​
​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 have three projects forthcoming, two of them have not been announced. But I am very excited about the third, in particular, because it is a manuscript that I actually wrote in 1998 while in France.

Wow, that was such a great chat, and I'm glad you shared all those resources with my readers. Thank you so much again, Lynne Marie, and I look forward to the new announcements soon too!

Readers, please support our guests in any way you could and connect with them on social media.

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/

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, 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. 
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                                                                                * * *
                                          A peek inside the book . . .

From the Publisher:

Key Selling Points:
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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? 
​
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! 

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 post — social media shares are appreciated. Thank you!

1. How did you become an editor? Did you have any mentors who helped you along the way? And please tell us about Yeehoo as a publisher -- what are the company's values, goals, and missions?
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I’ve been passionate about writing and drawing since I was a kid, but I never thought it would be a career option growing up in China. After I graduated from the University of Georgia with an MS in Economics, I landed a job in the marketing field. I learned how to use and draw in Photoshop to make attractive marketing materials. I did digital drawings and put a portfolio online. To my surprise, someone asked me if I could illustrate their picture book. Gradually, I illustrated more self-published picture books. I got involved in every step of bookmaking—from illustration to layout to cover design, typography, and book printing. When my son was born, I was inspired to write and illustrate my own picture books. The positive feedback encouraged me to do more. In 2018, with 10 picture books that I wrote and illustrated under my belt, I realized I wanted more than just a book out there. My dream was to write a book that could reach a wider audience and be carried by libraries and brick-and-mortar bookstores. I knew I needed a professional team with an editor, designer, and art director and marketing resources to back me up. Traditional publishing was the route to take. I started taking classes and attending conferences.

In August 2019, I attended the SCBWI conference in Los Angeles and met Mr. Zhang, the publisher, and two editors from Yeehoo Press. Luyang Xue, the acquisition editor, told me they were looking for someone to take charge of their publishing house’s US division. They wanted someone who could speak Mandarin and English and had experience in children’s book publishing and connections to authors in the US. 

My background was a perfect fit for Yeehoo’s criteria. They invited me to visit their offices in Shanghai and Suzhou for an in-depth discussion with the whole team. After a few months of talks and planning, I officially joined the team in November 2019.
​
Yeehoo Press creates and publishes fun, enchanting, and socially responsible children’s books for audiences worldwide, focusing on universal messages. Yeehoo publishes the English editions in the US and the simplified Chinese editions in mainland China. Starting with the US and Chinese markets—two of the largest children's book markets—Yeehoo’s goal is to find common ground between different countries and cultures and provide books with universal interest and appeal for readers worldwide.

2. 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?

Definitely getting the chance to think creatively—not only the book itself but also the whole collaboration process and all areas of the publishing business. To be the best advocate for your book, you have to know about contracts, subsidiary rights, the target audience, writing, art style, graphic design, marketing, publicity, sales, and so on. The goal is to support the author and the rest of the book team, including the illustrator, designer, and marketing team, in telling a compelling story. I love to see each step of how a book takes shape from plain text to a finished book. I always marvel at the journey of making picture books. You plant a seed and work hard to nurture it, and it surprises you months later with flowers! 

3. 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?
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Last year, I focused more on acquisitions. I used to read and review picture book manuscripts before presenting potential books to the acquisitions board. Some weeks, I only had a few manuscripts to read, while I had too many in other weeks. It can be really hot and cold, but every day starts with reading and taking notes.
This year, I focused more on the marketing side of the business, and our other editors do more of the acquisitions. I’m constantly looking at timing and scheduling. I always start with things at the top of my to-do list, and I regularly check on deadlines. I’m in meetings, liaising with different departments for each book, including editors who write the descriptive synopsis and catalog copy, the production team, who prints and ships the books, the sales team, who handle ads and promotions, and our acquisition editors about our new lists and acquisitions. It’s the little bits and pieces you’re doing throughout the day and over the course of many months to bring books into the world. 

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

We’re developing a new list, and our manuscript wish list will be updated from time to time. The best way to keep informed of our most up-to-date list is to check our submission guidelines https://yeehoopress.com/submissions/ and follow us on social media.

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

We’re always looking for strong writing, compelling plots, and universal messages. We also have to think in terms of our list. We have four editors acquiring picture books, and the acquisition decisions are made by the whole team. We will do in-depth market research on the books we’re ready to acquire in the US and Chinese markets. Depending on the market, readers’ tastes differ, and the way to promote books is different. We try to find books with themes that have common ground in different markets. Once our books are published in the English and Chinese editions, I believe it will be easier to reach other countries and cultures and be enjoyed by readers around the world.
​
For the acquisition process, our editors go through stacks of submissions, consider what we think may work for our program, create a memo to share with the team that includes a positioning statement about the book’s topic and why someone might want to buy it, a brief description of the story, an author bio, and comparable titles. In the US, the books will be published and promoted individually, while in mainland China, books by different authors and illustrators are commonly sold and promoted as collections or sets with a common theme. For a set of books, it could be from 3–10 books. We usually need to acquire at least three books about a particular theme—say emotions, STEAM, non-fictions about a particular topic—to establish a set of books. 

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

We usually have several rounds of acquisitions meetings. Occasionally, the manuscript might need some revisions, so we’ll also talk with the author about the possible revisions and make sure we’re on the same page and agree on the book’s direction. Acquisitions might take a few weeks to a few months, depending on our list. If we rush to complete a set of books, the acquisition will be faster. If we’re developing a new list, like we have been the past several months, we’re slow at acquisitions. When we’d like to acquire a book, we’ll send the author an offer with advances, royalty structures, and any other terms.

7. Are you currently taking submissions from illustrators?

Yes, we take submissions from illustrators. We’re actively looking for illustrators and browsing illustration agencies, portfolio websites, and social media. Submitting directly to us is a great way for us to get to know the artist.

8. What is the one thing people should avoid in submissions?

Some submissions don’t have a proper query letter. The query letter includes synopsis, pitch, age range, a short bio with the author’s writing experience, and three comparable titles. Though eventually, it’s the manuscript itself that we evaluate, a strong query frequently makes the difference in the submission grabbing our interest immediately.

9. How does Yeehoo support its authors and illustrators after the acquisition process and post-publication? Would you highlight some of the marketing, promotion, and distribution support your titles receive? For example, do you work with indie bookstores, big chains, school libraries, do you submit your books to journal reviews, awards etc.?

After the acquisition, we have several editors in the US who will do the actual editing with the author. They all have years of experience working in large publishing houses and will make the manuscript the best it can possibly be. It is also time to find an illustrator. We’d like to ask potential candidates to draw a sample character to see their interpretation. We select the artist based on the art style, character design, timeline, and budget. After we officially bring the illustrator on board, they will create a storyboard, then rough sketches, and then colored spreads. Our designer will jump in to start the layout design when 90% of the artwork is finished. The art director, the designer, and the illustrator will work together to ensure the final book is polished to perfection.

Our marketing starts about six months before publication. In China, we share the marketing channels and resources with our publishing partner, Phoenix Media & Group. We have distributors in different provinces in China and for online and offline bookstores. In the US, we also partner with the distributor here to make our books available to teachers, librarians, and booksellers through the regular sales channels. We send our books to be reviewed by all the major children's literature journals, such as Publishers Weekly, School Library Journal, Kirkus, The Bulletin of the Center for Children’s Books, and so on, and submit them for national, state, and numerous other awards. We also reach out to blogs, podcasts, and social media influencers for reviews and shoutouts. We contact independent bookstores and libraries for author events and storytimes. There are so many marketing ideas and approaches, and we love to work with amazing authors and illustrators to achieve success in the literary world.

10. What projects are you working on right now for Yeehoo's list? What are you excited about and why? Any upcoming titles you could share with us?

We’re really excited about our upcoming titles this year. Milo’s Moonlight Mission (June 15) by Kathleen M. Blasi, illustrated by Petronela Dostalova, is an emotionally resonant, heartwarming tale of a parent and a child struggling to find quality time together—a challenge with which many parents and children can identify. The Perfect Party (August 10) by Laurel P. Jackson, illustrated by Hélène Baum-Owoyele, celebrates the beauty of different cultures and the strength of collaboration. The Whole World Inside Nan's Soup (August 24) by Hunter Liguore, illustrated by Vikki Zhang, in which Nan shares the wisdom that one bowl of soup contains an assortment of traditions and places. From farmhand to delivery drivers to market merchants, readers can see all the essential hands it takes to bring a meal together. Chameleon Can Be (September 7) by Carolina Farías is an adventure of guessing riddles, learning about animals, and discovering the importance of being true to yourself.

We’re also working on another eight titles for spring 2022, and we can’t wait to bring all these adorable books to life!

I cannot wait, either -- especially since one of those adorable books in my own! Aaah, I'm so excited and look forward to sharing it with the word. :) 

Thank you so much for your time, Helen, and for giving us such thorough insight into the publishing process at Yeehoo Press as well as sharing all these amazing books on Yeehoo's list! 

I know that you also have a new book of your own coming out, published by Beaming Books, so I hope you'll be back to KidLit Oasis as a guest author next time.

I wish you all the best on your journey and I look forward to many more books from you, personally, and from Yeehoo Press. 

G I V E A W A Y ! ! !
Helen Wu is giving away one non-rhyming picture book critique.
Here's how to enter the giveaway by 6/14/21:

1. Leave a comment on this post
2. Subscribe to KidLit Oasis
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*Social media shares are optional, but encouraged and appreciated! Spread the word, and invite your writer and illustrator friends over to KidLit Oasis!
Don't forget to tag me (@RosiePOV on Twitter)

​>>>>>The winner will be announced on 6/15/21<<<<<​

​Helen H. Wu is a children’s book author and illustrator of over 20 picture books, as well as a translator, graphic designer, and publisher. Her new picture book, Tofu Takes Time, illustrated by Julie Jarema, will be published by Beaming Books in spring 2022. She illustrated the educational coronavirus picture book Be a Coronavirus Fighter by Songju Ma Daemicke, which received many praises all around the world and has been translated into 12 languages. Helen is the Associate Publisher of Yeehoo Press, a Los Angeles based children’s book publisher. Being fascinated by the differences and similarities between cultures, Helen loves to share stories that can empower children to understand the world and our connections. Born and raised in Hefei, China, Helen moved to the US in her 20s. Currently, she resides in sunny Southern California, with her family and two kids.

Hello, everyone!

This week, I am so excited to welcome an author and editor team to KidLit Oasis! Nicholas Solis and his editor at Sleeping Bear Press, Sarah Rockett, will give us the inside scoop of their collaboration on The Color Collector, the behind-the-scenes details from submission to acquisition and beyond, plus much more!

But that's not all! Sleeping Bear Press is also kindly giving away a copy of the book to one of my blog readers -- check out the details at the end of the interview.  

And now, without further ado, here are Nick and Sarah! Thank you both for being on KidLit Oasis and for sharing this wonderful book with my readers! Let me start with my first question to Nick...

1. Nick, please tell us about the journey of publication for The Color Collector -- from the inspiration for the story and writing the first draft to how it ended up on Sarah's desk. I love hearing about the story behind the story and my readers do, too!

My inspiration for The Color Collector was a piece of art that was hanging up at The Austin Art Garage in Austin, TX. It had a lonely little girl, with the saddest eyes I had ever seen, catching falling leaves and placing them in a knapsack. The painting stuck with me for days and I just kept wondering about why she was so sad. I wrote several rough drafts, but none of them felt right. Then one night I woke up at two in the morning with the entire story. I quickly wrote it down before I forgot it. It was much sparser than the original drafts, but the text felt like it fit the lonely little girl with the sad eyes. I continued to work on the draft over the next few years, and started taking classes at The Writing Barn, where I was able to edit it with the help of the fantastic authors who taught there.
​
In 2018, I was at the International Literacy Association Conference where I started talking to Sarah about books. We traded contacts and I sent in some of my stories to Sleeping Bear Press, and she liked The Color Collector!!!  
 
2. Sarah, please guide us through your thoughts and the process from when you first read The Color Collector to acquiring the story. What made you fall in love with it? What stood out?
​
Meeting Nick at the ILA conference was such a joy! I could tell how passionate he is about his students and writing for kids—I knew he would be a wonderful author. Nick ended up submitting a handful of manuscripts to us. They all had a ton of potential, and most were really funny, but Color Collector felt really intentional and soulful. The themes of finding beauty in the discarded and being a friend felt really timely. There were so many directions a reader could go with the story. And it had such amazing illustration potential. Luckily, our acquisition team agreed and we were able to sign the project!

3. Nick, how different is the final, published story from the draft that Sarah saw?
​
It’s pretty similar to the draft that Sarah saw. Sarah has a fantastic eye for editing, and she helped me really tighten up the story. But overall, it was just losing a word or phrase here or there. We did lose one page of text, but that was replaced with the amazing illustrations of Renia Metallinou!
 
4. Sarah, what was the revision process like after acquisitions?

Nick is right. Not a ton changed with the manuscript in the revision process. But when you’re working with a picture book manuscript—and especially one like Color Collector that is lyrical in nature and already has a tight word count—every single word and punctuation mark is really important. We made a handful of word choice and style edits, but not much more than that. Nick was collaborative and flexible as we worked on the story. It was a great partnership!

​5.  Nick, what surprised you the most in the journey of this book?

The thing that surprised me most was the editing process. This is the first book that I ever worked with an editor on. I wasn’t exactly sure how it would go. When you sell a book, you’re just happy to get it out there and you’ll pretty much agree to anything. But you struggle with questions like, “What if they change my entire book?” or “What if they get rid of a part that I really love?” But when Sara came back with edits, I thought they were all really great suggestions.
One thing that I absolutely appreciated was when I asked Sarah if we could change the characteristics of the narrator and she enthusiastically agreed. I wanted someone who looked more like me. I’m Mexican-American and I’m trying to push for more representation in the books I create. Sarah and Sleeping Bear Press were on board without question. We gave the boy character tan skin and dark hair like mine and many of the students I teach. I love that they can see themselves inside this book.   
 
6. Sarah, please tell us how the illustrator was chosen and how the selection process works at Sleeping Bear Press. What was your vision for the art and who were the people involved in the decision? Are authors asked for input?
​
The illustrator selection process is really a team effort at Sleeping Bear. I always ask the author for input on what they see as the style for the book. And then the art director and I talk about what we see working and narrow down a list of choices. Sometimes we all see something different for a particular story, but in this case I think we all wanted to see something creative with dramatic colors. Our art director is wonderful and always guides this process in the right direction. She has a knack for seeing artist portfolios and knowing how they might be able to use their style to make the book shine. And then our authors are looped in for notes throughout the sketch and final art process. The illustration process can be stressful for authors. It’s like sending your kid to sleepaway camp or daycare for the first time! But this is the author’s story and we want them to love the book 100%.

7. Nick, what do you hope readers will take away from the story and what do you believe would resonate with them? How do you envision young kids connecting to your characters?
​
The main thing I would love readers to take away from this book is that even a small act of kindness can make a huge difference. The narrator is curious about what Violet does with all of the things she collects. He basically asks her a question and then just listens. That’s it. But that small act of kindness made a huge difference in her life. My parents divorced when I was young, so I had to move schools in the middle of the year. I had no friends and no one to talk to. I was absolutely miserable. But one day in class a kid named Dylan said hi to me. We talked for a bit and I met some of his friends. That small interaction changed the course of my entire life. I was a shy, introverted kid. But as the school year progressed, I came out of my shell. I made more and more friends. I later became a teacher that used my story to help spread kindness throughout my classroom. And now I am a writer with a book hoping to spread that message to a wider audience. It all happened with a simple, “Hi.” But it completely changed my life. I hope the readers will do the same for someone else they meet along the way. 
                                                                                  * * * 

​Nicholas Solis is an award-winning elementary teacher and author. In 2018, he was the recipient of the Walter Dean Myers Grant from We Need Diverse Books. Growing up, he didn’t have a lot of friends. He moved around a lot and being the new kid at school wasn’t always easy. But in junior high, one kid reached out and was simply nice to him. That gesture of friendship has shaped Nicholas’s entire life. He regularly brings up that story with his students in the hopes of motivating them to reach out to others whenever they can. He lives with his wife, Morgan, their dog, Charlie, and their amazing son, Leo, in Austin, Texas. Learn more about Nicholas at nicholassolis.com

​​Sarah Rockett has been working in the children's publishing industry for more than a decade and truly believes that picture books have the power to change the world. She loves traveling, spending time outdoors, and--of course--reading. She lives in Michigan with her husband, young son, and lazy cocker spaniel.

Hello, amazing readers!

Here you are at the Oasis ― it's great to have you visit! As you know, this is the place to refresh your spirits, recharge your creativity, and get a literary mood boost!

Today, Children's Author Michal Babay is my guest and she'll share some wisdom, insight, and inspiration with us! Plus, check out the giveaway at the end of this interview!

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

A: Hi Rosie, thank you for having me on your blog! My journey to publication was, like most picture book authors, full of unexpected zigs and zags. My first book sale was in 2019, after I’d already been writing seriously for a number of years. That book (which I should be able to announce officially very soon!) came about because of an editor critique I did at an SCBWI conference. After our conversation, I asked if I should submit it to her through the conference submission opportunity, and she said “definitely.”So I made her suggested revisions, sent it along, and seven months later – she made an official offer! With this official offer in hand, I contacted all the agents who were considering another manuscript of mine (the story that became I’m A Gluten-Sniffing Service Dog) and finally, joyfully, signed with my dream agent, Laurel Symonds of The Bent Agency. 
​

​The funny thing is, as part of my twisty zig-zag journey, I had previously queried Laurel. She’d been interested enough to request other stories, but they weren’t quite strong enough to hold an agent’s interest, so she ended up passing. However, I was determined. I kept writing, revising, and soothing my battered ego with chocolate, until I’d finally created a body of work that pushed Laurel’s “I like this but…” into a “YES!”
 
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: Staying focused enough to finish a first draft is the most challenging part for me. I’m a bit like Chewie. If I had a tail, I’d be chasing it instead of writing! Everything distracts me when the work is difficult. Which means, of course, that one of the most rewarding parts is actually finishing that first draft! It feels like a huge accomplishment for me every time I write the ending of a story. Once that painful first draft is completed, everything else is a pleasure. I love revising, so going back into the manuscript to tighten and change things is fun for me.

My critique partners and my hourglass timer help me stay motivated. If I haven’t produced anything in a while, they’ll check in and ask what’s going on. Having a group of creators who are ALWAYS on your side is the most essential part of my writing world. And by on my side, I also mean that they never let me send out a manuscript until it’s as strong as possible. They are honest about what’s working and what isn’t, so I know when they finally love it, it’s ready to send to my agent!

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: Since I’m so easily distracted, my wonderfully wise writing partner Lauren Kerstein suggested using a sand hourglass time so I get at least one hour of actual writing done  most days. When I need to pause, I just lay the hourglass on its side until I’m ready to come back and finish writing. Of course, this doesn’t happen all the time. Some weeks are just for thinking and percolating, instead of writing.

During the revision process, I use Google Docs so it’s accessible to me anywhere I go (after all, you never know when the perfect name for that character will pop out at you!). I also create a new copy each time I revise, so that by the time I’m finished there are usually 20-30 versions on my Google drive. This was another organizational tip from Lauren. That woman knows her stuff when it comes to staying on task and organizing files!

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 actually have two more books coming out in the next two years, so I can’t wait to share the details on both of those soon!

Thank you, Michal! It was fun chatting with you and learning more about your journey, writing process, and new projects! Please come back to visit KidLit Oasis in the future!

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 post — comments and shares are appreciated. Thank you!

​







Michal Babay is the author I’M A GLUTEN-SNIFFING SERVICE DOG (Albert Whitman & Company, 2021). After many years as a teacher and elementary resource specialist, Michal now spends her days writing stories, wrangling teenagers, convincing her three dogs to stop barking, and searching for the perfect gluten-free donut. Michal lives in Southern California with her family
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                                             Click on the book cover to order a copy!

Hello, wonderful readers!

New week, new interview, and new. . . logo design! Yay! I hope you like it and that it instantly gets you in a lovely literary mood.

So, let's give a warm welcome to our guest author and dear friend, Ellen Leventhal--I can't wait to chat with her about her writing career, her latest and upcoming projects, and also to hear her best revision tips. Check out the giveaway at the end, too!

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

A: My road to publication has been a bit different than some, but like many people, I’ve had lots of twists, bumps, and bruises. My first book, DON’T EAT THE BLUEBONNETS, written with Ellen Rothberg, was originally published with a very small local press due to winning a contest! Unfortunately, after a few printings (Yay!), that press decided not to do picture books anymore (Boo!) Eventually, another publisher picked it up, we revised it, and marketed it as a “Ten Year Anniversary” edition. My next book, LOLA CAN’T LEAP released a year later. There was a LOT of revision with that piece after I signed the contract, and although it was frustrating at times, I do love how it turned out. Revision at all stages is part of the process. All the while, I submitted and collected rejections. In 2019 I signed with a wonderful project by project agent who sold my upcoming book, A FLOOD OF KINDNESS in six months. I signed with WorthyKids/Hachette Book Group in 2019, and it will hit store shelves on April 13, 2021. Keeping it real, I still do the dance of write- revise- submit- read rejections-eat chocolate- do it all over. I get pages and pages of rejections, but I have learned to have a bit thicker skin. It’s not fun to get rejections, but again, it’s part of the process. I think the key to staying in the game is to think of it like riding a wave, and you never know what’s coming next. I have lots of stories that were never published. Perhaps I’ll try again. Who knows? My next release (a few years down the road) is a result of one editor liking my writing, but not the way I told  the story and another editor loving the way I told  the story. She signed me. This is a very subjective business! You never know! So, my road to publication? I’m still on it, and it’s still bumpy, but it’s where I want to be.
 
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: Creatively, when writing picture books, it’s a challenge for me to stay on one subject! I have so much to say! But I know now that I will work that out in revisions.

The publishing side of things is more difficult for me, and yet it’s not difficult at all since I have no control there. I like control! And The waiting…AKK! Waiting to hear if your manuscript is accepted. Waiting to sign a contract. Waiting for publication. People are always so surprised when they hear about publishing timelines. Marketing is also hard for me! No matter the size of your publisher, much of the marketing falls on the author. I am currently in a very collaborative relationship with the marketing gurus at WorthyKids, which is great, and I am thankful for that. Still, promoting my own work is uncomfortable for me. But again, it’s part of the whole deal, and I love the whole deal! I do enjoy speaking in front of kids and even adults, which is sort of marketing, but I don’t feel like I am pushing my book when I do that.

What helps me stay motivated? That’s an easy one. The love of writing and the love of connecting with people in the KidLit community. Without my critique groups and writer friends, I would have given up a long time ago.

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: There are a lot of tools in my toolbox, and most of them are things I’ve picked up from other people. One thing I’ve learned  to do is let my mind flow for the first draft. As a serial reviser this was hard for me for a long time, but I’ve found it helps. I start with an idea, but sometimes during the first draft, my idea changes and becomes something better. (Or sometimes it morphs into something worse, and that’s where my friend “revision” comes in.) Another little thing I do is something I learned from a critique partner. I try to get rid of as many “to be” verbs. Wherever I see one (“She was amazed!”), I circle the weak verb and change the sentence to something active. As far my revision process, as I said, I am a serial reviser. The problem is that I never know when to end! (That’s NOT a good thing). The first few revisions begin to tell me what I need to do story wise. I take a lot of what my critique groups say and decide what I want to incorporate into my story.(Thank you, Rosie Pova for giving me some great ideas over the years!) I think of revision as putting my story into a sieve. I shake out what doesn’t belong. Then, once I am pretty sure what I want to say after the first few drafts, I sometimes use the “Hamburger” method that I teach my writing students. As part of revision I need to make sure I still have a good story structure and that I didn’t chop too much. I check to make sure I have a really yummy top of a bun (Hook or intro). I add delicious condiments, etc. to the burger (middle) to make it “tasty.” This is where I’ll double check to make sure I have things like tension and emotion. And as with all great sandwiches, I can’t forget the bottom bun (strong conclusion). Without that, everything falls apart. I spend a lot of time trying to make my ending as exciting as the beginning. And then I do all of that over and over. And over. Please stop me! (I really have a problem.)

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’m excited that although the actual Book Birthday for A FLOOD OF KINDNESS is April 13, my virtual launch is on April 24. My illustrator, Blythe Russo will be presenting with me. Here is a link to the launch. https://www.brazosbookstore.com/event/virtual-ellen-leventhal-flood-kindness

I also have a new book in the pipeline, but it won’t be out until 2023, so all I can say now is it was out of my comfort zone, but it’s something I’ve wanted to do for years!

Thanks so much for having me here, Rosie and for the great questions. 

Thank you, Ellen, for this wonderful insight into your writing world, your work, and your process! I hear you -- sometimes it's hard to stop revising, and other times, we want to be done, but we know there's more work needed to be put into a piece... Writer's life! ;) Eventually, we figure it out, and our critique groups are invaluable indeed!

Please come come again to KidLit Oasis -- I can't wait to celebrate with you that 2023 project in the pipeline and many more to come!

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 post — comments and shares are appreciated. Thank you!