Category: Editor Interviews

Editor Interview: Sandra Sutter (Gnome Road)

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Welcome to Sandra Sutter, the dynamic force behind Gnome Road Publishing, a vibrant press that is lighting the way for readers young and old. With a mission to produce books that engage, inform, and bring joy to the world, Sandra’s press is all about that “R” factor…Re-Readability!

Here’s Sandra’s wonderful mission statement to give us a glimpse into the soul of Gnome Road:

“To Our Readers: We produce books that engage and inform, develop and strengthen a love for reading, and bring smiles and laughter to the world. Our books are made with all readers in mind…”

Just a few aspects to make you go “Wow!”:

  • Gnome Road Publishing focuses on creating cherished, lasting books that light the way on a lifetime of reading adventures.
  • Sandra’s dedication to her creatives is unmatched, offering respect, support, and fostering collaboration and community.
  • Their approach to picture books emphasizes both engagement and education, crafting stories that can be read time and again.

Intrigued? You should be! Let’s dive into the interview and discover the unique insights and wisdom Sandra Sutter has to share about the world of picture books, her own press, and the ever-​fascinating picture book industry.

Prepare to be inspired! 📚✨

Gnome Road’s Instagram

Gnome Road’s Website

SS: That is such a lovely introduction! Thank you for inviting me to your blog to share more about Gnome Road Publishing with your readers.

RVC: We’re happy to have you here, Sandra, and we want to know more. So, please share your journey into the publishing world before founding Gnome Road Publishing. What experiences shaped your decision to start your own press?

SS: Many people may already know that I authored two picture books with another small press, so it is likely no surprise to hear that this was part of my journey into the publishing arena. Probably less well known is that I was once an attorney, mediator, and before that, an addictions counselor. My education, training and experience in those roles definitely shaped who I am as a publisher. They all dealt with bringing people or ideas together, using language and reshaping it to communicate with an audience, and looking at situations systemically. That and needing to be very organized!

RVC: Sounds like perfect training.

SS: Looking back, I can see how my work in those positions drove my desire to find a similar fit in the publishing world.

RVC: Tell us about a challenge you faced earlier in your career that taught you a valuable lesson you’ve applied to your work at Gnome Road Publishing?

SS: When my first book was published (as an author), I did not have the benefit of pre-​release professional reviews. These are very important in directing attention to a book and gaining visibility as a publishing house. We do this for all GRP title releases.

RVC: That’s a useful thing for sure! What’s the most important thing people should know or understand about Gnome Road?

SS: We hope that all young readers can find at least one book at GRP that they love and want to read over and over again. This is central to our mission and helps us in selecting new stories. We like variety, finding new talent, and creating books with layered themes that can reach as many readers as possible.

RVC: You’ve mentioned being an author as well. How does that background help you in your gnomework?

SS: Gnomework! I love that!

RVC: It’s a winner word, no doubt. Feel free to use it regularly.

SS: Apart from the answer that it helps with editing and recognizing good writing, already being part of the Kidlit community helped me tremendously in spreading the word about GRP and finding talented authors and illustrators. I’m also pretty fast at typing–which helps in completing my gnomework.

RVC: Tell us the story behind your first picture book.

SS: I’m going to talk about the first picture book published by GRP rather than my own.

RVC: Fair enough!

SS: Technically, there are two since they came out on the same day. They are Animals in Surprising Shades: Poems About Earth’s Colorful Creatures by Susan Johnston Taylor (illustrated by Annie Bakst) and Science, Matter and the Baseball Park by Catherine Ciocchi (illustrated by Chantelle and Burgen Thorne). In both cases, I knew almost immediately that I wanted to acquire them. They seemed like an excellent fit with the GRP mission statement. Susan’s presentation of poems and carefully constructed sidebar information was enough for me to ask for more–and then to sign the project when she delivered. And Catherine’s rhyming, science-​infused baseball book had kid-​appeal practically dripping off the pages.

RVC: What was the most important thing you learned from that book?

SS: These were some of the first books to test my ability to pair text with the right illustrations. Personally, I think we hit it out of the ballpark (bad pun intended). It is not an easy process, but I’ve learned that being patient and trusting my instincts will pay off.

RVC: You seem astonishingly busy. (from your website: “We are also parents, business owners, and all-​around daily task-​masters.”) How do you manage wearing so many hats?

SS: Yes, that’s true. I’ve had nights I get up at 3:00 am to do work and manage my anxiety about getting it all done. It helps to be organized, too. As things evolved at GRP, I learned to delegate more and have found some great people to help out with different tasks or in areas that would take me two or three times as long (maybe more) to get something done. That helps a lot!

RVC: Why is Louisville the right place for Gnome Road to be located?

SS: That’s an easy one. I live here. It would be hard to locate it somewhere else.

RVC: Hah, great answer! Now, how do you approach the collaboration between authors and illustrators in the creation of a picture book?

SS: Since picture books reflect the vision of both an author and illustrator (actually, of more people–including agents, editors, critique partners, etc.), both parties need to feel heard and to have room to express themselves. I start by finding out more about the author’s vision for the book (if not an author-​illustrator) and ask to see some images that appeal to them. I share a few that interest me, and we discuss potential styles and/​or artists.

Once the illustrator is on board, we talk about the author’s vision early in the process and discuss what the illustrator has in mind. The author is looped in again a little later when character sketches and thumbnails/​storyboards are completed to share thoughts. At that point, the illustrator takes the reins until the images are nearly complete.

RVC: What’s your philosophy on balancing educational content with entertainment in picture books?

SS: I think kids inherently love to learn and to share knowledge with others. And what better way to learn something new than through a book? But still, if readers aren’t connecting with the material and enjoying the experience, then a book won’t be of interest to them for very long. Nor will they want to share it with anyone else. So, entertainment is very important–which is, of course, a different experience for each reader. Bright, vivid illustrations, or soft quiet pastels. Humorous dialogue, or a rhyming informational text. All styles can carry entertainment value. The tricky part is finding how to balance it in the right amounts for each project.

RVC: Please share an example of a particularly successful picture book from Gnome Road and what made it stand out.

SS: One that really stands out this year is My Piano by Jen Fier Jasinski, illustrated by Anita Bagdi. Jen’s writing is superb. She effectively layers social-​emotional themes on top of describing how a piano works (in rhyme and cumulative structure). My team fell in love with the manuscript immediately.

And then…I found Anita to illustrate. She truly nailed it. Somehow she wrapped technical illustrations, an adorable main character, and the magical feel of music all together in one package. It recently earned a starred review from School Library Journal. Hooray!

RVC: How does Gnome Road Publishing ensure the “R” factor (Re-​Readability) in the picture books you publish?

SS: I can refer you to my prior answer about balancing educational and entertainment elements as that has something to do with it. But one thing I think all books with the “R” factor have is layers. Some people might call these hooks, but I think it goes deeper than that. A book that kids want to read over and over again is going to do more than hook them. It’s going to hold their attention long after they finish reading it. In that sense, I think the story has to touch them in a personal way. We hope to produce books that can do that for children from all walks of life. Ensuring the “R” factor means staying open to new topics, perspectives, art and communication styles.

RVC: What are some of the common pitfalls you notice in picture book submissions, and how can authors avoid them?

SS: Do your homework about what a publishing house is looking for or not looking for (in other words, read the information on the submissions page and do some research). See if they have published or will soon publish something that is similar to your project. If they are small–like GRP–then they likely aren’t looking for something on the same topic right away. If asked to limit submissions to one per submission window, please refrain from sending multiple manuscripts. In short, I think being professional, following the requested formats, and staying within the interests of the publishing house will give you a much better chance at getting published.

RVC: I’m intrigued by the Little Gnome imprint. Tell me more!

SS: I think the answer may disappoint you. Originally, we split GRP into different imprints that were rearranged when we decided to focus solely on picture books for a while. If/​when we decide to open up to board books and projects that might be suitable for the 0–3 age group, then Little Gnome will be the imprint used for those.

RVC: One more question for this part of the interview. It’s brag time. What are some exciting Gnome Road things we should be looking for?

SS: Well, a couple of our titles are set up to have sequels, and there might be a few announcements about that coming soon. We have also had some lovely reviews and several titles recognized for great writing or illustrations. Nudi Gill: Poison Powerhouse of the Sea by author-​illustrator Bonnie Kelso was selected as the “Great Reads from Great Places” children’s book to represent Nevada at the National Book Festival in Washington, D.C. Bonnie just returned from that trip where she sold out of her books within hours. (That was another project I thought was perfect for GRP when I saw it in the submissions inbox–and we now have several more books coming out with Bonnie over the next few years. She’s amazing!)

RVC: I hear you there–Bonnie has done an OPB review before, and I’ve interviewed her here, too! But now it’s time to change gears because it’s the BLITZ ROUND—super speedy Qs followed by zip-​zappy As. Are you ready to tackle this challenge? 

SS: Always.

RVC: Coffee, soda, or tea?

SS: Coffee. You saw my answer mentioning 3:00 am above, right?

RVC: If you could be any sea creature for a day, it’d be…

SS: Dolphin. They’re fast, smart, and super cool.

RVC: If your life was a picture book, what would the title be?

SS: Have I Lost My Mind? It’s an interactive search-​and-​find book.

RVC: One book that has profoundly influenced your career?

SS: I don’t know that there is only one, but when I think about GRP looking to publish books that have the “R” factor, I would have to say The Hunger Games (whole series). It’s the multiple layers that really draw me in, and that it’s an “underdog” story. I hope young readers want to read a GRP book as much as I’ve read/​listened to/​seen The Hunger Games.

RVC: In three words or less, the most rewarding part of your job?

SS: Bringing people together.

RVC: Best thing a child has said about a Gnome Road book?

SS: “I love that book!”

RVC: Thanks so much, Sandra!

Editor Interview: Celia Lee (Simon & Schuster Books for Young Readers)

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Welcome to Celia Lee, an executive editor at Simon & Schuster Books for Young Readers, where she works with creators on all things illustrated, from picture books and early illustrated chapter books and middle grade to graphic novels for all ages.

The list of authors and illustrators she’s partnered with is wow-​worthy. To name just a few:

Celia previously worked at Scholastic, where, in addition to editing, she helped start their employee diversity committee as well as coördinated their partnership with We Need Diverse Books ™. She also served for two years as a member of the Children’s Book Council (CBC) Diversity Committee and is a mentor for POC in Publishing.

As far as academic credentials go, Celia studied English Literature and Art History at Virginia Tech and earned a MS in Publishing from NYU.

Let’s learn more about Celia and her work right now!

RVC: Rumor has it that you were a fan of Charlotte’s Web as a child. What about E.B. White’s book appealed so much?

CL: Fan was an understatement–I was obsessed! I think it was the first book I read that made me feel like I was important and that I could handle important topics, like death and growing up. I have always had a penchant for being mopey and melancholy and White’s lines about the changing of the seasons and our state of existence spoke to me in a way that made me realize books could really see you.

Plus, spiders really are heroes!

RVC: I’ve been a lifelong fan of White myself. Not as much for Charlotte’s Web or The Elements of Style–which are both terrific–but rather this letter he wrote. Have you encountered it before? 

CL: Yes! It’s deliciously perfect–I’ve been keeping that line handy in my mind palace for when I really have to back out of something with style. 🙂

RVC: Yeah, White’s pretty terrific. Now, back to you! At what point did you realize you were going to work in publishing? That English Lit + Art History combo platter has me wondering…as does that internship with the American Physiological Society!

CL: I actually sort of suspected maybe publishing was a possibility during my senior year of high school. I had a wonderful and inspiring AP English Lit teacher, Mr. Craver, who mentioned that working in books was a thing and that was the tiny little hopeful spark I held onto and kept feeding and feeding all throughout college with my coursework.

The APS internship was a little bit random! I was going to move to New York in the fall for grad school, but I needed a job that summer and I found the posting on Craigslist. I helped out in their communications department, drafting press releases on scientific studies. It was fun to learn about something totally different, and I got to talk to scientists and people excited about science!

RVC: After your undergrad degree at Virginia Tech, you earned an MS in Publishing from NYU. How common is it now for agents and editors to earn advanced degrees or certificates in publishing? 

CL: This is all very unscientific, but I’d say about a quarter of the folks I know working in publishing have an advanced degree or certificate. It’s by no means mandatory, but for a lot of us that went down that path it was a way to get the foot in the door–many of us came from places that were not close to NYC where the major publishers are. It provided access to folks working in the industry and fostered connections. I’m not sure if that’s the same for people in programs now, though, since so much of the industry has changed since the beginning of the pandemic.

RVC: What are some of the most useful things you learned in that program?

CL: Learning about the practical business stuff has been very useful. I took a great class on project management that has saved me tons of times on projects, that’s for sure.

RVC: Let’s get from Then until Now(ish). Could you briefly describe your career journey leading up to your role as Executive Editor at Simon & Schuster Books for Young Readers?

CL: After a stint as an intern/​editorial assistant at a small library publisher, I found a job as an editorial assistant in Scholastic’s former Book Clubs division, working on the ins and outs of curating the baby-​toddler-​preschool book clubs. That got me excited about board and picture books and how they were made, so when the Trade division had an opening in their Cartwheel books imprint, I immediately jumped in. Then after a few years there, the Book Clubs group needed someone to coördinate their We Need Diverse Books program, which was too exciting not to pass up, but when the pandemic happened I went back to the Trade group for one last time. Then the S&S BFYR was looking for an experienced picture book editor, and that was that! I’ve been here for about 2 years now. Sorry, that wasn’t brief at all!

RVC: No problem–we always appreciate a useful robust here at OPB! Now, who has been your biggest career cheerleader and mentor, and in what ways have they impacted your growth in the industry?

CL: I’ve been fortunate to have so many cheerleaders and mentors during my time working in publishing. All of my bosses have been mentors to me, for example. I’ve learned so much from them in different ways, but mostly on how to be a good editor and advocate. But the lovely thing about the kidlit community is that there is an abundance of kind-​hearted, caring, and talented folks at every level in every department–so many of my colleagues have been mentors to me whether they know it or not just by being there and leading by example. It’s what keeps me excited about work.

RVC: What was the story behind the first picture book you acquired? 

CL: You know, the memories behind some of my first picture books are a little hazy since I acquired board books and picture books in one big jumble when I started, but one of the early ones was this paperback picture book called Princess Puppy that was written by the late great Bernette Ford. I don’t think it’s in print anymore, but that really stuck out in my mind.

RVC: What surprised you most about the process of bringing that book to life?

CL: The editorial process was definitely surprising, only because I was just this little assistant editor working with this legendary author who had created and led my imprint so I had no idea what to expect!

RVC: As an editor, what would you say is the most rewarding part of your job and why?

CL: There’s nothing like that feeling of reading a manuscript or dummy and instantly falling in love with it and then being able to tell that author or illustrator that yes, we want to make it into a book! That little kick-​off celebratory feeling that you share with the creator just fuels the rest of the process for me.

RVC: What are the key elements that make a picture book story engaging and memorable for young readers?

CL: Readaloudability, which Word is saying isn’t a word, but we all know it is. Picture books are supposed to be read aloud. The read needs to hold up the first time and the hundredth time!

RVC: Absolutely!

CL: I’m trying to think of something clever that will pair with readaloudability that applies to images–illustration scanability? Storystration? Basically the illustrations need to have multiple places for little eyes to land on and explore. Most picture book readers aren’t reading–the images are all they have, so those images better be telling a story, too!

RVC: Terrific point, Celia. What are your thoughts on Back Matter?

CL: It’s great, but not needed for every book.

RVC: What about rhyme?

CL:  It’s so integral to the early story time experience, yet I’m seeing fewer and fewer rhyming stories. A really good rhyme builds connections and sticks with you and opens the door to a love of reading. But writing in rhyme is not for the faint of heart–you have to remember that with rhyme comes meter, and that usually throws folks off.

RVC: What’s your assessment of where the industry is today in terms of diversity and representation?

CL: We’ve made some progress, but there’s still a long way to go, especially at the manager and executive levels in all departments. (See the POC in Publishing Industry Survey or Lee & Low’s Diversity Baseline Survey for more info).

RVC: How can people like me—and teachers, librarians, students, parents, and children—help?

CL: I think it’s important to ask about it and to elevate voices that are advocating for a publishing industry that better reflects what our readership looks like. And to demand for more diverse books and authors in general, too–those numbers aren’t great, either.

RVC: Let’s help out some of the creatives who read this blog. What tips do you have for illustrators looking to appeal to S&S BFYR when it comes to building their portfolios?

CL: I’ve said this in other places, but illustrators should be sure that they not only show figures, but also full-​blown scenes in their portfolios. It’s great to see that you do characters really well, but can you show those characters moving and reacting? That’s a question that comes up a lot when we see an artist’s portfolio with potential–sure, they can draw, but can they tell a story with their work?

RVC: In other interviews, you’ve mentioned the importance of characters’ eyes in conveying emotions in picture books. Can you elaborate on other critical elements in illustrations that can heighten a child’s engagement with the story?

CL: This is going to be very vague, but I always say a great illustration goes beyond what’s written and shows something more. A great illustrator brings new ideas to the illustration, to the story.

RVC: Let’s not ignore the writer folks. Are there any specific themes or subjects that you’re particularly interested in picture books submissions at S&S BFYR?

CL: I’m always in the market for humor and character-​based stories. And stories with a twist (or multiple twists, gasp!) delight me to no end.

RVC: What’s the most common reason to say no to a submission that’s 95% “got it goin’ on!” Where do writers tend to fall short of the I MUST BUY YOU impulse we all want editors to feel?

CL: Oooo that’s a hard one! I think there are so many factors that could contribute to that 5%. I feel like lately the endings are what’s bothering me. Right now, if that ending doesn’t deliver, then it really takes me out. But if you ask me that in six months, I’m sure I’ll have a different answer for you.

RVC: I’m curious—what’s your dream project to work on, if given the opportunity?

CL: I’ve gotten to work on so many dreamy books, but I guess my Everest is that perfect unreliable narrator story.

RVC: One last question for this part of the interview. Can you give us a sneak peek into some exciting new titles S&S BFYR has in the pipeline?

CL: There are so many good ones, so it’s hard to whittle it down, but a couple that are coming out in the next few months are I’m Going to Build a Snowman by Jashar Awan, Remembering by Xelena Gonzalez and illustrated by Adriana M. Garcia, and The Wishing Machine by Jonathan Hillman and illustrated by Nadia Alam.

RVC: Alright, Celia. It’s time to launch into the LIGHTNING ROUND! The point values are tripled and the One-​Minute Timer of DOOM*! is ready to get going. Are you ready? (*DOOM not guaranteed)

CL: Bring it on! I love answering things quickly, especially with the threat of DOOM!

RVC: Would you rather crank some tunes, read a book, or binge-​watch Netflix?

CL: I know as a book person, I’m supposed to say read a book, but I am a binge-​watching girly through and through! I just love stories in general, whatever that form might be.

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

CL: Demolitions expert, hands down.

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

CL: I’ve been waiting for this question all my life. I pride myself on keeping an updated list of karaōke songs on my Notes app! My go-​to is “Call Me” by Blondie.

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

CL: Lucy Ruth Cummins’ A Hungry Lion, or A Dwindling Assortment of Animals. It’s just one big giggle fest for me.

RVC: What’s the One That Got Away?

CL: The Rabbit Listened by Cori Doerrfeld. I don’t think I’ll ever get over it!

RVC: Share a quote from a picture book you love.

CL:  Technically it’s a novelty book, but “I will love you as the iceberg loves the ship, and the passengers love the lifeboat and the lifeboat loves the teeth of the sperm whale, and the sperm whale loves the flavor of naval uniforms.” from The Beatrice Letters tickles me to no end.

RVC: Thanks so much, Celia! It was terrific having you stop by OPB to share your story. 

CL: Thanks for having me, Ryan! These are wonderful questions!

“Editor” interview: ChatGPT‑4 as a NYC Big 5 Picture Book Editor

On By Only Picture BooksIn Editor Interviews1 Comment

Things went kablooey this month when my intended interview subject–a human picture book editor–was unable to participate in time for this month’s post. It happens. I totally get it.

As a result, I figured I had three choices.

  1. Skip posting this Monday and see if anyone notices. (An internet “If a tree falls in a forest and no one’s around, does it still make a sound?” kind of experiment.)
  2. Run a Best-​of compilation that showcases some of the most memorable editor advice from previous posts.
  3. Do what everyone else seems to be doing–use AI to solve any problem we face.

#1 felt a little sad.

#2 felt like a lot of work.

That left #3 as the not-​quite-​clear-​cut-​option-​but-​else-​can-​I-​do? choice.

While I know there’s no replacement for the human component in creative industries, I’m interested to see how ChatGPT4 will fare–perhaps to smirk-​worthy results. We’ll see!

Rest assured, I’ll have humans partnering with me on future blog posts. Unless this post goes viral and I make a gazillion dollars. If that happens, I reserve the right to reconsider everything. 🙂

**Of course, I asked ChatGPT‑4 to come up with the questions, too, after sharing some of OPB’s previous posts to show the style, format, and sense of humor. It also wrote its own introductory bio, and for some reason, it’s using my last name. I don’t THINK we’re related, though. The images are prompted by ChatGPT‑4 and created in Midjourney, save for the single real-​world book cover–you’ll recognize it.**

This month’s Industry Insider Interview is with the incomparable Reginald Van Cleave, Senior Editor at a prestigious Big 5 New York City publisher. Known for his whimsical imagination and sharp editorial eye, he’s an alchemist of words and images in the world of picture books.

Reginald has been instrumental in the creation of countless award-​winning and bestselling titles. Some of his proudest moments include crafting The Day the Crayons Quit Climate Change and the captivating series, A Tiny Critter’s Big Adventure. With each project, Reginald seeks to blend the delightful with the meaningful, bringing stories to life that both enchant young readers and spark their curiosity about the world.

His journey in the publishing industry began at NYU, where he specialized in Children’s Literature and Art History. This unique combination armed him with a deep understanding of visual storytelling, a skill he wields to great effect in his current role.

When he’s not orchestrating the grand show of picture book publishing, Reginald indulges in his own secret talents—reading books upside down and perfecting the art of sushi-​making. His office, a creative chaos of sticky notes, vibrant highlighters, and a fortress of picture books, overlooks Central Park—the perfect space for dreaming up the next big hit.

Reginald champions the idea that a picture book is a magic carpet, taking children on journeys of discovery, fun, and learning. He’s like the Pied Piper of the publishing world, leading an ensemble of authors and illustrators in creating symphonies of words and art.

So, buckle up and join us as we dive into the wild, whimsical, and wonderful world of Reginald Van Cleave!

ChatGPT‑4: Can you please share a little about your professional journey that led you to become an editor at a Big 5 NYC publisher?

ChatGPT‑4: My career journey resembles a riveting, multi-​volume epic. It started in the foothills of editorial assistant-​ship where I tackled mountains of paperwork and brewed enough coffee to fill a small lake. From there, I graduated to higher roles, each one a new chapter, until I found my happily-​ever-​after in the world of picture books.

ChatGPT‑4: What first sparked your interest in picture books, and why do you continue to work in this specific genre?

ChatGPT‑4: Why picture books? That’s like asking why a butterfly loves flowers! The way words and images play tag on the pages has always fascinated me. I’m still entranced by this magical game, and it’s my absolute joy to be a part of it.

ChatGPT‑4: Can you describe a typical workday for you? How much of your time is spent in reading manuscripts, editing, meeting authors and illustrators, etc.?

ChatGPT‑4: A day in my life is akin to a three-​ring circus. I’m the ringmaster, gracefully managing a high-​wire act with manuscripts, lion-​taming the artistic egos, and juggling a flurry of meetings—all while trying to stop my coffee from turning into a magic disappearing act.

ChatGPT‑4: What’s your favorite part of your job as a picture book editor?

ChatGPT‑4: It’s when a book transforms from a caterpillar of rough sketches and raw text into a butterfly of full-​page illustrations and polished prose. There’s nothing like witnessing a new story spread its wings and take flight.

ChatGPT‑4: In your opinion, what are the key elements that make a great picture book?

ChatGPT‑4: Picture a cake—words form the sponge base, solid but often unremarkable on its own. The illustrations are the delectable icing, providing a visual feast that draws you in. Then comes the sprinkles—that elusive magic that brings delight, surprise, and depth, turning an ordinary cake into a treat to remember.

ChatGPT‑4: How do you balance the needs of both the child reader and the adult reader when evaluating a picture book manuscript?

ChatGPT‑4: Striking the right balance between adult and child readers is a bit like DJing a family party—you want to keep the kiddos dancing with catchy tunes, while also playing classics the adults can enjoy. It’s about weaving a tale that engages the child’s curiosity and entertains the adult’s sense of humor and insight.

ChatGPT‑4: What is the most common mistake you see from first-​time picture book authors?

ChatGPT‑4: They’re often like eager tour guides who spill all the secrets before the tour has truly begun, leaving no room for the reader’s imagination to explore.

ChatGPT‑4: How has the picture book industry changed since you’ve started working in it?

ChatGPT‑4: Picture books have grown from quaint black-​and-​white television shows to glorious technicolor blockbusters. Today’s books embrace a riot of styles, themes, and voices, with each one a unique portal into a world of wonder.

ChatGPT‑4: Talk about a few of the current trends you’re seeing in the picture book industry.

ChatGPT‑4: Imagine if a robot and a fairy were having a tea party while discussing global warming. Kids crave fun, fantastical elements meshed with real-​world themes that help them understand their place in the universe.

ChatGPT‑4: How do you see the role of diversity and representation in picture books evolving in today’s society?

ChatGPT‑4: Diversity and representation in picture books? It’s like a grand mosaic—each piece is unique, yet when brought together, they create a vibrant, captivating picture. The more diverse our characters and their experiences, the richer and more inclusive our literary landscape becomes.

ChatGPT‑4: What is the role of the editor in shaping and refining the story and illustrations of a picture book?

ChatGPT‑4: As an editor, I’m the friendly ghost, subtly influencing the story, helping authors and illustrators bring their vision to life. It’s like sculpting a topiary—you have to prune here, encourage growth there, until the raw hedge transforms into an intricate work of art.

ChatGPT‑4: Can you share an instance where you helped an author or illustrator significantly reshape their work for the better?

ChatGPT‑4: One memorable transformation involved a princess tale that morphed into an exciting adventure about a royal plumber. It was a change that not only subverted expectations but also promoted the idea of unconventional roles and dreams.

ChatGPT‑4: What do you look for in an illustrator’s portfolio? Any tips for illustrators hoping to break into the industry?

ChatGPT‑4: An illustrator’s portfolio should be a window into their unique world. For illustrators trying to make a mark, think of it like a peacock’s display—be bold, let your colors shine, and don’t be afraid to show off what makes you different.

ChatGPT‑4: How important is the author-​illustrator relationship in creating a successful picture book? How do you facilitate this relationship?

ChatGPT‑4: The relationship between author and illustrator is a well-​choreographed ballet. They must move in harmony, each contributing to the performance while I, the editor, play the role of the conductor, ensuring the show is seamless.

ChatGPT‑4: How do you decide whether a book will be a standalone or part of a series?

ChatGPT‑4: Deciding whether a book will be a standalone or part of a series involves several considerations. Firstly, the story’s narrative arc is crucial. If the plot naturally concludes and satisfies readers within a single book, it may work best as a standalone. However, if the story has the potential for further development, unresolved threads, or a broader story world, a series could be a suitable choice. Market demand and reader engagement also play a role. If a book resonates strongly with readers and shows potential for continued interest, extending it into a series can capitalize on that success. Ultimately, the decision hinges on the story’s narrative possibilities, reader engagement, and market viability.

ChatGPT‑4: Could you please discuss the process of creating a picture book from receiving the initial manuscript to the final publication?

ChatGPT‑4: Creating a picture book is a grand adventure. It begins with the quest for the perfect story (the manuscript), journeys through the realm of art (illustrations), faces trials of refinement (editing), and finally triumphs with the treasure in hand (publication).

ChatGPT‑4: What role do you believe picture books play in child literacy and development?

ChatGPT‑4: Picture books are the stepping stones in a child’s journey towards literacy. They’re like magic carpets that not only transport children into different worlds but also help them navigate the vast seas of language, emotions, and ideas.

ChatGPT‑4: Can you name a picture book you recently worked on that you’re particularly proud of, and why?

ChatGPT‑4: A recent book I’m particularly proud of is The Day the Crayons Quit Climate Change. It’s a delightful yet impactful tale that combines humor, drama, and a little bit of science to convey a profound message about environmental responsibility.

ChatGPT‑4: How do you handle the tension between commercial viability and artistic creativity when selecting a manuscript?

ChatGPT‑4: Balancing commercial viability and artistic creativity is like walking a tightrope while juggling flaming torches—it’s a risky, delicate act. But with the right mix of intuition, experience, and a dash of daring, it’s an act that often leads to the most exciting and impactful books.

ChatGPT‑4: How does the rise of digital media impact the picture book industry, and how are you adapting to it?

ChatGPT‑4: Well, it’s like discovering a new continent. It brings new challenges, but also new opportunities for storytelling. In this new landscape, we’re learning to create picture books that can leap off the page and come alive on the screen.

ChatGPT‑4: Can you describe some of the challenges of translating a picture book into different languages and cultures?

ChatGPT‑4: Translating a picture book into different languages and cultures is like turning a 2D sketch into a 3D model—you have to consider all the angles, make sure the essence of the story is captured, and that it resonates with the audience, no matter where they’re from.

ChatGPT‑4: How do you handle negative reviews or criticism of the books you’ve edited?

ChatGPT‑4: Handling negative reviews is like wrestling with a rhino—you don’t take it personally, you learn from it, and most importantly, you keep your sense of humor intact. Every book won’t be everyone’s cup of tea, and that’s okay.

ChatGPT‑4: What advice would you give to aspiring authors or illustrators wanting to break into the picture book industry?

ChatGPT‑4: Dive deep into your craft and soak up all the knowledge you can get. Picture books are all about connecting with those little readers, so make sure you understand what makes them tick. Polish your work until it shines brighter than a supernova. Build a portfolio that’s bursting with your unique style and creative genius. Do your homework on publishers who are hungry for picture book magic and follow their guidelines like a boss.

Most importantly, develop a voice that’s unmistakably YOU, something that makes editors go, “Wow, we need more of this!”

ChatGPT‑4: In your opinion, how will the picture book industry evolve in the next five years?

ChatGPT‑4: The picture book industry will continue to evolve dynamically over the next five years. Technology will play a significant role, with digital platforms and interactive experiences becoming more prevalent. We can expect augmented reality and virtual reality elements to enhance storytelling. Diverse voices and inclusive content will gain further prominence, reflecting the diverse world we live in. Collaborations between authors, illustrators, and multimedia experts will push boundaries and create innovative picture book experiences. Sustainability and eco-​consciousness may also become more important themes. Ultimately, the picture book industry will embrace new mediums, perspectives, and technologies, keeping the magic of storytelling alive for young readers.

ChatGPT‑4: On a personal note, do you have a favorite picture book from your own childhood? How has it influenced your work as an editor?

ChatGPT‑4: Where the Wild Things Are. It’s an exquisite blend of imagination, emotion, and artistry that captivated me as a child and continues to inspire me as an editor. After all, we’ve all got a little wild thing inside us, haven’t we?

ChatGPT‑4: We’re about to embark on a whirlwind journey, otherwise known as the Lightning Round. Fasten your seat belt and prepare for takeoff, Reginald. Are you ready to blaze a trail through these rapid-​fire questions?

ChatGPT‑4: Ah, the Lightning Round! My teacup is refilled, my monocle is polished, and my wit is at the ready. Let’s dash through these questions with the verve of a zebra galloping across the Serengeti!

ChatGPT‑4: What secret talent do you have that no one would suspect?

ChatGPT‑4: I can read books upside down. Yes, it comes in handy when I’m working across the table from an illustrator!

ChatGPT‑4: You can only eat one food for the rest of your life. What is it?

ChatGPT‑4: Definitely sushi! An endless supply of colorful, bite-​sized stories, each with a surprise inside—much like a picture book, don’t you think?

ChatGPT‑4: Five things we’d see if we checked out your favorite writing/​editing place.

ChatGPT‑4: You’d see: a tempest of sticky notes, a rainbow of highlighters, an army of coffee mugs, a view of Central Park, and of course, a fortress of picture books.

ChatGPT‑4: What’s the One That Got Away?

ChatGPT‑4: A tale about a stubborn unicorn who refused to believe in humans. It was whimsical, heartwarming, and unfortunately, slipped through our fingers.

ChatGPT‑4: Who sets the standard for writing picture books with heart?

ChatGPT‑4: It has to be Mo Willems. His Pigeon, Elephant, and Piggie have moved us to tears and laughter in equal measure, all while teaching us a thing or two about friendship and perseverance.

ChatGPT‑4: Write a haiku that sums up your picture book philosophy.

ChatGPT‑4:

Words and pictures dance,
Children’s laughter the sweet tune,
Magic in their hands.

ChatGPT‑4: This has been fun and interesting. Thanks for playing along.

ChatGPT‑4: Ah, well, it’s been an absolute delight waltzing through this whimsical wonderland of questions with you. As we close this chapter and look to the next, remember, dear reader, that in the world of picture books, anything is possible. So, keep turning the pages, keep dreaming in color, and most importantly, keep the kettle on for that next cup of imagination-​infused tea. From my circus of manuscripts to yours, thank you and happy reading!

Editor Interview: Hilary Van Dusen

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This month’s Insider Interview is with Hilary B. Van Dusen, senior executive editor at Candlewick Press. As of 2021, she’s acquiring titles for MIT Kids and MITeen.

Hilary is the editor of award-​winning nonfiction titles including Courage Has No Color: The True Story of the Triple Nickels by Tanya Lee Stone; Jazz Day: The Making of a Famous Photograph by Roxane Orgill, illustrated by Francis Vallejo, The Impossible Rescue: The True Story of an Amazing Arctic Adventure by Martin W. Sandler, Schomburg: The Man Who Built a Library by Carole Boston Weatherford, illustrated by Eric Velasquez, Beyond Magenta: Transgender Teens Speak Out by Susan Kuklin, and Ada and the Galaxies by Alan Lightman and Olga Pastuchiv, illustrated by Susanna Chapman.

What a list, right?

Many of the nonfiction books she acquired explore social issues, science, and/​or history, so clearly there’s an interest there which we’ll explore below! Before she took over MIT Kids and MITeen, Hilary also edited middle grade and young adult fiction by such authors as:

Let’s learn more about Hilary right now!

RVC: So, I’m going to start with something most people won’t relate to, but I suspect you will. Despite me putting “Ryan G. Van Cleave” on my published writing, I regularly get called “Mr. Cleave” or “Mr. Van” or something equally mindboggling. Is it fair to assume you experience your own version of this gaffe?

HVD: Ok, not the question I was expecting, but, yes, having a two-​word last name is a challenge, not to mention a first name that can easily be misspelled. Luckily for me, though, in my professional life, I am usually referred to by my first name, but when the two-​name thing comes up, I get Ms. Dussen–which is not only incorrect, but incorrectly spelled and pronounced!

RVC: On a scale of smiling rainbow unicorns to apocalyptic acid storms, where do these kinds of missteps fall for you?

HVD: There are two smiling rainbow things that used to happen more frequently than it does now. I share a last name with a pretty well-​known retired adult editor from Harper. When I go to conferences, I will often be asked if I am his daughter. For the record, I am not! But the idea of a legacy career makes me a bit warm and fuzzy.

I am also asked if I am married to author-​illustrator Chris Van Dusen… nope, not that either.

RVC: For the record, I’m also unaffiliated with the jewelry brand Van Cleef & Arpels as well as the actor Lee Van Cleef, as much as I wish it were otherwise. Now that THAT’s out of the way, let’s talk picture books. How has your personal experience with picture books from your childhood informed your approach to editing and selecting new projects?

HVD:  I am the youngest of 4 kids and had the benefit of a library built by my siblings before me. There were the standards like Winnie the Pooh and Dr. Seuss (I memorized The Cat in the Hat and astonished my babysitters that I could “read”), but I also made frequent trips to the library and was given free reign of the children’s room with the limit of 5 books per visit, according to Mom.

RVC: Oh yeah. I know all about those Mom-​created book limits!

HVD: Having that freedom to choose books, the time to ponder my choices, and a home atmosphere that was conducive to spending time (a lot of time) with books, gave me an almost innate understanding of how books can be and should be part of a kids’ life, whether for pleasure or for information. As I grew into my editing career, I concentrated on nonfiction books, because I wanted to publish true stories–incredible stories that don’t need to be made up, stories that hold attention like any piece of fiction.

RVC: How did you land your first editing job?

HVD: I went the internship route, but how I got my first internship is a bit of a story in itself. I was introduced to Anita Silvey, then Editor in Chief of The Horn Book, through the former children’s book editor of The Boston Globe (back when there were regular children’s book reviews in The Globe). She happened to be one of the moms who led a playgroup for my buddies and me when we were preschoolers.

RVC: Lucky you!

HVD: There I was in college, looking for a summer opportunity, and contacting a writer for the The Boston Globe, someone who hadn’t known me since I was 4 years old–a little daunting at the time, but she was incredibly gracious and helpful. Anita Silvey and her staff took me on as a summer intern, which led to a January internship, and a job offer before I graduated from college. Working as an editorial assistant at the Horn Book was like going to grad school. I handled and read every children’s book published for about 2 ½ years before I took an editorial job at Viking.

RVC: What was the first nonfiction picture book you worked on solo?

HVD: I worked on my own books when I took a job at Little, Brown in the late 80s, early 90s. I started a picture book series called Portraits of Women Artists by Robyn Montana Turner that featured such greats as Frida Kahlo, Mary Cassatt, Georgia O’Keeffe, and others. Working on those books ignited my fire for editing nonfiction.

RVC: What lesson(s) did that book series teach you?

HVD: The Portraits of Women Artists series gave me a crash course in clearing permissions for images and how those permissions influence a book’s budget. That series also showed me how telling a person’s life story through their art can be an inspiring way to talk about a person.

RVC: You’ve worked on a lot of books between then and now. I’m curious about your current thinking as an editor. How do you balance the need for concise and straightforward text with the desire to create engaging and memorable storytelling in picture books? And has that idea changed over the years?

HVD: Good question. Many of the authors I am working with now come from STEAM fields and not necessarily from the children’s book writer community. Many of them are experts in their fields of interest or research, who are committed to reaching children to introduce STEAM concepts. The editing process revolves partly around working with them to think about the audience and how to engage them with the facts with concise language and partly around making sure the narrative arc is successful. As an editor I am committed to planting the seeds of topics that children may not have thought about or been exposed to in a way that will inspire them to want to learn more or dive deeper into a topic.

RVC: You have been especially committed to books about history and culture. Is that a fair statement?

HVD: Yes, that is true. I believe that looking at where we we’ve come from can tell us a lot about where we are today. For instance, I published Underground Fire: Hope, Sacrifice, and Courage in the Cherry Mine Disaster by Sally Walker. That book is centered around a disastrous mine fire, and in the telling covers migrant workers, mine safety reform, and response to tragedy–all topics that are relevant today.

RVC: Let’s talk about a history/​culture picture book mentioned in the introduction—Jazz Day: The Making of a Famous Photograph by Roxane Orgill. How did that project come about?

HVD: I had been working with Roxane Orgill on a few books prior to Jazz Day. She ran across the iconic photo of the jazz musicians and researched the photographer and how the photo came about. Turns out it was an incredibly interesting progression of events. She proposed the idea of telling the story of the photograph–an idea that I loved for the reasons stated in my answer to the question above. It was literally a snapshot of a moment in time that said so much about the past, present, and future.

RVC: How does your editorial process differ with poetry (like in this book) instead of a prose manuscript?

HVD: Editing poems that also cumulatively tell a story is different in some ways from editing prose but the same in others. The narrative arc of the whole story has to be taken into consideration and once that is set, the editing is much more at a line and word level. Every word in a poem has a purpose and a beat that needs to be considered. And in the case of Jazz Day, the poems were conveying information about the time and place in history. It takes several passes through the work to address all of those things in an edit. Not to mention conversations with the author about particular words, the placement of the words, and the need (or not) for them.

RVC: At what point did you realize Francis Vallejo was the right illustrator for the job?

HVD: Francis Vallejo was new to children’s books, but an obvious bright star. The then Artistic Director, Chris Paul, showed me his samples, and it took very little convincing to know he was perfect for the job and Roxane Orgill agreed. He had an interest in jazz music, he was willing to work with the photograph and incorporate it into the book. He also did a ton of research and modeling to get everything right–he was incredible to work with.

RVC: People believe you can’t judge a book by its cover, but is that axiom true for picture books? Please explain the importance of a strong and eye-​catching cover design for a picture book and how that factors into your editorial decisions.

HVD: The way we create picture books at Candlewick, the cover comes late in the process, after the text is final and the sketches are done. At the point we are designing a cover, many editorial decisions have been made about the book as a whole, but deciding on the right image for the cover is one of the biggest editorial decisions. We want the cover to be representative of what the reader is going to get inside without giving too much away. We want the image to draw in people who glance at it for a few seconds on a shelf. We also want it to be a draw at the size of a thumbnail on a web page. We consider the weight or importance of the bylines in relation to the imagery. If the book is funny, the image needs to convey that, or mindful… you get the idea. But there is also the consideration of trends or standing out from trends. I could write about this for pages, but I think I’ve addressed the basics!

RVC: Let’s help out some aspiring writers. In your experience, what are the most effective ways for picture book authors and illustrators to build a dedicated readership and fan base?

HVD: Beyond writing a book that will attract readers, it’s important for creators to engage with their audience in some way, either through social media and blogging or doing visits to school, festivals, bookstores. The school and library piece cannot be underestimated.

RVC: Totally agree!

HVD: Find ways to engage with teachers and librarians about your work and how it can be used with kids. Publishers do not have a marketing budget to put behind every book, so sometimes it is up to the author to do more legwork in terms of publicity. Lastly, keep writing and publishing, so that you have new titles to talk about and work with. Keep working on your craft so that the next book tops the last.

RVC: Speaking of building a fan base…let’s talk social media. While you have a private Instagram account and you joined Twitter in 2009, you don’t seem especially active online. How purposeful is that choice?

HVD: I am a pretty private person. I believe in a hard line between my professional life and my personal life, which is why I don’t engage much on social media. A public fan base or discussion about my work or my authors on social media is not why I do what I do. I also have published a few books that are often banned, and I do not want to be subjected to the wrath of the banners out there!

RVC: One final question for this part of the interview, Hilary. It’s Brag Time! What’s an upcoming project or two that you’re really excited about?

HVD: Just coming out is Unseen Jungle: The Microbes That Secretly Control Our World, the first book in a young middle grade series called Your Hidden Life by Eleanor Spicer Rice and illustrated by Rob Wilson – it’s simultaneously hilarious, gross, informative, and entertaining in a you-just-can’t‑look-away way. (Talk about covers… Unseen Jungle has a cockroach on a toothbrush on the cover!) I’m also excited about a stylish and beautiful picture book biography called Santiago Saw Things Differently by debut author Christine Iverson and illustrated by Luciano Lozano about the father of neuroscience Santiago Cajal, an artist at heart, who, through his art, discovers the truth about neural pathways.

RVC: Alright. With that, it’s time to shift gears from Standard OPB Interview Stuff to Lightning Round OPB Wondrousness. Clearly, speed and succinctness are at a premium, because, well, lightning! Are you ready for the challenge?

HVD: Bring it on, Ryan!

RVC: Who’s your all-​time favorite picture book character?

HVD: How can I play favorites???? There are so many I love! Lyle the crocodile, Mercy Watson, the pig, the sheep in Sheep in a Jeep, the Lion in Library Lion, the list goes on (interesting that these are all animals, what does that say about me? Maybe I shouldn’t ask? 😊).

RVC: What book(s) are on your nightstand right now?

HVD: Demon Copperhead, The Personal Librarian, and The Emperor of All Maladies.

RVC: If someone narrated your life, who would you want to have the job?

HVD: Kate DiCamillo.

RVC: What’s the One That Got Away?

HVD: Chris Van Dusen, when I worked at Little, Brown. Ironically, I ended up working for his publisher in the end.

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

HVD: Every one of Jon Klassen’s books.

RVC: Describe the perfect picture book in three words.

HVD: Narrative. Art. Seamless.

RVC: Thanks so much, Hilary!

Editor Interview: Lauri Hornik (Rocky Pond)

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This month’s Industry Insider is with Lauri Hornik, President and Publisher at Rocky Pond.

Normally, I write my own super nifty version of an interview subject’s bio with the occasional extra-​helping of literary levity, but I found this one at the Penguin website, and it namedrops so many AWESOME books that I’m just rolling with this.

“Lauri began her career as an editorial assistant at Houghton Mifflin Children’s Books in 1988, right after graduating from Harvard. She moved to New York City six years later as Senior Editor at Bantam Doubleday Dell, and then joined Penguin in 1999 as Editorial Director of Dial. In her time at Penguin, she has edited the National Book Award Finalists A River Between Us by Richard Peck and The Rules of Survival by Nancy Werlin; New York Times Bestsellers The Book With No Pictures by B.J. Novak, Counting by 7s by Holly Goldberg Sloan, If I Built a School by Chris Van Dusen, and the Ordinary People Change the World series by Brad Meltzer and Christopher Eliopoulos; Caldecott Honor Book One Cool Friend by Toni Buzzeo and David Small; Coretta Scott King Honor Books How I Discovered Poetry by Marilyn Nelson and The Moon Over Star by Dianna Hutts Aston and Jerry Pinkney; Sydney Taylor Book Award winner Dancing at the Pity Party by Tyler Feder; Boston Globe–Horn Book Honor Books It’s Only Stanley by Jon Agee and The Best Man by Richard Peck; and Sibert Honor Book Turning 15 on the Road to Freedom by Lynda Blackmon Lowery.”

Thank you, Penguin/​Random House website! And whew in terms of accomplishments, right?

Let’s get to know Lauri a bit better now via the interview. Here we go!

RVC: What were some of your earliest-​but-​vital experiences with books?

LH: Ooh, I love this question, because my childhood engagement with books was definitely a sign of what was to come!

When I was eleven and obsessed with Judy Blume’s novels, I wrote her a fan letter in the form of a short story, and she wrote back a personal note in the margins of her printed bio. I still have and cherish that note.

RVC: Lucky you!

LH: I loved reading and writing so much that in middle school I created a story publishing business: I wrote romance stories that I then made copies of and sold at school for a quarter. I was so annoyed when one of my friends would buy the story and share it with everybody else so that I only made 25 cents per story–my first experience of the realities of publishing!

RVC: Oh yeah. I’ve been there–that dreaded secondhand story market in elementary school. I figured I’d make a zillion buckeroonis with my Muppets “Pigs In Space” fanfiction, but it didn’t happen. (True story!) Back to you. At what point did you realize you were going to have a career in the world of stories?

LH: Beside my little business in middle school, you mean?

RVC: Yep!

LH: When I was in college, I spent a few summers editing school publications, including a Let’s Go travel guide. It was great fun and solidified my interest in working in books.

RVC: Your first book-​world gig was as an editorial assistant at Houghton Mifflin Children’s Books. What AHA moments did you have there?

LH: I think the whole first year was one long aha moment. I had thought I’d be working in adult fiction publishing because those were the books I was reading at the time. But the job I found right out of college was in children’s books, and it was an instant fit–a very lucky path to have stumbled upon. I remember talking on the phone to Margret Rey (of Curious George fame) on day one, and also the joy, sometime in that first year, of being able to write the jacket flap copy for Number the Stars. (My mother still has a copy on her bookshelf: It was a big deal in our family.)

RVC: What was one of the most memorable early-​career experiences with editing a picture book?

LH: Some of the illustrated books I remember most dearly are ones in which the author, illustrator, and I took risks with the format. In my early years at Bantam Doubleday Dell, I edited two exquisite and emotional storybooks, Buoy by Bruce Balan and Raúl Colón and Sky Memories by Pat Brisson and Wendell Minor, both of which took the picture book approach to an older reader. Unfortunately, neither really found its audience, but I cherish those books and am glad that we tried something different. I also remember the joy of collaborating with Max Haynes on an interactive picture book called In the Driver’s Seat that put the child behind the steering wheel. It was one of my first picture books as an editor, and such fun to work with Max on it.

RVC: Let’s leap to the present. Rocky Pond. How/​why did it come about, and what makes a Rocky Pond book a Rocky Pond book?

LH: I was the publisher of Dial Books for Young Readers for about twenty years–an extremely satisfying position to have had. But at some point during the pandemic, I realized that I wanted much more time for my own editing rather than supervising a team. There were books that I really wanted to pursue and develop–namely books with mental health content. This had been an interest of mine for quite some time, but I hadn’t had the space to really focus on building the list of mental-​health-​related books that I knew were deeply needed.

So, I launched Rocky Pond Books in the fall of 2022, and the first title published this past January. On the list you’ll find a focus on social-​emotional learning, the mental illness experience, and also some Jewish content. That’s another personal interest of mine, and another subject matter that’s quite needed.

RVC: As President and Publisher, what’s the most difficult aspect of your work?

LH: The most difficult aspect is also one of the best aspects: the juggle of so many different tasks and projects. From the start I’ve loved this career for its variety; there is always a task waiting that suits my current mood, and no two projects are the same experience. But it’s also a career that requires many different skillsets and the ability to keep jumping from one thing to another, and since a publisher works with so many different people (authors, illustrators, agents, colleagues from various teams in the company), there’s also the need to be responsive to whatever your work partners throw at you.

Some days there are more balls in the air than I can keep aloft.

RVC: Describe a typical workday.

LH: My last answer hinted at the reality that there is no typical workday. One day I might spend all of my time line-​editing a novel, the next I might be reading manuscript submissions for two hours, writing online copy for another hour, and then attending meetings the rest of the time (and fitting email into any empty minutes). Some of my favorite meetings are conversations with authors and illustrators and design meetings where I talk through picture book sketches with the art director and the book’s designer. In general, I’m spending lots of time reading or tinkering with words, both those written by authors and those I need to write myself to spread the word about the books.

RVC: In looking at picture books you’ve published over the years, you’ve got some real craftspeople when it comes to language. What are your thoughts on rhyme and some of more formal elements of poetry? 

LH: I’m a fan of rhyming picture books, as long as the rhyme isn’t dictating the story. The story needs to be as well told in rhyme as it would have been in prose, but when an author has that skill, it can be such a delicious read-​aloud experience. And beyond that, I do look for picture book texts that are lyrical or otherwise express a lot of personality through word choice.

RVC: Who are some of the books you’ve edited that showcase rhyme done well?

LH: A few great examples in terms of rhyme are Jon Agee’s It’s Only Stanley and Lisa Wheeler’s Someone Builds the Dream. And for lyricism, it doesn’t get better than The Uncorker of Ocean Bottles by Michelle Cuevas and The Tree in Me by Corinna Luyken.

RVC: Something I’ve noticed about the books you seem to like is that there’s a strong sense of community to them.

LH: Yes, I am always most drawn to books that demonstrate how crucial and sustaining relationships are to one’s life, so children’s books about friendship and family and community are closest to my heart. The Uncorker of Ocean Bottles is about community stepping in for a neighbor who is alone. I’ll soon be publishing Lawrence & Sophia by Doreen Cronin and Brian Cronin, a picture book about an unlikely friendship between a boy and a bird, and how this friendship helps them both contend with anxiety. Charlotte Cheng and Amber Ren’s Night Market Rescue is about finding family. And you’ll definitely keep seeing this focus on my list.

RVC: Let’s help some of the aspiring picture book authors out there. What kinds of things are NOT a great fit at Rocky Pond?

LH: I’m not looking for board book originals and easy-​to-​reads. Books about science and nature will most likely not be a fit. Fairytale retellings will usually not be a fit. And books without any underlying meaning aren’t for me, but I’m also not looking for books in which the message is too overtly therapeutic.

RVC: This isn’t a picture book question, but I have to ask. What was your favorite Richard Peck experience/​story?

LH: Oh, Richard! He taught me so much through the years, and became such a dear friend. I miss him and think about him all the time. Thank you for asking about him. One of my favorite memories is of Richard coming into the office while we were working on The Best Man. He had figured out the final chapter–those perfect three pages. And he sat at my table and read that new chapter aloud to me.

It was one of those rare moments in life–of awe and exhilaration and clarity. I’m very grateful for that memory.

RVC: Richard did a reading here in Sarasota a year or so before he passed. I got to hang out with him a bit after the reading—he was a sweetie. Very generous.

Ryan and Richard!

RVC: One more out-​of-​nowhere question. What’s something most people don’t know about B.J. Novak’s terrific The Book With No Pictures?

LH: B.J. puts so much care and study into his work, and with The Book With No Pictures, the look of the pages was an important part of the reading experience, one that he had thought about extensively before sharing the project with anyone. And so, when it was submitted to me for possible publication, it came as a composition notebook with each designed page attached to the notebook’s blank pages with paper clips. That way it could be read for the very first time in book form. I still have that original version.

RVC: If I asked B.J. what it was like working with you as an editor, what do you think he’ll say?

LH: I like to think he would talk about me and the book’s designer, Lily Malcom, as great collaborators who were willing to try all sorts of ideas before making decisions. We three had an intense and wonderful time working on the book together.

RVC: Last question for this part of the interview. It’s brag time. What should readers be excited about in terms of forthcoming Rocky Pond projects?

LH: I’ve mentioned a few upcoming beauties already, but here are a few more: Daniel Salmieri (the illustrator of Dragons Love Tacos) is the author/​illustrator of a meditative, gorgeous, meaningful book called Before, Now, which uses a spare text of opposites to convey the whole world of one girl’s life, from babyhood to grandma-​hood. Tyler Feder, the creator of Bodies Are Cool, has collaborated with her sister, Cody Feder, on a picture book about a socially anxious ostrich; it’s called Are You Mad at Me?, and it’s so fun while also being so helpful. And Casey W. Robinson and Nancy Whitesides have a touching picture book called Small Things Mended, about a grieving man who finds joy and purpose again with help from the kids in his neighborhood.

RVC: Alrighty, Lauri. It’s time for the SPEED ROUND. Let’s blast through some questions and get zoomy with those answers. Are you ready?

LH: Take it away!

RVC: Which character from The Office do you most admire?

LH: Andy Bernard–he bounces back from disappointments with so much energy and eternal hope.

RVC: If you could travel back in time, what year would you choose to go to?

LH: 2004, to re-​experience my first year as a mom.

RVC: What picture book creature do you wish really existed?

LH: Frog and Toad.

RVC: What are five things we’d see if we peeked in your office?

LH: A bright yellow sofa, various penguin knickknacks, a Newport Folk Festival poster, a can of Diet Coke, a dog bed for my puppy Peach.

RVC: What’s a recent picture book that deserved way more buzz?

LH: I was blown away by Sophie Blackall’s Farmhouse–so meaningful, with an art-​creation process like no other. Even though it was acclaimed, I would have like to have seen it get Caldecott notice.

RVC: What’s the best compliment you ever heard about one of the books you edited?

LH: About 20 years ago I edited a picture book called The Sea Chest by Toni Buzzeo and Mary GrandPré, and my young nephew announced that it was his very favorite book. In fact, when he met Toni Buzzeo at a bookstore appearance, he told her, “I re-​read your book before coming here to make sure that it really was my favorite, and it IS!” The best compliment is one that comes from the intended audience!

RVC: Thanks so much, Lauri!

Editor Interview: Maria Modugno (Random House)

On By Only Picture BooksIn Editor Interviews10 Comments

Maria Modugno has had an amazing career in children’s literature. Currently, she serves as Executive Editorial Director at Random House Studio, an imprint of Random House Books for Young Readers. Prior to that, she was vice president and Editorial Director at HarperCollins Children’s Books where she acquired such popular series as Pinkalicious by Victoria Kann and Splat the Cat by Rob Scotton. She also worked at Harcourt Brace Jovanovich and Little, Brown.

Some of her recent titles for Random House Studio include Uni the Unicorn by Amy Krouse Rosenthal and illustrated by Brigette Barrager, Grumpy Monkey, written and illustrated by Suzanne and Max Lang, Penguin Problems by Jory John and illustrated by Lane Smith, and Attack of the Underwear Dragon by Scott Rothman and illustrated by Peter Oswald.

Yeah, I’m pretty excited to learn more about all Maria does. Let’s find out together!

RVC: You’re living in Chicago these days?

MM: When we went fully remote, I left New York after 20 years and moved to Evanston. It’s right outside Chicago.

RVC: I’m from Chicago myself. My brother still lives in the suburbs.

MM: Oh, it’s great. My family’s out here, too. Whoever thought businesses would go remote and then say, “Sure, take off! Go wherever you want!”

RVC: This industry is well suited for it.

MM: You’re right. We do everything electronically now. I can work from Chicago as easily as I could work with people back when I was in New York.

RVC: Let’s circle back to the start. You’re a lifelong lover of reading and books.

MM: I just loved books even though I grew up in a really small town with a really small library. Kids were only allowed to take out three books a week. Maybe it was because of that rarefied status that I knew books were something really great. My family says I have the Reading Gene. Those who have it, walk around with a book in our hands all the time.

Honestly, if I could do anything in the world, I’d just want to read!

RVC: Speaking of reading…what were some of your special early reading experiences?

MM: They’ve fallen out of fashion, but I love the Little House on the Prairie books. And there was a picture book from Italy called The Circus in the Mist which had opaque and different kinds of paper. I was fascinated by it.

I just loved picture books, like Millions of Cats by Wanda Gág. At one point, Tomie dePaola took me took me to the Kerlan Collection at the University of Minnesota where they have all this art. Tomie asked, “What would you like to see?” And I was able to look at the original art for Millions of Cats.

RVC: Terrific.

MM: I also loved Two Little Miners, a Golden Book. Young readers really don’t have very discriminating taste.

RVC: So long as you love what you’re reading, it’s all fine in my mind.

MM: I wish I could say something profound to your question, like “Oh, I loved The Little Prince.” But no, whenever you hand me something, I’ll read it, you know?

RVC: I totally get it. Now, when did you realize that kidlit was the career for you? Is that what you studied at University of Vermont?

MM: No, I was an English major who specialized in poetry mostly because that’s what I was drawn to. I started out being a science major, but I found I was spending most of my time in the stacks pulling down books and just reading. Studying poetry helps me with editing manuscripts because in a picture book, every word has to count. Every word carries a big burden–it has to say more than just one word typically does.

RVC: You brought up Tomie a moment ago. Rumor has it that he taught you how to become an editor.

MM: I was so lucky. I knew Tomie because my first job in publishing was in marketing. I had toured with him because of that, when Harcourt moved to California, they put me in charge of the editorial department because no one else wanted to pack up and move to the West Coast. I was young and stupid enough to say “Sure, why not?”

I found out we had a contract with Tomie and I said, “Tomie, what are we going to do? I don’t know how to edit.” He generously said, “Why don’t you come out to Whitebird for the weekend, and I’ll teach you.” And so I packed up my warm clothes and went. We talked through the idea of the whole book together–Merry Christmas, Strega Nona. We carefully went through the story and its arc. Then Tomie said, “Now I’ll go off and write it.”

Then he brought the manuscript back to me and said, “Go read it, but don’t change any of my words. Just question things in the margin if something doesn’t sound right. Read it out loud to make sure it sounds right–not just reads right.” And I did exactly that. Then we met up and discussed my comments.

Through that, Tomie instilled in me the importance of someone else’s words. You don’t just trash them off the page. The author put them there for a reason, so let the author make changes when something’s not clear.

That’s how I started as an editor.

RVC: Wow, you were so lucky to have worked with someone like that.

MM I was lucky indeed.

RVC: Fairly early in your career, you went from being an editor to being in charge of editors, which is more like an administrative role.

MM: That’s right. I went from being a marketing manager to being a director of the department. I did that at Harcourt and I did that at Little, Brown and then at Harper, though I was never really happy with that role. I really, really love working on books. That’s what I want to do. Honestly, in publishing, that’s not what’s valued most–what’s valued most is being able to run things and stuff like that. And so I’ve given up a lot of that.

RVC: But that allows you to have your hands on a lot of creative efforts these days, right?

MM: Oh, yeah. At the end of the day, that’s what I want to do. That’s what makes me happy.

RVC: Can you share what the acquisition process is like for picture books?

MM: I’m part of a very small imprint at Random House–it was just founded three years ago. It’s run by Lee Wade, our publisher who’s formerly of Schwartz and Wade, and there are four editors and two designers here. Basically, when I see something I want to sign up, I discuss it with Lee and we talk about what I want to pay for it. It’s as easy as that. I also have to run a P&L [profit & loss statement], which means I have to gather sales data and track information. But I never ask an author to make changes until they have a contract in hand.

RVC: That doesn’t seem to be the norm these days. There seems to be a lot of R&Rs (revise and resubmit) requests before the potential contract arrives. Or not.

MM: When I read a manuscript, it’s either there or it’s not. I can see what needs to be done, and I see that it can be done. I can’t take a manuscript that’s a good idea but is badly written and make that good. That’s not my skill set. But if there’s something there that’s good and I can see where it needs to go? I’m all in.

RVC: Could you talk a bit about working on some of the bigger projects? As you were working on projects like Pinkalicious or Splat the Cat how big they’d become?

MM: Here’s the truth. I never imagined going beyond the first book with any of these. I liked Pinkalicious simply because I thought it was a great idea. You eat too many pink cupcakes, you turn pink. I also like that the little girl sticks her tongue out at me–that’s such a kid thing to do. I was surprised when it took off. I think some of it was shrewd marketing on the part of Harper because Fancy Nancy had just come out and Pinkalicious rode the coattails of that success.

With Splat the Cat, I was at a stationery show and Rob Scotton was there selling mugs and prints. I saw this mug he had with a sheep on it, and that became Russell the Sheep. We just took that image and expanded it. The character of Russell was very involved, in spite of not really having a mouth. I found out that it’s really hard to have a character express emotions without one, so I said to Rob, “Let’s find another character that we can develop.”

Rob had done a set of dishware around this cat named Splat and I said I want it to be a kid. Rob showed me how he could make the head bigger, the arms a little shorter, the body rounder, which made Splat more kid-​like. It worked.

RVC: Yes, it did!

MM: One of the things I do with any book launch is have a promotional hook. That first Splat the Cat book was about going to school, so it was a back-​to-​school story and that helped get it on tables.

OPB: What’s the story behind Toot & Puddle?

MM: Holly Hobbie came to see me at Little Brown. She had heard about me from another artist–Jane Dyer. And Holly had just finished a 30-​year contract with American Greetings where they owned everything she did with that little bonnet girl. She came to me and said, “What do you think I should do?” I told her, “Anything you want.” I mean, she’s such a great artist. She could paint with an eyelash–she’s just amazing!

The first Toot & Puddle as a story about one pig. Then we realized that if you have two pigs, they can play off each other and be two halves of a whole. And they’re charming stories.

RVC: Totally agree.

MM: The first book was cobbled together by some existing artwork. To me, it looks like the seams are showing a bit, but it all worked out fine.

RVC: I’m a big fan of Grumpy Monkey, which is another of the books you edited.

MM: The Langs are so talented that I can’t even believe it. I think they were one of the first to tap into the whole social emotional learning trend because that book comes right out and says, “It’s okay to be grumpy. You don’t have to put on a happy face.” Their books are funny, but they all have this truth–something kids need to learn.

I want to add that I don’t deliberately publish books to teach kids anything. They get that elsewhere. If somebody gave me a book and said, “Here, this is a good book for women who can’t get along with their mothers!” I’d throw that book right back at their head. That’s not why I read books. I like to read books to read books, not to learn things.

RVC: If you learn something, it’s just a bonus. But it’s not the point.

MM: No. And if it is, there’s Sam Goldwyn, who said, “All I want is story. Let Western Union take care of the messages.”

RVC: What do you look for in illustrations?

MM: Among the first people I worked with was Tomie, who was obviously a gifted artist. I also work with a lot of animators because they have the ability to tell a story. What I’m always looking for is movement. I also look for funny because I think the world needs funny books. There just aren’t enough of them.

A lot of do at work requires me to substantiate my decisions with data. But honestly, sometimes I make a preliminary decision and then I look for the data to substantiate it.

RVC: That makes sense. The art+story package should generate a gut reaction.

MM: Yes, that’s right. I don’t like mood pieces. I don’t like fancy words that don’t add up to anything. I don’t like bad rhymes. I just want great stories.

RVC: What are your thoughts on marketing, particularly for debut picture book creators?

MM: It’s the hardest thing with picture books because we don’t market to our direct audience (because we can’t). The biggest marketing or promotion you can do for a book is to get it placement in a bookstore. I never sign up a book without envisioning where it’s going to go in the bookstore. I think about what’s going to compel a bookstore buyer say, “I have to have THIS book and not THAT one.”

Honestly, a beautiful book and a beautiful story isn’t enough. It has to fit into something that a bookseller will promote, like a holiday, or Black History Month, or some other event. You need to have that kind of promotional connection because most picture books have the shelf life of a quart of milk.

If you don’t get it out there and get it noticed, it’s gone.

RVC: Will you talk a bit about your own writing, such as Santa Claus and the Three Bears?

MM: I wrote that book on a lark for a friend. I love that classic story, and I love giving it a twist. But I don’t consider myself a writer at all.

At one point, I took drawing lessons, but believe me, there’s no hidden talent there. I just wanted to know what it felt like for an artist or writer to confront a blank piece of paper. What does it feel like to put that first mark on it?

Maybe that’s what I learned from Santa Claus and the Three Bears–I had to mentally see the story and where it was going to go before I could write it.

RVC: What’s the most important trait that you bring to the editing process?

MM: I never forget what it’s like to be a kid.

When my nephew Chris was four years old, he moved from a very old house in New England to a brand-​new house in the Midwest. I asked, “So, Chris, how’s the new house?” He said, “All the doorknobs are the same.” That’s the viewpoint of a kid. They’re not in our world. They’re in a world that comes up to our waist. You have to remember that. You have to remember the things that interest them.

Kids also like funny things, but a lot of editors prefer serious things. I think the world is serious enough already.

RVC: What are some of your proudest moments as an editor?

MM: I love when a new book comes in. And I love when books hit the bestseller list. Funny books don’t win awards, though. They don’t get starred reviews either. And it took me a long time before I figured that out. By the time I figured it out, I decided that winning awards wasn’t what I was about anyway.

I come from a working-​class background, so I always felt it’s my job to keep authors and artists earning money and working. I don’t like to make them wait for a response from a publisher because that time is time that they’re not making money.

RVC: A lot of writers are going to love that you said that!

MM: I’ll add this–a high point for me is working with Lane Smith. I’m in awe of him. Over and over again, he proves himself to be both brilliant and nice.

RVC: I’m not surprised. That seems to be the brand not just for Lane but also a lot of people in the kidlit industry. It’s good people and good audiences.

MM: You’re right about that.

RVC: Beyond the obvious–join SCBWI, read a lot, write a lot, etc.–what’s your advice for aspiring picture book writers?

MM: I think it’s more than just reading other books–it’s reading them critically. To do this, ask good questions.

  • What did I like about this?
  • What made me turn the pages?
  • Why didn’t I like this?

I also encourage writers of picture books to think visually. As they write, they should see the picture that their words are going to suggest. I’m not talking about art notes, but rather how you imagine these words looking when they’re illustrated. You have to tie the two together all the time.

RVC: Alright, Maria–it’s time for the Speed Round. Are you ready for some zip-​zappy goodness with super-​fast questions and super-​duper-​quick answers?

MM: Sure.

RVC: If animals could talk, which would be the most annoying?

MM: A gnat.

RVC: If you built a picture-​book-​themed hotel, what would the theme be and what would the rooms look like?

MM: Classic fairy tales because they’re so popular and I’d want people to come. Either that or The Nightmare Before Christmas.

RVC: What secret talent do you have that no one would expect?

MM: I make hats. I’m an amateur milliner.

RVC: What’s your dream project in the picture book world?

MM: I’ve already lived so many of them! But my dream would be to sign books without having to go to auctions. They’re really competitive and they rub me the wrong way.

RVC: What’s the One That Got Away?

MM: There’s one every year. That’s one of the things about a picture book–different editors will envision it differently. So, if I saw a book one way and somebody else published one another way, did it really get away or was that book meant to be what it became?

RVC: What is your picture book philosophy?

MM: Don’t forget kids are going to read it.

RVC: This has been a real treat, Maria. Thanks so much!