Tag: Ryan G. Van Cleave

Editor Interview: Allison Cohen (Running Press Kids)

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Welcome to Allison Cohen, who is the subject of this month’s Industry Insider interview at OPB. Since 2018, she’s been an editor at Running Press Kids (an imprint of Hachette Book Group), but for eight years prior to that, she served as a literary agent at The Gersh Agency. Before that, she worked almost two years as an assistant at a different literary agency (The Gernert Company).

Allison got herself on my radar via being so prominent on the recent Dealmakers List at Publishers Marketplace—anyone making as many deals as she’s making has my attention for sure!

Allison keeps a pretty low online profile, so instead of me making things up or sharing summer internship information (for example, she worked at Gemstar/​TV Guide for 5 months a long, long time ago), let’s jump ahead to the interview to see what we can discover together!

RVC: Congratulations on having the second-​smallest digital footprint of anyone I’ve interviewed here. Is that on purpose or did it just happen that way?

AC: Hahaha! I wear that as a badge of honor. To be honest, I have a love-​hate relationship with social media. I think it can be a wonderful place to connect and support a shared love of all things—books, music, food, travel, (insert personal interests here), but a few years ago, I realized I needed to take myself offline to protect my mental health. It can be a very toxic place, too, and so I’ve been happy to (mostly) let it go.

RVC: I hear you there! Other than my blog, I stay pretty low-​key, as well. Now, let’s go back to the start of things for you. Where’d you grow up?

AC: Just outside northeast Philly.

RVC: Describe the path that led from there to where you are now, working in NYC as an editor for a kidlit imprint at one of the Big 5 publishers.

AC: I come from a long line of educators (both my parents were teachers, as was my sister, aunts/​uncles, etc.), and so I always assumed I would be a high school English teacher when I grew up. In college, I realized my interests extended beyond teaching, and I thought about other opportunities I could pursue as an English Lit major. I thought about what I loved most (spoiler alert: books/​reading), and had a moment where I was like, hmm…maybe I do the “teaching thing” later in life and find something in the immediate that lets me surround myself with books for a few years before I change gears. I didn’t really know where to start, so I applied to a job at TV Guide, hoping to work with their magazine (dating myself here). Let’s just say it wasn’t exactly what I’d imagined it would be.

Skip ahead to when an amazing friend of mine was telling me about her job in sales at Random House and how she thought I should consider moving to NYC and getting a job in “real” publishing. She sold me. My first job at a Big 5 was as the assistant to Madeline McIntosh when she led the audio group. She was an incredible mentor and really helped me figure out what I wanted to do. We were talking over lunch one day, and I started talking about all these editors I admired and how I wanted to be like them. She asked me what, specifically, I liked about what these editors did. After I told her, she casually asked if I’d ever thought about being an agent. I hadn’t. At the time, I thought of agents in the abstract. They were the people who sent publishers submissions, and then we took it from there. She set up some informal meetings for me to talk with agent friends she knew so I could hear more about their day-​to-​day, and I was hooked. I wanted to be the person on the very front lines. Finding the author, helping them shape their work, finding them a home with a publisher, championing them every step of the way, having these lifelong connections.

So, when the opportunity presented itself, I took a job as an assistant to two agents. I learned a lot about what really goes into creating a book—what it takes to find and grow authors, sell books, etc. I eventually wound up as Phyllis Wender’s assistant at Gersh. I’ve never met anyone like Phyllis. Her career path is incredible. There’s nothing she hasn’t done. She is also one of the most passionate, dedicated, generous, loving people I’ve ever met. To this day, she is an unbelievable mentor. She helped me build my list and become an agent in my own right. I am forever indebted to her and could write a book about all she’s taught me—personally and professionally. After eight years at Gersh, however, an opportunity presented itself and…well, RP Kids became my home!

RVC: All the time, I see editors moving into the field of agenting. You did that, but then you boomeranged back to editing. That’s really quite rare.

AC: I loved being an agent. I loved working with writers across genres—children’s and adult, fiction and non-​fiction, etc. And the relationships I built with my authors were unbelievably special. But the 24⁄7 hustle was a lot. You’re not just an agent—you’re an editor, an accountant, a lawyer, a therapist, etc. I often found myself pulled away from some of what I loved best about the job—working with authors on developing their manuscripts. Don’t get me wrong, being an editor requires hustle—nights and weekends reading and editing—but it’s a different kind. I had been talking to an editor friend of mine about life and maybe making a change but not really knowing what that change was.

That same week, I saw the opening at Running Press Kids. It felt like the universe was sending me a sign. I REALLY struggled with leaving behind my authors, but I knew the relationships with the ones who really mattered would continue (they have), and I told myself that if the whole editing “thing” didn’t work out, I could always come back to agenting. I knew how to do it. I loved it. I could come back.

I started at Running Press and I loved it. Present tense. I love it. I love the people. The entire team—we’re a family. I love our authors. I love our list. It’s relit a creative fire I didn’t realize I’d been missing. Four years later, I can’t imagine doing anything else.

RVC: For those that don’t know Running Press Kids that well, say a few words about what makes it different than other imprints and presses.

AC: We are small but mighty. And we approach every book as a collaboration. We trust each other and really value opinions on everything from cover to copy. And I think the collective passion of our team is why our books look the way they do and find the readers they do. Because we’re all working towards the same goal of instilling a lifelong love of reading into the readers who find our books.

RVC: What was the first picture book you acquired?

AC: Alpaca Pati’s Fancy Fleece by Tracey Kyle.

RVC: What was the best lesson that came out of that book?

AC: It was a crash course in how to manage all the moving parts of producing a picture book. From finding an illustrator to managing schedules of deliverables. I learned just how collaborative the process is—not just between the author and illustrator, but across all the different departments—editorial, design, managing ed, production, marketing/​publicity, sales. There is SO much that goes into making these books happen. They don’t just appear on shelves at stores. Ha!

RVC: It seems like you have a particular interest in nonfiction picture books. Is that fair?

AC: Ooh, I don’t know…maybe in the beginning? I love books that teach kids about the world without being overly didactic. At RPK, we pride ourselves on publishing beautiful books that educate while they entertain. That said, several of my more recent acquisitions have been fiction, and it’s because I need that balance. Fiction offers opportunities to celebrate life and nature and can teach kids how to be better people, all through the power of story.

RVC: Let’s help out those writers and agents who read OPB. What kinds of things are you looking for?

AC: Hmm…this is hard because sometimes I don’t realize I’m looking for something until it hits my desk. That is such a non-​answer, I know. I will say that I have been having a lot of fun with our mystical/​magical books. With picture books I take on, I’m mostly looking for projects in the mindfulness, conservation/​nature, and social justice space.

RVC: What kinds of things are you NOT looking for?

AC: Rhyming picture books! Okay, to be fair, there is always an exception to this. BUT it often seems writers think picture books have to be written in rhyme, and then they try to force this rhyme scheme that doesn’t feel natural and the book falls apart a little.

On a more general note, I’m not looking for sci-​fi/​fantasy or chapter books.

RVC: I’m curious about what you do in a day-​to-​day work sense.

AC: Day-to-day…it really depends on what kinds of meetings we have. First thing, every morning, I check my email to make sure there aren’t any “fires” that developed overnight. Then I look at the day and block out times to deal with all the things. I used to try and get to every email in real-​time, but it’s a losing battle. So, now I just create blocks on the calendar to tend to everything. I work on pitches/​proposals for our internal editorial meetings (including comp research). I run P&Ls for potential acquisitions. I review passes and proofs of our books in production, style manuscripts for transmittal, work on cover copy, draft fact sheets for sales/​marketing. This all happens in between various meetings—cover meetings (love reviewing covers of our books), illustrator meetings (reviewing portfolios for potential projects), editorial meetings, calls with agents, editorial calls with authors, etc.

Mind you, I try to check my email every half hour or hour, depending on what the day is like. The hardest part, honestly, is just trying to keep things moving and being able to pivot when something major needs to be addressed.

RVC: What’s the most common misconception that people have about editors?

AC: That we spend our days reading and editing manuscripts. If only! The days are spent drafting copy, running P&Ls, reviewing proofs, preparing titles for launch and sales conference. Pretending I don’t have 221 emails in my inbox…(see above answer—hahaha!)

RVC: If you had to summarize the most important thing you’ve learned about being an editor, what would it be?

AC: To be flexible. Sometimes, you have to reimagine a book—sometimes it’s the trim size or page count. Sometimes it’s the art because an illustrator you wanted isn’t available. Sometimes a book’s on-​sale date has to move out—it can be a month or two, or sometimes it’s to a different season. There are a multitude of reasons things change over the course of a book’s production, and much is out of your control, so you just have to roll with it. Remind yourself it’s all part of the process of making sure the book is the best version of itself.  

RVC: What’s one thing that a lot of people just don’t quite understand about picture books?

AC: There is SO much that has to come together to make a book. That’s why schedules can be so long. It takes a lot to create synergy between the text and illustrations—you have the manuscript, then you find the right illustrator, then you get the sketches (almost always adjustments are made), then you see the color art (more adjustments are made). You’re getting together materials to share with sales so they can sell in to their accounts. You’re building marketing/​publicity plans to launch the book into the world. All this is happening while the managing ed and production teams are doing their best to make sure the books are printed, shipped, etc. There are so many hands that touch a book. It takes time. It’s a lot of work, but then you get the advance copy, hold it in your hands and think, THIS IS WHY. It is incredible when everything works out.

RVC: Since COVID has clearly affected all of us, I’m making an extra effort to ask a mental health question in every interview now. Here’s yours: what do you do to de-stress?

AC: I go outside. I feel so much better surrounded by nature. I go for runs or hikes. I just need to get out and get moving.

RVC: And here’s a follow-​up mental health question. What do you do to defeat negativity—internally or from the outside world?

AC: That’s a great question. It’s something I’m really working on, so I’m not sure I have an answer. I will say I have some really amazing friends and family that are always at the ready to offer support and keep me in check. So, when I’m really feeling down about something, I just reach out to the people I love and know they will come back with either a virtual hug or send a ridiculous meme to distract me.

Sounds cheesy, but it’s the best I can think of for now.

RVC: One last question for this part of the interview. What forthcoming projects do you want to brag about?

AC: There are so many!! Honestly, I look at our list and just think, WOW, we make beautiful books that demand conversation (and attention). Natasha Deen was the very first author I worked with at RP Kids, and her next book with us, The Signs and Wonders of Tuna Rashad (YA fiction) pubs this summer. The second book from Lil Miss Hot Mess, If You’re a Drag Queen and You Know It, comes out this summer. I didn’t work on this, but it’s just such a fun book, and the cover is incredible—a true feast for the eyes!

We have an awesome Junior Handbook series, and the third book is publishing this Fall—The Junior Tarot Reader’s Handbook. In a similar “mystical” vein, we have Astrology for Black Girls this summer. We have two picture books that reteam the author/​illustrator, that are so much fun—Peculiar Primates and Battle of the Brains coming this Fall.

I could seriously go on and on. Is there room to brag about all of our books? Because that’s how I feel about our list.

RVC: Alrighty, Allison. It’s time for the Big Moment. It’s…THE LIGHTNING ROUND! The point values are quintupled, and the stakes have never been higher. We’ve got the countdown clock ready because we’re looking to handle six questions and answers in sixty seconds. Are you ready?

AC: [Stretches arms. Closes eyes and takes a deep breath…] 

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

AC: My music app. I LOVE music and have all sorts of playlists depending on my mood or what I’m doing—editing, running, cooking, etc. Wait, is that considered an app? If not, then I guess my Notes app because I use it all the time when I have an idea for a book or need to create lists or to-​dos. My brain is so overloaded that I can’t remember anything without writing it down.

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

AC: Ryan! Oh, gosh…ummm…personal chef? I actually find cleaning therapeutic. I do like cooking, but I don’t always have the time or resources. But, man, a personal trainer would be pretty cool, too.

Chef. I’m going to stick with personal chef! Final answer!

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

AC: Jennifer Garner. She’s the first person that popped into my head. I don’t know why. Maybe because she’s amazing?

RVC: Five words (or fewer!) that come to mind when someone says “Art Notes.”

AC: Leave room for creative license! (to be clear, for the illustrator’s creative license)

RVC: What was the One That Got Away?

AC: Oof. You would think it would get easier each time, but there are a few that have stuck with me even years later. I try to console myself with the knowledge that at least the book will find its way into the hands of readers, and I’ll be able to add a copy to my personal bookshelf.

RVC: Your favorite quote about picture books (or writing, or editing—I can adjust to whatever you’ve got)

AC: It’s not a quote, but I was gifted the book Dear Genius: The Letters of Ursula Nordstrom, and it is one of the best gifts I’ve ever been given. I changed a lot about the way I approach editing after reading her letters. And I think anyone who loves publishing and books should read it. There is so much wonderful history (and humanity) in this book, and I have found a lot of inspiration in how I approach my work from it. If you really need a quote, though, on my wall is a quote from Ernest Hemingway: There is no friend as loyal as a book. 😉

RVC: Thanks so much, Allison!

AC: THANK YOU!!!

Educational Activities: Climb On! by Baptiste Paul

On By Only Picture BooksIn Educational Activities

Climb On!
Authors: Baptiste Paul
Illustrator: Jacqueline Alcántara
8 March 2022
NorthSouth Books
32 pages

Book description from Goodreads: “When a young child reminds her dad about the hike they planned, her father is hesitant —To the tippy top? It’s a great day to watch futbol (soccer). But as the two climb on, her enthusiasm is contagious. Filled with setbacks, surprises, and stunning views, this warm and humorous story highlights in vivid colors the bonding power of a shared experience. A list of creatures at the end prompts a second look for keen-​eyed readers to make discoveries of their own.

Baptiste Paul and Jacqueline Alcántara (co-​creators of The Field) have teamed up again! Baptiste’s humorous and tender text, with a sprinkling of Creole words straight from the Pitons, and Jacqueline Alcántara’s vibrant and evocative illustrations capture the wonder and emotions experienced on the trail and the special relationship between a parent and a child.”

Need some reviews of Climb On!?

As a bonus, please enjoy this short interview about the book with author Baptiste Paul.

Educational Activities inspired by Baptiste Paul’s Climb On!:

  • Before Reading–From looking at the front and back cover: 
    • Where and when do you think this story takes place?
    • What do you think this story will be about?
    • What is the child doing on the front cover?
    • What emotion is the child on the cover feeling?
    • Who is the other person behind that child?
    • From looking at this cover, what other books does this remind you of?
    • What do the images on the back cover make you think about?
    • How do you think this story will end?
  • After Reading–Now that you’ve read the story: 
    • What did you think would happen with the child wanted to got for a walk and Daddy said it was a “great day for watching futbol”?
    • If you were going on a long hike, would you have taken anything beyond what they put in their backpacks?
    • How easy was it to figure out what the Creole words meant? (They were always in italics.)
    • What creatures were causing trouble when you read “Buzz, buzz, buzz. Smack, smack, smack!”? Would you have turned back then?
    • What other animals and creatures did you see in this story?
    • What would you have done if you got to the top of the summit and realized you’d forgotten a camera? What did you think of their solution?
  • Writing–Think about a time you took a walk with a loved one. Or, if you prefer, imagine a walk you might one day take with a friend or family member. Write that story. Think about scenery, weather, plants, animals, and nature. If you want, create accompanying pictures with crayons, colored pencils, or markers. Stories are best when shared, so consider sharing yours with a friend or family member.
  • Planning–It’s always a good idea to plan before starting any journey. Answer the following about a future hike:
    • I’d like to hike to/​at _______________.
    • Someone I’d like to hike with me is _______________.
    • The three most important things to bring with me on the hike are _​_​_​_​_​_​_​_​_​_​, _​_​_​_​_​_​_​_​_​_​_​_​_​_​, and _____________.
    • Something I expect to see on my hike is _____________.
    • The best part about hiking is  _____________.
  • Activities–There are a lot of things to do while taking a hike. Here are a few of our favorites: 
  • Further Reading–Enjoy more picture books about taking a hike. 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: Traci Sorell

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photo credit; Kelly Downs Photography

The February 2022 Author Interview at OPB is with Traci Sorell. She writes fiction and nonfiction books as well as poems for children “featuring contemporary characters and compelling biographies—the type of books I sought out in my school and public libraries as a child.” She’s an enrolled citizen of the Cherokee Nation and lives in NE Oklahoma where her tribe is located.

In addition to four published picture books and one middle grade novel, Traci is under contract for a half dozen more books to be published in the next year or so. Talk about being prolific!

And just because these are awesome, here are three Fun Facts about Traci:

  • When she was 8, she tried out for the lead role in the 1982 film Annie.
  • During college, she lived in Madrid for a year and taught English to Spanish children and adults.
  • She is absolutely, profoundly unable to whistle.

With that, let’s move on to the interview.

https://www.tracisorell.com/

https://twitter.com/tracisorell

https://www.facebook.com/TraciSorellAuthor/

RVC: What was it like growing up in the Cherokee Nation?

TS: It was very different than it is now. Like many other Native Nations at that time (1970s-​1980s), the Cherokee Nation could not exercise its sovereignty and provide services to its citizens or others living within its reservation the way it can now. Tribal leaders and their citizens nationwide worked hard to challenge federal and state laws and policies that undermined our inherent rights as politically distinct peoples within the United States. So, I’m grateful my son has a completely different experience growing up in the Cherokee Nation today than I did as a child. He can experience the focus on language revitalization, participating in cultural programs, and being involved in community life with support from the central tribal government. When I grew up, only one’s family and community provided that because there wasn’t a stronger central government to serve as a support like there is now.

RVC: I’m glad to hear that! How much of a part of your daily life are stories?

TS: All of it. My entire day is filled with stories I tell myself, those I hear from others, and the ones I write. Stories are what we’re all made up of in this life and hopefully help us make sense of it.

RVC: When did you get interested in writing for children?

TS: Just before my son entered preschool, I began to examine the large collection of picture books I had related to Native Nations. I found very few focused on contemporary life and even fewer were created by citizens of Native Nations. I started researching to see what had been more recently published to determine if most of my books were just too old or anomalies, but that wasn’t the case. Overwhelmingly, even the current books featured pre-​1900 life and failed to represent us in our full humanity. I decided I needed to figure out how to be part of the solution to this huge problem.

RVC: To address that problem by creating your own books, what kind of research or training did you do?

TS: A friend from graduate school told me to join SCBWI and connect to my local chapter because he believed the organization was good for helping people new to the field. At the time (2013), I lived in the Kansas City area where there are a lot of people writing and illustrating for young people. I found some wonderful mentors in my local region. I learned so much at our conferences and at other regional conferences from people across the industry.

RVC: How important is it for young kidlit writers to join SCBWI?

TS: I think that depends on your background and what you feel you need. I had no creative writing or English degrees. My prior work had been in completely different areas. I also didn’t know anyone writing in the kidlit field full time. Now there are mentorship programs, helpful info websites like kidlit411.com, classes from Highlights Foundation and The Writing Barn, and kidlit-​focused Facebook groups that someone can connect with much more easily for the information and communities they need. For BIPOC creators, Kweli Journal’s Color of Children’s Literature conference is a terrific place to connect with fellow creatives at all levels of publishing experience as well as meet agents and editors. So, I don’t know that SCBWI membership is as critical given the broader array of supports and information available today.

RVC: What’s the story of how your debut picture book, We Are Grateful: Otsaliheliga, came about?

TS: In the fall of 2015, I won a free Skype critique from Suzanne Slade, a prolific, award-​winning nonfiction author, and had no manuscript to show her. So, I sketched out the story, wrote it up, and met with her in November. She suggested a few revisions and told me to get it out to publishers. It was the quickest book I’ve ever written. I sold it unagented through the slush pile in March 2016.

RVC: I’m not surprised that Suzanne’s notes helped you get that book ready to succeed–we know how good Suzanne is (we did an interview with her in 2019). Now, what’s your favorite thing about We Are Grateful: Otsaliheliga?

TS: I have two. First, I’m still hearing from Cherokee people that they love seeing us just living our contemporary lives and doing what we do represented in a picture book because there had never been one previously.

Second, the team of people I worked with to craft the book from fellow Cherokee Nation citizens and veteran illustrator Franè Lessac to my editor Karen Boss and the entire Charlesbridge team, everyone made me feel so supported that I wanted to write more and become a part of this industry.

RVC: You had a new book come out last year at this time—Classified: The Secret Career of Mary Golda Ross, Cherokee Aerospace Engineer. What are some of the things you did in terms of PR to support the book?

TS: It was difficult to launch a book into the world that I couldn’t share with anyone in person. Since I didn’t have any 2020 releases, I hadn’t experienced that previously. So, I launched a preorder campaign with Birchbark Books (Native-​owned indie bookstore in Minneapolis). Every preordered book received a bookplate sticker featuring art from the book and signed by the illustrator Natasha Donovan and myself. I also created twenty-​five golden tickets that would be randomly placed in the preordered books. Those receiving a golden ticket inside their book contacted me, and I’d mail them a $1 2019 gold coin issued by the US Mint to commemorate Native contributions in space. Both Mary Golda Ross and NASA astronaut John Herrington (Chickasaw) are featured on the coin.

RVC: That’s a terrific idea–so different than I normally see from authors.

TS: I did some podcast and blog interviews, too. I also got in touch with the Society of Women Engineers, the national organization that Mary was very active in, and they helped promote the book within their networks.

RVC: What’s the most important thing people should know or understand about Mary?

TS: Into every space Mary entered, she brought her Cherokee identity and values with her. Those allowed her to develop her incredible math abilities for the betterment of us all.

RVC: One of the challenges of a picture book biography is that you simply can’t squeeze everything into it. So, what’s something cool about Mary that just didn’t make the final cut?

TS: Her mother donated part of her land to have a one-​room schoolhouse built where her children, her nieces and nephews and others living in the area could attend school close to home. As a result, Mary was not sent off to a boarding school like some Cherokee and many Native children from different tribes were at the time. I believe that act made a difference in Mary’s life.

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

TS: Trust your gut instincts. Forget what your head says. From the structure to the research to co-​creating the book, I just trusted that the through line I wrote for Mary’s story would connect with readers.

RVC: Let’s talk process. What does your writing process look like?

TS: I start out as a plotter. I’ll make notes, usually create a mind map, and then sketch out a rough outline. Then, as I’m writing, a looser style comes in because the story evolves as it needs to be based on the through line I’ve created. I write in my office and, when I’m close to a deadline, I’ll head to a hotel about twenty minutes from my home for a long weekend. I take the food and water I need, so I have uninterrupted time to just read, edit, and sit with the story to finalize the draft or make the revisions.

RVC: [Making a note to try writing and editing in a hotel–ideally a 5‑star fancy one.] What’s your writing superpower?

TS: I believe it’s crafting lyrical, accessible text to create connection and inform or provoke greater understanding of what previously may not have been visible or well understood.

RVC: You’ve got a lot of books under contract and you’re doing a lot of other things in your life. How do you stay so prolific?

TS: I like variety, so I challenge myself to write in new formats and for different age groups. If I wasn’t doing that, I don’t think I’d have as many books as I do. It’s just how I’m hardwired.

RVC: Since COVID, I’ve always tried to ask a question about health and wellness in every interview, so here’s yours—What works best when you need to de-stress?

TS: I listen to music, dance, and nap.

RVC: That’s a great combo of things, for sure. Now, just one last question for this part of the interview, Traci. What forthcoming projects are you most excited about?

TS: All of them. Each one I thought up or a fellow creative did, and they are all stretching me in new ways.

RVC: Okay, Traci, it’s time for the LIGHTNING ROUND. Cracking-​fast questions and express-​swift answers, please. Are you prepared?

TS: Definitely.

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

TS: Cockamamie, then cattywampus.

RVC: What secret talent do you have that no one would suspect?

TS: I’m a good dancer–salsa, merengue, swing, etc.

RVC: 5 things you can’t do your job without?

TS: Easy–the support of my peeps, pencil, paper calendar, laptop, and smartphone.

RVC: A recent picture book that really got your attention?

TS: Where Wonder Grows, written by Xelena González and illustrated by Adriana M. Garcia (Lee and Low). I love that the idea from the story came from students who showed their rocks to the two creators during school visits. It prompted them to create an intergenerational story between a Native grandmother and her granddaughters that informs readers that rocks are beings and what different roles they have in our world. It’s very visually arresting, too. I just love it!

RVC: Your mission as a kidlit author?

TS: To combat the erasure and invisibility of Native Nations and their citizens while centering their humanity, sovereignty, histories, cultures, and languages in trade-​published literature for young people in both fiction and nonfiction. That mission isn’t just about works I create, but also helping other Native creatives get their work in front of young people too.

RVC: Favorite expression/​quote about writing?

TS: “I’m not entangled in shaping my work according to other people’s views of how I should have done it.” ~Toni Morrison

RVC: Thanks so much, Traci!

Picture Book Review: Overground Railroad by Lesa Cline-Ransome

On By Only Picture BooksIn Picture Book Reviews

Author: Lesa Cline-​Ransome
Illustrator: James E. Ransome
Holiday House
11 January 2022
32 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Book) and freelance author/​illustrator Kelly Light.

–Ryan’s Review of the Writing–

Whenever I see a husband-​wife team do the authoring and illustrating on the same picture book, I’m kind of in awe because it just wouldn’t work for most couples. But for Cline-​Ransome and Ransome, it’s a terrific pairing, as we’ve seen with their collaborations on such fine books as The Power of Her Pen: The Story of Groundbreaking Journalist Ethel L. Payne, Game Changers: The Story of Venus and Serena Williams, and Before She Was Harriet.

With this latest collaboration, Overground Railroad, they’re revealing another vital story from African American history. In this story, a young narrator (Ruth Ellen) is taking the Silver Meteor train north with Mama and Daddy to find a new home, a new life, and a new future.

The story is essentially Ruth Ellen recounting her own journey in the Great Migration–the post-​Civil War time when millions of African Americans left the South–through prose that’s poem-​like at times which allows Cline-​Ransome to highlight key words and ideas through lineation choices, as you can see here:

I watch the track
in front of me
and behind me
just as far as the eye can see.
Mama and Daddy say
job
education
freedom
are waiting in New York for us.

Before she left, Ruth Ellen’s teacher gave her a copy of Narrative of the Life of Frederick Douglass, which she reads along the way. As she journeys from a life of oppression to the shining promise of the North, Ruth reads and learns about the social reformer and abolitionist Frederick Douglass. Despite her age, Ruth Ellen finds connections between her life and his all on her own, noting that it’s “the story of a boy /​ leaving behind what he knew /​ and heading to what he don’t /​ just like me.” She also reads aloud from the book, and the changing scenery outside often links up in powerful, symbolic ways.

The various stages of the journey are also effectively punctuated by the conductor calling out the stops (“Next Stop Baltimore, Maryland!” etc.). Though from the start, we’re rooting for Ruth Ellen’s family to finally reach that last stop, which might just be The Promised Land, or so Ruth Ellen hopes.

Upon reaching New York City at last, we see imagery payoff, as Ruth Ellen notices stars the way that Douglass had the North Star guiding him in his own travels. But Ruth Ellen doesn’t just encounter one star. Instead, the last spread shows her “stretch my neck to see /​ bright lights /​ tall buildings /​ shimmering against a sky /​ bright as a hundred North Stars.” What a lovely, satisfying moment.

In this book, Cline-​Ransome doesn’t shy from presenting that challenges Black people faced during this moment in history. It might get emotional for some readers to witness how white people in the white train cars frown upon those who come from the Colored section. But Cline-​Ransome gives us–and Ruth Ellen–hope with phrases such as “we keep walking /​ until we find /​ smiles /​ from new neighbors.”

This is a visually lovely book (I’ll let Kelly explain why the illustrations are so apt) whose story has impact and importance. And, if you’re like me (or even Cline-​Ransome, who admits in the Author’s Note that she didn’t know about the Overground Railroad until doing her own research), you can learn all about the Overground Railroad itself and get a sense of its place in history.

4.5 out of 5 pencils

 

–Kelly’s Review of the Illustrations–

In Overground Railroad, James Ransome takes our eyes on a journey with his spellbinding illustrations. Let me explain.

I encourage everyone to use watercolors. The pigments absorb into the paper differently depending on how much water you use or what kind of brush you use: round, flat, wet, dry, or even frizzled. The results change with how much paint has been soaked in the pan with water before you dip into the color. If your paper is dry, the color takes differently than if the paper was wet. Watercolor carries with it an element of unpredictability that can ruin an image, or, in the right hands, what watercolor does can be magic.

Washes, which are larger areas of the paper where a good amount of water was used to move the pigment around, are the wild card when painting in translucent media.

And Ransome’s washes are MAGIC.

Overground Railroad has so many moments of this watercolor magic. I am looking closely at the illustrations and seeing a bit of mixed media. There is collage. There is drawing underneath the paint that is popping through. There is also drawing into and on top of the watercolor. Some of the color is intense, which leads me to believe there is a mix of watercolor and either inks or dyes. Layering these translucent media can give the intensity of color seen in the book’s trees and skies and buildings. The blues and greens ooze out cool tones in contrast to the warmest, loveliest golds, ochres, browns, and my favorite, the pink skies.

I could go on about the media, but I want to talk about the characters and the drawing and the design of this beautifully visualized picture book of a family’s brave journey to a better life. The first design element that made my eyes happy was the white cotton depicted on the endpapers that we are looking through. The un-​outlined shapes are bold and pure solid white, and its right in our faces as we peer over the stalks to see images of people leaving. Turn the page and there is a field of pure white shapes leading the eye back to a speeding train in the distance. Before we start to read, we have a feeling that a journey is about to begin.

The very first spread of the book begins, “Some walked. /​ Some drove. /​ But we took the train North” and it’s paired with a gorgeous pink sky. It also has the faces of eight expectant Black people waiting for a train to take them from the cotton fields and to a place where they never have to pick it again. The father’s shirt, just slightly yellow in the early dawn light, and the box in Ruth Ellen’s hands simply glow off the page. Here is color composition to allow your eyes to wash over. That sliver of acid yellow on the left, the yellow on the ticket booth, and the glow in the front on the clothing of the family is the sun coming up. Perhaps the dawning of hope?

What moves the eye around the page are the patterns used on the clothing and the bags. Florals, ginghams, stripes, and plaids are used in bold and flat ways. These elements help the washes do that magic but exist in stark contrast of flat color. The detail that Ransome puts into his illustrations is where it needs to be in the faces, which perfectly express mixtures of hope, worry, determination, and wondering what will be next. Every drawn line is as much and as little as it needs to be. Restraint is the word I am searching for. That is when an artist is well seasoned, when an artist knows when to stop and let the image have space to breathe and the viewer’s eye to have spots to rest.

In Art School, we learn to squint at an image to blur out the detail and get the large shapes and values in the composition. While Ransome teaches illustration at my own alma mater, Syracuse University, I was not young enough to have had him as an instructor, though he must be a brilliant teacher of the squinting method. His pink sky in front of the house at dawn, when squinted at, is so vividly real to anyone who ever woke up that early, when the light is so low and all you can perceive is temperature and shape. The abstraction on this spread as well as the spread that is a distant view over the cotton field teases our eyes to see that pattern is everywhere. Turn the page and there are patterns galore!

Patterned trees and birds outside connect back to Ruth Ellen. Check, floral, gingham, homespun–the very fabric of Ruth’s life goes by outside the train as she wonders what her life will look like in the city. Ransome finds ways to weave in the brightest yellow and bold white shapes with the coolness of the blues that take us through a train that has crossed the line that divides South from North. The cool blue inside page turns into the cool river being crossed and into the night sky over Frederick Douglass and into the window surrounding Ruth Ellen’s smiling face as she arrives at New York City. Daddy and Mama share a relaxed moment before twinkling windows and stars and all of the blue paint envelops Ruth Ellen in what lies ahead as she steps out onto the streets of her future.

As an illustrator, one never stops learning. Learning from fellow artists, especially artists who work differently in style and media, is a never-​ending joy. This book took me on several journeys of learning, and I am grateful to the Ransomes for the chance.

4.5 out of 5 colored pencils

Kelly Light lives in Amherst, MA but grew up down the shore in New Jersey surrounded by giant pink dinosaurs, cotton candy colors, and Skee-​Ball sounds. She was schooled on Saturday-​morning cartoons and Sunday funny pages. She picked up a pencil, started drawing, and never stopped.

Kelly is the author/​Illustrator of the Louise series. Louise Loves Art and Louise and Andie, The Art of Friendship are the first two picture books in the series. Louise Loves Bake Sales and Louise and The Class Pet are the first readers in HarperCollins’ I Can Read program.

Kelly has also illustrated Elvis and the Underdogs and Elvis and the Underdogs: Secrets, Secret Service, and Room Service by Jenny Lee, and The Quirks series by Erin Soderberg.

Website: www.kellylight.com

Picture Book List: 20 Great Books About Sharks

On By Only Picture BooksIn Picture Book Lists

I’ve been watching a lot of SHARK WEEK reruns, and wow, sharks are pretty amazing. Clearly, kids agree because there are a lot of sharkcentric picture books out in the literary waters.

Here are a few that swim above the rest. See what you think! And if I missed any of your favorites, please tell me about them in the comments section.

Baby Shark: Doo Doo Doo Doo Doo Doo (December 2018)

From Goodreads: “Baby Shark! Doo doo doo doo doo doo! Baby Shark! Doo doo doo doo doo doo! Baby Shark! Doo doo doo doo doo doo! Baby Shark! Baby Shark has become well-​known and well-​loved by teachers, parents, and children everywhere. And with hilarious and adorable under-​the-​sea art of Baby Shark, Mama Shark, Daddy Shark, Grandma Shark, and more ocean creatures, kids won’t be able to get enough of this silly illustrated story of a shark family! Children will delight in this silly sing-​along story with funny, eye-​popping illustrations and informative picture guides to help readers to mimic and act out the hand/​foot movements and develop their fine motor skills. By the end of the singalong story, little ones will be laughing, singing, and dancing their way to fun and reading success! Are you up for the Baby Shark reading challenge?”

Pages: 24

Reading Age: 1–3

 

Carnivores by Aaron Reynolds, illustrated by Dan Santat (November 2013)

From Goodreads: “The lion is king of the jungle!
The great white shark is sovereign of the seas!
The timber wolf is emperor of the forests!

But…it’s lonely at the top of the food chain. It’s difficult to fit in when plant eaters can be so cruel–just because you ate a relative of theirs that one time! What’s a carnivore to do?

Aaron Reynolds’s roaringly funny text is perfectly paired with Dan Santat’s dynamic illustrations, creating a toothsome picture book that’s sure to stand out from the herd.”

Pages: 40

Reading Age: 4–8

 

Clark the Shark by Bruce Hale, illustrated by Guy Francis (June 2013)

From Goodreads: “Clark the Shark is a great read-​aloud picture book, with fun rhythm and rhyme, from the ever-​popular Bruce Hale and Guy Francis.

Clark is a shark with zing, bang, and BOOM. Clark zooms into school, crashes through the classroom, and is rowdy at recess. Clark loves life—but when his enthusiasm is too much for his friends, Clark’s teacher, Mrs. Inkydink, helps him figure out a way to tone it down.

Clark the Shark celebrates boisterous enthusiasm—and knowing when it’s time for indoor voices!”

Pages: 32

Reading Age: 4–8

 

Dude! by Aaron Reynolds, illustrated by Dan Santat (April 2018)

From Goodreads: “Aaron Reynolds, the author of Nerdy Birdy and Creepy Carrots! teams up with Dan Santat, the Caldecott–winning illustrator behind The Adventures of Beekle: The Unimaginary Friend to create the hilarious, gnarly summer adventure picture book, Dude!

Dude! You have to read this book.

It’s totally about this platypus and this beaver who are friends. They want to go surfing but dude, there’s this shark who’s in the ocean, too.

But don’t worry. This shark approaches and you’ll never guess what happens.”

Pages: 40

Reading Age: 4–8

 

Hark! A Shark! by Bonnie Worth, illustrated by Aristides Ruiz and Joe Mathieu (January 2013)

From Goodreads: “In this latest installment of the Cat in the Hat’s Learning Library, the Cat introduces beginning readers to all kinds of sharks! From the smallest (the dwarf lantern) to the largest (the whale shark), the most notorius (the great white) to the most obscure (the goblin), the Cat explains why sharks have lots of teeth but no bones; how their tough skin helps them swim fast and stay clean (inspiring scientists–and bathing suit manufacturers!); how pores along the sides of their bodies help them sense prey; that they have more to fear from us than we do from them, and much, much more! Perfect for shark and Cat (in the Hat) fanciers, fans of the new PBS Kids preschool science show The Cat in the Hat Knows a Lot About That! will sink their teeth into this new addition to the series!”

Pages: 48

Reading Age: 3–6

 

How to Spy on a Shark by Lori Haskins Houran, illustrated by Francisca Marquez (September 2019)

From Goodreads: “Spend a day at sea tracking sharks—with the help of a robot! Join a team of marine biologists as they head out in their boat to study mako sharks. Simple, entertaining text and bright, accurate illustrations bring science and technology to life, and additional pages of facts about sharks follow the story. This book is bound to make a splash with young minds!”

Pages: 24

Reading Age: 4–8

 

How to Survive as a Shark by Kristen Foote, illustrated by Eric Salcedo (September 2017)

From Goodreads: “Ahoy, me mateys! Upset your Mom swam away after you were born? Cry me an ocean. You’ve got ME to show you the ropes! Well, at least until I get a craving for baby shark. Swim along and I’ll teach you how to hunt using all six senses (a whole sense more than a human), why you can NEVER stop moving (blimey, no — not even to sleep!), and what your most dangerous threat is (here’s a hint: those sneaky landlubbers don’t even live in our waters!). Aye, me hearties, learning How to Survive as a Shark is not as easy as it sounds! How to Survive as a Shark provides a unique take on fish science that will entertain and educate in and out of the classroom. Full of opportunities for extended learning, this book includes fun facts hidden throughout the hilarious illustrated story — and after, a glossary of important terms and some real great white shark photos. If you’ve ever wondered how to think and swim like a shark–and you like to laugh while you learn–this book is for you!”

Pages: 44

Reading Age: 5–10

 

If Sharks Disappeared by Lily Williams (May 2017)

From Goodreads: “A healthy ocean is home to many different kinds of animals. They can be
big, like a whale,
tiny, like a shrimp,
and even scary, like a shark.

Even though sharks can be scary, we need them to keep the oceans healthy. Unfortunately, due to overfishing, many shark species are in danger of extinction, and that can cause big problems in the oceans and even on land.

What would happen if this continued and sharks disappeared completely?

Artist Lily Williams explores how the disappearance would affect other animals across the whole planet in this clever book about the importance of keeping sharks, and our oceans, healthy.”

Pages: 40

Reading Age:  4–8

 

Land Shark by Beth Ferry, illustrated by Ben Mantle (August 2015)

From Goodreads: “The only thing Bobby wants for his birthday is a pet shark. So you can imagine his disappointment when his parents get him…a puppy. Everyone knows shark lovers can never become dog lovers. Or can they? Full of humor and heart, this book explores the idea that sometimes, getting exactly what you don’t want turns out to be exactly what you need.”

Pages: 36

Reading Age: 3–5

 

Misunderstood Shark by Ame Dyckman, illustrated by Scott Magoon (April 2018)

From Goodreads: “Every beachgoer knows that there’s nothing more terrifying than a… SHARRRK! But this shark is just misunderstood, or is he? In a wholly original, side-​splittingly funny story, New York Times bestselling author Ame Dyckman and illustrator Scott Magoon take this perennial theme and turn it on its (hammer)head with a brand-​new cheeky character.

The filming of an underwater TV show goes awry when the crew gets interrupted by a… SHARRRK! Poor Shark, he wasn’t trying to scare them, he’s just misunderstood! Then he’s accused of trying to eat a fish. Will Shark ever catch a break? After all, he wasn’t going to eat the fish, he was just showing it his new tooth! Or was he? Explosively funny, extraordinarily clever, and even full of fun shark facts, this surprisingly endearing story gets to the heart of what it feels like to be misunderstood by the people around you. With a surprise twist ending, our Misunderstood Shark will have kids rolling with laughter!”

Pages: 48

Reading Age: 3–5

 

Nugget & Fang: Friends Forever–or Snack Time? by Tammi Sauer, illustrated by Michael Slack (March 2015)

From Goodreads: “In the deep ocean, tiny Nugget and big, toothy Fang get along swimmingly—until Nugget’s first day of minnow school. There Nugget learns that minnows are supposed to be afraid of sharks! To regain Nugget’s trust, Fang takes desperate (and hilarious) measures. But it’s not until his big sharp teeth save the entire school that minnows learn this shark is no foe. Fantastically stylized artwork adds even more humor to this undersea story of unlikely friendship.”

Pages: 40

Reading Age: 4–7

 

Sharkabet: A Sea of Sharks from A to Z by Ray Troll (February 2002)

From Goodreads: “Sharkabet: A Sea of Sharks from A to Z is a thrilling, chilling book for children of all ages. Featuring Ray Troll’s spectacular fishy art, this book portrays sharks both living and extinct.”

Pages: 40

Reading Age: 7–9

 

Shark Lady: The True Story of How Eugenie Clark Became the Ocean’s Most Fearless Scientist by Jess Keating, illustrated by Marta Álvarez Miguéns (June 2017)

From Goodreads: “At 9 years old, Eugenie Clark developed an unexpected passion for sharks after a visit to the Battery Park Aquarium in New York City. At the time, sharks were seen as mindless killing machines, but Eugenie knew better and set out to prove it. Despite many obstacles in her path, Eugenie was able to study the creatures she loved so much. From her many discoveries to the shark-​related myths she dispelled, Eugenie’s wide scientific contributions led to the well-​earned nickname ‘Shark Lady.’ ”

Pages: 40

Reading Age: 4–8

 

Shark vs. Train by Chris Barton, illustrated by Tom Lichtenheld (April 2010)

From Goodreads: “Shark VS. Train!
WHO WILL WIN?!

If you think Superman vs. Batman would be an exciting matchup, wait until you see Shark vs. Train. In this hilarious and wacky picture book, Shark and Train egg each other on for one competition after another, including burping, bowling, Ping Pong, piano playing, pie eating, and many more! Who do YOU think will win, Shark or Train?”

Pages: 40

Reading Age: 4–8

 

Sharks: And Other Dangers of the Deep by Roger Priddy (October 2005)

From Goodreads: “Close-​up photographs of sharks and other fascinating creatures. Large format book Great for school projects.”

Pages: 32

Reading Age: 4–7

 

Slickety Quick: Poems About Sharks by Skila Brown, illustrated by Bob Kolar (March 2016)

From Goodreads: “Fourteen shark species, from the utterly terrifying to the surprisingly docile, glide through the pages of this vibrantly illustrated, poetic picture book.

From the enormous whale shark to the legendary great white to the enigmatic goblin shark to the small cookie-​cutter shark, Slickety Quick is a delightful frenzy of shark mayhem. Mysterious species such as the camouflaged wobbegong and the elusive frilled shark share the waters with better-​known blue and nurse sharks, each commemorated in a poem by Skila Brown and illustrated by Bob Kolar. Sneaky shark facts ripple through each spread to further inform the brave and curious young reader intrigued by the power — and danger — of these amazing creatures.”

Pages: 32

Reading Age: 6–9

 

Smiley Shark and the Great Big Hiccup! by Ruth Galloway (May 2013)

From Goodreads: “Oh no! Smiley Shark has the biggest hiccups ever! Hic, Hic, Hicuuuuuup! Soon he is doing roly-​polies with Starfish, being tickled by Octopus, and holding his breath with Pufferfish. But nothing’s working! Will his friends ever put a stop to his big and bothersome hiccups? This hilarious sequel to the best-​selling Smiley Shark by Ruth Galloway will soon have you in fits too! The perfect picture book for any three to six year-​old who loves sea-​creatures, sharks and silliness!”

Pages: 32

Reading Age: 2–6

 

Surprising Sharks by Nicola Davies, illustrated by James Croft (April 2005)

From Goodreads: “Why does a swell shark blow up like a party balloon? What does a lantern shark use its built-​in lights for? Full of fun facts, here’s a surprising book about sharks that kids can really get their teeth into.

“SHAAAARRRKK!” That’s probably the last word anyone wants to hear while swimming in the warm blue sea. But most sharks aren’t at all what people expect. In fact, those who think all sharks are giant, man-​eating killers are in for a surprise! The compelling narrative, colorful illustrations, and captivating facts in SURPRISING SHARKS reveal that sharks come in all shapes and sizes — and probably should be more afraid of humans than we are of them.”

Pages: 32

Reading Age: AGES 3–7

 

Swimming with Sharks: The Daring Discoveries of Eugenie Clark by Heather Lang, illustrated by Jordi Solano (December 2016)

From Goodreads: “Before Eugenie Clark’s groundbreaking research, most people thought sharks were vicious, blood-​thirsty killers. From the first time she saw a shark in an aquarium, Japanese-​American Eugenie was enthralled. Instead of frightening and ferocious eating machines, she saw sleek, graceful fish gliding through the water. After she became a scientist an unexpected career path for a woman in the 1940s she began taking research dives and training sharks, earning her the nickname “The Shark Lady.”

Pages: 32

Reading Age: 4–8

 

The Three Little Fish and the Big Bad Shark by Ken Geist, illustrated by Julia Gorton (May 2007)

From Goodreads: “A hilarious retelling of THE THREE LITTLE PIGS, with foil on the cover!

“Little fish, little fish, let me come in.” “Not by the skin of my finny fin fin!” “Then I’ll munch, and I’ll crunch, and I’ll smash your house in!” Mama tells her three little fish that it’s time to make their own homes. Jim builds his house of seaweed, but the big bad shark munches it up. Tim builds his house of sand, but the shark crunches it up. It’s smart Kim who sets up house in an old sunken ship! Children will delight in this silly story with funny, eye-​popping illustrations. And there’s foil on the cover!”

Pages: 32

Reading Age: 3–6

Editor Interview: Lisa Rosinsky (Barefoot Books)

On By Only Picture BooksIn Editor Interviews

This month’s Industry Insider Interview is with Lisa Rosinsky, Senior Editor at Barefoot Books in Concord, MA, where she edits and art directs picture books and board books. Lisa could just as easily appear at OPB as an Author Interview because she’s a poet, YA novelist, and picture book writer, too. Along the way, she earned a BA in creative writing from the Writing Seminars at Johns Hopkins and an MFA in creative writing (poetry) from Boston University. She also beat out hundreds of applicants to become the 2016–2017 Associates of the Boston Public Library Writer-​in-​Residence, where she worked on her first and second YA novels. Her debut YA novel, Inevitable and Only, tells a story of secrets, sisters, and Shakespeare!

Pretty cool, right?

But wait—there’s more! Here are ten things you absolutely must know about Lisa before we go any further. Just because.

Lisa:

  1. translates French picture books.
  2. has two cats that are convinced they’re dogs.
  3. was half of a two-​person traveling production of The Lion, the Witch, and the Wardrobe.
  4. is a font nerd (favorite typeface: Baskerville; favorite punctuation mark; ampersand &).
  5. has been a musical instrument-​selling wench at a Renaissance Faire.
  6. writes poems about “love, gods, and dinosaurs.”
  7. has worked as a witchcraft and spellbook proofreader.
  8. has been a library coffee shop barista.
  9. has a shockingly good collection of punny T‑shirts.
  10. was once co-​billed with Sir Patrick Stewart (say what?! Find out more below…)

What better intro to an interview is there than a list of awesomeness like that, right? So, let’s get straight to the interview then!

 RVC: Rumor has it that you started writing as a child growing up in the suburbs of Baltimore.

LR: As far back as I can remember, I’ve always wanted to make books. I used to write and illustrate my own little poems in a marble composition notebook. I also used to cut out pieces of loose-​leaf paper, staple them together, and write a character profile on each page. I called them my “People Books”—they were meant to be catalogs of characters I could write about someday.

RVC: Talk about starting the writing research early! Now, what school project got you really thinking more seriously about becoming a writer?

LR: When I was in fourth grade, I met That Teacher—the one who changes your whole life. Her name was Kitty Boyan. She read us The Mysteries of Harris Burdick by Chris Van Allsburg—a book of unfinished stories or story-​starters, 14 intriguing images with titles and one-​line captions but no other text. Mrs. Boyan assigned us to pick one of the images and write the story behind it. Mine turned into an entire novel that took me four more years to finish. I wrote the whole thing by hand in—you guessed it—a marble composition notebook. It’s fun to look at it now and see how drastically my handwriting changed over those four years!

RVC: When I look at my childhood writing efforts, I can’t even read the chicken scratches! Since we’re talking about your childhood though, the plotline for your first YA book, Inevitable and Only, sort of came from that, didn’t it?

LR: That’s true! One day when I was in middle school, out of the blue, I invented an older brother. It started by dropping his name at lunch. Then my friends were curious, so I had to come up with more details about his backstory and why they’d never met him. By the time he’d turned into a rock-​guitarist-​Doctor-​Without-​Borders who was conveniently taking a year off to backpack around the world, which was why none of my friends had ever seen his purple hair, sleeve tattoos, or facial piercings—well, at that point one of my friends asked my mom, “Hey, have you heard from Steve lately?” She said, “…Steve who?” and the game was up.

Many years later, I started daydreaming on a long drive about a character who discovered a secret sibling they’d never met…and that’s where Inevitable and Only began. I wrote the story outline in one long rush and then drafted the book during NaNoWriMo (National Novel Writing Month), which is a challenge to write a novel, or at least 50,000 words, in 30 days.

RVC: Looking back, what was the most important lesson you learned from participating in NaNoWriMo?

LR: NaNoWriMo is a wild experience. Trying to hit that 50,000-word goal in such a short span of time teaches you amazing writing discipline. I would wake up very early and write a couple thousand words before work every morning to make sure I hit my word count for the day. Then I’d outline the next scene, so that the next morning I’d wake up and know exactly what I was going to write and could sit down and start right away.

RVC: So, you’re a morning writer then?

LR: Early mornings are still my favorite time to write…when my creative brain is still loose and dreamy, before my critic/​editor brain has fully awoken.

RVC: From looking at your LinkedIn educational profile, it’s clear that you were going full-​blast toward a future as a poet (witness the 2009 Provost’s Undergraduate Research Award for “Poetry in Performance” and numerous publications in venues such as Prairie Schooner, Mid-​American Review, and Hunger Mountain). Since you’re not a poetry professor somewhere, I have to ask—what got you off that course and into the world of kidlit? Was it being an editorial intern at Highlights for Children?

LR: I’m still writing and publishing poetry in journals, and I’m also working on a full-​length poetry collection. But I have never been interested in academia as a career. I’ve always wanted to make books, rather than write or teach about them.

RVC: I get that. I’m knee deep (sometimes neck deep!) in academia, and I assure everyone, it’s not at all the same as making books. Now, when did you officially get interested in kidlit?

LR: I first became interested in kidlit when I worked as a traveling actor for the Maryland Theatre Association. We were a small company of actors and we’d drive all over the state of Maryland performing plays for elementary school students. We did one play about folktales around the world and another that was a two-​person production of The Lion, the Witch, and the Wardrobe. I played Lucy, Susan, and the White Witch, and the other actor played Aslan, Peter, Edmund, and Mr. Tumnus. We did a lot of quick costume changes! From that job, I learned that I loved working with kids and stories, and I wanted to find a job where I could keep doing that. I applied for an internship at Highlights, the magazine I’d loved since I was little, and from there I fell in love with children’s publishing.

RVC: Your first actual job in kidlit was at Boyds Mills Press. In all your experience there, what most surprised you?

LR: I worked in managing editorial, so I mostly handled schedules and copyediting. But I learned as much as I could about the creative side of editing when I got to sit in on acquisitions meetings. I was surprised by how much there was to learn about artwork. My educational background was all in writing and literature; I’d never studied art. But picture books are at least 50% about the illustrations.

I loved the way illustrators could not only bring a story to life with pictures but could also add to the text, creating new dimensions and nuances that the author (or editor!) might not have even dreamed of. And I loved seeing which artists were chosen for each manuscript and trying to figure out what made the illustrator a perfect fit for that book. Art directing is still one of my absolute favorite parts of my job.

RVC: What Boyds Mills book that you worked on was your favorite?

LR: You Nest Here with Me, by Jane Yolen and Heidi E. Y. Stemple and illustrated by Melissa Sweet, is still a favorite bedtime read-​aloud in our house. That was also one of the first times I got to work on a book written by an author whose work I’d loved reading as a kid. I was only a lowly copyeditor on the project, but still–there is no thrill quite like that experience.

RVC: How did you end up at Barefoot Books?

LR: I wanted to move from managing editorial to the more creative side of things—not just project-​managing books, but making them. So I took some fabulous classes in the children’s literature MA program at Simmons College and then earned an MFA in creative writing from Boston University. After that, I started looking for editorial jobs. A friend introduced me to Barefoot Books around the same time, saying they were the best books she’d found for her young son, with diverse casts of characters, beautiful stories, and gorgeous artwork. I researched Barefoot and saw that they’d just posted a senior editor role—so I applied.

RVC: What’s the most important thing people should know or understand about Barefoot Books?

LR: Barefoot has been an independent, mission-​driven company for its entire 30-​year history. I think that has allowed us to be nimble, take risks, and devote a deep level of care and attention to every single one of our books the whole way through the process. We keep our titles in print for a very long time, so each book is a long-​term investment for us. We’ve always had a global focus, opening kids’ hearts and minds to stories from around the world and teaching them to be compassionate global citizens and stewards of our planet—messages that I think continue to become more relevant every year. And our whole list has a distinctive visual aesthetic; we work with illustrators from all over the world who make high-​quality, beautiful artwork in a wide variety of media and styles.

RVC: Please share your secret for being so productive. Freelance copyeditor. Senior editor at Barefoot Books. Poet. Novelist. Mom. How do you make all that happen and still find time to do interviews like this?

LR: I guess “I have no idea” isn’t a very helpful answer?! I am constantly trying to get better at saying no to things… But in all seriousness, I’m grateful that I get to do so many things I love every day. I highly recommend having a couple of cats who will nap in your lap while you’re working so that you can’t get up.

RVC: [Making Note to Self that says: Purchase cats.] You write picture books under the not-​so-​secret pen name of Skye Silver. Why use a pen name, and is there a story behind that one?

LR: It’s an homage to two of my friends and mentors at Barefoot. Our (now-​retired) editor-​in-​chief and cofounder Tessa Strickland wrote under the pen name Stella Blackstone, and senior editor Kate DePalma sometimes writes as Sunny Scribens. So, I chose a celestial name to go with Stella and Sunny, using the last three letters of my last name, “-sky.”

TL;DR: it’s my pirate persona.

RVC: How’d one of Skye’s book, Dump Truck Disco, happen?

LR: When I was little, I had a big collection of Matchbox cars and loved to make up stories with them. I gave them names and personalities and invented a complex web of relationships and jobs and families for them all. So it was pure delight to write a book about construction vehicles that come to life and build a secret project together! Barefoot published it as a singalong, which means the book comes with (super catchy) music and audio animation. You can find a sneak preview of it here.

RVC: What’s your favorite construction vehicle from that one?

LR: Favorite truck in the book—that’s tough! Illustrator Christiane Engel brought them all to life with such amazing individual personalities. I think it’s a three-​way tie between Dump Truck Daisy, Tractor Tiana, and Excavator Esteban.

RVC: The text scans quite well. What’s your strategy for handling meter and rhyme as an author? As an editor?

LR: Thank you! And that’s an easy one: reading and rereading lines out loud.

RVC: Since this is an Industry Insider Interview (allegedly!), let’s circle back to your editorial day job. What do you think is the most common misconception about editors?

LR: I googled “common misconceptions about editors” and came up with a lot of links saying that writers worry that their editors will change their work. I have enormous respect for the authors I work with—I think that being a writer myself helps me to understand both sides of the process and hope that brings an element of compassion and collaboration to my work as an editor. I try to communicate clearly with writers about where I see potential in their manuscripts and what changes I would ask them to make, before we sign a contract, to make sure that we’re on the same page. I think of my job as a literary lapidary: finding a gorgeous rock and helping polish all the facets so they catch the light and shine as brightly as the author intended.

RVC: Who or what has influenced you as an editor?

LR: That’s a tough one…I’d have to name every book I’ve ever read and every editor I’ve ever had the privilege to work with. Most recently, though, I have to say that reading books with my two-​year-​old has taught me an enormous amount about editing. There’s nothing like reading a book over and over with a toddler to show you where the plot lags or fails to hold a reader’s attention, where the syntax is clunky or there are missing details. And picture books are a shared experience between an adult and a child—you have to think about the grownup buying and reading the books as well as the young audience. My new test for a manuscript when I’m reading submissions is, “Would I still want to read this one again after reading it at bedtime every single night for MONTHS?”

RVC: That’s a high bar, indeed!

LR: Absolutely.

RVC: Since 2019, you’ve participated in #DVpit (a pitch event for unagented creators of marginalized communities) on Twitter. What do you most like about that event?

LR: I love that #DVPit gives editors a chance to discover writers who haven’t necessarily followed a “traditional” path towards publishing, or who are struggling to get their stories and voices out there. I don’t use Twitter much personally—it stresses me out!—but I resurface for #DVPit and a few other pitch events throughout the year. And I do think Twitter can be extremely valuable to writers for forming networks, learning from each other, and breaking down barriers of privilege and access in the industry.

RVC: What’s your favorite #DVpit success story?

LR: That’s like asking someone to pick their favorite child… But I’ll mention the #DVPit success story I just finished working on—Dinner on Domingos by Alexandra Katona, illustrated by Claudia Navarro. It’s a gorgeous story about something I think we all long for very deeply these days: a big warm family gathering around a delicious meal. Based on the author’s own childhood, the main character is a first-​generation Latinx American girl who doesn’t speak much Spanish, but wants to learn more so that she can bond with her Spanish-​speaking grandmother. It’s a heartwarming story that speaks poignantly to any family with cultural differences that form both barriers and bridges between generations.

RVC: I’m more conscientious of health and wellness than ever before, so I’m trying to ask a question in that arena more often. With that in mind, what do you do to de-​stress or for downtime?

LR: My brain and body feel best when I take a daily walk. Yoga and cooking help me relax. And playing music! Spending some quality one-​on-​one time with my piano or guitar always helps me recharge, clear my mind, and feel like myself again.

RVC: What’s your motto, or something you often say to encourage yourself?

LR: “There is no such thing as a children’s book emergency.” When deadlines are looming or a project feels stressful, it helps to remind myself that the entire point of my job is to bring joy to children. I’m unbelievably lucky to get paid to do this every day.

RVC: One last question for this part of the interview. What exciting projects should we expect from you in the near future, as an editor and/​or an author? It’s brag time!

LR: One of our Spring 2022 books I’m most excited about is Zahra’s Blessing: A Ramadan Story, written by Shirin Shamsi and gorgeously illustrated by Manal Mirza. This book has so many layers—it’s a story about a child volunteering at a shelter for asylum seekers during Ramadan. It’s also more broadly about loss, hope, friendship, and family. Kirkus just gave it a lovely review, calling it “a sweet story about the importance of sharing and caring that’s embedded in Islamic traditions.”

RVC: Shirin’s agent is Saba Sulaiman, who we just interviewed two months back at OPB. Small world, right? 

LR: The publishing world sure is!

RVC: Alright, Lisa. It’s time to get zipping along, and zip-​zap-​zoom we will, because it’s the Speed Round! Wahoo! Are you ready?

LR: Uh-​oh…

RVC: If you could pick a movie to describe where your life is at right now, what would it be?

LR: The sad truth is that I can barely stay awake through a whole movie these days…parents of toddlers will understand!

RVC: Weirdest celebrity run-in?

LR:  I was once a listener contestant on the NPR radio show Wait Wait Don’t Tell Me, and that week, the guest celebrity star was Sir Patrick Stewart. Can I say that counts as a “co-​billing”?! I still have Carl Kasell’s recording on my voicemail message. My mom used to text me: “I’m going to call you both don’t pick up, I just want to hear Carl Kasell.”

RVC: What literary invention do you wish were real?

LR: The tesseract. (Only if I get to travel it with Mrs. Who, Mrs. Which, and Mrs. Whatsit.)

RVC: Best non-​Barefoot book you’ve read recently?

LR: Adult fiction—The Sentence by Louise Erdrich. I found it so cathartic to read this gorgeous haunting story set at the beginning of the pandemic.

For picture books, I have to plug Dozens of Doughnuts by Carrie Finison! We’ve been reading it over and over at bedtime for weeks and it still makes me chuckle. The writing is impeccable and the story is so sweet.

RVC: What’s your dream project?

LR: A lyrical, poetic manuscript by a debut author, paired with a brand-​new illustration talent—I love helping open doors for creators early in their careers. There is such magic in bringing someone’s first book to life.

RVC: Let’s end with a favorite line from a picture book you edited.

LR: “A skunk? A skink? Platypus? Sun bear? Goblin shark? Pink fairy armadillo? Friendly school librarian?”

That’s from Jet the Cat (Is Not a Cat) and I won’t tell you the context—you’ll have to go read it to find out! (You can also hear all about the behind-​the-​scenes creation of this book in an interview with the author, the illustrator, and me on the Picture Book Look podcast.)

RVC: Thanks so much, Lisa! This was a truly great way to get us cooking along at OPB in 2022.