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Neal Porter is the publisher of the Neal Porter Books imprint of Roaring Brook Press. He has been in the book publishing business for decades. His work has spanned both the editorial process and the marketing departments of the industry. Neal has worked with a number of Caldecott Medal–honored illustrators, including Eric Rohmann, Ted Lewin, Laura Vaccaro Seeger, and the 2011 Caldecott Medal winner, Erin Stead, in her book A Sick Day for Amos McGee. He received an Eric Carle Honor in the category of Mentor in 2015.
Neal starts off his breakout session by saying that he's actually re-named his speech, "Three Reasons I Love SCBWI"
And tells us in some depth about publishing "The Iridescence of Birds," a picture book about Henri Matisse, written by Patricia MacLachlan and illustrated by Hadley Hooper. (The SCBWI connection? He and Patricia we speaking about it at a SCBWI Summer Conference and when he asked her what she was working on, she said 'I just wrote a picture book no one will ever publish.) Well, Neal did!
He also describes the story behind his publishing Antoinette Portis' "Best Frints in the Whole Universe."
Antoinette is actually in the audience, and Neal calls her up to to do a short interview within the session, which is proceeded by Antoinette reading it out loud to us… They discuss some of the editing process for the book - about the emotional exchange between the characters and some of the story beats.
Neal finishes his presentation about books he discovered at SCBWI and then published with Miranda Paul's "Water is Water" (he met Miranda at a 2012 SCBWI conference critique.)
Miranda is also in the audience, and Neal calls her up as well! They discuss the process and evolution of the rhyming nonfiction picture book. Neal shares Miranda's cover letter that she submitted with the manuscript, and he tells us his ultimate litmus test, the question he asks himself all the time:
"Do I have to publish this book?"
In all three of these cases, the answer was YES.
0 Comments on Neal Porter: On Picture Books as of 1/1/1900
In our January/February 2016 issue, reviewer Sarah Ellis asked illustrator Antoinette Portis about that pesky (playful?) wind in The Red Hat. Read the full review of The Red Hathere.
Sarah Ellis: The “bad guy” here is the wind, but in your swirly, spiral line the wind comes across as more playful than malevolent. Was it hard to figure out how to make a 3-D character out of a no-D antagonist?
Antoinette Portis: Instead of personifying the wind as one of the puffy-cheeked Greek gods you see on antique maps or as an evil villain, I imagined it as an externalization of Billy’s resistance to venturing out into the world. When he’s impelled to risk forging a relationship, all his fears don’t suddenly evaporate. They manifest themselves as the wind, trying to drive him back to the safety and isolation of his tower.
After taking a look at our selection of hot new releases and popular kids' books ... it's more than likely we're suckers for picture books about love, kindness, and compassion.
There is a story out there, and I don’t know if it is true, that the great children’s librarian Anne Carroll Moore had such a low opinion of children’s books that involved “gimmicks” (read: interactive elements of any sort) that upon encountering them she’d dismiss each and every one with a single word: Truck. If it was seen as below contempt, it was “truck”. Pat the Bunny, for example, was not to her taste, but it did usher in a new era of children’s literature. Books that, to this day, utilize different tricks to engage the interest of child readers. In the best of cases the art and the text of a picture book are supposed to be of the highest possible caliber. To paraphrase Walter de la Mare, only the rarest kind of best is good enough for our kids, yes? That said, not all picture books have to attempt to be works of great, grand literature and artistic merit. There are funny books and silly ones that do just as well. Take it a step even farther, and I’d say that the interactive elements that so horrified Ms. Moore back in the day have great potential to aid in storytelling. Though she would be (rightly) disgusted by books like Rainbow Fish that entice children through methods cheap and deeply unappealing, I fancy The Red Hat would have given her pause. After considering the book seriously, a person can’t dismiss it merely because it tends towards the shiny. Lovingly written and elegantly drawn, Teague and Portis flirt with transparent spot gloss, but it’s their storytelling and artistic choices that will keep their young readers riveted.
With a name like Billy Hightower, it’s little wonder that the boy in question lives “atop the world’s tallest building”. It’s a beautiful view, but a lonely one, so when a construction crew one day builds a tower across the way, the appearance of a girl in a red hat intrigues Billy. Desperate to connect with her, he attempts various methods of communication, only to be stumped by the wind at every turn. Shouting fails. Paper airplanes plummet. A kite dances just out of reach. Then Billy tries the boldest method of reaching the girl possible, only to find that he himself is snatched from her grasp. Fortunately a soft landing and a good old-fashioned elevator trump the wind at last. Curlicues of spot gloss evoke the whirly-twirly wind and all its tricksy ways.
Great Moments of Spot Gloss in Picture Book History: Um . . . hm. That’s a stumper. I’m not saying it’s never happened. I’m just saying that when I myself try to conjure up a book, any book, that’s ever used it to proper effect, I pull up a blank. Now what do I mean exactly when I say this book is using this kind of “gloss”? Well, it’s a subtle layer of shininess. Not glittery, or anything so tawdry as that. From cover to interior spreads, these spirals of gloss evoke the invisible wind. They’re lovely but clearly mischievous, tossing messages and teasing the ties of a hat. Look at the book a couple times and you notice that the only part of the book that does not contain this shiny wind is the final two-page image of our heroes. They’re outdoors but the wind has been defeated in the face of Billy’s persistence. If you feel a peace looking at the two kids eyeing one another, it may have less to do with what you see than what you don’t.
Naturally Antoinette Portis is to be credited here, though I don’t know if the idea of using the spot gloss necessarily originated with her. It is possible that the book’s editor tossed Portis the manuscript with the clear understanding that gloss would be the name of the game. That said, I felt like the illustrator was given a great deal of room to grow with this book. I remember back in the day when her books Not a Box and Not a Stick were the height of 32-page minimalism. She has such a strong sense of design, but even when she was doing books like Wait and the rather gloriously titled Princess Super Kitty her color scheme was standard. In The Red Hat all you have to look at are great swath of blue, the black and white of the characters, an occasional jab of gray, and the moments when red makes an appearance. There is always a little jolt of red (around Billy’s neck, on a street light, from a carpet, etc). It’s the red coupled with that blue that really makes the book pop. By all rights a red, white, and blue cover should strike you on some level as patriotic. Not the case here.
Not that the book is without flaw. For the most part I enjoyed the pacing of the story. I loved the fairytale element of Billy tossed high into the sky by a jealous wind. I loved the color scheme, the gloss, and the characters. What I did not love was a moment near the end of the book where pertinent text is completely obscured by its placement on the art. Billy has flown and landed from the sky. He’s on the ground below, the wind buffeting him like made. He enters the girl’s building and takes the elevator up. The story says, “At the elevator, he punched UP, and he knocked at the first door on the top floor.” We see him extending his hand to the girl, her hat clutched in the other. Then you turn the page and it just says, “The Beginning.” Wait, what? I had to go back and really check before I realized that there was a whole slew of text and dialogue hidden at the bottom of that previous spread. Against a speckled gray and white floor the black text is expertly camouflaged. I know that some designers cringe at the thought of suddenly interjecting a white text box around a selection of writing, but in this particular case I’m afraid it was almost a necessity. Either than or toning down the speckles to the lightest of light grays.
Aside from that, it’s sublime. A sweet story of friendship (possibly leading to more someday) from the top of the world. Do we really believe that Billy lives on the top of the highest building in the world? Billy apparently does, and that’s good enough for us. But even the tallest building can find its match. And even the loneliest of kids can, through sheer pig-headed persistence, make their voices heard. A windy, shiny book without a hint of bluster.
For many kids, August is back-to-school month. The stories in this month's hot new release kids books will make back-to-school (and anytime) reading a breeze.
It’s a new year, and that means we have more glorious books to rave about! This month’s picks will spark creativity, help kids understand the experiences of others and take them on journeys to secret underground caves.
For Pre-K to 1st Grade (Ages 1 – 6)
Not a Box written and illustrated by Antoinette Portis
How can you write a whole book about a box? Because it’s not a box – it’s so much more! The rabbit in this cleverly simple board book is asked repeatedly why it is sitting in, standing on, spraying, and wearing a box. Each page reveals what the rabbit’s imagination has turned the box into, from a mountain to a race car to a hot air balloon. This entertaining story is perfect for an interactive read aloud to help inspire kids to use their own imagination. Just make sure you have an empty box ready after you finish!
What would it be like to be blind? This inventive book helps children think about how they might experience the world and its colors if they used only their senses of touch, taste, smell, and hearing. Readers can run their hands over the raised black drawings printed on black paper, and feel the braille letters stamped into the page. They hear about the taste of red, the smell of brown, the feel of blue, and so on. A unique and richly rewarding reading experience!
This is the wonderfully suspenseful story of a boy in rural Africa who loses his arm in a lion attack. His goal is to find and kill the lion who took his arm. Then he meets a team of researchers who teach him how they use science to track lions and change his understanding of the lions’ relationship with his village. Short and satisfying, this is an engaging story (great for reluctant readers) about adapting to life with a disability and understanding the value of species and habitat conservation.
The knowledge that playing football can cause serious brain injury is not new. In 1905, no less than nineteen football players died from playing the sport and anti-football sentiment almost wiped it out of play. So, how and why did it continue on, becoming America’s most popular sport? This eye-opening work of nonfiction helps readers understand how football gained the popularity it has today and why it’s still the subject of heated debates about safety. A fascinating mix of science and history!
Underneath the fields of Western Ukraine, a dark labyrinth of caves crisscross back and forth for 340 miles. The passages contain an astonishing story of despair, loyalty, and ultimately, survival. This captivating piece of nonfiction follows a team of modern cave divers as they unearth the previously unknown story of several Jewish families who lived within the cave system for over a year during Nazi occupation and the holocaust. Along with harrowing narration from the actual survivors, readers can follow the explorers underground and into the past, to witness one family’s extraordinary fight to survive.
At the Los Angeles Times Festival of Books last weekend, three writers shared advice for aspiring children’s book authors.
During the “Pictures on the Page: The Art of Children’s Books” panel discussion, Blue Chameleon author Emily Gravett, Hang Glider & Mud Mask co-author Brian McMullen and Not a Box author Antoinette Portis talked about their craft and writing lives.
Below, we’ve collected their advice for aspiring authors…
We are delighted to feature Andrea Scher’s Five Family Favorites. Andrea is an artist, photographer and life coach. Through her award-winning blog Superhero Journal and e-courses, Mondo Beyondo and Superhero Photo, she inspires us to find our passions and dream big. A supermom (no capes, just courage) to two adorable boys named Ben and Nico, you can often find her on her kitchen floor trying to get them to do superhero leaps for the camera. Andrea is also the co-author of wonderful book called Expressive Photography: The Shutter Sisters Guide to Shooting from the Heart.Registration is open for the fall session of Mondo Beyondo now!
I am big fan of all things Amy Krouse Rosenthal, but this book is one of my favorites of her creations. My son Ben has always been a picky eater, so this tale of a little pea who didn’t want to eat her candy (the equivalent of vegetables in the pea world) made Ben hysterical with laughter. We even filmed one of these giggly episodes to remember it forever. Such a sweet book.
Ages 4-5 | Publisher: Chronicle Books | April 28, 2005
Every morning, the first thing my toddler says is, “Mama llama? Boop? Mama Llama?” We have read this book so many times that we have all committed it to memory. Even my 5-year-old can “read” it to Nico and he doesn’t know how to read! It is an endearing book about a llama that asks each of his animal friends who their mama is.
#84 Not a Box by Antoinette Portis (2006)
24 points
2006 – a marvelous springboard for creative play for any little kid who has never sat inside a cardboard box and yelled “blast off!” – Diantha McBride
And then there are the books that just don’t move all that much. #89 last time, #84 this time, Portis is an 80s woman, that’s for sure. This is the book that began her career and now we’ve many a fine title from her since. I’m pleased to note that this is one I once reviewed. This Geisel Honor winner (not too shabby) made equal use of simple words and a clean simple format to ensure that Ms. Portis burst out upon the scene. As debuts go, this one was hard to beat.
The description from my review is: As the story opens and the reader flips through the publication and title page, a small bunny spots and tugs away a box that it has found. Now we see the bunny sitting quietly within his treasure as someone (perhaps the reader) asks, “Why are you sitting in a box?” A turn of the page and it’s the same bunny in the same box, but now red lines have appeared around them to sketch out a fabulous racing car. The opposite page is now bright red and at the bottom of it sit the words, “It’s not a box.” Turn the page and now the bunny is standing on top of the box. When asked why, the red lines have turned the box into an alpine peak with the bunny at the crest of the summit. “It’s not a box.” And so it goes until the reader finally asks of the bunny (with, perhaps, a note of impatience in the question), “Well, what is it then?” The bunny ponders this, in the same position as Rodin’s, “The Thinker”, then comes up with a fabulous answer. As we see it blasting off into space it waves good-bye from its rocket-box to say, “It’s my Not-a-Box!” The last image is of a distant bunny soaring past the planet Saturn.
Part of the allure lies with the packaging. The book is bound without a dust jacket, the brown cardboard of the book serving as its actual cover. It’s smart formatting (very box-like) but the real question is this: How well does it stand up to use in a public library? My copies, which are moderately used, remain intact if slightly fuzzy after multiple small sticky hands have played with them. However you can still make out the title on the spine (more than can be said for my copies of A Series of Unfortunate Events) so we’ll declare this an unqualified design success.
Kirkus said of it, “Portis pairs each question and increasingly emphatic response with a playscape of Crockett Johnson-style simplicity, digitally drawn with single red and black lines against generally pale color fields.”
And Publishers Weekly agreed with, “Readers won’t abandon their battery-charged plastic toys, but they might join in a game of reimagining everyday objects. Most profitably, Portis reminds everyone (especially her adult audience) that creativity doesn’t require complicated set-ups.”
If ever there was a classic in the making, this is it.
0 Comments on Top 100 Picture Books #84: Not a Box by Antoinette Portis as of 1/1/1900
Add this book to your collection:Kindergarten Diary by Antoinette Portis.
Antoinette Portis is one of my all-time favorites. If you haven’t read Not a Box and Not a Stick, you are seriously missing out. They are both highly imaginative books that are executed in simple, concrete perfection.
This week, we continue to think outside the box. Read more after the jump.
Antoinette Portis’s sequel to Not a Box is just as imaginative and engaging. Not a Stick introduces readers to a little pig and his stick. Insisting it is not just a stick, the little pig demonstrates its many uses: a [...]
Last week, our super duper cat-scratching post was delivered, with the manufacturer’s guarantee that this will become our cat’s new best friend and will make him the envy of all cats. Well, Binky wasn’t impressed. However, he was wild about the box it was delivered in; he spent hours playing with the packaging. I remember [...]
Antoinette Portis (illustration from ''A PENGUIN STORY'' -- jpeg from boston.com) Click here, then click the drop down menu ("Select a New Playlist") for author interviews and scroll down to watch a short interview with Ms. Portis.
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In our January/February 2016 issue, reviewer Sarah Ellis asked illustrator Antoinette Portis about that pesky (playful?) wind in The Red Hat. Read the full review of The Red Hat 
At the Los Angeles Times Festival of Books last weekend, three writers shared advice for aspiring children’s book authors.
