full of diverse students discusses what it means to be American. They show that in spite of our varied backgrounds and experiences it is our shared American values that bring us together.

RVC: What are you most proud about regarding I’m an American?

DK: That I was able to capture the vision I had on paper. It’s a book for all ages 8 and up. For younger readers, it might be the first time they hear a particular group’s immigration story, while for older readers they might see an event through a new lens. What I hope above all is that readers will look beyond the differences on the surface and realize our shared humanity.

I love Laura’s stunning artwork with layered images.

RVC: Which of Laura Freeman’s illustrations most knocked your socks off?

DK: Probably the Somali and Russian Jew spreads. There is no way NOT to be moved by them. I do like the joyous spread of the Pride parade, too.

RVC: Now, you’ve got yet another book coming out later in 2023—Building a Dream: How the Boys of Koh Panyee Became Champions. What’s the most important thing people should know or understand about that?

DK: I loved how the boys faced their environmental and societal challenges with perseverance, hope, and ingenuity.

RVC: In what ways does that book showcase your growth as a writer?

DK: Actually, of my three books, this one was written before the other two. The story I’m an American is my most “recent” story. It’s the first story I ever did with layered text, substantial backmatter, lots and lots of research, and an eye on sensitivity the entire time.

RVC: Let’s move to talking about bigger things. Stylistically speaking, how do you describe your writing?

DK: I have no idea. Maybe my readers know. 😉

RVC: Talk a bit about your writing and revision process.

DK: I hate writing first drafts. I have a really strong left-brain editor, probably because I’m an engineer, so those first drafts feel near impossible. However, I do love revising except when I have to take a polished story and break it into pieces and start all over–that may actually be harder than writing a first draft. One of my favorite parts of revising is collecting peer feedback and then copying down the notes with different colored pens into various categories and then methodically making the revisions that resonate.

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

DK: I don’t know if there is a specific thing that didn’t work out. The writing journey is a windy one with ups & downs and twists & turns. But I believe everything happens the way it’s supposed to. I did think my writing career would be progressing a little faster. When I started back in 2011, I had no idea it would take seven years before I got my first book deal.

RVC: Since COVID-19, I try to ask a health and wellness question during each interview. Here’s yours. What do you do to de-stress?

DK: Eat dark chocolate, go for a walk, talk to my sister, or watch a pick-me-up TV show (nothing too serious).

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

DK: I run a South Asian kidlit quarterly newsletter. I feature the upcoming season’s South Asian kidlit books, picture books through young adult. I have been doing this for nearly eight years. It is wonderful to see the quantity and diversity of stories coming out. Folks can check-out my South Asian kidlit page to see past lists.

RVC: Alrighty, Darshana. Let’s leap into the LIGHTNING ROUND. The point values are quintupled but we’ve only got sixty seconds. Are you ready?

DK: Fire away!

RVC: What’s the funniest word in the English language?

DK: ugh (no, that’s not the word, my mind is a blank)… hmmm… hullabaloo

RVC: If you could travel back in time, what year would you choose to go to?

DK: Victorian Era.

RVC: Would you rather have a personal chef, a maid, or a masseuse?

DK: You mean I can’t have all there?!?! Okay, a chef since I enjoy eating but not cooking.

RVC: Which author sets the standard for South Asian kidlit?

DK: There are so many talented authors and illustrators that are pushing the boundaries and carving new paths in different ways. The South Asian community is a diaspora spread around the world with varying degrees of commonality and nuanced experiences amongst the sub-groups.

Here are some of the creators I enjoy.

Hari & Deepti’s light box art. Intricate and ethereal! They have done a picture book as well as book covers.

Mitali Perkins, Sabaa Tahir, Samira Ahmed, Rina Singh, Padma Venkatraman, and Rajani LaRocca.

RVC: What’s the best picture book you’ve read in 2022 that deserves a lot more love than it’s gotten?

DK: I recently read The Box by Isabella Paglia and Paolo Proietti and translated by Laura Watkinson. This book was first published Italy and released in English in the U.S. in Jan 2020. I only heard about it recently. It’s sweet and heart-warming and is all about helping a newcomer and meeting that person where they are and patience.

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

DK: Follow your curiosity!

RVC: Love it. Thanks so much, Darshana!

Author/Illustrator Interview: Bonnie Kelso

On March 13, 2023March 13, 2023 By Only Picture BooksIn Author Interviews, Illustrator Interviews10 Comments

This month’s Author/Illustrator Interview is with Bonnie Kelso. I already know her because she’s coauthored picture book reviews right here at OPB, and we’re currently in a picture book PR group together.

A self-proclaimed “seeker of truth and cuteness,” Bonnie serves as the SCBWI Nevada Illustrator Coördinator and has authored several picture, activity, and coloring books, including an April 2023 picture book release, Nudi Gill: Poison Powerhouse of the Sea.

Bonnie’s an avid outdoors enthusiast and can often be found wandering about the desert with her family in Las Vegas, NV. She also says she’s traveled around the world twice!

That’s it–I can’t wait. I need to find out more about Bonnie right now. Let’s get to the interview.

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

BK: Wow, Ryan! That’s a loaded first question!

RVC: Absolutely. Loaded like the best type of baked potato!

BK: Okay, getting introspective here…

My parents always encouraged me to choose work that was fun. They knew that success is measured by how excited you are to wake up every day to do your thing. When the joy is gone, you’re not doing anyone any favors by trudging along. That’s when it’s time to pivot.

RVC: Great start. Now, what was that childhood moment that in retrospect was the AHA moment that led to your kidlit career?

BK: I always loved to draw and write stories. I used to make little drawings and sell them to my parents. I even started selling them on the school bus. Here’s a sample of one of my early art sales.

RVC: WOOF! You earned a BFA in Fine Art at the Rhode Island School of Design. What was the plan with that degree?

BK: Haha! Is there ever a plan with a degree in Art?

RVC: One hopes!

BK: I think the plan was to figure out a way to make a living doing something I loved to do. Somehow, I’ve managed to do that, but I’ve definitely learned how to live on a budget. Luckily, I’ve always valued creative time over fancy things.

RVC: Your press kit bio says you’re a “former museum exhibit designer turned children’s book author and illustrator.” How did that happen?

BK: So, my first job out of art school was packing staples in a factory. I don’t recommend it. A lot of my co-workers developed carpal tunnel syndrome pretty quickly. I couldn’t let that happen to me, because I needed dexterity to draw and paint. My dad had a friend who worked at an exhibit design company in Lorton, Virginia. I met with the Design Director, and he decided to give me a chance as a paid intern. I loved that job! I ended up working in exhibits for 12 years. I even became the Design Director.

But then, something shifted in me. I felt like I wasn’t living enough. I wanted to travel and experience more of the world. So, I sold my condo and used the proceeds to start traveling. I went around the world twice, backpacking and taking adventure-style tours. I’ve been to 40 countries!

RVC: Consider me impressed.

BK: After that, I landed in Las Vegas where my parents live and started a family. Being a mom reminded me of my childhood dream to write and illustrate books for children. In 2017, I started pursuing it seriously, joined SCBWI, and voila! That’s kind of how I’ve always approached my life journey. I ask myself, what do I want to experience next? Then I figure out how to make it happen.

RVC: If it works, it works.

BK: You bet.

RVC: Your first author/illustrator picture book is Nudi Gill. What’s the story behind that story?

BK: The story behind Nudi Gill begins with my fascination with the ocean and everything in it. I remember growing up in Florida and combing the beach with my grandmother for “critters.” I was, and still am, fascinated with strange animal body shapes and behaviors. The first time I encountered a nudibranch was on a dive in New Zealand. It was love at first sight. The sea slug was bright blue with yellow stripes, just like Gill. Something in my heart reacts to these fierce little creatures. They are so small and live in such an enormous and sometimes hostile environment, yet they somehow find a way to thrive. I think a lot of kids can relate to that.

RVC: What was the most important lesson that book taught you?

BK: It taught me that you have to make stories about what you care about. Pick subjects that you feel passionate about and really understand why you feel the way you do about them.

RVC: For this book, you’re working with a small publisher—Gnome Road Publishing. What’s the experience been like?

BK: Amazing. GRP gives each of their titles equal attention. The brain and heart behind the gnomes is Sandra Sutter. She is one smart cookie. I’ve learned so much about the industry from her. I highly recommend that writers and illustrators submit their work to GRP if they get the chance.

RVC: For those who are intrigued by the Sandra Sutter shout-out, I’ll add this: she describes herself as “a mom, crazy cat lady, and a fan of kind people.” She sounds delightful! But back to you, Bonnie. Describe your process for creating a book where you’re both author and illustrator.

BK: I usually start with a character sketch. I play around with some story ideas. Once I find a good hook, I might blurt out a first draft. This usually comes to me fast and furiously. Then, I tuck it away for a while. I have a lot of shelved stories. The one that keeps popping into my head over and over is the one I take to the next level. I run it by my critique groups until I feel like it’s ready for the next exciting phase: the down and dirty dummy. Then, the real work starts as I mold a pile of scraps and scribbles into something that resembles a presentable book idea. If it sells, that’s awesome! Now I get to fine tune it, bring it to life with full renderings, and send it off to print. Letting go at that point is both satisfying and terrifying.

RVC: How does that process differ from an illustrator-only role, as you have with the forthcoming picture book by Heather Kinser, In a Cave?

BK: Oh, yes, In a Cave. I feel dreamy just thinking about it. I’m so lucky that I got to have the experience of illustrating a manuscript that I adore about a topic that I love. When I read Heather’s words, I could see pictures right away in my mind. I was pulling from all the caves I’ve been to before, snatching details from each. I think when the writing is that good, the illustration comes very naturally.

RVC: How do your art skills inform your writing?

BK: When I’m writing, I’m always thinking, “Can I draw this?”

RVC: How do your writing skills inform your art?

BK: When I’m drawing, I’m always thinking, “What is this story really about?”

RVC: You’re a teaching artist on the Nevada Arts Council Roster for Schools and Communities. What do you like most about teaching art to children?

BK: My favorite thing about teaching art to children is helping them see the beauty in whatever they create. I do this with my adult students, too. I think a lot of people stop drawing because they are dissatisfied with their end product. I try to show them that the real joy is in the process of creating.

RVC: You’re also deeply involved with SCBWI. How has that organization helped you get to where you are today?

BK: Yes, I’m the Illustrator Coördinator of the Nevada region. SCBWI connected me with the kidlit community when I was wanting to be something I wasn’t yet. They really showed me a pathway to publishing through workshops, critique groups, and other resources. I think winning the Karen Cushman Award in 2021 also helped me get some extra attention from agents.

RVC: Congrats on that! What else has been especially helpful in terms of your kidlit career path?

BK: Great follow-up question! I was just about to add that Mindy Alyse Weiss is who I credit for finding my agent. Her #PBParty event is spectacular and has led so many people to publishing success. Thank you, Mindy!

I also want to thank all of my wonderful critique partners. If you don’t have a critique group, you’re shooting yourself in the foot.

RVC: Amen to that! Who or what has most influenced you as a creative?

BK: Mother Nature. I could list a whole bunch of people, too, but MN is always way up there above the rest.

RVC: In 2017, you self-published I Am Shaylee Seakin: Speaking My Truth. What advice do you have for those who are considering self-publishing?

BK: I love the freedom of the self-publishing world. My self-published work is usually stuff that doesn’t fall into a specific trade genre.

Shaylee is actually an activity book. I’ve also self-published several coloring books and workbooks. I plan to self-publish more books that aren’t well suited to the trade or educational market. Luckily, my agent is cool with that. I do it because I know there is someone out there who needs to hear what I’m saying. I’m not in it for the money, but rather for the sharing of creative ideas. If you want to be successful financially as an indie publisher, you have to run it like a business and really market yourself.

RVC: Any tips on how to self-publish better/more effectively?

BK: Darcy Pattison runs a great class on self-publishing that I highly recommend.

RVC: How much did having a self-published book help you land an agent?

BK: I don’t think it helped me land an agent at all. I don’t believe that it hurt my chances either. Most agents are not even aware of anything in the self-publishing realm. They will most likely be assessing your work through your current submissions to them, not from your list of previously self-published work.

RVC: Did you talk about your self-published work when you were submitting?

BK: No, I never mentioned my self-published work when querying.

RVC: You’re now repped by Liz Nealon at Great Dog Literary. What’s the single best thing about Liz?

BK: There is no single thing. Everything about the LIZ is incredible. She is smart, savvy, honest, caring, experienced, and a genuinely kind person.

RVC: What would Liz say is the single best thing about you?

BK: I listen.

RVC: What are the odds that you can get Liz to do an Industry Insider with OPB in 2023?

BK: I can ask her. She really does love to be helpful to the kidlit community.

RVC: Yippy skippy! Now, how involved is your family in your kidlit career? Are they beta readers, idea generators, feed-the-tortoiseshell-cat-helpers-so-you-can-work people?

BK: Yes, yes, and yes. It’s definitely a plus to be in proximity to young people on a regular basis when creating kidlit. The tortoiseshell cat on the other hand, does not help at all. I especially do not appreciate her fondness for chewing on expensive electrical cords.

RVC: Cats do that–confirmed. One final question for this part of the interview. Beyond the second Gnome Road picture book that comes out in 2024 (Sea Smiles), what’s next for you? What else are you working on?

BK: I’ve got a few things on submission right now through Great Dog Lit. We’re also developing a new STEM graphic novel series that I think will be so much fun to work on. I’m also working on a side project related to Nudi Gill that will probably hit Kickstarter this summer.

RVC: Good luck with that, Bonnie. But now it’s time for the much ballyhooed and never equaled LIGHTNING ROUND. Zingy zappy questions and powerful pithy answers, please. Are you ready?

BK: Let’s goooooooo!

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

BK: Alien Shooter. It has saved my kids from total meltdowns at the doctor’s office numerous times.

RVC: Which animal would be cutest if it were scaled down to the size of a hamster?

BK: Hard to choose, but I think I’ll go with sloth.

No…

Panda?

Nope.

Koala!

Final answer.

RVC: Favorite Crayola color? (Bonus points if it doesn’t currently exist!)

BK: Tortoiseshell.

RVC: Since you’ve traveled the entire world twice, what’s the most inspirational, creativity-inducing place?

BK: The Pacific Ocean.

RVC: Who sets the standard for the type of author/illustrator books you want to create?

BK: Ashley Spires.

RVC: What’s the best thing a child ever said to you about your art?

BK: “I wish could eat that.”

RVC: Bonnie, this was a hoot. Thanks so much!

Author Interview: Kirsten Larson

On February 13, 2023February 12, 2023 By Only Picture BooksIn Author Interviews5 Comments

This month’s Author Interview is with Kirsten Larson, a Los Angeles writer who “writes books for curious kids.” Not only has she published a number of fine nonfiction picture books, but she’s also created a middle grade graphic nonfiction book and more than two dozen books for the school and library market.

In addition to all of her writing, Kirsten teaches at The Writing Barn and serves as a “nonfiction and query corner ‘elf’” for Julie Hedlund’s popular 12x12 Picture Book Writing Challenge. Kirsten’s also the proud owner of a house “filled with LEGOs, laughter, and lots of books.”

Let’s find out more about how Kirsten does all of this!

RVC: It’s strange to think how many interviews I’ve done for this blog with current and former rocket scientists, and you’re in the club, too. There’s probably a STEM joke in there somewhere…

KL: Actually, I’m not a rocket scientist, but I worked WITH rocket scientists at NASA.

RVC: For the purpose of jokemaking, I think that totally counts! But for factual reasons, what did you actually do there?

KL: I handled public relations for NASA’s Space Shuttle and International Space Station programs, as well as their aeronautics programs. It was great training for science storytelling through print, video, and photography as well as for working with news media.

RVC: What’s the most common misconception people have about rocket scientists?

KL: I think many people have a very Big Bang Theory/Sheldon Cooper perception of rocket scientists, as in they are so smart they don’t have a sense of humor or are almost robots. But most rocket scientists I’ve met are pretty regular people often with great senses of humor and a myriad of interests.

RVC: Now here’s the Saturn V‑sized question we’re all dying to know—how did yet another former NASA person begin writing picture books?

KL: My kids loved nonfiction books when they were little. At the public library, they’d pull books off the shelves about space, weather. Anything, really. As I read the books with them, I began to think I could probably write them, and would love an excuse to become a mini expert in all kinds of different topics.

RVC: Let’s talk about you the writer. What aspect of your writing life gives away where you’re from and how you were raised?

KL: I write about a lot of different things–art, history, science, engineering. My parents really encouraged a love of learning. My mom was a schoolteacher with shelves of picture books we all read together. And my parents had other shelves packed with mystery novels, poetry, Shakespeare, Russian literature, you name it. And then there was my grandmother with her full set of encyclopedias. I was encouraged to read whatever I wanted. There weren’t any limits. And I read everything.

RVC: Who are some of your kidlit world heroes?

KL: I’m a big fan of Melissa Stewart. She has some of the best classroom resources around for teachers working with students on informational writing. And Melissa is such a champion of nonfiction for kids in general, which can get short shrift by teachers and librarians who often prefer fiction. I just read Melissa’s Tree Hole Homes–illustrated by Amy Hevron–which is excellent.

RVC: Let’s zero in on YOUR books. What’s the story behind your first published picture book?

KL: My first picture book was Wood, Wire, Wings: Emma Lilian Todd Invents an Airplane, which is illustrated by Tracy Subisak (Calkins Creek). I learned about Lilian Todd through an illustration in the bestselling book Rosie Revere, Engineer by Andrea Beaty, illustrated by David Roberts. I have lived and worked around airplanes my whole life and had never heard of her! I made it my mission to make sure the world knew about her.

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

KL: Writing is a lot like engineering. You write a draft. That’s your prototype. But then you test it with your critique group and tweak it to improve it. And failure is always part of the process. You have to persist.

RVC: What part of that book are you most proud of?

KL: I really learned how to write on that book, thanks to my editor, Carolyn Yoder. It took me a long time to figure out how to write emotionally resonant scenes, as well as the structure, which follows the engineering design process.

RVC: Please put the following in order.

I wrote my first picture book.
I got an agent.
I started writing for the education market.
I became a writing coach.
I did a glorious interview with the much beloved picture-book blog, Only Picture Books.

KL:

I wrote my first picture book.
I started writing for the education market.
I got an agent.
I became a writing coach.
I did a glorious interview with the much-beloved picture-book blog, Only Picture Books (which is obviously the pinnacle of my career! )

RVC: Love it! Now, in retrospect, would you have done it differently if you could’ve changed the order?

KL: You mean, besides speeding up the whole process from writing my first picture book to getting an agent, which took four years? Just kidding. I’m pretty happy with the way things went.

RVC: How did getting an agent affect your writing career?

KL: I think it’s really tough to work without an agent in today’s market. Fewer and fewer publishers take unsolicited submissions. So, aside from being able to sell work, working with Lara (Perkins of Andrea Brown Literary Agency) has made me a better writer for sure.

RVC: What’s Lara’s agenting superpower?

KL: She’s the right type of editorial agent for me, always asking the right questions or helping me brainstorm, so I can create the books I envision. And she’s great at encouraging me not to give up when I take on hard things and then try to backtrack.

RVC: What would Lara say is your writing superpower?

KL: My superpower is a willingness to completely reimagine manuscripts. We’re talking complete restructuring of a picture book or accepting a challenge to turn a picture book into a graphic novel script. On the latest picture book I’m working on, I tossed out everything but the title. And I’ve done that several times with this particular book.

RVC: I notice that you enjoy using alliteration, even though you’re primarily writing nonfiction picture books vs, say, humorous poetry or read-a-loud fiction.

KL: I learned a lot about writing lyrically from Renee LaTulippe of the Lyrical Language Lab. You can punch up any prose with poetic techniques, making it more musical and fun to read.

RVC: What’s your best tip for creating effective alliteration?

KL: My alliteration secret weapon is the Thesaurus.com. Maybe I’ve written that the bee is flying. I can look up synonyms for fly and come up with “the bee buzzes,” for example. My other biggest tip is not to overdo the alliteration, or you might find your reader tripping over the words.

RVC: You write a lot of picture book nonfiction, and not just for the educational market. Why are you so drawn to those?

KL: As you know, picture books take a LONG time, even before you sell them to a publisher. It’s so important to pick stories you are passionate about and don’t mind coming back to over and over again in revision. I have more stamina when it comes to writing nonfiction. I care more deeply about sharing those stories, and I feel more invested in getting them right.

RVC: You’ve got a new picture book coming out this month—The Fire of Stars: The Life and Brilliance of the Woman Who Discovered What Stars Are Made Of. What’s the elevator pitch?

KL: Astronomer and astrophysicist Cecilia Payne was the first person to discover what burns at the heart of stars. This lyrical picture book biography powerfully parallels the kindling of Cecilia Payne’s own curiosity and her scientific career with the process of a star’s birth, from mere possibility in an expanse of space to an eventual, breathtaking explosion of light.

RVC: Picture books in general, but nonfiction ones in specifics, are all about trimming, trimming, trimming, even though the initial material is often so darn great (and often 5x the length of any sensible picture book). Given that sobering editorial reality, what terrific thing didn’t make it into the final iteration of the new book?

KL: Um, Cecilia Payne’s entire career? The book ends with Cecilia’s discovery that stars are mostly hydrogen and helium. She was 25, and it was her dissertation. She wasn’t even employed as an astronomer yet! But Cecilia’s pursuit of the thrill of discovery was what the book was about. So I had to move so much to the timeline in the back matter, including all her work as an astronomer at Harvard where she eventually became the first woman to serve as head of the Astronomy Department (in 1956, 21 years later!)

RVC: I rarely ask people questions about writing coaching, so I’m going to remedy that right now. What made you choose to become a writing coach?

KL: Even before I began to teach nonfiction writing, people would ask if I did manuscript critiques, but I always declined. Finally, I decided the universe was trying to tell me something, and maybe I did have something to offer my fellow writers. I take a very collaborative approach, trying to help writers achieve their vision for the story and tuning into why the story is so important for them to tell.

RVC: In all of your experience as a writing coach, what has surprised you the most?

KL: I’m always surprised at how it’s far easier to help clients diagnose and fix their manuscripts, but so difficult to see my own work clearly. When your heart is on the page, it’s tough to take a step back and look at the work objectively and ask if it’s achieving what you want it to achieve.

RVC: What’s the best advice you’d give to someone considering hiring a writing coach to help them break into the picture book marketplace?

KL: First, I would say that most of the time, you don’t need to pay a book coach or editor before submitting your picture book to agents or editors. Most people don’t. I think coaches can be helpful when you’ve exhausted your resources, like your critique partners for example, and you are stuck and need a fresh set of eyes. But people also need to remember, hiring a coach isn’t magic. Getting a book published is part luck and timing too, not just great writing. If I knew exactly what would sell at any point in time, I’d have dozens of books under contract.

RVC: One final question for this part of the interview, Kirsten. It’s brag time! What projects do you have on the NASA launch pad beyond The Fire of Stars?

KL: I have two upcoming projects that I’m able to share. I have the graphic novel The Light of Resistance, illustrated by Barbara McClintock (Roaring Brook), the true story of Rose Valland, a French curator turned spy who saved countless precious art works from the Nazis. My next picture book is This Is How You Know, illustrated by Cornelia Li (Little, Brown), a lyrical love letter to science.

RVC: Alrighty! It’s now time for the NASA-rocketship-fast SPEED ROUND. Let’s begin with an old black-and-white science fiction film countdown to create some delicious drama.

THREE…

TWO…

ONE…

BLAST OFF!!!!

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

KL: Oh, geez. I’ll go with Libby, the library app. I was never a big ebook reader before March 2020. But when libraries shut down, Libby was the only way I could get new books at first. And I learned I loved eBooks (for reading novels, not picture books). I put books on hold and can check them out as they become available or ask the library to come back to me if I’m not ready yet. And I don’t lose my place in line. Plus, how handy is it to have a book in your back pocket or purse at all times for those moments you’re stuck in a long check-out line?

RVC: What animal or plant should be renamed?

KL: Naked mole rats are neither moles nor rats. Who came up with this name? Interestingly, they are the only eusocial mammals, operating much like honeybees do in their hive.

The naked mole rat shall henceforth be known as HivePup. These guys totally deserve some love.

RVC: If you had a NASA rocket that you wanted to hide, where would you stash it?

KL: Definitely in the back of a giant refrigerator. Based on my experiences with my family, no one would ever move things around and find it. (They tease me that my response to all their “Where is?” questions is, “You have to move some things around.”)

RVC: What are five things you couldn’t do your writing without?

KL: Coffee. Books–and not just for research. I am a big advocate for using books in your category and genre as mentor texts. The internet–I am always amazed at the things I can now get online that I had to read on microfiche 20 years ago. My Macbook–I cannot write on a phone or iPad. Journal–I’m a visual writer, and I often thumbnail out the structure of books spread by spread, especially when revising.

RVC: Who sets the standard for writing STEM picture books?

KL: Rather than pointing out someone who sets the standard, I want to point out the diversity in STEM storytelling these days, which is so amazing. We are really in a golden age of STEM books. You have STEM books showcasing neurodiversity (like Jen Malia’s Too Sticky!) and cultural traditions (like Rajani LaRocca’s Bracelets for Bina’s Brothers). Funny books like Sue Heavenrich’s 13 Ways to Eat a Fly. And lovely, lyrical books like Be a Tree by Maria Gianferrari. There is truly something for everyone.

RVC: What’s the best compliment a child ever gave your writing?

KL: One of my favorite thank you notes had this riddle: “What do you call a great book? WOOD, WIRE, WINGS!” Kids are so clever.

RVC: Thanks so much, Kirsten!

Author Interview: Matt Forrest Esenwine

On January 9, 2023January 9, 2023 By Only Picture BooksIn Author Interviews

Welcome to Matt Forrest Esenwine, the first Author Interview of 2023! Wahoo!

Last year, I joined PB22 Peekaboo, a picture-book promotion group of which Matt was a member (along with a few dozen other fine writers). It was impossible NOT to notice how hard Matt was working and how much it was paying off in terms of publishing and PR successes. At one point, I made a mental note to find out more about that, and today’s the day to make it happen!

Matt’s work has appeared in various poetry anthologies by Lee Bennett Hopkins, J. Patrick Lewis, and others, though he’s also published a range of his own picture books including the OPB-approved I Am Today, which came out in March 2022. He’s got more on tap for 2023 and beyond, so we’ll learn about that right here, too.

Now, without more ado, let’s find out more about Matt’s secret to success!

RVC: First and most important question—how often do people misspell your name? As someone with an (apparently) easily misspellable name myself, I’m unduly aware of potential spelling disasters, and your double r (Forrest) and single s (Esenwine) seem fraught with linguistic peril.

MFE: Linguistic Peril is actually the name of the new thrash metal group I’m forming, so thanks for the plug.

RVC: Happy to help. Rock and roll, baby!

MFE: As for people misspelling my name, the answer is: googol. And no, I don’t mean to look the answer up online. I’m talking about the mathematical googol (which, ironically, you’ll likely end up looking up online). Ten to the 100^th power–that’s how often my name gets mangled. Over the years, both my father and I have seen just about every permutation possible, from Essenwein (the original Bavarian spelling) to Eisenstein to Entwhistle. I wish I were joking, but I’m not.

In fact, the most ridiculous spelling came from the State of New Hampshire when my father, Forrest Esenwine, was a selectman in our town. Someone at the state must have seen his name written in cursive and mistook the “w” for a “ur” and mailed out an envelope addressed to Selectman Forrest Esenurine. Way to go, New Hampshire.

RVC: [Making mental checkmark against the previously-believed-to-be-awesome-state-of-New-Hampshire.] At least your name is more prone to spelling problems than speaking. Is that fair? Mine gets mangled both in spelling and how people pronounce it.

MFE: Well, like I said, whether it’s spelling or pronunciation, people still get confused. I mean, it seems pretty straightforward to me; it’s pronounced exactly the way it looks. “ESS-enn-wine.” But people invariably put an “i” after the “e” and say Eisenwine. At least they don’t do the “i before e” thing, because that would just be weird. I’m sure someone will one day, though.

By the way, if you happen to email me, be sure to spell my middle name correctly. My address is matt(at) mattforrest(dot)com, but if you only use one “r” it will end up in the inbox of Matt Forest, councilman for Ashford Borough in England–and a couple of days later he’ll forward it to me. We’ve known each other for nearly 20 years all because people forget the second “r.”

RVC: That British councilman should write picture books too just to confuse things! Now, let’s get back to the regularly scheduled interview. Prior to becoming a children’s book writer, you worked in radio. How did you find your way into that field?

MFE: I walked through the studio door once the “on-air” light was off, and the DJs couldn’t get rid of me. After graduating from high school, I went to Castleton State College [now Castleton University] in Vermont for a Mass Media Communications degree and got a job working part-time in Concord, NH my first summer there. I always loved radio, having grown up listening to my father’s vinyl records of old-time radio programs like Fibber McGee & Molly and Lux Radio Theatre. I was also quite the geek in school (oh, who are we kidding–I was a geek ²⁴⁄₇), and I’d write humorous skits and record them–voices, sound effects, and all–onto my dad’s Panasonic cassette recorder. I was also in the drama club, so I think talking to people and telling stories was something that just came naturally to me.

You know how nervous kids get when they have to speak in front of the class? Not this guy.

RVC: What was the most rewarding part of it?

MFE: Free T‑shirts and CDs by artists no one has heard of. Seriously, I had a bunch of ’em!

RVC: Free swag is the best.

MFE: But as much as I enjoyed talking on the air and interacting with listeners–as well as emceeing club events and concerts–I really loved writing and producing commercials and comedy bits. With multi-track production, I could add as many voices, sound effects, and whatnot as I needed to make whatever I was producing sound exactly how I wanted it.

RVC: Why did you shift your creative focus into the writing for children?

MFE: Because as much as I loved radio, radio did not love me. It was back in 2012 when I did the math and realized that if you subtracted daycare and commuting gas from my paycheck, I was netting $150 a month. Here I was, the production director of an 8‑station radio group, an on-air personality with a college degree, and a wall of awards my department had received–and I was making $36,000 a year. So, I decided to be a stay-at-home dad and work on my voiceover business, and at the same time investigate the possibility of a children’s writing career.

I’d been writing poetry since I was kid and had several adult-oriented poems published in various anthologies, and over the years had collected several children’s poems I didn’t know what to do with–so I figured children’s lit might be a worthwhile pursuit. My poetry writing style always seemed like it skewed to a younger audience, anyway. Modern academia loves poems that are obtuse and confounding, and that just wasn’t me. Writing for upper-elementary level feels like a perfect fit.

RVC: Which skills from your radio experiences translated best into this new career path?

MFE: Short-form writing! All my life I’d been writing short, tight little stories–from the skits I was recording on my dad’s cassette recorder to my poems to literally thousands of radio commercials where word economy is paramount. Transitioning to children’s lit was not that much of a stretch! Granted, we’re talking about a different style, age group, and other aspects that don’t translate from radio, but I never have a problem getting my word count down–if anything, once I’m done a picture book rough draft I usually have to figure out how to add words.

RVC: What books proved especially influential to you as you embarked on the writing career?

MFE: All the books I got my hands on. Really, the best education is to read, read, read and see what’s out there and learn how others are doing it. By reading children’s books, I not only learned the market but I also learned what others were doing and how they were doing it. It’s that old expression, “if you want to get better at something, surround yourself with people who are better than you.” That’s what I did! I created a blog to showcase my writing, I tried to connect with as many authors and poets as I could, and just tried to immerse myself in the industry–the creative side as well as the business side.

RVC: Great advice.

MFE: For the record, I like the creative side better. They have cookies.

RVC: If by “cookies” you mean “vanilla meringue cookies,” then you’re absolutely correct! Deliciously so, in fact. Now, your first published piece of children’s lit wasn’t a book, but instead was…

MFE: A poem titled “Apple-Stealing,” which was published on the now-defunct Young Adult Review Network (YARN) website, which the amazingly talented Kip Wilson used to help oversee. YARN loved the poem so much, they nominated it for a Pushcart Prize, which still makes me proud.

The first paid poem for which I signed a contract was “First Tooth,” which appeared in Lee Bennett Hopkins’ Lullaby & Kisses Sweet (Abrams Appleseed), published in March 2015. However, my first published paid poem actually appeared one week earlier, in Carol-Ann Hoyte’s anthology Dear Tomato: An International Crop of Food & Agriculture Poems.

RVC: Let’s talk about your own books. What’s the story behind your first published picture book?

MFE: It’s one of those I‑don’t‑know-where-this-idea-came-from-or-what-it-is-but‑I’m‑just-going-to-keep-writing-and-see-where-it-goes kind of thing. Driving home late at night from an SCBWI Meet-Up in Westford, MA, the words, “flashlight opens up the night” popped into my head. I rolled them around and wondered what I could do with them, and by the time I got home I had a few lines I hastily wrote down before going to bed. The rest of the week, I worked on it, thinking it was a poem–since poetry was all I’d written at that point–but about halfway through, I realized I had a picture book manuscript on my hands.

If you’re interested, I published a blog post detailing the entire life of Flashlight Night–from conception to publication. To a non-author that probably sounds dreadful, but for those in the business, I promise it’s a very eye-opening look at how a picture book comes together.

RVC: Thanks for that link! FYI to readers–I’ve covered Flashlight Night before in OPB when I interviewed Fred. What was your favorite part of working with him?

MFE: I actually remember reading that interview a couple of years ago–I had no idea that was your blog! Great interview, Ryan.

RVC: Aw, shucks! It’s easy to do great interviews when you have a great guest. And Fred’s top shelf. I mean, c’mon! His website is www.ilikefred.com after all. Talk about fun!

MFE: As for Fred and I working together, my favorite part was watching his Facebook posts about it. Because that was the extent of our collaboration, other than the back-and-forth he and I would go through separately with our editor, Rebecca Davis. We didn’t really work together at all, which is fairly S.O.P. when it comes to picture books–but Rebecca would occasionally show me what he was doing and ask my opinion (although she obviously had the final say), and a couple of times I had to adjust my text to better represent what Fred was doing with his illustrations.

For example, the original final line was “All was still, within, without…” but with everything Fred had going on with pirates and tigers and bear, oh my, nothing was still at all! So I changed it to “Adventure lingers, stirs about…” and it all worked perfectly.

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

MFE: Patience is a virtue. Actually, I already knew that, but there’s nothing like the publishing industry to bring that point home. Being my first book, I didn’t realize how long it would take! I wrote it in Aug. 2014, Rebecca contacted me in Jan. 2015 to ask about purchasing it, we signed the contract a few months later, and the book didn’t come out until Sept. 2017. Whew!

I also learned how beautiful a book can be when the author’s words and illustrator’s images blend seamlessly, how involved marketing a picture book can be, and what a Kirkus star feels like.

RVC: That was a well-earned Kirkus star. Congrats on that.

MFE: Thanks!

RVC: You’ve published a good bit of poetry, both through your own books as well as edited anthologies. What is the most important thing people should know or understand about writing poetry for children?

MFE: That you don’t need to be the next Shel Silverstein or Jack Prelutsky or Dr. Seuss. (And folks, Dr. Seuss was never a poet–stop calling him that!) Write in your own style, your own voice. Again, READ. There are myriad ways of writing children’s poetry. And lots of it doesn’t even rhyme. That’s ok! Read, write, repeat.

RVC: What’s the most common misconception about poetry for children?

MFE: That it needs to rhyme or be silly. I come across really, really, tremendously horrible poetry more often than my stomach would care to admit, and it’s because people who don’t understand the craft are trying too hard to be something they’re not–or someone they’re not. I’m proud of the fact that esteemed folks like the late poetry cheerleaders Lee Bennett Hopkins and Paul Janeczko both told me how pleasantly surprised they were when they first read some of my poems because they realized I knew the craft, I understood rhyme and meter and such, and wasn’t trying to be funny all the time. Not that there’s anything wrong with funny poetry, you just don’t need to force it, that’s all.

RVC: In all of your experience in writing poetry for children, what has surprised you the most?

MFE: How difficult it’s been to get a collection published! I’ve been part of numerous anthologies, I have two of my own anthologies coming out in the next couple of years, I’ve even collaborated on a poetry collection with a highly-esteemed children’s poet–yet finding a publisher who wants an entire book of my work has been an elusive task, alas.

RVC: How is your process for writing a poem similar to/different than writing a traditional picture book text?

MFE: It’s actually not that different, to be honest–the primary difference being that a poem doesn’t necessarily need a narrative. A picture book, even lyrical ones like the kind I tend to write–need some sort of loose narrative or structure to get the reader from point A to point B. With I Am Today, it starts with a young person thinking about how they want to make a difference in the world and concludes with them being satisfied with their accomplishment. With Once Upon Another Time, we show what the world used to be like before humans made their mark, compare it with the world as it is now, then travel back to when time began and finally work our way up to the present again–which admittedly sounds confusing for a picture book, but Charles Ghigna and I are delicate with our words and transitions, and it works nicely. Conversely, with a poem, I can focus on a scene, and image, a feeling–and not worry about a narrative structure.

RVC: You had a sizable blog tour with I Am Today—congrats on that! What’s your secret to landing guest blog gigs?

MFE: Bribes. Money, cars, penthouse suites–you know, the usual.

I suppose you could also say that I’ve been in the business long enough that I’ve developed a network of wonderful friends and fellow authors/bloggers who are happy to help spread the news about whatever new book I have coming out. But it’s mostly the money and cars.

RVC: [Making mental note to acquire a fleet of Mercedes S‑Class W140s to use as bribes to support my own writing efforts…] What’s the key to making a guest blog a big hit?

MFE: Being a guest on a top-rated blog like Only Picture Books is certainly one way, along with providing compelling content that’s useful or entertaining. And bribes.

RVC: Wait a second…is there a bag of cash or a Mercedes S‑Class W140 en route? WOWZA! While I’m waiting for my goodies to arrive, tell me–what are your favorite tips to creating meaningful PR for picture books?

MFE: Well, I approach picture book marketing like I approach my social media–because the two are intertwined, of course. I’ll share news about my books, reviews, etc., but I also share personal thoughts and funny interactions I have with my kids. No one wants PR, PR, PR all day, every day–people follow you for more than that. I’m just a regular guy and I hope followers recognize that. If you’re looking for insight into publishing or think I have an interesting enough life that you’d like to learn more about me, that’s great! If you’re looking for selfies of me wearing the latest faux-leather leggings that are soooo trending right now–look elsewhere, my friends.

RVC: Who/what are some of you biggest influences when it comes to writing picture books?

MFE: The biggest influence is Dorothy Aldis, the late children’s poet who wrote The Secret Place and Other Poems, among other books. This was the first book of poems I ever read (my parents bought it for me when I was very young) and I had no idea how big an impact it would have on my love of poetry as well as my style of writing. Not that I write like her, but she had a very easygoing, simple way of saying very thoughtful, insightful things. I’ve also been influenced by friends in the industry who have been, whether they know it or not, mentors to me as I’ve journeyed through this new career: Jane Yolen, Charles Ghigna, Nikki Grimes, David Harrison, and others–and of course, the late Lee Bennett Hopkins and Paul Janeczko.

RVC: It’s brag time! What do you have on deck for 2023?

MFE: Well, my picture book, Everybody Counts! (The Little Fig, LLC) just came out on Jan. 1, so I’m excited to celebrate the new year with a new book! It’s very unusual, too, as it teaches the reader how to count to 10 in twelve different languages, from German and French to Arabic and Navajo–and also teaches an ethnic name and food item.

RVC: Congrats on that!

MFE: Later this year (we hope!), I’ll have another picture book, The Thing to Remember about Stargazing (Tilbury House). I say “hope” because it all depends on how soon the illustrator, award-winning Italian artist Sonia Possentini, completes the artwork.

I also hope to have a board book out sometime over the summer and there might be news about a couple of anthologies to which I’ll be contributing!

RVC: Okay, Matt—it’s time for the SPEED ROUND. Are you ready to bring your zip-zappy best? Quick questions and fast answers, please!

MFE: Oh my God, the pressure.

RVC: What’s the funniest word in the English language?

MFE: Tintinnabulation.

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

MFE: Not sure, but it would likely be one of mine.

RVC: What out-of-date slang do you regularly use?

MFE: Yo!

RVC: What’s the question nobody every asks you but you wish they would?

MFE: “Do you work out?”

RVC: What’s the answer?

MFE: “Nope.”

RVC: Who sets the standard for writing children’s poetry?

MFE: Trick question–no matter whose name I give, one of my poet friends is going to be miffed I didn’t mention them! So, I’ll say Jane Yolen because, well, who’s gonna argue, right?

RVC: In your best Radio Voiceover Guy Voice, tell us your picture book (or children’s poetry) philosophy…in 5 words or fewer.

MFE:

RVC: Consider me impressed. Thanks so much, Matt!

MFE: Thank YOU for the invitation, Ryan! It’s been fun!

Author Interview: Audrey Vernick

On December 12, 2022December 11, 2022 By Only Picture BooksIn Author Interviews2 Comments

We’re closing out the year with Audrey Vernick, who’s the author of numerous picture books (including some that we’ve showcased here at OPB). She’s a prolific kidlit collaborator, too, having coauthored four picture books with Liz Garton Scanlon and two middle-grade novels with Olugbemisola Rhuday-Perkovich.

Audrey’s also a dog person. As a child, she had a “not very bright small white dog,” and these days, she lives in New Jersey with her family and a “medium-sized fairly smart black dog.” She also writes about dogs and other animals, too. Like buffalos!

And perhaps most important, Audrey—who grew up in Queens—is a big-time NY Yankees fan. Go, Yanks!!!

With that, let’s jump ahead to the interview so we can learn more about her.

Audrey’s website

Audrey’s Facebook

Audrey’s Twitter

RVC: Rumor has it you were a huge fan of Harriet the Spy. True fact or an apocryphal story?

AV: True, and my love and respect for the text grew as I got older. I absolutely love how imperfect she is.

RVC: I was a Harriet fan, too. She’s awesome! Now, prior to getting an MFA in creative writing from Sarah Lawrence College, what did you think you were going to do for a living?

AV: Well, this is both prior and post, because I didn’t really expect the MFA to boost my employment opportunities. (And I was ever so right about that.) My last two jobs were writing periodicals for schools and libraries, and I wrote literary short fiction on the side. Opportunities to practice and improve your writing are always worthwhile and I thought I’d likely continue on with the work I was doing.

RVC: Long ago, I recall an interview where you talked about how challenging it is to understand—let alone use—a writing voice. This was specifically in relation to your Buffalo series, I think. What’s your relationship to writing voice today?

AV: This is a very annoying answer, so I apologize for that. Voice has always been the thing I have the least trouble with. It is almost always there. (I struggle mightily with plot.) And if voice is not there, that’s a pretty good hint to me that I have a lot I still need to figure out.

RVC: So it’s a warning sign then. Okay.

AV: With the Buffalo books, I remember learning how to get out of my own way. I realized I didn’t need to answer questions that really didn’t need answering, though they are sometimes called out when I’m meeting with young readers. Like how did that Buffalo get through the kindergarten classroom door? Wouldn’t Buffalo break the desks and chairs?

RVC: So, Is Your Buffalo Ready for Kindergarten? was your first picture book published with a major house. What’s the story behind that story?

AV: My first agent represented primarily adult fiction writers. At the time I signed with her, I was writing fiction for both young readers and for adults. I was the one who had knowledge about the children’s market, and I pretty much had to direct her regarding who to submit to, etc. It wasn’t ideal, but I was getting read much faster than I had been when I did not have representation. When she was ready to part ways with me, I wanted to cling to her. But practically instantaneously upon signing with an agent with good relationships of her own within the market for which I was writing, something shifted in me. My writing became so much freer now that it wasn’t also my job to figure out where to submit, who required exclusives, etc. I’m not wildly self-aware, but I remember thinking, wow. Look at that.

RVC: What was the biggest lesson that book offered you?

AV: There were many. That important step of getting out of my own way—setting the parameters of my characters’ worlds without explanation. But also—and this was hard for a relative newbie to publishing—to fight for the lines that you truly can’t stand to cut. I gave in on a lot on that book, but I was so glad to hold onto one particular line, because it is almost every kindergartner’s favorite. (It has to do with snack time for a cud chewer.)

RVC: You’re a funny writer. At what part of the writing process does the humor emerge?

AV: Thank you! It’s usually right there, tucked into voice, when I get down the first draft. I would have a very hard time returning to a manuscript and trying to punch it up with jokes. When things are going well, it’s almost as though my fingers know something before my head thinks it. Like they have a fun surprise they can’t wait to type for me.

RVC: What’s your best tip for those who aspire to write their own laugh-out-loud picture books?

AV: This is actually useful for anything you’re trying to do that doesn’t come easily/naturally—force yourself to come up with an absurd number of possible ideas, ranging from predictable to profoundly absurd. Remind yourself it’s just a list, no one will see it, but ask a lot of yourself, like I need a list of 25 things this character could say right here. There’s something about being forced to do an impossible number that forces the inner critic to shut up. Very often, in addition to a ton of crap, there will be something you’d have never thought of if you hadn’t forced the big list. It works!

RVC: That’s a great idea–thanks for that! Will you also please talk a bit about the importance of community in a writer’s life in general and your life in specific?

AV: Most of my writing friends are members of some kind of writing group. I am not, but I have a few brilliant friends who read my manuscripts and in turn I read theirs. I could not submit manuscripts to my agent without this part of my writing process. I find it almost embarrassing how clearly they see what’s not working when I cannot, but more than that, I’m so grateful for their insight. I also have friends with whom I get together and complain. This is tricky business. A person who has published a lot, for example, should probably not do this with someone seeking their first sale. But those of us in similar places can and do spend hours complaining about slights and frustrations and jealousies, while we are simultaneously aware of how lucky we are.

RVC: Let’s talk about collaboration. I’ve had Liz Garton Scanlon join us at OPB before, but I’d like to hear your side of things. How did you first partner with Liz on picture books?

AV: We share an agent, Erin Murphy.

RVC: Another OPB interview person! Here’s the link to her fine interview.

AV: Liz and I had met and liked each other but we live far apart and collaboration wasn’t something either of us had been actively seeking. One day, Erin sent us both an email with the review of a book (and it drives us crazy that none of us can remember which book) and wrote something like, “If you two had a book baby together, it would be this book.” And I immediately thought oh my god, there is nothing I want more in this world than to have a book baby with Liz.

RVC: That’s hilarious!

AV: At that point, it was just waiting for the right idea to come along, which happened when I got a cold and my Ms turned into Bs and we wrote Bob, Not Bob!. We recently received news of the sale of our fifth book together, though the deal has not yet been announced.

RVC: How are your collaborations with Liz different than those with your middle-grade novel partner, Olugbemisola Rhuday-Perkovich?

AV: At my core, I am more a picture-book writer than a novel writer. So I feel like my writing chops are better suited to the work I do with Liz. Thankfully, both women are remarkable and brilliant writers. (When choosing a writing partner, choose a brilliant writer. You’re welcome.)

The process was very different. When writing Two Naomis and Naomis Too, Gbemi and I were alternating chapters, each writing from the point of view of a different character. If there was something in the other’s chapter we wanted to change/talk about, we’d indicate that with a comment in the margins of the document we sent back and forth. With Liz, we do not track changes and for the most part do not use comments. We back-and-forth the manuscript, and when it’s my turn, I treat it like it’s my manuscript—if I want to cut a line, I just do. If I want to reorder some lines, I do. And, of course, she does the same. And we VERY rarely go backwards to reincorporate something that’s been cut.

RVC: In all of your experience with collaboration, what has surprised you the most?

AV: The joy. The way that my cowriter can absolutely surprise and delight me with something I didn’t see coming. It’s a very improv way to write—very yes and.

RVC: What are a couple of key tips about being part of a successful writing collaboration?

AV: Begin with a kind, funny, wise collaborator. Make sure you’re on the same page—as in if one of you has strict ideas about how the collaboration will work and the other is more of a figure-it-out-as-we-go person, there might be some avoidable conflicts to work through.

It wouldn’t work for everyone, but I feel like Liz and I sort of stumbled into a system that works so well for us. One of us starts—maybe half a page, maybe less, and emails it to the other. We number each draft so one of us ends up with all even drafts, the other with odd. And we’re willing to admit when something isn’t working, sometimes trying again, and sometimes giving up.

With novels, we learned an interesting lesson on the Naomis books. The first book is about two separate characters whose lives come together (spoiler alert). The second is not. The two characters (whoops—even bigger spoiler alert) are now living in the same home. In hindsight—the reason winging it worked on the first book and didn’t on the second had to do with where the characters were. For the second book, we’d have been better served with some kind of loose outline at least. I am quite sure our editor would have thanked us for that.

RVC: You’re a huge baseball fan, and that comes through in your writing with such books as She Loved Baseball: The Effa Manley Story and All Star: How Larry Doby Smashed the Color Barrier in Baseball.

AV: Oh, baseball. November to February are such bleak months in the northeast and then add in no baseball and it can just make me weep. There’s a line in Brothers at Bat (warning, yes–I am about to quote myself) that says about the Acerra family, “Baseball set the rhythms of their life.” And I didn’t see it at the time, but it’s true of me too. When spring training starts, it’s such a relief.

RVC: What’s the most difficult aspect of writing picture books about baseball?

AV: Finding a new story. Also, I really like to write about women in baseball, and so far I’ve only written and published two of those. There aren’t that many! One great thing is that people know this about me and so I receive links to interesting articles from everyone—people I went to elementary school with, other writers, distant relatives.

RVC: What’s your favorite baseball picture book?

AV: My favorites are the books that resonated for both me and my kids. My son, now a married adult, can still quote from Jonah Winter’s Fair Ball!: 14 Great Stars from Baseball’s Negro Leagues. And we were all really fond of Peter Golenbock’s Teammates.

RVC: One final question for this part of the interview. Brag time! What should we be looking for from you in the future?

AV: Three collaborations with Liz! First up, and BRILLIANTLY illustrated by Lynnor Bontigao, The World’s Best Class Plant, from Putnam. After that, Homesick, illustrated by Daniel Miyares, a Neal Porter Book. And another not yet announced. Also, this just delights me—She Loved Baseball: The Effa Manley Story—which first published in 2010, will be available in paperback in January!

RVC: Okay, Audrey. It’s time for the SPEED ROUND! We’re looking for zippy-skippy questions followed by flappy-snappy answers. Are you ready to blast to the finish line?

AV: So ready!

RVC: What secret talent do you have that no one would expect?

AV: I can tell if someone is a Mets or Yankees fan, just by looking at them.

RVC: If you were a clown-themed superhero, what power(s) would you have?

AV: It would have something to do with being one of many tumbling out of a tiny car.

RVC: If you played professional baseball, what position would you play? And what would your nickname be?

AV: If I weren’t so short, I’d be thrown out into right field because of my skill level (no offense intended, AL MVP). My height would probably leave me in the middle infield but most likely I’d ride the bench. I haven’t yet had a nickname stick for the long haul.

Man, now I want a nickname.

RVC: What’s your most important good writing habit?

AV: Stubbornness—going back to the beginning and trying again when it’s not working.

RVC: Your favorite picture book of 2022?

AV: I cannot pick one. I can hone the list down to 112, but that is neither flappy nor snappy.

RVC: What’s the best thing a child has ever said about your writing?

AV: My favorite letter from a kid is attached. It is the best thing ever said about anything ever.

RVC: Thanks so much, Audrey!

AV: Thank you!!