Tag: Author Interviews

Author/​Illustrator Interview: Angela Quezada Padron

On By Only Picture BooksIn Author Interviews, Illustrator InterviewsLeave a comment

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

On By Only Picture BooksIn Author Interviews2 Comments

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!

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

On By Only Picture BooksIn Author Interviews, Illustrator Interviews

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

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

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

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

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

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

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

[cover image]

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

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

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

RVC: I’ll bet. WOW!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FK: Black, yellow, and red.

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

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

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

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

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

FK: Unsinkable.

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

Author Interview: Cate Berry/​Scorch, the Hedgehog of Doom

On By Only Picture BooksIn Author Interviews2 Comments
Unavailable
Cate Berry: Author Photo (credit: Scorch, Hedgehog of Doom)

This month’s Author Interview was supposed to be with Cate Berry, but she’s currently on a top-​secret mission to infiltrate a cheese factory. (Word on the street is they have the finest gouda.) Luckily, we were able to snag an exclusive chat with the star of her latest book, Scorch, Hedgehog of Doom. Scorch is known for her ferocious ambition, prickly personality, and surprisingly soft heart. So, let’s see what this doomtastic hedgehog has to say about fame, friendship, and finding your inner awesomeness.

If you want more Cate, though, here are some options:

RVC: Scorch, you’re quite the literary sensation now. How does it feel to be the star of your own book, Scorch, Hedgehog of Doom? Are you enjoying the limelight, or are you plotting your next doomsy move to become even more famous?

SHOD: I’m so glad you asked! Interestingly, I’m enjoying taking time off my busy Villain Schedule to do some breezy press. So—let’s get into it.

RVC: Let’s!

SHOD: I ADORE being the star of my own book. While away studying the Art of the Perfect Doom and Anger 101, I took solace in some peaceful reading before bedtime. Some of my favorites included character-​driven books like Olivia by Ian Falconer and Fancy Nancy by Jane O’Connor. So naturally when Page Street Kids approached me about a memoir, I pounced at the opportunity, and I’ve enjoyed every minute of the literary limelight.

In fact, next to wreaking havoc on classroom 402, I love shaking my apple slice on the red carpet.

RVC: Oh my! Now, you’ve got an interesting motto/​tagline, Scorch. What does “doomsy” really mean to you? Is it about being scary, powerful, or something else entirely?

SHOD: Oh, that takes me back a bit, thanks for asking! As you know, I come from a very fierce lineage of doomsy ancestors (note: see page one of memoir) and so that role was firmly established at birth. Why, I remember Aunt Geraldine doing Doomsy Drills with me and 435,758 of my cousins until we could feel it from our whiskers to our claws! Ultimately, though, I’ve grown to understand the real meaning of being doomsy is different for every hedgehog. What’s truly important is knowing your authentic self.

RVC: The ending of your story leaves us wanting more. Are there any deleted scenes or scrapped ideas that you’d like to share with your fans? Perhaps a secret doomsy mission that didn’t make the cut?

SHOD: Tee hee! You sly dog. I guess you caught that this might not be the whole story after all! And yes, originally, we’d drafted a version where I “act” as if I’d changed at the end, but with a wink and a nod, and the readers understand I’m back to my doomsy ways the very next morning. No cutesy whatsoever!

RVC: You went through a lot of growth and self-​discovery in this story. Did you always know you had a softer, “awww-​dorable” side, or was that a surprise twist even for you?

SHOD: Honest to goodness, Ryan, it was a shocker. Especially to myself! I imagine it’s how the Beatles felt making “happy accidents” in the studio or during live shows. I do love the power of art that leaves room for spontaneity and self-​discovery. And I’m not alone. Just last week I was stunned to receive a letter from Oprah congratulating me on being flexible and open to change within myself.

**And yes, the rumors are true, our agents are in negotiations about us co-​authoring a book together. Stay tuned!

RVC: Awesome! Now this isn’t about the book, but I really want to know. If you could swap places with any other animal for a day, who would it be and what doomsy chaos would you unleash?

SHOD: Oh! What a question! I’ve always wanted to get up to some trouble with the sneaky Big Fish from Jon Klassen’s book, This is Not My Hat. I love the understated villainy and deadpan delivery in his work. And I’ve always dreamed about collaborating with the Lion, Great White Shark. and Timber Wolf from Aaron Reynolds Carnivores picture book. I really admire those bad guys and their predatory work on, and off, the page.

RVC: Scorch, let’s shift gears a bit and talk more about your creative collaborator, Cate Berry. Did you two hit it off right away, or was it a bit prickly at first?

SHOD: Well, truthfully, we had our ups and downs. She’s a taskmaster! Do this, Scorch. Change that, Scorch. Try it this way, no I’ve changed my mind, blah blah blah. Honestly, my paws took a beating during revisions and I’m seeing a therapist now which is really helping. But whew! Think twice before signing on with that one, class pets. And prebook a spa day with your advance once you reach copy edits. Don’t take my word for it. Just ask Penguin and Tiny Shrimp from her first book, now happily enjoying early retirement after all their hard work.

RVC: Cate’s been described as a bit of a goofball. Did she make you laugh during the writing process? Any favorite behind-​the-​scenes moments you can share with us?

SHOD: We shared a bit of a laugh refining my “moves” for the book. Seeing her act out a paw punch is one for the memory book!

RVC: We know Cate enjoys writing dialogue. Does she ever talk to you, Scorch, while writing your lines? Does she try out different doomsy voices?

SHOD: No. But her Face of Doom is incomparable. She puts mine to shame, Ryan!

RVC: Cate has written other books besides yours. Are you jealous of those other characters, or do you secretly root for them to be just as doomsy and awesome as you are?

SHOD: I vacation with the flock from her book Chicken Break every summer. Oh, we have some laughs! But those sneaky devils only show half of their trickster ways in the book. I’m hoping one day they’ll “break out” even more.

RVC: When Cate asks, which book of hers do you say is your favorite?

SHOD: I never tell her this because we really must be careful around our authors. It’s so easy for them to get a big head. But yes, I have a soft spot for Thank You, Teacher. Classroom solidarity and all that.

RVC: Which of Cate’s books is REALLY your favorite?

SHOD: Okay, you got me. Penguin & Tiny Shrimp Don’t Do Bedtime! hits me where I live. They are so bad! And the illustrator Charles Santoso is no slouch with those expressions.

RVC: We hear Cate is a teacher. Does she ever bring her students’ ideas into the books she writes?

SHOD: Gasp! One writer is all I can take. If she does, and now that I think about it, she probably does, I’d rather not know. It would only lead to more revisions!

RVC: Have you ever inspired any real-​life classroom chaos?

SHOD: Oh, I’ll never tell. J Let’s just say my friend Speedy the Hamster made quite the impression on the first day of second grade!

RVC: Cate has mentioned she’s a bit of a homebody who loves a quiet beach vacation. If you could design the perfect doomsy vacation for her, where would you take her and what would you do?

SHOD: Fabulous question, and I’ve been waiting for someone to ask me this, so thank you. I think I’d take Cate on a cruise. Being trapped on a boat, deep water encircling us, mixed with her paralyzing fear of sharks, would be the perfect set up for little old me to “shut off the engines” for a significant amount of time. It would really help Cate get in touch with her rage. That could only be beneficial to more authentic doomsy-​ness in her day-​to-​day routine.

RVC: Cate’s been working as an Editorial Assistant with me at Bushel & Peck Books. Now, it’s just you and me here, Scorch, so you can tell me the honest-​to-​doomsy truth. How’s it going for her in that role? What has she said was her favorite thing(s) to do?

SHOD: Well, I hate to divulge secrets, but she does have a mild obsession with grammar and punctuation. I think she’s positively giddy getting to edit all those extra commas and quotation marks, etc. It’s thrilling to see Cate finally have an outlet for this minutia. Saves time for the rest of us, ammiright?

RVC: Abso-​doomsy-​lutely! Now, Cate has mentioned the importance of finding joy in the creative process. What’s something she does to stay inspired and keep the doomtastic ideas flowing?

SHOD: It’s embarrassing how much she loves singing in the shower! Did you know she keeps one of those Wet Notes whiteboards attached to the shower wall? She says her best ideas come when you least expect it, so you have to be ready. Beats me. Just proves how ridiculous humans are. Why not run on the exercise wheel like the rest of us?

RVC: What’s Cate’s biggest pet peeve when it comes to writing? Does she hate typos, slow internet, or maybe overly cheerful characters who don’t appreciate a good dose of doom?

SHOD: That’s a tough one. But if I had to guess, I’d say writers settling for their first idea. She’s always going on and on about pushing yourself to find the “freshest way to tell your story.” Whatevs that means. Is she a baker or a writer?

RVC: Cate has talked about the ups and downs of the publishing world. What’s one thing you’ve learned from her about resilience and never giving up on your doomtastic dreams?

SHOD: Rage is a huge motivator, for me personally. But Cate is all about the long game. I hear her talk a lot about taking a Bird’s Eye View of her career. That and not taking any critique or rejection to heart. I’ve also heard her talk about how helpful it’s been doing editing work with you, getting to see how much editors really want a manuscript that will blow them away. It’s easy to forget that “behind the gatekeeper curtain” everyone really wants you to succeed.

RVC: If you could give Cate one piece of advice about writing for children, what would it be? Would you encourage her to write even doomsier stories, or perhaps explore a different kind of adventure?

SHOD: I am a fan of her rhyme, even though it makes her rather cranky while she’s revising. But you know me. Embrace the doom!

RVC: Finally, Scorch, what advice would you give to other hedgehogs (or humans) who are struggling to find their place in the world? Should they embrace their inner doom, or find a different path to awesomeness?

SHOD: You can never go wrong with authenticity, my friend. I’m all about accepting ALL parts of yourself. Even the cute ones (but let’s keep that off the record).

RVC: Alrighty, my prickly pal. It’s now time for the LIGHTNING ROUND OF DOOM(SY)! Hamster-​quick questions followed by hedgehog-​zoomy answers please, and since you’ve been sharper than a cactus needle so far, we’ll do a jumbo-​sized version of the LIGHTNING ROUND. Scorch, are YOU READY?

SHOD: You betcha!

RVC: What’s your go-​to karaōke song?

SHOD: Hit Me with Your Best Shot by Pat Benatar. I slay on that.

RVC: What’s your secret talent that no one knows about (besides being doomsy, of course)?

SHOD: I am obsessed with the New York Times cooking app.

RVC: What’s the most embarrassing thing Cate Berry has ever done in front of you?

SHOD: How could I choose?

RVC: What’s a question nobody ever asks you, but you wish they would?

SHOD: Do you ever let your guard down?

RVC: What’s the answer?

SHOD: NO!

RVC: If you could have any celebrity narrate the audiobook version of Scorch, Hedgehog of Doom, who would it be?

SHOD: Dame Judi Dench, of course.

RVC: If you could create your own doomsy holiday, what would it be called and how would it be celebrated?

SHOD: I think it’s high time someone retired Phil from Groundhog Day and replaced it with me and Rage Against February Day.

RVC: What word does Cate always mispell, mispel, misspel, get wrong?

SHOD: Blonde. I mean, blond.

RVC: Who does Cate believe sets the bar for picture book rhyming?

SHOD: Liz Garton Scanlon.

RVC: Who is YOUR favorite picture book rhymer?

SHOD: Grrr. I hate to agree. But Liz Garton Scanlon.

RVC: Sum up Cate’s approach to writing picture books in a hedgehog-​worthy haiku.

SHOD: Revise and revise,

             Until you want to pass out—

Oh mercy, Ryan, I’m no good at poetry. Let’s set something on fire!

RVC: It’s been a quilltastic time, Scorch. Keep spreading the doom and delight! Remember, the world needs a little more “awww” and a lot more you.

Author Interview: Katie Dean Mazeika

On By Only Picture BooksIn Author Interviews

This month’s interview is with Katie Mazeika, an award-​winning author and illustrator “who can’t imagine a better job than making books.” She’s especially passion about highlighting disabled voices in her work and her work as a creator and advocate creates a space to openly discuss disability and neurodiversity.

She’s the author/​illustrator for Beulah Has a Hunch! and Annette Feels Free, though she’s illustrated numerous other books for children. Katie’s fiction debut is coming out in spring 2025, so we’ll be sure to ask about that!

Katie lives in Cleveland, Ohio with her family and two dogs. When she’s not drawing, writing, or visiting schools and libraries, she likes to spend time at the theater, in her garden, or getting lost in a good book.

RVC: Rumor has it that it was a coin flip whether you were going to study writing or art in high school? True?

KM: It was a little more than a coin flip, but those were the two subjects I was torn between studying in college. When I learned about illustration it seemed like the best of both (storytelling with images). So, I started at Miami University (of Ohio) with a major in Art and a minor in Creative Writing. But when Miami stopped offering illustration classes, I transferred to Columbus College of Art and Design and majored in illustration.

RVC: Talk a bit about your time at Columbus College of Art and Design. What were the best lessons you learned, and how did your experiences there prepare you for a career in kidlit?

KM: CCAD had a wonderful illustration program when I was there. The foundation year was intense with classes in anatomy, color theory, perspective drawing and design. I still use many of those skills today. After that we got into our majors, and I loved my illustration classes. CCAD was also when I first started using Photoshop.

RVC: Let’s jump ahead to your first published book. What’s the story behind your that story?

KM: I’m going talk about my first book as an author and illustrator. That was Annette Feels Free: the True Story of Annette Kellerman, World-​Champipn Swimmer, Fashion Pioneer, and Real-​Life Mermaid. I came across a photo of Annette, with her hand on her hip staring into the camera filled with attitude and self-​assurance and it piqued my interest. I started researching Annette and her life and the more I learned the more I wondered why I hadn’t heard of her before. That was the beginning of what eventually became Annette Feels Free.

RVC: Most of the time, a nonfiction picture book is all about shaping, condensing, and trimming. What cool things didn’t make it into the final version? 

KM: There are so many! Annette was the first person to do a nude scene in a movie (that was left out for age appropriateness, but I love that fact because it sums up Annette’s boldness so well.) She was a major force behind the movement to make swimming a popular sport. She toured all over the US touting its benefits. Annette proposed to her husband (something ladies didn’t do in the early 1900’s.) She was a vegetarian and teetotaler her entire adult life and could hold her breath for 2 minutes and 30 seconds well into her 70s.

RVC: If you had to do that book all over again, what’s one thing you’d handle differently?

KM: I can get picky about the art, but I refuse to. I am very proud of that book.

RVC: You’ve written both fiction and non-​fiction. Do you have a preference, and what are the unique challenges and rewards of each genre?

KM: I don’t know that I have a favorite. There is a level of freedom in fiction that can fun to play with. At the same time, I enjoy the challenge of looking for the narrative arc within a set of facts.

RVC: Your fiction debut comes out in 2025. Give us the elevator pitch please! 

KM: I’d love to! Maybe Just Ask Me! (S&S/Beach Lane Books, March 25, 2025) is a story loosely based on my childhood experiences. Mazie wears an eye patch and a head scarf, and on her first day at a new school she’s prepared for her classmates to wonder why. But wild rumors fly around the classroom that she’s a pirate or burned off her hair in a circus. The rumors continue to build and grow until Mazie gets the courage to tell the other kids to just ask.

RVC: Where are you at in the process of making/​editing this book? 

KM: It’s just about done. I finished the art and last I heard the book is with the copy editor.

RVC: What about this new book excites you the most? 

KM: This book is very personal. I was written, very intentionally, for the kid I’d been with the hope that there are other kids like me out there who need it today.

RVC: Discuss your process. Do you “see” things first, do you start with words, or does it change depending on the project? 

KM: I tend to handwrite text and scribble out pictures at the same time until I have an idea of the story structure. Then I write it (and rewrite it) until I have a text I like enough to paginate and think about illustrations.

RVC: Do you have any specific rituals or routines that help you get into the creative flow?

KM: I have a morning routine. When the weather’s nice, I drink coffee on my patio listening to the birds and playing with my dogs before I head into my studio. If it’s not nice out, I usually sit in my family room and drink my coffee while I watch the birds at the feeders.

RVC: You’ve mentioned using Photoshop extensively in your work. What are some of your favorite tools or techniques for creating your illustrations?

KM: When I was a CCAD, we had to learn traditional techniques before we were allowed to take Photoshop classes. So, my favorite PS tools are the ones that look like traditional brushes/​surfaces. I have a selection of brushes, some from Kyle packs and some that I’ve made that give me that traditional look I like.

RVC: Let’s talk marketing. You joined a picture book marketing group, PBrockiteers22. Why, and what did it do for you?

KM: That was my first marketing group. It is a wonderful group of creators that’s still supporting each other today. There are some great cheerleaders in that group. They gave me confidence as a newly published writer and were always happy to answer questions.

RVC: What’s your top tip for making the most of a picture book marketing group?

KM: Try to be active. I’m in a couple this year that I haven’t participated much with, and I really notice the difference. We had a house flood right before Christmas and are wrapping up the renovations this week.  I’m hopeful that I’ll be able to jump in for the second half of the year and make up for some lost time.

RVC: Disability representation is a significant theme in your work. Can you share your personal connection to this topic and how it influences your stories?

KM: Absolutely! I remember being a kid who was aware that I was different and there was no one like me in the media. As a kid I assumed that meant something about me was wrong. I think when I create books, I am hoping that kids with disabilities see themselves in my books, so they don’t feel the way I did as a kid.

RVC: What are some tips for parents and educators on how to foster these conversations about disabilities with children?

KM: I have a list in the back of Maybe Just Ask Me in hopes that parents and educators have these discussions. But most important is to stop teaching kids to look the other way and pretend not to notice someone with a disability. When we teach kids to look away, we are teaching them there is something shameful about being disabled. Instead, I think we need to let kids know that curiosity with kindness is allowed and that it’s okay to talk about the things that make us different.

RVC: What’s a common misconception about writing or illustrating picture books that you’d like to clear up?

KM: It’s a lot of work. I love my job, but that doesn’t mean it’s not difficult.

RVC: The picture book industry is competitive. What advice do you have for aspiring author-​illustrators trying to break in?

KM: My best advice is don’t quit. If something isn’t working be willing to redo it and try again. The other advice I have is to listen to feedback, even if it’s hard to hear.

RVC: Who or what has most influenced you as a picture book creator? 

KM: I love anything by Felicita Sala. I fell in love with Joan Proctor, Dragon Doctor (written by Patricia Valdez) and have followed her work ever since.

RVC: What’s the most surprising thing you’ve learned about the picture book industry throughout your career?

KM: How small it is. Everyone seems to know everyone else.

RVC: One final question for this part of the interview. Brag time! What new, exciting things of yours do you want to alert us to? What should we be on the lookout for?

KM: I’m working on a picture book now about a family building a Sears kit house. Its informational fiction, very different from my previous books with lots of detail. It will be out the Spring of 2026 from S&S/Beach Lane Books.

RVC: Alright, Katie. It’s time for the always-​exciting, never-​equaled, high-​stakes SPEED ROUND. We’re looking for zingtastically fast questions followed by zippy-​quick answers. Are you ready? 

KM: I’m ready!

RVC: What’s your favorite go-​to creative pump-​up song?

KM: The Hadestown soundtrack!

RVC: What’s something that will always be in fashion, no matter what anyone says or thinks?

KM: Leather moto jackets!

RVC: What five must-​haves do you need to do your work?

KM: My music (or audio book), a bottle of water, cup of tea (Good Earth Sweet and Spicy), a warm cardigan, and my muses (my dogs, Felix and Daphne, who hang out in my studio when I work.)

RVC: If you could illustrate a new picture book version of a classic story, which one would you choose?

KM: The Story of Ferdinand by Munro Leaf.

RVC: One piece of advice you’d give to your younger self?

KM: Be patient!

RVC: What’s the best thing a kid reader ever said about you or your books?

KM: That I made them want to be an illustrator (at a school visit.)

RVC: Thanks so much, Katie!