Editor Interview: Meredith Mundy (Abrams Appleseed)

Welcome to Meredith Mundy, the Editorial Director at Abrams Appleseed. With a career spanning over two decades, Meredith’s keen eye for quality has helped discover and nurture many talented authors and illustrators. Her work on everything from an alphabet book showcasing Persian foods to a picture book debut (with flaps to lift!) about a very picky panda shows her dedication to uncovering hidden gems and bringing them to a wider audience

Meredith’s dedication goes beyond her role as an editor, as she is known to champion authors with unique vision and talent. Her triumph in giving the green light to projects that are unconventional yet promising showcases her leadership in the field.

To give you a glimpse into Meredith’s personality and passions, here are 7 Fun Facts:

  • Favorite Picture Book Characters from Childhood: Sam, from Sam, Bangs & Moonshine by Evaline Ness, and Lyle from Lyle, Lyle Crocodile by Bernard Waber
  • Current Picture Book Favorites (not from Abrams): School’s First Day of School by Adam Rex and Christian Robinson, Love in the Library by Maggie Tokuda-​Hall and Yas Imamura, A Sick Day for Amos McGee by Philip C. Stead and Erin E. Stead
  • Best Moment in Editing: Every time I’ve helped an author find the perfect title (so much harder than it looks!)
  • Favorite Picture Book Genre: Anything with humor and heart—fiction or nonfiction
  • Motto for Selecting Manuscripts: Is it special enough?
  • Go-​To Bookstore: McNally Jackson Books at South Street Seaport (excellent children’s section)
  • Culinary Talent: I make a mean brunch: artichoke & red pepper quiche + my mom’s Morning Glory Muffin recipe

What a list, right?

Now, without further ado, let’s dive into the interview and uncover more about Meredith and her work in the kidlit industry!


RVC: When did you realize editing was your pathway forward?

MM: My brilliant 6th grade teacher, Mrs. Meyers, allowed each of her students to pick out someone in the community to shadow for an entire day. Some kids shadowed veterinarians, firefighters, train conductors, but I wanted to “meet the person who makes the books,” so she connected me with an editor at a local publisher, and I was hooked! He was so passionate about his work, and the fact that he got to read for much of the day sealed the deal.

RVC: When you were getting your BA in Comparative Literature with a minor in Studio Art at Smith College, what was the intended career outcome?

MM: As improbable as it sounds, I held onto my dream of being “the person who makes the books” from 6th grade all the way through college, serving as a peer writing tutor and library assistant as part of my work-​study arrangement, and taking two years of bookmaking with the intensely talented woodcut artist and sculptor Elliot Offner. In that class we were required to write, illustrate, typeset (lead letter by delicate lead letter, sometimes using tweezers, especially for the skinny lowercase “i”), print, bind, and sell a small print run of books. What an experience it was to create a book from beginning to end like that! I always sort of assumed I would be an editor of adult books, but when I did an informational interview with a Smith alum who adored her job as a children’s book editor and knew of an editorial assistant position, I jumped at the chance, and I haven’t looked back.

RVC: I’ve got to ask. How was your junior year abroad at the Sorbonne?

MM: Fantastique! (Or, as my French pen pal would have written back in the day: “Super-​mega-​top!”) There is nothing more humbling or more eye-​opening than living as a foreigner in a foreign land. In my program, we were not allowed to speak English, so our language skills improved quickly out of sheer survival necessity. It was intimidating to take classes in French, but I loved the novels we read, especially L’amant (The Lover) by Marguerite Duras and Que Ma Joie Demeure (That My Joy Remain) by Jean Giono. Amazing books.

RVC: You’ve worked at a lot of big publishers, but you’ve been with Abrams for about six years. Why is that a great fit? 

MM: I’ve loved every publishing job I’ve had and am so grateful for the incredible mentors who taught me how to be an editor while on the job. Abrams is a great fit because at this stage in my career what I value most is the support of a brilliant team and a lot of creative freedom. Our publisher and associate publisher truly value and reward editors’ passions and instincts, which is a tremendous gift.

RVC: What’s the most important thing for people to know or understand about Appleseed?

MM: We try to never underestimate the capacity of a young reader and want all kids to be able to see themselves in our books.

RVC: What’s the philosophy behind Appleseed books? How do you ensure a wide readership?

MM: From its inception, Appleseed has been about pairing the comfort of familiar objects or situations with a twist on the familiar—something unexpected. When acquiring new projects, we look for aspects that make a book as universal as possible, but we’re also thrilled by book submissions that appear at first to be somewhat narrow in scope but are just too delightful or special to resist and in fact could end up reaching a wide readership.

RVC: What’s the most difficult aspect of your work?

MM: Dealing with the financial challenges of making four-​color books. There hasn’t been a book yet that I haven’t been able to make due to high costs, but there is a ton of time-​consuming, behind-​the-​scenes trial and error effort involved in getting a P&L (profit and loss sheet) for a picture book or board book to balance before an offer can even be made to an author or illustrator.

RVC: What is your approach to editing a picture book manuscript? How do you work with authors to maintain their vision while enhancing the story?

MM: As much as possible, I try to take the “I” out of the equation. It doesn’t matter what “I” think or want—what matters is shaping the best possible version of an author’s manuscript for the benefit of their readers. So, I ask a LOT of questions in my editorial notes, which gives authors the opportunity to solve problems in whatever way feels right to them. Nine times out of ten, a solution an author comes back with surprises and delights me and is better than anything I would have thought to suggest.

RVC: In your experience, what are some common mistakes made by authors writing picture books, and how can they avoid them?

MM: 90% of the time, we reject a submission because it’s just not special or original enough. Absolutely everyone thinks they can write a book for children. And that’s true! But can everyone write a children’s book that adds something truly new and needed to what’s already out there? That’s a much bigger challenge.

RVC: What’s the most memorable piece of advice you’ve given to a picture book author that made a significant difference in their work?

MM: A few years ago I received a young rhyming picture book submission about penguins that was well-​written and funny but too slight for a hardcover. I rejected it but then couldn’t stop thinking about it—the writing stuck with me. I emailed the agent back and asked if the author might consider really delving into the subject and making the book nonfiction. The author revised expertly, writing a lyrical (still-​rhyming) nonfiction text with a terrific author’s note about the incredible hardships endured by emperor penguins as they raise their chicks, and in its new form, I was able to acquire it! It’s Penguin Journey, written by Angela Burke Kunkel and illustrated by Catherine Odell.

RVC: I love that story…almost as much as I love penguins (which is a LOT!). Now, please share insights on current trends in picture books, and where you think the industry is headed.

MM: Picture book editors across the industry are striving toward greater inclusivity and these efforts will continue to inform editorial decisions. We want our readers and their families to see themselves in the characters and settings and situations pictured in our books. With all the book-​banning threats cropping up across the U.S., many publishers are defiantly publishing for ALL readers who need to be seen and validated.

RVC: In previous interviews, you’ve mentioned the importance of finding the right “comp” titles. How has this approach evolved over the years, and how does it inform your decision-​making process?

MM: Comparison titles continue to be a very important part of the acquisitions process, allowing our Sales, Marketing, and Publicity teams to see where a prospective book might fit in the marketplace and on our list. If we can find already-​published books that prove a particular topic or genre is wanted and needed by book-​buyers, then it’s much easier for the acquisitions team to imagine a brand-​new project forging a successful path. Even a book proposal that appears to be a true one-​of-​a-​kind can be creatively compared to something else on the market. That’s one way comp title lists have evolved—we’re not necessarily looking for one-​to-​one comparisons, but rather glimpses into what a book’s potential could be compared to other books that have found a welcoming readership.

RVC: How do you build consensus within your in-​house team to take a chance on unique or unconventional projects? What challenges have you faced in this process?

MM: It all starts in our editorial meetings, where editors bring promising submissions and discuss the upsides and downsides of each one. There’s really no such thing as “not my cup of tea.” Is the book something readers need that doesn’t already exist in the world? Is there a hole in the market that a book would fill? If the answer to one or both questions is “yes,” and enough people are enthusiastic about a project, it goes to our Pub Board for discussion with the larger group, including Sales, Marketing, and Publicity. In both these meetings editors need to make a convincing argument for why a book and/​or creator belong on the list.

It is sometimes challenging to make a case for a book that at first appears as though it might have a limited audience, but if you can find the universal elements in a project that would appeal to the greatest number of readers OR if you can convince the team that a book might just be the first on a particular topic, then a book often gets a green light. We so appreciate agents and authors who help us make these arguments by including detailed information in their cover letters!

RVC: What are some upcoming picture book projects that you’re particularly excited about?

MM: I’m excited about ALL of them, but I’ll pick four coming out in 2024 that have been especially delightful to work on: a joyful celebration of great Black leaders called Hair Like Obama’s, Hands Like LeBron’s written by Carole Boston Weatherford and illustrated by Savanna Durr; a very funny approach to social etiquette and making guests feel welcome called We’re Having a Party (for Everyone!), written and illustrated by Katie Vernon; an empowering story about a girl performing for the first time in her mother’s mariachi band called Mamiachi and Me written by mother-​son duo Jolene and Dakota Gutiérrez and illustrated by Mirelle Ortega; and a dreamy alphabet book about mindfulness called ABCs for a Peaceful Me written by Shelly Becker and illustrated by Dan Yaccarino.

RVC: Hold onto your apples, folks, because it’s now time for the EXTENDED SPEED ROUND with double the fun as normal. WOWZA! Here come a whole bunch of blasty-​fasty questions followed by an equal number of zippy-​zappy answers. Are you ready, Meredith?

MM: Lay ’em on me!

RVC: Funniest word in the English language?

MM: Flibbertigibbet!

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

MM: Squirrels.

RVC: Go‑to song for the car when you’re driving by yourself?

MM: Whatever’s playing on XM Radio’s Broadway station. This morning: “Consider Yourself” from Oliver!

RVC: Favorite time of day?

MM: 5:30am when the birds start chirping.

RVC: Favorite summer activity?

MM: Night swimming.

RVC: Favorite kind of tea?

MM: Harney & Sons Vanilla Comoro.

RVC: Favorite practical joke to play on houseguests?

MM: Life-​size rubber alligator in the bathtub!

RVC: Books on your nightstand right now?

MM: The Sorrows of Others by Ada Zhang, Musical Tables by Billy Collins, and my “One Line a Day” 5‑year memory journal.

RVC: What’s a book that changed your perspective on picture books?

MM: Where the Wild Things Are, by Maurice Sendak. I took a college seminar on children’s books at Smith and we spent a VERY long time dissecting the design and text and character arc within that single 48-​page book. Getting a guided tour of its inner workings gave me my first inkling that the picture book was an art form I wanted to dive into more deeply.

RVC: What’s the biggest risk you’ve taken in your career?

MM: Jumping from a house where I was editing books for readers of all ages to my current position in which I edit only books for 0–5 (with the occasional older outlier). It’s been a joy to focus deeply on one age group, but it definitely felt like a risky move at first.

RVC: Final question! What’s one word that best describes your editing style?

MM: Collaborative.

RVC: Thanks so much, Meredith!

Educational Activities: The Brand-​New, Never-​Used, Perfect Crayons by Leanne Hatch

The Brand-​New, Never-​Used, Perfect Crayons
Author: Leanne Hatch
Illustrator: Leanne Hatch
22 August 2023
Margaret Ferguson Books
40 pages

Book description from Goodreads: “Nothing is better than a brand new box of crayons. Violet loves hers so much that she refuses to share them–or even to use them– but maybe her little sister is on to something …

Violet is ecstatic when she earns her very own super big box of eighty-​four crayons all matching in length, perfectly pointed, each in their smooth, uniform wrapper. There’s even one with her name on it. She can’t stop imagining all the wonderful things she can draw with them.

But when it comes time to get busy, she can’t seem to do it—she doesn’t want to ruin all that perfection. It isn’t until her little sister takes matters into her own hands that Violet is able to let go and have fun drawing all the things she dreamed up when she first got her box of brand-​new, never-​used, perfect crayons.

With The Brand-​New, Never-​Used, Perfect Crayons, Leanne Hatch taps into the joy of sharing, creating, and letting go of perfectionism. Adorable art set alongside textured crayon sketches reminiscent of classics like Harold and the Purple Crayon makes this a book perfectly suited for the shelves of young creatives everywhere.”


Need some reviews on The Brand-​New, Never-​Used, Perfect Crayons?


Educational Activities inspired by The Brand-​New, Never-​Used, Perfect Crayons:

  • Before Reading–From looking at the front cover: 
    • What do you think this story might be about, given the title?
    • What does the setting tell you about the story?
    • What do the two children on the cover seem to be doing?
    • Do you like to draw or color? What do you like to draw?
    • Have you ever gotten a new set of crayons or markers? How did it make you feel?
    • What questions would you like to ask the author before reading the book?
  • After Reading–Now that you’ve read the story: 
    • Why did Violet not want to use her new crayons at first?
    • How did Violet’s sister Marigold feel about the old, broken crayons?
    • What does Marigold teach Violet about “imperfection”?
    • Why do you think Violet changed her mind about using the crayons?
    • How did the sisters solve their disagreement?
    • How would you feel if someone used your new art supplies without asking?
    • What do you think “There’s beauty in imperfection” means?
    • How did Violet and Marigold feel at the end of the story? Why did they feel that way?
  • Color Your Feelings: Draw a picture that shows how you feel today. You can use as many or as few colors as you like!
  • Marigold’s Swirls and Waves: Try your hand at drawing Marigold’s “mess” of swirls and waves. Then show it off! Do you see the beauty in the imperfections?
  • Sister Swap Art: Draw a half-​completed picture and then trade with a sibling or friend. Add to their picture, and let them add to yours, just like Violet and Marigold learned to share.
  • Design Your Own Crayon: If you could design a crayon that represented you, what would it look like and what would you name it? Draw a picture of your dream crayon.
  • Violet’s Colorful Cave: Find a quiet corner in your room and build a fort using sheets, pillows, and blankets. Decorate it with your own drawings and crayon art. How do you feel when you’re in your “Colorful Cave”?
  • Shade and Light Exploration: Violet found 84 shades of colors in her crayon box. How many shades can you find in your home? Walk around and list them. Are any too bright or too soft for you?
  • Crayon Storybook: Create a mini-​storybook using only crayon drawings. Tell a new adventure story for Violet and Marigold. What new lessons would they learn?
  • Further Reading: The Brand-​New, Never-​Used, Perfect Crayons is about sharing and creativity, but also crayons! Here are some other picture books about crayons. Which of these have you already read? Which of the others would you want to read first? (Click on any book cover for more information on these titles!)

Author Interview: Henry Herz

This month’s Author Spotlight shines on Henry Herz. Known for his whimsical and educational tales, Henry has authored over a dozen books for kids and many short stories for adult audiences. Considering he got a late start in writing thanks to his background in engineering and political science—yeah, we’ll talk about that!—he’s been impressively prolific.

In addition to writing his own stories, Henry’s also edited anthologies for both kids and adults, such as The Hitherto Secret Experiments of Marie Curie (YA horror) and Beyond the Pale: A Fantasy Anthology (adult fantasy, urban fantasy, and paranormal stories). Considering Jim Butcher was in that collection, I’ll have to ask about that book, even though it’s most certainly not picture book-​ish in any way. It does have kidlit queen Jane Yolen aboard, though, so that changes things some.

Alright, I can’t wait any longer. Let’s get right to the interview to hear from Henry!


RVC: Let’s talk about the STEAM elephant in the room. You’ve got a BS in Engineering from Cornell, an MS in Engineering from George Washington University, and an MA in Political science from Georgetown. What was the plan with all of that?

HH: Ha. My degrees actually do reflect a plan. My career began as a defense analyst, so engineering degrees in operations research (applied math) combined quite naturally with a degree in national security studies from Georgetown. The thing absent in the plan was any thought of writing fiction, though I loved reading it since elementary school, from Where the Wild Things Are up through The Lord of the Rings.

RVC: Okay, that’s a fine plan. But you eventually found your way to writing, so what sparked your interest in writing children’s books, and how did you make the transition into this career?

HH: About fifteen years ago, I wanted to share my love of fantasy with my young sons. They were too little for watching most of the fantasy movies. Struck by inspiration one day, I came up with a way to share the joy of entering the magical realms of fantasy. I would write a fantasy chapter book for them. That decision had two unintended consequences.

First, I did not anticipate was that my boys would give me feedback on the story.  They devised some of the character and creature names, and made plot line suggestions.  And who better to help make the story appealing to kids than other kids?  So, the goal of interesting my sons in fantasy transformed into also encouraging them to write.

Second, I discovered that I loved writing for kids. We ended up self-​publishing that book. I was hooked. I became a SCBWI member, joined a critique group, and kept honing my craft until I sold my first picture book, Monster Goose Nursery Rhymes, to a traditional publisher, Pelican.

RVC: It seems like you get a particular kick out of mashing things up, or combining unusual things, like Little Red Cuttlefish (fairy tale + underwater story).

HH: Yes, if mixing chocolate and peanut butter produces a popular candy, why not combine two unlikely topics or literary elements to write an engaging book or story.

RVC: Good point!

HH: Now that you mention it, I think that half my picture books are mashups:

Monster Goose Nursery Rhymes = monsters + nursery rhymes
When You Give An Imp a Penny = monster + the circular structure of If You Give a Mouse a Cookie
Little Red Cuttlefish = underwater version of Little Red Riding Hood
Cap’n Rex & His Clever Crew = dinosaurs + pirates
How the Squid Got Two Long Arms = underwater version of a Rudyard Kipling Just So Story
2 Pirates + 1 Robot = pirates + robots

Some of my short stories are also mashups, including:

Cheating Death” = teenage Marie Curie + Pet Sematary
“Bards of a Feather” = Pied Piper + The Witcher
“The Cost of Gold” = HBO’s Deadwood + Native American ghosts
“Libbie and Dewey’s Excellent Adventure” = teenage Marie Curie + time travel
“The Repairwoman” = Aladdin’s Magic Lamp + sci-​fi noir
“Norsemen Cruise Line” = Dracula + cosmic horror

Mashups are fun!

RVC: Mashups absolutely are fun! Now, let’s jump to one of my favorite books of yours. Talk about the origin of I Am Smoke, a story where the smoke itself serves as a narrator through time.

HH: I find the employment of fictional elements to convey facts a great way to engage with young readers and teach them without them realizing it. Fiction can be the melted cheese we pour on top of the broccoli of nonfiction.

RVC: Yum!

HH: Now, there are some picture books with anthropomorphic characters, but I’d never seen smoke treated as a character. And who better to explain the various ways in which people have employed smoke than smoke itself? But I needed an overarching structure. I considered the chemistry of smoke. It turns out that wood smoke is primarily carbon dioxide, ash, and water vapor. Water vapor got me thinking about the water cycle—water evaporates from rivers, lakes, and oceans to form clouds. Eventually, the water precipitates as rain or snow. Rinse and repeat.

Then I considered the carbon dioxide given off by wood smoke. Two oxygen atoms and one carbon atom.

Carbon.…

Inspiration struck like lightning splitting a tree. Plants are the lungs of the Earth. They breathe in carbon dioxide through their stomata. They drink up water through their roots. Sunlight provides energy to split those molecules. The plant forms cellulose from carbon, oxygen, and hydrogen, sequestering more and more carbon as they grow. Conversely, burning tree branches releases the stored carbon. Eureka! Smoke has a “cycle” too.

RVC: Did people get it right away?

HH: 27 publishers declined the manuscript until Tilbury House bought it.

RVC: Wow.

HH: This is a lesson to all aspiring authors: be persistent. And I feel vindicated, because I Am Smoke earned the following acclaim: Kirkus starred review, ALA Notable Children’s Book 2022, School Library Journal’s 100 Scope Notes – The Most Astonishingly Unconventional Books of 2021, Kirkus 150 Most Anticipated Fall Books, National Council for the Social Studies 2022 Notable Social Studies Trade Books for Young People, Children’s Book Council’s Sept. 2021 list of anticipated bestsellers, San Diego Union-Tribune’s Fall arts preview 2021: Top book picks this season, School Library Journal’s Predictions! NYT Best Illustrated Children’s Books 2021, Evanston Public Library’s 101 Great Books for Kids List of 2021, School Library Journal’s Fuse 8 Production – 2021 Science and Nature Books, New York Public Library’s Best Books for Kids 2021, School Library Journal’s Fuse 8 Production – Best 2021 Nonfiction Picture Books, Evanston Public Library’s Blueberry Award Honor, Winner of the Book Launch Award from the Society of Children’s Book Writers & Illustrators, Towner Book Award nominee from The Washington Library Association, SCBWI Crystal Kite Award finalist, UNLV’s Children’s and Young Adult Literature: Notable Children’s Books 2022, Bank Street College of Education Best Children’s Books of the Year, SCBWI Crystal Kite Award finalist, UNLV’s Children’s and Young Adult Literature: Notable Children’s Books 2022

RVC: That’s a fantastic list–congrats!

HH: Thanks!

RVC: Beyond the lesson about persistence, what was the most important lesson that book taught you?

HH: Where there’s fire, there’s smoke. Both are dangerous. But both can be beneficial, too. The helpful uses of fire are more obvious, like providing light and heat, cooking food, making ceramics, and keeping predator animals away. Controlled fires clean forest floors, nourish the soil, promote the growth of established trees, and reduce the frequency of huge fires.

Smoke, on the other hand, was trickier. Smoke from a building fire can be deadly. Smoking cigarettes is bad for you. What surprised me most in researching the story was the many applications of smoke to help people through the millennia and across the globe. Smoke has been used to coax seeds to sprout, to drive out pests from homes, to send signals over long distances, to cover foul smells, to calm bees when harvesting honey, to flavor and preserve food, as part of religious ceremonies, and even to heal.

RVC: How do you approach the balance of education and entertainment in your books like How the Squid Got Two Long Arms?

HH: If I’m writing fiction, then I always start with entertainment in mind. I develop the story arc and develop the characters. I like to emphasis any educational elements in the back matter, so as not to distract the reader from the story. For example, the author’s note at the back of How the Squid Got Two Long Arms provides some nonfiction information about squid. STEM back matter increases the appeal of the book to parents and educators.

RVC: Please talk about the anthologies you’ve edited and how that work differs from writing your own books.

HH: I love curating and editing anthologies. It’s great fun to be part of a team that includes highly skilled authors. I learn a ton. What’s funny is that I only realized after doing five of them how similar that is to project management. Because editing an anthology involves managing creative people (see also herding cats), tracking schedule, tracking budget, diplomatically offering constructive feedback to authors who in many cases are far more acclaimed writers than I am. I’ve edited or co-​edited six anthologies so far, with two more sekret projects in the works:

  • Beyond the Pale adult dark fantasy anthology (Birch Tree Publishing) – stories by Saladin Ahmed, Peter S. Beagle, Heather Brewer, Jim Butcher, Rachel Caine, Kami Garcia, Nancy Holder, Gillian Philip, Jane Yolen.
  • Coming of Age: 13 B’nai Mitzvah Stories middle grade anthology (Albert Whitman & Co.) – stories by Sarah Aronson, Nora Raleigh Baskin, Barbara Bottner, Stacia Deutsch, Debbie Reed Fischer, Debra Garfinkle, Henry Herz, Alan Katz, Nancy Krulik, Stacie Ramey, Jonathan Rosen, Melissa Roske, Laura Shovan, Jane Yolen.
  • The Hitherto Secret Experiments of Marie Curie young adult horror anthology (Blackstone Publishing) – stories by Mylo Carbia, Stacia Deutsch, Sarah Beth Durst, Henry Herz, Alethea Kontis, Susanne Lambdin, Dee Leone, Jonathan Maberry, Emily McCosh, Seanan McGuire, Steve Pantazis, Lissa Price, Bryan Thomas Schmidt, Scott Sigler, Christine Taylor-​Butler, Jo Whittemore, Jane Yolen.
  • Wink young adult contemporary fantasy/​sci-​fi anthology (Brigid’s Gate Press) – can’t announce the full lineup, but it includes eight NY Times bestselling authors.
  • Combat Monsters adult World War II fantasy anthology (Blackstone Publishing) – can’t announce the full lineup, but it includes seven NY Times bestselling authors.
  • A Great Miracle Happened There contemporary middle grade anthology (on submission) – can’t announce the full lineup, but it includes seven NY Times bestselling authors.

RVC: Here are the much-​anticipated Jim Butcher questions. How big of fan are you of the Dresden Files?

HH: A very big fan. I love how he writes his fae, and the clever tactics he devises for Harry.

RVC: What was it like working with Jim? 

HH: Beyond the Pale was a reprint anthology, so I didn’t work with him on his story for that. It’s an action-​packed tale of his criminal mastermind, John Marcone. I did get to meet Jim when he was on a San Diego Comic-​Con author panel I moderated.

RVC: Did you ask him what the @!$@# happened with the 2007–2008 TV series? 

HH: Ha, no. That is a sensitive subject for him. One of the best things about that series was that an actor with an English accent played a character with an American accent, and an actor with an American accent played a character with a British accent.

RVC: Please share some insights into your writing process. How do you develop your ideas, and what tools or rituals aid your creativity?

HH: I’m definitely a plotter (not a pantser). I don’t really have any tools or rituals beyond coffee. Creative ideas pop into my head when my muse sees fit. I have learned to shift projects if I feel stalled on a particular story, returning later with a fresh perspective. On other occasions, I submit to an open call for stories where the theme tickles my fancy. In that vein, I’m desperately hoping my submission gets accepted into a Winnie the Pooh – Cthulhu Mythos mashup anthology.

RVC: Who doesn’t have that literary hope? Now, Henry–we’ve got time for one final question for the regular part of this interview. It’s brag time! What’s coming up that you’re really excited about?

HH: The first “sequel” to I Am Smoke comes out next year, I Am Gravity. A third and fourth picture book for that series are ready to follow. My anthologies Wink and Combat Monsters are scheduled to come out next year. A publisher has expressed interest in my anthology, A Great Miracle Happened There. I have stories schedule to appear in a US Space Force-​themed anthology from Baen Books, a Conan-​themed anthology from Titan Books, a Dracula-​themed anthology from Dracula Beyond Stoker, and an essay about occult detective fiction will appear in the 100-​year anniversary issue of Weird Tales Magazine. Visit www.henryherz.com for all your Henry news needs.

RVC: Congrats on all that great news, but let’s shift gears to…The Lightning Round. Zip-​zap-​quick questions and zoomy-​swift answers, please!!! Are you ready, Henry? 

HH: Yes!

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

HH: If you mean in addition to the actual phone app, Gmail.

RVC: You get one freebie for 2024—personal chef, personal maid, or personal masseuse?

HH: Damn. A Sophie’s Choice. Personal chef, so I’d always eat healthily.

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

HH: Desktop computer, Internet access, web browser, email, social media.

RVC: The last picture book that made you LOL?

HH: Wombat Said Come In by Carmen Agra Deedy.

RVC: Best compliment a kid reader ever gave you?

HH: When they drew their own version of one of my book covers.

RVC: Thanks so much, Henry!

HH: Thanks for hosting me.

Picture Book Review: Giants Are Very Brave People by Florence Parry Heide (illustrated by Merrill Rainey)

Holiday House
1 August 2023
32 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and freelance illustrator Edna Cabcabin Moran.

–Ryan’s Review of the Writing–

While I was familiar with Florence Parry Heide (1919–2011), the author of over 100 children’s books, I initially didn’t realize that this was a new edition of a 50-​year-​old work. Realizing that situation now actually answers some of my questions about the book, which are likely a result of audiences being so different a half century ago.

Back to the book, though.…

This is the story of a blue-​skinned child named Bigelow. To put it plainly, he’s absolutely a total scaredy-catkid. The clouds could fall on him, after all. And alphabet soup could spell out a magic word that kapoofs him into a mushroom. And rain? Well, of course he’s afraid of rain. Because he might melt.

One day, he goes out for a walk and encounters a very small woman (Mrs. Pimberly) who’s afraid of him because to her, he’s huge. She suggests that he might be less afraid if he acted a bit more fierce–perhaps by giving “a giant short of shout” such as FEE FI FO FUM. While it seems as if Bigelow is the first giant she’s encountered, she says that all giants know that phrase.

Bigelow practices the shout repeatedly while Mrs. Pimberly brews some tea. When she comes out with the tea, Bigelow is LOUD, to which she says, “You certainly scared me. That’s a very good shout. I’m sure it will make you feel much, much braver.”

All that shouting made him hungry, so Mrs. Pimberly makes him a mountain of pancakes (large to her, small to him). After he’s had the tiny snack, he offers to take her home with him, but she declines, saying that she has never traveled or had many experiences. “I’ve never even been on a train,” she says.

Back at home, Bigelow uses FEE FI FO FUM to deal with two of his fears–alphabet soup and bathtime. Maybe acting brave does help someone feel a little braver after all! The kid giant returns the favor to Mrs. Pimberly by bringing her his toy train, which allows her to ride “round and round and round the track.” While it’s unclear how riding a toy train equates to exploring the world, Mrs. Pimberly appears genuinely thrilled with the experience.

Ultimately, I have questions about the story. While children are likely to love shouting FEE FI FO FUM with Bigelow, will they feel less excited that an adult solved/​helped solve Bigelow’s problem (being afraid)? Most contemporary picture books give far more agency to kids in stories. I also wonder how a child who is afraid of everything manages to summon courage to go on long walks away from the safety from home.

Yet Rainey’s graphite pencil and digital illustrations are quite charming, as Edna will explain below. I’ve already mentioned the read-​aloud-​ability of parts of this book, and I’m also charmed by how some readers might not realize how Bigelow is a kid giant until he does himself (which is when he meets Mrs. Pimberly). There’s also a sincerity to the text that still comes through even after 50 years.

All things considered, it’s worthy of a read and an after-​book discussion about courage and fear. Great job, Merrill Rainey!

4 out of 5 pencils


–Edna’s Review of the Illustrations–

Merrill Rainey’s digital illustrations in Giants Are Very Brave People bring a freshness and verve to a bygone storytelling style by late bestselling author, Florence Parry Heide. In contrast with the story’s ambling quality, the art is direct and charming as metrical compositions of richly layered pages. Colors and textures sing. Shape and line work dance. Negative space places the main character, Bigelow, center stage in coping with his exhaustive list of fears.

Bigelow ventures (accidentally) into a place outside his fears as Rainey’s colorful artwork starts to fill the pages. Full and half-​page compositions take Bigelow and readers onto different vantage points [see pages 5 and 7] where he literally and metaphorically  gets a new perspective on things.

He meets Mrs. Pimberly who, in spite of her fear (of giants) begins to befriend Bigelow. She breaks the news to Bigelow that he is a giant and gives advice on how to behave like one. Rainey presents a visual metaphor of Bigelow finding his own voice as a giant. As Bigelow practices his Fee Fi Fo Fum chant [pages 10–11], spot illustrations move across the page spread like musical notes building up to a gigantic crescendo.

A turn to page 12 features a blue person hiding behind a door. It’s not clear right away that this is Mrs. Pimberly as she is painted in flesh tone in the rest of the book. On closer inspection of the text and visuals such as glasses, hairstyle and polka-​dot blouse, we realize this blue character is Mrs. Pimberly after all. Whether or not this is an intentional color change is unclear. Taking small pause, however, in a book that tackles the big theme of fear does not detract from the exuberance of Rainey’s tight but loosely rendered, playful yet rigorous artwork.

The scene on pages 30–31, featuring Mrs. Pimberly riding the train that Bigelow set up, is sure to be a favorite among readers. Rainey’s composition of color, shape, line, texture, and expressive animate and inanimate things, result in a tour de force for this picture book. We are not only treated to a visual symphony that resonates with an old-​timey tale of Bigelow and Mrs. Pimberly, but we are shown how to be brave in the new millennia.

4.75 out of 5 crayons


Edna Cabcabin Moran is an author/​illustrator, multi-​disciplined artist, educator, and advocate for youth voices and diversity in publishing. A Filipina-​American born to immigrants and raised in a military family, Edna grew up in the USA’s east and west coasts, Iceland, and Hawai’i. She is also a dancer with acclaimed hālau hula and dance company, Nā Lei Hulu I Ka Wēkiu, and a teaching artist specializing in STEAM and integrative arts. Her latest picture book, Honu and Moa (BeachHouse Publishing), received a 2019 Aesop Accolade from the American Folklore Society.

https://kidlitedna.com

IG & Twitter: @kidlitedna

Editor Interview: Sandra Sutter (Gnome Road)

Welcome to Sandra Sutter, the dynamic force behind Gnome Road Publishing, a vibrant press that is lighting the way for readers young and old. With a mission to produce books that engage, inform, and bring joy to the world, Sandra’s press is all about that “R” factor…Re-Readability!

Here’s Sandra’s wonderful mission statement to give us a glimpse into the soul of Gnome Road:

To Our Readers: We produce books that engage and inform, develop and strengthen a love for reading, and bring smiles and laughter to the world. Our books are made with all readers in mind…”

Just a few aspects to make you go “Wow!”:

  • Gnome Road Publishing focuses on creating cherished, lasting books that light the way on a lifetime of reading adventures.
  • Sandra’s dedication to her creatives is unmatched, offering respect, support, and fostering collaboration and community.
  • Their approach to picture books emphasizes both engagement and education, crafting stories that can be read time and again.

Intrigued? You should be! Let’s dive into the interview and discover the unique insights and wisdom Sandra Sutter has to share about the world of picture books, her own press, and the ever-​fascinating picture book industry.

Prepare to be inspired! 📚✨

Gnome Road’s Instagram

Gnome Road’s Website


SS: That is such a lovely introduction! Thank you for inviting me to your blog to share more about Gnome Road Publishing with your readers.

RVC: We’re happy to have you here, Sandra, and we want to know more. So, please share your journey into the publishing world before founding Gnome Road Publishing. What experiences shaped your decision to start your own press?

SS: Many people may already know that I authored two picture books with another small press, so it is likely no surprise to hear that this was part of my journey into the publishing arena. Probably less well known is that I was once an attorney, mediator, and before that, an addictions counselor. My education, training and experience in those roles definitely shaped who I am as a publisher. They all dealt with bringing people or ideas together, using language and reshaping it to communicate with an audience, and looking at situations systemically. That and needing to be very organized!

RVC: Sounds like perfect training.

SS: Looking back, I can see how my work in those positions drove my desire to find a similar fit in the publishing world.

RVC: Tell us about a challenge you faced earlier in your career that taught you a valuable lesson you’ve applied to your work at Gnome Road Publishing?

SS: When my first book was published (as an author), I did not have the benefit of pre-​release professional reviews. These are very important in directing attention to a book and gaining visibility as a publishing house. We do this for all GRP title releases.

RVC: That’s a useful thing for sure! What’s the most important thing people should know or understand about Gnome Road?

SS: We hope that all young readers can find at least one book at GRP that they love and want to read over and over again. This is central to our mission and helps us in selecting new stories. We like variety, finding new talent, and creating books with layered themes that can reach as many readers as possible.

RVC: You’ve mentioned being an author as well. How does that background help you in your gnomework?

SS: Gnomework! I love that!

RVC: It’s a winner word, no doubt. Feel free to use it regularly.

SS: Apart from the answer that it helps with editing and recognizing good writing, already being part of the Kidlit community helped me tremendously in spreading the word about GRP and finding talented authors and illustrators. I’m also pretty fast at typing–which helps in completing my gnomework.

RVC: Tell us the story behind your first picture book.

SS: I’m going to talk about the first picture book published by GRP rather than my own.

RVC: Fair enough!

SS: Technically, there are two since they came out on the same day. They are Animals in Surprising Shades: Poems About Earth’s Colorful Creatures by Susan Johnston Taylor (illustrated by Annie Bakst) and Science, Matter and the Baseball Park by Catherine Ciocchi (illustrated by Chantelle and Burgen Thorne). In both cases, I knew almost immediately that I wanted to acquire them. They seemed like an excellent fit with the GRP mission statement. Susan’s presentation of poems and carefully constructed sidebar information was enough for me to ask for more–and then to sign the project when she delivered. And Catherine’s rhyming, science-​infused baseball book had kid-​appeal practically dripping off the pages.

RVC: What was the most important thing you learned from that book?

SS: These were some of the first books to test my ability to pair text with the right illustrations. Personally, I think we hit it out of the ballpark (bad pun intended). It is not an easy process, but I’ve learned that being patient and trusting my instincts will pay off.

RVC: You seem astonishingly busy. (from your website: “We are also parents, business owners, and all-​around daily task-​masters.”) How do you manage wearing so many hats?

SS: Yes, that’s true. I’ve had nights I get up at 3:00 am to do work and manage my anxiety about getting it all done. It helps to be organized, too. As things evolved at GRP, I learned to delegate more and have found some great people to help out with different tasks or in areas that would take me two or three times as long (maybe more) to get something done. That helps a lot!

RVC: Why is Louisville the right place for Gnome Road to be located?

SS: That’s an easy one. I live here. It would be hard to locate it somewhere else.

RVC: Hah, great answer! Now, how do you approach the collaboration between authors and illustrators in the creation of a picture book?

SS: Since picture books reflect the vision of both an author and illustrator (actually, of more people–including agents, editors, critique partners, etc.), both parties need to feel heard and to have room to express themselves. I start by finding out more about the author’s vision for the book (if not an author-​illustrator) and ask to see some images that appeal to them. I share a few that interest me, and we discuss potential styles and/​or artists.

Once the illustrator is on board, we talk about the author’s vision early in the process and discuss what the illustrator has in mind. The author is looped in again a little later when character sketches and thumbnails/​storyboards are completed to share thoughts. At that point, the illustrator takes the reins until the images are nearly complete.

RVC: What’s your philosophy on balancing educational content with entertainment in picture books?

SS: I think kids inherently love to learn and to share knowledge with others. And what better way to learn something new than through a book? But still, if readers aren’t connecting with the material and enjoying the experience, then a book won’t be of interest to them for very long. Nor will they want to share it with anyone else. So, entertainment is very important–which is, of course, a different experience for each reader. Bright, vivid illustrations, or soft quiet pastels. Humorous dialogue, or a rhyming informational text. All styles can carry entertainment value. The tricky part is finding how to balance it in the right amounts for each project.

RVC: Please share an example of a particularly successful picture book from Gnome Road and what made it stand out.

SS: One that really stands out this year is My Piano by Jen Fier Jasinski, illustrated by Anita Bagdi. Jen’s writing is superb. She effectively layers social-​emotional themes on top of describing how a piano works (in rhyme and cumulative structure). My team fell in love with the manuscript immediately.

And then…I found Anita to illustrate. She truly nailed it. Somehow she wrapped technical illustrations, an adorable main character, and the magical feel of music all together in one package. It recently earned a starred review from School Library Journal. Hooray!

RVC: How does Gnome Road Publishing ensure the “R” factor (Re-​Readability) in the picture books you publish?

SS: I can refer you to my prior answer about balancing educational and entertainment elements as that has something to do with it. But one thing I think all books with the “R” factor have is layers. Some people might call these hooks, but I think it goes deeper than that. A book that kids want to read over and over again is going to do more than hook them. It’s going to hold their attention long after they finish reading it. In that sense, I think the story has to touch them in a personal way. We hope to produce books that can do that for children from all walks of life. Ensuring the “R” factor means staying open to new topics, perspectives, art and communication styles.

RVC: What are some of the common pitfalls you notice in picture book submissions, and how can authors avoid them?

SS: Do your homework about what a publishing house is looking for or not looking for (in other words, read the information on the submissions page and do some research). See if they have published or will soon publish something that is similar to your project. If they are small–like GRP–then they likely aren’t looking for something on the same topic right away. If asked to limit submissions to one per submission window, please refrain from sending multiple manuscripts. In short, I think being professional, following the requested formats, and staying within the interests of the publishing house will give you a much better chance at getting published.

RVC: I’m intrigued by the Little Gnome imprint. Tell me more!

SS: I think the answer may disappoint you. Originally, we split GRP into different imprints that were rearranged when we decided to focus solely on picture books for a while. If/​when we decide to open up to board books and projects that might be suitable for the 0–3 age group, then Little Gnome will be the imprint used for those.

RVC: One more question for this part of the interview. It’s brag time. What are some exciting Gnome Road things we should be looking for?

SS: Well, a couple of our titles are set up to have sequels, and there might be a few announcements about that coming soon. We have also had some lovely reviews and several titles recognized for great writing or illustrations. Nudi Gill: Poison Powerhouse of the Sea by author-​illustrator Bonnie Kelso was selected as the “Great Reads from Great Places” children’s book to represent Nevada at the National Book Festival in Washington, D.C. Bonnie just returned from that trip where she sold out of her books within hours. (That was another project I thought was perfect for GRP when I saw it in the submissions inbox–and we now have several more books coming out with Bonnie over the next few years. She’s amazing!)

RVC: I hear you there–Bonnie has done an OPB review before, and I’ve interviewed her here, too! But now it’s time to change gears because it’s the BLITZ ROUND—super speedy Qs followed by zip-​zappy As. Are you ready to tackle this challenge? 

SS: Always.

RVC: Coffee, soda, or tea?

SS: Coffee. You saw my answer mentioning 3:00 am above, right?

RVC: If you could be any sea creature for a day, it’d be…

SS: Dolphin. They’re fast, smart, and super cool.

RVC: If your life was a picture book, what would the title be?

SS: Have I Lost My Mind? It’s an interactive search-​and-​find book.

RVC: One book that has profoundly influenced your career?

SS: I don’t know that there is only one, but when I think about GRP looking to publish books that have the “R” factor, I would have to say The Hunger Games (whole series). It’s the multiple layers that really draw me in, and that it’s an “underdog” story. I hope young readers want to read a GRP book as much as I’ve read/​listened to/​seen The Hunger Games.

RVC: In three words or less, the most rewarding part of your job?

SS: Bringing people together.

RVC: Best thing a child has said about a Gnome Road book?

SS: “I love that book!”

RVC: Thanks so much, Sandra!

Educational Activities: A Very Dinosaur Birthday by Adam Wallace (illustrated by Christopher Nielsen)

A Very Dinosaur Birthday
Author: Adam Wallace
Illustrator: Christopher Nielsen
20 June 2023
Tommy Nelson
40 pages

Book description from Goodreads: “Your family will roar with laughter at this funny read-​aloud from Adam Wallace, #1 New York Times bestselling author of the How to Catch series. What if dinosaurs showed up at your birthday party? From prehistoric presents to games crashing out of control and your snacks going extinct, it’s a dino disaster! Dinosaurs are big, and strong, and scary, and farty, So do you really want them coming to your birthday party? Watch out! Birthdays will never be the same with this silly picture book adventure featuring lively rhymes and hilarious illustrations.”


Need some reviews on A Very Dinosaur Birthday?


Educational Activities inspired by A Very Dinosaur Birthday:

  • Before Reading–From looking at the front cover: 
    • What do you think this story might be about, given the title?
    • What does the setting tell you about the story?
    • How are the children reacting to the dinosaur on the cover?
    • How do you feel about dinosaurs? What makes them interesting or exciting to you?
    • What questions would you like to ask the author before reading the book?
  • After Reading–Now that you’ve read the story: 
    • Did the story meet your expectations from the cover? Why/​why not?
    • What was your favorite rhyme in the story?
    • What did you think about the ending?
    • Did anything in the story surprise you?
    • What lesson did you learn from the story?
    • How did the illustrations contribute to the story?
    • Which picture did you like the most? Why?
  • Design a Dinosaur: Using modeling clay, LEGOs, or other building materials, create your own dinosaur. Think about the body shape, the type of dinosaur you’re building, and how it might move. What would it eat? Where would it live? What would it look like?
  • Make a Dinosaur Rhyme: Write your own dinosaur rhyme inspired by the rhyming lines in this book. You can create a short poem or song about a dinosaur having fun at a party or doing something else you imagine. Share it with friends or family!
  • Dinosaur Dance Party: Put on some music and dance like a dinosaur. You can stomp, roar, and shake your tail. Invite a “dino” friend to join in the fun!
  • Dino Dens: Using blankets, pillows, and chairs, create a dinosaur den. What would a comfy home for a Triceratops look like? How would that be different than for a T‑rex or a flying dinosaur?
  • Further Reading: A Very Dinosaur Birthday is about dinosaurs and birthdays. Let’s focus on the second element and look at other picture books that that explore birthdays. Which of these have you already read? Which of the others would you want to read first? (Click on any book cover for more information on these titles!)