We’re doing more and more Cover Reveals at OPB these days, and I got to thinking…I’m so pleased with the cover of my own new picture book that I wanted to have a big to-​do about it. So, that’s what I’m doing here!

You all know I don’t just drop covers and call it a blog post. Instead of that, I always include a mini-​interview because context is everything. Even though I’ll be the one asking AND answering the interview questions in this post, I’ll give it some extra oomph to ensure it’s up to OPB’s usual standards of fun and excellence.

Now, without further ado, here’s the cover to The Witness Trees: Historic Moments and the Trees Who Watched Them Happen (Bushel & Peck, March 2023).

OPB: How did the idea for this book come about?

RVC: I’ve always been interested in history, but when I visited California for the first time when I was 10 or so, I was in awe of the towering redwoods. THIS was living history, I realized.

Over the years, I’ve been fortunate enough to have seen trees far older than America. Talk about putting things in perspective, right?

The idea of trees that witness history stuck with me. When I finally sat down to write this book, the title came first, and then I just worked with the idea of giving voice to the specific trees that have stood witness to some of the most important moments in human history. To no one’s surprise, the trees speak in a poetic manner, which just makes sense–trees are poetic and beautiful and glorious in every way.

OPB: Who created the art for this book?

RVC: He’s a Vietnamese artist named Đốm Đốm. My editor just knew he was right for this project, and from the start, Đốm Đốm did exactly what a good illustrator does–he deepened and expanded the text in ways I didn’t anticipate.

OPB: This is a Bushel & Peck book, right? Aren’t you working there?

RVC: It’s a curious situation, yes. After a number of conversations in late 2021 and early 2022, the owner, David Miles, bought a few of my picture book manuscripts. Soon after, he hired me to offer some editorial input on another book he’d acquired. It went so well that he eventually brought me on in a more sizable capacity.

These days, I’m serving as editor for most of their books, save for the middle grade and young adult books. It’s a great outfit and I’m pleased to be part of the team. Plus, working with a gifted artist and art director like David–whether that’s on my own books or the books of others–is an education every time.

OPB: One last question. What’s the most important lesson that this book taught you?

RVC: This book taught me that when an editor says, “I like the book but I’m going to pass because I don’t have a clear vision for it,” that it’s a real thing. While it’s always frustrating to come up short with a submission, the editor has to LOVE LOVE LOVE the manuscript or the magic isn’t likely to happen.

David DID have a clear vision for this from the start, and because of that, the entire process has gone smoothly, and the end product is looking better than I expected. It feels and looks magical to me. I’m incredibly pleased.

OPB: Thanks for sharing the cover with OPB. Best of luck with the book!