Picture Book List: 15 Picture Books About Books

On By Only Picture BooksIn Picture Book Lists5 Comments

Calling all bookworms and bibliophiles!

Today, we’re turning the pages on a delightful collection of picture books that celebrate the magic of stories. From heartwarming tales about libraries to whimsical journeys into the world of words, these 15 gems are sure to spark a love of reading in young hearts.

So snuggle up with your little ones, open a book, and let the adventure begin!

**If I missed your favorite picture book that’s about books, tell me in the comments!**

Book Fiesta!: Celebrate Children’s Day/​Book Day by Pat Mora, illustrated by Rafael López (March 2016)

From Goodreads: “Take a ride in a long submarine or fly away in a hot air balloon. Whatever you do, just be sure to bring your favorite book! Rafael López’s colorful illustrations perfectly complement Pat Mora’s lilting text in this delightful celebration of El día de los niños/​El día de los libros; Children’s Day/​Book Day. Toon! Toon!

Includes a letter from the author and suggestions for celebrating El día de los niños/​El día de los libros; Children’s Day/​Book Day.”

  • 40 pages
  • Reading Age: 4–8 years

The Book with No Pictures by B.J. Novak (Sept 2014)

From Goodreads: “Warning! This book looks serious but it is actually completely ridiculous!

A book with no pictures?

What could be fun about that?

After all, if a book has no pictures, there’s nothing to look at but the words on the page.

Words that might make you say silly sounds… In ridiculous voices…

Hey, what kind of book is this, anyway?

At once disarmingly simple and ingeniously imaginative, ‘The Book With No Pictures’ inspires laughter every time it is opened, creating a warm and joyous experience to share—and introducing young children to the powerful idea that the written word can be an unending source of mischief and delight.

If a kid is trying to make you read this book, the kid is playing a trick on you. You will end up saying silly things and making everybody laugh and laugh!

Don’t say I didn’t warn you…”

  • 48 pages
  • Reading Age: 4–8 years

Charlie Cook’s Favorite Book by Julia Donaldson, illustrated by Axel Scheffler (June 2006)

From Goodreads: “Charlie Cook has a favorite book. It’s about a pirate, who also has a favorite book … about Goldilocks, who also has a favorite book … about a knight, who also has a favorite book .… This hilarious pattern continues throughout the story, right to the satisfying and surprising end.”

  • 32 pages
  • Reading Age: 2–4 years

Fantastic Flying Books of Mr. Morris LessmoreThe Fantastic Flying Books of Mr. Morris Lessmore by William Joyce, illustrated by Joe Bluhm (June 2012)

From Goodreads: “Morris Lessmore loved words.
He loved stories.
He loved books.
But every story has its upsets.
Everything in Morris Lessmore’s life, including his own story, is scattered to the winds.
But the power of story will save the day.”

  • 56 pages
  • Reading Age: 4–8 years

How Rocket Learned to Read by Tad Hills (July 2010)

From Goodreads: “Learn to read with this New York Times-bestselling picture book, starring an irresistible dog named Rocket and his teacher, a little yellow bird. Follow along as Rocket masters the alphabet, sounds out words, and finally … learns to read all on his own!

With a story that makes reading fun—and will even help listeners learn to read—this book is ideal for kindergarten classrooms and story hour or as a gift for that beginning reader. Fresh, charming art by Tad Hills, the New York Times bestselling author/​illustrator of Duck & Goose, will make this a favorite.”

  • 40 pages
  • Reading Age: 3–6 years

How to Read a Story by Kate Messner, illustrated by Mark Siegel (May 2015)

From Goodreads: “Step One: Find a story. (A good one.)
Step Two: Find a reading buddy. (Someone nice.)
Step Three: Find a reading spot. (Couches are cozy.)
Now: Begin.
Accomplished storytellers Kate Messner and Mark Siegel chronicle the process of becoming a reader: from pulling a book off the shelf and finding someone with whom to share a story, to reading aloud, predicting what will happen, and—finally—coming to The End . This picture book playfully and movingly illustrates the idea that the reader who discovers the love of reading finds, at the end, the beginning.”

  • 36 pages
  • Reading Age: 5–7 years

The Incredible Book Eating Boy by Oliver Jeffers (April 2007)

From Goodreads: “Like many children, Henry loves books. But Henry doesn’t like to read books, he likes to eat them. Big books, picture books, reference books … if it has pages, Henry chews them up and swallows (but red ones are his favorite). And the more he eats, the smarter he gets—he’s on his way to being the smartest boy in the world! But one day he feels sick to his stomach. And the information is so jumbled up inside, he can’t digest it! Can Henry find a way to enjoy books without using his teeth? With a stunning new artistic style and a die-​cut surprise, Oliver Jeffers celebrates the joys of reading in this charming and quirky picture book. It’s almost good enough to eat.”

  • 32 pages
  • Reading Age: 3–7 years

Let Me Finish! by Minh Lê, illustrated by Isabel Roxas (July 2016)

From Goodreads: “When our young hero settles in to read, the last thing he wants is for some noisy animals to ruin the ending of the story.

But ruin it they do.

And as it turns out, the boy is quickly approaching a surprise ending of his own! Maybe he should have listened to the animals after all.…

This silly, timeless picture book with a clever meta twist introduces debut author Minh Lê’s witty text and Isabel Roxas’s eye-​catching illustrations.”

  • 40 pages
  • Reading Age: 3–6 years

The Library by Sarah Stewart, illustrated by David Small (April 1995)

From Goodreads: “Meet an unforgettable bibliophile.

Elizabeth Brown doesn’t like to play with dolls and she doesn’t like to skate. What she does like to do is read books. And now that she’s grown up, her collection has gotten so big all the shelves are collapsing. Her front door has disappeared entirely. What in the world will she do? The reclusive Elizabeth Brown surprises everyone wit her splendid solution.

In charming verse and elegant watercolors Sarah Stewart and David Small celebrate one of America’s grandest institutions.”

  • 40 pages
  • Reading Age: 5–9 years

Library Lion by Michelle Knudsen, illustrated by Kevin Hawkes (July 2006)

From Goodreads: “An affectionate storybook tribute to that truly wonderful place: the library.

Miss Merriweather, the head librarian, is very particular about rules in the library. No running allowed. And you must be quiet. But when a lion comes to the library one day, no one is sure what to do. There aren’t any rules about lions in the library. And, as it turns out, this lion seems very well suited to library visiting. His big feet are quiet on the library floor. He makes a comfy backrest for the children at story hour. And he never roars in the library, at least not anymore. But when something terrible happens, the lion quickly comes to the rescue in the only way he knows how. Michelle Knudsen’s disarming story, illustrated by the matchless Kevin Hawkes in an expressive timeless style, will win over even the most ardent of rule keepers.”

  • 32 pages
  • Reading Age: 1–3 years

Little Red Reading Hood and the Misread Wolf by Troy Wilson, illustrated by Ilaria Campana (July 2019)

From Goodreads: “A retelling of the classic Little Red Riding Hood, starring our bookish heroine Red and a misunderstood, book-​loving wolf desperate for a good story.

Little Red Reading Hood loves–you guessed it–reading! She applies everything she learns from books to the real world. So, when she sets off to take her sick grandmother a homemade treat, she’s prepared for anything that comes her way. In keeping with the original story, Red is in for a surprise when she arrives to find a wolf disguised as her grandmother. But this is no ordinary wolf… This is the Misread Wolf, who’s after something more delicious than your average snack. He’s desperate for a bedtime story and knows Little Red Reading Hood might just be his only hope.”

  • 32 pages
  • Reading Age: 4–8 years

Lola at the Library by Anna McQuinn, illustrated by Rosalind Beardshaw (June 2006)

From Goodreads: “Learn about the library, checking out books, and story time with Lola.  Every Tuesday Lola and her mommy go to the library. Lola meets her friends there. They share books and don’t have to be quiet all the time. The nice librarian tells stories. There is a big machine that buzzes Lola’s books in and out, and she can take any books she wants home with her. Lola and her mommy always stop for a treat on the way home. No wonder Lola loves the library.

This gentle story of growing with books encourages little ones to discover the joy of reading as well as getting them ready and excited to visit the library.

Sweet, bright illustrations are from a kids-​eye point of view. Perfect for a lap read or story time, the first in Lola series, LOLA AT THE LIBRARY is a book young readers will fall in love with.”

  • 32 pages
  • Reading Age: 1–3 years

Read the Book, Lemmings! by Ame Dyckman, illustrated by Zachariah OHora (Nov 2017)

From Goodreads: “Aboard the S.S. Cliff, First Mate Foxy reads an interesting fact: “Lemmings don’t jump off cliffs.” But Foxy can’t get the lemmings on the Cliff to read his book, too. They’re too busy jumping off.

After a chilly third rescue, exasperated Foxy and grumbly polar bear Captain PB realize their naughty nautical crew isn’t being stubborn: The lemmings (Jumper, Me Too, and Ditto) can’t read. And until Foxy patiently teaches his lemmings to read the book, he can’t return to reading it, either!”

  • 40 pages
  • Reading Age: 2–8 years

Tomás and the Library Lady by Miranda Paul, illustrated by Nate Wragg (Feb 2000)

From Goodreads: “Tomás is a son of migrant workers. Every summer he and his family follow the crops north from Texas to Iowa, spending long, arduous days in the fields. At night they gather around to hear Grandfather’s wonderful stories. But before long, Tomás knows all the stories by heart. “There are more stories in the library,” Papa Grande  tells him.  The very next day, Tomás meets the library lady and a whole new world opens up for him.

Based on the true story of the Mexican-​American author and educator Tomás Rivera, a child of migrant workers who went on to become the first minority Chancellor in the University of California system, this inspirational story suggests what libraries–and education–can make possible.  Raul Colón’s warm, expressive paintings perfectly interweave the harsh realities of Tomás’s life, the joyful imaginings he finds in books, and his special relationships with a wise grandfather and a caring librarian.”

  • 40 pages
  • Reading Age: 3–7 years

Wolf! by Becky Bloom, illustrated by Pascal Biet (March 1999)

From Goodreads: “A wolf learns to read in order to impress a group of farmyard animals he has met.”

  • 32 pages
  • Reading Age: 4–8 years

The Wisdom of Kidlit Editor Harold Underdown

On By Only Picture BooksIn Editor Interviews, Uncategorized2 Comments

The whole kidlit world was shocked to find that after several years at Kane Press, Harold Underdown was let go and the entire press went out of business. If you hadn’t heard the details, here’s what Harold shared on Facebook.

Harold Underdown - Executive Editor - Kane Press | LinkedIn

By now you may have seen the news that Kane Press has been shut down by Astra and that I’ve been laid off. There’s a deeper story to that, of course.
Just about three years ago, I stepped into the position of Executive Editor at Kane. At the time, Kane was known for fiction with an educational element, as seen in the Math Matters! and Milo and Jazz series. It was the first imprint bought by Beijing-​based TCBI, as they built up the components of what had already become Astra Publishing House when I arrived. However, their program had languished during the pandemic, and I was brought in specifically to revitalize it, and to find new directions while staying true to its core mission.
I got to work, deliberately broadening the range of what we published, and opening up to submissions from authors and agents. I expected it would take at least 4 to 5 years to see if my approach was working. Progress was slowed by understaffing at Astra and my needing to attend to my ailing elderly mother. But I was able to get my first acquisitions out in Fall 2023, with more following this year, from the Follow My Food series, aimed at a young picture book audience, to “Checkups, Shots, and Robots,” comic-​style nonfiction for middle-​grade readers. A good start, I thought, but I felt that it was my 2025 lists that really showcased what Kane Press could be.
I had just about wrapped up my editorial work on the Fall 2025 list when I was let go. From my perspective, this decision is a waste of the investment of the past three years, but I suspect was driven by the condition of the Chinese economy, which forced TCBI into further cutting expenses.
It’s their loss, as far as I am concerned. I am now looking for a new position with a company in need of an experienced, innovative editor to help them turn around an imprint, to fill a gap in their program, or simply to grow. To be continued…

Harold’s one of the Good Ones in the biz, folks. Read the OPB interview I did with him in 2021 to see for yourself!

To show my support of my colleague and friend, I’m repurposing this month’s Industry Insider post to showcase some of the wisdom Harold’s shared over the years via articles, interviews, workshops, and more.

Enjoy it, and please send Harold your best wishes (and leads for editorial jobs at places that aren’t going to self-destruct).

**Note on the excerpts below. A few had grammatical issues/​typos, and one even seemed to be an unedited AI transcript, so I tweaked the spelling and grammar a few times to ensure readability, though I didn’t add or replace any words.**

What are some of the essential qualities of a good editor?

To start with, you must love reading, because you’ll be doing huge amounts of it, both of manuscripts and published books, from the day you enter the field.

You must care about and be interested in books, publishing, children, schools, libraries, and all the other things you will deal with on a daily basis, and you must be open to learning more about them.

Above all, I think you need to love to work with people in the particular ways an editor does: to get inside what an author is trying to do in a manuscript, and to help them to do it better; to know who is the right illustrator for a given book, and to help them do their best work; to work every day with a team of people brought together to produce a book; and of course to advocate for and help a book within a publishing company and out in the world. We don’t just sit in our offices marking up manuscripts with red pencils!

From Miss Marple’s Musings

Shirley's Illustrations: Miss Marple's Musings, Illustrator Interview

Children’s publishing is in an interesting era right now, isn’t it? Why is it important–now more than ever–to have a foundational understanding of this industry before you start preparing and submitting?

So, there’s a few parts to that question and let me unpack that. From my experience–and I’ve been working in publishing for more than 30 years now–it has ALWAYS been important to know how the business works. And that begins with everything from the different kinds of children’s books. A lot of people come into this with only a vague idea about the complexity of the different areas of children’s books and how they connect to children.

But that’s just the start. You need to understand the process of writing from a practical point of view. Like how to get feedback, not just sitting down and writing at your computer and knowing when you’re ready to send a manuscript out. The process of doing that; what happens later? What happens if a publisher or an agent is interested and what happens eventually when you get to the point of being offered a contract? And then beyond that. How are you going to actually be working with a publisher? That’s always been really important knowledge that often is kept out of the conversation, but the focus is very much a lot of the time in our business on the writing and on the illustrating and you really have to put both of them together and that’s what I’m always aiming to do.

From Highlights Foundation

How do you approach submissions as an editor? What makes you stop reading? 

I’ll answer your question as if I were working in-​house, since that’s what your readers probably want to hear. I always approached submissions with tremendous hope, that the NEXT manuscript I read was going to grab me and not let me go. And, over the years, like all editors do, I did find manuscripts from people I didn’t know that surprised and excited me. That’s a wonderful moment, when it happens.

Of course, most manuscripts in the “slush pile” don’t do that, for one of a number of reasons. I can group them into two categories, I think—there are the books that are obviously wrong for my publisher, either because they don’t publish that particular type of book or because they just did publish something too much like it.

The larger category is the second one, and that’s the one in which I would put various kinds of work that just isn’t good enough. There is uninspired and pedestrian writing, the too-​familiar story, talking animals that teach lessons, “clever” writing that impresses adults but bores children, stilted or clumsy sentences, a slew of bad grammar and spelling (I don’t mind a few mistakes if the story is strong). You can get some more examples of what makes me stop reading in my article “Getting Out of the Slush Pile.”

From Kidlit411

KidLit411

What do you do outside of the book world?

I try to make sure my family is happy. We have a child in kindergarten, who over the past several months has learned to read, mostly on her own initiative. I stay involved with that. It’s satisfying and challenging and nothing at all like any job I’ve ever had.

In case you’re wondering, being a father hasn’t changed how I approach my work as an editor. I’ve greatly enjoyed discovering books I didn’t know about, though, and re-​discovering favorites from my childhood. The Editor as Reader, which I mentioned earlier, goes into some of the discoveries.

From Cynsations

How much should a writer pay attention to a manuscript’s “marketability” and market trends?

This is a short question but it needs a long answer. For one thing, the importance of what’s expected in the market varies by type of book. A manuscript written for a packager creating a MG series MUST be focused on what the market wants, while a “literary” novel should simply be the best that the writer can make it.

In general, paying too much attention to the market is dangerous, as trends can change or die overnight. It can also be difficult to figure out what exactly would make a manuscript “marketable.”

So, my advice for writers in this area is to ignore the trends while they are learning the craft–improving their skills, finding their voice, learning what they most like to write. Once they have a good chunk of experience under their belts they can start to pay more attention to the market, as they will not be unduly influenced by it.

From Carol Baldwin’s Blog

What are the advantages of working with an independent editor?

I don’t know if I’m the right person to ask–you should ask some of my clients! But from what people tell me, there is one reason why many of them work with an independent editor. They have gone as far as they can with the avenues that they have for getting feedback on a manuscript, whether that’s their critique group, a writer friend, conference critiques, or all of those, and they know that they haven’t yet reached the place where they want to be. And so they reach out for help from a professional editor. Their manuscripts are in many different stages–ranging from early drafts with significant flaws to oft-​revised drafts that need a final polish. What they have in common, though, is that they need or want to get help to move it up another level.

From the Mixed-​Up Files…of Middle-​Grade Authors

In speaking with so many industry folks over the years, it seems to me that the picture book world does a very good job letting new agents and editors learn in an apprenticeship model. Was that how it worked for you?

That’s an interesting question. And I actually would say that I didn’t have a full on apprenticeship kind of situation. Because I was working for Macmillan Children’s Books–a large, general purpose children’s book imprint–we did everything from picture books up to young adult. We even had the Macmillan Dictionary for Children along with a couple of other reference books.

There were three or four editors within the imprint–Judith Whipple, Beverly Reingold, and my boss Neal Porter, who was the publisher. I was officially working for Neal, but I also interacted with everybody else, so I was actually learning from all of them. One of the things they did within the department was make copies of all their important correspondence and put it in a file. That would get circulated weekly so we could all see what everybody was working on. That was always really interesting for me to read, because I could see how an editor wrote an editorial letter and how they corresponded with an artist. Another lesson I learned was the reality that publishing is a business.

That’s a tough realization, isn’t it?

I thought of publishing as this noble calling where people are simply making wonderful books. And it is! But also, for every single book that we acquired, I had to do a P&L [profit and loss statement]. And it had to work out and make money for us, after I put in all the expenditures and an overhead percentage and so on. It had to hit a target number of profit.

From Only Picture Books

Reading Activities: So Much Slime by Jason Lefebvre, illustrated by Zac Retz

On By Only Picture BooksIn Reading Activities1 Comment

So Much Slime
Author: Jason Lefebvre
Illustrator: Zac Retz
3 September 2024
Flashlight Press
32 pages

Book description: “Matty and his family make slime all the time. They know that it’s simple, stretchy, scientific, and super-​squishy. But Matty’s slime demonstration at school turns into a disaster when he forgets the most important ingredient – saline! Instead of squishy slime, he’s up to his elbows in an icky sticky swamp, and it’s spreading fast. Can his classmates’ creative ideas save him, or will someone find some saline at school soon?

So Much Slime is an explosion of color with vibrant language, wild facial expressions, hands-​on-​activities, and a hilarious, outrageous plot. Perfect for art time in an elementary class or at home, So Much Slime celebrates creativity in every sense of the word. Companion to the award-​winning Too Much Glue.”

Reading Activities inspired by So Much Slime:

  • Before Reading–From looking at the front cover: 
    • What makes you curious about the story just by looking at the cover?
    • Based on the cover illustration, what do you think the pictures inside the book will look like?
    • How are things arranged on the cover? Does that give us any clues about what might happen in the story?
    • Does the cover remind you of any other books you’ve read or movies you’ve seen?
    • The title is So Much Slime! What do you know about slime? Have you ever made it yourself?
    • What questions would you like to ask the author or the illustrator before reading the book?
  • After Reading–Now that you’ve read the story: 
    • How did Matty handle his mistake? Did his classmates help or make things worse?
    • Matty forgot a key ingredient. Have you ever forgotten something important while doing an experiment or project? What happened?
    • The slime in the book spreads everywhere! What do you think is the messiest project you’ve ever done?
    • How did Matty and his classmates work together to fix the problem? What did you learn from their teamwork?
    • If you were friends with Matty, what would you do together? Would you make slime or try something else?
    • How would you rewrite the ending if Matty never found the saline solution?
    • Would you recommend this book to a friend? What part would you tell them about first?
  • Slime Recipe Creation: Using the slime recipe at the back of the book as a starting point, experiment with different ingredients! Try adding glitter, food coloring, or glow-​in-​the-​dark paint. What changes when you add these ingredients? Write down your results in a “slime lab notebook” to share with others.
  • Slime Sensory Experiment: Gather different kinds of slime ingredients (fluffy slime, clear slime, etc.) and explore how they feel. Create a “Slime Texture Chart” where you rate how stretchy, squishy, or sticky each slime is. Compare your results with your classmates or friends.
  • Slime-​Inspired Soundtrack: Create a “slime-​inspired” playlist or soundtrack for Matty’s adventure! Choose songs that make you think of how slime might move, spread, or bubble. Share your playlist with friends and listen to it while making slime or working on other creative projects.
  • Slime Dance Party: Slime might be sticky and gooey, but it’s also stretchy and fun! Create a “slime dance” by coming up with different moves that mimic how slime stretches, squishes, and oozes. Dance to a fun, bouncy song and name your dance moves after types of slime, like “The Fluffy Stretch” or “The Glow-​in-​the-​Dark Wiggle.”
  • Further Reading: If you loved So Much Slime, you might also enjoy these books about (sometimes messy) fun and creative problem-solving!

Too Much Glue by Jason Lefebvre: In this hilarious companion book, Matty learns what happens when he uses too much glue in his art project.

 

The Most Magnificent Thing by Ashley Spires: A little girl with big ideas tries, fails, and tries again as she attempts to build the most magnificent thing!

 

Ada Twist, Scientist by Andrea Beaty: Follow curious Ada Twist as she explores the world around her and solves problems with science and creativity.

 

Not a Box by Antoinette Portis: This imaginative book shows how a simple cardboard box can become anything a child dreams up. Perfect for encouraging creative thinking and problem-solving.

 

Pete the Cat and the Perfect Pizza Party by James & Kimberly Dean: Pete the Cat and his friends throw a pizza party, but it doesn’t go quite as planned. With teamwork and creativity, they make the best of the situation!

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

On By Only Picture BooksIn Author Interviews, Illustrator Interviews

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!

Five-​Word Reviews: The Boy and the Elephant; The River Is My Ocean; Thank You; Tiny Jenny; We Are Definitely Human

On By Only Picture BooksIn Picture Book Reviews2 Comments

I’ve been reading so many picture books lately, and I can’t resist sharing some of my favorites! So, here are five mini-​reviews, each in just five words – because sometimes, that’s all you need to capture the magic.

Author: Freya Blackwood
Illustrator: Freya Blackwood
Random House Studio
27 August 2024
40 pages

Ryan’s five-​word review: Urban chaos. Serene sanctuary found.

4.25 out of 5 pachyderm pals

Author: Rio Cortez
Illustrator: Ashleigh Corrin
Denene Millner Books/​Simon & Schuster Books for Young Readers
27 August 2024
32 pages

Ryan’s five-​word review: Hudson’s diasporic flow, intergenerational bond. 

4.25 out of 5 mermaids

Author: Jarvis
Illustrator: Jarvis
Candlewick
6 August 2024
32 pages

Ryan’s five-​word review: Deeply appreciated visual feast. Uplifting.

4.25 out of 5 collage moons

Anne Schwartz Books
6 June 2024
48 pages

Ryan’s five-​word review: Mischief-​maker finds true belonging. Enchanting.

4 out of 5 whimsical wrens

Author: X. Fang
Illustrator: X. Fang
Tundra Books
6 August 2024
48 pages

Ryan’s five-​word review: Aliens crash. Kindness blooms. Laughter!

4.5 out of 5 unexpected visitors

 

Editor Interview: Cheryl Eissing (Flamingo Books)

On By Only Picture BooksIn Editor Interviews2 Comments

When someone takes the time to write a great social media bio, they deserve kudos, acclaim, and general admiration. Witness editor Cheryl Eissing’s bio at Twitter/​X. “When I’m not editing, I can be found reading with an English Bulldog at my feet, cooking too much pasta, or walking my dog around Brooklyn.”

Love it!

Her bio at Penguin’s website offers two bits of dynamite info as well.

“Cheryl mainly edits picture books, with some middle grade and young adult, and is specifically interested in stories that cause giggles, give comfort, and expose their readers to experiences and perspectives they haven’t seen before.”

“Cheryl is always looking for commercial and silly yet profound picture books and stories that entertain, educate, and inspire young readers. When she is not editing books, Cheryl can be found befriending dogs on the streets of Jersey City, watching horror movies, or searching for the perfect lychee martini.”

Awesome, right? Let’s talk to her to find out a bit more.

RVC: Let’s deal with the geographic elephant in the room. In the bio snippets above, it seems you have a multi-​state dog love going. What’s the real story there? 

CE: Ha! Unfortunately, the first bio is out of date. I lived in Brooklyn with the bulldog in question (who has sadly crossed the rainbow bridge, as the social media pet community often calls it) but he was the greatest editing and walking companion. I moved to Jersey City in 2020 and still go for dog walks (by that I mean, I walk around Jersey City and admire all the dogs). I will always have a soft spot for bulldogs.

RVC: Got it, thanks. Now, back to the regularly scheduled OPB interview…what aspect/​part of you today gives away where you’re from and how you were raised? 

CE: I grew up in the suburbs of Long Island and went to college in New Jersey, so I’m very serious about bagels and pizza. I’ve just finally grown up and realized you can get good bagels and pizza outside of New York!

RVC: Good to know! Here’s a huge question: what was your first meaningful experience with a book?

CE: Oh goodness, what a big question! Picture books that I have a vivid memory of reading as a kid are Where the Wild Things Are by Maurice Sendak, Chrysanthemum by Kevin Henkes and Corduroy by Don Freeman. I just remember each of them speaking to something in me as a child. I always loved the adventure of Corduroy and was amazed by the idea of being alone in a department store after it closed. I loved the fantastical, dreamlike elements of Where the Wild Things Are and absolutely identified with Max’s mischievousness. And as someone who did not like being the only person with my name in my class as a little kid, Chrysanthemum really spoke to me.

RVC: Most of us in the book industry had a powerful experience with a teacher somewhere along the way. What was your MIT (Most Important Teacher) moment?

CE: Ms. Jeans, my second-​grade teacher!

RVC: Best…name…ever.…

CE: She was the absolute best and always made me feel smart and capable. I remember her showing a drawing I did to another teacher—it’s amazing how much those little encouragements are so important and really stick with you!

RVC: Totally agree! Your LinkedIn account says you did your undergraduate studies at Rutgers. What career goal did you have in mind there?

CE: I wanted to be in publishing since I was in high school. I remember looking at all of the YA books on my shelves and thinking, “Okay, I don’t really enjoy writing, but what are the names of these companies on the spines of my books?” and realized that I could work with books in another way. I went into college thinking I’d major in English and then eventually go onto publishing, and always sort of thought if it wasn’t meant to be something else would reveal itself as my calling, but it stuck!

RVC: What was the most useful thing/​skill you learned at Rutgers?

CE: Reading and analyzing literature and seeing the many ways a book can be written and written well. Not all who work in publishing are former English majors, but I felt like it certainly helped me!

RVC: You’re the post child for the power of internships. Share a bit about what you did and how that helped launch your career in the industry.

CE: Because Rutgers was just a train ride away from NYC, I was able to apply for internships and do those in Junior and Senior year. I definitely wouldn’t have been able to do them in Freshman and Sophomore year while I was still getting my bearings and still having to take core requirement classes that took up a lot of my time.

I got lucky with landing my first internship at Abrams, in a department that I wasn’t ultimately interested in, but I was doing admin tasks and learning how publishing worked. That led me to more interviews and more internships. Most of what I did for internships wasn’t stuff that interested me, but it helped me learn how a publishing office worked and gave me good experience!

RVC: It seems like you might’ve had a moment where you considered being an agent. What happened there?

CE: After I graduated college and had just had one interview for a real job, I was feeling very restless and continued applying to internships, which eventually landed me as an intern at a literary agency. It was definitely interesting to learn about that part of the publishing world but I realized it wasn’t for me. I definitely prefer working on shaping a manuscript the most!

RVC: Tell me the story behind the first picture book you acquired. 

CE: The first picture book I acquired was My School Stinks by Becky Scharnhorst and Julia Patton. I met Becky at the Rutgers One-​on-​One Publishing Conference, and we really clicked. We worked on her manuscript (which was originally a camp story rather than a school story) and I loved it so much. Becky was so great at really considering my notes and was so great at writing funny and heartfelt stories. I ended up asking her to change the setting from a summer camp to a school and I remember feeling so worried that she wouldn’t want to change so much about her manuscript (but also completely understanding if she did!) and worrying that she wouldn’t want me as her editor.

In the end, she adapted the manuscript into a school setting, and I just loved it and I was so happy that my publisher agreed, too! We found Julia and adored her artwork–she is so talented at doing mixed media scenes and could really incorporate the journal entry format of the story into her hilarious illustrations. I loved working on My School Stinks!

RVC: What’s the most useful thing you got from that experience? 

CE: I think I learned a lot about the author’s experience of editing a manuscript. Because it was my first acquisition, I had to really carefully consider my words and how to get the best manuscript possible from my author, while still being encouraging and showing how much I love the book. While an editor absolutely feels ownership over each book they edit, ultimately the book is the author and illustrator’s creation! And our job is to give suggestions in how to make the best possible book that is within the author and illustrator’s creative vision! So I think that experience really taught me to really consider the author on the other end of my emails and notes.

RVC: Let’s jump ahead to your recent work. What’s the most important thing people should know or understand about Flamingo Books?

CE: We love funny picture books! We think books that are fun is the best way to make lifelong readers, so often the first thing we look for is humor. We love profound and heartfelt picture books, too, but I’d say a good majority of our books are funny!

RVC: Why is Flamingo Books a great fit for you?

CE: I love to do sweet and silly picture books that tackle big moments or emotions in a child’s life, as well as books that can teach a reader something new, but always with lots of humor and character. I love a funny book and I’m always looking for books that can be funny while still accomplishing other things. I think that humor is such an easy entry point for kids and reluctant readers. I truly believe that any kid who doesn’t like to read just hasn’t been introduced to the right books!

RVC: What does a typical workday look like for you?

CE: A lot of it is answering emails from other departments, looking at passes of books, fielding submissions, and, depending on the time of year, preparing materials for upcoming meetings.

RVC: What’s the most common misconception writers have about editors?

CE: I think some writers might feel like getting a lot of edits means their editor thinks that they’re not a good writer. Editing can take a lot of time and several rounds (some take 10 rounds or even more!). Sometimes we don’t notice something the first 5 times we read it. Or sometimes fixing one problem in the manuscript creates another. Having lots of edits is very normal and part of the process!

RVC: What’s your editing superpower? 

CE: Oh, I really don’t know! I guess I’m good at editing funny books?

RVC: Speaking of editing superpowers, you’ve had some real successes. Share what it’s like to find out a book you edited is on the New York Times bestseller list. 

CE: It is really really cool. Being on the NY Times list is not the end-​all-​be-​all of a book’s success by any means, but it’s definitely something that holds a lot of weight in the industry and it is so great to have one of your books succeed in that way. I think the coolest part is that books that land on that list are because of the work of so, so many of your colleagues who loved it. A book that you acquired and worked hard on, and launched to them, and hoped they would love as much as you do. Having a whole team to work hard with and celebrate with is really lovely!

RVC: I believe you worked on a book written by my friend, Michelle Houts—Hopefully, the Scarecrow.

CE: Yes! I adore Hopefully the Scarecrow!

RVC: What grabbed you about that story? 

CE: Michelle’s voice throughout the story was what I instantly loved. It had this timelessness to it that felt like a book I could’ve read 50 years ago but also felt so current.

RVC: Your feeling on art notes?

CE: I LOVE how that book turned out. We waited a whole extra year just to have Sara Palacios illustrate and it was so worth the wait! That book is gorgeous and I sometimes just pop it open to stare at the art. It’s one of those book where the words and art really work together perfectly.

RVC: A lot of aspiring writers read OPB. Let’s help them out—offer some examples of “commercial and silly yet profound picture books” please!

CE: The Bad Seed series by Jory John and Pete Oswald, A Hungry Lion by Lucy Ruth Cummins, We Found a Hat by Jon Klassen, Strictly No Elephants by Lisa Mantchev and Taeeun Yoo, Something’s Wrong by Jory John and Erin Kraan.

RVC: Since COVID, I’ve made a point out of asking everyone a health and wellness action. Here’s yours. What do you do to de-stress?

CE: I like to cook, or exercise, or read a book for pleasure.

RVC: One final question for this part of the interview, Cheryl. If you had to summarize the most important thing you’ve learned about picture books, what would it be?

CE: I guess it would be that picture books have power. They can teach kids about empathy, friendship, loss, feelings, family, differences, etc. and can shape who they are as a person.

RVC: Okay, here we go. It’s the LIGHTNING ROUND. Zippy zoomy questions followed by zapptastically fast answers. Are you ready?

CE: Yes!

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

CE: I really like jigsaw puzzles and Sudoku.

RVC: If someone narrated your life, who would you want to be the narrator?

CE: Kathryn Hahn or Ayo Edebiri.

RVC: If you had a giraffe you needed to hide, where would you hide it?

CE: Under a blanket.

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

CE: A notebook, a laptop, post-​its, Diet Dr Pepper, Rhymezone.com

RVC: Who sets the standard for picture book rhymes?

CE: Anna Dewdney and Sandra Boynton.

RVC: What’s a favorite line from a picture book you edited?

CE: “Great job, Buffalo. Help yourself to some potato salad.” (From Porcupine & Cactus by Katie Frawley & Alex Willmore)

RVC: Thanks so much, Cheryl!