#FirstPictureBook

PAUL AND HIS UKULELE

October 8, 2018

Tags: PAUL AND HIS UKULELE, #firstpicturebook, Robert Broder, Jenn Kocsmiersky, Ripple Grove Press, 2018

Robert Broder is the Publisher and Creative Director at Ripple Grove Press where he has worked on several picture book debuts. But recently Rob published his own #firstpicturebook. “Impressively original and immensely entertaining“ (Midwest Book Review), PAUL AND HIS UKULELE is “a quiet story of a life made happy by following a passion for music” (Booklist)

Q. Was PAUL AND HIS UKULELE the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it? 
A. PAUL AND HIS UKULELE was not my first picture book.  It was probably a rhyming story about a weed growing next to a flower.  But that was a long time ago.

Q. What are the pros and cons of being the publisher and author of PAUL AND HIS UKULELE?
A. The pros were being able to take a story we liked and making it a book.  The cons would be, well, during the making of the book, I didn't tell Jenn Kocsmiesky, the illustrator that I wrote the book. I didn't want that in the back of her mind because I was also the creative director on the project. 

Q. What inspired PAUL AND HIS UKULELE?
A. I guess you can say my own life.  I traveled quite a bit, then met Amanda, started playing ukulele, started Ripple Grove Press.  So when you read the book, there are similarities.

Q. How did you pick the title of your book?
A. The title for the book was original "Paul" because I like simple titles. But our distributor suggested when searching (on the internet or in data bases) for just the title "Paul" a whole lot would come up.  But when searching for "Paul and His Ukulele" it narrows the search.  But I like this more.  Because the book really is about Paul and his love for his ukulele.  

Q. Do you write by hand or on the computer?
A. I start by hand, then type it up. Then print it out, then edit it. Then fix those edits on the computer, then print it out again. and keep doing this process. I like editing on paper.

Q. What is your favorite part of the book? And was that part in the first draft?
A. There's a spread where Paul is playing his ukulele on his front porch, while the other kids play freeze tag.  When I see that spread I think, that's me.  I was the kid that was indoors playing with Legos or my Matchbox cars instead of outside playing sports or physical activities. 

Q. How did you select the names for your characters? 
A. I was looking for a very simple name for the main character.  And I have a friend named Paul, and it just stuck. Four-Finger Frank came to me because Frank is such a mechanic’s name.  And then since a ukulele has four strings, it fit.  I thought it was funny that something must have happened to his finger a long time ago being a mechanic. And Clementine came to me because I wanted a longer name than Paul. And was also fitting because the name is in a song, which is what he's searching for in the book.

Q. What made you decide to tell the story in third person? 
A. Maybe because it’s similar to my own life, I wanted to remove myself from it.

Q. How much of the story did you know when you began writing PAUL AND HIS UKULELE? 
A. I would say half.  And as I kept writing, more and more comes from it.

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. When I wrote Paul, in my mind he was always a boy.  But when I saw Jenn's portfolio, she had these wonderful foxes.  It just fit. So when I first saw the sketches, it just shined. And Jenn and I discussed together what the cover and back cover should be.

Q. When you read PAUL AND HIS UKULELE to kids, which part of the book gets the best reaction?
A. I would say when Paul meets Four-Finger Frank.  I usually do a lower voice for Frank too.  Since he's illustrated as a Pig, and he's a mechanic, I imagine him having a very rough, low sounding voice.

Q. Did you create any book swag for PAUL AND HIS UKULELE? If so, what kind?
A. My wife surprised me with pins with images from the book.  So sweet. I can't wait to give them out at my story times.

Q. What is your #1 tip for picture-book writers?
A. READ PICTURE BOOKS!!! Sorry for the all caps.  I hear all the time "I want to write picture books" or "it looks so easy" but they don't read picture books. It will help guide your style and imagination.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. My favorite writing exercise is going for walks and making myself think on the story. What is working, what isn't, what will make your story slightly different. The mindful walk helps shape the story.

Q. What are you working on now?
A. I am working on a couple more picture books. Trying to think outside the box. Building on sweet characters in unique situations.

Q. Is there a public launch for the book (reading/part at bookstore, library, etc.)?
A.
Saturday, Nov 3 at Phoenix Books in Rutland Vermont at 11am with Jenn Kocsmiesky
Saturday, Nov 17 at Northshire Books in Saratoga Springs NY at 11am with Jenn Kocsmiesky
Here's the event calendar link: 
http://www.ripplegrovepress.com/new-events/?view=calendar&month=September-2018

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A.
RobertBroder.com
@RobbieBroder
RippleGrovePress.com/Paul  
Book trailer

If you have read PAUL AND HIS UKULELE, please consider writing a review:
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THE DIAMOND AND THE BOY

October 1, 2018

Tags: THE DIAMOND AND THE BOY, #firstpicturebook, Hannah Holt, Jay Fleck, HarperCollins, 2018

Hannah Holt is an engineer and the granddaughter of H. Tracy Hall, the inventor of a revolutionary diamond-making machine. Using her grandfather’s personal writings and journals along with interviews of family members, Hannah created her #firstpicturebook. THE DIAMOND AND THE BOY is “a gem of a biography” and a “clever dual narrative [that] conveys both how diamonds form naturally underground and how inventor H.Tracy Hall discovered a way to make diamonds in a lab” (Booklist, starred review).

Q. Was THE DIAMOND AND THE BOY the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. No, THE DIAMOND AND THE BOY wasn't in the first dozen or so stories I wrote. I have an "Old and Dead" folder on my computer where most of these stories live. Usually their biggest offense was being boring and unoriginal. I can rewrite terrible prose. I can't rewrite a mediocre premise.

Q. What inspired THE DIAMOND AND THE BOY?
A. My grandfather is "the boy" in this story. I grew up hearing stories about him as a child in my mother's arms.

Q. How did you pick the title of your book?
A. Ha! I didn't. The marketing department did. I like the title, and I was consulted on the change. However, I didn't "pick it."

Q. Do you write by hand or on the computer?
Computer.

Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part of the book is Jay Fleck's illustrations, so no, those weren't in the first draft.  I'm thrilled with all they add to the book.

Q. What kind of resources did you use in your research for this nonfiction story?
A. I tried to use as many primary sources as possible, like Tracy's personal writings and journals. I also interviewed family members and consulted non-fiction books about Tracy and diamonds.

Q. How did you decide on the timeframe of this nonfiction story?
A. Tracy had a very humble beginning to his life. I wanted to start in a place that showed that most acutely; hence, starting with him as a toddler living in a tent. On the diamond side, I started before graphite began to change. The stories follow parallel tracks but end at the same place.

Q. What information do you include in the back matter?
A. I included a brief history of diamonds and their role in both science and geo-political conflicts. I also included a few more details about Tracy's life, two pictures of him, and a selected bibliography. With all this information, my end note ended up being longer than the text of the story.

Q. Did THE DIAMOND AND THE BOY receive any rejection letters? If so, how many (ballpark)?
A. THE DIAMOND AND THE BOY was rejected nine times. It had two offers and one interested editor who wasn't able to respond within the time-frame called for making a decision. However, I had submitted many stories over the years and accrued more than 100 rejections before I received my first book contract.

Q. Describe your reaction when you received an offer on THE DIAMOND AND THE BOY.
A. I was stunned. I had become so good at rejection that I almost didn't know what to do with success. That day, I mostly felt numb. However, the next day the tears of joy finally came.

Q. What kind of input did you have in choosing an illustrator for the book?
A. The editor sent me four illustrators for consideration. Jay Fleck was by far my favorite and fortunately, he accepted the project. Hurrah!

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. When I first saw the cover, my heart just sang. The bold lines, the way the colors popped—I loved everything about it.

Q. How long did THE DIAMOND AND THE BOY take to be published—from the time you received an offer until it was printed?
A. Two years.

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. Not really.

Q. When you read THE DIAMOND AND THE BOY to kids, which part of the book gets the best reaction?
A. The "ERUPTION" page is fun. It's full of vibrant colors. It's  a full spread and readers turn the book sideways for the full effect.

Q. Did you create any book swag for THE DIAMOND AND THE BOY? If so, what kind?
A. I ordered diamond temporary tattoos and postcards. I'm also working on a teachers guide that I hope is finished and on my website before this post goes live. :)

Q. What is your #1 tip for picture-book writers?
A. Study a little. Read a lot. Write the most. I guess that's technically three tips, but here's a fourth tip: break the rules!

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Be generous! Make friends with other writers, and try to give more than you receive.

Q. What are you working on now?
A. I have a new non-fiction story in the works, but I can't talk about it yet.

Q. Is there a public launch for the book (reading/part at bookstore, library, etc.)?
A. My launch party is Tuesday October 02, 2018 at 3:00 PM:
Barnes & Noble Tanasbourne
18300 NW Evergreen Pkwy
Beaverton, OR 97006
503-645-3046

I'm also doing a story time October 25th at 3:30 at Green Bean Books in Portland and a story time at Powell's in the Spring. I'll post details about that on Twitter as it gets closer.

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A.
Website: https://hannahholt.com/
Facebook:https://www.facebook.com/hannah.w.holt?ref=br_rs
Twitter: @HannahWHolt

If you have read THE DIAMOND AND THE BOY, please consider writing a review:
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THE REMEMBER BALLOONS

September 24, 2018

Tags: THE REMEMBER BALLOONS, #firstpicturebook, Jessie Oliveros, Dana Wulfekotte, Simon & Schuster, 2018

Jessie Oliveros had a four-day-old baby when she received the news that her #firstpicturebook would be published. It’s been 2 1/2 years since then and today she talks to us about THE REMEMBER BALLOONS—“A moving and meaningful way to talk about a situation many families will face" (Kirkus Reviews, starred review).

Q. Was THE REMEMBER BALLOONS the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. The first picture book I wrote (roughly ten years ago) was called CHARLIE NICKEL GETS HIS WISH. It's nothing like THE REMEMBER BALLOONS. It's silly and fun and now spending the rest of its days hidden among the dusty files of my hard drive. It was a good first, but I had a long way to go.

Q. What inspired THE REMEMBER BALLOONS?
A. I was inspired to write THE REMEMBER BALLOONS after visiting my grandfather a few years ago. He suffers from Alzheimer's, and as my kids and I were sitting with him, I thought I'd write a picture book about a grandfather like mine. At first it was a straight-forward story about a boy and his grandfather with Alzheimer's, but then it morphed into a metaphorical story with memory balloons. I'd been recording my grandparents' histories on a voice recorder. Perhaps that had something to do with the turn my manuscript took--the voice recorder made the memories a solid, tangible thing I could put in my pocket. 

Q. How did you pick the title of your book?
A. Honestly, it was a bit of a working title, something to save my file under. I was surprised (and pleased) that the publisher liked the title enough to stick with it!

Q. Do you write by hand or on the computer?
A. It depends on the manuscript. I recently finished a picture book that I drafted entirely by hand. However, I drafted THE REMEMBER BALLOONS on the computer. I suppose it depends on how quickly the ideas are flowing. Writing by hand suits slow, percolating ideas. 

Q. What is your favorite part of the book? And was that part in the first draft?
A. I love this three frame scene of James chasing after Grandpa's balloons. Dana is an animator as well as an illustrator, and you can really see that in this spread. There is so much movement! It really suits the text.

Q. What made you decide to tell the story in first person?  
A. That is a question I've never asked myself! Most of my picture book manuscripts are in third. I suppose the only answer is that is how the story came to me. 

Q. How much of the story did you know when you began writing THE REMEMBER BALLOONS? 
A. I didn't actually *know* any of the story. But once the idea of memory balloons came to me, it all kind of flowed freely from there. I had a beginning, middle, and end in the afternoon. I can't say that about all my manuscripts. The ending is usually the most difficult part for me. 

Q. Did THE REMEMBER BALLOONS receive any rejection letters? If so, how many (ballpark)?
A. THE REMEMBER BALLOONS received about 12 rejections over a few months. I was a little more relaxed about how I queried this one. I'd just come out of querying my middle grade widely, and I didn't have it in me to do it again.

Q. Describe your reaction when you received an offer on THE REMEMBER BALLOONS.
A. Well, I was tired and sleep-deprived because I had a four-day-old baby! Maybe I would have had a more exuberant response at a less crazy time. It was pretty surreal, though--knowing I would now be a published author. I smiled, showed my mother-in-law the email. Then I probably took a nap. Lol.

Q. What kind of input did you have in choosing an illustrator for the book? 
A. My publisher chose the illustrator (more specifically the art director for THE REMEMBER BALLOONS chose the illustrator) and I couldn't have been happier! Dana's art is so exquisite and joyful and sorrowful and whimsical all at once. She really brings the story to a whole other level with her illustrations.

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. When I wrote THE REMEMBER BALLOONS, I had envisioned people very similar to Dana's people...sweet and sketchy and dreamy. So when I saw her sketches for the first time, they felt somewhat familiar. Yet, they were also filled with happy surprises. There were so many elements of the illustrations I could have never even conceived of myself. 

Q. How long did THE REMEMBER BALLOONS take to be published—from the time you received an offer until it was printed?
A. Remember that four day old baby? My book just released, and she is 2 1/2 now! 

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. If you've read the book, you will know that a very special part of the story is the silver balloon. The "contents" of the balloon were different in the original. I remember telling my agent. "Don't make me change the silver balloon!" And he didn't. But the first thing my acquiring editor said to me was, "We need to change the silver balloon." The changes were definitely for the better (emphasis 1,000 times on the word definitely), but it was hard at the time.

Q. When you read THE REMEMBER BALLOONS to kids, which part of the book gets the best reaction?
A. The kids always like the images of the memories in the balloons. A particular favorite illustration is the spread of all of Grandpa's memory balloons.

Q. Did you create any book swag for THE REMEMBER BALLOONS? If so, what kind?
A. I created some bookmarks. I haven't created much yet, but I plan to make some more bookmarks in the future. I might even make some stickers. But swag can get expensive, so I have to make sure it's being used effectively.

Q. What is your #1 tip for picture-book writers?
A. Read. Read. Read. Go to the library and read all the books. Put all the new releases on hold. There is a certain structure and art of picture books that you will only get if you immerse yourself in the genre.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. One thing that has been really helpful for me in promoting my book is my debut group. We band together, support each other through the ups and downs of a debut year, form lasting friendships, read each others' books, and talk about each others' books. If you are a debut author, find a debut group! If they are full, create another. (My debut group is called Epic 18, and there are so many fabulous books among these incredible authors and illustrators.)

Q. What are you working on now?
A. I am working on a picture book that is in the same emotional vein as THE REMEMBER BALLOONS. I also have a couple middle grade novels I am revising.

Q. Is there a public launch for the book (reading/part at bookstore, library, etc.)? If so, provide details:
A.
October 20, 2018
2 pm
Johnson County Library
Monticello Branch
22435 W 66th St
Shawnee, KS 66226  

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A.
jessieoliveros.com
Twitter: @jessieoliveros
Instagram: @jessieoliveros
Facebook: https://www.facebook.com/jessie.oliveros.5

If you have read THE REMEMBER BALLOONS, please consider writing a review:
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THE OUTLAW

September 17, 2018

Tags: THE OUTLAW, Nancy Vo, Groundwood Books, 2018, #firstpicturebook

THE OUTLAW By Nancy Vo (Groundwood Books, 2018)
Inspired by a book, a movie, and an SCBWI conference, illustrator Nancy Vo created her #firstpicturebook. “Stunning" (School Library Journal) and "bewitching" (New York Times), THE OUTLAW is “a picture-book Western that upends many of the genre's gunslinging shootout-and revenge-narrative tropes" (Horn Book). Today she tells us all about writing her debut picture book.

Q. Was THE OUTLAW the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. The first picture book manuscript that I wrote and illustrated was essentially a depiction of my youngest when she was a baby who cried a lot. In the old days, they would say your baby is colicky. The way that I coped was through humour and drawing. I thought that she must see this from a different point of view. Ella has been shelved for now, but it was the important first step.
 
Q. What inspired THE OUTLAW?
A. The Outlaw was a confluence of inspirations. I had finished reading the darkly funny SISTERS BROTHERS by Patrick DeWitt, watched the Coen Brothers' version of True Grit, and attended a SCBWI conference in Western Washington where Mac Barnett gave an inspiring talk to recall things we liked as children and Sophie Blackall had us drawing shadows. I made a drawing when I returned home (see picture). I had a drawing but no story.

Q. Do you write by hand or on the computer?
A. I started writing the manuscript on Post-It notes. Then moved onto computer so that I could track changes.

Q. What is your favorite part of the book? And was that part in the first draft?
 A. The initial image of the shadow over the train tracks is still my favourite.

Q. How did you select the names for your characters? 
A. The characters are not named because naming does not add anything to this story. It would change the tone completely.

Q. What made you decide to tell the story in third person?
A. THE OUTLAW is narrated by a crow.
 
Q. How much of the story did you know when you began writing THE OUTLAW? 
A. As mentioned earlier, The Outlaw began as an image without a story. I had a loosely constructed narrative in my head as I worked through the Post-Its, but a lot of lines were thrown out until the story was as lean as it needed to be.

Q. Did THE OUTLAW receive any rejection letters? If so, how many (ballpark)?
A.  Hmm... no there were no rejection letters exactly. I sent first to Groundwood Books because they are part of Anansi Press, publisher of the SISTERS BROTHERS. When I did not hear back after three months, I went ahead and submitted to American agents/publishers. Then in the fourth month, I received an email from Sheila Barry asking if the project was still available. It was and I informed everyone else that THE OUTLAW was no longer available.

Q. Describe your reaction when you received an offer on THE OUTLAW.
A. 💃🏻

Q. How long did THE OUTLAW take to be published—from the time you received an offer until it was printed?
A. Oh, I have to look that up. Wait... Contract signed in summer 2015, book released in spring 2018 - nearly three years.

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. There was a scene that I didn't exactly love but I was still at a stage where I thought an explanation was needed for why the Outlaw went away. However, after feedback from my trusty critique group, I took out the scene with his mother.

Q. Have you read THE OUTLAW to  kids? If so, which part of the book gets the best reaction?
A. Yes, I have read the book aloud to kids. I think one comment that caught me off guard was, "The Outlaw is chubbier after he stops breaking the law." And another student saying, "Probably because he is not running away so much." It was so hard to keep a straight face for that.

Q. What is your #1 tip for picture-book writers?
A. Same as for writers. Read. A lot. 

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Lisa Cinar taught a picture book class where she showed us 10 images and we had 5 minutes to come up with a line that would begin a story. It was a really effective way to use an hour to brainstorm story ideas. You are less inhibited this way, and sometimes get good surprises.

Q. What are you working on now?
A. I just finished meeting a deadline for the second picture book for Groundwood, The Ranger. 

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A. Check out:
Website: www.nancyvo.com
Twitter: @nvo_itsadraw
Instagram: squeaknbanana

If you have read THE OUTLAW, please consider writing a review:
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Lovely Beasts: The Surprising Truth

September 10, 2018

Tags: Lovely Beasts: The Surprising Truth, Kate Gardner, Heidi Smith, HarperCollins, September 18, 2018, #firstpicturebook

Lovely Beasts: The Surprising Truth by Kate Gardner and illustrated by Heidi Smith (HarperCollins, September 18, 2018)
This week’s Q&A is a very special interview because it is with Kate Gardner—the editor of my #firstpicturebook. I’m so happy that after years of guiding other writers on their publishing journeys, she has now set off on her own. Published on September 18, LOVELY BEASTS “presents an interesting and focused subject in an exemplary manner” (Kirkus Reviews, starred review) and “will do much for the reputations of some of our more maligned animals” (Booklist).

Q. Was LOVELY BEASTS the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. I actually wrote a very simple concept book called SNOW FALLS before LOVELY BEASTS. Tundra Books will be publishing it, but it's been delayed re: finding the right illustrator.
 
Q. What inspired LOVELY BEASTS?
A. Agent extraordinaire, Kirsten Hall, sent me a piece of Heidi's Smith art and asked if I had any book ideas for it. I was thrilled, flattered, and jumped at the chance. I thought that a nonfiction approach with a twist would engage readers and help shatter stereotypes at the same time—for it’s impossible not to worry about the danger of misperceptions, now more than ever. And many of these misconceptions have led to the near-extinction of some of these beautiful animals.
 
Q. How did you pick the title of your book?
A. The project was originally called GENTLE BEASTS. But as my editor Alessandra Balzer pointed out, not all of the featured beasts could accurately be described as "gentle" . . . So we went for something a bit more subjective.
  
Q. What kind of resources did you use in your research for this nonfiction book?
A. For my day job, I'm a children's book editor, and I've been lucky to work with many amazing writers on many fantastic books. For almost 15 years, I've worked with Sy Montgomery on her nonfiction projects and much of what I've learned from her, I've incorporated into LOVELY BEASTS.
 
Q. What is your favorite part of the book? And was that part in the first draft?
A. Heidi’s amazing art, of course! But I also love the simplicity of the book—all that negative space, large type, and pages turns. The page turns were something I felt strongly about and was happy when Alessandra and Heidi agreed that they helped create some tension and structure. And as an editor, while I never look for overt messages in books, I do hope that the idea of getting to know a person/place/thing before making a judgement call about it will be something that rises up naturally from LOVELY BEASTS and starts some conversations between readers.

Q. What information do you include in the back matter?
A. We had only one page to spare for back matter and we decided to include suggestions for further reading for both young and older readers.
 
Q. Did LOVELY BEASTS receive any rejection letters? If so, how many (ballpark)?
A. Amazingly, we received a preempt from Alessandra Balzer at Balzer + Bray (now I'm spoiled, even though I know that preempts are the exception to the rule!).
 
Q. Describe your reaction when you received an offer on LOVELY BEASTS.
A. My heart beat fast - very fast! I wasn't expecting things to move so quickly and while I'm familiar with the submission process from the editorial perspective, it was different to be on the other side of the desk. All I remember was that it was at night, I was sitting in the car in the driveway, and it was very cold—but Kirsten's call warmed me up quick.
  
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. LOVELY BEASTS is also Heidi Smith's debut and I think she's definitely an illustrator to watch. She is so incredibly talented and her art hasn't stopped giving me goosebumps since the first time I saw it.
 
Q. How long did LOVELY BEASTS take to be published—from the time you received an offer until it was printed?
A. I received the offer in January 2017 and the book is pubbing this month, so a little over 1.5 years.
 
Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. I originally had more beasts and had to cut a few to make the pagination work. One animal I was sad to omit from the original manuscript was pigs - because I do think that if you ask someone to describe pigs in 2 or 3 words, they're bound to say something like "filthy" or "disgusting." Which isn't actually true. Pigs are incredibly smart and bathe in mud as a way to keep cool (it also works as sunscreen). And much like cats, pigs keep their toilet area far away from their living and eating areas. There is even a population of pigs who live on Exuma Island in the Bahamas who are known for regularly swimming in the pristine waters there.
 
Q. Have you read LOVELY BEASTS to any kids? If so, which part of the book gets the best reaction?
A. Not yet! LOVELY BEASTS will be published on 9/18 and I'll have my first bookstore event on the 22nd (biting finger nails in anticipation).
 
Q. Did you create any book swag for LOVELY BEASTS? If so, what kind?
A. I have always loved making necklaces and I made a beast themed one for a giveaway/raffle, which is currently running on Instagram through Sept 17th.
 
Q. What is your #1 tip for picture-book writers?
A. I think the next best practice for writing after writing itself, is reading. Reading and studying other picture books helps you figure out what you think works, what you think doesn't, and how that will inform your own approach. And if you're not also an illustrator, I think it's important to leave plenty of room for the art to meet the text and do its own storytelling.
 
Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. For me, the thing that helps me generate new ideas is actually walking. So I walk most of my commute, which gives me time to mull ideas and approaches over — my brain just seems to work differently when I'm walking vs. sitting at a desk!
 
Q. Is there a public launch for the book (reading/part at bookstore, library, etc.)? If so, please provide details:
A. Porter Square Books in Cambridge, Massachusetts on September 22nd at 3 pm.

Q. What are you working on now?
A. I have another picture book coming out with B + B, IF YOU LIVE HERE, but we're still searching for an illustrator, so no pub date yet. And with the hot weather, I haven’t been walking on my commute as much – I need to hit the streets and start thinking about new ideas!
 
Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A. I'm on Instagram @keaosullivan
 

SAMMY’S SPOOKTACULAR HALLOWEEN

August 13, 2018

Tags: SAMMY’S SPOOKTACULAR HALLOWEEN, #firstpicturebook, Mike Petrik, Two Lions, 2018

Animator and illustrator Mike Petrik loves Halloween! As a kid, he decorated his house in August. Now, as a grown-up, he’s celebrating this summer with the publication of his #firstpicturebook SAMMY’S SPOOKTACULAR HALLOWEEN—a “lavishly illustrated, laugh-out-loud picture book about a boy who loves Halloween so much that he tries to celebrate it year-round.” (Booklist)

Q. You worked as an illustrator before SAMMY’S SPOOKTACULAR HALLOWEEN.   How did you make the transition to writer/illustrator and how does it compare with being an illustrator of someone else's work?
A. Storytelling was always something I loved to do, but I was never really confident in my ability to write for children's publishing.  I put together a dummy of SAMMY’S SPOOKTACULAR HALLOWEEN to send along with query letters when I was looking for agent representation.  When I found Teresa at Bookmark Literary, she loved the idea so much that we did several rounds of revisions and sent it out, which ended up selling! When I'm illustrating for my own stories, I always kind of know what to expect from myself.  If I'm working on illustrating a story or poem for Highlights for Children, for example, I may have the opportunity to draw something I never would have otherwise, which is always a fun challenge!

Q. Was SAMMY’S SPOOKTACULAR HALLOWEEN the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Yes! This is the first one I put together when I really wanted to take this whole children's publishing thing seriously.  

Q. What inspired SAMMY’S SPOOKTACULAR HALLOWEEN?
A. Well, it's sort of autobiographical.  My Mom likes to tell the story of the day she came home from work and my brother and I had dragged out and hung all of the Halloween decorations in early August.  I just love the whole Halloween season, and now that I have a family of my own, it's exciting to see my own children get excited about it too.  This past October for my daughters birthday, we did a whole haunted basement walk through for the kids, and my middle son Sammy had a blast jumping out and scaring the older kids!  Guess its in the blood.

Q. How did you pick the title of your book?
A. The title was something we muddled with forever.  Nothing sounded right, and the list grew and grew.  I was even at a point of listing words and combining them together, just as a way to hopefully land on the winner.  In the end, I knew I wanted the words Sammy in there and Halloween in there.  I'm 99% sure it was the awesome folks over at Two Lions who suggested the final title.

Q. Do you write by hand or on the computer?
A. A little of both.  A lot of writing happened alongside drawing in the sketchbook.  Once I had some solid ideas there, I would type it out.

Q. What is your favorite part of the book? And was that part in the first draft?
A. What turned out to be my favorite spread was the one of the haunted house fully operational and showcasing all the cool spooky stuff they had built.  I drew this one last because it was the scariest to me and I was worried that I wouldn't get the image that I had in my head onto the paper.  This particular spread wasn't included in the first draft, but I'm glad it's in there now!  

Q. How did you select the names for your characters? 
A. Molly, Sammy, and Luke are the names of my three kids! 

Q. How did you decide between telling the story in first, second, or third person? 
A. Using a narrator to tell the story of Sammy was something I had from the very first dummy.  I wanted a tone of a traditional holiday story, with a narrator taking us through the events, then we get a closer look as we move into the dialogue.  

Q. How much of the story did you know when you began writing SAMMY’S SPOOKTACULAR HALLOWEEN? 
A. The story structure from the very first dummy to the final is essentially the same.  I knew the story I wanted to tell, and through all of the revisions, the heart of the story remained the same.  

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. Writing and illustrating happened along side each other, which was great to keep it fresh for myself as I moved along.  Doodling in the sketchbook would reveal new things that I never would have discovered if I was just writing, and vice versa. 

Q. Did SAMMY’S SPOOKTACULAR HALLOWEEN receive any rejection letters? If so, how many (ballpark)?
A. Oh boy, yes.  If I had to put a number on it, probably around 30? 

Q. Describe your reaction when you received an offer on SAMMY’S SPOOKTACULAR HALLOWEEN.
A. I couldn't really believe it!  There were a couple of "hey, we are interested in this, but maybe in year or two we can fit it in..." types of responses.  Which, even though they were rejections, it felt nice to get a positive response to the book.  So, when the offer came in, I told myself not to get excited until I actually had my name on a legal contract. 

Q. How long did SAMMY’S SPOOKTACULAR HALLOWEEN take to be published—from the time you received an offer until it was printed?
A. It was about a year and a half from when I signed the contract to when I delivered final files.  

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. There was one scene from a very early draft of Sammy writing a love letter to monsters on Valentines Day.  It didn't really fit, so unfortunately had to go. 

Q. Did you create any book swag for SAMMY’S SPOOKTACULAR HALLOWEEN? If so, what kind?
A. Nothing yet since we are so early in promoting, but I have some plans!  A trick or treat bag with some Sammy art on it to give away, along with bookmarks that double as trading cards of the characters.  The big one though is I will have a Sammy plush figure to give away as a prize on release day!  

Q. What is your #1 tip to those who want to write picture books?
A. Don't stop.  No matter what.  If you really want it, be the one who is up late working on a dummy while every else has thrown in the towel.  

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. I am biased since I am an illustrator, but I don't think I would be able to write without sketching ideas along side the writing.  Maybe this is something to try if you are having a creative block?

Q. What are you working on now?
A. I actually just turned in rough illustrations on a new story for the August 2018 issue of Highlights for Children.  All farm animal themed! 

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A.
www.mikepetrik.com
https://twitter.com/mikepetrik
https://www.instagram.com/mikepetrik/
https://www.facebook.com/mikepetrikillustration

If you have read SAMMY’S SPOOKTACULAR HALLOWEEN, please consider writing a review:
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IVER & ELLSWORTH

August 6, 2018

Tags: IVER & ELLSWORTH, Casey W. Robinson, Melissa Leann Larson, Ripple Grove Press, 2018, #firstpicturebook

Driving past a seltzer factory, Casey W. Robinson saw something that inspired her #firstpicturebook. Today she tells us how she travelled from that moment of inspiration to the publication of IVER & ELLSWORTH —“an original and unfailingly entertaining picture book" (Midwest Book Review), “sure to be a bedtime favorite.” (BookPage).

Q. Was IVER & ELLSWORTH the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Definitely not! I wrote many (terrible) picture book manuscripts before Iver & Ellsworth. They all sit very neatly in a file marked OLD on my computer.

Q. What inspired IVER & ELLSWORTH?
A. I was on a road trip with my family and we drove past the Polar Seltzer factory in nearby Worcester, MA. The factory has a rooftop bear, which we’ve driven past many times. But this time as we waved to the bear I thought, I wonder what this bear’s name is and what kind of life he leads… this would make a great story.

Q. How did you pick the title of your book?
A. It was the obvious choice!

Q. Do you write by hand or on the computer?
A. Mostly on the computer because it’s fast and I constantly fiddle with words as I write. But I take notes on paper whenever I think of a phrase, first line, bit of dialog etc so there are scraps of paper all over my house and tucked into pockets of clothing and jackets.

Q. What is your favorite part of the book? And was that part in the first draft?
A. The two-page spread that begins “Before he returns to work, Iver always makes sure that Ellsworth looks his best.” This was in the first draft. I just love the way Melissa pulled it all into one spread.

Q. How did you select the names for your characters? 
A. “Iver” was easy – it felt like it suited his character, an older name, uncommon but not too quirky. (I have a list of names I like that I keep for characters yet to be created.) Originally the bear’s name was Orson. But as that is the trademarked name of the Polar Seltzer bear, my editor and I brainstormed new names – he liked “Ellsworth” because of the character in Deadwood, and I liked it because it's a town in Maine near where I grew up.

Q. Why did you decide to tell the story in third person? 
A. Third person provided the right distance from which to observe this story.

Q. How much of the story did you know when you began writing IVER & ELLSWORTH? 
A. I knew the beginning – both the setting and how to establish their deep friendship. But I had no idea how it would end! I wrote and re-wrote many different endings before I settled on one that felt right. And then we changed it again during revisions.

Q. Did IVER & ELLSWORTH receive any rejection letters? If so, how many (ballpark)?
A. Actually, no. Ripple Grove Press was my first submission. I took a long time to assess which publisher would be the right fit for the story. Also: I’ve received plenty of rejections since then!

Q. Describe your reaction when you received an offer on IVER & ELLSWORTH.
A. Ecstatic. I remember jumping up and down in my kitchen with excitement and the stunned looks of delight on my three daughters’ faces as they watched me and wondered what on earth was happening.

Q. What kind of input did you have in choosing an illustrator for the book? 
A. Rob and I had a few in-depth conversations about general art direction. I sent him the names of a few illustrators whose style felt similar to what I had in mind for IVER & ELLSWORTH. We were definitely on the same page and I felt very comfortable when he said I’d hear from him once he had signed the illustrator.

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. When I saw the very first sketch of the characters, my first reaction was “Of course!” I didn’t know Iver wears a cap and has a mustache, but of course he does. I had the same reaction when I saw the jacket cover – Of course. It’s perfect.

Q. How long did IVER & ELLSWORTH take to be published—from the time you received an offer until it was printed?
A. Two years.

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. We turned a good portion of what I’d written for the second half of the book into wordless spreads, so I edited out probably ~150 words. But for good reason – that part of the book is now much more powerful because you get to experience it visually alongside the main characters.

Q. When you read IVER & ELLSWORTH to kids, which part of the book gets the best reaction?
A. When the wordless spreads begin, kids usually lean right in to see what’s happening. The scene where Ellsworth is next to the Dinosaur billboard seems to be a crowd pleaser.

Q. Did you create any book swag for IVER & ELLSWORTH? If so, what kind?
A. I did – bookmarks, post cards and stickers. For my book launch event I also got balloons printed with Ellsworth on one side, which I love!

Q. What is your #1 tip for picture-book writers?
A. Read as much as possible – all types of picture books, old and new. And don’t limit yourself to picture books: novels, graphic novels, poetry -- be insatiably curious about words and the art of storytelling.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Marketing tip: Spend time helping to promote other authors and the books you love – write online reviews or reviews on your blog, post book covers on social media, retweet news of deals or book launches. The kidlit community is fueled by this kind of reciprocity; it will come back around when it’s your turn to celebrate.

Q. What are you working on now?
A. Many more picture book manuscripts. I have about 6 that are in various stages of revision.

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
www.CaseyWRobinson.com
https://twitter.com/CaseyWRobinson
https://www.instagram.com/cwrobinson/

If you have read this book, please consider writing a review:
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Monty & Sylvester: A Tale of Everyday Super Heroes

July 23, 2018

Tags: Monty & Sylvester: A Tale of Everyday Super Heroes, Carly Gledhill, Orchard Books, 2018, #firstpicturebook

Carly Gledhill has worked as a print designer for studios and retailers and completed an M.A. in children’s book illustration. In April, she became an author too when her #firstpicturebook was published by Orchard Books. Today she tells us about creating MONTY & SYLVESTER: A Tale of Everyday Super Heroes, including how she got the names for her characters after watching a popular daytime television show.

Q. Was MONTY & SYLVESTER the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. MONTY & SYLVESTER is the first book I finished writing from start to end, I had tried a few times before to write but nothing came together. The book was quite a quick process, everything fell into place organically, although I still wasn’t sure it was any good when I had finished. I completed an MA in Children’s Book Illustration and had made many novelty books to avoid having to write a story, so it’s not my natural habitat.

Q. What inspired MONTY & SYLVESTER?
A. I drew the characters first and they existed for a while before I came back to them. I loved the unlikely friendship between big furry bear and little blue mouse. I was trying, and failing, to work on other stories, so I thought I’d give these 2 another go. The original drawings really inspired the story at this point, the characters seemed quite naive and lovable so the story naturally lent this way. I decided they should become superheroes when thinking about what kids do at play time, obviously flying and saving the world was what I did as a toddler so it seemed about right. They are the least likely characters to do well at being superheroes too which is where the humour kicks in, pow!

Q. How did you pick the title of your book?
A. I wanted the title to reflect the everyday playtime nature of the story. Obviously MONTY & SYLVESTER need their name in lights on the cover as they are the stars, but it is just a tale of playtime gone exciting, it could happen to anyone!

Q. Do you write by hand or on the computer?
A. All by hand for this one, there isn’t an awful lot of text in the book and a lot of it relies on humour. I drew it all out as I illustrated the book. I’ve always used type in my illustration so knew where and what it should look like to enhance the story. Some of the original hand-drawn type made it into the final version too.

Q. What is your favorite part of the book? And was that part in the first draft?
A. The first spread is probably my favourite. It hasn’t really changed since the first draft and sums up the personalities of our protagonists straight away! It’s a soft introduction to the book, sets the scene with a few clues of what’s to come!

Q. How did you select the names for your characters?
A. They were originally named after a couple of property developers on daytime TV Favourite ‘Homes under the Hammer’. (I don’t watch daytime TV usually I was just waiting for a delivery to arrive, honestly.)

Q. How did you decide between telling the story in first, second, or third person?
A. Oh dear, I didn’t, it’s a bit of a mish-mash of narration and the characters chatting away!

Q. How much of the story did you know when you began writing MONTY & SYLVESTER?
A. I had the basic outline ready—2 friends want to be super heroes that day, they’re a bit rubbish at it, they need a plan! I knew the setting would be domestic. I think that was about it. It really escalated from there with a different problem at the turn of each page, introducing more characters and peril!

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. I have to get excited about the characters so I usually start with a good drawing of what they will look like then usually they talk to me and lead their own adventure!

With MONTY & SYLVESTER I didn’t know what I was doing, so I did both at the same time. Now I’ve got more of a clue. I try to write the story first before illustrating the spreads, working on storyboards with rough sketches.

Q. Did MONTY & SYLVESTER receive any rejection letters? If so, how many (ballpark)?
A. I was very lucky in this respect, I sent the book to my agent Arabella at the Bright Agency and very soon Orchard Books were interested in it. I couldn’t believe my luck!

Q. Describe your reaction when you received an offer on MONTY & SYLVESTER.
A. Disbelief, excitement, ticking off life goals with a big pen!

Q. How long did MONTY & SYLVESTER take to be published—from the time you received an offer until it was printed?
A. It’s been about a year and a half, which as an illustrator who has worked commercially for years, seems forever! I’ve just received my advanced copies of the book, so it still isn’t out in the world yet. I can’t wait!

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. It was more the opposite with this book. The initial book had very clean spreads, very minimal with a pared down colour palette and I had to add more in. More was needed to make the book more colourful and action packed, inspired by classic Batman with graphic stars and action words.

Q. What is your #1 tip to those who want to write picture books?
A. It’s fine to give up on an idea and move on to something else, not every idea will work. You’ll know when you’re onto the right one. Also leaving your desk and going for a walk, or taking a few days off to refuel the mind is usually a good idea when things get frustrating.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. I love storyboards. Making the story fit with exciting doodle illustrations is my favourite part. I usually have lots of blank storyboards printed out and go through tens of them before everything fits and flows together. It’s picture book problem solving!

Q. What are you working on now?
A. I’m just completing the second MONTY & SYLVESTER book with Orchard (top secret at the mo). Then I’m going to have a bit of time to draw and be creative and think of some new book ideas. I also have a children’s brand called Corby Tindersticks, I’ve just designed some new products so I’m working on marketing those too! You can see more at www.corbytindersticks.com

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A.
www.carlygledhill.com
instagram.com/carly_gledhill
twitter.com/carlygledhill

PENGUIN & TINY SHRIMP DON'T DO BEDTIME!

April 23, 2018

Tags: PENGUIN & TINY SHRIMP DON'T DO BEDTIME!, Cate Berry, Charles Santoso, Balzer + Bray, 2018, #firstpicturebook

Cate Berry is a faculty member with the Writing Barn in Texas and also speaks at schools, libraries and conferences on such topics as "Gender Stereotyping and Poetic Devices" and "From Stand Up to Sit Down: Funneling Surprise and Stand-Up Comedy into Humorous Picture Books." Inspired by a class assignment, Cate wrote her #firstpicturebook which will be published on May 8th. Today she talks to us about crafting PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!—a Junior Library Guild selection and “a definite do for bedtime” (Kirkus Reviews).

Q. Was PENGUIN AND TINY SHRIMP DON’T DO BEDTIME! the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. It was close to my first book. I took two picture book classes at the Writing Barn in Austin, Texas (And I am lucky enough to teach there now). During my second class we were given the assignment of writing a bedtime book. I got a jump on the assignment and wrote this very quickly. It’s one of the few times something has come out “whole” and not needing a lot of revision (because that NEVER happens, as we know).

My very first picture book manuscript was called Puffin and Slip. It follows two creatures in a faraway galaxy. They are separated but stay connected through the moon and their special friendship. That manuscript is in a drawer right now but I think you’ve awoken my curiosity again! Thank you and I’ll keep you posted.

Q. What inspired PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!?
A. As I stated above it was a class assignment. But also, as I examine it closely years later, it was a love letter to my children. They are only thirteen months apart and when they were little acted as one unit. Plus, they hate bedtime. Can you tell?

Q. How did you pick the title of your book?
A. Oh, that’s a fun topic. The book was originally titled This is Not a Bedtime Book. In the end, we wanted something a little more original and full of the voice of the characters. I brainstormed a list and Penguin & Tiny Shrimp Don’t Do Bedtime! was a favorite with the Harper Collins/Balzer+Bray team. I’m so glad we changed it. I really love the final title.

Q. Do you write by hand or on the computer?
A. I write by hand but I also write a lot on my iPhone notes app. I heard an interview with Annie Leibovitz talking about how the best camera to use was the one on you all the time. She champions iPhone photography and that got me thinking about using my Notes App for writing while I’m out in the world. There are so many opportunities to write: waiting for the dentist, right before your household wakes up, when insomnia hits in the dead of night. It’s freeing to just swipe over to an app and jot down inspiration when it hits.

Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part of the book is probably the double spread of the “turn” or climax of the book. Penguin & Tiny Shrimp’s anti-bedtime shenanigans have reached a fever pitch and Charles Santoso’s illustrations are just so joyous and fun. He really captures my heart in that spread because it epitomizes being a kid.

Q. How did you select the names for your characters? 
A. I’ve been asked this a lot and I wish there were a snappier answer. But the truth is they just came to me very suddenly while I was drafting. You have to pay attention to your story when things are flowing. Things were definitely in “flow” that day.

Q. How did you decide between telling the story in first, second, or third person? 
A. A teacher of mine from grad school once said, “Every writer gets something for free.” My “freebie” is dialogue. It comes very organically for me. This entire book is told through dialogue and that is very much my voice as a writer.

Q. How much of the story did you know when you began writing PENGUIN AND TINY SHRIMP DON’T DO BEDTIME! ? 
A. Well, my subconscious knew quite a bit since sleuth bedtime tactics had been my life for so long with small children. I think when I started the story I knew they would end up passing out at the end. I can’t believe in a story fully until I know the ending.

Q. Did PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!  receive any rejection letters? If so, how many (ballpark)?
A. Oh yes. It was on submission for several months and we received around 8-10 rejections. But then, presto we got several offers all at once. The book ended up at auction with four publishing houses. It sounds cliché, but I guess the take-away is that you should never give up on something you believe in.

Q. Describe your reaction when you received an offer on PENGUIN AND TINY SHRIMP DON’T DO BEDTIME! 
A. My agent called me and I had to pull over because I was driving. I screamed, of course, and then cried. I was very, very happy. Getting a book published relies on a lot of things lining up perfectly. I feel grateful every day for this opportunity.

Q. What kind of input did you have in choosing an illustrator for the book? 
A. My editor was open to suggestions from me. I requested that she consider Charles Santoso among others. She was charmed by the idea of Charles illustrating the book and we were both thrilled when he agreed.

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Oh. They exceeded my expectations. Not only were they adorable but also they were also full of personality and verve. I don’t know how Charles did it. I have so much respect and admiration for illustrators in general. It was such a gift when the first sketches came in.

Q. How long did PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!  take to be published—from the time you received an offer until it was printed?
A. I believe we sold the book in the fall of 2016. It debuts May 8, 2018.

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. That’s a great question. There was not much editing on my end. However my editor did nudge me to perfect some of Tiny Shrimp’s lines, adding more specificity. I’m so glad she did as it goosed the humor, in my opinion, and made his character that much more fun.

Q. Have you read PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!  to kids? If so, which part of the book gets the best reaction?
A. I have read the book to lots of kids! I think the biggest laugh always happens when the Uni-Hippo makes a surprise entrance. I think my biggest thrill is seeing kids delight in two aquatic creatures bounding into zany adventures avoiding sleep. It’s every kid’s fantasy, or at least the kids I know. ☺

Q. Did you create any book swag for PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!? If so, what kind?
A. Yes! My sister is a wonderful designer and she and I have just ordered postcards for librarians, bookplates, stickers and buttons. I also made an invitation for the book launch on May 20th at the indie bookstore BookPeople in Austin, Texas. You’re all invited!

Q. What is your #1 tip for picture-book writers?
A. Read, read, read and then read more picture books. Don’t underestimate how much you’re learning about the form while you read picture books, especially aloud.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. I try to write something every day even when I have just a few minutes. One of my advisors in grad school taught me this. It can be as small as a picture book title idea or a stanza in a poem. But it does wonders for keeping your creative wheels greased.

Q. What are you working on now?
A. I’m in the middle of revising four picture books and I’m on my third major revision of a middle grade novel. I’m also dabbling in non-fiction picture books. It scares me because the research is so interesting I’m afraid I’ll fall down the rabbit hole and never come out!

I’m also reminding myself every week to pay it forward and be generous about helping other writers as much as time will allow. That’s important to me: connection and community.

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A. I love to hear from kids, readers, and writers! You can find me here:
www.cateberry.com
Twitter: @cberrywriter
Insta: @cateberryatx
Cate Berry Reads PENGUIN & TINY SHRIMP DON'T DO BEDTIME!: https://m.youtube.com/watch?v=7_kfuwBfvPc

DOLL-E 1.0

April 9, 2018

Tags: DOLL-E 1.0, #firstpicturebook, Shanda McCloskey, Little, Brown, May 2018

Shanda (rhymes with panda) McCloskey’s #firstpicturebook was inspired by watching her inventive daughters play with their toys and was later named by her husband. Now this family-made creation comes out May 1 and today she shares the nuts and bolts of DOLL-E 1.0—“an engaging story, arguing for the marriage of technology with creativity and play” (Kirkus Reviews ) and “an enjoyable romp for readers, whether they’re plugged in or not” (Booklist).

Q. Was DOLL-E 1.0  the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Hmm. I think this was probably the 3rd or 4th picture book I spent real time on. For a few of those, I was stuck on writing about how making art was similar to cooking with ingredients. The idea sounded fun, but it wasn’t when I actually wrote it. I still remember the looks on my writer friends’ faces when I finished reading my drafts aloud… poor guys, they had to tell me how bad it was without breaking my spirit. I guess, they succeeded, because I’m still here. :)
 
Q. What inspired DOLL-E 1.0?
A. One day, I was playing dolls and stuffed animals with my two-year-old daughter who naturally liked books and movies with robots in them. While we played, she said her doll was a robot. And that idea just flew all over me! I ran to write it down, and the next few weeks I researched robot picture books to see if this idea had been played out before. To my surprise, it hadn’t. And not only that, but ALL the robot-themed books I found in that time were made with boy readers in mind. A robot book with girl-appeal was missing!
 
Q. How did you pick the title of your book?
A. My husband, Ben, came up with this title. I loved it from the moment he said it, and I was lucky that my editor at Little Brown, Andrea Spooner, liked it too!
 
Q. Do you write by hand or on the computer?
A. A little of both, actually.
 
Q. What is your favorite part of the book? And was that part in the first draft?
A. This is the original image from which the story of DOLL-E 1.0 was born. Waaaaay before I had a agent or an offer, I wanted to draw tools, intense creating, plans, and mechanical parts, so I did. And aside from a few detail additions, this original image appears in the book!

Q. How did you select the names for your characters?
A. As I drew her, I thought the girl looked like a “Charlotte” and after I had called her that for so long, it stuck! I think it’s a strong, classic, yet cool and revived, female name.
 
“Blutooth” was a fun discovery! But legally we couldn’t use the trademarked spelling: Bluetooth. So, we took out the E. We also toyed with the idea of calling him “Megabyte”, but Blutooth rolled off my tongue much easier when I read my story aloud - which I will probably be doing a lot. :)
 
“Doll-E” was the first character to be named. An electronic play-on name for a dolly!
 
Q. Why did you decide to tell the story in third person?
A. I tried both ways, but third person with some dialogue seemed the best fit.
 
Q. How much of the story did you know when you began writing DOLL-E 1.0 ?
A. I thought I knew most of it, but as I mention in another answer below, just about ALL of it changed once I got better acquainted with my kid/kid-like characters.
 
Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. Characters seem to come first, then I try to find their story, then I toggle between art and story in the dummy process. I take away, add, or rework until it feels close to right. I think I made 7 different dummies for DOLL-E 1.0 before I settled where I did.
 
Q. Did DOLL-E 1.0  receive any rejection letters? If so, how many (ballpark)?
A. Earlier versions of DOLL-E 1.0 got rejected 6 times, but some of these rejections had valuable feedback attached that resulted in good changes!
 
Q. Describe your reaction when you received an offer on DOLL-E 1.0 .
A. It was so flipping exciting! DOLL-E 1.0 went to auction with 4 offers! It was like the movies where I was always near my phone waiting on an update from my agent. I may never experience excitement like this over one of my books again, but I’ll surely NEVER forget it!
 
On the other hand, I didn’t feel like I’d won the lottery either. I felt like I had worked hard for this moment, and I still had a lot of work ahead of me once I accepted one of the offers.
 
Q. How long did DOLL-E 1.0  take to be published—from the time you received an offer until it was printed?
A. About a year and a half. I received offers in January 2017 and DOLL-E 1.0 is set to be on shelves May 1st, 2018. It was put on a “rushed” schedule because of the popular girl/tech subject. We didn’t want to be late to the party, so to speak.
 
Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. When I started writing DOLL-E 1.0 I had some beautiful themes/messages about what technology can’t replace that I was trying to write a story around. But, as I got to know my characters better as kids, I found that my “themes” were actually very grown-up thoughts. It was tough to let go of my lovely (but didactic) ideas and remember how my mind worked when I was a kid.
 
Q. What is your #1 tip for picture books writers?
A. Just keep plugging along ... working, reading, learning new things, trying new things, meeting people … and you WILL eventually see fruits from your labor. :)
 
Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Every year my critique group retreats to a cabin in Alabama for a writing weekend! We follow a schedule of working, eating, walking and critiquing each day. It has proven to be really productive AND fun!
 
Q. What are you working on now?
A. Currently, I’m working on a companion story to DOLL-E 1.0 where you’ll meet Charlotte’s neighborhood friends including Lucas and his drone named T-Bone!
 
Q. Where can people find you? (Website, Twitter, etc.)
A.
Web: shandamc.com
Instagram: @shandamccloskeydraws
Twitter: @shandamccloskey

Spring back for inspiration

April 2, 2018

Tags: #firstpicturebook, Baptiste Paul, Marie Lamba, Gaia Cornwall, Curtis Manley, Wendy BooydeGraaff, Christin Lozano, Megan Wagner Lloyd, Shennen Bersani, Ammi-Joan Paquette, Linda Vander Heyden

Today is April 2nd and it’s snowing here in Connecticut! So I’m going to look back at some #firstpicturebooks that promise warmer weather and inspire me to keep writing . . . instead of hiding under the covers like my dog Ellie. Click on each book title to read the complete #firstpicturebook Q&A:

FINDING WILD:
“I've always loved spending time outside. When I was young I think I took this connection to the natural world for granted. I didn't realize that you really have to hang onto that, or the busyness of life will take over. With my own kids I've tried to encourage outdoor play and a sense of wonder for nature, in both big and little ways. I think all of this was in the back of my mind as I wrote FINDING WILD. I wanted to celebrate nature and the special connection kids--and, really, all of us--can experience when we take the time to notice the beauty and wild all around us.”

ISLAND TOES:
“One of my favorite parts of the book is the surfing spread where it shows a girl surfing. Not only is it wonderful to showcase girls in sports, but this young girl is clearly experienced enough to be able to surf “toes-on-the-nose” style. I remember this phrase coming to mind after I had been working on the manuscript for quite a while.”

TIP TOE GUIDE TO TRACKING FAIRIES:
“It was inspired by a nature walk I took with my daughters, who were then 6 and 8. They were not especially keen on walks at that time, so we decided that, to liven things up, we would take a stroll through our local nature preserve while being on the lookout for spots where fairies might be hiding. From there the story took on a life of its own - and the result is as you see it!”

MR. MCGINTY’S MONARCHES:
“One day, while walking my dogs, I found the milkweed along the side of our quiet road had been mowed. Milkweed is vital to monarch survival. Monarch caterpillars were clinging to the drying plants. Seeing this was upsetting. The monarchs are in trouble, and I wanted to share their story.”

SALAD PIE:
“My daughter and I were at the park and she was playing pretend and said, “Salad Pie,” which I thought was so clever and creative that I repeated it in my head over and over all the way home. Then, during her rest time, I scribbled out the first draft of the story.”

THE SUMMER NICK TAUGHT HIS CATS TO READ:
“I was remembering when my daughter began reading middle-grade novels. She sank so deep into those books that she was in another world.... So that’s what the first version of the story was about—a boy whose best friend (his cat) gets lost in books. Gradually the story changed so that the boy teaches the cat to read. And then two cats were being taught, but reading didn’t come equally easily to both...”

JABARI JUMPS:
“I've always loved to swim and remember clearly learning to jump off the diving board. I try to write stories about moments that are relatable to kids and that one stuck out for me.”

GREEN GREEN:
“My husband and co-author Baldev Lamba is a landscape architect.  Years ago, we were walking in a harsh urban area, and he pointed to some weeds and wild flowers springing up through cracks in the cement. And he said something along the lines of, "See that? Nature is always there just waiting to come back." That stuck with me for a long time, and became the inspiration for our book.”

THE FIELD:
“The idea for the story came while playing outside in the rain with my children. They were so happy running in rain, splashing in pools of water and rolling in the dirt.”

ACHOO!:
“I spent three months researching daily everything I could about pollen, forest animals, black bears. I dug up every creature that eats pollen, wrote to vetters to double check the science. I hiked through a few national parks and pine forests, visited live bears in New Hampshire, observed a large honeybee hive at the Boston Museum of Science, and constantly researched bees pollinating flowers everywhere I could. I also contacted beekeepers, and went to multiple butterfly conservatories.”

THIS IS IT

March 26, 2018

Tags: THIS IS IT, Daria Peoples-Riley, Greenwillow Books, 2018, #firstpicturebook

When Daria Peoples-Riley was nine years old, she got her first job in the children’s section of her hometown library. Later, she became a teacher and now she is a full-time author/illustrator. Released last month, her #firstpicturebook THIS IS IT is “a beautiful tribute to the power of dance” (Kirkus Reviews) that “shows a girl gaining confidence in herself—an important message for all children” (School Library Journal, starred review).

Q. Was THIS IS IT the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. No! Ha. The first picture book dummy I finished and submitted to agents was called Joy Ride, and it was rejected over and over and over again. 

Q. What inspired THIS IS IT?
A. THIS IS IT was inspired by my daughter. She is an aspiring classical ballerina, and I originally wrote the poem as a gift to give to her on the day of her first audition. After I enrolled in an online picture book class, I was asked to illustrate a manuscript. I didn’t have a manuscript, so I pulled out the poem to illustrate and it became a picture book in the class.

Q. How did you pick the title of your book?
A. It was the last line of the poem, and it resounded the loudest to me. I thought it was fitting for a few reasons. First, there are only a few "This Is It" moments in life that can potentially alter the course of our destiny. It’s important for us to recognize these moments as they occur instead of in retrospect when often it’s too late, and we regret not making the choice we deeply desired. And, all of those choices determine our journey to becoming the best version of ourselves. We only have one journey, and one opportunity to accomplish all we dream and imagine for ourselves. This is it. The sooner we realize this, the better. And I hope children and the adults who love them receive that message after reading THIS IS IT.

Q. Do you write by hand or on the computer?
A. Both. Often, in the early stages, I write by hand . And, as I get further along, I move to my laptop. But truth be told, I’ve written entire manuscripts on my iPhone. 

Q. What is your favorite part of the book? And was that part in the first draft? (Please send an image from the book or link to book trailer.)
A. The middle spread. It’s a visual representation of surrender. Whatever happens, happens. Whether we succeed or fail, let it be. We’re here. We’re trying. We’re not eliminating ourselves by not showing up. And yes, it was in the first draft, and the first final art sample I submitted.

Q. How did you decide between telling the story in first, second, or third person? 
A. The poem came in second person, and it made sense because of all of the affirmations the shadow speaks to the heroine. 

Q. How much of the story did you know when you began writing THIS IS IT? 
A. All of it. It came out in one draft mainly because I never intended it to be a picture book. It was written from a mother’s soul to her daughter's heart, and that came from a place I'm not sure any other stories will ever come from again.

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. As I revised the text once it was acquired, my editor and I settled on the text first, and then I revised the illustrations.
 
Q. Did THIS IS IT receive any rejection letters? If so, how many (ballpark)?
A. Oh yes. Everyone rejected it in the first round. 6 or 7
times. But!! One of the rejections held a gem of advice that helped me revise it, and in the second round, it sold in a preempt within 48 hours. 

Q. Describe your reaction when you received an offer on THIS IS IT.
A. Well, I was sitting with my mother as we were waiting for my grandmother to go into surgery. Marietta called me, and something told me the book sold before I answered the phone. I stepped out of the pre-op room , and when Marietta told me the news, I accidentally kind of, sort of, might've shrieked in celebration, and my mom came out and yelled at me. I took the phone call in the restroom to continue  my celebratory dance. When I shared the news with my mom, we all got a little weepy. It was really special. Both my mother and my grandmother's mother tried to be published, so I felt like all of our dreams came true. 

Q. How long did THIS IS IT take to be published—from the time you received an offer until it was printed?
A. I received the offer in April of 2016, and its publishing date was February of 2018. 

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. I was really pleased with every word. There was one line, in particular, that was changed in copy edits, but I was just as happy with my revision as I was with the original line.  

Q. Have you read THIS IS IT to kids? If so, which part of the book gets the best reaction?
A. Yes! Many times, and they all giggle when it says, "Shake it baby. SHAKE. IT. BABY." Then, they shake it. Haha!

Q. Did you create any book swag for THIS IS IT? If so, what kind?
A. I made bookmarks, posters of the cover, and little tote bags for the book launch.

Q. What is your #1 tip for picture-book writers?
A. Write a story for the audience of the one child who needs to read your story, and her story will touch the hearts of all the children who need to hear her story too.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Be yourself. There is only one you.

Q. What are you working on now?
A. I am illustrating a book by Jessica M. Rinker called Gloria Takes A Stand about the life of Gloria Steinem (Bloomsbury, 2019), and I am working on my next picture book with Greenwillow for Summer of 2019.
Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A.
dariapeoples.com
Twitter and IG: @dariaspeoples
Book trailer: https://www.youtube.com/watch?v=OzzKIhf45A4

GLORIA’S VOICE

March 19, 2018

Tags: GLORIA’S VOICE, Aura Lewis, Sterling, 2018, #firstpicturebook

Aura Lewis studied psychology in college but changed paths when she earned her MFA in illustration from the School of Visual Arts. Guided by her admiration for feminist Gloria Steinem and her love of 60s-70s fashion and design, Aura created her #firstpicturebook GLORIA’S VOICE—“a subtle ode to an iconic figure of quiet “strength and enormous influence.” (Publishers Weekly).

Q. Was GLORIA’S VOICE the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Yes!

Q. What inspired GLORIA’S VOICE?
A. I’ve always been interested in the women’s movement, feminism and gender studies. When I thought of writing a picture book biography, I thought of Gloria Steinem- I’ve always admired her, and in a way I also identified with her story, of someone from a small town wanting to go to New York to do something big. This was combined with my love for 60s and 70s fashion and design! I was excited to portray that era. When the idea came to me I knew I had to make it.

Q. How did you pick the title of your book?
A. The title was actually suggested to me by my agent at the time :)

Q. Do you write by hand or on the computer?
A. Both! I have a sketchbook where I write ideas, and then I organize them on the computer. I actually also write a lot on my phone when I'm commuting!

Q. What is your favorite part of the book? And was that part in the first draft?
A. Hmmm. I think my favorite part is the “poster” spread where Gloria and Dorothy go on the road. The idea to make it this way came to me pretty late in the process of making the book.

Q. What kind of resources did you use in your research for this nonfiction story?
A. I read books, articles and interviews by Ms. Steinem and about her. I watched lots of interviews with her as well as documentaries about the time period. I loved the research part!

Q. How did you decide on the timeframe of this nonfiction story?
A. Good question! At first I tried to fit in Ms. Steinem’s whole life. But, I realized after a few drafts that the story arc would be better if it ended much earlier (after the publication of Ms. Magazine.) Ending it there gave the book a better rhythm and an ending with a look to the future.


Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. It was a really organic process—I wrote and drew and wrote and drew until everything came together. The words helped me figure out the spreads, but sometimes I changed the text and pacing of the manuscript in order to fit with the images that I thought would work best.

Q. What information do you include in the back matter?
A. I have page-by-page notes, with information I wanted to include but couldn’t fit in the story itself. In the notes, I also explain some of the details in the illustrations that have a back story. We also included a biography of Gloria Steinem and a list of other children’s book titles about women’s empowerment.


Q. Did GLORIA’S VOICE  receive any rejection letters? If so, how many (ballpark)?
A. No.

Q. Describe your reaction when you received an offer on GLORIA’S VOICE.
A. I was SO excited! I was really, really sick that day—I completely lost my voice so I couldn’t shout for joy. I did do a very happy dance though- and then collapsed on the bed:)

Q. How long did GLORIA’S VOICE take to be published—from the time you received an offer until it was printed?
A. Just a little over a year!

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. I feel like there’s always something I could change or add about the art or text! In all of my work, I am learning to put it out there and let it be what it is.

Q. Did you create any book swag for GLORIA’S VOICE? If so, what kind?
A. Yes! The publisher made some beautiful posters and buttons to go with the book.

Q. What is your #1 tip to those who want to write picture books?
A. Here are a few tips that really helped me:
1. Read a ton of picture books so that you’re really familiar with the genre.
2. Read a great book about writing for kids (there are a few excellent ones out there!)
3. Learn to make a book dummy and mock-up a story in 32 pages (even if it's just words and scribbles!) This will help so much with pacing, storytelling and structure!


Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. I like to try different things at different times, but one fun exercise is thinking of an awesome book title and what would be the cover for it. Sometimes that’s enough to come up with a complete story!

Q. What are you working on now?
A. I’m working on my next book, THE ILLUSTRATED FEMINIST. It’s an illustrated handbook for adults and YA about American feminist history, coming out in 2020 with Abrams.

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A. I’m on instagram & Twitter:  @auralewis
Website: Auralewis.com
Book discussion guide

THE BOOK OF MISTAKES

March 5, 2018

Tags: THE BOOK OF MISTAKES, #firstpicturebook, Corinna Luyken, Dial Books, 2017

Corinna Luyken submitted manuscripts and book dummies to publishers for 16 years! But it wasn’t until she was inspired by a series of mistakes that she created what would become her #firstpicturebook. Today she talks to us about perfection, progress, and the process of making THE BOOK OF MISTAKES—“a striking debut picture book" (Kirkus Reviews, starred review) that “lifts to the level of the sublime the idea of putting one’s slip-ups in perspective” (The Wall Street Journal).

Q. Was THE BOOK OF MISTAKES the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. I wrote quite a few manuscripts before The Book of Mistakes! I also made 4 or 5 fully illustrated book dummies. But the first manuscript I ever submitted to publishers (back in 2001) was called Sore Feet. It was the story of a small shoe shop and it’s owner, Cornelius O’Leary. I received a few personal rejection letters for that story, which kept me going for years!

Q. What inspired THE BOOK OF MISTAKES?
A. It started with a series of mistakes. For years I drew with pens because I liked the fluid feel of ink on paper. I liked how, with pen, a line can take on a life of it’s own. But often that life would lead to shapes and marks I hadn’t intended and could not erase. Because I loved to draw - and loved to draw with ink - I learned to deal with those accidents. If I messed up something in a face, I’d add glasses. If I didn’t like the way I’d drawn a hand, I might add gloves. And somewhere along the way I learned to enjoy how each mistake forced me to find a new way of looking at the world.

And I began to wonder if celebrating mistakes was something that could be taught.

In my years working as both a teaching assistant and artist in residence in elementary schools, I started to notice a pattern. In every class there would be one or two kids who, within minutes of starting to draw, were raising their hand asking for another piece of paper. They didn’t like what they were seeing. They wanted to start over. They wanted to make it perfect. It became my job to help them see the possibility in that mistake, to see how they could keep going and transform their drawing or painting into something that they still might love.

This all came home for me when my daughter was four years old. At that age she loved everything she drew. She didn’t see mistakes, only pattern and line and color and texture. And she LOVED to draw. Then one day, while drawing, she burst into tears and threw her paper on the ground. She had made a mistake. She couldn’t fix it.

And it broke my heart.

Not yet, I remember thinking. Not her. Not already. Not now.

So I wrote this book. For her. For them. For me. For anyone who has ever made a mistake.

Q. How did you pick the title of your book?
A. The title came before anything else. Originally, I was thinking of something along the lines of The BIG Book of Miskakes, which was a phrase that I wrote down in my notebook a few years before the rest of the story came along.

Q. What is your favorite part of the book? And was that part in the first draft?
A. The thing that made me laugh out loud, when I was writing the story, was the frog-cat-cow. Which I still love. And of course the tree! I drew the tree seven or eight times to get it just right (in part because it crosses the gutter twice) and I never got tired of redrawing it. Both of those were in the first draft. But I also love the spread where you see the silhouette of the forest, and just the topmost hint of the girl’s glasses. That page turn makes kids gasp when I read it in classrooms. One or two kids will see it first, and let out an audible “oh!” and then suddenly all the kids are looking to see what they saw, and then there will be a chorus of oohs and ahs and kids saying “It’s her! I see the girl!” It’s so fun!

Q. Why did you decide to tell the story in third person? 
A. The first half of the book came to me, all at once. And that was just the way it arrived! The second half was another matter, and took an entire year to sort out.

Q. How much of the story did you know when you began writing THE BOOK OF MISTAKES? 
A. I had a pretty good sense of the first half of the book. Which, at the time, I thought would be the entire book. I knew I wanted to include real mistakes that I make when I draw… so that first part was pretty easy. Originally, the story ended with the giant tree. And a line about how she wasn’t a mistake but was meant to be. But when I sent it along to (my now agent) Steven Malk, he felt like the ending could be stronger. It took me almost a year to find another way to end the story. It wasn’t easy, and I experimented a lot. And so I started to experiment with big splashes of ink. After that, it all came together pretty quickly, and the book doubled in size!

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. With this story, the words and pictures came simultaneously.

Q. Did THE BOOK OF MISTAKES receive any rejection letters? If so, how many (ballpark)?
A It didn’t. I have received many rejection letters—I’d been sending out manuscripts and book dummies for almost 16 years. But when I wrote The Book of Mistakes I knew it was better than anything else I’d written. So I sent it to Steve Malk, an agent at Writers House, with fingers crossed. And fortunately, he loved it (except for the ending). But it was still an entire year of revising the story before I came up with the ending as it is now. At that point he signed me on as a client and we sent the book out. It ended up going to auction, with five publishers interested in it. That part all happened very quickly, between Thanksgiving and Christmas. So it was seventeen years of very slow progress and then a few weeks where everything came together very quickly!

Q. Describe your reaction when you received an offer on THE BOOK OF MISTAKES.
A. I was over the moon! My husband and I both were. We jumped up and down a LOT. It was a pretty incredible time.

But then, pretty quickly, I realized there was still a lot of work to do! Which is a good thing, because in the end it is our relationship with the creative process (not the excitement of finding an agent and having a manuscript published) that will feed the next project, and the next…

Q. How long did THE BOOK OF MISTAKES take to be published—from the time you received an offer until it was printed?
A. It was very close to finished when we submitted it, but I did have to ink up some of the final scenes and redraw the tree, and then assemble some of the bits and pieces in photoshop. All of that back and forth with the publisher took another year.

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. Yes! There was a part in the original story that had to go. A boy, with extra wide fingers.

I still love him. But early on, Steve said something about how I was starting to repeat myself with that character and line. And as soon as he said that, I realized he was right, it had to go.

Q. What is your #1 tip to those who want to write picture books?
A. It takes patience and persistence, nothing in this industry moves quickly. (They call it the hurry up and wait industry for a reason.) But if you really love what you’re doing, if you’re passionate about making books for kids, you will persist. And your art will get better because of that. I have a favorite quote from Ira Glass that are worth repeating here:
“Nobody tells this to people who are beginners, and I really wish somebody had told this to me. 
All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years that you're making stuff, what you're making isn't so good. It’s trying to be good, it has ambition to be good, but it’s not that good. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit.  
And the thing that I would say to you, with all of my heart, is this—most everybody I know who does interesting, creative work went through a phase—they went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this.  And if you are just starting out or if you are still in this phase, you've got to  know it's normal.  And the most important thing you can do—is do a lot of work.  It is only by going through a volume of work that you will catch up and close that gap.  And the work you're making will be as good as your ambitions. 
I took longer to figure out how to do this than anyone I’ve ever met. It takes a while.  It’s gonna take you awhile. It’s normal to take awhile. And you've just got to fight your way through that— okay?” 

—Ira Glass 

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. As far as writing or illustrating exercises, I would just recommend this Chuck Close quote! Which I have found to be absolutely true and incredibly helpful. So much so, that I’ve quoted in a few other interviews, but I think it bears repeating over and over (and over) again:
“The advice I like to give young artists, or really anybody who'll listen to me, is not to wait around for inspiration. Inspiration is for amateurs; the rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself. Things occur to you. If you're sitting around trying to dream up a great art idea, you can sit there a long time before anything happens. But if you just get to work, something will occur to you and something else will occur to you and something else that you reject will push you in another direction. Inspiration is absolutely unnecessary and somehow deceptive. You feel like you need this great idea before you can get down to work, and I find that's almost never the case.” 

Q. What are you working on now?
A. I just finished illustrating a book called Adrian Simcox Does NOT Have A Horse, written by debut author Marcy Campbell, which is coming out August 14, 2018 from Dial Books. It is essentially a story about compassion and kindness. And seeing the world a bit differently. (The publishers description is: “Adrian Simcox tells anyone who will listen that he has a horse--the best and most beautiful horse anywhere. But Chloe does NOT believe him. Adrian Simcox lives in a tiny house. Where would he keep a horse? He has holes in his shoes. How would he pay for a horse? The more Adrian talks about his horse, the angrier Chloe gets. But when she calls him out at school and even complains about him to her mom, Chloe doesn't get the vindication she craves. She gets something far more important.”)

So now I am working on two new projects—one is my next book as author/illustrator. It is called my heart, my heart and is a meditation on/celebration of the heart. The art for that one is all monoprint printmaking and pencil, so it will look quite different from The Book of Mistakes!

I am also illustrating a middle grade novel by Carolyn Crimi, called Weird Little Robots, which will be released from Candlewick in the spring of 2019.

Q. Where can people find you? (Website, Twitter, Facebook, etc.)
A:
www.corinnaluyken.com
t: @corinnaluyken
IG: corinnaluyken
fb: corinna Luyken illustration

THE FIELD

February 25, 2018

Tags: THE FIELD, #firstpicturebook, Baptiste Paul, Jacqueline Alcántara, NorthSouth, 2018

Baptiste Paul is a dad, sports fan, woodworker, gardener, and school speaker. On March 6th, he will also be an author. Today he does a quick Q&A of his #firstpicturebook THE FIELD—an “excellent” (Kirkus Reviews) and “engaging book . . . sure to resonate with children who are passionate about soccer and even those who simply enjoy lively play. (School Library Journal)

Q. What inspired THE FIELD?
A.The inspiration for THE FIELD came about as a result of my childhood experiences. The idea for the story came while playing outside in the rain with my children. They were so happy running in rain, splashing in pools of water and rolling in the dirt. I saw myself in them and, although our childhood experiences were totally different, we found joy in the same exact thing.

Q. What is your favorite part of the book? And was that part in the first draft?
A. I like every part of the book. One of my favorite parts is when the kid is chasing the animals off the field. It was something we did everyday before we started our game. This scene was in the first draft and it was the only part where I included illustrator notes.

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. Kids getting into a little scuffle after a rough tackle from one of his friends was cut from the book. I believe that part was important simply because, there were days we got into scuffles with each other but we always found a way to settle our differences before the game ended.

Q. What is your #1 tip for picture-book writers?
A. Live life deliberately and ideas will find you. Record moments for later use. What works for one person might not work for the other. With life constantly evolving around me, I walk around all day with a memo book and a pencil tucked above my ear to record those moments.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A . When I’m working on a piece, I ask questions like who, what, why, where, when and how over and over again. I always think universal — similarities and differences. Most times those questions are being answered while I pace back and forth talking out loud to myself.

Q: Where can people find you? (Website, Twitter, etc.)
A. Website
Twitter: @baptistepaul
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