Author Interview: Marsha Diane Arnold

On July 10, 2023July 10, 2023 By Only Picture BooksIn Author Interviews1 Comment

This month’s Author Interview is with Marsha Diane Arnold. Her books have sold over one million copies, so what more do you need to know? 🙂

Alright, I’ll share a bit more.

Marsha’s lived on the West Coast, the Middle, and now, The East Coast (Florida), and she claims to love them all, but I think it’s clear which her favorite is. In addition to loving reading and writing, she’s a fan of bicycling, swimming, gardening, and scuba diving.

Her 23^rd picture book, One Small Thing, just came out in May. Don’t worry, we’ll talk about it, along with a lot of other things.

Here are her social URLs.

And let’s end this introduction with a poem she wrote. Enjoy!

THE STORYMAGICIAN’S CHANT

I’m a StoryMagician.
I play with words.
I arrange them in stories
So they can be heard.
I’m a StoryMagician.
I imagine new worlds.
I bring them to life
Like a shiny new pearl.
I’m a StoryMagician.
I’m awake! I’m aware!
I sit with my notebook
Writing stories to share.

MDA: “The Storymagician’s Chant” is one I used as a call and response with students, during school visits. We had a lot of fun. I can already tell this interview is going to be a lot of fun, too. Thank you for inviting me, Ryan!

RVC: You bet! Now, please share three words that describe your childhood.

MDA: Farmgirl, family-oriented, barefoot.

RVC: When did you realize you were going to be a writer?

MDA: I always loved reading and books. I majored in English literature in college, but I never thought about being a writer myself. That is, not until my children were born and I started writing a weekly newspaper column entitled homegrown treasures. It was about children, family, and life, usually from a humorous, yet heartfelt, perspective. One reviewer said of it: “She finds a universe in her backyard!” I was a writer!

RVC: How did that weekly column help prepare you for your work as a kidlit author?

MDA: I asked the editor of the newspaper if I could use a pseudonym for my homegrown treasures column; I was so nervous about people judging me. He advised that wasn’t a good idea for a local newspaper columnist. Ha. I was finally persuaded; my first column was published under Marsha Arnold.

During those ten years of writing a weekly column, I learned about discipline, structure, word limit, and how to write subtle humor. My true love was picture books, so during those ten years I also started a writer’s group for picture book authors. My first picture book was published ten years after I began writing homegrown treasures. By then, I wasn’t quite as nervous about people judging me. My first picture book was published under Marsha Diane Arnold.

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

MDA: My first book, Heart of a Tiger, was published in 1995. That was a long time ago and my memory is fading.

RVC: I’ll take whatever you recall or whatever you want to make up! 🙂

MDA: I think I was writing the story about myself, for myself. I only realized this long after it was published. Like the small kitten, Number Four, I wanted to give myself a name like Beautiful Bengal on Naming Day, but, like Four, I wasn’t worthy of that name and had no idea how to become worthy.

In a way, I wrote the story to show how each of us can find the courage to follow a “Magnificent One” and learn to become worthy. Even if what you aspire to is not possible, as it was not possible for Four to become a Bengal Tiger, what you hold in your heart can “grow in wisdom and power as you grow.”

RVC: What was the most important lesson you learned with that book?

MDA: Perhaps the most important lesson I learned from Heart of a Tiger was that I could do it. I could write a story that touched readers. Heart of a Tiger received some nice accolades – Best First Book by A New Author, three Children’s Choice Awards, Junior Library Guild Selection, and more. I could do it! I could “grow in wisdom.”

RVC: What a nice thing to happen with a first book!

MDA: More heartwarming than the awards was the personal reactions of readers. I autographed a book for one young reader when he was eight. Years later, after graduating from high school, he wrote to tell me that he still had the book and that whenever he had to make a difficult decision, he would reread it, using it as a guide.

RVC: Speaking of cool lessons, Waiting for Snow has a wonderful lesson about patience. How did you craft the narrative to deliver this message effectively for young readers?

MDA: I do love those patience lessons. Waiting is hard for everyone, especially for little ones. My book Badger’s Perfect Garden has a secondary theme of patience too. I believe my guiding light for Waiting for Snow was from Ecclesiastes: “For everything there is a season, and a time for every matter under heaven.” I do trust my guiding lights.

Messages are much more likely to be heard if humor is involved and if the story doesn’t go on too long. I recall working on that subtle humor for Waiting for Snow. I also cut my story over and over; I cut a character or two as well.

RVC: What was the biggest challenge with that book?

MDA: The biggest challenge may have been using quiet humor to show the friendship and support of Badger’s friends, even when they had different opinions.

My brilliant editor, Kate O’Sullivan, helped me “kill some of my darlings,” to create space so Renata Liwska’s always amazing illustrations could tell part of the story. I was happy to do so. Renata brought forth just what I wanted to show: Badger’s impatience and ingenuity. Waiting for Snow is actually dedicated to Kate and Renata, a dream editor and illustrator worth waiting for.

RVC: Let’s talk art notes. Where do you stand with these?

MDA: I like art notes, but they must be efficient. They must be succinct. And they must not intrude on the illustrator’s creative vision.

In my nearly wordless book Lost. Found., illustrated by Matthew Cordell, I used lots of art notes. After all, there were only 18 words in the book. It needed some art notes!

RVC: What about rhyme?

MDA: I like rhyme, too! But it certainly can be challenging. For me, one of the challenges with a rhyming story, besides finding all those perfect rhyming words, is to give it that second layer of meaning, that depth, along with the lighthearted rhyme.

Roar of a Snore, my 2006 book from Dial, was an accumulated rhyming story. Children loved it, even memorizing it. It was a Dolly Parton Imagination Library selection three years in a row.

RVC: Nice!

MDA: My agent is currently submitting a rhyming manuscript for me. It’s humorous like Roar of a Snore. I’d really like to have another funny book published, but that kind of success is hard to replicate.

RVC: Please share one of your favorite moments (or a breakthrough) in your writing career.

MDA: I have experienced so many wonderful moments at the schools I’ve visited during my writing career. There was the school that had all the classes come into the auditorium in a conga line, drumming, in honor of Prancing Dancing Lily. There was the time the principal drove me to the school and I saw a huge constructed tornado on their roof! It was in honor of my book, The Bravest of Us All. What a grand time I had on school visits.

RVC: School visits can be awesome! Now, let’s talk about your most recent book, One Small Thing. What’s the logline?

MDA: When Raccoon’s home is destroyed by a lightning strike, the creatures of Brightly Wood think they’re too small to be of any help. But after returning to their homes and their individual lives, they pause and reflect, finally realizing they can each do one small thing.

RVC: This book and others you’ve written have a strong connection to nature. What inspired this in your writing?

MDA: I grew up on a farm in Kansas, near a lake. I spent summers with my grandparents, who lived in a small Colorado town, near streams and mountains. I’ve always loved nature and wildlife. I feel most at home in nature, surrounded by wildlife. So, it’s natural, I think, that nature inspires my writing.

RVC: In this book, how did you decide on the range of animal characters and their unique personalities?

MDA: I am definitely a pantser writer. I usually come up with a title and that title acts as a beacon, leading me through the story. My characters usually come to me rather easily, as if they’ve walked up and knocked on my door. I invite them in and we become friends quite quickly. I love that my character friends are so different, with different personalities and different ways of viewing the world.

RVC: That’s a lovely way to explain how a story comes together. What happens next?

MDA: I weave in little things as the story moves along, little things that help the reader know the characters. We know Raccoon loved his home by the river and that he had a pet cricket. That tells us a lot. We know Beaver, busy as she always is, gets to work on a new house for Raccoon right away. We are a bit surprised that grumpy Badger is so worried about Cricket and goes into the darkest part of Brightly Wood searching for “that silly cricket.” Of course, we needed an animal (Mouse) who made herb balms to soothe Raccoon’s burned feet, an animal who brewed calming teas (Squirrel) and an animal (Rabbit) who liked honey and honey bread, to provide nourishment. All together, the animals provide Raccoon’s basic needs and much more.

RVC: Let’s talk about process. How do you handle writer’s block and keep your creativity flowing?

MDA: I’m not a writer who writes daily…or even weekly. So, maybe I have writer’s block and don’t even know it! But when I am working daily on a project and get stuck, I go for a walk in nature or take a swim. Five minutes in the oak tree swing often works, too.

RVC: How has your writing evolved since you first started?

MDA: I used to meander about in my stories more than I do now. One reviewer referred to “Arnold’s meandering style,” even though she gave me an excellent review. That was in reference to The Pumpkin Runner, which was published in 1998. I love storytelling styles that take a journey up the hill or over the river before coming back to the main road, but those stories are harder to sell in today’s market. So, I try to reign my meandering ways in.

RVC: Are there any aspects of your writing that have remained consistent?

MDA: One person recently asked me, “How do you create depth and simplicity simultaneously?” That sounded more like a wonderful compliment than a question. Once I stopped blushing, I realized that I’ve likely always done that intuitively. It may be because I respect my audience so much. I know children can understand depth. The simplicity part is perhaps because the truest things are simple, humble, and unassuming.

RVC: Share a bit about how you revise. How do you know when a manuscript is ready to send out?

MDA: I rely a lot on my two writing critique groups. Once I have what I think is a good draft, I share my manuscript with them. After I ponder their feedback, I read my story aloud, over and over again, checking for rhythm, lyricism, wordiness. Is it ever really ready? Probably not, but at some point, we have to let go.

RVC: What’s the most valuable piece of feedback you’ve ever received on your writing?

MDA: For me, the most valuable feedback is encouragement. Fairly early in my career, a librarian said, “Marsha Diane Arnold and her books treat kids as thinkers and speak of good things…kind of like Mr. Rogers.” I couldn’t ask for much more encouragement than that.

RVC: What role did SCBWI play in your writing career?

MDA: One of the first things I did when I decided to write for children was join the Society of Children’s Book Writers and Illustrators. I think anyone serious about writing for children should be a member. They have been there from the beginning of my career, providing information and inspiration. In 2021, my Lights Out was a finalist for the SCBWI Golden Kite Award for picture book text. Thank you, SCBWI!

RVC: One last question for this part of the interview. What’s next for you? What should we be on the lookout for?

MDA: My next book will be out August 8^th! Armando’s Island is an ode to the rainforest, its precious creatures, and those who bravely stand against its destruction. My hope is to bring awareness to the beauty and value of the world’s rainforests.

I wanted to bring my readers intimately into Armando’s world, so I used as much sensory detail as I could. The illustrations by Anne Yvonne Gilbert are spectacular. And when, on the opening spread, the child Armando looks directly at the reader, I feel intimacy is achieved.

I’m also excited about a manuscript I contracted for in January. Any day now I’ll be able to share the current title and who the illustrator will be, but not this day.

RVC: Alright, Marsha. It’s time for the much-ballyhooed, never-equaled SPEED ROUND. Let’s keep the questions fast and the answers even faster. Are you ready?

MDA: Never. But let’s start anyway!

RVC: If you could only have one app on your phone, it’d be…

MDA: I could probably live without them all, but I do use Messages a lot. Is that considered an app. You see how techie I am?

RVC: If they made a movie about your writing career, what would the title be?

MDA: Meandering Marsha Stumbles Along; Serendipity Saves Her.

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

MDA: The “word” “Anyways.”

RVC: What do you think you’re much better at than you actually are?

MDA: Nothing. I have a rather big inferiority complex.

RVC: Am I missing anything? What’s the question nobody ever asks you, but you wish they would?

MDA: What an intriguing question. Now I not only don’t know the answer to the question, I don’t know the question! Let’s see…

Here’s the question: “Your writing can be on the serious side. Do you ever do silly things?”

RVC: What’s the answer to that?

MDA: Yes, I’m serious-minded, but I love to laugh and I laugh a lot. I can be silly. I see humor all around us. I can dance around the living room with my poodle. I can forgive myself and you too, if we get too serious. If you knew me well, you’d know that Joyful is my middle name, right next to Diane.

RVC: Final question. What’s the best feedback a kid’s given you?

MDA: Well, “I think you are the best writer in the whole galaxy,” was pretty nice. Then again, “You are one of my superheroes. One is my dad, the other is Jesus, and you,” was quite astounding.

RVC: Thanks so much, Marsha!

MDA: Thanks to you, Ryan…I think. This was almost as hard as writing a book! Just kidding. It was so kind of you to invite me to join you on this writerly interview. What fun!

Author/Illustrator Interview: Merrill Rainey

On June 12, 2023June 12, 2023 By Only Picture BooksIn Author Interviews1 Comment

This month’s Author/Illustrator is Merrill Rainey, a self-described “cowboy-boot wearing, picture book creator and paper toy maker.”

With a bio line like that, what else do you need? Well, he offers more, saying that he lives in the village of Whitehouse, Ohio, with his editor (his wife), subject matter experts (his kids), and very opinionated coworkers (a very hungry toad, and some crabby hermit crabs).

What he doesn’t say in his bio is how those subject matter experts—his kids—are PR geniuses. Witness for yourself!

With that kind of lead-in, we have to jump straight to the interview to learn more right now!

Merrill’s Website
Merrill’s Etsy
Merrill’s Facebook
Merrill’s Instagram
Merrill’s Pinterest
Merrill’s Twitter

RVC: I realize this can be a chicken-egg question, but I’m going to ask it anyway. What came first—the writing or the art-making?

MR: Good question. I’ve always been a storyteller, or at least I think so, but it was definitely the art-making that came first. It’s just something I’ve always done, from drawing whenever I could, to crafting with my mom. This past year, I’ve talked a lot with students about the word “boredom” and how boredom is truly the catalyst of creativity.

These quiet calm moments are so, SO important!

RVC: I totally agree–boredom done well = creative wonders. Now, how did growing up in a large family inform your creative efforts?

MR: There was never a dull moment in my childhood–it was full of moments of creation and imaginary play. When we got bored (see there’s that word again!) we always found something to do. Looking back at it now, the time I spent with my family, these childhood moments, are what laid the foundation for the things I am creating today!

RVC: What was your intended career plan when you attended Kent State University?

MR: When I decided to attend Kent State, I didn’t really know what the intended career plan was going to be other than getting better at making art. During my Freshman registration with a counselor, she asked me what type of art I wanted to focus on, fine arts or illustration. Since I didn’t know the difference between the two at the time, the counselor sent me down to the art building where the VCD senior art show was being displayed. I walked through the gallery and what caught my eye was a piece of work where one of the graduating students had re-illustrated the Super Fudge series as a Senior art project. I remember thinking in that moment that illustrating books is what I wanted to do.

I did almost minor in technical theater, too. I took a few set design classes but ended up not being able to continue in this path as the workload for the VCD program was pretty intense on top of working a full-time job.

RVC: During your final summer at Kent, you had an internship that changed
everything.

MR: I interned at the Akron Beacon Journal in an art department of five other very talented illustrators/designers. It was an amazing experience learning from each and every one of them. That art department prided themselves on the art they created for the newspaper and was known for doing so. During my time there, I worked not only on daily graphics for the paper, but I also had the opportunity to illustrate a few featured sections. Working for a paper doing editorial illustrations is where I thought I’d end up, but shortly after graduation, the newspaper industry took a turn for the worse and left me looking for work in other directions.

RVC: Talk about how you managed your early career, having a full-time job as an in-house graphic designer while also trying to build your own art career.

MR: For a while after graduation, I focused on the day job. Being the new person at work, I really wanted to make my mark. As I was moving up the ladder at my day job, I was losing track of what I really wanted to do, and that was to illustrate.

Around this time another illustrator by the name of Penelope Dullaghan started a blog called Illustration Friday where every week she would post a new illustration prompt. You would then illustrate your take on it, and post your creation to your own blog before the following Friday. Participating in Illustration Friday is what got me back into illustrating and rebuilding my portfolio. I would spend my evenings after work honing my craft and, long story short, in 2007 I signed with the Tugeau 2 agency working mainly on educational illustration assignments. Then in 2010, when my son Chase was born, I finally got my first big kids magazine assignment from Jack and Jill Magazine and this was the start of it all.

RVC: What went into the decision to quit the day job and launch Little Rainey
Illustration & Design LLC?

MR: A lot did go into planning this decision, but it also kind of happened organically. Shortly after Chase was born, I was working 8–10 hours at the day job then after work I would go home, we’d have dinner and put him to bed. Once he was asleep, I would go back to working on contract work until about 4 or 5 in the morning. Then, I would sleep a few hours and go back to my day job. This went on for a few years. I am not quite sure what the heck was I thinking, or how I managed this for so long, but what it came down to was that I truly wanted to succeed more than anything else! In 2012, I was eventually making enough income to quit my full-time job and start working for myself.

RVC: That’s a bold choice. Many don’t risk it. Any tips?

MR: During this time, I was also talking with a few friends of mine who had recently started their own creative businesses. They guided me on the proper steps to creating things like an LLC, starting a business bank account, filing as a small business with the state of Ohio, and the biggest steps, finding a good tax accountant. Having a good accountant is pretty key and so worth it.

RVC: What was a regular day like in that new role?

MR: This is a good question. In all of the years I have been doing this, I have yet to figure out how to get on a normal schedule. Every time I think I can, a new project shows up and then I have to figure out how to manage multiple projects at one time. I think the key here is being as flexible as possible. Being a small business owner, you are always thinking about the current work, future projects, contracting, invoicing, and marketing of your next project.

What this change in my career path did allow me to do was to spend more time with my kids. From volunteering in their schools, being a Cub Scout Den Leader, to a Soccer Coach, I’ve loved being able to be a part of their childhood as much as possible.

RVC: How did SCBWI play into your creative journey?

MR: SCBWI has been a big part of my success. So many key moments and
opportunities in my career, like meeting mentors, art directors, and publishers, have happened because organizations like SCBWI exist and I will forever be thankful!

RVC: Please share the story of your first published book.

MR: My first illustrated published book was Asteroid Goldberg–a huge learning experience in so many ways. From learning about depicting cultural traditions, to designing dynamic page compositions, as well as ways to improve the process on how I now render my final art. It also taught me a lot about contracting, advances, and royalties. It was definitely a good project to get my publishing feet wet with.

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

MR: The most useful lesson going forward that I learned from this project, was to make sure I was involved with things like reviewing proofs, as well as making any edits to the art, and making suggestions towards the design of the book when needed. My goal in doing all of this is to ensure, to the best of my capabilities, that when my books hit the shelf, they are the best they can be!

RVC: You’re worked with a lot of children’s magazines. What are some of the
differences between that and illustrating kidlit books?

MR: They actually are very much the same, but the biggest difference is that a lot of my magazine work is geared toward interacting with the readers through activities. For a while I created a section called Color, Cut, Play! where you would have a themed set of paper toy characters and a play set to build. This featured section is what eventually turned into the concept behind the Color, Cut, Create books series.

RVC: How did you get into paper engineering?

MR: Paper engineering started as a hobby, something to do on the side between illustration gigs. It all started with me following a blog of a fellow creative, Matthew Hawkins. Matthew used to create a downloadable paper toy each week. I thought this was such a cool idea! He inspired me to start making my own creations and this is what got me hooked on cutting, gluing, and folding paper.

RVC: What’s the most common misconception about paper engineering/toy making?

MR: This isn’t a misconception per se, but a good number of people have never heard the phrase “paper engineering” before, but once you mention pop-up books and the process of how those types of books get created, it all clicks.

RVC: In all your experience with paper creativity, what has surprised you the most?

MR: What surprised me the most about paper creativity was not about how to do it, but how to get kids today seeing that they can do it too. One of my passions is educating students so that they can create anything with an idea and their hands. I am also an advocate for making sure that adults realize the importance of giving kids the opportunity to create and the benefits in doing so.

RVC: Talk a bit about your HarperCollins board book series, and how they’re both readable and playable.

MR: The Peek-and-Play series is definitely a book that you can play with. It does have words, but those words are meant to get kids up moving, making sounds, imagining and playing! They may not be the best books to quiet down a child at bedtime, but they are great books for read-out-loud times! If you haven’t heard it yet, check out the ROAR! I’m a Dinosaur song. It’s a pretty catchy tune! You can check it out here (be sure to scroll to the bottom of the web page).

RVC: What’s next for that series?

MR: There are no official plans yet, but there are always new ideas in the works.

RVC: What do you enjoy most about your Jack & Jill comic series that’s found
bimonthly in the pages of Jack and Jill magazine?

MR: Everything! How could you not enjoy having the opportunity to illustrate a comic for kids. It’s awesome to think that I have the opportunity to inspire future artist just like I was inspired by comics like Peanuts, Spider-man, and Calvin and Hobbes!

RVC: You like to experiment with art tools. What are some of most awesome failures—and successes!—you’ve created?

MR: I guess I can say that my work is full of awesome failures and successes! I say this because I use moments of failure as learning experiences to help better my projects. When I talk with kids, I mention that when I start to create anything, I always start with a written or sketched-out plan. Sometimes though, that initial plan doesn’t always work out and I have to do some problem solving to think through how I’m going to fix the issues that arise. I refer to this process as a trial-and-error phase. This phase is so important to the creation of anything.

For instance, I recently created a build-your-own 3D Haunted House craft for Highlights Press. I built 12 different prototypes of the same house before I had everything where I wanted it to be. I wanted to make sure that before this project went to press, the activity of building the house would give the end user a sense of accomplishment while having fun creating it.

RVC: Beyond creating the awesome promo copy we see in the photo at the top of this interview, what else have your kids contributed to your career?

MR: My kids are a HUGE part of my career! I consider my kids my subject matter experts. They are always inspiration for new projects, but they have also doubled as hand models, voice over actors, and product testers. My kids built every paper toy in the Color, Cut, Create series and watching them allowed me to witness where they had trouble in the building process. This allowed me to see firsthand what needed to be improved upon. My daughter even got the honor of modeling for the back cover of OINK! I’m a Pig.

RVC: One last question for this part of the interview. What new Merrill Rainey projects should we be on the lookout for?

MR: I am currently marketing my next illustrated picture book which is a reimagined Florence Parry Heide classic picture book titled Giants Are Very Brave People set to release on August 1st, published by Holiday House Books.

I am also working on two new projects. One is another paper craft book with Odd Dot titled Building Block Books: My First Town. This book is a take on the classic children’s building blocks where young builders will punch out, build, and stack a 3D city of their own. I am also working on a hybrid picture book/graphic novel with Hippo Park currently titled On The Air With Dr. Doodle Bug.

RVC: Alright, Merrill. It’s time for the SPEED ROUND. Zippy questions and zappy answers, please. Are you ready?

MR: YES!

RVC: If you were a superhero, what would the superpower you’d tell everyone you’d want?

MR: To be able to fly! But let’s be real, as I get older, I don’t know if I could handle the extreme heights. 😉

RVC: What would be the ACTUAL superpower you’d wish to have?

MR: I always wanted to be a Ninja Turtle when I was growing up!

RVC: Five things you can’t do your job without?

MR: A pen, good music, color, my creativity, and of course my hands!

RVC: Most opinionated pet—a very hungry toad, or a crabby hermit crabs?

MR: Hermit Crab… my son has a bad habit of not giving his crab water frequently enough, and just the other night, the crab literally took his drinking sponge and threw it across the cage to get his attention!

RVC: A kidlit illustrator who doesn’t get as much attention as they deserve?

MR: Gosh… this is a good question as there is so much good art being created out there today that it’s hard to see all of it! But if I take a step back in time, I collect classic Little Golden Books…and there is a time where a lot of these books didn’t credit the illustrator but the art is fantastic!

RVC: Your paper engineering philosophy in five words or less?

MR: Anything can become a reality!

RVC: The best thing a child ever said about something you created?

MR: If I could only remember every comment made! But if I had to pick one, or maybe two, I think it’s my kids quotes shown in the picture above. The two of them are a big part of why I do what I do and the explanation for that I’ll save for another interview!

RVC: Thanks so much, Merrill!

MR: Thanks so much for having me, Ryan!

Author Interview: Darshana Khiani

On April 10, 2023April 10, 2023 By Only Picture BooksIn Author Interviews2 Comments

This month’s interview is with Darshana Khiani, a San Francisco Bay area author, engineer, and advocate for South Asian children’s literature. In her own words, she’s “infinitely curious about the world and enjoys sharing my findings with young readers. If I can make a child laugh, even better.”

Darshana has authored a picture book, How to Wear a Sari, and she has two more coming out in 2023. She’s also a South Asian kidlit advocate, helping to spread the word of wonderful new South Asian kidlit books.

In addition to being a wife and a mom to two girls and one dog, she’s also created a wonderful list of Favorite Firsts.

Favorite first friend: Sigrid
Favorite first color: lavender
Favorite first food: pizza and pav bhaji (kind of like a vegetarian sloppy joe)
Favorite first book: Richard Scarry. I still love What Do People Do All Day.
Favorite first subject in school: Math (ironically English was my worst…but I loved creative writing!)
Favorite first song: The Tide is High by Blondie
Favorite first trip: Kenya

What a list, right? Let’s find out even more about Darshana with this interview!

RVC: Fewer than half of the authors I interview are full-time writers. Where does writing fit into your typical workday?

DK: I am a full-time engineer working in high-tech with a family and a dog. So, writing takes places early in the mornings or late at night or anywhere in-between I can find time.

RVC: How has that relationship changed over the years?

DK: I adjust my writing times around my other responsibilities. When I first started, I would take my writing bag to my kids’ practices or write late at night. Now, I tend to write first thing in the morning and on weekends, sometimes during lunch.

RVC: At what point in your life did you first consider yourself to be a writer?

DK: Probably a few years in.

RVC: You ran a blog about children’s books for a long time before you got your own debut picture book published. How did that work inform or help your own writing?

DK: The blog, Flowering Minds, was a great way for me to talk about and recommend books which I love to do. I knew that writers had to read voraciously, so why not be a resource and give recommendations along the way? By reading a lot, it helped me focus on writing stories that hadn’t been done before.

RVC: You’re a champion of South Asian kidlit. What’s the latest report on the state of that as of today?

DK: Thank you for asking. I am floored by the number of books coming out every season by South Asian creators. When I started compiling the lists back in 2016, there were less than 5 South Asian picture books those first two years. Now there are at least 5 picture books a season!

In novels, there is such a variety of books from contemporary, historical fiction, fantasy, mystery, and rom-com. Now all we need is some suspense and horror 😉 and older non-fiction.

RVC: Your debut picture book is a wonderful addition to the world of South Asian kidlit. What’s the story behind How to Wear a Sari?

DK: When I started writing picture books, I wanted to write books for second-generation South Asians like my two daughters. Books that centered their lives in this country. Books that had universal themes about growing up with a South Asian backdrop and a touch of humor.

In the summer of 2016, I was studying 2nd-person POV picture books for a different writing project. I love the elegance and sophistication of saris. However, I’m not the best at wearing them. It can take me upwards of 45 minutes to drape one. I started wondering if it’s this hard for me to wear a sari then what would it be like for a young Indian girl. That was the seed for How to Wear a Sari. A sari can be stylish, sophisticated, a symbol of womanhood in South Asian culture much like wearing high-heels or a long fancy gown is in Western culture.

RVC: Why is the sari so important to South Asian culture?

DK: There are so many varieties of materials, designs, and draping styles. Much of it is unique to the region where the sari was made. It is an expression of identity. Saris span the range from simple cotton ones worn every day while tending house to fancy, elaborate ones for special occasions.

RVC: Back to your book! How to Wear a Sari has an especially resonant ending. At what stage in the drafting process did that emerge?

DK: I knew from the beginning that she was going to run and fall, and that was the original ending. Over the revision process, the fall scene became the climax, and the ending became the spread about getting in trouble with mom. But that left the story on an emotional down note, so I brainstormed possible endings. I came up with the photo album of flops to honor the challenges and spills kids and even adults have when trying new things. I loved it since it felt fresh and brought in another layer to the story.

RVC: As a writer, what was the most valuable lesson you took from this book?

DK: I love the story voice by using a direct narration approach, however, it is a challenge to get character emotion across. Joanne’s artwork is so expressive and was a perfect match for the text.

RVC: You’ve got another picture book coming out in a few weeks. What’s the elevator pitch?

DK: A classroom full of diverse students discusses what it means to be American. They show that in spite of our varied backgrounds and experiences it is our shared American values that bring us together.

RVC: What are you most proud about regarding I’m an American?

DK: That I was able to capture the vision I had on paper. It’s a book for all ages 8 and up. For younger readers, it might be the first time they hear a particular group’s immigration story, while for older readers they might see an event through a new lens. What I hope above all is that readers will look beyond the differences on the surface and realize our shared humanity.

I love Laura’s stunning artwork with layered images.

RVC: Which of Laura Freeman’s illustrations most knocked your socks off?

DK: Probably the Somali and Russian Jew spreads. There is no way NOT to be moved by them. I do like the joyous spread of the Pride parade, too.

RVC: Now, you’ve got yet another book coming out later in 2023—Building a Dream: How the Boys of Koh Panyee Became Champions. What’s the most important thing people should know or understand about that?

DK: I loved how the boys faced their environmental and societal challenges with perseverance, hope, and ingenuity.

RVC: In what ways does that book showcase your growth as a writer?

DK: Actually, of my three books, this one was written before the other two. The story I’m an American is my most “recent” story. It’s the first story I ever did with layered text, substantial backmatter, lots and lots of research, and an eye on sensitivity the entire time.

RVC: Let’s move to talking about bigger things. Stylistically speaking, how do you describe your writing?

DK: I have no idea. Maybe my readers know. 😉

RVC: Talk a bit about your writing and revision process.

DK: I hate writing first drafts. I have a really strong left-brain editor, probably because I’m an engineer, so those first drafts feel near impossible. However, I do love revising except when I have to take a polished story and break it into pieces and start all over–that may actually be harder than writing a first draft. One of my favorite parts of revising is collecting peer feedback and then copying down the notes with different colored pens into various categories and then methodically making the revisions that resonate.

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

DK: I don’t know if there is a specific thing that didn’t work out. The writing journey is a windy one with ups & downs and twists & turns. But I believe everything happens the way it’s supposed to. I did think my writing career would be progressing a little faster. When I started back in 2011, I had no idea it would take seven years before I got my first book deal.

RVC: Since COVID-19, I try to ask a health and wellness question during each interview. Here’s yours. What do you do to de-stress?

DK: Eat dark chocolate, go for a walk, talk to my sister, or watch a pick-me-up TV show (nothing too serious).

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

DK: I run a South Asian kidlit quarterly newsletter. I feature the upcoming season’s South Asian kidlit books, picture books through young adult. I have been doing this for nearly eight years. It is wonderful to see the quantity and diversity of stories coming out. Folks can check-out my South Asian kidlit page to see past lists.

RVC: Alrighty, Darshana. Let’s leap into the LIGHTNING ROUND. The point values are quintupled but we’ve only got sixty seconds. Are you ready?

DK: Fire away!

RVC: What’s the funniest word in the English language?

DK: ugh (no, that’s not the word, my mind is a blank)… hmmm… hullabaloo

RVC: If you could travel back in time, what year would you choose to go to?

DK: Victorian Era.

RVC: Would you rather have a personal chef, a maid, or a masseuse?

DK: You mean I can’t have all there?!?! Okay, a chef since I enjoy eating but not cooking.

RVC: Which author sets the standard for South Asian kidlit?

DK: There are so many talented authors and illustrators that are pushing the boundaries and carving new paths in different ways. The South Asian community is a diaspora spread around the world with varying degrees of commonality and nuanced experiences amongst the sub-groups.

Here are some of the creators I enjoy.

Hari & Deepti’s light box art. Intricate and ethereal! They have done a picture book as well as book covers.

Mitali Perkins, Sabaa Tahir, Samira Ahmed, Rina Singh, Padma Venkatraman, and Rajani LaRocca.

RVC: What’s the best picture book you’ve read in 2022 that deserves a lot more love than it’s gotten?

DK: I recently read The Box by Isabella Paglia and Paolo Proietti and translated by Laura Watkinson. This book was first published Italy and released in English in the U.S. in Jan 2020. I only heard about it recently. It’s sweet and heart-warming and is all about helping a newcomer and meeting that person where they are and patience.

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

DK: Follow your curiosity!

RVC: Love it. Thanks so much, Darshana!

Author/Illustrator Interview: Bonnie Kelso

On March 13, 2023March 13, 2023 By Only Picture BooksIn Author Interviews, Illustrator Interviews10 Comments

This month’s Author/Illustrator Interview is with Bonnie Kelso. I already know her because she’s coauthored picture book reviews right here at OPB, and we’re currently in a picture book PR group together.

A self-proclaimed “seeker of truth and cuteness,” Bonnie serves as the SCBWI Nevada Illustrator Coördinator and has authored several picture, activity, and coloring books, including an April 2023 picture book release, Nudi Gill: Poison Powerhouse of the Sea.

Bonnie’s an avid outdoors enthusiast and can often be found wandering about the desert with her family in Las Vegas, NV. She also says she’s traveled around the world twice!

That’s it–I can’t wait. I need to find out more about Bonnie right now. Let’s get to the interview.

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

BK: Wow, Ryan! That’s a loaded first question!

RVC: Absolutely. Loaded like the best type of baked potato!

BK: Okay, getting introspective here…

My parents always encouraged me to choose work that was fun. They knew that success is measured by how excited you are to wake up every day to do your thing. When the joy is gone, you’re not doing anyone any favors by trudging along. That’s when it’s time to pivot.

RVC: Great start. Now, what was that childhood moment that in retrospect was the AHA moment that led to your kidlit career?

BK: I always loved to draw and write stories. I used to make little drawings and sell them to my parents. I even started selling them on the school bus. Here’s a sample of one of my early art sales.

RVC: WOOF! You earned a BFA in Fine Art at the Rhode Island School of Design. What was the plan with that degree?

BK: Haha! Is there ever a plan with a degree in Art?

RVC: One hopes!

BK: I think the plan was to figure out a way to make a living doing something I loved to do. Somehow, I’ve managed to do that, but I’ve definitely learned how to live on a budget. Luckily, I’ve always valued creative time over fancy things.

RVC: Your press kit bio says you’re a “former museum exhibit designer turned children’s book author and illustrator.” How did that happen?

BK: So, my first job out of art school was packing staples in a factory. I don’t recommend it. A lot of my co-workers developed carpal tunnel syndrome pretty quickly. I couldn’t let that happen to me, because I needed dexterity to draw and paint. My dad had a friend who worked at an exhibit design company in Lorton, Virginia. I met with the Design Director, and he decided to give me a chance as a paid intern. I loved that job! I ended up working in exhibits for 12 years. I even became the Design Director.

But then, something shifted in me. I felt like I wasn’t living enough. I wanted to travel and experience more of the world. So, I sold my condo and used the proceeds to start traveling. I went around the world twice, backpacking and taking adventure-style tours. I’ve been to 40 countries!

RVC: Consider me impressed.

BK: After that, I landed in Las Vegas where my parents live and started a family. Being a mom reminded me of my childhood dream to write and illustrate books for children. In 2017, I started pursuing it seriously, joined SCBWI, and voila! That’s kind of how I’ve always approached my life journey. I ask myself, what do I want to experience next? Then I figure out how to make it happen.

RVC: If it works, it works.

BK: You bet.

RVC: Your first author/illustrator picture book is Nudi Gill. What’s the story behind that story?

BK: The story behind Nudi Gill begins with my fascination with the ocean and everything in it. I remember growing up in Florida and combing the beach with my grandmother for “critters.” I was, and still am, fascinated with strange animal body shapes and behaviors. The first time I encountered a nudibranch was on a dive in New Zealand. It was love at first sight. The sea slug was bright blue with yellow stripes, just like Gill. Something in my heart reacts to these fierce little creatures. They are so small and live in such an enormous and sometimes hostile environment, yet they somehow find a way to thrive. I think a lot of kids can relate to that.

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

BK: It taught me that you have to make stories about what you care about. Pick subjects that you feel passionate about and really understand why you feel the way you do about them.

RVC: For this book, you’re working with a small publisher—Gnome Road Publishing. What’s the experience been like?

BK: Amazing. GRP gives each of their titles equal attention. The brain and heart behind the gnomes is Sandra Sutter. She is one smart cookie. I’ve learned so much about the industry from her. I highly recommend that writers and illustrators submit their work to GRP if they get the chance.

RVC: For those who are intrigued by the Sandra Sutter shout-out, I’ll add this: she describes herself as “a mom, crazy cat lady, and a fan of kind people.” She sounds delightful! But back to you, Bonnie. Describe your process for creating a book where you’re both author and illustrator.

BK: I usually start with a character sketch. I play around with some story ideas. Once I find a good hook, I might blurt out a first draft. This usually comes to me fast and furiously. Then, I tuck it away for a while. I have a lot of shelved stories. The one that keeps popping into my head over and over is the one I take to the next level. I run it by my critique groups until I feel like it’s ready for the next exciting phase: the down and dirty dummy. Then, the real work starts as I mold a pile of scraps and scribbles into something that resembles a presentable book idea. If it sells, that’s awesome! Now I get to fine tune it, bring it to life with full renderings, and send it off to print. Letting go at that point is both satisfying and terrifying.

RVC: How does that process differ from an illustrator-only role, as you have with the forthcoming picture book by Heather Kinser, In a Cave?

BK: Oh, yes, In a Cave. I feel dreamy just thinking about it. I’m so lucky that I got to have the experience of illustrating a manuscript that I adore about a topic that I love. When I read Heather’s words, I could see pictures right away in my mind. I was pulling from all the caves I’ve been to before, snatching details from each. I think when the writing is that good, the illustration comes very naturally.

RVC: How do your art skills inform your writing?

BK: When I’m writing, I’m always thinking, “Can I draw this?”

RVC: How do your writing skills inform your art?

BK: When I’m drawing, I’m always thinking, “What is this story really about?”

RVC: You’re a teaching artist on the Nevada Arts Council Roster for Schools and Communities. What do you like most about teaching art to children?

BK: My favorite thing about teaching art to children is helping them see the beauty in whatever they create. I do this with my adult students, too. I think a lot of people stop drawing because they are dissatisfied with their end product. I try to show them that the real joy is in the process of creating.

RVC: You’re also deeply involved with SCBWI. How has that organization helped you get to where you are today?

BK: Yes, I’m the Illustrator Coördinator of the Nevada region. SCBWI connected me with the kidlit community when I was wanting to be something I wasn’t yet. They really showed me a pathway to publishing through workshops, critique groups, and other resources. I think winning the Karen Cushman Award in 2021 also helped me get some extra attention from agents.

RVC: Congrats on that! What else has been especially helpful in terms of your kidlit career path?

BK: Great follow-up question! I was just about to add that Mindy Alyse Weiss is who I credit for finding my agent. Her #PBParty event is spectacular and has led so many people to publishing success. Thank you, Mindy!

I also want to thank all of my wonderful critique partners. If you don’t have a critique group, you’re shooting yourself in the foot.

RVC: Amen to that! Who or what has most influenced you as a creative?

BK: Mother Nature. I could list a whole bunch of people, too, but MN is always way up there above the rest.

RVC: In 2017, you self-published I Am Shaylee Seakin: Speaking My Truth. What advice do you have for those who are considering self-publishing?

BK: I love the freedom of the self-publishing world. My self-published work is usually stuff that doesn’t fall into a specific trade genre.

Shaylee is actually an activity book. I’ve also self-published several coloring books and workbooks. I plan to self-publish more books that aren’t well suited to the trade or educational market. Luckily, my agent is cool with that. I do it because I know there is someone out there who needs to hear what I’m saying. I’m not in it for the money, but rather for the sharing of creative ideas. If you want to be successful financially as an indie publisher, you have to run it like a business and really market yourself.

RVC: Any tips on how to self-publish better/more effectively?

BK: Darcy Pattison runs a great class on self-publishing that I highly recommend.

RVC: How much did having a self-published book help you land an agent?

BK: I don’t think it helped me land an agent at all. I don’t believe that it hurt my chances either. Most agents are not even aware of anything in the self-publishing realm. They will most likely be assessing your work through your current submissions to them, not from your list of previously self-published work.

RVC: Did you talk about your self-published work when you were submitting?

BK: No, I never mentioned my self-published work when querying.

RVC: You’re now repped by Liz Nealon at Great Dog Literary. What’s the single best thing about Liz?

BK: There is no single thing. Everything about the LIZ is incredible. She is smart, savvy, honest, caring, experienced, and a genuinely kind person.

RVC: What would Liz say is the single best thing about you?

BK: I listen.

RVC: What are the odds that you can get Liz to do an Industry Insider with OPB in 2023?

BK: I can ask her. She really does love to be helpful to the kidlit community.

RVC: Yippy skippy! Now, how involved is your family in your kidlit career? Are they beta readers, idea generators, feed-the-tortoiseshell-cat-helpers-so-you-can-work people?

BK: Yes, yes, and yes. It’s definitely a plus to be in proximity to young people on a regular basis when creating kidlit. The tortoiseshell cat on the other hand, does not help at all. I especially do not appreciate her fondness for chewing on expensive electrical cords.

RVC: Cats do that–confirmed. One final question for this part of the interview. Beyond the second Gnome Road picture book that comes out in 2024 (Sea Smiles), what’s next for you? What else are you working on?

BK: I’ve got a few things on submission right now through Great Dog Lit. We’re also developing a new STEM graphic novel series that I think will be so much fun to work on. I’m also working on a side project related to Nudi Gill that will probably hit Kickstarter this summer.

RVC: Good luck with that, Bonnie. But now it’s time for the much ballyhooed and never equaled LIGHTNING ROUND. Zingy zappy questions and powerful pithy answers, please. Are you ready?

BK: Let’s goooooooo!

RVC: If you could only have one app on your phone, it’d be…

BK: Alien Shooter. It has saved my kids from total meltdowns at the doctor’s office numerous times.

RVC: Which animal would be cutest if it were scaled down to the size of a hamster?

BK: Hard to choose, but I think I’ll go with sloth.

No…

Panda?

Nope.

Koala!

Final answer.

RVC: Favorite Crayola color? (Bonus points if it doesn’t currently exist!)

BK: Tortoiseshell.

RVC: Since you’ve traveled the entire world twice, what’s the most inspirational, creativity-inducing place?

BK: The Pacific Ocean.

RVC: Who sets the standard for the type of author/illustrator books you want to create?

BK: Ashley Spires.

RVC: What’s the best thing a child ever said to you about your art?

BK: “I wish could eat that.”

RVC: Bonnie, this was a hoot. Thanks so much!

Author Interview: Kirsten Larson

On February 13, 2023February 12, 2023 By Only Picture BooksIn Author Interviews5 Comments

This month’s Author Interview is with Kirsten Larson, a Los Angeles writer who “writes books for curious kids.” Not only has she published a number of fine nonfiction picture books, but she’s also created a middle grade graphic nonfiction book and more than two dozen books for the school and library market.

In addition to all of her writing, Kirsten teaches at The Writing Barn and serves as a “nonfiction and query corner ‘elf’” for Julie Hedlund’s popular 12x12 Picture Book Writing Challenge. Kirsten’s also the proud owner of a house “filled with LEGOs, laughter, and lots of books.”

Let’s find out more about how Kirsten does all of this!

RVC: It’s strange to think how many interviews I’ve done for this blog with current and former rocket scientists, and you’re in the club, too. There’s probably a STEM joke in there somewhere…

KL: Actually, I’m not a rocket scientist, but I worked WITH rocket scientists at NASA.

RVC: For the purpose of jokemaking, I think that totally counts! But for factual reasons, what did you actually do there?

KL: I handled public relations for NASA’s Space Shuttle and International Space Station programs, as well as their aeronautics programs. It was great training for science storytelling through print, video, and photography as well as for working with news media.

RVC: What’s the most common misconception people have about rocket scientists?

KL: I think many people have a very Big Bang Theory/Sheldon Cooper perception of rocket scientists, as in they are so smart they don’t have a sense of humor or are almost robots. But most rocket scientists I’ve met are pretty regular people often with great senses of humor and a myriad of interests.

RVC: Now here’s the Saturn V‑sized question we’re all dying to know—how did yet another former NASA person begin writing picture books?

KL: My kids loved nonfiction books when they were little. At the public library, they’d pull books off the shelves about space, weather. Anything, really. As I read the books with them, I began to think I could probably write them, and would love an excuse to become a mini expert in all kinds of different topics.

RVC: Let’s talk about you the writer. What aspect of your writing life gives away where you’re from and how you were raised?

KL: I write about a lot of different things–art, history, science, engineering. My parents really encouraged a love of learning. My mom was a schoolteacher with shelves of picture books we all read together. And my parents had other shelves packed with mystery novels, poetry, Shakespeare, Russian literature, you name it. And then there was my grandmother with her full set of encyclopedias. I was encouraged to read whatever I wanted. There weren’t any limits. And I read everything.

RVC: Who are some of your kidlit world heroes?

KL: I’m a big fan of Melissa Stewart. She has some of the best classroom resources around for teachers working with students on informational writing. And Melissa is such a champion of nonfiction for kids in general, which can get short shrift by teachers and librarians who often prefer fiction. I just read Melissa’s Tree Hole Homes–illustrated by Amy Hevron–which is excellent.

RVC: Let’s zero in on YOUR books. What’s the story behind your first published picture book?

KL: My first picture book was Wood, Wire, Wings: Emma Lilian Todd Invents an Airplane, which is illustrated by Tracy Subisak (Calkins Creek). I learned about Lilian Todd through an illustration in the bestselling book Rosie Revere, Engineer by Andrea Beaty, illustrated by David Roberts. I have lived and worked around airplanes my whole life and had never heard of her! I made it my mission to make sure the world knew about her.

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

KL: Writing is a lot like engineering. You write a draft. That’s your prototype. But then you test it with your critique group and tweak it to improve it. And failure is always part of the process. You have to persist.

RVC: What part of that book are you most proud of?

KL: I really learned how to write on that book, thanks to my editor, Carolyn Yoder. It took me a long time to figure out how to write emotionally resonant scenes, as well as the structure, which follows the engineering design process.

RVC: Please put the following in order.

I wrote my first picture book.
I got an agent.
I started writing for the education market.
I became a writing coach.
I did a glorious interview with the much beloved picture-book blog, Only Picture Books.

KL:

I wrote my first picture book.
I started writing for the education market.
I got an agent.
I became a writing coach.
I did a glorious interview with the much-beloved picture-book blog, Only Picture Books (which is obviously the pinnacle of my career! )

RVC: Love it! Now, in retrospect, would you have done it differently if you could’ve changed the order?

KL: You mean, besides speeding up the whole process from writing my first picture book to getting an agent, which took four years? Just kidding. I’m pretty happy with the way things went.

RVC: How did getting an agent affect your writing career?

KL: I think it’s really tough to work without an agent in today’s market. Fewer and fewer publishers take unsolicited submissions. So, aside from being able to sell work, working with Lara (Perkins of Andrea Brown Literary Agency) has made me a better writer for sure.

RVC: What’s Lara’s agenting superpower?

KL: She’s the right type of editorial agent for me, always asking the right questions or helping me brainstorm, so I can create the books I envision. And she’s great at encouraging me not to give up when I take on hard things and then try to backtrack.

RVC: What would Lara say is your writing superpower?

KL: My superpower is a willingness to completely reimagine manuscripts. We’re talking complete restructuring of a picture book or accepting a challenge to turn a picture book into a graphic novel script. On the latest picture book I’m working on, I tossed out everything but the title. And I’ve done that several times with this particular book.

RVC: I notice that you enjoy using alliteration, even though you’re primarily writing nonfiction picture books vs, say, humorous poetry or read-a-loud fiction.

KL: I learned a lot about writing lyrically from Renee LaTulippe of the Lyrical Language Lab. You can punch up any prose with poetic techniques, making it more musical and fun to read.

RVC: What’s your best tip for creating effective alliteration?

KL: My alliteration secret weapon is the Thesaurus.com. Maybe I’ve written that the bee is flying. I can look up synonyms for fly and come up with “the bee buzzes,” for example. My other biggest tip is not to overdo the alliteration, or you might find your reader tripping over the words.

RVC: You write a lot of picture book nonfiction, and not just for the educational market. Why are you so drawn to those?

KL: As you know, picture books take a LONG time, even before you sell them to a publisher. It’s so important to pick stories you are passionate about and don’t mind coming back to over and over again in revision. I have more stamina when it comes to writing nonfiction. I care more deeply about sharing those stories, and I feel more invested in getting them right.

RVC: You’ve got a new picture book coming out this month—The Fire of Stars: The Life and Brilliance of the Woman Who Discovered What Stars Are Made Of. What’s the elevator pitch?

KL: Astronomer and astrophysicist Cecilia Payne was the first person to discover what burns at the heart of stars. This lyrical picture book biography powerfully parallels the kindling of Cecilia Payne’s own curiosity and her scientific career with the process of a star’s birth, from mere possibility in an expanse of space to an eventual, breathtaking explosion of light.

RVC: Picture books in general, but nonfiction ones in specifics, are all about trimming, trimming, trimming, even though the initial material is often so darn great (and often 5x the length of any sensible picture book). Given that sobering editorial reality, what terrific thing didn’t make it into the final iteration of the new book?

KL: Um, Cecilia Payne’s entire career? The book ends with Cecilia’s discovery that stars are mostly hydrogen and helium. She was 25, and it was her dissertation. She wasn’t even employed as an astronomer yet! But Cecilia’s pursuit of the thrill of discovery was what the book was about. So I had to move so much to the timeline in the back matter, including all her work as an astronomer at Harvard where she eventually became the first woman to serve as head of the Astronomy Department (in 1956, 21 years later!)

RVC: I rarely ask people questions about writing coaching, so I’m going to remedy that right now. What made you choose to become a writing coach?

KL: Even before I began to teach nonfiction writing, people would ask if I did manuscript critiques, but I always declined. Finally, I decided the universe was trying to tell me something, and maybe I did have something to offer my fellow writers. I take a very collaborative approach, trying to help writers achieve their vision for the story and tuning into why the story is so important for them to tell.

RVC: In all of your experience as a writing coach, what has surprised you the most?

KL: I’m always surprised at how it’s far easier to help clients diagnose and fix their manuscripts, but so difficult to see my own work clearly. When your heart is on the page, it’s tough to take a step back and look at the work objectively and ask if it’s achieving what you want it to achieve.

RVC: What’s the best advice you’d give to someone considering hiring a writing coach to help them break into the picture book marketplace?

KL: First, I would say that most of the time, you don’t need to pay a book coach or editor before submitting your picture book to agents or editors. Most people don’t. I think coaches can be helpful when you’ve exhausted your resources, like your critique partners for example, and you are stuck and need a fresh set of eyes. But people also need to remember, hiring a coach isn’t magic. Getting a book published is part luck and timing too, not just great writing. If I knew exactly what would sell at any point in time, I’d have dozens of books under contract.

RVC: One final question for this part of the interview, Kirsten. It’s brag time! What projects do you have on the NASA launch pad beyond The Fire of Stars?

KL: I have two upcoming projects that I’m able to share. I have the graphic novel The Light of Resistance, illustrated by Barbara McClintock (Roaring Brook), the true story of Rose Valland, a French curator turned spy who saved countless precious art works from the Nazis. My next picture book is This Is How You Know, illustrated by Cornelia Li (Little, Brown), a lyrical love letter to science.

RVC: Alrighty! It’s now time for the NASA-rocketship-fast SPEED ROUND. Let’s begin with an old black-and-white science fiction film countdown to create some delicious drama.

THREE…

TWO…

ONE…

BLAST OFF!!!!

RVC: If you could only have one app on your phone, it’d be…

KL: Oh, geez. I’ll go with Libby, the library app. I was never a big ebook reader before March 2020. But when libraries shut down, Libby was the only way I could get new books at first. And I learned I loved eBooks (for reading novels, not picture books). I put books on hold and can check them out as they become available or ask the library to come back to me if I’m not ready yet. And I don’t lose my place in line. Plus, how handy is it to have a book in your back pocket or purse at all times for those moments you’re stuck in a long check-out line?

RVC: What animal or plant should be renamed?

KL: Naked mole rats are neither moles nor rats. Who came up with this name? Interestingly, they are the only eusocial mammals, operating much like honeybees do in their hive.

The naked mole rat shall henceforth be known as HivePup. These guys totally deserve some love.

RVC: If you had a NASA rocket that you wanted to hide, where would you stash it?

KL: Definitely in the back of a giant refrigerator. Based on my experiences with my family, no one would ever move things around and find it. (They tease me that my response to all their “Where is?” questions is, “You have to move some things around.”)

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

KL: Coffee. Books–and not just for research. I am a big advocate for using books in your category and genre as mentor texts. The internet–I am always amazed at the things I can now get online that I had to read on microfiche 20 years ago. My Macbook–I cannot write on a phone or iPad. Journal–I’m a visual writer, and I often thumbnail out the structure of books spread by spread, especially when revising.

RVC: Who sets the standard for writing STEM picture books?

KL: Rather than pointing out someone who sets the standard, I want to point out the diversity in STEM storytelling these days, which is so amazing. We are really in a golden age of STEM books. You have STEM books showcasing neurodiversity (like Jen Malia’s Too Sticky!) and cultural traditions (like Rajani LaRocca’s Bracelets for Bina’s Brothers). Funny books like Sue Heavenrich’s 13 Ways to Eat a Fly. And lovely, lyrical books like Be a Tree by Maria Gianferrari. There is truly something for everyone.

RVC: What’s the best compliment a child ever gave your writing?

KL: One of my favorite thank you notes had this riddle: “What do you call a great book? WOOD, WIRE, WINGS!” Kids are so clever.

RVC: Thanks so much, Kirsten!

Author Interview: Matt Forrest Esenwine

On January 9, 2023January 9, 2023 By Only Picture BooksIn Author Interviews

Welcome to Matt Forrest Esenwine, the first Author Interview of 2023! Wahoo!

Last year, I joined PB22 Peekaboo, a picture-book promotion group of which Matt was a member (along with a few dozen other fine writers). It was impossible NOT to notice how hard Matt was working and how much it was paying off in terms of publishing and PR successes. At one point, I made a mental note to find out more about that, and today’s the day to make it happen!

Matt’s work has appeared in various poetry anthologies by Lee Bennett Hopkins, J. Patrick Lewis, and others, though he’s also published a range of his own picture books including the OPB-approved I Am Today, which came out in March 2022. He’s got more on tap for 2023 and beyond, so we’ll learn about that right here, too.

Now, without more ado, let’s find out more about Matt’s secret to success!

RVC: First and most important question—how often do people misspell your name? As someone with an (apparently) easily misspellable name myself, I’m unduly aware of potential spelling disasters, and your double r (Forrest) and single s (Esenwine) seem fraught with linguistic peril.

MFE: Linguistic Peril is actually the name of the new thrash metal group I’m forming, so thanks for the plug.

RVC: Happy to help. Rock and roll, baby!

MFE: As for people misspelling my name, the answer is: googol. And no, I don’t mean to look the answer up online. I’m talking about the mathematical googol (which, ironically, you’ll likely end up looking up online). Ten to the 100^th power–that’s how often my name gets mangled. Over the years, both my father and I have seen just about every permutation possible, from Essenwein (the original Bavarian spelling) to Eisenstein to Entwhistle. I wish I were joking, but I’m not.

In fact, the most ridiculous spelling came from the State of New Hampshire when my father, Forrest Esenwine, was a selectman in our town. Someone at the state must have seen his name written in cursive and mistook the “w” for a “ur” and mailed out an envelope addressed to Selectman Forrest Esenurine. Way to go, New Hampshire.

RVC: [Making mental checkmark against the previously-believed-to-be-awesome-state-of-New-Hampshire.] At least your name is more prone to spelling problems than speaking. Is that fair? Mine gets mangled both in spelling and how people pronounce it.

MFE: Well, like I said, whether it’s spelling or pronunciation, people still get confused. I mean, it seems pretty straightforward to me; it’s pronounced exactly the way it looks. “ESS-enn-wine.” But people invariably put an “i” after the “e” and say Eisenwine. At least they don’t do the “i before e” thing, because that would just be weird. I’m sure someone will one day, though.

By the way, if you happen to email me, be sure to spell my middle name correctly. My address is matt(at) mattforrest(dot)com, but if you only use one “r” it will end up in the inbox of Matt Forest, councilman for Ashford Borough in England–and a couple of days later he’ll forward it to me. We’ve known each other for nearly 20 years all because people forget the second “r.”

RVC: That British councilman should write picture books too just to confuse things! Now, let’s get back to the regularly scheduled interview. Prior to becoming a children’s book writer, you worked in radio. How did you find your way into that field?

MFE: I walked through the studio door once the “on-air” light was off, and the DJs couldn’t get rid of me. After graduating from high school, I went to Castleton State College [now Castleton University] in Vermont for a Mass Media Communications degree and got a job working part-time in Concord, NH my first summer there. I always loved radio, having grown up listening to my father’s vinyl records of old-time radio programs like Fibber McGee & Molly and Lux Radio Theatre. I was also quite the geek in school (oh, who are we kidding–I was a geek ²⁴⁄₇), and I’d write humorous skits and record them–voices, sound effects, and all–onto my dad’s Panasonic cassette recorder. I was also in the drama club, so I think talking to people and telling stories was something that just came naturally to me.

You know how nervous kids get when they have to speak in front of the class? Not this guy.

RVC: What was the most rewarding part of it?

MFE: Free T‑shirts and CDs by artists no one has heard of. Seriously, I had a bunch of ’em!

RVC: Free swag is the best.

MFE: But as much as I enjoyed talking on the air and interacting with listeners–as well as emceeing club events and concerts–I really loved writing and producing commercials and comedy bits. With multi-track production, I could add as many voices, sound effects, and whatnot as I needed to make whatever I was producing sound exactly how I wanted it.

RVC: Why did you shift your creative focus into the writing for children?

MFE: Because as much as I loved radio, radio did not love me. It was back in 2012 when I did the math and realized that if you subtracted daycare and commuting gas from my paycheck, I was netting $150 a month. Here I was, the production director of an 8‑station radio group, an on-air personality with a college degree, and a wall of awards my department had received–and I was making $36,000 a year. So, I decided to be a stay-at-home dad and work on my voiceover business, and at the same time investigate the possibility of a children’s writing career.

I’d been writing poetry since I was kid and had several adult-oriented poems published in various anthologies, and over the years had collected several children’s poems I didn’t know what to do with–so I figured children’s lit might be a worthwhile pursuit. My poetry writing style always seemed like it skewed to a younger audience, anyway. Modern academia loves poems that are obtuse and confounding, and that just wasn’t me. Writing for upper-elementary level feels like a perfect fit.

RVC: Which skills from your radio experiences translated best into this new career path?

MFE: Short-form writing! All my life I’d been writing short, tight little stories–from the skits I was recording on my dad’s cassette recorder to my poems to literally thousands of radio commercials where word economy is paramount. Transitioning to children’s lit was not that much of a stretch! Granted, we’re talking about a different style, age group, and other aspects that don’t translate from radio, but I never have a problem getting my word count down–if anything, once I’m done a picture book rough draft I usually have to figure out how to add words.

RVC: What books proved especially influential to you as you embarked on the writing career?

MFE: All the books I got my hands on. Really, the best education is to read, read, read and see what’s out there and learn how others are doing it. By reading children’s books, I not only learned the market but I also learned what others were doing and how they were doing it. It’s that old expression, “if you want to get better at something, surround yourself with people who are better than you.” That’s what I did! I created a blog to showcase my writing, I tried to connect with as many authors and poets as I could, and just tried to immerse myself in the industry–the creative side as well as the business side.

RVC: Great advice.

MFE: For the record, I like the creative side better. They have cookies.

RVC: If by “cookies” you mean “vanilla meringue cookies,” then you’re absolutely correct! Deliciously so, in fact. Now, your first published piece of children’s lit wasn’t a book, but instead was…

MFE: A poem titled “Apple-Stealing,” which was published on the now-defunct Young Adult Review Network (YARN) website, which the amazingly talented Kip Wilson used to help oversee. YARN loved the poem so much, they nominated it for a Pushcart Prize, which still makes me proud.

The first paid poem for which I signed a contract was “First Tooth,” which appeared in Lee Bennett Hopkins’ Lullaby & Kisses Sweet (Abrams Appleseed), published in March 2015. However, my first published paid poem actually appeared one week earlier, in Carol-Ann Hoyte’s anthology Dear Tomato: An International Crop of Food & Agriculture Poems.

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

MFE: It’s one of those I‑don’t‑know-where-this-idea-came-from-or-what-it-is-but‑I’m‑just-going-to-keep-writing-and-see-where-it-goes kind of thing. Driving home late at night from an SCBWI Meet-Up in Westford, MA, the words, “flashlight opens up the night” popped into my head. I rolled them around and wondered what I could do with them, and by the time I got home I had a few lines I hastily wrote down before going to bed. The rest of the week, I worked on it, thinking it was a poem–since poetry was all I’d written at that point–but about halfway through, I realized I had a picture book manuscript on my hands.

If you’re interested, I published a blog post detailing the entire life of Flashlight Night–from conception to publication. To a non-author that probably sounds dreadful, but for those in the business, I promise it’s a very eye-opening look at how a picture book comes together.

RVC: Thanks for that link! FYI to readers–I’ve covered Flashlight Night before in OPB when I interviewed Fred. What was your favorite part of working with him?

MFE: I actually remember reading that interview a couple of years ago–I had no idea that was your blog! Great interview, Ryan.

RVC: Aw, shucks! It’s easy to do great interviews when you have a great guest. And Fred’s top shelf. I mean, c’mon! His website is www.ilikefred.com after all. Talk about fun!

MFE: As for Fred and I working together, my favorite part was watching his Facebook posts about it. Because that was the extent of our collaboration, other than the back-and-forth he and I would go through separately with our editor, Rebecca Davis. We didn’t really work together at all, which is fairly S.O.P. when it comes to picture books–but Rebecca would occasionally show me what he was doing and ask my opinion (although she obviously had the final say), and a couple of times I had to adjust my text to better represent what Fred was doing with his illustrations.

For example, the original final line was “All was still, within, without…” but with everything Fred had going on with pirates and tigers and bear, oh my, nothing was still at all! So I changed it to “Adventure lingers, stirs about…” and it all worked perfectly.

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

MFE: Patience is a virtue. Actually, I already knew that, but there’s nothing like the publishing industry to bring that point home. Being my first book, I didn’t realize how long it would take! I wrote it in Aug. 2014, Rebecca contacted me in Jan. 2015 to ask about purchasing it, we signed the contract a few months later, and the book didn’t come out until Sept. 2017. Whew!

I also learned how beautiful a book can be when the author’s words and illustrator’s images blend seamlessly, how involved marketing a picture book can be, and what a Kirkus star feels like.

RVC: That was a well-earned Kirkus star. Congrats on that.

MFE: Thanks!

RVC: You’ve published a good bit of poetry, both through your own books as well as edited anthologies. What is the most important thing people should know or understand about writing poetry for children?

MFE: That you don’t need to be the next Shel Silverstein or Jack Prelutsky or Dr. Seuss. (And folks, Dr. Seuss was never a poet–stop calling him that!) Write in your own style, your own voice. Again, READ. There are myriad ways of writing children’s poetry. And lots of it doesn’t even rhyme. That’s ok! Read, write, repeat.

RVC: What’s the most common misconception about poetry for children?

MFE: That it needs to rhyme or be silly. I come across really, really, tremendously horrible poetry more often than my stomach would care to admit, and it’s because people who don’t understand the craft are trying too hard to be something they’re not–or someone they’re not. I’m proud of the fact that esteemed folks like the late poetry cheerleaders Lee Bennett Hopkins and Paul Janeczko both told me how pleasantly surprised they were when they first read some of my poems because they realized I knew the craft, I understood rhyme and meter and such, and wasn’t trying to be funny all the time. Not that there’s anything wrong with funny poetry, you just don’t need to force it, that’s all.

RVC: In all of your experience in writing poetry for children, what has surprised you the most?

MFE: How difficult it’s been to get a collection published! I’ve been part of numerous anthologies, I have two of my own anthologies coming out in the next couple of years, I’ve even collaborated on a poetry collection with a highly-esteemed children’s poet–yet finding a publisher who wants an entire book of my work has been an elusive task, alas.

RVC: How is your process for writing a poem similar to/different than writing a traditional picture book text?

MFE: It’s actually not that different, to be honest–the primary difference being that a poem doesn’t necessarily need a narrative. A picture book, even lyrical ones like the kind I tend to write–need some sort of loose narrative or structure to get the reader from point A to point B. With I Am Today, it starts with a young person thinking about how they want to make a difference in the world and concludes with them being satisfied with their accomplishment. With Once Upon Another Time, we show what the world used to be like before humans made their mark, compare it with the world as it is now, then travel back to when time began and finally work our way up to the present again–which admittedly sounds confusing for a picture book, but Charles Ghigna and I are delicate with our words and transitions, and it works nicely. Conversely, with a poem, I can focus on a scene, and image, a feeling–and not worry about a narrative structure.

RVC: You had a sizable blog tour with I Am Today—congrats on that! What’s your secret to landing guest blog gigs?

MFE: Bribes. Money, cars, penthouse suites–you know, the usual.

I suppose you could also say that I’ve been in the business long enough that I’ve developed a network of wonderful friends and fellow authors/bloggers who are happy to help spread the news about whatever new book I have coming out. But it’s mostly the money and cars.

RVC: [Making mental note to acquire a fleet of Mercedes S‑Class W140s to use as bribes to support my own writing efforts…] What’s the key to making a guest blog a big hit?

MFE: Being a guest on a top-rated blog like Only Picture Books is certainly one way, along with providing compelling content that’s useful or entertaining. And bribes.

RVC: Wait a second…is there a bag of cash or a Mercedes S‑Class W140 en route? WOWZA! While I’m waiting for my goodies to arrive, tell me–what are your favorite tips to creating meaningful PR for picture books?

MFE: Well, I approach picture book marketing like I approach my social media–because the two are intertwined, of course. I’ll share news about my books, reviews, etc., but I also share personal thoughts and funny interactions I have with my kids. No one wants PR, PR, PR all day, every day–people follow you for more than that. I’m just a regular guy and I hope followers recognize that. If you’re looking for insight into publishing or think I have an interesting enough life that you’d like to learn more about me, that’s great! If you’re looking for selfies of me wearing the latest faux-leather leggings that are soooo trending right now–look elsewhere, my friends.

RVC: Who/what are some of you biggest influences when it comes to writing picture books?

MFE: The biggest influence is Dorothy Aldis, the late children’s poet who wrote The Secret Place and Other Poems, among other books. This was the first book of poems I ever read (my parents bought it for me when I was very young) and I had no idea how big an impact it would have on my love of poetry as well as my style of writing. Not that I write like her, but she had a very easygoing, simple way of saying very thoughtful, insightful things. I’ve also been influenced by friends in the industry who have been, whether they know it or not, mentors to me as I’ve journeyed through this new career: Jane Yolen, Charles Ghigna, Nikki Grimes, David Harrison, and others–and of course, the late Lee Bennett Hopkins and Paul Janeczko.

RVC: It’s brag time! What do you have on deck for 2023?

MFE: Well, my picture book, Everybody Counts! (The Little Fig, LLC) just came out on Jan. 1, so I’m excited to celebrate the new year with a new book! It’s very unusual, too, as it teaches the reader how to count to 10 in twelve different languages, from German and French to Arabic and Navajo–and also teaches an ethnic name and food item.

RVC: Congrats on that!

MFE: Later this year (we hope!), I’ll have another picture book, The Thing to Remember about Stargazing (Tilbury House). I say “hope” because it all depends on how soon the illustrator, award-winning Italian artist Sonia Possentini, completes the artwork.

I also hope to have a board book out sometime over the summer and there might be news about a couple of anthologies to which I’ll be contributing!

RVC: Okay, Matt—it’s time for the SPEED ROUND. Are you ready to bring your zip-zappy best? Quick questions and fast answers, please!

MFE: Oh my God, the pressure.

RVC: What’s the funniest word in the English language?

MFE: Tintinnabulation.

RVC: If animals could speak, which would be the most annoying?

MFE: Not sure, but it would likely be one of mine.

RVC: What out-of-date slang do you regularly use?

MFE: Yo!

RVC: What’s the question nobody every asks you but you wish they would?

MFE: “Do you work out?”

RVC: What’s the answer?

MFE: “Nope.”

RVC: Who sets the standard for writing children’s poetry?

MFE: Trick question–no matter whose name I give, one of my poet friends is going to be miffed I didn’t mention them! So, I’ll say Jane Yolen because, well, who’s gonna argue, right?

RVC: In your best Radio Voiceover Guy Voice, tell us your picture book (or children’s poetry) philosophy…in 5 words or fewer.

MFE:

RVC: Consider me impressed. Thanks so much, Matt!

MFE: Thank YOU for the invitation, Ryan! It’s been fun!