Blog Tour

Something Wild by Molly Ruttan – A Guest Post + Giveaway

 

 

A GUEST POST

BY AUTHOR-ILLUSTRATOR MOLLY RUTTAN

FOR

SOMETHING WILD BLOG TOUR 

 

Something Wild cover girl playing violin

 

Author-illustrator Molly Ruttan deftly explores the butterflies of anxiety that come with stage fright as well as the joy and magic that comes with facing our fears in SOMETHING WILD (Nancy Paulsen Books; on sale February 28th, 2023; ISBN: 9780593112342; Ages 3 – 7; $18.99), a delightful picture book that depicts a young girl’s preparation for her first violin recital. —Penguin Young Readers

Praise for Something Wild:

★ “The denouement is a lovely testament to the best magic of which we are capable… combines sweetness, imagination, and gentle humor. Though this tale will appeal to all readers, it will especially resonate with introverts. Brava!” – Kirkus Reviews, starred reviews

 

INTRO:

What a thrill to have a guest post by Molly Ruttan on GoodReadsWithRonna. I marvel at her constantly evolving creativity, enthusiasm, and tireless support of pre-published (me) and published authors, illustrators, and like her, author-illustrators. I hope you will enjoy this candid recollection of how her childhood experiences helped inform Something Wild. And don’t forget to visit all the other sites on Molly’s blog tour and enter our great giveaway. So, without further ado, HEEEEEEEERE’S MOLLY!

 

GUEST POST:

Hi Ronna!

Before I begin, I would like to take this moment to thank you for inviting me onto your blog, and to acknowledge the hard work you put into it every day. It shows! Your blog has great reviews and amazing roundups. I am truly awed by you, and all the other excellent bloggers out there—you really make a difference in the KidLit community. What would we all do without you?? A big Hats Off to you!

In today’s guest post, I’m going to tell the personal story behind one of the questions I get asked a lot regarding my new picture book, Something Wild: Did the idea for it come from my own experience as a musician? Short answer— Yes, as a matter of fact, it did!

It is often said that, as children’s book writers and illustrators, we should write about what we know. Something Wild is about stage fright, and this is something I have absolutely known from the time I was quite small. I’m not sure why I was so shy, although it might have had something to do with being a twin, and being slightly behind other kids in social skills when I entered school. In any case, one of my earliest memories is freezing up during a class play in kindergarten—I was so scared I couldn’t speak. I even remember the line I was supposed to say: “It’s a hamburger.” One of the other kids had to improvise and say it for me!

When I entered second grade my mom signed me up for violin lessons. I loved playing, but then in third grade, the recital came along. Even though I was hidden in the orchestra, I was terrified. But what really upset me was after it was over. My dad proudly told me I was the only one in the orchestra that was swaying to the music as I played. I guess he thought I would feel special —but I was completely horrified and mortally embarrassed that I had stood out. I quit the orchestra and stopped taking lessons. My poor parents never knew why; if only I had had a book that could have given me a way to talk to them about it! The silver lining to this story is that my mother started playing the viola for herself, (she had played cello as a child.) When I quit, I think she realized she had wanted it for herself the whole time!

 

Molly, Linda & Linda Whitehead playing music circa 1969
Playing violin with my twin sister (on French horn) and our friend, Linda Whitehead.

 

The stage fright did not go away as I got older. In middle school, I was failing French class because when I would get up in front of the class to do the required skits, my mind would go blank and I couldn’t speak. The fails were bringing down my grade-point average, so my art teacher convinced the school and my parents to let me and my sister bypass taking a language. (It was clear by then that we would be going to art school, and art schools didn’t require foreign language credits, at the time.)

When I was a teenager, I started playing drums. I would joke that even though it was loud, the drum kit was my armor (plus I was always in the back!).  Still, stage fright was no fun and no laughing matter. I used to get so nervous before shows that I would be physically sick. But I loved the music and the camaraderie. Once I started playing, the intense physical nature of drumming would channel the nervous adrenaline out of my system, so I was able to keep performing into my adulthood.

 

03 Ruttan Sally-Dick-Jane circa-1980s
Playing drums in my art-punk band Sally Dick & Jane, in the 80s. Photo by JPRKenny.

 

02 Ruttan bands GV&PX2
Here I am (top), a singer/drummer in my eclectic-folk rock band GARDEN VARIETY, circa 1997 (left) and a backup singer & percussionist in the art-rock band PHIDEAUX, circa 2011. Photo by Esa Ahola.

 

Many people have stage fright, and there are many tips and tricks out there that are supposed to help. What helped me was when I realized that I could rely on my body and my discipline to pull me through, in spite of my mind, which was busy spinning out! This awareness gave me a great sense of comfort. It helped the stage fight dissipate, especially once I was on stage. All I had to do was remember to get out of my own way—let my hands and my body take over, focus on feeling love for the music—and something wild would happen!

I also came to realize the truth that any time we have practiced, prepared ourselves, and then truly faced our fears, the resulting feeling of joy and magic, and the promise of coming out the other end more empowered, comes into view. This is the place I aspire to, and the place I wanted my main character, Hannah, to land.

As an adult, I still have stage fright but writing and illustrating Something Wild has helped me process it, and when I feel it coming on, it always helps me to remember my own book! As a kid, I would have also greatly benefitted from a book like this. My biggest desire is that Hannah’s story will provide a comforting and entertaining journey for other anxious kids (and adults) to embrace — and hopefully, something wild will happen for them, too!

 

Ruttan SomethingWild pp6-7 300
Interior art from Something Wild written and illustrated by Molly Ruttan. Nancy Paulsen Books, Penguin Random House ©2023.

 

Ruttan SomethingWild pp8-9 300
Interior spread from Something Wild written and illustrated by Molly Ruttan. Nancy Paulsen Books, Penguin Random House ©2023.

 

Ruttan SomethingWild pp10-11 300
Interior art from Something Wild written and illustrated by Molly Ruttan. Nancy Paulsen Books, Penguin Random House ©2023.

 

Ruttan SomethingWild pp12-13 300
Interior spread from Something Wild written and illustrated by Molly Ruttan. Nancy Paulsen Books, Penguin Random House ©2023.

 

Molly playing viola 2023 cropped
When it got time to create the final art for Something Wild, I began listening to a lot of violin music to get into the flow, (mostly Irish fiddle & country folk.) I became totally inspired to pick up where I left off in third grade and start playing again! I still had the viola my mother had played when I was a kid, so I started taking lessons! It’s harder than I remember, but I’m enjoying it! I’ve been learning now for about a month.

BUY THE BOOK:

To contact Molly, purchase books, and view her book trailers, go to https://linktr.ee/mollyruttan

 

Molly Ruttan headshot scaledBIO:

Molly Ruttan is an author/illustrator of children’s books. She grew up making art and music in Hastings-on-Hudson, New York, and earned a BFA from the Cooper Union School of Art. Molly now lives in the diverse and historic neighborhood of Echo Park in Los Angeles, where her family has recently grown with the joyful addition of a granddaughter. She played violin as a child, and now plays drums, sings in a community choir, and has just started learning the viola. She loves exploring all kinds of fine art and illustration mediums, including making her own animated book trailers. Her life is full of art, music, family, friends, and all kinds of pets and urban animals.

Molly’s titles include her author/illustrator debut, The Stray, (Nancy Paulsen Books); I Am A Thief! by Abigail Rayner, (NorthSouth Books); and Violet and the Crumbs: A Gluten-Free Adventure by Abigail Rayner (NorthSouth Books). Something Wild is Molly’s second author/illustrated book and has received a starred Kirkus review. She has two additional books forthcoming. Molly is represented by Rachel Orr at Prospect Agency, www.prospectagency.com

Find Molly on Social Media:

Facebook:
e
Twitter:
@kidlitcollectiv
e
IG:

Other websites to visit:

https://hellomulberries.com/
https://picturebookgold.wixsite.com/website

 

Ruttan_SW-GiveAway-Package Ruttan SW GiveAway Package signed print stickers and toteEXCLUSIVE TWITTER ONLY GIVEAWAY

Enter our Twitter giveaway for a chance to win a special Prize Package from Molly Ruttan! This exclusive opp includes a 12×12 art print; a 4×6 sticker sheet; a “2” round sticker & a tote bag! Follow @molly_ruttan & @goodreadsronna on Twitter, comment about what you do to soothe your anxiety, & RT. We’d love to hear from you! The giveaway ends at 11:59pm on 3/9/23. One winner will be chosen at 6pm PST on 3/10/23. Eligible for US & Canada only.

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Picture Book Review and Interview for The Great Caper Caper ‘Great Virtual Virtual Tour’

 

 

THE GREAT CAPER CAPER

Written by Josh Funk

Illustrated by Brendan Kearney

(Union Square Kids; $17.99, Ages 4-8)

 

 

The Great Caper Caper Virtual Tour Image

 

 

REVIEW:

Welcome back to the fridge, home of the popular food pair, Lady Pancake & Sir French Toast. It’s an honor to be part of this virtual tour packed with passionate kidlit people helping to promote Josh Funk and Brendan Kearney’s latest picture book, The Great Caper Caper, #5 in the Lady Pancake & Sir French Toast series!

 

The Great Caper Caper int1 bedtime ladypancake sirfrenchtoast
Interior art from The Great Caper Caper written by Josh Funk and illustrated by Brendan Kearney, Union Square Kids ©2022.

 

When the story opens (see above illustrations), Sir French Toast awakens during the night only to discover everywhere is draped in darkness. But we’re not talking about ordinary nighttime darkness. No this was the dreaded fridge light darkness.

A glowing light leads the curious characters to Las Veggies where Lady P and Sir FT try to enter Las Veggies Tower but are initially held back by security. Soon they confront tower owner, Count Caper. “‘I haven’t stolen a thing,’ he lied.”

 

The Great Caper Caper int2 Las Veggies
Interior art from The Great Caper Caper written by Josh Funk and illustrated by Brendan Kearney, Union Square Kids ©2022.

 

Adding to the urgency to recover the light, readers learn that Sir FT is scared of the dark. This convinces Lady P, in a nod to Ocean’s 11, that she must assemble a crew including Baron von Waffle, Miss Brie, Tofu, Professor Biscotti, the Fruitcake, the Beets, and Inspector Croissant. No crummy collection of pros here.

 

The Great Caper Caper int3 LadyPancake shares plan
Interior spread from The Great Caper Caper written by Josh Funk and illustrated by Brendan Kearney, Union Square Kids ©2022.

 

A plan is hatched, disguises are donned, and solving the great caper caper is underway! Zero hour is scheduled to take place during the Tower show. The team, tasked with distractions, and more amusing antics involving Animal Crackers, and an asparagus accomplice, recover the stolen light. But, while celebrating their success, the food friends learn Count Caper’s M-O was a relatable one, and it all boiled down to friendship. With a little introspection, the briny bud “sees the light” so to speak, and can now count Lady Pancake, Sir French Toast, and the whole crew as pals.

Yet again, Funk and Kearney have delivered a readable, rhyming picture book that will entertain parents as much as the kids due to witty wordplay, careful plotting, and of course, the movie inspiration. From the minute I saw Las Veggies was the destination in this story, I was hooked, eager to see how the heist was handled. Multiple readings will be requested to study the whimsical spreads that Kearney clearly enjoyed designing. The Great Caper Caper is a fast-paced, funny, action-packed tale that children will love adding to their bookshelves.

 

Q + A:

GoodReadsWithRonna: I asked Josh a few fun questions that popped into my head as I was reading The Great Caper Caper.

Josh Funk:  Thanks so much for inviting me to chat! I’m a huge fan of Good Reads with Ronna!

GRWR: Aww, thanks, Josh! You’ve described The Great Caper Caper as Ocean’s 11 in the fridge. It’s got the Las Veggies location, the crew of 11, the hotel vault to break into, and huge stakes. In this case, there’s a fridge light to recover not millions of dollars or an ex-wife to win back. Were there other elements of the film you wanted to recreate but just couldn’t fit into a rhyming picture book format?

JF: Actually, I was able to get pretty much everything in that I wanted – even more than I originally planned – especially the final page at the fountain! Brendan Kearney’s art is sooooo perfect for this series and this book – it’s brilliant.

GRWR: Can we talk Julia Roberts as Lady Pancake and George Clooney as Sir French Toast?

JF: If we’re gonna go with a Julia Roberts film, I think Lady Pancake and Sir French Toast’s relationship is more like Julia and Rupert Everett from My Best Friend’s Wedding. They’re truly just friends – they might find romance elsewhere, though.

And if you happen to know anyone in Hollywood that might have interest, please do let me know. The film rights are available!

GRWR: Was this the hardest plot to pull off?

JF: This is a great question, one that I haven’t really thought about in full until answering it right now.

I always like changing up the genres in each book. Lady Pancake & Sir French Toast is a race. The Case of the Stinky Stench is a mystery. Mission Defrostable is an action-adventure spy-thriller. Short & Sweet is a sci-fi comedy / magical body-swap (think Honey, I Shrunk the Kids meets Big or Freaky Friday).

And when brainstorming new ideas, my wife threw out the title The Great Caper Caper – which everyone immediately fell in love with. The title gave us the villain (a caper) and the genre (a heist). And the hardest thing about a heist is that the protagonists must have an altruistic reason to steal something. In Ocean’s 11, the reasons for the heist are revenge and greed – and those wouldn’t work all that well in a children’s book.

I figured the best reason would be if they were stealing something back from someone who stole it first. And in order to get others on board with the plan (in lieu of greed) was if the thing that was stolen also affected them. And the missing light bulb leaving the fridge in the dark was a perfect (and tangible) item to be the object of the heist.

But why is it up to Lady Pancake and Sir French Toast to solve this problem for all of the denizens of the fridge (other than the fact that this is their series and they seem to always find themselves in the center of every adventure)? Because Sir French Toast is afraid of the dark, of course!

So I guess it was a pretty hard plot to pull off, now that you mention it. Was it harder than book #6, though? No. That one was harder. You can ask me about that more in the fall of 2024.

GRWR: You’re one of the busiest, hardest-working children’s book authors I know. What feeds your soul and keeps you keeping on?

JF: Vanity.

I’m kidding (mostly). I genuinely like cracking myself up with silly things and sometimes those things also make other people laugh or entertained.

That, and reading so many amazing picture books that others create and release on a weekly basis. There are so many fantastic authors and illustrators out there that continue to inspire me daily.

GRWR: Any clues for us as to the duo’s next adventure?

JF: Clues … hmmmm…. I already gave you one (book 6 will be fall 2024). And I sort of gave you another (it will be a different genre than each of the previous 5).

How about this for a clue? There’s something/someone in book #1 (Lady Pancake & Sir French Toast) that doesn’t belong in the fridge which sets off a series of events leading to book 6… And that’s all I’ll say for now.

GRWR: I really appreciate that you took the time to answer these burning questions, Josh. I’m heading back to the fridge to see if I can figure out book 6 from your clues!

JF: Thank you, Ronna!

 

 

 

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Blog Tour for My Pet Feet by Josh Funk

 

MY PET FEET

Written by Josh Funk

Illustrated by Billy Yong

(Simon and Schuster BYR; $18.99, Ages 4-8)

 

 

My Pet Feet cover

 

 

 

INTRO:

GoodReadsWithRonna.com has the pleasure of participating in the blog tour for My Pet Feet. I made sure not to read any advance buzz about the book (easy ‘coz I’ve been on vacation) so that I’d come to it with no expectations which, to be honest, is a hard feat (ha!) knowing how terrific all Josh’s previous picture books are.

REVIEW:

When the letter R disappears from the main character’s alphabet wall covering, chaos and hilarity ensue in My Pet Feet, the wacky, wonderful new picture book from Josh Funk with illustrations by Billy Yong.

It doesn’t take long for the little girl narrator of this zany 48-page tale to discover that her pet ferret, Doodles, has become her pet feet since all Rs have mysteriously gone missing in her town. Yong’s whimsical spreads where the main character first encounters the absence of Rs are (ha!) so funny and clever, that readers will have to slow down to study every delightful detail he has depicted. The images of a policewoman on the back of a galloping hose or the little girl’s pal Lucas behaving like a fiend and especially the flying cows are sure to make kids LOL. In fact, I actually noticed even more things on my second read (e.g. the man on the motorcycle with ties as tires) so I intend to go back a few more times to make sure I caught everything. Children will likely do the same. And, despite being a rollicking fast-paced read, the idea of taking time to appreciate all the clever wordplay and creativity of the story’s concept is recommended.

My Pet Feet int1 missing R
Interior spread from My Pet Feet written by Josh Funk and illustrated by Billy Yong, Simon and Schuster BYR © 2022.

 

As the search to find the reason behind the missing letter R continues, the girl accidentally hurts the feelings of Doodles who runs away. She looks low and eventually high—way, way, way up high—where a subtle clue for the savvy reader can be spotted anchored out at sea. But still no sign of the 18th letter of the alphabet and now Doodles. Could the pet actually know the Rs’ whereabouts?  Will this determined child ever find her beloved pet? And will he forgive her? I wanted to find out, but yet I didn’t want the story to end.

 

My Pet Feet int2 disaster
Interior art from My Pet Feet written by Josh Funk and illustrated by Billy Yong, Simon and Schuster BYR © 2022.

 

In Funk’s satisfying and humorous resolution, the main character’s luck and mood change. She locates her pet feet which leads her to the culprits behind the stolen letter R.  Young readers will love seeing ferret and owner reunited while getting the chance to pronounce a plethora of words incorporating Rs that Funk has mustered up. But just when this happy child thinks she can relax and catch some zzzzs, an oh-so-unexpected alphabet ending presents a potential new dilemma or possible premise for a second book.

There are myriad ways to enjoy this entertaining picture book: from the mystery of the missing Rs, to the superb silliness of the pet feet, from the zaniness of the town inhabitants oblivious to the absent Rs to the engaging art that keeps us glued to the page. I’m thrilled I had this opportunity to read and review My Pet Feet and help spread the word about this fun new story. And while a pet ferret is probably pleasing, I think there are times when having pet feet could come in handy (pun intended) too!

 

  •  Reviewed by Ronna Mandel
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Meet Bug on the Rug Author Sophia Gholz and Illustrator Susan Batori

∼ BUG ON THE RUG BLOG TOUR ∼

 

AUTHOR SOPHIA GHOLZ

&

ILLUSTRATOR SUSAN BATORI

DISCUSS THEIR NEW PICTURE  BOOK

BUG ON THE RUG

(Sleeping Bear Press; $17.99, Ages 4-8)

 

 

Bug on the Rug cover

 

 

SUMMARY FROM PUBLISHER:

BUG ON THE RUG – Pug is snug on his rug. But what happens when along comes BUG?! With a claim to the rug?! The two engage in a hysterical, rhyming battle of wits and strength until Slug asks the necessary questions and helps them find common ground. Rhyming is an important developmental reading skill. It teaches phonics (decodable text) and helps young readers infer content. This is a fun story to build those skills–and is an epic read-aloud!

 

INTERVIEW WITH SOPHIA GHOLZ:

Welcome to GoodReadsWithRonna, Sophia!  I’m excited to have you as my guest to learn more about your wonderful new picture book BUG ON THE RUG.

GoodReadsWithRonna: I’ve read that as a child you enjoyed horses. I’m curious where pugs fit into the big picture—was it the rhyming potential, their utter adorableness, or something else?

Sophia Gholz: Thanks, Ronna! I’m excited to be here to celebrate BUG ON THE RUG with you.

I often referred to myself as a “barn rat” as a kid and spent as much time with horses as I could. To this day, the smell of a farm still feels like home. While there were always barn cats, dogs, and a slew of other characters in the mix, there weren’t any barn pugs, unfortunately. My love of little dogs actually came about in adulthood. When I lived in New York City, I had a Brussels Griffon who everyone mistook for a pug. I just adore little foofy pooches and their giant personalities. But pug love aside, the true inspiration behind this book is my younger brother. I have lovingly referred to my little brother as Bug for his entire life. I feel very lucky to call him one of my best friends. But much like Pug and Bug, it took my brother and me a long time (and a few trials) to reach best friend status.

 

Bug on Rug int Pages3
Interior spread from Bug on the Rug written by Sophia Gholz and illustrated by Susan Batori, Sleeping Bear Press ©2022.

 

GRWR: Are you a plotter or a pantser? If you’re a plotter, did you know the whole story before you set out to write it? If you’re a pantser, what was it that motivated you to tell this story and keep at it?

SG: I’m a total panster. I find that if I plot out a story then the story no longer feels fresh and exciting for me. I like to write as a reader—learning something new with each page turn. So, I go off feeling, emotion, and what story I want to read in that moment. This often means heavy (and I mean, HEAVY) revisions later. But that initial excitement and mood is what I try to capture in the first draft and that same feeling is what keeps me going. With that said, I do a lot of mental pre-plotting and generally have a sense of where I want the story to go before I begin. I do sometimes start writing and realize I’m going in the completely wrong direction and have to start over. In those cases, I end up working out some plot issues or character problems before I really get going. But aside from the occasional false start, I don’t usually write anything out before I begin.

 

GRWR: Did you have as much fun, any LOL moments, writing this story as I had reading it?

SG: My goodness, yes! I had SO much fun writing this book. Like I mentioned above, I try to write as a reader and don’t really plot ahead of time. So, as those words were coming out, I was giggling along as the voyeur. One of the most fun moments I had while writing this was when Pug rethinks his day. I had a great time coming up with a ton of absurd things Pug might have done during his daily routine.

 

GRWR: I adore a rollicking rhyming read-aloud like yours. Does rhyming come easily for you?

SG: Thank you! Rhyme has always felt natural to me. When I began writing years ago, my first picture book manuscripts were mostly in rhyme. However, I admit that I wasn’t a trained rhymer. Once I really began digging into the varying rules of rhyme and meter, I grew very afraid. I was so scared that I’d unintentionally blow it that I fully stopped rhyming. It’s taken me a few years of practice and determination to come full circle with a rhyming text, and I couldn’t be happier. Rhyme is so much fun to play with and write!

 

GRWR: You have two new books, both humorous although one is nonfiction. What do you enjoy most about writing in each category?

SG: You know, I don’t really see them as different categories when I write. For me, I try to write nonfiction the same way I write fiction. The only difference is that I have preexisting pieces of the puzzle when I write nonfiction. But I like to write each with the mentality of just having a fun or interesting story to tell. That said, I do enjoy all the cool facts I learn while researching nonfiction subjects. Education never ends!  

 

GRWR: Sophia, this book is an uproarious and engaging approach to teaching phonics to children eager to learn how to read. Was that always your intention or did it just happen organically?

SG: When I first heard BUG ON THE RUG referred to as a great learning tool for emergent readers, I was so happy … and surprised! I did not initially have this in mind when I wrote the book. For me, it was about reading these words out loud and having a ton of fun. I’ve always enjoyed playing with sounds, alliteration, and tongue twisters. This book is a bit of an ode to that. But I understand how important teaching phonics in fun ways is, especially as I’ve helped my own little kiddos learn to read. With that in mind, I truly hope young readers have a great time with this book.

 

Bug on Rug int Pages8
Interior spread from Bug on the Rug written by Sophia Gholz and illustrated by Susan Batori, Sleeping Bear Press ©2022.

 

GRWR: Susan’s art captures both the heart and humor of your story. What did you think when and if you saw sketches or finished art? Which is your favorite spread and why?

SG: I am obsessed with Susan’s art! OBSESSED. Fun fact: I’d been eyeing Susan’s work online for a while and was a big fan before we worked together. So, I was thrilled when Sleeping Bear said they thought she would be a great fit for this manuscript. When I saw the initial sketches, I was flipping out. Seriously. Susan’s art is hilarious! Plus, she completely surprised me in the best of ways. For example, I originally envisioned Pug inside his home when I wrote the book. But Susan created the setting outside, and it made so much more sense. Susan added her own hilarious spin to this manuscript, and I feel so lucky to have worked with her. I think my favorite spread is probably the last page. Pug’s expression is priceless!

 

GRWR: What do you hope young readers will take away from BUG ON THE RUG?

SG: Humor aside, this book is ultimately about empathy, sharing, and taking ownership of our actions. I hope readers can see themselves here and know that people can have disagreements, but still be friends. Owning our mistakes is difficult. But it’s important to be able to put ourselves in the shoes of others, just as it’s important to learn to forgive and move on.

GRWR: What can we expect next?

SG: I’d love to see more of Pug and his friends! In the meantime, A HISTORY OF TOILET PAPER (AND OTHER POTTY TOOLS), illustrated by Xiana Teimoy, is a humorous nonfiction picture book that’ll roll into bookstores this August. Everything else is still top secret for now. Stay tuned!

GRWR: Thank you, Sophia. It’s been delightful chatting with you. I wish you and Susan much success with BUG ON THE RUG.

 

INTERVIEW WITH SUSAN BATORI:

Welcome to the blog, Susan, and congrats on your latest picture book! I adored DON’T CALL ME FUZZYBUTT! which I also reviewed here so I’m thrilled to have this opportunity to ask about your art in BUG ON THE RUG.

GoodReadsWithRonna: I immediately noticed the lovely European-like city and snow-capped mountains in the distance. Did you set this story in Budapest where you live and if so, why? 

Susan Batori: Sadly there are no snow-capped mountains in Budapest. Originally, the story written by Sophia, was set in a small Swiss town. That is why I drew small, red roof European-ish houses and you can find a cable car which is often seen in Switzerland. The story was rewritten later but we decided to keep the drawings with the Swiss landscape.


GRWR: When you read Sophia’s manuscript, what were your thoughts about how you wanted to illustrate the story?

SB: When I read Sophia’s manuscript I fell in love with it at the first glance. I felt this is my story too because I love the funny and witty tales, these are very inspiring and so easy to illustrate. After reading the manuscript I immediately saw the pictures, compositions, and the characters in my head. There was a little challenge because of the disparity of sizes of the pug and the bug, but I hope I solved it well.

 

Bug on Rug int Pages11
Interior art from Bug on the Rug written by Sophia Gholz and illustrated by Susan Batori, Sleeping Bear Press ©2022.

 

GRWR: What medium did you use to create the illustrations and was there anything about the story that influenced your decision? 

SB: I work on a computer and a digital tablet. I love them because they make my work much easier and the publishers like it too. It makes work simple. Besides I can imitate the aquarell feeling, paper textures, and the brush strokes. My digital illustrations are often mistaken for a “real” drawing.

 

GRWR: What is your process like from when you receive a new manuscript to submitting final art? 

SB: After reading the manuscript I use the internet for finding help about the characters or the background. In this case, I started to search pug videos. I try to figure out what kind of things make a pug a pug, or a slug a slug. I mean how they move or sit, what their colors are, what if I draw a smaller nose or shorter legs to them … etc. This is a very useful activity and it entertains me. So I start sketching the characters and show them to the client. Next, I design the composition of the pages and with the publisher, we try to find the best solutions. Then I am ready for coloring where I try to deliver some kind of atmosphere or feeling. In this book, I wanted to illustrate a summer-mountain feeling with a lot of greens. If everyone is happy with the colored pages I send them to the art director. That’s all. Easy peasy. :)

 

GRWR: The dynamic of the character interaction cracks me up, especially when slug shows up. Was any particular character, Pug, Bug, or Slug, especially fun to work with? 

SB: Haha! Yes, Slug is really a funny character. It was interesting because in each book I illustrated there was a character who was my favorite but here all three were my favorites. They have their own humorous personality.

 

GRWR: I loved your art in Robin Newman’s DON’T CALL ME FUZZYBUTT!, and love it here, too. I see a common thread of a humorous conflict and sweet resolution in both stories. Do you enjoy illustrating humorous picture books? Are there any challenges you must consider?

SB: Aww, thank you! Somehow I am very good at illustrating feelings, especially humorous actions and facial expressions. I just LOVE working on hilarious books or stories, and drawing funny animals is my favorite job. It makes me happy and I believe if I am happy while I am working on these, the children will be happy too while they are reading them. 

I wouldn’t be a good illustrator without humour. 

 

Bug on the Rug int Pages16
Interior spread from Bug on the Rug written by Sophia Gholz and illustrated by Susan Batori, Sleeping Bear Press ©2022.

 

GRWR: Do you have a favorite spread?

SB: Sure!

The first page when Pug hugs his rug, I find it so cute.

Then there is the “rug-fight” scene. This is the most dynamic page in the book.

And I just love the very last page when everyone is on the rug. I think that is very funny.

 

GRWR: Any plans to write and illustrate your own books?

SB: I have a few ideas but there is no time for them … yet. ;)

THANK YOU FOR THE GREAT QUESTIONS!

GRWR: Thank you for making us smile!

 

BIOS:

Sophia Gholz Headshot
Courtesy of Sophia Gholz

Sophia Gholz is a children’s book writer, music lover, avid reader,
and the award-winning author of The Boy Who Grew a Forest and
Jack Horner, Dinosaur Hunter! She lives in Orlando, Florida.

Website: www.sophiagholz.com
Twitter: @sophiagholz
Instagram: @sophiagholz
Facebook: www.facebook.com/sophiagholzauthor 

 

 

 

Susan Batori Headshot
Courtesy of Susan Batori

Susan Batori’s books include Don’t Call Me Fuzzybutt and
Letters from Space. She worked in advertising before switching to
children’s book illustration. Susan lives in Budapest, Hungary.

Website: https://susanbatori.hu/
Twitter: @susanbatori
Instagram: @susanbatori

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Sydney Taylor Book Award 2022 Blog Tour – Dear Mr. Dickens Q+A

WELCOME TO DAY TWO OF THE STBA BLOG TOUR!

 

STBA22 Blog Tour graphic

 

FEATURING INTERVIEWS WITH

AUTHOR NANCY CHURNIN

&

ILLUSTRATOR BETHANY STANCLIFFE  

DISCUSSING THEIR

HONOR-WINNING PICTURE BOOK

DEAR MR. DICKENS

 

 

Dear Mr Dickens cover

 

★Starred Review – School Library Journal
2021 National Jewish Book Award Winner – Children’s Picture Book
2022 Sydney Taylor Book Award Honor for Picture Books
Chicago Public Library Best Informational Books for Younger Readers 2021
The Best Jewish Children’s Books of 2021, Tablet Magazine


BOOK SUMMARY

In Eliza Davis’s day, Charles Dickens was the most celebrated living writer in England. But some of his books reflected a prejudice that was all too common at the time: prejudice against Jewish people. Eliza was Jewish, and her heart hurt to see a Jewish character in Oliver Twist portrayed as ugly and selfish. She wanted to speak out about how unfair that was, even if it meant speaking out against the great man himself. So she wrote a letter to Charles Dickens. What happened next is history. (Albert Whitman & Co.; $16.99, Ages 4-8)

GREETING

Welcome to the GoodReadsWithRonna blog today, Nancy and Bethany. Congratulations on Dear Mr. Dickens being recognized with a Sydney Taylor Honor in the children’s picture book category! I’m happy to be able to talk to you both about Eliza Davis, Charles Dickens, and his history of negatively portraying Jewish characters in his writing and how that changed because of Eliza’s letters.

INTERVIEW WITH AUTHOR NANCY CHURNIN

GoodReadsWithRonna: Nancy, you mention in your acknowledgments that Dear Mr. Dickens had a long, joyful journey. Please tell us more about when and why you decided to dig into this not well-known but enlightening correspondence which is the basis for the book

Nancy Churnin: When I was a child, my mother always encouraged me to read whatever I wanted. The only time she questioned me was when I fell in love with the books of Charles Dickens. She couldn’t understand how I could like a writer that had created the ugly Jewish stereotype of Fagin in Oliver Twist. Didn’t I understand, she asked me, how that character fueled antisemitism, leading readers to believe that all Jewish people were liars and thieves like Fagin?

 

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Interior spread from Dear Mr. Dickens written by Nancy Churnin and illustrated by Bethany Stancliffe, Albert Whitman & Co. ©2021.

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She was right. Ugly Jewish stereotypes were part of what made people lack compassion for the Jewish people who were tortured and killed in the Holocaust – where we lost so many family members. These were the kind of images that made neighborhood bullies persecute her and other Jewish children growing up in New York City. I wished I could have written Dickens a letter asking him why someone who had so much compassion for children and the poor could treat the Jewish people with such antipathy. Flash forward to 2013, three years before my first book, The William Hoy Story would be published, when I was in the library researching baseball and I flitted around the computer screen, landing on an article about Dickens.

That’s when I found two lines in an article that mentioned Eliza Davis, a Jewish woman who wrote to him – just as I’d dreamed of doing!—and changed his heart, inspiring him to write his first compassionate Jewish character, Mr. Riah in Our Mutual Friend. I had to know more! But all the article had was snippets from one of the letters. I asked the librarian for help. She found three places that had the letters: the University of Southampton in England, where you had to make a special appointment to view them; and two places in the U.S., one of which was at the University of North Texas rare book collection, less than 40 minutes from my home.

I called the University of North Texas librarian who put me in touch with Professor J. Don Vann, a Dickens scholar that had found Charles Dickens and His Jewish Characters, a 1918 out-of-print book from Chiswick Press in England that contained the letters and donated it to the library. Don and his now late wife Dolores, invited me to tea to discuss Eliza Davis. That’s when I felt compelled to turn this story into a book that I could share with my mother. I had rejections at first from editors that didn’t think a story about letters was exciting enough. It didn’t fit into the usual biography template as it wasn’t the story of either person’s life, but rather an encounter that changed their lives and changed the way English people who read Dickens thought about the Jewish people. I visited The Charles Dickens Museum in London in 2014, deepening my research. But even when my career as a published author began taking off in 2016, Dear Mr. Dickens sat there, waiting, not seeming to fit into any category anyone wanted. It just seemed to be a story that needed to simmer and be revised as I grew more confident in my ability to tell the story the way it needed to be told.

Finally, in 2020, Wendy McClure, my then editor at Albert Whitman, asked if I had something new. She said, for the first time, she wasn’t looking for biographies, but stories about history-changing encounters and events. I pulled Dear Mr. Dickens out of the drawer and gave it to her. She loved it right away. So did her editorial team. It was acquired with dizzying speed for a manuscript that had been waiting years to dance at the ball. But it was worth every moment. Because Wendy and our illustrator, Bethany Stancliffe, really got the story. When it went to print, it said everything I had wanted and hoped to say. I couldn’t wait to share it with my mother. When I did, she held it in her hands and read it over and over. Her face softened. I felt an old pain dissolve as she forgave Dickens – and me. We hugged as she read this true story about how people can, sometimes, change for the better if you speak up, persist and then, when the person who does wrong makes amends, forgive.

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GRWR: We’re often told as children’s book writers to make the main characters kids but Eliza Davis is a woman and mother of 10 children. As an adult and Dickens fan, I found the information you shared about Eliza’s positive influence on Dickens fascinating. What do you think makes her a compelling character for young readers to learn about and what can they take away from the book?

Nancy: The most compelling stories for me are the journeys not of a person, but of a person’s dream. In most cases, those dreams start in childhood, so it’s natural to start the book with the character as a child. That’s not the case for Eliza Davis in Dear Mr. Dickens. She didn’t grow up dreaming of writing Charles Dickens a letter! But I had grown up dreaming that. I could put the urgency I felt as a child into what she did as an adult. I also did something I’ve never done in a picture book before. I appealed to young readers by starting my book in the second person: “Think of someone famous you admire. What would you do if that person said or wrote something unfair? Would you speak up? Would you risk getting that person angry? Eliza Davis did.” I believe these are questions that kids – and all ages – can relate to. I believe these are questions that can lead kids – and all ages – to speak up, stand up, and become upstanders when they see someone do or say something that isn’t right.

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Interior spread from Dear Mr. Dickens written by Nancy Churnin and illustrated by Bethany Stancliffe, Albert Whitman & Co. ©2021.

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GRWR: When doing your research for Dear Mr. Dickens, was there one particular piece of information you uncovered (included or not included in the book) that has had an impact on you? 

Nancy: I hope people will read the Author’s Note which gives context to how important Eliza’s action may have been in historical impact. England was once one of the most hostile places for Jewish people. In 1275, centuries before Nazis introduced the yellow star, King Edward I decreed that Jews older than seven had to wear a large yellow badge of felt shaped like the tablet of the Ten Commandments on their outer clothing. Jewish people were segregated and had to live in restricted areas, were forbidden to lend money, and were unwelcome in trade guilds. In 1290, England expelled Jews who refused to convert; this was two centuries before the Spanish expelled their Jewish people during their Inquisition.

After Eliza Davis helped Dickens see the Jewish people with understanding and compassion, he not only created the kindly Mr. Riah, he advocated in his magazine for them to be treated fairly. Dickens wasn’t the only advocate for Jewish people, but his influence was enormous. Everyone from all classes, chimney sweeps to the Queen of England, read and revered him. Attitudes began to change during his lifetime. The Jews Relief Act of 1858 allowed Jews to serve in Parliament for the first time. I credit the change in English attitudes for the welcoming way that Great Britain opened its arms to thousands of Jewish refugee children during the Kindertransport at the start of World War II.

Eliza Davis wasn’t powerful or famous. All she did was write a letter. But speaking up and not backing down when justice is at stake can make a powerful difference. That’s what I learned from Eliza Davis. That’s what I hope young readers – and all readers – take to heart.

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GRWR: Can you speak to your passion for writing nonfiction and also about sharing the stories of notable and in Eliza’s case less notable Jewish individuals?

Nancy: I love and read every genre and I hope, someday – maybe soon – to expand the type of books I write. But I’ll always pay homage to true stories — my mother’s favorite — because, as she’s told me, real people doing great things remind us that we can all do great things, too.

When I look for people to write about, I’m drawn to those who might not be known otherwise – such as Eliza Davis — or who have aspects of themselves that might not otherwise be known – such as Charles Dickens and his evolving view of Jewish people. I feel that every time I shine light on otherwise forgotten people, I’ve helped bring them back into our living, collective heart because it’s only when we have forgotten people or their deeds that they truly disappear.

 

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Interior spread from Dear Mr. Dickens written by Nancy Churnin and illustrated by Bethany Stancliffe, Albert Whitman & Co. ©2021.

 

I’m honored that Dear Mr. Dickens was given a Sydney Taylor Honor because Sydney Taylor provided positive Jewish role models for Jewish children like myself at a time when they were scarce. At first, Sydney Taylor’s All-of-a-Kind Family books were like a little island in a sea of books about non-Jewish characters or Jewish characters that were ugly stereotypes. But since the awards were founded in 1968, they’ve done enormous good in encouraging the creation of books with positive Jewish role models for kids that need Jewish windows, mirrors and sliding glass doors. I’m grateful for this encouragement from the Sydney Taylor Book Award Committee and for the Notable award for A Queen to the Rescue, the Story of Henrietta Szold, Founder of Hadassah (and for my 2019 Notable for Irving Berlin, the Immigrant Boy Who Made America Sing). Now, with sons planning marriages and, I hope, with grandchildren around the corner, I feel more passionate than ever about the mission bring more Jewish stories into the world that fill children’s hearts with courage, hope, and determination to heal the world.

 

INTERVIEW WITH ILLUSTRATOR BETHANY STANCLIFFE

GRWR: Bethany, what struck you most after reading Nancy’s manuscript?

Bethany Stancliffe: I was immediately impressed with the wonderful portrayal of Eliza in this story. Nancy’s writing beautifully captured what it must have felt like to be in Eliza’s shoes.

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GRWR: How much research did you have to do to bring 19th century London, and in particular Eliza Davis and Charles Dickens, to life?

Bethany: It was important to gather a lot of visual references to make sure my illustrations were true to the characters and settings. Studying information and images documenting Charles Dickens and Victorian England was a significant step in the design process. There weren’t many photographs of Eliza available so it was a pleasant challenge to design her character in a way that conveyed her personality.

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Interior spread from Dear Mr. Dickens written by Nancy Churnin and illustrated by Bethany Stancliffe, Albert Whitman & Co. ©2021.

 

GRWR: One of my favorite illustrations is the one where two scenes, Dickens in his home and Eliza in hers, flow together with sheets of correspondence. Do you have a favorite spread and if so, what about it do you love?

Bethany: Thank you! One of my favorite spreads to paint was the scene of Eliza and her son walking together to post a letter to Mr. Dickens. While I was illustrating this book I had a toddler of my own running around which really helped me appreciate that Eliza was speaking up not only for herself but for others who may not be able to do so for themselves.

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Thank you both so very much for taking the time to share your experiences working on Dear Mr. Dickens. I’m also grateful that many misconceptions I and perhaps others had about Charles Dickens have been cleared up and hope everyone will read the book to see how one person’s voice made such a powerful impact.

 

BIOS

Nancy Churnin1
Author Nancy Churin Photo credit: Kim Leeson

 

Nancy Churnin is the award-winning author of multiple picture book biographies. The former theater critic for the Dallas Morning News and Los Angeles Times San Diego Edition, she’s now a full-time writer and peace negotiator between her dog and cats. She lives in North Texas.

 

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Bethany
Illustrator Bethany Stancliffe Photo credit: Katherine Rodriguez

Bethany Stancliffe grew up in the Rockies and studied art and illustration at Brigham Young University-Idaho. When she’s not painting, she enjoys exploring outside with her son, Max, and creating original stories with her husband.

 

See the entire blog tour schedule on the AJL blog: https://jewishlibraries.org/2022-blog-tour/

Find more information about the Sydney Taylor Award here: https://jewishlibraries.org/sydney_taylor_book_award/

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STEM Picture Book Review – Good Night, Oppy!

 

GOOD NIGHT, OPPY!

Written by James McGowan

Illustrated by Graham Carter

(Boyds Mills Press; $17.99, Ages 4-8)

 

 

 

 

Good Reads With Ronna is thrilled to be the third stop on the Good Night, Oppy! Blog Tour. I didn’t hesitate to join in when I heard that James McGowan’s debut picture book was about the Mars rover, Opportunity. I live less than a mile or so from NASA’s JPL (Jet Propulsion Lab) where the rovers are created, maintained, and communicated with so I was eager to learn more about Oppy. She was first launched in 2003 when I still lived abroad and was raising children, with little time to think about planetary exploration.

 

Good Night Oppy! int1
Interior spread from Good Night, Oppy! written by James McGowan and illustrated by Graham Carter, Boyds Mills Press ©2021.

 

 

In McGowan’s story, he’s anthropomorphized the rover and introduced us to Oppy, one of two rovers on the Red Planet in 2004 searching for signs of past life. He blends the fictionalized narrative of hard-working and fun-loving Oppy, a solar-and-battery-powered robot roaming Mars and reporting back to her handlers on Earth, with fascinating scientific facts on most spreads. Plus, the onomatopoeia of the sound effect “Ping! Ping!” before a command from Earth adds an extra atmospheric touch that kids will enjoy repeating.

Readers learn that Oppy, as an Interplanetary Detective, remained in daily contact with “Teams of scientists and engineers …” who command and operate spacecraft using the Deep Space Network (a system of huge antennae throughout the solar system).  I always wondered how that worked! In fact, my friend’s husband was one of those JPL experts who, among other key responsibilities, received Oppy’s real-life signals on Earth. Equipped with cameras and other equipment for info transmission, Oppy’s job was to photograph and navigate Mars, report back and explore, explore and explore. In fact, over her lifetime she trekked twenty-eight miles providing invaluable information about the Red Planet for scientists and engineers.

 

 

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Interior art from Good Night, Oppy! written by James McGowan and illustrated by Graham Carter, Boyds Mills Press ©2021.

 

Having successfully dodged many potential disasters, things changed for Oppy in June of 2018 when she went to recharge her battery. She needed a place where the sun could reach her solar panels unobstructed, but a powerful dust storm approached. Getting a message to Earth was impossible as layer upon layer of dust covered her panels. Oppy’s power was running low. With the sun obscured, she’d be unable to recharge. She managed to outrace the worst of the storm and transmit one last time to Earth before losing power forever.

What a game changer the rovers have been! Some of Oppy’s finds have been groundbreaking including her discovery of the mineral hematite on the surface of Mars meaning that at one time there had been groundwater. Another time Oppy got stuck in a sand dune and the process of getting her out required clever commandeering (see art above). That unfortunate experience also helped future rovers and technicians know what areas to avoid! Oppy was productive and persevered well beyond what the teams had ever expected. McGowan’s Author’s Note explains that both Opportunity and her sister rover, Spirit, were designed for ninety-day missions yet Spirit worked for six years while Oppy “worked for almost fifteen years!”

 

 

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Interior spread from Good Night, Oppy! written by James McGowan and illustrated by Graham Carter, Boyds Mills Press ©2021.

 

 

Carter’s expansive illustrations in an array of red tones depict the vastness and dryness of Mars. Spreads are never stagnant and present an expressive Oppy on the go, investigating, soaking up the sun, and receiving commands from Earth that dictate which activities to pursue. I like how several times we’re transported to JPL command central for a different perspective of Oppy’s daily life. And, as the massive storm that ultimately ended Oppy’s career bore down on Mars, I felt sad when Oppy fell silent. By humanizing the rover, McGowan’s made Oppy’s contributions feel that much more important than they already are. Presenting Oppy’s story in this way makes it more compelling to younger readers and those more reluctant to pick up a STEM book. I learned so much and children will too. Such a great way to make kids care about our universe. Thank you and good night, Oppy! If you want to read more about Good Night, Oppy!, check out the other bloggers on the tour listed below.

 

  •  Reviewed by Ronna Mandel

 

Click here for coloring pages.

 

Oppy Blog Tour

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An Interview with Animals Go Vroom! Author-Illustrator Abi Cushman

 

 

 

AN INTERVIEW WITH

ABI CUSHMAN

AUTHOR/ILLUSTRATOR OF

ANIMALS GO VROOM!

(Viking Children’s Books; $17.99, Ages 2 to 5)

 

 

Animals Go Vroom cover

 

 

SHORT SUMMARY:

Animals Go Vroom!

Written and illustrated by Abi Cushman

With a nod to Richard Scarry, this inventive picture book surprises readers with every turn of the page!

Hiss! Screech! Roar! It’s a noisy day in Bumperville! But are the sounds what you think they are? That Honk! must surely be a goose. But turn the page and it’s the taxi that a goose is driving! Using cleverly placed die-cuts, this inventive book hints at what is making the sound, but with each turn of the page, it’s an eye-opening surprise and part of an unfolding story that is part guessing game and part giggle-inducing caper. Abi Cushman is the master of surprise and silliness in this absolutely delightful picture book.

 

INTERVIEW:

Colleen Paeff: Happy book birthday and congratulations on the release of your second picture book, Animals Go Vroom! Kids are going to love all the unexpected surprises in this book. The way you use die-cuts is so clever. Were they a key element of the story from the start or did they evolve over time?

Abi Cushman: Thank you, Colleen! I am so thrilled to be here. And congratulations to YOU on your wonderful upcoming debut picture book, The Great Stink: How Joseph Bazalgette Solved London’s Poop Pollution Problem. It is so wonderfully told, and the illustrations by Nancy Carpenter are fantastic.

CP: Thank you! I love Nancy’s illustrations, too!

AC: To answer your question, yes! I always envisioned die-cuts in the book. My initial thought was about how animal sounds and vehicle sounds sometimes overlap. And so I wanted the book to be a guessing game where readers had to guess who or what was making the sound.

 

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Die-cut windows are a wonderful device for guessing game type books because they give a little peek at the next spread, and then the page turn offers the reveal. 

 

 

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CP: I love the way even the background characters in Animals Go Vroom! have their own stories that play out over the course of the book. That must have been so much fun to illustrate! Can you tell me about coming up with those stories?

AC: Some of the background characters are inspired by family members. The sloth using the walker is based off of my grandmother who would cover great distances at the mall using her walker. She had a cap she’d wear whenever she’d go out. The two bunnies in the background of the bus scene are a tribute to my two house rabbits, Cosette and Coco. 

 

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And then I chose other background characters based on the sounds they make. The artist sea lion shouts out, “Art? Art?” and the baby crow points out the car by calling out, “Cah! Cah!”. The baby crow is actually also based on my son who would do the same thing every time he saw a car when he was younger. 

 

CP: How fun! I can’t believe I didn’t pick up on those sounds! And for more fun, outside of the book, I noticed that you have an Animals Go Vroom! memory game on your website. (It took me 46 seconds and 13 moves to solve it.) How did you come up with that idea and did you create it yourself? If so, how did you develop such impressive skills?!

AC: I have been a web designer/developer for over 15 years, so that coding experience definitely has benefits. Although I don’t specialize in making online games, I was able to find some open source code for a memory game, and then I tweaked it to work on my website and to use the images I created for all the cards. I actually had intended to make a memory game for my first book, Soaked!, but I didn’t have enough time. But Animals Go Vroom! actually worked even better for this sort of game because there is a large cast of characters to choose from.

 

CP: It definitely seems perfect for a game like that. You dedicated this book to your mom “who really loves snakes.” Is that true? Did you have pet snakes in the house when you were growing up?

AC: I showed this illustration:

 

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to my brother over a family Zoom so he could see how I made his headphone-wearing daughter into a character in the book, and my mom blurted out, “Oh no! Gross!” And we were all kind of laughing because although we all know she does NOT care for snakes or worms, we thought a cartoony-looking snake drawing might be ok. 

I didn’t set out to make a book that largely featured snakes, but that’s where the story took me since they make that wonderful hissing sound. I thought, “How can I make it so that my mom HAS to read this book with a bunch of snakes?” And so I dedicated it to her, and she did say recently that the illustration of the kid snake on the dedication was okay. :) 

 

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And so to answer your second question, NO. There was absolutely no chance of us having pet snakes when I was growing up.

 

CP: Hahaha! I love that your family shows up in so many different ways in this book. Did you base any other characters on people you know? 

AC: Oh yes. I mentioned earlier that the baby crow is my car-loving son, and the kid snake is based on my niece who wore headphones the entire time we were on a family vacation one time. The mama snake is me. Actually the bear in Soaked! is also me. I guess I follow that advice, “Write what you know.” since I apparently just put myself in all my books.

 

CP: For StoryStorm 2020 you advised people to keep an ugly sketchbook and said the practice freed you up to do the drawings that inspired your debut picture book Soaked! (Viking Children’s Books, 2020). Is there any correlation between the vengeful sketchbook chipmunk at the end of that post and the chipmunk car salesman in Animals Go Vroom? And did any other ugly sketchbook characters make it into this second book? 

AC: Hahaha maybe this is the vengeful chipmunk’s origin story. A car salesmunk who becomes disillusioned with life after getting bonked in the head with a flat tire just hours after making his first sale. 

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But yes, the whole concept of the book came about from this Ugly Sketchbook character: a sea lion flying a jet going RAWRR! 

 

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This specific character didn’t end up in the final book, but another sea lion made it into the story as an artist just trying to share their beautiful art with everyone.

 

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CP: I loved the sea lion’s paintings! And I loved the otter taxi passenger, too. I happen to know that he is a published author. I read his research project “Funny AND Female” and noticed that he didn’t ask YOU to talk about being a funny woman in kidlit. (He’s got some nerve!) So, talk to me about being funny. Where do you find inspiration for your humor? Do you have any tried and true tricks to bring humor to a scene? 

AC: I find inspiration everywhere- TV, movies, books, my family. Unexpected random or absurd things are often very funny. So I like playing around with creating a pattern and then disrupting it with something ridiculous. Being specific helps create that absurd moment. For example, in Soaked!, I create a pattern in the first spread. “Not that badger. Not that bunny.” and then I disrupt it with something specific and out-of-place. “Not that hula-hooping moose.” 

 

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When I was thinking about a passenger for the taxi in Animals Go Vroom!, it was tough because really, it could be ANYONE in the backseat. So I made it fun by thinking of someone who would look glorious with a monocle (an otter, of course), and then I thought it would be pretty ridiculous if in every scene he was eating a different meal and was totally oblivious to the traffic jam. I started with tea because that would be a great contrast to the goose who was having a fit about being stuck behind the bus. And then the next spread, the otter is eating a filet of fish on a plate with a fork and knife. How did he get this fancy meal? Where did he get the utensils? In the next scene, he has an ice cream cone. Did he have the ice cream in the taxi the entire time? Why didn’t it melt? Does he have a freezer in there? I like creating scenes where the reader does a double-take and thinks, “Wait a minute- WHAT?? What’s going on there?” It’s a treat for the curious kid who takes a closer look at the pictures and sees that secondary storyline happening in the background. 

 

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CP: You teach a couple of classes at Storyteller Academy. What do you enjoy most about teaching other picture book creators?

AC: Most people enrolled at Storyteller Academy have committed to making a real go at improving their craft. So it is incredibly satisfying to see them put in the work every week and make huge gains in their stories. I really believe that if you put in the work- which is to read and analyze current picture books, think about a compelling concept or character, and then just keep plugging away, that you can become a published author. But a lot of people give up. So it is wonderful to see the dedication from Storyteller Academy students. And I can’t wait to see the manuscripts I’ve critiqued become published books in a couple of years.  

 

CP: That’s definitely something to look forward to. Speaking of craft, what are three tools of the illustrator’s craft that you wouldn’t want to be without?

AC: 1. My Bic mechanical pencil. I use a mechanical pencil to draw all the characters in my                     books. I like that the pencil always stays sharp.

  1. My Wacom Cintiq tablet. I color all my illustrations digitally using Photoshop and my tablet. I like to apply the color this way because it is easy to correct mistakes, experiment with color, and keep the color palette consistent across spreads. I can also zoom in to apply details.
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  2. Google image search. Even though my books feature anthropomorphic animals, I still use a lot of reference photos. When thinking about a mouse riding a unicycle, I’ll look at photos of mice to imagine what one would look like sitting upright on a seat. How would its leg look while pedaling? Then I’ll look at photos of unicycles. How can I modify this unicycle if the rider had short (mouse) legs? And now what would it look like if that mouse was not only riding a unicycle but also holding a large cupcake? I have to use my imagination, but I still try to base parts of it on real-life so the illustration looks plausible.

 

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CP: That’s fascinating. So, when you’re working on a story, do the pictures usually come first or is it the words? Do you find one is easier than the other?

AC: I usually think of a very general concept first. For Soaked!, I thought about how when you’re stuck in the rain, it actually becomes pleasant after you become thoroughly soaked. The idea of changing your perspective despite the situation staying the same was intriguing to me. Then for a couple months after that, I kept drawing a bedraggled soggy bear looking very disgruntled in the rain. But the whole thing flew together once I thought of the voice of Bear, the main character. The voice drove the story and the words came pouring out.

For Animals Go Vroom!, I again thought of the concept first: sounds that both animals and vehicles make. After brainstorming sounds and animals, I started to see a chain of events forming, so I made a book dummy to see how it would all work with the die-cuts. I started with a small dummy and gradually increased the size with each revision. From there, I was able to draw in a lot more details as it got closer to its final size, and secondary storylines started forming through the illustrations.

When I’m working on a story, I often see images in my head, and I’ll quickly jot them down as very ugly doodles. I’ll also write down little snippets of text. So in terms of what’s easier for me, I think it’s easy for me to picture little moments in a story. But what is hard is actually rendering those imagined scenes and characters properly in the final art. It’s tough to match the idealized images in my head. Plus, doing the final art is so labor-intensive, and there’s also a deadline. But that being said, it is AMAZING when the art director shows you a PDF of the book with the text properly typeset over the full-color art. It makes all those long hours worth it.

 

CP: I bet! What’s next for you?

AC: I have an unannounced picture book in the works that I’m very excited about. It’s an informational picture book that I would have LOVED as a kid. It’s a book where hopefully kids will be laughing and learning at the same time. 

CP: That sounds wonderful, Abi. Thanks for taking the time to chat with me. And congratulations, again, on your terrific new book!

All artwork and photos courtesy of Abi Cushman.

 

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Author-Illustrator Abi Cushman        Photo credit: P.A. Smith

BRIEF BIO: 

Abi Cushman is the author-illustrator of Soaked! (Viking, 2020) and Animals Go Vroom! (Viking, 2021). She has also worked as a web designer for over 15 years, creating websites for libraries, towns, and local businesses. She runs two popular websites of her own: My House Rabbit, a pet rabbit care resource, and Animal Fact Guide, which was named a Great Website for Kids by the American Library Association. In her spare time, Abi enjoys running, playing tennis, and eating nachos. (Yes, at the same time.) She lives on the Connecticut shoreline with her husband and two kids.

 

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TO PURCHASE ABI’S BOOK CLICK HERE. 

LINKS:

Website: abicushman.com

Newsletter: http://eepurl.com/dCUjeH

Twitter: @AbiCushman

Instagram: @abi.cushman

Facebook: @AbiCushmanArt

 

FOR MORE ON ABI CUSHMAN:

Animals Go Vroom Origin Story at SLJ’s Fuse 8

Author/Illustrator Spotlight at KidLit411

Picture Book Look Podcast – A Conversation with Abi Cushman, Editor Tracy Gates, and Art Director Jim Hoover

 

ABOUT INTERVIEWER COLLEEN PAEFF:

Colleen Paeff is the author of The Great Stink: How Joseph Bazalgette Solved London’s Poop Pollution Problem, illustrated by Nancy Carpenter (available August 31, 2021, from Margaret K. McElderry Books) and Rainbow Truck, co-authored with Hina Abidi and illustrated by Saffa Khan (available in the spring of 2023 from Chronicle Books). Click here for more info.

 

BLOG TOUR DATES

AGV blog-tour

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An Interview with Jamie Michalak Author of Dakota Crumb: Tiny Treasure Hunter

 

AN INTERVIEW WITH JAMIE MICHALAK 

AUTHOR OF

DAKOTA CRUMB: TINY TREASURE HUNTER

∼ BLOG TOUR ∼

(Candlewick Press; $17.99, Ages 3-7)

 

 

DakotaCrumb Tiny Treasure Hunter cover

 

 

PICTURE BOOK SUMMARY:

Dakota Crumb: Tiny Treasure Hunter by Jamie Michalak with art by Kelly Murphy is both a rollicking story with a dash of danger and, in its final eye-popping spreads, a seek-and-find challenge. As the clock in the great museum tick-tocks past midnight, a little mouse with a sack and a treasure map scurries past the guards. Plucky Dakota Crumb scours the museum for artifacts, including the rare purple jewel of Cairo (a gumdrop stashed in an exhibit). By day, the little mouse shares her carefully curated finds with fellow tiny creatures that flock to Miss Crumb’s tiny Mousehole Museum. A feast for sharp-eyed readers—who’ll delight in circling back after the story to pore over the illustrations in search of treasure—this gently suspenseful tale, splashed with soft, dusky hues, evokes a world of wonders after dark.

 

INTERVIEW:

GOODREADSWITHRONNA:  Welcome, Jamie! I’m so happy to be on this blog tour and have you as a guest today!

JAMIE MICHALAK: Thank you for having me on your blog, Ronna! :) I love your questions.

 

GRWR: I love the idea of a treasure-hunting mouse. And in a museum, to boot, where visitors young and old leave lots of things behind! Did you always know you wanted to write Dakota’s story this way or did it evolve as you imagined what things a daring mouse could get up to?

JM: This story absolutely evolved, and I wrote many, MANY iterations of it. I originally imagined an artsy concept book full of tiny objects. Then I built a story around them starring an acorn, who gave readers a tour of his tiny collections and shared stories about his adventures finding them. Finally, I realized it would be more fun to take readers on those adventures. But it wasn’t until I was in line at the Met museum and imagined a mousehole museum underneath it that the story finally clicked into place.

 

Dakota Crumb museum int.1
DAKOTA CRUMB: TINY TREASURE HUNTER. Text copyright © 2021 by Jamie Michalak. Illustrations copyright © 2021 by Kelly Murphy. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.

 

 

GRWR: Okay, so I’m scared of mice but yet it’s such fun reading about their antics. Are you a fan of mice stories and if so, which ones in particular?

JM: Yeah, I don’t want to run into a real one. Eep! But there’s something about a miniature world that sparks my imagination. I want to visit a mouse house. One with furniture, of course.

My favorite mouse books are Mouse Soup and Mouse Tales by Arnold Lobel, Noisy Nora by Rosemary Wells, Lily’s Plastic Purple Purse by Kevin Henkes, and so many more.

 

GRWR: The pairing of prose and art in your book works seamlessly. One of my favorite scenes is the guest book one since you had me wondering how little Dakota would make off with a museum masterpiece. What did you think when you first saw Kelly Murphy’s evocative illustrations? Do you have a favorite spread?

JM: Oh, thank you! Kelly’s art is incredible. She’s captured all of the excitement of a night-in-the-museum heist. I also loved that she worked in some nods to Indiana Jones, since there’s a little of Indiana in Dakota. But if I had to choose one spread it would be the one of the Mousehole Museum with all of its exhibits, small animal visitors, and even a cafe of tiny treats! It took my breath away the first time I saw it. It’s the page kids love to linger on and pick out their favorite tiny treasures.

 

Dakota Crumb museum_int.2
DAKOTA CRUMB: TINY TREASURE HUNTER. Text copyright © 2021 by Jamie Michalak. Illustrations copyright © 2021 by Kelly Murphy. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.

 

GRWR: The harmless museum heist is just part of the story’s intrigue. Readers have more fun in store! In the last few pages, they find out about the miniature museum run by Dakota Crumb underneath the larger one and are then invited on a seek-and-find mission of their own. I couldn’t resist tracking down the items shown at the end and am sure children will feel the same. Was this cool combination story your intention all along?

JM: I layered on the interactive seek-and-find details after I’d written the heist story. Because Dakota finds only a handful of treasures in the story, I needed to do something with all of the many other teeny objects from my original exhaustive list of them. So I created a treasure hunt list for the reader, and Kelly hid the tiny objects in the art for kids to find.

 

GRWR: What do you hope children will take away from this reading adventure?

JM: Well, I always hope that they’ll have fun. But I also hope that the familiarity of Dakota’s coveted finds will inspire kids to see that tiny treasures are around us all the time. We just need to slow down and pay attention to them.

 

GRWR: Thanks so much for this wonderful interview, Jamie! I hope you’ll come back again to share more insights about your books.

Dakota Crumb Author Jamie MichalakBIO:

Jamie Michalak is the author of many children’s books, including Dakota Crumb: Tiny Treasure Hunter, illustrated by Kelly Murphy; Frank and Bean, illustrated by Bob Kolar; the highly praised Joe and Sparky early readers series, illustrated by Frank Remkiewicz; as well as the forthcoming picture book Niki Nakayama: A Chef’s Tale in 13 Bites, co-written with Debbi Michiko Florence and illustrated by Yuko Jones, and many more.

            When not writing, she can often be found singing off-key, drinking too much coffee, or hanging out with her two sons. Jamie lives with her family in Barrington, Rhode Island. For more info, visit her at www.jamiemichalak.com

 

SOCIAL MEDIA:

Website: JamieMichalak.com

Instagram: @jamiemichalakbooks

Twitter: @jamie_michalak

 

BLOG TOUR DATES AND HOSTS:

6/18 – Watch. Connect. Read (link)

7/6 – Imagination Soup (link)

7/7 – Storymamas

7/8 – Good Reads with Ronna

7/9 – Nerdy Book Blog

7/14 – Randomly Reading

8/3 – Celebrate Picture Books

 

Like mice? Read a review of another mouse book here.

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Picture Book Blog Tour for Perdu

PERDU

Written and illustrated by Richard Jones

(Peachtree Publishing; $17.99, Ages 4-8)

 

Perdu cover

 

INTRO:

Good Reads With Ronna is delighted to appear on day three (see schedule below) of the Perdu Blog Tour! I hope you’ll take the time to not only read the book review, but to also watch all the fantastic videos that Peachtree Publishing has shared with us.

 

REVIEW:

Richard Jones makes his welcome debut as both author and illustrator with this tale of a lost (perdu in French) dog seeking a forever family. And may I just add here that Perdu is precious! Both the main character and the story itself. With his sweet face gracing the book’s cover, it’s easy to be captivated by his faraway, lonely look.

While we never learn where Perdu has come from because he certainly didn’t tie the neck scarf himself, it’s easy to let that mystery go in favor of the bigger mystery at the heart of this moving story—will he ever find a loving home?

 

Perdu interior 1
Interior spread from Perdu written and illustrated by Richard Jones, Peachtree Publishing ©2021.

 

Readers first glimpse Perdu on the title page, head down, red scarf around his neck, and walking through a field. As he carries on his journey, he notes that, unlike a nearby fallen leaf, he has no place to be. Poor Perdu!

He wanders over a bridge on the outskirts of town where he’s noticed by a little girl sporting a distinct red knit pom-pomed hat. Determined to find his “somewhere,” like everyone else, the sweet lost little dog continues his search and wanders into the big, anonymous city. 

 

Perdu Interior 2
Interior spread from Perdu written and illustrated by Richard Jones, Peachtree Publishing ©2021.

 

At the same time as Perdu, intimidated by the city size and its throngs of people, the little girl continues her day out with her mother. I love how, at this point in the book, Jones has zoomed in on the girl whose path keeps crossing that of Perdu’s. She is perhaps outside a library or other notable building with a massive lion statue (a nod to The Snow Lion) while Perdu stands at the top of the statue. I wonder if parents or kids will spy him first.

My favorite illustration is the one when the child spots Perdu sitting outside an expansive cafe window where she and her mom are dining. He’s hungry now and tired and cannot resist the temptation of an open door. Inside he wreaks havoc and is reprimanded by patrons. It’s a demoralizing experience for Perdu yet at the same time things probably cannot get much worse.

 

Perdue Interior 3
Interior spread from Perdu written and illustrated by Richard Jones, Peachtree Publishing ©2021.

 

In a lovely park scene, where both the girl and Perdu have ended up following the restaurant ruckus, the child approaches the dog. She’s holding Perdu’s signature red neck scarf which he lost when he dashed away during the cafe commotion.

Not a lot of words are needed when the simple act of giving back the scarf to the lost dog speaks volumes about the girl’s empathy and Perdu’s trust. It’s a gentle, loving moment that bonds the pair and fills readers’ hearts with hope. 

 

Perdu Interior 4
Interior spread from Perdu written and illustrated by Richard Jones, Peachtree Publishing ©2021.

 

Jones has given young readers a feel-good story about friendship, trust, kindness, and belonging highlighted by the beautiful, inviting art that solidifies the tale. Jones achieves this warm look with paintings he then edits in Adobe Photoshop. I came away from the story feeling happy for both Perdu and the red-hatted girl knowing that they had both truly found each other for all the right reasons.

 

 

Perdu Author Illustrator Richard Jones

ABOUT RICHARD JONES + HIS SOCIAL MEDIA:


Click here to read an Author Q + A.

Website: www.paintedmouse.com/

Twitter: @apaintedmouse

Instagram: @apaintedmouse

 

LEARNING:

Draw Perdu with Richard by watching this video.

Click here for excellent activity sheets.

Find out about Richard’s inspiration for the story and the progression of the book’s illustrations here.

Get hooked! Read an excerpt from Perdu here.

 

BLOG TOUR PARTICIPANTS:

Monday (4/12): Unpacking the Power of Picture Books

Tuesday (4/13): Mom Read It

Wednesday (4/14): You’re here now at Good Reads With Ronna ! Thank you!

Thursday (4/15):  Literacious

 

 

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THE 2021 SYDNEY TAYLOR BOOK AWARD BLOG TOUR

WELCOME TO DAY 4 OF THE STBA BLOG TOUR

 

STBA 2021 Blog Tour


FEATURING INTERVIEWS WITH

AUTHOR RABBI MYCHAL COPELAND

&

ILLUSTRATOR ANDRE CEOLIN

DISCUSSING THEIR

HONOR-WINNING PICTURE BOOK

I AM THE TREE OF LIFE: My Jewish Yoga Book

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BOOK SUMMARY:


The Torah is called the Tree of Life. Just as a tree is always growing and changing, the Torah’s ideas can help us grow and change, too. Yoga can do the same. Both can help us strengthen ourselves, calm our minds, and learn to appreciate the world around us.

Written by rabbi and certified yoga instructor Mychal Copeland, I Am the Tree of Life encourages us to explore both the world of yoga and the stories of the Bible and find meaning in both.

INTERVIEW WITH RABBI MYCHAL COPELAND:

GoodReadsWithRonna: Congratulations on your great honor, Rabbi! What a pleasure to have you as our guest today.

“How might it feel to stand at Mount Sinai? To dance at the red sea?” are the inviting opening words to your lovely picture book. This gentle and meaningful introduction to yoga through Torah exploration is a wonderful idea for a story. Please share your inspiration with us. Is this a practice you use with children?

Rabbi Mychal Copeland: This book came together organically, doing yoga with children at Jewish summer camps and synagogues. We imagined, together, which stories we could form with our bodies. I loved seeing kids use their imagination and how easily they understood what it means to embody, or become, an animal, object, or character. Those ideas evolved over many years into the poses in the book, alongside poses I brought into my adult Jewish yoga classes based on the weekly Torah readings and holidays.

GRWR: The beautiful blend of the spiritual and physical come together seamlessly in I AM THE TREE OF LIFE. What do you feel your book offers to youngsters especially now when they have been coping with an unprecedented pandemic?

RMC: Parents of young children are striving to bring grounding, healthy practices into their kids’ lives, especially during this pandemic. Yoga teaches adults and children that we can regulate our own breathing, calm ourselves down when necessary, pay attention to what we are feeling, and to be empowered in our bodies. Children have lost their daily opportunities for movement, so I’ve been thrilled to hear that this book has helped them get moving during this time. I hope that has, in turn, connected them to their spiritual selves and to the world around them as they embody a mountain, tree or a fish.

GRWR: I love how there’s a boat pose to signify Noah’s Ark. Did you have trouble finding poses to correlate to the various stories? Or did you select the stories based on existing poses?

RMC: I have been teaching yoga in a Jewish context for many years, and in my practice I connect the poses to the weekly Torah portion or Jewish holiday wherever there is a meaningful link. I have collected so many poses that fit perfectly with our stories. In fact, I had a tough time choosing which ones to drop to make the book the right length for children!

 

Tree pose int1
Interior spread from I Am The Tree of Life written by Rabbi Mychal Copeland and illustrated by André Ceolin, Apples and Honey Press ©2020.

 

GRWR: Do you have a particular favorite illustration and if so, why?

RMC: The book is based around the image of the tree, both as a metaphor for our Torah and of our bodies. The cover so perfectly brings those images together with a child coming into Tree Pose against the backdrop of a tree so we can see how our feet are like roots, legs like a trunk, and arms like branches. I also love the way he integrated the Torah stories we are about to read into the Tree of Life while we are forming Tree Pose on the opening pages. I also love the Crescent Moon, because Andre so beautifully captured the sweeping feeling of this pose and the story in Genesis.

 

Crescent moon int5
Interior spread from I Am The Tree of Life written by Rabbi Mychal Copeland and illustrated by André Ceolin, Apples and Honey Press ©2020.

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GRWR: The book is filled with a variety of wonderful Torah stories. Is your hope that, in addition to wanting to try yoga, children reading your book might also become interested in further Jewish study?

RMC: Yes! My hope is that the short glimpses into the Torah stories will pique a child’s curiosity to know the full stories. Perhaps at a Passover seder, they will hear the Exodus narrative and remember that they tried a yoga pose from that formative story. If they feel like that story is theirs because they embodied it, even better. I hear so many young adults say that they don’t feel Jewish enough, that they didn’t learn enough to feel it’s theirs, or that the Jewish community doesn’t accept them as being fully Jewish. My hope is that our upcoming generation of kids feel like they own their own Judaism. It is not someone else’s tradition that they are peering into. It is wholly theirs to live, learn, and create.

GRWR: I love how at the end of the book you address what’s Jewish about yoga. For those reading who do not yet have the book, what’s your answer?

RMC: Yoga emerges from the Hindu philosophical tradition. Jews have a long tradition of being open to learning and incorporating wisdom from other traditions that surround us (medieval liturgy based on Arabic poetry, piyyut, is another great example). But movement also has a long history in Judaism. Our ancient rabbis discussed how to move our bodies during prayer, recognizing that words are not the only way to pray. One medieval Jewish mystic matched Hebrew letters and vowels with head movements. Other kabbalists envisioned different aspects of God as a chart in the shape of a tree, the Tree of Life, and mapped that chart onto the human body. And Hasids used body movements to enhance their prayer.

So yoga is a practice that Jews are borrowing, but spiritual movement is not new to our people.

GRWR: This is such a feel good, calming read. What other Jewish or non-Jewish children’s books have you enjoyed reading for your own writing inspiration?

RMC: Howard Schwartz and Kristina Swarner’s Gathering Sparks (a Sydney Taylor Award winner) has been such an inspiration to me, inviting children to contemplate a complex spiritual, mystical idea in a way that is both relatable and calming. Their book, Before You Were Born, has that same mystical, whimsical quality. I have also been heavily influenced by Rabbi Sandy Sasso’s work (In God’s Name, God’s Paintbrush and so many others), bringing a depth of spiritual conversation to an ecumenical audience.

GRWR: What else would you like to mention about your experience writing the book?

RMC: In early conversations with Apples and Honey Press, we wanted to make sure that the children pictured in the book would represent the diversity of the Jewish community. They brought Brazilian artist, André Ceolin, to the project and I am overjoyed with the illustrations. Portraying children of color in books does not solve the deep-seated issues we face in the Jewish community or our larger American culture. Yet making sure People of Color are represented in Jewish children’s literature is one way we can show kids they are visible in Jewish life, while showing white children that a diversity of racial and ethnic backgrounds is what Jewish looks like. We can offer the next generation an invitation to connect themselves to Jewish stories and other Jews. Collectively, we can make intentional choices about which stories and images are passed on.

 

INTERVIEW WITH ANDRE CEOLIN:

GRWR: Congratulations on your great honor! What a pleasure to have you as our guest today, André.

On the very first spread of the book readers see the tree of life pose along with the tree itself representing the Torah. Can you speak to some of the wisdom shown on the different branches of the tree, the preview of stories to come, and how you imagined this particular illustration?

André Ceolin: Both Ann Kofsky, from Behrman House, and Rabbi Mychal have given me the guidelines and important insights for that illustration, coming up with the idea of the tree showing the passages in each branch.

The tree is strong and healthy, and each branch of it shows an image which represents a passage from the Torah. For me it shows that the wisdom from each passage lead us to a balanced, steady and healthy life.

GRWR: Can you please tell us how you created the artwork? Was it done digitally? And what made you choose this color palate? How long did it take to complete the illustrations?

AC: On a piece of paper and using a good pencil, I always start with several small sketches, the size of a thumbnail, for each illustration to be done. In doing so, I experiment several approaches, having a general idea of the drawing structure, without being distracted by the details.

After evaluating all the miniature sketches, I shoot some photos of the best ones and then, start to work at the computer in a bigger and more detailed version, which will be sent later to the editors and authors for evaluation .

Once approved, I get started with the final version of the illustration, more elaborate and colorful. This step is made digitally as well.

Regarding the color palates, each drawing has its own one in order to express the feeling and the time period in which the story takes place.

Normally, it takes from 2 to 4 days for each illustration, from the sketches to the final version, depending on its complexity.

GRWR: Do you have a particular favorite illustration and if so, why?

AC: The illustration with Jonah inside the giant fish is my favorite, because it was really fun to illustrate that monster-fish. Besides, the image shows some tension, at the same time that it shows hope.

 

Jonah and The Whale int16
Interior spread from I Am The Tree of Life written by Rabbi Mychal Copeland and illustrated by André Ceolin, Apples and Honey Press ©2020.

 

GRWR: You made all the poses look so easy and fun. Did you have to learn yoga to be able to illustrate this book?

AC: Yes, I had to learn a little bit about Yoga, despite not being able to do many of the poses (maybe one day I will take some Yoga classes). Rabbi, through her feedback helped me a lot to correct and make right each of the poses illustrations, as shown in the book.

GRWR: Who are some of the illustrators who have influenced your art?

AC: There are many artists whose work I admire. Stephen Michael King, Rodney Mathews, Rebecca Dautremer and Edivaldo Barbosa de Souza are some of the artists who inspire me.

GRWR: Is there anything else you’d like to mention about your experience illustrating this book?

AC: Illustrating The Tree of Life was a very rich and enjoyable experience in which, in addition to learning about yoga, I learned about the wisdom of the Torah and Jewish culture.

 

GOODREADSWITHRONNA THANKS YOU BOTH SO VERY MUCH FOR YOUR THOUGHTFUL REPLIES!

 

BIOS:

You can find Mychal getting into yoga poses while teaching, writing, reading Torah, and even leading Shabbat services at Congregation Sha’ar Zahav in San Francisco.  Mychal is both a Reconstructionist and Reform rabbi, earned a masters and teaching credential from Harvard Divinity School, and is a certified yoga instructor, fusing Jewish spirituality with movement through yoga. She co-edited Struggling in Good Faith: LGBTQI Inclusion from 13 American Religious Perspectives (SkyLight Paths, 2016) and I Am the Tree of Life: My Jewish Yoga Book (Apples & Honey Press, 2020)  is her first children’s book. She leads yoga sessions that are steeped in Jewish thought and prayer, melding breath and posture practice with Jewish ideas.  Her interests span Jewish magical texts, interfaith dialogue, Jewish issues of inclusion, and teaching Judaism as a spiritual path. 

Click here for my Facebook page where people can find me and yoga opportunities for their kids.

 

Ceolin photoAndré Ceolin is a self-taught illustrator from Brazil He started his first attempt at sketching around the age of four when his father brought home some reams of paper from work. It was in that moment that he fell in love with painting and drawing. André initially got a degree in pharmacy at UNIMEP. Though he worked in this field for several years, his artistic passion was too strong to ignore. As a young father, he was surrounded by beautiful children’s books and was always drawn to the spontaneity of the imagery. He then decided to switch gears and studied at School of Visual Arts in NYC, Melies, and Escola Panamericana de Artes to develop a signature look and learned new illustration techniques. He illustrated his first book “Um Dia na Vida de Micaela” de Cauê by Steinberg Milano, published by Editora Roda & Cia in 2009. Ever since, he has illustrated over 20 books by great publishers in Brazil such as Roda & Cia, Saber e Ler, SM, Moderna, FTD, Editora do Brasil, Editora Abril. He loves working with books targeting juvenile readers from the very young age to middle-grade and young adult. When not illustrating, he creates toys and small sculptures for his son. He also enjoys bicycling, playing his guitar, and, singing. Visit his website here.

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BOOKMARK THESE SITES:

Association of Jewish Libraries

Sydney Taylor Book Award
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STBA BLOG TOUR DATES

Below is the schedule for the 2021 Sydney Taylor Book Award Blog Tour. Please follow the links to visit the hosting blogs on or after their tour dates, and be sure to leave them plenty of comments!

MONDAY, FEBRUARY 8, 2021 

Lesléa Newman and Susan Gal, author and illustrator of Welcoming Elijah
Sydney Taylor Book Award in the Picture Book Category
at A Fuse #8 Production at School Library Journal

Sofiya Pasternack, author of Anya and the Nightingale
Sydney Taylor Honor Book in the Middle Grade Category
at 100 Scope Notes at School Library Journal

TUESDAY, FEBRUARY 9, 2021

M. Evan Wolkenstein, author of Turtle Boy
Sydney Taylor Book Award in the Middle Grade Category
at Mr. Schu Reads

Jane Yolen and Khoa Lee, author and illustrator of Miriam at the River
Sydney Taylor Honor Book in the Picture Book Category
at 7 Impossible Things Before Breakfast 

WEDNESDAY, FEBRUARY 10, 2021

Anne Blankman, author of The Blackbird Girls
Sydney Taylor Honor Book in the Middle Grade Category
at The Paper Brigade Daily at The Jewish Book Council

Monica Hesse, author of They Went Left
Sydney Taylor Honor Book in the Young Adult Category
at Jewish Books for Kids

THURSDAY, FEBRUARY 11, 2021

Tyler Feder, author of Dancing at the Pity Party
Sydney Taylor Book Award in the Young Adult Category
at Out of the Box at The Horn Book

FRIDAY, FEBRUARY 12, 2021

Tziporah Cohen, author of No Vacancy
Sydney Taylor Honor Book in the Middle Grade Category
at From the Mixed-Up Files of Middle Grade Authors

Podcast interview at The Children’s Book Podcast

Blog Tour Wrap-Up at The Whole Megillah

Read about last year’s 2020 Sydney Taylor Book Award Blog Tour here.

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Picture Book Blog Tour – An Interview With Chick Chat Author Illustrator Janie Bynum

MEET JANIE BYNUM

AUTHOR-ILLUSTRATOR OF

CHICK CHAT

(NorthSouth Books; $17.95, Ages 4-8)

 

CHICKCHAT cover

 

 

It’s Day One of the CHICK CHAT BLOG TOUR as well as its book birthday! Peep! Peep! GRWR is so happy to participate and celebrate the hatching. Please enjoy the following interview with Chick Chat author-illustrator Janie Bynum and her insights on this fun new read-aloud picture book for children.

 

CHICK CHAT SUMMARY:

Friendship comes in all shapes and sizes.

Peep, peep, peep! Baby Chick has a lot to say!

Everyone in Chick’s family is too busy to chat with her. But when chatty baby Chick adopts a large egg—she finally finds a friend who is a good listener. When her egg goes missing, Chick is heartbroken, until she finds that it has hatched into a brand-new friend!

INTERVIEW WITH CHICK CHAT AUTHOR-ILLUSTRATOR JANIE BYNUM

GoodReadsWithRonna: Hi Janie! Welcome to the blog. I’ve got lots of questions for you today.
In your author bio on the book’s copyright page, you mention how talkative you were as a child. Can you expand on this and how it influenced creating your main character Baby Chick?

Janie Bynum: Being an inquisitive, talkative, and determined child, I’m sure I tested the patience of my family—and quite a few teachers. Baby Chick and I share all of those personality traits—as well as being a fairly self-reliant youngest sibling. As I wrote and revised Baby Chick’s story, this very talkative youngest sibling emerged. So I ended up writing from a perspective (with a voice, as it were) that I understood as a kid.

In early versions of the manuscript, Baby Chick actually spoke instead of only peeping. But, I ultimately chose to have her peep in such a way that sounds like she knows exactly what she’s saying (and she does). This way kids can interpret what she may be saying—either inferred by the illustrations or by whatever words they imagine for her.

 

CHICK CHAT int1 breakfast
Interior spread from Chick Chat written and illustrated by Janie Bynum, NorthSouth Books ©2021.

 

GRWR: Which came first, the Baby Chick character design or the story?

JB: The Baby Chick character art came first.

GRWR: It was funny how everyone in Baby Chick’s family is unaffected (to the point of almost ignoring her while they’re otherwise occupied) by her nonstop peeping while she carries on joyfully by herself. Is there something to be learned from her sheer self-contentedness?

JB: Possibly … by enjoying our own company, not being entirely dependent on others to “make” our happiness for us. Baby Chick is creative and makes her own fun; and, in doing so, she discovers something to nurture, which ultimately hatches into a friend who listens.

GRWR: I was absolutely convinced Baby Chick had found a rock not a big egg. Was this deliberate?

JB: No. The giant Galapagos tortoise’s egg—which I used for reference—looks very much like a round stone. Only at first, when she hasn’t fully unearthed the object, does Baby Chick not know that it’s an egg. But once she uncovers it, she realizes it’s some sort of egg—maybe not a chicken egg because it’s so round. But Baby Chick either doesn’t notice the difference or doesn’t care. It’s an egg without anyone to tend it, so she decides to be its guardian.

GRWR: I’m curious why you decided to make the baby turtle a quiet character rather than one “with a lot to say” like Baby Chick?

JB: I could’ve made the baby turtle/tortoise even more talkative than Baby Chick, which would’ve been funny. But I wanted Baby Chick to be rewarded (for all her nurturing and protection of the egg) with a friend who likes to listen. It’s also a sort of celebration of the yin/yang relationship, how seemingly opposites are actually complementary (in this case extrovert/introvert).

 

CHICK CHAT int2 Sister
Interior spread from Chick Chat written and illustrated by Janie Bynum, NorthSouth Books ©2021.

 

GRWR: Do you see Chick Chat as primarily a friendship story or did you feel there were other themes you wanted the book to explore?

JB: The friendship theme is wrapped around a story about self-sufficiency; and, as you noted earlier, self-contentedness. So, it really has two main themes.

GRWR: What medium do you work in when creating your artwork?

JB: I used a combination of digital media and traditional watercolor, which is the way I generally work. For Chick Chat art, I worked on my iPad (in an app called Procreate) and in Photoshop on my Mac computer with large monitor. I used traditional watercolor for some areas, and added real paper and paint textures (with Photoshop layers) to give more depth to some of the digital color.

GRWR: As someone who began telling stories first visually, do you usually create your dummy with thumbnails and then add the prose later?

Studio paint 2
Painting space in Janie Bynum’s studio ©2021.

JB: I usually have a character in mind first that I must draw so that I can get to know them. A seed of a story germinates as I’m drawing. As I start writing the story, I sometimes create a simplified mind map to look at arc, action, and direction possibilities. Then I write some more. And I revise. And then I revise the text some more.

When I feel like I have a fairly finished manuscript, I start thumbnails. Inevitably, the text changes as I work on thumbnails and rough sketches. So, as I create the rough dummy, I work back and forth between words and pictures until I feel confident that the story (both visual and written) is ready to submit to my agent.

GRWR: I enjoyed a lot of the little unexpected details you included in the illustrations like Baby Chick’s grasshopper friend (or cricket), and the punny titles of the books Sister is reading. Did you do this in all the books you illustrate even if you didn’t write them?

JB: Thank you. Since I write/illustrate for a fairly young audience, I try to add details that older readers (especially adults) will enjoy. While I don’t include a small observer character (who sometimes participates) in all of the books I illustrate and/or write, I have done so in a few. In Otis, which I wrote, a red bird appears in many of the pictures; and, in Porcupining, written by Lisa Wheeler, a grasshopper observes and sometimes participates.

GRWR: What do you do to spark your creativity? Is your process to work daily, inspired or not?

JB: In addition to creating children’s books, I work as a creative director and graphic designer (outside of children’s publishing), so creative problem-solving is part of my day every day. But, one of the things I do as a creativity spark—at least several times per week—is just draw for no reason at all, with nothing in mind until pencil meets paper (or stylus meets iPad). Many times character ideas come from these sessions.

GRWR: How long did it take to complete Chick Chat from the idea stage to the final book we can order from bookstores today?

JB: Roughly two years: story and book dummy, spring 2019; art delivered January 2020; published book January 2021.

 

CHICK CHAT int3 NoAnswer
Interior art from Chick Chat written and illustrated by Janie Bynum, NorthSouth Books ©2021.

 

GRWR: Who are some of your current kidlit illustrator faves and why?

JB: I have soooo many favorites, and for so many different reasons.

I love the color and stylized work of Felicita Sala. I adore the haunting stylized art of illustrators like Isabelle Arsenault and the cheery whimsy of Louise Gay. Carter Goodrich’s dogs are divinely humorous, and he possesses quite a deft hand with paint. With Sophie Blackall’s art, I’m inspired by her use of color, texture, and pattern. Her work is retro and contemporary, both at the same time.

Oliver Jeffers’ composition on the page (including an amazing sense of negative space) and his sensitive use of color and line inspires me. Matthew Cordell’s spontaneous linework and non-complicated watercolor embodies a spontaneous loose feel that I aspire to in my own work.

I like Ryan T. Higgins’s ink line coupled with his graphic use of shape and color (and, of course, his humor); the gorgeously strange art of Mateo Dineen; and the Matisse’esque art of Olivier Tallec.

GRWR: What’s in the works for your next book?

JB: A very creative beetle is the hero of my current work-in-progress. Also, I’m considering creating something for Gary the Worm to star in. (To find out who Gary is, visit my Instagram @janiebynum.)

GRWR: Is there anything else you’d like to add that perhaps I haven’t addressed?

JB: I’d like to let educators (including parents and grands) know that they can find Chick Chat activities at my website (janiebynum.com) and at northsouth.com/resources. And last, but not least, thank you for including me in your blog!

GRWR: It’s been such a pleasure being the first stop on your blog tour and getting to know you and Chick Chat better. Thanks for your terrific answers!

 

AuthorIllustrator JanieBynumBIO:

Janie Bynum grew up in Texas and graduated with a BFA in graphic design with an emphasis on illustration. As an author/illustrator, she has created many lovable characters and stories for younger children. Her work has been recognized as a Junior Library Guild Selection. She loves to travel and experience other cultures, drawing inspiration from the people, landscape, and cuisine. Known to her friends as a bit of a nomad, Janie lives in a nearly-100-year-old storybook house in southwest Michigan—for now.

Website: janiebynum.com

Instagram: @janiebynum

CHICK CHAT BLOG TOUR PARTICIPANTS AND DATES

·       Dulemba.com – January 28

·       Dreamreaderkids – February 2 Instagram/Blog review +giveaway

·       Storymamas – March 10 review + giveaway

·       Kidlit411 – March 26 illustrator spotlight

 

CLICK HERE TO READ ANOTHER AUTHOR-ILLUSTRATOR INTERVIEW

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Picture Book Blog Tour – Short & Sweet by Josh Funk

 

SHORT & SWEET:

Lady Pancake and Sir French Toast #4

Written by Josh Funk

Illustrated by Brendan Kearney

(Sterling Children’s Books; $16.95, Ages 3+)

 

GOODREADSWITHRONNA
is delighted to be a part of the
“Long & Savory”
monthlong virtual blog tour!
Scroll down for other bloggers to check out.

 

Short and Sweet book cover

 

★Starred Review – School Library Journal

REVIEW:

Come join me on Crust Boulevard for a visit inside the fridge where Lady Pancake and Sir French Toast live. If you haven’t read the previous three books in this hilarious series, that definitely won’t detract from your enjoyment of the popular food friends’ fun and frolic.

In Short & Sweet, the latest installment from author Josh Funk and illustrator Brendan Kearney, time may be running out for Lady Pancake and Sir French Toast. The meal-worthy mates have discovered they’re going stale! Fortunately, their new friend, Baron von Waffle, suggests they “check out Professor Biscotti’s brochure,” for what could be a cure.

 

int01 Short and Sweet
Interior spread from Short & Sweet written by Josh Funk and illustrated by Brendan Kearney, Sterling Children’s Books ©2020.

 

Lady Pancake and Sir French Toast decide the professor’s despoiling machine is what’s needed to save them so, accompanied by the Baron, they head to the laboratory.

 

int02 Short and Sweet
Interior art from Short & Sweet written by Josh Funk and illustrated by Brendan Kearney, Sterling Children’s Books ©2020.

 

In just minutes the decaying duo gets zapped back to health. However, one slight glitch in Professor Biscotti’s device has caused the food friends to shrink down to kid-size. They also do not seem to recognize their pal Baron von Waffle and dash off in fear. 

 

int03 Short and Sweet
Interior art from Short & Sweet written by Josh Funk and illustrated by Brendan Kearney, Sterling Children’s Books ©2020.

 

The chaos that’s occurred has caused the Baron’s feelings to be hurt. He’s worried Lady Pancake and Sir French Toast are so scared of him that he’ll lose their friendship. While the professor works on fixing her despoiling machine, Baron von Waffle works on a way to lure his pals back to the lab. 

Meanwhile, the frightened food first finds safety at a nearby pasta playground and then a local library. I love how Funk, a huge fan of libraries, has successfully fit one into his story. In a way, it’s a love of reading that leads Lady Pancake and Sir French Toast back to Baron Waffle. He believes he’s come up with a clever way to entice the two breakfast food buddies back to the lab and hopefully, with Professor B’s help, maximize them back to friend-size! Will the teeny twosome be restored to grown-ups? Well, I certainly won’t be a spoiler!

The premise of this picture book is such fun and adds a new dimension to the zany, adventure-packed Lady P and Sir FT collection. Once again, the talented team of Funk and Kearney have brought us a read-aloud that starts its rollicking from the very first spread. Filled with wordplay that easily rolls off the tongue, Short & Sweet can also boast engaging, well-metered rhyme in a fast-paced story that kids will want to hear over and over. Kearney’s high-spirited art is bursting with visual treats. You’ll find cucumber footrests at Professor Biscotti’s lab, punny book titles in the library, and perhaps my fave, Juice Springsteen sporting his trademark headband above his brow while rockin’ out atop a pot pie in the final spread. There’s lots to love in book #4 so get a copy, get comfy, and get ready to be entertained. Just remember not to read on an empty stomach!

  •  Reviewed by Ronna Mandel

Scroll down for more info about
Lady Pancake & Sir French Toast: SHORT & SWEET

BIO:

Josh Funk is the author of books like the Lady Pancake & Sir French Toast series, the ​It’s Not a Fairy Tale series, the How to Code with Pearl and Pascal series, the A Story of Patience & Fortitude series, Dear Dragon, Pirasaurs!, Albie Newton, and more.

For more information about Josh Funk, visit him at www.joshfunkbooks.com and on Twitter/Instagram/Facebook at @joshfunkbooks.

Click here to order a copy of Short & Sweet. If you’d like other books in the series, click here.

Disclosure: Good Reads With Ronna is now a Bookshop.org affiliate and will make a small commission from the books sold via this site at no extra cost to you. If you’d like to help support this blog and its team of kidlit reviewers, please consider purchasing your books from Bookshop.org using our affiliate links above. Thanks!

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Children’s Book Blog Tour – Greta and the Giants

 

∼ AN INTERVIEW WITH ZOE PERSICO ∼

ILLUSTRATOR OF GRETA AND THE GIANTS

 

 

ABOUT GRETA AND THE GIANTS
(Frances Lincoln Children’s Books; $17.99, Ages 4-7) 

Greta is a little girl who lives in a beautiful forest threatened by Giants. When the Giants first came to the forest, they chopped down trees to make houses. Then they chopped down more trees and made even bigger homes. The houses grew into towns and the towns grew into cities, until now there is hardly any forest left. Greta knows she has to help the animals, but how? Luckily Greta has an idea that will lead to the Giants and the animals working together in harmony. An additional section at the back explains that in reality the fight against the giants isn’t over and Greta needs the reader’s help.

This book has been printed sustainably in the UK on 100% recycled paper. By buying a copy of this book, you are making a donation of 3% of the cover price to Greenpeace UK

INTERVIEW WITH ZOE PERSICO

zoe persico
Self-portrait of Zoe Persico

Please tell us how you came to be a picture book illustrator? 

Growing up I had many artistic influences that led me to go into what I do today, especially in books. I struggled with reading, but the illustrations always kept me eagerly invested and inspired. I originally wanted to be an animator, but quickly figured out that illustrating was my passion and wanted to figure out how I could achieve it as my career. I returned to my love for children’s books and knew I wanted to create works of art that would help others like they did for me. With family, friends, my partner, and educators who always supported me every step of the way I signed onto my current agency, got an early jump start into my career, and graduated college. I’ve been working as a freelance illustrator for over five years now and happily receiving great projects such as Greta and the Giants.

 

Greta and the Giants.Interior Spread1
Interior artwork from Greta and the Giants written by Zoë Tucker and illustrated by Zoe Persico, Frances Lincoln Children’s Books ©2019.

 

What medium/technique did you use to create the illustrations in GRETA AND THE GIANTS and how did the metaphor of the giants as symbols of corporate greed influence your choices?

I use Photoshop CS6 and a Wacom Cintiq Pro 24 to create my illustrations, though I am heavily influenced by traditional materials and try to capture the magic of them through digital means. I use custom brushes that emulate watercolor, gouache, colored pencils, and so on. Before starting the final art for Greta and the Giants I knew that I really wanted to push some new painting techniques, so I practiced using traditional materials beforehand to figure out how I can capture them digitally.

The giants were quite a challenge! I needed to figure out how to portray the giants in a fantastical, but realistic way. It would have been too easy to use stereotypes as a crutch for their design and using certain physical traits to show how “ugly” they are is harmful because that’s telling readers having those traits are negative. I thought that illustrating them mostly from perspectives of Greta and the citizens of the forest, such as them looking up and only seeing their shoes and pants as well as not being able to see their faces as clearly due to the massive distance between them, was a perfect and simple way to achieve that the giants “have their heads in the clouds” more than anything else. They realize that they are causing harm and want to do better and I wanted to make sure their designs were an easy transition to the last spreads of the book as well. They have always worn normal clothes just like everyone else and their size doesn’t change. They are still giants! The change comes into how the new compositions show a better connection and understanding between them and the forest dwellers.

I was taken immediately by the gorgeous jewel tones in your palette. Please explain the decision behind that.

Thank you! I had a lot of fun with this palette for this book. When the design team told me they really wanted to a painterly look and using light for color and mood contrast I was immediately excited. I’ve always tried to push these elements in my personal work and I knew I wanted to push myself even more for this project. Since I have been painting traditionally on the side more, I’ve found new color palettes that I wanted to emulate in Greta and the Giants. I used warm tones for heavily lit areas and went with cool tones for shadows. I mixed colors on top of each other like I would with watercolors to keep interest and connection in each area. I have been in love with using a very bright candy red lately and knew it would be the perfect accent color in a sea of multiple shades of green. For the last spread I wanted to go with a sunset palette to help end the book on a warm and uplifting note. Overall, I would say the goal for this book was to have a mostly nature-inspired palette (greens, browns, oranges) with accents of fantasy-inspired colors (pinks and blues).

 

Greta and the Giants.Interior Spread2.jpg
Interior artwork from Greta and the Giants written by Zoë Tucker and illustrated by Zoe Persico, Frances Lincoln Children’s Books ©2019.

 

What inspired you about this particular story?

Throughout the years I’ve been finding ways to alleviate my carbon footprint on the planet as best as I can and having the chance to work on this project was right up my alley. I was inspired on now only how I can help show others on what we can do to help fight climate change, but to come together and speak up against “giants” by the power of your voice. I hope the illustrations in Greta and the Giants inspire children to ask questions. I hope it inspires parents and guardians to teach them about what is happening. I hope it inspires adults to speak out and vote.

Do you have a favorite illustration in the book?

Yes! Funny enough my favorite illustrations are the spreads that include the city. I rarely paint urban subjects and it was a fun challenge to depict what the giant city could look like from a distance. I’m proud of how it turned out!

I also enjoy illustrating animals as well. Any time I got to paint the fox was always fun for me!

What was the biggest challenge of creating the art for this picture book that’s dealing with a serious topic aimed at younger readers?

I would say finding the right visual balance of fantastical and visually showing a depiction of a real life issue. I wouldn’t be doing the message justice if I went a super happy and bright route for the illustrations. I want to show the dark sides of what’s happening to our home and make it easy to readers to understand that. I also wanted to show signs of hope and warmth as well. I use bright and inviting colors and character designs that young readers can gravitate towards. I paint light shining down on characters such as Greta to show that she is a beacon of hope. It’s little things like this that I add in my illustrations to help readers understand that things are serious, but we don’t have to be kept in the dark. It’s amazing how color and light and design choices can naturally click in your brain to know when something is “relaxing” or “melancholic” or “frustrating”. Illustrations are so important and I love that I get to create them.

 

Greta and the Giants.Interior Spread3.jpg
Interior artwork from Greta and the Giants written by Zoë Tucker and illustrated by Zoe Persico, Frances Lincoln Children’s Books ©2019.

 

As the giants learn about the negative impact of all their building and polluting, they begin to take on less fierce qualities. Was this intentional?

Absolutely. As I mentioned in the previous question regarding the giants, I really wanted to portray the giants in a way that they aren’t so different from the rest of the forest dwellers. Earlier spreads of the book emphasize how tall they are, how hard it is to see their faces from far away, and so on. There’s a disconnect and the giants aren’t aware of the damage they are causing. Towards the last spreads you can see their faces better and their postures and expressions are much more approachable. They are still giants, but there is now a more positive relationship between them and the folks living below them. I am hoping our real life “giants” can listen and start a positive dialogue with us to a better and healthier future.

Which illustrators have most influenced you as an artist?

I have so many! Some illustrators that have influenced me include Amélie Fléchais, Elena and Olivia Ceballos, Yvan Duque, Matthew Forsythe, Rebecca Green, Robin James, and many many more.

 

Thank you Zoe for your thoughtful answers. I hope everyone picks up a copy of Greta and the Giants to appreciate the beautiful artwork you’ve described in the interview and to see how wonderfully it complements the story.

• FIND OUT MORE ABOUT ZOE ON HER WEBSITE.
• PUBLICATION DATE IS NOVEMBER 19 BUT YOU CAN PRE-ORDER A COPY HERE TODAY.
• CLICK HERE FOR A HELPFUL DISCUSSION GUIDE.

READ MORE!

Visit the below bloggers for reviews and other Greta and the Giants related coverage.

Tuesday 11/12: This West Coast Mommy

Wednesday 11/13: Happily Ever Elephants 

Thursday 11/14: Here Wee Read

Friday 11/15: Picture Book Play Date  

 

  • Interview by Ronna Mandel

 

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Graphic Novel Review: Dear Justice League by Michael Northrop Blog Tour

✹BLOG TOUR✹

DEAR JUSTICE LEAGUE

Written by Michael Northrop

Illustrated by Gustavo Duarte

(DC Zoom/DC Entertainment; $9.99, Ages 6-10)

 

Dear Justice League cover

 

Good Reads With Ronna is delighted to be part of the Dear Justice League blog tour celebrating this week’s launch of a rollicking good read and recommended middle grade graphic novel from DC Zoom.

The premise is a simple yet oh so satisfying one. Fictitious kids from all over America pen Dear Abby-type letters to their fave superheroes and then lo and behold, they get replies. Not what you were expecting, right?

Middle grade readers, reluctant and struggling readers as well as fans of graphic novels will enjoy every single page of Northrop’s and Duarte’s fast and uproarious read. It’s playful and action-packed, and who doesn’t love a story where there’s never a dull moment? Northrup delivers dynamic dialogue that pairs perfectly with Duarte’s art.  His hilarious illustrations, full of every facial expression possible, jump off the page and pull you in. They deserve to be looked at multiple times.

I got into the novel quickly, intrigued by the first question posed to none other than my childhood hero, Superman. Wondering if the Man of Steel had ever messed up, the letter writer is shown having botched up his attempt at an invention. And while you’d think heroes are especially busy saving the day in multiple ways with no time for correspondence, Clark Kent’s alter ego surprises young Ben Silsby with an answer. Texting, flying and superhero-ing however do not safely go together leading to a hilarious string of close calls demonstrating that it’s not just Kryptonite that can bring him down.

Wonder Woman 7 int art from Dear Justice League
Interior artwork from Dear Justice League written by Michael Northrop and illustrated by Gustavo Duarte, DC Zoom ©2019.

 

I especially loved having the chance to meet seven other members of the Justice League, each presented in their own chapter addressing a particular issue raised via email, text or snail mail. Hawkgirl, Aquaman, Wonder Woman, Flash, Green Lantern, Cyborg, and Batman all make appearances and make you want to spend more time with them. The Dear Justice League questions range from silly (does Hawkgirl eat small mammals, does Aquaman smell like fish) to those that will resonate with the targeted age group about bullying, moving to a new school, being perfect, fitting in, friendship and teamwork.

Dear Batman 10
Interior artwork from Dear Justice League written by Michael Northrop and illustrated by Gustavo Duarte, DC Zoom ©2019.

 

Another aspect of the book that worked well was the thread running through the entire story about an invasion of evil, insect-like Shock Troopers from the planet Molt-On. Here’s where I was first introduced to Hawkgirl and was impressed by her sense of humor though a bit wary of how much soda she seemed to consume. But most of all, I enjoyed seeing the superheros hang out at HQ, chatting together while revealing snippets of their characters. When they ultimately fought off the Shock Troops through a well coordinated team effort, I felt happy and eager to read more about each of them individually and as a league. Next up for me is definitely Superman of Smallville, available 9/3/19.

Dear Aquaman 20
Interior artwork from Dear Justice League written by Michael Northrop and illustrated by Gustavo Duarte, DC Zoom ©2019.

 

The start of a new school year is an ideal time to share this graphic novel showing sometimes serious, yet often tongue-in-cheek adventures that demonstrate how even superheroes have the same vulnerabilities kids have. They may fight foes but are far from perfect. So head to your local independent bookseller to buy a copy of Dear Justice League for your kids because these graphic novels are bound to win new DC superhero fans and delight old ones.

Click here to read a preview.

  • Reviewed by Ronna Mandel

CHECK OUT MORE BLOG TOUR POSTS HERE:

THE BOOK RAT
BOOKISH REALMS REVIEWS
THE MAGIC OF WOR(L)DS
THE CHILDREN’S WAR
WORD SPELUNKING
THE MAGIC OF WOR(L)DS

 

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For Women’s History Month – Away With Words: The Daring Story of Isabella Bird Blog Tour

AWAY WITH WORDS:
The Daring Story of Isabella Bird
Written by Lori Mortensen
Illustrated by Kristy Caldwell
(Peachtree Publishing; $17.95, Ages 6-10)

 

cover illustration by Kristy Caldwell from Away With Words by Lori Mortensen

 

Before Nellie Bly or Amelia Earhardt there was Isabella Bird and, thanks to this eye-opening new picture book biography, Away With Words: The Daring Story of Isabella Bird, children can read about what impressive inroads this English explorer made at a time in history when a woman’s place was in the home not out globetrotting around the world, and writing about it to boot!

This “unlikely candidate for adventure,” who never felt well as a child, was born in the Yorkshire countryside in 1831. Isabella Bird suffered from a multitude of ailments and rarely left the house. That worked for awhile because, according to Victorian societal norms that she would eventually challenge, “Young ladies wore dresses. / Young ladies didn’t go to school. / Young ladies stayed home.” Countless doctors couldn’t diagnose her with anything until one doctor recommended she get some fresh air. Her father took Isabella out with him on his horse and, with his encouragement, she made discoveries that would forever change the course of her life. “Out in the wild, Isabella forgot about her aches and pains. / She breathed in new ways to see and describe everything around her.”

Captured beautifully by Caldwell’s spread below, letters from relatives abroad and other news from overseas sparked a flame in Isabella. She felt deep inside that travel would feed her soul and she yearned for the possibilities it would provide but some days she could barely get up. The tide turned for the better when her doctor suggested a sea voyage and her parents agreed.

 

interior illustration by Kristy Caldwell from Away With Words by Lori Mortensen
Interior spread from Away With Words: The Daring Story of Isabella Bird written by Lori Mortensen and illustrated by Kristy Caldwell, Peachtree Publishing ©2019.

 

She boarded a mail steamer for Nova Scotia and from then on there was no looking back for this intrepid young woman. Her red leather notebook accompanied her wherever she went. I love how Mortensen weaves quotations of text from Bird’s own published books wherever it adds atmosphere to the story. Caldwell’s colorful illustrations pair perfectly with those lines. One of my favorites is, “There was a small bed with a dirty buffalo-skin upon it; I took it up and swarms of living creatures fell out of it …”

Her first book, The Englishwoman in America, was published in 1856, smack in the middle of Queen Victoria’s reign. But when her father passed away Bird chose to end her explorations. That ultimately led to a flare up of her ailments and an onset of doldrums that, at her sister’s urging, could only be allayed by journeying across five continents. It took grit and guts and bravery to gallivant solo around the world to myriad destinations lacking in creature comforts, but Isabella persevered. Thanks to her detailed record keeping of all the places she visited, the nine additional books she wrote became bestsellers. People craved reading about the exotic locales and peoples that they’d never see in their lifetime whether that be climbing up Kilauea volcano in the Sandwich Islands (Hawaii), trekking across the dangerous frozen Persian “desert at the roof of the world,” or befriending a “notorious outlaw.”

 

int illustration by Kristy Caldwell from Away With Words by Lori Mortensen
Interior spread from Away With Words: The Daring Story of Isabella Bird written by Lori Mortensen and illustrated by Kristy Caldwell, Peachtree Publishing ©2019.

 

As Mortensen’s story vividly demonstrates, the world was indeed Isabella’s home so it’s no surprise that in 1892, Bird was the first woman to ever be inducted into the Royal Geographical Society of London and a year later was presented to Queen Victoria. In 32 pages of lyrical prose, Mortensen shows young readers the personal growth and happiness that can come from travel and exposure to a vast range of cultures. Caldwell’s artwork includes just the right amount of soaring spirit a name like Bird implies.

Picture book biographies, when done well, provide a much needed window on the world of important people from the past that we might ordinarily never hear or read about. Away With Words: The Daring Story of Isabella Bird, does that and more. It offers inspiration and a role model for children who, long after Women’s History Month has ended, will no doubt want to seek out Bird’s impressions by turning to her original books to learn more about this trailblazer’s 19th century daring journeys. The back matter including an author’s note, a timeline of Bird’s travels and publications, Bird’s text quotations, and a bibliography make this nonfiction book ideal for both home and school. In fact, I’d give it as a gift to a child along with a journal to get them started on documenting their own travels, even if that’s just an outing to the zoo or a trip to another city.

  • Reviewed by Ronna Mandel

 

Visit other stops below on this enlightening blog tour from Peachtree Publishing:

3/5: Let’s Talk Picture Books

3/6: Pragmatic Mom

3/7: Geo Librarian

3/8: Kid Lit Frenzy

 

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