Category: Industry Insider

Industry Insights: Decoding Editorial Feedback (with Real Picture Book Examples)

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Hello, OPB friends!

This month, we’re doing something a little different for our Industry Insider post. Instead of featuring an interview, I wanted to dig into a question that comes up often during critique sessions, revision conversations, and email threads with clients, friends, and fellow kidlit writers:

What do editors really mean when they say things like “This feels quiet” or “I didn’t quite connect with the voice”?

As Editorial Director at Bushel & Peck Books—and a kidlit writer myself for the past ten years—I’ve heard these phrases from both sides of the table. I’ve also talked about them at length with my own agent, with critique partners, and with other editors across the industry. So, today’s post is a kind of translation guide: a short, honest look at some of the most common editorial phrases and what they often (but not always!) mean under the hood.

“This feels quiet.”

This doesn’t mean “bad.” It usually means the concept doesn’t feel immediately marketable. Maybe the theme is lovely but soft, or the stakes feel internal rather than plot-​driven. Sometimes it means the story is tender or subtle, but doesn’t stand out in a crowded submission pile.

What might help:
Sharpen the hook. Raise the stakes. Consider whether the emotional arc or character journey could be more compelling or surprising.

Example: The Rabbit Listened by Cori Doerrfeld
This is a quiet book, yes, but it works because the emotional core is crystal-​clear and universally resonant. Note how the hook—how kids process big feelings—feels urgent and relatable, even though the plot is minimal.

“It’s well-​written, but I didn’t fall in love.”

This is often code for “I admire this, but I don’t have a vision for how to sell it.” Editors have to advocate hard for every book they acquire, and that requires real enthusiasm. No one wants to take on a project they feel lukewarm about, even if the writing is strong.

What might help:
Nothing, necessarily. This one isn’t about a fixable flaw, but rather more about fit. Keep querying. The right person might fall hard.

Example: Julian Is a Mermaid by Jessica Love
This debut book is lyrical, quiet, and elegant—easily one an editor could have passed on for being “lovely, but maybe too subtle.” But its emotional depth and visual storytelling made the right editor fall in love, and champion it all the way to success.

“There’s not quite enough here for a picture book.”

This might mean there’s not a full arc, or that the story leans more toward vignette or concept than narrative. It can also mean the emotional or plot payoff isn’t big enough to justify 32, 40, or 48 pages.

What might help:
Dig deeper into the character’s journey. Add tension, reversals, or a turning point. Picture books (even/​especially quiet ones!) need structure to shape the reader’s experience.

Example: A Sick Day for Amos McGee by Philip C. Stead and Erin E. Stead
This story is gentle, but it has a clear beginning, middle, and end. Amos takes care of animals at the zoo. One day he’s sick—and they return the favor. The role reversal adds narrative weight to what could’ve been a flat concept.

“I wasn’t quite connecting with the voice.”

This is a gentle way of saying that something in the tone, language, or narrative feel simply didn’t land. The voice might feel too adult, too generic, or inconsistent. Or maybe it didn’t match the story’s intended mood or audience.

What might help:
Read it aloud. Is the rhythm strong? Does it sound like a real person? Could the narrator be more specific, distinctive, or emotionally resonant?

Example: Creepy Carrots! by Aaron Reynolds, illustrated by Peter Brown
The voice here is spot-​on: cinematic, dramatic, and a perfect match for the mock-​horror tone. The exaggerated seriousness is what sells the humor…and the book.

“It’s too similar to something else on our list.”

This is rarely personal. More times than not, it’s strategic. Editors have to balance their list across themes, formats, tones, and audiences. If they just acquired a book about ballet-​loving dinosaurs, they’re probably not going to take another one. I run into this a lot at my press because we’re a small press with a small list. I can’t buy a second book about penguins if we’ve already got one in the pipeline, or just published one…even though I’d love to do an all-​penguin imprint!

What might help:
Check your comps. Make sure your book fills a different niche, or offers a fresh twist that feels essential, not adjacent.

Example: Don’t Let the Pigeon Drive the Bus! by Mo Willems
A story about a demanding character trying to get their way? Done a zillion times before. But the second-​person narration, meta structure, and pigeon personality made this feel wildly new, even though the premise is simple.

“We’re being really selective right now.”

Always true. But also: sometimes it’s a way of softening a pass without going into detail. Budgets, list size, market trends, team bandwidth, and internal priorities all play a role.

What might help:
This is nothing you can control. It’s just not a reflection on you or your work. Keep going. The right project will hit the right desk at the right time.

Example: The Day the Crayons Quit by Drew Daywalt and Oliver Jeffers
A book like this may have felt risky at the wrong time: epistolary format, multiple voices, no central plot. But with the right champion at the right moment, it broke through—and became a bestseller.

Final Thoughts:
Rejections don’t always mean “no forever.” And editorial speak isn’t meant to be mysterious, though it can MOST DEFINITELY feel that way in the moment for a while. As writers, it helps to hear what’s often behind the phrases. As editors, it helps to be honest about what we mean. The more we can bridge that gap, the stronger the books (and the industry) become.

Got a phrase you’d like help decoding? Leave a comment or reach out! I’m happy to demystify where I can.

Agent Interview: Katie Bircher (Sara Crowe Literary)

On By Only Picture BooksIn Industry Insider

Welcome to our conversation with Katie Bircher, Associate Agent at Sara Crowe Literary. Katie may be a new agent, but she’s spent years shaping the conversation around picture books. As an editor and reviewer for The Horn Book, she helped define what makes a standout story. She’s also worked as a bookseller, freelance editor, and manuscript evaluator, bringing a wealth of experience to her role as an agent.

Now, as she builds her client list, Katie is shifting from evaluating picture books to championing them—using her deep storytelling instincts to help authors and illustrators create books that resonate. In this interview, we explore her journey from critic to advocate, what makes a picture book stand out in today’s crowded market, and the unique perspective she brings as an agent who has spent years deep in the world of kidlit.

Learn more about Katie here:
Sara Crowe Literary Website
Archive at The Horn Book

RVC: When you were a kid, what role did books play in your life? Were you a library kid, a bookstore kid, or something else entirely?

KB: I was a “books all the time” kid and would come back from either the library or the used bookstore with a huge stack. I would get in trouble for sneakily reading during class, at the table, or after lights out. I say “get in trouble,” but at one point my parents were hoping to open a children’s bookstore, so I don’t think they were all that mad about it. And clearly I come by my love of kids’ books honestly!

RVC: Good for you! Now, you studied Children’s Literature at Simmons University. What drew you to that, and how did it shape the way you think about picture books?

KB: I was originally a marine biology major in undergrad, and lasted about a year before my terrible math skills convinced me to switch to English lit. I remember telling my high school English teacher that I changed majors and she just laughed; it was so obviously where I should have been to begin with. Then I found myself reading middle-​grade and YA—especially YA fantasy—when I should have been doing my coursework. Eventually I realized I could actually work in children’s and YA books! I got excited, took a few additional classes in children’s books and child development before I graduated, and applied to Simmons.

The late Susan Bloom’s Simmons course on picture books was hugely influential. In one assignment, we read Molly Bang’s invaluable Picture This: How Picture Books Work and created our own limited-​palette picture books based on the principles in it. (Spoiler: It’s really hard!) In another, we analyzed, in-​depth, one spread each from one hundred picture books. Her course showed me both how magical the particular picture book alchemy of words and images can be and how deceptively difficult it is to achieve!

RVC: Sounds terrific!

KB: I also worked at the (deservedly) famous children’s bookstore Curious George in Cambridge’s Harvard Square for about five years, beginning when I started the Simmons MA program. Being surrounded by children’s books and people who LOVE them all day is, in itself, a fantastic education. Several of my co-​workers from that time have gone on to have careers as picture book creators.

RVC: Bookstores are great proving ground for kidlit creatives–no doubt about it. When reviewing picture books at The Horn Book, what was your process?

KB: Read the book many times, including out loud; look carefully at the illustrations; check for any information on the medium; consider whether the endpapers, case, gutters, etc. are used thoughtfully; take copious handwritten notes; type up and organize notes; try to make notes into a coherent review of about 150 words. Then it went on to fact-​checking and at least one round of revision. Sometimes revising involved talking through what I was trying to say with the other editors. Occasionally I would nominate an extra-​special book to receive a star, and then it would be read and discussed by the whole group.

RVC: Wow, thanks for explaining the process. Did you ever get to be part of the bigger award committees?

KB: I chaired the Boston Globe–Horn Book Award committee in 2018. Much of that process was similar, but on steroids—and with picture books only one of three categories! I commend and appreciate anyone who serves on book award committees, especially the ones with a ton of members or multi-​year commitments.

RVC: Were there ever books you personally loved but knew wouldn’t work for The Horn Book’s review standards? What makes a book a better fit for some venues than others?

KB: Yes—it taught me to dig into and articulate why I love a particular book. Is it really exceptionally crafted, or is it just that the book hits a sweet spot where some combination of my favorite topics, tropes, formats, authors, etc., intersect? A funny and sweet picture book about, say, a huggably cute cat character with ADHD getting distracted in ballet class (I just made that up) would be super appealing to me personally—but it also has to work in all these other storytelling and structural aspects. There’s also an element of whether a book is needed. I might note but give more grace about a structural flaw if a book reaches an underserved audience or authentically showcases an infrequently represented experience, because ultimately the goal is to get kids good books they need.

For most of the time I was at The Horn Book I worked on two different print publications: the Magazine, which reviews very selectively, and the dearly departed Guide, which had a much broader scope, so part of the process was determining whether a book made the cut to be featured in the mag. The 100-​year-​old Magazine is so distinct in character from SLJ, the Bulletin, Kirkus, or even the Guide, which have their own strong voices. You have to keep in mind the unique mission and audience of the publication.

RVC: What makes for a REALLY great picture book review?

KB: I love when the review complements the tone of the book itself—a funny review for a funny book, for example.

RVC: What’s one misconception people have about professional book reviews?

KB: People often find out you work in any kind of book-​related field and say, “Oh, it must be so great to read all day.” While I was at The Horn Book, there was definitely not time during the workday to read and write reviews! In addition to everything that goes into publishing a trade magazine and running a website, there’s also a lot of admin and editorial work in selecting and organizing the books, assigning them to reviewers, fact-​checking and editing reviews, tracking their status…

I think that’s true of the book world generally. In every job I’ve had in books—whether bookselling, working at The Horn Book, editing, or agenting—there’s just too much else to do to get much reading done during office hours. For me a lot of it is done either on the couch with a cat next to me or in the bathtub.

RVC: You’ve worked as a freelance editor for Pippin Properties and Penguin Random House. What was the most rewarding part of that work?

KB: Getting to work on a wide range of manuscripts all over the place in terms of their stages of publication, from proposal to proofreading.

RVC: Picture book texts are deceptively simple. What’s the most common issue you encountered when editing them?

KB: They have too many words—and/or they do too much “telling” without leaving enough room for the illustrator. Many of my suggestions are to move parts of the text into art notes or take them out entirely.

RVC: In your experience, what’s the hardest thing for picture book authors to get right?

KB: I’ve seen a lot of “picture book” manuscripts that I enjoyed, but didn’t think were really picture books. Just because a story is short, intended for a certain age audience, or illustrated doesn’t necessarily make it a picture book.

RVC: Totally been there. At Bushel & Peck, I sometimes have to alert an author that they’re wrong about what they think the manuscript is. Some don’t believe me when I say it.

KB: I feel the unique magic of picture books is that interplay where neither the text nor the art tells the complete story. I love when you can discover something new on each read. It’s like dance (my other big passion besides books): the music and the movement are each compelling individually, but they come together to make this incredible third thing that’s more than the sum of its parts.

RVC: You’ve worked on manuscripts from submission all the way to publication. What’s something about the picture book process that surprises most first-​time authors?

KB: How long everything takes, especially with picture books! Picture book deals we’re negotiating now are mostly for fall 2027 lists and onward.

RVC: Yep. We’re buying for 2028 now. I wish it weren’t the case! Now, what made you decide that agenting was the right next step in your career?

KB: Sara starting her own agency in 2023 and asking me to join her! At that point I’d been evaluating submissions and offering editorial suggestions on clients’ projects for about six years as part of my freelance work but had never considered agenting. I didn’t start taking on clients right away, but being invited to be the other half of Sara Crowe Literary is what made me feel like I could make that leap. It was both validating and somewhat daunting! But SCL is a great fit for me with my editorial background because Sara is such a hands-​on agent in terms of developing manuscripts and nurturing new authors as they grow in their craft.

About — Sara Crowe Literary

RVC: Now that you’ve stepped into agenting, what’s been the most exciting part so far? Anything that’s surprised you?

KB: It’s so exciting to connect with authors and artists at the beginning of what I believe will be a great career making lots of beautiful books. It’s been surprising how many hats an agent has to wear.

RVC: What’s the story behind your first picture book sale as an agent? How did that deal come together?

KB: I heard my now-​client Christal Presley read a manuscript at a Writing Barn event, requested to see it and any other projects, and then offered representation…and meanwhile, through the same program, editor Carter Hasegawa began mentoring Christal and fell in love with her brilliant PB bio about the first women to train in camouflage techniques. We submitted it formally and he offered, so Christal and her book were signed at basically the same time!

Hidden Women: How Louise Larned and Rose Stokes Became America’s First Women Camouflage Artists, illustrated by Ashley Yazdani, will be published by Candlewick in fall 2027.

RVC: Congrats! How did it feel when you got the offer? Did it match what you expected from your first deal, or were there surprises?

KB: It was very low-​key, and it took a long time for everything to be finalized after the initial flurry of activity. The “champagne pop” moment—even the moment that it felt like it was really happening—didn’t come until the announcement ran in Publishers Weekly.

RVC: Looking back, what’s something you learned from that first sale that will stick with you in your career?

KB: This is probably cliché, but: to stop and savor the moment. Fingers crossed, I will be helping many clients announce deals in Publishers Weekly, and agenting can feel hectic, with a lot of moving parts. I suspect it’s easy to get swept up in the next thing on the endless to-​do list, but I never want to lose the joy and awe of getting to help bring wonderful books for young readers into the world. It is often such a difficult industry, but it can be so fulfilling too.

RVC: You’ve worked alongside Sara Crowe for years. What have you learned from her about the business side of publishing?

KB: So much of what I’ve learned about agenting has come from shadowing Sara! I admire and aspire to show the kind of support, resiliency, and adaptability she offers clients through the inevitable rejections and challenges.

RVC: What’s a personal “wishlist” item that you’re dying to see in submissions?

KB: I love nonfiction picture books on fascinating topics that manage to be both informationally accurate and lyrical. It’s a tricky balance to strike. I’d like to see one about Salt, matriarch of the humpback whale population in the Gulf of Maine, who has been studied since the 1970s. I don’t know how salable it might be, but recently I’ve also been thinking I’d love to see a biography of the extraordinary medieval abbess, composer, artist, visionary, and saint Hildegard of Bingen! She’s so cool.

And if anybody does have a funny and sweet picture book project about an adorable ADHD cat daydreaming in ballet class…well, you know where to find me.

cat ballet dancer 16762596 Vector Art at Vecteezy

RVC: One last question for this part of the interview—what are you most excited about as you continue to build your list?

KB: I can’t wait to share these great books with my nephews and nieces!

RVC: Alrighty, Katie—it’s time for THE SPEED ROUND! Short questions, snappy answers. Ready?

KB: Let’s do it!

RVC: Your go-​to coffee shop order?

KB: Vanilla almond milk latte.

RVC: Favorite literary cat (other than your own, of course)?

KB: Mogget from Garth Nix’s The Old Kingdom series.

RVC: What’s a picture book you think deserves its own theme park ride?

KB: Strollercoaster seems too easy, so…the Best Frints series by Antoinette Portis.

RVC: If you could instantly master one new skill (bookish or not), what would it be?

KB: Cello. Or painting. Or flamenco dance. Or…

RVC: Best bookish gift you’ve ever received?

KB: A print from Sophie Blackall’s wonderfully weird adult book Missed Connections.

RVC: If you could give your past self a single piece of career advice, what would it be?

KB: Get comfortable with networking and developing collaborative relationships. It takes a village to make any book, and you have to put in the effort to nurture and support your village.

RVC: Thanks so much, Katie!

KB: Thanks for having me!

Agent Interview: Janine Le (Janine Le Literary Agency)

On By Only Picture BooksIn Industry Insider

Welcome to Janine Le, the founder of Janine Le Literary Agency, “a full-​service agency representing authors and illustrators of award-​winning and critically acclaimed books for children and young adults.” With over a decade of experience in children’s publishing—including her time as an agent at Sheldon Fogelman Agency—Janine brings a blend of editorial insight, business expertise, and deep passion for storytelling.

Her agency, launched in 2022, represents a diverse roster of award-​winning authors and illustrators. Janine is drawn to picture books that beg to be read aloud, feature playful or poetic language, and offer fresh perspectives on childhood experiences. She has an eye for stories that spark joy, celebrate multicultural worlds, and offer creative storytelling twists.

Let’s learn more about her right now!

RVC: When did you first realize you wanted to work in children’s publishing?

JL: In high school, I got an inkling of what an editor was and thought that could be a good fit. I was always a bookworm, and in elementary school I thought I might want to be an author or a librarian. I also considered accounting in high school and professorship in college, but ultimately I wanted to be where the children’s books are made. Thanks to my mom for all the books and library trips and for indulging all my read aloud requests! (And turns out kidlit does not preclude you from doing accounting!)

RVC: That’s a good point about the accounting/​kidlit combo platter! How did studying creative writing at Bucknell University shape your career path?

JL: I was incredibly lucky at the flexibility I had at Bucknell to select my own courses. I was able to take a good mix of writing courses in both poetry and prose and literature courses in a variety of periods and subjects, including children’s literature, as well as to pursue my honors thesis on the scholarly side.

There’s a wonderful literary community outside the classroom as well. I was an officer at a student literary & art magazine, attended many poetry readings, and interned with on-​campus professional literary magazine West Branch. I also became a peer writing consultant. All of this together helped build my foundation of writing and editing tools and confirm that I was more passionate about helping others with their writing and advocating for their success than being a writer myself.

RVC: I assume attending NYU’s Summer Publishing had a real impact as well?

JL: SPI was very helpful in giving a survey of how publishing actually works and building NYC connections. I don’t think I’d heard of agenting before then, but I loved the agent panel. It was at their career fair that I connected with Sterling Lord Literistic, where I would do my internship.

RVC: And that led you to working at Sheldon Fogelman Agency or more than a decade. Now why/​how did you make the decision to launch your own agency after that?

JL: Like any decision of that magnitude, there were a lot of factors (and even a pro and con chart), but the main motivator was flexibility to make my own schedule. The more seriously I thought about it, the more excited I was about focusing on my clients and building something new!

RVC: What’s the biggest difference between working at an established agency and running your own?

JL: SFA was very collaborative, so it was both challenging and freeing to go solo and trust my own instincts. Three years in, I’m so happy with my decision. I can handle most things on my own, and I have networks of agents when I need to phone a friend.

The first new client I signed at JLLA, Shifa Saltagi Safadi, won the 2024 National Book Award for Young People’s Literature for her debut novel Kareem Between, and I’m working on a contract for our ninth book together (including pictures books, chapter books, and MG verse)! I’m so glad I not only trusted myself but that all my clients trusted me to build from the ground up!

I also spent six weeks that first summer doing a camping/​national park roadtrip with my family from New York to California and back, which I don’t think I could have done otherwise. I try to continue using my flexibility for more quality time with family despite having the responsibility that I can’t be fully away from my desk since I don’t have any coverage.

RVC: Can you share the story of the first picture book you sold and what made it stand out?

JL: I connected with Heather Preusser through 12 x 12. Her writing stood out to me for how clever and punny it was. We sold her picture book manuscript A Symphony of Cowbells to Sleeping Bear through an editor request at a conference she attended. It’s a great read aloud with plenty of onomatopoeia and alliteration, beautifully illustrated by Eileen Ryan Ewen. And you can now find even more of Heather’s wit in her chapter book series Hedgehog Whodunit!

RVC: What was the biggest surprise (or lesson) that book provided?

JL: I’d been managing foreign rights, where we split advances 50/​50 between author and illustrator, so I was accidentally overly ambitious with my counter offer after researching what the publisher had paid one of the agency’s illustrators. As I quickly learned, domestic text advances are closer to a third of what an illustrator is advanced, but royalties are still split 50/​50.

RVC: By way of contrast, what was the story of your first picture book sold at your own agency?

JL: Shortly after I opened, Walker Books asked Leanne Hatch to illustrate Angelo & Angelina, The Christmas Angels by Anne Booth. It’s a beautiful story of Christmas, and neighborly love, and little miracles, so it felt like an auspicious start. It turned out gorgeous in Leanne’s hands, of course! That was my fifth book with Leanne, and I’m thrilled we’re now in the double digits in our partnership!

RVC: What’s the first thing that makes you think, “Yes, I need to represent this project”?

JL: It’s sort of like chemistry. I have to connect on an emotional level and want to drop everything I’m doing to work on your project.

The first line in Leanne’s debut Unraveled is “The bond was instant.” Although she’s referring to a baby and his blanket, I think it’s a good metaphor for that must-​have feeling!

RVC: How important is visual pacing in picture book storytelling, and can you share an example of a recent book that does this especially well?

JL: It’s so important, not only to help pull readers through the story but also to give it the rereadability that’s crucial to picture books. Leo and the Pink Marker by Mariyka Foster is a great example. I particularly love the action shots that show the protagonist multiple times in one image to portray movement! She also does a great job keeping the visual interest up with a variety of layouts. Full page art vs spots vs two page spreads, close ups vs wide angle shots. There are even some Easter eggs like a hidden mouse. This book was also recognized in SLJ’s Endies Endpaper Awards, which along with their Undies may be the most fun awards in kidlit!

RVC: How do you guide debut authors and illustrators through the publishing process, especially those selling their first book?

JL: I’m very hands on. We start with a phone or video call to get to know each other and discuss edits in broad strokes, followed by at least one round of written notes and revisions. I then consult with the client on the submission list and pitch, share feedback from editors, and revise and submit further if needed. I am happy to walk debut creators through offers and contracts as much as needed, and I stay copied in all publisher communications throughout the publication process so I can follow their progress and support as needed.

RVC: How do you balance working with debut creators vs. more established clients?

JL: I signed most of my clients with their debuts and we don’t take their place in the industry for granted even as they get more established. I continue to work with them on project development, though editing and submitting sometimes gets easier. On the other hand, we have more backlist to manage.

I love helping debut creators break out and wish I could always keep an open door, but I am closed to submissions most of the time in order to focus on my existing list.

RVC: Are there any trends or innovations in picture books that excite you right now?

JL: One of the things I loved about my background at SFA is that I got to work on classics that are still selling 20, 30+ years later. Although I like books to feel fresh, I don’t really chase trends, which publishers tend to fill up on quickly. I’m most excited about books that feel like they have those enduring qualities.

RVC: One last question for this part of the interview. What’s coming up for your agency that you’re most excited about?

JL: I am genuinely excited about every one of our books, but I want to mention our upcoming author-​illustrator picture book debuts, which include the sensory Nora At Night by April dela Noche Milne, the road tripping Rus & Moose by Chuchu Wang, and a curious capybara in Look Alike by Natali de Mello. Middle grade novelist Kerry O’Malley Cerra also makes her picture book debut with The Gallaudet Eleven: The Story of NASA’s Deaf Bioastronauts, illustrated by Kristina Gehrmann.

RVC: Okay, Janine. It’s time for the much-​anticipated, never-​equaled, always-​surprising LIGHTNING ROUND. Let’s prepare to zing and zap here. Are you ready?

JL: Ready!

RVC: Your go-​to snack while reading submissions?

JL: Reading happens at any hour, so I’m going to go with the one food I consider appropriate for any time: cereal.

RVC: Your biggest timewaster? 

JL: Probably social media, but it also serves its purposes for staying connected and informed.

RVC: Three things you can’t do your job without?

JL: My phone, tablet computer, and notebook.

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

JL: We are Definitely Human by X. Fang. I’m partial to dry humor.

RVC: A picture book every picture book maker should study?

JL: Miss Nelson is Missing! by Harry Allard and James Marshall. I loved it as a kid and it holds up really well, as do any of Marshall’s works. Bonus points for the fact that Marshall was a kind and funny person, as I learned from his agent, Sheldon Fogelman. I’m really pleased to be working with the James Marshall Trust again, now as trustee.

RVC: Janine Le is a literary agent who…

JL: is rooting for you. Whether I’m representing you or we meet in passing, I truly appreciate all the creators and professionals who work so hard to bring kids the books they need! I’m rooting for the kids as well!

RVC: Thanks so much, Janine!

Editor Interview: Maria Correa (Random House Children’s Books)

On By Only Picture BooksIn Industry Insider1 Comment

Maria Camila Correa is an editor at Random House Children’s Books, where she acquires and edits innovative and engaging picture books. With experience in multiple aspects of publishing—including editing Dr. Seuss books and international acquisitions—Maria brings a global perspective and an eye for storytelling that captivates young readers.

In addition to her editorial work, Maria is also an author and translator. She’s written several Little Golden Book biographies, including Selena, Bob Ross, and Rita Moreno, as well as Spanish Is My Superpower! As a translator, she’s worked on books like Mi hermano está lejos (My Brother is Away) and Mi Little Golden Book sobre Taylor Swift.

With her unique perspective as an editor, author, and translator, Maria is helping shape the future of children’s literature. Let’s dive into her journey and what excites her most in new projects.

RVC: When you were a child, what role did books play in your life? Did you have a favorite that shaped your love for storytelling?

MC: Books completely shaped the way I saw the world. I was (am?) an only child, and my parents were both big readers—my dad was a journalist, and he read stories to me very theatrically, acting them out and doing voices, so the stories came alive. He also frequently took me to puppet shows, which I loved—and still do (I just saw Song of the North, an Iranian epic told through shadow puppets, at the New Victory Theater in NYC).

I was born and spent the first seven years of my life in Colombia, and a lot of the books I was exposed to were Spanish translations of European books; my very favorite was Ophelia’s Shadow Theatre by Michael Ende, which is now sadly out of print. It was very dark for a picture book—about an old lady who, after being fired from her job in a theater, takes home the shadows left behind from all the plays. Without a job, she becomes homeless, and the shadows form a traveling theater and stage plays to help her earn a living. In the end, the old woman takes in the ultimate shadow—Death.

RVC: Wow, what a story!

MC: Obviously, this isn’t the kind of story we tend to publish here in the US, but it moved me deeply, and I think this kind of emotional depth is something I still look for when acquiring; the memory of this experience also informs my belief in kids’ ability to engage with complex themes, and in their aesthetic sensitivity.

RVC: Let’s talk more about what informs your work. Your academic background is in photojournalism and children’s literature. How do these two fields influence the way you think about picture books?

MC: Well, photojournalism sharpened my eye and gave me a language with which to talk about visual storytelling that is transferable to picture books. It also taught me to be observant, and to consider different ways of approaching the same subject. The master’s in children’s literature gave me context. It was a master’s in education, and there was also a focus on literacies—literacy acquisition in the traditional sense but also visual and digital literacies—so that’s another perspective from which I try to approach my books, especially early readers.

RVC: Your Master’s dissertation focused on postmodern picture books and Suzy Lee’s wordless Border trilogy. What about that type of storytelling fascinates you?

MC: I love storytelling that is open to interpretation. Wordless picture books invite readers to co-​create meaning, and they can be incredible tools for encouraging critical thinking. Without text to guide them, the reader has to determine for themselves what is happening, what the visual cues signify—and each reader will take something different from the story. In Shadow, Mirror, and Wave (aka The Border Trilogy), Korean artist Suzy Lee uses the gutter of the book as a delineation between opposing forces (in Shadow and Mirror, she plays with the real vs the imaginary). My dissertation explored these books from a psychoanalytic lens, which was a fun exercise (she says in hindsight), but at surface level these stories are very accessible for kids—in some ways more accessible than a traditional picture book, since they allow readers to engage with the story without text as a barrier.

RVC: Thanks for this quick dive into the interesting work of Suzy Lee! Now, you’ve worked in both the UK and US publishing industries. What are some key differences in how picture books are developed in each market?

MC: I’d say there are more similarities than there are differences, but two come to mind. One is the cadence to which we publish; in the UK, production timelines are often determined by book fairs, so that projects are ready to be shared at Bologna or Frankfurt, and in the US, that timeline is established based on the publication date of the book.

The other difference is that there is just more money in US publishing—and this is reflected in everything from industry salaries to author and illustrator advances, and, in my experience (though I worked for a then-​indie publisher in the UK that was particularly adept at this model), this is an incentive for British publishers to have their own staff write/​develop books in-house.

RVC: You acquire about 10 picture books per year at Random House. What’s the first thing that makes a manuscript stand out to you?

MC: I look for originality—is there anything new about the concept/​execution, or is this something I’ve read a thousand times before?

Don't Think of Tigers by Alex LatimerRVC: How do you balance acquiring books that feel fresh and original while still being accessible to young readers? I’m thinking about books like Floor It and Don’t Think of Tigers.

MC: Well, I try to remember the reader, and the experience of reading a picture book, which is usually a shared experience between an adult and a child. Originality is not at odds with accessibility—it can be, if you get really avant-​garde, but even though I personally love those very strange and experimental books, I want the books I publish to be enjoyable to kids first and foremost. I like picture books that are funny and playful and irreverent—that wink at the reader mischievously instead of trying to teach them something.

RVC: You’ve edited Dr. Seuss books, including How the Grinch Lost Christmas! What was it like working within such an iconic brand?

MC: Honestly, it was a full-​circle moment for me. I remember reading Green Eggs and Ham in ESOL class when I moved to the U.S., so having the chance to create new Seuss stories is very special—and I say “is” because I’m still working on a new line of books called Seuss Studios, where we find emerging author-​illustrators from diverse backgrounds and give them access to unpublished Dr. Seuss sketches, which they use as inspiration for their own stories. It’s a cool project that mixes brand legacy with the creators’ unique artistic vision and personal background, and it’s been very exciting to be a part of it.

RVC: That sounds fun! Let’s talk a bit more about emerging authors. What’s something about editing picture books that surprises most debut/​emerging authors?

MC: The timeline! Most picture books publish at least two years after being acquired, so it’s a long, drawn-​out process. When an editor signs up a book, they are committing to spending the next few years of their lives working on that project with that creator.

RVC: What’s the most common revision note you find yourself giving authors?

MC: Let the art say that.

RVC: What kinds of picture books are you hoping to acquire next? Any themes, formats, or storytelling styles you’d love to see?

MC: I’m really intrigued by the idea that the popularity of horror will trickle down into the picture book space, and I’m open to seeing darker, creeper stories that still feel age-​appropriate for kids. I’m also looking for stories by Latin American creators that aren’t necessarily about that cultural experience and that don’t feel like they pander to white readers.

RVC: In addition to editing, you’ve also written several Little Golden Book biographies. What drew you to writing nonfiction for young readers?

MCC: I enjoy the research, and they have a built-​in narrative arc, so in that sense I find them less challenging than writing fiction. But I also think it’s rewarding to shed light on figures whose lives kids can draw inspiration from.

RVC: You’ve translated books like Mi hermano está lejos (My Brother is Away) and Mi Little Golden Book sobre Taylor Swift. What do you find most rewarding about translation work?

MC: Expanding the audience for any book is incredibly rewarding, as is the feeling of having understood and captured the author’s intention behind the original work.

Lately, I find myself thinking about the rise of AI and the threat this poses to translators, but translation is an art—it isn’t mechanical. As Japanese translator Fischer Udagawa said in a recent  PW article, “a translator translating an author’s prose to move an audience is doing something fundamentally creative and artistic, like a musician playing a composer’s piece or an actor speaking the lines of a playwright.”

I am very passionate about the role of translated literature in encouraging cross-​cultural dialogue, and I think translated children’s books open kids’ minds to other experiences and ways of seeing the world. I think, as an industry, we should be looking to other cultures and translating more books into English.

RVC: What’s the biggest challenge when translating a picture book? Are there specific things that are harder to adapt between languages?

MC: Translating rhyme is always challenging but can be equally rewarding. Idioms and slang are also difficult to translate—you have to find an approximation that captures the essence or vibe of the original rather than the literal definition.

RVC: As someone who is not from the US, why do you think it’s important to tell stories by writers from different backgrounds and experiences?

MC: I think editors and publishers have a responsibility to reflect the richness and diversity of the world kids are living in. Especially now, when those books are being challenged and banned. Stories make us feel connected and remind us of our humanity, and by presenting kids with a multiplicity of perspectives, we cultivate empathy.

RVC: What is it you think is special about the picture book as a format?

MC: Picture books are limitless in potential—the dialogue and tension between text and art makes them a uniquely powerful reading experience. They also tend to be quite short, and I love shortform storytelling because it forces the creator to distill their ideas into their most essential form. And often (and certainly in my case), picture books are the foundation for a lifelong love of reading.

I love that Mac Barnett, who was recently named the National Ambassador for Young People’s Literature, is celebrating picture books with his platform Behold, The Picture Book! Let’s Celebrate Stories We Can Feel, Hear, and See.

RVC: One last question for this part of the interview. What upcoming projects at Random House are you especially excited about?

MC: I’ll call out a picture book publishing each season next year: in Spring, I’m excited about Croûton, a very charming picture book about a shelter cat (Croûton) who thinks she’s the one adopting her human; in Summer, To Knit a Ghost features a little witch instructing readers on how to literally knit a ghost, featuring funny and witty interjections by her ghost friends; in Fall, there will be a sequel to Alfie Explores A to Z, an incredibly detailed seek-​and-​find, this time featuring escaped dogs and time travel.

(I am so grateful to get to do what I do.)

RVC: Alright, Maria—it’s time for the fast and fun LIGHTNING ROUND! Super-​quick answers only! Ready?

MCC: Come at me, Ryan.

RVC: What’s your favorite punctuation mark?

MC: The question mark. The design is—let’s face it—sexy, and it signifies curiosity, which—let’s face it—is also sexy.

RVC: You’re stuck in a library overnight—what section are you exploring first?

MC: Picture books (surprise, surprise!).

RVC: What’s a picture book title that would make a great band name?

MC: Julián Is a Mermaid.

RVC: You can collaborate with any historical figure on a book—who’s your pick?

MCC: Frida Kahlo.

RVC: A picture book from your childhood that still holds up today?

MCC: Frog and the Stranger by Max Velthuijs.

RVC: What’s one word you’d use to describe the PERFECT picture book?

MCC: World-​expanding.

RVC: Thanks so much, Maria!

Agent Interview: Jessica Saint Jean (Root Literary)

On By Only Picture BooksIn Industry Insider1 Comment

Jessica Saint Jean is a literary agent at Root Literary, where she’s on a mission to bring bold, narrative-​driven art to the forefront of children’s publishing. With nearly 15 years in the industry in a variety of roles, she knows the ins and outs of both storytelling and design. Jessica represents illustrators and author-​illustrators across formats like board books, picture books, middle grade, and graphic novels, and she’s all about finding projects that pair striking visuals with unforgettable stories.

Jessica’s sharp eye for expressive art and her knack for nurturing creative careers make her a standout advocate for her clients (I know this is true–I asked a few!). Known for her love of Airtable, color-​coded spreadsheets, and deep-​dive submission lists, she balances organization with boundless enthusiasm for great storytelling. In this interview, Jessica dishes on her career, her favorite projects, and what it takes to succeed in today’s competitive kidlit market.

Learn more about Jessica here:

RVC: You’ve worked in publishing for almost 15 years, first as an editor, then on the art side of things, and now as an agent. How have those roles shaped your approach to representing illustrators and authors?

JSJ: My time working in-​house at publishers informs just about everything I do as an agent. Though I was never actually an art director! At Candlewick, I worked in the Art Department but I had a pretty unique role – I wore many hats, but my primary responsibility was to coördinate illustrator commissions: after an editor acquired an author’s story for a book that would be illustrated (a picture book text for example), I would help select which artist Candlewick would hire to illustrate that book, and then negotiate the deal with the illustrator’s agent.

RVC: Oh, that’s interesting. I bet that gave you some great insight.

JSJ: Being part of that process searching for the perfect illustrator for a particular story gave me a lot of key insights into how I represent my clients and promote their work with publishers – from what type of information is helpful to share in email campaigns to helping my clients develop their portfolios.

And of course, negotiating many illustrator deals on behalf of the publisher gave me a lot of great intel now that I do the same thing from the other side of the desk!

RVC: How did your time at Barefoot Books and Candlewick Press influence your understanding of children’s publishing, particularly for illustrators?

JSJ: Barefoot is a small publisher, so beginning my career there gave me a great overview of all facets of children’s publishing – I was working in the same room as the Creative Director, the heads of sales and marketing, the CFO, etc. I kept my ears open and offered to help doing lots of different types of tasks that needed doing. It made my workload a little overwhelming but also taught me a lot! At larger companies, it can be harder to learn about what your colleagues are doing in different departments, and how their work impacts yours (and the bottom line). So that early role as an editor gave me experience in many corners of this business, which helps me guide my clients through lots of different situations.

And my time at Candlewick gave me a deep understanding of the market. To inform my work commissioning illustrators, I got to know every agent representing kidlit artists and each of their lists, met college students graduating from illustration programs, kept a close eye on all the key children’s lit awards, and, of course, read as many picture books as I could. It all helped hone my artistic tastes and commercial instincts.

RVC: Let’s talk about Root Literary. Why did you choose it, and how does it align with your vision for your clients?

JSJ: When I became an agent, I wanted to build a boutique list of illustrators at an agency that wasn’t currently representing illustrators so I had room to establish the look and feel of my list. But after several years working solo on so many aspects of my job, I realized I could grow my business (and my clients’ careers!) faster if I had colleagues who represented illustrators too.

Two agents at Root Literary, Molly O’Neill and Kurestin Armada, were already representing illustrators and I loved both of their lists. We have similar tastes without actually overlapping, so I felt my roster of illustrators would harmonize well with theirs. And I love Root’s approach to agenting – it’s very collaborative. So, I knocked on Holly Root’s proverbial door and was over the moon when she invited me to join the team.

RVC: What’s the story behind the first picture book you edited? 

JSJ: I started at Barefoot as an editorial intern and worked my way up, so I was initially supporting the other editors’ lists. The project that looms the largest in my mind all these years later is Barefoot Books World Atlas, which was an extraordinarily complex project to create! I will never forget that the day we finally sent it off to the printer was the same day South Sudan became an independent state. So… I started a list of reprint corrections before the book even hit the press. That might be a record?!

RVC: I bet it is! Now, how did this experience compare to the first picture book you repped as an agent?

JSJ: The first deal I closed as an agent was for Ashley Yazdani’s Cosmic Wonder: Halley’s Comet and Humankind, which, ironically, also takes a sweeping look at history and the earth. But thankfully with zero maps!

RVC: Let’s dig into the agenting side now. What’s a typical day like for you?

JSJ: It is super hard to describe a typical day as an agent because there are so many different facets to our job. And very, very often, what I spend all day doing isn’t necessarily what I planned to work on. We sometimes have to make quick pivots if time-​sensitive things come up, like a surprise offer on a book (yay, the best disruption!) or a sticky situation our clients need help navigating.

The easiest thing to say is that I spend a lot of time writing emails. So, so many emails!

RVC: That’s a popular answer, to be sure. What’s a misconception about picture books that you’d like to debunk?

JSJ: Picture book authors, you do not need to hire an artist to illustrate your book! In fact, I am begging you not to do this. Publishers like to pair illustrators with picture book texts themselves (see: my old job at Candlewick!) so most of the time, it’s actually detrimental to your book if you submit it with an illustrator already attached. (Unless, of course, you are an author-​illustrator planning to illustrate the book yourself.) It’s also better for the illustrator to be hired by the publisher, who can give them a share in the book’s royalties and handle all the accounting for that, etc. So, save yourself and everyone else the trouble!

RVC: For illustrators who also write, what unique challenges or opportunities do you see during the submission process?

JSJ: Sometimes an editor might love an author-illustrator’s art style but not connect as much with their story, or vice versa. An editor needs to love both to acquire a book. But the upside when editors pass on a submission but fall in love with one facet or another of a creator’s work, is that there’s usually an opportunity to follow that lead and connect on another project – even if it ultimately takes a while to get all the stars to align!

RVC: In another interview, you mentioned sometimes relying on “gut feelings” when matching projects to editors. Can you share an instance when your intuition paid off in a big way?

JSJ: One of the first submissions I sent out as an agent was a very special book, Lonely Bird by Ruth Whiting. It’s whimsical and sensitive, warm and hopeful but also a little melancholy, and the art is absolutely incredible (realistic oil paintings with paper collage) but a far cry from the digital styles that are very on trend right now. So, in short: it’s an amazing book but I worried it wasn’t going to be an easy sell. I knew I had to get it in front of the right editor, someone who would really “get” this story creatively and who would also know how to position it in the market so readers would understand it too.

I was still getting to know a lot of editors, so I did a ton of research while building my submission list. But when a book is doing something pretty different than what’s out there, you can only connect the dots so much – ultimately you have to trust your instincts. And I knew exactly who I was going to share Lonely Bird with at Candlewick from the jump: Mary Lee Donovan. She’s a brilliant editor and I had a good feeling that she was going to see the same magic in Ruth’s debut that I did. And happily, I was right! She made an offer not only for Lonely Bird, but two sequels as well, at lightning speed. She’s been an incredible partner to help bring Ruth’s vision to life.

RVC: That’s a great success story. Now, you recently launched a newsletter. Care to share what and why?

JSJ: There are a lot of smart people who are sharing their knowledge of the publishing industry in various places (including here!), but I’ve found there isn’t quite as much out there specifically for children’s book illustrators. I wanted to help contribute to that knowledge pool, but I didn’t want to do it on traditional social media platforms run by algorithms. I was intrigued by substack (I used to love blogs back in the day) and wanted to learn more about it. And I figured, what better way to do that than to start a newsletter myself? I’m still finding my rhythm with writing posts but I really love that corner of the internet.

RVC: Best of luck with the newsletter! One final question for this part of the interview. What are some upcoming client projects that you’re really excited about?

JSJ: Oooh, I love this question! I cannot wait for The Dinosaur Seed by Lindsey Yankey to hit shelves this summer. It’s such a unique book – the story is told completely through the dialogue of four kids as they play pretend at the park, almost like a short play. I really want to do a dramatic reading of it with a few of my friends each voicing one of the characters. And the art is absolutely exquisite. I think kids are going to love it.

I’m also super excited about Floor It, written by Bex Tobin Fine and illustrated by my client Federico Fabiani. It transforms a baby’s ordinary crawl across the floor into a racecar-​themed adventure, with lots of clever wordplay and mesmerizing, slightly surreal art. I’m a huge Formula 1 fan so love all the racecar jokes.

And last but not least, my client Hayden Goodman illustrated a fabulous new take on The Night Before Christmas, which is coming out this fall. It’s set in a NYC apartment building, and it’s funny and sweet and absolutely gorgeous. There are lush cutaways of all the different families’ homes with tons of little details to discover, and Santa has a fresh look and a magnificent magical pipe.

RVC: Alright, thanks for that–best of luck with all of those projects. But now…it’s time for the LIGHTNING ROUND. Let’s zip through questions and zap in those answers. Are you ready, Jessica? 

JSJ: Ready!

RVC: What’s the most Virgo thing you do every day?

JSJ: Ha! So many answers to this, but the #1 thing may be the way I tag almost every single email I send/​receive with myriad color-​coded labels.

RVC: What’s the most unexpected thing you’ve ever used Airtable for?

JSJ: Gardening! I have a base where I track all the perennials I grow in my yard, the care instructions, when they bloomed each year, etc. It’s ridiculous but also fun. I call it my “recreational spreadsheet.”

RVC: How many projects can illustrators juggle without losing it?

JSJ: This depends on the illustrator. Though I try to encourage my clients to have only 2 new picture books publish per year, max. For lots of reasons, but workload chief among them.

RVC: A picture book from 2024 with underappreciated-​but-​awesome art?

JSJ: I have to mention Lonely Bird again, because the second book in the series, Lonely Bird’s Dream has the most incredible art. Ruth’s process is fascinating – she paints in oil, which is its own special feat, but she also creates all her illustrations in real life and photographs them as references for her paintings. Which means she’s literally built all the flying contraptions that Lonely Bird builds in the story, and she spends a lot of time lying on the floor taking photos from Lonely Bird height. She did a few interviews talking about her process that I recommend checking out!

RVC: If your life were illustrated as a picture book, what would the title and art style be?

JSJ: I’m very bad at brainstorming good titles in real life (I desperately wish I were better at this!) so whatever I came up with myself, the editor would probably gently suggest we change, haha. I don’t know if I could choose just one art style! I would need someone else to spearhead the illustrator search for my own book. Doctors are the worst patients, and all that.

RVC: What’s your favorite quotation about agenting, publishing, or writing kidlit?

JSJ: “Tell them stories….That’s what nourishes them. You must tell them true stories, and everything will be well, everything. Just tell them stories.” from The Amber Spyglass by Philip Pullman (my all-​time favorite book!)

RVC: Thanks so much, Jessica!

Agent Interview: Sam Farkas (Jill Grinberg Literary Management)

On By Only Picture BooksIn Industry Insider1 Comment

Welcome to Sam Farkas, a literary agent at Jill Grinberg Literary Management who helps bring innovative and impactful picture books to life. With a background in publishing that includes subsidiary rights at Penguin and extensive experience connecting authors and illustrators with global audiences, Sam is passionate about championing stories that captivate young readers.

Her tastes lean toward picture books with kid-​friendly texts that beg to be read aloud, out-​of-​the-​box nonfiction, and books that celebrate our multicultural world. Recent sales like Eight-​Nine-​Tengineers and Floor It! showcase her knack for finding stories that combine heart, creativity, and meaningful messages. In this interview, Sam shares insights into the world of picture book publishing, what she looks for in submissions, and how she supports creators in crafting unforgettable books.

Learn more about Sam here:

RVC: When you were a kid, was it obvious you’d end up in a book-​related career?

SF: In hindsight, yes. I was always reading and writing. Then, as a teen, I spent a lot of time reading publishing blogs (mostly written by agents) because I found the industry so fascinating, but I viewed it more through the lens of wanting to be an author. At that time, I was very against the idea of living in New York City (how that has changed!), so I didn’t think publishing would be open to me. It wasn’t until college that I seriously considered it as a career path.

College of William & Mary – Logos DownloadRVC: Let’s talk about college then. You attended William & Mary as an undergraduate. What did you study there, and how has it shaped your approach to agenting?

SF: When I went to college, I thought I was going to be an archaeologist. I loved history, and I had a very romanticized view of the archaeology field. However, after a semester cleaning potsherds with a toothbrush, I decided that it was not for me, so I abandoned those courses and declared myself a double major in English and History. That said, I still sometimes view my work as an agent through an archaeological lens, especially when I’m digging through the slush. The thrill of discovery. Putting pieces together to unearth a great story. Polishing things up until they shine (with an edit letter, not a toothbrush).

RVC: That’s a lovely way of thinking about it. Now, you worked at Barnes & Noble for a while after college. How useful was that for your future career in the publishing industry?

SF: Very! When I was first interviewing for publishing jobs in 2015, that was the piece of my resume that the hiring managers asked about the most. As a student, it’s easy to get lost in the books you have to read for coursework; working at Barnes & Noble reminded me what’s being published and selling now. (Also, I met my husband while working there, so it was a very influential time in my life!)

RVC: Bonus score! Eventually, you worked directly in publishing as a rights coördinator. How did that prepare you for agenting?

SF: There is a lot of crossover, as both are all about selling rights. The main difference is that as an agent you’re also doing editorial work and managing an author’s career. It’s more overarching. But my time as a rights coördinator taught me how to pitch, how to negotiate deals, how to do a contract, what different markets look like and what we can expect from them.

RVC: What’s a common misconception about book rights?

SF: A lot of new writers don’t think about subrights at all. Or they think that rights sales are a given, when in fact there are a lot of factors that affect how and whether a book sells subrights. A rhyming picture book, for example, is going to have trouble in the translation market—translating rhyme is hard!

Another example: preferences in art style vary dramatically territory-​by-​territory, so what works here doesn’t necessarily work overseas. I’ve sat in many a meeting where I’ve been told, “This will never work for France!” (French editors, if you’re reading, I think you’re great!)

RVC: How has your love for travel and global cultures influenced the way you think about the picture book market?

SF: This isn’t specific to picture books, but I’m often thinking about what makes books appealing to foreign markets—it’s more complicated than whether something is a great book. It can be the length (shorter is better, as translation adds to the page count), details in the art (yellow school buses? Too American), even the genre itself (horror is not nearly as popular overseas as it is here). While it doesn’t affect whether I offer on something, I get really excited when I see a lot of translation potential. It’s special to see a book resonate with readers around the world.

RVC: What’s the most important lesson you’ve learned since joining JGLM in 2018?

SF: Oh, I have to pick just one? I’m going to cheat and pick two.

RVC: Go for it!

SF: 1) Trust your gut. It’s usually correct.

2) It’s okay to be the bearer of bad news. It’s no secret that there are a lot of things in publishing that are very difficult, whether that’s books dying on submission or lackluster marketing support. It’s tempting to try to sugarcoat it, but that helps no one—we have to be honest with our authors and support them as best we can.

RVC: What’s the story behind the first picture book you sold as agent?

SF: The first book I sold as an agent was Charlotte Gunnufson’s Dream Submarine. I had admired Charlotte’s work from my Penguin days—I was there when her book Prince & Pirate published—so I was really excited to represent her.

Dream Submarine is a beautifully multifaceted bedtime book about the ocean at night, and it sold to Candlewick pretty quickly once we took it out on submission.

RVC: The biggest lesson that book taught you was…

SF: Trust your gut! We discussed a lot of projects before deciding which to take out on submission, and there were many strong contenders, but this one felt right. Sometimes, you can’t put into words why one project feels more right than the others, but listen to your instincts.

RVC: In your opinion, what makes a great counting book, like Eight-​Nine-​Tengineers, or other concept-​driven picture books?

SF: It has work on multiple levels. It’s not enough to just be a counting book, or a colors book, or an ABC book—it has to do something else, too, such as tell a great story or bring in additional educational content. Charlotte Gunnufson’s Eight-​Nine-​Tengineers is a counting book, but it’s also a kid-​friendly introduction to environmental engineering, showing how we can work together to build a greener planet.

RVC: When assessing a manuscript, what’s the first thing that makes you think, “Now THIS is something I need to represent”?

SF: I can’t stop thinking about it. When I read a picture book manuscript, I usually know right away if it’s a “no,” but if it’s not a quick “no,” then it goes in my “take a closer look” pile. Occasionally, I will forget about it there, and then that tells me that it wasn’t a good fit and I let it go; but if I keep opening that manuscript, read it multiple times, and can’t let it go, then that’s a sign that I want to work on it.

RVC: How do you support your clients during the submission process, especially when navigating feedback or rejections?

SF: I let the author take the lead in how they’d like me to handle feedback or rejections. Every author is different: some want to hear every bit of news, some only want the highlights, others don’t want to hear a peep until it’s a “yes.” I trust my clients to know what’s best for their mental health, and I’ll work to accommodate that so they can focus on the writing.

RVC: I’m sure authors appreciate your flexibility there.

SF: If we get a pattern of feedback in the passes—multiple editors saying the same thing—then we’ll pause and see if we might be able to address it before taking the book out on submission again. Or if there’s no specific editorial feedback, but the book just isn’t hitting for whatever reason, sometimes we’ll pull it and move on to a different text. The nice thing about picture book writers is they tend to be prolific—if something isn’t working on submission, there’s always a new project waiting in the wings.

RVC: What advice would you give to creators choosing comp titles for their picture book manuscripts?

SF: Choose books that published within the last 5–7 years. Choose books that have done well, but try to avoid mega-​hits, as those tend to be outliers.

RVC: In your “wish list” online, you’ve mentioned a love for out-​of-​the-​box nonfiction. What kinds of nonfiction picture books are you hoping to see in your inbox?

SF: Ah, tricky! I don’t really know until I see it, but I do know that I’m burnt out on picture book biographies. I love picture book bios, but I’ve struggled to sell them, so I’m hesitant to take them on.

RVC: Brag time! What new projects are you most excited about?

SF: I’m really excited for Bex Tobin Fine’s Floor It!, illustrated by Federico Fabiani. It takes a simple conceit—a baby’s crawl across the floor—and turns it into a fun-​filled racecar-​themed adventure. Coming from Random House Children’s Books in Fall 2025!

RVC: Sounds like some high-​octacte fun.

SF: Charlotte Gunnufson’s Hard Hat Hank and the Sky-​High Solution, illustrated by Brian Biggs, is releasing in February on the inaugural Disney Planet Possible list, and it’s a very kid-​friendly construction book with a focus on eco-​friendly building.

And I just welcomed a new client who has a gorgeous literary text that I can’t wait to take on submission.

RVC: Thanks for the updates, Sam. But prepare yourself because it’s now time for the Speed Round. Rocket-​fast questions and racecar-​quick answers. Ready?

SF: Ready!

RVC: Your go-​to snack when reading submissions?

SF: Black licorice.

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

SF: My cat, Paprika, who can already be the most annoying. I shudder to think what she’d say if she could talk. It probably wouldn’t be very nice.

RVC: What’s one thing you couldn’t do your job without?

SF: My awesome colleagues. The women at JGLM are absolute stars—so helpful, and wise, and kind.

RVC: What’s one word every picture book needs?

SF: “The” (although I imagine there are picture books without it!)

RVC: Last picture book that truly made you LOL?

SF: I Quit! by Kristen Tracy, illustrated by Federico Fabiani—the illustration of the cat sticking her face through a loaf of bread makes me laugh every time!

RVC: Your picture book philosophy (or agenting philosophy) in 3 words?

SF: Trust your gut!

RVC: Thanks so much, Sam!