Educational Activities: A Very Cranky Book by Angela & Tony DiTerlizzi

A Very Cranky Book
Author: Angela DiTerlizzi
Illustrator: Tony DiTerlizzi
19 September 2023
Quill Tree Books
40 pages

Book description from Goodreads: “The first picture book collaboration from bestselling husband-​and-​wife team Tony and Angela DiTerlizzi is the charmingly irreverent tale of a very cranky book … who might not be so cranky after all.

Are you ready to meet the world’s crankiest book?

Cranky doesn’t want to be read. He just wants you to leave him alone. After all, there are so many other things you can do–ride a bike, play a game, or draw a picture. There’s no reason for you to be bothering him! But when other books show up for story time, will Cranky change his mind?”



Educational Activities inspired by A Very Cranky Book:

  • Before Reading–From looking at the front cover: 
    • What do you think the story might be about, based on the title and cover?
    • The book character on the front cover says “Go away!” What makes you want to NOT go away and read this book instead?
    • What do you know about crankiness? What does it mean to be cranky? What makes you cranky?
    • What emotion is the book character on the back cover feeling? Is that crankiness or something else?
    • What questions would you like to ask the author–or the illustrator!–before reading the book?
  • After Reading–Now that you’ve read the story: 
    • Was reading this book the “worst idea in the history of ideas?” Why/​why not?
    • How serious is the book character when he tells you to walk away, keep walking, and don’t come back? How can you tell?
    • How did you react when so many book friends showed up for story time?
    • Why did the cranky book finally choose to join story time?
    • Was there a moment in the book that surprised you?
    • What was your favorite part of the story, and why?
    • Do you believe the cranky book will be more cheerful in the future? Why/​why not?
    • Would you suggest this book to a friend? Why/​why not?
  • Cranky Book Storyboard: Using large paper, draw a sequence of scenes from the book, capturing its key moments. In each scene, focus on the emotions of the characters, especially the cranky book. Use speech bubbles to add dialogue from the story or create your own!
  • Emotion Wheel Craft: Make an emotion wheel showing different feelings like cranky, happy, scared, and excited. Use the cranky book’s face as a model/​guide and draw expressions for each emotion. Spin the wheel and act out or discuss times you’ve felt each emotion.
  • Story Retelling with a Twist: Retell the story from the point of view of a different character, like the green book with the monster face or the pink fairy-​tale book. How might they have seen the events differently?
  • A Cranky Book Cover: Design a new cover for A Very Cranky Book. Think about how you would represent the cranky book and other characters, and what elements you’d include to show the story’s theme.
  • Further Reading: A Very Cranky Book deals with the important topic of emotions. Here are some other picture books that also explore emotions in various ways. 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: Deborah Kerbel

This month’s Author Interview is with Canadian writer Deborah Kerbel. To make her feel at home, I’ll be using the Canadian spellings throughout (colour, etc.). Fun, right?

I first learned about her work via the graphic novel Fred & Marjorie, but since then I’ve sampled her MG novels, YA novels, and many picture books. She’s got a new picture book that just came out—Next Door (Kids Can Press)—and we’ll be sure to ask her about that in the interview. We’ll also talk about how she handles writing so many different types of stories.

To help us get a better sense of Deborah, here are 8 Fun Facts.

  • My favourite books growing up were the Wizard of Oz series of books and anything by Beverly Cleary, Judy Blume, and Gordon Korman.
  • My celebrity teen crush was Andrew Ridgeley from Wham! (if you’re thinking, who’s that? then you clearly weren’t around in the 80s).
  • Before becoming a full-​time author, I held an eclectic mix of jobs in fashion and music retail, telemarketing, restaurant hostessing, financial writing, and pajama modelling.
  • My favourite foods are Pad Thai, Italian zucchini flowers, and lemon gelato.
  • My #1 writing fuel? Strawberry Twizzlers.
  • My biggest phobia is raw tomatoes (**shudder**).
  • My go-​to karaōke song is “Don’t Stop Believin”–in my dreams, I always hit that long, high note.
  • My guiltiest reading pleasure…any book for “grown ups” makes me feel like I’m cheating on my towering TBR pile of kidlit books.

With a list like that, you practically don’t need anything more, right? Well, OPB is nothing if not thorough, so here’s an entire interview to make sure you know what makes Deborah as awesome as she is.


RVC: You can probably tell I’ve been binge-​watching Marvel superhero movies because my first question is this—what’s your origin story as a writer?

DK: Growing up, books were a big deal in my house. My dad’s an author, too, so I suppose there’s a good amount of ink running through my veins. I was always reading something–it didn’t really matter what…comic books, novels, the back of cereal boxes. I just wanted to consume all the words I could get my eyes on. I always tell kids if you read enough books, eventually words and stories of your own will start spilling out. I guess that’s what happened to me.

RVC: That’s a story I hear a lot from the people I interview here.

DK: The first book I ever wrote was for a school project when I was 7 or 8 years old. (It was also the last book I ever attempted illustrate, but let’s not go there.) I love writing stories for young people and hopefully helping them to grow into lifelong readers.

RVC: What was the most important book of your childhood?

DK: It’s SO hard to choose just one. But I’ll go with Ramona Quimby, Age 8 by Beverly Cleary. I even had the haircut to match!

RVC: Like you, I grew up in the 80s. What’s an 80s thing that deserves a comeback?

DK: With the Canadian winter fast approaching, I vote we bring back leg warmers. Cozy and très retro-​cool!

RVC: Absolutely! Now, what career plan did you have when you attended Western University in London, Ontario? 

DK: I had no career plan. I was really just winging it, taking courses that interested me while confident I’d figure it all out. Looking back now, I guess it shows I’ve always been a pantser, not a plotter. Plus, I’m an eternal optimist. Which is likely one of the reasons I’ve made it this far as a writer.

RVC: You write all kinds of things for kids. What are some of the challenges of writing such a wide range of stories? 

DK: I suppose the biggest challenge is not having a literary “brand.” Readers aren’t always sure what to expect from me next. Probably because even I don’t know what I’ll do next! (See my previous answer about “pantser.”)

RVC: Picture books clearly hold a special place in your heart. Why?

DK: I love the collaborative nature of a picture book. I enjoy the challenge of writing a compelling story in so few words and pages. And I adore seeing the visual interpretation of a story that grew from my imagination. It’s such a special and unique creative process. And they’re so much fun to write!

RVC: Let’s help out the writers who follow OPB. What are some of the most common problems with picture book manuscripts.

DK: I think the #1 mistake is when I see writers prioritizing a message, moral, or a lesson before a good story. #2 mistake would be over-​writing the text and not leaving enough space for an illustrator to join in with their vision.

RVC: And the secret to overcoming those is…?

DK: The secret to overcoming both is reading as many newly published picture books you can get your hands on, and thinking critically about the story and whether it speaks to you (or not) and why. Also, join a critique group of fellow picture book writers and be open to honest feedback.

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

DK: All the same elements that are crucial to writing a good novel–plot, pacing, tension, character development, etc.–are just as important in a picture book.

RVC: What do you think is the most common misconception about picture books? 

DK: That they’re easier to write than a novel. (Hint: they’re not!)

RVC: In your perspective, how different is the kidlit industry in Canada from that in the US

DK: Well, for starters it’s much smaller. Everyone knows everyone in the Canadian kidlit world. Also, I’m not sure how it is in the US, but Canadian kidlit creators are incredibly supportive of each other. It’s like a warm and fuzzy maple-​syrup flavoured family up here.

RVC: Sounds delicious! What role does your family play in your writing and revising process?

DK: My kids used to inspire my stories when they were little. They’re young adults now so, unfortunately, they offer a lot less picture book content for me to harvest. And my husband is my biggest cheerleader. He reads all my manuscripts before I send them out on submission and gives excellent (but honest) feedback.

RVC: Once COVID hit, I’ve tried to ask a question about self-​care in every interview. What do you do to de-stress?

DK: A long walk with a good audiobook works for me every time.

RVC: You’ve got a new picture book out. What’s the elevator pitch for Next Door?

DK: Next Door is a wordless picture book about friendship, acceptance, breaking down barriers, and finding common ground, no matter our differences.

RVC: Where did the idea for this book come from?

DK: The main character in the book wears hearing aids and was inspired by my late sister, Kim, who was born profoundly deaf but had an easy way of making connections with people, regardless of speech or language barriers. The book is dedicated to her as well.

RVC: That sounds like a lovely way to honor your sister. Now, here’s the last question for this part of the interview. What should we expect from you next? What are you really looking forward to?

DK: I’ve got seven more books coming up the pipeline (one middle grade novel and six picture books), so this is a tricky one to answer. I’m excited for them all, but the one that comes to mind first is No Huddles for Heloise, a picture book an introverted penguin who cherishes alone time and personal space (kind of like me). It’s coming out in Winter 2025 with Orca Books.

RVC: Okay, Deborah. I know you’ve been thinking about this the entire time, and now it’s here—the SPEED ROUND! Wahoo! This means super-​fast question followed by stunningly swift answers. Are you ready to meet the challenge? 

DK: Let’s do it!

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

DK: Waze. (Wonky sense of direction here.)

RVC: Funniest word in the English language?

DK: Kerfuffle.

RVC: Guiltiest pleasure to order at Timmie’s?

DK: A sour cream donut.

RVC: What “old person” thing do you do?

DK: Fall asleep during movies.

RVC: Who sets the standard for picture book rhyme?

DK: Dr. Seuss.

RVC: Your picture book philosophy in five words or less.

DK: They can change the world.

RVC: Thanks so much, Deborah!

Picture Book Review: José Feeds the World by David Unger, illustrations by Marta Álvarez Miguéns

José Feeds the World
Author: David Unger
Illustrator: Marta Álvarez Miguéns
duopress
30 January 2024
40 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and Ringling College of Art and Design Illustration Professor (and OPB pal) David C. Gardner.

 

–Ryan’s Review of the Writing–

I’m always interested in the behind-​the-​scenes story of a real-​world hero’s life, and that’s what this book promises to deliver, being pitched this way: “The true story of José Andrés, an award-​winning chef, food activist, and founder of World Central Kitchen, a disaster-​relief organization that uses the power of food to nourish communities after catastrophe strikes.”

To tackle that big task, author David Unger tells the entire trajectory of José’s life, beginning with him as a child who learns to help others after witnessing his parents do that very thing in their jobs as nurses in Spain. They also loved to cook, and the kitchen soon became José’s favorite room in the house. This is where readers begin to get both the flavors of food (“the smell of rice, saffron, chicken, and sausage floating in the air”) and the sound of the Spanish language (cocina, paella, etc.) directly in the text.

José attends a Barcelona cooking school at 15 and becomes a chef’s assistant and a world-​famous restaurant. A few years later, off to the US he went where he cooked in New York City before opening his own restaurant in Washington D.C.  Thanks to his love for food and his skill in cooking, José began earning award after honor after critical acclaim.

That’s the end of a version of this story that simply tells how a young Spanish boy became a food rock star. But that’s not José’s story. Instead, he became deeply affected by the 2010 earthquake that devastated much of Haiti. Just as he did as a child, José wanted to help others. So, he gathered a group of friends and went there to cook for the survivors.

After returning to D.C., José knew he could do more for others who needed help. He founded World Central Kitchen, a nonprofit dedicated to providing free meals to survivors of natural and human-​made disasters in communities all over the world. The story follows his work to support people affected by disasters in Puerto Rico, the Bahamas, and Guatemala, as well as COVID-​related challenges in California, New York City, and the Navajo Nation. There’s even a very brief mention of the Ukranian Food Fighters at the end.

Without a doubt, José is doing amazing work that’s worth knowing about and supporting. The key to making a successful nonfiction picture book biography–or any picture book, for that matter–is to find a way to make the story kidcentric. Why? Because if a kid reader doesn’t love the story enough to ask for re-​readings, it’s a one-​and-​done book regardless of the book’s other merits (such as beautiful art, which is the case here).

I worry that Unger sacrificed too much of the potential emotional depth of the story to portray a more exhaustive recounting of José’s entire life and career, and to put the focus so much on the many efforts of the World Central Kitchen. Another way that might make this book more kidcentric would be to embrace the parts of this story that kids would most likely be drawn to, such as the wonder, magic, and even the sound of food. We have a bit of that at the start, but it gives way to the robust biographical journey that follows.

Directly addressing the reader in the last page (“And one day you, too, will find your calling and make the world a better place”) seems to address the above concern. Does it work? Like the Ukranian mention, it feels more of an afterthought, though I’m pleased the Career Day visuals suggest all kinds of interesting future careers. If it only depicted a chef? That wouldn’t be a hit with most kids, I imagine.

The mission of this story is a very good one, and José Andrés comes across as an admirable humanitarian. There’s a strong sense of a connected world community and a positive sense of diversity here in both the text and the accompanying visuals. I hope this book brings a lot of attention to the World Central Kitchen since that appears to be the main course of this literary meal.

4 out of 5 pencils

 

–David’s Review of the Illustrations–

Spanish illustrator Marta Alvarez Miguéns starts on a sweet note, showing the roots of José’s compassion: as a boy, in the hospital where his parents worked, bringing water to an elderly patient. His love for cooking starts with his mom in the kitchen. He makes paella with his dad.

In a lovely, abstract flight of fantasy, young José floats dreamily over a giant kitchen table, spices, chicken, and utensils arrayed like a fanciful village, reminiscent of Maurice Sendak’s In the Night Kitchen. Miguéns takes flight again later in the book, depicting a grown-​up José filling a steaming pot with vegetables that swirl magically around his head, a magician in the kitchen.

The pictures unfold in travelogue fashion now. José, a teenager, approaches cooking school in Barcelona. He cooks in restaurant jobs in New York and Washington, D.C. In a masterstroke, Miguéns brings the two threads of his life together in a touching double spread: a line in a soup kitchen, each person’s face depicted with care and a poignant dignity as they wait, bundled against the cold.

2010, and José responds to reports of the earthquake in Haiti and flies down to help. An image of local volunteers building rows of sandwiches is especially effective, hundreds of sandwiches laid out in a vast grid. Miguéns is mindful of showing other characters helping José in nearly every picture, suggesting humility in the chef. He is not doing this alone.

Next, it’s off to the Bahamas to help, then Guatemala. COVID appears, along with surgical masks, and Miguéns whisks us to the American Southwest, where José and his team help feed the Navajo nation. From California farm workers to Harlem hospital workers, we land in current-​day Ukraine, where José’s organization enlists locals to feed the broken victims of war.

The world events are grim, but Miguéns’ illustrations are hopeful. Each generous spread unfolds like a bright mural. Her vibrant, colorful illustrations remind me of Mary GrandPré’s fluid, almost abstract handling of the human form. Flat shapes tumble and interlock; steam, smoke, flowers, and plants spill and flow over the pages.

The pictures end on a lovely high note: children dressed up for Career Day. A kid in the center wears a chef’s costume. In a clever move, Miguéns has him wearing a cape and raising a spoon like a sword, or a scepter–a superhero, a knight, or a king.

José comes across as all three.

5 out of 5 crayons


David C. Gardner is an award-​winning illustrator and visual development artist. A former artist for Walt Disney Animation Studios, he has illustrated numerous picture books, including Write On, Irving Berlin! by Leslie Kimmelman (which appeared on OPB in May 2018). Published by Sleeping Bear Press, that book won a 2021 Charlotte Award from the New York State Reading Association. His forthcoming picture book is Junia, The Book Mule of Troublesome Creek, written by New York Times bestselling author Kim Michele Richardson. It follows Junia, the spunky mule from the bestselling The Book Woman of Troublesome Creek series, in a picture book tribute to Kentucky’s Great Depression Pack Horse Library Project. It’s due from Sleeping Bear Press in March 2024. David teaches illustration at Ringling College of Art and Design.

To learn more about David’s own work, please visit FlyingDogStudio.com.

Industry Insider Interviews: Tips, Advice, and More from 18 Editors & Agents

Instead of having a regular one-​subject interview, I’m going to share 18 interesting, surprising, and/​or useful things said by literary agents or editor in interviews I’ve read this past year. For those of you who care about such things, none of these interviews were at OPB. But maybe down the road I’ll do some a roundup post or two that’s only from OPB, kind of an OPB Greatest Hits! Does that sound like a good idea to you?

I’ll see you back here next week for the final OPB picture book review of 2023.


Anjanette Barr, Dunham Literary

from PBS Spotlight

I always ask myself whether this is something children actually WANT to read about. If you have a great story idea, but it’s on a topic the typical 4–8‑year-old crowd doesn’t care about, then you may need to choose a different format for your book. It’s easy to forget what that age group is interested in if you aren’t spending a lot of time with them, and this is often a glaring problem in manuscripts from new picture book authors. Remember that even though we want adults to enjoy reading our books aloud, it’s always the kids that matter most.


Sheila Barry, Kids Can Press

from cynsations

The hardest part of my job is having to say “no” so many times in a day or week. We turn down far more manuscripts than we publish (we probably reject 100 manuscripts for every one we accept), and I write more rejection letters than I can count.

Many of the projects we turn down are perfectly publishable, but they just aren’t exactly right at this particular moment for Kids Can Press, and it can be hard to keep finding ways to say: “We like your work, but we don’t like it quite enough to contract.” I’m almost always impressed by the graciousness of the people I turn down. But I still don’t enjoy doing it.


Savannah Brooks, kt literary

from Literary Rambles

I’m open [to self-​published or indie authors] so long as the project they’re querying hasn’t already been published. Those I won’t take on because the project really needs to be an Indie bestseller in order for editors to consider it. Otherwise it doesn’t really matter to me unless those projects are problematic/​poorly written. My general advice is don’t try to use self-​publishing as a way to launch yourself into traditional publishing. It backfires more often than it works.


Julia Churchill, AM Heath

from Words & Pictures

Every author is different, every book is different and every campaign is different. Publishers bring expertise, creativity and investment to the marketing of a book and an author. I will look through each campaign and ask questions. If I think it looks basic, I’ll ask for more. If I think they should be using the author more, I’ll ask why they aren’t. If the author and I have any other ideas ourselves, we will bring them to the publisher and talk about how we can make them work. If I see something that has fallen flat on one campaign with another publisher, then I will share my experience and ask why that happened, and if maybe we should re-​route the budget into a different area, or if they still think it’s worthwhile. I ask questions, I make suggestions, I voice my concerns.

What I want for every author is the premium big-​budget campaign, the diamond standard, but very few get that. You can imagine marketing and PR campaigns to be on a sliding scale. Some campaigns are on the more basic end of the scale. If that’s where your author is in this moment, it’s important to know that, so you can deal with it. I can brainstorm with the author what they can do under their own steam, dovetailing with publisher’s efforts, and also ask the publisher to bring in their expertise and some budget in order to help support the author. Everyone wants the book to be successful.

Not all authors want to be in a room presenting to a hundred people, they want to sit in their shed and write – and why shouldn’t they? Some authors do — and love being on panels or at festivals – it’s about knowing the author, and building the campaign around them and the book.


Mary Cummings, Great River Literary

from PBS Spotlight

If I’m intrigued, I send insights about areas to revise. I don’t want to hear back in, like, two hours because I don’t believe the writer will have really pondered and had opportunity to decide whether the revisions seem like a direction that feels right. But I also want to hear back in some reasonable amount of time (a few months would be really long for a picture book, unless my thoughts for revision would have major impact on illustrations for an author/​illustrator).


Adria Goetz, kt literary

from Johnell Dewitt

I particularly love what I call “historical footnote” picture books, that build a story around lesser known bits from history. I’m also looking for picture books that capture ordinary or natural moments that feel like they’re magical—moments like capturing fireflies, bread dough rising, watching a bird murmuration, the Northern Lights, planting a seed and having it grow into a living plant, and so on. We’re surrounded by ordinary magic, and I want to celebrate it! I’m also particularly looking for picture books that explore something peculiar that happens in nature.


Elizabeth Harding, Curtis Brown, Ltd.

from liveabout dotcom

One interesting thing is that independent booksellers have been compelled to be so much more nimble and creative to stay competitive and so many of them have gotten really good at selling picture books and middle-​grade books.

There would sometimes be a situation when I’d hear that Barnes & Noble “passed” on an author’s book and it used to be devastating—devastating. I would have an inconsolable author and have nothing to really to be able to tell him or her. That’s become less and less the case.

Of course, it’s great if the book is at Barnes & Noble, but it doesn’t need to be there. If they pass —while it’s not ideal—between school, library, and the indies, now we’re able to say, “That’s OK. There are other ways to sell the book.”


Susan Hawk, Upstart Crow Literary

from Writer’s Digest

Keeping texts concise is key – take a look at newly published picture books to see approximately how long they are. Editors aren’t looking for a lengthy text. I often receive rhyming picture books and these can also be a tough sell. Ask yourself if your story must rhyme; sometimes it can open up possibilities if you aren’t bound to a rhyme scheme.

I also avoid texts that teach a lesson. I find that a story that’s in service of a lesson can obscure the star of the story – the characters I want to fall in love with.


Carol Hinz, Millbrook/​Carolrhoda Books

from Picture Book Builders

I regularly see picture book biography texts that are well done but just don’t completely grab me. A common problem with these is pacing. Everything in the subject’s life is given equal weight, so the highs don’t feel all that high nor do the lows feel all that low.

In expository picture books, giving each scene its own spread may still apply, but depending on the approach the author uses, the pagination may be pre-​determined by the structure of the text.

Whether a book’s text is narrative or expository, I firmly believe that a page break has to mean something. The turn of a page should reveal something interesting, different, or new. And when I’m reading picture book submissions, I am looking for a reason for readers to keep on turning the pages.


Christa Heschke, McIntosh and Otis

from Justin Colon Books

Communication is key!!! It’s so important to me that my clients feel comfortable talking to me about any concerns they have throughout the process. I am always here! Most authors will feel a range of emotions throughout the submission process and beyond. Are you feeling disheartened? Would you like to talk strategy? Do you have editors you’d like me to submit to? Are you confused about contract language or what something means? I am always open to suggestions as well. It’s a partnership! Every author is different as far as how often they want to communicate and in what way (phone, email, etc.) and how involved they want to be in particular aspects of the process. So, I always like to be as clear on those details as possible. I want everyone I work with to be happy, know that I have their back, and be comfortable talking through things with me.

It’s also important to understand what each author’s goals are career-​wise and beyond so I can do my best to meet them.


Allyn Johnston, Beech Lane Books

from Picture Book Builders

A picture book is more than anything else a piece of theater, with pictures and words unfolding together as the pages turn and turn and turn all the way to that most important and satisfying one—the final turn from pages 30–31 to page 32.

A picture book is not a static piece of double-​spaced writing on several sheets of 8½ x 11 paper. It’s also not a chunk of writing that sounds like part of a young middle-​grade novel. The text of a picture book is more like poetry than prose. It needs rhythm and succinctness and not a bunch of description and dialog. To steal from Mem, it needs “perfect words in perfect places.” And not too many of them.

If you are a writer but not an illustrator, you of course must leave room for the artist to tell the picture story. But you also must let go of the notion that it is in any way your job to control what happens in the pictures. (No art notes! None. You may think I’m joking! But I’m not.) Your job is to write the best story you can possibly write, one that is so deliciously gorgeous and unexpected and fun in the way it unfolds, and in its emotional power, that no one who reads it can get it out of their heads.

As author/​illustrator Marla Frazee has said so beautifully, “It’s the text and the art that are collaborating in a picture book.” It’s words and pictures together that make the whole. Trust each of them to tell its part.


Naomi Kirsten, Chronicle Books

from Children’s Illustrators

It depends on the project since I work on a variety of formats, from original picture books to novelty books, board books, puzzles, and games. Regardless of the project, though, I typically seek out a style that can be best described as eye-​catching, soulful, and enduring. I also gravitate toward illustration styles that resonate with readers all over the world. I’m committed to reaching all readers, regardless of geography, so an illustration style often needs to have universal appeal.

Another quality that I look for is flexibility. It’s great to see a signature approach or aesthetic in a portfolio, but knowing that an illustrator is willing to step outside of their comfort zone to meet the needs of a potential project is ideal.

Finally, what typically sets an illustrator apart for me is their visual voice: That often comes through in a strong sense of color and line. If an illustrator is comfortable working in a limited palette, I like to see variations on that sensibility. I tend to gravitate toward illustrators who have a style that appeals to children all while speaking to an adult’s sense of artfulness. Since adults are the ones buying books for kids, they are always part of the equation for me—adults are also the ones who will likely be reading the picture book again (and again) to the youngest of readers, so it’s important to have a kid-​friendly style that adults can appreciate, too.


Emma Ledbetter, Abrams

from cynsations

Three hundred and fifty words is definitely on the short end of the picture books we publish! Word counts can vary greatly depending on things like the age group they’re targeting, and whether they’re fiction or nonfiction.

But yes, in general, there has been a trend towards brevity in recent years. I see this not as brevity for brevity’s sake, but because often, a manuscript reads as “too long” because it would simply be a stronger story if it were shorter.

When I edit a picture book text, sometimes I’ll encourage an author to condense when I find that there’s excessive description; too many different plotlines going on at once; or too much information incorporated (this can be a particular issue with nonfiction).

Every word is important in a picture book, where space is precious and limited—so every story needs focus and intent.


Steven Malk, Writers House

from Publisher’s Weekly

The most exciting thing for me has always been reading a voice I’ve never read before, coming across a perspective, point of view, or experience that’s different and new. The advice I always give is just to communicate what it is that makes you unique.

And there’s the really basic stuff of just being professional. You want to come across as really serious about what you’re doing. You don’’ want to come across as someone who’s just dabbling or who doesn’t take the business particularly seriously as a potential career. It is a career. You should demonstrate that, just like with any job.

***

I love coming across a voice I haven’t read before. I love books that open windows into a wide range of experiences. Not many people know it, but I’m a huge fan of mysteries and read them in my spare time whenever I can. I’d love to find a great mystery, especially a mystery with real emotional stakes and a setting we haven’t seen before. I’ve always been a big fan of flawed or unreliable narrators as protagonists. I love music, history, and sports, so I’m always receptive to books that touch on those subjects as well.


Wendy McClure, Albert Whitman & Co

from nancychurnin.com

In terms of process, it’s [writing a picture book] sort of a cross between composing a poem and writing a short essay. For many years I did a column for BUST magazine, and my word count was around 800 words, and once I got used to that limit, it sort of changed the way I wrote those pieces: I’d know, after a couple of paragraphs, whether my pacing and structure was tight enough to work with that word count. If it wasn’t, I’d start over. I find now that I do the same thing with picture books, because working with those texts as an editor has given me a feel for that length. It’s funny, because I still believe in writing first drafts without worrying about word count, and that sometimes you need too much story at first to have enough in the end. But it’s also useful to understand the sense of scale a picture book has. It’s like figuring out what size paintbrush you need. As an editor of picture books, I’m always in that world to some extent! But it’s a little different when it’s your own manuscript. I liked letting my editor (Christina Pulles) make decisions about page breaks and jacket copy, and I was able to sit back more and watch the magic happen, which was fun.


Holly McGhee, Pippin Properties, Inc.

from Cynsations

I often find that our very most successful clients need a gatekeeper—there can come a point when there’s nobody left who will tell an author to “shelve it” or that the author “can do better.” We are the keepers of the castle, the ones you can trust to tell you the truth about the work as we see it.


Maria Modugno, Random House Studio

from Robsanders.com

If I knew the formula for making a finished book irresistible, I would be a millionaire. Even after years of experience, I find it hard to anticipate which titles will really take off. I always pause when I have the first bound book in my hands and celebrate that achievement. What the market thinks is out of our control. Nevertheless, most bookstores use the top seasonal holidays as a hook for a display. Back to school is another important season for picture books. It goes without saying, that the publisher has priced the book competitively and the trim size is right for the story, i.e. some books are “lap books” that can be spread across the laps of two readers; some illustrations call for vertical size and others for landscape.

***

The overwhelming reason that manuscripts are declined is because they just don’t have that extra spark, something that makes them irresistible. And that quality is the most difficult to define.

There are some things you can check—does the story have a distinctive voice? Does the plot work without relying on coincidence? Does it end with a surprise [such as a] birthday party? How does it sound when you read it aloud, or better yet have someone read it to you. Take care that you are not convincing yourself that it’s a good text.

***

I’m a saver of scraps. I have a jar of mismatched buttons that I keep on hand just in case. Don’t ever give your manuscript a funeral. Set it aside for a while first underlining the parts you love the best.

Something that isn’t working completely will still have a number of gems you can use somewhere else.


Brooke Vitale, freelance editor

from Brookevitale.com

So what does it mean to have a book for kids aged 3–7? It means that you need to focus on things these children can understand and can relate to. Keep in mind what a young kids’ experience with the world is and what is interesting to them. A four-​year-​old isn’t going to want to read a book about a ten-​year-​old. They can’t relate to what that character is going through and probably won’t understand the book. Young children are still learning how the world works and wont usually comprehend more complex emotional stories. That’s why most picture books tend to be simplified. A book about bullying, for example, would likely focus on a protagonist stepping up to stop the bullying, not the actual physical and emotional abuse the bullied child experiences.

But more than being something they can understand, books for kids this age need to be compelling. They need to keep a child engaged and actively hold their interest.

If you’ve ever read to a kid, you know that they have notoriously short attention spans. If you don’t have a story that keeps their attention, they’re not going to want to read your book. Find a way to engage them, and keep them engaged.

Educational Activities: Turbo’s Special Delivery by Jean Reagan, illustrated by Eduardo Marticorena

Turbo’s Special Delivery
Author: Jean Reagan
Illustrator: Eduardo Marticorena
24 October 2023
Clarion Books
40 pages

Book description from Goodreads: “There’s a new truck on the road and he goes fast— turbo fast; from New York Times bestselling author Jean Reagan comes a social-​emotional picture book about slowing down and learning new skills. Turbo Truck has always stayed in his lane. That lane being the fast one. But when the only job left is one that calls for a delicate hand at the wheel, Turbo has the chance to prove to everyone—and himself—that he can travel at more than one speed. As Turbo slows down, he discovers the satisfaction of a job well done (even one with no impressive accelerations) and the sights only visible from the slow lane.”


Need some reviews for Turbo’s Special Delivery?


Educational Activities inspired by Turbo’s Special Delivery:

  • Before Reading–From looking at the front cover: 
    • What do you think the story might be about, based on the title and cover of the book?
    • What characters do you think might be in this story?
    • What do you know about trucks? How do they work, and what jobs do they do?
    • What are you wondering about as you look at the front and back cover?
    • What questions would you like to ask the author–or the illustrator!–before reading the book?
  • After Reading–Now that you’ve read the story: 
    • What made Turbo different?
    • If you were in the story, what would you hear, see, smell, and feel at the warehouse?
    • How did you react when Turbo didn’t get a job? Has anything like this happened to you before?
    • How worried were you about Turbo successfully handling the special delivery?
    • Was there a moment in the book that surprised you?
    • What was your favorite part of the story, and why?
    • After the events of this story, how might Turbo act differently in the future?
    • Would you suggest this book to a friend? Why/​why not?
  • Turbo Truck Craft: Create a detailed model of Turbo using cardboard, bottle caps for wheels, and paint. Focus on making parts of him, like wheels or doors, move in slow motion. Decorate Turbo with colors as seen in the book. As you build, think about how each part of a truck works and why slowing down might be important for Turbo.
  • Slow Race Challenge: Organize a race where the slowest person to reach the finish line wins. Mark a starting and finishing line in a safe outdoor area. Discuss strategies to move slowly and steadily, and observe how different it feels compared to a regular race. Talk about the importance of patience and how it relates to the story.
  • Further Reading: Turbo’s Special Delivery features a very special truck. Here are some other picture books about trucks (and truck-​like things). 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: Marty Kelley

Here’s a little secret about getting interviewed at OPB—if you make books about unicorns, zombies, and farts…you’re in! And while you might think that’s the only reason that author, artist, and teacher Marty Kelley is joining us today, you’d be wrong. He’s also the creator of Imaginary Ancestors, an interactive storytelling project where you get a “brand-​new, completely fictional family member into your life.” Awesome, right?

There’s more to Marty than just his knack for weaving the hilarious with the heartfelt. With a background in elementary education and freelance illustration, Marty possesses a unique perspective on storytelling that’s both educational and entertaining. His experiences in the classroom inform his understanding of children’s innate curiosity and humor, aspects that he deftly incorporates into his work. Marty Kelley is a multi-​dimensional artist who not only tickles our funny bones but also sparks our imagination and speaks to our inner child.

Oh, and he’s the author of this fine book, which is the first of his I’ve read.

Let’s dive into the interview to find out more about Marty right now!

Marty’s Website

 


RVC: Rumor has it that you get your start as an artist by drawing “historically accurate pictures of spaceships dropping bombs on dinosaurs.” True story or is this just more bang-​up work from the Office of Disinformation?

MK: 100% true disinformation…

RVC: Hah. Okay. What’s the REAL story?

MK: I’ve always loved to draw. I spent a lot of my school career drawing ridiculous doodles in notebooks and in the margins of my school books. I spent a lot of my recess time erasing those same sketches from the margins of my books. I’ve always enjoyed creating art and stories that exist in some sort of strange juxtaposition with one another. Spaceships and dinosaurs, for example.

RVC: Please share the story of the comic strip you created during high school. 

MK: I had high hopes of being the next Gary Larson and creating a comic that could rival The Far Side. To that end, I created a single-​panel comic called Major Weirdness. It was exactly as good as a comic from a dorky, untrained 14 year old would be. I sent it to a few syndication houses and a few kindly took the time to send me actual rejection letters instead of just using my comics as place mats.

I eventually decided to start a bit closer to home. I packed up all my comics in a binder, tossed it in my backpack, and rode my bike to the local town newspaper where asked to see the Editor in Chief. The editor took the time to sit down with me and look at my work. After pointing out that I had spelled Weirdness wrong on every panel, she offered to print my comic in the paper once a week, for which I was offered the exorbitant payment of $10 per comic. I still feel like they overpaid me.

RVC: Great story. Now, after high school, you studied animation at The School of the Museum of Fine Arts. Soon after graduating, you returned to school to become a teacher. What’s the backstory here?

MK: My art school years were great and I loved the Museum School, but their unorthodox way of running a school gave me, as an 18-​year-​old kid, WAAAAAY too much freedom in my choices. Rather than taking several foundation courses in many aspects of art, I was able to focus everything on my tunnel-​visioned view of being an animator. I really just burnt myself out on it in two and half years. After a few bumpy attempts at other things, I got a job as an aide in a local elementary school. I absolutely loved working with kids. After following my girlfriend (now wife) to Florida, where I experienced some of the worst jobs of my life (I’m looking at you, Mystery Fun House…), I went back to school to get a “real job” teaching second grade.

RVC: What are some specific ways that being a second-​grade teacher prepared you to become a professional writer and illustrator of children’s books?

MK: Honestly, I think my time teaching was one of the most important factors in any success I’ve enjoyed as an author/​illustrator. I learned firsthand what kids actually enjoy. I learned how they read and why they make choices that they do in selecting books. As a very frequent presenter at schools, my background as a teacher was invaluable in making me comfortable in front of crowds and understanding how to keep 150 kindergarten kids entertained in a gym for 45 minutes. Something not for the faint-hearted.

RVC: What convinced you to make complete shift to being a story creator?

MK: Lunch duty. You have no idea…

RVC: I can only imagine!

MK: Honestly, I started doing Author Visits to other schools when I was teaching. I’d take a personal day here and there and zip off to another school to talk about books and make some pretty decent money. When I visited the elementary school that I attended as a kid, the largest newspaper in the state came and did a big feature story about it.

When I returned to school the next day, several co-​workers suggested that the next time I was “sick,” I try to avoid statewide publicity about it.

The superintendent, however, was delighted by what I was doing and allowed me to continue visiting other schools a few times per year because she could see that I was working hard to promote literacy. I eventually had to start turning down requests because of my pesky day job. It was at that crossroads, just married, in a new home, with a brand new baby boy, that I decided to chuck teaching and throw myself headlong into the breach. It was terrifying and very, very challenging, but I’ve never regretted it for a minute.

RVC: Share the story behind your first published picture book.

MK: I was working on a few books with no success. Like anybody trying something new, I had no idea what I was doing or how to go about doing it. This was in the olden days before the internet, when dinosaurs roamed freely through our towns. I began haunting the library and bookstores and eventually was able to sell Fall Is Not Easy to a small publisher. I was advised by people in the business that I should try to negotiate a flat fee because books from small publishers rarely sell many copies. I ignored that advice. That first book was in print for over 25 years and did sell a decent number of copies over its life.

RVC: I’m glad you bucked the trend there. Terrific! What was the most useful lesson that book taught you?

MK: Don’t lie to a publisher and tell them that the artwork is almost done when you haven’t, in fact, even started it. Rookie mistake.

RVC: You’ve been waiting patiently for me to ask, so here it is. Almost Everybody Fartsgreat picture book about farts, or the greatest picture book about farts?

MK: I’m biased, of course, but I’d suggest that it’s the only book about farts that matters.

RVC: What kind of reception did that manuscript have when you summoned the courage to send it in? 

MK: It was a strange mix. That book holds two personal records for me: Fastest rejection and fastest acceptance. When my agent, the incomparable Abi Samoun at Red Fox Literary, sent the manuscript out, we got an email back from a well-​known editor at a huge house exactly 28 minutes later. She was NOT a fan of fart books. 7 minutes after that, an offer came in from another publisher, followed by a second offer from a different publisher. It was the first time one of my manuscripts has gone into a bidding war, too.

RVC: What’s your favorite thing about that book (beyond that cool story you just shared)? 

MK: Thinking about the fact that in a law office somewhere, a lawyer actually had to write an eleven-​page legal contract that had the word “fart” in it about 57 times. That, and the fact that it makes kids laugh so hard. It’s really a joy to share that one at schools and see the kids shriek with laughter.

RVC: You and I know that tons of things don’t make it to the final product when we’re talking about picture books. So, what didn’t make it into that book that you wish did?

MK: HA! On the endpapers, there are a bunch of random people farting. Doctor, yoga instructor, princess, etc. When I originally submitted those pages, they included a nun. She made it through the first round of edits, but then the lawyers got involved. It was decided (not by me) that the book was potentially controversial enough without including a flatulent nun. There was also a page where an uncle was farting directly in a kid’s face. The marketing people thought it was “too aggressive.”

RVC: I think they missed a hilarious opportunity there. 

MK: I still disagree with the marketing folks, but we all need to learn to compromise.

RVC: Let’s talk process. How do you go about creating a picture book? 

MK: I really don’t have a set process. I tend to be a bit unfocused overall, flitting from one thing to another. I’m very curious and really enjoy trying new things. Very basically, I usually start with words. I will scrawl ideas and concepts in my sketchbook. Sometimes they seem to just flow, but much more often, it is a process that takes months or years. I heavily revise everything I create. I typically have pictures in mind, but they tend to get made after the words are finished unless I’m working on a graphic novel. Those are a totally different creative process for me. I think those through almost like a movie or TV show, relying much more heavily on pictures to tell the story and carry a lot of the humor. I really enjoy process and the act of creating.

RVC: How do you balance the relationship between text and illustrations in your work?

MK: Again, it depends on the book. As I mentioned earlier, I really like work that has some juxtaposition of ideas in it. I like stories where the pictures and words don’t always tell the same story, but they work together to create something new. It’s enjoyable to me to have the illustrations show or suggest something other than what the words are saying. For me, that’s a fun element of humor to exploit and play with.

RVC: Have you ever faced writer’s or artist’s block? If so, how do you overcome it?

MK: Oh, heck yes. It happens to everyone at some point. Often, I will just put the project down and take a break, either by working on something else or just doing something completely different. It can sometimes take years for me to take an idea that I like and turn it into an actual, workable story. I’ve also found over the years that projects I struggle with can occasionally be abandoned in favor of projects that incorporate elements of the original project. Lots of my books contain elements that were scavenged from previous “failures.”

RVC: What’s the most rewarding part of making picture books?

MK: Sharing them with a gym full of kids who laugh hysterically. It’s unimaginable rewarding to realize that something you created is bringing that much joy into the world.

RVC: You’re well known for having terrific school visits/​presentations. What are a few of your secret go-​to moves (that other writers should maybe copy)?

MK: Be authentic. Don’t try to be something you think kids will like. Be honest and real with them. Also, tell fart jokes.

Seriously, though, don’t tell fart jokes if you’re not the fart joke kind of person. You know when someone is being insincere. Kids do, too.

RVC: I quite agree. What else?

MK: I keep my presentations very visually engaging. I spend weeks every summer crafting a new digital slideshow for school visits. I work very hard refining the presentation and I go into each school prepared and ready to give it my all.

I keep the kids engaged with interactive elements including places for them to shout things out. I cover all aspects of the writing process in an age-​appropriate way. You really, really have to have a sense of who you’re talking to. Explaining your personal philosophy of using gerunds as a vehicle to further the exploration of the limits of language to a gym full of kindergarteners is probably not the smartest move a presenter can make. That doesn’t mean talking down to them, but making sure that you’re meeting them where they are with useful information presented in an engaging, appropriate way.

Also fart jokes.

RVC: You seem to have a running gag with the trademark symbol on your website and interviews, so let me just ask. What’s the deal there?TM

MK: What’s the deal there?™ is a trademark owned by Marty Kelley Enterprises, Ltd.. My lawyers will be contacting you.

RVC: On no! I’m terrified™.

MK: It’s just my silly push-​back against the ridiculous culture of proprietary nonsense everywhere.

RVC: Fair enough™! Now, what advice would you give to parents, librarians, and educators for selecting quality picture books?

MK: If a celebrity wrote the book or it it’s based on a cartoon series or a movie, maybe keep looking.

RVC: As someone who reads a lot of celebrity books as research (because I write them in my role as The Picture Book Whisperer), I agree with you.

MK: It really depends on what you’re looking for. If you want kids to become enthusiastic lifelong readers, let them choose the books they want. If you think it’s too hard for them, sit with the kid and read it together. If you think it’s too easy for them, take a breath and step back. Not everything has to be a challenge. Not everything needs to be quantified and graded. Let them read what interests them. Suggest other books that may be interest-​adjacent as a way to broaden their reading horizons. Reading for pleasure should actually be a pleasure.

RVC: Here’s one last question for this part of the interview. It’s Brag Time! What awesome upcoming things do you want to share with us? 

MK: The stuff I’m most excited about lately isn’t book stuff. I do have a new picture book coming out in 2026 that I’m excited about, but lately I’ve been working on a lot of sculptural work that incorporates stone, steel, and wood. It’s a joy to work on these and it’s such a different process than creating on paper with words or images.

I’ve been creating and selling a lot of these sculptures and it’s been a really exciting new avenue of creativity to explore.

RVC: Alright, Marty. Great job on the above, but here’s where your true colors will show. It’s the LIGHTNING ROUND! We’re talking zip-​zappy fast questions followed by hustle-​bustle quick answers. Are you prepared to face this challenge? 

MK: You bet™.

RVC: If we overheard you singing in the shower, you’d be belting out…

MK: “Think” by Aretha Franklin. Also, “Get out of my bathroom while I’m showering!”

RVC: If there was a picture book about your life, what would it be called?

MK: Wait, what?

RVC: Your studio is on fire! What’s the one thing you grab on your way out the door?

MK: The fire extinguisher.

RVC: An industry trend you wish would go away?

MK: It’s a tie: Celebrity “authors” and books created to sell toys.

RVC: The unicorn (or fart or zombie) picture book you WISH you wrote?

MK: Well, I hadn’t really given that any thought, but I think you just made it: Unicorn Fart Zombies™.

RVC: Funniest thing a kid reader of your books said to you?

MK: After presenting for 30 minutes to a group of kindergarten students about how I create my books, a kid raised his hand and asked “Do all wrestlers drive red trucks?”

I have no idea where that came from but I told him, “Yup. With whomping stereos.” and he seemed satisfied with that answer.

RVC: Thanks so much, MartyTM!