I’m thrilled with the positive response to my debut picture book Sour Cakes, illustrated by Anna Kwan and published by Owlkids Books. Since its first review in Publishers Weekly, it has received many lovely reviews that point to the same thing: this book provides a wonderful way into conversations about emotional health and acknowledging difficult feelings with compassion.
“This sensitive narrative shows the significance of empathy in meeting people where they’re at.”Publishers Weekly
“An ode to sibling relationships and how, in particular, a sibling can lift you up when you are in the stormiest, heaviest of moods.”Seven Impossible Things Before Breakfast
“Empathetically acknowledges children’s big feelings and engagingly models emotional health.”Kirkus Reviews
“A wonderful antidote to … toxic positivity…. An uplifting and meaningful story about difficult feelings, the strategies we use to express them, and a reminder that there are supportive people you can turn to.”Canadian Children’s Book News
“By accepting big, negative emotions without condemning them or dismissing them, this book is great for launching discussions about when and how to express moods and feelings.”School Library Journal
[5/5 Stars] “Sour Cakes, a sensitive story, presents a great opportunity for discussing feelings, how we can express them, and the importance of empathy. Highly Recommended.” Canadian Review of Materials
Happy book birthday to Sour Cakes! Today, I’m celebrating with a lemon curd cake. My hope for this book is that it will reach those who need to read it. May Sour Cakes spark conversations about big emotions that are both sweet and sour.
You can read a BookFlap post titled Sweet & Sour Siblings, where illustrator Anna Kwan and I talk about creating Sour Cakes. BookFlap has fabulous kid-lit content to love and explore. Please check it out and subscribe!
In a few weeks, my debut picture book will be published by Owlkids Books. I’m counting the days!
It’s a journey that began years ago, when I first fell in love with picture books as a child and, later, when I fell in love again as I read them aloud with my daughters. I adore how picture books are kind of like poetry—simple and short, yet layered and deep. How they’re a read-aloud delight of rhythm and patterns, repetition and humour, colour and wonder. How they’re a way to connect to a child reader, heart to heart, with great authenticity and emotion.
I began my quest to become a picture-book writer by analyzing picture books I adore. How did they work their magic? Later, I started critiquing the manuscripts of friends, applying what I was learning to understand how they were written. I’m grateful, in particular, to Frieda Wishinsky, who patiently taught me much during our coffee dates. Finally, I began to write my own tentative picture-book manuscripts, celebrating my messy experiments and learning from trial and error.
I became more and more excited by the possibilities of the picture-book format, so excited that I enrolled in an MFA program at the Vermont College of Fine Arts (VCFA). My first semester was a Picture Book Intensive with wonderful faculty advisor Liz Garton Scanlon, and it was an explosion of growth and learning.
I read and analyzed over 220 picture books during that semester, and I wrote critical essays to gain more insights. You can read my articles on “How to Revise a Picture Book” (Part 1 and Part 2), which I first wrote at VCFA and later published in CANSCAIP newsletters.
And I wrote and revised 12 picture books during my first semester, including metafiction, fiction, narrative nonfiction, concept books, rhythmic/lyrical, dark/difficult topics, and wordless. I explored how to limit my words so that the illustrations could take up more space in the story. How to set up highly illustratable moments with my text. How to build a frame for my story that supports the characters and plot. How to hold a manuscript lightly so it can grow and change into what it wants to be. How to write narrative nonfiction using fiction techniques. How to rewrite a single spread twenty or thirty times until I found what works. How to play with strong verbs, rhythm, and repetition. How to cut, cut, cut words to distill my manuscript into its essence.
One of my manuscripts during this semester was titled If I Wrote You a Poem, and it went on to become Sour Cakes, wonderfully illustrated by Anna Kwan.
This manuscript began as a collision of two ideas: writing about creativity and a sibling who supports another during a low time. When I let go of it being a manuscript about creativity, it became a conversation between the siblings. I wrote the first six lines and had to let it sit. Then I wrote the next twelve lines and let it sit. Then the whole story emerged. I needed to respect the creative process, not force it to be about a theme I’d predetermined, and I needed to find the characters’ voices. I did plenty of exploratory writing on the characters so I could deepen the story.
It’s been an honour to collaborate with Owlkids and Anna Kwan on Sour Cakes. It’s become all I’d hoped for when I first typed my tentative words into a blank file – a conversation between two siblings, a big one who wants to play and a little one who feels sour. Sour Cakes is told only in dialogue as Big and Little navigate how to acknowledge one’s difficult emotions and how to support someone who’s feeling those big feels. It springs from my family experiences with mental-health challenges, and it’s a deeply personal book.
I look forward to writing picture-book manuscripts for years to come, some that will find a publishing home and some that will not. In fact, I have two more picture books under contract, which I’m excited to share. Still, it’s the writing journey that calls to me. The open-hearted wildness of writing in this format that I treasure for a child audience who I value.
