Category: Industry Insider

Editor Interview: Lauri Hornik (Rocky Pond)

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

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

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

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

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

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

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

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

RVC: Lucky you!

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

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

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

RVC: Yep!

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

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

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

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

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

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

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

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

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

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

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

RVC: Describe a typical workday.

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

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

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

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

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

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

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

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

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

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

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

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

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

Ryan and Richard!

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

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

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

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

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

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

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

LH: Take it away!

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

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

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

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

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

LH: Frog and Toad.

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

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

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

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

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

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

RVC: Thanks so much, Lauri!

Agent Interview: Jennifer Rofé (Andrea Brown Literary Agency)

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Help me welcome this month’s Industry Insider guest, Jennifer Rofé, a senior agent at Andrea Brown Literary Agency! Welcome, welcome, welcome!!!

As much as I truly enjoy creating snarky biographical introductions for OPB guests, when I see something great that someone else created, I must acknowledge it. Given that, here’s Jennifer’s fantabulous Twitter bio.

“Children’s lit agent with @AndreaBrownLit who dreams about being a bakery-​owning cowgirl. Never mind that I don’t bake or have a horse. (she/​her)”

Wow, right? [Making a note to improve my own social media bios in light of seeing this one!] 

And since it’s been a few months since we’ve done a Fun Facts section and I miss their pithy biographical goodness, we’re going to finish this introduction with a “7 Fun Facts about Jennifer” list. Here goes!

  • My first job was writing for a wine trade magazine, and they hired me because I knew nothing about wine. I didn’t even know what Merlot was.
  • My favorite color is yellow.
  • My favorite band is, and always has been, and always will be, the Indigo Girls.
  • My comfort meal is white rice with a fried egg and plátanos.
  • Things I love? “Troublemakers,” sass, underdogs, talking animals, and magic.
  • I am good at dream interpretation.
  • I love hidden passages and secret rooms. One day, I will have a house with both.

Thanks so much for that, Jennifer. Now let’s all zip ahead to the interview and uncover a bit more of the elusive recipe for how a literary agent superstar is made!

RVC: Whenever I have a name question, I now ask it aloud instead of quietly wondering about it in silent semi-​embarrassment. It’s a 2023 resolution of mine! So, here come two questions. 

1) Do you prefer Jen or Jennifer? 

Formally, like for work announcements, I go by Jennifer. But in life, I prefer Jen. So please call me Jen.

2) How do you say your last name?

JR: Row-fay. The accent on the e makes it a hard “a.”

RVC: Gotcha. Thanks for that! Now, you earned a BA in English with a minor in Social and Ethnic Relations from UC Davis. What was the intended career plan with that?

JR: Hahahahaha! I have no idea what the intended career plan was. As I was in line graduating college, I realized that I maybe should have studied Classics and Business. But it all worked out. Seems like it was a bit of a winding road, but in hindsight, I can see how I was getting here all along.  

RVC: You worked as a middle grade teacher for five years. What was the best thing(s) about that time in your life?

JR: Those kids were the best. Except for one class that drove me to drink spiked hot tea in the bathtub!

RVC: Oh, I’ve been there, too.

JR: I always appreciated the kids who other teachers didn’t like.

  • The “troublemaker” who was actually very intelligent. (I’m certain this kid is now either an entrepreneur or a criminal.)
  • The kid who came from a family of underperforming students and so the same was expected of him, but he was very smart. (I helped this child get into a private high school.)
  • The kid who brought a water squirter to school and stood behind a post to spray friends during the passing period. (On the inside, I was laughing, but I had to pretend to be mad.)

Being in middle school can be hard, but there’s something about that time that is a magical twilight.

RVC: What was your teaching superpower?

JR: I was good at bringing the low-​performing students to level, and the principal started intentionally giving me those students. I loved working with those kids, and I really didn’t do anything different with them than I did with my more achieving students. I knew they could get it done and I treated them accordingly.

RVC: What convinced you to make the move from teaching to agenting?

JR: I long knew that I wanted to do something pertaining to children’s media. I thought maybe cartoons, but then I had a summer internship at Disney and it was miserable. Then I thought maybe educational publishing, so perhaps I should become a teacher first, which I did. I also always liked kidlit, and I would wander the bookstores perusing the children’s section, but working in traditional publishing never occurred to me.

Then one day, the office admin at the school where I was working asked what I was doing over the weekend, and I told her I’d probably go to Borders (a blast from the past!) at some point to look at books. She said I should go to Book Passage instead, which is a fantastic indie bookstore in the Bay Area, where I had been living at the time. When I got back to school Monday morning, she had put in my box the monthly newsletter from Book Passage. I noticed that they offered workshops, and there was an upcoming one on children’s literature. Lemony Snicket, Megan McDonald, and an editor from Chronicle were presenting. And so was Literary Agent Andrea Brown.

I remember thinking, What’s a literary agent?

I signed up for the conference–which was a lot of money for me at the time–just to find out what a literary agent is. On the last day of the conference, Andrea presented, and I thought, That’s what I’m going to do. I approached her after and asked how I get her job. And here I am.

RVC: Wow!

JR: That office admin has no idea how she changed my life.

RVC: Who was the first client you signed? 

JR: The first client I signed on my own, in 2006, was Meg Medina, for her first book Milagros: The Girl from Away.

RVC: What was the tipping point with that book? What moved you to an “I’m taking it!” decision?

JR: The tipping point happened very quickly–on page 1. And that’s because even though Meg was writing about a fictional island, I could tell immediately that it was influenced by Cuba. My mom was born and raised in Cuba until her family fled the country, and I recognized Cuba from stories I had been told. In fact, if I recall correctly, I believe one of the first things I said to Meg when we spoke was, “You’re writing about Cuba, aren’t you?”

RVC: It’s clear that you’re deeply invested and interested in identity both from the projects you rep and how you represent yourself in the world.

JR: What most interests me about identity is how we’re perceived versus who we know ourselves to be or who we can become, and how that intersects. For instance, when Stranger Things came out, Joyce was my favorite character. She was perceived as a crazy, kooky lady, but she was right all along, and that nobody listened to her didn’t stop her from doing everything to save her son. Eventually, everybody got on board with Joyce.

In story, I am most interested in the character who is misunderstood, underestimated, overlooked. Even the students I appreciated the most when I was teaching were the ones who were underestimated.

RVC: What do you think is the most common misconception people have about the intersection of identity and writing?

JR: No identity is a monolith.

For instance, I’m half Cuban. Some would assume that I’m Catholic or that my mom’s family went to Miami after fleeing. Neither is true. We’re Cuban Jews, and my mom’s family ended up in Los Angeles.

The nuances of identity are infinite.

RVC: Let’s help writers by digging into industry specifics. Some agencies pass around queries/​manuscripts. How often does that happen at ABLA (the cool acronym for the Andrea Brown Literary Agency)?

JR: Every day.

RVC: What’s something most people don’t know about ABLA? 

JR: I don’t know if people really understand how collaborative we are. I talk with my colleagues every day, we help each other every day, and our hive-​mind approach has made us a strong, dynamic agency.

RVC: If I asked your ABLA colleagues what your agenting superpower is, what might they say?

JR: My in-​house nickname is Bonus Queen. I’m good at getting creative bonus language in contracts. And it’s so satisfying when those bonuses come through and clients earn additional money.

RVC: What’s your ACTUAL agenting superpower?

JR: When it comes to writers, I’d like to think I’m good at asking the questions that encourage them to pinpoint precisely what they’re trying to accomplish or say with a story. When it comes to illustrators, I’m good at spotting potential in the unexpected. For example, I came across the work of a fine artist whose style I thought would translate to picture books. And we very quickly landed her a picture book.

RVC: What trends is ABLA seeing in terms of picture book submissions?

JR: In terms of submissions we receive, we’re recently seeing texts about gardens, food, identity, and Christmas. There’s also been an uptick in stories that take place outside of a contemporary world–fantasy-esque, I guess you could say.

 RVC: I have two words for you. Big + Sur. 

JR: One of my favorite weekends of the year. ABLA runs the Big Sur Writers Workshops in Big Sur, CA, and Cape Cod, MA. Imagine being surrounded by fellow writers in clean, coastal air, workshopping your manuscript with small groups that are led by conference faculty, going away to revise for hours, strolling the redwoods or the sand to think, attending craft sessions from faculty, dining with colleagues. It’s a magical weekend.

 RVC: What’s a success story that emerged out of Big Sur?

JR: We have several Big Sur success stories–writers or illustrators who have joined ABLA or who have found other agencies and have gone on to get published. Two current successes that come to mind are Eric Rosswood, whose picture book Strong recently won the Stonewall Honor, and Angela Joy, whose picture book Choosing Brave has earned an impressive list of accolades, including most recently a Caldecott Honor.

RVC: You’re known for your The “So What?” Factor presentation.

JR: “So What?” started when I was teaching eighth graders essay writing. If Kayla stated that plastic bottles are polluting our oceans, her next sentences had to explain the “So What?” of this statement. This matters because…. And so on. At some point, I realized that I could do this with clients. If a plot point happens in the story, then there needs to be a “So What?” of that moment.

RVC: Why do you think the presentation is so popular? 

JR: I think this presentation became popular because it’s a simple way to think about how you’re moving your story forward. If X happens, then Y. And if you can’t figure out the Y, then rethink the X. Applying this to TV shows and movies is a great way to get the hang of it. Dirty Dancing is an excellent “So What?” vehicle. Johnny is accused of stealing wallets.

  • So What? Baby knows he couldn’t have stolen the wallets because she was with him all night.
  • So What? Protecting Johnny will mean that everybody learns what Baby has been hiding, including her parents.
  • So What? Their perception of her is going to be shattered.
  • So What? Well, lots of things, including that Baby needs that to happen so that she can come into herself as an independent young woman. Also, the dad is going to face his own biases and limitations. Everything that happens in that movie matters and moves the plot forward.

I haven’t entirely pinpointed how to do this with picture book texts because there is variation in the format. It can still generally apply, like with a more narrative structure, but concept books, for instance, might not have a “So What?” I believe I first started “So What?” as an agent with Mike Boldt! When he shares a new idea with me now, he often comes prepared with the “So What?” on hand.

RVC: What’s your best tip for ensuring the “So What?” game stays generative and supportive?

JR: You can certainly “So What?” your manuscript into oblivion. The core of it is understanding how each of your plot points moves the story forward and impacts your characters in a way that matters to the story.

RVC: How often do you participate in other workshops/​conferences?

JR: I mostly participate in SCBWI conferences, but I took a break after having my second child four years ago. Then COVID happened. But I’m slowly starting to do more conferences again. I enjoy them. They satisfy the teacher in me.

RVC: You’re an author, too. How did Piggies in the Pumpkin Patch come about?

JR: That was a happy accident. Mary Peterson was working on the story and we were doing a lot of back-​and-​forth, when suddenly I could see what the story needed. I asked her if I could take some extreme liberties with the text, and she said yes. So, I did, and we decided to team up.

RVC: What’s the most useful lesson that came about from that book?

JR: That revising is really hard. We almost quit during revisions. The experience helped me understand what writers go through. I am a more empathetic agent because of that experience.

RVC: In this post-​COVID world, I like to ask a health and wellness question in interviews. Here’s yours. What do you do to de-stress? 

JR: I build and remodel houses in my mind—I remodel mine almost daily—and look at homes/​interior design stuff online. If I weren’t working in publishing, I’d be interested in working in construction.

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

JR: I’ll talk only about picture books that have been announced so I’m not spoiling secrets. The dynamo duo of author Dev Petty and illustrator Mike Boldt have a book publishing this year called Elmore the Christmas Moose. It’s a hilarious story about a moose who applies to be one of Santa’s reindeer, except he can’t fly. They also have a second Life Lessons from Chip the Dog book coming next spring, this one called Don’t Trust Cats.

RVC: OPB did an interview with Dev right here! What else are you stoked about?

JR: Author-​illustrator Sasha Mayer has her first book in a new series coming, called Squash, the Cat. It’s a funny and joyful story about a girl named Maggie and her best friend, Squash, who is her cat. And author-​illustrator Renée Kurilla has a book called It’s Fall coming this year. It’s a rhyming story about the delights of fall, and it’s illustrated in a limited fall palette. It’s cozy and wonderful.

RVC: Alright, Jen. You’ve been waiting for it. I’ve been waiting for it. The OPB audience has been waiting for it. And it’s now here!! THE SPEED ROUND!!! Lightning-​fast questions followed by shockingly short answers, please. Are you ready?

JR: Yes.

RVC: Guiltiest reading pleasure?

JR: I don’t feel guilty about any of it.

RVC: If someone narrated your life, who would you want to be the narrator? 

JR: Marin Ireland.

RVC: Which Indigo Girls song would make the best picture book? 

JR: My heart bursts that you ask this question because nobody ever has. And I know the answer because I’ve spent time thinking about it. It’s “Power of Two.” The illustrations would depict a parent picking up a child from school, and then they go on a drive to have a picnic and hike around and play in a field of sorts. Or something like this. Sorry this wasn’t a short answer!

RVC: What’s the One That Got Away?

JR: I will never, ever tell.

RVC: When your kidlit career is finally complete, what text should be on the career tombstone?

JR: “So What?” Juuuust kidding.

RVC: Thanks so much, Jen! This was a real treat.

JR: Thank YOU, Ryan!

Editor Interview: Maria Modugno (Random House)

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

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

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

RVC: You’re living in Chicago these days?

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

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

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

RVC: This industry is well suited for it.

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

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

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

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

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

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

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

RVC: Terrific.

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

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

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

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

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

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

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

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

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

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

That’s how I started as an editor.

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

MM I was lucky indeed.

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

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

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

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

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

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

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

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

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

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

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

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

RVC: Yes, it did!

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

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

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

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

RVC: Totally agree.

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

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

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

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

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

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

RVC: What do you look for in illustrations?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MM: You’re right about that.

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

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

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

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

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

MM: Sure.

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

MM: A gnat.

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

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

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

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

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

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

RVC: What’s the One That Got Away?

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

RVC: What is your picture book philosophy?

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

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

Editor Interview: Reka Simonsen (Atheneum)

On By Only Picture BooksIn Industry Insider2 Comments

This month’s Industry Insider is Reka Simonsen. Prior to becoming Editorial Director at Atheneum, she worked at various publishers and bookstores such as Houghton Mifflin Harcourt, Henry Holt Books for Young Readers, and Books of Wonder.

To know why we’re so excited to have her join us at OPB, just look at some of the people she’s worked with—Margarita Engle, Carole Boston Weatherford, Evan Turk, Frank Morrison, Jamie Sumner, Linda Urban, Joy McCullough, Emily Ecton, Melanie Crowder, Brian Pinkney, Sean Qualls, Lita Judge, and Lloyd Alexander, among others.

And then there’s the awards that books she’s edited have won—a Newbery Honor, a Coretta Scott King Award and an Honor, a Geisel Honor, a Sibert Honor, Walter Honors, a PEN USA Award, several Pura Belpré Awards and Honors, Jane Addams Peace Awards and Honors, Americás Awards and Honors, a Christopher Medal, Charlotte Zolotow Awards, and they’ve been finalists for the Morris Award, the Andre Norton Award, and the Edgar Award.

Wow, right? Let’s get straight to the interview to discover how Reka makes the magic happen.

RVC: What was your first vital/​transformative experience with books?

RS: Books have been such an important part of my life since very early childhood that it’s hard to think of one transformative experience that I’ve had in relation to them, but some of my earliest and happiest memories are of reading with my father. Long after I’d passed the usual age for bedtime stories, he and I would take turns reading to each other, often from favorites like My Family and Other Animals by Gerald Durrell. I still reread that book almost every year, in memory of my dad. And I very nearly became a wildlife biologist because of Gerald Durrell’s books…

RVC: You graduated from Hunter College with degrees in art and English. What was the career plan at that point? Was it wildlife biology?

RS: Getting a job with health insurance! I’m joking, but not really. I deferred college for several years while I trained as a dancer, so when I did finally go to school, I knew the financial insecurity that comes from being in the arts. Because of that, I was aiming for a career that fulfilled both my need for creativity and my need for basic benefits. I was working part-​time in publishing while I was in college, so I already knew I liked the work; my goal was just to get into the area of publishing that I had always loved: children’s books.

RVC: Though most people think of you as a kidlit editor, you got your start by editing textbooks and coffee table books. How did that work prepare you to be an editor for children’s books? 

RS: At the time, I wondered if the skills specific to those two types of books would be of any use once I started working with children’s books. Turns out that a few of them have. Knowing how to do photo research and obtain permissions has come in handy when I’ve worked on nonfiction books. And editing coffee table books gave me a good eye for how art and text work together to create visual energy and interest for readers, whether young or old.

RVC: What was the first picture book you edited? 

RS: At first, I edited a lot of things that I inherited from predecessors. The first picture book I acquired and edited was Head, Body, Legs, a Liberian creation story by Won-​Ldy Paye and Margaret Lippert, illustrated by Julie Paschkis.

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

RS: The importance of working collaboratively, which is something I agreed with in theory but had never had such a hands-​on experience of before this book. The text is a collaboration between two authors: Won-​Ldy is from Liberia and has known the traditional tale his whole life, and as a professional storyteller he can hold an audience rapt with his rendition of it. But he had not written a book before, which was where his friend and collaborator Margaret came in. She is a writer and educator, and she knows how to shape things so that the written version that a parent might read with their kid lands with the same impact that the story has when told in the oral tradition. Then the two of them worked directly with their friend Julie to help interpret the story visually, which was not an easy task, given that it’s about three individual body parts trying to figure out how to come together to make a person! Usually, authors and illustrators do not work directly with one another, but in this case all three of them were friends, and that brought another layer to the book. The art director and I worked closely with all three of them to help shape the folktale into a wonderful book. It was an incredible experience!

RVC: That sounds amazing! Now, what’s the most common misconception about editors?

RS: Even in the book world, I find that most people still think that editing means correcting grammar and punctuation—the kind of red-​pen editing that a lot of us are familiar with from the notes teachers wrote on our school essays. More experienced writers and agents know otherwise, of course, but first-​time authors still often expect that the first thing they’ll see from an editor is a detailed line-​level edit of the manuscript, which is usually a much later step in the process, rather than a letter or conversation that looks at the bigger picture aspects of the story, which is more often the first editorial step.

RVC: What was the most demanding/​challenging picture book you’ve worked on?

RS: I’d have to say A Violin for Elva by Mary Lyn Ray, illustrated by Tricia Tusa. The book itself was wonderful, as were the author and the illustrator, who are both incredibly talented, and lovely people to boot. But long before I started at Harcourt, the two of them had disagreed about the vision for the book, and so the project languished for many, many years. Then I approached them about finding a way forward together, and we were able to do that. While I’d like to think that my fresh perspective and sheer brilliance were what did the trick, I think it was more that enough time had passed for everyone to approach it with more clarity.

RVC: In the few years I’ve been doing interviews here at OPB, I’ve only had a few with a noticeably absent digital footprint. While you’re not quite in the running with them, you’re close! What’s your relationship to social media?

RS:  Ha! Well, it is intentional. While social media has some wonderful upsides, it has a lot of downsides, and for me there are just too many instances where it goes negative and seems to bring out the worst even in well-​intentioned people. I really don’t need to see more of that than necessary—the state of the world provides quite enough stress these days!—so I stay off social media as much as I can. I find that even without being very active on most platforms, I still hear the big headline-​level events and news fairly quickly.

RVC: How important is it for authors to use social media or maintain some type of web presence?

RS: It seems to be much more important for YA authors than for authors writing in any other age category of children’s books. While of course it’s helpful to have some online presence, there just aren’t many platforms where people outside the industry chat up picture books or middle-​grade novels, so the kind of TikTok phenomenon that some YA and adult books are benefiting from just doesn’t seem to be happening for other sorts of books.

RVC: How do you handle pressure at work?

RS: It is very easy in our industry to spend every waking hour either working or thinking about work, an unhealthy situation that has gotten even more pervasive since the pandemic has resulted in many of us working from home indefinitely. But I try very hard to shut down my computer at a reasonable time except when there’s a truly urgent reason for me to keep working at that moment and turn my mind to something else. Plus, I’ve built in other activities, fun things that aren’t work related, that force me to stop work by a certain time at least a few days a week. When things are stressful, often it helps if I take a walk to get some fresh air—even better if I get to see some happy dogs out and about!

RVC: Do you ever get editor’s block?

RS: Oh, yes; I think every editor does once in a while. For me, it helps to read a really good book that I didn’t edit! And sometimes revisiting old favorites can rekindle the spark and remind me why I love working with children’s books. I think it’s also really important to have some creative outlets that are not about books. As editors, our work is often creative and fulfilling, but we can’t mistake that for having our own creative passions that are entirely separate from our jobs. For me, those are things like singing in a chorus, working in the garden, cooking, and to keep both my hands and my mind busy but relaxed, knitting while watching basketball.

RVC: One last question for this part of the interview. It’s brag time! What upcoming projects are you especially excited about? 

RS:  Where to start?! I’m beyond excited about Daughters of Oduma by Moses Ose Utomi, an incredibly fresh, epic YA fantasy inspired by West African culture that’s coming out in February. It’s the story of an élite female fighter named Dirt who feels she’s over the hill but must reenter the competition to protect her found family of younger sisters. It’s a fiercely feminist, body-​positive novel with characters that just grab you by the heart and don’t let go.

I’m also absolutely thrilled about Emma Otheguy’s picture book Martina Has Too Many Tías which has the most adorable illustrations by Sara Palacios. It is a wonderful reimagining of the beloved Caribbean folktale “La Cucaracha Martina” that any child (or adult!) with a loud, lively family will be able to relate to.

RVC: Thanks for that, Reka. But now it’s time for the LIGHTNING ROUND! Zippy questions and zappy answers. Are you ready?

RS: Yes!

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

RS: I can write backwards—mirror writing. It’s not a very useful talent, but it’s kind of a fun parlor trick. And I found out the hard way (by breaking my wrist) that I can write with both hands, though admittedly my left-​hand writing is at about a third-​grade level.

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

RS: Only one? I guess I’ll have to go with my favorite birthday cake: lemon cake with lemon curd and whipped cream.

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

RS: My tortoiseshell cat, Maisie, who is trying to crawl into my lap; an in-​progress knitted blanket that at this point is just big enough to keep my toes warm; a view of my newly planted garden which will hopefully be more impressive next year; two very tall, very full bookcases; and two beloved original Edward Gorey prints.

RVC: What’s the One That Got Away?

RS: Oh, there’s more than one! The two that have stuck with me the most, even though they were a long time ago now, are The Thing about Jellyfish by Ali Benjamin and We Are Not Free by Traci Chee.

RVC: Who sets the standard for writing picture books with heart?

RS: So many wonderful writers to choose from, but two who always speak to my heart are Julie Fogliano and Mem Fox.

RVC: What literary agent’s compliment about you would please you most?

RS: I suppose that they’ve heard great things about me and have been wanting to work with me!

RVC: Thanks so much, Reka!

Editor Interview: Kayla Tostevin (Page Street)

On By Only Picture BooksIn Industry Insider

The October Industry Insider at OPB is…Page Street Senior Editor Kayla Tostevin! While I generally create my own bios for interview guests, I ran across this bio for her at various SCBWI faculty bio pages, and it’s so terrific that I’m just including it in full.

“When not poring over books (and sometimes while poring over books), she likes to be outside: hiking, biking, on a boat, or wandering aimlessly and smiling at animals. She hails from one end of the longest US freeway I‑90 (Seattle, WA) and now lives at the other in Boston, MA.”

Kayla got on my radar because she’s acquired books from literary agents who’ve joined us here at OPB, such as:

What I’ve found is that good people tend to gravitate toward other good people, so that pretty much explains the connections above.

And speaking of good people, let’s learn a bit more about our new good friend, Kayla, by getting to that interview.

RVC: Between the bio above and your Twitter bio (which has the line “happiest while adventuring”), I’m really curious—what type of childhood did you have?

KT: I’m very lucky to have grown up with four fantastic parents (my step-​parents both came into the picture when I was quite young), shifting back and forth between my two sides of family every few days. I think having that constant movement and two wonderfully different home environments—generally spending a lot of time running around outside with neighbor kids and hiking with family at one house, falling in love with movies and playing lots of card and video games together at the other—has probably greatly influenced my restlessness and curiosity/​enthusiasm for a wide variety of things even today. I’m so grateful for all I was able to experience during childhood and all the adventures I’m continuing to have as an adult!

RVC: At what point did you know you were going to work in publishing?

KT: I’ve loved books my whole life and suspected I wanted to work with them as early as middle school—but I originally wanted to be a writer, so I went for a writing, literature, and publishing major in college. After spending some time around other students on the same track and taking several classes, I realized I was better suited to the publishing part than the writing part!

RVC: You started at Page Street in the marketing area. What kind of advantage does that give you now as an editor?

KT: I think it really helps to have a better view of the entire process of bookmaking—and in this case, that very much includes what comes both before and after the book is made. When I’m looking at submissions for potential acquisition, I’m careful to consider not just if it’s a great story, but if it actually has some strong selling points, and my marketing experience definitely has made me stronger at pinpointing those selling points. Once the book is made, I can discuss with the marketing/​PR team what features of the story might be most useful for them to push, using my familiarity as editor to help the rest of the team promote as effectively as possible. Other perspectives are always useful. This background has also given me a much greater awareness and respect for all the other departments involved in making a book.

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

KT: I was one of two children’s editorial assistants in 2019, and we would often be assigned stories the children’s publisher at the time was interested in working on and possibly acquiring. We’d often (good-​spiritedly) fight over who got to work on which ones, and a dummy I won eventually became Moles Present the Natural Tolls of Digging Holes by Springer Badger.

Honestly, it was pretty minimally revised—I mostly just encouraged the author-​illustrator to rearrange some scenes, bring out some contrasts, and lean into the delightful weirdness lurking in the art’s background. The process was a strange one with me doing most of the editing during my temporary return to the marketing/​publicity department, and I still have a huge soft spot for the book.

RVC: What important lessons did that book teach you?

KT: This book was probably my first big lesson on how incredibly subjective publishing is. The author-illustrator–my bosses–and I all had many different ideas about the best way to handle many aspects of this book, and I realized, oh, being an editor is much less about fully controlling the development of a book than it is about finding the best route to solid middle ground between multiple visions. It’s not steering the car so much as politely giving directions from the shotgun seat, while sometimes the driver ignores you to make their own rogue turns, or the backseat passengers argue, or your maps app dies and you have to ask everyone to pull over and be patient with you while you reroute.

It’s a kind of chaos I’ve learned to fondly embrace. Having to come up with a new title that satisfied everyone was an especially hard piece of this lesson. (Fun fact–the original title of the book was We Dig Holes Like Moles).

RVC: Fun title! Now, what makes a Page Street book a Page Street book?

KT: Our publisher likes to stress that we want to make books we feel passionate about, and I second that! With our picture books specifically, we try to consider what will entertain a kid first and foremost—any messages or lessons have to come second to this, because no matter how great they are they’ll do no good if they can’t keep a kid’s attention, and like adults, children absolutely deserve to have some really great stories they can simply enjoy again and again. Though if I do have a favorite agenda to push, it’s to expand perspectives and encourage curiosity about the whole world, on scales big and small.

RVC: Describe a typical workday for you.

KT: Usually, a lot of emailing and meetings—I’m in constant communication with Page Street coworkers, authors, agents, and more. I’m also pretty consistently reading newsletters and reviews and doing research to try to keep up with kids book trends and the publishing industry as a whole. Other than that, each day holds some amount of editing manuscripts, proofreading text and reviewing art, looking at submissions, copywriting, browsing a pitch event or kidlit illustrator hashtag on Twitter, and plenty of other miscellaneous tasks. Sprinkle in some tea, snacks, and music throughout the day, plus a walk in the middle.

RVC: What’s the most important thing prospective Page Street authors should know about you?

KT: I want to be a team! I am here to listen and suggest and collaborate—even after I’ve had my hands all over it, I want the text to always feel like it’s wholly yours, or ideally even more like it’s yours, as we should be trying to make it stronger and bring out its essence together. I might put my foot down about things that aren’t working, but I’m always flexible on how those things can be fixed. Also, if I offer to acquire your book, know that I really, really love it and believe in it, and I will champion it to anyone and everyone in my immediate vicinity.

RVC: The worry writers have over Art Notes. Totally overblown, totally appropriate, or totally something they need to lose sleep over?

KT: Definitely nothing to lose sleep over! I think they’re most appropriate when either a) any part of the text might be confusing without them, or b) you have an art idea that’s so good you just have to throw it out there.

Think of them as a tool in your arsenal—they’re just there to help you communicate with your preliminary readers and the illustrator, and they can definitely be phrased more as suggestions than directives (which is my personal preference, since I think it’s wise to leave plenty of creative space for the illustrator!). The best part about art notes is that no one is going to see them in the final book, so they merely have to be comprehensible, not super carefully crafted like the rest of your writing.

RVC: Tell me about a project or accomplishment that you consider to be the most significant in your kidlit industry career.

KT: I feel most proud and accomplished any time I get to hold a real, finished book I acquired and edited for the first time. Making a picture book is a long, hard process, and every single one feels like a huge victory. Maybe that feels like a cop-​out answer, but this is a tough question, and it’s true! If you want a funnier answer, a recent personal high was proposing a title for a picture book sequel inspired by 2 Fast 2 Furious and expecting everyone to laugh and move on, but, uh, look out for Pirate & Penguin: 2 Few Crew by Mike Allegra and Jenn Harney! (After the first Pirate & Penguin releases, of course.)

RVC: Just wow. That sounds awesome.

KT: Agree!

RVC: How do you handle pressure at work? What do you do to de-stress?

KT: Whenever I feel my focus starting to slip or my anxiety starting to spike, I let myself take a little break—it’s going to be worse for everyone if I keep working and it’s not my best work. My kind of mantra whenever I’m having a really stressful time is “Nobody dies in publishing,” and that little reminder always helps me either muster up the strength to push on or assuage the guilt about taking my necessary pauses. Walking helps me immensely, especially if I go outside, or making a cup of tea, or reading a little bit of a non-​work book.

RVC: You seem to have an especially active presence on Manuscript Wish List. Why don’t more editors or agents use it?

KT: I don’t know, I think they should! It’s a super useful tool that ultimately saves a lot of time, because agents and writers are always asking me, “What are you looking for?” and I can immediately send them a link to a detailed list. I try to stay especially on top of it because I don’t really have a lot of time for agent calls, so I hope keeping this list updated, detailed, and easy to find helps make up for my very limited availability.

RVC: One last question for this part of the interview. What’s an upcoming project or two that you’re really excited about?

KT: One at the top of my mind right now is Kadooboo!: A Silly South Indian Folktale by Shruthi Rao and Darshika Varma, because we just looked at revised sketches and some potential covers for it and ohmygosh it’s so much fun. It’s basically a game of telephone, an adventure all across town, and a hearty recommendation for South Indian food all rolled into one. We’ll have to wait until Winter 2024 for that one, so coming up much sooner (this November 1st!) is Mending the Moon by Emma Pearl and Sara Ugolotti, which has such a lovely, classic storytelling feel and a really cool fantastical scenario, with the moon falling to Earth and shattering and a girl, her grandfather, and some animals working together to fix it.

RVC: Alrighty, Kayla. We’re entering…THE SPEED ROUND! The point values are quintupled, and zippiness is at a premium. Are you ready?

KT: Oh boy, I guess!

RVC: If you could only have one app on your phone, it’d be…

KT: AllTrails.

RVC: If “Spider-​Man” is the answer, what’s the question?

KT: Who’s the only superhero you’ve seen all the movies for?

RVC: You’re organizing a kidlit dinner party. Which three characters from pictures books do you invite?

KT: Pokko from Pokko and the Drum by Matthew Forsythe, Lilly from Lilly’s Purple Plastic Purse by Kevin Henkes, and Payden from Payden’s Pronoun Party by Blue Jaryn and Xochitl Cornejo. (This will truly be a party.)

RVC: Five words that describe your editorial process.

KT: Consider, suggest, listen, try again.

RVC: What’s a picture book from 2022 that really got your attention?

KT: I already mentioned a Matthew Forsythe book, but I gotta say Mina. The humor, art, and unexpected direction are all so, so good.

RVC: Let’s end with a single line from a picture book you acquired.

KT: “If Mimi hears one more Chinese ghost proverb, she will shriek. And not for extra credit.” (Just one of many excellent ghost jokes from So Not Ghoul by Karen Yin and Bonnie Lui.)

RVC: Love it. Thanks so much, Kayla!

Editor Interview: Frances Gilbert (Doubleday Books for Young Readers/​Random House Children’s Books)

On By Only Picture BooksIn Industry Insider4 Comments

This month’s Industry Insider is Frances Gilbert, Editor-​in-​Chief at Doubleday Books for Young Readers/​Random House Children’s Books. In addition to editing some of the top picture book writers working today, she also authored the picture books Go, Girls, Go! and Too Much Slime!, as well as numerous Step Into Reading titles and an abridgment of The Secret Garden. Among other things, Frances is well known for offering clear, supportive writing advice on social media and at writing conferences.

Let’s get to the interview to hear some of that wisdom ourselves firsthand!

Frances’ Twitter

RVC: At what point did you realize you were absolutely going to work in publishing? 

FG: I grew up in a blue collar family in a blue collar town where people didn’t have jobs like the one I have now. When I got to University of Toronto, I was surrounded by élite students whose parents had jobs I didn’t even know existed.

One friend’s mother was a sales rep at a big publisher. I asked if I could visit her office and as soon as I saw the stacks of books in everyone’s cubicles, I decided it was the place for me. She actually tried to talk me out of it! I think she was pretty burnt out. But in my head I kept thinking, “Nope, nope. This is what I’m going to do.”

RVC: What happened next?

FG: A couple of lucky breaks. A friend noticed a posting on a job board at University of Toronto while I was finishing my Master’s degree in English. It was for a Book Club Editor at Scholastic Canada. I knew I wanted to work in publishing but had my sights set on literary fiction. I applied anyway and was hired by the brilliant and wonderful Iole Lucchese, who thankfully read to page two of my resume and saw that I’d worked in the children’s department of my town library for four years in high school. She saw potential that I’d completely missed. Within days of starting, I knew I wanted a career in children’s books.

RVC: What kind of duties does a Book Club editor have? 

FG: A Book Club Editor manages the monthly book club—those flyers we all ordered from as kids. My responsibility was to select and purchase the Canadian content for each list, in addition to writing the copy and hitting monthly financial targets, so I was essentially a book buyer with a large business to manage and account for. I met with every Canadian publisher a few times a year and liaised with my counterpart in the New York office. Looking back, I still can’t believe they gave me such a big job. It allowed me to leap over assistant and associate positions and start right in the deep end. I was so lucky.

RVC: This might seem like a silly question, but I know people are wondering. Were books being published by Scholastic Canada solely for the Canadian marketplace? 

FG: Like any publisher, Scholastic Canada publishes primarily for their own country first, the Canadian marketplace, but not exclusively. Every publisher also has an international sales and foreign rights team who both sell English language copies around the world and license the rights to foreign translations.

RVC: How much French did you pick up while there?

FG: I lived in Canada from age five till I was thirty and took French in school through my second year of university, so I can get around in French at a schoolgirl level.

RVC: Très cool! Now, what are your thoughts on the Tim Hortons Double Double?

FG: I picked up a Tim Hortons Double Double each morning on my way to work. I still hit one up as soon as I land in Canada. Not Double Double anymore, but it’s still my favorite coffee.

RVC: Before getting to Doubleday where you’re at now, you spent a good bit of time working at Sterling (for those of you who don’t know, it’s owned by Barnes & Noble).

FG: Sterling was family-​owned when I was hired. I knew them as one of my suppliers for Book Clubs and Book Fairs. I bought books from them. The owner wanted to start a children’s editorial division and asked if I was interested in moving to New York to set one up. I was twenty-​nine when I got the offer, and had never actually edited a book, as my position was as a buyer and product manager.

RVC: What were some of the highlights of working at Sterling?

FG: Looking back, Sterling’s family-​owned, maverick spirit was certainly a highlight. They were nimble and independent and could take chances. When I protested during my interview that I had no editorial experience, they said, “You’ll learn!” And I did! I’ve often described those early years as “I’ve got a barn, let’s put on a show.” I was teaching myself a lot of stuff on the spot, but I had their full support to find my place. I’ll always be grateful to the former Sterling owners and executives for what they did for me. We had a large and very profitable children’s business when I left twelve years later.

RVC: How is working for Doubleday (a Big 5 publisher) different than what you experienced at your previous editorial jobs?

FG: The feeling of coming to Random House was definitely that of arriving at the Mother Ship. It’s impossible not to be impressed by basically everything–the resources, the systems, the offices, the history, the authors, the backlist, the bestsellers, the brilliant and in many cases legendary staff. But in some ways, my job was very similar to the one I left. Doubleday Books for Young Readers hadn’t published anything for a number of years when Chip Gibson, then the President of Random House Children’s Books, asked me to come over and see what I could do with it. Just like when I started at Sterling, I had to build a business from the ground up, so that was a task I was really comfortable with at that point.

RVC: Let’s help some of the aspiring writers out there. What’s a common misconception about kidlit editors?

FG: I know our industry can feel opaque when you’re trying to break in. One thing I always let people know is that we’re always earnestly trying to find exciting new works. I think people have the idea that we enjoy rejecting things, when in truth it’s the opposite. We’re always avidly trying to find great writing. We don’t enjoy saying “No” as often as we must. “Yes” is always more exciting.

RVC: What kind of things are you most looking for with picture book submissions?

FG: I’m always looking for that intangible thrill you get when you read something and it grabs you, either because it’s incredibly unique or stunningly beautiful or blistering funny. It’s hard to quantify but I know it when I see it. One thing none of us are looking for is formulaic writing. I do worry that picture book manuscripts fall into this category too often. I’m not looking for anything that simply ticks a lot of boxes that someone has heard in a seminar. That’s not how it works.

RVC: One more question for aspiring writers—what are your feelings on art notes? 

FG: If I don’t know what you envision happening in the book without art notes, then give me art notes. It’s that simple. I don’t understand why people worry about them so much.

RVC: In November 2019, you tweeted, “Gulp, so I’m a published book author.” How did your debut picture book Go, Girls, Go! come about?

FG: I actually wrote Go, Girls, Go! as a sort of practice piece. I was thinking about how most cars and trucks books have male characters behind the wheel and wondered what one would look like if we featured girls instead. I wrote it quickly and then put it away for a couple of years, never meaning to have it published. But I kept stumbling across it and finally shared it with a handful of editors. Andrea Welch at Beach Lane /​ Simon & Schuster clicked with it and made me an offer, and I ran about my apartment screaming. The feeling was as if I’d never set foot in the industry before. It was such a thrill.

RVC: What was the most important lesson you learned thanks to that book?

FG: I learned how important it is for authors to roll up their sleeves and really hustle for their books. It became like a second job to me in the evenings, writing to people, begging for favors, posting online. Now that I’ve done it myself, I feel even more emboldened in expecting it of the authors I work with.

RVC: How do your various identities—editor and author—inform each other?

FG: Certainly as an editor I can already envision how a manuscript I’m writing will fit into a publisher’s program—how it will be pitched at list launch, how it will be positioned within the larger list of books, what kind of marketing hooks the sales, marketing, and publicity team can use to help them sell and promote the book. Basically, all the things I think about when I’m acquiring, I also think about when I’m pitching one of my own manuscripts.

RVC: You’ve gone on to publish more picture books. Which one has the most unusual path to publication story?

FG: I have a new picture book coming out with Beach Lane /​ Simon & Schuster next spring. I wrote it during the first summer of the pandemic after receiving an email from an environmental group in my neighborhood. The subject line of the email sparked an idea and I immediately went out on my deck and wrote Can You Hug a Forest? I felt like I knew the entire manuscript in that one second; it just landed in my head and there it was. One moment you’re not thinking about writing something, the next moment you have an entirely new manuscript to share with your editor.

RVC: Do reviews hit you differently as a writer versus an editor?

FG: I’m thick-​skinned as both an author and an editor and can easily read a negative review and think, “Well, you didn’t understand what I was trying to do, and that’s too bad for you that you’re missing out on something really nice.”

RVC: In all of your experience as a picture book author, what has surprised you the most?

FG: How much I love doing it! I was an editor for close to twenty-​five years before it even occurred to me to write something. I can’t explain why; it just never crossed my mind. Being a writer has opened up a whole new part of my imagination.

RVC: What’s next for you as a picture book author? 

FG: Outside of Can You Hug a Forest?, which comes out next May, I don’t have a new manuscript in the works. I have to get on it!

RVC: Here’s one last question for this part of the interview. Who sets the standard for picture book rhyming?

FG: John Robert Allman, author of A Is for Audra and B Is for Broadway on my list at Doubleday. He uses rhyme so smartly to add sass and humor. It’s brilliantly inventive, like he’s landing a quadruple axel in each line.

RVC: Alright, Frances. Now it’s time for THE SPEED ROUND. Boomy-​zoomy question followed by zappy-​cracky answers, please. Are you ready?

FG: Hit me.

RVC: What would you most want—personal chef, maid, or a masseuse?

FG: Paul Hollywood baking in my kitchen all day.

RVC: What makes you roll your eyes every time you hear/​see it?

FG: The phrase “cancel culture.”

Samuel West, who indeed has a mellifluent voice!

RVC: If someone narrated your life, who would you want to be the narrator?

FG: The actor Samuel West, who has the most perfect voice on the planet.

RVC: What’s your editing superpower?

FG: I make really quick decisions. I know what I like the second I see it.

RVC: What’s a picture book you;ve edited that’s more awesome than the world realizes?

FG: Philip Stead’s I’d Like to Be the Window for a Wise Old Dog is an absolute masterpiece. Everyone who reads it will see I’m right. I don’t think it gets any better than this.

RVC: Your picture book philosophy in five words or fewer?

FG: “Grab me from line one.”

RVC: Thanks so much, Frances! This has been delightful. 

FG: Thank you for your great questions!