​Hello, Kidlit Oasis fans and new visitors!

I am so excited to welcome Beaming Books Editor, Naomi Krueger, to the Chitchat Series! What a pleasure to talk to Naomi--she kindly answered my questions and gives us an incredible insight into her acquisitions process, wishlist, Beaming Books mission and marketing, the behind the scenes of her work day, upcoming titles AND..... there's a giveaway, too!

Let's dive in, I can't wait to share this interview with all of you!

Welcome, Naomi! So, how did you become an editor? Did you have any mentors who helped you along the way? And please tell us about Beaming Books as a publisher -- what are the company's values, goals, and mission?

I started out as a journalism major with the intention of making writing my career. After graduating college I volunteered with AmeriCorps VISTA at a nonprofit that resettled refugees, working in their communications department. During that time, I had the opportunity to help finish a book of refugee stories that was underway and I helped the organization to self-publish it. That was a really remarkable experience for many reasons—one of which was it introduced me to the editorial and publishing process for books. I hadn’t seriously considered going into publishing before that, but it lit a fire in me. I realized that writing nonprofit newsletters and social media posts wasn’t going to be a good fit for me long-term. After that I was a reporter at a local community newspaper, while doing some freelance writing and editorial work on the side. I found a job opening at Sparkhouse for a Sunday school curriculum developer position. I worked with teams of writers, designers, animators, and illustrators to develop spiritual formation content for churches to use with children. I especially enjoyed developing three different Bibles for children and teens. Sparkhouse is part of a larger nonprofit publisher, 1517 Media, which is the publishing house of the Evangelical Lutheran Church in America (ELCA). This is a large, progressive protestant denomination. 1517 Media has several imprints that publish for the church, the academy, and the general trade markets. In 2015 the company decided to branch out into children’s books and started a new imprint called Sparkhouse Family. I was very eager to work on books again, so when a Development Editor position opened, I leapt at the opportunity. Soon after, this imprint rebranded as Beaming Books. All told, I’ve been with 1517 Media for just over nine years, six of those with Beaming Books. I had several different supervisors and colleagues along the way, all whom I learned different things from as my job grew and changed and as our company grew and changed. It has been a “learn-as-you-go” kind of experience.

Beaming Books publishes books that help kids thrive in every part of who they are—emotionally, socially, and spiritually, primarily for kids ages 0-12. The bulk of our list is picture books, but we also publish middle grade nonfiction and some select YA nonfiction. While our company’s roots are in the Lutheran tradition, our books are not all religious and aren’t all Christian either. In fact, as our list has grown and our team has grown, we tend to acquire about 25% faith-based titles and 75% general-market titles that meet our mission of helping kids thrive holistically. We value books that come from open-minded, diverse perspectives and want the kids who read our books to see themselves, their families, and their communities in the stories. Books with strong social-emotional learning themes and books that speak to challenges and lived-experiences of children are strong sellers for us.

What is your favorite part of the job and what is your least favorite part? What brings you joy in your position day in and day out?

I love working with authors on manuscript edits and revisions. I also really love briefing the art and collaborating with the illustrator on the visual storytelling. It’s hard to choose a “favorite part” because I truly love my job. I get a thrill when someone accepts my offer to acquire their book. It is extremely satisfying to see the final book, printed and bound, in my hands and reading it out loud to my own children. That’s pretty special.

My job also involves a lot of administrative tasks, which aren’t as exciting. Like writing keywords for metadata, looking up sales for competitive titles in the acquisitions process, or responding to dozens of emails every single day. Recently I developed a detailed proposal for changing our team folder structure. Those kinds of tasks sometimes take most of my day, which can feel like a drag. It is extremely rare that I would have a whole day just for giving feedback on a manuscript or reviewing submissions. That sounds dreamy.

What is a typical workday for you? If there's no "typical" what are some of the tasks that have priority in any given workday?

​                                                                Naomi's office

I have been working from home full time since March of 2020, like so many others in publishing. So my typical day starts after my kids are at daycare (thank God for daycare). I push the toys and crafts my kids have left on my desk out of the way, and then turn on my computer, which I hardly ever fully shut down to be honest. All of those little tabs on my browser, all the documents and book layout pdfs, all the open email messages are just waiting where I left them yesterday. I usually start by responding to email and then I check our scheduling tool to see if I have any project-related deadlines (like reviewing art or sending feedback to an author). I also have a running to-do list on a notebook that helps me stay focused.

I usually have at least 2 video meetings per day in addition to reviewing page layouts, reading submissions, writing acquisitions proposals, negotiating book deals, and taking care of administrative tasks. I also take breaks to post and interact on Twitter, which helps me feel connected to the bigger world while working by myself at home. I also have met amazing authors, illustrators, and agents on Twitter! One big perk of working from home is eating lunch with my husband who also works from home. We go outside for walks after lunch if the weather cooperates too. It is very different from my old routine of taking a bus into downtown Minneapolis to work at the office with 70 other people every day! I will work in our Minneapolis office part time again, but it will never be every day.

Are you actively acquiring new books at this time? What are some of the stories you're looking for? What appeals to you?

Yes, but not urgently. I have acquired a lot of exciting new books lately for Fall 2023 and Spring 2024, so I’m getting more and more particular about the kinds of submissions I’m interested in taking on. I am only able to accept agented submissions unless I’ve requested a submission directly from an unagented author. I try to participate in Twitter Pitch events to connect with unagented authors or other kinds of writing contests for new authors.

I love submissions with beautiful, lyrical language and strong emotional pull. I’m really drawn to stories about nature and the environment and stories that feature children or groups that don’t have a lot of representation in children’s literature. I’m especially interested in submissions from BIPOC creators. I love acquiring nonfiction, picture book biographies, or stories inspired by true events. I also am regularly looking for faith-based picture books that present a faith concept in unexpected, fresh ways from a progressive point of view. For example, I acquired a book coming out in March called Mother God which features feminine imagery for God found in the Bible. It is written by Teresa Kim Pecinovsky and illustrated by Khoa Le. It is gorgeous.

I would love to acquire more books from author-illustrators and I’d also like to see more humor in my inbox (so long as it also connects to our mission of helping kids thrive!)

How much time do you usually spend reading a submission? Do you read the query first or the manuscript?

I mostly review submissions from agents and how the submission is packaged varies. I like a little summary of the book and the author’s bio in the body of the email, with the manuscript attached. If there is a robust proposal along with it, that includes more about the author’s platform or how they would support the marketing of the book, I read that part last. I’m most interested in the manuscript and I can usually tell with one quick read whether it’s a good fit or not.

How do you evaluate submissions? What marks does a manuscript need to hit to be considered for acquisitions?

I don’t work from a checklist, but here’s a list of some of the things I consider:

• Do I love it? Does it connect with my interests? Do I like the storytelling? Is there something compelling about the subject matter? Is this a story I want to spend 2 years in?
• Does it meet our mission of helping kids thrive socially, emotionally, or spiritually?
• How does it fit with the other books we’ve slotted in upcoming lists? Is it too similar to what we’ve already acquired? Does it fill a gap?
• Does the text leave room for illustrations to help tell the story?
• And other intangibles, which I’m not sure how to articulate!

 
What happens next? How is the acquisition process handled? Could you walk us through the process from submission to contract offer?

Here are the steps, generally, if I think a manuscript is worthy of consideration:

1. Take it to my editorial colleagues. There are 3 other Beaming Books editors and we review each other’s submissions and give feedback in a meeting. If everyone (or enough of us) like it too, we take it to the next step. Sometimes in this conversation, we mutually agree that a submission isn’t a good fit after all. Or we decide that it needs to be a revise and resubmit.
   
   
2. Marketing review – a few representatives from our marketing and sales team review the submissions and the editors talk about why we love them. We also share information about the author, their platform, and what they would bring to the process. Their previous publishing track is also discussed, if applicable. But we acquire debut authors all the time, so having previously published books is not a requirement.
   
   
3. If marketing sees potential, we take it to “acquisitions” which is the last step. I put together a proposal document that includes a lot of information, including key selling points, information about the author’s background, primary audiences, competitor information, and so on. I also put together a P&L – profit and loss—worksheet which calculates an estimate for profit margin. I put in my proposed budget for author and illustrator advances, royalties, any other related production costs, manufacturing estimates, etc. And then our sales and marketing teams put in their marketing budget numbers and estimated sales for the first 5 years. We are a nonprofit publisher, but we still need to make sure there is a return on our investment for every book we publish.
   
   
4. At acquisitions, we talk about the business side of things in addition to why we love this particular submission, how it fits on upcoming lists, etc. There are a few different people who make the final decision about whether or not we can make an offer.
   
   
5. Then I draft an offer letter and deal memo, which typically goes to the agent. But sometimes it goes to directly to an author if I’m working with someone who is not represented. The agent (or author) reviews the offer and then we negotiate from there.
   
   
6. After the terms are agreed, I submit the deal memo to our contracts department who creates the contract and sends it to the author and agent for their review and signature.

Are you currently taking submissions from illustrators—direct or agented?

I am accepting agented submissions from author-illustrators, but not submissions from illustrators who just want to submit a portfolio. We work with a lot of different illustration agencies and literary agents who represent illustrators and prefer to find them that way. I also love to follow illustrators on Twitter and Instagram, so please find me there! I have hired unagented illustrators and I find them on social media and through their personal websites. Please keep your online portfolios updated with the style of art you want to create and make it easy for editors to contact you! It can be incredibly frustrating to find an illustrator I love and no way to contact them.

How does Beaming Books support its authors after the acquisition process and post-publication? Would you highlight some of the marketing, promotion, and distribution support your titles receive?

We have a robust marketing and sales team, with in-house sales managers and external sales reps that we contract with, an in-house publicity team, and dedicated marketing managers that work with authors to position their books for success. Books are regularly pitched to major distributors and booksellers and can be ordered anywhere books are sold. Our marketing team works with authors on individualized plans to help launch their books, with a combination of video meetings and email correspondence to resource and equip them. Our books are regularly submitted for awards and to trade book review publications, such as Booklist and Kirkus. It truly is a collaboration between our team and the author. I’m not heavily involved in this part of things, but I do catch glimpses. This is a part of our business that has grown leaps and bounds in the last couple of years and it’s really exciting to see what they have accomplished.

What projects are you working on right now for your list? What are you excited about and why? Any upcoming titles you could share with us?

 For upcoming lists, I’m managing 5-6 titles per season. Our seasons are “Spring” and “Fall” with about 16-18 books per list total. This is up from 2020 and 2021 when we downsized our lists due to pandemic uncertainty. It’s exciting to see our publishing program growing and thriving.

Fall 2022 is in production right now, which means the art is being created and we’re reviewing page layouts at different stages to give feedback on the art and design. It’s a really strong list. I will call out three that represent my acquisitions interests really well:

Rosalind Looked Closer is a picture book biography of Rosalind Franklin, who took the famous Photo 51 of the molecular structure of DNA, confirming it was a double helix. She didn’t receive credit for that photo initially, but contributed tremendously to molecular science and virology when she went on to study the structure of plant and human viruses. It’s a fascinating account of a Jewish woman scientist written by Lisa Gerin, illustrated by Chiara Fedele.

Simon the Hugger is a really fun story about an adorable sloth who loves to hug everybody and everything—and feels rejected when friends say they don’t want to be hugged. He learns a lesson about the importance of asking first before extending physical affection to others. It’s funny and full of endearing jungle animals. A perfect combo of humor and heart. What’s not to like? Written by Stacy B. Davids and illustrated by Ana Sebastián.

The Story of Us written by Mitali Perkins and illustrated by Kevin and Kristen Howdshell, is a poetic exploration of the relationship between humans, the natural elements, and the divine. It’s gorgeously told and the illustrations are stunning. A really sophisticated, unique take on the biblical redemption story.

You can pre-order our Fall 2022 list now from your favorite book retailer!

I’m also working on several books for Spring 2023, but those are just early stages. We are briefing covers right now and working on manuscript revisions with authors. I’m acquiring for Fall 2023, Spring 2024, and beyond. I can never remember what year it is right now since I am working on projects slotted for various years at the same time.

Thank you so much for being my KidLit Oasis guest, Naomi! This was an amazing chat, and I truly appreciate your time! Wishing you all the best, and I look forward to reading all the new titles you mentioned. 

Connect with Naomi Krueger and Beaming Books:

Publisher website: https://www.beamingbooks.com/
Publisher Twitter handle: https://twitter.com/BeamingBooksMN
Your Twitter handle: @NaomiJKrueger https://twitter.com/NaomiJKrueger
Instagram: @naomi.j.krueger https://www.instagram.com/naomi.j.krueger/

About Naomi Krueger


​Naomi Krueger is an acquisitions editor at Beaming Books, a nonprofit children’s book publisher based in Minneapolis. She lives in Saint Paul with her husband and two energetic little boys who love picture books almost as much as she does. 

Happy December, everyone!
​
Let's finish the year on a high note! If you've been in the query trenches for a while and feeling a bit deflated, or if you just need to hear some success stories to inspire you, or you've been considering a new direction and could use some encouragement to start your next year strong, you're in luck. I have good news--Agent Kaitlyn Sanchez is here to lift up our spirits and offer an exclusive submission opportunity to two of my blog fans! How amazing is that?!

Well, I'm super excited to be providing this opportunity to KidLit Oasis followers, and I am thrilled to be chatting with Kaitlyn!

Welcome, Kaitlyn! It's such a pleasure having you on my blog--thank you for being a KidLit Oasis special guest! I am quite excited for our chat today, and I'm extra excited for the kidlit community because this interview is not only packed with invaluable insight and super valuable details, but also an opportunity to submit to you! Some lucky stars are about to shine over those winners! Details on that later, but for now, let's dive in. I had a bunch of questions for you, so again, thank you so much for taking the time to answer them all for my readers!

Let's start from the beginning... How did you become an agent? Did you have any mentors who helped you along the way? Please also tell us about your agency, including its mission.

Thank you for asking! I feel like this part of my life was meant to be because so many things just came together. I was in a lot of picture book critique groups because I just loved reading and helping edit picture books, and at the same time, I had accidentally stumbled into hosting picture book blog contests, where my favorite part was connecting people. I quickly realized that's what agents do: they get to read, edit, and connect people.

My critique partners, James McGowan and Andrea Walker, were both agent interns at the time, and they both helped me a ton! I'm so grateful to them always, and to the wonderful Anna Olswanger who gave me my first internship filled with so much knowledge. Red Fox who taught me a ton in such a short amount of time, and so much thanks to my amazing team at Context Literary Agency who have helped me grow the most with their knowledge and support; I couldn't ask for a better team. But the biggest thanks of course goes to my clients who took a chance on me and believed that, though I was new, I was meant for this. Also, fun fact, Liza Dawson has also always been meant to connect people. She was the one who suggested I check out Context because she thought Tamar and I would work well together. Isn't this industry full of just amazing and giving people?

It is, indeed! The support in the kidlit community is amazing for sure and so awesome to have! It really is essential on this journey, I'm sure my peers would agree. Okay, here's my next question: What is your favorite part of the job and what is your least favorite part? What brings you joy in your position day in and day out?

Oh my, there's SO many things that are my favorite, from reading a client's work and feeling the awesomeness jump off the page, to thinking of the best editors the story will connect with to chatting with editors - so much fun - to our weekly Context Literary Agency meetings, but the best part has to be sharing with a client that their book is going to be published! There are definitely hard parts too, as in all things, we need balance, right? One of my least favorite things is getting passes, but they're definitely part of the job, and finding that perfect editor and publisher is always worth it in the end!

You're right--passes are hard for everyone, but they are part of the process and in order to find the right home for a project, it inevitably goes through some rough patches and discovers the non-matches on its way, too. 

So, what is a typical workday for you? If there's no "typical" what are some of the tasks that have priority in any given workday?

Haha, definitely no typical for me, but often you'll find me pulling out my phone in bed at 5 am to answer emails, check in on submissions, read Publishers Marketplace deals and news. Of course, there's also reading client work and sending feedback, reading queries, creating submissions lists, creating submission letters, and checking in with clients.

You are currently closed to submissions... Do you plan to re-open soon? What's on your wishlist, if it has changed lately? What is something you've seen too much of or just isn't for you?

When agents close to submissions it's often because they're focusing on their current clients and/or have many queries to catch up on. I'm definitely focusing on my amazing clients and as I participate in many events where writers and illustrators can submit to me through those events, I actually have a steady stream of submission still, so I'm not sure when I will re-open.

Great! I'm glad to hear there are still opportunities for writers to be considered by you. Speaking of submissions, how much time do you usually spend reading a submission? Do you read the query first or the manuscript?

I always go to the manuscripts first. I want the story to speak for itself, then if I like it, I go back to the query to get more info. :) The time spent depends completely on the submission.

How do you evaluate submissions? What marks does a manuscript need to hit to prompt you to request more work from the author?

I'm still trying to pinpoint this exactly, but honestly, it's a lot on instinct. There's some spark about writers and illustrators whose talent just explodes off the page when I'm reading. Often if I feel that but there are plot issues or the opening or closing need more umph or the character more developed, I'll request an R&R.

What happens next if a project appealed to you? For example, if a picture book submission grabbed you, how many additional manuscripts do you request? Do you expect to see more within the same category as the original submission or a range? Could you walk us through the process from submission to representation offer?

Great question! I ask for their three other favorite stories beyond the one they sent (and I really enjoy when there are MG or YA in the mix as well). I actually expect the other stories not to be the same but to have the same storytelling quality that I read in the first and the unique creativeness that shows me this creator can keep creating because I want to represent their career. Then, if those stories speak to me as well, I'll email the potential client and set up a call where I get to just gush about what I love, share what it's like to be on Team Sanchez, have the creator ask questions and finally, I'll suggest which Team Sanchez clients they should talk to to get insight in working with me and provide the potential client with their contact info. Then I try super duper hard not to think about it until I get an email or a call with the answer because when we offer to a potential client, we're super excited and want to work with them too!

Wonderful--thank you for the details and specifics in your answer! I know that this will be very helpful to all who plan to query you down the road. Writers, take notice of that!

Do you reply to all submissions and what is your timeframe? Or is no reply considered a pass?

I try to respond to all submissions, but I also remind people that they can check in after a certain amount of time too. You wouldn't believe how much goes on in the background of making books, so sometimes, it's nice to get a reminder about queries.

Are you currently taking submissions from illustrators?

I'm always on the lookout for amazing artists!

What is the one thing people should avoid in submissions to you?

People should definitely make sure to read submission guidelines.

How do you handle submissions to editors in concern to your clients? To be more specific, do you share your list with your client? Are you open to taking their input and suggestions, brainstorm together where the work might be sent? Also, do you forward the rejections to your clients?

Yes to all of these. I'm very open with my clients because we're a team. I'm a very curious person, so I always think about what I'd want to know as a writer and do that for my clients as well. And I'm super lucky that my team is very involved in the writing community, so I'm always up for their awesome suggestions - they even send me editor tweets sometimes so I don't miss them - go Team Sanchez! We also have a Facebook group where everyone can share opportunities and ask for help or critiques.

Oh, that sounds wonderful! Let's hear more about Team Sanchez! What are some projects you're excited about and why? Any upcoming titles you could share with us?

This is my favorite! Our first Team Sanchez books are coming out next year! AHH! We just did cover reveals for OLD FRIENDS, HATTIE HATES HUGS, and MUSHROOM RAIN! I can't wait for kids and adults alike to get their hands on these amazing, unique, and inspiring stories. For more Team Sanchez info, check here.

Fantastic! Thank you, Kaitlyn! It was a pleasure chatting with you, and I know my blog readers were thrilled to learn more about you and about Team Sanchez! Please come back to visit again any time. 

Please support Kaitlyn and Team Sanchez in any way you can. Check out the submission opportunity that Kaitlyn has generously provided for my readers! Find the details on how to enter the giveaway below. 

About Kaitlyn Sanchez
​
Kaitlyn Leann Sanchez is a mom, wife, agent with Context Literary Agency, middle school math teacher, and picture book author. She's also the proud co-creator and co-host of the Spring Fling Kidlit Contest and Kidlit Zombie Week as well as creator and co-host of the Kidlit Fall Writing Frenzy Contest. In her free time, she loves to play soccer, binge-watch TV shows, and, of course, read, especially when she's all cozied up with her husband and daughter reading together.

Connect with Kaitlyn:
 
Website: https://kaitlynleannsanchez.com/
Twitter: @KaitlynLeann17
Facebook: https://www.facebook.com/KaitlynLeann17
Please follow my clients on social media: https://kaitlynleannsanchez.com/literary-clients/ 
​Agency website: https://www.contextlit.com/

​​Welcome, Annemarie! Thank you for choosing to do your cover reveal on KidLit Oasis -- it's a pleasure to host this important milestone. Let's talk about your beautiful book before we get to to your beautiful cover...

What was the journey from idea to publication for this book?
 
Long story short, my (former) agent sent one of my manuscripts over to Little Simon (ABC, Rise Up and Be!); the editor had it for a few weeks when an offer of publication came through with a different publisher. When my agent reached out to tell the editor at Simon of the offer, the editor stepped aside as it was too similar to something they had just acquired. The editor asked my agent to keep her in mind if I had any other books for consideration- most specifically board books. I had a book titled the Wheels on the Hearse completed. It was a Halloween take on the Wheels on the Bus. I asked my agent if she would send that to Simon, and she did on July 27, 2020. In October, my agent followed up with the editor, and the editor asked for a revise and resubmit. She wanted to change the storyline from characters riding on a hearse-shaped bus to characters flying around on a broom. My agent and I worked on the manuscript with the revision notes and sent it back a week later. By now, the holiday season was happening, and things had pretty much come to a halt. In January, the editor reached out to say we were on the right track but that she had to work on format pricing because she had a creative idea for the book. It took a few more months for her to get things squared away. In March, she sent a verbal offer, and the contract took another eight weeks to arrive. I signed in May 2021.  So, from idea to contract, it took ten months.
 
How did you react when you got the news of the offer, and how did you celebrate?

I have always dreamed of publishing with a big five. I told my agent (at the time of signing with her) that my dream was to work with Simon & Schuster. Never in a million years did I think that dream would come to fruition. When I was told that Simon was signing me, I ugly cried. I called my whole family. I even emailed my boss! I messaged coworkers and friends. They probably all thought I was crazy. No one understands (unless you're a writer) how incredibly difficult it is to get in with a big publisher. After all the calls, texts, and emails, I went out for a celebratory dinner with my family. It was one of the best days of my life.
 
Can you share a fun or surprising fact about the process--whether in the writing, editing, or the illustration process?

One surprising fact is that the illustrator, Shauna Panczyszyn, also specializes in hand-lettering. She did both the illustration and the font for Monsters on the Broom.  If you notice, the story title has a pair of spooky eyes in it. I absolutely love what she's done with this book.
 
Do you have a favorite line that you could share?

The Vampire on the broom shrieks, "Voo ha ha, Voo ha ha, Voo ha ha."
The Vampire on the broom shrieks "Voo ha ha," all through the town.

The illustrations for each character are top-notch! 

Thank you, Annemarie! Wishing you many more books and "ugly cry" happy moments on your publishing journey!

And now for the big moment...

                                               TA-DA!
​

Thank you, Nikki, for being my guest. That mosaic looks amazing, and I loved learning about your journey. Wishing you the best of success with LILA LOU'S LITTLE LIBRARY and all future projects as well!

Readers, please support our featured authors/illustrators by following them on Twitter, requesting their book through your local library, posting reviews on Amazon and Goodreads, and of course, purchasing their books. 

Connect with Nikki:
Website: www.nikkibergstresser.com
Twitter: @NBergstresser
IG: @nikkibergstresser
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                                             Click on the book cover to order a copy

Nikki Bergstresser is an educator and children’s author of Seasons for Stones (illustrated by Kelly O’Neill) and Lila Lou’s Little Library (illustrated by Sejung Kim) releasing Oct.1/21. When not writing, she teaches online book clubs and writing classes to learners in grades 3-7.  Nikki makes her home on the west coast of British Columbia, Canada with her husband and two teen daughters. Nikki’s best day has her lost in nature, coffee in hand and a good story to share. ​

I am so thrilled to welcome this week's KidLit Oasis guest, Alison S. Weiss, Editor at Pixel+Ink, and to chat with her about all things publishing!

Alison has graciously agreed to share her insight and wisdom with my readers, to take us behind the scenes of her publishing house, and she's also giving away a bundle of books to one lucky winner! How fantastic is that?! 

I can't wait for you to hear from Alison, so here we go....

Welcome, Alison! Thank you so much for taking the time to chat with me and for  sharing your perspective, knowledge, and publishing experience with us! I appreciate your visit -- it's truly exciting to interview an editor on my blog!

My first question is, how did you become an editor? Did you have any mentors who helped you along the way? And please tell us about Pixel + Ink as a publisher -- what are the company's values, goals, and mission?

ASW: I started my career as an intern at Delacorte Books for Young Readers when I was going into my senior year of college, but my first full-time job in publishing was as Sales and Marketing Assistant at Egmont USA. I say I stared in Sales and Marketing, but Egmont was a brand-new company at the time—I was employee number four!—and we didn’t really have any books to sell or market, so I was more like a jack of all trades. I helped plan the company’s launch party. I ordered office supplies. I booked and confirmed (and reconfirmed) trips for the executives to major conferences like BEA and ALA and Frankfurt. And I read and discussed manuscripts. About six months in, the company decided to split my role in two, and I was lucky enough that they saw the potential in me and let me make the hop over to editorial, enabling me to grow along with the company.

But, of course I still needed to learn how to be a good editor. I’ve always worked at companies that are growing, and that means you often jump in to help with matters beyond your standard job description, and you learn a lot about the business and how it really operates along the way. I’ve been fortunate to have had some incredible people to help me along that journey. Regina Griffin took me under her wing and taught me the mechanics of the trade of editing, the ins-and-outs of a book contract, author care, how to be strategic, and so many more skills I can’t begin to list. Elizabeth Law’s extroversion and ease with talking to new writers taught me how to push past my introverted shell and network successfully. Bethany Buck, my current Editor-in-Chief, who I’ve been fortunate enough to work with at two companies now, modeled for me that being a good manager is about making sure your team has what they need to be successful and thrive. And there are so many others who have taught me so much. I can only hope that I can be that advocate and mentor to young editors as they find their own paths.
 
Pixel+Ink is part of the Trustbridge Media Group, along with sister companies Holiday House, Peachtree, and Candlewick/Walker. We’re a very new company—we recently had our first anniversary of publication!—and we’re just getting started. Pixel+Ink is a little different than other publishers, in that we are committed to series publishing with transmedia potential. That means we’re developing properties across multiple books (whether that’s a specified arc, strong worlds we just keep wanting to revisit, or a sequence that can just go on and on and on), and we’re looking for franchises that have strong potential to make the leap to TV, film, or other media platforms. We publish picture books, chapter books, middle grade, and graphic novels. We really believe in telling stories that kids ages 3-13 want to get lost in. We want readers to feel seen in these worlds, but also to feel they have a place to escape and explore and grow. And we hope they have a lot of fun along the way.
​

​Wow, what an incredible journey! And you've had such amazing opportunities to learn the business from many different angles, which I think is invaluable. I'm always fascinated with the particular path a person took to take them to where they are today.

My next question is, what is your favorite part of the job and what is your least favorite part? What brings you joy in your position day in and day out?

ASW: I love collaboration. I love working with my authors. I love working with my team. It feels like such a privilege to make books for readers that can be so meaningful to who they may grow up to be. It’s a responsibility I take very seriously, and to do it alongside such creative and committed partners is exhilarating.
 
I’m not a fan of how long it takes to get movement on things. This is a hurry up and wait industry on all levels. And I don’t always love writing copy. I need to be in the right mindset, and sometimes schedules don’t allow me to wait for the creative juices to flow. (Sound familiar?)

Very familiar! And I second this--I am right there with you NOT being a fan of the slow movement on things in the industry. The "hurry up and wait" is tough!

Please tell us, what is a typical workday for you? If there's no "typical" what are some of the tasks that have priority in any given workday?

ASW: There is definitely no typical workday. I keep a running list of tasks I need to get to, which gets copied over every Monday, and I cross things off as I go along through the week. I do a pretty good job of winnowing away at that list, but it’s never finished. Priority in a given day is usually based on deadlines that are coming up. If we’re preparing for Launch or Sales Conference, tasks related to that have to be handled before other matters. If a book is about to go to press, I have to drop everything to review the passes as they circulate, and that can be quite a frenzy. Administrative tasks and correspondence often come before digging into a manuscript or reading because they’re more time sensitive. But I’ve been very lucky at Pixel+Ink that I do have days where I can spend an entire afternoon or even a day (or multiple days in a row!) editing, and for that I am very grateful.

Are you actively acquiring new books at this time? What are some of the stories you're looking for? What appeals to you?

ASW: I am definitely acquiring right now, and I’m eager to fall in love with new, exciting projects. I think I’m drawn to books that have a lot of heart and often a lot of humor. I want a story to really get its claws in me. I’m looking for the great trifecta—stand-out characters, engaging plot, and a killer voice. I love most those manuscripts that change my perspective on the world when I’m done reading.

                                     [Check out Alison's submission guidelines]

How much time do you usually spend reading a submission? Do you read the query first or the manuscript?

ASW: Since joining Pixel+Ink, I’ve implemented a practice I’ve really been enjoying. I carve out a block of time on a Sunday afternoon with my Kindle, a huge cup of coffee, and a scone, and I sit reading manuscripts. That’s not to say I don’t read at other times (I do!), but those hours have become my devoted reading time every week. So far, it’s allowed me to keep my response times down to something respectable for the most part, but I suppose I’ll have to reassess if things change!
 
I skim a query letter when a submission first comes in, but I read the manuscript first. If I’m a few chapters in and feel in my gut that this could be something, I’ll usually jump over to the query letter to get the pitch, and then keep that info in mind as I dive back into the manuscript, hoping it will stay just as great.
 
How do you evaluate submissions? What marks does a manuscript need to hit to be considered for acquisitions?

ASW: Wow. This is a difficult question to answer. What makes a manuscript work is really subjective. It’s important to remember that just because a manuscript may not click for me, that doesn’t mean that another editor won’t fall madly in love with it.
I usually can tell fairly early on if it’s something I’m adoring, and then it’s a question of it staying as wonderful. I’m looking for writing that stands out. I try to give every project I consider a fair shake (sometimes that first chapter is just not the right starting place), but if my mind’s starting to wander or I find I’m not really invested, that probably is the signal it’s time to move on.

For Pixel+Ink, I have the added component that I need books that have strong series potential and that I can see being picked up for film. If I’m looking at a picture book that’s not character-driven and it’s not easy to see how you might come up with thirty different plots for a pre-school season, it doesn’t matter how lovely I think it is. And for a novel, if the ending feels very final (and there’s a difference between a satisfying close and slamming the door shut), it’s going to be harder for me to get to yes. Some books really are meant to be stand-alones, and there’s nothing wrong with that. There are plenty of editors who will gobble those up.

What happens next? How is the acquisition process handled? Could you walk us through the process from submission to contract offer?

ASW: If I find something I’d love to move forward with, the next step is usually sharing it with my Editor-in-Chief. I may be simultaneously reaching out to an agent or author to get a bit more information or to discuss some light development, or I may wait until I have the greenlight to move forward. At that point, I put together a profit and loss statement, which analyzes the profitability of a project based on a lot of considerations. I’m also coming up with other books already on the market to make a case why I think this could do well, too. (This is why, creators, it’s so important to know the current market and to know where your book fits within it.) I’m also sharing the manuscript with my rights director and our film consultant for their feedback. (This is not necessarily how this process works at other houses, but you might share the manuscript with marketing or sales.) Once the P&L is ready, I present the project to our Managing Director at an Acquisitions meeting and we discuss my potential strategy should he approve us offering. If the project clears that hurdle, my Editor-in-Chief and I pull together our offer and we’re off to the races!
 
I see that the time frame to get a reply from Pixel + Ink is up to 4 months. Is no reply considered a pass after the 4 months or do you send form rejections? Should authors follow up on unsolicited submissions?

ASW: Currently, the Pixel+Ink editorial team consists my Editor-in-Chief and me, so unfortunately we simply don’t have the bandwidth to reply personally to every unsolicited manuscript, even if we wish we could. No response after four months is a pass from us. Writers can of course follow up, but that doesn’t get you any kind of preferential treatment.

Are you currently taking submissions from illustrators?

ASW: Absolutely.

What is the one thing people should avoid in submissions?

ASW: It’s really important to follow submission guidelines. We don’t do YA or non-fiction. We don’t do stand-alone anything. (If your book’s a stand-alone, but you have ideas for more stories in the world, just mention that in your query letter.)

Also, if you’re sending unsolicited, please don’t send anything as an exclusive submission unless there’s a specific reason you’re doing it. No one in the industry expects that of you, and you’re actually working against yourself.

How does Pixel + Ink support its authors after the acquisition process and post-publication? Would you highlight some of the marketing, promotion, and distribution support your titles receive?

ASW: The Pixel+Ink list is carefully curated so that every creator we work with gets a lot of attention from our team and we can treat each of them as the partner we view them as. We’re sold and distributed by Penguin Random House, so we have amazing market reach. Our publicity and marketing teams are incredible, and they’re always coming up with smart, detailed, tailored plans for each property in conjunction with our creators’ ideas. And they’re really nice, too.

What projects are you working on right now for your list? What are you excited about and why? Any upcoming titles you could share with us?

ASW: I’ve been spending a lot of time with Pixel+Ink projects acquired before I joined the company, including Beatrice Bly’s Rules for Spies by Sue Fliess, illustrated by Beth Mills, Twig and Turtle by Jennifer Richard Jacobson, illustrated by Paula Franco, The Great Peach Experiment by Erin Soderberg Downing, and the forthcoming The Great Mathemachicken by Nancy Krulik, illustrated by Charlie Alder.

I’m also excited to start seeing the books I’ve acquired getting ready to make their way into the market. The Curious League of Detectives and Thieves by Tom Phillips is a middle grade series launching in Summer 2022 that I’m particularly eager to see out in the world. It’s A Series of Unfortunate Events meets Enola Holmes. It’s hilarious and full of heart, and the kind of book where you realize how cleverly plotted it is as you pick up on more and more with every read. I adore it and I’m certain readers are going to eat it up.

​



www.pixelandinkbooks.com
 
Follow Pixel+Ink on Twitter: ​@PixelandInkBks

Connect with Alison S. Weiss

Follow Alison on Twitter: @alioop17


Alison S. Weiss has been in publishing for more than ten years. She’s currently acquisitions editor at Pixel+Ink (part of the Trustbridge Media Group), a publisher focused exclusively on series publishing with transmedia potential. There, she’s worked on many series, including TWIG AND TURTLE by Jennifer Richard Jacobson, THE GREAT PEACH EXPERIMENT by Erin Soderberg Downing, and the forthcoming THE CURIOUS LEAGUE OF DETECTIVES AND THIEVES by Tom Phillips. She’s run her own editorial consultancy, working with publishers including Simon & Schuster, Audible, and Arctis, as well as private clients, and was Editorial Director at Sky Pony Press, where her list included William C. Morris Finalist DEVILS WITHIN by S.F. Henson, the PROJECT DROID series by New York Times bestselling author Nancy Krulik and Amanda Burwasser, illustrated by Mike Moran, the TIMEKEEPER trilogy by Tara Sim, and the Mahabharata-inspired CELESTIAL TRILOGY by SanguMandanna. In 2016 she was named a Publishers Weekly Star Watch Honoree. She’s been trying to live up to the title ever since. You can follow her on Twitter @alioop7 and learn more about Pixel+Ink at www.pixelandinkbooks.com.

Welcome back, KidLit Oasis fans (and future fans)!

I am so excited to chat with a wonderful author today--Charlotte Offsay is in the house, and I cannot wait to hear about her journey, her amazing books, and what advice she has for writers! (Spoiler alert: Charlotte shares a fantastic revision checklist you don't want to miss.) Plus, she's generously giving away a copy of her new picture book, HOW TO RETURN A MONSTER. Find out how to enter for a chance to win this adorable book at the end of the interview. 

Besides being an amazing author and a lovely person, Charlotte is also a passionate supporter of the kidlit community, highlighting picture books on her Instagram account @pictirebookrecommendations so make sure you follow her there.

Okay, let's hear it from my awesome guest...

Welcome, Charlotte! Thank you for joining us on the blog. Please briefly describe your journey to publication. 

A: I have always had a passion for books and creative writing, but becoming a published author always felt like a far-fetched dream and was something I fantasized about but never actually took any steps toward. That all changed after my children were born. I love reading to them and after an afternoon of baking with them I began writing a rhyming how-to story for them based on our weekly challah baking tradition. I loved the entire process of writing that story for them, and when an instructor of a parenting group I was in at the time encouraged each of us to sign up for a class or spend some time doing something that was just for us – something outside the responsibilities of our families – I jumped at the excuse to sign up for my very first writing class. I took an online introduction to writing picture book class through UCLA extension, and fell head over heels for all things picture book. The more I learned the more obsessed I became. I spent the next few years taking classes and attending conferences. I joined various kidlit groups such as SCBWI, 12x12 and Inked voices and met my very first critique partners and felt at home in the kidlit community.

I signed with my agent, Nicole Geiger of Full Circle Literary in early 2019. Nicole is fantastic - she is my biggest advocate, she pushes me, she questions me, she guides me, believes in me and makes me a better writer. Together we have sold three picture books including How to Return a Monster which I am excited to be sharing more about today here on this blog!

How to Return a Monster is a humorous how-to story about a girl who can't believe it when her parents bring home a fussy, stinky, attention-stealing monster. She hatches a plan to send it back to where it came from, with hilarious results . . . and along the way, she learns that maybe monsters--and baby siblings--aren't so bad after all.
It is illustrated by Rea Zhai and publishes with Beaming Books on September 7, 2021.
 
Q: What do you find most challenging in this business, either on the creative or publishing side of things? What do you find most rewarding? What helps you stay motivated?

A: I think the most challenging part of this business for me is the waiting. I am not a naturally patient person and there is a lot of waiting - from waiting to hear back on queries, to waiting to hear back from editors, waiting for your book to be announced/illustrated/published etc. I decided long ago that in order for me to handle the waiting I needed to celebrate every step, even the small ones. Staying positive and celebrating the steps along the way helps me to keep creating even in those extremely quiet periods that I find so difficult.

The most rewarding part of this business is definitely the writing community. The kidlit community is such a wonderfully warm and welcoming place. From the very beginning strangers went out of their way to help me learn the ropes, figure out which classes to take, which blogs to read, which mentor texts to get my hands on – all because of our shared passion for picture books. I have made some of my closest friends through the kidlit world, they understand me and support me and I am so grateful for how full they make my life.

I am fortunate to have an incredible support network to help me stay motivated. There is a lot of rejection in this business and it takes a thick skin to keep going. My critique partners, my children and my husband are my biggest cheerleaders and supporters and I wouldn’t be where I am without them. 

Q: Could you share any craft tools or techniques that you find most helpful to you when working on a project? What does your revision process look like? 

A: When I first began writing I used to pour over the pages of craft books such as Ann Whitford Paul’s Writing Picture Books. I used those craft books and picture book classes I was taking at the time to create a picture book evaluation form which I utilized as a revision tool. Here are a few of the categories as an example:

• Main Character:
  • Will the reader care about them?
  • Does the MC solve their own problem?
  • Is the MC active in their own story?
  • Are the MC actions believable?
• Dialogue:
  • Is it believable? 
  • Does what the characters say help flesh out the story?
  • Is it simple?
  • Does it move the story forward and reveal character?

• Plot:
  • What happens?
  • Do any of the characters change?
  • Is there tension?
  • Does the story start before it needs to?
  • Are scenes included that are unnecessary and don’t move the story forward?
  • Is the ending satisfying? Logical? Predictable? Is there a twist?

 
I didn’t need to check every box on this revision sheet, but I found it helpful to think about and be purposeful about each of these areas as I revised.

These revision questions have become engrained in my head and while I no longer pull out my self-made handout every time I revise I often find myself thinking about these questions whenever I create a new manuscript or critique someone else’s.

Q: What's coming up for you next? Please tell us about any new releases, exciting news, upcoming events or anything else you'd like to share with our readers?

A: I am excited to share that my next picture book, A Grandma’s Magic, illustrated by Asa Gilland publishes on March 1, 2022 from Doubleday Books for Young Readers/Penguin Random House.
 
Description from my publisher:
 
"When a child is born, a grandma is born too. Grandmas aren't like regular grown-ups. Grandmas are filled with magic."

In this charming picture book tribute to grandmas, a grandma's magic bursts through the door as soon as she comes to visit and can be seen in every wonderful thing she does: playing, exploring, baking, gardening, and in all the many ways a grandma and grandchild connect.

Filled with adorable scenes featuring a diversity of grandmas and their grandkids, this is a book that will families can enjoy together. Grandmas will love snuggling with their grandchildren as they share their love and "magic" through cuddles, kisses, and many repeat readings.

Congratulations on all your success, Charlotte! It was a pleasure chatting with you! Thank you for being my guest, and I hope that you'll return to KidLit Oasis with your future books. I'm so happy to support your work and look forward to your upcoming titles as well.

Connect with Charlotte Offsay:

Website: www.charlotteoffsay.com
Twitter: @coffsay
IG: @picturebookrecommendations

CHARLOTTE OFFSAY was born in England, grew up in Boston, and currently lives in Los Angeles with her husband and two small children. Through her work, Charlotte hopes to make children laugh, to inspire curiosity, and to create a magical world her readers can lose themselves in time and time again.

Charlotte is the author of The Big Beach Cleanup, illustrated by Kate Rewse (Albert Whitman, 2021), How to Return a Monster, illustrated by Rea Zhai (Beaming Books, September 2021), and A Grandma’s Magic, illustrated by Asa Gilland (Doubleday Books for Young Readers, March 2022).

Welcome back to KidLit Oasis, everyone!

I hope you all had a great summer and that you're excited about fall. I have so many fabulous guests lined up and giveaways planned for you, I cannot wait to spread all the excitement!

I am happy to be back as the new blog season is finally here, and we're kicking it off with a fun celebration. My guest, Author Henry Herz, is stopping by to talk about his latest picture book release, I AM SMOKE. Today is extra special, too, because it's the book's birthday! Hooray! Congratulations, Henry!

Okay, I can't wait to hear what Henry has to share with us and I'm ready to get the scoop on this book which is already making a splash. 

So, let's get started...

Welcome, Henry Herz! Thank you for joining us on the blog. Please briefly describe your journey to publication. 

A: Years ago, I wanted to share my love of fantasy with my young sons. They were too little for watching most of the fantasy movies. Struck by inspiration one day, I came up with a way to share the joy of entering the magical realms of fantasy. I would write a fantasy book for them. That decision had two unintended consequences.

First, I did not anticipate was that my boys would give me feedback on the story.  They devised some of the character and creature names, and made plot line suggestions.  And who better to help make the story appealing to kids than other kids?  So, the goal of interesting my sons in fantasy transformed into also encouraging them to write.

Second, I discovered how much I loved writing for kids. We ended up self-publishing that book. I was hooked. I joined SCBWI, joined a critique group, and kept honing my writing until I sold my first picture book, MONSTER GOOSE NURSERY RHYMES to a traditional publisher, Pelican. I kept at at and continue working on my writing skills. I AM SMOKE will be my tenth traditionally published picture book. In the last couple of years, I have written two middle-grade novels (on submission) and a number of adult short stories in the fantasy, science fiction, and even horror genres.

Q: What do you find most challenging in this business, either on the creative or publishing side of things? What do you find most rewarding? What helps you stay motivated?

A: I suppose it's a tie between the pain of waiting and the agony of rejection. Those of you who are not authors may not be aware that authors endure a potentially soul-crushing amount of rejections. Even short stories and books eventually bought by a publisher may suffer multiple rejections from other publishers first. Authors must develop a thick skin and recognize that a rejection is not necessarily a critique of their writing. A publisher may decline a manuscript because they already have something like it, or the topic is not suitable for their current needs, or they don't feel there's sufficient market potential.

Waiting to hear back is another challenge of being a writer. Whether you're submitting directly to a publisher, or querying an agent, you can be facing a wait of weeks, months, or even years. Yes, I once got a rejection years later, after I'd already sold that manuscript (and a second one) to another publisher. Waiting is an unavoidable part of the game. The trick is to distract yourself by staying busy—write more stories or novels in the mean time.

As for what is most rewarding, it's a three-way tie—this time between the thrill of getting a signed contract from a publisher, seeing a illustrator bring my story to life, and receiving artwork drawn by young children inspired by my book. We don't do this for fame and fortune. We do this to bring smiles to kids' faces and to inspire them.

Q: Could you share any craft tools or techniques that you find most helpful to you when working on a project? What does your revision process look like? 

A: For writing novels, there are two resources I really find helpful. SAVE THE CAT WRITES A NOVEL by Jess Brody is a novel-centric adaptation of the screenplay-focused original, SAVE THE CAT by Blake Snyder. Jess analyzed how the beats of successful novels are organized. Her book provides a template, a starting point, which was invaluable when I had never before written a novel. It helps you create an engaging story arc, with good pacing and tension.

Another excellent resource for writers is WRITING THE BREAKOUT NOVEL HANDBOOK by Donald Maass. It asks the author a number of questions to help you flesh out and better understand your own characters.

My revision process is straightforward. I share my first draft with a critique group, consider their feedback, and update my manuscript based on which advice I choose to take. Once the manuscript has been run through the “meat grinder” of one or two critique groups, then I share it with beta readers to get their perspectives. Outside pairs of eyes are so valuable, because the author unavoidably has blinds spots. What is clear to us may not be obvious to most readers. What is funny to us may not work for readers. The process is akin to sculpting. We go over our manuscript again and again, striving to create an engaging story arc featuring characters who feel real and fully fleshed out. The dialog, thoughts, and actions of the characters as they face challenges and transform in a meaningful way must evoke emotion that drives the reader to keep turning pages.

Q: What's coming up for you next? Please tell us about any new releases, exciting news, upcoming events or anything else you'd like to share with our readers?

A: My creative nonfiction picture book from Tilbury House, I AM SMOKE, launched September 14, 2021. Upcoming events and book launches include:

-Moderating a DragonCon panel with actors from Netflix's Norsemen series.

-Launching my contemporary magical realism early chapter book, THE MAGIC SPATULA from Month9 Books.

-The middle-grade #ownvoices anthology from Albert Whitman & Co., COMING OF AGE: 13 B'NAI MITZVAH STORIES, will feature my sci-fi/humor short story, Bar Mitzvah on Planet Latke.

-The adult horror anthology from the Denver Horror Collective, THE JEWISH BOOK OF HORROR, will feature my short story, Demon Hunter Vashti.

-The young adult horror anthology from Blackstone Publishing, THE HITHERTO SECRET EXPERIMENTS OF MARIE CURIE, will feature my short story, Cheating Death.

-Highlights for Children has purchased two of my stories, but I don't know when those will come out. See topic of patience above.

Thank you so much, Henry -- it was a pleasure to have you as my guest! Best of luck on your journey, congrats again on all of your success,  and I look forward to your future projects!

Readers, please support our featured authors/illustrators by following them on Twitter, requesting their book through your local library, posting reviews on Amazon and Goodreads, and of course, purchasing their books.

I hope you enjoyed this interview — join in the celebration and leave us a comment.  Social media shares are greatly appreciated. Thank you!
​-------------------------------------------------------------------------------------------------------------
Connect with Henry Herz:

Website: https://www.henryherz.com 
Twitter: @HenryLHerz 
-------------------------------------------------------------------------------------------------------------
                                               To purchase IAM SMOKE click on the book cover

Henry authored 11 traditionally published books for children: MONSTER GOOSE NURSERY RHYMES, WHEN YOU GIVE AN IMP A PENNY, MABEL & THE QUEEN OF DREAMS, LITTLE RED CUTTLEFISH, CAP'N REX & HIS CLEVER CREW, HOW THE SQUID GOT TWO LONG ARMS, ALICE'S MAGIC GARDEN, GOOD EGG AND BAD APPLE, 2 PIRATES + 1 ROBOT, THE MAGIC SPATULA, and I AM SMOKE.
​
Henry Herz authored over 25 traditionally published short stories, including for Daily Science Fiction, Blackstone Publishing, Albert Whitman & Co., Highlights for Children, and Ladybug Magazine. He edited three anthologies: BEYOND THE PALE, COMING OF AGE (Albert Whitman & Co., MG #ownvoices), and THE HITHERTO SECRET EXPERIMENTS OF MARIE CURIE (Blackstone Publishing, YA horror).

PART 2: The Interview

Hello, dear readers, and welcome back!

As promised, I have Author Kathleen M. Blasi as my guest this week for Part 2, the continuation from last week's post in which I  I reviewed Kathleen's latest picture book, Milo's Moonlight Mission (if you missed Part 1, find it here). 

So, let's get to know Kathleen better and hear what she has to share with us!

Welcome, Kathleen, and happy book birthday! Milo's Moonlight Mission releases today -- how exciting!

​I'd love to find out what the backstory is that led to this moment. Please briefly describe your journey to publication, leading up to this book. When and how did you first get started writing for children and what was the path for you in becoming an author?

I fell in love with picture books when my children were young. It made me remember the picture books I loved as a child—those stories stuck with me, well into adulthood. Books like Ferdinand, The Snowy Day, Make Way for Ducklings, and Blueberries for Sal. I read them over and over.

I had always loved to write and set out to create stories that children (and parents) would want to read again and again. What was the trick? I studied the craft, took some classes, and connected with other children’s writers. My first published book, A NAME OF HONOR, began as a picture book, mainly because I made two false assumptions: 1: that picture books are short, so therefore easy to write (Ha!), and 2: that I was not capable of writing a novel. I learned both lessons, and A NAME OF HONOR was published as a middle-grade historical fiction book in the educational market. That was 2006. Shortly after that, my nonfiction book about youth sports came out. Then…many years of writing, submitting, revising, critiquing, revising, and most importantly…learning. Learning to improve my writing, learning to be both patient and persistent. In 2020, HOSEA PLAYS ON, illustrated by Shane Evans, was published with Sterling Children’s Books. I’m so pleased that my second published picture book will be out in the world on June 15th! MILO’S MOONLIGHT MISSION, illustrated by Petronela Dostalova, published by Yeehoo Press, is a joy to see come to fruition.
 
What do you find most challenging in this business, either on the creative or publishing side of things? What do you find most rewarding? What helps you stay motivated?

On the creative side, showing up is difficult when self-doubt tells you that you are not worthy of doing so. In the face of the required patience and inevitable rejection that accompanies putting yourself out there, it’s sometimes hard to keep going. But I firmly believe that hard work and opportunity will eventually intersect. I just have to remind myself of that every now and then.

There are two things that I find most rewarding—obviously, seeing a manuscript come take the form of a real book is very rewarding. But also rewarding is finishing a project I’ve put so much into. When I discover nuggets for a story in the research process—I think my heart actually skips a beat. It’s thrilling to see a story come together, when in the beginning it feels like a big mess. Where do I begin? What do I include? What do I need to take out for the sake of telling this story in the best way possible? Sharing my works-in-progress with my critique partners and being lifted by their encouragement is phenomenally rewarding. Meeting readers through author visits, seeing how my journey can contribute to their seeing themselves as writers is a true gift.

I stay motivated by recognizing all the little things along the way. I can’t let publication be the measure of my success. I need to pause and recognize that revision is an accomplishment. Submitting polished work to editors or agents is an accomplishment. And validating my choice to stay in the game by investing in my writing career—by attending workshops and conferences—is an accomplishment. Staying connected with my writing peers, to share both the joys and the disappointments, helps keep me motivated, too. It’s important to know I’m not alone.
 
Could you share any craft tools or techniques that you find most helpful to you when working on a project? What does your revision process look like?

For all of my projects, big, unlined paper is a necessity for brainstorming. It feels unrestrictive and non-judgmental. Let it rip! Write big, write small, make crooked lines and messy arrows. I love it. Makes me more open to the possibilities. I also love to storyboard for picture books, in all stages.
 
What's coming up for you next? Please tell us about any new releases, exciting news, upcoming events or anything else you'd like to share with our readers?
I am having a book launch for MILO on June 19th, in a park near my home. A local indie is co-hosting with me. Other projects in the works – both new pieces and old-to-be-revisited. There’s always room for improvement!

Thank you, Kathleen -- it was a pleasure having you at KidLit Oasis! Best of luck with the launch and many more successes to you! 

Welcome back, everyone!

Today, I'm introducing a new picture book to you, Milo's Moonlight Mission, by Kahleen M. Blasi, illustrated by Petronela Dostalova, that will be released from Yeehoo Press on 6/15/21. You will also get a chance to win a copy, so make sure to enter the giveaway!

PART 1: The Review
PART 2: The Interview (Come back next Tuesday for my chat with the author, Kathleen M. Blasi!)

Here's my review . . .

Milo is ready for an important space mission, but his Second-in-Command (a.k.a. Mom) did not report to the ship on time. What's taking her so long?

Well, there's work to be done first. Milo is patient and tries to help, too. All done! Is it time for the mission now? Not yet. It's dinnertime. No one can fly to the Moon on an empty stomach! Again, Milo helps his mom prepare a good meal and clean up afterward.

As it gets late in the evening, launch seems unlikely. Just before Milo heads off to bed, he hears about a huge meteor shower on the news, and now his space mission becomes more important than ever! But it has to wait until the morning.

Something big like this is not to be missed! Milo is tossing and turning in bed, then he decides to do everything that he can to get ready for the event.

And when Captain Milo and his Second-in-Command finally accomplish their mission, amid the spectacular show they witness together, an out-of-this-world memory is created.

This sweet, lyrical story will launch space enthusiasts into an adventure and keep them captivated! Milo's imaginative play and kindness will have readers rooting for him while following his mission to completion. As Milo marks it accomplished, he discovers that patience, planning, and being prepared do pay off in the end.

The bright illustrations in bold, contrasting colors complement the story quite well, adding additional layers of child play in the art that kids will relate to. 
​
                                                                                * * *
                                          A peek inside the book . . .

From the Publisher:

Key Selling Points:
​
Emotionally Resonant: A heartwarming tale of a parent and a child struggling to find quality time together – a challenge with which many parents and children can identify.
Adorable Space Setting: With a playful, expressive setting, this book is perfect for space fans and young budding astronauts.

Vivid, Atmospheric Storytelling: Children will love how much this midnight adventure feels like a real mission complete with a spaceship—and will wish that they could journey to the world beyond.
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A Clever Combination of Fiction and Non-Fiction: Interwoven in the fiction text are unique facts about meteor showers. Educational back matter offers opportunities for discussions about cosmic phenomena.

Description

Outer space is there for exploring, and Captain Milo is ready for takeoff! If only he didn’t have to wait for his Second-in-Command—or as he also calls her, Mom—to report for duty. Yet Mom’s list of daily tasks grows ever longer, and she can’t launch until they’re done. So, like any good captain, Milo offers to help! Work? Check. Dinner? Check. Cleanup? Check. When the weather forecast predicts a middle-of-the-night meteor storm, Captain Milo wants desperately to witness it. But will his Second-in-Command have enough time to accomplish this magical mission with him?
In lyrical prose and charming illustrations, Kathleen M. Blasi and Petronela Dostalova capture how the most spectacular night skies are revealed when we plan for the perfect moment—with loved ones by our sides. This heartwarming tale is perfect for space fans and young budding astronauts!
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Author Bio:

Kathleen Blasi writes books for young readers, including Hosea Plays On (illustrated by Shane W. Evans), A Name of Honor, and Are Organized Sports Better for Kids than Pickup Games? Active in the children’s writing community, Kathleen has served as Co-President of Rochester Area Children’s Writers & Illustrators and is former Co-Director of the Rochester Children’s Book Festival, for which she and her Co-Director received the 2015 New York State Reading Association Literacy Advocate Award. Kathleen lives in western New York, where, along with writing, she enjoys fostering the curiosity of young storytellers. Visit her at kmblasi.com.

Illustrator Bio:
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Petronela Dostalova graduated from the Cambridge School of Art with a MA in Children’s Book Illustration. Before the MA she was studying Fine Arts at the University of East Anglia. In 2015 her children’s book The Reds and Greens was highly commended for the Creative Conscience Award. The project promoted equality. Petronela comes from a Czech-Slovak-Hungarian background but decided to nest into the heart of Suffolk where she currently lives and works with her partner and their dog Haribo. If you don’t find her drawing at her desk, she will be out traveling or cycling somewhere. She likes to be near, in, on, or underwater at any time of the day except when she is drawing–she is still working on a way to be able to do these things at the same time. Visit her at https://www.petroneladostalova.co.uk/.

Welcome, Annemarie! Thank you for joining us on the blog. Please briefly describe your journey to publication.
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A: Thanks for having me! My road to publication began in April 2016 when I decided to write my first-ever children's book. Little did I know that my attempt would quickly become my first published work. I was teaching first grade at the time, and I was having a bit of difficulty finding lesser-known folktales to read aloud to my students. Every time I pulled out a book, I was met with, "We read that last year." So, in my quest to find new material, I poured over anthologies from the early 1900s that contained dozens of folktales and fairytales (my aunt handed down her collection to me). As I was thumbing through them, I came across the original version of How the Finch Got Her Colors and decided to put my spin on it. That was how my book How the Finch Got His Colors was born.
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After I wrote it, I joined SCBWI, and that is where I met my dear friend Sarah who graciously mentored me through the whole publishing process. Sarah helped me edit Finch, craft my query letter and marketing plan, and get everything ready for submission.
After everything was set, I began to research houses that were open to unsolicited manuscripts (I did not have an agent at the time). I scoured the internet and the SCBWI PAL list and wrote down all the publishers I felt would be a good fit for my story. I started out small by sending Finch to just six houses. I wanted to see the kind of feedback I would receive before subbing more widely.  To my surprise, by June 16th, just two months after I subbed it, I received four offers of publication! Since I did not have an agent at the time, I hired a lawyer to go through each contract with me. We ended up signing with Familius, and the rest is history! My story is not the norm―lightning in a bottle, really. I know that people spend many years in the trenches. I feel really blessed.
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Yes, my first shot was a lucky one. I know that. But that’s not to say my path has not had its challenges, too. I have had my fair share of rejections. I have had my first agent quit the business. I have made it all the way to acquisitions several times, only to be turned down at the last minute. But you can't let the bumps along the way deter you. If we choose to give up and not persevere, our books will never make it out there.  So, keep on striving. The world needs to hear your story.

Q: What do you find most challenging in this business, either on the creative or publishing side of things? What do you find most rewarding? What helps you stay motivated?

A: The most challenging thing about this business is the wait time. It can take months (up to a year) to hear back on a submission you’ve made. I think the other thing about this business that can be a challenge is when you don’t hear back at all. That can be disheartening.
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The flip side to this question is the reward that you get when you do hear that YES. There is nothing like knowing that your written word will be out in the world, touching the hearts and minds of young children. It’s a pretty amazing feeling, and that is what keeps me motivated. It never gets old.

Q: Could you share any craft tools or techniques that you find most helpful to you when working on a project? What does your revision process look like? 
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A: This may sound very basic, but when I used to teach writing (former elementary teacher), I always had my students fill out a story map prior to crafting their stories. The story map is a simple sheet of paper where one plans out the characters, setting, problem, plot events, and resolution parts of a story.  I have a similar template on my computer and use that to jot notes for each picture book. Once I have that set, I begin to craft my story. I will say, though, even with that structure in place, my writing doesn’t always go according to plan.  This is why it’s crucial to have critique partners. Sometimes I get so focused on creating a solid beginning and ending that my plot falls entirely flat. My critique partners are vital in helping me to identify the weak spots in my story and tighten them up.
 
In terms of the revision process, sometimes it is easy―a tweak here or there, and sometimes it’s a beast. I have one story sitting in my WIP box that has been there for almost two years! I just can’t seem to get it right, and that’s ok. It will happen when the time is right. With stories that work off the bat, I take notes from my critique partners, agent, editor, etc., and let their words soak in. If they resonate, I make the necessary changes. It really depends on the feedback that I receive. 

Q: What's coming up for you next? Please tell us about any new releases, exciting news, upcoming events, or anything else you'd like to share with our readers?
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A: I have so many forthcoming projects. I have 6 books releasing in the next 3 years, and I hope even more than that!

Forthcoming:

1. Thundermaestro (Familius, Spring 2022)
2. Finding Mr. Trunks (Familius, Fall 2022)
3. A deal that I can’t announce just yet… LOL (Coming Summer 2022)
4. 123 Counting on Community (Familius, 2023)
5. Monsters Hide and Seek (Familius, 2024)
6. Turn on the Night (Hurn Pub Kids, 2024)
 
And many more projects in various stages in publishing. 

Wow! Congratulations on all your success, Annemarie, I'm so happy for you and glad that we're on this journey together! I can't wait for all of your upcoming books, and I know there will be many, many more! 

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