Tag: Author Interviews

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.

Author Interview: Lisa Rogers

On By Only Picture BooksIn Author Interviews6 Comments

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!

Author Interview: Sarah Hovorka

On By Only Picture BooksIn Author Interviews1 Comment

Sarah Hovorka – HarperCollinsThis month, we’re thrilled to feature Sarah Hovorka in the OPB Author-​Illustrator Interview series!

Sarah is a versatile creator with a knack for weaving heartfelt and imaginative stories that resonate with readers of all ages. From her touching picture books like Unicycle Dad to her love of speculative fiction, Sarah’s work reflects her curiosity and passion for exploring human experiences. A homeschooling mother of three, she juggles writing, family life, and living with Crohn’s Disease, all the while infusing her stories with authenticity and heart.

Let’s dive into her world, learn about her process, and explore the stories that have shaped her—and those she’s yet to tell.

RVC: Let’s start with a basic one. Where did you grow up?

SH: A farming, pocket community in the Central California Valley.

RVC: Rumor has it you had an unpleasant interaction with a career aptitude test in your childhood. What happened?

SH: It was a standardized test given by my high school. I had big dreams to pursue the sciences, but the test results said my ideal career would be a Dictionary Editor. Not only was that not science, but it wasn’t even an editor for a fun category like fiction. I was peeved as a teenager, but the test had the last laugh. I would love that job now.

RVC: Me too! Now, speculative fiction seems like a natural fit given your interests. What led you to focus on children’s literature instead?

SH: I found that my voice naturally lent itself to children’s literature. I’ve always had an easier time talking to children and I think that comes through in my writing. I still like to write speculative fiction, though, and I’ve been working on speculative chapter books, middle grade, and young adult stories most recently.

RVC: What’s the story behind your first published picture book?

SH: One day I was doing household chores and reflecting on my son’s difficulty with touch, especially being forced, and my own similar memories from childhood. The story of Hattie Hates Hugs popped into my head. After writing it, I pitched it in Twitter’s #PitMad pitching event where the right editor saw it at the right time.

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

SH: That there’s something extra that infuses a story when it comes from your real personality, experiences, and emotions. If your story starts to feel forced, even if the writing is fantastic, I think that comes through to readers.

RVC: Say a few words about Unicycle Dad, which is just a fun title for a book!

SH: Thank you! Unicycle Dad pays homage to single fathers who strive to provide for their children, even through struggles like poverty and lack of education, and end up teaching their kids one of the most valuable life lessons of all. It’s based on my childhood experiences.

RVC: As you said, there’s something special about a story that comes from your real experiences. What’s your dad’s favorite spread from this book?

SH: His favorite is the spread where Sarah falls on the unicycle and the dad says, “It only takes perseverance, Sarah. Keep trying until you get it.”

RVC: What’s YOUR favorite spread?

SH: My favorite is the spread where Sarah feels that daily unicycle practice and homework is only hard work, not at all like the soaring she sees her dad doing.

RVC: In three words or fewer, describe Alicia’s art style for this book.

SH: Realistic, whimsical, thoughtful.

RVC: Camouflage Mom: A Military Story About Staying Connected is another heartfelt story. What inspired this book?

SH: Like Unicycle Dad, this book is based on my own childhood experiences. I wanted to tell the story of a mother in the military and how that can affect the bond between parent and child.

RVC: What was the biggest challenge with writing this book?

SH: It was difficult keeping the balance between conflicting positive and negative emotions in the main character as she struggles to unite the image of her pre-​military mother with the image of her military mom. Sometimes we have warring emotions which are all valid and I tried to highlight that in this story.

RVC: Have you heard from readers about how these stories have impacted them? Any memorable responses?

SH: Yes! For both books, readers loved seeing a side of moms and dads that aren’t often shown: dads as single fathers and moms as the military parent. Adult readers have also said it was a nice change to see a character pursuing a GED and children seem to find it funny that Sarah hates spaghetti so much.

RVC: Let’s talk about the industry. You’re repped by literary agent Kaitlyn Sanchez—a friend of OPB (here’s our interview with her)! What’s the story of how/​when the two of you partnered up?

SH: It’s kind of funny because the story of my first published book is also the story of partnering up with Kaitlyn. I was very new (and lucky) to pitching and querying, and when I had an offer on Hattie Hates Hug through a Twitter pitch event, I reached out to Kaitlyn, and she connected with my stories. When she quickly sold my second picture book, Same Love, Different Hug, it was like all the stars aligned and I knew she was a great fit for me.

RVC: What’s Kaitlyn’s agenting superpower?

SH: Honesty! Sometimes something just isn’t working in your story, or editors aren’t looking for that type of story, or… or… or. I very much appreciate that Kaitlyn is so transparent with her thoughts and the submission process. Writing and publishing is such a subjective industry it’s extraordinarily helpful when someone can give it to you straight.

RVC: If I asked Kaitlyn what your writing superpower is, what would she say?

SH: That’s a hard question. Possibly that I can bring to life difficult emotions in children without them seeming like problems or something that is bad. Or maybe that’s the writing superpower I hope I have.

RVC: What’s your typical writing routine, and how do you balance it with homeschooling and family life?

SH: Err… routine? Ha! No, I’m not great at holding a writing routine. When I’ve tried to do that, it begins to feel like work for me.

RVC: I often tell my students that if something feels like work, then you should step back and really look at your process. Maybe there’s a more effective way?

SH: I’ve been more productive by ensuring that I can easily jot down inspiration any time it strikes and leaving myself trails of motivation, such as calendar reminders with prompts or finding a writing buddy for longer manuscripts. I do try to balance it with homeschooling by sometimes using my kids’ creative writing time for my own creative writing or using time when they are working independently.

RVC: In an interview, you mentioned keeping a spreadsheet for story ideas. What criteria help you decide which ideas to develop further?

SH: The number one criterion for me is how much the story idea sticks in my mind. I use my spreadsheet of ideas religiously to record, but not that often do I review them. That’s because if an idea takes hold and I start thinking of scenes in my mind or developing character traits without trying to, I know I can keep the inspiration up to complete a decent first draft. The second criterion is whether I can easily think of a natural beginning and ending for the story. I feel a little like a flag in the wind without that.

RVC: How do you handle moments when a story just isn’t coming together?

SH: If it’s later in the writing process, such as after a first draft or after half of a novel is written, then I will step away for a few days. Usually something will come to me when I’m not thinking about it. Doing household chores is a great way to free up your creative mind, in my experience. If it’s early in the process and it’s a big picture kind of thing that isn’t coming together, then I typically will choose not to pursue that idea at that time. That sounds like giving up, but I feel like the more I have to work to make the basic story come together, the more it doesn’t really come together at all. Sometimes that story idea that just didn’t work out will appear as a subplot or side action in another story.

RVC: What’s the most challenging part of revising a manuscript, and how do you tackle it?

SH: I very much enjoy revising. It’s like a logic puzzle trying to figure out what fits in where and what needs to go.

RVC: I quite agree! It’s where the real magic happens.

SH: The most challenging part for me is figuring out a way to reword or restructure something when I’ve received opposing feedback. You can’t please everyone, but sometimes there’s a totally different, hidden solution that can work both ways.

RVC: What’s a specific moment when revising completely transformed one of your stories?

SH: After editor feedback, Hattie Hates Hugs turned from a story only about validating one’s feelings surrounding physical contact into one that directly showed children and the adults who care about them how to actually establish a boundary. It gave the story a practical how-​to element that had previously been too hidden.

RVC: Let’s talk about some of the things that led to your writing successes. How has being part of SCBWI influenced your growth as an author?

About SCBWISH: They helped provide a community of people with varying levels of experience when I was first starting out. The nice thing about SCBWI is that they provide multiple ways to engage with the community such as local groups, online chats, events, and workshops.

RVC: What’s the most valuable lesson you’ve learned from your critique groups?

SH: Readers will subconsciously put their own spin on what they are reading. It’s something fickle that’s easily influenced by that reader’s personal experiences, feelings, judgements… even sometimes by what that reader has done that day. It is enlightening.

RVC: What’s one misconception about writing picture books that you’d like to debunk?

SH: That writers of picture books are only writing for children. Picture books are read by children independently or with an adult… adults sometimes read picture books without a child, too! The picture book writer must write to both audiences.

RVC: What’s the best piece of writing advice you’ve received, and how has it shaped your approach to storytelling?

SH: Don’t try to write solely what you think the market wants. For one thing, the market changes all the time and already has stories like that. But more importantly, it’s more fun to write what you want. In my storytelling, I have learned to put in things that I find interesting, fun, or thoughtful. Even if the market may not support certain aspects of a story, such as if a genre is over-​saturated, you never know what readers might get drawn into. If you like it, chances are someone else will, too.

RVC: Two final questions for this part of the interview. How do you handle the highs and lows of the publishing process?

SH: At first, that was difficult for me, and I just pushed on, whether there was good news or bad news. One thing I have learned about myself is that I respond well to personal progress; it’s a highly motivating factor for me. To manage the ups and downs of publishing, I measure my personal progress by outside milestones, such as receiving positive editorial feedback or landing a deal, AND inside milestones, such as trying to write a new genre or attending a workshop. In that way, I’m always succeeding.

RVC: What a great way to think about things! What upcoming projects or goals are you most excited about?

SH: I’m currently writing a young adult novel that blends my usual emotional type of storytelling within a speculative plot. I’m excited to see how it turns out; I think it’s going really well so far.

RVC: Okay, Sarah. It’s time to leap into the fray with…the Lightning Round. Zippy questions followed by zappy answers, please. Are you ready to begin?

SH: Yes.

RVC: Most underappreciated speculative fiction book, kidlit or otherwise?

SH: The Number of the Beast by Robert A. Heinlein.

RVC: Personal chef, personal maid, or personal masseuse?

SH: Personal masseuse.

RVC: Your life is on the line. You need to sing one karaōke song to save it. What do you go with?

SH: “Neon Moon” by Brooks & Dunn.

RVC: Which picture book world would you most want to visit for a day?

SH: The Dragons Are Singing Tonight by Jack Prelutsky.

RVC: Who sets the standard for funny picture books?

SH: Jon Klassen.

RVC: A favorite line from any picture book, classic or contemporary?

SH: “It didn’t even own a proper jacket,” from The Good Little Book by Kyo Maclear.

RVC: Thanks so much, Sarah!

Author/​Illustrator Interview: Angela Quezada Padron

On By Only Picture BooksIn Author Interviews, Illustrator Interviews

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RVC: Congrats on all of that success!

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

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

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

RVC: Absolutely not!

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

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

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

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

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

RVC: Happy to have you aboard!

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

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

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

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

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

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

RVC: Star Wars, Star Trek, or Stargate?

AP: Star Wars.

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

AP: Brah (aka Bro).

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

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

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

AP: The Story of Ferdinand by Munro Leaf.

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

AP: Winding.

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

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

RVC: Thanks so much, Angela!

Author Interview: Ame Dyckman

On By Only Picture BooksIn Author Interviews5 Comments

This month, we’re delighted to welcome Ame Dyckman to our Author Interview series! Ame is a New York Times bestselling, award-​winning author renowned for her humorous and heartwarming picture books. She burst onto the scene with her debut Boy + Bot (2012), a charming tale of friendship between a boy and a robot. She continued to captivate young readers with Tea Party Rules (2013), Wolfie the Bunny (2015), and Horrible Bear! (2016). Ame’s witty storytelling shines in You Don’t Want a Unicorn! (2017) and its sequel You Don’t Want a Dragon! (2020). Her recent works include Dandy (2019), That’s Life! (2020), How Dinosaurs Went Extinct: A Safety Guide (2023), Don’t Blow Your Top! (2023), Campingland (2024), Silly Boobies: A Love Story (2024), and others.

Residing in New Jersey with her family and a yard full of wild critters that often inspire her stories, Ame is known for her energetic and goofy personality. We’re excited to chat with her about her writing journey, the picture book industry, and the creative process behind her enchanting stories.

RVC: You’ve got a name that is potentially mis-​pronounceable. Help us out, please! (This is coming from “Ryan Cleave,” “G. Van,” Van Cleave,” “Dr. GCleaveRyan,” and a host of other almost-​there-​but-​not-​quite ones!)

AD: Hi, Ryan! Thanks for the terrific intro, and thanks for having me! “Ame” is pronounced just like “Amy,” but it’s spelled differently ’cause… I’m actually an Amelia—like the Amelia Bedelia books! And “Dyckman” rhymes with “Bikeman.” (My Husband Guy’s ancestors were Dutch. Dunno if they sold bikes, but it they did, I hope one was known as Dyckman the Bikeman! Ha!)

RVC: Hah indeed–thanks for the clarifications. Now, please share how you first became interested in writing children’s picture books.

AD: As a kid, I thought about becoming a writer, but grown-​ups said, “You’ll starve!” Starving sounded uncomfortable, so I pursued other employment. But when I worked as teacher, and after my own kiddo was born, I realized reading picture books together is the best thing ever, and I wanted to be a picture book author! But I didn’t know how. So I asked my smartest friend, “How do I learn to write for kids and get published?” And Google said: “Join SCBWI!” (Society of Book Writers and Illustrators.) I did. And it worked!

RVC: SCBWI is the path taken by so, so many authors I interview here. I’m glad it worked for you, too. Tell us the story behind your first published picture book.

AD: I’ve always loved friendship-​despite-​difference stories—and robots. So I squished these two loves together in my first book, Boy + Bot. I pitched it to Super Agent Scott Treimel at a “Pitch The Agent” session at a SCBWI conference, and that was the start of everything! Together, we’ve sold 36 kidlit titles—and counting!

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

AD: Boy + Bot taught me a lot about Big Picture Messages in books. When I wrote it, I wasn’t consciously thinking about Big Picture Messages—I thought I was just writing a friendship story! But once it was published, I heard from lots of folks who enjoyed my book in part ’cause they saw different Big Picture Messages and topics in it: inclusivity, kindness, caretaking, STEM, etc. It made me realize first-​hand how multi-​layered picture books can be, and now I absolutely consider Big Picture Messages when I write!

RVC: Some readers and writers don’t realize that the final picture book text is often missing things that were there earlier in the process. What’s something fun that didn’t make the final cut with this book?

AD: Word about words! There’s often lots of text that gets cut during Revisions, and again when you get sketches and the art shows what you no longer need to tell. Boy + Bot was a really tight text from the start—just 150ish words or so—but with other books I’ve cut multiple pages, “killed” characters entirely (sorry, darlings!), and dramatically shortened narratives and dialogue. I actually love Revisions, especially after sketches, ’cause that’s when things get really collaborative with the editor, illustrator, art director and/​or designer, and copywriter. When everyone’s brainstorming together to make the very best book we can? Nothing beats that!

RVC: Please walk us through your writing process. How do you go from an initial idea to a finished manuscript?

AD: Coffee! And I’m constantly jotting down ideas for stories—on my phone, napkins… even my arm! (“Oh, no! I just washed my plot!”)

RVC: HAH!

AD: And then I wait for characters to speak to me. Sometimes this happens immediately, but sometimes it takes years before I feel who a character is, how they sound, and what they say and do. (One of my latest projects, the Bat, Cat & Rat series with the legendary Mark Teague, took over a decade before the first book, The Cozy Home, was published!) After all this simmering, once characters “click,” I’m itching to write their story! Things usually move pretty quickly from there. For picture books, lately this means two weeks of drafting and reading dialogue aloud. (Walk by my house and you will hear voices! Ha!) Then I’ll carry the printed story around for another week or two, scribbling on it and making small tweaks, followed by a few days of “Am I ready to send?!” before I actually hit Send. Then my agent and I chat about it and who we want to send it to, I make more coffee… and repeat!

RVC: How does your everyday life and the “wacky wild critters” in your yard inspire your stories?

AD: Little bits of my Real Life definitely show up in my writing! (Like in the upcoming Bat, Cat & Rat #3: The Beach Day, when Bat tries to share his snack with hungry gulls—and it goes terribly wrong! This actually happened to me!) Almost all my book characters are autobiographical or based on someone in my family—or our “tenants.” We’ve had bunnies, deer, groundhogs, squirrels, birds, skunks, etc. make themselves a little-too-comfortable in our yard and shed, and on our deck and porch. (And that “etc.” includes a fox who’d come running every time we ordered rotisserie chicken! We had to tip our driver extra!) But watching lots of different animals—at a park, a zoo, or right at home—and imagining what they’d talk about is one of the best ways to practice writing funny picture book dialogue, and what I “hear” these furred-​or-​feathered goofballs say often shows up in my books.

RVC: How has your writing process evolved since your first books were published?

AD: Starting with You Don’t Want a Unicorn! (with the phenomenal Liz Climo), I started mapping out the layouts for my books—page turns, etc.—right at my first draft stage. Of course these layouts aren’t written in stone, and we often make layout changes along the way, but thinking about what could go on each picture book page from the very start has, I think, made “awww” moments resonate better and jokes “hit” funnier!

RVC: Your books are known for their humor and goofiness. How do you tap into that playful side when writing for children?

AD: Kids are humorous and goofy—and there’s no such thing as “too silly!” to a kid. So when I write for kids, I try to remember that. (And then I get to be a kid again, too!)

RVC: Here’s a critter story (which I hope isn’t from your backyard!). Misunderstood Shark flips the script on the typical shark stereotype. What’s the funniest misconception about sharks you’ve come across, and how did you incorporate humor into debunking these myths in your book?

AD: Making the Misunderstood Shark books (Misunderstood Shark and our “sequel,” Misunderstood Shark: Friends Don’t Eat Friends) with the spectacular Scott Magoon was a riot! We loved showing that sharks really aren’t interested in eating people. (Like when our Shark smells a drop of blood in the water, races towards the beachgoers, bursts out of the water—and offers “boo-​boo strips!” instead.) And my favorite “Fun Fact” we included is that a person is thousands of times more likely to be bitten by another person than bitten by a shark! (You should’ve seen all the little hands shoot up in the air at school visits when I asked who’d ever been bitten by a classmate! Ha!)

RVC: Let’s take a recent case study, like Silly Boobies: A Love Story. Give me the story pitch please!

AD: Silly Boobies: A Love Story is The Sneetches meets Romeo and Juliet meets modern politics meets Mutual of Omaha’s Wild Kingdom!

RVC: Wow, what a logline. Love it.

AD: In Silly Boobies (brilliantly-​illustrated by the brilliant illustrator/​political cartoonist Christopher Weyant), red-​footed boobies and blue-​footed boobies are pretty similar—but they each think they’re the superior boobies! Until a young female red-​footed booby and a young male blue-​footed booby (the book readers in their groups, naturally) meet and fall in love. Their families don’t approve, but they get married anyway—and then, something truly beautiful happens!

RVC: I’ve read the (many) reviews, so I know what readers like. But what do YOU like most about this book?

AD: I love that Silly Boobies: A Love Story shows that even set-​in-​their-​ways people can change and embrace difference, and I love that we got to include real facts about all the real kinds of boobies in the back of our book. (Like that the collective noun for a group of boobies is “a Congress!” I was rolling on the floor when I learned that one! Ha!)

RVC: You’ve mentioned that you prefer writing over creating a fancy website. How important is it for authors to focus on their craft versus self-promotion?

AD: It’s so easy to get stuck on the self-​promo treadmill—it can become a career in itself! (At various times I was doing a blog, too much social media, every print and online interview that asked, bookstore visits, book festivals, virtual school-​visits, in-​person school visits, SCBWI volunteering and presenting at conferences and events, and producing/​printing/​packaging/​shipping many, many tens-​of-​thousands of “swag” items: bookmarks, stickers, buttons, bracelets, squishies, mini Frisbees, etc.! Whew!) But when the world paused during the Pandemic, I paused, too! I looked at all my book ideas and works-​in-​progress and realized if I couldn’t successfully clone myself—which hadn’t gone well—that I’d better write more and self-​promote less. Now I just do the promo opportunities I really want to do—like this one! And since adopting my write more/​promote less philosophy, the number of new books I’ve written/we’ve sold has skyrocketed! (And if you see a vaguely-​Ame-​shaped creature roaming New Jersey… that’s just your imagination!)

RVC: I’ll have to keep an eye out for that vaguely-​Ame-​shaped creature! Now, how has social media influenced your interaction with readers and the promotion of your books?

AD: I’ve “met” and even met so many super-nice readers thanks to social media! And social media is excellent for sharing new book news, doing giveaways, and just letting folks get to know the person behind the books. My favorite thing when I meet someone in Real Life that I know from social media is when they say, “You talk just like you post, and you post just like you talk!” Ha!

RVC: Does your often-​funny social media voice influence your funny kidlit writing? How so?

AD: Thank you! And… sometimes! Sometimes I’ll post an idea or a little poem. Sometimes these will go on to become a story idea, or illustrators will illustrate these posts just for fun. (I love when this happens!) And sometimes-sometimes, I get to then actually work with one of my illustrator-​pals-​I-​met-​via-​social-​media on actual books! (Like the fantastic Charles Santoso of Dandy and the fantastic James Burks of Campingland and the fantastic Elio of the Monster Og series!) Publishing works in mysterious ways!

RVC: With so many books published and more on the way, how do you stay inspired and avoid burnout?

AD: I read! Reading what other folks have created is the Ultimate Collective Brain Hug and boost!

RVC: One last question for this part of the interview. What’s next for you? Can you share any upcoming projects or books you’re especially excited about?

AD: For 2025, Duckie & Snaps #1: We Cannot Be Friends with the genius Tim Miller pubs in February. Bat, Cat & Rat #3: The Beach Day pubs in April. Bat, Cat & Rat #4: A Great Fall pubs in July. In 2026, there’s Duckie & Snaps #2: We Cannot Be Brave in the Spring, and the rest of the year will see two more Monster Og Ready-​To-​Read titles, two more Bat, Cat & Rat books, and I believe a total of three stand-​alone picture books so far, including the just-announced To The Actual Moon And Back with the dynamic duo of Dan & Jason in the Fall! We’re gonna need a bigger coffee!

RVC: Okay, Ame…now it’s time for you to bring out your speedy wit. It’s the ZIPPY SKIPPY SUPER ZOOM SPEED ROUND! Quick-​ish questions and blazingly brisk answers please. Are you ready?

AD: Ready!

RVC: If you could have any superpower, what would it be?

AD: Multiplication! (Of me, I mean. Not like, 9 x 13. Which is…) Okay, next question!

RVC: What’s your go-​to karaōke song?

AD: “Little Room” by The White Stripes.

RVC: Favorite pun or dad joke?

AD: What kind of cheese isn’t yours? Nacho cheese!

RVC: If you want to LOL with a picture book, name a book you’re likely to pull from your shelves.

AD: I’d Really Like To Eat A Child by Sylviane Donnio, illustrated by Dorothée de Monfreid. (Kids who see you reading it run away so fast!)

RVC: If you could give your younger self one piece of picture-​book advice, what would it be?

AD: Create more, promote (and worry) less!

RVC: What are you most grateful for in your career?

AD: Coffee—I mean, my family, agent, editors, and readers! Truly.

RVC: Thanks so much, Ame!

AD: Thanks again for having me, Ryan! This was fun!

Author Interview: Marcie Colleen

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PictureMeet Marcie Colleen, a curly-​haired kidlit powerhouse whose stories burst with joy, humor, and heart. Though she shares her name with the “Sir”-obsessed character from Peanuts, she’s more of a Frieda, always reminding everyone of her naturally curly hair.

Before becoming a full-​time children’s author, Marcie worked as a teacher, actress, and nanny. Now, she’s the mind behind beloved books like Penguinaut!, Bear’s Garden, and Love, Triangle. When not writing, she’s either reading, playing guitar or ukulele, running, watching baseball, or eating ice cream—sometimes all at once (she’s working on it).

A Brooklynite at heart, Marcie now lives in San Diego with her husband, LEGO artist Jonathan Lopes, and their stuffed animal crew. She also teaches at The Writing Barn, Storyteller Academy, and UCSD Extension, while staying involved with 12x12 and the Children’s Media Association. Always up for a challenge—especially if ice cream is involved—Marcie’s all about creativity, community, and fun.

Let’s get to the interview and learn a bit more!

RVC: Before becoming a children’s author, you were a classroom teacher. How did your teaching background shape your approach to writing for kids?

MC: I was a high school English and Drama teacher in a pretty challenging school and I was always looking for creative ways to introduce topics (both social/​emotional and historical) to my students. That’s when I rediscovered the power of picture books. They were bite-​size morsels that packed a punch and helped my struggling students connect with the learning material. Soon I was pairing picture books with every unit of study and falling in love with the format.

RVC: What inspired you to make the leap from teaching into writing, and why did you choose children’s books as your focus?

MC: It wasn’t that direct of a leap. After leaving the full-​time classroom, I got my master’s degree from NYU, moved to New York City, and had another whole career in the theatre.  Eventually, I became the Director of Education at TADA! Youth Theater creating theatre for kids by kids. I believe it was during this time that I really started to connect with kids’ media and entertainment, which further led to my pursuing a career as a children’s author.

RVC: I didn’t know about that organization–cool! Now, when you first started writing, what was the most challenging part of transitioning to the world of children’s literature?

MC: Well, when I decided I wanted to pursue being a children’s author, I still needed to pay the rent while living in an expensive city. So, I took on many odd jobs around New York to make ends meet. I froze my tush off working long hours at an outdoor holiday market. I became a secret shopper, writing reviews about many Duane Reade locations. Lastly, I become a full-​time nanny. All of this meant that my writing had to happen in the crevices of my days—breaks, nap times, and on the weekends. Sometimes my goal of being a published author felt so far away, but I kept at it.

RVC: Let’s talk about some of your books. Penguinaut!, features a small penguin with big dreams. How did you develop the concept for Orville’s adventure, and what was your journey from idea to publication like?

MC: Back in December of 2011 a friend of mine posted the following on Facebook:

RVC: Wow, love this!

MC: Now, as a writer, I can’t control where my ideas come from. And after reading this, I became so curious about penguins and their lack of necks which would prevent them from looking at the stars. I asked, “what if?” (that is what writers do, we are constantly asking “what if?”). What if a penguin saw the moon for the first time and became so enthralled that he wanted to find a way to get there?

As with all stories, this one went through lots of revisions (39 to be exact!) and lots of re-​imaginings. Along the way, I have lost the “falling over and discovering the moon” bit, but the adventurous spirit of Orville lives on in the published book.

RVC: What was the best lesson this book taught you?

MC: Just like Orville, I needed to believe in myself and never give up on my dream.

RVC: Anyone who’s met you knows you’re funny, both in real life and in your writing. Plus, we all can see it in books Super Happy Party Bears and Love, Triangle. How do you craft humor that resonates with both children and adults?

MC: I spend a lot of time watching children’s television and I did even before I started writing for kids. I especially loved how shows like Sesame Street could layer humor into their show that would appeal to adults, as well. I loved that smart brand of humor and studied whatever movies and TV had that kind of humor to infuse my own work with.

When I started to write the Super Happy Party Bears, I watched a lot of Adventure Time episodes to get a handle on the wacky, random humor that my editor wanted in the series.  But I urge everyone to write for the child inside of you. I have learned that my inner child is probably an eight-​year-​old who loves a good potty joke now and then. Therefore, I write for myself. If something makes me laugh out loud while writing it, I know that kids will probably laugh, too.

RVC: And let’s be clear, I’ll be laughing as well. But when it comes to writing humor, what are some mentor texts/​writers?

MC: Oh, there are so many hilarious writers out there! I don’t want to leave anyone out, but definitely Tammi Sauer, Doreen Cronin, Ame Dyckman, Tara Lazar, Julie Falatko, Heather Fox, and Dev Petty—just to name a few.

RVC: I suppose it says something about me and my tastes when you look at how many on your list have been interviewed here at OPB.

Author Interview: Dev Petty

Author Interview: Doreen Cronin

Author Interview: Tara Lazar

And, of course, YOU!

Conference Roundup: 2023 FL SCBWI Florida Conference Report

MC: So cool! I should also point out that everyone I mentioned was a funny WOMAN! Often funny women don’t get the spotlight that the men do. Thank you, Ryan, for all the support through your blog to highlight these exceptional talents.

RVC: You bet! Happy to help the humor and woman cause. Now, even though Super Happy Party Bears isn’t a picture book series, tell a bit more about that—especially how the series came to be. It’s got SUCH a great name!

MC: After two picture book sales—Love, Triangle (HarperCollins) and Penguinaut! (Scholastic)—I was approached by Erin Stein, publisher of Imprint at Macmillan Children’s. She had an idea for a chapter book series and wondered if I would be interested in writing it. So, I can’t take credit for the awesome name. That’s all Erin and her team.

RVC: Lucky you! And it’s such a cool title/​idea.

MC: To be honest, I almost said no. Although I had a desire to one day write chapter books, I hadn’t the foggiest clue as to how. After all, I had spent the past five years studying the craft of picture books. The longer form of the chapter book seemed daunting. However, Eleanor Roosevelt once said, “You must do the things you think you cannot do.” So, I said yes.

RVC: How did writing for slightly older children compare to your experience with picture books?

MC: The biggest challenge was that with chapter books there was more “real estate” to describe and paint a picture with words. I had spent so much time as a picture book writer focused on low word count, the economy of language, and learning to leave room for the illustrator. Many of my early Super Happy Party Bears drafts included notes from my editor such as “can you please describe this more?”

RVC: Every picture book author reading this is smiling because they get what you’re saying. Let’s move on to talk about bigger themes in your work. Many of your books, including The Bear’s Garden and Survivor Tree, focus on themes of community and resilience. What draws you to these themes, and how do they reflect your personal experiences?

MC: That’s true. So much of my writing centers around aspects of community. I believe that is a direct influence of being a New Yorker. To me, New York City is people, and I miss it dearly now that I live in Southern California. There’s something magical about the layers and layers of lives being shared on the city’s sidewalks and subway cars. It gives me a feeling of us all being “in it” together. I always find comfort in that.

RVC: Survivor Tree was your first nonfiction picture book, dealing with a deeply emotional and historical event. How did you approach balancing the facts of the story with the emotional weight of 9⁄11?

MC: Although Survivor Tree is a 9⁄11 story—and I do hope it prompts questions and reflection about that day—details of who, what, when, or why weren’t my focus. I kept the heart of the text as close to the tree as possible. In doing this, I could tell a historical story with much more universality. Survivor Tree is for anyone who has ever been a part of something big and scary that left them battered, scarred, and scared to move on, but they did anyway.

RVC: One of the challenges of writing nonfiction picture books is having more material than you can fit into the final book. What interesting/​amazing thing didn’t get included? 

MC: I love this question! What I learned in my research is that there are several trees that have emerged as survivors of disastrous events throughout history. Like the 9⁄11 Survivor Tree, these trees stood brave and resilient among the ruins and became symbols of hope. An American Elm is a survivor of the Oklahoma City bombing.  When the 2011 tsunami ripped through Japan, a lone, pine tree stood strong as a whole forest was washed away. There are also several celebrated trees that defied odds on land that was supposed to be barren of life for 75 years following the bombing in Hiroshima.

RVC: I’m a fan of hope stories like those for sure.

MC: Because of the hope these trees bring communities, many have been propagated, including the chestnut tree which stood outside Anne Frank’s window. That chestnut is no longer alive, but its seedlings have gone on to give hope to other communities around the world that have endured tragedy, including New York City. One of the descendants of Anne Frank’s chestnut tree bravely stands near the former site of the World Trade Center.

The 9⁄11 Survivor Tree seedling program launched on September 11, 2013, in partnership with Bartlett Tree Experts in Stamford, Connecticut and horticulture students at John Browne High School in Flushing, Queens. Each year, the 9⁄11 Memorial gives seedlings from the Survivor Tree to communities in need of a symbol of hope and resilience. In 2020 seedlings were gifted to the Bahamas, which was devastated by Hurricane Dorian; Christchurch, New Zealand—the site of a mass shooting; and five hospitals throughout New York City’s five boroughs in honor of the healthcare workers responding to the COVID-​19 pandemic.

RVC: Wow, that’s a great answer. Thanks for all of that. Now, here’s a question I’ve never been able to ask in an OPB interview before, so YAY that the time has come, even though it’s a fairly hard shift from the last question/​answer. You’re an expert on creating teacher’s guides. How did that happen, and how do you approach integrating curriculum with creativity?

MC: When I worked in the theater and on Broadway, one of my jobs was to create curriculum guides to help teachers implement plays and musicals into their classroom units of study. I loved doing this, so when I started to get involved in the kidlit community, I decided to tap into a need and try my hand at creating Teacher’s Guides for children’s books as a little side hustle. It became a lucrative business for me and I still create them for authors, illustrators, and publisher clients.

RVC: Let’s pull back a bit and talk about larger writer issues. Many authors struggle with the idea of success. After publishing multiple books, how has your definition of success evolved?

MC: Well, the target keeps moving, as they say. When I first started out I believed success was getting my first book published. And once I reached that goal I wanted to publish more and continue to stretch myself by writing in different formats such as chapter books and comics. Now, I am a full-​time author. I haven’t won any major awards or been a NYT bestseller. But I do feel pretty darn successful.

RVC: I think you’re wildly successful, which is one of the many reasons I asked you to do this interview with me. 

MC: Aw shucks! Now I’m blushing!

RVC: What role do conferences and organizations such as SCBWI play in your life as a writer? Do you feel they were crucial to your career development?

MC: Absolutely! They helped me build community. And whether the going is rough or fluff, community is important to help navigate the publishing waters.

RVC: Writing can often be a solitary process. How do you maintain your creative energy and stay connected to the kidlit community?

MC: Just like I have set hours for writing during the week, I also have set hours for connecting with fellow writers through weekly or monthly meetings, both in-​person and on Zoom. It’s important to me to stay connected, not just through my books and my classes, but as a supportive friend and colleague.

RVC: You’ve taught many writing workshops and courses. What’s the one piece of advice you consistently give to aspiring authors?

MC: I know it has been said a bazillion times but focus on craft. Take classes, join a critique group, seek out mentors, attend conferences. If you keep the focus on constantly improving your writing, exactly that will happen. And better writing increases the chances of any publication dreams you might have. Everyday think, “What can I do today to move the needle on my writing dreams?” and then do that!

RVC: Last question for this part of the interview—what current projects are you working on that readers should be excited about?

MC: My agent just wrapped up negotiations on a graphic novel series that I think is the funniest thing I have ever written. The first books won’t be out until 2027 so until then shhhhhhhhh!

RVC: No problem, Marcie–it’s just us writers, editors, agents, librarians, publicists, parents, grandparents, siblings, and other picture book fans here. We won’t say a word! Now, it’s time to buckle down and REALLY get serious because…it’s the LIGHTING ROUND. The point values are shocktastically high and we’re putting a clock on this. Six questions and six answers in sixty seconds. Are you ready to zip and zap your way to success?

MC: Absolutely! Let’s go!

RVC: Penguins. Great animal or the greatest animal?

MC: Great animal. There are so many great animals, I would hate to rate them.

RVC: Which of your picture book characters do you think you’d be best friends with?

MC: Orville. I love his spunk and drive.

RVC: Let’s be honest—what’s the REAL answer?

MC: Ok, ok. Maybe I’d be fighting for best friendship with Triangle, too! I mean, he’s super cool! Move over Circle and Square!

RVC: Best tune to jam on your ukelele?

MC: “Watermelon Sugar” by Harry Styles.

RVC: This one’s for husband Jonathan. Favorite LEGO piece?

MC: Grand Central Terminal.

RVC: What’s the last picture book that actually made you LOL?

MC: Mr. S: A First Day of School Book by Monica Arnaldo.

RVC: Which writer sets the standard for picture book rhyme?

MC: Corey Rosen Schwartz and Kirsti Call.

RVC: If you could give one piece of advice to your younger aspiring-​writer self, what would it be?

MC: Don’t stop believing and reaching for those dreams. As Julia Cameron says in The Artist’s Way, “all too often, it is audacity and not talent that moves an artist to center stage.”

RVC: Thanks so much, Marcie!