Karlin Gray

Former librarian and current Marketing Director at Kids Can Press, Naseem Hrab knows how long it takes to make a book. But even she felt like it took forever to publish her #firstpicturebook IRA CRUMB MAKES A PRETTY GOOD FRIEND—“A fast-moving text that speaks to the fear children have about being the new kid anywhere in life….especially welcome on the shelves for back-to-school storytimes and shared readings” (School Library Journal).

Q. Was IRA CRUMB MAKES A PRETTY GOOD FRIEND the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Nope, it was not the first picture book manuscript I wrote. In my early twenties, I wrote a story about a little girl who didn’t like the lunch her mom packed for her. My story was unoriginal and didn’t really have a compelling narrative—there are plenty of published books that tackle that topic better than my attempt. And I got a very kind, personalized rejection letter from the publishing company I had sent it to. Ten years later, I started taking improv classes and I finally learned how to craft a story.

Q. What inspired IRA CRUMB MAKES A PRETTY GOOD FRIEND?
A. The story is inspired by my own experiences making new friends—I was the new kid in fourth grade. Sometimes, this loud, gregarious part of my personality comes out when I’m meeting new people and it feels like it’s TOO MUCH!!! And when I was a kid, I once tried so hard to make friends with this one kid that I made her cry. Yikes!!! I think I’ve learned a lot since that time in my life.

Q. How did you pick the title of your book?
A. The title popped into my head when I was writing the book. I like to write drafts with a title in mind because it helps me to frame up the narrative. Later on, after the book was accepted at Owlkids, a few different title options were suggested, like “Ira Crumb: New Kid Seeks Friend,” but I always felt like IRA CRUMB MAKES A PRETTY GOOD FRIEND fit the book best because it seems to make people laugh when you say it (“He’s just a pretty good friend? Not a GREAT one?”) and because of the double meaning—Ira is a pretty good friend and he also makes a pretty good friend in Malcolm.

Q. Do you write by hand or on the computer?
A. Both! Typically, when I start working on a story, I'll write by hand using a pencil or a really inky pen—something that lets me write really fast and loose. In these early stages, every idea matters, so I avoid using an eraser or crossing anything out. My notes start out so messy! As the narrative starts to reveal itself, my notes will get neater and neater and that’s a sign that things are cooking, so I move to my laptop.

Q. What is your favorite part of the book? And was that part in the first draft?
A. One of my favorite parts of the book is when Ira lets an anteater know he’s got a booger in his nose cave. It definitely wasn’t in the first draft—I came up with the line much later on.

Q. How did you select the names for your characters?
A. Sometimes I choose the names of people I know and, other times, like with the name Ira Crumb, a name pops into my head and feels right. (Also, in super early drafts, Ira was a small piece of cake, so that’s how he originally got his last name.)

Q. Why did you decide to tell the story in third person?
A. I feel like the story is told in a combination of third-person narrative and first-person action and dialogue. The narrator’s descriptions and Ira’s reality are kind of at odds with each other in certain moments, and this dichotomy makes for a lot of humorous moments.

Q. How much of the story did you know when you began writing IRA CRUMB MAKES A PRETTY GOOD FRIEND?
A. I wanted to tell a story about an animal interviewing potential new friends, and then that turned into a story about a piece of cake trying to make friends, and then that turned into a kid who tried too hard to make friends. So, I guess I didn’t know much when I started writing the story!

Q. Did IRA CRUMB MAKES A PRETTY GOOD FRIEND receive any rejection letters? If so, how many (ballpark)?
A. Ira came to be published in a neat way: I had workshopped Ira in a writing club I had formed with a few publishing and librarian folks. (I’m a former librarian and I work as a marketing director for a children’s publishing company.) One of our members, Karen Li, is the editorial director of Owlkids. After reading the manuscript in our club, Karen asked me to submit it to Owlkids. The manuscript was presented to their editorial board under the pen name Abe Bishop and that was that!

Q. Describe your reaction when you received an offer on IRA CRUMB MAKES A PRETTY GOOD FRIEND.
A. OMG. DREAMS *CAN* COME TRUE. And then I bawled.

Q. What kind of input did you have in choosing an illustrator for the book?
A. Karen is incredibly collaborative, so we discussed what style we thought might be the best fit for the book and we were both on the same page. When she put forth Josh Holinaty’s name, I was super excited—I was familiar with his work in children’s books. I love how sophisticated, energetic and colorful his illustrations are.

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Josh’s illustrations are so expressive and lively. He is so good at capturing emotion and movement. Ira has a larger-than-life personality and Josh made that personality a reality. Also, Josh and I seem to find the same types of things funny, so I was thrilled with all of the humor that he brought to the story. His illustrations make me laugh out loud!

Q. How long did IRA CRUMB MAKES A PRETTY GOOD FRIEND take to be published—from the time you received an offer until it was printed?
A. About two-and-a-half years. Owlkids expressed an interest in publishing Ira in January 2015 and the book was released in August 2017. I’ve worked in book publishing for over ten years and I know it takes a long time to make a book, but this felt like FOREVER to me.

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 first sat down with my editor to discuss the manuscript, I said, “I’ll change anything you want, but I can’t take out the ‘You’ve got a booger in your nose cave, pal!’ line. It’s the funniest thing I’ve ever written.” And she said, “Hmm … I was going to ask you to consider taking that line out.” I didn’t take it out and I don’t regret it. I think it’s the line that kids will find the funniest. That said, the thing with editorial feedback is that you normally should listen! Because 1) your editor wants to make the best book possible with you, and 2) you have to trust that if she suggests you change something, it’s because what you’ve written might not be working. And it’s your job to figure out solutions to the issues your editor points out. I love that quote about “killing your darlings” that’s attributed to every great writer, so let’s quote Stephen King’s version: “Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.”

Q. What is your #1 tip to those who want to write picture books?
A. Focus on capturing emotion in your story. How does your character feel about what is happening to them? If you focus on your character’s emotions, their reactions and actions will reveal themselves to you. And if I had to give a #1.5 tip, it’d be: finish every draft you start.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. My favorite writing exercise is writing a “vomit draft.” It’s important to realize that nothing is going to be perfect in your first draft (or even a second or third draft), so you need to get something, anything, down on paper to give you something to work with and build on. My favorite marketing tip is: write a great book that people will talk about. Word of mouth is the #1 best way to get your book into the hands of readers.

Q. What are you working on now?
A. Right now, I'm working on a draft for a potential Ira Crumb 3. The second book in the Ira Crumb series is coming out in Fall 2018 and it’s tentatively titled IRA CRUMB FEELS THE FEELINGS. I also have a picture book coming out with Groundwood Books in Spring 2019—it’s called WEEKEND DAD and it’s completely different than the Ira books. It’s more serious and was inspired by my tenuous relationship with my father. I'm also working on a few other picture book ideas.

Q. Where can people find you? (Website, Twitter, Facebook, etc.)
A.
NaseemHrab.com
Instagram: Naseemo
Twitter: @Naseemo
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Fresh out of art school, Jess Hong attended a book fair and showed her book dummy to Marissa Moss, an editor at Creston Books. The result was her #firstpicturebook which will be available October 1. Today she tells us how LOVELY—“a lively ode to being different” (The New York Times Book Review)—came to be.

Q. Was LOVELY the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. LOVELY is the first picture book I ever wrote or illustrated. It’s really surreal to see this project come into fruition!

Q. What inspired LOVELY?
A. The idea of making a conceptual children’s book always interested me, and I wanted the message of it to be inclusive and positive. The message is simply everyone is different and that is lovely. There are all kinds of people in this world, with an ever growing spectrum of differences. I think it’s important for kids to be able to learn that at a young age. It went through many changes and fine tuning but I’m very happy with where the book has landed.

Q. How did you pick the title of your book?
A. I wanted a variation of the word “beautiful”.  “Lovely” felt more descriptive and enrapturing of a person as a whole.

Q. Do you write by hand or on the computer?
A. I wrote most of this book on post it notes.

Q. What is your favorite part of the book? And was that part in the first draft?
A. I really like one of the spreads that features unique legs and feet. The idea was in the first draft, but the components and surprises in it were developed over the whole process.

Q. Why did you decide to tell the story in third person? 
A. Since it isn’t a traditional story and more of a concept book it felt right to me for the overall tone.

Q. How much of the story did you know when you began writing LOVELY? 
A. I had a super clear idea but a lot of the components of the book really was a gradual process. Things were added in all the way up to the end.

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. I wrote a pretty loose version of the story first. I had some clear “opposite” concepts I really wanted to illustrate so I created those first and then made the story work around those. A lot of the pages were also open to interpretation illustration wise, so it was a fun journey figuring it all out.

Q. Did LOVELY receive any rejection letters? If so, how many (ballpark)?
A. I was lucky enough to meet my editor (Marissa Moss of Creston Books) at a book fair the summer I graduated art school. I had literally just finished the dummy and it all worked out quite serendipitously.

Q. Describe your reaction when you received an offer on LOVELY.
A. Joy and elation. Slight shrieking. Frantic texting to share the news.

Q. How long did LOVELY take to be published—from the time you received an offer until it was printed?
A. About 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’m actually quite happy I didn’t have to edit out anything! I ended up adding and changing the story a lot throughout the whole process, and I had an amazing support system of my publishing team, teachers, and fellow children’s book illustrators and authors as a sounding board.

Q. What is your #1 tip to those who want to write picture books?
A. I spent a long time just immersing myself into the world of children’s books and picking up ideas and inspiration. It gave me a great starting point and helped me understand what would work for my book.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. I met my editor at a book fair. My tip is to get out there and show people your work whenever you can. You never know who will be there and what kind of connections you can make.

Q. What are you working on now?
A. I’m a full time illustrator at Papyrus. My day job and freelancing on the side is keeping me on my toes these days. 

Q. Where can people find you? (Website, Twitter, Facebook, etc.)
A.
Website: http://www.jesshong.net/
Instagram: https://www.instagram.com/jesshongdraws/
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After three years of rejection, I finally sold my second picture book biography! (Check back in a few weeks to learn more about that project.) Honestly, I stopped keeping track of how many rejection letters it received once it reached 50. “We like it, but we don’t love it” seemed to be the running theme. But it wasn’t until one publisher sent me a long and thoughtful email with specific suggestions, that my manuscript clicked, clicked, CLICKED into place. So to celebrate acceptance after so much rejection, I’m reposting 10 Q&As with these #firstpicturebook authors:

Nancy Churnin: “The rejection letters came in three phases. The first phase was for the version of the story I wrote before I realized I needed to study this craft. There were lots of those! The second phase was after my lovely agent, Karen Grencik, took me on hours after reading the version I had written after taking multiple courses and challenges and gotten help from fabulous critique partners. Those were personalized and regretful rejections which were a big step up from the form letters I had gotten after submitting to the slush piles. The third phase came after I carefully considered a common thread in the comments in the rejections….”

Deborah Freedman: “SCRIBBLE received three rejection letters, for three different versions of the story. After each “pass”, I went back and started all over again. Two years of revisions definitely made the story much stronger, and I’m truly indebted to the two editors who took the time to give me honest feedback.”

Josh Funk: “I sent it to 36 agents. Two responded as if they read it. Ten sent me form rejections. The other 24 were black holes (I never received a response). So I gave up on agents. I sent it snail mail to 10 publishers that accepted unsolicited submissions. One sent back a rejection. 8 never responded. So that all adds up to 45 rejections and ...”

Ed Masessa: “My agent, Marcia Wernick, helped me polish the draft and sent it to a half dozen or so editors over the course of several months. They all came back with a “well done, but…” And all of the ‘buts’ hit upon a central theme – the story dragged. So I kept the bones of the story and went to work on picking up the pace and the fun factor.”

Brittany R. Jacobs: “We had one heckuva time selling the Kraken, and it was because of the artwork. About 20 houses turned us down because they didn't love my illustration style. There was even a point where I considered selling the manuscript and letting someone else do the artwork. Thankfully Pow! saved the day and offered a contract for both text and illustrations, and we ended up with a lovely book.”

Lori Alexander: “Oh, yes! Pre-agent, I sent the early versions to various publishers and ended up in their slush piles. There were a handful of non-responses and some form rejections. I nearly gave up at that point. The process was so slow and I didn’t feel like I was learning enough from the rejections. But the more I read, the more I realized rejections are all part of the business.…”

Camille Andros: “A. Yes! Of course! Probably around two dozen or so from agents and then editors. But I wasn't really shopping Charlotte around as much as I was THE DRESS AND THE GIRL which was the first book I wrote and was more focused on initially. That book got lots and lots of rejections, but each personalized rejection (they weren't all like that of course) and the feedback that came with it was so helpful in improving each manuscript.”

Katey Howes: “Oh, yes! I received at least ten very nice rejection letters for GRANDMOTHER THORN before getting the incredibly exciting call from Rob Broder of Ripple Grove Press. Most of the rejections claimed to love the lyricism and symbolism of the story, but said that it would be a tough sell in the current market because it was “quiet.” Several agents who read GRANDMOTHER THORN asked to see other works from me.”

Emma Bland Smith: “I didn’t receive many rejections for this manuscript, but I want to state that I have received many dozens, maybe even hundreds, of rejections, in total, for all my of manuscripts, over the six or so years I’ve been submitting! And I still am. With JOURNEY, it was a case of the right story getting to the right publisher at the right time. I’m very grateful.”

Susan Hood: “My first version had the same main character and the same ending, but it was a completely different story. A more modern story. My editor thought it had possibilities, but it was rejected in Acquisitions. I was so disappointed, I stuck it in a drawer for years.”

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To celebrate #NationalToothFairyDay, I'm reposting Susan Hood's #firstpicturebook Q&A on THE TOOTH MOUSE—"a fresh, modern take on an itty-bitty heroine's achievement of her seemingly impossible goal" (Kirkus Reviews) with "such a unique ending that listeners and their parents will smile with the cleverness of it all" (Publishers Weekly, starred review). Click here to read full interview.  Read More 

Magazine writer Jill Nogales always rode the carousel's zebra when she was a child. But it wasn’t until she read about a circus animal escape that her zebra took off! Today she shares the story of her #firstpicturebook ZEBRA ON THE GO —“a beautiful tapestry of art, humor, and friendship” (School Library Journal) and “a solid read-aloud that is equally entertaining for both adults and children” (Kirkus Reviews, starred review)

Q. Was ZEBRA ON THE GO 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 have been writing magazine stories, as well as educational and religious materials, for children for several years, but ZEBRA ON THE GO is my first serious attempt at writing a picture book.

Q. What inspired ZEBRA ON THE GO?
A. I read a brief article in the “Odds and Ends” section of the local newspaper about how a circus had come to town somewhere back east and one of the show animals had escaped during a performance causing a big ruckus in that town. That was it. No details. Which wasn’t at all fair because I wanted to know more! So I started imagining possible scenarios and that sparked the idea for ZEBRA ON THE GO.

Q. How did you pick the title of your book?
A. Honestly, I never gave the title much thought. It’s a phrase that is repeated throughout the story and it seemed like the right title from the very beginning.

Q. Do you write by hand or on the computer?
A. The computer is my preferred method of writing, but if I’m away from my desk and I get a really fabulous idea, I’ll write it by hand. Part of ZEBRA ON THE GO came to me in the middle of the night on a family camping trip. I didn’t want to wake up my kids, so I wrote it on a napkin with a crayon in the dark.

Q. What is your favorite part of the book? And was that part in the first draft? (Please send image of this page if you can.)
A. My favorite part of the book is where Zebra is hiding on the carousel pretending to be one of the horse figurines. It’s a fond childhood memory, I suppose. When I was young, my parents took me for rides on a carousel that had a zebra. My brother always chose one of the big fancy horses. But I rode on the zebra.

Q. Why did you decide to tell the story in third person? 
A. First person didn’t seem right for this story because Zebra and Lion are focused on the chase and pretty much unaware of the chaotic ruckus they are causing as the story progresses. I wanted a broader perspective on the story events and third person let me do that.

Q. Why did you decide to write the story in rhyme? Did you write a version in prose?
A. ZEBRA ON THE GO is an action story. I felt that rhyme would make the story snap and keep the flow of energy going.

Q. How much of the story did you know when you began writing ZEBRA ON THE GO ? 
A. When I began writing ZEBRA ON THE GO, I just had the first half in mind. Originally, the scene where Zebra is hiding on the carousel was the grand finale. But then a critique partner pointed out that Lion would not give up the chase so easily. Obviously, right? I kept writing and brought the story full-circle. 

Q. Did ZEBRA ON THE GO receive any rejection letters? If so, how many (ballpark)?
A. There’s never a shortage of rejection letters in my inbox, but ZEBRA ON THE GO actually received very few. I started out by submitting it to 3 or 4 agents and they were all interested but wanted to see 2 more manuscripts which I unfortunately didn’t have. So I submitted ZEBRA ON THE GO to a few publishing houses on my own and it was snatched up pretty quickly.

Q. Describe your reaction when you received an offer on ZEBRA ON THE GO.
A. Very excited! Dream come true!!

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. When I first saw the sketches and jacket cover, I was amazed at how perfectly the illustrator, Lorraine Rocha, understood the big ruckus I had in mind when I wrote the text. She did an incredible job with ZEBRA ON THE GO. Her illustrations are so fun and delightfully detailed. 

Q. How long did ZEBRA ON THE GO take to be published—from the time you received an offer until it was printed?
A. Almost 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. Not one word was changed from the original manuscript -- for which I’m grateful because it could have messed up the rhyme and that would have been complicated to rewrite!

Q. What is your #1 tip to those who want to write picture books?
A. Embrace and enjoy the process. By “process,” I mean going to bookstores and libraries to analyze the newest picture books, joining a critique group and SCBWI, and of course actually writing. Luck sometimes plays a part, but writing a picture book is mostly a lot hard work. It’s tough to conjure one up overnight. It’s a process. So embrace and enjoy it!

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Get to know the owners of nearby independent bookstores. These people know how to market books, they have connections, and most often they are happy to offer advice and guidance to debut authors.

Q. What are you working on now?
A. I’m still writing magazine stories as well as educational and religious materials. But I also have a few more picture book manuscripts in the works.

Q. Where can people find you? (Website, Twitter, Facebook, etc.)
www.jillnogales.com

Thank you for this opportunity to share about my first picture book, Karlin, and best wishes to all of your readers!
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"That's just the way the story came out" was the most popular answer to this question. But these writers had specific reasons for their point-of-view choices. Clink on the answer to read more from each author's #firstpicturebook Q&A:

Hannah Barnaby, author of BAD GUY and GARCIA & COLETTE: “For me, the point-of-view for any story comes organically from the mood and tone of the story itself. BAD GUY is a character piece with a surprise at the end, so first-person/present-tense supports that effect. GARCIA & COLETTE is a more traditional friendship story with a very clear structure, so third-person/past-tense felt just right for it.”

Miriam Glassman, author of HALLOWEENA: “Because it is based on a fairy tale, I felt it should have a fairy tale feel to it. So from the very first draft, it was in third person. Also, by not telling it all from Hepzibah’s point of view, it was much easier to show the mother-daughter struggle.”

Tara Lazar, author of THE MONSTORE: “Aha! I had originally written the story in first person, in Zack’s voice, but my editor asked me to change it. That was so we could get some fun repetition with Zack speaking, as in “Zack wanted a refund. ‘I want a refund!’”

Shennen Bersani, author of ACHOO!: WHY POLLEN COUNTS: “I felt the third person drives home the science facts and importance of the subject, while allowing children to put themselves in the story more easily.”

Hrefna Bragadottir, author of BAXTER’S BOOK: “I played around with telling it in third person, but it just didn’t feel as strong. I wanted Baxter to talk directly to the reader in the present moment to get a better sense of the journey he goes on. It keeps it short and sweet.”

Cheryl Lawton Malone, author of DARIO AND THE WHALE: “I use third person to tell the story from two points of view—Dario’s and the whale’s. First person might confuse readers because of the two points of view/perspective.”

Susan Farrington, author of WHAT I LOVE ABOUT YOU: “It seemed natural to tell the story in the first person. I wanted the child to feel the parent/caregiver was speaking directly to them.”

Gaia Cornwall, author of JABARI JUMPS: “I did versions of it in first person and in the end I liked the rhythm of how it sounded out loud in third person. But also it let the dad be a character in his own right as opposed to seeing him through Jabari's eyes-- as you would in first person. I think this way, adults will find him relatable, just like the kids will see themselves in Jabari.”

David Litchfield, author of THE BEAR AND THE PIANO: “I didn't really think about it at the time. But now that I am thinking, maybe it's because if I had written it from the Bear’s perspective and have the bear narrate it would have broken the Magic a bit. After all, if the bear can talk and tell us the story, it's not to far to stretch our belief that the bear can play the piano. So maybe, sub consciously, that's why I wrote it in the third person.”

Hazel Mitchell, author of TOBY: “Originally I wanted it to be almost wordless. But as I worked on the story with my editor and art director, we felt more words were needed. So it's mostly conversational in graphic panels, with some short lines in first person to lead the reader from one scene to another. It's good for the parent to have something to read aloud and not just to look at the pictures and also gives the child something to linger over.”

Robin Newman, author of HILDIE BITTERPICKLES NEEDS HER SLEEP: “I like that you can confide facts to the reader with a third person narrator.”

Brittany R. Jacobs, author of THE KRAKEN’S RULES FOR MAKING FRIENDS: “In the beginning I toyed around with telling the story from the Kraken's point of view, but I wanted to show why the fish don't like him. He's big and scary and has a terrible temper. Bringing the narration out to third person allowed for the reader to experience more of the characters.”

Jodi McKay, author of WHERE ARE THE WORDS?: “Well, for a couple of reasons. One, I figured that if I wrote it in first person, then these unconventional characters may feel more relatable and two, I wanted this to be a simple story with a twist. I imagined children reading it and discovering that the characters speak as their roles dictate. That, to me, would be an incredible learning opportunity.”

Curtis Manley, author of THE SUMMER NICK TAUGHT HIS CATS TO READ: “The first four years of my working on it, the story was in first person. I felt that made it more immediate. But first person isn’t always the best choice for a read-aloud. My editor asked me to try it in third person; that allowed the humor to come out more, so we kept it that way.”

Jason Gallaher, author of WHOBERT WHOVER: OWL DETECTIVE: “I thought third person served Whobert's story better because a narrator sort of gives Whobert a little credibility in his detective work. Whobert is a dunce detective, but he doesn't know it, and he really does want to do good in his community. I thought by having an omniscient narrator detailing his exploits, it would give this sort of subconscious recognition that at least somebody thinks Whobert's life is noteworthy even if he's not fully aware of his surroundings.”

Megan Wagner Lloyd, author of FINDING WILD: “It’s actually in second person, which wasn't a conscious decision for me--once I got the voice of the piece rolling, I just went with it.”
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Even though Tracy Marchini is a literary agent and YA and middle-grade author, she didn't play it cool when she got an offer on her debut picture book. Today she tells us how she created and celebrated her #firstpicturebook CHICKEN WANTS A NAP—coming August 15! (See Goodreads giveaway link below to win a copy!)

Q. Was CHICKEN WANTS A NAP the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. CHICKEN WANTS A NAP wasn’t the first (or even the second, third, fourth…) picture book I wrote. The first picture book was about a collection of animals that find a hat and while I did send it out on submission, it’s found a home on my computer hard drive where it will probably stay indefinitely!

Q. What inspired CHICKEN WANTS A NAP?
A. At the time, I was a full time grad student who was working part time, and one of my assignments was to write about a character’s best or worst day. I was so exhausted and a nap sounded like the best thing in the world to me – so I wrote about a Chicken who also would love a nap, but was constantly interrupted.

Q. How did you pick the title of your book?
A. The title and the first line are the same, and they just kind of popped into my head as I was thinking about the assignment.

Q. Do you write by hand or on the computer?
A. I like to do both. If I’m stuck on something, I’ll write it out by hand. I always feel like I am a little more creative when I’m writing by hand first. There’s something about the feel of pen on paper, and it also gives me the opportunity to do a quick line edit as I enter it into the computer.

Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part is the end (though I’m not going to spoil the ending for you!) and it was in the first draft.

Q. How did you select the names for your characters?
A. Chicken is a chicken, and there was something about the naturally sparse text that seemed to fit with the simple name.

Q. Why did you decide to tell the story in first/third person?
A. Because the story deals with naps, it always felt natural in third. I think first person would have been too close, and would have changed the tone considerably.

Q. How much of the story did you know when you began writing CHICKEN WANTS A NAP?
A. I knew that I was tired, but the rest came to me as a wrote! I did know that I loved the structure of Remy Charlip’s Fortunately, so that was definitely something I was going for. Something about the original assignment (best or worst day) must have sparked that memory – and I think a lot of the humor comes from the back and forth of being successful… until the reader turns the page and Chicken is once more thwarted.

Q. Did CHICKEN WANTS A NAP receive any rejection letters? If so, how many (ballpark)?
A. So, this is completely unusual, but I only sent CHICKEN to one publisher that I had worked with in the past and knew would be a good fit. But most authors aren’t going to sell a book without at least one rejection for that manuscript, and I certainly have rejections from previous picture books.

Q. Describe your reaction when you received an offer on CHICKEN WANTS A NAP.
A. There was a lot of dancing, some annoying singing (“I sold a boooooook!”) and I think even a little bit of the running man. I was not chill about it – at all!

Q. What kind of input did you have in choosing an illustrator for the book?
A. No input, which is common. Luckily, I love Monique’s art in general and also what she did with CHICKEN WANTS A NAP in particular!

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. “That’s one good lookin’ Chicken!”

Q. How long did CHICKEN WANTS A NAP take to be published—from the time you received an offer until it was printed?
A. About three months shy of two years from offer to publication.

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. The text is only about 165 words, but my editor and I went back and forth on just the right wording for quite a bit. It wasn’t so much editing out something that I loved, but figuring out how to tighten the text so that it was even better!

Q. What is your #1 tip to those who want to write picture books?
A. Write and read as many of them as you can until picture book structure becomes an innate part of your craft. (Tip #2 would be to jot down a couple of picture ideas and then ask yourself with each idea, “How can I take this idea and flip it into something new/clever/funny/etc.?”)

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. If you’re stuck, change your scenery. Take a walk, go to your library, or make something with your hands (knit, sew, color – something!) Let your subconscious do some work on the problem and come back to the manuscript fresh.

Q. What are you working on now?
A. Right now I have a couple of picture book ideas that I’m revising and one that I’m drafting. There aren’t any chickens in these manuscripts… yet. (There is a duck though!)

Q. Where can people find you? (Website, Twitter, Facebook, etc.)
A. Website: www.tracymarchini.com
Twitter: www.twitter.com/tracymarchini
Facebook: www.facebook.com/tracymarchinibooks
Enter to win CHICKEN WANTS A NAP at www.goodreads.com/giveaway/show/241397?utm_medium=api&utm_source=giveaway_widget
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Illustrator Gina Perry grew up being the smallest in her class and in her family. But on August 1, something big is happening—her author/illustrator debut! Today Gina shares the story about creating #firstpicturebook SMALL.

Q. You worked as an illustrator before SMALL. How did you make the transition to writer/illustrator and how does it compare with being an illustrator of someone else's work?
A. I tinkered with story ideas for many years, but made writing a priority when I had my children. I knew juggling hectic illustration deadlines and babies was not in the cards for me, so I became my own client. I paid myself nothing, but demanded that I write as much as possible and never quit on my ideas. The “kidlit” community is full of amazing resources once you open that door.

Illustrating my own books is amazingly different. I am still adjusting to the idea that I am in control of all the little details that were previously dictated to me by an art director. I have really enjoyed working with an editor to keep pushing my work to be it’s best. It feels far more like a partnership than any of my previous illustration assignments. Although, to be honest, I have been extremely fortunate in having nothing but great experiences with my illustration clients.

Q. Was SMALL 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 I wrote was called TOO MUCH! NOT ENOUGH! It will be published Summer 2018 by Tundra. I first had the idea, starting with that refrain of the title, ten years ago. Did I mention that I never quit on my ideas?

Q. What inspired SMALL?
A. I was the smallest child in my grade until high school and also the smallest kid in the family. I was quite shy, even until my thirties. I wrote SMALL as a poem in a small sketchbook (but of course!) in a waiting room. The first draft was personal but I felt like I had something special right away.

Q. How did you pick the title of your book?
A. I might ramble on in real life and interviews, but I generally like to pare down my writing to the barest structure of words possible. I had a few longer variations, but it eventually seemed that SMALL was just the right fit.

Q. Do you write by hand or on the computer?
A. I wrote several versions of SMALL by hand. I will often jot down titles or rough ideas in sketchbooks or even in my phone’s note app. Once I am ready to really flesh a story out, I will write and revise on the computer.

Q. What is your favorite part of the book? And was that part in the first draft?
A. I think my favorite part of the story is when she sings big. I love all her big moments, but that one hits me hardest. I love music and singing, but would never have been so brave to sing alone in front of a crowd at that age.

Q. Why did you decide to tell the story in first person?
A. It flowed out of me in first person, so I never imagined it any other way. I also hoped that it would allow children to place themselves in her shoes and feel big along her journey.

Q. How much of the story did you know when you began writing SMALL?
A. I knew it would be about a small girl but was completely blank on the plot for at least a year.

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. I sketched out several different concepts for the story, and there were some wonderful images that were lost to revisions, but each draft helped me understand the character better.

Q. Did SMALL receive any rejection letters? If so, how many (ballpark)?
A. My agent smartly knew that SMALL needed a revision but I felt so confident in that version that she sent it out. I think I needed the kind, encouraging rejections to assure me that I did need to revise. I took some time to revise and resubmit, but it was 1000% worth the wait and work when it found a fast home with little bee books. I did have to revise the text before I received an offer, but it was a really positive process.

Q. Describe your reaction when you received an offer on SMALL.
A. I was in a parking lot and had my daughter in the car with me. It felt perfect that it was just the two of us (plus my amazing agent, Teresa Kietlinski, on the phone!). I am TERRIBLE at reacting big to good news! I think it took a long time to absorb the awesomeness of that moment. I have definitely teared up about a million times between then and now. Never before had I worked so hard and long on a goal in life, knowing there was no guarantee that I would reach it.

Q. How long did SMALL take to be published—from the time you received an offer until it
was printed?
A. It was two years from accepting the offer until publication. As luck would have it, I had just accepted another book job as an illustrator and I couldn’t make the original deadline for Fall of 2016. SMALL had to wait another year, but I was glad to not feel rushed for my author/illustrator debut.

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. Actually, the revisions I made with Jenna were to add more text and another spread. In a very old version I showed the main character brushing her teeth where we just see the top of her head and eyes in the mirror. I really loved that moment, but it actually shows up in a similar way in my next book. I love being an illustrator and using discarded ideas in new ways.

Q. What is your #1 tip to those who want to write picture books?
A. Read as many picture books as you can haul from the library as often as you can. And read them aloud, preferably to an audience. I always knew I loved the images and the stories, but until I was reading to my own children I didn’t realize how much I loved the performance of reading picture books. It might seem like obvious advice, but I think it’s an easily overlooked part of the process.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. If at all possible, find a debut author/illustrator group for your first book. I am incredibly grateful for the support from Picture The Books 2017. This is an amazing, but quirky and frustrating field, and you’ll need all the support you can get. I found mine by being active on social media and answering a call for new picture book authors and illustrators. We work SO hard to get published, and then get tossed into entirely uncharted waters to market our books. Friends in the same boat will be your informational and emotional lifeline.

Q. What are you working on now?
A. I recently finished final art on TOO MUCH! NOT ENOUGH!, out Summer 2018, and will be starting another picture book with Tundra this fall.

Q. Where can people find you? (Website, Twitter, Facebook, etc.)
A. http://www.ginaperry.com/
https://twitter.com/ginamarieperry
https://www.facebook.com/ginaperryart/
https://www.instagram.com/ginapineapple/
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YA author and literary agent Marie Lamba wrote her first picture-book manuscript 30 years ago but it wasn't until this past May that a different manuscript became her #firstpicturebook. Today she tells us all about GREEN GREEN: A COMMUNITY GARDENING STORY—“an attractive read-aloud for beginning lessons on gardening” (School Library Journal) that she co-wrote with her husband, landscape architect Baldev Lamba.

Q. Was GREEN GREEN 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 very first picture book manuscript I wrote was a monstrosity call MONKEY FEET AND PEANUT BUTTER SANDWICHES. That was about 30 years ago. Actually it wasn't horrible, but it wasn't a picture book either. More of a schtick -- you know, a quirky idea that didn't really go anywhere.  I subbed it around and was rejected widely.

Q. What inspired GREEN GREEN?
A. 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.
 
Q. How did you pick the title of your book?
A. GREEN GREEN is a phrase used throughout the story. The subtitle: A COMMUNITY GARDENING STORY was added by the people at Macmillan to give it a solid hook for book buyers interested in this type of gardening.
 
Q. Do you write by hand or on the computer?
A. For this book, I wrote long-hand in a notebook that I always keep on my bedside. It may or may not have been written around 4 a.m. or so!

Q. What is your favorite part of the book? And was that part in the first draft?
A. I love the way the land changes throughout the story, becoming a character in a way. And that was always there in the book.

Q. Why did you decide to write the story in rhyme? Did you write a version in prose?
A. Actually the book is part rhyme and part prose, and the hope was that this made it a read that would flow and feel lyrical without feeling forced. Repetition plays its part in the story because I really wanted to show how in every stage, the land was changed in a similar way.  Digging made a small garden grow. Digging (with machinery) made a large city grow. And digging with the help of the community, brought a green space back to the city.  

Q. How much of the story did you know when you began writing GREEN GREEN? 
A. I have to admit, I just started writing, and the story grew and grew!

Q. Did GREEN GREEN receive any rejection letters? If so, how many (ballpark)?
A. While my first book (the MONKEY FEET one) garnered quite a huge slew of rejections, GREEN GREEN was picked up right away by an editor who happened to love community gardening.

Q. Describe your reaction when you received an offer on GREEN GREEN.
A. It was a serious thrill!  And, while I have published several YA novels, this is my first picture book -- which makes it very special. And it is the first book my husband has ever had published -- so he was very kid in the candy store.

Q. What was it like working with your husband who is your co-author?
A. Over the years, Baldev and I have co-authored a number of garden-related articles for magazines including Garden Design, Your Home and Gardens & Landscapes. But this was an entirely different realm for us as a team. He trusted my ear when it came to the language throughout the book. I trusted his experience when it came to pulling together the back matter, which points to ways kids can be GREEN GREEN and can help threatened Monarch butterflies and honeybees.  Baldev was especially helpful in pointing out things that could be in the abandoned urban lot, or that needed to be present in the garden. He's actually worked with a number of community groups in Philadelphia to create community gardens, so he really knows his stuff.

Q. What kind of input did you have in choosing an illustrator for the book?
A. Sonia Sanchez is SUCH A TALENT!  Our original editor, Susan Dobinick, had her in mind, and once we saw her portfolio, we just knew this was the perfect illustrator for this project. Susan did let us weigh in on if we felt Sonia was a good fit -- but I believe that writers don't always have this opportunity.  After Susan went to work elsewhere, editor Grace Kendall took the helm, and we worked closely with Grace when we saw the first pass of illustrations from Sonia, to make sure that needed factual details were in place. But all other details were up to Sonia to interpret. 

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. The diversity of the children in every page. As parents of biracial children ourselves, we couldn't be more thrilled about this!

Q. How long did GREEN GREEN take to be published—from the time you received an offer until it was printed?
A. The offer came in June 2014, and the book came out May 2017.  Yup, 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. GREEN GREEN was an unusual manuscript for me. It just flowed.  The editor asked us to add a bit more to the city building and the community garden building scenes, so a few more stanzas were written for that, but essentially it's not very different from its first draft.

Q. What is your #1 tip to those who want to write picture books?
A. Keep a notebook on hand at all times!  You never know when those essential truths will flow out. For me, my biggest ideas manifest themselves in the early morning, or on long walks.  If I don't catch them on paper, they sometimes fade like a wisp of smoke.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Support all of your local bookstores. Buy books there. Ask for advice about reads. Steer others to these stores. Buy books there as gifts, or purchase gift certificates. And support your library. Someday they will support you by stocking your books and hosting your events. More importantly, though, a vibrant network of bookstores and libraries means a sure way to grow readers. It's all about being a part of that community and making sure that community thrives.

Q. What are you working on now?
A. I just finished a magazine article for Writer's Digest, co-authored with my daughter, Cari Lamba, who is the newest agent at The Jennifer De Chiara Literary Agency (where I am an agent). Also, my next picture book, working title A DAY SO GRAY, has been picked up by Clarion, and I'm excited to see what illustrator is selected for that one. Other than that, I have a number of picture book ideas and a middle grade stewing away. I'm hoping to find some time to work on these over the summer.

Q. Where can people find you? (Website, Twitter, Facebook, etc.)
A:
Website: marielamba.com
Twitter: @marielamba
Facebook: Marie Lamba, Author
Agent at Jennifer De Chiara Literary Agency: jdlit.com
Goodreads author page, too

Thanks so much for having me here, Karlin!
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Merman-turned-picture-book-writer Jason Gallaher will make a splash on July 18 with WHOBERT WHOVER, OWL DETECTIVE—"A cracking whooooo-dunit" (Kirkus Reviews) and "a satisfying and rousingly silly read-aloud" (Publisher's Weekly). Inspired by titles that pop into his head, Jason shares the story behind his #firstpicturebook:

Q. Was WHOBERT WHOVER, OWL DETECTIVE the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. WHOBERT actually was the very first manuscript I ever wrote. However, I just recently found a first draft, and how WHOBERT looks today is not even close to how the manuscript originally looked (and I will never ever ever ever EVER let anyone look at that first draft. Lord and Taylor, was it a doozy). I was so intimidated by picture books at the time, but I really wanted to try my hand at them because they can be so move-you-to-tears beautiful or laugh-til-your-ribs-hurt funny.

Q. What inspired WHOBERT WHOVER, OWL DETECTIVE ?
A. I typically write by titles, and one day while trying to get through a grad school paper on Shakespeare, the name just came to me. So I immediately put that paper aside and started thinking about who, who this owl detective was.

Q. How did you pick the title of your book?
A. I really don't know how any of the titles come into my head. Titles are always the seed for a story idea for me. When a title pops into the jumbled mess of unicorns and merpeople and Anjelica Huston movies that typically inhabit my gray matter, I don't know what the story is that accompanies that title. It usually has to simmer a bit before the story follows.

Q. What is your favorite part of the book? And was that part in the first draft?
A. My absolute favorite spread is when Whobert first discovers Perry the Possum lying awfully still, and pokes and pushes and pulls Perry to see if he's okay. That was in there from the beginning, but Jess Pauwels's illustrations are hysterical and really brought the moment to life! The first time I saw that spread I could not stop laughing!

Q. How did you select the names for your characters?
A. In WHOBERT, I knew right away that I wanted to play off of the alliterative name scheme that picture book writers are often told not to do because it has been done so much, and it tends to lend itself to a kind of innocence that some consider hokey. That's exactly the type of hokeyness that I wanted because this is a *fake* murder mystery, and I thought names like Freddie the Frog give a sense of playfulness to the plot as Whobert accuses more and more of his neighbors of dastardly deeds.

Q. How did you decide to tell the story in first or third person?
A. I thought third person served Whobert's story better because a narrator sort of gives Whobert a little credibility in his detective work. Whobert is a dunce detective, but he doesn't know it, and he really does want to do good in his community. I thought by having an omniscient narrator detailing his exploits, it would give this sort of subconscious recognition that at least somebody thinks Whobert's life is noteworthy even if he's not fully aware of his surroundings.

Q. How much of the story did you know when you began writing WHOBERT WHOVER, OWL DETECTIVE?
A. I knew that Whobert misinterpreted events by thinking normal animal behavior was a crime, and I knew how that would be revealed at the end. But when I sat down to write the story, I didn't originally know the characters Whobert would accuse of committing crimes in the forest. It was really fun to discover those characters and how they respond to Whobert's claims.

Q. Did WHOBERT WHOVER, OWL DETECTIVE receive any rejection letters? If so, how many (ballpark)?
A. WHOBERT did receive a few rejections, but I was really, really, really lucky in that I only went on one round of submissions. My awesome agent (Tricia Lawrence of Erin Murphy Literary Agency) subbed to five editors. One of those was Annie Nybo, who actually saw WHOBERT and critiqued it at an SCBWI conference. She gave me some fantastic notes, and told me that if I decided to revise the manuscript I should feel free to submit the manuscript to her. I revised per her suggestions, and here we are now!

Q. Describe your reaction when you received an offer on WHOBERT WHOVER, OWL DETECTIVE.
A. I. Could. Not. Stop. Dancing. Literally. I was in my bathrobe having just gotten out of the shower when Trish called to tell me the good news. I danced around my house in that robe for what felt like hours. I called my partner, I called my parents, I called my brother, I sent out vibes to Oprah in hopes that she'd pick up on them and name WHOBERT as an official book club selection, and the whole time I was dancing.

Q. What kind of input did you have in choosing an illustrator for the book?
A. I didn't have any input in selecting the illustrator for WHOBERT, and I'm so glad I didn't. Annie did such an amazing job of finding Jess Pauwels, and I could not be happier with the way our book looks. I was out at lunch with one of my closest friends (Bayne Gibby, who is also an author) when I got an email from Annie introducing me to Whobert, and I could not contain my excitement. While I was losing my head with joy, Bayne was present enough to snag a picture of the moment. I could not have a bigger smile. When I'm feeling the downs of the writer journey, I look at that picture to remind myself of how much fun writing for kids is, and that while there can be times that are frustrating, the good MAJORLY outweighs the bad.

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. This is initially what went through my mind: "OH MY @%%#@ HE IS PERFECT LOOK AT WHOBERT CAN YOU BELIEVE THIS HOLY MOSES LORD AND TAYLOR AHAHAHAHAHAHAHAHAHAHAHAHAHA!"

After that, I could not stop looking at all the facial expressions Jess created. She does such an amazing job at conveying Whobert's concern, his suspicion directed at all of his neighbors, and all of said neighbors' annoyance at being confronted by this very pushy owl. The raised eyebrows, the squinted eyelids, the wide-eyed surprise are all so outrageous in the best way!

Q. How long did WHOBERT WHOVER, OWL DETECTIVE take to be published—from the time you received an offer until it was printed?
A. From offer to publication will be two years and four months. I think he was so worth the wait!

Q. What is your #1 tip to those who want to write picture books?
A. Get your work critiqued! All the time! I know it's scary to have others look at your work, but those suggestions you receive will make your work sing!

Q. Do you have a favorite writing exercise that you can share?
A. When you have a character in mind, find a list of questions typically asked in a job interview, and have that character answer them. You learn so much about your characters! A lot of what you write down won't make it into a manuscript, but you'll find little gems that are priceless and really help you get to the heart of your character's personality.

Q. What are you working on now?
I have a few picture book manuscripts on submission right now, as well as a middle grade fantasy-adventure that I really hope gets picked up because it's a world that I love! My current WIP is an #ownvoices YA manuscript about two gay teens getting to explore their relationship for the first time. It's been such an emotional process writing it, especially since my picture book writing tends to be humorous. Or at least I hope people find my PBs funny!

Q. Where can people find you? (Twitter, Facebook, website, etc.):
A. www.jasongallaher.com
www.youtube.com/c/JasonGallaher
@DraftingJason
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