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

On August 12, 2024August 12, 2024 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 July 8, 2024July 6, 2024 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!

Author Interview: PJ McIlvaine

On June 10, 2024June 11, 2024 By Only Picture BooksIn Author Interviews

This month’s Author Interview is with PJ McIlvaine, a prolific author/screenwriter/editor/journalist. She’s got a great variety of bio statements out there, so instead of cooking up my own version, I’m instead going to pull a few sentences from those. Here goes!

PJ lives in Eastern Long Island with her family along with Luna, an extremely spoiled French Bulldog who plays a prominent role in PJ’s latest book, a contemporary adult romantic mystery romp in the vein of Knives Out.
PJ has been published in numerous outlets including The New York Times, Newsday, Crime Reads, Writer’s Digest, and The Children’s Book Insider newsletter.
PJ’s best-selling debut Middle-Grade Supernatural Historical Mystery novel Violet Yorke, Gilded Girl: Ghosts in the Closet was published in April 2022 by Darkstroke Books.
PJ’s debut picture book Little Lena and the Big Table was published in May 2019 from Big Belly Book Co. with illustrations by Leila Nabih.
PJ has four picture books tentatively coming out in 2024–2027 with Oghma Creative Media.
She’s a co-host of #PBPitch, the première Twitter pitch party for picture book creators. After ten years, it’s time to move on. The last event will be held on June 20^th.
PJ loves all kinds of international noir thrillers, period pieces, gritty Westerns, CSNY, Bruce Hornsby, John Hiatt, Steve Earle, Bruce Springsteen, horror movies, black and white classics, Stephen King, old-time fiddle music, Contradance, Irish accents, pizza, vanilla ice cream, brownies, and pretty much anything with Danny Huston. Ciaran Hinds is a close second.
When not writing, PJ is usually running after her rambunctious grandchildren who are an endless source of inspiration, exasperation, and perspiration.
PJ is distantly related to the French writer and feminist Simone de Beauvoir.

Let’s get to the interview questions to learn a bit more about PJ!

RVC: Your career is so varied—screenwriter, journalist, picture book author, now adult thriller novelist. What draws you to write for such different audiences and genres?

PJM: First, thank you for having me. That’s an excellent question. Well, I have a vivid imagination and as a kid growing up in rural Long Island—no malls, no cell phones, and no computers—my summer vacations consisted mostly of reading. It didn’t matter the genre or age category, I read everything, from middle-grade mysteries (I owe a debt of gratitude to Trixie Belden and Nancy Drew) to spicy adult fare that probably wasn’t appropriate (note to Moms–don’t leave your erotic novels out in plain sight).

Now, as an old hippie lady, I’ve learned to trust and listen to my inner cricket and write what I’d like to read. I follow my passions and often it’s a crazy blur of fact and fiction. I know many writers worry about branding. I don’t. Look, I love vanilla ice cream, but a steady diet of that flavor alone would be boring. I love to stretch my writing muscles and challenge myself to write above my skill level or perceived notions of what I should be writing.

RVC: If we all only loved vanilla, Ben & Jerry would be out of business, right? Now, you’ve mentioned your family as a source of inspiration. Can you share a specific example of how your experiences with them influenced a story or character?

PJM: Oh boy, that’s a loaded question. One prime example of how my family inspired me is my Showtime original family movie, My Horrible Year, which starred Mimi Rogers, Karen Allen, and Eric Stolz and was nominated for an Emmy. It was the fifth screenplay I ever wrote—a real learning curve for a novelist—and was essentially a first draft about my oldest daughter and her love of wrestling. I can’t tell you how many hours we watched wrestling matches and wondered if it was real or fake. And no one was more shocked when the script was optioned and made.

RVC: Congrats on that!

PJM: Thanks! Another more recent example is my adult thriller killer, A Good Man, a mash of genres that, in hindsight, was my attempt to give my late brother a better ending than he had in life. I wrote it in a white-hot fever—two months—and fried my brain. I bled on every page. Writers have many ideas; it’s like panning for gold. Some books you choose to write. This one chose me.

RVC: What sparked your love of picture books? Was there a specific book or author that ignited your passion for this format?

PJM: What sparked my love for picture books were my grandchildren. As babies and toddlers, I always read to them, and they loved it. Their enthusiasm was genuine. So, after reading many picture books, I had a eureka moment and realized that I had stories to tell in this format. And I did. As for authors I admire and try to emulate, Sherri Duskey Rinker is at the top of a long list. I wore out her books reading them to my grandkids.

RVC: Let’s talk about your first published picture book. What’s the story behind that story?

PJM: Little Lena and the Big Table is dear to me because it’s basically the story of my brother and me at our kid’s table. He was an absolute terror and was used to getting his way. When we had pizza, he’d force me to switch our plates if he thought my slice was bigger. We’d tease each other mercilessly. What I wouldn’t give to have him at my table now.

RVC: What was the most useful lesson that book taught you?

PJM: That I wrote something that resonated with kids of all ages. It seems everyone has an experience at the table, good, bad, or indifferent, and I was able to tap into that.

RVC: You had another picture book come just a few months back—No Such Things as Dragons. What’s the logline/teaser for that story?

PJM:

Everyone knows there are no such things as dragons.
But is that really so?

When new student Georges comes to class, nervous and anxious to fit in, he challenges preconceived notions of what a dragon is supposed to be. Child, adult, or dragon, we want to be liked and appreciated for what makes us unique and special-even if we have a tail, scales, and breathe fire.

RVC: This book has some lessons about kindness and empathy. How do you balance these messages with creating a story that’s fun and engaging for children?

PJM: I always go for the humorous and zany because that’s the kid in me. As kids, we’d watch The Three Stooges and even now, years later, it still makes me howl.

RVC: Me too.

PJM: I’m not preachy. That’s not my style. So while the book may have a lesson, it’s more subtle and wrapped up in comedy that kids can appreciate.

RVC: What changed about this story in the drafting and revision process?

PJM: Honestly, nothing. The story is as I originally wrote it. We were on the same page from the get-go.

RVC: Let’s talk process. What does a typical writing day look like for you?

PJM: It can vary—if I’m working on novels vs. screenplays—but I write every day without fail. If you’re going to be a writer, you must write. Mornings tend to veer towards marketing, queries, etc. Afternoons are for writing. On good days, I can get 4–6 hours in, especially on the weekends. When I’m in the zone, I have a daily or weekly word tally that keeps me enthused. Some days I exceed the goal, others it’s less, but it all evens out in the end. Writing, like everything else, is a discipline. The more you do it, the better you get.

RVC: What’s the most difficult aspect of being a writer?

PJM: For me, it’s putting myself out there. I’m a recluse by nature. I’d be happy just staying home and writing all day long. I took a big step earlier this year by traveling to my first children’s book festival as an invited author. This was a huge leap for me, but a necessary one. Despite all my fears and nerves, I had a great time. And it didn’t hurt that I also used the trip as research for my next adult mystery novel.

RVC: The picture book market is highly competitive. What advice do you have for aspiring picture book authors who are just starting out?

PJM: It is by all accounts. My best advice is to write from your authenticity and unique experiences. Be yourself and find your voice.

RVC: Speaking of giving advice…would you give to parents and caregivers about selecting high-quality picture books for their children?

PJM: There are so many excellent picture books on the market, from fiction to non-fiction. I like to say that picture books are the building blocks of reading. There are so many choices, and so many great, diverse authors and illustrators. Support your local authors and bookstores.

RVC: Tell us about your experience as a co-host of #PBPitch.

PJM: It’s been wonderful to have creators connect with agents, editors, and publishers, and to applaud their successes when a match is made. Debra Kempf Shumaker has been a terrific co-host and partner in crime on this, and I couldn’t have done it without her.

RVC: What are some common mistakes authors make when pitching their picture books, and how can they improve their pitches?

PJM: I wouldn’t call it mistakes, but often authors get bogged down with words. I tend to go for the simple, snazzy, and snappy in my pitches. Less is more. You need to figure out the core of the story and elegantly pitch it in a way that will entice agents to request. It’s not easy.

RVC: Writing can be emotionally challenging. What strategies do you use to maintain a healthy work-life balance?

PJM: I love to bake, garden, read, watch TV, go for long walks with the dog, things that get me away from the computer. But I’m always writing in my head.

RVC: Your Showtime movie, My Horrible Year, received critical acclaim. How does writing for the screen differ from writing books?

PJM: Screenwriting is an exact science. The formatting is precise for a reason. If everyone wrote in different fonts and formats, producers and script supervisors would tear their hair out. So, while you might have some leeway, in terms of story to veer from the rules, it’s a thin line. In prose, you can write hundreds of words. In scripts, you have 120 pages or less to tell the story. It’s a challenge. Also, screenplays are a visual medium. I see my stories in my head like a movie, but some stories are better told in book form. Knowing the difference, that’s the rub.

RVC: People are always curious about how much interaction screenplay writers get with the actors in their stories. Did you and Mimi Rogers or Eric Stoltz become besties?

PJM: No, lol. But Mimi Rogers was a delight on the phone. Sadly, I never met Eric Stoltz. I wasn’t invited to the set as they filmed. Such is the writer’s life.

RVC: One last question for this part of the interview. What’s on the horizon for you? Any new writing projects in the works that you can tell us about?

PJM: I’m a multi-tasker, I’m always juggling something. Expect more adult novels, and if things go well with my upcoming Violet Yorke 2.0 rebrand with Bloodhound Books, more escapades with my poor little rich girl and her ghost-hunting doggie.

RVC: Alright, PJ, it’s time to shift gears. Let’s fire up the SPEED ROUND. Quirkily quick questions and awesomely alacritous answers, please. Are you ready?

PJM: Got my helmet and sneakers on.

RVC: If you were a crayon, what color would you be?

PJM: Blue!

RVC: One word to describe your writing style?

PJM: Passionate.

RVC: Would you rather have a pet dragon, pet unicorn, or a mermaid best friend?

PJM: Oooh, that’s a toughie. But if I had to choose—reluctantly—a pet dragon.

RVC: What’s a quotation that inspires you?

PJM: Writing is a marathon, not a sprint.

Robert McKee Quote: “Writing is a marathon, not a sprint.”

RVC: The best part about being an author?

PJM: (Insert evil laugh). I can kill whomever I please without consequences.

RVC: Favorite moment from a book event or school visit?

PJM: At one author visit, a little boy fell in love with one of my picture books that’s no longer in print (the publisher went out of biz two weeks after publication). I only have a few copies of this particular book myself, but he was so engaged and enchanted, I gave him a copy on the spot. He was thrilled.

RVC: Thanks so much, PJ!

Author Interview: Matt Forrest Esenwine, Paul Czajak, & Josh Funk

On May 13, 2024May 13, 2024 By Only Picture BooksIn Author Interviews6 Comments

Matt Forrest Esenwine recently had the opportunity to catch up with two friends he’s known for many years: authors Josh Funk and Paul Czajak. All three began their children’s lit careers around the same time and have watched and supported each other ever since.

The three of them recently caught up via video and spent an hour chatting about their careers, the craft of writing, and some of the pitfalls they’ve encountered along their publishing journey. Some of their choice comments are shared here; if you’d like to watch the entire video, just click THIS LINK!

Paul, on getting into the industry: “You get this idea, you have no idea what to do with it…but I did hook up with a critique group…and they were the ones who hooked me up with SCBWI [Society of Children’s Book Writers and Illustrators]. So I went there not knowing anything, as to what to expect.”

“But I found the workshops were amazing, and it just really lit a fire under me to really get into this craft.”

Matt, on networking at conferences: “We’re all in this together – the editors, the agents, the authors, the illustrators. Everybody is working towards the goal of bringing great literature to kids. So once you realize that there’s not really a hierarchy – we’re all kid lit creators – once you realize that, the conferences can be much more enjoyable because you don’t feel any kind of intimidation.”

Josh, on his first manuscript’s success: “At the SCBWI conference that we met, I read a draft of a picture book called Lady Pancake & Sir French Toast and about 6–8 months later, after many critiques…I got an offer for that book. I also had a couple others that I had interest, one of them was…Dear Dragon, and another one I had interest from Scholastic, and all that together helped me get an agent.”

Paul, on his first manuscript: “Early on, especially with rhyming, you start in your own head, you’re forcing meter, you’re forcing rhyme, you’re forcing these rhythms and things like this – and it’s not until you get a little better at it that do you know that you’re doing that.”

Josh, on landing his long-time agent: “I was fortunate that I had a bunch of things all come together at once. It was after that SCBWI conference that I sort of met the right people, and put my foot out there to try to volunteer for the next year’s SCBWI, and do a little more…I got critiques from Paul and your critique group and other people I’d met and I had three books kind of close to being acquired at the same time – all of them did – and all that together really helped me get an agent. Along with a personal reference from a friend of mine who I’d also met at that conference.”

Paul, on getting – and losing – his agent: “Everything I sold to Mighty Media [the “Monster & Me” series] I sold myself…it wasn’t until I moved to New Jersey…I got an agent. He sold two books…but his tastes kind of changed. He wanted nothing to do with rhyme anymore. He signed me knowing my Monster series was rhyme, then all of a sudden he’s just like, “Yeah, rhyme’s not really selling, so really don’t bother.” I couldn’t send him anything that was rhyming. It’s not like I wrote solely in rhyme, I mean, the only rhyming books that sold were “Monster and Me.” But I do still like to rhyme…if it works in rhyme, that’s just, in my head, that’s the way it’s supposed to be written. I can’t put it into prose. It doesn’t work.”

Josh & Matt, on the importance of using the right words – and spelling them correctly: There’s a line in [Lady Pancake & Sir French Toast] that was “Pancake rappels down a rope of linguini” and it’s interesting because Paul suggested the word “rappels”…in one of his critiques, and he spelled it not “rappelled” like I’m climbing down, but “repelled” like I pushed away. I didn’t notice it, I sent it off to publishers, it was acquired, THEY didn’t notice it – it didn’t get edited out until the copy editor got a hold of it!”

“But honestly, though, the copy editor wanted me to change the word. They were like, “a) you spelled it wrong, b) I think the word ‘rappelled’ is too advanced for a picture book.” And I tried to change it…you could say “climbed down,” but that’s too much mouth movement, and these are the kinds of things I think about when I’m writing…Pancake “slid” down? I don’t know.”

Matt: “It really couldn’t BE any other word. Speaking as someone who is all about poetry and word choice and that sort of thing…you’ve got the assonance [Matt’s note: I meant “consonance”, meaning the repetition of consonant sounds!] of the “R”’s and “L”s: She’s “RappeLLing down a Rope of Linguine.” The R and the L just tie the whole line together….it has to be that word. I mean, I have “mizzenmast in Flashlight Night!” If I can put “mizzenmast,” you can certainly have “rappel”!

Josh: “The thing is, you’re seeing Lady Pancake climb down a rope of linguine.”

Matt: “It’s all about context.”

Josh: “Right…I asked my editor, “Can we say no?” This was my first book. “Can we say no to the copy editor?” My editor’s like, “Oh, yeah, of course you can!”

Paul, on his picture book Seaver the Weaver: “That’s a book about the orb spider, an orb spider who doesn’t want to do circular webs, he wants to do other geometric shapes…That one actually caught the eye of Jane [Yolen]. That’s like my own little claim to fame; it’s the one thing I pat myself on the back for! I got a direct message from Jane Yolen saying ‘this is a classic,’ so I thought that was better than anything.”

Matt, on the ups and downs of the industry: “Maybe three years ago…I was asked to write a book about a particular subject, I wrote the subject, they purchased the manuscript, they hired the illustrator, they got the whole thing done, .pdf is done, it’s ready to go to print…the parent company said, ‘Nah, I don’t think so.’ So it’s not a book until it’s a book.”

Josh, on keeping the “Lady Pancake” series fresh: “I like to change up the genre with each Lady Pancake & Sir French Toast book.”

“The first one is a race, they’re racing for the last drop of syrup; the second one is called The Case of the Stinky Stench, which is a mystery; the third one is Mission: Defrostable, it’s an action-adventure spy thriller; the fourth one is called Short & Sweet where they shrink into tiny little kids and that one, it’s sort of like a sci-fi comedy mixed with a magical body swap…and then the fifth one is The Great Caper Caper, that is when the Evil Count Caper, the food, steals the light bulb and they have to break into his Las Veggies Casino to steal it back, so it’s a Las Veggies heist. And Attack of the Scones [due out this fall] is an alien invasion…it’s amazing I got away with doing all these silly, absurd things.”

Matt, on not having a say in choosing illustrators: “I’ve never been unhappy with the illustrations an editor has chosen. Editors and publishers have far deeper pockets and a far bigger network from which to draw the talent than I ever could.”

“I would never be able to get a Fred Koehler (ill. for Flashlight Night) or Patricia Pessoa – and with my book I Am Today, I wrote the text about…a young child kind of thinking about what they want to do, they recognize there’s a problem…they should be able to make a difference now. But Patricia created the entire plot of the book! The whole plot of my book was completely hers. She just used my words as a structure to create an entire narrative I had nothing to do with.”

Paul, on his “sort of new” Monster and Me book: “There was one story that [Might Media Press] purchased but never got published, never saw the light of day, and that’s Monster Needs to Go to School. And so just recently they cut a deal with Abdo Books, which deals a lot with libraries, and [the series] is getting new covers and a newfound life – and Monster Needs to Go to School is actually going to hit the shelves because of this.”

“Even though it sold years ago, it’s finally hitting the shelves now…it was illustrated, everything was done – they just never made it a book!”

Josh, on the difficulty of the market: “Picture books are hard…whether you’re writing in rhyme or not, they’re hard, but rhyme does make it sometimes a little trickier.”

“There’s the business aspect, that is like it’s just not likely to translate into other languages. If it’s a good enough story then it will, but you know, rhyme doesn’t translate…and there are some editors that are like, “Yeah, I just don’t do rhyme.” It’s because it’s hard to do it right, and there’s a stigma associated with it, and even if you do do it right – which I believe the three of us know how to – it does make it tricky. And so if it’s hard for me to sell a book in rhyme or my agent to sell a book in rhyme…it can be challenging.”

Matt, on time management, writing, and day jobs: “I still haven’t figured it out. I do voiceover work and am a stay-at-home dad, and so I have to fit everything wherever I can fit it. I wish I could have a structure; I don’t, really. I might be running errands when I would normally be writing or…if the kids have a late after school thing, well, I’ve got an extra hour of writing. But the next day is going to be tied up doing something else, or I’ve got a voiceover job I wasn’t expecting so now that has to take precedence – I never know what my day is going to look like.”

Paul (a chemist, by trade): “When I first moved to Jersey, I played the part of the stay-at-home dad…my wife had a great paying job, and we figured well, I’ll stay home and write, that way we don’t have to pay for child care…And the writing was fantastic, I had all the free time in the world, I was writing everything, you know? And decided to start novels and all sorts of things….I love staying at home with the kids, I wouldn’t give that up.”

Josh (a software engineer/coder): “I’m married to a teacher, so she works like 80 hours a week, on average…so I have a lot of free time outside of when my wife is working in the evenings or on the weekends, so some of that time I spend with the kids…it’s the people who are teachers and writing – those are the ones that I don’t understand how they do it! But yeah, I mean I think that I have a 40-hour a week day job and my wife works twice as much.”

Josh, on the importance of timing: “There’s a book about tea party farts, and there’s a book about a giant poop party…it’s really about finding the right editor at the right time, as long as your story’s good enough.”

Author Interview: Rob Sanders

On April 8, 2024April 8, 2024 By Only Picture BooksIn Author Interviews

Welcome back to Rob Sanders, the first person we’ve asked to come back for a second interview. He was the first-ever Author Interview when we launched OPB exactly six years ago, and his career has taken off in a way that makes asking him for a follow-up interview a no-brainer.

Now, if you want to know about Rob’s past, hit up that other interview. This one’s going to dig into all Rob’s been up to lately, what’s he doing now, and what’s coming up later. Plus, we’ll tackle some bigger aspects of the industry because Rob’s the right person to offer real insight.

Let’s get right to it, then!

RVC: Since our last interview (April 2018), how has your approach to storytelling evolved? What do you know/do now that you didn’t know/do then?

RS: Probably the only way I can answer that question is to say I’ve stayed open to possibilities. Since 2018, I’ve written books (or had books acquired) that are fiction and nonfiction picture books, worked in collaboration with another author on two nonfiction biographies, published my first historical fiction middle grade novel in verse, and have a book of poetry releasing this year. Many authors have a “writing lane” in which they are marvelously successful. That model just doesn’t work for me. I guess I’m a drive-all-over-the-road kind of writer. I like variety. I like finding unique approaches to stories. I like finding the one best way for me to tell a story.

The more I write and the more I’m published, the more I know how much I don’t know. Authors I teach and critique often want me to tell them which of their manuscripts will be the most successful, which will be the right one to submit, which will get published. Golly-gee-willikers, I don’t know. No one does. The industry is far too subjective for that kind of prediction. (And if I did have that kind of crystal ball, I wouldn’t experience rejections myself, would I?)

Every story is one “yes” away from being published. Writing takes perseverance, tenacity, and a pretty thick skin. But to answer the question … since 2018, I think I’ve become braver. Braver in my selection of topics. Brave enough to stand up for and represent my work to others. Brave enough to take risks.

RVC: I get your drive-all-over-the-road kind of writer approach because it’s what I do, too. But one of the challenges I’ve faced as a result of that is that branding becomes more of a challenge.

RS: Honestly, Ryan, I spend very little time thinking about platform, brand, and the like. Maybe I should be thinking about that, but I don’t. What do I do? I think of my published work as my brand. In query letters, my agency always includes something like “Rob Sanders, a pioneer in LGBTQIA+ nonfiction and the author of …” which firmly establishes or reestablishes me in the mind of an editor. I keep a list of reviews, honors, and awards for all my titles and have them available for publishers who request that.

Years ago, I had a wonderful website built and over time, my designer helped make it everything I envisioned and more. I send updates to my designer once or twice a year and/or when there’s new information (a review, award, new book, etc.) to share. I have a presence on Facebook and Instagram (I recently gave up Twitter/X) and I grow my reputation further by judging writing contests; teaching classes; serving as a mentor for various organizations; writing for blogs, newspapers, etc.; critiquing; and more. I feel that my time is best spent when I’m creating and focusing on my writing and when I’m helping others on their creative journeys.

RVC: How do you specifically navigate the challenge of writing for a dual audience—engaging both children and the adults who read to them (and who most often buy the books)?

RS: Can I say golly-gee-willikers again or is this a family show?

RVC: We’re a hearty bunch. We can take it!

RS: How do I write for two audiences? Well, I don’t.

RVC: Interesting. What do you do then?

RS: I find the best way into a story, the best way to “package” it or tell it and I write the best story I can. I stay open to input from others and revise my pants off and then I work with my agent to find the best editorial/publishing fit for each manuscript. Truthfully, that match takes a bit of serendipity or a bit of luck. But when an editor makes an emotional connection to a story, they will become that story’s champion to others on the acquisition team. When that acquisition team begins to feel the same passion for a story, they will represent it positively to their sales staff who will represent it positively to book buyers who represent it to customers. Ultimately, a well-written children’s book will attract adults—the purchasers—precisely because they know or feel that kid readers will make a connection with the book—just like that acquiring editor did.

RVC: You brought up three intriguing ideas there, and I want to talk about each in greater depth. The first one is the idea of revising your pants off. What does the revision process look like for you?

RS: Each project presents its own revision demands. Of course, we all begin by looking at word choice, story arc, character development, and the like. But there are other things that may be even more important. To me entry point, structure, and presentation are huge. By entry point I mean that “thing” that helps pull a kid into a story, gets them to keep reading, and what they relate to in the story. Structure refers to how the story is told, built, sequenced, and so on. And presentation—probably a sibling of structure—is how the manuscript actually appears on the page. I can give you an example …

RVC: Please do!

RS: When I was writing about the first legal gay marriage in the US, the story of Michael McConnel and Jack Baker was compelling to me. There were twists and turns, legal battles, court cases, intrigue, and a wedding. I wrote the first few drafts recounting those events. But each draft seemed to lack kid appeal. I kept asking myself, “Why would a kid care about this?”

So, I started to think about what I enjoyed most about the many weddings I attended as a kid. And the obvious answer was—cake. I decided that the wedding cake (prominently featured in the photos from Michael and Jack’s wedding) had to be included in the story. The cake became the entry point. But how would I tell the story, how would it be structured? I decided that parallel narratives—one that told the story of how a cake is made and the other telling the story of how a relationship is formed—would be my structure. To present that on the page I literally wrote the cake’s story flush left and indented three or four times over whenever I was telling the relationship story. Throughout the manuscript the typed page presented that back-and-forth story telling which gave a visual clue to my agent and potential editors about how the story could be shown in a book.

This is a nonfiction example, but the same three things—entry point, structure, and presentation—apply to my revision of fiction, too.

RVC: What do you think is the most common misconception writers have about revision?

RS: I think most of us writers fall into one of two revision camps—the this-is-too-hard camp and the that’s‑good-enough camp. Most writers stop revision too soon because of the difficult nature of what they’re facing or because they’re content with the progress they’ve made. We have to fight our way through those two roadblocks to really dig into revision successfully. Beyond that, I think many writers feel revision is completed once a manuscript is acquired. Oh, no, my friend, it’s just begun. Even the “simplest” of picture books, a concept book, or a wordless picture book may have multiple revision notes from an editor. And there may be multiple rounds of revisions. The two ways to be successful at this level of revision are to be professional and to meet deadlines.

Being professional includes taking the comments to heart, revising the best that you can, and noting for the editor any revision comment with which you don’t agree and explaining why. At this stage, revision really becomes a conversation (usually on paper) between the editor and the writer. My goal with revision deadlines is to return my work well before a stated deadline. That’s the kind of thing editors appreciate and remember.

RVC: You also said you “work with my agent to find the best editorial/publishing fit for each manuscript.” What’s your role in that? I think some people assume that they only need to hand a manuscript to an agent, and then they can/should wipe their hands clean of it. It’s all on the agent now. “Go make the publishing magic happen, Agent! Make the royalty checks rain!”

Are you regularly discussing publishing houses and editors with your agent? Are you checking the Rob Sanders submission database and strategizing?

RS: Regularly, no. As needed, yes. Because I attend live and virtual writing events and am often on faculty for events, I meet lots of editors and hear them speak. Sometimes I’ll hear an editor say something that prompts me to think that one of my manuscripts might be a fit for them. I let my agent know that right away. When I’m at a convention wandering through the booths of various publishing companies, I pay attention to the books on display. I introduce myself and chat up the folks in the booth and hear them talk about their books. If I feel that my work might fit with that publisher’s goals or aesthetic, I remember to let my agent know. Or I might text my agent right then and there asking, “What do you know about Publisher B and Publisher T? They have some great work on display.” When my agent is ready to send something out on submission, we look at the proposed submission list together. I might suggest an editor or two to add to the list, or editors that we might send to if we have a round two of submissions, and I might even suggest someone on the list be removed. I don’t demand anything from my agent. We discuss things and come to an agreement. Sometimes my suggestions pay off. (Of course, sometimes they don’t! LOL!)

RVC: Another topic you mentioned above is about readers (including editors) and making an emotional connection with them. Clearly, an obvious way to do that is to have a topic that’s inherently emotional, such as your fine book, Stonewall, A Building, an Uprising, a Revolution. But I get the sense that you do more than simply choose a topic that’s inherently emotional. What kind of specific things do you do in terms of creativity and craft to create or heighten the emotional impact of a picture book story?

RS: We all wonder what makes an editor or an acquisition team say, “Yes!” to a manuscript. Undoubtedly, there are many answers to that question, but I don’t think an emotional topic alone is the answer. To me, the main reason an editor and/or acquisition team says, “Yes!” is because they feel something when they read a manuscript. An emotional connection is made. Wiley Blevins from Reycraft once said that every editor on the Reycraft team had to emotionally connect with a manuscript for the company to make an offer to acquire. In other companies, you may just need to make that connection with the acquiring editor who will then champion the book to others in the company.

Many people at Random House have told me a story about Michael Joosten, who was my editor for Pride and Stonewall. When Michael pitched Pride to the folks at his company he welled up and began to cry. Michael was so convinced of the need for that book and so related to its content that his emotional connection came pouring out. His connection helped others connect and be enthusiastic about the book, too.

Of course, the emotional connection doesn’t have to be tears. It might be belly laughs; a warm, fuzzy feeling; a stirring of memories; or a million other things. Robert Frost is credited with saying, “No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.” Your own emotional connection to the story is a hint that others may connect with it, too. If you don’t feel that emotional connection, then others may not feel it either.

RVC: Let’s circle back to you and how you operate. Some writers fuel their creative efforts with constant reading, but others insist that they must put aside books when the muse strikes. Where’s the intersection of creativity and reading for you?

RS: They say the first step to healing is admitting you have a problem, so here goes: I’m a picture book-aholic. I’m constantly reading new books, dipping back into favorite books, ordering books that I hear others talk about, etc. And I always have writing projects going on. So, creativity and reading are smashed together for me. I have to feed my creative muse and I do that by reading, going to museums, spending time at the beach, seeing plays and musicals, and more. For me creativity and reading go hand in hand. I’ll be quick to add that one size does not fit all. Each of us has to find what works for us and then work it!

RVC: What books are on your nightstand right now?

RS: I don’t have a nightstand, but I have books to read piled up in my office, on my dresser, in a chair in the living room, and in the bathroom. (And that doesn’t include books that are in research stacks.) I pulled one book from each of the four stacks mentioned above and here’s what I found:

Your Guide to Not Getting Murdered in a Quaint English Village by Maureen Johnson and Jay Cooper

Reimaging Your Nonfiction Picture Book: A Step-by-Step Revision Guide by Kirsten W. Larson

Desert Queen by Jyoti Rajan Gopal

Farmhouse by Sophie Blackall

RVC: What question are you asked most frequently about your writing career?

RS: I’m frequently asked about my nonfiction: “Why do you write controversial books?”

RVC: What’s the answer?

RS: I don’t write controversial books. I write about history. History is not controversial. But not teaching history is controversial.

RVC: Here’s the last question for this part of the interview, Rob. What’s on tap for you next? What upcoming things are you most excited about?

RS: I have three books slated for release this year and three more next year. Coming this year are:

Queer and Fearless: Poems Celebrating the Lives of LGBTQ+ Heroes
April 2024
Illustrator: Harry Woodgate
Publisher: Penguin Workshop

We Are a Class!
July 2024
Illustrator: Hannah Abbo
Publisher: Beaming Books

Between You and Me
December 2024
Illustrator: Raissa Figueroa
Publisher: HarperCollins

RVC: Alrighty now…it’s time to sound the alarm, buckle your literary seatbelts, and batten the hatches because we’re going to plunge straight into the high-stress depths of THE LIGHTNING ROUND!!! Six questions followed by six answers in zippy-skippy fashion, please.

Rob…are you prepared for the electrifying challenge?

RS: Bring it on!

RVC: What outdated slang do you use on a regular basis?

RS: Coolio.

RVC: What’s the most interesting or unusual talent you have?

RS: I don’t know if I can still do it, but I used to be able to twirl a baton.

RVC: If you could sip lemonade on the porch all afternoon with three kidlit creators, who would it be?

RS: Jane Yolen, Tomie dePaola, and Maurice Sendak. (I’m pretty sure they all knew one another so it would be a lively time.)

RVC: Who’s a nonfiction picture book writer you want everyone to read?

RS: Barb Rosenstock.

RVC: Who sets the standard for funny picture book rhymes?

RS: I have to name two people—I love the humor of Tammi Sauer and the rhyming of Lisa Wheeler.

RVC: Complete the sentence in six words or fewer. Rob Sanders is a writer who…

RS: … teaches and a teacher who writes.

RVC: Thanks, Rob. It was great having you back here with us at OPB.

Author Interview: Candy Wellins

On March 11, 2024March 11, 2024 By Only Picture BooksIn Author Interviews

Welcome to Candy Wellins, a former teacher who has a BA in journalism and an M.Ed. in literacy education. In addition to writing picture books, she’s a full-time Texas mom to “three wonderful children who keep me up-to-date and immersed in children’s literature.”

When she’s not reading, writing, or mothering, she loves to:

Run
Travel
Run and travel together. She’s currently on a quest to run a half marathon in each state.
And after all that, she loves to nap!

With that, let’s get right to it so we can find out more about Candy’s story and her books!

RVC: What aspect/part of yourself today gives away where you’re from and how you were raised?

CW: Not to be too on the nose, but my books are a pretty good reflection of that. Saturdays Are For Stella reflects my close relationship with my grandparents and Mabel’s Topsy-Turvy Homes showcases the mixed feelings of growing up in a divorced home. Although it’s a biography at heart, The Stars Beckoned imparts my overall love of family. And my latest book, A Geoduck Is Not A Duck is certainly an homage to the place I grew up, Washington state.

RVC: What influence did your parents have on you as a future writer?

CW: They read to me and always made sure I had access to lots of books. I can’t think of anything more special or important to a child than owning books and having a library card. I still remember the excitement I had of signing up for my first library card and checking out my first book (Little Bear by Else Homelund Minarik and Maurice Sendak).

RVC: Let’s jump ahead a bit and talk about college. What was the plan for that journalism degree?

CW: I loved writing and telling stories from a young age—and I was good at it. A journalism degree felt like a way to do that and make money, but ultimately a journalist’s life was not for me. I’m not that extroverted!

RVC: What’s the #1 thing from your journalism days that serves you best as a picture book writer?

CW: Not to overwrite. Keep it clear and concise and get to the point!

RVC: Please explain the shift to the master’s degree in education.

CW: I always loved working with children. I babysat all through high school and was a substitute teacher as I worked my way through college. Eventually I decided my heart was more in education than journalism so I went that route instead.

RVC: What was the turning point for you as a writer? When did you fully commit?

CW: Being a picture book writer was always a pipe dream. It felt so fantastical—like being a Olympic gold medalist or Oscar-winning actress. It sounds fun, but it will never happen.

Then in early 2016, I met a new neighbor who happened to be a children’s author. My mind was blown. She was so normal and her path toward publishing felt so doable. That night, I sat down at my computer, found a class for picture book writing and enrolled. It started less than a week later and I’ve been in, fully committed since then.

RVC: Describe what it took from that turning point to your first sale.

CW: It took writing (in some form or another) practically every day. Now, mind you, writing is not always pencil to paper (or finger to keyboard). Sometimes it’s analyzing the latest picture books, attending a class or workshop, networking in the industry or participating in a critique. Even letting ideas percolate as I run or shower or cook dinner counts as writing. But ultimately, it’s about doing some form of work daily. It has to become routine and you have to love doing it.

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

CW: I really wanted to write a grandparent story so I started brainstorming every idea I could associate with grandparents and grandchildren. One thing I wrote down was “Pictures all over the fridge” because one of my grandmothers had her entire refrigerator covered with photos of the grandkids. It reminded me a bit of teenage girls who cover their bedroom walls floor to ceiling with posters of the boys they like. I started imagining a love story that centered around a grandparent/grandchild but also showcased the same emotions as first crush.

My critique group thought it was cute, but had trouble figuring out the characters and distinguishing them as grandparents and grandchildren. In revisions I focused on making clear it was a grandparent story and even included the grandma’s death. Another critique showed me I was on the right track, but still needed something to make the story meaningful. I kept thinking about how no matter how much we love our grandparents, it’s inevitable that our time together is brief. How do we make the moments last? That pushed me toward thinking about how a grandparent’s impact lasts long after they’re gone. Adding a new sibling to the story was the perfect touch to Saturdays Are For Stella.

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

CW: Get a good critique group and listen to them. We are often so invested in our work it’s hard to hear an outside perspective. But when we listen to constructive feedback, it really can make all the difference in our work.

RVC: What do you like most about Charlie Eve Ryan’s art?

CW: I especially love her soft color palette and her ability to showcase emotions.

RVC: You had a stretch where you were publishing a book a year there. How did that happen?

CW: Luck? Timing? Persistence? I’m constantly creating, revising, and submitting. When I go on a hot streak, I soak it up because there are long dry spells in publishing too.

RVC: I hear you there! Now, I’m a sucker for nonfiction picture book biographies, and when they’re lyrical, too? Yes, please. Tell me about The Stars Beckoned.

CW: First of all, I’m not a space person at all. I have no interest in exploring anything that isn’t firmly rooted to planet Earth. But I love interesting people. In 2018, I was teaching a group of middle schoolers and we were talking about the US/Soviet Space Race. They were mostly interested in America’s firsts—the first to go to space, the first woman in space, the first to walk on the moon. I knew the answers to all those, but I didn’t know who the first to walk in space was. When I looked up the answer, I discovered Ed White’s name along with an interesting quotation. Upon finishing his spacewalk, he said, “This is the saddest moment of my life.”

I got goosebumps. Here was a picture book waiting to be told. After all, what kid can’t relate to such big emotions as the saddest moment ever? But was I the person to do it? I quietly did the research and decided that I didn’t need to be a space enthusiast to tell his story. Space exploration was just one aspect of Edward White. More importantly he was a passionate person who followed his dreams relentlessly and that was something I could really connect with.

RVC: Something most people don’t realize is how much over-researching and overwriting we nonfiction picture book writers tend to do. What’s the coolest thing that didn’t quite make it into the book?

CW: Just one? Ok, here’s a fun one. NASA used to let each crew name their own missions. For White’s Gemini IV flight, he and pilot James McDivitt wanted to call the mission Eagle. They had even planned an Eagle emblem they would wear as a patch on their spacesuits. NASA ultimately decided against letting them call their flight Eagle as they wanted to save it for a more monumental mission (You may recall hearing the words “The Eagle has landed” on such a mission a few years later).

Left without a plan B, White and McDivitt went without a name and just had drugstore American flag emblems sewn on their suits instead. Wearing the American flag has since become a tradition and every American astronaut since them has worn one.

RVC: Since that book uses rhyme, I’ll ask the question most writers want me to ask. What’s the most common misconception about rhyming picture books?

CW: The mistake I see most often is focusing only on rhyme and forgetting all about meter. If the story doesn’t have rhythm, even a good rhyme can sound bad.

RVC: What’s your best tip for getting rhymes right?

CW: Read lots of good rhyming books. Hearing it done right is the best teacher.

RVC: Tell me about a time in your writing career where things didn’t go the way you wanted.

CW: I’ve been working on a picture book biography since 2016. I’ve tried telling it as a picture book, a novel-in-verse, a graphic novel. So far, nothing is working, but I love this person’s story and I’m not giving up on it yet.

RVC: Good for you–I’m sure you’ll nail it eventually. Now, who are your literary heroes? What have they meant to you?

CW: I think the great thing about books is there are so many people doing it well in so many different ways. I’m constantly finding inspiration—from authors who wrote decades ago to debut writers. Everyone who’s persevering and sharing stories is a hero of mine.

RVC: In all your experience with the picture book industry, what has most surprised you?

CW: I’m still surprised by the reaction some of my books get. Of course, I have very visceral reactions to a lot of things I read, but it still blows me away when someone has that response to something I wrote. A young reader told me after reading Mabel’s Topsy-Turvy Homes that it was the first time she felt seen by a picture book. That one got me!

RVC: If you had to summarize the most important thing you’ve learned about writing picture books, what would it be?

CW: To slightly misquote the great Winston Churchill: never, never, never give up. Writing picture books is all about the long game.

RVC: Great point! After COVID, I try to ask a health and wellness question each time, so here’s yours. What do you do to de-stress or for downtime?

CW: I prioritize exercise every day. And I love doing puzzles—jigsaws, Wordle, crosswords. I think I’m up to about six different ones I do every morning before any real work begins.

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

CW: My latest picture book, A Geoduck Is Not A Duck, comes out on March 5. I’m super excited because this is my first funny picture book and I really hope it gives readers a good chuckle. It’s the story of a misguided news crew on the hunt for a gooey duck spotted on a Pacific Northwest beach. What the hapless crew doesn’t realize is that a geoduck (pronounced “gooey duck”) is nothing like the slime-covered aquatic bird they are looking for. It’s a comedy of errors mixed with lazy journalism all done in comic format.

RVC: Okay, Candy. It’s time for the much ballyhooed SPEED ROUND. Zippy fast questions followed by zoomy quick answers. Are you ready?

CW: I was born ready.

RVC: What’s the most interesting or unusual talent you have?

CW: I can name every British monarch in order from 1066 to today.

RVC: If you could instantly become an expert in any field, what would you choose?

CW: Genetics. I’m so fascinated by the subject.

RVC: If you could spend a day inside the world of one picture book, what would you pick?

CW: Anything by Richard Scarry. I’d set myself up nicely in one those little Swiss chalets and be very comfortable. Skiing by day, books by the fire at night, and a hundred labeled foods to choose from whenever I get hungry.

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

CW: It’s not a picture book, but the entire Dory Fantasmagory series by Abby Hanlon is absolutely hilarious. My kids can’t get enough of them. I will randomly say a line from one of the books every now and then just to get my kids to laugh. It works every time.

RVC: Finish the sentence. I’m not ready for a writing session without…

CW: A little peace and quiet.

RVC: What’s your picture book philosophy in five words or fewer?

CW: The world needs your stories.

RVC: Thanks so much, Candy!