Editor Interview: Cheryl Eissing (Flamingo Books)

On August 26, 2024August 26, 2024 By Only Picture BooksIn Editor Interviews2 Comments

When someone takes the time to write a great social media bio, they deserve kudos, acclaim, and general admiration. Witness editor Cheryl Eissing’s bio at Twitter/X. “When I’m not editing, I can be found reading with an English Bulldog at my feet, cooking too much pasta, or walking my dog around Brooklyn.”

Love it!

Her bio at Penguin’s website offers two bits of dynamite info as well.

“Cheryl mainly edits picture books, with some middle grade and young adult, and is specifically interested in stories that cause giggles, give comfort, and expose their readers to experiences and perspectives they haven’t seen before.”

“Cheryl is always looking for commercial and silly yet profound picture books and stories that entertain, educate, and inspire young readers. When she is not editing books, Cheryl can be found befriending dogs on the streets of Jersey City, watching horror movies, or searching for the perfect lychee martini.”

Awesome, right? Let’s talk to her to find out a bit more.

RVC: Let’s deal with the geographic elephant in the room. In the bio snippets above, it seems you have a multi-state dog love going. What’s the real story there?

CE: Ha! Unfortunately, the first bio is out of date. I lived in Brooklyn with the bulldog in question (who has sadly crossed the rainbow bridge, as the social media pet community often calls it) but he was the greatest editing and walking companion. I moved to Jersey City in 2020 and still go for dog walks (by that I mean, I walk around Jersey City and admire all the dogs). I will always have a soft spot for bulldogs.

RVC: Got it, thanks. Now, back to the regularly scheduled OPB interview…what aspect/part of you today gives away where you’re from and how you were raised?

CE: I grew up in the suburbs of Long Island and went to college in New Jersey, so I’m very serious about bagels and pizza. I’ve just finally grown up and realized you can get good bagels and pizza outside of New York!

RVC: Good to know! Here’s a huge question: what was your first meaningful experience with a book?

CE: Oh goodness, what a big question! Picture books that I have a vivid memory of reading as a kid are Where the Wild Things Are by Maurice Sendak, Chrysanthemum by Kevin Henkes and Corduroy by Don Freeman. I just remember each of them speaking to something in me as a child. I always loved the adventure of Corduroy and was amazed by the idea of being alone in a department store after it closed. I loved the fantastical, dreamlike elements of Where the Wild Things Are and absolutely identified with Max’s mischievousness. And as someone who did not like being the only person with my name in my class as a little kid, Chrysanthemum really spoke to me.

RVC: Most of us in the book industry had a powerful experience with a teacher somewhere along the way. What was your MIT (Most Important Teacher) moment?

CE: Ms. Jeans, my second-grade teacher!

RVC: Best…name…ever.…

CE: She was the absolute best and always made me feel smart and capable. I remember her showing a drawing I did to another teacher—it’s amazing how much those little encouragements are so important and really stick with you!

RVC: Totally agree! Your LinkedIn account says you did your undergraduate studies at Rutgers. What career goal did you have in mind there?

CE: I wanted to be in publishing since I was in high school. I remember looking at all of the YA books on my shelves and thinking, “Okay, I don’t really enjoy writing, but what are the names of these companies on the spines of my books?” and realized that I could work with books in another way. I went into college thinking I’d major in English and then eventually go onto publishing, and always sort of thought if it wasn’t meant to be something else would reveal itself as my calling, but it stuck!

RVC: What was the most useful thing/skill you learned at Rutgers?

CE: Reading and analyzing literature and seeing the many ways a book can be written and written well. Not all who work in publishing are former English majors, but I felt like it certainly helped me!

RVC: You’re the post child for the power of internships. Share a bit about what you did and how that helped launch your career in the industry.

CE: Because Rutgers was just a train ride away from NYC, I was able to apply for internships and do those in Junior and Senior year. I definitely wouldn’t have been able to do them in Freshman and Sophomore year while I was still getting my bearings and still having to take core requirement classes that took up a lot of my time.

I got lucky with landing my first internship at Abrams, in a department that I wasn’t ultimately interested in, but I was doing admin tasks and learning how publishing worked. That led me to more interviews and more internships. Most of what I did for internships wasn’t stuff that interested me, but it helped me learn how a publishing office worked and gave me good experience!

RVC: It seems like you might’ve had a moment where you considered being an agent. What happened there?

CE: After I graduated college and had just had one interview for a real job, I was feeling very restless and continued applying to internships, which eventually landed me as an intern at a literary agency. It was definitely interesting to learn about that part of the publishing world but I realized it wasn’t for me. I definitely prefer working on shaping a manuscript the most!

RVC: Tell me the story behind the first picture book you acquired.

CE: The first picture book I acquired was My School Stinks by Becky Scharnhorst and Julia Patton. I met Becky at the Rutgers One-on-One Publishing Conference, and we really clicked. We worked on her manuscript (which was originally a camp story rather than a school story) and I loved it so much. Becky was so great at really considering my notes and was so great at writing funny and heartfelt stories. I ended up asking her to change the setting from a summer camp to a school and I remember feeling so worried that she wouldn’t want to change so much about her manuscript (but also completely understanding if she did!) and worrying that she wouldn’t want me as her editor.

In the end, she adapted the manuscript into a school setting, and I just loved it and I was so happy that my publisher agreed, too! We found Julia and adored her artwork–she is so talented at doing mixed media scenes and could really incorporate the journal entry format of the story into her hilarious illustrations. I loved working on My School Stinks!

RVC: What’s the most useful thing you got from that experience?

CE: I think I learned a lot about the author’s experience of editing a manuscript. Because it was my first acquisition, I had to really carefully consider my words and how to get the best manuscript possible from my author, while still being encouraging and showing how much I love the book. While an editor absolutely feels ownership over each book they edit, ultimately the book is the author and illustrator’s creation! And our job is to give suggestions in how to make the best possible book that is within the author and illustrator’s creative vision! So I think that experience really taught me to really consider the author on the other end of my emails and notes.

RVC: Let’s jump ahead to your recent work. What’s the most important thing people should know or understand about Flamingo Books?

CE: We love funny picture books! We think books that are fun is the best way to make lifelong readers, so often the first thing we look for is humor. We love profound and heartfelt picture books, too, but I’d say a good majority of our books are funny!

RVC: Why is Flamingo Books a great fit for you?

CE: I love to do sweet and silly picture books that tackle big moments or emotions in a child’s life, as well as books that can teach a reader something new, but always with lots of humor and character. I love a funny book and I’m always looking for books that can be funny while still accomplishing other things. I think that humor is such an easy entry point for kids and reluctant readers. I truly believe that any kid who doesn’t like to read just hasn’t been introduced to the right books!

RVC: What does a typical workday look like for you?

CE: A lot of it is answering emails from other departments, looking at passes of books, fielding submissions, and, depending on the time of year, preparing materials for upcoming meetings.

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

CE: I think some writers might feel like getting a lot of edits means their editor thinks that they’re not a good writer. Editing can take a lot of time and several rounds (some take 10 rounds or even more!). Sometimes we don’t notice something the first 5 times we read it. Or sometimes fixing one problem in the manuscript creates another. Having lots of edits is very normal and part of the process!

RVC: What’s your editing superpower?

CE: Oh, I really don’t know! I guess I’m good at editing funny books?

RVC: Speaking of editing superpowers, you’ve had some real successes. Share what it’s like to find out a book you edited is on the New York Times bestseller list.

CE: It is really really cool. Being on the NY Times list is not the end-all-be-all of a book’s success by any means, but it’s definitely something that holds a lot of weight in the industry and it is so great to have one of your books succeed in that way. I think the coolest part is that books that land on that list are because of the work of so, so many of your colleagues who loved it. A book that you acquired and worked hard on, and launched to them, and hoped they would love as much as you do. Having a whole team to work hard with and celebrate with is really lovely!

RVC: I believe you worked on a book written by my friend, Michelle Houts—Hopefully, the Scarecrow.

CE: Yes! I adore Hopefully the Scarecrow!

RVC: What grabbed you about that story?

CE: Michelle’s voice throughout the story was what I instantly loved. It had this timelessness to it that felt like a book I could’ve read 50 years ago but also felt so current.

RVC: Your feeling on art notes?

CE: I LOVE how that book turned out. We waited a whole extra year just to have Sara Palacios illustrate and it was so worth the wait! That book is gorgeous and I sometimes just pop it open to stare at the art. It’s one of those book where the words and art really work together perfectly.

RVC: A lot of aspiring writers read OPB. Let’s help them out—offer some examples of “commercial and silly yet profound picture books” please!

CE: The Bad Seed series by Jory John and Pete Oswald, A Hungry Lion by Lucy Ruth Cummins, We Found a Hat by Jon Klassen, Strictly No Elephants by Lisa Mantchev and Taeeun Yoo, Something’s Wrong by Jory John and Erin Kraan.

RVC: Since COVID, I’ve made a point out of asking everyone a health and wellness action. Here’s yours. What do you do to de-stress?

CE: I like to cook, or exercise, or read a book for pleasure.

RVC: One final question for this part of the interview, Cheryl. If you had to summarize the most important thing you’ve learned about picture books, what would it be?

CE: I guess it would be that picture books have power. They can teach kids about empathy, friendship, loss, feelings, family, differences, etc. and can shape who they are as a person.

RVC: Okay, here we go. It’s the LIGHTNING ROUND. Zippy zoomy questions followed by zapptastically fast answers. Are you ready?

CE: Yes!

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

CE: I really like jigsaw puzzles and Sudoku.

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

CE: Kathryn Hahn or Ayo Edebiri.

RVC: If you had a giraffe you needed to hide, where would you hide it?

CE: Under a blanket.

RVC: What are five things you couldn’t do your job without?

CE: A notebook, a laptop, post-its, Diet Dr Pepper, Rhymezone.com

RVC: Who sets the standard for picture book rhymes?

CE: Anna Dewdney and Sandra Boynton.

RVC: What’s a favorite line from a picture book you edited?

CE: “Great job, Buffalo. Help yourself to some potato salad.” (From Porcupine & Cactus by Katie Frawley & Alex Willmore)

RVC: Thanks so much, Cheryl!

Picture Book Review: A Song of Frutas by Margarita Engle

On October 4, 2021December 24, 2021 By Only Picture BooksIn Picture Book Reviews

A Song of Frutas

Author: Margarita Engle
Illustrator: Sara Palacios

Atheneum Books for Young Readers
3 August 2021
40 pages

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

–Ryan’s Review of the Writing–

Pura Belpré Award-winning author Margarita Engle’s A Song of Frutas tells the story of a young child who visits “mi abuelo” (Spanish for “my grandfather”) in Cuba and helps him sell fruit in the streets.

What’s wonderful is how the child watches Abuelo and the other sellers hawking their wares in song, full of “melodies and rhythms.” As Abuelo and the child walk together, “our footsteps are drumbeats,” and “our hands are maracas.” But there’s all manner of music in the air, so Abuelo must sing louder than the rest in order to be heard. This musical theme is embedded all throughout these pages literally, lyrically, and visually.

I’m a fan of how the physical layout of the text tries to mirror the musical rhythms, such as “mangos, lemons, limes, coconuts, melons, oranges, grapefruits, bananas, and pineapples.” Written in vivid colors and staggered down the page, this list of fruits is echoes the multi-vocal song of the street vendors.

The most tender moment of the story is how the child explains that their favorite visits to Cuba are “on the eve of el año nuevo,” where everyone wants to buy 12 grapes so they can have luck in each month of the coming year. At midnight on New Year’s Eve, the child gobbles 12 grapes to “make one wish per month for the whole coming year.”

The author has a clear message in this book, as the child illustrates by admitting that their last wish is for friendship between the two countries (the US and Cuba). This message re-appears in greater clarity in the Back Matter, citing the “unfair” travel restrictions that keep people from seeing loved ones as often as they’d like.

Let’s go back to the story text itself. Many of the Spanish job titles included in the story are easily explained in the context. That’s wonderfully done. And, at times, we see Spanglish in action, such as how Engle uses “Sabroso” followed by “Tasty.” Giving readers the same meaning from two words in two languages is a very strong technique, and from the Back Matter, this is intentional.

As I read, I wondered if there’d be a Spanish-to-English glossary in the back, or perhaps a pronunciation guide. There isn’t. Maybe there’s no need? I wonder, though, how many readers will, in those early pages, be saying “nah-ran-jah” and “pee-na” for naranja and piña. Hopefully none!

It’s a sweet book with bright, memorable illustrations that offer a glimpse into a very specific part of the world of Cuba. Very nice indeed!

4.25 out of 5 pencils

–Edna’s Review of the Illustrations–

Sara Palacios’ delightful artwork in A Song of Frutas brilliantly underscores Margarita Engle’s heartwarming Spanglish poem and her story of a girl and her beloved Abuelo el frutero. Palacios’ mid-century inspired illustrations are very compelling, but I ﬁnd them equally potent as a sequential work, enhancing and elevating Engle’s words with a warm, visual narrative imbued with musicality and meaning.

Throughout the book, Palacios’ paintings croon with jewel-tone hues, textured shapes and lines, and an energetic cast of characters. From an artistic standpoint, this dense combination of equally bold colors, patterns, and personalities is hard to pull off. Palacios conﬁdently blends and ampliﬁes these elements in a symphony of movement and white space (a.k.a. composition). What might come across as light and loose stylistically is actually tightly composed.

Palacios’ overall treatment of spreads move with rhythm and musicality–highly-angled collage and expressive lines coming together under Palacios’ deft orchestration. She plays the elements in service of story and tenor. In the opening spread, contrasting colors and values establish that the girl and her abuelo are the main characters overseeing a street that sits under a cerulean blue sky hosting the opening stanza. In the second spread, Palacios directs the readers’ eyes from light pastel words ﬂoating in the sky, down the handle of Abuelo’s fruit cart, and across the gutter to the right page, landing onto main characters joyfully singing.

In the third spread, Palacios employs golden browns and bursts of yellow on a building that ﬁlls the entire left page. This is balanced at the right by detailed vignettes of people and objects dancing atop a background gradation of soft purple to gray and then to white space with a stanza, at the top.

Palacios switches to a completely different treatment on the next spread where she leaves the left page empty of illustration–a ﬁeld of white space that holds one long stanza with playful type–and on the opposite side, installs a charming scene of the girl with her abuelo delivering fruit in a basket to a customer high up in a balcony. Palacios’ varied and generous use of white space continues into the middle of the book as other “los pregoneros,” or singing vendors, are mentioned.

Then come the ﬁnal spreads, beginning with Palacios articulating the poignancy of grapes on New Year’s Eve. After a dramatic sweep of painterly scenes, one after another, Palacios changes from the jewel-tones of Havana to an earth-tone scene in San Francisco. A blue mailbox and a set of blue doors at the US Post Ofﬁce foreshadow what’s next: A scene accompanying “hopeful poems ﬂying like songbirds” followed by a scene of the girl and Abuelo embraced in a hug–all happening beneath cerulean blue skies.

Flat, collage-style artwork has the potential for visual tangents which create ambiguity and confusion between objects. I found a few instances in Palacios’ artwork such as the open market scene where, at first glance, a basket of fruit appears to be on the same plane as a woman’s head, jutting out like a headdress. But such tangents are minor and do not detract from the story. I feel satiated after reading this picture book, thanks in great part to Palacios’ gorgeously detailed and stylized illustrations—each spread hanging together with all the rest and giving voice to what matters in the story like the soft glowing festival lights in Palacios’ nighttime scenes.

4.75 out of 5 crayons

Edna Cabcabin Moran is an author/illustrator, multi-disciplined artist, educator, and advocate for youth voices and diversity in publishing. She is also a dancer with acclaimed hālau hula and dance company, Nā Lei Hulu I Ka Wēkiu, and a teaching artist specializing in STEAM and integrative arts. She has served on several nonprofit committees including We Need Diverse Books and Alternative in Action’s Project Youthview: The Power of Youth in Film.

A Filipina-American born to immigrants and raised in a military family, Edna grew up in the USA’s east and west coasts, Iceland, and Hawai’i. She resides in the SF Bay Area where she’s written and/or illustrated for children’s literature and poetry anthologies. Her latest picture book title, Honu and Moa (BeachHouse Publishing), received an 2019 Aesop Accolade from the American Folklore Society.

https://kidlitedna.com

IG & Twitter: @kidlitedna

Only Picture Books’ 18 Favorites of 2018

On December 31, 2018December 31, 2018 By Only Picture BooksIn OPB Favorites, Picture Book Lists

What better way to close out 2018 than with a list of OPB’s 18 favorites from this past year?

Some of these titles appeared in the (digital) pages of OPB.

Some didn’t. (Alas, this isn’t a comprehensive PB review site like PW, Kirkus, or others.)

But make no mistake–I’m a fan of these 18 titles. I’ll even offer up a sentence or three for each to give a sense about why I liked them.

Note #1: Every book listed below is a total winner via my super-subjective estimation. By that, I mean:

I own a copy. (Yep. Not just the freebie ARCs/galleys here!)
I’d be happy to read any of these with a child.
I’d be happy to re-read any of these, even without a child handy.
I’d be happy to have written, illustrated, and/or edited ANY of these.
I’d be pleased as Hawaiian punch for any of the involved authors, illustrators, and editors to hit up OPB for an interview. HINT HINT HINT!

Note #2: They aren’t ranked in any particular way, save alphabetically by title. Want to know the #1 picture book of 2018? Read them yourself and make your own choice. Post your choice as a comment here. Or offer it up on your social media. Or add your glowing recommendation on an Amazon or Goodreads page.

Note #3: I like notes.

Note #4: There should be more picture books about sloths. (Please refer to question #1 of the Speed Round of editor Kait Feldmann’s OPB interview for proof of this profound sloth lack!)

Note #5: Refer to notes 1–4, as needed.

Are You Scared, Darth Vader? by Adam Rex (3 July 2018)

I often bring a picture book to share at my SCBWI PALs meetings, and this one brought the house down. It’s loads of fun, but it’s far more than just a Star Wars nostalgia riff. Well done, Mr. Rex!

Carmela Full of Wishes by Matt de la Peña, illustrated by Christian Robinson (9 October 2018)

If you liked Last Stop on Market Street, you’ll love de la Peña’s new book that powerfully spotlights children who are worthy of our attention. Plus Robinson’s acrylic paintings are rich and captivating. Simply terrific.

Enjoy an Oct 2018 interview about Carmela Full of Wishes with Matt and Christian at PW.

A Day in the Life of Marlon Bundo by Marlon Bundo and Jill Twiss, illustrated by EG Keller

To everyone’s surprise, political satire and picture books can go together like chocolate and peanut butter. Plus Jim Parsons really rocks it on the audio version.

The Day You Begin by Jacqueline Woodson, illustrated by Rafael López (28 August 2018)

It’s a memorable, inclusive story with lyrical writing and dreamy art. This is a book for every child who feels alone (which is to say “everybody” at one time or another).

Here’s The New York Times article on two of Woodson’s books (including this one).

Drawn Together by Minh Lê, illustrated by Dan Santat (5 June 2018)

This gorgeous book shows the power of art–and the creative process–in action. It’s a visual WOW.

Here’s a June 2018 NPR interview with Minh Lê about Drawn Together.

Giraffe Problems by Jory John, illustrated by Lane Smith (25 September 2018)

About twice a month, I go to my local library and grab two huge bags of whatever picture books catch my eye. Then I read them all at home. That’s the story of how I got introduced to this book, and it was the star of the whole batch by far. Clever. And full of positive messages too.

Here’s a Dec 2018 “speed interview” with Jory John on this cool book.

Grumpy Monkey by Suzanne Lang, illustrated by Max Lang (15 May 2018)

The simplistic yet powerfully expressive illustrations are first-rate. Plus there’s something wonderful about a grumpy monkey screaming “I’m not grumpy!” This is great for a kindergarten reading session. They’ll all make the faces along with the characters for sure.

How to Code a Sandcastle by Josh Funk, illustrated by Sara Palacios (15 Mary 2018)

No rhymes or delicious puns here, but instead you have a kid-friendly book that shows how to break down a seemingly big problem into small, manageable steps. It’s smart, useful, and just silly enough to keep all the learning fun.

Here’s a “Simply 7” interview (by Jena Benton) with the always-interesting Josh Funk.

I Am Human: A Book of Empathy by Susan Verde, illustrated by Peter H. Reynolds (2 October 2018)

I’ve been paying attention to this picture book team since I Am Yoga and they continue to deliver. This book is a fine celebration of the beautiful imperfectness of humanity. It’s a book that says it’s okay to make mistakes, and that’s a fine lesson for young readers that counteracts the over-tested, over-scheduled, must-have-GPAs-higher-than‑4.0 world in which we live.

I Walk with Vanessa by Kerascoët (24 April 2018)

I’ve been a fan of this husband-wife team since their graphic novel Beautiful Darkness. This picture book shows just how magical a wordless story can be.

Here’s a fine review of I Walk with Vanessa at Unleashing Readers.

Julián Is a Mermaid by Jessica Love (23 April 2018)

This is a book that could’ve gone wrong in a host of ways … but doesn’t. It’s beautiful and empowering without being preachy.

Here’s a May 2018 interview with Jessica about this book at Seven Impossible Things Before Breakfast.

Mixed: A Colorful Story by Arree Chung (3 July 2018)

This celebratory book feels more relevant by the day. I’m also a fan of the graphic, eye-catching style.

Read the full review of Mixed at OPB!

Night Job by Karen Hesse, illustrated by G. Brian Karas (11 September 2018)

This gentle story has a great big heart and Karas’ mixed media illustrations are spot-on in every way.

Here’s the starred review of Night Job at Kirkus.

Pride: The Story of Harvey Milk and the Rainbow Flag by Rob Sanders, illustrated by Steven Salerno (10 April 2018)

I know Rob pretty well and despite that (just kidding, Rob!), I think this book is tremendously good and tremendously important. When Rob visited my Writing Picture Books class at Ringling College in spring 2018, he shared this book with them–it became the #1 most talked-about book of the entire semester for the students, and for that reason alone, it’s got to be on this list. I also really dig the back matter timelines.