Author Interview: Katrina Moore

On By Only Picture BooksIn Author Interviews3 Comments

Hello, OPB family! I’m thrilled to be taking the reigns over for Ryan this month and conducting this month’s Author Interview with the oh-​so-​kind and talented Katrina Moore. I’ve been a huge fan of Katrina’s work for years and it was an absolute thrill to be able to meet her in person at NCTE in Boston last fall. Before we jump in to the interview, here’s a little about Katrina:

Katrina Moore is an author and former elementary educator. She holds a M.A. in Teaching and taught for thirteen years in Maryland, Massachusetts, New York, and New Jersey. She writes in Georgia, where her mission is to create books that children will hug for ages. She is the author of the humorous TEENY HOUDINI chapter book series (Teeny Houdini: THE DISAPPEARING ACT is nominated for the 2025 Washington State Otter Award), as well as several acclaimed picture books including THE STAR IN YOU, CHANG’E ON THE MOON (a 2024 Bookstagang Best Illustrated book), GRUMPY NEW YEAR,  HOPE IS A HOP, ONE HUG, GRANDPA GRUMPS (a 2023 Georgia Picture Book Award finalist, and 2025 Illinois Monarch Award nominee), and SOMETIMES LOVE ( a Bank Street College of Education’s Best Books of the Year). Her forthcoming books include the BIG JOB FOR LITTLE BABIES board book series, illustrated by Benson Shum. WHO’S DIGGING? publishes August 2025, and WHO’S BUILDING? publishes spring 2026. Another picture book in the beloved Grumps series, SCHOOLTIME GRUMPS, will publish summer 2026.

When Katrina is not building new literary worlds, she is cooking without a recipe, painting outside the lines, adventuring, or snuggling up with her two kids, husband, giant pups, and of course, digging into a cozy book. Connect with her at www.katrinamoorebooks.com, or on Instagram @katrinamoore1011  and Twitter/​X @kmoorebooks.

RGL: Hi. Katrina! I’m so thrilled you are here! To start, can you please tell us a little about your childhood? Were you one of those kids who was always writing?

KM: Hi, Rebecca! I’m so happy to be here, too! Thank you, and Ryan, for inviting me to Only Picture Books!

RVC: Happy to have you both here! Take it away, folks.

KM: I grew up as one of five kids, as the middle child, in a very big and busy family. It was a lot of fun, but I always needed and treasured some “me” time. So, while we played “Log Cabin,” or “Mermaids,” or “Quicksand Monster,” I was often scurrying off to find my own little nook, to spend some quiet time with my imagination. From an early age, I filled notebooks with drawings, musings, and lots of poems. I was often creating things – 3D art sculptures from found and repurposed materials around the house (these got me in a bit of trouble!), cakes, cookies, paintings, and dresses. Making something messy into something beautiful (and still sometimes, messy) has always been something I’ve gravitated toward.

Sometimes these ideas would start in my notebook, and sometimes they would be recorded there, afterwards. But always, journaling and writing have been something that I’ve done for myself – as reflection, as an escape, as a starting point to a bigger project, and as a way to fuel and capture my many passions, even as a kid.

RGL: I resonate so much with all of this! (Except for the four siblings. I only had one, and that was PLENTY!)  I know you worked as a teacher for more than a decade. What ages and subjects were your favorites to teach?

KM: Yes! I taught for over thirteen years as a public school elementary teacher. I taught every grade from kindergarten to fifth but spent the most time teaching second and third grade. One of the reasons I loved teaching in elementary school was that I got to teach all the subjects, and therefore, was able to do a lot of interdisciplinary teaching – a lesson or project that covered many learning targets but just felt like a fun project sparked by curiosity that nurtured the whole child.

While there’s something to love about every grade, and age of development, I really loved teaching the primary grades – kindergarten, first, and second. It’s probably the same reason that I love writing for children in these grades, as they’re the target age range for picture books (though, I’d also argue that picture books are really for ages 0 through over 100!).

RGL: Absolutely agree!

KM: There’s an unfiltered honesty at these ages that is so refreshing, and a way of viewing the world that is beautiful and admirable. They’re so smart, and while I’m teaching them important skills, they’re teaching me every day, too. They experience many new things and handle so much more than they get credit for. I have a deep respect for children that always came through in my teaching, and hopefully does through my writing, too!

RGL: Oh, it it definitely does. Did you use a lot of picture books during lessons or as read-​alouds in your classroom? What were a few of your favorite books to share with your students and why?

KM: I did! I read picture books aloud as much as I could, which was at least three times a day. I started every day with a morning meeting (even when I taught fifth grade!), and that always included a picture book read aloud. A favorite that I shared, year after year, during the opening week of school, was MY TEACHER IS A MONSTER (No I am Not) by Peter Brown, which invited them to discuss perspective, closely read the illustrations, feel super-​smart when they figured out what was going on with how the teacher looked, It’s such a fun book that it set the right tone for what learning in our classroom would feel like.

RGL: I don’t know that book, but can’t wait to go check it out now!

KM: Oftentimes, a picture book would make a great opener for a new topic we were going to learn. A great example of this is WATER IS WATER by Miranda Paul and Jason Chin, which was an excellent introduction to our water cycle unit in second grade, as well as a mentor text for poetry, and led to amazing student-​to-​text connections about the ways water is a part of their everyday lives.

RGL: LOVE, LOVE, LOVE that book!

KM: And, always, during the closing circle, at the end of the day, after some sort of reflection-​of-​the-​day activity, I would read a picture book. My favorite ones were always those that sparked rich conversations with my students, and allowed them to ask and wonder about things that they never encountered before, such as THE BOOK OF MISTAKES by Corinna Luyken. Reading this one aloud to students not only nurtured their growth mindset, but empowered them to reflect on their own “mistakes” and share how they could pivot when things didn’t go their way (which happens in elementary school, and as we know, all through adulthood, an awful lot!)

My favorites, as the above were, have multiple takeaways deeply ingrained into the stories, but are, first and foremost, books that understand and respect children, open their world, and entertain them.

RGL: You were clearly an incredible teacher. I wish I’d been in your class! How do you feel your experience as a teacher influenced your writing style and/​or the subjects you chose to tackle as an author? Can you give an example?

KM: My “mission” as an author is to write books that children will hug for ages. That is, I want to make books that children genuinely love. They love it because they see themselves in the story, because they connected with the subject so deeply, or because it makes them think anew, or feel a certain way—and they want to hold onto that.

When I wrote ONE HUG, I wanted to give a voice and stage to the little Chinese-​American girl in me who never saw herself accurately represented in the media. Like the characters in ONE HUG, my cultural identity influences my life, but it’s not my whole story. I wrote it for little-​me, but saw so many of my students in the story, too. Now, it’s so heart-​warming to hear from all different kinds of readers about how much their child, and their families connect with this book—and ones who are sleeping with the book under their pillow because they love it so much.

RGL: Awww, that’s the best. My son used to sleep with books too. So sweet!

KM: When I wrote THE STAR IN YOU, it was a love letter from my teacher heart—a message to each student, to let them know that even if they can’t see their own star, that I can.

Ultimately, the reason I write is the same reason I became a teacher. It’s driven by my desire to nurture children’s love of themselves, and of the world, and to feel confident and empowered by their place in it.

RGL: You are absolutely doing that! So, still wearing your Teacher hat for a little longer, I’m curious what advice do you have for authors? How can we get teachers to fall in love with our books?

KM: Write a book that you really love writing. There are various entry points for connection with a story, and as an author, we never really know the specific way in which a reader will connect with our books. However, when an author is genuinely having fun with their story, or their passion for their subject comes through, it’s often tangible. That, in itself, helps a book stand out to any reader. Specifically for the teacher reader, a book can earn a place on their shelf if it’s one that can be used and reused for multiple lessons, multiple times of the year, and will be one that helps to engage the reader that’s sitting at (or on) their toes during the read aloud. The ones I ended up buying (with my little to non-​existent budget!) were ones that I ended up checking out so many times from the library, it made more sense to own it!

RGL: Such great advice. Thank you! Just curious, do teachers really use back matter and Teacher’s Guides?

KM: Yes! Back matter, when done well, is an incredible tool for a teacher–diving deeper into content that is connected to the curriculum, and offers the information in a child-​accessible way. It’s also excellent for extension. When a young reader wants to know more, but maybe there wasn’t enough time during the read aloud or the lesson, they can further research a topic on their own during a center, or as an independent activity, using the backmatter as a jumping off point. Teacher’s guides are great, too! I’d say the best ones are easy to use, and include activities that are curriculum based/​tied, and pretty self-​explanatory because teachers are very busy people!

RGL: That’s such a great point! So, when and why did you decide to leave teaching to become an author full-​time? What do you miss most about it?

KM: As of this July, I’ll have been writing and authoring full time for two years. I never left because I didn’t love teaching – I truly, truly did! But teaching full-​time is more than a full-​time job (mentally, emotionally, and physically), even when you try to be as efficient as possible (as I did). When I would finish my teaching day, I tried to be as present as possible for my children, dogs, and husband – so my mommy and wife hat would work overtime, too. That didn’t leave a lot of time for writing, which I both needed to do (to meet deadlines and because I don’t feel like “me” when I haven’t written in a while) and wanted to do—because I love it, and it feels like a “calling”. I would write in the wee hours of the night when I very much needed to be sleeping. Suffice to say, it wasn’t very sustainable, long term.

RGL: Good for you for recognizing that and taking care of yourself. Both my mom and sister were/​are teachers and it’s so true that they work much more than a full-​time job. Teachers are serious superheroes.

KM: What I miss most is seeing the same group of children every day and actively being a part of their growth and development. But my favorite part of the teaching day was reading together. During author visits to schools, I still get to do that, so I’m getting to experience the magic that happens during that time, still!

RGL: I love that. Well, you may not be teaching kids anymore, but I happen to know you are amazing at teaching other writers. You don’t know this, but about 7‑ish years ago (I want to say it was 2018 maybe?), when I was just getting my feet wet in the Kidlit world, I attended a session that you presented at the New Jersey summer SCBWI conference about revising, which included a whole slew of tips, including color-​coding different aspects of your manuscript with various highlighters. Your presentation seriously blew my mind. Do you still use that system for revising your own stories? Can you share one or two of your very favorite revision tips?

KM: Thank you, Rebecca! Yes, “Revising Your Writing Into A Pot of Gold” is the workshop where I go through my “Rainbow Revision” technique. It is still one that I use today – though not every time. Basically, you use a different color when you are focusing on one aspect of revision. To mentally, and tactilely switch gears, you change the color of your tool to focus on the next aspect. I don’t always need to go through all the “colors”, and what a specific project needs during revision feels more intuitive now. But I absolutely refer back to, and still use, that as my revision checklist before I feel a project is ready.

My absolute favorite, do-​it-​every-​time, revision tip is to paginate and pace out your manuscript. That doesn’t mean that when you turn it into your agent or editor you should designate the pagination, but as a step in your revision, you should absolutely do this so that you can feel and see the beats of your manuscript, and know which scenes and pages have too much going on, and where your story is feeling static (like perhaps you’ve realized there are four consecutive pages where the action has not changed). I have a lot of different ways that I do this, but a simple one is adding extra spaces between where I think a natural page turn should be. There should be about 12–15 spreads (sections of text between the spaces). How does the pacing feel? Is there too much action in this scene to be shown visually? Are you maximizing the word choice at each page turn?

I share some more revision checklist questions and techniques over on my free Writer’s Blog.

RGL: What a great resource. Thanks so much for sharing. Okay, let’s now dig into your stories a little more. Your books are so full of authentic, kid-​friendly emotion. Take SOMETIMES LOVE, for instance. Here is a story about the long-​time friendship between a little girl and her pup, from whom she has to separate when her mom is deployed overseas (don’t worry, dear readers, it has a happy ending!). The reader, along with the child character in the story, experiences so many emotions in this book – affection, joy, sadness, disappointment, worry, excitement and love, just to name a few. When writing, are you consciously thinking about all the emotions you hope to elicit in the reader?

KM: Thank you, Rebecca. Yes! An emotional journey is just as important, and sometimes (depending on the story), more important for a character to go through as a physical journey. A step in my revision is always to create an emotional map for the story. What is the emotion the character(s) are feeling on the page? What do I hope the reader will feel on this page? (Does it work? Or Not?). It’s not something I worry about while writing my first draft. But it’s always something I check for during revision!

RGL: As a fellow rhymer, I am truly in awe of your rhyming talent and ability to tell such meaningful stories with so few words. In ONE HUG, HOPE IS A HOP, THE STAR IN YOU, and SOMETIMES LOVE, your poetic texts are beautifully sparse while the plots of each of these books is mostly shown in the illustrations. What is your writing process like for these types of books? How do you decide when to add illustration notes and when to hold off and allow the illustrator to fill in the gaps?

KM: Thank you. One of the best parts of being an author-​only for a picture book is that I know part of the magic will happen when the illustrator brings my words to life, and instills their own vision into the story through their visual storytelling and artistic choices. The result of the text and art working together, and one not being able to fully work without the other, makes this format so unique – and exciting. So I’m always keeping that in mind.

For a text that I’m only writing, I still think visually. So, as I’m writing, I am mindful about what will be shown through the art, and then I focus the text on what is essential to the story here? What do I want to convey that can’t come through the art? What words are necessary? For my books that are poems, as are all the ones you mentioned above, they usually begin with a strong concept that I feel compelled to explore.

I’ll begin by word mapping and jotting down all the words that are associated with the concept. Then, I focus on what do I want to say about it? That’s how I usually narrow down which words I absolutely must keep. And then, it’s a puzzle of how this can be shown visually, and what cadence corresponds to it, and what meter meets the tone I want the read aloud to take on. Notice that I didn’t mention finding rhyming words. Though the rhyme must be perfect, or it throws off the entire read aloud experience, it really needs to serve the story, and not the other way around. So I make sure my story is set first, and then I fret about the meter and the rhymes!

RGL: Oh, yes. So many people don’t understand that writing in rhyme is really NOT about rhyming words, but about meter and rhythm, and that story always – always—must come first.

KM: Each of the above stories was sent (to my agent, to my editor, and then to the illustrator) with art notes. Because I do not want to overstep, but know that I need to convey important information about what’s happening in the narrative via art notes, I keep them to the essentials. What is happening in the plot that they need to know. I will usually give one overarching art note before the text, and then, per spread, what is happening in the action (if it’s not clear via the text). For example, in SOMETIMES LOVE, since there was an overarching art note, the first three spreads did not need a specific art note. It wasn’t until the next one, “Sliding, scratching, through the halls, love will sometimes break through walls” that I needed to include the art note: [dog anxious when girl leaves] 

RGL: Thanks for sharing all of that insider info. I love hearing about other writers’ processes. Even in your books that don’t rhyme, like your picture books GRANDPA GRUMPS and GRUMPY NEW YEAR, and your chapter book series TEENY HOUDINI, you use so much rich lyrical language – onomatopoeia, internal rhyme, metaphor/​simile, alliteration, etc. Have you always been a poet at heart?

KM: Thank you for noticing that! Yes. The first “writing” that I filled my notebooks with as a child were poems. I’ve always loved poetry and connected deeply to it. Perhaps because poems create such strong imagery, and usually explore something in a new or creative way. I am a very visual person, and an out-​of-​the-​box thinker, so I’m drawn to a format, and using poetic devices, that make images come to life in my mind, and one that allows us to think about something in a unique way. I also believe that poems, like picture books, are best enjoyed when read aloud. And what a treat it is when words can string together to sing, and boom, and make you feel something!

RGL: I couldn’t agree more! I was also a huge poetry lover/​writer as a kid. Let’s talk now about your incredible range. You’ve published a chapter book series, picture books in both rhyme and prose, a folktale retelling, and later this year you will release a toddler board book series called BIG JOBS FOR LITTLE BABIES, beginning with the first book, WHO’S DIGGING? (Readers, Katrina generously shared a sneak-​peek of this one with me and I have to tell you, it is absolutely adorable!) What made you decide to dip your toes in all these different waters?

KM: Hooray! I’m so glad you enjoyed it, Rebecca. I can’t wait to share the BIG JOBS FOR LITTLE BABIES series with the world in August! That’s a good question, and it’s not something that I’ve intentionally done. The stories that I end up writing are ones that will not leave me alone. As mentioned earlier, I am a person who wears many hats, and oftentimes, many at once. So, for me to take the time to turn an idea into a draft, and to revise that draft to a show-​ready state, it’s got to be one that’s literally keeping me up at night and begging to be written. And, it turns out, most of those were (and are) picture books, but also chapter books, and board books. Some stories are more suited to one form than another, and I just let the “heart” of the story and my “voice” as a writer come through and then go from there (and then make sure it conforms, or not—purposefully to that format). I enjoy the challenge, balance, and freshness of working on multiple projects, and in multiple formats at once.

RGL: That’s so amazing. Which format or genre is most enjoyable for you and/​or most challenging?

KM: Picture books come most “naturally” to me and forever have my heart. I love both the range of ways they can be written, and the range of the readership—especially how you can truly not outgrow them. When done well, there is such magic that happens between the pages of a picture book, and well after it’s closed, between the book and the reader(s) that is unique to that format. At the moment, drafting a middle grade novel is proving to be the most challenging (though also rewarding and energizing!) I am so used to cutting down words, and sticking to essentials, in the picture book format, and then having very controlled language and sentence structure in the chapter book format, that the freedom to build out a scene with words and elaborate (because the only details the reader will get are through the text in a typical novel) feels unnatural to me. I’m certainly stretching new muscles (and it’s mighty fun!).

RGL: I feel that. I honestly can’t imagine writing anything longer than a picture book! Do you think you’ll ever round out your Kidlit portfolio with an MG or YA novel? Or maybe even a graphic novel?

KM: Yes, definitely! As mentioned above, I’m working on some middle grade novels now. So hopefully I’ll be able to share more on that front, soon.

RGL: Oh, I can’t wait to hear more! Alright, now that all the tough questions are out of the way, it’s time for the LIGHTNING ROUND! Are you ready?

KM: Bring it on! 🙂

RGL: Bunnies or Puppies?

KM: Puppies!

RGL: One hug or a thousand kisses?

KM: One hug!

RGL: Three things that make you grumpy:

KM: Traffic, being hungry, and being sleep-deprived!

RGL: Have you ever worked as a magician?

KM: No, but I LOVE magic, and performed many tricks on willing (and unwilling) family members growing up.

RGL: Favorite magic trick?

KM: When you pull something unexpected out of a whole, closed fruit, that definitely shouldn’t have been there! It was the inspiration for the trick in Teeny Houdini : The Super-​Secret Valentine. When a magician performed that trick for me the first time, I was blown away!

RGL: Teacher who was most influential in your life:

KM: So many! But my first was Ms. Galvin, my Montessori teacher who taught me in first and second grade. She made me feel “seen” and special, and showed me how impactful little acts of kindness and generosity can be.

RGL: Nicest thing a child reader has said to you about one of your books:

KM: That I wrote about them in my book.

RGL: What makes your heart sing?

KM: When a person, especially a child, feels empowered to be fully and unapologetically themselves.

RGL: Thank you so much for sharing so much of yourself with us today, Katrina. You and your books are pure joy!

 

Rebecca’s BIO:

Rebecca Gardyn Levington is a children’s book author, poet, and journalist with a particular penchant for penning both playful and poignant picture books and poems – primarily in rhyme. She is the author of WHATEVER COMES TOMORROW (which has been translated into 9 languages and is the winner of a Crystal Kite Honor and a Northern Lights Book Award), BRAINSTORM!, AFIKOMAN, WHERE’D YOU GO?, LITTLE DREIDEL LEARNS TO SPIN, WRITE HERE, WRITE NOW, and I WILL ALWAYS BE… (on bookshelves 4/​15/​25!) with seven additional rhyming picture books forthcoming. Rebecca writes reviews and conducts author interviews monthly for the Picture Book Builders blog. Her award-​winning poems and articles have appeared in numerous anthologies, newspapers, and magazines. She lives with her family in Summit, N.J., where she enjoys bouncing on a mini-​trampoline, playing Mah Jongg, and eating chocolate-​peanut butter ice cream (although not usually at the same time!).

Find out more and sign up for Rebecca’s monthly newsletter at www.RebeccaGardynLevington.com.

Picture Book Review: How Do You Eat Color? by Mabi David, illustrated by Yas Doctor, translated by Karen Llagas

On By Only Picture BooksIn Picture Book Reviews
Author: Mabi David
Translator: Karen Llagas
Illustrator: Yas Doctor
Eerdmans Books for Young Readers
12 March 2024
40 pages
This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and longtime OPB friend, Austin McKinley.

—Ryan’s Review of the Writing—

Some books teach. Some books delight. How Do You Eat Color? does both, inviting readers on a sensory journey through a rainbow of foods. Originally published in the Philippines and translated by Karen Llagas, Mabi David’s text transforms something as simple as eating fruits and vegetables into a bright, imaginative experience.

Right from the opening lines, David frames color as something to be savored: “Do you know how red tastes? Does it tickle the tongue?” The text moves like a poem, full of playful repetition and evocative phrasing that encourages readers to think about food in new ways. Colors are seen, yes, but they’re also felt, smelled, and experienced. Green is crisp and fresh in leafy greens, yellow is syrupy sweet in mangoes, and purple sighs into the deep quiet of night. The language invites young readers to slow down and engage with their senses, making the book as much about mindfulness as it is about nutrition.

One of the book’s strengths is how naturally it weaves in food literacy without ever feeling like a lesson. Instead of a straightforward “eat the rainbow” message, David embeds the idea within a day’s journey, letting readers explore colors through time—waking up to the brightness of tomatoes and pineapples, winding down with the earthy comfort of yams and plums. This structure gives the book a gentle rhythm, making it a soothing read-​aloud that works well for bedtime or storytime.

Adding to the book’s depth is its robust back matter, which expands on the nutritional and cultural significance of various fruits and vegetables. It introduces young readers to foods they may not be familiar with—moringa, bitter melon, and dragon fruit, among others—while explaining their health benefits and offering ideas on how to try them. There’s also a section on how families can incorporate more plant-​based foods into their diets, reinforcing the book’s gentle encouragement toward curiosity and exploration.

If there’s one small area where the book might not connect with every reader, it’s that the experience is more sensory than story-​driven. The poetic style is engaging, and the journey through colors is immersive, but some readers may wish for a clearer narrative thread tying the moments together. Rather than following a traditional plot, the book leans into mood and atmosphere, which makes it a rich and inviting read but may leave some younger listeners looking for a bit more structure.

That said, How Do You Eat Color? is a fun celebration of food, culture, and the joy of discovery. Fans of April Pulley Sayre’s Rah, Rah, Radishes! (for its joyful food exploration) will likely appreciate what David has created here. Paired with Yas Doctor’s lush, textured illustrations (which Austin will dive into below), this is a book that encourages kids to engage with food using all their senses—one delectable color at a time.

4.25 out of 5 fruit baskets

—Austin’s Review of the Illustrations—

It seems almost like gilding the lily to describe illustrations that are visual poetry on their own. They really need to be seen to be experienced.

Over the course of 13 incredibly colorful spreads, two young children and a friendly chameleon explore landscapes of giant fruit and veg that are as delicious to look at as it is implied they taste.

A landscape of house-​sized pineapples as far as the eye can see, mangondolas, and regiments of carrots. A citrus sunset, a garlic clove clutch and plum pillows.

Especially fun is the fact that, since this book originated in the Philippines, the selection of edibles includes options not often featured in American children’s books. Dragon fruit, red beans, hibiscus and rambutan all make an appearance.

It’s a figurative turn for artist Yas Doctor, whose Instagram features more abstract work in a fine art vein. It’s definitely worth exploring if you like the watercolor washes and whimsical cartooning.

Yas Doctor’s bio in the jacket describes a love of gardening, and that clearly translates to the lavishly textural treatment of the plant matter that populates each of these artworks.

There is objective work—line art and kinetic shapes—to be seen in her online portfolio @heypatatas, as interesting and conceptual as the work in the book. It’s easy to see why she was a good choice for the project.

Nothing in that catalog, however, suggests the kind of horticultural focus and variety of palette we see displayed in How Do You Eat Color? We can be glad she had the opportunity to explore this medium and creative brief, too.

Aimed at very young readers—think Very Hungry Caterpillar—How Do You Eat Color? makes an equally valid scientific observation: fruits that are especially colorful and pleasing to the eye are also the most nutrient rich and healthful.

The point is made that a variety of multicolored plant life on your plate is more than aesthetically appealing, it’s a good nutritional strategy too.

Also that if you live in an incredibly colorful landscape, a chameleon capable of reflecting it makes an especially beautiful pet.

Your little one will no doubt be entranced by the imaginative world of How Do You Eat Color? and perhaps enticed to eat their vegetables, too!

4 out of 5 melon moons

Austin McKinley makes comic books, cartoons, movies, video games, screenplays, novels and novellas through his company, Flying Car. He shot and appeared in the award-​winning feature documentary The New 8‑Bit Heroes alongside director Joe Granato. His comic illustrations have also been published by Image Shadowline, Devil’s Due/​1st Comics, Alias/​Blue Water Press, Avatar, Boom!, Blue King Studios, and FC9. He wrote and illustrated Squareasota, a weekly cartoon in the Sarasota Herald-​Tribune for seven years.

Most recently, he illustrated graphic novel Tales of Mr. Rhee vol. 5: Rockstar Paranoia, and wrote and illustrated RIOT Force: Tools of the Rich, a creator-​owned graphic novel, both for Source Point Press.

Agent Interview: Jessica Saint Jean (Root Literary)

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Jessica Saint Jean is a literary agent at Root Literary, where she’s on a mission to bring bold, narrative-​driven art to the forefront of children’s publishing. With nearly 15 years in the industry in a variety of roles, she knows the ins and outs of both storytelling and design. Jessica represents illustrators and author-​illustrators across formats like board books, picture books, middle grade, and graphic novels, and she’s all about finding projects that pair striking visuals with unforgettable stories.

Jessica’s sharp eye for expressive art and her knack for nurturing creative careers make her a standout advocate for her clients (I know this is true–I asked a few!). Known for her love of Airtable, color-​coded spreadsheets, and deep-​dive submission lists, she balances organization with boundless enthusiasm for great storytelling. In this interview, Jessica dishes on her career, her favorite projects, and what it takes to succeed in today’s competitive kidlit market.

Learn more about Jessica here:

RVC: You’ve worked in publishing for almost 15 years, first as an editor, then on the art side of things, and now as an agent. How have those roles shaped your approach to representing illustrators and authors?

JSJ: My time working in-​house at publishers informs just about everything I do as an agent. Though I was never actually an art director! At Candlewick, I worked in the Art Department but I had a pretty unique role – I wore many hats, but my primary responsibility was to coördinate illustrator commissions: after an editor acquired an author’s story for a book that would be illustrated (a picture book text for example), I would help select which artist Candlewick would hire to illustrate that book, and then negotiate the deal with the illustrator’s agent.

RVC: Oh, that’s interesting. I bet that gave you some great insight.

JSJ: Being part of that process searching for the perfect illustrator for a particular story gave me a lot of key insights into how I represent my clients and promote their work with publishers – from what type of information is helpful to share in email campaigns to helping my clients develop their portfolios.

And of course, negotiating many illustrator deals on behalf of the publisher gave me a lot of great intel now that I do the same thing from the other side of the desk!

RVC: How did your time at Barefoot Books and Candlewick Press influence your understanding of children’s publishing, particularly for illustrators?

JSJ: Barefoot is a small publisher, so beginning my career there gave me a great overview of all facets of children’s publishing – I was working in the same room as the Creative Director, the heads of sales and marketing, the CFO, etc. I kept my ears open and offered to help doing lots of different types of tasks that needed doing. It made my workload a little overwhelming but also taught me a lot! At larger companies, it can be harder to learn about what your colleagues are doing in different departments, and how their work impacts yours (and the bottom line). So that early role as an editor gave me experience in many corners of this business, which helps me guide my clients through lots of different situations.

And my time at Candlewick gave me a deep understanding of the market. To inform my work commissioning illustrators, I got to know every agent representing kidlit artists and each of their lists, met college students graduating from illustration programs, kept a close eye on all the key children’s lit awards, and, of course, read as many picture books as I could. It all helped hone my artistic tastes and commercial instincts.

RVC: Let’s talk about Root Literary. Why did you choose it, and how does it align with your vision for your clients?

JSJ: When I became an agent, I wanted to build a boutique list of illustrators at an agency that wasn’t currently representing illustrators so I had room to establish the look and feel of my list. But after several years working solo on so many aspects of my job, I realized I could grow my business (and my clients’ careers!) faster if I had colleagues who represented illustrators too.

Two agents at Root Literary, Molly O’Neill and Kurestin Armada, were already representing illustrators and I loved both of their lists. We have similar tastes without actually overlapping, so I felt my roster of illustrators would harmonize well with theirs. And I love Root’s approach to agenting – it’s very collaborative. So, I knocked on Holly Root’s proverbial door and was over the moon when she invited me to join the team.

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

JSJ: I started at Barefoot as an editorial intern and worked my way up, so I was initially supporting the other editors’ lists. The project that looms the largest in my mind all these years later is Barefoot Books World Atlas, which was an extraordinarily complex project to create! I will never forget that the day we finally sent it off to the printer was the same day South Sudan became an independent state. So… I started a list of reprint corrections before the book even hit the press. That might be a record?!

RVC: I bet it is! Now, how did this experience compare to the first picture book you repped as an agent?

JSJ: The first deal I closed as an agent was for Ashley Yazdani’s Cosmic Wonder: Halley’s Comet and Humankind, which, ironically, also takes a sweeping look at history and the earth. But thankfully with zero maps!

RVC: Let’s dig into the agenting side now. What’s a typical day like for you?

JSJ: It is super hard to describe a typical day as an agent because there are so many different facets to our job. And very, very often, what I spend all day doing isn’t necessarily what I planned to work on. We sometimes have to make quick pivots if time-​sensitive things come up, like a surprise offer on a book (yay, the best disruption!) or a sticky situation our clients need help navigating.

The easiest thing to say is that I spend a lot of time writing emails. So, so many emails!

RVC: That’s a popular answer, to be sure. What’s a misconception about picture books that you’d like to debunk?

JSJ: Picture book authors, you do not need to hire an artist to illustrate your book! In fact, I am begging you not to do this. Publishers like to pair illustrators with picture book texts themselves (see: my old job at Candlewick!) so most of the time, it’s actually detrimental to your book if you submit it with an illustrator already attached. (Unless, of course, you are an author-​illustrator planning to illustrate the book yourself.) It’s also better for the illustrator to be hired by the publisher, who can give them a share in the book’s royalties and handle all the accounting for that, etc. So, save yourself and everyone else the trouble!

RVC: For illustrators who also write, what unique challenges or opportunities do you see during the submission process?

JSJ: Sometimes an editor might love an author-illustrator’s art style but not connect as much with their story, or vice versa. An editor needs to love both to acquire a book. But the upside when editors pass on a submission but fall in love with one facet or another of a creator’s work, is that there’s usually an opportunity to follow that lead and connect on another project – even if it ultimately takes a while to get all the stars to align!

RVC: In another interview, you mentioned sometimes relying on “gut feelings” when matching projects to editors. Can you share an instance when your intuition paid off in a big way?

JSJ: One of the first submissions I sent out as an agent was a very special book, Lonely Bird by Ruth Whiting. It’s whimsical and sensitive, warm and hopeful but also a little melancholy, and the art is absolutely incredible (realistic oil paintings with paper collage) but a far cry from the digital styles that are very on trend right now. So, in short: it’s an amazing book but I worried it wasn’t going to be an easy sell. I knew I had to get it in front of the right editor, someone who would really “get” this story creatively and who would also know how to position it in the market so readers would understand it too.

I was still getting to know a lot of editors, so I did a ton of research while building my submission list. But when a book is doing something pretty different than what’s out there, you can only connect the dots so much – ultimately you have to trust your instincts. And I knew exactly who I was going to share Lonely Bird with at Candlewick from the jump: Mary Lee Donovan. She’s a brilliant editor and I had a good feeling that she was going to see the same magic in Ruth’s debut that I did. And happily, I was right! She made an offer not only for Lonely Bird, but two sequels as well, at lightning speed. She’s been an incredible partner to help bring Ruth’s vision to life.

RVC: That’s a great success story. Now, you recently launched a newsletter. Care to share what and why?

JSJ: There are a lot of smart people who are sharing their knowledge of the publishing industry in various places (including here!), but I’ve found there isn’t quite as much out there specifically for children’s book illustrators. I wanted to help contribute to that knowledge pool, but I didn’t want to do it on traditional social media platforms run by algorithms. I was intrigued by substack (I used to love blogs back in the day) and wanted to learn more about it. And I figured, what better way to do that than to start a newsletter myself? I’m still finding my rhythm with writing posts but I really love that corner of the internet.

RVC: Best of luck with the newsletter! One final question for this part of the interview. What are some upcoming client projects that you’re really excited about?

JSJ: Oooh, I love this question! I cannot wait for The Dinosaur Seed by Lindsey Yankey to hit shelves this summer. It’s such a unique book – the story is told completely through the dialogue of four kids as they play pretend at the park, almost like a short play. I really want to do a dramatic reading of it with a few of my friends each voicing one of the characters. And the art is absolutely exquisite. I think kids are going to love it.

I’m also super excited about Floor It, written by Bex Tobin Fine and illustrated by my client Federico Fabiani. It transforms a baby’s ordinary crawl across the floor into a racecar-​themed adventure, with lots of clever wordplay and mesmerizing, slightly surreal art. I’m a huge Formula 1 fan so love all the racecar jokes.

And last but not least, my client Hayden Goodman illustrated a fabulous new take on The Night Before Christmas, which is coming out this fall. It’s set in a NYC apartment building, and it’s funny and sweet and absolutely gorgeous. There are lush cutaways of all the different families’ homes with tons of little details to discover, and Santa has a fresh look and a magnificent magical pipe.

RVC: Alright, thanks for that–best of luck with all of those projects. But now…it’s time for the LIGHTNING ROUND. Let’s zip through questions and zap in those answers. Are you ready, Jessica? 

JSJ: Ready!

RVC: What’s the most Virgo thing you do every day?

JSJ: Ha! So many answers to this, but the #1 thing may be the way I tag almost every single email I send/​receive with myriad color-​coded labels.

RVC: What’s the most unexpected thing you’ve ever used Airtable for?

JSJ: Gardening! I have a base where I track all the perennials I grow in my yard, the care instructions, when they bloomed each year, etc. It’s ridiculous but also fun. I call it my “recreational spreadsheet.”

RVC: How many projects can illustrators juggle without losing it?

JSJ: This depends on the illustrator. Though I try to encourage my clients to have only 2 new picture books publish per year, max. For lots of reasons, but workload chief among them.

RVC: A picture book from 2024 with underappreciated-​but-​awesome art?

JSJ: I have to mention Lonely Bird again, because the second book in the series, Lonely Bird’s Dream has the most incredible art. Ruth’s process is fascinating – she paints in oil, which is its own special feat, but she also creates all her illustrations in real life and photographs them as references for her paintings. Which means she’s literally built all the flying contraptions that Lonely Bird builds in the story, and she spends a lot of time lying on the floor taking photos from Lonely Bird height. She did a few interviews talking about her process that I recommend checking out!

RVC: If your life were illustrated as a picture book, what would the title and art style be?

JSJ: I’m very bad at brainstorming good titles in real life (I desperately wish I were better at this!) so whatever I came up with myself, the editor would probably gently suggest we change, haha. I don’t know if I could choose just one art style! I would need someone else to spearhead the illustrator search for my own book. Doctors are the worst patients, and all that.

RVC: What’s your favorite quotation about agenting, publishing, or writing kidlit?

JSJ: “Tell them stories….That’s what nourishes them. You must tell them true stories, and everything will be well, everything. Just tell them stories.” from The Amber Spyglass by Philip Pullman (my all-​time favorite book!)

RVC: Thanks so much, Jessica!

Reading Activities: Mamiachi & Me, written by Jolene Gutiérrez and Dakota Gutiérrez, illustrated by Mirelle Ortega

On By Only Picture BooksIn Reading Activities2 Comments

Mamiachi & Me: My Mami’s Mariachi Band
Author: Jolene Gutiérrez and Dakota Gutiérrez
Illustrator: Mirelle Ortega
7 January 2025
Harry N. Abrams
40 pages

Book description from Goodreads: “Today’s the day! Rosa will take the stage next to her mami and play along with her popular mariachi band. But as they fasten the shiny botonaduras and tie the moños on their charra suits, Rosa begins to worry. What if the audience doesn’t like her? Is she ready to perform?

With her ‘mamiachi’ and madrinas by her side, Rosa’s stage fright is soothed away by the sound of trumpets, guitars, and violins. Centering on the power of sisterhood, community, and music, the warm and lively text by mother-​and-​son writing duo Jolene and Dakota Gutiérrez—joined by Mirelle Ortega’s beautiful illustrations—provides a unique perspective to the male-​dominated world of mariachi. Back matter includes additional context on the history of the beloved Mexican tradition and the rise of all-​female mariachi groups, as well as a glossary, a bibliography, further reading, and a fun, detailed look at a mariachi’s signature charro suit!”

Need some reviews of Mamiachi & Me: My Mami’s Mariachi Band?

As a bonus, here’s a podcast interview about this book (from The Growing Readers) with the author.

 

Reading Activities inspired by Mamiachi & Me: My Mami’s Mariachi Band:

  • Before Reading–From looking at the front cover: 
    • What do you think this book might be about based on the title and images?
    • What do you notice about the characters’ outfits? Why might they be wearing matching clothes?
    • What emotions do the characters seem to be feeling? How do their expressions and body language show this?
    • Have you ever heard mariachi music before? If so, where? If not, what do you think it sounds like?
    • What does it mean to be part of a band? How do musicians work together?
    • Have you ever performed in front of a group of people? How did it make you feel?
    • What questions would you like to ask the authors before reading the book?
  • After Reading–Now that you’ve read the story: 
    • How did Rosa feel before her performance? How did she feel afterward? What helped her gain confidence?
    • How did Rosa’s mother and madrinas support her throughout the story?
    • What role does mariachi music play in Rosa’s family and community? How does the audience react?
    • What was your favorite part of the book? Why?
    • What do you think Rosa learned from her first performance?
    • How do the illustrations help tell the story? What details stood out to you?
    • What is something new you learned about mariachi music? Did anything surprise you?
    • If you could ask Rosa a question about her experience, what would you ask her?
    • Would you recommend this book to a friend? What would you tell them about first?
  • Design Your Own Mariachi Suit: Mariachi musicians wear special suits called trajes de charro, decorated with embroidery, buttons, and bold colors. Look at pictures of real mariachi outfits, then design your own! Draw a suit and color it with the designs and patterns you would want if you were a mariachi. What colors will you use? What symbols or decorations would make it special to you?
  • Make a Mariachi Instrument: Mariachi bands include violins, trumpets, guitars, and a special large bass called a guitarrón. Choose one of these instruments and make your own version using recycled materials! Use rubber bands over a shoebox for a guitar, fill a plastic bottle with rice for maracas, or use an empty oatmeal container as a drum. Play along to a mariachi song and feel the rhythm!
  • Confidence Booster Pep Talk: Just like Rosa, many people feel nervous before they perform. Think of a time when you were nervous about trying something new. Write or draw a pep talk that someone could give to help you feel confident. Then, practice saying it out loud to yourself or a friend. You can even write a short letter to Rosa, encouraging her before her next performance!
  • Create a Concert Poster for Rosa’s Band: Imagine Rosa’s mariachi band is performing a big show! Design a colorful concert poster to advertise their performance. What will the band name be? What date and time is the concert? What will the audience see and hear? Include drawings of instruments, music notes, and the musicians in their mariachi suits!
  • Mariachi Music Listening and Dance Party: Find a mariachi song online and listen closely. What instruments do you hear? What emotions do the music and singing make you feel? Now, stand up and move to the rhythm! Try clapping along or making up a dance that matches the energy of the song. If you have friends or family with you, dance together and create your own mini celebration!
  • Explore the History of Women in Mariachi: At the end of the book, you’ll find real stories about female mariachi musicians. Choose one of the musicians mentioned and research her story. What challenges did she face? What impact did she have on mariachi music? Create a short report, poster, or presentation about what you learned and share it with a friend or class.
  • Books, Books, and More Books!: Check out these real-​world picture books about music and performing:

This inspiring picture book tells the story of a young girl who, with guidance from her mentor, overcomes self-​doubt to achieve her dreams in ballet. The story emphasizes the importance of dedication and self-​belief in the performing arts.

This autobiographical picture book tells the inspiring story of Troy “Trombone Shorty” Andrews, who grew up in New Orleans with a passion for music. Despite challenges, his determination and love for the trombone led him to become a renowned musician, showcasing the rich cultural heritage of his hometown.

 

A nostalgic tale where a grandfather reminisces about his vaudeville days, entertaining his grandchildren with tap dancing and songs. The story highlights the joy of performing and the special bond between generations.

 

 

Inspired by a true story, this book follows a young girl in Cuba who dreams of playing the drums, despite societal norms. Her perseverance and passion lead her to break barriers, emphasizing the importance of following one’s dreams.

 

 

 

This biography introduces readers to Juan García Esquivel, a Mexican musician who pioneered a unique style of music in the 1950s. The book celebrates his innovative spirit and contributions to the world of sound.

 

Author Interview: Lisa Rogers

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This month on the OPB Author-​Illustrator Interview Series, we’re delighted to feature Lisa Rogers—a former elementary school librarian turned award-​winning author! Lisa’s picture books, including 16 Words: William Carlos Williams and “The Red Wheelbarrow” and Beautiful Noise: The Music of John Cage, celebrate fascinating historical figures and creative expression. Her work has garnered starred reviews, prestigious awards, and recognition for its engaging storytelling and lyrical writing.

Lisa’s path to children’s literature was inspired by her career as a librarian, where she discovered her love for sharing stories with young readers. When she’s not crafting her next picture book, Lisa enjoys running, kayaking, and spending time with her loud and lovable hound. Join us as we explore her creative journey, the stories behind her books, and what’s next on the horizon!

RVC: Where did you grow up, and what role did books or libraries play in your childhood?

LR: I grew up in a tiny town on the Jersey shore. It had a little library above an old building that housed the police station. There was a turned staircase, and at the top of the landing, perched on a shelf in front of a stained-​glass window, was a full set of Beatrix Potter’s books. It seemed like the most magical place in the world.

RVC: It sure sounds like it!

LR: I learned to read at a young age, and that’s pretty much all I did. As there were no bookstores nearby, I relied on the library and the books we had at home. Besides encyclopedias, I read poetry, fairytales and folktales—Italo Calvino’s Italian tales, tales from Japan and West Africa, The Thousand and One Nights, and the art, poetry, and biography volumes of Childcraft, which was a multi-​volume resource for kids. I had some Golden Books and can still recite Margaret Wise Brown’s Home for a Bunny. Garth Williams’ endearing illustrations made me love animals.

RVC: Being both a librarian and a children’s author gives you a unique perspective. How did your time curating books for children influence the kinds of stories you wanted to write yourself?

LR: Choosing, sharing, and reading thousands of books aloud was a joy and the absolute best training for a writer. I got to choose the best books I could find! It was my job to read as many as I could! I could pick books I knew students would love (pangolins, please)!

RVC: Yes, pangolins. Plus penguins. And other awesome animals that start with p!

LR: When I started the job, the biography section was dated and abysmal, full of chapter books with invented dialogue. Then talented writers like Jen Bryant and Candace Fleming began making beautiful picture book biographies. I fell in love with them. I tried to write other types of stories, but it now seems natural that my debut, 16 Words, was a picture book biography.

RVC: I’m not at all surprised, either! We’ll come back to this book in a moment. What’s the most common misconception about being a librarian?

LR: We’ve come a long way from the wire-​rimmed glasses-​wearing, hair-​in-​a-​bun, finger-​to-​the-​lips stereotype, but when people ask “Do you still teach the Dewey Decimal System?” as if that’s what being a library teacher is all about, I can’t help but sigh. Sure, each library has its system of organization that students need to learn, but no one’s teaching them to memorize decimals. At least I hope not!

But most folks don’t know what a library teacher does. So I guess Dewey is the go-to.

RVC: After more than two decades as a librarian, what inspired you to take the leap from curating stories to creating your own? 

LR: I had long wanted to be an author, but I needed to earn a living. My first career was as a news reporter; I only fell in love with children’s books when I became a library teacher. I got up the courage to take an SCBWI workshop on writing for children. I started a blog narrated by my hound dog (whose daily Plops o’ Doom inspired Hound Won’t Go), formed a critique group, wrote lots of terrible stories, and became part of the vibrant group of children’s writers in the Boston area.

RVC: Let’s jump to your debut picture book, which celebrates William Carlos Williams and “The Red Wheelbarrow.” What drew you to his poetry?

LR: I’d known “The Red Wheelbarrow” poem since I was a child, so Williams’ imagist style of writing must have imprinted itself on me in some way. That’s similar to the type of poetry I write. I’m an observer, and as a kid spent a lot of time sketching and thinking about whatever was around me. I still do. I love lots of different kinds of poetry, but the ones that leave a lot of space for pondering are my favorites.

RVC: Beautiful Noise is such a unique subject for a picture book. What drew you to John Cage’s work, and how did you make his experimental music accessible to young readers?

LR: I was a noticing and listening child. Growing up at the beach, I paid attention to the sounds of the waves whacking the shore and shushing back and seagulls and constant wind and radios tuned to the Yankee game and lifeguard whistles and kids shouting over it all —all of that. I distinctly remember listening for silence and realized, like Cage, that there was no such thing.

RVC: The best poets and picture book makers learn how to really pay attention, so it’s no shocker that they notice things like this.

LR: I knew about Cage’s “silent” piece, 4’33,”and was intrigued when I saw a photo of Cage listening to a miked cactus as he ran a feather on its spines. But I got caught up in the many fascinating details of his life and work. I pared down the manuscript, added lots of onomatopoeia, narrowed it to just 4’33,” and then, feeling like I couldn’t do Cage’s genius justice, set it aside.

I’d never written in second person before, but a while later, without even thinking about it, that’s how it came out—scribbled on a notepad in one go. It wasn’t a conscious decision, but it turned out to be absolutely the right way to introduce him to children. It’s fun to read aloud and kids immediately catch on to the refrain which makes it even more fun.

RVC: Can you tell us more about the process of researching Beautiful Noise and how you captured John Cage’s creative spirit?

LR: I listened to his music, watched video, went to performances, consulted with composers and scholars, researched newspaper accounts and any book or article I could find, contacted the John Cage Trust to be sure the manuscript was accurate, but with all of that, there was so much compelling material that it got in the way of capturing his spirit. It took stepping away for me to really understand how to do that. It’s still rather mysterious to me. I recommend letting the subconscious take over.

RVC: You’re known for your meticulous research process. What are some surprising discoveries you’ve made while researching your picture book biographies?

LR: Wow, thanks for that great compliment! I found it surprising that my subjects’ lives connected with each other.

Joan Mitchell knew William Carlos Williams through Mitchell’s mother, who was an editor of Poetry magazine; he and poets Edna St. Vincent Millay and Carl Sandburg visited her Chicago home. Cage and Williams knew each other, as did Mitchell and Cage.

RVC: Wow!

LR: Joan Mitchell’s work often was compared to that of Claude Monet, and her home in Vétheuil, France, overlooked a house where Monet once lived. She purported to not appreciate the comparison, but I wonder what she really thought.

RVC: You’ve written both nonfiction and rhyming picture books. How does your process differ between the two?

LR: The same process works best for both–a strong emotion evokes an idea, and I turn that idea around in my mind for a while before I put anything on the page. Then I write words using a soft lead pencil on (preferably) unlined paper and don’t look at it for a while.

RVC: Let’s talk agents. You’re represented by Erzsi Deak at Hen & Ink Literary. How did you find her, and what makes your partnership work so well?

LR: I sent the bones of 16 Words to Erzsi through a submission opportunity provided by the 12 x 12 Writing Challenge. The manuscript was truly that—bones–but she saw something in it and encouraged me to add on a bit more; which apparently succeeded! It really has been a great partnership. I can rely on her to let me know if something isn’t working, and she’ll respect my decision to pull back on a submission if I think it needs revising. I’m so lucky to be agented by someone who gets me, who’s open and honest and smart and believes in me. Plus, she’s fun. She’s the best.

RVC: You mentioned SCBWI before, but I want to circle back. How has being part of communities like this (and The Writers’ Loft) helped you grow as a writer?

LR: They’ve meant everything to my growth–workshops, support, critiques, and most of all, encouragement. The New England SCBWI conference launched me into this kidlit world (this year’s is in Stamford, CT, in May—be there if you can!). I remember a Loft get-​together where I shared that I’d received a champagne rejection and everyone urged me to not give up, so I didn’t. Kidlit writers are such generous people!

RVC: And in the spirit of that generosity…if you could give one piece of advice to your younger self when you were just starting out as a writer, what would it be?

LR: Don’t let fear and self-​doubt in the way of trying to reach your goal. And don’t take so darn long to realize that!

RVC: What’s been your proudest moment as a children’s author so far?

LR: When I found out that 16 Words was going to be reviewed in The New York Times Book Review. My husband proposed to me over The Times—yep, he actually stopped reading and got down on one knee— and the book review is the first section I read on Sundays. I never, ever dreamed that a book I wrote would appear there. Nina Crews wrote the review, and when I saw her at the 2024 Chappaqua Children’s Book Festival, I immediately ran over to thank her for that fabulous, unforgettable moment. It was unbelievably special.

RVC: What can I say but “Wow!” again. But here’s one last question for this part of the interview. What’s coming up next for you? Any new books or exciting projects you can share?

cover.jpegLR: Absolutely! It’s kind of a big year! I’m really excited about two upcoming picture books: Joan Mitchell Paints a Symphony, about the abstract artist’s creative process, gorgeously illustrated by Stacy Innerst, and out in just a couple of weeks!

RVC: Congrats!

LR: Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, illustrated by Susan Reagan, is coming out in September. Rawls’ life story is amazing, and Susan knows how to illustrate hounds, that’s for sure. It’s a beautiful book!

And I’m so honored that my poem, “If I Could Choose a Best Day,” was chosen for Irene Latham and Charles Waters’ anthology. If that wasn’t enough, they picked my poem’s title as the book title! That will be out in March and, with its lovely collages by Olivia Sua, it is a wonderful gift for any child.

RVC: It’s time for The Speed Round, Lisa. We’re going with ziptastically fast questions and zapalicious-​quick answers. Are you prepared for this challenge?

LR: Ryan, except when running, often pulled by my dog, I am not speedy, but I’ll try.

RVC: Favorite snack to fuel a writing session?

LR: No crumbs on the laptop! A tall cup of Harney Hot Cinnamon Spice tea to sip while pondering the birds at the feeder.

RVC: Which children’s book character would you want to spend a day with?

LR: Pooh. Or maybe Eeyore. I’d like to cheer him up. But probably not for a whole day.

RVC: Tucker (your rescue dog) gets to pick your next book subject—what do you think he’d choose?

LR: The science of sniffing. Or howling. The value of a good long nap. His untold backstory.

RVC: Your all-​time favorite library memory.

LR: Whoa! Pulling out one memory in 20 years of teaching amazing kids is so not possible…but here are a few:

  • When a first-​grader asked for a book on fusion, and I had one that they could read.
  • The day everyone, it seemed, left their baby teeth on the story rug.
  • When a student asked me if one of my colleagues was my dad.
  • The first grader who led book club discussions after library class.
  • Any time kids came in excited to be there and left happy.

You really didn’t expect just one memory, right?

RVC: What’s an underappreciated picture book you recommend to kid readers?

LR: Trick question! Any book can be underappreciated unless you take time to study its genius. Kids know how to do that; it’s adults who don’t always remember.

RVC: What legacy do you hope your books leave behind for readers?

LR: I hope they’ll feel that they have something special to share that the world needs and will appreciate—that their unique selves have worth beyond measure.

RVC: Thanks so much, Lisa!

Picture Book Review: Ramon Fellini the Dog Detective, by Guilherme Karsten

On By Only Picture BooksIn Picture Book Reviews1 Comment

Ramon Fellini the Cat Dog Detective
Author: Guilherme Karsten
Illustrator: Guilherme Karsten
Eerdmans Books for Young Readers
11 February 2025
44 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and author-​illustrator Bonnie Kelso, a good friend of the OPB family.

Ryan’s Review of the Writing

A quiet night. A sudden crash. A beloved pet fish lying helpless outside its shattered bowl. Who’s responsible for this crime? Enter Ramon Fellini, self-​proclaimed dog detective—who, let’s be honest, looks an awful lot like a cat. But he insists he’s a “Master of Disguise,” and with his impeccable costume (his words), he’s on the case.

From the jump, Karsten sets up a wonderfully absurd premise: a detective who’s clearly not what he claims to be, conducting an investigation that makes less and less sense the longer it goes on. The narrator—a well-​meaning but gullible child—takes everything Fellini says at face value, while readers can see the truth hiding in plain sight. That contrast between what’s said and what’s actually happening is where the humor really shines.

The dialogue is quick and punchy, giving Fellini the dramatic flair of a hardboiled detective…if that detective was deeply self-​serving and hilariously bad at his job. His interrogation technique? Mostly asking whether there are any other fish in the house. His crime scene investigation? A lot of suspicious sniffing. His big revelation? Well, let’s just say it’s not one the narrator sees coming, even if the rest of us do.

Karsten’s text is simple but sharp, relying on repetition, wordplay, and well-​timed reveals to land the jokes. Younger kids will enjoy the silliness of Fellini’s disguise and antics, while older readers will catch the slyer humor—the way he keeps almost admitting his guilt, the ridiculousness of his “expert” detective work, and the deadpan way the narrator takes it all in. It’s a book that rewards close attention, since so much of the story is in what’s not being said.

The ending? Let’s just say it’s darkly funny in the best way. The narrator still believes Fellini is a top-​notch detective, while everyone else (including the reader) knows better. It’s a satisfying, if slightly twisted, conclusion to a mystery that was never really a mystery at all.

If you’re a fan of Jon Klassen’s Hat books—where characters insist on their own version of events despite evidence to the contrary—this one might hit the same sweet spot.

If there’s one small place where the book doesn’t quite stick the landing, it’s that the story leans more on humor than tension. While kids will love spotting Fellini’s obvious deception, the “mystery” itself is played for laughs rather than building any real suspense. A touch more intrigue before the big reveal could have made the payoff even sharper.

Ramon Fellini the Dog Detective is an offbeat take on the detective genre, perfect for young readers who enjoy a bit of irony and a lot of laughs. It’s the kind of book where kids will shout “Wait a minute!” long before the narrator catches on, and that’s exactly what makes it fun.

4.25 out of 5 trench coats 🕵️🕵️🕵️🕵️

Bonnie’s Review of the Illustrations

Guilherme Karsten’s illustrations in film noir style is just enough to evoke mystery and drama without being utterly terrifying for young readers.

**Spoiler alert: this is a story about a murderer who cleverly covers his tracks with some smooth talking.**

The cover art introduces long shadows, which are used throughout to build tension and direct your eye toward particular clues. I especially enjoy the use of patterns throughout which bring texture and quirkiness to the scenes. The spread featuring Ramon’s adorable evidence board is a good example of how shadows can bring depth to an otherwise flat (2‑D) illustration style. The limited color palette works well, incorporating enough darkness to set the mood, but leaving a few pops of color to exaggerate clues and the sweet naïveté of the child character.

One criticism of the art is that there are two onomatopoeia pieces of type in the beginning and I would have liked to see more consistency in the type treatment there. Also, there isn’t any more of this throughout the book and I think the story could have benefited from a few more sounds called out. Perhaps a “slurp” as Ramon licks the pitcher containing our goldfish victim, or a “rattle, rattle” as Ramon peers through the horizontal blinds.

Ramon’s gestures throughout are perfectly composed, emphasizing his confidence and mischievous personality. The goldfish is also quite expressive, and I am grateful that we were spared seeing his ultimate demise. The excitement of the neighborhood cats was just enough to confirm the goldfish’s fate. Ultimately, I enjoyed the book and think it would be a fun read for a less sensitive child.

4.75 out of 5 cat whiskers 🐱🐱🐱🐱

Bonnie Kelso has always been a fan of dogs, cats and fish. Her upcoming release Dexter the Stand-​Up Dog is available for pre-​order now. It is the inspiring true story of the internet celebrity canine who taught himself how to walk upright after losing a leg in an accident. Co-​written by Kentee Pasek, Dexter’s owner, you can see the real Dexter on Instagram @DexterDogOuray.

A graduate of the Rhode Island School of Design, Bonnie’s past experience in art spans a spectrum, from abstract painting on canvas to museum-​quality exhibit design. She has worked with clients such as the Smithsonian, National Geographic, and NASA.

She lives in Las Vegas with her partner, two sons, a Boston Terrier, and an unruly cat. To learn more about Bonnie’s work, please visit www.BonnieKelso.com.