Category: Author Interviews

Author Interview: Donna Janell Bowman

On By Only Picture BooksIn Author Interviews2 Comments

This month on the OPB Author-​Illustrator Interview Series, we’re thrilled to feature Donna Janell Bowman—a writer, researcher, and storyteller who brings history to life for young readers. Donna’s award-​winning picture books, including Step Right Up: How Doc and Jim Key Taught the World About Kindness, King of the Tightrope: When the Great Blondin Ruled Niagara, and Wings of an Eagle: The Gold Medal Dreams of Billy Mills (co-​authored with Billy Mills), shine a light on incredible historical figures who persevered against the odds.

With a passion for uncovering overlooked stories, Donna’s meticulous research and lyrical writing have earned her accolades like the Sibert Honor, multiple state book awards, and recognition from ALA, NCTE, NCSS, and the Library of Congress. She holds an MFA from Vermont College of Fine Arts and has spent years teaching, editing, and mentoring writers.

Join us as we discuss her journey from ranch kid to award-​winning author, her deep-​dive research process, and the unforgettable stories she brings to life.

RVC: You grew up on a ranch, surrounded by wide-​open spaces and animals. How did your childhood experiences shape your love for storytelling?

DJB: Ooh, I love this question! There were a few downsides to being a ranch kid: I was isolated from my friends who lived in regular neighborhoods, we had only five TV channels (pre-​digital age), and I had seemingly endless chores in all weather conditions. When I was young, I didn’t appreciate how the wide-​open spaces and uninterrupted time provided a sort of incubator for a rich imagination and sense of curiosity. My penchant for stories began right there in Central Texas.

RVC: It sure sounds like it!

DJB: The animals, too, shaped me. I was an animal lover, and we had a whole lot of them, but I had a special bond with horses. Through my years of training for and competing in horse shows, I was the lucky beneficiary of the remarkable animal-​human connection. I learned compassion and empathy — traits that would be critical to future me, the writer.

RVC: You once dreamed of being a veterinarian, movie star, writer, and princess—all at the same time! When did writing take center stage for you?

DJB: Ah, the pie-​in-​the-​sky dreams of youth! I was awed by the power of drama to evoke emotion and truth, and actors’ abilities to inhabit characters so believably. I had a very active imagination! But Hollywood was not in the cards for me. Instead, I checked out books from the bookmobile that came to my school at irregular times and imagined the stories playing out in my mind. Then I created my own stories while sitting in a tree, often with a horse and dog waiting below. Stories, poems, and diary entries filled my notebooks. When my parents gifted me a typewriter, I became a writing machine, surely to the annoyance of my family.

My concern for animals sparked my interest in veterinary work, but after working for a clinic for two years as a teenager, I realized that it wasn’t quite the altruistic endeavor that I naively hoped. Later, I would write a book about kindness toward animals.

As for becoming a princess, well, at some point, I realized that Disney princesses were passive in their lives rather than empowered women. How boring! Don’t get me wrong, I was ready to saddle my own horse if some hunky guy who lived in a castle showed up on his trusty steed with the perfect proposal and some feminist leanings.

It took a little time, but I eventually circled back to my writing roots.

RVC: Before publishing children’s books, you wrote for newspapers and magazines. How did that background help shape your voice as a nonfiction writer?

DJB: This is a classic case of faking it till I made it. Though I had taken some journalism classes in college, I did not consider myself a journalist. When I left the corporate world, I took a chance and pitched myself to regional newspapers and later to children’s magazines. To my surprise, I had success with both. The more I wrote and adapted to variables, the closer I came to my own writing voice, and the more confident I became in my skills.

RVC: This is a common story I hear from kidlit authors. You’re in good company!

DJB: While I was writing those articles, I wrote plays for local theatre, and I was immersed in children’s books with my kids. At some point, when my youngest son was in diapers, I knew that I wanted to be a children’s book author. For an agonizing number of years that followed, I studied and dissected picture books like a scientist. And I wrote a lot. I was relentless!

RVC: Talk about your MFA from Vermont College of Fine Arts. What was the most valuable lesson you took away from that experience?

DJB: Everybody with an MFA will answer this question differently, depending on their pre-​MFA experience and their specific program. I started the VCFA Writing for Children and Young Adults program with seven books under contract and years of deep self-​study under my belt. But, good golly, the program was intense! The volume of reading and critical and creative writing on short deadlines was challenging. On top of that, somehow, I managed to launch my first trade picture book, Step Right Up, during my second semester. Yowza! The two-​year program deepened and expanded my knowledge base, provided an invaluable community that now includes forever friends, and taught me that there is always more to learn.

RVC: Let’s get to your books! What’s the story of your first published picture book? 

DJB: Thank you for clarifying “published” picture book. During school visits, kids always ask me how many books I’ve written, which is a very different question.

RVC: Absolutely. Those are two completely different things.

DJB: Like most authors, before my first published book, I wrote a lot of meh manuscripts that will never see the light of day, but each one educated me.

Step Right Up: How Doc and Jim Key Taught the World About Kindness took ten years to bring into the world. I first learned about Doc Key and his “educated” horse, Beautiful Jim Key, through an adult book about the subject. My interest was piqued because once a horse girl, always a horse girl. But I was so skeptical about the true story that I had to do my own deep research. Soon, I was convinced that this was a story that kids needed to know.

RVC: How did the manuscript change over those ten years?

DJB: My first iteration of Step Right Up was middle-​grade nonfiction, but an agent suggested that I rewrite it as a picture book. I spent the next 1 ½ years studying the unique genre of picture book biographies. After too many rewrites and revisions to count, my manuscript found a home with Lee and Low Books and was published in 2016, just when the world needed a book about kindness. Gratefully, it racked up many awards and accolades.

RVC: Nice! What lessons did that book teach you—about writing, research, or even publishing?

DJB: Oh, gosh, how much time do you have? My journey with Step Right Up was a masterclass in research, the challenges of carving a focused angle out of a giant story, the power of revision, the synergistic relationship between author and editor, and the fluid nature of publishing timelines. Perhaps most importantly, I learned that the key to writing a book that deeply resonates with readers is to select a topic that deeply resonates with me. Considering my background, it’s not surprising that a piece of my heart is threaded through Step Right Up.

RVC: Your books often highlight underdogs and figures who defied expectations. What draws you to these kinds of stories?

DJB: It’s interesting that we authors don’t always recognize the patterns in our choice of subjects or story themes until we’re a bit further down the publishing path. Like most people, I have felt like an underdog at times, and I know the internal wrestling match between insecurity and determination. By learning about the lives of people who overcame great obstacles, persevered against skepticism, and upended expectations, I find hope and empowerment. Kids need those stories, too. That’s the power of books and stories, isn’t it?

RVC: With so much research involved in nonfiction, how do you organize your notes and materials to keep everything manageable?

DJB: I’m a research junkie, so this makes me chuckle. My processes have evolved since my first nonfiction manuscript (unpublished) almost twenty years ago.

I am a tactile person, so I like both hard copies of my research materials and digital folders. Since many of my books are historical, I organize my materials chronologically or by subtopic. In fact, I’ve earned a bit of a reputation for my giant binders. As if that’s not enough of a chore, I then copy and paste the most vital information into a Word document that is divided by relevant topics for easy scannability. It’s a tedious process that makes me grouchy, but the document becomes an invaluable tool during fact-​checking and when, years later, I’m interviewed about my older books. For example, a few weeks ago, I was interviewed about Beautiful Jim Key, but it has been many years since I visited my old research. Thankfully, I didn’t need to dig through my old binders because I had my detailed “book bible” document as a quick refresher.

RVC: Wings of an Eagle was a collaborative project with Olympian Billy Mills. What was it like co-​authoring a book with him, and how did that change your writing process?

DJB: People are often surprised to learn that Wings of an Eagle was my idea. In 2014–15, I learned about Billy while I was researching for a different book. Talk about an underdog story? He was born impoverished, was orphaned as a child, and faced health challenges and systemic racism. Just when he was ready to give up, he remembered his late father’s advice to chase a dream to heal a broken soul. Billy’s dream was Olympic-​sized. Spoiler alert: He succeeded and is still the only American to win Olympic gold in the 10,000-meter event, and only the second Native American to win Gold in any track & field event.

RVC: Such a heroic story here!

DJB: I researched and wrote a first draft of the book while I was a VCFA student. But, as a white woman, it didn’t feel right to pursue publication without Billy’s blessings and input, so I spent the next four-​plus years trying to secure an interview with him. In January 2020, I got my chance. I spent a day with Billy and his wife at their home. It was magical! By the end of the day, we agreed to collaborate; I would do the writing and revising and work with an acquiring editor, and Billy would supply information and ensure authenticity and accuracy. Our many conversations broadened my perspective and inspired me to look much closer at American history, with special consideration for Billy’s point of view. My journey with Billy and Wings taught me to be open-​hearted and flexible.

RVC: Your books blend history with a strong narrative voice. How do you balance factual accuracy with engaging storytelling?

DJB: Firstly, thank you! I always remind myself that I’m writing a true story, not a journalistic article. For narrative nonfiction, my job is to select the facts that serve my story angle and theme and then flesh them out into source-​based scenes that seamlessly connect to each other in a natural arc and a satisfying resolution. Unfortunately, picture books have limited page space and word counts, so I must leave 95% of my research material on the cutting room floor. That part is painful!

As for voice, before I begin writing, I carefully consider the character’s vibe and the overall story tone. As much as possible, I customize my narrative voice to reflect who the character is/​was and the impact they had on their world. That’s why each of my books has a unique narrative voice.

RVC: What’s one of the most surprising discoveries you’ve made while researching for a book?

DJB: I’ve had stunning revelations during research for each of my books, but I’ll offer one as a cautionary tale.

RVC: Please do!

DJB: For my book King of the Tightrope: When the Great Blondin Ruled Niagara, I was desperate to track down descendants of the tightrope walker because my research revealed conflicting information. Three years into my search, I finally made contact with Blondin’s French great-​great-​grandson. Fortunately, he was his family’s historian, and he was thrilled about my project. Huzzah! We shared resources and, together, dispelled some myths about Blondin that had been perpetuated since the mid-​1800s, including a fictionalized biography published in 1861—a source used by practically every writer who has written about Blondin since that time. Lesson learned: Don’t fully trust any single source.

RVC: What advice would you give to writers tackling their first nonfiction picture book?

DJB: Choose a character or topic that will retain your interest and commitment for a very long time, potentially years.

Ask yourself why you personally resonate with your character or subject. Doing so will lead you to the heart of your story and your likely theme.

Let glorious curiosity be your guide, and don’t settle for the low-​hanging fruit of research. The good stuff is buried and begging to be uncovered — probably not online.

Remember that experts and sensitivity readers are important. Don’t be shy about contacting them. They are usually honored to be asked.

RVC: If you could go back in time and give one piece of advice to your younger writer self, what would it be?

DJB: Only one? Okay then…do not expect your children’s books to financially support you!

RVC: One last question for this part of the interview. What’s next for you? Are there any upcoming projects or events you’re excited to share?

DJB: I do have other projects in the works, but I’m not able to discuss them yet. Otherwise, I’ll be heading to ALA with Billy Mills at the end of June to accept the Robert F. Sibert Honor for Wings of an Eagle. And Wings has been named the South Dakota One Book for 2025, so we will be there in September, along with illustrator SD Nelson, for the book festival and to celebrate approximately 15,000 third graders receiving a copy of the book. Huzzah!

RVC: I’ll see you at ALA then. And congrats!

DJB: Oh, and I’ll be teaching some online classes soon, so readers should watch my website for details.

RVC: Okay, Donna. Let’s launch into the Speed Round. Fast questions and zippy answers please. Are you ready?

DJB: Hey, I have survived an MFA and the publishing process, so I can handle anything.

RVC: What’s one thing about ranch life that city folks would be shocked to learn?

DJB: Mud can suck boots right off your feet!

RVC: You can instantly master any extreme sport—what do you pick?

DJB: Mountain climbing.

RVC: If your life had a theme song, what would it be?

DJB: “Unwritten” by Natasha Bedingfield.

RVC: Which of your book characters would make the best travel companion?

DJB: Billy Mills, of course!

RVC: If you could go back in time and witness one historical event, which would it be?

DJB: Hm! I would like to have witnessed the suffrage movement and the first vote under the 19th Amendment.

RVC: What legacy do you hope your books leave behind?

DJB: Through my books, I hope readers, especially my future descendants, will hear my voice encouraging them to chase their dreams, shoulder through obstacles, and extend hope and love to all of humanity.

RVC: Thanks so much, Donna!

DJB: Thank you for inviting me, Ryan! It has been a real pleasure!

Author Interview: Shannon Stocker

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Thanks to Joyce Uglow for another fine OPB interview. I’ll give a quick bio on our guest, author Shannon Stocker, and then Joyce will take the reins. Enjoy!

Shannon Stocker lives in Louisville, KY, with her best friend and husband of 20+ years (Greg) and their two beautiful miracles, Cassidy and Tye. They have a chatty parrot named Prozac (‘Zac’), a service dog named Sophie (Cassidy is a brain cancer warrior), a mini Aussie named Copper, a rescue kitty named Nugget, and a bearded dragon named Pepper. She is fully aware that she harbors too many animals. Outside of writing, she’s a singer, songwriter, pianist, guitarist, and actress.  Shannon is represented by Allison Remcheck of Stimola Literary Studio.

JPU: Reinventing the Wheel: How Two Sisters Revolutionized the Wheelchair comes out in the summer 2026. Get a Hug releases in fall of 2026. Why are these two picture books important to get into the hands of kids?

SS: Hi, Joyce and Ryan! Thanks so much for having me on your blog. Reinventing the Wheel is another nonfiction picture book biography that’s dear to me, like Listen: How Evelyn Glennie, a Deaf Girl, Changed Percussion, because it shines a light on a fabulous invention for wheelchair users by Irish sisters, Ailbhe (pronounced AL-​va) and Izzy Keane.

IZZY'S WHEELS PW announcement.png

I spent two years in a wheelchair, and I remember only too well the looks of pity I’d get from others. At the time, I had actually been given two years to live; I didn’t know that I would regain my strength and walk again someday. Those two years taught me a great deal about myself, and they changed the way I approach everything—including my writing. I’m passionate about highlighting the beauty, the color, the possibility within different disability communities. We too often put boxes around that which is unknown to us. Kids in wheelchairs deserve more than that. They deserve our encouragement to break free from limits that others place on them and explore the vast realm of that which is possible.

To think of things that no one else has ever thought of before. That’s what Izzy and Ailbhe Keane did. As for Get a Hug, this book is everything that I first fell in love with about writing. It’s so much fun; it rhymes, it’s musical, it’s song-​like, and it’s reminiscent of one of my favorite children’s authors—Sandra Boynton. It’s an ode to hugs, and everything a hug can be. I really wanted to write a book that exudes pure joy, and this is that book.

Screenshot 2024-08-23 at 10.28.41 AM.png

JPU: Ah…yes. It has been said that a little bit of joy can last a lifetime if practiced daily. As a former educator and aunt of young man who struggles with mobility, I can totally see why both of these books are important to you. It is crucial that people see themselves in books. Did your idea to acquisition process differ for these two picture books?

SS: Reinventing the Wheel only went to my editor, Jess Garrison, at Dial/​PRH. It really belonged with her. She did such a lovely job with Listen—my agent wanted to give her first crack this one, since it felt like a great follow-​up. Obviously, I’m thrilled that Jess agreed!

Get a Hug got immediate interest from a few houses, but Celia Lee was effusive about it and immediately had a vision for the right illustrator (Lily Zhang, whose initial sketches are friggin’ adorable). Celia’s suggestions for edits rang true to me, and revisions just poured out so easily. When she made an offer, I knew it belonged with her at S&S!

JPU: I see that you and I are on the same page when it comes to the notion that artwork in a picture book has the power to draw in a book buyer. And I agree that the vision for the artwork is one of the keys to success. I also love a fun follow up and companion book. And so do kids! What would you like your readers to take away from these two stories?

SS: I’m hoping that both books are feel-​good stories that bring joy. I’d love for Reinventing the Wheel to bring a sense of “normalcy” to wheelchairs. People who use them often don’t feel confined. Wheelchairs can allow for a sense of independence and freedom, and they deserve to be a reflection of the user, just as a pair of shoes or an outfit might be for those who don’t need a wheelchair. I’m hoping that Get a Hug winds up being one of those books that kids choose time and again from the shelf because it’s so fun to read!

JPU: YES! That re-​readability IT factor brings it home time and time again. New ideas for books come to me when we venture out and about to see the world or travel the USA. Does inspiration strike you when you’re at home, on vacation, at work, or other places?

Inspiration strikes wherever I keep my eyes open (and sometimes when they’re closed)! I travel for my day job, so I’m always looking around at people: what they’re wearing, their tattoos, the way they interact with others. I especially try to interact with people in the disability community. If someone makes eye contact with me, I’ll smile and say hello. I frequently write down names and traits for characters in my novels, too. I actually just got an idea on our vacation a couple of weeks ago, when I met someone whom I believe will make a wonderful subject for my next nonfiction picture book biography. But I also get ideas right here at home from my kids all the time. Especially my son, whose imagination soars. Ideas are everywhere!

JPU: Isn’t it fun to notice and note people’s reactions to a smile or a nod? This brings me to wonder about your thoughts on back matter. Is there a certain back matter style or structure that resonates with you?

SS: For me, back matter should add something to the manuscript that didn’t belong in the manuscript but makes the story feel complete. It should complement the book. In Reinventing the Wheel, for example, I really wanted to get Izzy’s take on wheelchair etiquette. The book is not about wheelchair etiquette at all, but the topic came up multiple times in interviews with the sisters.

I think that people who don’t use wheelchairs sometimes feel uncomfortable around them—is it okay to draw attention to them? Should I help someone in a wheelchair, or should I not? Should I bend over when talking to them so we’re eye-​to-​eye? Sometimes people think they know the answers, but maybe they don’t. Back matter, to me, is a great opportunity to fill in some of the blanks, especially when a book is nonfiction or the author has a personal connection to the story, as I do.

JPU: Teachers love back matter, discussion guides, and extension activities. What are your thoughts on creating tools for teachers, care givers, and/​or parents?

SS: Oh, this is such a great question, and I wish I had a better answer for you! Luckily, my houses have been pretty good about creating discussion guides and extension activities for my books. Unlike some other authors, I’m not a teacher, so I really rely on the ones who are to give me guidance and feedback. I was recently talking with a critique partner about this, and I think I’m going to reach out to the homeschooling community on Instagram for help on this with my novels. It’s not been my strength but is definitely an area where I’m looking to improve.

JPU: Speaking of strengths, I believe one of yours is message consistency. If you were on a panel of kidlit writers talking about platform, what would the audience members be surprised to hear you say?

SS: In many ways, I think books have a life of their own. I know a lot of authors who spend a great deal of time building their online presence, but some might be surprised to hear that I feel it barely moves the needle. I do pretty much the same thing for all my books, and some do much better than others. My suggestion would be that writers do the best they can with platform, but try not to stress about it too much.

JPU: I agree! We do not need to add any level of stress to our lives! How about your super writer power? Does it kick into gear when creating an intriguing title with hooks that attracts book buyers?

SS: I try not to write hooks for the purpose of making a sale. If you write for the market, or if you write with the trends, by the time you’re on submission, the market will have changed. The best writing superpower we all have, in my opinion, is the wealth of experiences we’ve collected through our lives.

  • What connects with YOU?
  • What story can only YOU write?
  • How can you take YOUR passions, YOUR pain, YOUR tragedies, YOUR funny moments, YOUR experiences, and turn them into a story?

When books are filled with honesty, people really feel them to their core. That’s what gives them heart. We are never the only one to experience things. If we can use books to connect with other people, that’s when the magic happens.

JPU: Truth be told! When listening in on conversations between kids, (ok… eavesdrop) I pay attention to their interests. I’ve been known to lose myself in research because a news article spurs me to dig into a topic. What is the best rabbit hole your got lost in?

SS: LOL – I can think of a million bad rabbit holes that I’ve gotten lost in, but “best rabbit hole” is harder! I think my best rabbit hole is researching musicians with disabilities. I have ADHD, segmental neurofibromatosis, RSD/​CRPS, and I’m a coma survivor. My daughter has brain cancer, and my son is neurodiverse. My parents were both hard-​of-​hearing, and my mom was blind for a period of time (retinitis pigmentosa).

But I’m also a musician (pianist, singer, songwriter, mediocre-​at-​best guitarist). For years, I’ve had to change my way of playing instruments or performing to get around my disability. For example, I had to start using a travel-​sized guitar because a standard guitar presses against the tumors in my arm and causes pain. Everyone has obstacles in their life. The question is, how do you use those obstacles to succeed? How do you use your experiences to get ahead and pursue your passions? I’m fascinated by those questions.

JPU: Questions and curiosity fascinate me too. Is there a children’s book from your childhood that you wished you had written? What makes it special and unique?

SS: I am one of the rare authors who didn’t read much as a child. I don’t remember ever being read to, either. But I did fall in love with picture books when I had my own children. A book I wished I’d written is The Rabbit Listened by Cori Doerrfeld. It’s so beautiful and perfect in its simplicity, and the message is crystal clear without being didactic. And those illustrations are adorable! To me, this book is like a great song with an earworm hook. It comes back to me over and over again. Another one like that is Guess How Much I Love You by Sam McBratney. That last line is so perfect! Who knows—maybe I have a thing for rabbits…

JPU: In many ways, kids today have it better than I did when I was a kid. Our library was quite a distance away, and we did not have many books. I’m glad to see that Oliver (one of my grandsons) is an avid reader. He may have picked up his soft spot for bunnies from reading books.  There’s much to love about those fuzzy little friends. What is the best advice you can give to a new kidlit writer?

SS: FIND YOUR PEOPLE!!! Do not try to go this alone. The publishing journey is not for the faint of heart. It’s filled with rejection and self-​doubt. It’s slow and painful. Find writers who are at the same stage you are, grow together, learn together, go to conferences together, critique one another’s work, and be there to cheer one another on along the way.

I remember wanting to find an established group that I could join, when I first got started. But honestly, that’s not the way it works. Established groups typically started and grew together, when everyone was a newbie. It sounds counter-​intuitive, but that really is the best way to learn. Find people whose feedback and writing resonates with you and hold onto them for dear life. Then, ride the wave together.

JPU: Okay, Shannon–it’s time for the Speed Round. Here we go! What is your One Little Word for 2025?

SS: Compassion. It has never mattered more.

JPU: 100%! Are you a book buyer or library user?

SS: Both! Yay, libraries!! One of the best ways to support authors is to ask your library to carry their books. It’s free and oh-so-helpful!!

JPU: Sorry! That wasn’t a fair question. How about this choice? Do you prefer to write Picture Books or Young Adult?

SS: Can’t choose between my babies. They are apples and oranges, and I love them both.

JPU: Okay… Are you a “pantser” or a “plotter” when writing picture books?

SS: I used to be a pantser, but I’m more of a plotter now. I have to have a sense of where I’m going or I tend to flounder. That said, it’s not uncommon for my outline to change along the way. In fact, it always does.

JPU: Change can bring about golden nuggets. What are you working on now?

SS: I just finished a new picture book last week that I’m super excited about. It’s been spinning in my brain for years, and I finally made the time to just put my butt in a chair and finish writing it. And I LOVE it—it gives me all the feels. I’m also working on characters for my next novel.

As for revisions, I’m working on my next YA novel, The Roach King of Raleigh, which comes out early next year, and revisions of my upcoming picture books, Reinventing the Wheel, Get a Hug, and a couple more that have yet to be announced.

JPU: You get THE call from THE children’s book awards committee, what’s your reaction?

SS: Oh my gosh, this was the BEST call ever!! I actually missed the first call, but when they called the second time, I remember hearing, “Schneider Family Award committee,” and screaming. I asked them if I could gather my family before they said anything else and they all cracked up. I screamed to my whole family, put the phone on speaker, and then asked them to continue. It was chaos in the most wonderful, hysterical way. I sobbed through the whole call, feeling the most immense sense of gratitude and validation. Particularly because it was the Schneider Family Award, and I’m such a passionate advocate for the disability community. Any award would be meaningful, obviously, but this one was a bucket list item, for sure!

JPU: Thank you, Shannon. It was wonderful getting to know you and your new books. All the best to you. See you in the library and on the bookstore shelves!

Author Interview: Becky Scharnhorst

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Thanks to guest interviewer Joyce Uglow for handling this month’s interview with Becky Scharnhorst!

Becky grew up in Northeast Wisconsin and spent most of her childhood playing in lakes and reading books. Shortly after graduating from Luther College, Becky spent a year working as a children’s bookseller and soon discovered she enjoyed reading picture books more than anything else. Now Becky spends her days writing children’s books and working at her local library. When she’s not reading or writing, Becky can be found hiking through the woods, baking something sweet, or thinking happy thoughts. She currently lives in Central Wisconsin with her husband, two kids, and a few too many pets.

JPU: Best Buds is the most adorable book on earth, and I simply cannot wait for its release on July 8, 2025. Please share what you see as the power Best Buds can have on young readers. What do you hope will speak to kids?

BS: Thank you so much for your kind words about Best Buds! I’m thrilled to hear it resonated with you. My hope is that after reading this story young readers will feel empowered to trust themselves and to embrace their own unique self. In this story, Spencer is confident in who he is and in his choice of friends. He knows what qualities he’s looking for and he finds friends who have them. Even when others question him, he remains true to himself and his chosen friends. I hope young readers feel equally confident in who they are, and I hope it makes them consider what qualities are important to them when it comes to friendship.

JPU: Booklist had this to say about your picture book My School Stinks. “Along with being a good choice for children anxious about their first day, this offers a nifty exercise in reading between the lines. What is your favorite read between the lines in Best Buds?

BS: There is a spread near the beginning where Spencer learns he can buy plant friends at the farmers’ market. The text reads “On a trip to the farmers’ market, Spencer discovered he could even buy friends, though something didn’t feel quite right about that.” 

I love that line because it works on two different levels. Children will think it’s funny even if they don’t understand the hidden meaning behind that phrase because they know you can’t buy friends at the store or market. But older children and adults who do understand the meaning behind the phrase “buy friends” will know that the text is also saying something about the true nature of friendship.

JPU: Friendship. As a principal, I often gathered small groups for special friendship lunches. It would have been great to have a garden at our school to plant friendships. New ideas for picture books come to me when I’m traveling.  Does inspiration strike you when you’re at home, on vacation, at work, or other places?

BS: That’s an interesting question. I was going to say all of the above, but when I started going through my list of books and ideas, I realized most of them came to me when I was at home. I’m guessing that’s because home is where I’m most comfortable and where I can most easily quiet my mind. That said, I have worked out a lot of story problems while hiking, so the forest is another place of inspiration for me.

JPU: Home is where the heart is, right? Speaking of traveling, This Field Trip Stinks is hilarious! In contrast, I think the jokes in Best Buds are more subtle. Is there a line or a spread that makes you giggle?

BS: The spread that makes me giggle the most is the one where Spencer discovers he can buy friends at the farmers, market. However, a close second is the one where Spencer takes his plant friends to various locations. All of Spencer’s lines on that page make me laugh, but I especially love the one that comes right after the librarian comments on how many friends he has brought to story time. Spencer casually replies, “Don’t worry. They’re much quieter than Jeremy.”

JPU: There is that travel theme again…  I do love a busy farmers market where I can replenish my pantry with special honey, plants, and bread. Picture books are extraordinary treasures in of themselves. It’s well known that great teachers use picture books for enhancing their students’ learning. Your extension activities, discussion guides, and resources are super fun and helpful. In your opinion, what are the important features in a tool for teachers, caregivers, and/​or parents?

BS: I think one of the most important features is that the tools are easy to access and easy to use. Parents, teachers, and caregivers are usually quite busy, so if the activities you are providing require a lot of extra prep or materials, they likely won’t get used at all. I also think it’s important the activities are fun for kids. Having curriculum tie-​ins is an added bonus, but I think it’s okay if the activities you provide are purely for fun. We are writing for children, first and foremost, so when creating resources, we need to keep that in mind.

JPU: Here’s one to make you think outside the box. If you were on a panel of kidlit writers talking about platform, what would the audience members be surprised to hear you say?

BS: I laughed out loud when I read this question because I can’t imagine any scenario where I’d be asked to be on a panel talking about platform. This is one of the areas where I struggle the most. I don’t know if I could even describe my platform, though I probably shouldn’t admit that. I admire people who excel at marketing and branding, but I am not one of them. Probably some of that stems from my mixed feelings about social media. I tend to be a rather private person, so I don’t feel comfortable sharing a lot about myself online. At the same time, I want my online presence to be real and authentic, so it’s a struggle to find that balance. The audience might be surprised to hear me say that I’m still figuring it out. Or, maybe that’s obvious after taking a look at my online presence.

JPU: I don’t know about that, Becky. I see you as someone who stands on the nature platform very well.  So, how about your super writer power? How do you kick it into gear when creating an intriguing title with hooks that attracts book buyers?

BS: You’re really digging into to all my weaknesses, Joyce! I am embarrassed to admit that I only came up with one of the titles for my books. I do not have a superpower when it comes to clever titles that will attract book buyers. What I do have are brilliant critique partners who are masters at wordplay! My friend Tara Hannon came up with the title for Best Buds and it is utter perfection. Laura Lavoie is another writing friend of mine who is so good at coming up with catchy titles and concepts. She wrote an excellent blog post about titles that I still refer back to when brainstorming. Titles are hard for me! 

What I usually do is write a list of words and phrases that are associated with my manuscript. Then, I come up with a list of terrible titles using those words. After that, I send the list to my smarty pants critique partners and they usually come up with the perfect title. I’ve also had titles changed by my editor. So, I guess my superpower is surrounding myself with geniuses!

JPU: I agree! Critique partners, editors, and fellow writing community members enrich what we do. I’ve been known to lose myself in research because a news article spurs me to dig into a topic. What is the best rabbit hole you got lost in?

BS: Octopus camouflage! Even though How to Get Your Octopus to School is a fiction book, my editor wanted me to include some facts about octopuses in the back. I thoroughly enjoyed researching these incredible creatures and especially learning more about their impressive camouflage. I don’t think I want to know how many hours I spent watching octopus camouflage videos.

JPU: I have to admit that EVERY time I see an article, video, or book about an octopus, I think of you. Name a children’s book from your childhood that you wished you had written. What makes it special and unique?

BS: I loved The Monster at the End of This Book as a child and I still love it today. I think one of the things that makes it special is that it’s interactive. There are a lot of interactive books out now, but I can’t think of any others from my childhood. Also, the page turns are epic! Young readers cause ropes to snap and brick walls to tumble with the mere flip of a page. It’s empowering and hilarious! It also has one of the best endings ever! It’s silly, surprising, and completely satisfying.

JPU: I need to dig that one out again. Jon Klassen and Mac Barnett just wrote an in-​depth analysis of Go, Dog. Go! on their SubStack Looking at Picture Books. Those older books are sure different from what is getting published today. What is the best advice you can give to a new kidlit writer?

BS: Focus on your craft. There are many excellent resources available to new writers, and a lot of them are free. So, do some research. Read current books. Take a class. Get some feedback. Revise. Revise. Revise. Always be diligent about your craft. And if you can, find yourself some brilliant critique partners.

JPU: Thanks, Becky. Let’s jump into the Speed Round. What is your One Little Word for 2025? 

BS: I didn’t choose a word for 2025, but I am trying to be more deliberate about rest.

JPU: Ah ha. REST. It is a radical act… I need more of that! Are you a book buyer or library user? Both!

BS: I admit to spending way too much money on picture books. But then I have gifts I can give. I do love a good library stack, too.

JPU: What’s funnier? A well-​crafted joke or a surprise?

BS: Most well-​crafted jokes have an element of surprise to them, so I’m not sure how to answer. Can I say both again?

JPU: Now I’m going to have to reread your books to see which technique you use the most. Are you a “pantser” or a “plotter” when writing picture books?

BS: Plotter! I usually spend weeks or months thinking about a project before I put any words on the page.

JPU: Wise. Becky, you’re very wise. What do you have in the publishing pipeline?

BS: I recently received some exciting news, but I’m not allowed to share the details yet. Hopefully I can spill the beans soon!

JPU: NO! I’m not good at waiting… You get THE call from THE children’s book awards committee, what’s your reaction?

BS: Based on the reaction I have whenever my agent calls with good news, I’d say lots of screaming and jumping around. I am the opposite of chill in those situations.

JPU: Thank, Becky. I know for a fact that kids all over will fall in love with Best Buds. I know I did.

Author Interview: Katrina Moore

On By Only Picture BooksIn Author Interviews3 Comments

Hello, OPB family! I’m thrilled to be taking the reigns over for Ryan this month and conducting this month’s Author Interview with the oh-​so-​kind and talented Katrina Moore. I’ve been a huge fan of Katrina’s work for years and it was an absolute thrill to be able to meet her in person at NCTE in Boston last fall. Before we jump in to the interview, here’s a little about Katrina:

Katrina Moore is an author and former elementary educator. She holds a M.A. in Teaching and taught for thirteen years in Maryland, Massachusetts, New York, and New Jersey. She writes in Georgia, where her mission is to create books that children will hug for ages. She is the author of the humorous TEENY HOUDINI chapter book series (Teeny Houdini: THE DISAPPEARING ACT is nominated for the 2025 Washington State Otter Award), as well as several acclaimed picture books including THE STAR IN YOU, CHANG’E ON THE MOON (a 2024 Bookstagang Best Illustrated book), GRUMPY NEW YEAR,  HOPE IS A HOP, ONE HUG, GRANDPA GRUMPS (a 2023 Georgia Picture Book Award finalist, and 2025 Illinois Monarch Award nominee), and SOMETIMES LOVE ( a Bank Street College of Education’s Best Books of the Year). Her forthcoming books include the BIG JOB FOR LITTLE BABIES board book series, illustrated by Benson Shum. WHO’S DIGGING? publishes August 2025, and WHO’S BUILDING? publishes spring 2026. Another picture book in the beloved Grumps series, SCHOOLTIME GRUMPS, will publish summer 2026.

When Katrina is not building new literary worlds, she is cooking without a recipe, painting outside the lines, adventuring, or snuggling up with her two kids, husband, giant pups, and of course, digging into a cozy book. Connect with her at www.katrinamoorebooks.com, or on Instagram @katrinamoore1011  and Twitter/​X @kmoorebooks.

RGL: Hi. Katrina! I’m so thrilled you are here! To start, can you please tell us a little about your childhood? Were you one of those kids who was always writing?

KM: Hi, Rebecca! I’m so happy to be here, too! Thank you, and Ryan, for inviting me to Only Picture Books!

RVC: Happy to have you both here! Take it away, folks.

KM: I grew up as one of five kids, as the middle child, in a very big and busy family. It was a lot of fun, but I always needed and treasured some “me” time. So, while we played “Log Cabin,” or “Mermaids,” or “Quicksand Monster,” I was often scurrying off to find my own little nook, to spend some quiet time with my imagination. From an early age, I filled notebooks with drawings, musings, and lots of poems. I was often creating things – 3D art sculptures from found and repurposed materials around the house (these got me in a bit of trouble!), cakes, cookies, paintings, and dresses. Making something messy into something beautiful (and still sometimes, messy) has always been something I’ve gravitated toward.

Sometimes these ideas would start in my notebook, and sometimes they would be recorded there, afterwards. But always, journaling and writing have been something that I’ve done for myself – as reflection, as an escape, as a starting point to a bigger project, and as a way to fuel and capture my many passions, even as a kid.

RGL: I resonate so much with all of this! (Except for the four siblings. I only had one, and that was PLENTY!)  I know you worked as a teacher for more than a decade. What ages and subjects were your favorites to teach?

KM: Yes! I taught for over thirteen years as a public school elementary teacher. I taught every grade from kindergarten to fifth but spent the most time teaching second and third grade. One of the reasons I loved teaching in elementary school was that I got to teach all the subjects, and therefore, was able to do a lot of interdisciplinary teaching – a lesson or project that covered many learning targets but just felt like a fun project sparked by curiosity that nurtured the whole child.

While there’s something to love about every grade, and age of development, I really loved teaching the primary grades – kindergarten, first, and second. It’s probably the same reason that I love writing for children in these grades, as they’re the target age range for picture books (though, I’d also argue that picture books are really for ages 0 through over 100!).

RGL: Absolutely agree!

KM: There’s an unfiltered honesty at these ages that is so refreshing, and a way of viewing the world that is beautiful and admirable. They’re so smart, and while I’m teaching them important skills, they’re teaching me every day, too. They experience many new things and handle so much more than they get credit for. I have a deep respect for children that always came through in my teaching, and hopefully does through my writing, too!

RGL: Oh, it it definitely does. Did you use a lot of picture books during lessons or as read-​alouds in your classroom? What were a few of your favorite books to share with your students and why?

KM: I did! I read picture books aloud as much as I could, which was at least three times a day. I started every day with a morning meeting (even when I taught fifth grade!), and that always included a picture book read aloud. A favorite that I shared, year after year, during the opening week of school, was MY TEACHER IS A MONSTER (No I am Not) by Peter Brown, which invited them to discuss perspective, closely read the illustrations, feel super-​smart when they figured out what was going on with how the teacher looked, It’s such a fun book that it set the right tone for what learning in our classroom would feel like.

RGL: I don’t know that book, but can’t wait to go check it out now!

KM: Oftentimes, a picture book would make a great opener for a new topic we were going to learn. A great example of this is WATER IS WATER by Miranda Paul and Jason Chin, which was an excellent introduction to our water cycle unit in second grade, as well as a mentor text for poetry, and led to amazing student-​to-​text connections about the ways water is a part of their everyday lives.

RGL: LOVE, LOVE, LOVE that book!

KM: And, always, during the closing circle, at the end of the day, after some sort of reflection-​of-​the-​day activity, I would read a picture book. My favorite ones were always those that sparked rich conversations with my students, and allowed them to ask and wonder about things that they never encountered before, such as THE BOOK OF MISTAKES by Corinna Luyken. Reading this one aloud to students not only nurtured their growth mindset, but empowered them to reflect on their own “mistakes” and share how they could pivot when things didn’t go their way (which happens in elementary school, and as we know, all through adulthood, an awful lot!)

My favorites, as the above were, have multiple takeaways deeply ingrained into the stories, but are, first and foremost, books that understand and respect children, open their world, and entertain them.

RGL: You were clearly an incredible teacher. I wish I’d been in your class! How do you feel your experience as a teacher influenced your writing style and/​or the subjects you chose to tackle as an author? Can you give an example?

KM: My “mission” as an author is to write books that children will hug for ages. That is, I want to make books that children genuinely love. They love it because they see themselves in the story, because they connected with the subject so deeply, or because it makes them think anew, or feel a certain way—and they want to hold onto that.

When I wrote ONE HUG, I wanted to give a voice and stage to the little Chinese-​American girl in me who never saw herself accurately represented in the media. Like the characters in ONE HUG, my cultural identity influences my life, but it’s not my whole story. I wrote it for little-​me, but saw so many of my students in the story, too. Now, it’s so heart-​warming to hear from all different kinds of readers about how much their child, and their families connect with this book—and ones who are sleeping with the book under their pillow because they love it so much.

RGL: Awww, that’s the best. My son used to sleep with books too. So sweet!

KM: When I wrote THE STAR IN YOU, it was a love letter from my teacher heart—a message to each student, to let them know that even if they can’t see their own star, that I can.

Ultimately, the reason I write is the same reason I became a teacher. It’s driven by my desire to nurture children’s love of themselves, and of the world, and to feel confident and empowered by their place in it.

RGL: You are absolutely doing that! So, still wearing your Teacher hat for a little longer, I’m curious what advice do you have for authors? How can we get teachers to fall in love with our books?

KM: Write a book that you really love writing. There are various entry points for connection with a story, and as an author, we never really know the specific way in which a reader will connect with our books. However, when an author is genuinely having fun with their story, or their passion for their subject comes through, it’s often tangible. That, in itself, helps a book stand out to any reader. Specifically for the teacher reader, a book can earn a place on their shelf if it’s one that can be used and reused for multiple lessons, multiple times of the year, and will be one that helps to engage the reader that’s sitting at (or on) their toes during the read aloud. The ones I ended up buying (with my little to non-​existent budget!) were ones that I ended up checking out so many times from the library, it made more sense to own it!

RGL: Such great advice. Thank you! Just curious, do teachers really use back matter and Teacher’s Guides?

KM: Yes! Back matter, when done well, is an incredible tool for a teacher–diving deeper into content that is connected to the curriculum, and offers the information in a child-​accessible way. It’s also excellent for extension. When a young reader wants to know more, but maybe there wasn’t enough time during the read aloud or the lesson, they can further research a topic on their own during a center, or as an independent activity, using the backmatter as a jumping off point. Teacher’s guides are great, too! I’d say the best ones are easy to use, and include activities that are curriculum based/​tied, and pretty self-​explanatory because teachers are very busy people!

RGL: That’s such a great point! So, when and why did you decide to leave teaching to become an author full-​time? What do you miss most about it?

KM: As of this July, I’ll have been writing and authoring full time for two years. I never left because I didn’t love teaching – I truly, truly did! But teaching full-​time is more than a full-​time job (mentally, emotionally, and physically), even when you try to be as efficient as possible (as I did). When I would finish my teaching day, I tried to be as present as possible for my children, dogs, and husband – so my mommy and wife hat would work overtime, too. That didn’t leave a lot of time for writing, which I both needed to do (to meet deadlines and because I don’t feel like “me” when I haven’t written in a while) and wanted to do—because I love it, and it feels like a “calling”. I would write in the wee hours of the night when I very much needed to be sleeping. Suffice to say, it wasn’t very sustainable, long term.

RGL: Good for you for recognizing that and taking care of yourself. Both my mom and sister were/​are teachers and it’s so true that they work much more than a full-​time job. Teachers are serious superheroes.

KM: What I miss most is seeing the same group of children every day and actively being a part of their growth and development. But my favorite part of the teaching day was reading together. During author visits to schools, I still get to do that, so I’m getting to experience the magic that happens during that time, still!

RGL: I love that. Well, you may not be teaching kids anymore, but I happen to know you are amazing at teaching other writers. You don’t know this, but about 7‑ish years ago (I want to say it was 2018 maybe?), when I was just getting my feet wet in the Kidlit world, I attended a session that you presented at the New Jersey summer SCBWI conference about revising, which included a whole slew of tips, including color-​coding different aspects of your manuscript with various highlighters. Your presentation seriously blew my mind. Do you still use that system for revising your own stories? Can you share one or two of your very favorite revision tips?

KM: Thank you, Rebecca! Yes, “Revising Your Writing Into A Pot of Gold” is the workshop where I go through my “Rainbow Revision” technique. It is still one that I use today – though not every time. Basically, you use a different color when you are focusing on one aspect of revision. To mentally, and tactilely switch gears, you change the color of your tool to focus on the next aspect. I don’t always need to go through all the “colors”, and what a specific project needs during revision feels more intuitive now. But I absolutely refer back to, and still use, that as my revision checklist before I feel a project is ready.

My absolute favorite, do-​it-​every-​time, revision tip is to paginate and pace out your manuscript. That doesn’t mean that when you turn it into your agent or editor you should designate the pagination, but as a step in your revision, you should absolutely do this so that you can feel and see the beats of your manuscript, and know which scenes and pages have too much going on, and where your story is feeling static (like perhaps you’ve realized there are four consecutive pages where the action has not changed). I have a lot of different ways that I do this, but a simple one is adding extra spaces between where I think a natural page turn should be. There should be about 12–15 spreads (sections of text between the spaces). How does the pacing feel? Is there too much action in this scene to be shown visually? Are you maximizing the word choice at each page turn?

I share some more revision checklist questions and techniques over on my free Writer’s Blog.

RGL: What a great resource. Thanks so much for sharing. Okay, let’s now dig into your stories a little more. Your books are so full of authentic, kid-​friendly emotion. Take SOMETIMES LOVE, for instance. Here is a story about the long-​time friendship between a little girl and her pup, from whom she has to separate when her mom is deployed overseas (don’t worry, dear readers, it has a happy ending!). The reader, along with the child character in the story, experiences so many emotions in this book – affection, joy, sadness, disappointment, worry, excitement and love, just to name a few. When writing, are you consciously thinking about all the emotions you hope to elicit in the reader?

KM: Thank you, Rebecca. Yes! An emotional journey is just as important, and sometimes (depending on the story), more important for a character to go through as a physical journey. A step in my revision is always to create an emotional map for the story. What is the emotion the character(s) are feeling on the page? What do I hope the reader will feel on this page? (Does it work? Or Not?). It’s not something I worry about while writing my first draft. But it’s always something I check for during revision!

RGL: As a fellow rhymer, I am truly in awe of your rhyming talent and ability to tell such meaningful stories with so few words. In ONE HUG, HOPE IS A HOP, THE STAR IN YOU, and SOMETIMES LOVE, your poetic texts are beautifully sparse while the plots of each of these books is mostly shown in the illustrations. What is your writing process like for these types of books? How do you decide when to add illustration notes and when to hold off and allow the illustrator to fill in the gaps?

KM: Thank you. One of the best parts of being an author-​only for a picture book is that I know part of the magic will happen when the illustrator brings my words to life, and instills their own vision into the story through their visual storytelling and artistic choices. The result of the text and art working together, and one not being able to fully work without the other, makes this format so unique – and exciting. So I’m always keeping that in mind.

For a text that I’m only writing, I still think visually. So, as I’m writing, I am mindful about what will be shown through the art, and then I focus the text on what is essential to the story here? What do I want to convey that can’t come through the art? What words are necessary? For my books that are poems, as are all the ones you mentioned above, they usually begin with a strong concept that I feel compelled to explore.

I’ll begin by word mapping and jotting down all the words that are associated with the concept. Then, I focus on what do I want to say about it? That’s how I usually narrow down which words I absolutely must keep. And then, it’s a puzzle of how this can be shown visually, and what cadence corresponds to it, and what meter meets the tone I want the read aloud to take on. Notice that I didn’t mention finding rhyming words. Though the rhyme must be perfect, or it throws off the entire read aloud experience, it really needs to serve the story, and not the other way around. So I make sure my story is set first, and then I fret about the meter and the rhymes!

RGL: Oh, yes. So many people don’t understand that writing in rhyme is really NOT about rhyming words, but about meter and rhythm, and that story always – always—must come first.

KM: Each of the above stories was sent (to my agent, to my editor, and then to the illustrator) with art notes. Because I do not want to overstep, but know that I need to convey important information about what’s happening in the narrative via art notes, I keep them to the essentials. What is happening in the plot that they need to know. I will usually give one overarching art note before the text, and then, per spread, what is happening in the action (if it’s not clear via the text). For example, in SOMETIMES LOVE, since there was an overarching art note, the first three spreads did not need a specific art note. It wasn’t until the next one, “Sliding, scratching, through the halls, love will sometimes break through walls” that I needed to include the art note: [dog anxious when girl leaves] 

RGL: Thanks for sharing all of that insider info. I love hearing about other writers’ processes. Even in your books that don’t rhyme, like your picture books GRANDPA GRUMPS and GRUMPY NEW YEAR, and your chapter book series TEENY HOUDINI, you use so much rich lyrical language – onomatopoeia, internal rhyme, metaphor/​simile, alliteration, etc. Have you always been a poet at heart?

KM: Thank you for noticing that! Yes. The first “writing” that I filled my notebooks with as a child were poems. I’ve always loved poetry and connected deeply to it. Perhaps because poems create such strong imagery, and usually explore something in a new or creative way. I am a very visual person, and an out-​of-​the-​box thinker, so I’m drawn to a format, and using poetic devices, that make images come to life in my mind, and one that allows us to think about something in a unique way. I also believe that poems, like picture books, are best enjoyed when read aloud. And what a treat it is when words can string together to sing, and boom, and make you feel something!

RGL: I couldn’t agree more! I was also a huge poetry lover/​writer as a kid. Let’s talk now about your incredible range. You’ve published a chapter book series, picture books in both rhyme and prose, a folktale retelling, and later this year you will release a toddler board book series called BIG JOBS FOR LITTLE BABIES, beginning with the first book, WHO’S DIGGING? (Readers, Katrina generously shared a sneak-​peek of this one with me and I have to tell you, it is absolutely adorable!) What made you decide to dip your toes in all these different waters?

KM: Hooray! I’m so glad you enjoyed it, Rebecca. I can’t wait to share the BIG JOBS FOR LITTLE BABIES series with the world in August! That’s a good question, and it’s not something that I’ve intentionally done. The stories that I end up writing are ones that will not leave me alone. As mentioned earlier, I am a person who wears many hats, and oftentimes, many at once. So, for me to take the time to turn an idea into a draft, and to revise that draft to a show-​ready state, it’s got to be one that’s literally keeping me up at night and begging to be written. And, it turns out, most of those were (and are) picture books, but also chapter books, and board books. Some stories are more suited to one form than another, and I just let the “heart” of the story and my “voice” as a writer come through and then go from there (and then make sure it conforms, or not—purposefully to that format). I enjoy the challenge, balance, and freshness of working on multiple projects, and in multiple formats at once.

RGL: That’s so amazing. Which format or genre is most enjoyable for you and/​or most challenging?

KM: Picture books come most “naturally” to me and forever have my heart. I love both the range of ways they can be written, and the range of the readership—especially how you can truly not outgrow them. When done well, there is such magic that happens between the pages of a picture book, and well after it’s closed, between the book and the reader(s) that is unique to that format. At the moment, drafting a middle grade novel is proving to be the most challenging (though also rewarding and energizing!) I am so used to cutting down words, and sticking to essentials, in the picture book format, and then having very controlled language and sentence structure in the chapter book format, that the freedom to build out a scene with words and elaborate (because the only details the reader will get are through the text in a typical novel) feels unnatural to me. I’m certainly stretching new muscles (and it’s mighty fun!).

RGL: I feel that. I honestly can’t imagine writing anything longer than a picture book! Do you think you’ll ever round out your Kidlit portfolio with an MG or YA novel? Or maybe even a graphic novel?

KM: Yes, definitely! As mentioned above, I’m working on some middle grade novels now. So hopefully I’ll be able to share more on that front, soon.

RGL: Oh, I can’t wait to hear more! Alright, now that all the tough questions are out of the way, it’s time for the LIGHTNING ROUND! Are you ready?

KM: Bring it on! 🙂

RGL: Bunnies or Puppies?

KM: Puppies!

RGL: One hug or a thousand kisses?

KM: One hug!

RGL: Three things that make you grumpy:

KM: Traffic, being hungry, and being sleep-deprived!

RGL: Have you ever worked as a magician?

KM: No, but I LOVE magic, and performed many tricks on willing (and unwilling) family members growing up.

RGL: Favorite magic trick?

KM: When you pull something unexpected out of a whole, closed fruit, that definitely shouldn’t have been there! It was the inspiration for the trick in Teeny Houdini : The Super-​Secret Valentine. When a magician performed that trick for me the first time, I was blown away!

RGL: Teacher who was most influential in your life:

KM: So many! But my first was Ms. Galvin, my Montessori teacher who taught me in first and second grade. She made me feel “seen” and special, and showed me how impactful little acts of kindness and generosity can be.

RGL: Nicest thing a child reader has said to you about one of your books:

KM: That I wrote about them in my book.

RGL: What makes your heart sing?

KM: When a person, especially a child, feels empowered to be fully and unapologetically themselves.

RGL: Thank you so much for sharing so much of yourself with us today, Katrina. You and your books are pure joy!

 

Rebecca’s BIO:

Rebecca Gardyn Levington is a children’s book author, poet, and journalist with a particular penchant for penning both playful and poignant picture books and poems – primarily in rhyme. She is the author of WHATEVER COMES TOMORROW (which has been translated into 9 languages and is the winner of a Crystal Kite Honor and a Northern Lights Book Award), BRAINSTORM!, AFIKOMAN, WHERE’D YOU GO?, LITTLE DREIDEL LEARNS TO SPIN, WRITE HERE, WRITE NOW, and I WILL ALWAYS BE… (on bookshelves 4/​15/​25!) with seven additional rhyming picture books forthcoming. Rebecca writes reviews and conducts author interviews monthly for the Picture Book Builders blog. Her award-​winning poems and articles have appeared in numerous anthologies, newspapers, and magazines. She lives with her family in Summit, N.J., where she enjoys bouncing on a mini-​trampoline, playing Mah Jongg, and eating chocolate-​peanut butter ice cream (although not usually at the same time!).

Find out more and sign up for Rebecca’s monthly newsletter at www.RebeccaGardynLevington.com.

Author Interview: Lisa Rogers

On By Only Picture BooksIn Author Interviews6 Comments

This month on the OPB Author-​Illustrator Interview Series, we’re delighted to feature Lisa Rogers—a former elementary school librarian turned award-​winning author! Lisa’s picture books, including 16 Words: William Carlos Williams and “The Red Wheelbarrow” and Beautiful Noise: The Music of John Cage, celebrate fascinating historical figures and creative expression. Her work has garnered starred reviews, prestigious awards, and recognition for its engaging storytelling and lyrical writing.

Lisa’s path to children’s literature was inspired by her career as a librarian, where she discovered her love for sharing stories with young readers. When she’s not crafting her next picture book, Lisa enjoys running, kayaking, and spending time with her loud and lovable hound. Join us as we explore her creative journey, the stories behind her books, and what’s next on the horizon!

RVC: Where did you grow up, and what role did books or libraries play in your childhood?

LR: I grew up in a tiny town on the Jersey shore. It had a little library above an old building that housed the police station. There was a turned staircase, and at the top of the landing, perched on a shelf in front of a stained-​glass window, was a full set of Beatrix Potter’s books. It seemed like the most magical place in the world.

RVC: It sure sounds like it!

LR: I learned to read at a young age, and that’s pretty much all I did. As there were no bookstores nearby, I relied on the library and the books we had at home. Besides encyclopedias, I read poetry, fairytales and folktales—Italo Calvino’s Italian tales, tales from Japan and West Africa, The Thousand and One Nights, and the art, poetry, and biography volumes of Childcraft, which was a multi-​volume resource for kids. I had some Golden Books and can still recite Margaret Wise Brown’s Home for a Bunny. Garth Williams’ endearing illustrations made me love animals.

RVC: Being both a librarian and a children’s author gives you a unique perspective. How did your time curating books for children influence the kinds of stories you wanted to write yourself?

LR: Choosing, sharing, and reading thousands of books aloud was a joy and the absolute best training for a writer. I got to choose the best books I could find! It was my job to read as many as I could! I could pick books I knew students would love (pangolins, please)!

RVC: Yes, pangolins. Plus penguins. And other awesome animals that start with p!

LR: When I started the job, the biography section was dated and abysmal, full of chapter books with invented dialogue. Then talented writers like Jen Bryant and Candace Fleming began making beautiful picture book biographies. I fell in love with them. I tried to write other types of stories, but it now seems natural that my debut, 16 Words, was a picture book biography.

RVC: I’m not at all surprised, either! We’ll come back to this book in a moment. What’s the most common misconception about being a librarian?

LR: We’ve come a long way from the wire-​rimmed glasses-​wearing, hair-​in-​a-​bun, finger-​to-​the-​lips stereotype, but when people ask “Do you still teach the Dewey Decimal System?” as if that’s what being a library teacher is all about, I can’t help but sigh. Sure, each library has its system of organization that students need to learn, but no one’s teaching them to memorize decimals. At least I hope not!

But most folks don’t know what a library teacher does. So I guess Dewey is the go-to.

RVC: After more than two decades as a librarian, what inspired you to take the leap from curating stories to creating your own? 

LR: I had long wanted to be an author, but I needed to earn a living. My first career was as a news reporter; I only fell in love with children’s books when I became a library teacher. I got up the courage to take an SCBWI workshop on writing for children. I started a blog narrated by my hound dog (whose daily Plops o’ Doom inspired Hound Won’t Go), formed a critique group, wrote lots of terrible stories, and became part of the vibrant group of children’s writers in the Boston area.

RVC: Let’s jump to your debut picture book, which celebrates William Carlos Williams and “The Red Wheelbarrow.” What drew you to his poetry?

LR: I’d known “The Red Wheelbarrow” poem since I was a child, so Williams’ imagist style of writing must have imprinted itself on me in some way. That’s similar to the type of poetry I write. I’m an observer, and as a kid spent a lot of time sketching and thinking about whatever was around me. I still do. I love lots of different kinds of poetry, but the ones that leave a lot of space for pondering are my favorites.

RVC: Beautiful Noise is such a unique subject for a picture book. What drew you to John Cage’s work, and how did you make his experimental music accessible to young readers?

LR: I was a noticing and listening child. Growing up at the beach, I paid attention to the sounds of the waves whacking the shore and shushing back and seagulls and constant wind and radios tuned to the Yankee game and lifeguard whistles and kids shouting over it all —all of that. I distinctly remember listening for silence and realized, like Cage, that there was no such thing.

RVC: The best poets and picture book makers learn how to really pay attention, so it’s no shocker that they notice things like this.

LR: I knew about Cage’s “silent” piece, 4’33,”and was intrigued when I saw a photo of Cage listening to a miked cactus as he ran a feather on its spines. But I got caught up in the many fascinating details of his life and work. I pared down the manuscript, added lots of onomatopoeia, narrowed it to just 4’33,” and then, feeling like I couldn’t do Cage’s genius justice, set it aside.

I’d never written in second person before, but a while later, without even thinking about it, that’s how it came out—scribbled on a notepad in one go. It wasn’t a conscious decision, but it turned out to be absolutely the right way to introduce him to children. It’s fun to read aloud and kids immediately catch on to the refrain which makes it even more fun.

RVC: Can you tell us more about the process of researching Beautiful Noise and how you captured John Cage’s creative spirit?

LR: I listened to his music, watched video, went to performances, consulted with composers and scholars, researched newspaper accounts and any book or article I could find, contacted the John Cage Trust to be sure the manuscript was accurate, but with all of that, there was so much compelling material that it got in the way of capturing his spirit. It took stepping away for me to really understand how to do that. It’s still rather mysterious to me. I recommend letting the subconscious take over.

RVC: You’re known for your meticulous research process. What are some surprising discoveries you’ve made while researching your picture book biographies?

LR: Wow, thanks for that great compliment! I found it surprising that my subjects’ lives connected with each other.

Joan Mitchell knew William Carlos Williams through Mitchell’s mother, who was an editor of Poetry magazine; he and poets Edna St. Vincent Millay and Carl Sandburg visited her Chicago home. Cage and Williams knew each other, as did Mitchell and Cage.

RVC: Wow!

LR: Joan Mitchell’s work often was compared to that of Claude Monet, and her home in Vétheuil, France, overlooked a house where Monet once lived. She purported to not appreciate the comparison, but I wonder what she really thought.

RVC: You’ve written both nonfiction and rhyming picture books. How does your process differ between the two?

LR: The same process works best for both–a strong emotion evokes an idea, and I turn that idea around in my mind for a while before I put anything on the page. Then I write words using a soft lead pencil on (preferably) unlined paper and don’t look at it for a while.

RVC: Let’s talk agents. You’re represented by Erzsi Deak at Hen & Ink Literary. How did you find her, and what makes your partnership work so well?

LR: I sent the bones of 16 Words to Erzsi through a submission opportunity provided by the 12 x 12 Writing Challenge. The manuscript was truly that—bones–but she saw something in it and encouraged me to add on a bit more; which apparently succeeded! It really has been a great partnership. I can rely on her to let me know if something isn’t working, and she’ll respect my decision to pull back on a submission if I think it needs revising. I’m so lucky to be agented by someone who gets me, who’s open and honest and smart and believes in me. Plus, she’s fun. She’s the best.

RVC: You mentioned SCBWI before, but I want to circle back. How has being part of communities like this (and The Writers’ Loft) helped you grow as a writer?

LR: They’ve meant everything to my growth–workshops, support, critiques, and most of all, encouragement. The New England SCBWI conference launched me into this kidlit world (this year’s is in Stamford, CT, in May—be there if you can!). I remember a Loft get-​together where I shared that I’d received a champagne rejection and everyone urged me to not give up, so I didn’t. Kidlit writers are such generous people!

RVC: And in the spirit of that generosity…if you could give one piece of advice to your younger self when you were just starting out as a writer, what would it be?

LR: Don’t let fear and self-​doubt in the way of trying to reach your goal. And don’t take so darn long to realize that!

RVC: What’s been your proudest moment as a children’s author so far?

LR: When I found out that 16 Words was going to be reviewed in The New York Times Book Review. My husband proposed to me over The Times—yep, he actually stopped reading and got down on one knee— and the book review is the first section I read on Sundays. I never, ever dreamed that a book I wrote would appear there. Nina Crews wrote the review, and when I saw her at the 2024 Chappaqua Children’s Book Festival, I immediately ran over to thank her for that fabulous, unforgettable moment. It was unbelievably special.

RVC: What can I say but “Wow!” again. But here’s one last question for this part of the interview. What’s coming up next for you? Any new books or exciting projects you can share?

cover.jpegLR: Absolutely! It’s kind of a big year! I’m really excited about two upcoming picture books: Joan Mitchell Paints a Symphony, about the abstract artist’s creative process, gorgeously illustrated by Stacy Innerst, and out in just a couple of weeks!

RVC: Congrats!

LR: Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, illustrated by Susan Reagan, is coming out in September. Rawls’ life story is amazing, and Susan knows how to illustrate hounds, that’s for sure. It’s a beautiful book!

And I’m so honored that my poem, “If I Could Choose a Best Day,” was chosen for Irene Latham and Charles Waters’ anthology. If that wasn’t enough, they picked my poem’s title as the book title! That will be out in March and, with its lovely collages by Olivia Sua, it is a wonderful gift for any child.

RVC: It’s time for The Speed Round, Lisa. We’re going with ziptastically fast questions and zapalicious-​quick answers. Are you prepared for this challenge?

LR: Ryan, except when running, often pulled by my dog, I am not speedy, but I’ll try.

RVC: Favorite snack to fuel a writing session?

LR: No crumbs on the laptop! A tall cup of Harney Hot Cinnamon Spice tea to sip while pondering the birds at the feeder.

RVC: Which children’s book character would you want to spend a day with?

LR: Pooh. Or maybe Eeyore. I’d like to cheer him up. But probably not for a whole day.

RVC: Tucker (your rescue dog) gets to pick your next book subject—what do you think he’d choose?

LR: The science of sniffing. Or howling. The value of a good long nap. His untold backstory.

RVC: Your all-​time favorite library memory.

LR: Whoa! Pulling out one memory in 20 years of teaching amazing kids is so not possible…but here are a few:

  • When a first-​grader asked for a book on fusion, and I had one that they could read.
  • The day everyone, it seemed, left their baby teeth on the story rug.
  • When a student asked me if one of my colleagues was my dad.
  • The first grader who led book club discussions after library class.
  • Any time kids came in excited to be there and left happy.

You really didn’t expect just one memory, right?

RVC: What’s an underappreciated picture book you recommend to kid readers?

LR: Trick question! Any book can be underappreciated unless you take time to study its genius. Kids know how to do that; it’s adults who don’t always remember.

RVC: What legacy do you hope your books leave behind for readers?

LR: I hope they’ll feel that they have something special to share that the world needs and will appreciate—that their unique selves have worth beyond measure.

RVC: Thanks so much, Lisa!

Author Interview: Sarah Hovorka

On By Only Picture BooksIn Author Interviews1 Comment

Sarah Hovorka – HarperCollinsThis month, we’re thrilled to feature Sarah Hovorka in the OPB Author-​Illustrator Interview series!

Sarah is a versatile creator with a knack for weaving heartfelt and imaginative stories that resonate with readers of all ages. From her touching picture books like Unicycle Dad to her love of speculative fiction, Sarah’s work reflects her curiosity and passion for exploring human experiences. A homeschooling mother of three, she juggles writing, family life, and living with Crohn’s Disease, all the while infusing her stories with authenticity and heart.

Let’s dive into her world, learn about her process, and explore the stories that have shaped her—and those she’s yet to tell.

RVC: Let’s start with a basic one. Where did you grow up?

SH: A farming, pocket community in the Central California Valley.

RVC: Rumor has it you had an unpleasant interaction with a career aptitude test in your childhood. What happened?

SH: It was a standardized test given by my high school. I had big dreams to pursue the sciences, but the test results said my ideal career would be a Dictionary Editor. Not only was that not science, but it wasn’t even an editor for a fun category like fiction. I was peeved as a teenager, but the test had the last laugh. I would love that job now.

RVC: Me too! Now, speculative fiction seems like a natural fit given your interests. What led you to focus on children’s literature instead?

SH: I found that my voice naturally lent itself to children’s literature. I’ve always had an easier time talking to children and I think that comes through in my writing. I still like to write speculative fiction, though, and I’ve been working on speculative chapter books, middle grade, and young adult stories most recently.

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

SH: One day I was doing household chores and reflecting on my son’s difficulty with touch, especially being forced, and my own similar memories from childhood. The story of Hattie Hates Hugs popped into my head. After writing it, I pitched it in Twitter’s #PitMad pitching event where the right editor saw it at the right time.

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

SH: That there’s something extra that infuses a story when it comes from your real personality, experiences, and emotions. If your story starts to feel forced, even if the writing is fantastic, I think that comes through to readers.

RVC: Say a few words about Unicycle Dad, which is just a fun title for a book!

SH: Thank you! Unicycle Dad pays homage to single fathers who strive to provide for their children, even through struggles like poverty and lack of education, and end up teaching their kids one of the most valuable life lessons of all. It’s based on my childhood experiences.

RVC: As you said, there’s something special about a story that comes from your real experiences. What’s your dad’s favorite spread from this book?

SH: His favorite is the spread where Sarah falls on the unicycle and the dad says, “It only takes perseverance, Sarah. Keep trying until you get it.”

RVC: What’s YOUR favorite spread?

SH: My favorite is the spread where Sarah feels that daily unicycle practice and homework is only hard work, not at all like the soaring she sees her dad doing.

RVC: In three words or fewer, describe Alicia’s art style for this book.

SH: Realistic, whimsical, thoughtful.

RVC: Camouflage Mom: A Military Story About Staying Connected is another heartfelt story. What inspired this book?

SH: Like Unicycle Dad, this book is based on my own childhood experiences. I wanted to tell the story of a mother in the military and how that can affect the bond between parent and child.

RVC: What was the biggest challenge with writing this book?

SH: It was difficult keeping the balance between conflicting positive and negative emotions in the main character as she struggles to unite the image of her pre-​military mother with the image of her military mom. Sometimes we have warring emotions which are all valid and I tried to highlight that in this story.

RVC: Have you heard from readers about how these stories have impacted them? Any memorable responses?

SH: Yes! For both books, readers loved seeing a side of moms and dads that aren’t often shown: dads as single fathers and moms as the military parent. Adult readers have also said it was a nice change to see a character pursuing a GED and children seem to find it funny that Sarah hates spaghetti so much.

RVC: Let’s talk about the industry. You’re repped by literary agent Kaitlyn Sanchez—a friend of OPB (here’s our interview with her)! What’s the story of how/​when the two of you partnered up?

SH: It’s kind of funny because the story of my first published book is also the story of partnering up with Kaitlyn. I was very new (and lucky) to pitching and querying, and when I had an offer on Hattie Hates Hug through a Twitter pitch event, I reached out to Kaitlyn, and she connected with my stories. When she quickly sold my second picture book, Same Love, Different Hug, it was like all the stars aligned and I knew she was a great fit for me.

RVC: What’s Kaitlyn’s agenting superpower?

SH: Honesty! Sometimes something just isn’t working in your story, or editors aren’t looking for that type of story, or… or… or. I very much appreciate that Kaitlyn is so transparent with her thoughts and the submission process. Writing and publishing is such a subjective industry it’s extraordinarily helpful when someone can give it to you straight.

RVC: If I asked Kaitlyn what your writing superpower is, what would she say?

SH: That’s a hard question. Possibly that I can bring to life difficult emotions in children without them seeming like problems or something that is bad. Or maybe that’s the writing superpower I hope I have.

RVC: What’s your typical writing routine, and how do you balance it with homeschooling and family life?

SH: Err… routine? Ha! No, I’m not great at holding a writing routine. When I’ve tried to do that, it begins to feel like work for me.

RVC: I often tell my students that if something feels like work, then you should step back and really look at your process. Maybe there’s a more effective way?

SH: I’ve been more productive by ensuring that I can easily jot down inspiration any time it strikes and leaving myself trails of motivation, such as calendar reminders with prompts or finding a writing buddy for longer manuscripts. I do try to balance it with homeschooling by sometimes using my kids’ creative writing time for my own creative writing or using time when they are working independently.

RVC: In an interview, you mentioned keeping a spreadsheet for story ideas. What criteria help you decide which ideas to develop further?

SH: The number one criterion for me is how much the story idea sticks in my mind. I use my spreadsheet of ideas religiously to record, but not that often do I review them. That’s because if an idea takes hold and I start thinking of scenes in my mind or developing character traits without trying to, I know I can keep the inspiration up to complete a decent first draft. The second criterion is whether I can easily think of a natural beginning and ending for the story. I feel a little like a flag in the wind without that.

RVC: How do you handle moments when a story just isn’t coming together?

SH: If it’s later in the writing process, such as after a first draft or after half of a novel is written, then I will step away for a few days. Usually something will come to me when I’m not thinking about it. Doing household chores is a great way to free up your creative mind, in my experience. If it’s early in the process and it’s a big picture kind of thing that isn’t coming together, then I typically will choose not to pursue that idea at that time. That sounds like giving up, but I feel like the more I have to work to make the basic story come together, the more it doesn’t really come together at all. Sometimes that story idea that just didn’t work out will appear as a subplot or side action in another story.

RVC: What’s the most challenging part of revising a manuscript, and how do you tackle it?

SH: I very much enjoy revising. It’s like a logic puzzle trying to figure out what fits in where and what needs to go.

RVC: I quite agree! It’s where the real magic happens.

SH: The most challenging part for me is figuring out a way to reword or restructure something when I’ve received opposing feedback. You can’t please everyone, but sometimes there’s a totally different, hidden solution that can work both ways.

RVC: What’s a specific moment when revising completely transformed one of your stories?

SH: After editor feedback, Hattie Hates Hugs turned from a story only about validating one’s feelings surrounding physical contact into one that directly showed children and the adults who care about them how to actually establish a boundary. It gave the story a practical how-​to element that had previously been too hidden.

RVC: Let’s talk about some of the things that led to your writing successes. How has being part of SCBWI influenced your growth as an author?

About SCBWISH: They helped provide a community of people with varying levels of experience when I was first starting out. The nice thing about SCBWI is that they provide multiple ways to engage with the community such as local groups, online chats, events, and workshops.

RVC: What’s the most valuable lesson you’ve learned from your critique groups?

SH: Readers will subconsciously put their own spin on what they are reading. It’s something fickle that’s easily influenced by that reader’s personal experiences, feelings, judgements… even sometimes by what that reader has done that day. It is enlightening.

RVC: What’s one misconception about writing picture books that you’d like to debunk?

SH: That writers of picture books are only writing for children. Picture books are read by children independently or with an adult… adults sometimes read picture books without a child, too! The picture book writer must write to both audiences.

RVC: What’s the best piece of writing advice you’ve received, and how has it shaped your approach to storytelling?

SH: Don’t try to write solely what you think the market wants. For one thing, the market changes all the time and already has stories like that. But more importantly, it’s more fun to write what you want. In my storytelling, I have learned to put in things that I find interesting, fun, or thoughtful. Even if the market may not support certain aspects of a story, such as if a genre is over-​saturated, you never know what readers might get drawn into. If you like it, chances are someone else will, too.

RVC: Two final questions for this part of the interview. How do you handle the highs and lows of the publishing process?

SH: At first, that was difficult for me, and I just pushed on, whether there was good news or bad news. One thing I have learned about myself is that I respond well to personal progress; it’s a highly motivating factor for me. To manage the ups and downs of publishing, I measure my personal progress by outside milestones, such as receiving positive editorial feedback or landing a deal, AND inside milestones, such as trying to write a new genre or attending a workshop. In that way, I’m always succeeding.

RVC: What a great way to think about things! What upcoming projects or goals are you most excited about?

SH: I’m currently writing a young adult novel that blends my usual emotional type of storytelling within a speculative plot. I’m excited to see how it turns out; I think it’s going really well so far.

RVC: Okay, Sarah. It’s time to leap into the fray with…the Lightning Round. Zippy questions followed by zappy answers, please. Are you ready to begin?

SH: Yes.

RVC: Most underappreciated speculative fiction book, kidlit or otherwise?

SH: The Number of the Beast by Robert A. Heinlein.

RVC: Personal chef, personal maid, or personal masseuse?

SH: Personal masseuse.

RVC: Your life is on the line. You need to sing one karaōke song to save it. What do you go with?

SH: “Neon Moon” by Brooks & Dunn.

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

SH: The Dragons Are Singing Tonight by Jack Prelutsky.

RVC: Who sets the standard for funny picture books?

SH: Jon Klassen.

RVC: A favorite line from any picture book, classic or contemporary?

SH: “It didn’t even own a proper jacket,” from The Good Little Book by Kyo Maclear.

RVC: Thanks so much, Sarah!