KidLit Connection: Getting to Know Author-Illustrator, Angela Quezada Padron

A banner with white background featuring colorful illustrations of a girl with wings over the water, an older couple smiling, green hills, a blue house with fence, instruments, and palm trees. Text read: Angela Quezada Padron. Author/Illustrator. Children's Books. Fiction. Nonfiction. Educational.
A headshot of Angela Quezada Padron. She has long brown hair, brown eyes and is smiling while wearing a pink and purple floral blouse. There are palm trees and a city in the background.

Welcome to the latest KidLit Connection interview! I’m so pleased to introduce Angela Quezada Padron, an author and illustrator of children’s books, including picture books, board books, and novels. Her debut author-illustrated picture book, AS THE SEAS RISE: Nicole Hernández Hammer and the Fight for Climate Justice (Atheneum Books for Young Readers) just released this June! She’ll share more about this book in the interview.

Angela writes and illustrates both fiction and nonfiction stories. Her nonfiction work celebrates people in the Latino community who have made a difference in the world and within their community. Angela has worked as a freelance writer, illustrator, fine artist, and curriculum designer for educational publishers. She is a lover of nature, music, and sports. When she’s not writing, drawing, and painting, you can find Angela creating music, collecting seashells, and enjoying the natural world.

An Interview with Children’s Book Author and Illustrator, Angela Quezada Padron

First, we’d love to hear more about you as an illustrator and author. Can you tell us more about you and your work as a creator of books for kids?

Thank you so much for this opportunity to interview with you and share about myself. I write and illustrate fiction and nonfiction children’s books, mainly picture books but also board books and novels. In 2007, I started an illustration master’s program through the Academy of Art University in San Francisco, and I graduated with my MFA in 2011. In 2012, I illustrated a few books for McGraw Hill, an educational publisher. Then in 2014 I was hired for two books—THE HERO IN YOU by Ellis Paul (Albert Whitman & Co.) and MY BODY BELONGS TO ME by Jill Starishevsky (Free Spirit Publishing). I was also a semi-finalist in the Tomie de Paola contest through SCBWI in 2014, and I was offered the chance to illustrate a story called FIREFIGHTER MOM in Cricket Magazine in 2016. I felt like I was on a roll! Then things died down and I didn’t have any luck until 2021 when Atheneum Books picked up my first author/illustrator book, AS THE SEAS RISE. Since then, I’ve had some other illustration projects with educational publishers, and sold three other books due out between 2025-2027.

An illustration of a kitchen scene. Two older women cook on a stove to the left. Two younger children cook at a countertop to the right. One of them looks concerned about what's inside the pot she's opening. Art by Angela Quezada Padron.

How did you start creating children’s books? Was there anything in particular that inspired you to pursue it?

A photo of Angela Quezada Padron as a little girl, smiling and holding up a picture she drew.

I’ve actually been creating books since I was little. My mom saved many of my “books” that I wrote and illustrated as early as four-years-old. Most of the books were about her when she was pregnant with my younger brother, me meeting Santa Claus, or Snoopy. I also saved my stories from my seventh-grade creative writing class. I didn’t realize, though, that this could be a legitimate path for me until I began teaching in my mid-20’s. Working in schools exposes you to more children’s books. As I read more books, I became more interested in studying about the authors and illustrators and how they got their books published. Some time in my early 30’s, I came up with a story idea but wasn’t sure how to format it or where to even get eyes on it to try and publish it. 

I joined the Society of Children’s Book Writers and Illustrators (SCBWI) in 2004, and I’ve been on this path ever since. I joined a critique group, of which I am still a part of (shoutout to the Aventura Critique Group in Florida)! My writing friends and critique partners have helped me so much with telling me what works and what doesn’t in each of my stories. They’ve shown me how to strengthen my work and tighten my word choices. Without them, there is no doubt I would never have been published. 

A book cover for AS THE SEAS RISE: NICOLE HERNANDEZ HAMMER AND THE FIGHT FOR CLIMATE JUSTICE by Angela Quezada Pdron. An illustration of a woman with long dark hair, wearing glasses and a white button-down shirt. She is surrounded by different children working together to build a diorama. Behind them is the ocean.

Your most recent book, AS THE SEAS RISE: NICOLE HERNÁNDEZ HAMMER AND THE FIGHT FOR CLIMATE JUSTICE (Atheneum Books for Young Readers) just came out in June—congrats! This is a powerful, lyrical biography about a Latina environmental scientist and climate activist who has worked for climate justice in vulnerable communities.  Can you tell us more about this story and what inspired you to write and illustrate it?

Thank you so much! It truly was an honor to create this book about Nicole. After attending a 2020 SCBWI online conference about nonfiction children’s books, I became interested in writing a children’s book biography about a Latina figure who was involved in science in some way. After doing some searching online, I came across an article about Nicole Hernández Hammer where it stated that she was invited by First Lady Michelle Obama to attend the State of the Union address in 2015. Nicole was recognized due to her work advocating for climate justice in communities of color and educating others about how climate change was affecting the health of people in Latino communities. That inspired me to learn even more about her, as well as about sea level rise and climate justice. I wouldn’t call myself an advocate for climate change or justice, however I am conscious about how I’m contributing to climate change and climate justice and always looking for ways to support, adjust my ways and beliefs if needed, and learning what actions I can take to make this world better. 

A spread from the book AS THE SEAS RISE by Angela Quezada Padron

When I was writing the book, I found her on LinkedIn and took a chance to message her and said: ‘Hi, I have this story. I would love to interview you.’ And she said, ‘Sure.’ So we set up a time on Zoom and we chatted. I wanted to verify things that I had read. She gave me other insight, too, that had not been in any articles. I told her I would share this story with her once I had finished writing it, which I did. Within two or three months I got an offer from Atheneum (Books for Young Readers). I kept Nicole in the loop the entire time. I paid her a consultation fee, to consult throughout the book. We stayed in contact throughout the entire creation of the book, which obviously lends more credibility to the book.

Angela painting for AS THE SEAS RISE

When working on AS THE SEAS RISE, what was one of your favorite parts of the project?

I really enjoyed my conversations with Nicole and learning about her life. Throughout the process, she sent me photos of her and her family to use as references for the illustrations. She also taught me a lot of the correct terminology to use when speaking about climate justice (for example, we shouldn’t say we want to “help” frontline communities but rather “partner with” frontline communities so they can get the services and support they need to stay resilient against climate change). 

What was one of your biggest challenges when working on AS THE SEAS RISE?

A nonfiction 48-page biography is probably one of the hardest books to make, especially as my author/illustrator debut. Most books are 32 pages, with fictional stories you can make up the characters and places, and you have more freedom to stylize the characters and backgrounds. With biographies, you have to be as accurate as possible with the facts and the depiction of the person. And, when the person is still alive and you’re communicating with them, you want to be EXTRA exact to do them proud. I had the pressure on myself to try to make it as perfect and accurate as possible.

In addition, my father was ailing and passed away in 2021, right in the middle of me working on the final text. Then I was dealing with some health issues in the spring of 2022 that affected me finishing the art. But I pushed through it and got it done!

From reference photo, to line drawing, to finished color page from the book AS THE SEAS RISE.

We’d love to hear more about how you work! What sort of process and tools do you use to create both your illustrations and writing?

In the past, including for AS THE SEAS RISE, I would do most of the illustrations by hand using pencil. First, I do a lot of research and find photos that will inspire some or all parts of a drawing. Sometimes it’s the right background or object I needed, and sometimes it’s just a pose I needed. I often look at videos and then take screenshots while videos are playing because that allows you to capture a person in action rather than a posed shot. For the cover of SEAS, I saw a Twitter post about kids making models of their communities protected for climate change. Nicole and I thought that would be a good theme for the cover, and the editor agreed!

A series of thumbnail sketch line drawings by Angela Quezada Padron.
Thumbnail sketches from AS THE SEAS RISE

After I had my ideas, I would draw thumbnail sketches to get a sense of layout and how to paginate the text. Then I did more refined thumbnails. Once I had the layouts decided, each part of an illustration was drawn by hand on vellum using Prismacolor Col-erase pencils. I find vellum to be a beautifully smooth surface that doesn’t smear, and the col-erase pencils have a nice texture as well as don’t smear like regular pencils. I would scan them into my computer, clean them up and adjust as needed. Once the editor saw the sketches and gave feedback, I made necessary adjustments and then drew the final outlines.

Then I would print all of the parts – people, objects, backgrounds – onto several pieces of BFK Rives paper which is mainly used for printmaking. It’s thick, doesn’t really warp and can hold a lot of layers of paint and coloring. Plus it has a nice texture to it. I would tape the paper down onto wooden boards and then color in the drawings with gouache, watercolor, pastel and/or colored pencil. After that, I would scan all the painted papers back into Photoshop, put each part on its own layer (meaning, the people and objects would be placed on individual layers in Photoshop) and then add in my original sketches as overlays to make sure the lines were clean. I would then finish in Photoshop to clean up, resize, and change color of any part if need be. 

From AS THE SEAS RISE:
A scanned in drawing, background painting, and painted figures before they are assembled together digitally.

However, after doing a 48-page picture book like SEAS in this style, I realized that I need to work digitally more to save time and to save my aging hands from tiring out! So, now I tend to draw parts by hand still on vellum, scan them in and then redraw over them in Photoshop or Procreate. I do a combination of coloring digitally and scanning in painting or textured paper to fill in the illustrations like digital collage. Some of my work on my website was created with digital collage in this manner, and some were done by drawing and coloring by hand, then scanning in and putting them together digitally.

A peek into Angela Quezada Padron’s creative workspaces

You have three other books you’re currently working on which will be out in the future. Can you tell us more about them?

I would love to! FROM THE FIELDS TO THE FIGHT: HOW JESSICA GOVEA THORBOURNE ORGANIZED FOR JUSTICE comes out with Atheneum Books in 2026. Jessica worked with Cesar Chavez during the grape boycott to fight for equal rights for farm workers and labor unions. That is being illustrated by the talented Sol Salinas. The next book, AN ISLAND CALLED HOME (Eerdman’s Books, 2026) is a fictional story about a girl who visits her father’s home country for the first time and learns about her extended family and her bilingual and bicultural heritage. It’s based on my life with my father who is from the Dominican Republic, and I will be illustrating that one. Lastly, LUCIA’S GOALS (Lee & Low), which is being illustrated by Christina Barragan-Forshay, is about a girl who wants to play soccer but battles through sexism, racism, and inequality to make her dream come true. The publication date is not finalized yet but should be out in the next couple of years. 

Some people might wonder why an illustrator wouldn’t illustrate all their books. The truth is my style doesn’t always fit with the stories I write, and I don’t want to be limited to only pursuing books that I could best illustrate. 

What is your greatest wish for your work as an illustrator and author?

What a great question. I focus on the stories that have an emotional tie-in that will allow readers to connect to the story in some way. I think about how a particular story will inspire and impact kids and encourage them to read more. For example, I hope books like SEAS and FIELDS inspire kids to take action against injustice, while LUCIA can show what perseverance is, and ISLAND can show readers another culture or family situation they may never have known about. Some of my other stories I hope to publish will just make kids laugh or entertain them and others may warm their hearts. In the end, I create the stories because I love to and want to share my ideas and creations with the world. But to me, it’s most important that the kids enjoy reading them and connect with the stories. Otherwise, there’s no point in doing them at all. 

Is there something you would like to tell aspiring children’s book illustrators and authors who hope to be published someday?

Definitely look into organizations like SCBWI to learn about the industry and connect with others. Do your research before submitting to agents and editors to make sure your style and goals match with theirs. Write and illustrate what you love, not what the trends say you should do. Illustrate in the style and medium YOU want to, not in the style others tell you you should. BUT, always be open to feedback and suggestions. Find other creators to connect with so you get that honest feedback and encouragement. Most importantly, never give up. It can take years to get your first book deal or project and when you do, all the hard work will have been worth it!

I also want to acknowledge Giuseppe Castellano from The Illustration Department. A few years ago, I was feeling like my work wasn’t good enough and doubting myself. I signed up for a portfolio review and mentorship with Giuseppe, whose advice and encouragement were essential to help me rebuild my portfolio and come up with ideas for the compositions for AS THE SEAS RISE. Publishing really is a collaborative effort!

Learn More About Angela Quezada Padron

To learn more about Angela Quezada Padron and to see more of her work, follow her on social media and visit these links:

Angela is represented by Sera Rivers at Speilburg Literary.

Are you a published or soon-to-be published illustrator or author/illustrator who loves creating books about nature, animals, the environment, social justice, or mindfulness? I’d love to chat with you for a KidLit Connection interview! Send me a message.

KidLit Connection: Getting to Know Author-Illustrator, Julia Mills

An illustration self-portrait of author-illustrator Julia Mills. Julia wears a handmade hat, has pink hair, wears pink glasses, a hoodie, and is shown painting at a desk with watercolors and a cup of tea.

Welcome to the first KidLit Connection interview of 2024! I’m so pleased to have been able to talk with Julia Mills, an illustrator and author of picture books with fun animal protagonists, a warm heart, and a touch of whimsy. Julia’s debut picture book I AM STUCK, published by Clarion Books, came out in September of 2023. This adorable story about a turtle who is stuck on their back shows readers and their grown-ups how a friend can help in a difficult situation just by being there for them.

Julia’s illustrations are playful and colorful with a soft simplicity perfect for storytelling. She loves creating books with animals characters because of the joy she finds from researching more about each critter. When she’s not writing and illustrating books for kids, Julia is a school art teacher, mom, and knitter. She lives with her family near the shores of New Jersey.

An Interview with Julia Mills

A chipmunk lounges on their back in a hammock while holding a book under big green leaves. A ladybug peaks from a rock in the corner. Art by Julia Mills.

We’d love to know more about you and your work as a creator of books for kids. What inspires you and what do you love about writing and illustrating picture books?

I think my biggest inspiration is that I vividly remember what it is like to be a kid. I remember the magic of playing with toys all day. I remember the joy of painting whatever I wanted to paint just because painting is fun. 

How did you get your start creating picture books? We’d love to know more about your path to being a published author and illustrator. 

I wanted to be an illustrator and an art teacher when I was four years old. I ended up studying illustration in college but soon thereafter veered down the path of fine art. I studied in a atelier and then got an MFA in visual art. After all that school I realized that illustration was what I really wanted to do. By that point I had two small children so I was reading a lot of picture books. I took a workshop at the Highlights Foundation which really opened my eyes up to the publishing industry. From there I joined SCBWI and started building my portfolio and making connections with other illustrators.  I was simultaneously going back to school to become a certified art teacher! In 2020 I realized that if I wanted something to illustrate I should write it. I AM STUCK was my second dummy, and when I finished it I knew it was the one that would get published. I pitched it during a Twitter event which is how I ended up working with my agent, Rebecca Sherman. She sold I AM STUCK to Clarion and it was published in September of 2023. I’m now working on my second book for Clarion which is set to be released in Winter of ’25. 

Your debut picture book, I AM STUCK (Clarion Books), is an adorable story about a turtle who gets stuck on their back and the variety of critters they meet along the way (some more helpful than others). Can you tell us more about this story and how it came to be?

A stark white background with black hand drawn text that reads, "I am STUCK". The U in "STUCK" is a turtle upside down on their back. Book cover by Julia Mills.

This story actually started with Tara Lazar’s Storystorm!  This is an event where you try to brainstorm an idea for a picture book every day in January. Well I got to the last day and I couldn’t come up with anything. So I wrote “stuck” on the page. In the letter “u” I saw …TURTLE! I immediately started writing (and checking to make sure that book didn’t already exist). I knew that I wanted to explore how hard it is to feel stuck. This was winter of 2021, and at that time many of us were feeling stuck. I wanted to create a story that honored that feeling but also opened the door to getting “unstuck”.

What was your favorite part about working on I AM STUCK? And what was something you found challenging during this project?

My favorite part about working on I AM STUCK was experimenting with techniques to make Turtle’s shell.  I knew I wanted a simple design but I also wanted to echo turtle shells in nature. I ended up layers dark green over bright yellow paint and then sprinkling it with coarse salt. I probably painted that shell 15 times to get it just right! I still love the combination of randomness and structure. The most challenging part of this book was probably the page where Turtle almost rolls over. I actually did this page first because I knew if I could draw him perfectly 18 times I would be set for the rest of the book! I ended up drawing it like animation, layering paper over each previous layer.  I also had a model of Turtle I made with air dry clay to help me visualize how his body would move. I’m really proud of that spread.

A test spread from I AM STUCK where Julia experimented with positions and coloring.

You seem to really love animals! Can you talk more about your connection to animals and nature in your work?

A white squirrel holds an acorn among some autumn leaves. Art by Julia Mills.

I never set out to be an author who wrote about animals, but here I am! I like using elements of how animals act into the personalities of my characters. I knew that I AM STUCK would feature a turtle, but when it came to the secondary character I pretty quickly settled on a possum. I think possums are really cute but a lot of people don’t like them. So I wanted some good press for possums! Right now I’m working on a book that features a raccoon.  I guess I better write one about a skunk to complete the “trash panda” trifecta! Growing up my Mom always told me a lot about the natural world. I learned about names of plants, behaviors of bugs and how to spot birds from a very young age.  I hope that the children who read my books become curious about the animals and seek out more knowledge about the natural world.

Shop talk time! We’d love to hear more about how you work. Can you share more about your creative process and tools?

The best way I could describe my work is traditional materials with digital collage. I like to use lots of different materials but mainly I use black colored pencil and watercolor. After I create my watercolors I scan them and put them in Photoshop. From there I clean the watercolors  (remove the paper usually) and add other elements like digital drawing, layers of pastel or even children’s paint sticks! I tend to choose my materials based on the story. I AM STUCK has a very simple, graphic look because I wanted Turtle to really pop on the page. My next book has more natural elements, including a lot of grass that I’m creating by layering watercolor, colored pencil and digital drawing. 

A Black man holds his smiling daughter up to look at a butterfly on a red flower in a garden. Art by Julia Mills.

What other types of work have you done that relate to your work as an artist and author?

To start off I’m an elementary art teacher. I get a lot of art inspiration by playing with different art materials that I present to my students. I also get writing inspiration from my interactions with my students. Being a teacher reminds me that kids are the reason I write. I want to write books that they will be excited to read. Prior to being a teacher I created a lot of “traditional” art like landscape and portrait paintings. While I enjoyed working on my skills, that kind of art never brought me the joy that illustration brings me. To me there is no higher art compliment than a child telling me they love my book. 

What is your biggest dream for your work as a children’s book creator?

Honestly I just want to keep making books and reading them to kids. I absolutely love school visits and hope to do more of them. I just hope to keep creating stories that make kids laugh and make them think. 

What is something you’d like to share with your readers?

I think honoring your creativity can be so hard. We often feel like we need to do BIG things to be artists and creators. But sometimes being creative means scribbling on a sticky note. Sometimes it means letting yourself write or draw something terrible. So dear readers, if you feel like the mountains are too big to climb, don’t be afraid to study some pebbles. Who knows where they might lead you?

A possum sticks their tongue out in the snow, wearing a blue and purple snow suit. Art by Julia Mills.

Learn More About Julia Mills

To learn more about Julia Mills, her art, books, and latest projects, be sure to check out her website and follow her on social media:

Visit Julia’s book page on her website to find out more about how to order your own copy of I AM STUCK!

Julia is represented for children’s books by Rebecca Sherman at Writers House.

Are you a published or soon-to-be published illustrator or author/illustrator who loves creating books about nature, animals, the environment, or mindfulness? I’d love to chat with you for a KidLit Connection interview! Send me a message.

Victoria’s 2024 Birthday Fundraiser & Art Raffle for The Highlights Foundation

Six flat stones sit on top of pebbles. Each stone contains a carved word. The stones read, "open your soul and learn happiness". Photo from the Word Garden at The Highlights Foundation, taken by Victoria K. Chapman.
Highlights Foundation Logo

In early March I’ll have taken another turn around the sun, which means it’s time for my annual birthday fundraiser! This year, I’m asking you to help me celebrate my birthday by donating to an organization close to my heart—The Highlights Foundation. The Highlights Foundation’s mission is to “to positively impact children by amplifying the voices of storytellers who inform, educate, and inspire children to become their best selves”. They help creators of stories and art for kids get to the next level and grow.

How the Fundraiser Works

I’ve set up three ways to donate—use whatever works best for you!

  1. Donate through the Facebook fundraiser page
  2. Donate through the Instagram fundraiser page (viewable in the Instagram app)
  3. Donate directly through the Highlights Foundation Website

For everyone who donates at least $10, you can be entered into a raffle to win one of my art prints and an art greeting card! I’ll pick 2 winners once the fundraiser ends. 

Here’s how to get entered:

  1. Make your donation of $10 or more
  2. Save or take a screenshot of your donation receipt
  3. Share this fundraiser with friends and family through email or social media for an extra entry!
  4. Fill out this Google form to let me know you donated, share your receipt, and let me know if you shared this fundraiser
  5. NOTE: The fundraiser ends after March 16, 2024!

Once the fundraiser has ended, I’ll pick two winners and reach out via email to let you know if you’re a winner! You can pick your choice of certain prints. I’ll ask for your address so I can mail you your print and card.

NOTE: You don’t have to enter the raffle. You can just donate too. But, if you’d like to enter the raffle, please follow the steps above so I can include you.

More About My Experience with Highlights and Why I Want to Support Them

You all know Highlights for Children magazine, right? Well, the Highlights Foundation is those same amazing people, but from the side of working with the people who actually make stories for kids. Highlights has been an inspiring and life-changing place for me. I first visited the Highlights Foundation retreat center in Pennsylvania in 2022 for their illustration summer camp. If I can, I plan to return every year. The experience was that great!

At Highlights, I was able to connect with other authors and illustrators and industry professionals, work on improving my craft through critiques and workshops, and find the encouragement and inspiration I needed to keep going. Creating books for children isn’t just sunshine and rainbows. It’s a long, grueling process, with a lot of rejection and work before your stories even make it out into the world. Having a supportive community at a place like Highlights has been so transformational for me.

I would love to raise money for Highlights to give other creators the opportunity to go there. Highlights has some amazing scholarship opportunities for those who can’t afford to go on their own, and for those from underrepresented groups. Helping storytellers from all sorts of backgrounds get their stories into the world is so important for our children and families. And being able to go to Highlights is an amazing way to help make that happen for these creators.

Whatever you can donate, I appreciate it! And if you can’t, sharing is amazing too!  Thanks for making my birthday awesome by donating and sharing this fundraiser!

Scenes from my first trip to The Highlights Foundation in 2023.

KidLit Connection: Getting to Emma Reynolds—Author, Illustrator, and Climate Activist

Author-illustrator, Emma Reynolds stands outside of the Wonderland Independent Children's Bookshop in Retford, UK. She is smiling and holding her two books, AMARA AND THE BATS, and DRAWN TO CHANGE THE WORLD. The logo from DRAWN TO CHANGE THE WORLD is in the window of the bookshop.
Emma Outside Wonderland Independent
Children’s Bookshop in Retford, UK.

It’s the end of 2023 and time for the final KidLit Connection interview of the year! I’m so thrilled to share this conversation with author and illustrator Emma Reynolds. Emma is a talented creator who advocates for environmental conservation through art and stories. Her debut author-illustrated picture book AMARA AND THE BATS (Atheneum) is an award-winning story that shows children how they can make a difference to creatures big and small through peaceful protest. And her latest book DRAWN TO CHANGE THE WORLD (HarperAlley) is a collaboration with other artists who illustrate powerful stories of climate justice from around the world. Emma also founded #KidLit4Climate, bringing authors and illustrators from around the globe together in solidarity with youth climate strikes.

Outside of her work as an author and illustrator, Emma volunteers for her local bat conservation group and loves spending time outdoors. She lives and works in Manchester, UK. Emma can sometimes be seen running interactive workshops for kids and families, speaking at events, and sharing her work at conventions and conferences. In this interview, Emma shares more about her books, her process and inspiration, and what it takes to be a creator in the KidLit industry. I hope you enjoy hearing from Emma as much as I did!

An Interview with Children’s Book Creator, Emma Reynolds

First, we’d love to hear more about you as an illustrator and author. Can you tell us more about you and your work as a creator of books for kids?

Hello! I’m a children’s illustrator-author from Manchester, UK. I make books about nature, activism, and hope through action—showing readers the powerful tangible things we can all do to make a difference in our communities.

I love creating characters and imagining their worlds, how they think and feel, and showing empathy as they navigate the challenges and emotions they experience throughout their journeys. I’ve always loved books with pictures in them most, and after thinking ‘Oh no I should be reading long adult books but I don’t enjoy them’ in my teens and stopping reading for a little while, I discovered graphic novels in my school library and this re-invigorated my love of reading. Now I’m a huge advocate for visual literacy and that picture books and illustrated books are for all ages, not just for children. I even wrote my University dissertation on the power of visual literacy in increasing student’s confidence and abilities, and how this should be taught from primary age all the way to adulthood.

How did you get your start creating children’s books? Was there anything in particular that lead you to pursue it?

I’ve always loved drawing and making art my whole life—in school my favourite subjects I loved were English, Media Studies and Film Studies. I found art classes too prescriptive and uninspiring in secondary school but I still continued to draw in my free time, and I pursued Illustration with Animation at university—and while there I learnt about the picture book process, and this re-invigorated my childhood dream of being a picture book illustrator and author!

Your work is very focused on advocating for the Earth and shedding light on climate change through the eyes of children. I love this! Can you tell us more about what inspired you down this path?

Yes! This wasn’t an intentional path I set for myself but it has happened naturally relating to my interests and the stories that were inside me ready to be told. When I was in primary school I was really interested in science (but felt I wasn’t good enough at maths to pursue it, and the lessons in secondary school were so dry), and I love that I’ve managed to honour that interest in my dream job as an author-illustrator by making accessible science communication books.

I have other stories inside me waiting, and I’ll know when they’re ready to be told.

A full-page illustrated spread from AMARA AND THE BATS by Emma Reynolds. Different children and grown-ups together are planting trees and plants and setting up various things to help with bat habitat. There is text about how the people made the environment more bat-friendly.
Spread from ‘Amara and the Bats’ by Emma Reynolds, Published by Atheneum/Simon & Schuster

Your most recent book, DRAWN TO CHANGE THE WORLD, is an amazing collaborative project with other illustrators, bringing to light the stories of young climate activists from around the world. Can you tell us more about this really important book?

We worked on Drawn for three years, after I pitched it in 2020. Drawn to Change The World: 16 Youth Climate Activists, 16 Artists is a middle grade graphic novel with each activist biography illustrated by a different acclaimed artist from around the world. It has extensive backmatter including activist interviews on the power of community, and illustrations to explain the science. Drawn focuses on the need to centre Indigenous solutions and intersectional climate justice, and also speaks on how we need more artists to transform society and tell new stories about our future—allowing us to manifest them into reality. Drawn features Indigenous, Black, Latina, Asian, LGBTQ+, disabled and neurodivergent climate activists, illustrated by incredible artists from all over the world, it was such an honour to work with them.

‘Drawn to Change The World: 16 Youth Climate Activists, 16 Artists’ Published by HarperAlley.

Creating DRAWN TO CHANGE THE WORLD obviously involved working with lots of other people. Can you tell us more about that process and what it was like compared to other books you’ve done?

Yes so it was very different from how I would create a book normally, as I plan everything visually and work on the illustrations and text in tandem when I’m the author-illustrator. But as I was writing the script for other artists to illustrate, I had to prepare the script in advance. As each artist only had 4 pages (2 double page spreads) per activist, I actually thumbnailed them out to scale to check everything would physically fit, and then reverse engineered this into a script for the artists. I didn’t share my rough thumbnails with them though, as I wanted them to be able to freely express themselves in the panels and lay it out as they see fit.

The process as a whole involved a lot A LOT of admin and emails and back and forth haha. I absolutely could not have done it without my editor Megan Ilnitzki and publishing team taking on the lion’s share of that labour as my advance only goes so far, and I still spent an enormous amount of time checking everything and going through PDFs to check every line, speech bubble and word was right.

Photo of Emma Reynolds in 2021 working on thumbnails and research for ‘Drawn to Change The World’.
Melati and Isabel Wijsen comic biography, written by Emma Reynolds and illustrated by Ann Maulina.
Ou Hóngyì comic biography, written by Emma Reynolds and illustrated by Jade Zhang.
Dara McAnulty comic biography, written by Emma Reynolds and illustrated by Victoria Maderna and Federico Piatti.
Dara McAnulty comic biography, written by Emma Reynolds and illustrated by Victoria Maderna and Federico Piatti.
Greta Thunberg comic biography – Global Week for Future spread, written and illustrated by Emma Reynolds.
From left to right and top to bottom:
1. Photo of Emma Reynolds in 2021 working on thumbnails and research for ‘Drawn to Change The World’.
2. Melati and Isabel Wijsen comic biography, written by Emma Reynolds and illustrated by Ann Maulina.
3. Ou Hóngyì comic biography, written by Emma Reynolds and illustrated by Jade Zhang.
4. Dara McAnulty comic biography, written by Emma Reynolds and illustrated by Victoria Maderna and Federico Piatti.
5. Science front-matter from ‘Drawn to Change The World’.
6. Greta Thunberg comic biography – Global Week for Future spread, written and illustrated by Emma Reynolds.

Your debut author/illustrator picture book, AMARA AND THE BATS, which came out in 2021 is another great story about a child activist who speaks out for bats in her community. Can you tell us more about what inspired this story?

The book cover for AMARA AND THE BATS by Emma Reynolds. An illustration of three children in the evening next to trees holding up signs with images of bats and one that says "save the bats".
The book cover for ‘Amara and the Bats’
by Emma Reynolds

Yes! So I’ve always loved bats, and I drew this character Amara back in 2016, and I knew I wanted to tell her story! I thought she looked like she was looking up curiously at something, and I decided it would be a bat. And through researching more about bats throughout the book, I became even more fascinated with these amazing creatures. I joined my local bat group, and my bat group leader Steve Parker kindly fact checked my book for me, and I’ve been involved with the group and with Bat Conservation Trust and other bat charities and organisations around the world ever since. Amara and the Bats holds a special place in my heart, and I’m so, so happy I was able to make my dream come true and it wouldn’t have been possible without my agent Thao Le and my wonderful editor Julia McCarthy. Amara’s character is inspired by me and my best friend as kids, we were passionate about saving and advocating for overlooked and misunderstood animals.

Two pages of AMARA AND THE BATS by Emma Reynolds. On the left is an illustration of a little bat wrapped in a towel. On the right is Amara and her family waving to a man with a wildlife rescue truck.
Two pages from the interior of ‘Amara and the Bats’ by Emma Reynolds

On the shop-talk end of things, we’d love to hear more about your process when you create illustrations for your books. Can you tell us more about your tools and the steps you take to go from an idea to a finished book?

A pencil sketch of a child with long, dark hair, smiling, and standing with her hands behind her back. By Emma Reynolds.
A pencil sketch of Amara by Emma Reynolds

That’s a great question, I’d love to tell you more about it.

So I usually start by sketching, whether that be in an actual sketchbook (I go for non fancy covered ones as the pressure it too great! But the paper is good) or around my puzzle books while I’m relaxing and unwinding. I like sketching with polychromos colouring pencils in my sketchbook, and in my puzzle book it’s whatever I happen to be filling in the puzzle with – sometimes a ballpoint pen, sometimes a biro.

For final art, I do my outlines in Procreate on the iPad, using the 4B brush that comes with Procreate, and then I use Photoshop to colour my books as I need a large canvas and high layer count, plus muscle memory makes this a quicker process for me at this stage.

If there is one wish you could have for your work as a KidLit author/illustrator, what would it be?

Stable money (preferably universal basic income! *stares at governments who know it would cost them less than the benefits system in place now*), so I have more time to spend thinking, dreaming and creating books, rather than worrying about money all the time.

What is something you would like to share with aspiring illustrators and author/illustrators who have hopes to be published someday?

The biggest thing is not giving up, and I don’t say this lightly. Publishing is extreeeemley slow, because of the nature of the business. This was really odd to me at first as I came from a very fast-paced animation job, and this takes getting used to. And this advice of not giving up applies to all stages of the process—from submitting to agents, having your book out on sub when your agent is pitching, to waiting for feedback from your editor once you have a book deal. Patience is key—fill your time with either rest, re-filling your creative well, or cracking on with your next project. And of course, part-time work if you need to, as this industry is very hard to make a living—but it is possible. It just takes time and planting the seeds to build up. 

If you write and illustrate, I recommend getting a literary agent, rather than an illustration agent. Literary agents take around 15% instead of 30% like an illustration agent, and they are experts on the book industry and pitching your work to editors. They more than pay for their cut in their expertise, access, support and negotiation in getting you a good and fair book deal.

Most of all—create work that you enjoy! I am guilty of this sometimes, but sometimes I forget that art is supposed to be fun, and that we create our best work when we are enjoying it, and that always, always shines through to others. I wish you all the very best on your journey! It’s a marathon not a race.

Check Out All of Emma Reynolds’ Books

Emma has three published books that she’s illustrated, two of which she also wrote. Check them all out on her website and follow the links to purchase your own copies!

Book cover for 'Amara and the Bats' by Emma Reynolds. Click to view more.
Book cover for 'Drawn to Change the World" by Emma Reynolds and participating illustrators. Click to find out more.
'Rescuing Mrs. Birdley' book cover. Written by Aaron Reynolds and illustrated by Emma Reynolds. Click to find out more.
From left to right: Amara and the Bats, Drawn to Change the World, Rescuing Mrs. Birdley

See More from Emma Reynolds:

Graphic Novel Artist Panel. Book process, inspiration, fav books, and advice. Hosted by Indie Bookshop. Second Star to the Right. Click to view the YouTube video of the artist panel.

To learn more about Emma Reynolds, her books, art, and latest projects, be sure to visit her website, social media pages, and join her newsletter. Plus, more fun information below:

Learn more about Drawn to Change the World:

Emma is represented by Thao Le at Sandra Dijkstra Literary Agency.

Are you a published or soon-to-be published illustrator or author/illustrator who loves creating books about nature, animals, the environment, or mindfulness? I’d love to chat with you for a KidLit Connection interview! Send me a message.

KidLit Connection: Getting to Know Illustrator Heather Brockman Lee

An illustration of different children of all shapes, sizes, and colors holding hands. One child at the front is reading a book. Art by Heather Brockman Lee.
Illustrator Heather Brockman Lee smiling for the camera in front of a bookcase.
Heather Brockman Lee

I’m delighted to bring you another KidLit Connection interview with an illustrator I adore. This month, I chatted with Heather Brockman Lee, a picture book illustrator (and soon-to-be author/illustrator) and licensing illustrator. Heather’s work is whimsical and soft, inspired by nature and magic. She has three books she’s illustrated that are on the shelves for you to enjoy now (check them out on her website), and two more on the way this coming year! Plus, more in the works. In the interview, we chatted more about those books.

Heather has been the winner of multiple awards, including the portfolio showcase award from SCBWI in 2021. She is also a mentor through the Michelle Begley Mentorship Program as part of the Rocky Mountain chapter of SCBWI. Heather lives in Colorado with her family and when she’s not painting in her studio enjoys spending time outdoors and keeping active. Not surprisingly, she is a lover of books and animals.

I’m so happy to share this interview, as Heather had some great insights and fun behind-the-scenes peaks at her work and process. I hope you enjoy hearing from Heather as much as I did!

An Interview with Children’s Book Illustrator, Heather Brockman Lee

A fairy sits inside a plant pot and flowers grow from their head. The flowers are yellow, orange, and green. The fairy wears a red jumpsuit and has grey/brown wings. The pot is a terracotta pot shown in a cut cross-section. Art by Heather Brockman Lee.


First, we’d love to hear more about you and your work as an illustrator. Can you tell us more about yourself as an artist of books for kids?

Yes! And thank you so much for having me. Books and art have always played a huge role in my life, and I feel so lucky to be building a career making books. When I am not working on a book that is under contract, I am usually painting and sketching for projects to send to my agent that will hopefully become future books. I also love to experiment and push myself with personal work, constantly trying to improve. I am very fortunate to know a lot of other illustrators and I love sharing work with them and talking art. My favorite pieces to make are ones that hold a little magic, and I try to include that feeling in realistic scenes also. 

How did you first start creating art for children’s books? What led you to this particular career? 

I graduated college with a BA in Fine Art, and I had some really cool jobs but they mostly centered around doing art for spaces that required wealth to create. This makes sense, because it is usually expensive to have custom textiles or stained glass made. But I wanted to make work that was more meaningful and accessible. I have always loved books and story so being an illustrator is a perfect fit, but it took me a long time to get started because I really didn’t know how a person got work in publishing. Finally about 7 years ago I literally just googled “how to illustrate children’s books” and that took me to the SCBWI website, which lead to me learning so much about the industry, and meeting my critique group, who have all been formative to my career. 

A fairy peers out from behind some plants, watching a woman pouring tea from a pink polk-a-dot tea pot in a garden. The woman stands at a block iron table and chair on a blue brick patio. There is a small house in the background. The art is whimsical and colorful in greens and blues. Illustration by Heather Brockman Lee.

Shop talk! Can you tell us more about how you work as an illustrator? What are the different ways you approach your pieces and various tools you use to create them?

This might be my favorite subject to talk about! I love working with traditional materials and doing a lot of experimentation combining different techniques and media to get the exact look I am going for. When I start working on a new book project, I think a lot about the medium I want to use to best express the mood of that book. The mediums I use the most are gouache, watercolor and colored pencil on a variety of papers meant for watercolor or mixed media. My current favorite is Arches 300 lb hot press- which is pricey but so worth it (and I can paint on both sides!) I also really love using textured papers and ephemera in my images. While the bulk of the work is done traditionally, I also use procreate on my iPad for sketching, and photoshop to edit or create digital collage from my scans. 

"When You Love a Book" book cover by Heather Brockman Lee. Book text by Kaz Windness. An illustration of a child opening a book with all kinds of objects popping out, including a train, a dog house, a boat, spaghetti, a mouse with a cookie, Little Red Riding Hood, birds, and a moon.
The new cover for “When You Love a Book”

I’m so excited for your next book that’s set to come out in May of 2024, WHEN YOU LOVE A BOOK, written by Kaz Windness (who I interviewed last year) and published by Penguin Random House! This is an extra special collaboration because you and Kaz are also critique partners. Can you tell us more about this book?

Yes we are so excited about this book! Obviously most people that go into publishing do it out of a love for books so it will be no surprise that books have meant so much to both of us throughout our lives. We have had conversations about books being friends to us when we really needed them, and when Kaz wrote the manuscript she asked if I would consider illustrating it. Of course Kaz herself is a very skilled and talented illustrator, but she felt that her style might lean a little too edgy for the project, and she also wanted the experience of being on the writing side only. I loved the manuscript and agreed immediately! We like to say it is a book about friends being books made by friends who make books.  The book itself is a beautiful tribute to classic stories that shaped so many of our childhoods, and that many of us continue to pass down to our own children and grandchildren. 

Since you personally know the author of WHEN YOU LOVE A BOOK, how was your experience illustrating this book different from other books? Was there a more direct collaboration than other projects? Or did you still work primarily with the art director without author feedback?

As you mentioned, Kaz and I are in a critique group together, so we are very used to giving and receiving feedback on projects. While we were getting the book ready for submission, we treated it as we do all book dummies in the critique group. She had great feedback on the sketches, as did our other critique partners, but was very careful to respond to my ideas as opposed to telling me how she would illustrate it. As a fellow illustrator, I really admire her restraint! I think a collaboration like this really needs to have a mutual trust and respect in the other’s skillset which fortunately we have. Once the book sold, the publisher treated us as they would any author and illustrator, with separate contracts, and my interaction was mostly with the Art Director Sophie Erb (who is wonderful to work with!) 

What were your favorite parts about illustrating WHEN YOU LOVE A BOOK? In contrast, what was something you found challenging about the project?

My favorite part was collecting and using old library cards signed by children and collaged throughout the book. I found most of them on Etsy or Ebay, and just loved feeling that connection to generations of readers. I didn’t want to cut up the actual cards, so I scanned and printed them on a rice paper meant for printmaking. This allowed me to use my favorite sections more than once, and the thinner paper was easier to work with for cutting and gluing. 

The most challenging part by far was trying to live up to my own expectations for the illustrations. I think most artists can never totally satisfy ourselves. I am really proud of this book though and I hope people will enjoy reading and looking at it as much as I did painting it.

The publishing announcement for the book City of Jasmine. Text reads: Luana Kay Horry at HarperCollins has bought world rights in a three-book preempt, The City of Jasmine by debut author Nadine Presley (1.), illustrated by Heather Brockman Lee. In this picture book, a Syrian girl holds on to the beauty of her hometown infused with the sweet scent of jasmine. While the world carves ruins into her memories, she stands up: Damascus is no pile of rubble. Publication is slated for winter 2025; Allison Remcheck at Stimola Literary Studio represented the author, and Deborah Warren at East West Agency represented the illustrator.
Publishing announcement for “City of Jasmine”

You also have some other projects in the works, including another book you’re illustrating and your debut book as an author and illustrator. Can you tell us more about them?

Yes! Right now I am working on art for City of Jasmine, by Nadine Presley. She is a debut author (with more books on the way) and has written a beautiful book honoring her beloved city of Damascus. I am working closely with her and our publishing team at Harper Collins to bring her vision to life. This is another example of a less than common setup, as this is such a personal story for Nadine we all want her to be very involved in the creation of the art. It is scheduled to release in winter of 2025.

I am also working on my debut as an author/illustrator, about a little girl and her umbrella that helps her feel safe and secure, which will come out the following year, also with Harper Collins. 

What is your biggest hope for your work as a children’s book creator?

My biggest hope is for longevity and to make a positive impact on the children who read the books. I love this job so much and never get tired of painting and stories. I want the books I work on to reach children and readers who will enjoy them, and hopefully some will even love them. I think stories are the foundation of our shared humanity and can bring people together in unique ways. 

A little boy holding an umbrella walks a tiny dog on a leash, A taller man with a white beard in a yellow suit holds many leashes with a menagerie of animals behind him. The animals include a horse, a cow, a dog, a pig, a turkey, and a goat. A watercolor illustration by Heather Brockman Lee.

If you could share something with aspiring picture book illustrators, what would you tell them?

I think this advice is given a lot, because it is still true. Don’t try to be like everyone else, don’t just copy the most successful or popular trends. Really dig deep and look inward to figure out what you want to say to the world, and how to say it. Most paths to becoming a picture book illustrator are long and challenging, so it’s really important to be making work that you love and is authentic to you—because you will need to make a lot of it. 

Check Out Heather Brockman Lee’s Books

Heather has three books out NOW for you and your family to enjoy! Plus, you can pre-order When You Love a Book to get it as soon as it hits shelves in 2024.

You can also ask your local library to order the books for you and your whole community to enjoy!

A Poem Grows Inside You. Story by Katey Howes. Pictures by Heather Brockman Lee.
Hattie Hates Hugs. Words by Sarah Hovorka. Illustrated by Heather Brockman Lee.
She is Mama. Words by Mackenzie Porter. Illustrated by Heather Brockman Lee.
Heather Brockman Lee’s current books available now.

See More From Heather Brockman Lee

A fairy looks over her shoulder as she wears a fancy red and green coat of flowers. The fairy's wings are translucent yellow with peach spots. Art by Heather Brockman Lee.


To learn more about Heather Brockman Lee, see more of her work, and stay up-to-date on the latest about her projects, visit her website and social media pages:

Heather is represented for children’s books by Deborah Warren at East West Literary Agency.

Are you a published or soon-to-be published illustrator or author/illustrator who loves creating books about nature, animals, or the environment? I’d love to chat with you for a KidLit Connection interview! Send me a message.

10 Things to Consider at a Highlights Foundation Workshop

Stones on the ground that read, "the happy twist in spirit may open small inspiration" in the Word Garden at The Highlights Foundation. Poem and photo by Victoria K. Chapman.
A short poem created in the “Word Garden” at The Highlights Foundation

Earlier in July, I went away for almost a week to stay at The Highlights Foundation at The Barn at Boyds Mills in Pennsylvania. I attended the Summer Camp in Illustration intensive in order to grow my craft, learn from others, and make new connections in the children’s illustration field. Being there physically gave me the chance to really be immersed in the work and connect in a way I couldn’t if it was online from home. After two and a half years of everything online thanks to the pandemic, this was a welcomed change.

After my six days at The Highlights Foundation, I found myself struggling to succinctly and clearly describe my experience there. It was such a mind-opening and spirit-lifting time, it’s hard to put into words. Knowing that everyone’s experience is different, I’m speaking from my own perspective. And since my head is still buzzing with so many things I could say about my trip, I narrowed down to this list that I hope you find helpful.

Ten Things to Consider When Attending an In-Person Highlights Foundation Workshop:

  1. Be open to experience. Don’t arrive with a specific expectation. Arrive with your mind and spirit open to receive whatever it is that happens. I couldn’t predict how my week would go. And it was so much better than I might have guessed.

  2. Arrive hungry. Because they feed you three meals a day and snacks in between. And it’s not just any old food. It’s amazing, local, fresh, and different every day. If you have a special diet, don’t worry—they’ve got you covered. I’m a vegetarian and I had one of the best culinary experiences I’ve had in a while.

  3. Be social. I know not everyone has an easy time with being social among strangers. But, believe me—people at Highlights who attend a workshop with you will not be strangers for long. Connecting with other kidlit illustrators and author/illustrators was one of the best parts of my trip. It made the experience so much more worthwhile. I had the pleasure of getting to know not only my fellow participants, but also the teaching faculty, and the staff. They were all amazing people and I’m so glad I got to spend time with them.

  4. Give yourself time. Time to rest. Time to process. Time to be alone if you need it. I had the privilege of being able to add a personal retreat day to the beginning and end of my trip in order to let myself settle in and decompress. It was a great decision and if you have the ability to do so, I really recommend it. It allowed for some more quiet time, but also some more intimate time with the handful of others who stayed extra time. And if you can’t do that, make sure to give yourself time during the day or evening to take a break alone somewhere, especially if you’re an introvert like me. There are plenty of great places to do that.

  5. Take advantage of the outdoor spaces. The Barn at Boyds Mills is full of outdoor trails and places to sit. Be sure to visit the brook and sit down to enjoy the sound of the babbling water. Take a hike up one of the trails if you’re able to (but be sure to put on bug spray to avoid the ticks and flies). Or just enjoy time at one of the outdoor tables to quietly sketch or write. And if there’s a fire in the evening outside at the Barn, enjoy the time to sit by it and chat with others. Fireside times with fellow illustrators were some of my favorite moments.

  6. Document your time there. You’ll want to take notes, you’ll want to draw, you’ll want to write. There’s a lot of information to take in. Make sure you have your favorite ways to take down and process information with you. I brought both a writing notebook and several sketchbooks and I ended up with notes and sketches in both. I’m glad I have them to refer back to. I also took photos to remember some of the spaces and people I spent time with. Looking back at them makes me smile.

  7. Be present and in the moment. While you’re documenting your time there, also remember to be present and in-the-moment. It’s easy to jump ahead in your mind to what you’ll do when you get home. But, it’s also an experience you’ll really want to savor. It goes by quickly! Enjoy each moment while it’s happening.

  8. Unplug and disconnect. From your regular life that is. It’s okay to check in with the family, especially when you have kids. But, be mindful of how often you’re checking your phone, email, or social media. Fortunately, the cellular service at Boyds Mills is pretty spotty and the wifi can be touch and go depending on where you’re standing. That can be frustrating if you’re doing research online. But, for the most part, it wasn’t a huge issue for me, and it allowed me to remember to unplug for a while and focus on the workshop and the people.

  9. Be open to feedback. For many of these workshops, there is a critique or mentor component to it. One of the most helpful things you can do for yourself is to be open to the feedback you receive. It doesn’t mean you have to use all of the feedback if you don’t agree with it. But, at least listen. And thank the people who took the time to look at your work with you. They are there for the love of children’s books just like you are.

  10. Exchange information with colleagues. You’re going to meet people there and you’re probably going to want to stay in touch. Be sure to ask others for their information, such as social media handles and email addresses. To make it easy to share your information, you could bring business cards or postcards with the info you want to share. I was so glad I brought my business cards with me so people could find me later.

And the biggest piece of advice I can give for a Highlights Foundation workshop trip is that the experience will be what you make it. People I know who have gone before have told me there’s a magic to the space that they haven’t found in other places. I found that to be true myself. But, being open to experience and present in the moment made the trip even more pleasant and remarkable. I hope you’ll find the same is true for you.

One of the amazing breakfasts I had at Highlights.
A quiet place to sit by the brook.
Appetizers by the brook with friends. Selfie by Mallory Grigg.
Isabel Roxas presenting at the Illustration Intensive
The front of The Barn where much of the action takes place.
I enjoyed sketching in the morning with a cup of tea outdoors.

You can learn more about The Highlights Foundation and their work at https://www.highlightsfoundation.org

KidLit Connection: Getting to Know Author-Illustrator, Kari Percival

An illustrated page spread of Kari Percival's book, HOW TO SAY HELLO TO A WORM. Four children dig in the dirt and pour water in a community garden bed.
A spread from Kari Percival’s picture book HOW TO SAY HELLO TO A WORK: A FIRST GUIDE TO OUTSIDE

In the second of the KidLit Connection blog series, I interviewed illustrator, writer, and environmental educator, Kari Percival. Kari has studied art, environmental science, and teaching. Her education combined with her work as a science teacher, running a local preschool gardening program, and experience as a parent has helped shape her unique perspective when creating books for children. 

Author/Illustrator and environmental educator Kari Percival works with young children in the community gardens during her Early Birds Garden Club program.

Kari creates colorful woodcut prints that show dynamic relationships between kids and nature. Her storytelling inspires small children and their grownups to make a positive difference in the world through connecting with nature. Her picture book HOW TO SAY HELLO TO A WORM: A FIRST GUIDE TO OUTSIDE (published by Rise x Penguin Workshop) is a perfect guide for preschoolers who love to get their hands dirty, play in nature, and learn all about how plants grow. 

In this post, Kari tells us about the experiences that have shaped her work as an illustrator and storyteller and what inspires her to create books for children. I really loved hearing about all the interesting pieces of Kari’s life that have made her the book creator she is today.

Kari’s Interview

First, let’s talk a bit about you as an author and illustrator. Could you tell us more about what inspires you and what you love about being a creator of books for kids? 

As my extended family is cleaning out old storage boxes, they send me these little picture books I wrote when I was a child, that they’d tucked away, that I hadn’t seen for 40 years. Little stories about nature, local wildlife, or my pets. When I was in grade school, I guess our teachers had us make books a lot, bound and covered in wallpaper samples. I could write and draw whatever I wanted in them, and I gave them as gifts to family members a lot. I guess when I write and illustrate picture books, its like I am still making and giving gifts out, except now its to the children of the world. 

As an environmental educator AND picture book author/illustrator, how does each type of work relate to and inform the other?

Children and parents working in the community gardens at the Early Bird Garden Club run by Kari Percival.
Children and parents working in the community gardens at the Early Bird Garden Club run by Kari Percival.

Teaching informs my writing, but also, my writing is motivated by my love of learning and my love of ecology, of a deep wonder and love for all the beautiful, vulnerable, magical and amazing life on Earth. I am an artist, but I went to graduate school to learn to be a science teacher. Although I love art, and it comes easily to me, I don’t think everyone should be forced to make art if they would rather play basketball or whatever thay love to do. But I do think its imperative that every young person learns about ecology, and biology, and environmental science, because every young person will grow up to be a voter and decision maker, and they need to know how we are all members of the web of life, and how our decisions affect all life on Earth. I worked as a science teacher in public schools for 10 years, and I hope to maybe go back someday, but I took a break when I had children, and that is when I started thinking of books I wanted to write.

How did you first get into creating children’s books? What made you want to pursue this type of art? 

When I had my own children, I really enjoyed re-entering the world of children’s picture books as a parent. There are so many wonderful books, classics and new. There were also gaps: so many books I thought were missing from the shelf. I thought maybe I could apply my art and storytelling skills to making books to fill where I thought some gaps were. It seemed like a long shot, but maybe worth a try. 

Let’s talk about the most recently published book you wrote and illustrated, HOW TO SAY HELLO TO A WORM: A FIRST GUIDE TO OUTSIDE. Can you tell us a little more about the book and what inspired you to write it? 

I’m an environmental educator and so inviting kids outdoors and learning to grow food – even just to learn where food comes from – and see how we are made of food that is made of sunshine and how we share the world with other living beings, inviting and empowering very young children to become immersed in hands-on outdoor learning, edible education – that is my goal with this book.

When my kids were small, I started Early Birds Garden Club, a meet-up for toddler and parents that wanted to learn to grow food at our local community garden. Though leading the group, I learned what questions toddlers had about learning to garden, what questions they had about nature, and what gardening activities they enjoyed doing. My cracker jack agent, Teresa Kietlinski of Bookmark Literary, suggested I should write a book on how to garden for toddlers.  She knew that I would know just where to start, because I knew just what types of questions curious kids that age had. So then I wrote HOW TO SAY HELLO TO A WORM. They say “write what you know” and that was true for me with this book.

A spread from Kari Percival's Book, HOW TO SAY HELLO TO A WORM. Children dig in a garden and pick up worms. The text reads, "How do you say hello to a worm? Gently, very gently. Hello, Worm!"
A spread from Kari Percival’s book HOW TO SAY HELLO TO A WORM: A FIRST GUIDE TO OUTSIDE
Kari’s sketch of the above spread prior to creating the final artwork.

What was your favorite part about creating HOW TO SAY HELLO TO A WORM? And what was a challenge you had to overcome while working on it, if any? 

Botanicals: I loved drawing portraits of plants! And I loved the “casting call” – creating and getting to know all the characters of the little children who garden in the book. I also loved thinking of writing the book from the perspective of what questions the youngest garden explorers would wonder about. A challenge was cutting images that I wanted to include. Cutting is the hardest! Originally, I wanted more of the pictures to contain lots of kids doing lots of gardening activities, but the design team focused each composition on a certain interaction with fewer children and more space for the words. And that was actually probably good anyway when it came time to produce the final art on a tight timeline!

You also have a new book coming out soon called SAFE CROSSING, which will be published by Chronicle Books. What is that book about and what can kids and their grown-ups learn from it? 

SAFE CROSSING is an informational fiction story about a family of community scientists who volunteer with an amphibian migration team in springtime.  They help salamanders and frogs cross the street to avoid getting crushed by cars. When they realize that more needs to be done to protect these small creatures, they rally their community to build a wildlife tunnel so even more amphibians can cross safely. The story models grown-ups listening to kids ideas around protecting animals from harm.

What is your greatest hope for your work as a creator of books for kids? 

As a parent and a teacher, I know how – after a long challenging day when you have given your all, are running on fumes and you have no more ideas of what to say to your child or your students, – what a relief it can be to hunker down and read a picture book togther. I am so thankful to all the picture book creators who help caregivers and teachers explore interesting, wonderful or difficult topics with their children, with beauty and sensitivity and humor and honesty. My hope is for my work to give caregivers and children more ways to find joy and meaning together, and to honor their impulses to share wonder and love of our beautiful world and life on earth.

What is something you’d like to tell aspiring picture book authors/illustrators? 

Work or volunteer regularly with children in the age range of your target audience, doing something you love. Read books currently being published in the genre (within the last 5 years.) Find a community of writers or illutrators in the genre you aspire to publish in. Connect with them and ask them questions. Join critique groups in organizations like SCBWI, 12×12 or take classes where you can share work in a supportive environments where you can exchange feedback with others.  Use your best manners, experiment a lot, share your experiments, note what work you do that people respond most to, and do more of that.  Read you book outloud to yourself in the mirror and to young test audiences, notice where eyes glaze over and then edit those spots. Enter contests, be humble, and learn, learn, learn. Develop effective time habits, and organizational habits so that when opportunity knocks, you are ready with bells on. Ask someone knowledgable to look at a contract for red flags before you sign it.

A page from Kari Percival's book HOW TO SAY HELLO TO A WORM. Two children play under a play hut made from pea plants and have a tea party. The text reads: "But when will there be peas? See how the play hut is shady? See the flowers? See the bees? You'll see pea pods next."
This page from HOW TO SAY HELLO TO A WORM explains to young children when peas will start growing in the vegetable garden.

See More from Kari Percival

You can learn more about Kari and see more of her work online. Check out the links and be sure to follow her on social media!

Are you a published or soon-to-be published children’s illustrator or author/illustrator who’s interested in being interviewed as part of the KidLit Connection series? If your work has a focus on nature, the environment, animals, or mindfulness, I’d love to chat with you! You can get in touch with me using the contact form on my site.

Nurturing the Artist’s Soul with Nature

All of us as creative beings need something to nurture our creative souls. Every human has the potential and capacity for creativity, even those who think they have lost it. As I’ve talked about before, being creative is like breathing. In order to breath out, you must breath in. In order to create something new, you must also take inspiration in. For me, one of my favorite ways to breath in inspiration is by spending time out in nature.

I’ve mentioned the book The Artist’s Way by Julia Cameron in the past—a 12 week program to nurture your inner “artist child”. I keep bringing it up because it’s a program that has helped me through some of my artistic ruts and given new life to my creative spirit. One of the weekly assignments when doing The Artist’s Way is an “Artist’s Date”. It doesn’t really matter what you do on your artist’s date, but the criteria are as follows:

  • You must go on your artist’s date alone
  • Your artist’s date is something that you want to do for you
  • Your artist’s date will help inspire your artist child

Some examples of dates I’ve taken myself on include:

  • Going to the local botanic garden
  • Going to an art museum
  • Watching a new movie I’ve been wanting to see (by myself)
  • Buying a cheap bubble set and blowing bubbles in my front yard
  • Going for a long hike on a new trail I’ve never been to before
  • Taking photos at a local park or garden
  • Browsing the plants at a local garden center

Connecting With Nature

The possibilities for artist’s dates are endless. But, of all those possibilities, my favorite ones are the dates where I really get to connect with nature. Take the time to observe. Here are examples of things I’ve noticed while out in nature:

  • Feeling my feet on the trail and how the pine needles give it a soft springiness.
  • Stumbling upon a huge grove of ferns under a forest canopy. 
  • Discovering the variety of bees attracted to mountain mint flowers.
  • Feeling the warmth of sunshine on my face when I close my eyes and breath in fresh air.
  • Stopping to notice the number of species of oak trees in a particular area.
  • Being surprised and charmed by wildlife scurrying by while sitting quietly on a boulder.
  • Greeting a green frog in a pond while watching the red-winged black birds across the way.
On the left, a photo from the ground of a woman standing on a forest trail. On the right, a drawing inspired by the photo by artist Victoria K. Chapman.
At the top, a photo of a green frog in a mossy pond. On the bottom, a drawing inspired by the frog photo by artist Victoria K. Chapman.
On the left, a photo of a leaf from a red oak tree. On the right, a drawing of a red oak leaf by artist Victoria K. Chapman.

Similar experiences can be had for yourself when embarking on a solo trip into nature. It doesn’t even have to be a long adventure. Is there a local trail nearby? Go explore it for half an hour. Is there a lake or pond within walking or driving distance? Go there, sit, and observe. Bring a sketchbook or notebook to jot down ideas that might come up. Bring a camera if you wish to capture something that way. But mostly, focus on the moment of being present with nature, however that happens for you.

The important piece of going on your nature date is finding some way to connect with nature, be it big or small. And the most important part is just doing it. Don’t let limitations and excuses get in your way. Even exploring your own back yard can be a date. Put out some bird seed or a hummingbird feeder and see what happens. What’s under the rock over there? What does the lichen growing over on that tree really look like up close? Be curious. Be open. Be willing to take in whatever comes to you. And most of all, let your artist child explore the wonders and joy of nature. Nurture your artist’s soul.

A sketchbook with pen drawings of wood ferns held above a patch of actual wood ferns. By artist Victoria K. Chapman.
On the left, a photo of a feather from a red-bellied woodpecker. On the right, a pen drawing of the feather inspired by the photo by artist Victoria K. Chapman.