Tag: Ryan G. Van Cleave

Picture Book Review: Busy Feet by Marcia Berneger

On By Only Picture BooksIn Picture Book Reviews
Starry Forest Books
14 February 2023
24 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and longtime OPB friend (and Ringling College of Art and Design Illustration Professor) John Herzog.

–Ryan’s Review of the Writing–

It’s always a bit challenging to review a book with minimal text and eye-​catching art. That’s the situation here with Busy Feet, where a pair of kids go throughout their day with the emphasis being on the range of activities they experience in a kind of Energizer-​bunny fashion. You almost never see their faces to the point that the feet themselves are essentially the main characters. I’ll let John explain the ifs, hows, and whys of the art’s effectiveness below, but I suggest it’s likely due to vibrant colors and a strong sense of motion.

Let’s circle back to the text. The rhymes are purposefully basic and appear to be chosen with a goal of showcasing opposites (hot/​cold, go/​stop, high/​low) to help very young readers learn important words and concepts. To ensure readers notice these common antonyms, they’re always in UPPER CASE lettering in the text.

The book is especially short for a picture book (24 pages versus the standard 32). Was it originally intended to be a board book? I wouldn’t be surprised to learn that, considering the level of text. This feels like a book intended for 2- to 4‑year olds, though kids in the images seem older than that mid- to late-​toddler age. I’m pleased to see that the main two kids/​pairs of feet showcase a biracial friendship, and in the cameos of other kids/​feet, there’s a child in a wheelchair zooming along. For a pretty small cast of characters/​feet, that’s a lot of range.

In the absence of a more defined storyline and with rhyming text this minimal, I prefer to find true rhymes (high/​sky) versus near rhymes (done/​come). Leaning into the accents in addition to being attentive to syllable counts and rhymes often gives subtle oomph to the text, as well.

Still, Busy Feet this has a pleasing read-​aloud quality. And, as John will explain in a moment, the art is sure to appeal. That’s a nice combination. But I wonder–since toddlers buzz through their days in a whirlwind of activity, might we see sequels that showcase other busy toddler body parts? I’m imagining hands and mouths, but surely other options might prove equally intriguing.

4 out of 5 pencils

 

–John’s Review of the Illustrations–

Reading Busy Feet reminded me of this quote from Douglas Horton:

“The art of simplicity is a puzzle of complexity.”

Susanna Chapman’s illustrations for Busy Feet exemplifies this beautifully. The colors, patterns, design of the characters and peripheral elements – it all feels so simple, yet there’s a heart of complexity beating here.

Even simpler is the story, written by Marcia Berneger. Typeset in Futura (a Wes Anderson staple) and coupled with the simply complex illustrations, this feels more like a visual tone poem than a picture book. The design choices and visual flourishes give this an almost hallucinogenic feeling, which is exactly what the book needs.

I personally found the story (if it can be called that) somewhat lacking, but perhaps I’m expecting too much. After all, if the story were to be more straightforward, perhaps the balance of the simple story with the complex illustrations would cause it to feel a bit uneven. Nevertheless, I think there were more opportunities for Berneger to explore, especially given that the book takes the point-​of-​view of a little dog following along with the exploits of his child compatriots.

That’s the only weak link, really. On the other hand, the illustrations are incredibly effective and, most importantly, fun. This book is chock-​full of abstraction, interesting perspectives, textures you can really sink your teeth into, and old school printing imperfections – such as misaligned print plates. The style is very retro, which helps to make Busy Feet feel at home in both 1963 and 2023.

I have no doubt that this will end up being one of my favorite books of the year thanks to Chapman’s outstanding illustrations.

4.5 out of 5 crayons

John Herzog is an illustrator and educator. He has created work for Scholastic, Houghton Mifflin Harcourt, Little, Brown and Company, Highlights for Children, DreamWorks TV, and Hasbro. He also teaches illustration at Ringling College of Art and Design.

John is a member of the National Cartoonists Society and the Society of Children’s Book Writers and Illustrators, where he received the 2018 SCBWI Magazine Merit Award. He lives in Florida with his family.

John is represented by Kayla Cichello at Upstart Crow Literary.

Editor Interview: Lauri Hornik (Rocky Pond)

On By Only Picture BooksIn Editor Interviews6 Comments

This month’s Industry Insider is with Lauri Hornik, President and Publisher at Rocky Pond.

Normally, I write my own super nifty version of an interview subject’s bio with the occasional extra-​helping of literary levity, but I found this one at the Penguin website, and it namedrops so many AWESOME books that I’m just rolling with this.

“Lauri began her career as an editorial assistant at Houghton Mifflin Children’s Books in 1988, right after graduating from Harvard. She moved to New York City six years later as Senior Editor at Bantam Doubleday Dell, and then joined Penguin in 1999 as Editorial Director of Dial. In her time at Penguin, she has edited the National Book Award Finalists A River Between Us by Richard Peck and The Rules of Survival by Nancy Werlin; New York Times Bestsellers The Book With No Pictures by B.J. Novak, Counting by 7s by Holly Goldberg Sloan, If I Built a School by Chris Van Dusen, and the Ordinary People Change the World series by Brad Meltzer and Christopher Eliopoulos; Caldecott Honor Book One Cool Friend by Toni Buzzeo and David Small; Coretta Scott King Honor Books How I Discovered Poetry by Marilyn Nelson and The Moon Over Star by Dianna Hutts Aston and Jerry Pinkney; Sydney Taylor Book Award winner Dancing at the Pity Party by Tyler Feder; Boston Globe–Horn Book Honor Books It’s Only Stanley by Jon Agee and The Best Man by Richard Peck; and Sibert Honor Book Turning 15 on the Road to Freedom by Lynda Blackmon Lowery.”

Thank you, Penguin/​Random House website! And whew in terms of accomplishments, right?

Let’s get to know Lauri a bit better now via the interview. Here we go!

RVC: What were some of your earliest-​but-​vital experiences with books?

LH: Ooh, I love this question, because my childhood engagement with books was definitely a sign of what was to come!

When I was eleven and obsessed with Judy Blume’s novels, I wrote her a fan letter in the form of a short story, and she wrote back a personal note in the margins of her printed bio. I still have and cherish that note.

RVC: Lucky you!

LH: I loved reading and writing so much that in middle school I created a story publishing business: I wrote romance stories that I then made copies of and sold at school for a quarter. I was so annoyed when one of my friends would buy the story and share it with everybody else so that I only made 25 cents per story–my first experience of the realities of publishing!

RVC: Oh yeah. I’ve been there–that dreaded secondhand story market in elementary school. I figured I’d make a zillion buckeroonis with my Muppets “Pigs In Space” fanfiction, but it didn’t happen. (True story!) Back to you. At what point did you realize you were going to have a career in the world of stories?

LH: Beside my little business in middle school, you mean?

RVC: Yep!

LH: When I was in college, I spent a few summers editing school publications, including a Let’s Go travel guide. It was great fun and solidified my interest in working in books.

RVC: Your first book-​world gig was as an editorial assistant at Houghton Mifflin Children’s Books. What AHA moments did you have there?

LH: I think the whole first year was one long aha moment. I had thought I’d be working in adult fiction publishing because those were the books I was reading at the time. But the job I found right out of college was in children’s books, and it was an instant fit–a very lucky path to have stumbled upon. I remember talking on the phone to Margret Rey (of Curious George fame) on day one, and also the joy, sometime in that first year, of being able to write the jacket flap copy for Number the Stars. (My mother still has a copy on her bookshelf: It was a big deal in our family.)

RVC: What was one of the most memorable early-​career experiences with editing a picture book?

LH: Some of the illustrated books I remember most dearly are ones in which the author, illustrator, and I took risks with the format. In my early years at Bantam Doubleday Dell, I edited two exquisite and emotional storybooks, Buoy by Bruce Balan and Raúl Colón and Sky Memories by Pat Brisson and Wendell Minor, both of which took the picture book approach to an older reader. Unfortunately, neither really found its audience, but I cherish those books and am glad that we tried something different. I also remember the joy of collaborating with Max Haynes on an interactive picture book called In the Driver’s Seat that put the child behind the steering wheel. It was one of my first picture books as an editor, and such fun to work with Max on it.

RVC: Let’s leap to the present. Rocky Pond. How/​why did it come about, and what makes a Rocky Pond book a Rocky Pond book?

LH: I was the publisher of Dial Books for Young Readers for about twenty years–an extremely satisfying position to have had. But at some point during the pandemic, I realized that I wanted much more time for my own editing rather than supervising a team. There were books that I really wanted to pursue and develop–namely books with mental health content. This had been an interest of mine for quite some time, but I hadn’t had the space to really focus on building the list of mental-​health-​related books that I knew were deeply needed.

So, I launched Rocky Pond Books in the fall of 2022, and the first title published this past January. On the list you’ll find a focus on social-​emotional learning, the mental illness experience, and also some Jewish content. That’s another personal interest of mine, and another subject matter that’s quite needed.

RVC: As President and Publisher, what’s the most difficult aspect of your work?

LH: The most difficult aspect is also one of the best aspects: the juggle of so many different tasks and projects. From the start I’ve loved this career for its variety; there is always a task waiting that suits my current mood, and no two projects are the same experience. But it’s also a career that requires many different skillsets and the ability to keep jumping from one thing to another, and since a publisher works with so many different people (authors, illustrators, agents, colleagues from various teams in the company), there’s also the need to be responsive to whatever your work partners throw at you.

Some days there are more balls in the air than I can keep aloft.

RVC: Describe a typical workday.

LH: My last answer hinted at the reality that there is no typical workday. One day I might spend all of my time line-​editing a novel, the next I might be reading manuscript submissions for two hours, writing online copy for another hour, and then attending meetings the rest of the time (and fitting email into any empty minutes). Some of my favorite meetings are conversations with authors and illustrators and design meetings where I talk through picture book sketches with the art director and the book’s designer. In general, I’m spending lots of time reading or tinkering with words, both those written by authors and those I need to write myself to spread the word about the books.

RVC: In looking at picture books you’ve published over the years, you’ve got some real craftspeople when it comes to language. What are your thoughts on rhyme and some of more formal elements of poetry? 

LH: I’m a fan of rhyming picture books, as long as the rhyme isn’t dictating the story. The story needs to be as well told in rhyme as it would have been in prose, but when an author has that skill, it can be such a delicious read-​aloud experience. And beyond that, I do look for picture book texts that are lyrical or otherwise express a lot of personality through word choice.

RVC: Who are some of the books you’ve edited that showcase rhyme done well?

LH: A few great examples in terms of rhyme are Jon Agee’s It’s Only Stanley and Lisa Wheeler’s Someone Builds the Dream. And for lyricism, it doesn’t get better than The Uncorker of Ocean Bottles by Michelle Cuevas and The Tree in Me by Corinna Luyken.

RVC: Something I’ve noticed about the books you seem to like is that there’s a strong sense of community to them.

LH: Yes, I am always most drawn to books that demonstrate how crucial and sustaining relationships are to one’s life, so children’s books about friendship and family and community are closest to my heart. The Uncorker of Ocean Bottles is about community stepping in for a neighbor who is alone. I’ll soon be publishing Lawrence & Sophia by Doreen Cronin and Brian Cronin, a picture book about an unlikely friendship between a boy and a bird, and how this friendship helps them both contend with anxiety. Charlotte Cheng and Amber Ren’s Night Market Rescue is about finding family. And you’ll definitely keep seeing this focus on my list.

RVC: Let’s help some of the aspiring picture book authors out there. What kinds of things are NOT a great fit at Rocky Pond?

LH: I’m not looking for board book originals and easy-​to-​reads. Books about science and nature will most likely not be a fit. Fairytale retellings will usually not be a fit. And books without any underlying meaning aren’t for me, but I’m also not looking for books in which the message is too overtly therapeutic.

RVC: This isn’t a picture book question, but I have to ask. What was your favorite Richard Peck experience/​story?

LH: Oh, Richard! He taught me so much through the years, and became such a dear friend. I miss him and think about him all the time. Thank you for asking about him. One of my favorite memories is of Richard coming into the office while we were working on The Best Man. He had figured out the final chapter–those perfect three pages. And he sat at my table and read that new chapter aloud to me.

It was one of those rare moments in life–of awe and exhilaration and clarity. I’m very grateful for that memory.

RVC: Richard did a reading here in Sarasota a year or so before he passed. I got to hang out with him a bit after the reading—he was a sweetie. Very generous.

Ryan and Richard!

RVC: One more out-​of-​nowhere question. What’s something most people don’t know about B.J. Novak’s terrific The Book With No Pictures?

LH: B.J. puts so much care and study into his work, and with The Book With No Pictures, the look of the pages was an important part of the reading experience, one that he had thought about extensively before sharing the project with anyone. And so, when it was submitted to me for possible publication, it came as a composition notebook with each designed page attached to the notebook’s blank pages with paper clips. That way it could be read for the very first time in book form. I still have that original version.

RVC: If I asked B.J. what it was like working with you as an editor, what do you think he’ll say?

LH: I like to think he would talk about me and the book’s designer, Lily Malcom, as great collaborators who were willing to try all sorts of ideas before making decisions. We three had an intense and wonderful time working on the book together.

RVC: Last question for this part of the interview. It’s brag time. What should readers be excited about in terms of forthcoming Rocky Pond projects?

LH: I’ve mentioned a few upcoming beauties already, but here are a few more: Daniel Salmieri (the illustrator of Dragons Love Tacos) is the author/​illustrator of a meditative, gorgeous, meaningful book called Before, Now, which uses a spare text of opposites to convey the whole world of one girl’s life, from babyhood to grandma-​hood. Tyler Feder, the creator of Bodies Are Cool, has collaborated with her sister, Cody Feder, on a picture book about a socially anxious ostrich; it’s called Are You Mad at Me?, and it’s so fun while also being so helpful. And Casey W. Robinson and Nancy Whitesides have a touching picture book called Small Things Mended, about a grieving man who finds joy and purpose again with help from the kids in his neighborhood.

RVC: Alrighty, Lauri. It’s time for the SPEED ROUND. Let’s blast through some questions and get zoomy with those answers. Are you ready?

LH: Take it away!

RVC: Which character from The Office do you most admire?

LH: Andy Bernard–he bounces back from disappointments with so much energy and eternal hope.

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

LH: 2004, to re-​experience my first year as a mom.

RVC: What picture book creature do you wish really existed?

LH: Frog and Toad.

RVC: What are five things we’d see if we peeked in your office?

LH: A bright yellow sofa, various penguin knickknacks, a Newport Folk Festival poster, a can of Diet Coke, a dog bed for my puppy Peach.

RVC: What’s a recent picture book that deserved way more buzz?

LH: I was blown away by Sophie Blackall’s Farmhouse–so meaningful, with an art-​creation process like no other. Even though it was acclaimed, I would have like to have seen it get Caldecott notice.

RVC: What’s the best compliment you ever heard about one of the books you edited?

LH: About 20 years ago I edited a picture book called The Sea Chest by Toni Buzzeo and Mary GrandPré, and my young nephew announced that it was his very favorite book. In fact, when he met Toni Buzzeo at a bookstore appearance, he told her, “I re-​read your book before coming here to make sure that it really was my favorite, and it IS!” The best compliment is one that comes from the intended audience!

RVC: Thanks so much, Lauri!

Educational Activities: I Am Today by Matt Forrest Esenwine

On By Only Picture BooksIn Educational Activities1 Comment

I Am Today
Author: Matt Forrest Esenwine
Illustrator: Patricia Pessoa
1 March 2022
POW! Kids Books
36 pages

**While OPB generally chooses fairly new picture books to feature in our monthly Education Activities section, sometimes an older picture book grabs our attention. That’s what happened this week with Matt’s I Am Today, which was published a year ago.**

 

Book description from Goodreads: “A young girl realizes that she doesn’t have to wait until she’s grown-​up to stand up for what is right and make a big impact.

While playing on the beach in her coastal town, a young girl comes across a sea turtle ensnared by a wire. Her town is home to a factory that has provided jobs for many of her neighbors, including her mother, but it has also been dumping garbage from a pipe into the waters, threatening the creatures that live in them.

Children are used to being asked what they’ll do and be when they grow up, but the girl knows there is so much she can do today to help. Unable to forget the sight of the struggling turtle, with a fantastic act she inspires the townspeople to compel the factory to change its destructive ways.

Written in spare and evocative poetry, I Am Today is an empowering story for children who want to be the change the world needs.”

Educational Activities inspired by I Am Today:

  • Before Reading–From looking at the front cover: 
    • What do you think this book will be about?
    • Where and when is this story taking place?
    • How do you think this story is going to end?
    • Who do you think the main character is? What do you think they might be like?
    • What are you looking forward to learning or discovering in the book?
    • Have you read any other books by the same author or illustrator? If so, what did you like about them?
  • After Reading–Now that you’ve read the story: 
    • What does it mean for someone to be Today?
    • What does it mean for someone to be the Future?
    • In your mind, which of the child’s activities to save the turtle was most effective? 
      • What else might YOU have done to save turtles?
    • What did you think of the book’s ending?
    • What do you believe is the main message of the story?
    • Which picture did you like the most? Why?
    • Did you enjoy this book? Why/​why not?
  • Drawing–What’s interesting about I Am Today is that the turtle-​saving story occurs entirely in the pictures and not in the words. What’s another animal-​saving story that could happen in the background of these pages and this book-​length poem? Use colored pencils, crayons, or markers to create that story. Feel free to show that story in one piece of art or spread it out over many pages. Consider sharing your work with a friend or family member.
  • Crafting–The girl in this story clearly likes turtles, and so does OPB. After you’ve tried out the cool origami turtle activity in the back of the book, return here to test out these fun turtle crafts. As always, get an adult to help! 
  • Further Reading–I Am Today is about a child who makes an important change in the lives of others. Here are picture books about people who made similarly meaningful changes through awareness, kindness, and–perhaps most vital–taking action. 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/​Illustrator Interview: Bonnie Kelso

On By Only Picture BooksIn Author Interviews, Illustrator Interviews10 Comments

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

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

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

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

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

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

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

BK: Okay, getting introspective here…

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

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

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

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

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

RVC: One hopes!

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

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

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

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

RVC: Consider me impressed.

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

RVC: If it works, it works.

BK: You bet.

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

Early sketch of Nudi!

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

Bonnie’s photo of a nudibranch!

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

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

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

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

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

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

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

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

RVC: How do your art skills inform your writing?

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

RVC: How do your writing skills inform your art?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BK: I listen.

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

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

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

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

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

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

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

BK: Let’s goooooooo!

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

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

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

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

No…

Panda?

Nope.

Koala!

Final answer.

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

BK: Tortoiseshell.

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

BK: The Pacific Ocean.

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

BK: Ashley Spires.

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

BK: “I wish could eat that.”

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

Picture Book Review: Bear Is Never Alone by Marc Veerkamp

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Author: Marc Veerkamp
Translator: Laura Watkinson
Illustrator: Jeska Verstegen
Eerdmans Books for Young Readers
4 April 2023
32 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and Florida-​based freelance illustrator Gladys Jose.

 

–Ryan’s Review of the Writing–

Veerkamp’s English-​language debut (which Laura Watkinson translated from the Dutch original) in an interesting one. Here’s the story.

From page one, everyone in the forest knows that Bear’s piano playing is magnificent. The forest creatures crowd around to hear every delicious note. So good!

Suddenly, there’s a YAAAAAWWWWWNNNN!

Who’d be so rude as to interrupt this wonderful concert? Not Monkey. Not Squirrel. Not Turtle.

Was it…Bear?

Yep, Bear is done with music for now and simply wants a break. He just wants to be alone, though that’s a real problem because the others aren’t okay with it. The way the animals stalk him and insist on more music–like he owes it to them!–seems to be vaguely reminiscent of how paparazzi swarms celebrities and expect them to deliver 24⁄7.

Eventually, Bear shakes his pursuers and ends up alone. Or so Bear thinks. But look–Zebra is nearby (and I can’t help but note how Zebra’s stripes are newsprint–so cool). Zebra’s not pushy or demanding, though. In fact, Zebra wants to do something in return for Bear playing such beautiful music. Zebra offers to read Bear a story.

No way, decides Bear because all he wants is to be left alone. But…being told a story is pretty good. Is there somehow a way for both animals to get what they want?

I won’t spoil the final spread, but it’s a cute, satisfying moment.

Introverted readers will see themselves in how powerfully Bears years for silence and solitude. Others who perhaps aren’t as attuned to that angle will likely see this as a story about respecting boundaries or showing kindness.

Regardless of how apparent the social-​emotional lessons are to readers, this simple story with captivating art is thoughtful and welcome. I look forward to seeing more of Veerkamp’s work being translated into English.

4.5 out of 5 pencils

 

–Gladys’ Review of the Illustrations–

The art for Bear Is Never Alone is absolutely stunning!

The illustrations for this book are rendered in brilliant silhouetted black and white figures and shapes, with a bold red color for small details. The use of negative space was used so thoughtfully throughout. It’s the type of art readers will want to take time and look through slowly, as there are little details hidden throughout. In some places the negative space is actually other imagery, another animal, or elements of the forest.

The lone zebra character’s “stripes” being text is a creative and lovely touch, tying in to the book that they were hoping to comfort bear with–the same way that the bear’s solid bold silhouette mimics the grand piano.

I appreciate how the lone zebra was actually introduced from the start of the book, but never mentioned through the text and you could see he was different than the other animals and would play a bigger role eventually.

In conclusion, I thoroughly enjoyed this picture book. Both the words and art were lovely! It’s definitely a book worth having on your shelf and worthy of re-reads.

5 out of 5 crayons

Gladys Jose is an illustrator and storyteller. She graduated from the University of Central Florida in 2012, where she earned a Bachelor of Fine Arts degree, specializing in graphic design. She’s the illustrator of the Fresh Princess series (HarperCollins), The Elephants’ Guide to Hide-​and-​Seek (Sourcebooks), and Clayton Parker Really Really REALLY Has to Pee (Abrams), as well as other upcoming books.
She lives in the sunny state of Florida with her supportive loving husband, energetic brilliant daughter, and a very sweet pup named Miles.

Agent Interview: Jennifer Rofé (Andrea Brown Literary Agency)

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Help me welcome this month’s Industry Insider guest, Jennifer Rofé, a senior agent at Andrea Brown Literary Agency! Welcome, welcome, welcome!!!

As much as I truly enjoy creating snarky biographical introductions for OPB guests, when I see something great that someone else created, I must acknowledge it. Given that, here’s Jennifer’s fantabulous Twitter bio.

“Children’s lit agent with @AndreaBrownLit who dreams about being a bakery-​owning cowgirl. Never mind that I don’t bake or have a horse. (she/​her)”

Wow, right? [Making a note to improve my own social media bios in light of seeing this one!] 

And since it’s been a few months since we’ve done a Fun Facts section and I miss their pithy biographical goodness, we’re going to finish this introduction with a “7 Fun Facts about Jennifer” list. Here goes!

  • My first job was writing for a wine trade magazine, and they hired me because I knew nothing about wine. I didn’t even know what Merlot was.
  • My favorite color is yellow.
  • My favorite band is, and always has been, and always will be, the Indigo Girls.
  • My comfort meal is white rice with a fried egg and plátanos.
  • Things I love? “Troublemakers,” sass, underdogs, talking animals, and magic.
  • I am good at dream interpretation.
  • I love hidden passages and secret rooms. One day, I will have a house with both.

Thanks so much for that, Jennifer. Now let’s all zip ahead to the interview and uncover a bit more of the elusive recipe for how a literary agent superstar is made!

RVC: Whenever I have a name question, I now ask it aloud instead of quietly wondering about it in silent semi-​embarrassment. It’s a 2023 resolution of mine! So, here come two questions. 

1) Do you prefer Jen or Jennifer? 

Formally, like for work announcements, I go by Jennifer. But in life, I prefer Jen. So please call me Jen.

2) How do you say your last name?

JR: Row-fay. The accent on the e makes it a hard “a.”

RVC: Gotcha. Thanks for that! Now, you earned a BA in English with a minor in Social and Ethnic Relations from UC Davis. What was the intended career plan with that?

JR: Hahahahaha! I have no idea what the intended career plan was. As I was in line graduating college, I realized that I maybe should have studied Classics and Business. But it all worked out. Seems like it was a bit of a winding road, but in hindsight, I can see how I was getting here all along.  

RVC: You worked as a middle grade teacher for five years. What was the best thing(s) about that time in your life?

JR: Those kids were the best. Except for one class that drove me to drink spiked hot tea in the bathtub!

RVC: Oh, I’ve been there, too.

JR: I always appreciated the kids who other teachers didn’t like.

  • The “troublemaker” who was actually very intelligent. (I’m certain this kid is now either an entrepreneur or a criminal.)
  • The kid who came from a family of underperforming students and so the same was expected of him, but he was very smart. (I helped this child get into a private high school.)
  • The kid who brought a water squirter to school and stood behind a post to spray friends during the passing period. (On the inside, I was laughing, but I had to pretend to be mad.)

Being in middle school can be hard, but there’s something about that time that is a magical twilight.

RVC: What was your teaching superpower?

JR: I was good at bringing the low-​performing students to level, and the principal started intentionally giving me those students. I loved working with those kids, and I really didn’t do anything different with them than I did with my more achieving students. I knew they could get it done and I treated them accordingly.

RVC: What convinced you to make the move from teaching to agenting?

JR: I long knew that I wanted to do something pertaining to children’s media. I thought maybe cartoons, but then I had a summer internship at Disney and it was miserable. Then I thought maybe educational publishing, so perhaps I should become a teacher first, which I did. I also always liked kidlit, and I would wander the bookstores perusing the children’s section, but working in traditional publishing never occurred to me.

Then one day, the office admin at the school where I was working asked what I was doing over the weekend, and I told her I’d probably go to Borders (a blast from the past!) at some point to look at books. She said I should go to Book Passage instead, which is a fantastic indie bookstore in the Bay Area, where I had been living at the time. When I got back to school Monday morning, she had put in my box the monthly newsletter from Book Passage. I noticed that they offered workshops, and there was an upcoming one on children’s literature. Lemony Snicket, Megan McDonald, and an editor from Chronicle were presenting. And so was Literary Agent Andrea Brown.

I remember thinking, What’s a literary agent?

I signed up for the conference–which was a lot of money for me at the time–just to find out what a literary agent is. On the last day of the conference, Andrea presented, and I thought, That’s what I’m going to do. I approached her after and asked how I get her job. And here I am.

RVC: Wow!

JR: That office admin has no idea how she changed my life.

RVC: Who was the first client you signed? 

JR: The first client I signed on my own, in 2006, was Meg Medina, for her first book Milagros: The Girl from Away.

RVC: What was the tipping point with that book? What moved you to an “I’m taking it!” decision?

JR: The tipping point happened very quickly–on page 1. And that’s because even though Meg was writing about a fictional island, I could tell immediately that it was influenced by Cuba. My mom was born and raised in Cuba until her family fled the country, and I recognized Cuba from stories I had been told. In fact, if I recall correctly, I believe one of the first things I said to Meg when we spoke was, “You’re writing about Cuba, aren’t you?”

RVC: It’s clear that you’re deeply invested and interested in identity both from the projects you rep and how you represent yourself in the world.

JR: What most interests me about identity is how we’re perceived versus who we know ourselves to be or who we can become, and how that intersects. For instance, when Stranger Things came out, Joyce was my favorite character. She was perceived as a crazy, kooky lady, but she was right all along, and that nobody listened to her didn’t stop her from doing everything to save her son. Eventually, everybody got on board with Joyce.

In story, I am most interested in the character who is misunderstood, underestimated, overlooked. Even the students I appreciated the most when I was teaching were the ones who were underestimated.

RVC: What do you think is the most common misconception people have about the intersection of identity and writing?

JR: No identity is a monolith.

For instance, I’m half Cuban. Some would assume that I’m Catholic or that my mom’s family went to Miami after fleeing. Neither is true. We’re Cuban Jews, and my mom’s family ended up in Los Angeles.

The nuances of identity are infinite.

RVC: Let’s help writers by digging into industry specifics. Some agencies pass around queries/​manuscripts. How often does that happen at ABLA (the cool acronym for the Andrea Brown Literary Agency)?

JR: Every day.

RVC: What’s something most people don’t know about ABLA? 

JR: I don’t know if people really understand how collaborative we are. I talk with my colleagues every day, we help each other every day, and our hive-​mind approach has made us a strong, dynamic agency.

RVC: If I asked your ABLA colleagues what your agenting superpower is, what might they say?

JR: My in-​house nickname is Bonus Queen. I’m good at getting creative bonus language in contracts. And it’s so satisfying when those bonuses come through and clients earn additional money.

RVC: What’s your ACTUAL agenting superpower?

JR: When it comes to writers, I’d like to think I’m good at asking the questions that encourage them to pinpoint precisely what they’re trying to accomplish or say with a story. When it comes to illustrators, I’m good at spotting potential in the unexpected. For example, I came across the work of a fine artist whose style I thought would translate to picture books. And we very quickly landed her a picture book.

RVC: What trends is ABLA seeing in terms of picture book submissions?

JR: In terms of submissions we receive, we’re recently seeing texts about gardens, food, identity, and Christmas. There’s also been an uptick in stories that take place outside of a contemporary world–fantasy-esque, I guess you could say.

 RVC: I have two words for you. Big + Sur. 

JR: One of my favorite weekends of the year. ABLA runs the Big Sur Writers Workshops in Big Sur, CA, and Cape Cod, MA. Imagine being surrounded by fellow writers in clean, coastal air, workshopping your manuscript with small groups that are led by conference faculty, going away to revise for hours, strolling the redwoods or the sand to think, attending craft sessions from faculty, dining with colleagues. It’s a magical weekend.

 RVC: What’s a success story that emerged out of Big Sur?

JR: We have several Big Sur success stories–writers or illustrators who have joined ABLA or who have found other agencies and have gone on to get published. Two current successes that come to mind are Eric Rosswood, whose picture book Strong recently won the Stonewall Honor, and Angela Joy, whose picture book Choosing Brave has earned an impressive list of accolades, including most recently a Caldecott Honor.

RVC: You’re known for your The “So What?” Factor presentation.

JR: “So What?” started when I was teaching eighth graders essay writing. If Kayla stated that plastic bottles are polluting our oceans, her next sentences had to explain the “So What?” of this statement. This matters because…. And so on. At some point, I realized that I could do this with clients. If a plot point happens in the story, then there needs to be a “So What?” of that moment.

RVC: Why do you think the presentation is so popular? 

JR: I think this presentation became popular because it’s a simple way to think about how you’re moving your story forward. If X happens, then Y. And if you can’t figure out the Y, then rethink the X. Applying this to TV shows and movies is a great way to get the hang of it. Dirty Dancing is an excellent “So What?” vehicle. Johnny is accused of stealing wallets.

  • So What? Baby knows he couldn’t have stolen the wallets because she was with him all night.
  • So What? Protecting Johnny will mean that everybody learns what Baby has been hiding, including her parents.
  • So What? Their perception of her is going to be shattered.
  • So What? Well, lots of things, including that Baby needs that to happen so that she can come into herself as an independent young woman. Also, the dad is going to face his own biases and limitations. Everything that happens in that movie matters and moves the plot forward.

I haven’t entirely pinpointed how to do this with picture book texts because there is variation in the format. It can still generally apply, like with a more narrative structure, but concept books, for instance, might not have a “So What?” I believe I first started “So What?” as an agent with Mike Boldt! When he shares a new idea with me now, he often comes prepared with the “So What?” on hand.

RVC: What’s your best tip for ensuring the “So What?” game stays generative and supportive?

JR: You can certainly “So What?” your manuscript into oblivion. The core of it is understanding how each of your plot points moves the story forward and impacts your characters in a way that matters to the story.

RVC: How often do you participate in other workshops/​conferences?

JR: I mostly participate in SCBWI conferences, but I took a break after having my second child four years ago. Then COVID happened. But I’m slowly starting to do more conferences again. I enjoy them. They satisfy the teacher in me.

RVC: You’re an author, too. How did Piggies in the Pumpkin Patch come about?

JR: That was a happy accident. Mary Peterson was working on the story and we were doing a lot of back-​and-​forth, when suddenly I could see what the story needed. I asked her if I could take some extreme liberties with the text, and she said yes. So, I did, and we decided to team up.

RVC: What’s the most useful lesson that came about from that book?

JR: That revising is really hard. We almost quit during revisions. The experience helped me understand what writers go through. I am a more empathetic agent because of that experience.

RVC: In this post-​COVID world, I like to ask a health and wellness question in interviews. Here’s yours. What do you do to de-stress? 

JR: I build and remodel houses in my mind—I remodel mine almost daily—and look at homes/​interior design stuff online. If I weren’t working in publishing, I’d be interested in working in construction.

RVC: One last question for this part of the interview. What forthcoming projects are you especially excited about? 

JR: I’ll talk only about picture books that have been announced so I’m not spoiling secrets. The dynamo duo of author Dev Petty and illustrator Mike Boldt have a book publishing this year called Elmore the Christmas Moose. It’s a hilarious story about a moose who applies to be one of Santa’s reindeer, except he can’t fly. They also have a second Life Lessons from Chip the Dog book coming next spring, this one called Don’t Trust Cats.

RVC: OPB did an interview with Dev right here! What else are you stoked about?

JR: Author-​illustrator Sasha Mayer has her first book in a new series coming, called Squash, the Cat. It’s a funny and joyful story about a girl named Maggie and her best friend, Squash, who is her cat. And author-​illustrator Renée Kurilla has a book called It’s Fall coming this year. It’s a rhyming story about the delights of fall, and it’s illustrated in a limited fall palette. It’s cozy and wonderful.

RVC: Alright, Jen. You’ve been waiting for it. I’ve been waiting for it. The OPB audience has been waiting for it. And it’s now here!! THE SPEED ROUND!!! Lightning-​fast questions followed by shockingly short answers, please. Are you ready?

JR: Yes.

RVC: Guiltiest reading pleasure?

JR: I don’t feel guilty about any of it.

RVC: If someone narrated your life, who would you want to be the narrator? 

JR: Marin Ireland.

RVC: Which Indigo Girls song would make the best picture book? 

JR: My heart bursts that you ask this question because nobody ever has. And I know the answer because I’ve spent time thinking about it. It’s “Power of Two.” The illustrations would depict a parent picking up a child from school, and then they go on a drive to have a picnic and hike around and play in a field of sorts. Or something like this. Sorry this wasn’t a short answer!

RVC: What’s the One That Got Away?

JR: I will never, ever tell.

RVC: When your kidlit career is finally complete, what text should be on the career tombstone?

JR: “So What?” Juuuust kidding.

RVC: Thanks so much, Jen! This was a real treat.

JR: Thank YOU, Ryan!