This month’s PB review is by OPB regular Ryan G. Van Cleave, and OPB newcomer, freelance writer and illustrator Bonnie Kelso.
–Ryan’s Review of the Writing–
With this timely book, poet Nikki Grimes uses lyrical language to tackle the challenge of presenting a rich, well-lived life. She also frames the story of Kamala Harris’ life in the ongoing conversation between a young Black girl and her mother and the motif of the lotus flower (which the word Kamala just so happens to mean).
We quickly learn the history of Kamala’s parents as well as how they marched for civil rights and went to see Dr. Martin Luther King, Jr. “Kamala was there, too,” Grimes writes, “bouncing along in her stroller, chewing on her pacifier and words like ‘peace’ and ‘justice.’ ” We move from those early years to seeing Kamala battling for the use of a soccer field in middle school to her time at Howard and her initial foray into politics.
The text might require a good bit of adult glossing and intersection, both because the lines are set as verse (which makes sense, considering Grimes’ penchant for poetry), and the terminology/references are somewhat wide-ranging. Those who want the fullest version of Harris’ story would be well-served by examining her book The Truths We Hold: An American Journey, which came out earlier this year.
Some readers might resist the italicized mother/daughter conversation frame because it could be seen as getting in the way of the deep dive into Kamala’s life. Others might not want the story to end with Kamala ending her presidential bid because she “realized running for President/cost more money than she thought,/and Kamala’s campaign team/didn’t have enough.” Some might also see this as an opportunity for a sequel!
I’ll let Bonnie get into the vibrant digital illustrators by Laura Freeman, but my layman’s two cents on the art is this–it’s bright, textured, and inviting. Seeing the cover alone made me want to seriously consider this book for a review, regardless of any other factors. A great cover really draws my eye.
Without a doubt, Kamala Harris–the first Black woman and first Asian American woman named to a major party presidential ticket (more firsts might happen the day after this review is out!)–is worthy of being the subject of a picture book biography.
The timeline in the back matter is welcome and helps give context to the events in the book. Kamala Harris: Rooted in Justice is a worthy addition to any library or personal collection, and can serve as an introduction to the world of politics.
4 out of 5 pencils
–Bonnie’s Review of the Illustrations–
Laura Freeman’s illustrations in Kamala Harris: Rooted In Justice give an abundance of emotional depth to the life story of this widely beloved public servant who has been breaking boundaries in the name of justice her entire life. From my first glance at the gorgeous cover, I was struck by the perfect balance of compassion and strength it conveys. Kamala’s family influences emerge from the cool inkiness of her hair and contrast against the warm tones in her skin, the lotus, and the red stripes of the American flag.
This play with warm and cool tones continues throughout the book, showing Laura Freeman’s immense skill as a visual storyteller. Bold pops of magenta and saffron against pools of blue, urge the characters off the page and into life. Patterns are used with intention and precision, blending the traditional textiles of Africa, India, and America, emphasizing Kamala’s unique perspective and family history. The layered and sometimes angular compositions add drama to Laura Freeman’s trademark flat, digitally collaged style. She reserves the use of shading and detail to emphasize faces and bring vibrancy to the characters.
It was a pleasure to review this important and relevant biographical picture book and I can’t wait to read the sequel.
5 out of 5 crayons
Bonnie Kelso is a writer and illustrator of picture books who tends to shy away from political discussions. However, she believes strongly that Kamala Harris would make an excellent president.
A graduate of the Rhode Island School of Design, Bonnie’s past experience in art spans a spectrum, from abstract painting on canvas to museum-quality exhibit design. She has worked with clients such as the Smithsonian, National Geographic, and NASA. Currently, Bonnie is pursuing the challenging path of becoming a published children’s book author and illustrator. She lives in Las Vegas with her partner, two sons, cat, and Japanese cleaner shrimp.
Hello! We’re here today with Kristine Enderle, the Editorial Director of Magination Press. One of the things that intrigues me most is how she came to publishing in such a roundabout way (more on that in a moment!). Her Twitter bio declares her a “full-time mom, all-the-time-feminist, serious ally, and native Hoosier.” In terms of her publishing career highlights, she offers this sample of titles:
RVC: As mentioned in the intro above, you might win the award for most unusual path toward becoming an editor—at least in terms of industry insider interviews here at OPB! You’ve got a BS degree in microbiology (minor in psychology) from Indiana U, right? What kind of career goals did you have back then?
KE: I honestly didn’t have any career goals! I was lucky enough to be allowed to just study whatever I wanted in college! I grew up in an enormous old house (with actual bats in the attic) in the middle of the woods in southern Indiana. There was always something smashed on the road that we could poke at, or strange insects or fungi living on rotting logs. My dad was a doctor and my mom was a nurse, so there were always ongoing conversations about medicine and health in my house.
RVC: That sounds like an awesome way to grow up.
KE: You bet! I grew to love the natural world and naturally (hah!) that flowed into biology coursework. Eventually after taking a microbiology course, my sights were set on what is unseen and I became fascinated by fungus and bacteria and have a sweet spot for infectious diseases.
KE: Yes. While working at Northwestern I took fiction writing, linguistics, and communication courses. I needed to move away from lab work to exercise the other side of my brain. I always hung out with English majors and musicians in school, so I finally got to take all those classes I missed as an undergrad.
RVC: What’s the most valuable thing you learned in those writing classes?
KE: That I am NOT a fiction writer! I have so much appreciation for storytellers and creative people now. Plus it’s more fun to be the oddball science nerd in the room than the way-too-serious poet.
RVC: What was the learning curve like going from a science researcher to a development editor at Human Kinetics, a sports science textbook publisher in Illinois?
KE: Between working in the lab and my first publishing gig, I was a Medical & Scientific Affairs manager at the Alzheimer’s Association. This was pre-Internet, so I wrote newsletters and fact sheets for the general public and answered the phone, fielding a ton of questions from families and caregivers about Alzheimer’s disease. Working there taught me to explain complicated concepts and technical language, so maybe this was what got me from the lab to publishing?
RVC: Sounds like GREAT training to be an editor.
KE: At Human Kinetics as a development editor, I had to look at big picture things in planning a textbook–editing and organization becomes a puzzle to solve as you need to figure out a way to fit and package a ton of information into ways people can understand and into one comprehensive and complete book, visually with photos, diagrams, charts, and graphs. I still do that at Magination. Our books combine science and literature (or evidence-based information and creative expression) into something that is accessible and interesting to read.
A great example of this is Move Your Mood which is a hoot and teaches readers about how physical movement positively affects mood–there is psychological research to support this. Or Layla’s Luck. People tend to attribute a woman’s or girl’s success as them being lucky and not relating to their smarts, skill, and hard work. Layla takes aim at that.
RVC: Let’s dig a bit deeper into your publishing career. These days, you’re the Editorial Director at Magination Press. How does that compare to being a developmental editor? Writers ask me versions of this all the time—what’s the difference in terms of those roles?
KE: Editorial director really means that I am responsible for editorial strategy and focus of the press and oversee major initiatives, budgets, planning, and staff. But having come up through the ranks, I am still developing and editing and acquiring books because I have a hard time leaving that behind. I am still a senior/acquiring editor and have a nice group of house authors I have been working with since their debut work. Many authors call me their editor (and that’s the best thing ever!)
KE: Sarah and Katie do all that, minus the planning and overseeing, and have a bunch more books than me to develop. And they work with new authors mostly, and I’m technically their boss!
KE: APA’s mission is to promote the advancement, communication, and application of psychological science and knowledge to benefit society and improve lives. So what that means for Magination Press is that we share world mental health expertise and psychological knowledge to help kids through rough patches. Some of our books deal with serious issues like depression and anxiety; others are more of those everyday things that bug you or that you may confront sometime during your life. Also just recognizing the sometimes-tough job of being a kid these days. We want kids and teens to know that we are listening, we see what they are dealing with, and might have something that can help.
RVC: Here’s something else that people might be surprised by. Not only do you publish books exclusively for kids (ages 4–18), but you’re putting out 20+ books a year!
KE: Yeah. We are kind of overachievers that way.
RVC: What’s the common denominator with all your kidlit?
KE: The stories (and nonfiction) really must be grounded in evidence-based research. It’s true that there is a little bit of psychology in everything, but to be a publication of the American Psychological Association, the work must be based on science and fact. It would be irresponsible otherwise!
RVC: How vital is it that your writers have backgrounds in psychology or the sciences? Or know APA style?
KE: We prefer our authors be psychologists or are mental health professionals, but it’s not a prerequisite. If an author doesn’t have those credentials, we will hire a psychologist to write the endmatter/readers note (to provide the psychological context for the story). Also all of our books are reviewed by our editorial advisory board that is made up of child psychologists. They act as peer reviewers and comment on the accuracy and relevancy of the psychological content and whether the coping strategies have merit.
RVC: Let’s say you publish a picture book on depression and so, too, does a NYC press. What are some of the likely differences in how a Magination picture book covers a topic like that?
KE: Reviewed and vetted by the American Psychological Association, maybe?
RVC: That’s a key distinction, for sure.
Now, you just signed When Nana Dances, a picture book by Jane Yolen and her granddaughter about the relationship between children and grandparents, and how dance can be at its core. This isn’t as clear of an “issue book” as some of your others. Why did you have to snatch this one up?
KE: Because Jane Yolen!
No, really it’s a joyful celebration that combats ageism and models mentally healthy and happy intergenerational relationships. You know that emotional stress can speed up aging at the cellular level. So, this is stress-relief and mental wellness at its core!
RVC: Your press is always at the trade shows—in fact, that’s how I learned about it. I chatted with one of your sales reps at BEA (Book Expo America) at the Javits Center in NYC a couple years ago, and I was impressed by the quality of the books and topics covered.
RVC: For people considering writing for your press, what’s the most important thing they should know or understand?
KE: Despite our serious and sensitive topics, we love humor, humility, and honesty. Not sure what that means exactly for books… might speak more to who we are and our community of authors and illustrators we take up with.
Otherwise a couple things come to mind:
Do your research. Before submitting a proposal, please review our catalog: we don’t repeat topics year after year and are unlikely to acquire new titles on already-covered topics.
Keep it universal. We are not interested in autobiography, reflections on childhood, or personal stories about family members, pets, or friends. Keep the appeal wide and general and keep the focus on interesting characters and good storytelling. Be careful with first-person narrative. Good stories and excellent topics can sour with unrealistic, adult-sounding, or dated dialog.
RVC: In all your experience with editing picture books, what has most surprised you?
KE: Just how many books I have signed after just reading the cover letter. Another book hooked me immediately with its proposed title–There’s a Cat in My Class!
RVC: One final question for this part of the interview. Your Twitter bio says you’re a “part-time troublemaker.” Care to support that impressive claim with evidence?
KE: I live in the Capitol Hill neighborhood in Washington, DC. Marching and protesting is what we do!
RVC: Okay, Kristine. We’ve now reached the SPEEDROUND. Speedy questions and even faster answers. Ready?
KE: Ready!
RVC: “If I didn’t have a career in publishing or science, I’d be…”
This book has sat on my MAYBE/PROBABLY pile for some time, and this month, Zippy Chippy is the little horse that could.
Book description: “A true story about the famed racehorse who lost every race but won everyone’s heart.
The bell rings and they’re off! Zippy the racehorse—descended from legends—is destined for glory, but when the other horses bolt from the gate … Zippy stands still. When people try to pet him … he bites their hats and escapes from his stall. What’s an owner to do? Keep on trying! After all, Zippy has become part of Felix’s family—and a close friend of his little daughter. And after 100 straight losses, Zippy shows everyone that—win, lose, or draw—it takes guts to compete and that you can lose and lose and still be a winner.”
Before Reading–From looking at the front and back cover:
Where and when does this story seem to take place?
What do you know about horses and horse racing?
Why do you make of the subtitle “the little horse that couldn’t”?
What’s do you think is happening on the back cover?
If you could ask the author any one question before you read the book, what would it be?
Why do you think the title emphasizes that this is a TRUE story?
After Reading–Now that you’ve read the story:
What problem(s) did Zippy Chippy face?
What were the most important events in the story?
If this book has a lesson, what do you think it is?
Which of Zippy Chippy’s actions did you find most amusing? Grabbing people’s hats? Standing still during a race? Dangling Felix by his shirt? Something else?
If you were Felix, what would you have tried to get Zippy Chippy to behave?
What other story does The True Story of Zippy Chippy remind you of?
Though Zippy Chippy lost all 100 races, the book says he won in the end. Do you agree? Why/why not?
Writing–Now that Zippy Chippy has retired from racing with an impressive 0–100 record, what’s next for this amazing horse? Write that story in whatever way you imagine it. Consider the following questions to help make your story come alive on the page:
Where does Zippy Chippy live now?
Is Felix still a part of Zippy Chippy’s life?
What does Zippy Chippy dream of doing?
What does Zippy Chippy worry about?
What does Zippy Chippy see/smell/taste/touch?
Would drawing pictures improve your story?
Activities–With the help of an adult, try some of the following horse-themed crafts:
This month’s Author Interview is with Tampa Bay writer Anita Amin, an Indian American author of many kidlit books, with more than 100 published short stories and articles in children’s literary magazines (like Ladybug, Spider, Humpty Dumpty, and Highlights) and education resources. And if that doesn’t make you think she’s a hard worker, when I invited her to do this interview, she confessed that she has eleven (11!) chapter and leveled readers books going to be published between now and the end of 2021.
To help us get to know her a bit more, here are five facts about Anita:
Born and raised in the US, she’s the daughter of Indian immigrants. “My family roots stretch across North India, from the royal desert of Rajasthan to the bustling river city of Kolkata.”
She has a Biomedical Engineering and Electrical Engineering degree (from Duke) and an MS in Computer Engineering (NC State).
She used to design microcomputers, and then had a long career in the IT field before becoming a writer.
Her travel bucket list includes: Antarctica, Egypt, Iceland, and Morocco.
She writes secret coded messages for her kids.
One final thing. Anita had two STEM books come out in 2020, and let me tell you, What Would It Take to Make a Hoverboard? is a book I would’ve loved as a kid, though I probably would’ve torn apart my mom’s station wagon to get the parts to try to build it, so maybe it’s a good thing it didn’t come out back then!
In any case, now that we’re all pals, let’s get to the interview and find out more about what makes Anita so prolific!
RVC: In 2006, you left a long-time career in information technology to become a writer. Was that a sudden thing or had it been brewing for a long time?
AA: Actually, I left my job in 2006 to focus on family. I had no idea I would eventually become a writer, even though that had been my childhood dream.
As a child, I wrote short stories every day. I wanted to attend young writer workshops, instead of summer camps. I remember pausing by the barely open door of a high school literature class, wondering what they were discussing, wishing I could live in their world too. It was the only AP class, for which I hadn’t qualified; I was always stronger in math and science, and so in college, I pushed my dreams aside, believing I could never make it as a writer. I became a business consultant in information technology instead.
But deep down, my passion for writing never completely extinguished. After I left my job, I started to play around with words, writing short stories just for my own fun. Writing became my retreat. It made me feel happy and whole – just like when I was a child.
RVC: How did it actually happen for you?
AA: As I began to write more and more again, I started thinking maybe I could try to get a story published. But I had no idea where to start. Were my stories publishable? Were they the right format for submission? Was I even writing the “right” way? And what market did I want to write for? This is when I started to take classes, and as I learned more, I became serious about writing for children and writing for publication as my goal.
RVC: I think you’re the first OPB interviewee who’s taken classes at the Institute of Children’s Literature. Tell us about that organization, and how did it help you get your start?
AA: The Institute of Children’s Literature (ICL) was a great way to start learning about the basics of writing for the children’s market. I took three classes: two about writing for magazines and one about picture book writing. In each course, ICL matched me with an experienced children’s editor or author, who critiqued my outlines, manuscripts, and revisions. Communication about assignments was through email.
After ICL, I continued revising many of my assignments through other workshops and critique groups. Many of these revised stories were later published in print magazines and online educational resources such as Super Teacher Worksheets, which provides worksheets to teachers and homeschoolers all over the world. It’s always fun when I see a child bring home one of my stories as a homework assignment!
RVC: What kind of other things did you do to improve your writing skills in those early post-IT career days?
AA: I joined the Society of Children’s Book Writers & Illustrators (SCBWI), an international organization of children’s writers and illustrators, representing every stage from beginner to seasoned and published. Their discussion boards are helpful for learning more about the craft and industry and for asking questions. They also offer great learning and book promotion opportunities.
During my early post-IT days, I gravitated toward the magazine market because my first writing course was about short story writing. I identified the magazines I wanted be published in – like Humpty Dumpty and Highlights. I pulled apart the short stories in those magazines. How many sentences did each paragraph typically have? How many words per line and per paragraph? Did they typically run humorous or serious stories? I studied these stories for character growth and plot arcs. Analyzing mentor texts helped me learn how to write.
RVC: One of your early writing career highlights was, aptly enough, landing a short story in Highlights–one of those mags you studied so carefully. Tell us the story of that big success.
AA: Over four years, I tried getting published in Highlights. After several rejections, I took a break from submitting there. Even though I was slowly building up from first reader passes to personal rejections directly from the fiction editor, I had little hope that Highlights would ever accept one of my stories. It just felt impossible. So, I focused on magazines which had higher acceptance rates.
One ezine needed stories about Valentine’s Day. This theme inspired me to start writing a story, but I missed the ezine’s submissions deadline. I kept working on the story for several months more. Once it had been polished enough, I thought to myself, I really like this story. Maybe I should try submitting it to Highlights. So off it went in the mail (this was before electronic submissions). Imagine my surprise when I received a Bear Card back! Back then, Highlights used to send a “Bear with us” postcard – basically meaning it was seriously being considered for publication. Still, I didn’t want to get my hopes up. Another couple of months went by. And then I received my self-addressed stamped envelope back from them. I noticed the envelope had been carefully taped so nothing would fall out. But it was thick like several pages of a manuscript had been sent back to me. I opened the envelope and there was my letter. Highlights had accepted my short story, “A Valentine for Nanima,” which was published in their February 2013 issue.
RVC: Congrats on that. But that publication story has a hard-to-believe cool bonus element to it. Wanna share?
AA: My acceptance to Highlights came the same day I found out I was going to be a mama – of twins! A boy and a girl, complete opposites and best friends.
RVC: In 2016, you decided to expand your writing to include picture books. How did that transition go?
AA: It was harder than I realized! Initially, I thought writing picture books would be similar to writing magazine stories, because the word counts are about the same. But after taking classes and workshops and analyzing other picture books, I found out I was wrong! Chapter books (I write these as well) are probably a more natural transition from magazines.
In picture books, page turns (how the text ends on a page to make the reader want to turn to the next page) are important. The book relies on art work to tell the story as much as the text. You don’t need to worry about these with short stories.
AA: My publisher, Cardinal Rule Press, organized a live virtual launch on October 1, 2020, the release day for Raja’s Pet Camel: The Magic of Hope. I read the book to viewers, showed some photographs of the Thar Desert, which is where the book is set, and answered questions from my publisher as well as the audience.
RVC: How did the launch go?
AA: The launch went great – above my expectations! This is in large part due to the strength of my publisher and her team, and the amazing support of my family and friends, the kidlit community, my debut picture book group, critique partners, and my launch team. Launching a book is definitely a community effort.
RVC: What’s the elevator pitch for the story?
AA: Raja is a little boy in India who loves his new pet: a mischievous, date-loving, baby camel named Kamal. But his father is fed up and determined to sell the camel at the next fair. Raja must use the power of hope to try and change his father’s mind or he might lose Kamal forever.
RVC: What was the breakthrough moment with this manuscript? When did it all finally work?
AA: The process for this book spanned 11 years! I happened to come across a photo I had taken in the Thar Desert in Rajasthan, India of a little boy playing with his camel. This inspired me to write a couple of lines in my writing journal: a little boy throws his arms around his camel, not wanting to sell her, while his dad makes a campfire. (This would later form the desert scene in Raja’s Pet Camel.) The idea was for a short story for ages 8 to 12.
My thoughts sat in that notebook for a few years. Then I took an advanced class at the Institute of Children’s Literature and realized maybe my short story idea would make a better picture book.
At around the same time, I started remembering how there are a lot of animals in India, but hardly any pets. My kids had been asking for a pet, but I kept worrying about how much mischief a pet could make.
This is when the pieces fell together, and I realized the story should be a picture book about a little boy in India trying to stop his mischievous pet camel from being sold at the next fair. This story continued to change through workshops and critiques but the theme stayed the same.
RVC: Rumor has it you had a memorable childhood experience with a camel.
AA: Yes! My first trip to India was when I was three years old. I was in awe of all of the camels and wanted to ride one. My dad set me on a camel’s back, and I was just fine – until the camel stood up! It’s pretty high up there for a three-year-old. I started crying and screaming, and this is when we realized I’m terrified of heights – and still am.
RVC: Raja’s Pet Camel has interesting back matter about the Thar Desert. What are your goals for back matter? Got a good mentor text or two that uses back matter in a way you admire?
AA: I see back matter as a way to explain cultural elements found in the story or to supplement the story with additional information.
When my publisher asked me to include the top 10 facts about the Thar Desert, I was happy because most of the facts I’ve personally experienced. I drew inspiration from my memories and experiences, when deciding which facts to include so they also have a personal connection to me. I used Evie’s Field Day by Claire Noland as a mentor text for my book; it’s published by Cardinal Rule Press too, so I could see what type of back matter and how much detail my publisher likes.
RVC: Daniel Miyares is one of our grads here from Ringling College. He’s done some great work!
AA: I definitely liked the illustrations for that book!
RVC: I’m watching the #OwnVoices movement in kidlit with great interest. Beyond the obvious—opening the door for more diverse voices to find audiences—what else do you see happening as a result?
AA: Aside from the beauty of seeing more diverse voices and building bridges with other cultures, I think the #OwnVoices movement will help preserve cultural history and track how cultures change over time. Verbal stories can get lost over time. But if we write them down and they’re published for all to see, it will be that much harder to erase a culture and their stories from history.
RVC: What’s your writing process like? How involved is husband Jay and the kids?
AA: Very involved! My husband is my first Editor-in-Chief and often critiques my stories. My kids love to be involved, from helping to pick character names to reading my stories and providing feedback. They have some great ideas! My family has been amazingly supportive. I’m so lucky.
My writing process starts with my notebook and pen, even for my longer books like The Legacy of Rashmi Bazaar (Teacher Created Materials, 2019), a short chapter book for middle graders. I detest typing on the computer, so I write as much as I can in my notebook: fragments of ideas, outlines, paragraphs. On the rare occasion I’ll write out the whole story in my notebook, but normally I move to the computer for that. Once I’ve written a full draft, I let it sit for a few days at least – often weeks – and then go back and revise. I’ll let it sit again, revise, repeat, until the manuscript feels right.
RVC: A final question for this part of the interview. Looking back at when you switched to a writing career, where did you think it’d lead you?
AA: My plan in 2006 was to write short stories and eventually have one published in a magazine. I never expected to have one book published, much less seven by the end of 2020, with more forthcoming and so many short stories published in magazines and educational resources. I’ve been lucky and blessed so far!
RVC: Okay, we’ve reached that point in the interview where the point values are doubled, the stakes are raised, and it’s all about zippiness, because…it’s the SPEEDROUND!
This month’s PB review is by Ryan G. Van Cleave (chief rabbit aficionado at Only Picture Books) and OPB newcomer, freelance author/illustrator Kelly Light.
–Ryan’s Review of the Writing–
Marianne Dubuc’s new picture book, Your House, My House, almost seems like one of those seek-and-find books my kids loved so much in their k‑1 years. On every page of this book, a little block of text is tucked into the leaves of a tree at the top left while the rest of the page–the bulk of it–offers a look inside a multi-level house full of animals engaged in a variety of actions. Yes, it’s a very special day at 3 Maple Street since it’s Little Rabbit’s birthday. But there’s so much more going on at the same time.
I confess that I find it a bit challenging to connect the text to the characters being referenced since the art is disproportionately large on the page. I’m almost more inclined to just peruse the pictures and imagine my own stories to pair up with the interesting characters versus try to bring the existing text into some kind of connection with the art. Is that a good thing? I’m not sure what to think about it.
Since my responsibility in these reviews is to focus on the story, though, I’ll leave it to Kelly to dive deep into the compelling artwork. While I have lots of appreciation for this book as a whole, I’m giving this a slightly lower ranking than I’d give were I reviewing the entire book as a single thing. With it being such a clearly art-centric book, there’s almost no other option.
It’s worth checking out, though. Let’s not lose track of that fact.
4 out of 5 pencils
–Kelly’s Review of the Illustrations–
I’d like to ask Marianne Dubuc if she’s a fan of the book What Do People Do All Day? after pouring over her new book Your House, My House. Before I even received the book to review, the cover of her book struck a chord deep inside of me. I ripped tape off of boxes from my recent move, to find my own tattered copy of Richard Scarry’s book.
Was it the cross-sectioned home revealing the inside of the building and goings-on of what appears to be an early twentieth century, very large old apartment building? The viewer never sees the house with its front wall. That invisible wall allows us to take in all that happens on a very, very busy day at 3 Maple Street.
The SUPREMELY detailed drawings in Marianne’s book appear to be done in great, old-fashioned pencil and watercolor. Simply–the best. Some touches of colored pencil, here and there. The palette emits a sunny day in soft washes with just the right amount of puddling. My inner art geek is dying to know. Did she work to size? (which means the size of the printed book.) I wonder if that’s the case because there is so much detail. I would imagine working larger to fit it all in, but if Marianne did that, perhaps all of this lovely graphite would close up and darken and lose its silvery tone.
These are the thoughts that fill my head when inspecting another illustrator’s work.
The details are ABUNDANT and the art tells most of the story. The writing here is mostly visual but WHOOOBOY, what kinds of lists Marianne must have made to keep this all straight as she drew! The day of the tiny Bunny’s birthday is filled with four floors of activity, one tree, two sides of the house, and the street out front. The inhabitants are all drawn with charm and deceptive simplicity. Marianne manages to convey all kinds of mood and emotion in her characters. An annoyed Owl, a sick Bear, Terrible Two Mice Triplets, Expectant Fox Family, Hedgehogs waiting for Dad, Cats moving in, Rabbits burning baked goods, Birds in the branches, a Post-Cat, a Goldilocks breaking and entering, a Wolf chasing down some pigs and a Little Red Riding Hood walking on by. The tiniest of the characters, the ghost, the ladybug, the bee, the mice children, and a very odd Gnome are the only ones that are hardest to read.
Some of their drawings got tight. It was the Gnome that made me put this book onto my Cintiq and blow it up. I stared. ”ISTHAT A…GNOME? A GNOME, TOO??” I started to question my own eyes and rubbed them and wondered if Marianne had eye strain, too, after creating the art. It is quite a feat to draw what is the visual equivalent to a silent movie. I had to go back through all of the pages and see where and when this crazy Gnome came into 3 Maple Street! By making me do that, I knew, Marianne had hooked me into this book experience.
I imagine a child POURING over this book, over and over and over to see all of the details, just as I did with my own Scarry book. This feels very classic, looks very classic, and is illustrated with a lot of class. It feels very real in these times that we stay so close to home and perhaps feel so much more together than we have for a long time.
My ONLY wish? That the book was BIG. 11x15 BIG , like my old Richard Scarry book.
Pure pencil, pure watercolors, pure picture book perfection.
4 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.
Hold on to your collective literary hats, folks, because this month’s Industry Interview subject—Amy Novesky, the Children’s Book Editor + Director @ Cameron Kids—said “I would love to have some fun” with this interview.
So, to get things off on the right foot, let’s begin with a semi-biographical free association thing. I’ll start a sentence, you finish it. Ready, Amy?
If Netflix is the answer, the question is…
what do you waste time endlessly scrolling?
If Sausalito were a sandwich, the right condiment for it would be…
RVC: As an editor and writer, you’ve been involved with making kidlit books for two decades. Are you a writer who edits, an editor who writes? Or do you have some other way of thinking about it entirely?
AN: Both, depending on the day. But I think of myself as a writer first, always. Writer is who I am, editor is what I do.
AN: I do have a thing for women artists—especially painters. And I have consciously wondered why, and made the connection to my mom who paints, and to our ancestors, a large family of artists called the Peales, who were known for their early American portraits. My great (x4) grandfather, Raphaelle, painted still lifes; he was the rebel of the family. So maybe the artist/portrait/still life gene got passed down to me, and manifests in words, instead of paint.
RVC: That’s such a cool story.
AN: I am drawn to the arts, and to artists, because I have always been in awe of one who can paint, play the piano, dance, sing. What an amazing life. For me it’s not just the art but the way these artists lived their lives like works of art. Frida was a walking canvas.
Incidentally, one of the things that connects almost all of the artists I have written about is flowers, which, I also love: Georgia’s giant red poppies, the flowers Frida wore in her hair, the signature gardenia Billie wore behind her ear. The magnolia flower Imogen photographed close-up. And, all of these artists, Louise Bourgeois included, were especially bad ass. Imogen, was probably the most bad ass of all: she managed to be an artist and make art, while raising three boys. That’s what my book, Imogen: The Mother of Modernism and Three Boys, is about.
RVC: Speaking of your books, let’s examine the launch of your picture book author career. What’s the story of that first book?
AN: I wrote Elephant Prince after a trip to India. Among the many things that amazed me was this elephant-headed god named Ganesh. Who was he? And why did he have the head of an elephant? The story is also, simply, the story of a mother who longs for a child, which was something I could relate to; my son, Quinn, was born a year after the book published.
RVC: You just had another picture book come out this month—Girl on a Motorcycle. Congrats on that! What’s your 20-second pitch for the book?
AN: Thank you!
Girl with a good job in Paris, leaves it all, jumps on a motorcycle, carries only the essentials (pocket knife, tarp, anti-diarrheal, eyeliner, bikini, paper & pen …), rides around the world—from France, through Canada to Alaska…to India and Afghanistan…—breaks down, fixes bike, falls, gets back up, finds the world is beautiful and good, writes about it, returns home.
RVC: And all in one sentence, too? Consider me grammatically wowed!
I’m curious. Like the unnamed young Parisian in this story, have you ever dreamed “to go Elsewhere”?
AN: Every day.
RVC: Don’t we all, right? Even before the COVID world we now live in. [sigh]
What was the biggest challenge you faced when creating this book?
AN: Not being fluent in French (despite—I’m appalled to admit—15 years of studying it in school). Luckily Anne-France Dautheville, the subject of Girl On a Motorcycle, speaks decent and, comment dit-on, colorful English. But I would love to be able to talk with her and read her books in French. When I visited her at her home outside of Paris, I felt tongue-tied, in addition to totally jet-lagged. Not the best combo for meeting and interviewing your heroine.
RVC: Well, if you ever want help with French, let me know. I am très good at it! (Spoiler–I might be overstating this a bit. “Très” might be the only thing I actually recall from my Ph.D. crash-course semester in French.)
Moving on–what do you most admire about Julie Morstad’s accompanying artwork for your book Girl On a Motorcycle?
AN: I’ve been a fan of Julie’s work for some time, and she immediately came to mind for this book for her exquisite illustrations, her stylish characters, her sublime palette, which, in this book—beginning with those gorgeous sunset colors on the cover; the coppery brown, uncoated, separate ends; and the muted, earthy and airy hues throughout—takes my breath away.
RVC: Let’s switch gears to your work as an editor. What fulfills you most about that type of work?
AN: Working with words, and in a form that is so distilled, poetic and visual. And, because I am an equally visual person, looking for and working with illustrators and artists.
RVC: How did you get the editing bug?
AN: I’ve been writing since I could write. I studied poetry in college and got a masters in writing, with a focus on short story. It’s hard to make a living writing poetry and short stories, and so I went to work for a publishing house. When I didn’t get the fiction editorial assistant job, I applied to the other editor job that was open: children’s editorial assistant. I fell in love with the picture book form and discovered it was a really good fit for me, and I’ve been doing it since.
RVC: What was the most memorable thing about working for Chronicle Books, where you got that first job in editing?
AN: Living and working in San Francisco in my 20s, making beautiful books, and, the people—many of whom are still close friends, and some I even work with (2 of the 12 Cameron employees worked at Chronicle).
RVC: What was the first picture book you acquired there?
AN: Oh boy. The Go Go Dogs, about two dogs who travel the world, a consistent theme for me. It’s got to be about 3000 words and was clearly influenced by my love of Maira Kalman.
And then there was Isabelle and the Angel, illustrated by Georg Hallensleben, a French buy-in about an art-loving pig who falls in love with an angel in a painting at a museum. She loves him so much she becomes a security guard so she can be near him all night. I know, it’s a little odd. But the art is so gorgeous! I have a soft spot for esoteric French picture books, what can I say. The English-language edition is, sadly, out of print, but I did fairly recently find the original book on the bookstore shelf at the Musée D’Orsay.
RVC: A few years back, you left Chronicle and ended up acquiring titles for two presses at once. How did that happen?
AN: I left my job in 2000 to write and raise a son, and I have been a freelance editor since. Being a freelancer can be tough. I’ve had many many jobs over the years—some I wish I never took and at least one, like my stint at Pixar, which was great fun. Such is the life of a freelancer.
RVC: Tell me about it! My up-to-date resume is 40+ pages long to accommodate all the people/company I’ve worked with over 20+ years of being a writer.
AN: I started working for Cameron + Company, beginning in 2010, book-by-book, and then helped launch their children’s book imprint in 2015. Still, it was only part-time. When Creative Editions, another small, family-owned press, offered me part-time work acquiring for their list, I couldn’t turn it down. Living in the Bay Area on a freelance editor’s income is not easy. Luckily, I was able to do the latter from home, and the two lists are aesthetically different so, creatively, it worked out. I left Creative in February to focus on growing Cameron Kids. And, as of September 1, 2020, I can report that I am a full-time employee of Abrams, New York, which acquired Cameron + Company.
In short, yes, we editors often wear many hats.
RVC: Why is this super-new role at Cameron + Company (congrats on that!!) such a good fit for you?
AN: To be the editorial director of a beautiful, thoughtful, well-curated list of books I helped create; to work with people I respect and adore; and now to be a west coast division of a major New York publishing house, whom I also adore (and who published two of my books: Me, Frida and Cloth Lullaby), is a dream job. It was a long time coming, a lot of hard work, patience, and literal blood, sweat and tears, and I couldn’t be happier.
RVC: What’s the most common misconception about picture book editors?
AN: That we like children. Just kidding!
RVC: Who or what has influenced you most as an editor?
AN: I will give you a who and a what.
RVC: Way to overdeliver!
AN: Who: Victoria Rock at Chronicle Books. I learned so much, mostly from typing up her long, handwritten letters to authors and illustrators.
What: traveling the world. The places I’ve been and have lived and loved—India, Mexico, Paris, New York, Southern California, San Francisco, Kauai—influence my books.
RVC: How do picture books create an opportunity for adult readers to be present with kids?
AN: A picture book is a beautiful, tactile object. It takes time to turn a page, to read the words, to stop and define a difficult word or concept or two. One misconception about picture books is that they are simplistic, but they can be quite sophisticated and profound. The best books stop time, allow you to be present, and isn’t that what we strive for with our kids?
RVC: Well said, Amy.
Let me ask an industry question. I’m hearing mixed answers these days. Is COVID making things better or worse for writers? Some argue that editors working from home are able to get more done. Some argue that editors working from home are just as swamped as ever, or even more so. What’s been your experience? And what have you seen/heard from colleagues?
Amy’s home office in March 2020.Amy’s home office in September 2020.
AN: For me, despite it all, I have been incredibly lucky. I have space. I live in a beautiful place. I have work and I can work from home. My son is old enough now to manage his online schooling and make a sandwich. And so, while I’ve surely gone through as many pandemic phases as stages of grief—from the urgency of it in those first few months, to heaviness and depression and rage, to a measure of acceptance, to moments of stillness and creativity–I’m doing okay, getting work done, chasing new books, even writing a new story or two.
But I know many people, friends and colleagues, who are struggling to do it all. It’s a lot. And here in California, we have pandemic + wildfires + smoke + heat + power outages, and there’s always a few earthquakes rattling about. September has been a particularly harrowing and heartbreaking month. When I can get to the office, 1⁄2 hour north, I keep a go-bag, a 7‑gallon jug of water, and masks for multiple emergencies, in my car.
2020 is making us all bad ass.
RVC: Bad ass, indeed!
Circling back now to your work as a bad-ass picture book author—you’ve got an author trailer on your website. Not a book trailer, but an AUTHOR one. So cool! Where’d you get that idea?
AN: I have a good friend who is a talented documentary filmmaker, and she and the co-founder of her company generously offered to make a short film about me. I am super camera-shy, so it was pretty excruciating for me, which is probably apparent in the pained look on my face. That and I’m not great at promoting myself and my work. And so I am so grateful to have such a beautiful piece in my portfolio. It’s at least 10 years old at this point, but the heart of it is still current.
RVC: How have people responded to it?
AN: I’ve gotten some really nice feedback.
RVC: Rightly so. It’s terrific.
AN: Thank you!
RVC: One last question for this first part of the interview. Craziest thing that ever happened re: a school visit you did?
AN: Okay, I’ve got a good one for you. On my way to a book event at a school an hour from my house, it was first thing in the morning, rush hour, I’d drunk a pot of coffee, and there was traffic, I was running late, hundreds of elementary kids were waiting for me, and, I had to go to the bathroom really really, like painfully, badly; I wasn’t going to make it. I pulled the car over as soon as I got off the freeway, jumped out and peed in a bush. I’m guessing some homeowner has probably got some good security footage of this children’s book author squatting on their property.
RVC: This from the lady who said her life wasn’t all that exciting! OMG!
Regardless, it’s your time to shine, Amy, because it’s the…LIGHTNINGROUND! Electrifyingly fast questions and shockingly quick answers, please. Are you ready?
AN: Let’s do this.
RVC: Smurfs, fraggles, or trolls—most underappreciated not-so-tall creatures in pop culture?
RVC: The three most important characteristics that lead to picture book success.
AN: An authentic voice, a compelling story, and a Hell Yes manuscript (Cameron Kids’ motto).
RVC: Thanks so much, Amy. And not that anyone’s keeping score, but I think I won on both counts regarding our challenges. Fun and excitement was indeed had by all. 100% of my pre-pub focus group of 2 agree.
So, thanks for sharing a bit of your literary journey with us today. It was great having you stop by OPB. Best of luck with the new book, too!
boxes from my recent move, to find my own tattered copy of Richard Scarry’s book.
Kelly Light lives in Amherst, 
Hold on to your collective literary hats, folks, because this month’s Industry Interview subject—Amy Novesky, the Children’s Book Editor + Director @ 
