Month: March 2026

Industry Insights: PBJamz

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Every so often, a fifth Monday in the same month gives me a chance to do something a little different at OPB. Today, I want to shine a light on PBJamz, Tonnye Fletcher’s series on picture books with musical connections.

What I’m drawn to here is the care. I’m seeing lots of thoughtful posts that bring together writing advice, classroom tie-​ins, teacher resources, writer resources, YouTube playlists, Pinterest boards, and a ton more.

And Tonnye brings real experience to the work, too. She teaches K–2 music, is National Board certified, and has a debut picture book, Music Plants Hope, coming from Reycraft Books on May 26, 2026. Yeah, a music-​themed PB. Of course! 🙂

PBJamz is well worth a look–especially if you care about the ways music and picture books can come together, or just want to see a well-​run blog in action.

Agent Interview: Ashlee MacCallum (Howland Literary)

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Welcome to Ashlee MacCallum, a junior literary agent at Howland Literary who has one of the most delightfully eclectic backgrounds you’ll find. Originally from Glasgow, Scotland, Ashlee has been a preschool director, a special education teacher, a US History teacher, a Dean of Students, and—to this day—a high school English teacher in Nevada who makes her sophomores dramatically reenact Macbeth. (Yeah, we love that energy!)

Ashlee joined Howland Literary in 2025 after interning with Brent Taylor at Triada US. Specifically on the picture book side, she’s drawn to stories with multiple hooks, original concepts, and concise writing—with a particular soft spot for creepy tales, quirky humor, and anything “delightfully weird.”

And she’s also a kidlit writer herself, represented by Kaitlyn Katsoupis at Belcastro Agency, which means she knows what the submission trenches feel like from both sides of the desk.

When she’s not reading submissions or grading essays, Ashlee says that she’s “probably mapping out her next Disney adventure, binging a true crime podcast, or humming show tunes in the kitchen.”

Let’s find out a bit more about Ashlee and her work!

RVC: You grew up in Glasgow surrounded by folklore and superstitious storytelling. What’s a moment from your childhood that still lives in your head when you think about what makes a great story?

AM: What a fun question! My mum’s mum, my Nana, is quite the storyteller. I have vivid memories of her telling me about the goblins who lived in the woods behind her house. If we were misbehaving (which my brother usually would), she would tell us the King Goblin was coming to sort us out. Looking back, I think what made her stories great was how compelling they were and the emotional engagement she drew from us.

RVC: Love the goblin stories. Wow. Now, you’ve had one of the most zigzag career paths of anyone we’ve featured on OPB—in a good way! How do all those roles inform the way you work as an agent?

AM: Haha! Outside of traditional publishing internships and training, I have drawn on the skills from my “day job” to help launch my agenting career. I actually think being a high school English teacher utilizes many of the same skills that literary agents use every day: literary analysis, editorial/​revision skills, a knowledge of storytelling and literature, understanding readers and audiences, organization, and strong communication. Even in previous jobs I’ve held, such as a Dean of Students, I negotiated, exercised strong judgment, and worked in an advocacy role.

RVC: You’re a picture book writer yourself, and rumor has it that you queried over 100 times before landing your first agent. What were the top two lessons you took from that experience?

AM: Yes! I learned a lot about myself through the querying process, namely, how I navigate rejection. I realized that while successfully finding an agent is about writing a great book, it’s also about resilience and persistence.

RVC: Amen to that!

AM: I also came to appreciate the power of revision. Feedback and refinement are constant in this industry, and I’ve learned to really lean into and love those things.

RVC: How are things going with your own submissions, and does that in any way affect how you work with other authors as an agent?

AM: Things are moving along! I hope to have good news on that front soon, but again, resilience and persistence. Because I have an intimate understanding of what the sub process looks like, I can guide my clients with empathy, prepare them for the submission process (things like timelines and editor responsiveness), and advocate for their work with a clearer understanding of how editors evaluate projects.

RVC: I see you’re making the bold choice of showcasing your own manuscripts-​on-​submission on your website. Should more authors do that?

AM: It’s a personal decision, for sure. Some authors prefer privacy during the submission process, which is completely valid. For me, it’s about modeling transparency. If writers can see that even someone working inside the industry experiences the same timelines and uncertainty, it helps normalize the realities of publishing. So, I wouldn’t say more authors should do it, but I do think the more honest conversations we have about the process, the healthier the writing community becomes.

RVC: Since we have so many people listening/​reading here (and a lot of them are industry gatekeepers), go ahead and give us the elevator pitch for one of your on-​submission picture books and one other kidlit project.

AM: Haha! This made me giggle. I won’t say too much, but I’m a girlie with ADHD, so my favorite picture book I’ve ever written highlights that experience, but with a little magic and mischief. It’s been through countless revisions, but it’s officially back on sub, and I’m hopeful someone loves it as much as I do.

RVC: Thanks for that! Now, tell me the story of how you ended up working at Howland Literary. What made you say, “This is my home”?

Howland LiteraryAM: Good question! When I connected with Carrie, the founder and president of Howland Literary, it felt like a natural fit right away. What I love most about working at Howland is how our team champions authors and approaches publishing with both creativity and care. There’s a collaborative spirit in our agency (full of girl power, I might add) and I’m so proud to work alongside them.

RVC: According to interviews, voice is the single most important thing you look for in a submission. In a picture book with only 600 words or 300 words or maybe even just 200 words, what does a “distinct, captivating voice” actually look like?

AM: Yes, voice is critical in any writing space, but especially in children’s books. For picture books in particular, voice isn’t about the number of words, but it’s about how much personality each word carries. When you have a limited number of words to tell a story, every sentence has to do multiple jobs like reveal character, create tone, move the story forward, and of course, for picture books, sound fun and engaging when read aloud!

RVC: Your MSWL includes something I don’t see enough agents asking for: creepy picture books. Tell me more!

AM: YES! Please, someone, send me a creepy picture book! The tone I’m looking for here lands somewhere between spooky, mischievous, eerie, and darkly funny. I think kids love controlled fear (think every Disney villain ever) and tension that makes the story memorable (like my Nana’s scary tales about the goblins). This is definitely a high-​priority item on my wish list.

RVC: You also list “inventive and clever nonfiction, particularly STEAM themes and lyrical narrative nonfiction that sings.” What separates a STEAM picture book that excites you from one that feels like a textbook in disguise?

AM: Oooh this is a fantastic question. For me, it comes down to this: is the story driving the science, or is the science driving the story? So, instead of trying to explain how something works, the concept should naturally unfold in the narrative. I’m personally drawn to STEAM stories that still have heart and a strong emotional tie.

RVC: Can you name a book or two that’s a good model for this?

AM: Yes! I think Great Carrier Reef by Jessica Stremer is a great example of a STEAM picture book with heart. In fact, her book is also a strong example of a non-​human character that brings real emotion. In the story, the shop is treated like a real character with a life cycle. When reading it with my son (we read it many times!) he gravitated to the hope-​forward narrative and felt a real connection to “The Mighty O.”

RVC: When you’re editing a picture book before submission, where do you find yourself pushing authors the most?

AM: Probably word count. I want to make sure every word in our submission sparkles and is perfectly placed. Sometimes we can eliminate fluff or text that could be shown in the illustrations instead. These little things matter.

RVC: Let’s briefly talk about rhyme. Should people send those projects your way or find another option? 

AM: I am admittedly not the best fit for rhyme, but at the same time, I don’t want to discourage someone from querying me if they think we’d be a great match, so if your projects meet other items on my wish list, then feel free to give me a shot.

RVC: Since COVID, I’ve tried to ask every interview subject a health and wellness question. Here’s yours. What’s your best tip for kidlit writers who need a hand dealing with the stress and grind of the submission process? 

AM: Nice! I’d say take a break if you need one. It’s okay to give yourself a moment if your mental health is suffering. Constant rejection can be tough, and if it stops feeling like redirection and you’re no longer enjoying writing, take a little break and come back when you’re ready. Self-​care is so important!

RVC: One last question for this part of the interview. What’s next for you?

AM: I recently signed my fifth client, Cate Townsend! Her YA paranormal romance just went out on submission and it’s quite literally to die for. I can’t wait to see who snags it up.

RVC: Alright, Ashlee. It’s time for the much-​anticipated, never-​duplicated, always-​spectacular SPEED ROUND. Snappy questions, rapid-​fire answers. Are you ready?

AM: LET’S DO THIS!

RVC: You’re trapped in a haunted Scottish castle overnight. What picture book character do you want right by your side?

AM: I’m 100% going to need Dennis from The Book of Rules by Brian Gehrlein. Not only is this one of my son’s favs, I know that hungry little purple monster will take care of business if necessary. Ghosties are no match for Dennis.

RVC: Your students have to perform a picture book as a dramatic reading instead of Macbeth. What picture books gets the gig?

AM: Haha! I’d have to say We Don’t Eat Our Classmates by Ryan T. Higgins. Can you imagine? I have some student actors who could really bring Penelope Rex to life.

RVC: Disney is making a theme park ride based on any picture book you choose. What’s your choice?

AM: Since I love creepy picture books, I’m going to say—you guessed it—Creepy Carrots by Aaron Reynolds. Disney + Twilight Zone vibes is a yes, please for me.

RVC: A picture book from the past year or two that deserves way more attention than it’s gotten?

AM: I think Ghost Makes a Friend by Maggie Edkins Willis is the sweetest story for kids trying to make friends. It really speaks to the shy kiddos, for who sometimes, the scariest thing can actually be making a friend. If you haven’t checked it out, you should!

RVC: Who sets the standard for creepy-​but-​kid-​appropriate picture books?

AM: I think everyone in the kidlit space does in a way: writers, agents, editors, readers… but there are for sure some big names who have helped shape this space like Jon Klassen, Aaron Reynolds and Peter Brown.

RVC: Complete the sentence: “Ashlee MacCallum is an agent who…”

AM: …loves bold voices, big feelings, and stories that refuse to behave.

RVC: Terrific. Thanks so much, Ashlee!

Reading Activities: Every Dreaming Creature by Brendan Wenzel

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Every Dreaming Creature
Author: Brendan Wenzel
Illustrator: Brendan Wenzel
26 September 2023
Little, Brown Books for Young Readers
40 pages

Book description from Goodreads: “Perfect for bedtime or at any time, here is a visually stunning exploration of animal senses through dreams, from Caldecott Honoree and New York Times bestselling creator Brendan Wenzel.

Welcome to a magical world of endless curiosity. You are a sleeping salamander. A dancing octopus. A speeding falcon…even a sneaking tiger and playful human child. As one dream slips into another, every page turn immerses you in the sensory wonder of the world and all its creatures, from the ocean depths to soaring skies, and everything in between. Each creature dreams and experiences life in a different way. Each is connected despite their differences.

Poetic and universal in its gentle message of interconnectedness, Every Dreaming Creature yields deeper meaning with every read, offering new discoveries hidden within the acclaimed artist Brendan Wenzel’s dazzling, vibrant artwork.”

Need some reviews of Every Dreaming Creature?

Reading Activities inspired by Every Dreaming Creature:

  • Before Reading–From looking at the front cover: 
    • What animals do you notice on the cover?
    • How do the colors and shapes make the cover feel—peaceful, mysterious, energetic, or something else?
    • What clues tell you the story might involve dreams or imagination?
    • What kinds of things do you think animals might dream about?
    • Why do you think the title says every dreaming creature instead of naming just one animal?
  • After Reading–Now that you’ve read the story: 
    • Which animal dream felt the most vivid or exciting to you? Why?
    • What senses show up in the different dreams (sound, touch, movement, smell)?
    • How does the story change when we discover who the dreamer really is?
    • Which page made you slow down and look closely at the illustrations? What did you notice?
    • Would you recommend this book to a friend? Why or why not?
  • Dream Inside an Animal’s World: Choose one animal from the book. Imagine you’re dreaming as that animal.

    *What would the world feel like?
    *Would it be quiet or noisy?
    *Slow or fast?
    *Bright or dark?

    Draw a picture of your dream and write two or three sentences describing what the animal experiences.

  • Three Animals, Three Dreams: In the story, the dreamer becomes many different animals. Think of three animals you would like to dream about. For each one, finish this sentence:

    In my dream I was a _​_​_​_​_​_​_​_​_​_​ and the world felt _​_​_​_​_​_​_​_​_​_​.

    Try to describe the world the way the book does (through movement, sound, and feeling).

  • Step into an Animal’s Senses: Animals notice parts of the world that humans often miss. Choose one animal from the book and imagine how it experiences its surroundings. What sounds, textures, smells, and movements might stand out to that creature?

    Write or draw three things that animal might notice that a person might overlook. Think carefully about how your chosen animal senses the world, then record your observations.

  • Map a Nighttime Habitat: Many animals in the book sleep in very different environments such as forests, oceans, trees, or underground burrows. Choose one animal from the story and draw a simple nighttime habitat map showing where that animal rests. Include details that help the animal feel safe and comfortable while sleeping, such as trees, water, rocks, moonlight, or other creatures that live nearby.
  • Books, Books, and More Books!: Check out these picture books that explore dreams, imagination, and nighttime worlds:

Dream Animals by Emily Winfield Martin
A nighttime adventure where animals carry sleeping children through magical skies.

Little Owl’s Night by Divya Srinivasan
A young owl explores the forest while the rest of the world sleeps.

 

The Night Walk by Marie Dorléans
An early-morning walk through a sleeping town filled with lovely nighttime details.

Sweet DreamersSweet Dreamers by Isabelle Simler
A lyrical bedtime picture book that explores how different animals settle in for sleep, from bats hanging upside down to whales drifting through the ocean.

While You Are Sleeping by Mariana Ruiz Johnson
As a child sleeps, the world continues its quiet nighttime rhythms outside.

Behind the Books: 5 Key Questions to Ask About Your First Picture Book Draft

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Between teaching picture book writing classes, editing at Bushel & Peck Books, and reviewing manuscripts through The Picture Book Doctor, I spend plenty of time looking at early versions of stories.

When you’ve just finished a draft, it’s worth stepping back and asking yourself a few bigger questions.

Here are five to start with before you dive into revisions.

1. Am I hiding the good stuff?

A writer spends the first few pages warming up, explaining the situation, or easing into the idea…then suddenly the story wakes up.

If the manuscript gets interesting around page four, there’s a good chance the book should start there.

(To be honest, if the book doesn’t grab readers at the start, they’re not reaching the good stuff on page four.)

2. Who is this really for?

Picture books are often read aloud by adults, so it’s easy to drift toward clever phrasing or jokes that mostly land with the grown-​up reader. Think politics, 80s or 90s pop culture riffs, or jokes about mortgages and wine.

A little of that can be fine, but the emotional center of the story still needs to belong to the kid listening.

If the adult reader is getting the biggest payoff, the balance is probably off.

3. Where does the character make a real choice?

Look for the moment where the main character decides something that changes, transforms, or shifts the direction of the story. We’re talking about giving characters agency here.

If the resolution happens because a parent steps in, luck intervenes, or the problem simply fades away, the character is riding the plot instead of driving it.

The writer’s job is to get the main character up a tree, and then once they are up there, throw rocks at them. | Vladimir Nabokov quote, HD Wallpaper

4. Where might the story be playing it safe?

First drafts often smooth things out. Your character learns the lesson quickly and the ending wraps up neatly.

Sometimes the story becomes stronger if the character struggles a little longer or the ending trusts the reader without spelling everything out.

5. What part of this would I fight for?

Imagine an editor saying, “We like the concept, but we think this section should change.”

What would YOU defend?

That answer often points to the manuscript’s true center (some might call it the “heart” or the “core”). And if nothing feels essential yet, well, that’s useful information too. It probably means you’re still discovering what the story wants to be, and that discovery process–which I’ll talk about in future posts–is completely different than the revision process.

First drafts are messy by design. That’s fine. But your job now is figuring out where the best version of the story is hiding and letting that version take over.

Picture Book Review: Loops by Jashar Awan

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Loops
Author: Jashar Awan
Illustrator: Jashar Awan
Bound to Stay Bound Books
3 March 2026
48 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and Fred Koehler, freelance creative and founder of Ready Chapter 1.

Ryan’s Review of the Writing

Jashar Awan’s Loops takes a seemingly small problem–a kid who keeps losing his lace-​up shoes–and treats it with exactly the appropriate amount of seriousness. We learn that these are “big-​kid shoes,” and that label matters. For this kid, tying them correctly equals competence and keeping them on equals growing up. So when they keep slipping off? Well, the frustration feels real.

The narration moves fast, swinging (looping?) between pride and panic, and it effectively invites the reader in (“Wanna see me tie them?”). The step-​by-​step lacing sequence is just playful enough without veering into textbook land. The inevitable wobble after the “TA-​DA!” lands well, too.

There’s a looping structure to the book that’s actually a true strength. The baked-​in repetition mirrors how kids actually build skills: try, mess up, try again. When the shoe goes missing (again), the meltdown feels earned. And the final twist is satisfying without over-​celebrating itself.

What works best is the emotional calibration. The book respects how big small setbacks feel. It lets the kid spiral for a moment, then regroup on his own terms. There’s no lecture about perseverance. Just a kid deciding he can handle big-​kid shoes after all.

Loops is compact, clever, and quietly affirming—a story about growing up that understands growth is rarely a straight path.

4.5 out of 5 shoelaces

Fred’s Review of the Illustrations

Let’s talk about the oh-​so-​colorful art of Loops. Most illustrators I know have made the transition to digital, which makes it painless to achieve sweeping fields of bright color. Jashar nails it with a luscious palette of gold, turquoise, red, green, and purple with pops of black and white. What’s so sneakily inviting about the artwork is the use of texture. Every complementary blob of color has just enough variation to feel finished and simultaneously draw the eye to the action.

Speaking of action, Loops also offers us fun, fast-​paced layouts that mimic the frenetic energy of the main character. The unnamed protagonist sprints hither, thither, and back again–in your face on one page, then spinning dizzily on the merry-​go-​round, before popping up across the playground. The overall effect reminds me in all the best ways of Ezra Jack Keats’ The Snowy Day. 

I’ll ding it a half a star because I longed for a tiny bit more detail to reward the careful observer. Still, much like its protagonist, there’s very little to slow down this book from a vibrant, joyful journey.

4.5 out of 5 loops

Fred Koehler is the Boston Globe Horn Book Honor Award-​winning Illustrator of One Day, The End and many other books. He also co-​founded Readerful, the fan-​funded story app where any writer can grow their audience and turn fans into funders.

Fred is passionate about encouraging young artists, promoting social justice, and conserving our environment. He lives in Florida with his wife, kids, and a rescue dog named Cheerio Mutt-​Face McChubbybutt.