Month: March 2024

Agent Interview: Rachel Orr (Prospect Agency)

On By Only Picture BooksIn Agent Interviews1 Comment

Welcome to Rachel Orr, a longtime literary agent with Prospect Agency. Instead of going with the standard biography here, I’m going to include a few key things she’s said—or others have said about her—that are especially telling.

  • “values her close relationships with authors and believes that nothing feels as good as a fresh, clean line edit.”
  • “loves authors who have more than one idea and are willing to revise.”
  • “has no spare time—but, if she did, she would spend it dancing, running and reading, of course.”

With that, let’s get to the interview itself to learn more about her. Here we go!

RVC: Let’s start with the here-​and-​now instead of diving into the deep past. You’ve been agenting for a good while. In all your experience, what has most surprised you?

RKO: I think what has most surprised me most about agenting itself is the close relationships I’ve been able to establish and maintain with my clients.

When I worked as an editor at HarperCollins, I really valued the relationships I had with my authors—and I worried that I would lose that as an agent. However, one agent assured me that I would have even stronger relationships with my clients. After all, an editor may only work with a creator on a single book, but an agent ideally works with a creator over the course of an entire career. That was really exciting to me, and has also turned out to be quite true.

RVC: That’s great to hear!

RKO: I do, however, make sure to respect the author-​editor relationship, and feel that part of my role is to place the right author with the right editor. That’s a fun challenge in this ever-​changing industry, for sure.

RVC: I’m noticing that you like to use RKO as your initials. Is there a special story or meaning behind that choice? Are you secretly a huge fan of old-​school wrestling moves?

RKO: Great question, but not a very exciting answer, I’m afraid. They’re just my initials, and that’s how my name was abbreviated when materials were circed around the editorial department at Harper, so I just got used to it. Plus, I like that there was once an RKO film production company (which produced Citizen Kane, though I’ve never seen it). Kind of cool!

RVC: Fair enough. You’ve been at the Prospect Agency since 2007. What’s special about it, and why’s it such a good fit?

RKO: I love that Prospect Agency is a small agency made up of smart women who care deeply about books and also have a savvy business sense. We get the job done, but I don’t think we present ourselves as intimidating. (I hope not, at least!)

I was fairly intimidated by many agents when I worked at Harper—though there was one agent, Liza Voges, whom I found to be incredibly approachable. She has an amazing roster of talented clients and a solid knowledge of the industry, yet she is so incredibly down-​to-​earth and makes people feel at east. That’s how I strive to be as well.

I also appreciate the fact that while my colleagues and I will often collaborate and confer on various matters, we have autonomy, too. There’s a lot of trust involved. The president of Prospect, Emily Sylvan Kim, really allowed me to grow the children’s division of the agency when I began, and to start the illustration branch (Prospect Portfolio) from scratch. She always listens to the wild ideas I have for expanding promotion and fostering community, and I’m so grateful for that.

Lastly, what I feel is most special about Prospect is the close-​knit feel we’ve been able to establish. My clients consider each other family. I love when I get a photo of my clients helping each other out at a trade show, or simply having coffee together. It warms my agent heart!

RVC: Thanks for the great answer! Now, by reputation, you’re a hands-​on, editorial agent. True? 

RKO: Yes, absolutely. I’m an editor at heart, and I suppose that’s really the only way I know how to agent.

RVC: Please give me an example of what that looks like. 

RKO: Well, it looks a bit different for each client, depending on their needs. With some clients, I might play an editorial hand early on, talking through different possibilities for a new project and then helping to flesh out the characters and plot line. With others, I might not get involved until after they’ve already written a manuscript, and then provide (hopefully) helpful feedback by means of line edits.

RVC: Which has proven more valuable to you as an agent—your work as an editor at HarperCollins Children’s Books, your stint as a Barnes & Noble bookseller, or your time as a student at Kenyon College (where you had cool internships at The Kenyon Review and Highlights for Children)?

RKO: While every experience has helped to shape my career in some way, of course, I’d definitely say that my work as an editor has been the most valuable. On a broad level, it helped me to gain an understanding of how a publishing house operates, which I would not have been able to get otherwise. On a more personal level, it’s where I met so many wonderful mentors—Barbara Lalicki and Rosemary Brosnan, in particular—who were instrumental in my development as an agent. From them, I learned how to write editorial letters—specifically, how to request changes to help improve the story while still honoring the creator’s intention. Also, I was often invited to join them for meals and events with their authors and illustrators, which taught me so much about building these creative relationships. In addition, they placed a lot of trust in me, which helped to firmly establish my own confidence in my work.

RVC: If I spoke with Emily Sylvan Kim (owner of Prospect Agency) or fellow agent Charlotte (Wenger), what would they say is your agenting superpower?

RKO: They might say my knack for carefully reviewing contracts (though that is, admittedly, not my favorite part of my job). Hopefully, they might say planning events (since I’m the one in charge of our retreats and soirée), which is much more fun!

RVC: Just between us, what’s your REAL agenting superpower?

RKO: Maybe diplomacy? (My former boss at Harper used to say that I should have been a diplomat.) Either that or juggling so many different projects and creators. I believe that it’s essential for client care to respond to them as promptly as possible (at least to their emails, even if I can’t get to their manuscript right away) and always make time for phone calls if they need to talk something through. So I try my very best to make that a priority.

But, honestly, the variety of projects and clients is what I love most about my job. I love people, and I love figuring out exactly what each individual client needs in order to thrive. And I love giving feedback on a tender, lyrical middle-​grade novel about a girl whose mother struggles with mental illness, and then wracking my brain trying to figure out where to send a poetry collection about animals in pants. It’s what keeps things interesting.

RVC: So, you’re looking for “short, punchy picture books (either in prose or rhyme) that are humorous and have a strong a strong marketing hook.” What are some mentor text examples that’ll give a clear(er) sense of what you mean?

RKO: One example of a humorous picture book in prose that I’m really excited about is Lauren Glattly’s debut Proper Badger Would Never!, forthcoming from Flamingo/​PRH on April 2. This was a story that I fell in love with as soon as it hit my inbox. It’s fresh and unexpected and a little bit naughty (okay, a lot bit naughty) with a surprising ending that is far from being sweet and wrapped up in a bow. And while the marketing hook may not be completely clear at first (the way a hook might be if it’s, say, a seasonal title), I do think it could be a fun (and funny) way to open up conversations with kids about manners in terms of what not to do.

In terms of verse, I would suggest reading anything by Sudipta Bardhan-​Quallen, who has an excellent sense of rhyme and meter and is also very intentional about considering marketing hooks. Check out her picture book Roxie Loves Adventure (Abrams) about pugs and love; Chicks Rock! and Chicks Rule! (companion titles, also both from Abrams) about girl power and music and STEM; and the forthcoming Cats in Construction Hats (Random House Books for Young Readers) about construction vehicles and colors.

RVC: How much do industry trends/​marketplace changes affect what you’re looking for?

RKO: I would say that it doesn’t affect what I’m looking for so much so much as it affects when I send a particular project out. For example, if I fall in love with a manuscript about, say, a narwhal, and the market is flooded with narwhal books at the moment, then I’ll ask the writer to send me more manuscripts to consider. Then, if the writer and I decide to work together, then we can keep the narwhal manuscript in our back pocket for when the market would be more favorable. This is why, in my opinion, it’s crucial for writers to have at least five polished manuscripts (preferably in different styles and on different subjects) ready to share when querying agents.

RVC: That’s great advice! In a 2021 Good Story Company interview you did with my buddy, Mary Kole, you talked about how some picture books eventually transform into other formats, like graphic novels. 

RKO: Yes, it’s something that definitely happens from time to time. Author-​illustrator Steve Breen’s young chapter-​book graphic-​novel Sky and Ty (forthcoming from Pixel + Ink on April 2) was initially conceived as a picture book. The first dummy, however, was about twice the length of a standard picture book. It didn’t have very much text, but it did had have a lot of art and a lot of story that seemed to naturally break into chapters. Given that Steve was already using a limited palette of two colors for the art (along with the fact that he worked as a cartoonist at his day job), it made sense to go in the direction of a graphic novel, especially since the market was so hot for them.

RVC: I don’t think writers fully appreciate this—having a literary agent doesn’t mean guaranteed sales. Sometimes it simply doesn’t work, right? Even when a writer and an agent are 100% onboard with a project.

RKO: Yes, unfortunately, that’s true. (Teardrop!)

RVC: What do you do when that happens?

RKO: Well, I feel that it’s important for the author to keep on writing and for me to keep on supporting that author. It sometimes happens that I might not immediately sell that first manuscript that made me fall in love with the author’s work, but I might sell the second manuscript, and then the third. And then, once the author has established a relationship with an editor, I might be able to go back and sell that first manuscript. (This happened fairly recently, actually.)

Or it might be that we revise the manuscript after getting solid, consistent feedback from editors. We also might decide to shelve the project and pull it out again when the market for that particular genre is better, or when one of us has another idea on how it might be strengthened. Sometimes I might ask one of my illustrators to do a sample that we can submit with it, if we think that might help an editor to better visualize the book. (This strategy once helped to sell a manuscript eight years later!)

In a worse-​case scenario, I just pull the manuscript out from time to time, read it again, and weep that it hasn’t sold. (Maybe not really—I’m not a bit weeper—but I’m definitely crying inside!)

RVC: Since we’re talking about things not being what people expect…what do you think is the most common misconception about literary agents?

RKO: I think there’s possibly the misconception that literary agents are scary, which is absolutely true. Joking! We are not scary. And we do not only care about money. (That was one misconception I had when I was an editor, at least.)

My guess is that most of these misconceptions stem from the age when you didn’t necessarily need to have an agent to get a book published. I feel like there were fewer agents then, and those agents primarily focused on the business side of publishing. That’s not necessarily the case today.

RVC: What’s a typical workday look like?

RKO: Well, one aspect of my job that I love is that there is no typical workday. Also, I’ve also had the luxury of working from home (before it was even popular to do so), which gives me the flexibility to mix things up a bit, if need be.

But, in general, I usually start my workday around 8am after my teenage son and daughter have gone off to school. I might begin with work that requires more quiet and focus (since I won’t have a ton of emails to answer just yet)—something like getting back to a client with editorial notes on a manuscript or dummy, or drafting a pitch letter for a submission that I’m planning on sending out that day, or reviewing a contract. At 9am, when emails start coming in, I try to answer them promptly, but thoughtfully (though sometimes they come in quickly and it’s like a game of Whack-​a-​Mole). Around 10am, I might have a call with a client to discuss the status of a project, or brainstorm ideas for future projects. In the afternoon, if I’m not having lunch with an editor in the city (which is always a treat!), I try to get more work done that requires concentration before my kids get home from school.

Then it’s usually a mad rush of making dinner and picking kids up from their activities and helping with homework (which mostly involves me frantically looking up Khan Academy videos on the slope-​intercept form while my son figures it out on his own).

RVC: As a part of two teens, I’ve been there, and I have that URL handy. Here you go!

RKO: Finally, I’ll catch up with more emails in the evening while my husband watches basketball on TV. I realize that doesn’t sound very exciting—but it is, I promise you.

RVC: What’s something that makes it all worth it?

RKO: Absolutely, hands down, the best part of my job is when I have the chance to call a client and share the good news that we’ve received an offer from an editor. It’s most thrilling, of course, if it’s the client’s first book, but even the twenty-​first book is really pretty great.

RVC: Totally agree with that! Now, one of your clients, Cori Doerrfeld, had a surprise hit with The Rabbit Listened. What’s the story behind that story?

RKO: Well, first off, what I’ve always found to be most surprising is that so many people viewed this book as a surprise. 🙂 True, this was definitely the book that put Cori on the map, so to speak, but she had been illustrating children’s books for nearly a decade by this point. In fact, we had just sent one of her dummies (Good Dog) out on submission the same day I read The Rabbit (as it was called then). It was a Wednesday afternoon in May, and I remember sitting in the reading room of the Hoboken Public Library and thinking, OH! This is good. Often I’ll make a lot of edits before sending a project out, but I made very few tweaks to this dummy (like, maybe only one).

Our only slight hesitation with sending it out immediately was that we had just gone out on submission with Good Dog. We didn’t want editors to feel like they had to choose between the two projects. But then we decided just to go for it! I sent it out late on Thursday afternoon and started getting offers the very next day while I was driving to my family’s house in Pittsburgh. When I stopped halfway for lunch, I called Cori and and gave her an update, and we discussed how we would proceed. Funny—I always imagined big deals going down over a three-​martini lunch, rather than in the parking lot of McDonald’s, but that’s exactly how it happened. We sold the book to Kate Harrison at Dial/​Penguin Random House. Since then, it has been on The New York Times bestseller list and translated into over 25 languages. Cori’s fourth book with Dial, Ready to Soar, will came out March 12.

(Oh, and for the record, we did sell Good Dog as well to Chris Hernandez at HarperCollins. Hurrah! 🙂

RVC: Two more questions for this part of the interview. What was your first special experience with a picture book?

RKO: I would say Aunt Lucy Went to Buy a Hat by Alice Low, illustrated by Laura Huliska-​Beith. It was the first picture book that I acquired as an editor at HarperCollins, so it will always hold a special place in my heart (cliché as that sounds!). Laura was especially amazing to work with, and it was fun to see her solve artistic challenges. For example, Aunt Lucy needs to lose her hat in the beginning of the book and then have it by the end, but we didn’t want it just magically flying behind her on every spread. So Laura came up with the idea to show Aunt Lucy looking in the mirror at the beginning of the book, and she thinks her hat is gone, but it’s really tied around her neck with ribbon and hanging behind her (which the reader can clearly see). It was such a fun solution, and taught me the importance of trusting an illustrator, too.

RVC: Last question! What are some cool upcoming things you’d like to brag about?

RKO: Oooooo…let’s see! A few upcoming projects that I’m excited about include the picture books Métis Like Me by Tasha Hilderman (Tundra/PRH)—her debut!; My Towering Tree by Janna Matthies (Beach Lane/S&S); I Worked Hard on That by Robyn Wall (S&S Books for Young Readers) and the middle-​grade graphic novel Blake Laser by Keith Marantz and Larissa Brown (HarperCollins). Can’t wait!

RVC: Alright, Rachel. It’s time for the SPEED ROUND. Let’s get zip-​zappy fast here with the questions and answers. Are you ready?

RKO: Sure am!

RVC: Which picture book world would you most want to visit?

RKO: The Paper Party by Don Freeman.

RVC: What’s something you think you’re much better at than you actually are? 

RKO: Giving interviews?

RVC: What word do you always mispell misppel get wrong?

RKO: brocolli

RVC: Who sets the standard for picture book rhyme?

RKO: Suzy Levinson

RVC: What’s the One That Got Away?

RKO: Gentlemen by Michael Northrop.

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

RKO: “…so he can go bite them.”

RVC: Thanks so much, Rachel! This was a hoot!!

Educational Activities: Gina Kaminski Saves the Wolf by Craig Barr-​Green, illustrated by Francis Martin

On By Only Picture BooksIn Educational Activities

Gina Kaminski Saves the Wolf
Author: Craig Barr-​Green
Illustrator: Francis Martin
30 March 2024
Kane Miller EDC Publishing
32 pages

Book description from Goodreads: “An empowering retelling of Little Red Riding Hood about challenging the traditional narratives we are told, with a confident, autistic character at its heart.

Gina Kaminski is here to tell you three facts.

1 – Little Red Riding Hood is full of BIG mistakes.
2 – She is off to fairy tale land to fix them.
3 – She WILL save the wolf.

Who’s afraid of the big bad wolf? Certainly not Gina as she takes the narrative lead and tells the story in her own distinctive way. With fantastic illustrations from Francis Martin, and an innovative use of pictorial emoji language, this is the ideal book to empower every child to be the hero of their own story.”

Need some reviews for Gina Kaminski Saves the Wolf?

Educational Activities inspired by Gina Kaminski Saves the Wolf:

  • Before Reading–From looking at the front cover: 
    • Look at the book’s cover. What do you think this story will be about? What clues does the cover give you?
    • Based on the title, Gina Kaminski Saves the Wolf, what do you think will happen in the story?
    • The cover and illustrations inside use emojis. How do you think emojis will be used to tell the story?
    • The back cover mentions that Gina thinks the story of Little Red Riding Hood is full of mistakes and that she will fix them. 
      • What do you know about the story of Little Red Riding Hood?
      • How do you think Gina will change this story?
    • Why do you think Gina wants to save the wolf? What does this tell you about her character?
    • What questions would you like to ask the author–or the illustrator!–before reading the book?
  • After Reading–Now that you’ve read the story: 
    • How did you feel about Gina’s journey? Could you relate to her feelings and reactions?
    • How did Gina challenge the traditional narrative of Little Red Riding Hood? What does this teach us about storytelling?
    • How did the use of emojis enhance your understanding of Gina’s feelings? Was there a particular emoji that stood out to you?
    • How does Gina’s interaction with the wolf change your perspective on “villains” in fairy tales?
    • How does Gina’s neurodivergence influence her adventure in fairy-​tale land? What strengths does she demonstrate?
    • If you could change one thing about a classic fairy tale, what would it be and why?
    • What was your favorite part of the book and why?
    • Which illustration surprised you the most? Which did you like best?
    • What was your favorite part of the story, and why?
    • Would you recommend this book to a friend? What part would you tell them about first?
  • Create Your Adventure Hat: Design and create your own adventure hat inspired by Gina. Think about what makes you unique and how you could represent that on your hat. Use craft supplies to bring your design to life.
  • Be a Story Fixer: Choose another fairy tale you think could use an update. Write a new version where you fix any “mistakes” or update the story to reflect modern values. Share your new tale with classmates or family members.
  • Wolf Awareness Poster: Research real wolves and their habitats. Create an informative poster that explains why wolves are important to the environment and how we can help protect them. Present your poster to your class or family.
  • Sensory-​Friendly Reading Nook: Inspired by Gina’s search for a sensory-​friendly environment, design a cozy reading nook in your home. Consider what makes a space comfortable for you and try to include these elements.
  • Emoji Emotions Diary: Keep an emotions diary for a week using emojis to describe how you feel each day. Reflect on what made you feel that way and if there’s a pattern to your emotions.
  • Further Reading: Gina Kaminski Saves the Wolf takes us on a journey with Gina as she embarks on an adventure to right the wrongs of a classic fairy tale. This story, rich with themes of empowerment, courage, and creativity, invites us to think differently about the stories we know so well. Here’s a selection of picture books that challenge traditional narratives and celebrate diversity. Each book offers its own twist on friendship, adventure, and the importance of being true to oneself. Which of these stories are you eager to dive into next?

Author Interview: Candy Wellins

On By Only Picture BooksIn Author Interviews

Welcome to Candy Wellins, a former teacher who has a BA in journalism and an M.Ed. in literacy education. In addition to writing picture books, she’s a full-​time Texas mom to “three wonderful children who keep me up-​to-​date and immersed in children’s literature.”

When she’s not reading, writing, or mothering, she loves to:

  • Run
  • Travel
  • Run and travel together. She’s currently on a quest to run a half marathon in each state.
  • And after all that, she loves to nap!

With that, let’s get right to it so we can find out more about Candy’s story and her books!

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

CW: Not to be too on the nose, but my books are a pretty good reflection of that. Saturdays Are For Stella reflects my close relationship with my grandparents and Mabel’s Topsy-​Turvy Homes showcases the mixed feelings of growing up in a divorced home. Although it’s a biography at heart, The Stars Beckoned imparts my overall love of family. And my latest book, A Geoduck Is Not A Duck is certainly an homage to the place I grew up, Washington state.

RVC: What influence did your parents have on you as a future writer?

CW: They read to me and always made sure I had access to lots of books.  I can’t think of anything more special or important to a child than owning books and having a library card. I still remember the excitement I had of signing up for my first library card and checking out my first book (Little Bear by Else Homelund Minarik and Maurice Sendak).

RVC: Let’s jump ahead a bit and talk about college. What was the plan for that journalism degree?

CW: I loved writing and telling stories from a young age—and I was good at it.  A journalism degree felt like a way to do that and make money, but ultimately a journalist’s life was not for me. I’m not that extroverted!

RVC: What’s the #1 thing from your journalism days that serves you best as a picture book writer?

CW: Not to overwrite. Keep it clear and concise and get to the point!

RVC: Please explain the shift to the master’s degree in education.

CW: I always loved working with children. I babysat all through high school and was a substitute teacher as I worked my way through college. Eventually I decided my heart was more in education than journalism so I went that route instead.

RVC: What was the turning point for you as a writer? When did you fully commit? 

CW: Being a picture book writer was always a pipe dream. It felt so fantastical—like being a Olympic gold medalist or Oscar-​winning actress. It sounds fun, but it will never happen.

Then in early 2016, I met a new neighbor who happened to be a children’s author. My mind was blown. She was so normal and her path toward publishing felt so doable. That night, I sat down at my computer, found a class for picture book writing and enrolled. It started less than a week later and I’ve been in, fully committed since then.

RVC: Describe what it took from that turning point to your first sale.

CW: It took writing (in some form or another) practically every day. Now, mind you, writing is not always pencil to paper (or finger to keyboard). Sometimes it’s analyzing the latest picture books, attending a class or workshop, networking in the industry or participating in a critique.  Even letting ideas percolate as I run or shower or cook dinner counts as writing. But ultimately, it’s about doing some form of work daily. It has to become routine and you have to love doing it.

RVC: What’s the story behind your first picture book?

CW: I really wanted to write a grandparent story so I started brainstorming every idea I could associate with grandparents and grandchildren. One thing I wrote down was “Pictures all over the fridge” because one of my grandmothers had her entire refrigerator covered with photos of the grandkids. It reminded me a bit of teenage girls who cover their bedroom walls floor to ceiling with posters of the boys they like. I started imagining a love story that centered around a grandparent/​grandchild but also showcased the same emotions as first crush.

My critique group thought it was cute, but had trouble figuring out the characters and distinguishing them as grandparents and grandchildren. In revisions I focused on making clear it was a grandparent story and even included the grandma’s death. Another critique showed me I was on the right track, but still needed something to make the story meaningful. I kept thinking about how no matter how much we love our grandparents, it’s inevitable that our time together is brief. How do we make the moments last? That pushed me toward thinking about how a grandparent’s impact lasts long after they’re gone. Adding a new sibling to the story was the perfect touch to Saturdays Are For Stella.

RVC: What’s the most useful lesson that book taught you?

CW: Get a good critique group and listen to them. We are often so invested in our work it’s hard to hear an outside perspective. But when we listen to constructive feedback, it really can make all the difference in our work.

RVC: What do you like most about Charlie Eve Ryan’s art?

CW: I especially love her soft color palette and her ability to showcase emotions.

RVC: You had a stretch where you were publishing a book a year there. How did that happen?

CW: Luck? Timing? Persistence? I’m constantly creating, revising, and submitting. When I go on a hot streak, I soak it up because there are long dry spells in publishing too.

RVC: I hear you there! Now, I’m a sucker for nonfiction picture book biographies, and when they’re lyrical, too? Yes, please. Tell me about The Stars Beckoned.

CW: First of all, I’m not a space person at all. I have no interest in exploring anything that isn’t firmly rooted to planet Earth. But I love interesting people. In 2018, I was teaching a group of middle schoolers and we were talking about the US/​Soviet Space Race. They were mostly interested in America’s firsts—the first to go to space, the first woman in space, the first to walk on the moon. I knew the answers to all those, but I didn’t know who the first to walk in space was. When I looked up the answer, I discovered Ed White’s name along with an interesting quotation. Upon finishing his spacewalk, he said, “This is the saddest moment of my life.”

I got goosebumps. Here was a picture book waiting to be told. After all, what kid can’t relate to such big emotions as the saddest moment ever? But was I the person to do it? I quietly did the research and decided that I didn’t need to be a space enthusiast to tell his story. Space exploration was just one aspect of Edward White. More importantly he was a passionate person who followed his dreams relentlessly and that was something I could really connect with.

RVC: Something most people don’t realize is how much over-​researching and overwriting we nonfiction picture book writers tend to do. What’s the coolest thing that didn’t quite make it into the book?

CW: Just one? Ok, here’s a fun one. NASA used to let each crew name their own missions. For White’s Gemini IV flight, he and pilot James McDivitt wanted to call the mission Eagle. They had even planned an Eagle emblem they would wear as a patch on their spacesuits. NASA ultimately decided against letting them call their flight Eagle as they wanted to save it for a more monumental mission (You may recall hearing the words “The Eagle has landed” on such a mission a few years later).

Left without a plan B, White and McDivitt went without a name and just had drugstore American flag emblems sewn on their suits instead.  Wearing the American flag has since become a tradition and every American astronaut since them has worn one.

RVC: Since that book uses rhyme, I’ll ask the question most writers want me to ask. What’s the most common misconception about rhyming picture books?

CW: The mistake I see most often is focusing only on rhyme and forgetting all about meter. If the story doesn’t have rhythm, even a good rhyme can sound bad.

RVC: What’s your best tip for getting rhymes right?

CW: Read lots of good rhyming books. Hearing it done right is the best teacher.

RVC: Tell me about a time in your writing career where things didn’t go the way you wanted.

CW: I’ve been working on a picture book biography since 2016. I’ve tried telling it as a picture book, a novel-​in-​verse, a graphic novel. So far, nothing is working, but I love this person’s story and I’m not giving up on it yet.

RVC: Good for you–I’m sure you’ll nail it eventually. Now, who are your literary heroes? What have they meant to you?

CW: I think the great thing about books is there are so many people doing it well in so many different ways. I’m constantly finding inspiration—from authors who wrote decades ago to debut writers. Everyone who’s persevering and sharing stories is a hero of mine.

RVC: In all your experience with the picture book industry, what has most surprised you?

CW: I’m still surprised by the reaction some of my books get.  Of course, I have very visceral reactions to a lot of things I read, but it still blows me away when someone has that response to something I wrote. A young reader told me after reading Mabel’s Topsy-​Turvy Homes that it was the first time she felt seen by a picture book. That one got me!

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

CW: To slightly misquote the great Winston Churchill: never, never, never give up. Writing picture books is all about the long game.

RVC: Great point! After COVID, I try to ask a health and wellness question each time, so here’s yours. What do you do to de-​stress or for downtime?

CW: I prioritize exercise every day. And I love doing puzzles—jigsaws, Wordle, crosswords. I think I’m up to about six different ones I do every morning before any real work begins.

RVC: One final question for this part of the interview. What is something upcoming that you are excited about, or really want to promote?

CW: My latest picture book, A Geoduck Is Not A Duck, comes out on March 5. I’m super excited because this is my first funny picture book and I really hope it gives readers a good chuckle. It’s the story of a misguided news crew on the hunt for a gooey duck spotted on a Pacific Northwest beach. What the hapless crew doesn’t realize is that a geoduck (pronounced “gooey duck”) is nothing like the slime-​covered aquatic bird they are looking for. It’s a comedy of errors mixed with lazy journalism all done in comic format.

RVC: Okay, Candy. It’s time for the much ballyhooed SPEED ROUND. Zippy fast questions followed by zoomy quick answers. Are you ready?

CW: I was born ready.

RVC: What’s the most interesting or unusual talent you have?

CW: I can name every British monarch in order from 1066 to today.

RVC: If you could instantly become an expert in any field, what would you choose?

CW: Genetics. I’m so fascinated by the subject.

RVC: If you could spend a day inside the world of one picture book, what would you pick?

CW: Anything by Richard Scarry. I’d set myself up nicely in one those little Swiss chalets and be very comfortable. Skiing by day, books by the fire at night, and a hundred labeled foods to choose from whenever I get hungry.

RVC: What’s the last picture book you read that actually made you LOL?

CW: It’s not a picture book, but the entire Dory Fantasmagory series by Abby Hanlon is absolutely hilarious. My kids can’t get enough of them. I will randomly say a line from one of the books every now and then just to get my kids to laugh. It  works every time.

RVC: Finish the sentence. I’m not ready for a writing session without…

CW: A little peace and quiet.

RVC: What’s your picture book philosophy in five words or fewer?

CW: The world needs your stories.

RVC: Thanks so much, Candy!

Picture Book Review: Daisy the Daydreamer by Jennifer P. Goldfinger

On By Only Picture BooksIn Picture Book Reviews

DAISY THE DAYDREAMER

Neal Porter Books
12 March 2024
32 pages
This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and longtime OPB friend, Austin McKinley.

—Ryan’s Review of the Writing—

Daisy the Daydreamer is more than just a charming picture book; it’s a useful lesson in the power of “show, don’t tell” storytelling. In this new picture book, Jennifer P. Goldfinger uses vivid language and relatable scenarios to paint a picture of Daisy’s imaginative world without ever explicitly labeling her a daydreamer beyond the title. However, it’s worth noting that other picture books share the exact same “Daisy the Daydreamer” title, which makes me wonder if another option might be more effective.

The book’s opening lines immediately set the stage: “She walks with her feet on the ground and her head in the clouds.” This simple image evokes a sense of whimsical distraction, subtly introducing the core theme. The story continues weaving this theme through Daisy’s daily life. Instead of telling us she’s lost in thought, we see it visually through the expressive illustrations that often depict her battling a whimsical cloud of distraction–Austin will talk about that in more detail in a moment. This creative choice allows young readers to discover Daisy’s personality for themselves, making the connection stronger.

The book also understands the importance of emotional beats. When Daisy initially misses her chance to be line leader, the weight of her disappointment is palpable. Goldfinger uses simple language (“Daisy’s cloud rains”) and a shift in the illustrations to convey her sadness. This emotional authenticity allows readers to empathize with Daisy, making her triumph all the sweeter.

The resolution, where Daisy’s artistic ability earns her a special role, is well done. It affirms that while daydreaming might get in the way sometimes, our unique perspectives and talents hold value. This message is delivered organically through the narrative, making it far more impactful than a direct statement.

While Daisy the Daydreamer is endearing, it does leave room for deeper exploration. Subtly hinting at learning differences without explicitly naming them aligns with the author’s intent, as revealed in her note, but might be even more impactful with direct exploration. Additionally, a more nuanced ending hinting at Daisy’s continuing journey could offer an additional level to readers.

Overall, Goldfinger’s new picture book is a example of how picture books can teach valuable lessons about self-​expression and finding your place in the world. Its gentle storytelling and heartwarming message will likely resonate with child and adult readers alike.

4 out of 5 pencils

—Austin’s Review of the Illustrations—

Bias alert–one of the themes of “Daisy the Daydreamer” is that what artists have to offer–our leadership, our value, our specialness–can be in knowing just what to draw for the occasion. Cartoonist Jennifer P. Goldfinger exemplifies that perfectly in Daisy, synthesizing both text and visual language to create a gestalt few writer/​illustrator teams achieve. To enrich the words of this charming coming-​of-​age story, Goldfinger has developed a sophisticated primitivism that seems childlike at first blush but unfolds with layers of adroit observation and intentional playfulness. Easy to suggest, hard to accomplish.

Look at how the texture in the mother’s polka dots are postmarks from Geneva, or how the print of the teacher’s dress is text from a dictionary. How the back of a sketchbook clutched to the chest creates an interaction with the surrounding white space. The gentle pools of watercolor that both ground us in the world or envelop us in each cleverly staged narrative moment. All of it embellishes Goldfinger’s expressive cartooning of the figure in the simplest terms. How Daisy slouches at her desk, grovels in supplication, beams with delight.

The lifting of the story is shared–sometimes carried by the text, sometimes the picture alone, shifting seamlessly between showing and telling to say only what most needs to be said.

No child or adult who needs this story could fail to identify with the visual shorthand of Daisy’s head enveloped in a swirling cloud of ideas and possibilities, constantly making lateral connections from a deep well of imagination. Nor miss the danger of being too disconnected from the here and now.

Whether it’s the cloud of daydreams raining or drawing Daisy high into the stratosphere of opportunity, the artwork perfectly captures the emotional subtext of the story. They show you how it feels to be in it. The frustration of struggling to keep the clouds of creativity from your eyes long enough to capture words you should be hearing before they tumble to the floor. Of being weighed down by it, and occasionally, using it to express an idea that can’t be expressed in any other way.

Even if the reader isn’t a person challenged with occasionally discordant aptitudes, seeing how it feels can only help in the development of empathy and support for those so blessed. Through Jennifer Goldfinger’s compelling narrative illustrations, anybody can see what it feels like to be Daisy, and thereby know the Daisys in their lives a little better.

4 out of 5 crayons

Austin McKinley makes comic books, cartoons, movies, video games, screenplays, novels and novellas through his company, Flying Car. He shot and appeared in the award-​winning feature documentary The New 8‑Bit Heroes alongside director Joe Granato. His comic illustrations have also been published by Image Shadowline, Devil’s Due/​1st Comics, Alias/​Blue Water Press, Avatar, Boom!, Blue King Studios, and FC9. He wrote and illustrated Squareasota, a weekly cartoon in the Sarasota Herald-​Tribune for seven years.

Most recently, he illustrated Tales of Mr. Rhee vol. 5: Rockstar Paranoia, a graphic novel, BLAZE ya Dead Homie, a one-​shot comic book, and wrote and illustrated RIOT Force, a creator-​owned comic series for Source Point Press.