Agent Interview: Christy Tugeau Ewers (The CAT Agency, Inc.)

On March 25, 2019July 13, 2025 By Only Picture BooksIn Industry Insider

This month’s Industry Insider interview is with Christy T. Ewers, an artists’ agent who is the owner of The CAT Agency, Inc. She’s been surrounded by artists her entire life, with a mom who has a Fine Art degree, a husband who’s a filmmaker, and a pair of book-loving children (one has a deep appreciation for unicorns and the other “enjoys using every crayon in the box”). You put anyone in that environment and they’re pretty much going to come out as an artists’ rep!

That’s probably all you really need to know in terms of pre-interview stuff, though there is a good bit on her LinkedIn page about HTML, Java, and C++ skills (that kind of thing always impresses the heck out of me). So we could just move on to the interview … but here at OPB, we do more than the average bear does. And after extensive research (I Googled for about nine seconds), I’ve determined that when the average bear creates a list, they’ll only use three items. OPB can top that. So here are four—count ‘em, FOUR!!!!!—bonus facts about Christy to better prepare you for the almost-ready-to-start interview.

Christy loves:

seaside escapes
very hot coffee
pitbulls
handwritten notes

With that, let’s get to the OPB interview with our new favorite artists’ agent, Christy!

website: www.catagencyinc.com
Facebook: www.facebook.com/CATugeau
Instagram: @the_cat_agency

RVC: Let’s talk about the elephant in the room. You’re half of The CAT Agency, the first mother/daughter agency in the kidlit business. Describe what that’s like on a day-to-day basis.

CTE: Well, a lot of what makes working with my mother so successful is that we have separate offices in separate places. Haha! But it’s not what you think – we get along famously – it’s just that if we were in the same office, neither one of us would get any work done. We like to talk! So when we DO work in the same place, there’s a lot of good-hearted goofing off.

Also, after 25 years at the helm, she’s now enjoying semi-retirement and/or “working from the boat” where she can often be found cruising around with my dad. No one is more deserving of R&R, and she can enjoy it, knowing that I’m very happy behind the wheel in my little office nook.

RVC: Sounds delightful!

CE: It is! One of the things I love most about my job is that the day-to-day is different every day. Some days are promo days, where I spend the hours putting together blasts, or postcard mailings, or going into NYC to meet with editors and art directors. Some days, I focus purely on sending out dummies and pitches. Some days, it’s all about accounting; invoicing, cutting checks, balancing the books. Some days I read a lot of contracts – and negotiate terms. Some days I dedicate to reading manuscripts and dummies and providing feedback and notes. Some days I’m a cheerleader or a therapist, or both! Some days, I get to be the delivery person of amazing news, and some days, not so amazing.

And then there’s the occasional Field Trip Day to the local bookstores, where I get a latte, and dig in in the children’s section. I love the daily variety of being an agent. But every day consists of replying to email, talking to my mom 30x on the phone, participating in social media, and staying up way too late replying to submissions. There are always some constants!

RVC: Though you have author/illustrators on your client list, you’re not currently representing text-only authors. As someone with a degree in English/Journalism, do you ever ache to just work on the word side of the picture book equation?

CTE: Good question! I find that I feed that hunger in helping our author/illustrators – and also helping those who submit dummies to us. I spend a lot of time working with people in helping them to write – but I also spend a lot of time learning as much as I can, too. I read about writing, research, go to conferences, and listen to authors and editors speak, etc. So it’s really also about continuing education for me, and I enjoy that immensely. I have so much to learn, and such great resources! I find it satisfying to learn as much as I can, and then apply that in helping people who are writing for children. It’s very different from the literature I studied in school and the creative writing I have done…writing for children is much, much harder!

Honestly, I love the art part. Art has always been a major part of my life. If I ever just worked on the word side of the equation, I would miss working with artists immensely. I think I’d feel like a glass half empty – whereas now, I’m full to the brim!

RVC: Beyond your degree in English/Journalism from the University of Delaware, what was the best life or career experience(s) in terms of preparing you to succeed as an agent?

CTE: Oh boy, this one is going to make my parents chuckle – but hands down – Assistant Managing a fine-dining restaurant. When I was in college, my parents urged me to get a summer internship in NYC (I’ll give you one guess as to what industry my mom was pushing!). So what did I do? I spent my summers living in practical squalor on Nantucket Island, where I spent my days at the beach, and my evenings as the Assistant Manager at a very popular fine-dining restaurant. My parents were thrilled, let me tell you! But honestly, there was no better preparation for life, let alone agenting than those 4 summers.

First of all, I had to have confidence in myself – or at least pretend to – because I had to finagle my way into that job, even though I was woefully inexperienced. And then I had to learn quick! Right out of the gate, I had to learn how to liaise between the kitchen staff, and the wait staff – which anyone who has ever worked in a restaurant understands is a difficult undertaking! I had to smile while restaurant-goers screamed at me after I told them that there were no open reservations – and then I had to “find” them a table. I had to put out literal and figurative fires, keep my cool, and multi-task more than I ever had. I learned to work harmoniously with everyone from the bus boys, to the bartenders, to the line cooks, to the owners, to the doormen. I really listened to people with more knowledge and experience than me, and began to understand that no one reaches a point in which they have nothing left to learn. I embraced being human; to always keep things in perspective, and to laugh. Because sometimes, the only thing there is to do is laugh. I learned that at the end of the day, none of what I was doing was life and death, but people’s livelihoods depended on the job that I did. And I took it very seriously.

By the end of my last summer, I was hiring people, training people, and feeling an immense sense of pride at the end of each night, no matter what happened. I came to see the challenges of the job as a positive thing, and learned SO much from each and every one of them. Even though I held this position nearly 15 years before becoming an agent, working in a restaurant set the blueprint for who I am today. It made me a better person – and a much more diplomatic, understanding and patient one. All of the skills that I acquired and honed in that job, (including learning a LOT about wine) I have applied to my life and career every day since.

Plus, that’s where I met my husband…he was a waiter! So…it was a real win/win/win/win/win/win for me.

RVC: What’s the most challenging aspect of being an agent?

CTE: Hmmm. I’d have to say convincing people with immense talent that they are not totally untalented and worthless; which usually immediately follows a rejection. I completely understand how it feels to be on the receiving end of a rejection – and how difficult it is to put one’s heart on their sleeve the way that authors and illustrators do. This is definitely a crux in most artistic and creative lives, but I see so much self-doubt and self-deprecation oftentimes when it’s completely uncalled for! I find it challenging to combat that in an effective way. Thank goodness for Jane Yolen for ALL things, but I appreciate that she openly (and often hilariously) posts about her rejections and woes. I think that really helps ease the sting for other authors and creatives! We have a tendency to share only good things – which is human. But the flip side of that is that when we only share things to celebrate, rejections seem fewer and farther between – when in fact, they are tenfold! It’s hard to convince people that they are not alone – and that it happens to the best of them!

RVC: While we finally met face-to-face at the 2019 SCBWI regional conference in Miami, I’ve known about you and your agency for far longer than that thanks to your third Thursdays “Ask CAT” posts on Kathy Temean’s blog/newsletter. How did that relationship come about?

CTE: My mom was on faculty at the NJ SCBWI conference many many years ago when Kathy was an RA, and they hit it off! They go way back – and have much respect for one another personally and professionally. Just like Kathy, my mom has always been very active in sharing her knowledge and skills, so it only made sense to contribute to Kathy’s incredible blog. We admire Kathy greatly and would do anything for her – and we are always happy to help her readers in any way we can.

RVC: I saw on your agency’s blog (The Way Tugeau) that you reposted a piece you did for Kathy on the difference between a licensing contract and a publishing contract–something that really confused some people. In a nutshell, what’s the difference? And why are people confused about it?

CTE: In a nutshell, licensing is a whole different ballgame. I think that the biggest difference is that in licensing, you’re negotiating the term of the license from the perspective of knowing its end-point. You’re also licensing your work in terms of usage. And those factors determine the compensation. In trade publishing, at least, the terms are more boilerplate. If you retain the copyright to your work, you are licensing it to the publishing of the book, and book materials, usually worldwide. And the terms of the license end when the book goes out of print. This doesn’t determine the compensation for the book – other variables come into play as far as that negotiation goes.

RVC: Are you noticing any particular trends in the picture book market now? (I’ve recently seen a few books that have a decidedly comic-book style to them, but I’d really suggest that it’s the marked rise of interest from publishers in the work of author/illustrators.)

CTE: Graphic novels (even in the younger genres) are all the rage now, yes. And it’s about time! They tap into a whole new market of children who read in a less traditional way. And it’s wonderful! I have a resistant reader, and she loves the graphic novel format. I’m so relieved that this “trend” is here to stay! It’s also a wonderful showcase of highly crafted writing, and beautiful illustrations. It takes special people with very special talents to create a successful graphic novel!

You’re right that there is a bit of an influx of author/illustrators. It makes sense. If an editor is presented with a dummy, and they like the story AND the art, then voila! It’s a one-stop-shop. But I think that’s also happening because some editors are starting with artwork. I know several who will see the work of an illustrator and/or a visual story, and say “do they write!?!” and if they don’t, the editor will say “do they want to?!”. There are a lot of editors out there right now who are willing to help illustrators write, based on beautiful visual stories that they have already created. I really love this trend, especially for picture books, because the illustrations ultimately drive the story. It kind of makes sense to start there, right?

I’m also seeing an influx of Own Voices, diverse stories, and books that are visually representing the world we live in. HOORAY! I don’t even want to use the word “trend” with any of these things, though, because that implies that it’s temporary. None of these things I have mentioned should be temporary.

RVC: Could you talk about your role in pairing a picture book artist with a writer via a publisher? Do publishers ever come to you and say “We’ve got a book by so-and-so about subject X. Do you have a client who’d be ideal for that?” Or do they come with a specific client of yours in mind? How does it all work, and how can you promote your clients to create new opportunities for them versus waiting for opportunities to arrive? (Lots of big questions—I know!)

CTE: These are great questions! It’s a little bit of both. I’d say 50/50. Sometimes, editors and art directors come to us and say “We are on the search for an illustrator who can do XYZ and ABC – got any suggestions?” and then I say “Heck yeah!” and send along links and samples and it goes from there. Oftentimes, I get the emails with a specific inquiry – asking if so-and-so is available and interested in a specific manuscript. Other times, it’s an “audition” scenario where I’m contacted regarding several illustrators, and they would like them to create samples for a project (along with artists from other agencies) and then we see that play out.

My job as an agent is to make sure that I’m promoting, promoting, promoting, without being annoying. So I’m either arranging postcard mailings, sending blasts, visiting publishers to show portfolios and dummies in person, or just doing direct-reach-outs to art buyers to remind them of the talent in our group. It’s a trick to stay in the forefront of people’s minds when they are looking for an illustrator, while making sure that I’m not being too “agent‑y”!

RVC: I hear that artists are sometimes as reluctant as writers to promote themselves. So let’s help them! What’s one thing an early-career artist can do to get noticed by an agent or other industry professional? What’s worked on you?

CTE: Everyone is going to hate me, but BEAUTIFUL ARTWORK!! That certainly catches my eye. That, and a personal email/cover letter. We always try to look at everyone’s work and get back to everyone with a thoughtful and personal response (even if it’s a pass), but if someone takes a minute to actually look at the people we represent and researches our agency a little, and mentions that in their email, it means a lot. It’s clear when it’s a mass submission, and not only does that bum me out, but I see that as a missed opportunity for the artist. When I see a mass submission (especially beginning with “Dear Sirs”) I’m less inclined to give their submission any attention when I know they didn’t do the same for us. A little effort goes a long way.

RVC: Final question for “serious” part of the interview—What’s the most important thing someone should know or understand about The CAT Agency? (I dearly hope your answer involves something about cat interns!)

CTE: Ha! If anything, we’d have dog interns. I’m highly allergic to cats!

One thing that a lot of people don’t know or realize is that we are The CAT Agency, because my mother’s initials are C. A. T. The agency used to be called the Christina A. Tugeau Artist Agency. When I took over, we shortened it to “CAT” to pay homage to our founder, and to be a lot more pronounceable. 🙂

And we’ve always had our little reading cat logo, so it made sense! It’s funny, because I’ve never been a cat person. But they are growing on me…and they’re all over my office!

RVC: So it’s time for the often-copied, never-equaled LIGHTNING ROUND! Ready for some zippy-skippy Q and A?

CTE: Ready!

RVC: This is such a low-hanging fruit, but I’ve got to ask. If Harry Potter zapped you into a cat, what type of cat would you hope for?

CTE: Sorry, cats–I’d hope to be a dog. But if I HAD to be a cat, I’d have to say lioness.

RVC: Most surprising song (or artist) on your playlist.

CTE: The title score to Game of Thrones. Don’t knock it ‘til you try it!

RVC: What’s the bigger deal-breaker—an artist with a galaxy-sized ego or an artist who is unbothered by the sound of deadlines that WHOOSH by?

CTE: Oh man. Ahhhh! Both give me hives. Ummm…I’d have to say an artist who is unbothered by the sound of deadlines whooshing by. Because you kinda also have to have a big ego for that to be true. To think that deadlines are inconsequential, and that your time is more important than someone else’s is the sign of a pretty big head. And, as we know, meeting deadlines makes or breaks a career, not just your relationship with your agent!

I can (begrudgingly) deal with inflated egos – so long as those egos meet deadlines.

RVC: Spec covers. Yay or nay?

CTE: Do you mean doing a cover on spec in hopes of being hired for a cover? If so, YAY!

RVC: “A picture book illustrator I don’t rep but whose work is underappreciated despite being totally awesome is ___________.”

CTE: Oh, there are so many!! P. Marin. She’s got a very distinct style; full of raw emotion and energy. I follow her on Instagram.

RVC: Three words that describe your art aesthetic.

CTE: Emotive, loose lines, contrast‑y (yes, that’s a word!)

RVC: Thanks so much, Christy!

Agent Interview: Wendi Gu (Janklow & Nesbit)

On February 25, 2019July 13, 2025 By Only Picture BooksIn Industry Insider

This month’s Industry Insider interview is with Wendi Gu of Janklow & Nesbit.

Wendi grew up in the sleepy suburbs of Chicago and studied Creative Writing at Northwestern University. Soon after, she found herself working at Sanford J. Greenburger Associates before moving on to Janklow & Nesbit in 2018.

But that’s the standard stuff. At OPB, we plunge deeper. Here’s where we really start to get know what Wendi’s all about.

Five Fun Facts:

Believes smoked gouda is good on ANY cracker.
Used to be picked last in gym class, but thanks to weekend yoga, she can match Dwayne Johnson/The Rock push-up for push-up.
Has watched Beyonce’s Lemonade more than any other film in her adult life.
Desires clients who are “unafraid of poop jokes.”
Admits that while beagles are her favorite, “all dogs have good souls.”

Armed with that kind of in-depth 411, we’re practically coffee-shop pals with Wendi. So let’s move on to see what our new buddy says about the world of picture books. from a literary agent’s perspective.

Onward!

Agency Website: www.janklowandnesbit.com/node/4165
Twitter: @wendilulugu
Manuscript Wish List: www.manuscriptwishlist.com/mswl-post/wendi-lulu-gu/

RVC: Before we really get cooking along, I’ve got to ask–you have a degree in creative writing from Northwestern University. But you also earned a degree in anthropology. How’d that come about? (Especially because you were interning as an undergraduate with children’s book agent Brenda Bowen at Sanford J. Greenburger Associates! Was being Indiana ~~Jones~~ Gu your backup plan to the kidlit business?)

WG: Great question. I loved the reading list in the creative writing program, but I loved reading ethnographies too, which often got into the nitty gritty of cultural exchange. Really nerdy stuff.

RVC: So let’s talk about the world of agenting. What are a few unexpected things that people might not realize is actually part of what it takes to be an effective agent?

WG: Authors need thick skin, but boy do agents need it too. We get rejected all the time by prospective clients and editors.

RVC: Why is agenting the right fit for you versus, say, being an editor?

WG: I like being the midwife. I think editors are geniuses because they’re the real finishers. But I’d rather spot the potential for something.

RVC: Pet peeves regarding prospective clients?

WG: Spell my name right!

RVC: Amen to that! If I earned a quarter for each time a letter/email/note came to me but was addressed to “Dr. Cleave,” “V. Cleave,” or some variation of Cleeve/Cleve/Clave, I’d be in retirement mode already.

But let’s get back to you. It seems like you’re quite the fan of Twitter (love the bio: “Taller than your dad. Pure lit agent.”). Is following you there the best way for prospective clients to find out if you and they are a good match?

WG: Finding interviews like this one is a good start. Otherwise, read the books I represent! 🙂

RVC: If you could wave your magic literary wand and suddenly have your existing clients deliver knockout picture books about X, Y, and Z, what would those subjects/ideas be? (What are you looking/wishing/dreaming for in terms of submissions?)

WG: You know, agents get asked this question all the time, but when we fall in love with a project it’s usually a book that we didn’t even know we were waiting for. But I love voice-driven stories, books so honest that it’s clear only that very author could’ve written that story.

RVC: What are some of the most exciting trends that you’re seeing in the picture book realm?

WG: I’m seeing a lot of great picture book biographies out there. It’s such a great way to share little-known pieces of history, brought to you by little-known heroes.

RVC: What trends would you like to see in the foreseeable future?

WG: It’s expensive…and this isn’t really a trend, but I love die cuts. I just wish they weren’t cost-prohibitive for the publisher.

RVC: Got any terrifically exciting picture book projects in the works that you’d like to gush about?

WG: Oh yes. Paper Son: The Inspiring Story of Tyrus Wong, Immigrant and Artist by Julie Leung, illustrated by Chris Sasaki, presenting the life and times of animator Wong, the Chinese-American immigrant behind Disney’s Bambi. Publishing this fall!

RVC: One final question for this part of the interview–your name is spelled differently than most might expect (and perhaps differently than far too many queries sent your way have it!).

WG: My name is Chinese. Wen means “culture” and Di means “enlightenment.” My parents named me that because they knew I’d grow up between two cultures.

RVC: The name Ryan means “little king.” So clearly both of our parents were on the ball when it came to naming, right? 🙂

So I’ve been waiting for it. You’ve been waiting for it. OPB friends and fans have been waiting for it … THE LIGHTNING ROUND! Zaptastically quick answers and shockingly good answers, please! Ready?

WG: Ready!

RVC: Since we’re both Chicago-ites … the best slice of REAL Chicago pizza can be found at ________

WG: Uno’s? Uno’s!

RVC: “My guilty pleasure podcasts are ________”

WG: Call Your Girlfriend, Still Processing, and Keeping a Notebook with Nina LaCour (a client rec!). However I wouldn’t characterize these as guilty pleasures. I just love them deeply.

I did BRIEFLY listen to a podcast about Megan Markle/Prince Harry’s royal wedding, but ultimately it didn’t stick. The pictures were better.

RVC: Favorite karoake song?

WG: “Torn” by Natalie Imbruglia. The world doesn’t even know how much they miss that song.

RVC: I know you’re a fan of the underdog character in stories. Favorite one from a picture book?

WG: Sterling the dachshund, who just wants a family to love him, from Sterling, Best Dog Ever by Aidan Cassie.

RVC: Best picture book from 2018 that your agency didn’t rep?

WG: I loved the wordless picture book I Walk with Vanessa by Kerascoët.

RVC: Three words that get to the heart of who you are–and what you’re all about–as an agent?

WG: Affirmative, heart-forward, hardworking.

RVC: Thanks so much, Wendi!

Editor Interview: Emily Feinberg (Roaring Brook Press)

On January 28, 2019July 13, 2025 By Only Picture BooksIn Industry Insider

The first Industry Insider interview of 2019 is with Emily Feinberg, who got on my radar because her name kept appearing in the Dealmakers section of Publisher’s Marketplace. But what REALLY sealed the deal for me in terms of making her a priority must-have for a 2019 Industry Insider interview? Her terrific Twitter bio that simply confirms what I already suspected–we’re kindred spirits. Like literary peas in a bookish pod. Like two ducks in an inky ocean of words. Like two psychic penguins who … well, you’ll see for yourself.

Here’s her Twitter bio:

“Children’s book editor at Roaring Brook Press, a Broadway music lover, and a dog fanatic.”

What more do you need than that, right?

But here at OPB we under-promise and over-deliver, so let me offer up four more facts that might just confirm how you too are (quite likely) kindred spirits with Emily to some degree.

Favorite coffeehouse beverage: A cappuccino with cinnamon on top.

Favorite snack: Anything with chocolate…but no raisins. Never raisins.

Favorite childhood book: I had many but I was particularly fond of The Story of Ferdinand and The Little Prince.

Coolest talent not enough people know about: I can wiggle my ears.

So now that we’re all pals here, let’s get to that OPB interview and learn more about why authors love working with Emily. And perhaps, too, we’ll get to the heart of that anti-raisin thing!

Roaring Brook Website: www.us.macmillan.com/publishers/roaring-brook-press
Facebook: www.facebook.com/emily.feinberg.3
Twitter: @EmilyFeinberg

RVC: What type of childhood did you have, and how did it prepare you for a career as a kidlit editor?

EF: I was raised by a mother who was a librarian, so my brother and I spent tons of time in the library. The children’s room was often our babysitter. I wouldn’t call myself a huge reader as a child, at least not in a traditional sense. I was never much for novels but I would become obsessed with biographies of real people, reading Helen Keller’s story over and over again, or any book I could find on Nadia Comaneci or gymnastics. I also loved David Macaulay’s The Way Things Work.

In elementary school, I thought I wasn’t really a reader but that was just because I wasn’t reading what other people were reading. I was reading all the time, though. As I got older, in junior high and high school, I grew to like fiction more but spent most of my time reading The X‑Files fan fiction. Pages and pages. Probably tens of thousands of pages. So I guess I was a reader. We always had books in the house, always had older relatives asking us what we were reading, occasionally bribing us with a dollar for a book report. Now, I read a lot more traditional books for my job but as an editor tend to like less traditional books as well as nonfiction. See the source image

RVC: What about The X‑Files fan fiction drew you in so powerfully?

EF: For me, The X‑Files was always about character and storytelling. The mysteries were cool, and of course the aliens and conspiracies, but ultimately it was Mulder and Scully and their relationship that drove the show. I always loved TV more than movies because you could invest in the characters more deeply and for a longer period of time. It’s not over in two hours. I think fan fiction just extends that even longer. I could finish an episode and within a day or two, there would be stories online extending it. I always thought that was really cool.

RVC: At what point during your master’s degree program in Children’s and Adolescent Literature at Simmons College did you realize your future was in publishing?

EF: I actually knew I wanted to be an editor going into grad school and picked the Simmons program because I had heard great things about the faculty.

RVC: How did you know you wanted to be an editor? What were the signs?

EF: In high school I would go over my friends’ papers for them and help them form better sentences. In return, they’d explain math to me. At one point in high school, my mom and I took a trip to San Francisco (we lived in LA county) to visit a friend of hers who owned a small publishing house in Berkeley. He showed us around and I asked a million questions but still didn’t really know I wanted to be an editor. I remember just liking the atmosphere at the publishing house. I finished grad school at Simmons and worried I’d never break into the industry, which is super competitive, especially on the editorial side, so I took the LSATs. I would have gone to law school but a friend said to me “you’ll hate it–you need to do something more creative.” And for some reason that really stuck. So I kept trying to get into publishing and eventually it worked out.

RVC: It seems that some NY editors hide from authors, but you do the opposite. You’re active on the SCBWI scene, and you do cool things like picture book webinars for Kidlit411. Sure, you’re networking and all that, but as a creative, what do you get out of these activities? In what way(s) do they feed you?

EF: Well, honestly, publishing isn’t the most lucrative business to work in and participating in SCBWI conferences and webinars helps me make ends meet. I do enjoy meeting people at the conferences, though, and it helps me stay fresh and updated on industry conversations.

RVC: What do you see as the current trend(s) in the picture book world?

EF: We talk about this a bit at Roaring Brook. I think right now we’re seeing a strong response to or current political climate, whether its books teaching empathy, nonfiction teaching civics and government, or books about strong girls and women. That makes sense to me, especially with kids books. You don’t want to be didactic but I think writers and illustrators right now, along with editors, want to give kids the tools they need to understand what’s happening around them.

Also, unicorns.

RVC: What’s the most common misconception about the life/work of a NY kidlit editor?

EF: One thing I think about a lot is what writers and editors have in common. People maybe don’t know that editors also face a lot of rejection and you have to develop really thick skin. If I’m going to take a book to acquisitions meeting, sit in front of 30 people, and try to convince them to invest in it, in the author, in the illustrator, my heart is tied up in that, too. Children’s books have a long lead time. It takes around 2–2.5 years to make a picture book from acquisition to publication, and I certainly don’t want to spend two years on a project I don’t absolutely love. But with all that comes some in-house pressure that I’m not sure is ever really communicated to the author.

RVC: What does your editorial process look like?

EF: I’m a visual person so I try to book map everything so I can see where the page turns are, where text needs to be cut, where the illustration needs to lead. I think authors I work with would say there’s a lot of back and forth and that’s mostly because I’m not a fast editor. Sometimes something will occur to me later than it should.

RVC: It’s hard to have a 1:1 with an editor without the Big Questions All Aspiring Authors Want Answers To. So here’s one. What’s the most common dealbreaker you see with pretty good picture book manuscripts that you ultimately still say “Thanks but no thanks!” to?

EF: It’s different with each case. Sometimes a manuscript is so beautifully written and I really want to take it on but there’s just no market for it yet. Sometimes the story is strong and the writing is good but it just feels too familiar. Sometimes everything is great (especially with nonfiction) but the storytelling doesn’t have a fresh angle or the market is too saturated.

RVC: And one more of those Big Questions. What’s on your PB Wish List for 2019?

EF: This question is so hard. I’m looking for a little more middle grade, actually. Anything comparable to Karen Cushman. For picture books, always exploratory subjects. The other day I was thinking it might be cool to have a book exploring theories of time travel–how viable they are, how one would do it, why they wouldn’t be able to do it.

RVC: I’ve got to ask. What’s your deal with raisins? Inquiring minds DO want to know. 🙂

EF: They’re disgusting and an abomination. They sneak their way into cookies, you think they’re chocolate chips, but they’re not, and they ruin your cookie-eating experience.

RVC: Speed round. Ready? Here we go! James Bond or Jason Bourne?

EF: Dana Scully.

RVC: Best place in NYC to get a truly yum-tastic cappuccino?

EF: Did you mean “martini”? Rose’s in Brooklyn.

RVC: Most underappreciated yet awesome Broadway musical?

EF: Guys and Dolls.

RVC: Last non-Roaring Brook picture book that just blew you away.

EF: A Big Mooncake for Little Star by Grace Lin. I bought it, read it out loud to my mother because I needed her to understand the brilliance, and read it about once a week. I love it.

RVC: Which forthcoming Roaring Brook title of yours is going to blow away readers the most?

EF: It’s so hard to choose. Two books coming out around the time of this interview that I’m SO proud of are Just Right: Searching for the Goldilocks Planet, a gorgeously written and illustrated nonfiction picture book about exoplanets, and How to Walk An Ant, about a girl who shows the reader how to leash up and walk ants–both out this winter!

RVC: If Yoda were one of your authors, what’s the endorsement he’d give you?

EF: Good snacks, she has.

RVC: Thanks so much, Emily!

Editor Interview: Kait Feldmann (Arthur A. Levine/Scholastic)

On December 24, 2018July 13, 2025 By Only Picture BooksIn Industry Insider

The final Industry Insider interview for 2018 is with Kait Feldmann. And not to toot my own OPB horn here, but the following is SO GOOD that it’s totally worth sending out on Xmas eve. Feel free to tuck this post under your tree and wait to open it until Xmas day, if you want!

That being said–here are 11 fun facts about Kait to get us started! Why 11 and not 10? Because at OPB, you always get a little extra literary love. Plus there’s always the This is Spinal Tap connection to be enjoyed.

Her fancy title? “Editor at Arthur A. Levine Books, an imprint of Scholastic.”
How many n’s in “Feldmann”? Two.
When did she join Scholastic? May 2014.
She assisted on Newbery Honor-winner Echo by Pam Muñoz Ryan, The Marvels by Brian Selznick, and The Tales of Beedle the Bard: The Illustrated Edition by J.K. Rowling, illustrated by Lisbeth Zwerger.
“Book hoarder, insomniac, and lover of all things sloth.”
She’s a “proud hapa.”
Sometimes wishes “referral” were spelled “refferrall.” (Ryan’s note: Don’t we all?)
What does Kait yearn for in a manuscript? “Meaningful, character-driven stories with humor and heart.”
Also “likes a little whimsy, light layers of magic.” (Ryan’s note: Witness the Potterhead Q&A exchange below! And note what Kait’s both reading and holding in the picture above!)
Wants to see more picture books featuring kids of color.
Submission WARNING from Kait! “I have a stone-cold heart the size of a pea and am not moved by sweeping texts that explore ideas like love, family, tradition, etc., through a glimpse into many different kinds of experiences. Instead, I prefer to see specific narratives that focus on a particular character’s emotional journey. Universal through the specific!”

Arthur A. Levine website: www.arthuralevinebooks.com
Personal Website: www.kaitfeldmann.com
Twitter: www.twitter.com/kaitfeldmann
Tumblr: www.scattershotsilly.tumblr.com
Manuscript Wish List: www.manuscriptwishlist.com/mswl-post/kait-feldmann/

RVC: How did you first get involved with the publishing world?

KF: My first foray into publishing was an internship with Scholastic, which was offered after providing my mom (children’s book author Lisa Yee) notes on Warp Speed that she passed along to her editor, Arthur Levine. He liked what I had to say and asked me to intern for him. I hadn’t considered an editorial career before, but that experience ignited my passion, and I spent the rest of my college years taking on any kind of book-related work I could, interning remotely, assisting a local independent publisher, freelance editing, and selling fine writing pens in Vroman’s stationery department where I’d sneakily pretend to be a bookseller on the side.

RVC: So in your current editorial position at Arthur A. Levine Books, you’re primarily looking to acquire picture books and graphic novels. What appeals to you most about these ways of telling stories?

KF: Images bring something to a story that I think, when done right, can really enhance the world of words. And you can play with story in the book format in a way you simply can’t do in another medium. A great example is Tillie Walden’s I Love This Part, which I might call a middle-grade picture book. It follows two girls through their relationship and break up in glimpses—each spread a different scene from their love story, not necessarily in order. Tillie only uses two colors, but she plays with them thoughtfully, saturating scenes of affection with purple and going grayscale in times of turmoil. She also plays with proportion and surrealism in a way that you’re just going to have to see for yourself…some things words can’t properly express.

RVC: Any advice on how to make this type of magic happen?

KF: Read widely. Really understand the ins and outs of the picture book form, know how to pace and paginate a story, study the way art is composed (notice the room left for text; the difference between spots, single pages, and full-bleed spreads…). This is important even if you’re a writer only! Make it a habit to browse your library or bookstore every month or so to get a feel for what’s out there. In a submission, I can tell who does this and who doesn’t.

RVC: Plenty of relatively competent submissions hit your desk daily, I’m sure. In fact, just tell us. What’s an average week for you? How many new submissions come at you?

KF: It fluctuates depending on a number of factors, including whether I’ve been to a conference recently and how responsive I’ve been to agents (I try to be speedy! The catch is that the quicker I respond, the more submissions I get—it creates a sort of Hydra effect that’s quite stressful!).

Taking a look at a random week, I see: six agented submissions (three are international—already published but looking for a North American/English-language publisher), and 72 unagented submissions.

RVC: How can you tell when writers haven’t done their homework for a submission? What’s the giveaway?

KF: Well, there’s the cosmetic stuff—I get a lot of “Dear Editorial Department,” “To Whom It May Concern,” or “Dear Kate Feldman” (note both first/last misspelled). It’s not an automatic rejection if you have a generic or misspelled salutation, but since it’s your VERY FIRST impression, it does stand out…in a bad way.

Then there’s the pitch. My acquisition profile is easily Googleable, as are most editors’ and agents’. My bailiwick is picture books and graphic novels but I get a lot of MG/YA novel submissions that are clearly copy-pasted from a template. I’m also very vocal and specific about publishing diverse books and creators, yet I get a number of queries that either ignore that or say “I know you’re interested in diversity so my book might not be for you but I’m going to try anyway.” What? No! That’s almost worse than not doing your homework. It’s taking the time to do your homework wrong and turning it in anyway.

Query letters are like cover letters—if you want to stand out you need to personalize each one you send to show why you are a great fit for that position. In a way…you are applying for a job. There’s a lot of work ahead, so show that you’re serious and have thought it through.

RVC: When a submission hits your desk and you’re intrigued, do you Google the author? If so, what are you looking for?

KF: Yup, I’m a Googler. I don’t always know what I’m looking for—I guess just a broader sense of who the person is. What they like. What they stand for. How active they are in the book community. And of course, any red flags! It hasn’t happened often, but there were a few instances where I came across a Tweet and thought ohhhh…yeah, we won’t get along.

RVC: So speaking of getting along … we first met at the SCBWI conference in Orlando this past June. What do you get out of being a speaker at events like that?

KF: I love discussing craft and publishing and find that I learn and grow from my experiences at writers conferences, too. And of course, I always hope to make lasting connections. One of the first authors I signed, the indomitable Aida Salazar, is someone I met at SCBWI LA. My colleague Nick Thomas had a critique with her and passed along her work. We both fell so hard for her writing that we offered a two-book deal right away. Her debut novel, The Moon Within (which Nick edited), comes out February 26, 2019 and her picture book, Jovita Wears Pants: The Story of a Revolutionary Fighter (that one’s mine!) follows in 2020.

RVC: Every editor and agent I speak with has a conference horror story or two–they were cornered in a bathroom stall, or someone slid 500 pages of a YA werefox thriller under their hotel door … three pages at a time … at 2 a.m. in the morning.

What’s YOUR conference-related writer horror story?

KF: Omg, can anyone beat the 2 a.m. page slide? Imagine the editor sitting on the other side, reading in suspense, waiting for the next pages to follow…(kidding—I’m sure that’s NOT what happened and don’t encourage that behavior).

Mine is the time I was talking to an author at a bar and a man asked to join us—he was friendly but very focused on me, wanted to know all about my interests outside of publishing. It didn’t read as flirtatious but it was clear he had an agenda, and that shifted the dynamic of the conversation in an uncomfortable way. A month or so later I’d forgotten all about it when I received a big box packed with my favorite things…and at the very bottom, a manuscript. From Bar Guy. It was completely inappropriate, and under Scholastic’s Code of Ethics, also considered a bribe.

RVC: That’s crazy. And speaking of crazy, here’s a semi-popular belief among writers: Editor’s don’t edit much anymore–they primarily just acquire (or more often, not!). While that might be true in some book areas, I don’t find that as valid to say about picture book editors.

How much time do you put in on any given picture book manuscript? How much before the sale is made? How much after?

KF: Is that true?? Perhaps in some circles, but that’s not how I was trained, and it’s not how I work! I typically schedule picture books to publish two years out from when I sign them, minimum! We go through rounds and rounds and rounds and rounds of editing. It really varies depending on the book and the creator and our working style—I try to adapt to provide what each creator needs from me, but sometimes neither of us knows what that looks like until we’ve taken a few different tacks!

There’s one creator who I approached cold and asked to develop a project from scratch—we worked for ten months on creating a story I could share with my acquisition team—but all that time working together and figuring out our style meant that by the time we officially signed it up we were flying.

RVC: What’s the most common misconception about being a picture book editor? What do authors–and possibly even agents–have wrong?

KF: The best way to make a children’s book editor bristle is to say “Oh how cute! You edit picture books? That must be so easy!” But I’m sure your readers know well…IT ISN’T EASY!

The one thing that bothers me even more, however, is people who underestimate the picture book audience. First of all, we should be writing UP to kids, not down. Kids are so smart, emotionally and intellectually, and they know instantly when their worth is being devalued. Second, picture books are not just for kids. They’re for anyone who loves a good story!

RVC: Alright–it’s time for the Speed Round! Go! What zoo animal deserves more picture book coverage?

KF: I’m very happy that sloths are finally having their moment, but they deserve moooooore!!!

RVC: You semi-frequently tweet about amazing workplace discoveries. The office copier’s ability to corner staple. The “move to folder” dropdown in Outlook. What’s the latest breakthrough?

KF: The secret tunnel that leads to a cupcake store. You think I’m kidding.

RVC: Grammar gaff that drives you the most bonkers?

KF: Er…I’m not the bestest at grammar myself.

RVC: You’ve openly confessed to being a Potterhead. Spill the (Bertie Bott’s Every Flavour) beans. Most underappreciated character?

KF: Angelina Johnson.

RVC: Three current picture book authors who are setting/raising the bar?

KF: Jessica Love (Julián Is a Mermaid); Minh Lê (Drawn Together, illustrated by Dan Santat); Tillie Walden (I Love This Part).

RVC: The most unforgivable thing in a picture book submission is …

KF: Getting the person’s name wrong!

RVC: What would like to see written on your literary tombstone?

KF: Here lies Kait, who died as she lived, under a pile of books.

RVC: Thanks so much, Kait. What a way to wrap up the first year of OPB! Thanks!!

Editor Interview: Marilyn Brigham (Two Lions/Amazon Publishing)

On November 26, 2018July 13, 2025 By Only Picture BooksIn Industry Insider1 Comment

It’s my pleasure to announce that the November 2018 Industry Insider interview is with editor Marilyn Brigham of Two Lions/Amazon Publishing. I’ve been a fan of Two Lions for some time now, so it’s a real treat to get the inside story on what makes the magic work so well there.

Here’s a bit about Marilyn:

In her 13+ years in the children’s book industry, Marilyn has edited 100+ trade children’s books, including picture books, chapter books, middle grade fiction, young adult fiction, and nonfiction. Some of her noteworthy titles include the Duck and Hippo Series by Jonathan London, illustrated by Andrew Joyner; the Amazon bestseller Goodnight, Little Monster and its sequels by Helen Ketteman, illustrated by Bonnie Leick; It’s Not Jack and the Beanstalk by Josh Funk, illustrated by Edwardian Taylor; and Ralph Tells a Story by Abby Hanlon.

But Marilyn’s also a writer–she’s the author of the board book Swim!, illustrated by Eric Velasquez, as well as the educational title Dik-Dik, part of the Even Weirder and Cuter Series from Bearport Publishing.

So let’s have Marilyn put that editing and writing acumen to good use with some OPB interview goodness. Here we go!

Amazon publishing website: www.amazonpublishing.amazon.com
Twitter: @MarilynBrigham

RVC: So how does someone from Syracuse University who got a proper degree in journalism manage to end up in the kidlit business?

MG: Well, I thought I was going to get a magazine job after graduation, but I’m glad that I found myself at a book publisher instead! I started my career as an intern in the reference department at Marshall Cavendish, and I got lucky when an editorial assistant job opened up at the company a couple months later. It was a truly special place to work. The office was an old Georgian mansion in Westchester County, NY, filled with secret passageways and quirky offices, and I worked with an amazing team. I learned so much about the business of publishing and editing in general during my time there. As an assistant, I worked on the trade children’s book imprint as well as nonfiction series for the school and library market, and I ultimately worked up to editor in the Marshall Cavendish Children’s Books imprint.

I’m a lover of words, as are many of my closest friends, and I was obsessed with reading as a kid, so it’s not too surprising that I ended up working with books.

RVC: What’s the best thing about being in the kidlit business?

MG: Definitely the people! The KidLit community is full of so many creative and inspiring people (authors, illustrators, editors, marketing and PR folks, designers, the list goes on). I also love that it’s a very supportive industry and that in general, the KidLit community helps build up one another and celebrate everyone’s successes. Plus, there’s something inherently special about people who spend their days thinking about how we can enrich the lives of children through storytelling. I feel it when I go to conferences, such as ALA (American Library Association) or SCBWI (Society of Children’s Book Writers & Illustrators), and get to be surrounded by these people—my people!

We recently exhibited at ALA Annual in New Orleans, and the enthusiasm that the librarians had for our authors was such a good reminder of why we do what we do. One librarian started crying when she met our author Jonathan London, because she had shared so many of his books over the years with her own child. It was such a sweet moment!

RVC: Unlike many people in publishing, you’re an author, too–your board book, Swim!, came out in 2012, and your educational title, Dik-Dik, came out in 2017. Are you a writer who edits, or an editor who writes?

MG: I’d love to say I’m a writer who edits, but I don’t think I spend nearly as much time writing as I should! I really envy my authors for their discipline. I find it much easier to stay laser-focused on work when I’m on the editing side of the table. (Yes, writers, the struggle is real!)

But no matter which side of the table I’m on, I know I am so lucky to be able to do this work for a living.

RVC: LinkedIn tells me that you have “a lengthy (digital) stack of half-finished manuscripts” that you dig into whenever you can. What would the editor side of you say to the writer side of you in regards to the unpublished picture book manuscripts in that digital stack? And what about the picture book manuscripts you’ve already published?

MG: She would say, keep going! And write it before someone else does! While it’s definitely important sometimes to put a manuscript aside for a while and let it marinate, you also can’t leave it there forever. With picture books especially, I’ve seen that ideas can catch on all at once—I’ll suddenly get multiple picture book submissions on the same topic. It’s so weird how that happens!

In terms of the books I’ve published, of course I can’t help thinking about what I might have changed (editors die hard!), but I really try not to. It’s thrilling to see my name in print, and I don’t want to argue with it!

RVC: Could you share the connection between Marshall Cavendish Children’s Books and Two Lions, which just so happens to mirror your own career path?

MG: I was working at Marshall Cavendish Children’s Books when Amazon acquired some of their titles and backlist in 2012. It was exciting to go on the journey along with the authors and illustrators from the Marshall Cavendish list. For me, it was also an amazing opportunity to help shape the vision of what is now the Two Lions imprint. We came up with the Two Lions name as a way to tie together the great history of our backlist and our new future as part of Amazon Publishing. The name was also a nod to “Patience and Fortitude,” the two lions who stand proudly in front of the New York Public Library.

As an editor, it’s given me a special thrill to see some of the Marshall Cavendish books, such as What If Everybody Did That? by Ellen Javernick, illustrated by Colleen Madden, and Goodnight, Little Monster, by Helen Ketteman, illustrated by Bonnie Leick, reach an even wider audience at Amazon Publishing and become bestsellers years after their original publications. In fact, we’ve published sequels to both of those titles and now have a third book in each series still to come. This is in addition to so many great new titles and series that have been homegrown in the Two Lions imprint.

We’ve also had a lot of fun over the years trying out new programs to promote our books at Two Lions. One year, we did kid book review videos and had kids read our books and then talk about what they liked (and in some cases, how they’d give the books “ten million bajillion stars”!). In 2019, we’re working on animated trailers for all of our new titles—it’s a blast to see our characters coming alive on the screen!

RVC: What’s different about working at Two Lions? What does being connected to the 800 lb. sales gorilla (Amazon) do for you?

MG: I’ve had the unique experience of coming from a very traditional publishing background and then going into a new and innovative publishing company. Working at Two Lions challenges me to constantly rethink my own biases and helps me find new ways to be inventive within the industry. We have a lot of freedom to bring new ideas to the table, and there’s an openness and encouragement to trying new things.

But one of the things I love most about working at Two Lions is the emphasis that we place on author and illustrator happiness. We see authors and illustrators as our customers, and we spend a lot of time thinking about them, developing our relationships with them, and soliciting their feedback (and I’ve seen real changes happen as a result). I’ve also had the opportunity to dip my toes into the creation of other content for kids, including enhanced eBooks and short stories for an app, which has helped expand my own skillset.

RVC: It seems as if Two Lions is making more of an effort to acquire and translate non-English work. How does that shift relate to the growing kidlit interest in diversity and Own Voices? How conscientious of that are you when you’re deciding whether or not to champion a picture book submission?

MG: We’re very excited to be getting into the world of picture-book translation! Amazon Publishing already has a long history of bringing translated works from around the world to the United States with our imprint, Amazon Crossing, and it’s a unique opportunity for me to help build on that legacy with children’s books from around the globe. I recently signed up my first book, Spiky, written and illustrated by Ilaria Guarducci and translated by Laura Watkinson. The book hails from Italy, where it was shortlisted for a picture book award. It’s about an evil forest creature named Spiky whose body is covered in spikes. When Spiky suddenly loses his spikes, he must learn what it means to be a friend. Spanish, French, Chinese, and Korean rights to the book have also been sold, which I think speaks to the universal message of the book. But I also love how the story has a distinctly Italian feel to it as well, and we’ve retained some of the small Italian details in the art, such as an Italian newspaper, as something for kids to discover on their own.

I think the timing of our picture books in translation couldn’t be better with the focus on diversity and #OwnVoices in KidLit. There are so many elements regarding diversity to consider—race, nationality, sexuality, disability—and I think that non-American perspectives are also so important to include. As corny as it sounds, the kids really are our future, and giving them diverse perspectives is so vital to helping them become better global citizens. It’s exciting that we’re at a moment in history when diverse perspectives and characters are being championed and becoming bestsellers. Diversity is definitely on my mind when considering acquisitions, as well as through the editing and art creation process. And I still have so much more to learn in this area, too!

RVC: The other day, you tweeted praise for Leila Sales’ Publisher’s Weekly article “What Authors and Editors Wish They Could Say to One Another.” I came across that piece as well and found it both honest and useful. But what’s one more thing you’d add to the list that editors wish they could just say (scream?) at authors?

MG: I would add: Picture books are a long game. It’s easy to feel impatient and frustrated as the pieces come together. Plus, holiday and seasonal timing can be so important. I want my authors to know that I get antsy for the pub dates to come, too! The best thing you can do while you wait is to keep creating.

(And I promise that one day you will blink, and the pub date will be here!)

RVC: What kinds of picture books do you think the marketplace (and maybe Two Lions specifically?) is missing?

MG: I think it’s always difficult to find picture books that touch on sensitive, emotional topics (for example, death), while also handling the subject matter in a way that’s not overly sentimental or heavy handed. There are a lot of trying issues that kids face, too, and I’d love to see more picture books that address difficult topics.

One of the books I had the pleasure to work on was Hero Dad, written by Melinda Hardin and illustrated by Bryan Langdo. In the book, a little boy compares his dad, who is in the military, to a superhero. Using minimal text and focused images, the author and illustrator created such a strong, heart-warming, and accessible book for kids. The book has also been featured in commercials for the Wounded Warrior Project, which has been very rewarding to see.

We followed it up with Hero Mom, because of course moms are superheroes too! That book featured a diverse group of kids and showed the many jobs their moms do in the military and why they are like superheroes.

RVC: Want to dish on a few of your favorite upcoming projects?

MG: Always! I’m super excited about a few debut authors I have coming in 2019. The first is Lauren H. Kerstein with her book Rosie the Dragon and Charlie Make Waves, illustrated by Nate Wragg, which is a funny summertime romp about a boy who is teaching his pet dragon to swim. The second is Lisa Robinson, who has two titles forthcoming with Two Lions: Pirates Don’t Go To Kindergarten!, illustrated by Eda Kaban, a first-day-of-kindergarten story featuring a pirate-loving little girl who makes her former preschool teacher walk the plank; and Pippa’s Night Parade, illustrated by Lucy Fleming, about a little girl with a wild imagination who has to tame the creatures that are coming out of her storybooks each night.

Additionally, author Joy Jordan-Lake, who is published on Amazon Publishing’s Lake Union imprint, has her first picture book to come with Two Lions: A Crazy-Much Love, illustrated by Sonia Sánchez, a heartfelt and deeply personal story about a parent’s love for her adopted child. These authors are a talented bunch, and I can’t wait to introduce them to readers!

RVC: So it’s time for the Speed Round! Ready … GO! Best place in NYC to take a literary agent or Two Lions author for a slice of pizza?

MG: I’d probably opt for wood-fired in this scenario and have to give a shout-out to PizzArte, which is right near my office and SO good.

RVC: “If I never got into writing or editing, I’d instead be ________”

MG: In a career related to animals, for sure. Maybe a veterinarian. Biology was always my favorite area of science, and I have a deep love for animals. Plus, I don’t get grossed out too easily.

(Just keep bees far, far away from me, and we’ll be good!)

RVC: If you could sing one song–and one song only–on American Idol, what would it be?

MG: Hmm, probably something old and classic, like “You’ve Got a Friend” by Carol King.

(P.S. I don’t think I’d win, though!)

RVC: The #1 reason you turn down a picture book manuscript submission?

MG: It’s not a fit with our publishing program. At Two Lions we’re focused on books that have both commercial and literary appeal, and that have well-developed story arcs and character arcs. We also look for holiday and seasonal-themed books.

Our list is relatively small, so if we already have something similar on our list, we’ll likely have to pass. There are a lot of great books out there that deserve to be published but don’t necessarily fit for us.

RVC: Favorite under-appreciated picture book?

MG: Well, it’s not really under-appreciated, but I think Good Night, Gorilla by Peggy Rathmann is one of the best picture books of all time! I actually never read it until I had my son, but it’s a little piece of genius! So if you haven’t yet read it, go do it. Now.

RVC: What makes a Two Lions picture book a Two Lions picture book?

MG: It’s a book that you want to hug! And then read again.

RVC: Thanks so much, Marilyn!

Editor Interview: Christina Pulles (Sterling Publishing)

On October 22, 2018July 13, 2025 By Only Picture BooksIn Industry Insider

The October 2018 Industry Insider interview is with Christina Pulles, Executive Editor at Sterling Children’s Books.

By way of introduction, here’s a quick bio snippet on Christina:

Christina Pulles joined Sterling Children’s Books in June 2015, and before that worked at Simon & Schuster’s Simon Spotlight imprint. Realistic middle grade holds a soft spot in her heart, but she also loves working on everything from board books to fiction and nonfiction picture books. Originally from the Chicago area, she now reads, runs, bakes, and eats in Brooklyn with her husband.

Sterling Website: www.sterlingpublishing.com
Twitter: twitter.com/ChristinaPulles

RVC: Like most in the writing/publishing biz, you were a mega-reader as a kid. But you’ve said that it was only in high school that you first started thinking about being a book editor. How did that idea come about? And what specifically appealed to you about that job?

CP: I became an editor for my high school newspaper, and I loved coming up with ideas for stories and writing them or editing them, but it just didn’t feel like exactly what I wanted to do, both the writing and the journalism parts. I don’t know how exactly I came to the realization that there were editors for books, too, but once I did I knew that was what I wanted to do—to sit quietly and read books all day (which, of course, is not at all what my job is like).

RVC: So we’re both Chicago natives! I started my writing career while doing my undergrad at Northern Illinois University, and you got your first publishing world job in the Windy City, too–at the book distributor Independent Publishers Group (IPG). What did you do there, and what did you learn that helped you be a more successful editor down the road?

CP: I absolutely loved working at IPG. I was a Sales Associate there, first assisting our B&N rep and then expanding to work on other national accounts. Seeing how the buyers’ estimates would change based on what materials we had available to show them helped me understand how important it is to always get my Sales team the materials they need to give each book its best shot.

RVC: After a stint at Simon & Schuster’s Spotlight imprint, you moved to Sterling Publishing, a mid-sized New York publisher. It’s also one of the few picture book publishers that still allow unsolicited, unagented submissions, right? What are some of the WOW-level slush successes you’ve witnessed?

CP: Before my time at Sterling, another editor, Zaneta Jung, found Josh Funk’s amazing Lady Pancake & Sir French Toast in our slush pile, though he got an agent and signed other deals soon after. One of my favorite upcoming projects came in as an unagented, snail-mail submission: When Grandma Gives You a Lemon Tree by Jamie L. B. Deenihan.

RVC: Jamie’s book is terrific. Let’s circle back on that in a moment. (She and I are pals, plus OPB just interviewed her agent, Linda Camacho, two months back. Small world, huh?)

But talk a bit more about how the acquisition process works at Sterling. What departments are involved? How much autonomy do editors have? What’s the typical time frame for a submission that makes it all the way through?

CP: It can take a very long time, unfortunately—definitely up to a few months! Because we’re a smaller company, we get the whole team involved in the process, all the way up to our President. This ends up being a great thing, though, as everyone gets excited about a book right from the start.

RVC: So you’ve bought two picture books from Jamie now–When Grandma Gives You a Lemon Tree and When Grandpa Gives You a Toolbox. What kind of pitch did you make to your team for those manuscripts? Was it all about comps (competing titles) and P&Ls (profit and loss estimates), language use, story elements, an agent’s charisma, or … ? What works to make the magic happen and the deal to emerge?

CP: It was a combination of all of those things! I create a memo to share with the team that includes a positioning statement (a very quick line about what a book is and why someone would want to buy it), a brief description of the story, an author bio, and comp titles. The sales team reviews all of that information to determine how many copies they think they can sell to their accounts. Then we plug those numbers into our P&L to see if the project will make a profit.

I think Jamie’s books were a particularly easy sell because of both the grandparent angle—people can buy them for Grandparents’ Day, Mother’s Day, and Father’s Day—and the message about putting down electronics, getting outdoors, and making something special.

RVC: That’s a great message for sure. It gets me wondering just how aware writers are about built-in hooks and the reasons editors really take on a manuscript. Now you recently participated in a critique opportunity for picture book writers via Inked Voices which included conversations about stories and the pitches. What are the most common errors you find in picture book submissions? In queries/pitches/cover letters?

CP: I got to read some great projects in my Inked Voices session, and this feedback doesn’t necessarily apply to those!

With submissions in general, I see a lot of rhyming text that doesn’t work. If you’re going to write in rhyme, read your text aloud constantly to see if it’s scanning properly. Keep in mind that other people in different regions or countries may not pronounce things the same way you do. Try to choose your words based on more than the fact that they rhyme with the last word of the previous line—they should fit naturally into the story, too.

In pitch letters, we get all kinds of mistakes in terms of who the manuscripts are being submitted to! Do your research about an editor before pitching them, and make sure the house actually publishes books like the one you’re submitting. Not every book has to have a hook as specific as a grandparent hook—maybe the hook of your manuscript is that it deals with emotional intelligence, or it’s connected to STEAM in some way, or it illustrates a great friendship. Whatever stands out about your manuscript, make sure to include that in your cover letter!

RVC: I feel your pain. Despite this being the OnlyPictureBooks blog, I still get unsolicited YA and adult books for review. One time, I even got a business how-to book. Ugh!

This all gets me thinking about another issue writers sometimes fret over–the importance of an author platform. I get it! Part of why I’m doing OPB is to grow my platform in the kidlit world. I also do it because OPB is fun, interesting, educational, and full of good literary karma for all involved, as you’ll soon find.

So for you and for Sterling, on a scale of 1 (least) to 10 (most), how important is it that a potential picture book author has a platform? Has that level of importance changed over the years? Do you anticipate it changing in the future?

CP: I do think it’s becoming more and more important—I would say it’s moved from a 5 to a 6 in the past few years. Authors that have a big social media presence are often able to build up hype for their books, and that leads to sales. A platform doesn’t have to be all about social media (which I’m not great at, anyway); having a nice website and being able to set up school visits and events on your own are also huge selling points for a picture book author.

RVC: What’s the most exciting trend you’re seeing in picture books now?

CP: I’m excited by two things: the sophistication of some recent picture books like A Different Pond by Bao Phi and How to Make Friends with a Ghost by Rebecca Green, and the inclusivity of books like The Day You Begin by Jacqueline Woodson and Rafael López and All Are Welcome by Alexandra Penfold and Suzanne Kaufman. I don’t think either of these things should be trends; they’re recognizing children for what they’re capable of understanding and they should inform how we approach children’s books in general.

RVC: Okay, it’s time for the Speed Round. GO! Which videos are more likely to suck you into the time-wasting internet void–kittens or baby pandas?

CP: Baby pandas. I’m not a cat person (that’s relevant to my submission tastes, too!).

RVC: Best place to get cupcakes in Brooklyn?

CP: It’s not in Brooklyn, but Molly’s Cupcakes in the West Village is my favorite. Their original location is in Chicago.

RVC: Best Chicago pizza?

CP: I was raised on Lou Malnati’s. My husband hasn’t even tried any of the other places yet.

RVC: My brother LOVES Lou Malnati’s, too. Next question, though–what’s the coolest literary pilgrimage you’ve taken?

CP: I went to Prince Edward Island on my honeymoon, and it really was everything I hoped—we saw the Green Gables house, ate amazing seafood, biked along the rocky red coast, and had dinner in Charlottetown.

RVC: Picture book character you’d most want to meet in real life?

CP: The mouse from If You Give a Mouse a Cookie.

RVC: What never-before-authored-anything celebrity do you think would write the best picture book?

CP: I’m obsessed with Jane the Virgin and Gina Rodriguez, and I think a picture book either from Gina or from the character of Jane would be a lot of fun! She’s a romance writer on the show and S&S published “her” book last year.

RVC: Best picture book published in the last year that too few people are talking about?

CP: Two of my own books, Magnolia Mudd and the Super Jumptastic Launcher Deluxe by Katey Howes and Valerio Fabbretti and Help Find Frank by Anne Bollman are so charming and fun, and I’d love to see them get more attention!

On the non-Sterling side, I’ve been in love with All the Way to Havana by Margarita Engle and Mike Curato since it came out last year, and haven’t heard as much about it as I would have thought.

RVC: Three words that authors you’ve worked with will say about their experiences with you and Sterling.

CP: Attentive, enthusiastic, and innovative—I hope!

RVC: Thanks a ton, Christina!