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Educational Activities: Aaron Slater, Illustrator by Andrea Beaty

On By Only Picture BooksIn Educational Activities

Aaron Slater, Illustrator
Author: Andrea Beaty
Illustrator: David Roberts
2 November 2021
Abrams Books for Young Readers
40 pages

Book description from Goodreads: “An uplifting story about the power of art, finding your voice, and telling your story even when you’re out of step with your peers from the #1 bestselling creators of Sofia Valdez, Future Prez and Ada Twist, Scientist!

Aaron Slater loves listening to stories and dreams of one day writing them himself. But when it comes to reading, the letters just look like squiggles to him, and it soon becomes clear he struggles more than his peers. When his teacher asks each child in the class to write a story, Aaron can’t get a single word down. He is sure his dream of being a storyteller is out of reach … until inspiration strikes, and Aaron finds a way to spin a tale in a way that is uniquely his.”

Need some reviews of Aaron Slater, Illustrator?

Educational Activities inspired by Andrea Beaty’s Aaron Slater, Illustrator:

  • Before Reading–From looking at the front and back cover: 
    • Where and when do you think this story takes place?
    • What do you already know about illustrators (or illustrating)?
    • What do you think this story will be about?
    • What emotion is being felt by the boy on the cover?
    • Have you read any of the other books in the Questioneers series?
  • After Reading–Now that you’ve read the story: 
    • What did you think when Aaron’s writing made words that were “just squiggles”?
    • Try as he might, Aaron couldn’t make progress with writing. Have you ever struggled to learn something, too? How did that feel? What did you do?
    • Why did Aaron try so hard just to blend in?
    • What “tangle of feelings” did he have inside?
    • What did YOU feel when Miss Greer knelt beside Aaron and said “Thank you!” for sharing his creative story?
    • What do you think about this book using a typeface specially designed for people with dyslexia?
  • Imagining–Use your imagination to fill in the blanks of the following three sentences:
    • A question I’d like to ask the author is______________.
    • One thing I’d change about this story is _____________.
    • In a sequel to this book, Aaron Slater would be doing __________.
  • Drawing–Since Aaron Slater drew his own story, let’s do the same. Using crayons, colored pencils, or paint, create your own “true story” about anything you want. Like Aaron, use visuals versus words to tell the story. When you’re finished, consider sharing it with a friend or family member.
  • Crafting–Since Aaron Slater, Illustrator is all about making art, let’s look at some options to make fun artsy crafts! Try your hand at one or more of the following projects (use recyclable materials when you can). Get an adult to help, just to be on the safe side: 
  • Further Reading–Want more picture books about art and art-​making? Here you go! Which have you already read? (Click on any book cover for more information on these titles!)

Author/​Illustrator Interview: Adam Rex

On By Only Picture BooksIn Author Interviews, Illustrator Interviews

We always like to end the year strong, and thanks to December’s guest author interview, we’re doing exactly that. Welcome to Only Picture Books, Adam Rex!

Now, it’s hard to imagine picture book writers and readers who don’t already know Adam’s work, but just in case some wildebeest or sentient meteor has come across this website, I’ll give some bio stuff. Because, like most folks, I have a soft spot for wildebeests and sentient meteors.

Adam is the author and illustrator of 40+ books for kids, including many OPB faves such as:

Other cool Adam-​related things in no particular order:

  • He’s worked with Neil Gaiman
  • His work has been adapted for film and TV (the Dreamworks film Home was based on Adam’s novel The True Meaning of Smekday)
  • He’s won awards like the Margaret Wise Brown Prize in Children’s Literature and the National Cartoonists Society Book Illustration Award
  • He’s made art for Dungeons & Dragons and Magic: The Gathering
  • He has (in order of smallest to largest) “a hermit crab, cat, dog, son, and wife”

Now that we’ve all been properly Adam Rexed, let’s hear from the man himself. Begin the interviewing NOW!

Adam’s website

Adam’s Tumblr

RVC: I’m always curious about how multi-​talented people think about their talents. Are you a writer who draws, a drawer who writes, or something else entirely? 

AR: I’m my mind I’m a writer and illustrator—I don’t prioritize one over the other. I guess I could combine those and tell people I’m a storyteller, but I don’t think anyone would know what I meant. Personally, when I hear that job title, I picture a retired guy wearing a jester’s hat.

RVC: Let’s reframe the question then. When did you first realize you were a maker of stories? And when did that go from being something you liked doing to something you could do as a career? 

AR: I think I was always an illustrator, without knowing what that really meant until I was in college. Most kids are illustrators in some sense—most of them draw, and most kids who draw tell stories with their pictures. I’d decided at the age of five that I was going to be an artist when I grew up because I’d overheard my eight-​year-​old brother being upset that I was a better artist than him, and that seemed as good a reason as any to keep going. But writing didn’t really start being my thing as well until late high school.

RVC: What happened then?

AR: At that age, it clicked that the comics I liked and the picture books I’d been admiring at my part-​time Waldenbooks job were made by actual living people and not famous figures who had been dead for a hundred years.

My mom found a place that sold original comic book art and she bought me a couple of X‑Men pages that I could go and compare to the printed pages in comic books I actually owned. All this made an outlandish future seem more real and attainable, so I think that’s when I settled into the idea that I was going to be a part of telling stories with words and pictures, somehow.

RVC: Since we’re roughly the same age, I’m going to superimpose my own experiences onto your life and assume that you, too, were playing a lot of games like Dungeons & Dragons, Magic: The Gathering, and maybe too many other video and tabletop games during those early years. How did playing games like those inform your future storymaking career?

AR: Definitely a lot of D&D when I was younger. I think I started playing that around age ten and kept at it off and on for about ten years. And I always seemed to be the Dungeon Master, so that must have contributed to honing whatever storytelling chops I have—both in inventing plot on the fly and also trying to make each non-​player character interesting. Thing is, I was the same kind of DM as I am a writer: I never planned enough and mostly just made it up as I went along. Only difference being that I didn’t get the chance to go back and rewrite all those shabby campaigns I put my players through.

RVC: We’re going to circle back to your writing and revising process in a moment. But first, the basement-​lurking, fantasy-​loving, polyhedral fan in me needs to know: how did you get the gig to make art for D&D and MTG? And what was the biggest challenge you faced in making that art?

AR: In the mid-​90s I started making road trips every summer to Comic-​Con to show my portfolio. I was still interested in being a comics penciller back then, so I had that sort of work in there, but I also took prints of paintings I’d made. I slept in my car, freshened up in the lobby bathroom of a Sheraton that didn’t know I was doing that, and starting the second year I actually began to get calls for work.

All of those calls were from companies making games: a trading card company that was making a Marvel Comics card game, a company that made games about werewolves and faeries and vampires, and also a couple companies called TSR and Wizards of the Coast. The former published D&D at the time, and the latter made Magic: The Gathering. Eventually those two companies merged and then merged again with Hasbro, but I got in at a time when neither one of them was all that fussy about whether their products looked good or not. So, I did a lot of illustration that was just good enough, and as their standards improved, so did I, and stuff like that paid most of my bills for the next twelve or so years while I tried to get a foothold in the world of children’s books.

Adam’s Art! © Wizards of the Coast

 

Adam’s Art! © Wizards of the Coast

RVC: How intentional was that move into the kidlit world? 

AR: : Oh, very. I’d decided at the age of 16 as a part-​time Waldenbooks employee that I wanted to make picture books. I wanted to do a lot of things back then, but during college my focus narrowed until I began to think of everything else, even that paying work I was doing for the game companies, as mileposts that were either getting me closer to or farther away from that ultimate goal.

RVC: What was the tipping point that made it work as a career for you?

AR: A couple books in, a reputable agent asked to represent me, and at that time I think I settled into trusting there was always going to be a next thing. I settled into that because I was young and naïve, I think, because for all I know it could still vanish, even after 20 years. Tastes could change, my kind of work could fall out of favor. At which point I guess I’d teach.

RVC: How does your process differ when you’re illustrating for others (like Gladys the Magic Chicken) versus doing an Adam-​Rex-​does-​it-​all book (like On Account of the Gum)?

AR: The processes of writing something I don’t illustrate, or illustrating something I don’t write, or doing it all, aren’t as different as you might guess. When I get an idea, I tend to just try to get a solid manuscript written. I don’t at that point start exploring the look of it, even if I am fairly sure I’m going to illustrate it myself.

RVC: We’ve interviewed Laurie Keller at OPB and found her—and Arnie!—to be delightful. What was your experience of working with her on Pluto Gets the Call?

AR: It was interesting—it wasn’t my first time writing a book I didn’t illustrate, but it was the first time I wrote something for a specific illustrator. I set out there to write a Laurie Keller book, and she made it even more of a Laurie Keller book by adding her signature asides and marginalia. She wrote a ton of extra material that little characters are saying off to the side, so in all fairness I should have to share my author credit on that one with her.

RVC: One of my absolute favorites of yours is Are You Scared, Darth Vader? What’s the story behind how that book came to be? 

AR: Luck, really! Lucasfilm publishing was toying with the idea of a Star Wars picture book for Halloween, and the creative director there was a fan of my book Frankenstein Makes a Sandwich. He got in touch and asked if I’d like to pitch some ideas. So, I did, and I think Are You Scared, Darth Vader? was the strongest one I pitched.

RVC: Another fave is School’s First Day of School—such a clever idea. Now I know Christian Robinson is super talented and terrific, but why wasn’t this an “Adam writes and Adam illustrates” book from the start? I can see where many people might think that if you could cook up the peanut butter AND the chocolate, you’d just make the entire Reese’s Peanut Butter Cup yourself every time, if you know what I mean.

AR: That was my first picture book that I didn’t illustrate, and the truth is I’d been looking for a test case for that scenario for some time. I thought it would be fun to see things from the other side of the fence, and maybe get to work with some of my favorite illustrators in the process. And illustrating SFDoS was an easy job to step away from, because I didn’t think my usual style was well-​suited to the manuscript anyway. From the start I was imagining it in a Christian Robinson style. Moving forward I just try to remind myself that I am not the best choice to illustrate every manuscript, so if I don’t feel some compulsion to do it myself, then maybe I should step aside. That frees me up a bit to illustrate a great manuscript from another author, if one should come along.

RVC: One last question before we wrap up this part of the interview. What’s something upcoming that you’re really excited about or want to promote?

AR: I’m not sure what my next book is going to be, but it might be one I wrote called Digestion: The Musical?! That’s being illustrated right now by Laura Park.

RVC: Sounds quite tasty, Adam. But now it’s time to unleash…THE SPEED ROUND. Mwah-​hah-​hah! Are you scared, Adam Rex?

AR: Please stop wiggling your wingers at me.

RVC: Your biggest time waster?

AR: Twitter, no question.

RVC: If you could be “trapped” in any of your picture books for a day, which would you choose?

AR: Oh, I wouldn’t mind taking a walk in the candy-​colored ancient times of my most recent, Gladys the Magic Chicken (written by Adam Rubin).

RVC: Five things we’d see if we checked out your workplace area?

AR: A big paper mâché head of my own head; signed photos of Lou Ferrigno, Noelle Neill, and the guy who played Jaws in the Bond movies; a diorama of a swamp I made for the backgrounds in Are You Scared, Darth Vader?; little sculptures of my own characters that I made to help me draw them; and probably a sleeping dog.

Adam’s workplace!

RVC: Best advice you ever received about writing picture books?

AR: Keep your receipts? I can’t think of anything.

RVC: A recent picture book that really got your attention?

AR: How to Walk an Ant by Cindy Derby.

RVC: Your proudest moment as an artist?

AR: Probably getting a ribbon at the Arizona State Fair for a drawing of a wizard I did back in 1984. Been chasing that ever since.

RVC: Thanks so much, Adam. It’s been quite the treat!

Picture Book Review: Stretchy and Beanie by Judy Schachner

On By Only Picture BooksIn Picture Book Reviews
Author: Judy Schachner
Illustrator: Judy Schachner
Dial Books for Young Readers
2 November 2021
40 pages

This month’s PB review is by Ryan G. Van Cleave (Owner/​Operator of Only Picture Books) and longtime OPB friend (and Ringling College of Art and Design Illustration Professor) John Herzog.

–Ryan’s Review of the Writing–

We all know Judy Schachner as the author/​illustrator of the terrific Skippyjon Jones series, so the expectations for her work are quite reasonably pretty high. Does this sequel to the picture book Stretchy McHandsome hit that mark? Let’s see!

At the beginning of Stretchy and Beanie, the McHandsome cat clan met the McBright human clan, so every McBright kid suddenly had the opportunity to become a pet owner. Beanie felt a deep connection with Stretchy the cat, and not just because they shared the same eye color (one green and one blue). In rhyming quatrains, readers learn how the new pair explored ways of getting along with each other. Things were “glorious.” At first.

Then Beanie “got the bright idea /​ to raise a perfect pet. /​ Even read a big best seller /​ on how she could, and yet…” Anyone who’s ever had a cat knows what’s coming next.  You can’t make a cat do things that the cat doesn’t want to do. And Stretchy isn’t into Beanie’s silly math, music, and dance lessons. Wearing a harness? No, thank you! So, Stretchy fought back by climbing the drapes and peeing on the carpet.

Still, Beanie kept over-​snuggling and kissing him! Ugh! Stretchy did his best to avoid her, but he finally had had enough. The door was left ajar, so off he fled. The point-​of-​view then shifts to a feline perspective, with Stretchy worrying about who’d bring him dinner, brush his fur, or listen to him purr. Those concerns are what finally get the runaway cat to come down from his hiding spot up in a tree. That, plus a fire truck and two bags of snacks.

The introduction of a first-​person narrator in the final few pages was quite a surprise. Another thing in the surprising category is some of the word choices, such as “caused our lad to hiss,” where the “our lad” feels at odds with the kid-​appropriate language found in much of the rest of the story (“squeezy squishes” and how Stretchy thought of birds as “little flying snacks”).  The “’twas” and “Ol’ Binney” also seems overly poetic and a bit old-fashioned.

The lesson for Beanie–and readers–is to have “patience, love, and kindness” for others, feline or not. And no one likes bossy people, period. Yet Beanie doesn’t learn this lesson because when Stretchy finally comes down, she gives him a “smushy hug and kiss” which is exactly what the cat hates most. The text alleviates this concern a little by saying that she hasn’t yet learned to be gentle with pets, so one might assume she will learn it eventually, but do parents and teachers want characters to change for the better by the end of a story? Do they need clearer evidence of the positive change that so many picture books promise? One might argue that Beanie remains the same, which explains the final spread, where Stretchy is once again tearing up the curtains.

The McBrights are as diverse as the cats they embrace, and one of the children even uses a wheelchair. Those are definite positives. And the art is quite interesting throughout. It really matches the text quite well. There’s much to like in this new book.

In sum, Stretchy and Beanie is lighthearted enough to undercut much of the serious material here, and Shachner’s incredibly bendy cat images are loads of fun. Cat lovers and fans of Shachner’s other titles will likely find this book to be adorable.

4.25 out of 5 pencils

 

–John’s Review of the Illustrations–

There’s an interesting trend that I’ve noticed in the kidlit world over the last few years that I have very strong feelings about. For obvious reasons, I will not name names here, but I’ve noticed that there is a group of illustrators out there who try to draw the way that kids draw–or at least the way they think kids draw.

These illustrators purposefully get anatomy wrong, simplifying in a way that feels kid-​like on the surface, but really isn’t because it lacks any kind of heart or soul. As a result, there is a cynical, condescending feeling to the work. Oftentimes, these illustrators are drawing well below their ability. But because they’re illustrating for kids, they feel that they have to extract any kind of sophistication and “dumb it down” for the audience. And sometimes, an illustrator lacking in observational and drawing skills hides behind this “style” to cover for the fact that they can’t draw very well.

I won’t lie to you: I hate this trend. It diminishes the entire medium. It underestimates the audience. And, more egregiously, it talks down to and belittles them. Kids are often smarter than we give them credit for.

Now, you may be asking, what does this have to do with Judy Schachner’s lovely Stretchy and Beanie? Well, after reading this book with my little boy and seeing his delighted reaction to both the rhythmic words and engaging pictures, I found myself genuinely contemplating why the illustrations in this book work so well for both a five-​year-​old and a forty-year-old.

I eventually came to this conclusion: Schachner’s love for the medium and the audience shines through in a way that is both accessible and enjoyable. While the illustrations don’t exactly look like a kid drew them, they embody the spirit of how a kid would illustrate a book like this. The little details coupled with swathes of bright, vibrant color reminded me of how I would draw as a kid, and the little things I would pick up on and include.

And speaking of color, this book? This book is an absolute masterclass when it comes to color. Bright oranges mixed with teals, reds, and purples… This is a book I will be referring to for years just so I can soak in the color palette.

Regarding the story, it’s interesting how Stretchy serves as a kind of mirror reflection of Beanie. With Beanie’s insistence on Stretchy being the perfect pet, it made me wonder if Beanie had someone in her life who was insisting on her being the perfect kid. It felt like a bit of a missed opportunity to explore that aspect more, but that is a minor criticism.

Reflected beautifully here is the way that kids tend to draw, without all of the pandering and cynicism. There is heart and soul aplenty here, and with Stretchy and Beanie, Schachner continues to prove that she is one of the best illustrators working today.

4.75 out of 5 crayons

John Herzog is an award-​winning illustrator and educator. 

His clients include Hasbro, Dreamworks TV, Houghton Mifflin Harcourt, Scholastic, and Highlights for Children. He also teaches illustration classes at Ringling College of Art and Design.

John is a member of the National Cartoonists Society and Society of Children’s Book Writers and Illustrators, where he received the 2018 SCBWI Magazine Merit Award for his Highlights High Five cover illustration. He lives in Florida with his wife, two kids, a pair of geckos, a bearded dragon, and a tarantula.

Picture Book List: 16 Great Books about Hanukkah

On By Only Picture BooksIn Picture Book Lists

Since Hanukkah is observed for eight days, it makes sense to list 8 great books about this holiday, but that’s nowhere near enough. It deserves more, and there are just so many fine picture books to pick from. So, we’re doubling that number and sharing 16 instead!

Hopefully, this list is a mix of old favorites and new-​to-​you treats. Enjoy!

Chanukah Lights Everywhere by Michael J. Rosen, illustrated by Melissa Iwai (October 2006)

From Goodreads: “One crescent moon glows in the sky. Two headlights shine through the window.… On each magical night of Chanukah, a young boy and his sister count more lights shining all around them! Join them as they discover what it means to celebrate Chanukah in a world filled with so many other lights.”

Pages: 32

Reading Age: 4–7

Hanukkah Delight! by Lesléa Newman, illustrated by Amy Husband (August 2016)

From Goodreads: “Whimsical bunnies celebrate Hanukkah in this charming rhyming board book describing all the Hanukkah rituals beloved by Jewish kids.”

Pages: 12

Reading Age: 1–4

 

Hanukkah Lights by David Martin, illustrated by Melissa Sweet (September 2009)

From Goodreads: “Sweet illustrations and simple language bring the holidays to life for the youngest of children.

Candles on the menorah, ready to light! At Hanukkah, there are many much-​anticipated rituals — latkes to eat, dreidels to spin, presents to give and receive, and shiny gold treats. Add some free-​form fun, from shadow puppetry to singing and dancing, and you have a warm, truly child-​friendly celebration.”

Pages: 26

Reading Age: 0–3

 

The Hanukkah Mice by Steven Kroll, illustrated by Michelle Shapiro (October 2021)

From Goodreads: “It’s the first night of Hanukkah, and the mouse family secretly looks on as Mr. Silman lights the first Hanukkah candle. Then they watch Rachel Silman open a gift from her family, a beautiful dollhouse with a wraparound porch and tiny lace curtains. Just the right size for us, whispers Mindy Mouse. While the Silmans are asleep, the mouse family explores the dollhouse. On each night of the holiday, they enjoy the small pieces of furniture and dishes of food that magically appear. Finally, on the eighth night of Hanukkah, a small miracle occurs, showcased nicely in Michelle Shapiro’s colorful gouache illustrations.”

Pages: 42

Reading Age: 3–7

 

Hershel and the Hanukkah Goblins by Eric A. Kimmel, illustrated by Trina Schart Hyman (October 1994)

From Goodreads: “A traveler rids a village synagogue of goblins. A Caldecott Honor Book.”

Pages: 32

Reading Age: 4–8

 

Hoppy Hanukkah!  by Linda Glaser, illustrated by Daniel Howarth (September 2009)

From Goodreads: “Violet and Simon, two small bunnies, are excited about Hanukkah. Simon is ready to light all the candles and then blow them right out! But Mama and Papa explain how to celebrate Hanukkah by lighting one candle each night at sunset and placing the menorah in the window for all to see. Grandma and Grandpa come over, too, and there are latkes and presents and a dreidel game. Linda Glaser’s simple, cozy story is just right for children first learning about this holiday. Daniel Howarth’s charming paintings show a happy family passing on their tradition.”

Pages: 24

Reading Age: 5–6

 

How Do Dinosaurs Say Happy Chanukah? by Jane Yolen, illustrated by Mark Teague (September 2012)

From Goodreads: “From the warm glow of holiday candles in the menorah to the fun of family gatherings, little dinosaurs love to celebrate the Festival of Lights. But sometimes the excitement of Chanukah, its treasured rituals, and the tradition of gifts can tempt a youngster to misbehave.…

Come along on a joyful romp filled with tumbling dreidels and melting gelt as America’s favorite prehistoric pals spread a little mischief this season. Children will laugh out loud as dinosaurs fidget, fuss, and stomp through every occasion, while their human parents shift from shock to weary patience.

Filled with warmth and cheer, this new book by the bestselling team of Jane Yolen and Mark Teague makes a perfect gift to be read again and again, year after year. How do dinosaurs say Happy Chanukah? The same way they say Merry Christmas: With an abundance of love, joy, memory, and gratitude.”

Pages: 40

Reading Age: 0–4

 

Larry’s Latkes by Jenna Waldman, illustrated Ben Whitehouse (October 2021)

From Goodreads: “Everyone knows that Big Larry makes the best latkes in town. This year he is throwing a Hanukkah party for all this friends, and the latkes need to be extra special. He goes on a quest to find some brand-​new flavors at the farmer’s market. But peaches are a soggy mess, and turnips are a flop. Big Larry’s kitchen is a latke disaster. Good thing he has some help from his friends.”

Pages: 32

Reading Age: 4–8

 

Latke, the Lucky Dog by Ellen Fischer, illustrated by Tiphanie Beeke (August 2014)

From Goodreads: “Rescued from an animal shelter on the first night of Hanukkah, Latke has trouble learning the house rules. Despite a series of mishaps, he is one Lucky Dog!”

Pages: 24

Reading Age: 2–8

 

Meet the Latkes by Alan Silberberg (October 2018)

From Goodreads: “Imagine James Marshall’s The Stupids celebrating Hanukkah, and you’d get the Latke family!

Lucy Latke’s family is just like yours or mine. Except that they’re potato pancakes. And also, they are completely clueless. After lighting the menorah and gobbling the gelt, Grandpa Latke tells everyone the Hanukkah story, complete with mighty Mega Bees who use a giant dreidel to fight against the evil alien potatoes from Planet Chhh. It’s up to the Latke family dog to set the record straight. (To start with, they were Maccabees, not Mega Bees…) But he’ll have to get the rest of the Latkes to listen to him first!”

Pages: 36

Reading Age: 3–5

 

Moishe’s Miracle: A Hanukkah Story by Laura Krauss Melmed, illustrated by David Slonim (October 2005)

From Goodreads: “Kind-​hearted Moishe is given a magical frying pan that will produce all the latkes you could wish for latkes by the dozen, latkes by the hundreds but only Moishe must use it. Alas, his short-​tempered wife, Baila, does not heed the warning.”

Pages: 32

Reading Age: 0–12

 

The Night Before Hanukkah by Natasha Wing, illustrated by Amy Wummer (October 2014)

From Goodreads: “It’s the night before the eight-​day celebration of Hanukkah begins, and everyone is excited! Each evening, the family gathers to light the candles and share holiday traditions such as playing dreidel, eating latkes, and exchanging gifts. The seventeenth title in Natasha Wing’s bestselling series, The Night Before Hanukkah captures all the joy and love in one of the most wonderful times of the year!”

Pages: 32

Reading Age: 3–5

 

My First Chanukah by Tomie dePaola (September 2008)

From Goodreads: “Describes the traditional celebration of Chanukah, including the lighting of candles on the menorah, the eating of latkes, and the spinning of the dreidel. On board pages.”

Pages: 14

Reading Age: 3–5

 

Shmelf the Hanukkah Elf by Greg Wolfe, illustrated by Howard McWilliam (September 2016)

From Goodreads: “Shmelf is one of Santa’s most important elves. He’s part of the List Checking department, and he makes sure all the good boys and girls get their presents! But when Shmelf finds out that some children are missing from Santa’s list, he goes to investigate.

What Shmelf uncovers is Hanukkah, a wondrous and joyful holiday that Jewish families celebrate each year. As Shmelf observes a family lighting the menorah, playing dreidel, and hearing the Hanukkah story, he sees how special the traditions of the holiday truly are-​and he wants to be a part of it! Luckily, Santa just might have a special role in mind for Shmelf.…

The rich traditions of Hanukkah come to life in this whimsical and magical story that’s perfect for the holiday season.”

Pages: 32

Reading Age: 3–6

 

Simon and the Bear: A Hanukkah Tale by Eric A. Kimmel, illustrated by Matthew Trueman (September 2014)

From Goodreads: “Before Simon sails to America, he promises his family that he will get a job and send for them. Simon’s mother knows he will need a miracle, so she reminds him to celebrate Hanukkah wherever he may be. Little does either of them know that Simon will spend the first night of Hanukkah on an ice floe after his ship sinks.The lone survivor out in the wide ocean, Simon lights the first candle, and it attracts a visitor: a polar bear. Does she eat him? No! She shares his latkes, enjoys his songs, goes fishing for him, and even keeps him warm at night. By the last day of Hanukkah, Simon has nearly given up hope of ever being rescued. But then he recounts all of the miracles that have befallen him so far. Perhaps it is not too much to hope for one more, he thinks, as he lights all of the candles in the menorah. The bright glow signals a passing ship, and Simon makes it to New York after all. This fanciful Hanukkah tale-​like none you’ve ever read before-​celebrates eight miracles: family, friendship, hope, selflessness, sharing, faith, courage, and love. A retelling of the ancient Hanukkah story is included on the last page.”

Pages: 40

Reading Age: 3–5

 

Yitzi and the Giant Menorah by Richard Ungar (September 2016)

From Goodreads: “On the eve of Hanukkah, the People of Chelm have received a special gift from the Mayor of Lublin. A giant menorah in which they place in the square for all the admire. Every night, the villagers meet to watch the lighting of a candle on the menorah. And every night, the villagers ponder What is the most fitting way to thank the Mayor of Lublin?

The villagers come up with idea after idea, but their gift never quite reaches the Mayor. What will they do? Finally, on the last night of Hanukkah, Yitzi has an idea to orchestrate the surprise thank you gift.”

Pages: 32

Reading Age: 5–9

Agent Interview: Saba Sulaiman (Talcott Notch Literary Services)

On By Only Picture BooksIn Agent Interviews

This month’s Industry Insider interview is with Saba Sulaiman, a literary agent at Talcott Notch Literary Services. While I could put all kinds of traditional bio things here, I’m going to instead offer part of her own terrific Twitter bio. “Eternally recovering from maternity leave. Probably hiding behind the crib, eating cake.” With an awesome Twitter bio like that, what more do you need to know?

We’ll give more anyway, because that’s what we do here at OPB.

Saba admits that when she’s not reading, she’s likely:

  • running after two small children,
  • secretly learning another language,
  • playing Scrabble,
  • watching a Bollywood movie,
  • or singing in the bathroom.

If you REALLY want to know the regular bio stuff, I’ll get to that in the interview itself. Speaking of that, let’s get right to it!

RVC: Rumor has it that your sister played a big role in your initial love for books.

SS: She did! She was (and remains) a big reader and there’s no way I would’ve gotten into reading at all if it weren’t for how much she influenced me (read: how obsessed I was with everything she did) when we were young. She’d probably argue that there’s very little that’s original about me, to be honest, but isn’t that true for everyone?

RVC: That sure can feel like the case from time to time! Now, from the start, you were culturally displaced. How did that affect your reading interests and your relationship to language?

SS: Until I came to the US for college, I spent my whole life being expected to know a language I didn’t know well enough, and was then ridiculed for not being fluent enough. My petulant (and understandable, in retrospect) reaction to it was to make sure my English (the only language I felt confident speaking) was better than anyone else’s, and I think reading a lot helped with that. And then, of course, because my life got so much easier in the US when language wasn’t a barrier anymore, I decided to complicate it further and start learning three more languages in college.

RVC: Wow.

SS: I know.

RVC: Were your graduate studies in Persian literature at the University of Chicago a path toward your future publishing career, or were you still thinking of other career options?

SS: You know what they say: everything in your past plays a role in how things turn out in the future. I wasn’t thinking about publishing at all when I began graduate school—in fact, I was fairly sure I’d purse a Ph.D. and a career in academia. But my experience there definitely informed the kinds of books I tend to gravitate towards, and how I think about, read, and evaluate writing.

RVC: The next step in your journey took you to Sourcebooks as an editorial intern. Their home base is in Naperville, Illinois, right? What kinds of things did they have you doing there?

SS: I was actually at one of their satellite offices in Milford, CT, where their romance imprint is run. It was an incredible experience, truly—they had me write back cover copy my first day there, if that’s any indication of how happy they were to throw me into the deep end. I read submissions and wrote reports on them, attended acquisitions meetings, maintained their various author and comp title databases, and assisted the editors there with anything they needed help with. It was a really comprehensive and wonderful introduction to publishing, and I had a blast.

RVC: What was the most valuable lesson you learned while at Sourcebooks?

SS: I think it’s a combination of a few things: that working with good people is a highly underrated and very necessary aspect of enjoying your work; that supporting and advocating for people looks very different depending on the person; and that there is actually very little reading involved in the work we do (at least during office hours, alas), but that it’s absolutely essential not to lose sight of how important it is to keep in touch with what’s being published so we can best help our authors thrive.

RVC: Let’s tackled a super-​basic issue. Why is agenting the right fit for you?

SS: I get to work very closely with creative professionals and help them achieve their goals without having to take on the actual work and stress of creating art, plus I’m surrounded by people who inspire me and I get to read a lot and call it market research—what’s there not to love? I’m also a bit of a Mother Hen, and agenting allows me to channel my protective instincts in a pretty satisfying way.

RVC: You say that being an author today is an entrepreneurial enterprise. What do you mean by that? 

SS: Since publishers can’t support all the authors they publish with equal amounts of fervor when it comes to marketing and publicity, authors are expected to participate as much as they can in doing outreach, finding and connecting with their audience via libraries, conferences, and social media, and making promotional material that can aid in increasing their books’ visibility and sales. It requires time, energy, and a lot of strategy development and implementation for each author to figure out what works for them, which is why it’s much more of an entrepreneurial role than it used to be, say, fifty years ago.

RVC: Do picture book authors and illustrators have to do as much of this PR work as writers for a MG, YA, or adult audience?

SS: I think the nature of the work required is different but the amount is comparable. PB writers may not have to do a lot in terms of being personally active on social media in order to connect with their audience, but they often have to focus more on the school and library market–being available for story times, both virtual and in real life at bookstores and libraries (where safety permits), presenting their books to students at schools via classroom visits, etc. All authors want their books to find more readers–the process is just different for PB writers.

RVC: I’ve heard you say that you think every author should have an agent. Care to explain that a bit more? Especially as to how it might pertain to self-​published authors?

SS: Well, first of all, I will admit that I’m clearly biased since I am an agent, but I do think having someone in your corner whose entire job is to support and advocate for you, find opportunities for you to improve your craft and publish widely, review your contracts and advise you on how you manage your career overall–especially in an industry as frustratingly esoteric as publishing–is very useful. Authors can certainly manage their careers without agents, especially if they’re fairly certain they want to self-​publish and continue to do so, but it requires doing a lot of research that is hard to access without the help of a professional who has had the experience working in this space, as well as having a tremendous amount of energy—energy that I think would be better served being channeled into writing their manuscripts.

Finding a good agent isn’t just a means to an end, it’s a long-​term investment in your career, and a wise decision, I believe.

RVC: What was the first picture book you sold? What made you want to represent it?

SS: The first PB I sold was Muslim Girls Rise by my client Saira Mir (illustrated by Aaliya Jaleel). I fell completely in love with it because it was written so beautifully and with such clarity and an earnest desire to share these exceptional women’s voices. Also as a Muslim woman myself, I found that even I hadn’t heard of a majority of these women before I read this submission, so I knew I had to do my part to help make their inspiring stories available to read for kids all over the world.

RVC: I’ve got a copy of that one–it’s a worthy book, indeed. Now, let’s throw a bone to the writers out there. What do you want to see out of submissions? What are some must-​haves and turn offs?

SS: In picture books, I’m drawn most to stories with a nuanced emotional takeaway, fun wordplay, notes of whimsy, textual economy, and memorable characters. I love smart, unexpected narratives where authors are experimenting structurally; I love funny books, both the sweet and soft kind and the wry, dry kind; I love layered storytelling with subtextual richness that can provide a launchpad for readers to start a conversation; and I love idiosyncratic narratives that take mundane processes and make them seem utterly delightful. I also represent non-​fiction, and am particularly interested in creative storytelling with a STEM component, biographies of lesser-​known trailblazers who have made a significant impact in their fields, stories with environmental themes, and creative nonfiction that almost feels like it could be shelved in the fiction section. I’m also always especially excited when I receive submissions from BIPOC creators, queer creators, disabled creators, immigrant creators, and creators who are writing stories of joy and celebration at the intersection of these identities.

RVC: Is there anything you don’t want to see?

SS: I don’t usually find stories that have a very heavy moral or “lesson” component very appealing.

RVC: Picture book trends. Should writers pay attention to them? 

SS: Writers should absolutely pay attention to trends–knowing what kinds of stories the market is responding to at any given point is important because books aren’t published in a vacuum. Writers can (and should feel free to) choose not to respond to or write to these trends, but I do think they should know what kinds of books are selling if they’re seriously pursuing publication.

RVC: How do you describe your agenting style?

SS: Forthright, honest, encouraging, collaborative, and flexible.

RVC: One final question for this part of the interview, Saba. What’s are some picture-​book projects that you’d like to brag about?

SS: Ooh yes, thank you for the opportunity! This year a picture book very dear to my heart called Laxmi’s Mooch by my client Shelly Anand (and illustrated by Nabi H. Ali) was published–it’s a really sweet, joyful story that celebrates body hair and inspires kids to be confident about who they are—it was featured on the Today Show which was really thrilling!

And then next year, I have three PBs forthcoming: The Meaning of Pride by Rosiee Thor (illustrated by Sam Kirk), Zahra’s Blessing by Shirin Shamsi (illustrated by Manal Mirza), and If You’re a Kid Like Gavin by Kyle Lukoff and Gavin Grimm (illustrated by J. Yang), all of which I’m very excited about!

RVC: Alrighty. It’s now time to double the points, double the speed, and double the overall goodness. Welcome to…THE LIGHTNING ROUND! Are you ready? 

SS: Go for it!

RVC: Biggest time waster?

SS: Someone sent me a few funny Instagram Reels and I made the mistake of going back to browse for more–don’t get sucked in, it’s a trap!!! Even more so than TikTok, I think, because of how much shorter the videos are and how easy it can be to tell yourself you’ll only watch one more…

RVC: If we overheard you singing in the shower (we get it—the acoustics are great!), you’d be belting out…

SS: It varies a lot depending on my mood but “I Want More” from The Little Mermaid is definitely a repeat offender and has been since I was a kid–both my mom and my husband can definitely attest to that.

RVC: A favorite autocorrect misadventure?

SS: I once praised a client for how fantastic and transportive their decryptions are. That was fun!

RVC: A recent picture book that really impressed you?

SS: Ooh, there are so many but I’ll name the most recent one–it’s a picture book biography coming out in January 2022 from HarperCollins called When the Schools Shut Down by Yolanda Gladden and Dr. Tamara Pizzoli, and illustrated by Keisha Morris. It’s got such beautiful, contemplative, rich, nuanced, and rousing storytelling, such gorgeous, warm illustrations, and it’s such an expansive story told with intimate, emotionally exacting detailing–I just love it. Both the author and illustrator really managed to convey a sense of Yolanda Gladden’s soul, her family, and her nurturing community, which is so difficult to do with a PB biography.

RVC: Three must-​haves in a picture book manuscript?

SS: Voice, kid-​appeal, and a sense of sincerity.

RVC: Best moment in your agenting career (so far)?

SS: Probably the day I found out one of my clients got longlisted for the National Book Award–I was actually in the middle of what’s been one of my best runs to date, so it was a great personal moment as well!

RVC: Thanks for joining us here at OPB, Saba. Best of luck with everything!

SS: Thanks for having me, Ryan!

Educational Activities: Saguaro’s Gifts by Kurt Cyrus

On By Only Picture BooksIn Educational Activities

Saguaro’s Gifts
Author: Kurt Cyrus
Illustrator: Andy Atkins
15 August 2021
Sleeping Bear Press
32 pages

Book description from Goodreads: “Celebrating a birthday is always a happy occasion but never more so in this desert community then when it’s a centenary for a grand Saguaro cactus! For one hundred years, the majestic cactus has anchored this vibrant neighborhood, providing food, shelter, and shade to the local wildlife inhabitants. In beautiful rhyming text, the creatures that depend on Saguaro’s gifts come to pay homage, including the tiny bat that sips nectar from the plant’s flower, the finches looking for a place to build their nest, and the grateful tortoise that enjoys its fruit. Magnificent artwork brings the desert landscape and creatures to life, showing the interdependence between plants and animals. Readers young and old will appreciate this timely message of how essential even an old cactus is to our environment and the world we all share. Back matter includes information on the interdependence of the desert community.”

Need some reviews of Saguaro’s Gifts?

Educational Activities inspired by Kurt Cyrus’ Saguaro’s Gifts:

  • Before Reading–From looking at the front and back cover: 
    • Where and when do you think this story takes place?
    • What does the word “saguaro” mean to you?
    • What type of wildlife do you see?
    • What is your eye most drawn to?
    • What else do you notice about the cover?
  • After Reading–Now that you’ve read the story: 
    • What is so special about this particular birthday for the saguaro cactus?
    • Many creatures rely on the saguaro for food, shelter, or shade. Which creature were you most surprised to see?
    • The saguaro needs those creatures, too. Why?
    • How did you react when the bobcat appeared?
    • What was your favorite moment in the book? Why?
    • What was your favorite picture in the book? Why?
    • Nonfiction picture books often teach readers something since they’re based in facts. What’s the most surprising thing you learned?
  • Drawing–As you’ve seen in the pages of Saguaro’s Gifts, the desert is an amazing place. Watch the following videos that show how to draw a desert step by step. Use whatever crayons, colored pencils, or paints you want. Consider sharing your art with friends or family members.

  • Writing–This story is told from the point of view of all the creatures that value the saguaro. Write a new version of this story from the saguaro’s point of view. What does the saguaro think, feel, say, or do? Consider sharing your version with family members or friends.
  • Crafting–The desert is a beautiful place. Let’s make some beautiful things ourselves with these fun crafts: 
  • Further Reading–Which of these other picture books about the desert have you read? (Click on any book cover for more information on these titles!)