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Little Red and the Big Bad Editor: An Interview with Rebecca Kraft Rector and Shanda McCloskey

 

LITTLE RED AND THE BIG BAD EDITOR

Written by Rebecca Kraft Rector

Illustrated by Shanda McCloskey

(Aladdin BYR; $18.99, Ages 4-8)

 

 

NOTE FROM RONNA: As a grammar fanatic, I’m thrilled to be able to share this fun and informative interview by Moni Ritchie Hadley with Rebecca Kraft Rector and Shanda McCloseky, author and illustrator respectively of the new picture book LITTLE RED AND THE BIG BAD EDITOR. Celebrate its book birthday with us by reading on because I know you’re going to devour this chat! 

 

INTERVIEW

Moni Ritchie Hadley: Welcome, Rebecca Kraft Rector and Shanda McCloskey! Thank you for taking the time to chat about your new book and writing and illustration processes. Rebecca, this story creatively spins a popular fairytale with a new narrative. What was the original pitch for LITTLE RED AND THE BIG BAD EDITOR?

Rebecca Kraft Rector: In this fractured fairytale, the Big Bad Wolf is so distracted by Little Red’s poorly written thank you note to her grandmother that he keeps missing the chance to eat her.  

MRH: Based on the educational subject matter and the structure of a fractured fairytale, this story seems to be the type of book a kid would love, and a parent or teacher would want to purchase. How did you come up with the concept?

RKR: I like to play with words and came up with Little Red WRITING Hood. The idea that Little Red’s poorly-written thank you note to Granny would distract the Big Bad Wolf grew from there. 

MRH: Do you begin your stories with pencil and paper or on the computer?

RKR: I mostly use the computer, but I also jot down phrases and ideas in a notebook that I keep beside my bed. Some of my best ideas come when I’m only half awake.

MRH: Today, kids primarily use technology to communicate. Do you feel that kids will relate to a thank-you note written with pencil and paper?

RKR: I hope so! Kids still use pencil and paper in the early grades, and the Common Core Standards include things like using capital letters and punctuation. I’ve heard from teachers that there’s even a letter-writing unit in most first-grade classes.

MRH: Shanda, as the illustrator, what attracted you to this manuscript?

Shanda McCloskey: The happiness I felt when I read it for the very first time! Rebecca definitely knows how to have fun with words :)

 

 

 

Little Red int1 oresent
Interior spread from Little Red and the Big Bad Editor written by Rebecca Kraft Rector and illustrated by Shanda McCloskey, Aladdin BYR ©2022.

 

 

MRH: Can you tell us about your process?

SM: I spent a few days drawing/redrawing character look possibilities for this book. When I saw something good in a character sketch, I would just “follow the light” and then tried drawing the character again, leaving in the good and stripping the bad, over and over until the characters felt “right-ish.”

LITTLE RED AND THE BIG BAD EDITOR was drawn digitally, printed onto paper, and painted with watercolors.

Little Red’s cape had to be red (obviously), so I started there. I found that Little Red popped best when her colors were warm in contrast to a cooler background. Wolf needed to blend into the background sometimes, so he is cool-toned as well. Then, I stuck in some of my favorite colors for fun, like Little Red’s pink and purple outfit.

The first dummy took me two months or so. Then it went through a couple of versions with feedback from the publishing team over several months. Things like character consistency, spread variation (ex., full bleeds, vignettes, panels), hair and skin color, etc., were tinkered with.

MRH: Were you able to collaborate?

RKR: No.

MRH: Shanda, when illustrating a book based on an existing story, how do you separate the images of the past and make them fresh?

SM: It happens automatically when you are working with new characters in a new world. But it’s also cool when my “style” shows through in all my books, at least a little bit. Also, every book is a leveling-up experience for me. There may be a new technique I’m using or a mood I’m trying to achieve. There’s always something in my craft to tinker with or improve upon with each book.

MRH: You are an author of children’s books as well as an illustrator. Is it easier to illustrate someone else’s words or to illustrate your own? How is the process different?

 

 

Little Red int2 swoop
Interior art from Little Red and the Big Bad Editor written by Rebecca Kraft Rector and illustrated by Shanda McCloskey, Aladdin BYR ©2022.

 

SM: They both have various perks! When illustrating my own stories, I can add a speech bubble with a joke if the notion hits me. But it’s not really my place to do that when I’m illustrating someone else’s words. But on the flip side, having limitations can sometimes be nice and clean, and it sure is nice to launch a book with a partner. If it flops, it’s not just on you!

MRH: Rebecca, this is your second picture book. Where do you usually get stuck in the writing process, and how do you get out of it? 

RKR: Ha! I get stuck all over the place—the beginning, the middle, the end—everywhere! Sometimes I’ll print out what I have, and seeing it on paper makes it easier to figure out what to do next. If I can let myself play and have fun with the story, I find my writing goes more smoothly. My critique groups are big help with both brainstorming and pointing out where I’ve gone astray.

MRH: Are you more like Little Red or the Big Bad Editor? How so?

RKR: Hmm, I guess I’m more like the Big Bad Editor because, like him, I’m frequently frustrated by bad grammar and punctuation.

SM: Hmmm. I identified with both of them! I can definitely be a stickler for what I think is “the right way” to do something. But I can also appreciate how Red didn’t wait until she had a perfect letter to say thank you to her granny. She just went for it and improved along the way! #amwriting #amillustrating

MRH: Are there any other secret insights that you can share about this book?

RKR: Unlike all the other stories I’ve written, I wrote the last line first. Also, the entire time I was writing and revising the story, I thought I was filling the story with fun metaphors. Nope! Every single one was really a simile. I still can’t write metaphors.

SM: I put my own real kids’ artwork on the refrigerator in Granny’s kitchen :) And there’s usually some nod to a book I’ve previously worked on. Such as the fire truck (FIRE TRUCK VS. DRAGON) and the snuggle bunny (BEDTIME BALLET) on Little Red’s shelf in her room on the first spread.

LITTLE RED AND THE BIG BAD EDITOR releases today! Thank you both for chatting with us.

 

BUY THE BOOK HERE:

Bookshop.org


FOLLOW REBECCA KRAFT RECTOR:

Website – https://RebeccaKraftRector.wordpress.com

Facebook – https://www.facebook.com/beck.writerrider/

Instagram – https://www.instagram.com/rebeccakrector/

Twitter -https://twitter.com/RebeccaKRector

@RebeccaKRector on Instagram and Twitter

 

FOLLOW SHANDA MCCLOSKEY: 

Website – https://www.shandamc.com/little-red-and-the-big-bad-editor/

Instagram – https://www.instagram.com/shandamccloskeydraws/

Twitter – https://twitter.com/ShandaMcCloskey

Facebook – https://www.facebook.com/shandamc

 

FOLLOW THE INTERVIEWER:

Moni Ritchie Hadley, author of The Star Festival and Anzu and the Art of Friendship.

Website www.moniritchie.com

On Instagram  @bookthreader

On Twitter @bookthreader

 

 

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Boo! – The Best Halloween Books Roundup 2018

OUR FAVORITE HALLOWEEN BOOKS FOR 2018

A ROUNDUP 

Free Halloween clip art

 

Haunted Halloween by Sue Fliess cover illustrationHAUNTED HALLOWEEN
Written by Sue Fliess
Illustrated by Jay Fleck
(Cartwheel Books; $6.99, Ages 0-3)

Haunted Halloween is a die-cut board book that not only encourages counting, but has tons of trick-or-treat fun packed into every page. Fliess’ rhyming will have even the youngest readers learning the words and repeating the phrases such as: One bat hangs, Pointy fangs. Two toads sleep. Earthworms creep. All numbers are presented both numerically and spelled out to help identify them in increasing order up to ten. Fleck’s assorted costumed trick-or-treaters in this glossy board book are not scary looking, making this an ideal introduction to the popular holiday. As the children make their way past a gate, a Guests Beware! sign greets them. They encounter wolves, owls, ghosts, snakes, spiders, crows, black cats, pumpkins and other All Hallows Eve creatures and things before arriving at the massive front door. What’s inside? A nice surprise – a Halloween party!

 

Spooky Fairy Tale Mix-up book cover artworkSPOOKY FAIRY TALE MIX-UP:
Hundreds of Flip-Flap Stories
Written by Hilary Robinson
Illustrated by Jim Smith
(Barron’s; $11.99, Ages 3-7)

If you have a child with an active imagination, Spooky Fairy Tale Mix-up is the book for them! If you have a child that needs some prompting to get creative, this is also the perfect book, especially at Halloween. This mix and match Halloween hardcover, with its 26 pages and hidden spine, turns what could be a spooky night into a laugh-filled mash up of some fairy tale faves including Ghostilocks and The Three Bears, Hansel and Gretel, Mother Goose, Puss in Boots, Rapunzel and lots more. Just a flip of a flap and a story’s changed from the expected to the unexpected with ogres, zombie rats, skeletons and even some princesses doing the zaniest things. Kids can choose from hundreds of possibilities to make a simple story go wild.

 

Bone Soup cover illustrationBONE SOUP:
A Spooky, Tasty Tale

Written by Alyssa Satin Capucilli
Illustrated by Tom Knight
(Paula Wiseman Books; $17.99, Ages 48)

Three hungry witches have only a bone with which to cook their soup. Sound familiar? That’s because Bone Soup, a welcome spin on Stone Soup, the beloved folktale about community and making nothing from something when everyone pitches in, works so well for a Halloween tale. This time around the witches go door to door in their neighborhood to seek out ingredients for their soup. Each time, they’re initially greeted with reluctance. Is it a trick? But Naggy Witch assures them that “Piff-Poof! It’s no trick.” First a monster for water because you cannot have soup without water. Then onto a ghost, a ghoul, a bat, a goblin, a mummy, a skeleton, a werewolf and a vampire to complete the concoction. When the donors begin to have doubts and tempers flare, it’s thanks to a little monster’s resourcefulness that nothing goes awry. And the magic readers have been waiting for comes through in helping produce “a steaming bowl of bone soup for all.” Capucilli’s created a yummy read-aloud that can be shared with or without the original story to complement it. Knight’s illustrations feature a cast of friendly creatures, playful spreads and a lot of movement on every page. But one warning, don’t read on an empty stomach. Mine’s growling as I type! The good news is there’s a recipe included in the back matter if kids and their parents want to try a hand at conjuring up their own delicious Halloween soup.

Mother Ghost cover illustrationMOTHER GHOST:
Nursery Rhymes for Little Monsters
Written by Rachel Kolar
Illustrated by Roland Garrigue
(Sleeping Bear Press; $16.99, Ages 5-7)

Mother Ghost is a frightfully fun and entertaining collection of poems for children that is sure to get them in the Halloween mood. It just doesn’t get more ghoulishly delightful than this. Old Mother Hubbard for example is so clever that it makes me think using nursery rhymes for Halloween poems would make a great class exercise. Old Mother Hubbard went to the cupboard/To Fetch her poor dog a bone;/But the skeleton there said, “Hey! Don’t you dare!/Leave all of my pieces alone!” Two of my other favorites are Zombie Miss Muffet and Mary, Mary, Tall and Scary with lots of spiders, worms, witches and slimy things kids love at Halloween. Kolar clearly had a blast reworking these 13 nursery rhymes and, like Spooky Fairy Tale Mix-up, it’s wonderful how changing just a few lines in a poem can have the most uproarious results. Garrigue’s artwork makes gruesome look great and creepy totally cool. Have some wicked good times reading these aloud.

The Frightful Ride of Michael McMichael cover artTHE FRIGHTFUL RIDE OF MICHAEL MCMICHAEL
Written by Bonny Becker
Illustrated by Mark Fearing
(Candlewick Press; $16.99, Ages 4-8) 

Come along my friends for the ride of your life, well Michael’s life actually. The building doom and the perfect rhyming pattern in The Frightful Ride of Michael McMichael promise twists and turns for young Michael on the ominous number Thirteen bus. The events of this story take place on November thirteenth, adding to the suspense and sense of dread. While something felt off, Michael still got on the bizarre bus nonetheless. He really had no other option. Besides, he was charged with transporting his Gran’s pet. And, of all the passengers, Michael seemed to be the least terrifying. Suddenly things were not looking good for the lad. When the last rider departed, Michael was left alone with the fanged and sneering driver. Why did the bus look ready to devour him? Soon the vehicle began veering “toward a slathering maw most horrid!” Rather than bring the story to an immediate satisfying conclusion, Becker beautifully brings on more drama as the menaced becomes the menace. Michael faces the impending evil actions by releasing one of his own! Between the dark tone of the illustrations, the spot on typeface, the right mix of mildly scary characters along with a foreboding feeling depicted in both the art and verse, The Frightful Ride of Michael McMichael is a story to read with the lights on any time of year! Pick up a copy along with a flashlight today

  • Reviewed by Ronna Mandel

 

Want more suggestions for Halloween reads? Check out last year’s roundup right here.

 

 

 

 

 

 

 

 

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A Cooked-Up Fairy Tale by Penny Parker Klostermann

A COOKED-UP FAIRY TALE
Written by Penny Parker Klostermann
Illustrated by Ben Mantle
(Random House BYR; $17.99, Ages 5-8)

Cover image from A Cooked-Up Fairy Tale

 

Author Penny Parker Klostermann and illustrator Ben Mantle add just the right ingredients to A Cooked-Up Fairy Tale, a fractured fairy tale that spices up some of our favorite classics.

The story takes place in “the magical land of fairy tales” where our hero, William, resides. Though it may seem like the perfect place to live, something is missing for William: an outlet to express his culinary artistry. In his endeavor to make his dream come true, he works as a chef in local restaurants, The Brick House and The Bears Bistro; but when the work proves far too dangerous and painstaking, respectively, he decides to cook from his own kitchen.  With just a few coins left in his cookie jar, he heads out to the marketplace and purchases what he thinks are ordinary ingredients: raw apples, beans, and a pumpkin—items central to the plot of three specific fairy tales. These items are intended for delivery to Fairy Tale Headquarters. Convinced that Fairy Tale Headquarters simply “needs a good chef to spice things up,” William transforms each item into an exquisite dish and heads off to deliver them to their intended destination.

 

Interior illustrations from A Cooked-Up Fairy Tale
Interior spread from A Cooked-Up Fairy Tale by Penny Parker Klostermann with illustrations by Ben Mantle, Random House BYR ©2017.

 

But William soon discovers his creations pose a possible threat to the children’s bedtime tales. His delicious creations are recreating the endings. Fortunately and most pleasantly, his creative flare produces an even more “happily ever after” than the original story lines.  

A Cooked-Up Fairy Tale isn’t the usual fractured fairy tale in which a single tale is twisted, altered, or updated in some way. William is a unique character living in the land of familiar fairy tales. Klostermann’s frame technique draws us into the story of our hero who unintentionally disrupts the familiar, immerses himself into these stories, and ultimately becomes part of one. Children will get a kick out of the creative and comical changes that take place in the plot. I can imagine them laughing out loud about what “should” have happened.  

 

Interior illustration from A Cooked-Up Fairy Tale
Interior spread from A Cooked-Up Fairy Tale by Penny Parker Klostermann with illustrations by Ben Mantle, Random House BYR ©2017.

 

Mantle’s illustrations delightfully blend the familiar and unfamiliar as well. Vertical lines move the plot along in an energetic and steady direction. At the same time, Mantle’s soft color palette creates a comfortable, safe and calm tone, and his curved drawings sprinkle in the fun.  

I would recommend this book to children who enjoy lighthearted, wacky tales and to parents/caregivers who enjoy reading stories that celebrate creativity and individuality. The book’s underlying message of how our creative endeavors give us agency to write our own stories is something I truly appreciate and admire.

  • Reviewed by Armineh Manookian

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Twinderella: A Fractioned Fairy Tale by Corey Rosen Schwartz

 

TWINDERELLA: A FRACTIONED FAIRY TALE

Written by Corey Rosen Schwartz
Illustrated by Deborah Marcero
(G.P. Putnam’s Sons BYR; $17.99, Ages 4-8)

 

Book cover Twinderella by Corey Rosen Schwartz art by Deborah Marcero

 

Twinderella: A Fractioned Fairy Tale delights with its clever premise: Cinderella has a twin! In this 32-page picture book, Tinderella is a math whiz who divides the girls’ grueling tasks precisely down the middle. They each do, “Half the folding, half the mending, half the mean stepsister tending.”

 

Interior spread from Twinderella by Corey Rosen Schwartz with art by Deborah Marcero, G. P. Putnam’s Sons ©2017.

 

Following the traditional story, on the night of the Royal Ball, Cinderella tearfully summons her “fairy godmom.” The fairy sparkles up some party dresses for the girls with accessories that Tin splits into two sets. However, when Prince Charming falls for both sisters, a dilemma ensues. Which sister should he wed? Luckily, Tin is again quick of mind and suggests a fabulous formula that, with some magic, may just work out.

This retelling enchants with its spot-on rhyme. The addition of the “fractioned” facts smartly introduces simple math, demonstrating in a straightforward manner how parts of a whole fit together.

 

Interior spread from Twinderella by Corey Rosen Schwartz with art by Deborah Marcero, G. P. Putnam’s Sons ©2017.

 

Marcero’s artwork combines the timeless feel of a “Cinderella” story with a modern edge. Black spaces are skillfully presented—from classroom blackboards showing mathematical formulas to shadowy silhouettes in the margins.

 

Interior spread from Twinderella by Corey Rosen Schwartz with art by Deborah Marcero, G. P. Putnam’s Sons ©2017.

 

Schwartz, author of The Three Ninja Pigs, Ninja Red Riding Hood, Hensel and Gretel: Ninja Chicks, and Goldi Rocks and the Three Bears continues to reign supreme with her funny adaptions of fractured fairy tales. In Twinderella, the girls, of course, live happily ever “half-ter.”

  • Reviewed by Christine Van Zandt

Writer, editor, and owner of Write for Success www.Write-for-Success.com

@WFSediting, Christine@Write-for-Success.com

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