(click to enlarge)

(click to enlarge)

I cannot believe I wrote this post a year ago. When I put it on Facebook, I hadn’t thought much about it. But lo and behold Mark from my high school French class (and just about every other class I had growing up) kindly contacted me to tell me he still had the books. Not only did he still have the books, but if I wanted them, those books could be mine! And so thanks to Mark, those books are now mine! They make me so happy.

Most importantly, I finally know that Mel Dietmeier is the illustrator. I still cannot get over his loose illustrations and the levity they bring to the often dull phrases of basic language learning.

I couldn’t find much about him other than that he had written and illustrated two other children’s books: Someone is Missing  and Potato. Thank you, my vintage book collection (in blog form).

I took a few more photos of some other favorite pages to share with you. Amusez-vous bien!

Too much champagne to hear the phone ring!

Too much champagne to hear the phone ring (drin…drin…)!


She plays a mean cello!

This is the only one I’ve pictured here, but tennis appears frequently throughout these books, as if it’s the main leisure activity of France. Look at these daydreams!



What a perfect depiction of a bad mood! (click to enlarge)

This restless night might be my favorite page, maybe because it has a little bit of Edward Gorey’s spookiness to it!


click to enlarge


Poor Olivier…what a catastrophe!

Thank you, Mark, for bringing these books back to my life!


Roll the credits!



A still from a pilot episode of The Muppet Show.

Hey, literary New Yorkers! Sex! Violence! Also, The PEN World Voices Festival has been going on this week—and this weekend, they’ve got not one but two children’s lit events! Children’s books are literature, YESSSSSSSS! And psst, the organizer tells me: “You can also pass on the discount codes: PEN14 or PEN2014. I think it’s 20%.”

Sex and Violence in Children’s Books: Where The Wild Things (Really) Are, with Sarwat Chadda, Robie Harris, Susan Kuklin, Sharyn November, and Niki Walker – Sunday, May 4, 12:30 pm, Frederick P. Rose Auditorium, Cooper Union, 41 Cooper Square

So, sex and violence. I want to digress a bit, to let you all know that I took the reckless step of Googling “sex and violence in children’s books” to find an image for this post. The results were disappointingly un-scandalizing, but look what was in the first row of results! And since I am an honest blogger who doesn’t just steal other people’s images, I am going to editorialize about this image for a second, because fair use. Okay, no, really because MUPPETS.

According to the Muppet Wiki (yes!), this episode parodies the growth of sex and violence on television, which I’m guessing was new enough in the 1970s to warrant a bit of social commentary, and features the Seven Deadly Sins embodied as Muppets. But what I really like about this image is the wild-eyed look on the Muppet’s face as he readies the explosion.* If I had to sum up my own sense of humor with a facial expression, this would be it.

Anyway, this should be an amazing panel discussion. I mean, look at the lineup.

How to Write a (Super) Hero, with Sarwat Chadda and Christopher Farley – Saturday, May 3, 3:00 pm, SubCulture, 45 Bleecker Street

First of all, I’m pleased to learn there is still a subculture (or at least a SubCulture) on Bleecker Street, amidst all the designer clothes and fancy cupcakes and dog salons and stuff.

This one is for [older] kids, and it’s about world-building, mythology, and heroic quest stories. Awesome.

AND! Here’s a BONUS PUPPET EVENT! It’s called A Procession of Confessions, and it is surveillance-themed, featuring the Processional Arts Workshop, the same big-puppet builders who put on the Greenwich Village Halloween Parade. These people know how to do spectacle. This event is not specifically for kids, but I’d say it’s not not for kids, either, so bring ‘em. Sunday, May 4, 5:00, in front of Cooper Union.

*My favorite piece of Jim Henson wisdom: if you don’t know how to end a piece, either make something explode or have one of the characters eat the other.


Some time ago, I wrote and dummied this story about a bear named Ursula (natch) who does water ballet. She’s training for the big water ballet championship with her friend Ricardo…


…until one morning, when they discover a new pool policy: NO BEARS ALLOWED!

page13Anyway. Last summer, Ursula (under the working title of SPLASHDANCE) went out on submission and ended up reaching the acquisitions meetings at a couple of houses. So there was this big week when I was waiting for news. One evening, I got an email from my agent with the subject line “YouTube video.” The email read, in its entirety, “You will enjoy this” and included a link.

Of course, I took the email completely at face value. (Note to anyone who ever wants to throw me a surprise party: it will be very easy.) A YouTube link? Not exactly what I was expecting, but not out of character for my agent, either. And what do you do when your agent suggests you do something? You do it immediately. Duh.

So I watched the video. And then I called my parents and made them watch it too.

All I can say is that everyone should have an editor as awesome as Susan Dobinick. (Plus her team of talented colleagues, LIVE from the FLATIRON BUILDING!) By the way, are you wondering about the “NOT A BEAR” t-shirts? Well, my friends, the book is due out in 2016. (!!!)

Painting from Rapunzel by Paul O. Zelinsky (click to enlarge)

Painting from the 1998 Caldecott Medal book Rapunzel by Paul O. Zelinsky (click to enlarge) “I’ve benefited a lot from practicing figure drawing. Spring Studio in SoHo is not so far from here. It’s figure drawing all day everyday and you just show up, but on certain days and times Minerva Durham, who runs it, teaches anatomy. That has helped me tremendously, whether I’m drawing a person realistically or making up a cartoon character.”


I was first introduced to Paul O. Zelinsky’s work when I heard him speak at the 2010 SCBWI Illustrator’s Intensive. I was inspired by the way his style changes depending on and in service to the story, so I was very excited when he recently agreed to speak with Liz and me at his Brooklyn studio. 

Paul received the 1998 Caldecott Medal for Rapunzel, and Caldecott Honors for three more books: Hansel and Gretel (1985), Rumpelstiltskin (1987), and Swamp Angel (1995). (You can see more of his work on his website.)

Paul at his desk pretending to use his computer.

Paul at his desk pretending to use his computer.


Hometown: Wilmette, Illinois

Now lives in: Brooklyn, NY

Tools of the trade: You name it. I have lots and lots of brands of many kinds of paint and other media. I get Staedtler (black) pencils for no good reason; generic nylon watercolor brushes because the fine sable ones have not lasted well for me; Arches 120 lb cold press paper is a fallback but I use others, too. Epson 10000XL scanner, Photoshop CS5.5, Epson SP2200 printer. Faber Castell Pitt artist pens, S and XS, for doodling, but I keep losing them. Faber Castell Pitt Compressed Charcoal extra-soft, for chalk talks.

Workspace: Studio apartment across from a churchyard in Brooklyn Heights

Book Trailers:  Z is for Moose, The voice of the glove is Maurice Sendak. I hadn’t planned what was going to be in the trailer exactly and I didn’t know who he would be.  I just said, “Would you record something?” [ED NOTE: You'll have to watch it to see what Sendak chose to say.] I also created a few animations for The Shivers in the Fridge here and here.

Fun Fact: My recent hobby has been to fix on certain numbers that are interesting or significant to me, and to track the number of my Twitter followers until it reaches those numbers, feeling like I’m urging things on, as in a horse race. When my following was in the 1,000s there were lots of interesting dates to aim for; after the low 2,000’s that stopped being a possibility except for an occasional significant Star Date from a Star Wars episode. Oh, yes: my Twitter name is @paulozelinsky.

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These three books are on my bedside table*; they make me happy. First and foremost, they happen to be fantastic reads that I highly recommend full of humor, heart and outstanding illustrations. I look at them and rearrange them often and even though I’ve finished them, I just don’t want to put them away. I think that has something to do with the yellow. I rarely use yellow in my work, it seems like a bold choice and an even bolder one for a cover.  But seeing these three side by side is a reminder that I should. I can’t get over how great they go together and most of all, how they make me feel just seeing them. I looked on my bookshelves and found only two other book covers that were yellow (both unremarkable books). Is this a trend in publishing and book design or is this just a happy circumstance?

Do you use yellow or have any noteworthy yellow covers? Tell me about them in the comments!

And make sure you check out their work:  Sara Varon, Allie Brosh, Marc Boutevant and the Ariol series written by Emmanuel Guibert.


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My piece for Snow White and the Seven Dwarfs, an assignment for the Illustrators’ Intensive.

I am still riding an inspired high from last weekend’s SCBWI Winter Conference. I’ve been to the conference four times now and the Illustrators’ Intensive Day is always the highlight for me. Art Director Cecilia Yung’s interview of Tomie dePaola was fantastic. They structured the talk around a comparison of Tomie’s book illustrations and his costume and set design work. Tomie and Cecilia drew insightful parallels between the stage and the picture book spread and picture books and the theater in general. As an illustrator, you are the casting director, costume designer, set designer and director.

Cover from Fun With a Pencil. Brett Helquist says "If you buy one book on drawing, buy this."

Cover from Fun With a Pencil. Brett Helquist says “If you buy one book on drawing, buy this.”

Brett Helquist offered some great insights into creating memorable and engaging characters. He also encouraged us to practice every day. “Musicians practice daily,”  he said. We should practice things that won’t necessarily be published to refine our skills. His recommended reading: Fun With a Pencil and Creative Illustration, both by Andrew Loomis, and Cartooning the Head and Figure by Jack Hamm.

An interior page from Fun With a Pencil by Andrew Loomis.

An interior page from Fun With a Pencil by Andrew Loomis.

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My Heart (click to enlarge)
Map of My Heart (click to enlarge)

I’ll never forget when I came across Sara Fanelli’s My Map Book while I was re-shelving books at the independent bookstore I worked at many yesara_fanelli_my_map_bookars ago. It made me chuckle that the bookstore had decided to shelve it in the non-fiction area under geography. Anyone looking for a map or an atlas would not find what they needed in this book. Though I’m not sure where I would have shelved it. After all, it is non-fiction.

It was so unlike anything I had ever seen. Really raw paintings, honest representations of mappable factors in a child’s life. These aren’t the kind of maps you would study in school. But they should be the maps that children be asked to illustrate for themselves.These maps make particular sense to me. I cannot tell you how many times as a kid I tried to imagine how the food I just ate all looked in my tummy at that moment. I often pondered the layout of my bedroom that I shared with my older sister, where my stuff ended and her stuff began. A few of my favorites are pictured here, but there are several more in the book just as engaging.

An added bonus: the book jacket unfolds to become a giant map. On the other side is a large blank area asking the reader to make their own map.

Perhaps I’m a sucker, but I get a lump in my throat when I look at my favorite of these maps: the Map of My Heart.

My Face (click to enlarge)

Map of My Face (click to enlarge)

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