Category: Illustrator Interviews

Author/​Illustrator Interview: Angela Quezada Padron

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成人快播' literary-themed March Madness tournament returns with an ...This month’s Author-​Illustrator Interview features Angela Quezada Padron, a Latina creator with a growing presence in children’s literature. Angela writes and illustrates picture books, board books, middle-​grade novels, and more, often highlighting diverse characters and stories inspired by her own background and experiences.

Alongside her creative pursuits, Angela has also worked as a freelance editor, educator, and fine artist, recently bringing her talents to Bushel & Peck Books as one of my Editorial Assistants. While we’ve worked together in that capacity, I thought this interview would be a great opportunity to learn more about her journey as an author-​illustrator and her creative process.

Let’s dive in and hear from Angela about her work, her inspirations, and what’s next!

RVC: You’ve been writing and illustrating since childhood. What was the first story or illustration you remember creating that made you think, “This is something I love to do”?

AP: Thank you so much for this opportunity to speak to you about my publishing career. I did a lot of writing and illustrating as a child. I used to create books with Snoopy as the main character. Sometimes I wrote about Santa or my mom when she was having a baby. I also took Creative Writing in middle school and loved the class. And I used to go to the public library and check out the Writer’s Market book to try and get greeting cards or stories published too. However, for some reason I didn’t think about writing as a career, probably because I was focused more on fine art and studying to be either a doctor or a teacher.

It wasn’t until I was in my early 30s when I got an original middle grade story idea in my head. I flushed out the character and the general plot and fell in love with writing again. That’s when I looked for an organization to help me and discovered SCBWI so I could learn about the business and craft of creating books.

RVC: We’ll circle back on SCBWI in a moment. Your journey began as an illustrator and educator before becoming an author-​illustrator. How did your teaching experience inspire you to write your own stories, and how has it influenced your creative process?

AP: As a teacher, I was surrounded by children’s books all day. When I would read with my students or take them to the library to check out books, I started looking at the books differently than when I read books as a child. I had a more analytic lens while teaching the students literary skills. I studied the language patterns and characters that the authors incorporated. Also, even though I was a fine artist, I had not seriously illustrated stories, so I began to pay more attention to the layout, style, and color palettes of the illustrations. I became engulfed in the imagination sparked by the stories like my students did, as if I were a child all over again. That ignited my creativity and story ideas blossomed. Then of course being around children all day, I was exposed to some interesting and unique personalities and backgrounds, which gave me ideas for some characters and story lines.

I knew I needed more education myself, though, so I completed an online MFA in Illustration through the Academy of Art University in 2011. That gave me the skills, experience, and confidence I needed to start promoting myself as an illustrator, which led me to illustrate two trade books and some educational material between 2012–2014.

RVC: Let’s talk about those books! As the Seas Rise is such a powerful author/​illustrator debut. What’s the story of how that book came to be?

AP: Thank you, I really enjoyed working on it. I had always loved nonfiction from the time I was a kid (shout out to my mom for getting us a home set of Encyclopedia Britannica!).

RVC: Encyclopedia Britannica? I swear, each volume weighed more than a sack of potatoes. Good times.

AP: I attended the Virtual SCBWI Nonfiction Conference in 2020 and heard some fabulous authors speak, like Carole Boston Weatherford and Lesa Cline-​Ransome. I became fascinated with the more narrative way that nonfiction was being written, and I also learned that there was a lack of diverse biographies, especially Latina figures. I did some research and found articles about Nicole Hernandez Hammer, who is a climate change scientist and activist originally from Guatemala. I found her on LinkedIn and reached out for a possible interview. She replied, and we met in Zoom where I was able to verify some information I had read about her. That gave me a good basis to write the manuscript. Once I got the book deal, I asked Nicole to consult on the book and she did, on both the text and art, throughout the entire process.

RVC: Nonfiction books often require balancing storytelling with factual accuracy. What challenges did you face in managing both the writing and illustrating of As the Seas Rise?

AP: I was lucky to be able to consult with Nicole throughout the entire book process. Without that, I think it would have been a difficult book to write because there is not much written about her; I would have been scrambling for ideas for some of the spreads. The text itself wasn’t too hard to write because it all fell into place quickly; I wanted it to sound “picture-​booky” and lyrical while also including the factual information in both the text and art. At the same time, this presented a challenge. Nicole had limited photo references from her childhood, and many of the photos were grainy or not sharp, as they often were in the 1970s. So, I had to try extra hard to make sure that I was illustrating her correctly and portraying her family members well so that it was as accurate as possible while also pleasing Nicole and my publisher.

RVC: You work across genres, from board books to middle grade novels. How does your process differ when creating nonfiction biographies compared to fictional stories?

AP: There is definitely a lot more time spent on researching nonfiction picture book topics and finding the right voice and tone of the text so it doesn’t sound like an encyclopedia entry. The illustrations are just as important so that any biographical figure is portrayed accurately and consistently, no matter if the illustration style is more realistic or stylized. I always try to get some insight from the person directly or their family if the figure has passed away; even though an author can write a book about a public figure, I prefer to reach out and get approval first if possible.

RVC: Are there any things that are the same with fiction and nonfiction?

AP: I like to include back matter. All three of my fictional books that will be released in 2026 have back matter; I felt it was important to give a little more insight and information to the reader besides just the story. This also helps with sales to schools, libraries, and homeschool families. However, I do try to make sure there are similar aspects in all my books regardless of genre so my style is threading through all of them.

RVC: Your work often shines a spotlight on Latino figures and their contributions. What draws you to these stories, and how do you decide which ones to bring to life?

AP: My father was from the Dominican Republic, and I always connected to his side of the family very strongly, despite growing up in New Jersey and not learning Spanish until I was older. I also began working with children of migrant workers during a summer program and eventually became a bilingual /​ English as a Second Language teacher to help students learn English. It was in these roles where I was exposed to many other Latino cultures. Having also taught Spanish in elementary schools, many of my non-​Latino students were fascinated in learning Spanish and about Latino cultures, so I think these books are as much for them to learn about people and topics outside of their own culture as it is for Latino children to be seen and feel seen.

RVC: Let’s pivot to talk about art. Your illustration style is rich with texture and color. Can you share your favorite tools or techniques, and how your process has evolved over the years?

AP: I am a big fan of bold, colorful art and illustrations. One of my favorite children’s book illustrators is Eric Carle, so I also have painted acrylic on tissue paper to create collage pieces and also to scan and insert those painted papers digitally into illustrations. I used to try to draw more realistically but have been learning to loosen up and get more stylized. I tend to feel most comfortable having a pencil in my hand and getting my fingers dirty with pastels, watercolor, colored pencil and glue from collaging rather than a stylus to draw digitally.

In the past, I have drawn the illustration outlines with brown colored pencil, painted and colored the spreads by hand, scanned in everything, and then put it all together like a digital puzzle in Photoshop. However, since I’m working on two books at once right now, I will be coloring mostly everything in with a mix of Photoshop and Procreate to save time, including bringing in scanned textures to still maintain a hand-​illustrated look.

RVC: It’s always fascinating to me the lengths people go to make digital art look like hand-​created art. But you said it–it’s simply more efficient, right?

AP: It’s amazing to me what people are able to do with digital mediums these days, and I’m just getting started. The digital tools available to artists today definitely are helpful to save time, to keep colors and characters consistent, and to provide a wide range of brushes and textures to incorporate. However, in the end they are just tools; it’s really up to the creativity of the artist to make their art look good and unique, no matter if done by hand or digitally. I will say, though, that I think most publishers want final art in digital format whether that’s completely finished digital art or handmade art that is scanned in.

RVC: So, you’ve worked with literary organizations and educational publishers as a developmental editor and consultant. What does that collaborative process look like, and how do you ensure your work meets the needs of teachers and students?

AP: Most of my freelance work has been work-​for-​hire ESL, Spanish, or Literacy projects with specific specs to follow. I’ve sometimes been involved in the brainstorming and planning process of a program to make sure the skills and educational standards are being addressed in an effective scope-​and-​sequence. Other times, I’ve been a translator or the person to write or edit material. Other than working part time for an educational publisher in Miami where I would go into the office a few times a week, all of my freelance work has been done virtually via email. I’m usually working on updating previous editions of a textbook series, writing activity ideas for the teachers to implement in their classrooms, or starting on new projects that address the most current educational trends and state standards to ensure that the teachers have the necessary tools for maximizing standardized testing results.

logoRVC: As part of your work with Reading Partners, you wrote and art-​directed the Cover to Cover series, designed to support the science of reading. What was your approach to creating these decodable books, and what impact do you hope they have on young readers?

AP: With the Cover to Cover books, students learn to decode and read high-​frequency words throughout a story that only incorporates the phonics skills previously taught while also reading true sight words. In addition, the books address reading comprehension. The stories are geared toward a first-​grade level; however, the characters and story lines are mature enough that any elementary student in K‑5 can learn to read from them.

We first developed a scope and sequence that scaffolds phonics skills and sight words decided by evidence-​based research in the science of reading. Then I worked on the manuscripts (I’ve written about 90% of the stories so far). We made sure to have a diverse array characters and situations to keep readers’ interests high and make sure all students feel seen and are seen. We looked for authenticity readers in our organization to provide feedback. After editing, we worked with a hybrid publisher to secure illustrators. Then I switched hats from writing to art directing by reviewing character sketches, storyboards, final art, and layout. It’s been a great experience to not only learn how to write decodable texts but also to work on all aspects of the books from start to finish.

RVC: Wow, that’s a lot of hats. What’s so appealing about being an integral part in making these kinds of books (which are different from the types of books many kidlit writers dream of making when they first get into this field)?

AP: What I like best about these books is that they are full color, decodable books with really strong art and engaging texts. I believe they’re different than what’s on the decodable book market today. We wanted to make sure that kids at any age using the Reading Partners curriculum felt like they were reading books at the same quality as the ones they could find in a bookstore. At Reading Partners, we’re not only helping students to build their literary skills but also their love for reading.

RVC: I know you’re a fan of SCBWI—that’s how I first heard about you. What effect has this organization had on your career as a creative?

Paula Danziger: The Cat Ate My Gymsuit / There's a Bat in Bunk Five / Can You Sue Your Parents for MalpracticeAP: Yes! My first SCBWI conference was in Miami in 2004 where I heard Paula Danziger speak! I couldn’t believe I was in the same room with famous authors and illustrators. But that’s what’s so great about SCBWI. It’s an organization for the most well-​known to pre-​published book creators. We all belong and are made to feel like we fit in. Between attending conference workshops, paying for critiques, putting my portfolio out for viewing, mingling with other creators, and becoming part of my long-​time critique group, SCBWI has changed my life completely. I was a semi-​finalist in the Tomie dePaola illustration contest in 2014, and I won first place in the Florida SCBWI Rising Kite contest in 2014. I also won first place in the portfolio showcase at the 2023 Florida SCBWI conference.

RVC: Congrats on all of that success!

AP: Thanks! I signed with my agent after meeting her at a conference, and three out of my five books under contract are direct results of paid critiques from the conferences over the years. There are so many resources SCBWI offers and opportunities to learn and connect. I highly encourage anyone who wants to write literature for children to join SCBWI.

RVC: Say a few words about your experience with critique groups.

AP: I’ve been with my author critique group since 2004. We all met through SCBWI and started in person. When the pandemic hit in 2020, and some of us moved out of the area, we switched to just emailing each other our stories and meeting periodically in Zoom. Without their honest insight and feedback, there’s no way I would be published today. I emphasize the word “honest” because I need them to tell me what is really working and what really stinks. No sugar coating at this point!

RVC: Absolutely not!

AP: Also, for the last five years, I have also belonged to a critique group for illustrators, where I share my book dummies and character sketches. Their insight has also strengthened my submissions greatly because they’re looking at my work from not just a writer’s viewpoint but from an artist’s as well. The members of these groups are all more than my critique partners; they are truly my friends for life who have cheered me on and picked me up when I felt like giving up on getting published.

RVC: Let’s switch things up and focus on the audience. What key messages or feelings do you hope kids take away after reading your books?

AP: I want readers to make some kind of emotional connection to my books, whether they laugh at something I wrote or get that “aww” feeling. Even though many of my books’ characters and topics right now are from a Latino background, I think all readers, whether Latino or not, can find a way to relate to a character or situation to make a lasting connection with their own lives, experiences, and dreams. Most of all, I want them to just enjoy reading and revel in their imagination.

RVC: Working as an Editorial Assistant at Bushel & Peck Books gives you a front-​row seat to the manuscript journey, from submissions we pass on to those we acquire and shepherd through production. What kinds of AHA moments have you had from seeing this process unfold, and how has it influenced your own creative work?

AP: First, I want to thank you for the opportunity to work with you as your assistant at Bushel & Peck Books. I’m learning so much each week, and I appreciate the chance to be able to learn more about publishing through this work.

RVC: Happy to have you aboard!

AP: I love to review manuscripts and provide insight that will hopefully make the texts even stronger. One big AHA moment was attending the staff meeting where I heard everyone provide their opinions and insights when deciding if a particular manuscript was going to be acquired. It was so interesting hearing different perspectives, and knowing what a publisher may be looking for when making that tough decision made me stop and rethink the strengths and weaknesses of some of my own story ideas. Could they be publish-​worthy, or do they still need that special something that would make them stand out at an acquisitions meeting?

RVC: Last question for this part of the interview. What are some upcoming projects that you’re really excited about?

AP: I have four books releasing in 2026! Right now, I am working on the illustrations for two upcoming picture books, An Island Called Home (Eerdman’s, 2026) about a girl who visits her father’s island home for the first time (based on my life visiting my dad’s home in the Dominican Republic each summer), and Sisters All the Time (Charlesbridge, 2026) about two half-​sisters who have to figure out how to have fun before their visitation time is up, based on me having younger and older half-siblings.

My two other upcoming books I wrote but am not illustrating: Lucia’s Goals (Lee & Low) started off as nonfiction but got changed to fiction. It’s about a girl who at first plays soccer on a boys’ team until she’s able to try out for a local girls’ team. And the fourth book is From the Fields to the Fight about Jessica Govea Thorbourne who worked with Cesar Chavez during the Delano Grape Boycott and helped fight for labor union rights.

RVC: Thanks for that, Angela. Now it’s time to shift gears and enter the SPEED ROUND. Zoomy questions followed by zippy answers please. Are you ready to begin?

AP: As my 16-​year-​old son would say, “Let’s goooo!”

RVC: Star Wars, Star Trek, or Stargate?

AP: Star Wars.

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

AP: Brah (aka Bro).

RVC: What’s your go-​to karaōke song? 

AP: “Eye of the Tiger” – karaōke, singing in the car or in the shower: anywhere anytime!

RVC: If you could illustrate any classic picture book, which one would you choose?

AP: The Story of Ferdinand by Munro Leaf.

RVC: What’s one word that best describes your creative process?

AP: Winding.

RVC: What’s the best compliment you’ve ever received from a young reader?

AP: “That’s cool!” If a child thinks you as an adult are cool, you’re winning.

RVC: Thanks so much, Angela!

Author/​Illustrator Interview: Fred Koehler (Ready Chapter 1)

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I’ve been running OPB since April 2018, and to date, we’ve only had one repeat interview subject so far—Rob Sanders. It’s time to do another one right now with someone who’s got a lot of new things to talk about. Welcome back to author/​illustrator Fred Koehler!

He’s already got a great bio on his website, so instead of trying to reinvent the biographical wheel, I’ll just share it below in full.

Fred Koehler is an artist and storyteller whose real-​life misadventures include sunken boats, shark encounters, and hurricanes. Whether free diving in the Gulf of Mexico or backpacking across Africa, Fred’s sense of adventure and awe of nature overflow into his characters’ stories.

Fred is passionate about encouraging young artists, promoting social justice, and conserving our environment. He lives in Florida with his wife, kids, and a rescue dog named Cheerio Mutt-​Face McChubbybutt.

Now if you want the basic questions and early-​career stuff re: Fred beyond this, visit the other interview.

This one’s going to pick right up with what’s been doing lately, including the very cool Big Project he’s running now. Let’s find out more!

RVC: Since our last chat, you’ve illustrated another cool picture book written by Rebecca Kai Dotlich. Tell me about the book! 

[cover image]

FK: First of all, RKD is one of my favorite human beings on planet earth. She saw a way to take the spirit of One Day The End, (which won us a Boston Globe Horn Book Honor), and create a new narrative about friendship titled What If, Then We. In this story, a pair of polar bear best friends ask each other ‘what if’ questions that lead them on a super fun adventure of the imagination.

RVC: What’s your favorite illustration in that book?

FK: Back around 2010, I was in a boating accident and probably shouldn’t have made it. But ever since then, sinking ships have sneakily found their way into a lot of my art and stories. (I’m sure Freud would have something to say about this.)

RVC: I’ll bet. WOW!

FK: What If, Then We has not one but TWO sinking ships. Here are two of my favorite spreads: one showing the joy of a new adventure and one showing the moment all hope seems lost for our friends. (Spoiler alert: they come out okay in the end.)

RVC: Your illustrations are known for their vibrant energy and expressive characters. Where do you draw inspiration for your visual style, and how do you approach the process of bringing your characters to life?

FK: I’m proud to say I was inspired by the masters–Leonardo, Michelangelo, Donatello, Rafael. Oh, and don’t forget Splinter, Darkwing Duck, Calvin and Hobbes, and every cell-​animated Disney movie from the mid 80s onward. Honestly, I watched a lot of cartoons and read the Sunday comics religiously.

RVC: This probably explains why we get along so well.

FK: In my 20s and 30s, I taught myself to draw. My approach has evolved, but I’ve always seen an illustration as having to help a viewer imagine the answer to two questions: “What led to this moment?” and “What’s going to happen next?”

Here’s an example from What If, Then We. We’ve got a clear conflict between the characters with each of them trying to take the boat in a different direction. We see the beginning of a storm with clouds forming, waves rising, and even the paper boat starting to rip. What led to this moment? We can guess it was some sort of disagreement. What happens next? Turn the page and find out.

RVC: Love it–thanks for sharing the visuals to help explain things. Now, you’re working on more kidlit books for older readers now, is that right? Do you see your career moving more in that realm, or will we continue to see Fred authored and/​or illustrated picture books going forward?

FK: Novels were always my first love, and I’m thrilled to be working on several illustrated novels at the moment, including one about a boy with an unsinkable boat (go figure) who is lost at sea. At the end of the day, I’m just a nerd who sees story in everything.  I’ll partner with anyone who can help get those stories out into the world, and that includes every medium from picture books to motion pictures.

RVC: What’s your favorite part of making a new picture book?

FK: There’s nothing quite like when a reader ‘gets it.’ The book is done. It’s out in the world. And someone, somewhere, finds deeper meaning than just the words and pictures. Maybe it’s a kid who lives for a specific page turn (like I always did with There’s a Monster at the End of this Book.) Or it could be a parent who felt their heart lighten just a teeny bit after reading How to Cheer Up Dad. I live for those moments where I become part of a reader’s story.

RVC: You mentioned the importance of community in your previous interview. How have you continued to nurture your creative community, and what advice do you have for those seeking to build their own?

FK: I’m not gonna lie. Community is no easy thing for introverts. But it’s an absolute necessity. I tend to keep a tight-​knit group of creative friends who have the same passion and fire inside of them, even if we’re all in different stages of different journeys. The fire is the important part. I have writing friends that I might not talk to for a year, only to reconnect like it was yesterday because we’ve each been off creating and discovering–then get to simply enjoy the opportunity to swap stories.

RVC: Since we’re talking about community, let’s now talk about the Big Project you’re involved with. What’s Ready Chapter 1?

FK: If you’re a writer (like most everyone reading this), RC1 is the world’s first (and biggest) online critique group where we bring in editors and agents to review our top performing stories. If you’re a publisher, it’s a goldmine of undiscovered writers and brilliant manuscripts backed by community analytics. Together, it becomes a place where writers can swap critiques, level up their work, and find legitimate publishing opportunities.

RVC: What inspired you to create Ready Chapter 1? Was there a specific experience or gap in the market that you wanted to address?

FK: This was a pandemic project that has really blown up. When our in-​person writers group had to shut down, we reached out to hundreds of writers to ask them what they needed most and the answer was twofold: Education and Opportunity. Basically, can you help us become better writers? And, oh by the way, can you also help us connect with publishers once our writing is market-​ready? That’s the mission behind everything we do.

RVC: How does Ready Chapter 1 differ from other writing communities and platforms available to aspiring authors?

FK: Essentially, we’re like a great big critique group full of strangers. Want to post your work? Give other writers feedback first. Want to get your work in front of an agent or editor? Post enough of your story (about five chapters) so that we can get a good measure of the community reaction. We run a new mini contest every month with a guest agent judging the finalists. We run longer challenges in partnership with publishers seeking new authors.

Publishers love what we’re doing because we’re connecting them with the best of the best writers on our site, along with a report outlining those aggregate community reactions. Throw in some live and recorded classes and you end up with all the best parts of a critique group, a writers conference, and an MFA program where you actually have a shot at achieving your publishing dream.

RVC: While Ready Chapter 1 doesn’t promise representation or publishing deals, how does it help writers increase their chances of success in the competitive publishing world?

FK: Here’s the new normal in publishing: If I’m an editor, I’m so overwhelmed with current projects and new submissions that I’m even ghosting the agents. To break in today, you need a well-​polished manuscript along with a strong pitch and a query letter that checks all the boxes. RC1’s superpower is that process of polishing your work. Test your story in the forums. Iterate based on community feedback. Make friends. Win a few contests. Send out a manuscript that’s so good it can’t be ignored.

RVC: What kind of learning tools and resources do you offer to help writers grow in their craft and understand the publishing industry?

FK: Maybe this is revealing a bit of our secret sauce but… we’ve spoken with so many gatekeepers over the years and built a list of the most critical elements of storytelling craft. The stuff that makes the difference between a four-​and-​a-​half star story and a five star bestseller. We built a masterclass series called Total Story Accelerator based on those elements of craft. From concept to query, each class dovetails into the next and gives you every handout and worksheet you’ll need to apply the lessons to each new story you write. (While it’s focused on novels, many of the lessons apply to picture books too. 🙂 )

RVC: How do you select the industry experts who participate in your events and masterclasses?

FK: Because the goal is to see as many of our members as possible get published, we look for agents and editors who are currently open to submissions (or will open a window for our users). But because we’re also feedback driven, we narrow our scope even further to those who have a reputation for giving great advice. I like to think of them as story whisperers who see the seed of what’s brilliant in a manuscript and can give the perfect piece of advice to help an author flourish.

RVC: The Peer Critique Forum seems to be a core component of Ready Chapter 1. How do you ensure the quality and effectiveness of the feedback exchanged within the community?

FK: Culture is a huge component of RC1, the same as with a traditional critique group. We have a flagging system for bad actors, but it honestly isn’t used very often. If folks give us a try and realize they don’t really want to contribute to the growth and development of their fellow writers, they won’t stick around. Our most successful writers are also some of the best at giving critique.

RVC: One last question for this part of the interview. What’s your vision for the future of Ready Chapter 1? Are there any new features or services you’re planning to introduce?

FK: Okay. I’ll say it here publicly for the first time. Every indication is pointing us toward the creation of a new kind of marketplace for stories. Imagine if, as a writer, all you had to do was write something brilliant, get it vetted by our community, and then have it offered for licensing deals to publishers hungry for new content? It would be a win/​win for content creators and content buyers. We’re looking for the right partner to help us bring this concept to fruition and we’re getting closer and closer to finding them.

Oh yeah, and we also want to do a podcast where we get permission from the authors to read the best Chapter 1’s on our entire site. Because who wouldn’t want to listen to chapter 1 of a new book every week? 🙂

RVC: Okay, Fred. It’s time for the LIGHTNING ROUND. Zip-​zappy questions followed by zippity-​zoom answers please. Ready?

FK: Yes. No. Maybe. Crap! Okay, just go!

RVC: Favorite way to procrastinate when you should be working on a project?

FK: Currently–online searches for a mint condition Honda Element to turn into an overland adventure mobile.

RVC: The most ridiculous thing you’ve ever done in the name of research for a book?

FK: I took two broomsticks and the rain cover for a tent to see if I could sail my kayak on the open ocean. Oh wait, there’s a video.

RVC: If you could only use three colors for the rest of your career, what would they be?

FK: Black, yellow, and red.

RVC: Five words that go hand-​in-​hand with a “good” story?

FK: Unexpected. Poetic. Haunting. “Fart joke.”

RVC: What’s the one thing you wish you could change about the publishing industry?

FK: Creating a meritocracy where anyone with talent and grit can succeed. PS–workin’ on it.

RVC: One word to describe the ideal Ready Chapter 1 member?

FK: Unsinkable.

RVC: Thanks so much, Fred. Best of luck to you and Ready Chapter 1!

Author/​Illustrator Interview: Anne Appert

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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/​Illustrator Interview: Tadgh Bentley

On By Only Picture BooksIn Author Interviews, Illustrator Interviews2 Comments

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/​Illustrator Interview: Kaz Windness

On By Only Picture BooksIn Author Interviews, Illustrator Interviews

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

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

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

And she has a black belt in TaeKwon-Do.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RVC: Fair enough!

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

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

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

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

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

RVC: Sure!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

KW: Yes!

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

KW: Psychic abilities.

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

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

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

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

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

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

RVC: Favorite LGBTQIA+ picture book?

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

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

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

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

KW: A toilet someday! Thanks for the opportunity!

Author/​Illustrator Interview: Bonnie Kelso

On 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?

Early sketch of Nudi!

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.

Bonnie’s photo of a nudibranch!

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!