Welcome, Zara! Thanks for stopping and for sharing your kidlit journey with us!

Thanks for inviting me!

Do tell! How did you find your way into illustrating for children?

I don’t know that I can pinpoint the exact path, or even when I “started.” My answer may be considered a clichéd illustrator’s, but I can’t remember a time when I didn’t draw. The form those drawings have taken has always been one that leaned with a whimsical bent. 

That being said, my path to illustrating children’s books has been a long and winding one. Although in retrospect it should have been the obvious place for me to start (considering my love of stories and drawing), for some reason it was not. I think I was so convinced I couldn’t do it that I had to try everything else I possibly could before I finally let myself admit that this was where I wanted to be. 

So I led a few creative lives before I stumbled into the wonderful world of children’s publishing. And now I never want to leave!

What do you love about illustrating for children?

I love that anything is possible. Children don’t care that elephants are supposed to be grey or that people don’t usually wear snails on their heads. Their minds are open and they are interested in EVERYTHING. The smallest thing in an illustration might be the thing they obsess over. I keep that in mind when I am drawing and try to stuff each page full of interesting bits and pieces for them to find.

Describe your process, please. 

I’m pretty loose when it comes to how I work. I don’t have a set process in place, but rather let the project dictate how I will approach it. It’s a little hokey, but I tend to do a lot things based on what feels right.

For the book I’m working on right now, I read the manuscript a number of times just to get the voice and flow of it stuck in my head. Then I gave myself lots of opportunities to let my mind wander—walking the dog, gardening, cooking. I do my best thinking when my body is otherwise occupied, and that’s where I find a lot of my ideas and meet my characters.
 
I do a lot of doodling, too, trying to coax the things I see in my head out onto paper. In theory, these doodles are all in a special notebook I start at the beginning of the project. In reality, they are often on scraps of paper and drawn with whatever happens to be handy.

I’m also a total creative magpie. I keep scrap files for inspiration and tend to collect interesting patterns and color combinations that I might want to remember for some future project, so I’ll often pull these out when I am looking for inspiration or trying to spark new ideas.

How would you say your family, cultural influences, your travels, and/or your life's experiences shape your work?

I think they are woven into everything that I do. From the subjects I choose to illustrate to the stories I choose to tell. Every one of them is somehow touched by my experiences, whether I realize it at that moment or not.
 
I don’t think we can extract ourselves from our work no matter how much we might try, but luckily those are the things that make us unique and give our work it’s unique character. 

What type of children's books do you want to continue to illustrate?

I want to illustrate books that feature diverse characters—especially characters that are part of more than one culture. This is particularly important to me as a Latina, a Jew, the wife of an immigrant and as a mother of a child growing up at the intersection of multiple cultures. 

Zara González Hoang grew up in a little bungalow in the great white North. Surrounded by snow she spent her days dreaming, doodling and listening to the colorful stories of her dad’s life growing up in Puerto Rico while trying to figure out where she fit in as a mixed-race Latina Jew in a sea of Scandinavians. (She’s still figuring that out.)

These days, she lives outside of DC in a magical suburban forest with her Mad Man husband, her son, and curly coated corgi. She still spends her days dreaming and doodling, but now instead of listening to stories, she’s starting to tell some of her own.

Zara's first picture book, Thread of Love--published by Beach Lane Books  an imprint of Simon & Schuster in 2018, and written by mother-son team Surishtha and  Kabir Sehgal--was chosen by Seattle Public Library as one of the best picture books of 2018! Find her and her delightful portfolio at zaralikestodraw.com and  follow her on Twitter and Instagram @zarprey. Zara is represented by Andrea Morrison at Writers House. 

Welcome, Leah! Thanks for stopping by!

Nice to be here, Dionna!

Do tell a little about the Kweli conference, and how you found your way onto the planning committee.

Kweli--The Color of Children’s Literature Conference--is a wonderful day-long kidlit writers and illustrators event (with optional Masterclasses on Friday). This year it will be held Saturday, April 6, 2019, at The Graduate Center of the City University of New York. In 2014, after reading author Walter Deans Myers op-ed piece "Where Are the People of Color in Children's Books?", Laura Pegram, editor-and-chief of the Kweli Journal and Kweli conference founder, decided to create an event that is exclusively for Indigenous people and persons of color who were writers and illustrators. As she puts it, “we honor Walter Dean Myers' legacy with a conference that celebrates and supports our voices, our stories, our truth.”

In 2016, I stumbled across a post for an upcoming Kweli conference that was happening that weekend. I didn’t do much thinking, I just sent an email to inquire if walk-ins where permitted and once I got a "yes" back, I booked a train ticket. There was no way I was going to miss it! I had never been to a children’s writing conference where Indigenous and persons of color were the majority. It was a wonderfully refreshing experience to see and hear from creatives who had many of the same concerns as I do. But it wasn’t just about the struggles. Kweli is also a celebration of our many successes. After that first year, I was hooked and about a year later, when Laura asked if I was interested in becoming involved, I was honored to be a part of it all.
​
What do you love about working behind the Kweli scenes, creating a lineup that is both rich culturally and holds promise of a real educational experience for attendees?

I go to a number of conferences and retreats and it’s nice to create programming that I hope to see. Also, I love that Kweli is a good mix of new and established voices. 

Share one or two of your most memorable experiences while either attending or planning for the conference.

Kweli is a very unique experience. I will never forget the welcome I received during my first conference. It’s hard to explain, but when you are used to being one of the only people of color in a room, it was nice to see and meet so many other POC creatives in one space. They were doing so many amazing things in their work and were just as curious and eager as I was to learn more about craft and the business-side of writing.

May people from any background, not just persons of color, attend the conference?

Kweli is a conference exclusively for Indigenous and POC creatives. It’s an opportunity for this community to come together to speak about issues and concerns that are unique to our experiences as well as general discussions on craft and the ins and outs of publishing. Kweli’s aim is not to exclude, so the organization does offer a literary festival during the summer that is open to anyone interested in attending.

What is the process for a published author or illustrator who would like to be considered for the Kweli faculty?

At the moment, the planning committee creates most of the sessions offered, reaching out to people we feel will work best for each panel or session. Since we want to highlight newer voices on the publishing side of the table as well, we often get recommendations from IPOC editorial assistants, designers, or marketing experts. Everyone, especially Laura, does a pretty good job of knowing which authors and illustrators are coming out with new work that can be highlighted each year.

Leah Henderson is the author of the middle grade novel One Shadow on the Wall, an Africana Children’s Book Award notable, and a Bank Street Best Book of 2017. Her forthcoming picture books include Together We March, Day For Rememberin’, and Mamie on the Mound. She also has a new middle grade novel  The Magic in Changing Your Stars on the horizon.

Raised in Andover, Massachusetts, Leah has fond memories of getting up to all kinds of shenanigans that often made for great tall tales told late into the night. Growing up in a family of curious travelers, she has always known where there is adventure, there is story. Through seeing the world, Leah has witnessed the richness that can be found within everyone’s individual story. That is why writing the world she sees is so vitally important to her. These days, when she’s not off exploring, you can find her writing, laughing, or playing soccer at midnight with her dog, Boston, in Washington, D.C. Learn more about her and her books at leahhendersonbooks.com.

​Hi Dionna! Thanks for having me!

​KidLit411 is such a wonderful resource for those trying to master the skill of writing for children! Do share how it came into being.
​
Five years ago, my critique partner, Elaine Kiely Kearns, had an idea to create a resource website for writers, to share articles on children’s writing and illustrating. I joined her effort and we created the website KidLit411.

Since then, your website has been named a best website for writers many times over! Congrats on that! Why do you think that is?

KidLit411 contains over thirty pages of writing and illustrating topics, from contests and awards to writing tips and agent submissions and many more. The pages include sixty to one hundred articles on each topic. We also interview at least one author or illustrator each week, featuring their recent books or work. Subscribers get a weekly update of all the new articles added to the website, about a dozen a week.

Since we began, we’ve featured over three hundred authors and illustrators in our Author and Illustrator Spotlights. Our website gets twenty-five thousand to thirty-five-thousand page-views a month! 

The best part of KidLit411 is the community of authors and illustrators we’ve connected with, both online and in real life. We run an active Facebook group of over 6,300 children’s writers and illustrators and two companion pages where people can find critique partners, the KidLit411 Manuscript Swap and the KidLit411 Portfolio Critique Swap. Every day, people ask and answer questions in our group on all sorts of topics, from self-publishing to querying to mentor texts and more.

Despite being a writer and illustrator yourself, why do you continue to spend your time keeping KidLit411 up and running?

Personally, running KidLit411 is very gratifying. Elaine and I work great together and have a system to keep the interviews and links coming every week. Although it does take work, I feel so connected to the kidlit community. A side benefit is that we’ve created a platform that helps our own author careers. While promoting other authors and illustrators, we develop great relationships and friendships with those who in turn help us when our books come out.

Why do you think KidLit411 has such a continued following?

We try to keep our community engaged. Most years, we run a multi-day book "birthday" bash giveaway, where we give away books, editor critiques, agent query passes, and writing and illustrating courses. This year we ran a contest for illustrators to help design our website banner and Facebook group cover photo. The top two winners got cash prizes, and the top ten are having their banners featured on our website over the course of the year. 

We always welcome kidlit peeps to join our Facebook group or follow our website and get connected. We can be reached at kidlit411 (at) kidlit411 (dot) com. Your blog readers are welcome to join us!

Thanks so much for the invitation, Sylvia, and for stopping by! It's been an honor hosting you!

The pleasure is all mine!

Sylvia Liu creates stuff, mostly for kids. She's inspired by aliens, robots, bunnies, cephalopods, and more. Her love for writing and art began while she was growing up in Venezuela. While working at her first career in environmental law at the U.S. Department of Justice and the non-profit group Oceana, she loved protecting the oceans. And now she loves writing and illustrating for kids just as much. Her 2016 picture book, A Morning with Grandpa, illustrated by Christina Forshay, was a  Lee & Low New Voices Award Winner! She also writes speculative middle-grade fiction, and is represented by Jennifer March Soloway at the Andrea Brown Literary Agency. Find Sylvia blogging at Sylvia Liu Land, and her amazing resource--listed by industry professionals like Writer's Digest, Feedspot, and Freewrite as one of the best websites for writers, consecutively for several years--at KidLit411.

​How did you find your way to becoming a kidlit illustrator?

Before I decided to change careers, I used to be a high school teacher for German and English literature and so books always had a very important status in my life. When I had my three children, I obviously introduced them to kidlit early on and that’s when my creative side emerged again and it could not be stopped. It was a very powerful calling that made me see who I really am.

Your work infuses such true-to-life humor! How do you find your inspiration?

I just think I try to look at things in a humorous way whenever possible. Life can be too hard otherwise.

How would you say your cultural heritage influences your creative decisions when you are creating art for children?

My art is a direct reflection of my cultural heritage and upbringing—you will find a lot of the spirit of European kidlit or even music I was brought up with in my illustrations and stories. Themes with darker emotions are not taboo and unconventional characters are very common in European stories for children.

Please share a little about your process.

A normal work day without any pressing deadlines usually starts with a long walk with my dog to clear my head or even find inspiration in nature. Then I start drawing in my tiny studio until my children come home from school. In the evenings I often work on my manuscripts. 

When I’m working on projects together with editors, I usually spend some days reading the manuscript I’m supposed to illustrate. Then I begin rough sketching and collecting material. Next stage is the storyboarding and then, when everything has been approved, I start working on the final coloured illustrations.

What are you working on now? And are you enjoying it?

I’m currently working on a picture book about an English bulldog as the main character and am very much enjoying it. There are other projects in the pipeline I can’t officially talk about yet!

Thanks so much, Stephanie, for stopping by to chat with us about your publishing company Spooky Cheetah Press! It was a real delight working with you as a work-for-hire author!

Delighted to be here, Dionna, and I enjoyed working with you too!

Please share a little about yourself and how you eventually found your home in the kidlit industry.

From the time I was a very little girl, there was nothing I enjoyed more than reading. My parents always told stories of how they’d have to take a book out of my hands and push me out the door to play with friends. When I became an adult my father would love to remind me of how he would wake up in the middle of the night and find me up reading.

“Steffie—it’s so late,” he’d say. “You have to go to sleep.”

“I will—as soon as I finish this chapter,” I’d invariably reply.

That love of books continued throughout my life. So to say that I’m lucky to be making a living creating books is a huge understatement!

I started my publishing career as an editorial assistant at a magazine. The job was not very glamorous and at times downright awful, but at least the pay was bad!  My last job "working for the man" was at a continuity company in Stamford, CT. We produced card-and-binder and card-and-box series that were sold through the mail. The work was interesting and fun—and the job led to me starting my own business…and to marrying my husband! So all in all a good experience!

After I started my book producing company, I continued working with my old company. I produced a series in a variety of subject areas, but none specifically for young readers. Then, in 2010, the company hired me to produce a series with Sesame Workshop. My work on that series, called Elmo’s Learning Adventure, led to work with Scholastic’s school and library publishing division, which remains my biggest client to this day.

Twenty years ago, when you founded your company, how did you come up with the name Spooky Cheetah Press?

Again — that last office job! I was doing photo research for a book about African wildlife. In those days we still leafed through books for images and I was tagging photos that I wanted to look at again with the art director. I labeled one image “spooky cheetah” and we all just loved the way it sounded. (I’m also a bit of an African wildlife nut.) I left to start my company soon after and settled on that as the name—even though most everyone agreed it was a better name for a dance club than a book producing company!

As an editorial director, you are uber busy, working as a liaison between many different industry professionals—book designers, editors and art directors from different publishing houses and numerous work-for-hire authors and illustrators? What are some of the challenges you face while doing so, but why do you keep at it? 

There are definitely a lot of challenges that come along with my job—and a healthy amount of stress. However, all are outweighed (by about a million times) by how much I love what I do and how much I appreciate working for myself. My biggest frustration these days is "pulling teeth" to get what I need from a client to meet our deadlines. My biggest pet peeve (always) is contributors who complain and/or act like prima donnas. I do whatever it takes to get the job done well and on time—and to keep my clients happy. I expect the same from the subcontractors who work for me. (As I’ve said to my husband many times, I’m the grease, never the squeaky wheel. I can’t tell you how much I appreciate that same consideration from the people who work for me.  Happily there are lots of them!)

What do you love about what you do, being in the thick of things, producing high-quality nonfiction books for children of all ages?

Everything! Nonfiction is so much fun for me. I’m super curious about so many things... working on nonfiction for kids gives me the opportunity to learn something new and interesting practically every day. 

Even more important, my job gives me the chance to (hopefully) impact young readers in a meaningful way. Over the past six or so years I’ve become a bit of a zealot about trying to instill a love of reading in young kids. I was lucky that my daughter joyfully took to reading as a very little girl. It breaks my heart to see how many other kids struggle to read and end up hating it—which of course leads to academic difficulties and setbacks all the way down the road. My greatest hope is that I can create books that might light a spark for a young reader. 

So far on your kidlit journey, describe an accomplishment/achievement that has brought you a sense of satisfaction, maybe one that surprised you?

The first time I felt a real sense of pride about what I do was when I worked on Elmo’s Learning Adventure. It was the first time I worked with a client who wanted exactly what I did—to push the kids and give them all the tools we could to learn and grow as readers and as human beings. (As opposed to "don’t use that word, kids won’t know what it means", or "we can’t talk about that…") The guiding principals so evident in the Sesame Street show were the same for our series. It was so gratifying. (Looking at photos of Muppets all day and writing in the voices of Elmo, Cookie, Grover, et al was pretty cool too!)

That was the start, of course. Working on school and library books for Scholastic continues to be very satisfying. Nothing’s perfect—and I’m certainly not saving any lives—but I can feel good about what I do. 

Are you open to working with new authors, illustrators and graphic designers? If so, how might they submit samples of their work to you?

Yes. Writers can send manuscripts that only they have edited through my website. Likewise designers can send a link to a portfolio. I just thought of another pet peeve! Contributors should look at my site and note what I do before sending anything. If we don’t seem like a good fit, we’re probably not. The submission will go directly into the trash. I can’t tell you how many solicitations I’ve received from business and finance writers who think they’d be "perfect" for me.  Whaaa????

Thanks oodles for stopping by, Kara, and  many more thanks for choosing my entry GOT ME A DADDY MAP to be on your 2018 Query Kombat team!

I'm happy to be here!

What did you enjoy about hosting the 2018 Query Kombat Kompetition along with Michelle Hauck and Michael Anthony?

I enjoyed the high level of camaraderie between Kontestants. It seemed like a lot of people made connections either through being on the same team or competing against each other. Getting into the contest is exciting for the month or so it goes on, but making connections with other writers can benefit a writer's career for years. To me, that's the real prize of Query Kombat.

I was truly surprised and delighted when my entry was chosen to compete. There were so many excellent entries across multiple genres, including queries and openings from young-adult and adult novelists. Why did you choose my middle-grade entry to be on your team of twenty-one kombatants?

I chose your entry because it absolutely dripped with voice! I think voice is more crucial in middle grade than any other age category. Others may disagree, but for me a strong narrative voice usually is what makes me pull a middle-grade book off the shelf.

How did you feel about someone from your team (yours truly!!!) being crowned 2018 Query Kombat Grand Champion?

Not gonna lie, having someone on my team win felt pretty good! I was just filling in as a host for Laura Heffernan this year, so to be honest, I didn't care too much about winning when we began. But having so many of my entries make it past the first couple rounds helped confirm to me that I do recognize good writing when I see it. Being in the publishing world for several years has helped with that, no question.

Thanks so much for chatting with me here on my blog, Kara! 

Delighted to be here, and congrats again! Don't forget to let me know when you sign with an agent!

When you first received the manuscript for BUSY-EYED DAY, what did you love about it?

I loved all the SPACE it left for the illustrator! The language is so playful and so unique, but also so open-ended. I knew it would be one of those texts where I would be so delighted and pleasantly surprised to see where the illustrator took it.

Do tell your thought process regarding who should illustrate it, and how did you come to choose Frann?

​Andrea Welch, the book’s editor, suggested we send this manuscript to Frann Preston-Gannon. She’d been a fan of Frann’s work for a long time and had been hoping to find the perfect manuscript to send to her. I agreed, just based on Frann’s style and the samples I saw, I knew I’d love what she did!

What did you appreciate about Frann’s attitude as she worked through revising the illustrations for this story?

Frann is a total pro, so the collaborative part of the process—the back and forth between her, me, and the editor—was productive and FUN (as I believe the picture-book process should be!). I’m a firm believer that books are always better when everyone (author, illustrator, editor, art director) is open to considering a number of different solutions for any one page. Frann had a great attitude about this and was always game for trying new things and pushing existing things a bit further. 

When you saw the text alongside the illustrations, what did you love about it?

Everything! I loved the relationships Frann built within this family, the way the kids played off each other, their mom, Grammy, the nuanced moments between them all. I also just loved Frann’s treatment of the lines of text that left so much room for interpretation, One-eyed Jack/Two-eyed Zach, in particular. 

Why do you hope children will receive a copy this book?

Aside from being a darling, playful, and gorgeous book, I like how this book invites readers to look closely at everyday moments and to play with language. Maybe after reading BUSY-EYED DAY suddenly that dog won't be just a dog, but will be a wide-eyed dog, and maybe a regular trip to the park will suddenly be filled with new detail and language!

BUSY-EYED DAY is a rhyming and richly illustrated picture book that celebrates the act of being observant and enjoying the magnificence found in the everyday world, perfect for the youngest of readers. It is written by Anne Marie Pace, illustrated by Frann Preston-Gannon, and published by Simon & Schuster, with a release date of April 10. 2018. 
Order your copy of BUSY-EYED DAY from an indie near you.  ​​

​When you first received the manuscript for BUSY-EYED DAY, what did you love about it?

Whenever I get sent a text, the way I know it is right for me is that I am immediately hit with  an urge to start drawing. I found the sweet jollity of Anne Marie’s text instantly appealing and all I wanted to do was to start creating the characters of the two siblings. My mind led itself into the oasis of a city park and I wanted to get drawing as soon as I could. 


How did you do to get into the spirit of the story so you could tell it authentically?

This project was the first thing I came back to after my maternity leave for my first baby. For the three months previous, I had spent pretty much everyday pushing around my new-born in our local park. She was considerate enough to be born in June so thankfully my walks were taken through the summer months. 

My local park is huge and is right in the middle of Brixton in South London. If you walk to the top of the hill you can look back over the expanse of the city and see the imposing and impressive Skyline of London, while still surrounded by bird song and greenery. I used this time to take reference photos of trees and other elements of a city park that I could work from later on. Although the park in BUSY-EYED DAY isn’t directly based on my local park, it undoubtedly influenced by it!

Do tell! What was your illustrative process? 

All picture books usually start with a storyboard so you are able to map out the pages before you start the actual illustrations. This is an integral bit at this point, allowing you to nail the narrative, and that makes the illustrative process a lot easier later down the line. I also spent a while trying to get the characters right. After this I would create rough pencil sketches that I would scan into my computer and work on digitally to create a collage layered look. I'd then add textures to achieve my final colour spreads. All of this is done within Photoshop. I used a mixture of scanned in mediums, such as paint textures, and also Photoshop brushes to achieve the end result. 

Describe how you and your art director, NAME, worked together on BUSY-EYED DAY.

Creating a book is such a collaborative project. Often you will send your art director all of the storyboards that they then comment on and there is a lot of back and forth to get them to a place you are all happy with. I then started on the first round of “rough” illustrations. This took me a few months and, when I felt I was in a good place with these, I sent them off to the publisher. This is always such an interesting and nerve-wrecking point as, once they have been shown around to the appropriate people at the publisher, you receive back all the comments. When illustrating someone else’s text, this is also the point where they first see the interpretations of their words and I am always nervous to hear their thoughts! 

What are your plans for launching this book? 

As I don’t live in the States, I am slightly removed from directly launching BUSY-EYED DAY in bookshop events or schools. The book isn’t currently being published in the UK, so my main aim is to support it on lovely blogs like this one and also to make use of social media to get it noticed in the world! 

​Frann Preston-Gannon is a London based author and illustrator of books for children. Her books have been published worldwide and include THE JOURNEY HOME, DAVE'S CAVE, BECAUSE OF AN ACORN, and HOW TO LOSE A LEMUR. In April 2011, she became the first UK recipient of the Sendak Fellowship and spent a month in autumn living with and learning from the great master of illustration, Maurice Sendak, at his home in Connecticut. Fran can be found at frann.co.uk, on Twitter @frannpg, and on Instagram @frann.pg.

When you first received the manuscript for BUSY-EYED DAY, what did you love about it?

I loved the unusualness of it. The language. The wide-open illustration possibilities. The way it explored an important concept—opening your eyes to the wonderfulness in the world around us—in such a fresh, unexpected, and deceptively simple way. The text is very spare, and I think Anne Marie was concerned that it wouldn’t quite make sense to me because she included an explanation of what she envisioned was happening in the story on a second page. But that wasn’t necessary--I knew I was buying this manuscript after reading the first few lines!

Do tell about the acquisition process.

Anne Marie has a terrific agent, Linda Pratt of Wernick & Pratt, who knows my taste very well. Linda knew I liked Anne Marie’s work, and she had a hunch I would love BUSY-EYED DAY. She was right! She sent it to me, and as soon as I finished reading it, I shared it with my colleagues who loved it as well.

What did you appreciate about Anne Marie’s attitude as she worked through the story’s revision?

Anne Marie is a fantastic reviser. Each time I asked an editorial question, she responded with thoughtful, creative ideas. For instance, at the very beginning of the process we talked about the possibility of adding a refrain to the text to help pull it together, and she came up with the perfect solution. Then, as the artwork began coming in, we found ourselves wondering if we should tweak the wording in a few spots to complement Frann Preston Gannon’s pictures. Again, Anne Marie’s revisions were pitch-perfect and really brought the book to a whole new level.

When you saw the text alongside the illustrations, what did you love about it?

The finished book turned out even more terrific than I’d hoped. Anne Marie’s text is a delightful read-aloud. And there’s so much for kids to discover in Frann’s pictures. I also love how Frann’s illustrations perfectly capture the original tone and vibe of Anne Marie’s text.

Why do you hope children will receive a copy of this book?

I think little listeners and readers will respond to the fantastic language and engaging rhythm of Anne Marie’s text. I think they’ll see themselves in the playful and curious cast of characters Frann created. And I hope they’ll be inspired to get outside and use their own eyes to observe and explore the wonderful world that surrounds us.

Andrea Welch is Executive Editor at Beach Lane Books, a San Diego-based imprint of Simon & Schuster. She has the pleasure of working with a long list of talented authors and illustrators, including Liz Garton Scanlon, Denise Fleming, and April Pulley Sayre. Recent celebrated books she has edited include LIFE by Cynthia Rylant, illustrated by Brendan Wenzel; THE ANTLERED SHIP by Dashka Slater, illustrated by Terry & Eric Fan; and the New York Times bestselling LMNO Peas series. 

BUSY-EYED DAY is a rhyming and richly illustrated picture book that celebrates the act of being observant and enjoying the magnificence found in the everyday world, perfect for the youngest of readers. It is written by Anne Marie Pace, illustrated by Frann Preston-Gannon, and published by Simon & Schuster, with a release date of April 10. 2018. 
Order your copy of BUSY-EYED DAY from an indie near you.  ​

When you first received the manuscript for BUSY-EYED DAY, what did you love about it?

I was drawn to the simplicity of Anne Marie’s text that is so beautifully crafted to make for a really fun read-aloud experience. There is such a lovely, joyful rhythm to the words.

What changes did you request from Anne Marie before you started the submission process?

I didn’t request any changes to the text. This was a text that Anne Marie had written when we first began working together. I sent it out to some places, but the thing that both she and I loved about it, i.e. the simplicity and joy of the text, were thought to be too slim at the time. So the manuscript was shelved for a good long while because trying to address that concern would change so much that it would become a different story.

Do tell your thought process regarding which editor you would send it to. Why were you pleased that Andrea Welch wanted to acquire it?

The funny thing is the idea of pairing Anne Marie and her editor, Andrea Welch came before the idea of sharing this particular text.  Andrea had considered a number of Anne Marie’s manuscripts over the years, and she always made clear that she was a fan of Anne Marie’s style even though the right fit hadn’t been found. I had a good idea of what Andrea might respond to at the time we submitted BUSY-EYED DAY. I was on the phone with Anne Marie describing what I thought that was, and it was Anne Marie, not me, who said, “OK, what do you think about BUSY-EYED DAY?”  I immediately thought, “Of course!” so I sent it to Andrea straight away. Andrea got back to me that same day, and she said “I love this!”.

When you first saw the ARC of BUSY-EYED DAY, what did you love about it?

I love that the cover captures the wonderment that is at the heart of the story. I also love the warmth of the family that comes through so clearly in Frann Preston-Gannon’s illustrations. 

What do you hope children will take away from this book?

To use their eyes to notice the small things that we encounter in our day-to-day lives, things that are ordinary and extraordinary all at once.

​Linda Pratt and friend and colleague, Marcia Wernick, established the Wernick & Pratt Agency in 2011. The agency represents authors and illustrators of children’s books with a focus on attending to their long-term careers and goals. Our clients range from award-winners and bestsellers to new and emerging talents. Among Linda’s clients are Richard Peck, Kathryn Erskine, Aaron Becker, Steve Light, Lita Judge, Anne Marie Pace, and LeUyen Pham, among others.  Linda is a member of SCBWI and AAR, and  has also served on the Rutgers Council for Children’s Literature, which plans the annual Rutgers One-on-One Mentoring Conference for five years.  www.wernickpratt.com

 BUSY-EYED DAY is a rhyming and richly illustrated picture book that celebrates the act of being observant and enjoying the magnificence found in the everyday world, perfect for the youngest of readers. It is written by Anne Marie Pace, illustrated by Frann Preston-Gannon, and published by Simon & Schuster, with a release date of April 10. 2018. 
Order your copy of BUSY-EYED DAY from an indie near you.  ​