Everyone + an interview with Christopher Silas Neal


by Christopher Silas Neal (Candlewick, 2016)

I’m happy to introduce you today to Christopher Silas Neal, a picture book creator I am a big fan of. He’s got quite the illustration portfolio, but this spring’s Everyone was his debut as both picture book author and illustrator. Here’s hoping he makes many more. Enjoy!

How did you get into picture books?

Over and Under the Snow was my first experience making a picture book. I had been an illustrator for about seven years, making art for magazines, posters, and book covers before Chronicle Books called with Kate Messner’s manuscript. Kate’s approach to writing about nature was more lyrical and unexpected than a typical science based picture book and Chronicle was looking for a non-traditional artist. Even though many of my biggest influences were classic picture book makers, I hadn’t thought I would be one myself.

Narrative illustration felt overwhelming and daunting—character building wasn’t something I had ever tried and building scenes was certainly not my strong suit. I had previously worked as a graphic designer and my approach to image making is more flat and simple than what I thought readers expected from picture book art. The industry wasn’t as visually diverse as it is now and at the time, most books about nature would have featured fairly detailed and rendered paintings. I just didn’t see me having a place in that world. But, I loved Kate’s writing and the folks at Chronicle Books are so nice and very design oriented, so I thought if there was ever a chance, this is it.


My pictures are often quiet and still with a lot of space—the fact that this book was set in wintery woods was reassuring.  A big challenge was figuring out how to add depth without using the things that traditional painters rely on like lighting and perspective—visual tools I typically don’t use. I like to think the personality in the art comes from me trying to fit a painterly peg into a graphically flat and naively drawn hole.

Where did the beginnings of Everyone originate?

When I first met my agent Stephen Barr at Writer’s House I had a few book ideas floating around, but Stephen was more interested in an animated gif I had made. It was based off a drawing I did for the New York Times about a boy whose parents were deported to Mexico. It’s a simple image of a boy crying and his tears turning into two birds. Stephen thought the idea had promise as a book and I spent the next year turning it into a manuscript and book dummy. In the end I think I had made fifty versions before sending it to publishers. Eventually, we sold the idea to Liz Bicknell at Candlewick.



Can you tell us about your process?

The writing process happened organically. I started with that original New York Times image and tried to think of other visual metaphors that involved nature bending and morphing to reflect our emotions. After a bit of sketching, writing and playing with ideas, a theme developed—when we feel something, the world feels it too and reflects those feelings back at us—and I illustrated three emotional expressions: crying, laughter, singing.


It took a lot of patience for the words to develop. I had one version where I spelled everything out in the text i.e.”…the boy’s tear turned into a bird and flew into the sky. The bird whispered to the clouds and soon the clouds were crying, too,” but my editor, my agent, and I all agreed that the story was better left simple and open ended. After many, many revisions I pared it down to the few words that appear in the book.


I was listening to a lot of John Lennon—he uses these wonderfully simple, repetitive phrases—and I tried to put some of that influence to the words of this book. I can almost hear a John Lennon melody when I read from Everyone, “When you cry you are not alone. When you laugh happiness grows. When you sing everyone listens.”


9780763676834.int.2 I wanted the art to match the simplicity of the text so the illustrations are made using just three colors. My process starts with pencil sketches and then digital mockups where I think about color and composition. The final art is created in layers or separations very similar to print making. Each color is drawn and/or painted separately and then scanned as a black and white image. Then I add color to each separation—one is colored black, one blue, one tan—and they are layered on top of each other to make a complete image.

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What does a picture book text need in order for you to feel excited about illustrating it?

The words should be poetic or simple or surprising and there needs to be room for me to add to the narrative. If the text is too descriptive, there isn’t really much for me to add.

Who are some of your story heroes?

One of my favorite books is Frederick by Leo Lionni. It’s a simple, emotional book about four field mice storing food for winter. Except one mouse who gathers sun rays, colors, and words. I love how you can see the process within the final images. The reader can mentally pick apart the textures and scraps of paper like a puzzle.


What’s your favorite piece of art in your house?

Leanne Shapton paints wooden blocks to look like re-imagined book covers. The art is all typography and shapes. I have one of her blocks painted as Jaws by Peter Benchley.

What’s next for you?

I have a third book with Kate Messner coming out in Spring 2017 called Over and Under the Pond. In Fall 2017 I have another book with Candlewick about a hungry cat. In Spring 2018 I have a series of board books about shapes and colors and animals. Beyond that are books with authors Jennifer Adams and Barb Rosenstock.


Thank you, Christopher! Your readers have lots to look forward to, and I am so very glad you are a part of the world of picture books.


EVERYONE. Copyright © 2016 by Christopher Silas Neal. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.

Ada’s Ideas + an interview with Fiona Robinson


by Fiona Robinson (Abrams Books for Young Readers, 2016)

Here is a look at a stunning new book about Ada Lovelace, from a stunning illustrator whose work I have completely fallen for. I got to talk to Fiona about her new book, and I’m excited to introduce you to both of these leading ladies! And so:

How did you come to know and love Ada Lovelace’s story?

I first came across Ada Lovelace in a slightly circuitous manner. I had seen the play Arcadia by Tom Stoppard, and was enthralled by a lead character, Thomasina. Thomasina is a Regency era child genius – a girl brilliant at maths, physics and engineering. Though she seemed an impossible character, I fell in love with her and the idea of a girl like her existing in that era.

Later I read that Stoppard may have based his character on one Ada Lovelace, little known in the mainstream world, but deeply respected in the world of computer science as the world’s first computer programmer. Thomasina existed!

The more I read about Ada the more I fell for her…

I’m so happy that Ada’s Ideas is in our gallery of Undies. Is there a story behind how the case cover evolved for your book?

I’m so excited that the case cover for Ada’s Ideas is in The Undies Gallery! Initially we were thinking of stretching the horse image around the book, but the proportions didn’t fit the format. I’d already made the endpapers, based on Jacquard loom hole-punched cards, which were what Ada’s program was based on. The endpapers seem to me very abstract and elegant. I first saw such cards when visiting the Silk Museums in Macclesfield, UK, and adored them then.

Abrams designer Alyssa Nassner suggested we take the endpapers to wrap around the entire case cover, and I loved it! The contrast between the cover and case cover really encompasses the spirit of the book to me – imaginative young Ada on her flying horse, then the cool but beautiful math of the hole punched cards.

Can you tell us about your process?

With the art for Ada’s Ideas I wanted to try something new – 3 dimensional images, which I hoped would capture a little of the Victorian era, and the drama and theatricality of Ada’s life.

This involved drawing out the images, then painting them with my favorite Japanese watercolors.


I then cut out the images very carefully with an X-Acto blade. I used over 500 blades to produce all the cut images for the book!


Once cut, I layered all the images for each spread to different heights using my son’s Lego bricks and glued them in place.


Then each spread was photographed.


Who are some of your story heroes?

Hmmmm, story heroes…

My all time favorite children’s book has to be Humbert by John Burningham. It’s about a carthorse who dreams of pulling the Lord Mayor’s golden coach in a parade. It’s truly wonderful.


One of my favorite pages has Humbert’s owner, Mr Firkin, drinking a pint in the pub (that’s not a scene we’d see nowadays in kid’s books!). But I loved the book as a child because Humbert is a working class hero. And John Burningham’s illustrations are still captivating to me.


I’m also a huge fan of Edward Lear, especially his Nonsense Botany!


What’s your favorite piece of art in your house?

I have a few pieces of art at home I treasure, but at the moment my favorite is this cyanotype (or sun print). I created it with my boyfriend Jay. We coated paper with two mixed chemicals, then placed the paper out on a fiercely sunny day with some anemones I’d just bought from Chelsea Flower Market laid on top. We left them in the sun for 4 minutes, then washed the paper in cold water. And we got this. It was quick, simple and I love the end result!


What’s next for you?

My next book concerns cyanotypes too!

Again I’m researching a Victorian woman for a non-fiction picture book… and I’m really excited about it!
This time the story is that of Anna Atkins, who created the world’s first photographic book. In 1843 she put together a book of cyanotypes of British seaweed. It is stunning. There’s only about 13 left in the world, but I got to hold and look through one at the Metropolitan Museum of Art earlier this year.

Here is an image from my research (note my gloved hands!):


I’m still in the early stages of doodling and sketching for the art. Here’s a few samples.

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I may even do the illustrations as cyanotypes, hand tinting them, as below.


Thank you, Fiona! Such an honor to have your work here today.



Thanks to Fiona Robinson and Abrams Books for Young Readers for the images used in this post.




by Esmé Shapiro (Tundra Books, 2016 [out today!])

One of the best things about being in so many overlapping circles of the kids’ book community is that I often get a look at a book early. And this is one that has caused me to watch the calendar day after day after day after day to make sure I don’t miss telling the rest of the world when it’s ready. And people, it’s ready.

Meet Ooko.

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Oh, how his face changes from happy to hope. Hope mixed up with some sadness, that is. Look how he’s got a fierce grip on those things he loves–his stick, his leaf, his rock. But look at where his eyes land–on happy hedgehogs, two by two.

While that might be the look of despair, let’s not forget his fierce grip. Ooko goes friend-hunting.

There’s a hole, a tree, and a moose. But no friends.



A page prior, Ooko spotted this Debbie playing with a funny-looking fox. The kind of fox you might have at home. The kind that starts as a puppy.

But then again, Ooko is the kind of fox that looked for a friend under a moose, and Ooko is stumped.

But then again again, Ooko is resolute. Adamant. Single-minded. Debbie-minded.


Debbie-minded enough to stick cotton candy on her head. Easy-peasy.

And it’s dear and sweet and heartbreaking to watch Ooko try so hard. And then, thanks to some smeared or shattered glasses, Ooko turns into Ruthie. A funny-looking fox, fit for a Debbie.


(Side note: best leg hair in a picture book this year? Or ever? Not to mention that sock bun.)

It doesn’t take Ooko long to get completely over this Debbie’s games.


This picture–OOOF. Right? Prim and proper and blow-dried and dressed up and despite wanting to be loved, this was not the kind he was looking for. According to the hairy-legged-lady’s gallery wall, Ruthie was all of those things that a fox is not.

And isn’t that the best news?

Because maybe, maybe, when you hightail it from the house that fits you wrong, you run into someone on the outside. Someone who likes sticks. Someone who wants to play.

Oh my crickets, this book. Be a Debbie and track it down, will you?

For more Ooko fun, click here for an Ooko Storytime Kit.

And don’t miss the grunts and squeals of our hero in his very own book trailer.

For friends who took a while. For Debbies who turn out to not be.


Thank you to Tundra Books for the images in this post. Be sure to click to enlarge!

Life Without Nico


by Andrea Maturana, illustrated by Francisco Javier Olea (Kids Can Press, 2016)


If you’ve ever had a very best friend, this scene sums it all up. Looking away from each other, but always to one another. Navigating a trip to the stars.

Until a different trip steamrolls in.

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If a moment can be simultaneously sweet and bitter, this is the very time. These kids who want the whole world, now separated by it.


And then what creeps in is the hole where Nico once was. It’s in the faraway sky that she can’t quite reach. It covers her heart even though all you see on her shirt is a star. And it’s in the way of making a new friend.


Except, it’s not really. Because the hole someone leaves when they are left behind is sometimes space to let someone new in. And it doesn’t mean that the hole is gone. It just scoots over a chair.


This tale is a look at love and loss and love again in a way that never lessens that hole. An important thing for both kids and those of us that are a little older.

A keeper. A whole world in a book.


Thank you to Kids Can Press for the images in this post. Click them to enlarge, the tiny details are worth a closer look.

Little Red


by Bethan Woollvin (Peachtree Publishers, 2016)



So this book. Have you seen it? There’s a familiar story at its heart, but this one takes that soul and stretches it into something so subverted, so surprising, and so darn wonderful.

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Let’s just start with a bang. Those undies! Fierce. Be careful with this one.

And then some story sneaks onto the endpapers: a vulnerable girl and a sly wolf. You think you know this one. You might be wrong.

This illustration on the title page is one of my favorites in the whole book. Look at her tongue! That determination. Those boots! An open door. Let’s go.

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Wolves, of course, are big and bad and scary.

“Which might have scared some little girls. But not this little girl.”

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Little Red isn’t like most little girls. Remember that tongue? She is fierce and unflappable and completely in charge.

And couldn’t we have guessed that from those eyes on the cover, cutting and cunning? Or maybe from the hot red that identifies her through the pages?

She is a heroine with some real bite.


Well. I can’t turn the next page for you. Trust me, (she says, with wide-wolf-eyes) you’ll want to.

If my word for it isn’t enough, check out this post from my dear pal Danielle at This Picture Book Life. (Safety in numbers, you know. Especially if there’s a wolf and a Little Red on the prowl.)


Grandad’s Island


by Benji Davies (first published in the US by Candlewick, 2016)

This is a book about a boy named Syd. And if you go through the backyard and past the knotty tree, this is a book about Syd’s Grandad.

He’s a Grandad who has a big metal door in the corner of his attic. A metal door that leads to the deck of a very tall ship. A ship that steers on choppy seas to an island. An island where Grandad leaves his walking stick behind.

That’s the thing with this book. We see the heartache coming. We feel the loss inevitable. And yet, even if you experience this story fresh in life, far from loss—it’s still a lovely sentiment about the way we carry people in our hearts.

It’s beautiful.


These two—white hair under a smile, red hair curled on top—read like the bookends of a life well lived and well loved. I love this small but might design detail in these characters. Very subtly but with a sophisticated sleight of hand, Benji Davies gives us a life cycle.

A legacy.

A now and then and now again.

It’s sweeping in scope, and something Benji Davies does so well is frame his pictures to match. Full bleed illustrations are few and far between, but the scenes he chooses to extend to the pages’ edges are the ones that need the most room to hold their riches.

It’s their home, their shared backyard.

It’s the ship, docked and hopeful.

It’s the island, ready and waiting.


It’s the wonders of it all.

It’s the goodbye.

It’s a hello.

Check it out. You’ll see what I mean.

And like any Candlewick book, it’s printed on gloriously heavy paper and pages that smell like the best kind of story. Always.


GRANDAD’S ISLAND. Copyright (c) 2015 by Benji Davies. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.

Be Glad Your Dad…(Is Not an Octopus!) + An Interview with Sara Jensen


by Matthew Logelin and Sara Jensen; illustrated by Jared Chapman (Little, Brown, 2016)

Once upon a time, I started this blog. It worked fine and looked nice until it didn’t anymore, and that’s when a superhero named Sara Jensen came to the rescue of this damsel in distress. She’s the genius behind the Book Party (seriously, click it), has the most heart-able Instagram feed out there, and is an extraordinary human with a huge, huge heart.

And then she told me she also wrote a book for kids.

I’ve been looking forward to it ever since.


Dads. Endearing and embarrassing. Equal parts hilarious and heartfelt, which is exactly what this book is all about.

So while most of the time you’re glad your dad is your dad, let’s not forget there are times when he is a grouch and a grump and a total groaner. But even then, at least he’s not a dog who’d lick your face to say hello.


The text is sharp and funny and allows for scene after outlandish scene to unfold. Each spread is an entire act by itself–vignettes set with understated props that balance the highly expressive characters. All of this action is wham-bammed in front of a brightly lit backdrop, perfectly setting the scene.

This kid’s hopes for a cool dad, melted away with the drips of that cone itself. Can’t you see it in both of their eyes?

Like we said. Dads.


And at the end, a closer look at these oddball animals and the facts that make them everything you’re glad your dad is not. Pick up this one along with Pink is for Blobfish, and you’re set for a storytime celebrating all of your favorite wonderful, weirdo animals.

Fun, right?

I asked Sara a little more about this book, and I’m so happy to welcome her out from behind the scenes of this blog. Meet Sara Jensen, friends!

CH: How did this book happen?

SJ: It’s funny, I have never ever thought of myself as a writer and I am not sure I even do now. This book was written with my good friend Matt Logelin, who had previously published a memoir called Two Kisses For Maddy. From the moment Matt and I met, we realized that we for sure had the same style of parenting/talking to our children. We also for sure had some cocktails involved.

Late at night at a bar in my small island town we talked about how our kids didn’t think that we were very cool. I am the QUEEN of the “would you rather game”, where you force somebody to make a choice between two awful things. We started thinking about a G-rated version of it, where we’d ask our kids if they’d rather have us as parents or some kind of obnoxious animal. The ideas came fast and furious after that until we’d filled up dozens of notecards.

It helped that Matt had written a grownup book before too. We also had amazing editors at Little, Brown who helped us every step of the way.


CH: Do you have plans to write more books for kids?

SJ: I’d love to write another children’s book with Matt. Matt and I have such an easy time bouncing ideas off of each other. We think in the same way enough to make it pleasurable but are also different enough to give each other a hard time. We both love our kids so much and are so inspired by them.

I’m just now realizing that all three of our kids have lived through very intense early lives: Maddy with the loss of her mother the day after she was born, Rose being adopted from foster care, and Henry with an early diagnosis of Type 1 diabetes. Despite all of this they have tremendous hearts, are super sharp, and are so insanely hilarious. Way cooler than Matt and I will ever be and they are only 8 years old.

CH: What did you and Matthew think when you first saw Jared’s illustrations?

SJ: Oh, it took a while to find the right illustrator. We saw a lot of work by so many talented people. The moment we saw Jared’s work we both got so excited. I think that we tried to be kind of cool about it, but Im pretty sure my reply had several exclamation marks and that Matt’s voice cracked he was so happy. Jared is so funny and had a big beard, which Matt and I both value a lot. I’m working on my beard right now, I feel a little left out. Illustration is SO critical to making or breaking a book. We are so thankful for Jared. Jared has been sharing his concept sketches of BGYD on his Instagram, its so amazing to see the process.

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CH: What books are your kids loving right now? And related: what book do you remember the best from growing up? And is it still something you think about now?

SJ: Currently Henry is reading the Edible Selby, Serengeti (a book about Africa), some fish guide about reef fish that a professor of Marine Biology lent him when we went to their house for dinner. His favorite baby books were New Socks (he would CRY to make read that book over and over) and The Little Island.

Rose is currently reading Wonder, Sisters Grimm, and Harriet the Spy. Her favorite younger book (we met Rose when she was 3) is Rosie Revere, Engineer.

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CH: What’s your favorite piece of art in your house?

SJ: We have a lot of old artwork in our house. Lots of photographs, old French cartoons that had been my grandfather’s. I also love American and Mexican retablos. I love buying weird little paintings off of people on the street. We have a tiny nude that is in our bathroom, I can’t really explain why I love it, I just do.

I also have this piece that Rosie made of Henry sitting on the toilet. She had worked on a “kindness quilt” at school, each child had to illustrate an act of kindness they had showed another person.

When I walked by it in the hallway at school I laughed so hard. It was her brother sitting on the toilet, and it said “I Pote trand my brother when i was littl.” I potty trained my brother when I was little. It’s so funny to me still, and totally true. They are two months apart and she got him out of diapers within a week of moving in with us. She is amazing.


CH: What else should we know about you?

SJ: I am a very involved in the Type 1 diabetes community as a result of my son’s diagnosis at age 5. I am the creative director and a council member of Beyond Type 1, a nonprofit that works to raise awareness and fund an eventual cure.

I am also the creative director for interior designer and TV host Genevieve Gorder. She is so great to work with and so supportive of my outside interests, I’m so lucky to know her.

I am working on a side project in honor of Rose too, it will have to do with foster care and she and I are still working on the specifics.

CH: What sort of story influences do you have as a designer?

SJ: Even thought I insist I am not a writer I have always been a storyteller. Both of my parents were. I also love the idea of being able to tell a story with only pictures, letting the reader realize the words, and the idea of having a story just written and having the reader think of the imagery.

I have a major problem with seeing movies based on books. I’m always worried that they won’t honor the parts of the book that were so important to me.

Because my husband is a graphic novelist I have grown to really like some of them, I wouldn’t say that I am a fan but I loved the Buddha series by Osamu Tezuka and recently a heartbreaking book called Rosalie Lightning written by our friend Tom Hart about the loss of his child.

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Thank you, Sara! (She’s pretty great, right?)
Be sure to pick up Be Glad Your Dad…(Is Not an Octopus!) which is out today!

A Morning With Grandpa

by Sylvia Liu and Christina Forshay (Lee & Low, 2016)

Here’s a book I have been looking forward to for a long time, thanks to the close knit and dear friendships the book community creates online. It has been such fun to sneak peeks behind the scenes of both Sylvia and Christina’s work, and I am so happy to have them both on the blog today.

Christina’s color palette of dreamy pastels in the ground and sky meets the brightly hued flowers in the same way that Sylvia’s calm and serene Grandpa meets the bouncy energy of Mei Mei herself. The text and the art is gently and joyously matched, and it’s a beautiful story that spans generations and their peaceful mornings.


First up, some questions for Sylvia:

Tell us a little about the story behind A MORNING WITH GRANDPA. Where did the idea come from and how did it evolve?

I got the idea when I was in Vermont on a family vacation watching my dad do qi gong and tai chi and teaching my daughters breathing techniques.

In my first draft, Gong Gong taught Mei Mei qi gong and tai chi, and she taught him how to make lemonade. My critique group gave me some great suggestions. Elaine Kiely Kearns suggested that Mei Mei teach him yoga instead. Reneé LaTulippe encouraged me to develop the lyrical language. I also got a professional critique from an agent through a Writer’s Digest course, and she suggested omitting the qi gong part to streamline the story.

After the story was accepted by Lee & Low, my editor Jessica Echeverría and I polished the manuscript for several months. We swapped out different poses, word-smithed every line, and went through about eleven drafts.

How does it feel to see your words gain another life with pictures?

I am humbled that Christina spent so much time bringing the story to life so beautifully. Before I saw her illustrations, I imagined the story could be illustrated in any number of ways, from a soft watercolor look to a bright, lively style. I’m so glad Lee & Low picked Christina, who really captured the essence of the story. Now I can’t imagine the story any other way. I am thrilled and in love with the pictures.

Who are some of your story heroes?

Those who do that magical thing with words and images that transport me to a different place like Shaun Tan (THE LOST THING, RULES OF SUMMER, and THE ARRIVAL are favorites), Neil Gaiman (SANDMAN series), and Diana Wynne Jones (HOWL’S MOVING CASTLE). Those who teach me something I didn’t know in a surprising visual way like Gene Luen Yang (BOXERS & SAINTS) and Max Brooks/Canaan White (THE HARLEM HELLFIGHTERS).

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And next up, Christina:

One thing that’s so interesting about your illustrations is their dynamic compositions. Can you talk a little about that and if you have any influences in film or TV? 

Yes, film and tv have a huge influence on me and my work! I’ve always been interested in how lighting, camera angle and staging creates drama and intrigue in a composition. As I got into high school, I took a film class and learned about how the composition of a scene can be symbolic and help evoke emotion in the viewer. I actually wrote a super long 15 page paper on the symbolism and drama Steven Spielberg and cinematographer Janusz Kaminski created in Schindler’s List. I was super into it!

Then in college while studying illustration, I took more film classes and a few storyboarding classes where I really learned about and practiced the art of composing dramatic scenes for television and film. I try to infuse what I learned in those classes in my illustrations as well.

What were your initial ideas for the art after you read the text, and how much did they evolve over the course of making the book?

When I read the manuscript for the first time, I remember being excited about Mei Mei’s spunky character. I knew she was going to be the driving force for keeping the compositions active. I had to figure out a way to balance her energetic spirit with Gong Gong’s calm and tranquil personality. I think one of the main themes of the story is how opposing energies can be symbiotic, so I knew I had to create scenes that showed the strengths of each of their personalities and how they mesh together.

When I was in the final stages of the art, I noticed most spreads actually stayed pretty similar to the initial sketches I turned in. There was a lot of refining of the look of characters over the course of the book, but in terms of staging and composition, the final art stayed very close to my original ideas. You can compare these images to see how the original small-scale thumbnail sketch evolved into the final art.

The very first thumbnail sketch (about 1″x 2″)  I turned in for one of the spreads along with the final image.

GG And here is one of the first thumbnail sketches I turned in for the cover. See above for the final cover image.

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Who are some of your story heroes?

My story heroes come from all forms of art: from music to art to writing. Bruce Springsteen is one of my favorite storytellers. All of his songs are stories and always contain a cast of characters. Also Brad Bird is an amazing storyteller. He wrote a short animation called “The Family Dog” which blew my mind when I was 10. It still blows my mind actually! From the kidlit world, there are so many storytellers whose work I admire: Jon Klassen, Adam Rex, Lizbeth Zwerger, Laurie Halse Anderson, and Jon Scieszka are a few from my long list of heroes. I am constantly looking for inspiration in new places!

A big thank you to Sylvia and Christina!

For more about this beautiful book and its creators, be sure to check out the rest of the stops on this blog tour. You can find all of the celebration here. cs

Sylvia Liu is an environmental lawyer turned children’s author and illustrator. A MORNING WITH GRANDPA is her debut picture book as an author. She is inspired by oceans, aliens, cephalopods, and more. She lives in Virginia Beach, Virginia, with her husband and their two daughters. Visit her online at enjoyingplanetearth.com.

Christina Forshay was born and raised in sunny California, where she lives with her amazing husband and the two cutest kids in the world! Of course, as a child she could be found drawing, coloring, and admiring her grand collection of crayons. Christina graduated from California State University Long Beach with a Bachelor of Fine Arts degree in Illustration in 2002. Since then, she has been proudly working as an illustrator for the children’s market. Seriously, what could be more fun?!?





The Bus Ride


by Marianne Dubuc (Kids Can Press, 2015)

This delightful, mind-stretchy book is by the creator of one of my 2014 favorites, The Lion and the Bird. Remember that one?

And this book has been out for over a year, but it’s taken a while to wrap my brain around its brilliance.

It’s a little bit sweet and a little bit surreal.

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There’s our girl, a little Red of sorts. Waiting at the bus stop with her basket, on her way to visit her grandmother. Of course. And the book itself, a trim size perfect for a bus ride. A long stage for the passengers to be the stars of this show.

And red endpapers, of course.


What’s so interesting (and challenging!) about this book is that the scene never changes. The bus stops and starts and new characters come and go, but the bus itself is the same.

Well that, and this sloth.


This cat lady knits a scarf, a red one, that gets a teensy bit longer as the journey continues. That turtle hangs his head in boredom and the sloth sleeps.

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And on the wheels go, through a forest seen right through the windows.


The turtle gets spooked by the tiny mole baby, and the sloth still sleeps.


And when the bus goes into a tunnel, there’s a rumble-jumble on the bus. (According to the paper’s headline, which is a treat for any reader’s eagle eyes.) It’s a rumble-jumble that invites a prowler inside and bumps the sloth to another shoulder to sleep on.


After the darkness, a pickpocketer. A big box. A sloth hug. A stop.

A grandma’s house.

This is a story about courage, everyday kindnesses, and adventures that are as simple as sharing shortbread cookies. I could get on that bus, couldn’t you?


Apples and Robins

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by Lucie Félix (Chronicle Books, 2016)

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Here’s a book that is also a puzzle, an optical illusion, and a little bit toy-like all at once. Here’s what I mean.

So, then, a birdhouse: one small circle, two parallelograms, and a die-cut triangle.

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Or walls and a roof and a string, of course. Isn’t that what shapes are? Real, living, breathing things?

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But then wind blows and the sky rumbles, and . . .

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This book isn’t only clever cuts and shapes transforming into magic. It’s also a gentle arc of a pulsing spring. An apple, a reach, a bite, a worm.

A robin, a song, a home, a storm.

A mess, a basket, a watch, a wait.

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A winter, a spring.