Sunday, April 07, 2024

Interview with author/illustrator WENDY GOLDSTEIN


In real life and in Wendy Goldstein's picture book, Oscar is an adorable therapy dog. OSCAR'S BLUE BANDANA is his story, told in his charming first person voice, of how he trained for his dream job and succeeded in gaining his badge and blue bandana and qualifying as an official therapy dog. 

Wendy was in my class, "Writing and Illustrating Children's Books" at SVA a few years ago. Read here about how she brought this project to reality through self-publishing. 

These days they visit children at Sloan Kettering Cancer Center and the Ronald McDonald House and other people in need here in New York City. Now with this book Wendy can bring Oscar's story to a wide audience. She and Oscar are a real inspiration in so many ways! Congratulations! 

Tell us about Oscar, your therapy dog, and how he inspired your book OSCAR’S BLUE BANDANA. What were some of the stages along the way?

Oscar is a playful and talented Havanese dog.  He loves to make people smile by showing off his many tricks. When Oscar and I were given the chance to become a therapy dog team, we were so excited.  After all, Oscar proved he would be a great therapy dog during his visits to my father when he was in the hospital. But on therapy dog test day, Oscar froze!  You will need to read “Oscar’s Blue Bandana” to find out what happened next. 




Oscar’s Blue Bandana was inspired by Oscar’s journey to become a therapy dog.  Although the book is fiction, it is based on fact.  I became inspired to write the book after realizing that once you tell a story over and over, it should be written down and shared widely.   

This was a book that needed to be published! Why? How did you choose to self-publish?  

My hope is that this book will encourage kids to follow their dreams, act from the heart and never give up.  Dogs make great role models for children.  They provide unconditional love, encourage goodness and never judge.  The reader can’t help but fall in love with this adorable, fun, motivated dog destined to spread joy. 


I chose to self-publish Oscar’s Blue Bandana” for two main reasons.  First, it was very important to me that I was able to write and illustrate the story.   No one knows Oscar better than I do.  I wanted to keep it true to him.  Second, I wanted to control the timeline.  My goal was to publish the story now while Oscar is fully engaged as a therapy dog.


What have been some of the pros and cons and advantages of self-publishing?

Self-publishing provides the author more control and autonomy over all the decisions relating to the book including, for example, illustrator, deadlines and timing of the book’s publication.  The author is the proverbial “only cook in the kitchen.”  An author who self-publishes will most likely need to identify and hire experts to assist with certain work such as editing and graphic design.  Self-published authors also must market and promote their books on their own as opposed to the marketing and promotional support of a traditional publisher.  Self-published authors also have the challenge of lack of recognition.  Many bookstores, book awards, book fairs and the media do not embrace self-published books. 

 

Traditionally publishing a book involves additional steps that take a significant amount of time including, finding an agent, successfully submitting the manuscript to a publisher, many rounds of edits, and working with a publisher-selected illustrator.  A traditional publisher also has many competing priorities and projects at any time.  Because a traditional publisher has a team of people working on each book, there also is opportunity for disagreements. 

 

Have you always loved to write, draw and paint since you were very young? 

From a very early age, I have been told that I am a great storyteller.  Recounting events, with embellishment and flare has always been fun for me.  As a child, I loved to paint.  I especially loved to paint characters on the walls of my bedroom while standing in my crib!  I also love writing.  “Oscar’s Blue Bandana” is the first children’s book that I have written.  Picture book writing is very challenging as there is a huge responsibility to the intended audience. 

 

What was your favorite part of working on your book?

My favorite moment of working on the book was when all the illustrations were complete and the whole story was laid out.  It was an amazing feeling to see how the manuscript and the illustrations all came together to tell the story. 



And the most difficult part? 

The biggest challenge was digitizing my original art which is watercolor and ink.   It was a huge learning curve to delete the texture of the watercolor paper while still maintaining the vibrancy of the illustrations. 


When working with a traditional publisher, you work with a team of people: editor, art director, copy editor, marketing and publicity team... Did you bring in some people to help you? Did you take on new roles?

I worked with a fantastic editor to critique and proofread my manuscript.  I also worked with an art director on the illustrations.  Once the manuscript and illustrations were complete, I collaborated with a graphic artist on font selection, text placement and digitalizing.  Currently, I am a member of a co-marketing group comprised of authors who recently launched children’s books.  

The selection of the individuals who will comprise your team is extremely important.  There are many resources, websites and directories that can assist.  I believe it is critical to research references and find individuals who share your vision and goals. 

 

Is there anything you learned back in class that has particularly stayed with you?

Definitely!  Class was an invaluable learning experience.  One of the lessons that stayed with me is the importance of the story board and dummy book.  You can’t illustrate a cohesive story without either of these.  Also, we discussed the importance of facial expressions throughout the semester.  I recalled those conversations over and over again as I illustrated Oscar in his many emotional states throughout the story.  

The time in class dedicated to author/illustrator websites also really resonated.  Prior to class, I would not have even thought about designing a website for my book.  After publication of my book, I had so much fun designing and launching an author website, www.oscartales.com  

 


Do you have any special words of advice or encouragement for illustrators and writers who are considering self-publishing now?

As I was writing and editing the manuscript, it became clear that I would need to illustrate the book to ensure that the pictures depicted the actual events.  I did not want the illustrations to fictionalize Oscar’s true journey.  Oscar’s Blue Bandana” is narrated in the first person by Oscar.  The colorful, whimsical art reflects Oscar’s playful, childlike voice and is designed to bring joy to the reader.  My advice is to follow your gut on what publishing path is best for your project given your goals. 


And check out Oscar's instagram @Oscar_myhavanese and see how he knows his numbers and colors and lots more!


Here is Wendy's website OscarTales where you will find book ordering details, fun coloring pages and other fun stuff!


And here is the Amazon link: Oscar's Blue Bandana








Wednesday, November 15, 2023

Imagination Soup: book recommendations for your kids

Melissa Taylor's website Imagination Soup is a great resource for teachers and parents for book recommendations for kids on just about any theme you can think of. 

I am thrilled that my books are often included on her lists. https://imaginationsoup.net/?s=monica+wellington


And here is the link to her recent thought-provoking article in Publisher's Weekly about making books that really help children learn how to read. 

https://www.publishersweekly.com/pw/by-topic/childrens/childrens-book-news/article/93698-are-early-readers-even-accessible-for-new-readers.html

Check out Imagination Soup here, for lots more!


Sunday, August 20, 2023


I had a visit to Petaluma, CA - once known as "Chickaluma" and the "Egg Basket of the World" - and when I got back - Surprise! - Paperback copies of EGGS FROM RED HEN FARM were waiting for me! 


Once upon a time August 20, 1921 was Egg Day in Petaluma. (Now National Egg Day is on June 3) Here are a few pictures from Petaluma Historical Library and Museum:






Sunday, June 04, 2023

Thursday, July 07, 2022

Interview with debut illustrator ALLYN HOWARD


It is so very exciting to hear about an artist's debut picture book! I just now have had the chance to catch up with Allyn Howard about her book SPRING PARADE. "Here comes a soft breeze"... Whether it is spring or another season, it is joyful to follow Allyn's bunny and adorable creatures through the magical scenes in this enchanting book. 


Can you tell us about your journey from idea to publication? How did SPRING PARADE get started? What were some stages of working on this book?

I was contacted by the art director for Cameron Kids through Instagram in January 2021. My understanding was that the editor had passed on my account to her. They asked if I had written anything that I would like to publish or would I be interested in working with them on an idea. I chose the latter. Because I've painted lots of bunnies and small animals in garden and forest scenes, they liked the idea of a spring book. Initially, they considered a counting book, like counting animals and things in nature, as mama bunny and baby make their way to an Easter egg hunt/party. There was some back and forth as the editor and I worked out a storyline. And I sketched it all out, loosely. Nothing felt really special. In March, the editor wrote to say they came up with the idea of a parade, which would be "more inclusive and universal" than a counting book. Soon after, the publisher, art director, editor and I had a meeting online. They couldn't have been nicer or more welcoming! I felt really lucky that they were taking a chance on me. I had not pursued illustration for picture books in years. Although, I had continued to make and share artwork pretty consistently. I loved the idea of a Parade! It made sense for the kind of scenes I like to paint. It's simple and sweet and the parade structure felt perfect. It was written in-house, which was fine with me. We were aiming to publish in Spring 2022. I started again on sketches, which went pretty quickly. Changes were made, of course, before getting the greenlight to start on final art. 


What was your favorite part of working on this book?

I really enjoyed working on the pacing. Baby bunny is a little timid early on. By the end, he's leading the parade into spring at its most festive, *spoiler alert* the Finale involves Cherry Blossoms falling from their branches like Confetti. I also enjoyed working out the color scheme. And I love painting animals! Oddly enough, I was happy that I didn't have more time than I did, to work on it. It helped me maintain a looseness to the artwork. I know most books have a longer gap between creating the art to the actual publication.


And the most difficult part?

The most difficult part was telling them I was diagnosed with breast cancer. My annual mammogram, in April 2021, caught it. I was very fortunate to have caught it early and there wasn't any spread, but I did require surgery and a month of radiation. I was afraid they would assume I wasn't up for meeting my deadlines. They were incredibly understanding and did give me some leeway. I had just started on final art when I received the diagnosis. It was nice to have something like this to focus on. I just couldn't believe the timing. 

Where do you live and what is your studio like? What are your art materials?


I live in Ditmas Park, Brooklyn. It's a suburban/urban part of Brooklyn with tree-lined sidewalks and Victorian homes. I live in a one bedroom pre-war apartment building. I love being on the 6th (top) floor with nice big windows. I'm on the lookout for a larger place, though. I have very large rooms and a nice foyer, but I have to split my bedroom in half for studio space to paint. I use water based paints, acrylics and acrylic-gouache, typically on wood panels or gesso board, sometimes paper. A section of my living room is where I use my computer, scanner, etc. It's a true live-work space!

What were you like as a child? Did you always draw and paint since you were very young?


I didn't really paint until college, but I loved to draw, color, collage and make dollhouse furniture as a kid. I was a huge fan of Spirograph and I loved this pop-up book I had, you could color the interiors and furniture. I wish I could remember the name. I think it had very ornate furniture. It might be that each pop-up had a different style. I'm not sure now. I also loved to make paper dolls and make up stories for them. I was an only child, so I learned to entertain myself early on. I also liked to be outside. Riding Big Wheels with friends on apartment sidewalks when I was really young was a thrill. I always loved swimming. When I was 8, we moved to a house and joined a nice pool and tennis club. I never learned to play tennis, but I practically lived at the pool. Between swim team practice, playing in the pool, tanning and in later years, working as a lifeguard and teaching swim lessons, my days were pretty full. I didn't draw as much during summertime. 


How did you decide you wanted to do children's books?

I think it was always in the back of my mind, because I loved them as a kid. I studied Communication Arts & Design in college. I still feel some regret, not choosing Illustration as my focus after Foundation at VCU. I started taking painting classes during my junior year. When I came to NYU for grad school, my intention was to become a fine artist. I'll spare you the details, but I spent several years waitressing, eventually working my way into the film business, painting sets. I guess you could say, my paintings became more illustrative than explorative over time and I decided to try my hand at illustration. Again, I'll spare you the details about missed opportunities and a rather lackluster portfolio. I was about 34 when I took a picture book class with Brian Floca at SVA. Like your class, he taught in the Continuing Education department. I wrote and illustrated "Fashion Bear". She had a heart of gold and a lust for nice clothes! Choosing to help her friends over buying a fancy dress she'd been saving up for, she made her way into countless children's hands and hearts. No! That last part is far from true. My story did garner a few laughs during presentation night. That gave me a little boost of confidence. But, my story and my art needed a lot of work. As I was working more steadily as a scenic artist in film/TV, it became harder for me to make time for painting and rewriting. In 2009, I took a short summer children's book class, again at SVA, with Rachael Cole. I worked on "Floaty, the Hovering Dog". It started as a pretty simple idea. As you know, I reworked "Floaty" when I came to your class a year or two later! 


Did you have some rejections along the way? What have been some of the ups and downs?

I never actually sent a dummy out. I did have a meeting with an editor in 2015. I had a chance to share a couple of my book dummies with her. The idea I blurted out towards the end of our meeting was the one for which she seemed most interested. She was incredibly nice. Unfortunately, I let that opportunity slip away. Maybe it will come back around. You never know. I've experienced plenty of rejection, in general. Whether I was overlooked by galleries and group shows in my early years or not hearing back after sending illustration and design work to manufacturers for licensing opportunities. More recently, I've received a couple very flattering notes about my work from agents. They were rejections, nonetheless. The ups include exhibiting my paintings, in juried shows and also at local Brooklyn spots. I sell original work and I did break into art licensing. 


Is there anything you learned back in class that has particularly stayed with you?

You're such an encouraging teacher. The interest you show in everyone's work feels genuine. Our critiques were constructive, really helpful. You created a warm environment where classmates felt free to talk open and honestly about each other's work. I'm still good friends with several classmates. Four of us have been published. You must be doing something right! 
I also want to add something you probably don't remember. I ran into you at The Princeton Book Festival in 2015 when Kristine's book was out. Afterwards, a group of us went to the festival's picnic and you introduced me as a future published picture book artist to a few people. It might seem like a casual gesture, but it stayed with me. I think like many artists, I've been plagued by insecurity and just not feeling like I quite belong. I realize that's not so uncommon. A little suggestion can go a long way. So, thank you.
 
Do you have any special words of advice or encouragement for illustrators/writers starting out now?

I would say to push your point of view. It's become more difficult to stand out. I think it's important to look at lots of picture books and pay attention to which are doing well. But, you gain so much confidence when you know yourself. A style will emerge and then you pray it connects with someone! I was fortunate that the art director I worked with on this book has a similar aesthetic to mine. I had a roundabout path to picture books and who knows how many more I'll get to work on. 
One thing I've learned is that I wasn't really confident about my work until about 6 years ago. Not that it's become all smooth sailing, but I felt a shift in 2016. I was painting as much as I could, even after a long day at work, I would paint for at least an hour - anything! Some Instagram challenges gave me focus and provided subject matter when I wasn't sure what I wanted to paint. 
Fortunately, books for children remain very popular. There are so many themes, too. It really feels wide open. Of course, the more you work, the better you get. I always think if you create enough art and/or stories, something is bound to give way! 
Best of luck to all!!!


Here is Allyn at her virtual book launch at Books of Wonder: CONGRATULATIONS!
I hope we will be seeing Allyn's bunny and creatures in many more books to come!

Join me in thanking her for bringing us so generously behind the scenes with SPRING PARADE.

And for more about Allyn and her many talents, here is her website: www.allynhoward.com

and her instagram: www.instagram.com/allynhoward/


Wednesday, June 29, 2022

Interview with debut illustrator RISA HORIUCHI

I am thrilled to introduce sisters Rina and Risa Horiuchi and their debut picture book K IS FOR KINDNESS. Illustrator Risa was in my summer SVA class several years ago and she just sent me the happy news that her first book has been published, a collaboration with her writer sister, Rina. CONGRATULATIONS! 

From School Library Journal: "The Horiuchi siblings bring a fresh appeal with this book's emphasis on incorporating kindness into daily life. The theme feels especially timely for today's audience, as parents and caregivers increasingly seek to instill empathy as a core value."





It is exciting to hear about an artist's debut picture book – can you tell us about your journey from idea to publication? How did K IS FOR KINDNESS get started? What were some of the stages of working on this book?

My sister Rina was inspired to write the book because of current events and feeling like the world needed more kindness. She wrote it hoping for a kinder world for her daughter (my niece) and her generation. Rina wrote multiple drafts, and I gave suggestions. Then, as the story was revised, I drew rough sketches of the main characters, and Rina gave me feedback. Once we were both happy with the text and the sketches, we made the book dummy and showed it to our agent.



 

A collaboration like this doesn't happen very often - Congratulations!

 

Yes, usually the author and illustrator for a picture book work completely separately! I have been drawing ever since I was a child, and Rina had many ideas that she wanted to turn into books, so it made sense for us to collaborate. We’ve both always loved children’s books. We do give feedback on each other’s work, which is nice.  We have been working on several book ideas in addition to K Is for Kindness, so we hope we get the opportunity to release more books together.


 

What was your favorite part of working on this book?


My favorite part of working on this book was drawing the lion and the scene with the Jaguar! I am a cat person so it’s always fun to draw big cats. 

 

And the most difficult part?


I think figuring out how to make the last illustration balanced and not too busy was a challenge.The last scene shows several characters at a picnic, doing different acts of kindness. So it was challenging to make sure everyone and everything was in proportion. 


What were you like as a child? Did you always draw and paint since you were very young?


 As a child, I always enjoyed drawing. Comic strips like “Calvin and Hobbes” and “Garfield” inspired me to draw my own animal characters and also comics. I was also influenced by movies like The Great Mouse Detective and Abel’s Island which is probably why I like drawing mice. 

 

When did you decide you wanted to do children's books?


In 2006, I had the opportunity to work on some illustration projects, and the process of planning and sketching for a picture book made me realize that illustrating children’s books was what I wanted to do. I then came to New York City and got my degree in illustration at SVA: The School of Visual Arts 

 

Do you have any special words of advice or encouragement for illustrators/writers starting out now?


I would say to connect with other illustrators and writers through critique groups. If you can, join organizations like SCBWI because you have access to different events and classes. Keep drawing what you love and don’t give up. 


For more about Risa, here is her website: risadraws.com

and her instagram: instagram.com/risadraws/


Good luck to Risa and Rina, and we look forward to many more collaborations!



Wednesday, March 02, 2022

My newest book: EGGS FROM RED HEN FARM: Farm to Table with Mazes and Maps


Where do eggs come from? How do they get from farmer to consumer? Join Ruby and Ned for answers to these questions. From collecting eggs in the morning to setting up at the farmers’ market and making deliveries to their city customers, they work together to make their little business a big success. With the help of maps, math, and some simple economic concepts, follow these two resourceful young people on a journey over the course of a busy day. Hard work pays off — and there’s a yummy treat at the end!

“A sense of joy pervades Wellington’s well-structured gouache paintings, which use color and detail to create profuse yet orderly patterns within the scenes. This appealing picture book offers a playful introduction to maps for young children.” Booklist

“A winsome interactive picture book with STEM appeal.” Kirkus




Wednesday, December 01, 2021

Interview with debut author AZADEH WESTERGAARD

One of the rewards of teaching is watching students explore and develop during and after class. Azadeh Westergaard was in my class "Writing and Illustrating Children's Books" at The School of Visual Arts years ago, at that time pursuing illustration. Over the years she focused more and more on her writing and she makes her debut as an author with A LIFE ELECTRIC: the Story of Nikola Tesla illustrated by Júlia Sardà.

"An elegant and enlightening look at a man who brightened the whole world." - Booklist 

Congratulations on getting off to an electric start!


Azadeh introduces young readers to this important inventor (as well as grownups if you are like me and don't know anything about Nikola Tesla.) The important thing for a picture book biography is to find a hook for children: what is going to draw them in? In the case of Tesla, how to draw children into the wonders of electrical engineering? Azadeh had the perfect hook: his love for animals, in particular his childhood cat and in later life, New York pigeons.


What was your favorite part of working on this book? 

Everything about this book project was exciting since it was my authorial debut. The research process was a true delight - I can really lose myself in the process and with a subject as brilliant and interesting as Nikola Tesla, it was hard to know when to stop. Since I was so deeply moved by Tesla as a person and by his life story — it was important to me to help shed light on what were considered his eccentricities from a different, more positive angle.


A research highlight was corresponding with the Nikola Tesla Museum in Belgrade and receiving my requested items from their archives by email. Another highlight was receiving Julia Sarda’s beautiful and intricate sketches during the height of the pandemic and discussing them with my wonderful editor, Tamar Brazis. The drawings were quite polished and not at all rough, so it was extremely easy to visualize the finished piece… especially since I have long admired Julia's work on other picture books.


 

What were you like as a child?

I was an extremely shy child and very much in my own creative world. On any given afternoon I could be found drawing mushrooms, rainbows, and upside-down girls hanging from tree branches; writing in my treasured Hello Kitty journals with a pseudonym, or writing fantastical stories inspired by Roald Dahl. 

 

One of my favorite memories of childhood is reading Pippi Longstocking on my favorite maple tree branch right next to our covered garage while my mom made dinner. I also adored anything by Shel Silverstein and memorized many of his poems, especially the one where the little girl pretends she's sick so that she doesn't have to go to school. A Light in the Attic and Where the Sidewalk Ends are one of only a few books that have traveled with me into adulthood and still have a special place on my bookshelves. 



When/How did you decide you wanted to do children's books? Two books have been instrumental in my creative life. Ezra Jack Keats’ Snowy Day and Maira Kalman’s Ooo La La Max in Love. The former was one of the few picture books I had access to as an immigrant child in the 80’s and the illustrations resonated with me so deeply I remember staring at them for hours. And as for Maira Kalman, it’s because of her wildly imaginative and funny books that I fell in love with picture books as an adult and why I decided to pursue the field professionally. Her books quite simply blew my mind.

 

What was your path to publication? How did you find your agent? 

I found my agent, Alyssa Eisner Henkin of Birch Path Literary by researching agents on Publishers Marketplace. It’s a terrific resource in that you can search by authors, editors, and agents and get a sense of who is represented by whom, what kind of projects specific editors and agents are drawn to, the name of  the books they’ve acquired and authors they’ve signed on. In my case, Alyssa was one of the first agents I reached out to (I am a big fan of many of her clients) and I consider myself extremely lucky that my manuscript resonated enough with her to offer representation. 


Is there anything you learned back in class that has particularly stayed with you? The importance of making rough thumbnail sketches and picture book dummies. It’s my favorite part of the creative process when it comes to picture books.

 

What I also loved about your class was that you held a great space of creative possibility for each and everyone of your students. You nurtured our projects in a completely non-judgemental way and it was exciting to see so many classmates and workshop members go on to publish their books.   

 

Do you have any special words of advice or encouragement for writers starting out now? 

You have to take yourself seriously enough to start work on your projects, but not so seriously that you freeze up in the creative process. My new mantra is all about focusing on the fun. The minute I feel myself tensing up creatively, that’s my cue to take a breath and let go. For me the key is to loosen up and trust the creative process. First drafts will always be awful, but look closely and you’ll always find a little nugget of something interesting to hold on to and build upon.

 

And most importantly, listen to that still small voice in your head. It’s never, ever too late to either start or pick up on a path already started but halted. Take writing and art classes, join SCBWI, and consider fully immersing yourself in your creative path by completing a graduate program. I attended Vermont College of Fine Arts for my MFA in Creative Writing for Children and Young Adults and the experience was a major turning point in my writing life. 


For more about Azadeh visit: ahwestergaard.com

and for illustrator Júlia Sardà visit: juliasarda.com