Agent Interview: Mary Cummings (Betsy Amster Literary Enterprises)

On August 26, 2019July 18, 2022 By Only Picture BooksIn Agent Interviews4 Comments

**UPDATE: As of 2021, Mary launched her own agency, Great River Literary.**

This month’s Industry Insider interview is with Mary Cummings, a literary agent at Betsy Amster Literary Enterprises. She got on my radar not only for being involved with a number of books that are connected to OPB in some manner (we’ll address those in the interview below), but because her name kept popping up on the Dealmakers section of Publisher’s Marketplace. Yep, we watch that pretty closely here at OPB, for obvious reasons.

Before we dive into the Q&A, let’s learn a bit more about Mary via a Six Facts and One Lie Game. Six of the following are honest-to-goodness true. One is a complete falsehood. (Can’t tell which is the pants-on-fire moment? I’ll spill the beans somewhere in the interview.)

She can’t stand coffee.
She’s fast in terms of responding to queries. I mean FAST.
She’ll take a pass on any vampire and zombie stories.
She adores opera. Not a day goes by that she doesn’t enjoy an aria or two.
She loves PT Cruiser cars, even though they stopped making them in July 2010.
She spends way too much time following the national news.
She’s GOT to have her annual trip to the mountains or she’ll be worthless to family, friends, clients, and the world in general for the rest of the year.

Now that we’re in the loop with who Mary is and what she’s about, it’s time for the interview. Onward!

Website: www.cummingskidlit.com

Agency website: www.amsterlit.com

Bonus interview #1: https://duotrope.com/interview/agent/24344/mary-cummings

Bonus interview #2: http://www.literaryrambles.com/2019/04/agent-spotlight-interview-with-mary.html

RVC: Unlike many agents I’ve interviewed at OPB, you didn’t start off in the literary world as an agent or as an intern at an agency who then worked their way up. You started at the Loft Literary Center. How did you get involved there? What did those experiences teach you about books, readers, and writing?

MC: As Education Director, I oversaw and sometimes taught classes, workshops, conferences, etc. for adult and kid writers. It was the perfect setting to develop an understanding about what writers need, and my work involved meeting those needs through education, networking, award programs, etc.

One of the most crucial things that I’ve carried forward is my empathy for writers, for their passion and drive in striving to create a publishable manuscript that will reach readers as a book. My area of particular focus was children’s literature. I was in charge of selecting judges from the top editors in the field for the McKnight Award in Children’s Literature, a $25,000 award. I also curated an annual festival of children’s literature featuring authors, illustrators, editors, agents, art directors and other industry professionals. These relationships were foundational for my work as an agent.

RVC: In 2008, you joined Betsy Amster’s agency. What made you take the agenting plunge? And how did your work at the Loft prepare you for success as an agent?

MC: It was a logical next step. I had hired Betsy on many occasions to teach workshops at the Loft. We liked one another, and I brought kid lit expertise and contacts to the agency. She mentored me in some business aspects that I hadn’t had experience with before. As I mentioned, having empathy for writers and understanding for their passion and difficulties was crucial. I also knew writers who talked about what they liked, and didn’t like, about their agents which helped shape my own approach.

RVC: In another interview you did, you called yourself an agent who “takes risks.” That phrase stuck with me (and makes me think of juggling flaming knives, but I suspect you meant something different). What type of risks do you mean?

MC: Well, I’m not cautious! Don’t know about juggling flaming knives, though. I’m willing to take on a project I love even if it’s out of the mainstream, even if it will be extra challenging to explain it to–and hook–editors.

RVC: Here’s a fun connection. The first OPB Industry Insider interview was with Sylvie Frank, who WOWed me with a great picture book intensive (with Chronicle Books editor Melissa Manlove) at a regional SCBWI event in Miami. One of the texts Sylvie spoke about a lot was I Have a Balloon. That’s one of your sales, right? What do you think Sylvie liked so much about that book? What kind of behind-the-scenes info on that story can you offer?

MC: Yup, it’s one my sales. Here’s what Sylvie Frank said in her deal memo:

This manuscript is so much fun! It’s fresh and funny and totally defies readers’ expectations. (At first I thought it was going to be a sharing book—and then it wasn’t! Ha!) I love that it’s about negotiating and getting what you want. So original.

I worked with Ariel to change the ending before I submitted it (this process is described in an article on cummingskidlit.com). But once it was, there were NO word changes in the publication process. None. Zero. The book’s font sizes were varied throughout the text to give visual energy and suggest areas for emphasis in read-aloud, but no words were changed. That’s rare. (And this definitely is behind-the-scenes. Not many people know this).

RVC: We specialize in delivering behind-the-scenes 411 on things here at OPB. Thanks for keeping that trend cooking along!

Since we’re talking about OPB connections to your sales record, let’s move to Small Walt and Mo the Tow—another Sylvie Frank book, I’ve got to mention!—which we reviewed here. Do you find that sequels are easier to sell than stand-alones? Is there a trend here that writers should be aware of?

MC: They typically aren’t easier to sell unless there’s a clear sales record from several prior books in a series. I don’t think there’s a trend here.

RVC: What’s one thing that your client Elizabeth Verdick (author of Small Walt and other picture books) does well that helps her career?

MC: Elizabeth works very hard, and very creatively, to promote sales of her books. There are several things she does which other writers could learn from. (See the article about this on cummingskidlit.com)

RVC: Let’s follow through on offering advice to aspiring picture book writers because many of them come to OPB for guidance, tips, and direction. What can you offer them in terms of using rhyme effectively in picture books?

MC: The hardest rhyme to sell is couplets using end rhyme. Find unusual, fun words and vary the pattern and syllable count. Include other language devices besides rhyme. Consider mixing rhyme with non-rhyming sections, as Elizabeth Verdick does in her Small Walt books. (See the article on this topic at cummingskidlit.com)

RVC: One of the tips you’ve shared on your website is that “the narration style associated with oral storytelling isn’t suited to picture books.” That’s quite compelling. Could you say a bit more about what you mean by this?

MC: Oral storytelling uses different sentence construction than written. It begins differently, has different pacing, depends upon different devices for impact. Take a look, for example, at The Wolf, the Duck & the Mouse (Mac Barnett/Jon Klassen). It has a sudden start, quick action, fairly short word count, a mix of language styles–and visuals tell part of the story.

RVC: Let’s talk about your agenting partner, Betsy Amster. What are the qualities you most admire about her as an agent?

MC: Her professionalism is #1. She’s ethical, has many years experience in the industry, she’s a deep listener, and a true advocate for authors. We like and complement one another.

RVC: If I asked her the same question about you, what do you imagine she’d say about you as an agent?

MC: She’d say I know my own mind. (I know she’s told people this!). She’s struck by how quickly I’m able to decide if I have interest in a project.

RVC: Dear reader, you’ve been waiting. I’ve been waiting. Mary has been waiting. My neighbor’s twin gerbils have been waiting. And here we are—it’s time for the Lightning Round! [Insert Rick Riordan-style Zeus lightning crashes! ka-BOOM!]

ARE YOU READY?

MC: I’ve got my tea. Not that you’re going to give me time to sip it …(and there, I just gave a clue on the Six Facts and One Lie game!)

RVC: Worst pet ever: hermit crabs, gerbils, fish, or ants?

MC: Looks like you have experience with all of them?! I’d say the wrong breed of dog.

RVC: If Hollywood made a movie about your life, what celeb actress would play you?

MC: Meryl Streep.

RVC: In a parallel universe where Mary Cummings didn’t become a bookish person, she instead had a career in … ?

MC: Opera.

RVC: Late night TV talk show you’d most like to see one of your authors on?

MC: Hmm. Depends upon the author, but let’s say Jimmy Fallon.

RVC: The last picture book you read—beyond those you worked on—that made you go WOW!

MC: You Are Home: An Ode to the National Parks (Evan Turk).

RVC: Three words that describe what a great picture book is/does?

MC: Stays in the brain and heart. Not three words. So sue me!

RVC: Fantastic. And for those of you who weren’t sure about which of the Mary Cummings Facts wasn’t, in fact, a fact (wow, that’s a funny phrase to say aloud), the answer is…

MC: I do like some classic stuff, including classic cars. But the PT Cruiser is just ugly. Not classic!

RVC: Agreed! Thanks so much, Mary. It was great getting the chance to learn more about all you do.

Educational Activities: Pirates Don’t Go to Kindergarten! by Lisa Robinson

On August 19, 2019December 12, 2019 By Only Picture BooksIn Educational Activities

Pirates Don’t Go to Kindergarten!
Author: Lisa Robinson
Illustrator: Eda Kaban
Two Lions
1 August 2019
32 pages

Goodreads Synopsis: “Pirate Emma is about to start kindergarten! But Emma’s not so sure she’s ready for a new captain and crew. Especially since Cap’n Chu—the roughest, toughest, awesomest preschool cap’n ever—is right down the hall. So Emma decides to head back to the preschool ship to see if she can stir up a mutiny against kindergarten! Is that what she really wants? Or does she just miss her beloved Cap’n Chu? Batten down the hatches, mateys, because the first day of school is going to be stormy!”

Need some reviews of Pirates Don’t Go to Kindergarten?

Christy’s Cozy Corners

Cover2Cover

Kirkus

Publisher’s Weekly

Youth Services Book Review

And for a bonus, here’s a short interview with the book’s author and illustrator at Tara Lazar’s fine blog.

Educational Activities inspired by Pirates Don’t Go to Kindergarten! by Lisa Robinson:

Before Reading–From looking at the front and back cover:
- Where and when does this story seem to take place? What evidence do you see?
- What do you already know about pirates?
- If pirates don’t go to kindergarten, where DO they go?
- What do you imagine the kids on the back cover are saying to each other?
After Reading–Now that you’ve read the story:
- Which classroom appeals to you most–the pirate room or the space room?
- What do you think Pirate Emma missed most about preschool?
- Go back and revisit the pictures in this book. Which of them is your favorite? Why?
- How satisfied are you with the ending? Does Emma seem like she’ll be happy from now on?
Writing–Try your hand at creating your own first-day-of-school story. Tell it from your own experiences or make up a character like Pirate Emma who is having a hard time with the new situation. What kind of challenges might your main character face? How will they react when things don’t go as expected? What does your main character miss most about their old teacher/class? Will your story end on a happy note, a sad note, or something else entirely?
Craft–With an adult’s help, try some of the following pirate-themed crafts:
- “Exploding” Treasure Chest–Never considered how science fits into the world of pirates? Wonder no more! Let the fizzing (spoiler: it fizzes vs explodes) and the fun begin.
- Handprint Pirate–Could be a big mess–what hand-painting isn’t? But it’s something the kids will really enjoy.
- Pirate Ball Toss Game–Relatively easy to create, and it’s a cool addition to any pirate-themed party.
- Pirates’ Number Gold–Requires a bit of adult help and more supplies than normal, but the results are pretty darn cool!
- Toilet Roll Pirate and Parrot–These cuties are easy to make and look terrific.
- Treasure Maps–Why not use those leftover paper grocery bags for something fun like a treasure map?
Further Reading–Want more books that showcase pirates of one type or another? (Click on the book cover for more information on any of these titles!)

Author Interview: John Coy

On August 12, 2019August 12, 2019 By Only Picture BooksIn Author Interviews

This month’s author interview is with Minneapolis author John Coy. I first learned about him from reading his middle grade novel Crackback. It turns out that in addition to YA and middle grade work, he’s authored a number of picture books, too, on a variety of topics. Along the way, John received numerous awards for his writing including a Marion Vannett Ridgway Award for best first picture book, a Charlotte Zolotow Honor, a Bank Street College Best Book of the Year, and the Burr/Warzalla Award for Distinguished Achievement in Children’s Literature.

Yeah, OPB is pretty excited to hear what he’s got to share. With that, let’s all find out together!

Website: https://johncoy.com/pages/about/index.html
Facebook: https://www.facebook.com/John-Coy-Author-106528552773090/
Twitter: https://twitter.com/johncoy23
Instagram: https://www.instagram.com/johncoy23/

RVC: Let’s start with a can’t‑miss question. Clearly you love sports, having written the 4 for 4 middle-grade series and picture books such as Hoop Genius: How a Desperate Teacher and a Rowdy Class Invented Basketball and Strong to the Hoop. Why do sports topics/issues translate so well into stories for kids?

JC: The drama. I played lots of sports as a kid and I’m amazed how the details of particular games stick with me all these years later. Sports provide a heightened atmosphere and that translates into good tension for stories.

RVC: When did you first realize you wanted to write picture books?

JC: At the Roseville Library in Minnesota when I was thirty-two years old. I was looking at books with my five-year-old daughter and I had mine and she was still looking. I’d been reading tons of picture books with her and was fascinated by how much was possible with the form. I went over to the computer and typed in my own name to see if anybody named John Coy had written a book. The result came back “Zero books by this author.” I realized if I wanted something to come up I needed to actually write a story.

RVC: In your bio at the Scholastic books site, it says that you’ve worked “as a dishwasher, mattress maker, tour guide, and group home worker before taking up writing.” Which of those proved most useful in terms of helping you become a successful writer?

JC: I love this question. All of them helped, but the tour guide job was the one most directly connected since giving a good tour is all about having great stories. And great stories come from reading, listening to people, conducting research, and then distilling that information to a memorable story. In terms of school visits, though, the group homework continues to be the most valuable as I learned how to connect and work with many different people.

RVC: Describe the process of how a picture book emerges for you, from the kernel of an idea to the final product that you send on to an acquisition editor (who surely has their own requested tweaks, revisions, and adjustments). By way of example, how about we examine the genesis story of Two Old Potatoes and Me? What’s the seed-to-plant process there?

JC: This one has an interesting origin. In 1999, I was getting married in England and going to be in Europe for five weeks. I needed something to plant in my plot at the community garden that was hardy and could survive while I was gone, so I planted the entire area in potatoes. When I came back, the plot was full of weeds but the potatoes were doing fine. In the fall, I had so many potatoes so I gave some away to friends. One of them–Norton Stillman–called me and told me how good they were. “You should write a book about growing potatoes,” he said.

The next day I started writing about potatoes and then revised and revised it. I sent it to one editor who liked it but rejected it on the grounds that they already had a book about green beans, a vegetable quota I was unaware of. The second editor, Andrea Cascardi at Crown, said yes. Three illustrators turned down the chance to illustrate it, which turned out to be fortunate because we got Carolyn Fisher who created stunning art, including a copyright page with text in the shape of a potato with one sprout thanking Norton Stillman for the idea.

RVC: Two Old Potatoes and Me uses a memorable rhythmic text throughout. What are your feelings on rhyme? And how important is the sound of a picture book to you?

JC: Rhyme is tricky and I’m in awe of folks who do it well. Sound is key to picture book text since the book is designed to be read by an adult to a child. I read stories aloud over and over as I’m working on them. I also record them and hear new things when I listen to the recordings that help make changes.

RVC: What type of rituals or routines are part of your writing process?

JC: Yoga to start the day, breakfast, then some newspapers online. and NBA highlights for procrastination. I try to stay away from email until the afternoon in order to keep space for writing.

RVC: Writing advice is fairly easy to find, and it often consists of the same basic things—write more, read more, revise more, etc. What’s the most unexpected bit of useful advice you have for aspiring authors?

JC: I don’t know if it’s unexpected, but the best advice for me came from the poet Diego Vazquez, Jr.: writers write. For me, that’s important to repeat regularly. Writers write.

I see many aspiring writers spending huge amounts of time trying to understand the business of publishing. Writers write. I think the most important aspect of writing is to write compelling stories.

Writers write.

RVC: Since we mentioned the submission process, let’s get your take on this question that many aspiring writers have. How vital is it for picture book writers to be represented by a literary agent?

JC: I did not have an agent for my first four picture books. Then my editor Andrea Cascardi decided to be an agent after her son was born. He just turned twenty-one and Andrea is still my agent. She knows more about this than I do, so here’s her answer:

“Speaking as an agent, I would have to say it’s about getting access. Most of the large houses don’t accept unsolicited manuscripts. That said, if a writer attends conferences where editors agree to read submissions from attendees or if they do online workshops where editors speak and also agree to read submissions, there are ways to get in the door.”

RVC: Knowing all you now know, what’s one thing you’d have done differently in terms of your writing career way back when?

JC: I would’ve started earlier. The worst piece of advice I heard was that if you don’t have to write every day, then you aren’t a writer. I didn’t feel I had to write every day. so I thought I wasn’t a writer. That and fear of rejection kept me from starting sooner.

RVC: What’s next for you, picture-book-wise?

JC: Two picture books I started over twenty years ago. On Your Way, beautifully illustrated by Talitha Shipman, comes out August 13. It’s a celebration of first steps and the various ways we learn to move.

In October, My Mighty Journey: A Waterfall’s Story will be published. It’s the story of the only major waterfall on the Mississippi River and what it has witnessed over the past twelve thousand years. It’s first-person waterfall, a type of story we don’t have enough of. Gaylord Schanilec and a team of artists collected material from the riverbank and made striking art with it.

In spring of 2020, two new books will be published. If We Were Gone will be released on the fiftieth anniversary of Earth Day and imagines a world without people. Natalie Capannelli, in her picture book debut, created great pictures for that and it will have a different dust jacket and cover. Then for Father’s Day, Dads, my second collaboration with the award-winning photographer Wing Young Huie, will be released.

RVC: Congrats on so much success! We’ll keep an eye out for those titles here at OBP.

Now–just one last question for this part of the interview. There’s an audio recording at Teaching Books.net where you explain exactly how to pronounce your name. How common of an issue is this for your readers and/or during school visits? I ask because I’ve got a potentially tricky name to get right, too, for a variety of reasons. Inquiring minds want to know!

JC: This is a great service from Teaching Books. I’m surprised how many schools check it out in advance of visits even with my simple name.

RVC: Alright, it’s time for … THE SPEED ROUND! Cheetah-fast questions followed by Ferrari-fast answers, please. Ready?

JC: Ready!

RVC: If I never became a writer, I’d have been a ___________.

JC: frustrated writer.

RVC: Most likely to appear in a future John Coy book—dinosaurs, ninjas, or pirates?

JC: Dinosaurs right now.

RVC: The Princess Bride. Great 80s movie or the greatest 80s movie?

JC: Great 80s movie.

RVC: Which is more satisfying—a book’s birthday or an idea for a new book?

JC: Idea. That’s when the fun begins.

RVC: Favorite picture book by an author not named John Coy?

JC: Kao Kalia Yang’s A Map into the World, which comes out in October. I love it.

RVC: Coolest thing a kid said to you during a school visit?

JC: “Thank you for coming to our school.” That never gets old and goes straight to my heart.

RVC: Thanks so much, John!

Picture Book Review: Spiky by Ilaria Guarducci

On August 5, 2019August 4, 2019 By Only Picture BooksIn Picture Book Reviews

Spiky

Author: Ilaria Guarducci (translated by Laura Watkinson)
Illustrator: Ilaria Guarducci
Amazon Crossing Kids
1 July 2019
36 pages

This month’s PB review is by Ryan G. Van Cleave (Top Spiked Friend at Only Picture Books) and Ringling College of Art and Design Illustration Professor (and OPB wunderkind) John Herzog.

–Ryan’s Review of the Writing–

Originally published in Italy, Spiky is now in offered in an English-language edition thanks to the efforts of award-winning translator Laura Watkinson. (I know Laura’s work. Her Dutch-to-English work on Tonke Dragt’s YA novel The Letter for the King is great–it’s going to be a Netflix series too, I hear!).

I have mixed feelings about this book. Let’s start with Spiky himself. There’s no two ways about it–he’s a jerk. He lives in the dark forest where he spends his days being a bully. He’s also a little too enamored with his own spikes, which he loves since they help keep everyone at a distance.

“He was spiky, he was bad, and he didn’t need anyone at all.”

Thanks to being sent to bad school by his father, Mr. Spikington, Spiky grew even more nasty. He stole snacks. He raised a ruckus. He tormented the trees. And he “pulled the wings off butterflies. If he couldn’t fly, why should they?”

I’m all for showing how a PB creature isn’t doing good things, but Spiky doesn’t stop there. He captures robins and sticks them in jars. He plucks the petals off flowers. He pricks holes in snail shells. He laughs at toads for “being so ugly.” I worry that some readers will stop at this point because it’s all pretty one-note, and it’s very, very dark, too.

The second potential hiccup I see is that one day, for no given reason, he starts to lose his spikes. I fully understand how this makes sense plotwise–it’s a way to turn the tables and disempower the nasty critter called Spiky by stripping the physical element of menace from him. But in terms of story logic, this seems random. That troubles me all the more so because it could’ve easily been connected to an action Spiky took in all of his wrongdoings–poetic justice of sorts.

When Spiky’s finally gone bald as a naked mole rat, he’s lost his power. Yet the bully now gets teased in return. The snails sneer. The toads titter. I’m not sure that’s the right lesson here for young readers, though admittedly, we all take some bit of joy in seeing a tormentor get their due.

From this point on, I like a lot about the book. Bernardo the bunny is a hip (hopping!) character with Yoda-wise advice and a kumbaya mentality. Spiky, too, gets a personality makeover.

Then WHAM, Spiky suddenly–without a catalyst or reason again–grows back his spikes. And he’s tempted to return to his nasty ways. Yet he doesn’t because being good and letting friends get close to you, both physically and emotionally, is “very, very good.”

Sidenote: He never apologies or made friends with the critters he tormented. That part feels unresolved.

So for OPB, Spiky is a mixed bag. I admire how Guarducci takes on the narrative challenge of trying to make a villain into a hero. I also appreciate the novelty of such an odd protagonist.

Yet the images are odd at times (see John’s comments below), and the story feels long–mostly in terms of the extended “hey, he’s nasty!” opening with so many examples and the slow wind-down at the end when Spiky eventually makes the final decision to eschew his old ways.

I wish I could read Italian so I could examine a copy of the original, called Spino, and see if the same things I’m encountering here are evident there. After all, it was shortlisted for the Soligatto Award for Best Italian Picture Book.

100+ Amazon reviews have Spiky averaging 4 stars. OPB can’t quite get behind it with the same level of enthusiasm.

3 out of 5 pencils

–John’s Review of the Illustrations–

From both a storytelling and illustration standpoint, I have some major issues with Ilaria Guarducci’s Spiky, which essentially tells the story of an antagonist who becomes a protagonist. It’s a valiant effort, and I recognize that. However, in both story and images, it’s a bit misguided and muddled.

First, the story: We’re introduced to the titular Spiky, a monster who was raised up to be bad. Not bad as in “putting the wrong items in the recycling bin” bad. No, I’m talking about “pulling wings off butterflies, trapping birds in glass jars” kind of bad. He’s proud of his spikes and uses them to terrorize the forest animals around him. He’s a completely unlovable main character, which is the point (no pun intended). However, as the story progresses, an event happens that completely changes Spiky’s attitude toward life, and this is where things go a bit sideways. First of all, this event is completely out of Spiky’s control, making his change of character involuntary and detracting from the overall message of the story. He’s forced to change, as opposed to changing because he wants to. Granted, this can work in certain circumstances–take the movie Groundhog Day, for example–but it needs to be done in a way where we’re ultimately charmed by the character we originally found repulsive. Spiky never really redeems himself in a believable way, and isn’t particularly charming by the end. I wanted to care, but I just didn’t.

I’m also not sure what I’m supposed to get out of this story. It feels like Guarducci is trying to tackle too many problems all at once. She tries to combine Spiky’s personal change with the importance of positive friends with the whole “don’t judge a book by its cover” message–and it ends up a mess in the process.

Now, the illustrations: There’s such a missed opportunity here to implement some contrast. Everything feels the same, incorporating a faux, digital gouache look and texture. There’s a fine line between interesting and boring, and this fell a bit on the boring side for me. I would love to have seen Spiky rendered with more of a streaky, old marker look so he stands out a bit more–see the example concept art from Monsters University below, which demonstrates this technique rather effectively:

As the story progresses and Spiky goes through his change, perhaps then he could’ve looked more like the characters and environment around him to give more of a feeling of unity. But as it is right now, he blends in with the backgrounds and overall texture the entire time, making his journey feel far less important than it really should. The character designs are adequate enough, with Spiky probably being the strongest. However, the bunnies really should’ve been rounder, fluffier, and just cuter overall.

The aspect of Spiky that I enjoyed most was all of the horrible things Spiky would do to the woodland creatures around him. The character’s actions don’t talk down to kids, which I absolutely love. Kids can handle hard things, and this book doesn’t pull any punches. Guarducci does a fantastic job setting up a loathsome character that I want to see redeemed at the end. Unfortunately, due to the muddled story and monotonous illustrations, his redemption ultimately feels dishonest and superficial.

2.5 out of 5 crayons

J ohn Herzog is an illustrator and educator. His clients include Hasbro, Dreamworks TV, Houghton Mifflin Harcourt, and Highlights for Children. He also teaches illustration classes at Ringling College of Art and Design. John is a member of the Society of Illustrators and SCBWI, and received the 2018 SCBWI Magazine Merit Award for his Highlights High Five cover illustration. He lives in Florida with his wife, two kids, a tarantula, a bearded dragon, and a fish.

He is represented by Shannon Associates.

Picture Book List: 12 Books that (Wonderfully!) Break the Fourth Wall

On July 29, 2019July 29, 2019 By Only Picture BooksIn Picture Book Lists1 Comment

One of the books we (quite literally) wore out in our family was The Monster at the End of this Book written by Jon Stone and illustrated by Michael Smolin. My kids simply loved how Grover “talked” to them from the pages, begging them not to keep reading because he was 100% sure that at the end of the book, there’d be a monster. Yikes! As a parent reading with my kids, I loved how when Grover asked my kids questions (like “Do you know that you are very strong?”), my kids always roared and flexed their little girl muscles in response. Fun for everyone!

For those who like fancy terms, we’re talking about a type of metafiction here, meaning a book that’s fully aware that it’s a book, which allows the author and/or illustrator to play with the normal conventions of a book. (Here are some wise words and explanations about breaking the fourth wall from Romelle Broas’ blog.) When used in a picture book, breaking the fourth wall often results in a great read-aloud experience since kids are invited to be part of the plot. Who doesn’t want to join in with a terrific story, right?

I went through my PB bookshelf the other day with the idea of organizing them not by title or author name, but by type of book. And what I found was this–I have a LOT of books that break the fourth wall.

So, here are a few OPB favorites, plus a couple of ones you might not yet know, but surely will come to love. Did I miss your favorite? If so, tell me in the comments. I’ll make sure to get a copy so I can add it to my Fourth Wall shelf.

Six Classic Fourth-Wall-Breakers

The Book with No Pictures by B.J. Novak

He was terrific as Ryan the Temp in The Office, but he’s proven to be equally amusing as a picture book writer, too. Wait until the adults have to say “BLORK” or “GLIBBITY GLOBBITY” or “BLURRF”! Fun, fun, fun.

The Day the Crayons Quit by Drew Daywalt

If you’ve ever felt that some crayons–like some people–don’t get their fair shake, then this book will prove satisfying. My fav is green, the real people-pleaser of the entire box. You’ll never look at crayons the same way again!

Don’t Let the Pigeon Drive the Bus! by Mo Willems

The fact that it’s a Caldecott Honor winner is reason enough to give it a shot. But kids LOVE being put in charge, and that’s what the bus driver does when he has to step out. And wow, that pigeon is willing to do or say anything to get his shot behind the wheel. Good, silly fun all around.

Harold and the Purple Crayon by Crockett Johnson

This timeless classic–written 60+ years ago–still lands well with readers today. As Harold takes his oversized crayon through the woods and past dragons before returning to bed, we see just how wonderful one’s imagination can be.

Press Here by Hervé Tullet

Kids who appreciate tactile interactions will love this book, which asks them to push buttons, shake the book, tilt it, and more. You might want to consider the board book version so you can be sure it’ll survive all the physical interactions. My nephew is wearing out his copy fast–it doesn’t sit for more than a day on his bookshelf before he’s enjoying it again.

Z is for Moose by Kelly Bingham

Zebra wants the alphabet to be simple. A is for apple, etc., but Moose is far too excited to wait his turn. This comedy of errors is loads of fun that’s made all the better by Caldecott medalist Paul Zelinsky’s outrageous images.

Six Wall-Busting Picture Books You Might Not Know
(But Definitely Should!)

This Book Is Magic by Ashley Evanson

If you like Tullet’s Press Here, then this book is a must-read. Tap a hat to make a bunny appear. Utter the words to a spell to make a book–POOF–get bigger! Just watch out, though. Magic tricks don’t always end up the way one expects!

This Book Just Ate My Dog by Richard Byrne

Want to learn what the gutter of a book is? You will in Richard Byrne’s book., because this girl’s poor pooch disappears in the gutter—the gap between pages in the center. It’ll take far more than a hard tug on the leash to make things go right in this curious story.

Can You Make a Scary Face? by Jan Thomas

This bossy little ladybug will keep readers having fun. The bold, cartoon style and wild, bright backdrops help make this a memorable, vivid reading experience. Wiggling, blowing, doing the chicken dance? There’s a lot of kid fun here.

Be warned, though–this is not a good book for quiet time. Kids will make a lot of noise.

Tap the Magic Tree by Christie Matheson

In this fine book, readers are asked to interact with a tree. Every page turn rewards that action, with the tree changing in some manner. While many fourth wall breakers are more about fun than anything else, this one invites contemplation and reflection.

The Panda Problem by Deborah Underwood (lllustrated by Hannah Marks)

We all know how stories work, right? So does the narrator in this story, only Panda isn’t playing along. What’s a narrator to do now?

Check out the OPB review of this title for more details.

Wolves by Emily Gravett

Rabbits shouldn’t believe what they read in fairy tales, and neither should you. This story is pro-library and pro-fun. And if it seems a bit too dark at times, there’s a bonus alternate ending for the sensitive reader.

Agent Interview: Alyssa Eisner Henkin (Trident Media Group)

On July 22, 2019July 22, 2019 By Only Picture BooksIn Agent Interviews2 Comments

See the source image This month’s Industry Insider interview is with literary agent Alyssa Eisner Henkin, Senior Vice President of the Trident Media Group. Her Twitter bio adds these two terrific bio facts: “Lemonade-Maker and Literary Cheerleader.”

While that’s nearly enough useful bio material to set up a good interview, OPB underpromises and overdelivers, so I’ll also note that Alyssa loves the movie Steel Magnolias, the TV show Mad Men, and Beverly Cleary. Plus, like so many people with fine taste, she’s quite the fan of Anne of Green Gables and she adores Bollywood movies.

With that, let’s proceed to the interview!

Agency website: https://www.tridentmediagroup.com/agents/alyssa-eisner-henkin/

Twitter: https://twitter.com/AgentHenkin

Manuscript Wish List: http://www.manuscriptwishlist.com/mswl-post/alyssa-eisner-henkin/

RVC: Rumor has it that you were captured on video at age six, sharing your dream about having a particularly bookish future.

AH: Yes, indeed. I remember also visiting NYC at the age of six and just feeling certain I would live and or work there one day.

RVC: Has it turned out to be all that your six-year-old self imagined?

AH: Yes. I’ve got to meet and see quite a few celebrities on the job and I’ve had my fair share of power lunches both in NY and in LA. But while it might have been the surface glitter of the publishing/film world that seemed cool when I started, what I’ve come to enjoy most about my work are the quiet moments, usually at my home office (in PA!), discovering a brilliant new voice in the slush pile or having a good heart to heart with a current client.

RVC: While you clearly have a love for middle grade stories, what draws you to picture books?

AH: I love humor, and biographies, and I adore a great rhyme à la Iggy Peck, Architect. I’m also a fan of picture books that do something totally different as in The Scrambled States of America.

RVC: What do picture books do more effectively than MG and YA?

AH: They are concise and informative, so you can learn a lot in a picture book biography without needing to read 500 pages. I think a culmination in a picture book can be so gratifying too when done with relatively few words and the perfect image that just kind of says it all. I shared Wemberly Worried recently with my soon-to-be five-year-old son, and that moment when the two shy little kids in stripes meet is just so rewarding!

RVC: Let’s talk about your agency. It strikes me that Trident is more committed than some to securing foreign rights sales for your clients. Why is that part of your mission?

AH: Trident devotes a lot of resources to its full-service foreign rights department. Many agencies use co-agents in major markets so that their bestselling titles are competing with other agencies’ bestselling titles, so we are so fortunate to have a dedicated rights team that sells only Trident titles and attends 3 international books fairs every year. We’ve found that making foreign sales for our clients is great from a financial perspective because a foreign sale is like “found money.” The author does not need to do anything other than approve the deal and the jacket. The author does not pay for translation costs, but they are compensated for this book to exist in a whole other language/territory.

Also, sometimes books that are moderately successful in the United States can be bestsellers abroad. We have even had clients create special editions just for certain markets if they have a huge following.

RVC: In other interviews, you’ve called yourself an entrepreneur. What does that mean to you, and how does that play out in your role as a literary agent?

AH: Early on in my career when I was still an editor, I realized that sitting in meetings all day and making decisions by committee was not how I wanted to spend my life. I also did not want to be typecast as doing just one kind of book. As an entrepreneurial agent, I get to have my hands and mind in as many projects as I can manage. I love the breadth and diversity of my list and the range of jobs that abound. On any given day, I can be advocating for my clients in myriad ways, from negotiating film rights, to going out on submission, to advocating for an author tour. I also like to approach individuals and brands that have not had books before, but who I think should be in the book business.

I also have a soft spot for sleeper books that exceed expectations and backlist for a long time! There’s nothing I love more than a scrappy story that defies and surpasses everyone’s expectations of what sells. Having a back-end source of revenue is every entrepreneur’s dream!

RVC: More and more aspiring picture book writers read the OPB interviews, so let’s give them a hand here. Imagine a picture book writer who’s thinking of submitting to you. What are three picture books you’d love for them to read that might offer a good sense of the type of PB you appreciate/prefer?

AH: Rosie Revere, Engineer, A Splash of Red (by my client Jen Bryant), and The Day the Crayons Quit. I’m not usually one for really spare language…I like a rich and funny story, and if there’s a feminist empowerment or humor bent, then all the better!

RVC: And one more thing for those aspiring writers, please. What are your feelings about art notes from text-only writers?

AH: I would try to be judicious and not include too many art notes since we want the text to stand on its own. That said, I think a few well-chosen art notes can work.

RVC: A month or so back saw the publication of This is MY Room! (No Tigers Allowed), a picture book by your client Jennifer Richard Jacobson. Please share your process of preparing a manuscript for submission. Are you super hands-on? Editorial? More focused on marketing angles? Do you see early drafts or is what your clients send you a “final”?

AH: When a client has a new picture book manuscript, we usually do a few rounds of text revisions before I am ready to start creating the pitch letter and the list of editors who I plan to pitch. In the pitch letter, I always highlight what’s unique about this book and also WHERE I see it sitting in the market. Some books are more gift-oriented and some are more school and library-oriented with backlist potential. I know I’ve done my job well when I recognize bits of my pitch letter in the flap copy for the book when it gets published.

Once a book is sold to an editor, I don’t usually do much of the editorial work since I think it’s important not to have too many cooks in the kitchen. That said, I always read the revisions and weigh in on artists and jacket and title and, of course, the marketing. Since my job is to sell the next book and the one after that, I always like the current book to be so successful that it makes subsequent sales that much easier.

RVC: Since I run the creative writing program at Ringling College of Art and Design, I semi-frequently get asked questions about elephants/the circus/clown college, all of which have as much to do with my college as bicycles do to fish.

So, I have to ask—how many questions/jokes/comments do YOU hear about Trident sugarless gum and/or that fifth dentist who just won’t cave?

AH: So cool about Ringing College! Believe it or not, I’ve never gotten a single remark about Trident gum, but I do remember those commercials quite vividly from my childhood! These days, Trident Media Group is also branding itself as TMG, so maybe other folks noted the gum thing? 😊

RVC: Okay. It’s time for … THE LIGHTNING ROUND! Zip-zappy questions and electrifyingly quick answers, please. Ready?

AH: Ready!

RVC: If I were a character on Downton Abbey, I’d be …

AH: The Dowager, without a doubt!

RVC: #1 hot dog condiment?

AH: Mustard. Never ketchup!

RVC: Which deceased writer would you most love to have shadowed for a full workday?

AH: Edith Wharton.

RVC: What project—picture book or otherwise—are you most excited about right now?

AH: I hate to play favorites among clients, so I’m going to link into the wonderful array of books I have coming out this year on my web page. Short answer, excited about ALL OF THEM!

https://www.tridentmediagroup.com/agents/alyssa-eisner-henkin/

RVC: Best recent picture book with interactive family-bonding potential baked right into its literary DNA?

AH: This is MY Room!, Pirates Don’t Go to Kindergarten!, and Joan Proctor, Dragon Doctor, because we are a big history/science-loving family!

RVC: Three words that describe your agenting philosophy.

AH: Passion. Persist. Visionary.

RVC: Thanks so much, Alyssa! (And thanks as well to Alice, your on-the-ball assistant, for helping pull this all together.)

Six Classic Fourth-Wall-Breakers

Six Wall-​Busting Picture Books You Might Not Know (But Definitely Should!)

Six Wall-Busting Picture Books You Might Not Know
(But Definitely Should!)