Tag: Ryan G. Van Cleave

Author Interview: Dianne Ochiltree

On By Only Picture BooksIn Author Interviews

This month’s PB creator interview is with Sarasota author Dianne Ochiltree. She’s a writing coach, freelance editor, workshop presenter, and award-​winning author of books for the very young. She notes that her family’s home “was filled to the rafters with books, books, books,” and that their home “was populated by a parade of pets, from guppy to puppy, as well as the stray animals Dianne had a habit of rescuing.” Talk about the perfect environment for raising a writer!

Dianne’s many published books include such titles as Molly, by Golly!, It’s a Seashell Day, and Ten Monkey Jamboree.

    

I’ll let you in on something—I know Dianne well. She recently did a well-​received visit to my Writing Picture Books class at Ringling College, and she’s also in my SCBWI critique group where we work on … wait for it … picture books! In short, I KNEW she’d be great for an OPB interview, but my hope was to keep her around until something went sideways and I needed someone completely trustworthy and dependable to save the day in the eleventh hour.

I couldn’t wait. So here’s Dianne. Enjoy!

Website: www.dianneochiltree.com
Facebook: www.facebook.com/dianne.ochiltree
Twitter: twitter.com/WriterDi
LinkedIn: www.linkedin.com/in/dianne-ochiltree-54381118/

RVC: What was your first big break in publishing, and what lessons did it offer you?

DO: The path to publication of my first book for kids, Cats Add Up! was full of good lessons. A title in the “Hello, Reader!” softcover series from Scholastic, it was acquired directly as the result of attending a children’s publishing conference and making networking connections there. In this case, it was the RUCCL One-​on-​One Conference at Rutgers University, in the mid-​1990s, when I first entered the field of children’s writing. For this conference, writers are accepted on the merit of writing samples sent with the application, because part of the program is a session in which you, and a mentor, focus privately on your writing or artwork. I was thrilled to be accepted and even more excited on that day when I learned my mentor would be Paula Danziger. Paula liked my WIP (work in progress) about counting cats and she made helpful editorial suggestions, including the thought that it might be revised to be a potential title in Scholastic’s “Hello, Reader!” Series.

RVC: That’s amazing. I’ve heard Paula was terrific that way.

DO: I agree! Paula introduced me later in the day to an editor at Scholastic who, while not associated with the series, promised to read my submission when it was ready, and furthermore, to pass it along to the right department should he feel it was a good fit. I left the conference feeling happy that my work was good enough to get professional notice, but never believing that events would unfold in the way they did. I revised and submitted.

Months passed. I figured things had just not worked out with that submission.

However, one day the phone rang with an offer to publish my cat story with Scholastic. Since then, I’ve certainly believed in the power of attending conferences and networking widely. You never know exactly which connection might give you an opportunity to submit work and gain publication at some future date.

RVC: If conferences are your thing, then surely SCBWI been a part of your career.

DO: Absolutely! One of the first things I did when transitioning from marketing/​advertising/​PR copywriting to writing for children was to join SCBWI. I became active in my local chapter and made it part of my learning curve to attend every neighboring or national SCBWI conference possible. I gained a lot of knowledge in a short space of time from those speakers, workshops, and critique sessions in the early days. SCBWI also offers a ton of great information and services online. I made good use of those, too. Still do!

RVC: Let’s talk about your picture books in specific. Many of them—like Pillow Pup and It’s a Firefly Night—use rhyme quite effectively. Where do most writers go wrong with rhyme? And why?

DO: Writers may go wrong with rhyming text in these common situations: when sentences are altered to unnatural or awkward structures simply to suit a rhyme scheme; when story details are inserted or ordered simply to suit a rhyme scheme; when plot action is expanded unnecessarily or repetitively simply to suit a rhyme scheme. In all cases, the narrative choices made by the author were done in service of the rhyme or rhythm, and not the story structure.

Writers owe it to their readers to ask early and often: does this serve the story?  Rhyming or not, STORY is job number one!

Many “rhyming” writers start out trying to be Dr. Seuss. While Dr. Seuss may be the most famous rhyming children’s book author, his style isn’t for everyone. While it’s not wise to imitate someone else, it IS smart to study other authors who effectively use rhyme and learn from these mentor texts just how it works. It often boils down to juicy words judiciously applied.

Some of my favorite authors writing text in rhyme are Karma Wilson, Corey Rosen Schwartz, Douglas Florian, and Anna Dewdney. These writers consistently use rhyme to good effect. Here’s an example of an effective rhyming picture book text, from Karma Wilson’s Hogwash!, illustrated by Jim McMullan, which opens this way:

He washed the horses, ducks and cows
The goats, the cats and dogs.
Everything went dandy…
Until the farmer reached his hogs.
“No hogwash for us today.
Pigs love dirt—so go away!”

Those rhythmic lines rhyme and are fun to read aloud, yes? But they are also an effective setup for the story to follow. We know the setting (farm); the main character (the farmer); the cast of characters (horses, ducks, cows, goats, cats, dogs, and pigs); and the plot problem to be solved (the pigs do not want to be washed today and plan to resist the farmer’s every attempt to hose them down). All this story structure in less than 35 words, and it reads like a song.

RVC: In terms of being able to create rhythmic lines that are fun to read—and who doesn’t love fun-​to-​read rhymes, right?—what do you recommend people do beyond read good examples from published books? Classes? How-​to books? Something else?

DO: I suggest going one step beyond reading good examples of published books: actually typing out the text for later study. Without the distraction of the illustrations, it’s easier to study the structure and techniques used by the author to build story, setting, and characterization with words alone.  My favorite craft book for picture book writers is Writing Picture Books:  A Hands-​On Guide from Story Creation to Publication, by Ann Whitford Paul.

There are online groups and courses focusing on picture book writing—too many to mention them all. But my favorite is Julie Hedland’s 12 x 12 Picture Book Challenge, designed to motivate writers to write 12 picture book drafts in 12 consecutive months. Members participate in an exclusive forum and a very active Facebook group where they can ask questions, find critique partners, and share their journeys to getting their books published.

To circle back to SCBWI membership, it’s important to use the online and in-​person networking opportunities to find a real, live critique group of other picture book writers who are committed to improving their craft. There’s nothing like immediate feedback from peers, or group brainstorming on a troubled WIP, to elevate your writing skills.

RVC: Do you have a daily writing routine or do you have less scheduled strategy to find writing time?

DO: Because of the multi-​tiered nature of my life these days—I’ve added writing coach, freelance editor, yoga instructor, and wife of a retired-​business-​man-​turned-​rock-​musician to the mix—my old, predictable writing routine of the past isn’t always possible. Instead of working in larger, pre-​planned blocks of time, I now work in smaller, spontaneous chunks of time. I keep a notebook handy so I can jot down ideas, phrases, etc. as I travel through my day. I’ve found using pen and paper to write bits of narrative (instead of on the computer keyboard at my desk) has changed my writer’s voice somewhat, making my storyline and words more heart-​driven. The urgency of writing what I can when I can has eliminated some of the “narrative circling” that has been my creative bad habit.  I find I am ALWAYS thinking of the approach to plot and characterization and theme when I must be away from the keyboard physically these days. It’s helped me focus quickly on the WIP when I finally get my B.I.C. (“butt in chair”) as Jane Yolen so famously advises us all to do.

RVC: Tell me three words that you hope come to a reader’s mind when they think of your picture books.

DO: “Read it again.”

RVC: Thanks so much, Dianne!

 

Picture Book Review: They Say Blue by Jillian Tamaki

On By Only Picture BooksIn Picture Book Reviews


They Say Blue
Author: Jillian Tamaki
Illustrator: Jillian Tamaki
Abrams Books for Young Readers
13 March 2018
52 Pages

 

 

This month’s PB review is by Ryan G. Van Cleave (Big Cheese at Only Picture Books) and Ringling College of Art and Design Illustration Professor Katy Betz.

–Ryan’s Review of the Writing–

Caldecott and Printz Honor-​winning illustrator Jillian Tamaki’s They Say Blue clocks in at a beefy 52 pages versus the far leaner (and more traditional) 32-​page format. That’s not to say that this is a text-​heavy book, however. In fact, most pages with text only have 10 words or so, which makes sense since the strength of this quiet book resides in Tamaki’s compelling illustrations.

The main character is an inquisitive young girl who undergoes an almost philosophical exploration on the idea of color starting with the blue of the sky and the sea and ending with black crows flying: “Tiny inkblots on a sea of sky.” In many ways, the somewhat lyrical, nonlinear story is about curiosity–it has a kind of imaginative carpe diem feel throughout, or at least a “stop and smell the roses” lesson. But some readers might find the text a bit meandering and the ending too abrupt to be as richly satisfying as the wonderful artwork.

To be clear–there is no plot. It’s far more of a series of vignettes or musings.

Those who prefer picture books that generate discussion might find the girl’s color- and season-​based ponderings to be quite fruitful. For example, what reader won’t react when she cups water in her hands and says, “I toss it in the air to make diamonds”? Or when she stretches her arms to the sky and somehow transforms into a tree?

In sum, They Say Blue is a memorable book with more than a few picture-​perfect spreads, though it’s clearly the expressive artwork that carries the day.

3.75 out of 5 pencils

–Katy’s Review of the Illustration–

Jillian Tamaki’s illustrations in They Say Blue burst with energy and soulful contemplation. Readers will discover hidden truths about life on each page, thanks to the imaginative narrative and clever compositions.

Using traditional media of acrylic on watercolor paper, Tamaki invites readers to wonder through use of bold colors and sweeping textures. Her imagery plays off the text beautifully–sometimes visually supporting what the main character is thinking, while other times purposefully contradicting to evoke curiosity and surprise. The power of color association is often used to enhance conceptual facts, making us feel something instead of just think. And a few sequential drawings throughout the book illuminate concepts of time and transformation, integrating both literal and metaphorical imagery seamlessly.

They Say Blue is a pictorial delight that will inspire readers to never lose their sense of wonder.

5 out of 5 crayons

A Professor of Illustration at Ringling College of Art and Design, Katy Betz works with both traditional and digital media and is active in the fields of children’s literature, gallery, and editorial illustration. When not working in the studio or classroom, she says that you can find her “playing outdoors in the Florida swamps or hiking the California Sierras with a sketchbook in hand.”

Katy is represented by Christy Ewers of CATugeau Agency.

Editor Interview: Sylvie Frank (Paula Wiseman Books)

On By Only Picture BooksIn Editor Interviews

 

This month’s Industry Insider interview is with Sylvie Frank, Senior Editor at Paula Wiseman Books, a boutique imprint of Simon & Schuster’s Children’s Division. She is the editor of award-​winning and critically-​acclaimed books including Strictly No Elephants by Lisa Mantchev, illustrated by Taeeun Yoo; I Have a Balloon by Ariel Bernstein, illustrated by Scott Magoon; Miss Mary Reporting: The True Story of Sportswriter Mary Garber by Sue Macy, illustrated by C. F. Payne; and OCDaniel by Wesley King.

Since joining Paula Wiseman Books in 2013, Sylvie has been on the prowl for literary, character-​driven middle grade and kid-​focused, snappy picture books. She is drawn to original and diverse voices across all genres. One of her favorite pastimes is browsing agents’ and illustrators’ websites for new talent. When she’s not reading, Sylvie can be found running while listening to audiobooks.

Or answering interview questions from OPB via email.

RVC: At an SCBWI event in Orlando maybe 5 years back, you said one of the most common reasons you were rejecting PB manuscripts was that they were “too quiet.” What kind of trends–good, bad, or otherwise–are you seeing in PB submissions these days?

SF: I still see a lot of submissions I would call too quiet. It’s been interesting and encouraging to see that our divided political times have led to writers and illustrators channeling their energy and frustration into their work: I’m seeing a lot of picture books that celebrate acceptance, diversity, and individuality, as well as books that are calls to action. There’s absolutely a need for these books, but I’m anticipating a tidal wave of them starting this fall. Where some of these manuscripts go wrong is that they can read more like mantras than picture books, which can make it difficult to develop a visual concept.

RVC: Let’s talk about “visual concepts” for a moment. How much should PB writers (not author/​illustrators) be thinking about that with their own manuscripts? Are there ways that these writers can communicate a useful/​helpful/​appropriate sense of their vision without stomping over the illustrator’s turf or rubbing editors the wrong way?

SF: This is so tough for writers. They should have a completely solid vision for their book. After all, a picture book relies equally on text and art to tell a story (if it’s not wordless, that is). As the writer, you should have a thorough understanding of how the book could page out and what scene might unfold on every spread. If a writer is thinking only about the words, then likely the story will not have enough of a visual component to make it a successful picture book. It’s for that reason that I encourage all writers to make picture book dummies as a step in their writing and revision process. But here’s the catch: writers must then let their visions go. It’s a lot to ask—I know! But the art of creating a picture book means that the illustrator’s vision is just as important as the writer’s. So, it’s the writer’s job to write the story in succinct, specific, action-​filled words that leave space for the illustrator to show the story. That means leaving out descriptions and leaving action open to the artist’s interpretation. Things to leave out: the weather, what a character is wearing or how he/​she/​it looks, describing how someone gets somewhere, etc., etc.

Resist!

Of course, this leads us to the topic of art notes. I’ve heard of many editors who believe that if a picture book manuscript requires art notes, then it’s not good enough. I’m not quite so strict. My personal opinion is that if the action is visual and does not require narrating, a very, VERY brief art note can be used so that the editor or agent understands how the action is progressing. As the writer, if you envision a scene in which your protagonist has baked a cake and gotten flour, frosting, and sprinkles absolutely everywhere and it’s the climax of the story, the manuscript could read: 

I was going to be in big trouble.

Then an art note could say: [Art note: Baking project has gone awry.] 

You do not need to tell the illustrator (or editor or agent) that there is flour on the protagonist’s nose and sprinkles on the floor. These details are up to the illustrator to decide, and potential editors and agents have excellent imaginations: they can create this scene in their heads. That’s why they’re good at their jobs.

RVC: Speaking of people being good at their jobs—it seems that more and more often, a PB’s final title is decided well after a contract is signed, thanks to input from editors and other publishing pros. Is that the case at Paula Wiseman Books or is that just anecdotally true? And how important is it to have a WOW title during the submission process if it’s more than likely going to be changed at some point?

SF: I would never let a less-​than-​stellar title deter me from acquiring a manuscript I loved—although I would likely try to come up with a better title before taking the manuscript to acquisitions. It’s frequently true that manuscripts get renamed somewhere along the publishing path, but certainly not always. Some manuscripts come my way with a perfect title and we never even consider changing it. Some titles require weeks and weeks of brainstorming and agony before we find the right one. Every book is different, and I’m cool with that.

RVC: When I think about a Paula Wiseman Books PB, the word that comes to mind is “heart.” Please explain what “heart” is for you when it comes to PBs, and how important is it in the acquisition conversation?

SF: I like to hear that! Thanks! I call “heart” a lot of different things: theme, emotional core, re-​readability factor. I worry that “heart” makes it sound like we only publish books that could be called sweet, and that isn’t the case. In essence, heart is what makes a reader come back from more. I always think about someone browsing in a bookstore. Picture books can be read in their entirety during a browsing session. If a book can be read, digested, and forgotten while the buyer is shopping, why would he or she buy it? But if a book encourages the purchaser to slow down, consider what it means, and—best of all—want to return to read it again, that increases the likelihood that he or she will buy it. So that’s what I mean by re-​readability factor: there has to be enough that is substantial and thought provoking to convince a busy parent/​aunt/​uncle/​grandparent/​whoever to drop $16.99 on this book (and make space for it on their bookshelf!) in order to share it with a kid.

People frequently share book ideas with me. “What about a book about a kitten that pretends it’s a cow?” My response to all ideas is, “Sure, write it. But what’s it about?” What I mean by that is there needs to be an emotional aspect to the story. A good example is a book I edited called Strictly No Elephants by Lisa Mantchev and Taeeun Yoo. On the surface, it’s about a boy and his pet elephant who are excluded from pet club. But the emotional core of the story is about making change, creating inclusive spaces, and celebrating difference. I want to give another example of a book that I find completely hilarious (and yes, it’s also one I edited so perhaps I am biased), called I Have a Balloon by Ariel Bernstein and Scott Magoon. The plot is that an owl has a balloon and a monkey wants it. But it’s really a book about wanting what you can’t have, negotiating, and assigning value to objects; it’s basically an economics lesson. So: heart is that extra layer of nuance and meaning. It’s what starts conversations between the person reading aloud and the child.

RVC: What’s it like working for a NY publisher but living in Colorado?

SF: Fab! I feel really lucky. Technology makes it easy. Between FaceTime, email, and UPS, I’ve got it covered. I visit the office four or five times a year for sales meetings and try to make the most of the real face time with my colleagues. I miss the bustle of being in the office every day, but overall my collaborations feel just as productive and creative as they always have. I should also add that there are benefits to having someone on the team who has a non-​NYC perspective and can cultivate relationships elsewhere. For example, it’s been really valuable (and fun!) to become involved with the Rocky Mountain SCBWI chapter and to network with the fantastic local independent bookstores (shout-​out to Boulder Book Store and Tattered Cover in particular!).

RVC: Favorite munchies to enjoy with a terrific book?

SF: I’m a sucker for chips and salsa. Mmmmmmmmm.

RVC: Instead of asking you flat-​out what you’re looking for, please share three of your titles that are a good representation of what you value in a PB submission.

SF: I’m so glad you asked!

I Have a Balloon by Ariel Bernstein and Scott Magoon

Small Walt by Elizabeth Verdick and Marc Rosenthal

Strictly No Elephants by Lisa Mantchev and Taeeun Yoo

RVC: Thank you, Sylvie!

Paula Wiseman Books

Sylvie Frank on Twitter

Sylvie Frank on LinkedIn

 

 

Educational Activities: After the Fall by Dan Santat

On By Only Picture BooksIn Educational Activities


After the Fall
Author: Dan Santat
Illustrator: Dan Santat
Roaring Brook Press
3  October  2017
32 pages

 

 

From the New York Times-bestselling creator of The Adventures of Beekle: The Unimaginary Friend comes the inspiring epilogue to the beloved classic nursery rhyme Humpty Dumpy.

Everyone knows that when Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall. But what happened after?

Need some reviews of Dan Santat’s After the Fall?

Kirkus

BookPage

Lu & Bean Read

Fab Book Reviews

Educational Activities inspired by Dan Santat’s After the Fall

  • Before Reading–Read the original Humpty Dumpty nursery rhyme with students, then ask: 
    • “What was Humpty Dumpty doing on the wall?”
    • “Why did Humpty Dumpty fall?”
    • “Why couldn’t ‘all the king’s horses and all the king’s men’ put Humpty Dumpty back together again?”
    • “What would YOU have done to help Humpty Dumpty after his fall?”
  • After Reading–Read a nursery rhyme (other than “Humpty Dumpty”) aloud to students and then have them write/​tell/​draw the “what happened next?” sequel to the story. (Some suggestions: “Little Miss Muffet,” “Jack and Jill,” or “Incy Wincy Spider”)
  • After Reading–Have students write/​tell/​draw about a fear or worry in their own lives. Consider having them to write/​tell/​draw a way to overcome that fear or worry, as well.
  • Science–In many ways, After the Fall deals with the idea of flight. Create a paper airplane and learn about the four forces of aerodynamics that allow a plane (or a bird) to fly. 
  • Crafts–Create a Humpty Dumpty paper plate puppet. Allow students to decorate it as they choose or model their puppet after any of the egg characters in After the Fall.

 

 

Author Interview: Rob Sanders

On By Only Picture BooksIn Author Interviews

This month’s PB creator interview is with Rob Sanders, a native of Springfield, Missouri. He is a picture book author, a language arts teacher, and a coach for other picture book writers. He worked for fifteen years in religious educational publishing as a writer, editor, editorial manager, and product designer.

His picture books include: Cowboy Christmas (Golden Books/​Random House), Outer Space Bedtime Race (Random House Children’s Books) named one of the top 20 rhyming picture books of 2015 by KidLit TV and winner of the SCBWI Crystal Kite Award, Ruby Rose—Off to School She Goes (HarperCollins), Rodzilla (Margaret K. McElderry Books/​Simon & Schuster) which just won the Gold Medal for Younger Children’s Literature in the Florida Book Awards, and Ruby Rose Big Bravos (HarperCollins).

      

This year, Rob will release his first nonfiction picture books. In April comes Pride: The Story of Harvey Milk and the Rainbow Flag (Random House Children’s Books) and in the fall Peaceful Fights for Equal Rights will release from Simon & Schuster. 2019 releases include Stonewall: A Building. An Uprising. A Revolution. (Random House Children’s Books) and Ball and Balloon (Simon & Schuster).

Rob Sanders is represented by Rubin Pfeffer.

Website: robsanderswrites.com
Blog: robsanderswrites.blogspot.com
Email: rob@​robsanderswrites.​com
Facebook: www.facebook.com/RobSandersWrites
Twitter: Twitter.com/RobSandersWrite

RVC: Your PB career launched with a series of fiction books (Cowboy Christmas, and the Ruby Rose series), then you got into nonfiction PB with Pride, Stonewall, and Peaceful Fights for Equal Rights. In what way is your writing process different for writing fiction vs. nonfiction? 

RS: There are more similarities between writing fiction and nonfiction than there are differences. Both require a fresh, unique idea. Or a new take on an existing idea. Both demand a compelling/​intriguing/​turn-​the-​page story line. And both must be written concisely with stellar word choices, figurative language, and rich vocabulary. Beyond that—and that’s a lot to get beyond—the differences become apparent.

Of course, nonfiction has research at its core. I’ve gone about my research differently for each of my soon-​to-​be published nonfiction picture books. Pride: The Story of Harvey Milk and the Rainbow Flag was written out of raw emotion. I completed the first draft the night of the SCOTUS decision for marriage equality. I did all my research after writing the first draft. I don’t recommend that approach on an ongoing basis, but this was a heart book and that’s how it happened. Stonewall: A Building. An Uprising. A Revolution. was totally different. For that book, I researched until my head spun—I knew the weather on the day of the event, knew there was a full moon, researched the composition of the streets, and since the story takes place over the 100+ year history of the buildings that make up the Stonewall Inn, I learned from land surveys, historic building designations, photographs, and more about the buildings at various stages of their existence. Then I tried to find a way into the story, landing eventually on the idea of writing from the perspective of the buildings.

Peaceful Fights for Equal Rights was researched heavily, too. My goal was to discuss the various nonviolent protests from the 60s until today. Once I had my stack of research, I threw it all away and made a rhythmic, melodic listing of the types of protests I’d learned about.

Another component of nonfiction is back matter—and I’ve discovered I love writing back matter, including timelines, mini bios, book lists, glossaries, and more. Bottom line, the difference between fiction and nonfiction writing is research. (I guess I could have saved you a lot of time and just given that statement!)

RVC: Like plenty of other PB writers, your day job is teaching in an elementary classroom. How does that inform your PB career?

RS: Teaching in an elementary classroom was the final push I needed to pursue my writing dreams. My students encouraged me (or guilt-​tripped me) by continually asking, “Where are your books, Mr. Sanders?” On a daily basis, I see what’s interesting to my students and what isn’t, what topic I want to cover and can’t find a book for, and hear kids say things that give me ideas. Last year, a kindergartner coming out of the Media Center dropped her books and in exasperation said, “I hate gravity.” That inspired my book Ball and Balloon which comes out from Simon & Schuster in 2019.

My students love to see my books at various stages of production. They like seeing that editors edit my work (“Turnabout’s fair play, right, Mr. Sanders?”), and they’re intrigued by books in the sketch stages. Their excitement builds when I show them folded and gathered pages (F&Gs) of a new book. And then a new book finally arrives.

This week I displayed Pride in my classroom but told my students we couldn’t read it until the official release day. (I call it Book Torture.) Come release day we’ll have a birthday party for my new book, we’ll read the book together and make it check-​out-​able, and we’ll celebrate together. My students are also a bit of a focus group for me. I try out story ideas on them, read an early draft, or ask them questions. But kids can be brutally honest. So, if you’re looking for someone to pat you on the head and say, “You’re such a good writer,” you’d better look elsewhere.

RVC: Do you have a formal writing group beyond your class of fourth graders? How important is it for a PB writer to have a workshop group to run manuscripts past?

RS: Thanks for recognizing my fourth graders as a formal writing group. They take their writing seriously and are learning to critique one another’s work using the hamburger method—a positive comment, constructive feedback, and concluding with another positive comment. Every writer needs feedback no matter how seasoned he/​she might be.

My first two steps on my writing journey nine years ago were to join the Society of Children’s Book Writer and Illustrators (SCBWI—visit them at scbwi.org) and to join a critique group. The first group I found was a mixed children’s genre group. It was helpful, but no one else in the group wrote picture books and the members weren’t able to give me much constructive feedback. So, I started my own group. I put a notice out through SCBWI, found some interested folks, and we started meeting monthly. At various time I’ve juggled two or three critique groups at a time—some online. Now I have one critique group with four other writers. We meet twice a month for a couple of hours to read and critique one another’s work and to encourage one another.

I recently was at the Eric Carle Museum of Picture Book Art to celebrate the release of Jane Yolen’s 365th book. Jane introduced her critique group that has met together for over 40 years. Members have come and gone, but the core group is still there. Two of the members stand out to me—Leslea Newman and Patricia MacLachlan. If they need a critique group, so do I.

Whether you’re a 4th grader or have just released your 365th book, you need a tribe, honest feedback, encouragement, and someone who will occasionally give you a good kick in the rear to get you moving.

RVC: As opposed to many other PB makers—like, say, Peter Brown, who maintains a fairly steady pace of about 1 book per year—you’re becoming quite prolific. Witness Pride being published this month and three more of your titles hitting the shelves in the next 15 months! How many different PB projects are you working on at any one point? And how do you manage the day-​to-​day logistics of the researching, writing, and revision, especially when you’ve got such an important day job?

RS: I’m crazy busy, I can tell you that. At any given time, I’ll be working on anywhere from five to ten picture book projects in various stages, and I’ll have tons of other ideas brewing. Right now, my agent has three nonfiction picture books making the rounds and a couple of fiction books. I just sent off two poems to Cricket because I’m hoping to break into that market. I’m also working on a historical fiction middle grade novel in verse. Bottom line—I keep plugging away.

I don’t have a regular schedule. I write as I find moments of time, often in the in-​between moments of my full-​time job. Weekends are productive times for me, as are evenings, and any break from school. I jot down notes all the time and dictating ideas into my phone is my latest obsession. I’ll squeeze in some research during my lunch hour or stay in my classroom after the end of the work day to work on a revision, a critique, to conduct an interview, or to respond to emails from an editor.

If you love something, you find the time. If you’re committed to something you go after it until you think you should be committed!

RVC: What are some of the key changes you’ve seen in the PB industry over the years?

RS: The most obvious change I’ve seen in the picture book industry is shorter and shorter texts. When I started writing nine years ago, we frequently heard in conferences that a perfect length for a picture book was 1000 words. That quickly became 800, then 500 words. Now picture books are even shorter and more compressed. I believe that’s because the focus age for picture books is getting younger and younger, and older picture book readers are being pushed into early readers, beginning chapter books, and so on earlier and earlier. Some of that shift might be a financial issue for book buyers. It’s certainly less expensive to buy an earlier reader than a picture book.

The other big change in the picture book industry is the renewed interest in nonfiction. Common Core (and other new state standards) are at the center of that change. Kids in elementary schools are supposed to have a 50/​50 split in what they read—50% fiction and 50% nonfiction. Kids are loving nonfiction, and I’m loving the unique and special nonfiction books that are making their way through publishing houses and out into the world.

RVC: What’s one change you’d like to see happen in the PB industry?

RS: I love when editors make their likes and dislikes known. Their preferences. That helps me know if my writing is a fit for that editor or not, and, if it is a fit, the information guides me to know which of my projects might be a perfect match for that editor.

When editors give guidelines to writers I wish they would say something like: in my opinion, for me, I prefer, and so on. Often writers end up thinking there’s a long list of industry rules, when in fact what they heard was one person’s thinking. There are no rules, really.

Finally, I wish that there was more diversity in picture book publishing at the publishing house level. If we want real diversity in books (and we’re making progress in that area), it starts at the top.

RVC: Knowing what you know now, what advice would you give to your beginning PB writer self?

RS: Have faith.

Don’t give up.

It works if you work it.

Persevere.

Press on.

Don’t try to be like anyone else.

Trust yourself.

Find your voice.

Write from your heart.

RVC: Thanks so much, Rob!

 

 

Picture Book Review: The Big Bed by Bunmi Laditan and Tom Knight

On By Only Picture BooksIn Picture Book Reviews


The Big Bed
Author: Bunmi Laditan
Illustrator: Tom Knight
Farrar, Straus and Giroux Books for Young Readers
6 February 2018
32 pages

 


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

–Ryan’s Review of the Writing–

“Mommy. We have to talk,” says the protagonist of The Big Bed, a little cutie who’s All Business when it comes to getting what she wants: Daddy ousted from the bed that she and Mommy will share. It’s a fun twist on the age-​old issue of kids climbing into their parents’ bed at night.

This girl’s part carnival barker, part late-​night infomercial salesman, and part too-​cute-​to-​resist little kid. Who can blame her, though? Moms ARE “full of cozies” and plenty DO smell just like fresh bread. Few parents will be able to resist when the kid quite reasonably asks: “Who wouldn’t want to cuddle with her?”

What makes the language sing is the unexpected combination of formal, argumentative prose coupled with kidspeak. And Laditan does a fine job of keeping this self-​assertive girl’s attitude in check–it could quite easily get annoying if less skillfully managed. This is a clever, fun book.

Ladaitan’s third book is well worth reading and will deliver giggles and guffaws for both parents and kids alike.

4.25 out of 5 pencils

–John’s Review of the Illustrations–

I think everyone can relate to the central conflict of The Big Bed, which involves a little girl formally presenting reasons why her father should slumber elsewhere at bedtime. And the stylish illustrations by Tom Knight make it even more relatable and, more importantly, fun.

The treatment of the characters and the way they interact with each other are key throughout. As the little girl makes her case to dad, for example, she comes off as both a motivational speaker and a mob boss. And, of course, dad is seated on a small, plastic child’s chair that’s buckling a bit. Even minor characters like the cat and Grandma (specifically the pictures on Grandma’s wall) provide Easter eggs for repeated readings, which is always something I appreciate.

Bold colors, smart framing, and a fun style make The Big Bed a joy to both look at and read. Highly recommended.

4 out of 5 crayons

John Herzog is an illustrator and character designer. He also teaches illustration classes at Ringling College of Art and Design. He lives in Florida with his wife, two kids, a pair of tarantulas, and a fish.