Today we are super excited to welcome Ernesto Cisneros to Cynsations to talk about his new middle grade novel Queso, Just in Time (HarperCollins 2026), which was released in March. Ernesto Cisneros’s debut Efren Divided (HarperCollins, 2020) won the Pura Belpré Award in 2021. Last fall, I met Ernesto at the Boyd’s Mills Whole Novel Workshop, during that workshop retreat, Ernesto shared anecdotes about his upcoming book and I was intrigued by Queso’s story—a book that is equal parts heart and humor much like its creator—a book that has already made it to School Library Journal’s Mock Newbery List 2027!
What personal truth did you want to share via this new book with young readers?
At its heart, Queso, Just in Time is about wanting more time with someone you love. I wrote it from that very human feeling of wishing you could go back—just to say one more thing, ask one more question, or sit with someone a little longer. That feeling became even stronger for me after losing people close to me during the pandemic. I wanted young readers to know it’s okay to miss people and that remembering them is one way we carry them with us.
Queso, Just in Time resonates uncannily with current times. Our world is in turmoil, and woven in the fabric of this book is a librarian ally, and a war veteran with PTSD, who was scarred by “fighting a war he never started.” Looking back, what surprised you most about your writing journey, from your seed idea to the publication of this book?
What surprised me most was how this very personal story began to connect with bigger, real-world experiences people are having. I began with Queso’s journey, but as I wrote, other characters and themes grew in importance too—questions about who gets supported, who gets overlooked, and how people carry invisible scars. I didn’t set out to write something timely, but the story ended up connecting with the world in ways I hadn’t expected.
In Quesos’s “Back to the Future” story, when and how did you conceive the idea of a tree house turning into the portal for time travel?
The treehouse wasn’t the original portal. It began more as a symbol—something passed down, something full of memory and story. But as I kept drafting, I realized the book didn’t need a flashy, high-tech portal. It needed something more intimate and rooted in childhood, imagination, and family. Once I saw the treehouse that way, it all clicked.
After reading this book, the Aztec legend of the ‘Rabbit in the Moon’ will always stay with me. Do you have another favorite myth from your cultural heritage?
What has stayed with me most isn’t one single myth, but the way stories are passed down across generations. Growing up, I heard stories like El Cucuy and La Llorona before I fully understood them. As a kid, they scared me. Later, they became a source of connection—to family, culture, and memory. That idea of stories being handed down and reshaped definitely influences my writing.
Queso, Just in Time is your third middle grade novel since Efren Divided released in 2020, besides being an author, you are also a full-time school teacher. How do you carve time in your busy schedule to write and revise?
I write in the spaces my life allows. As a full-time middle school teacher, that often means early mornings, weekends, school breaks, and small moments during the day when I can grab them. A lot of the work also happens away from the page—while I’m driving, teaching, or listening to my students. I think of it less as finding time and more as collecting it.
You are surrounded by your ideal audience as a middle school teacher, and this experience must inform your ability to pen effective dialogues, jokes, and repartee between children of that age. Do you have any tips for beginning writers who aspire to write for children in this regard?
The biggest mistake is trying to make kids sound too polished or too clever. Kids are funny because they’re honest, awkward, impulsive, and often unintentionally hilarious. Really listen to how they talk—how they interrupt, change subjects, exaggerate, and misunderstand each other. And don’t clean up dialogue too much. Let it be messy. That’s usually where it feels most real.
How would you describe your collaboration with your editor, Courtney Stevenson? Was there an editorial moment during the revision rounds on Queso, Just in Time that helped you see this manuscript more clearly?
Working with Courtney Stevenson has been one of the most valuable parts of shaping Queso, Just in Time. She really helped me better understand pacing—when to let a scene breathe and when to move on. She also pushed me not to rush past the heavier emotional moments just to get back to the humor. That made the book stronger. The revision process included big-picture edits, then more focused work on character and pacing, and finally line edits at the sentence level.
What was the trajectory of your prepublication apprenticeship as a storyteller, could you tell us about any specific mentors who guided you and encouraged your craft?
Before publication, I spent a lot of time learning how to fail productively. I wrote drafts that didn’t work, got hard feedback, and slowly learned more about the craft through workshops, community, and revision. Organizations like SCBWI were important, and so were the other writers who encouraged me along the way. The Tightens [Ernesto’s critique group], especially, have been a huge source of support, honesty, and encouragement. I definitely didn’t get here alone.
How has your relationship with your agent evolved over time? What advice would you give to writers who are seeking representation?
My relationship with my agent has grown over time. At first, it was about finding someone who believed in my work. Now, it’s about having a creative partner who understands my goals and helps me think long-term about my career.
Over time, we’ve built a real friendship too—she’s someone I genuinely enjoy being around, which makes the work even more meaningful. Publishing a book is a long-term relationship. You’re tied to that person through every stage of the process and beyond, so it really matters that you trust them and enjoy working together. For writers seeking representation, I’d say look for someone who not only loves your manuscript but also communicates well, respects your voice, and feels like the right fit for growth.
What has worked for you in terms of book promotion and what hasn’t? How do you balance visibility on social media with boundaries?
What’s worked best for me is connection. School visits, meeting readers, and talking with educators are the parts of promotion that feel most meaningful. Social media can be useful too, but it can also be overwhelming at times—toxic too.
Over the years, I’ve had to learn that I don’t need to do everything. Setting boundaries helps me stay grounded and focused on what matters most. At the end of the day, I do the best I can, trust the work I’ve put in, and let the rest go.
What’s next for you, now that Queso is out in the world? Any new writing projects you can share?
I’m continuing to explore stories that blend humor with emotional depth—stories about young people trying to make sense of complicated feelings and situations. I’m especially interested in how a touch of the magical can help illuminate very real experiences. The next project leans into that in a new way—it has a bit of a superhero thread, but not in the traditional sense. I’m drawn to the idea of the least likely kids—those who feel overlooked or misunderstood—stepping into that kind of power. I can’t share too much yet, but I’m excited about where the story is heading.
Cynsations Notes
Ernesto Cisneros is a 25-year veteran teacher currently serving the city of Santa Ana: the colorful but mostly dismissed section of Orange County, California. He teaches reading and writing to local students at an inner-city intermediate school. He holds an English degree from the University of California, Irvine; a teaching credential from California State University, Long Beach; as well as a Masters in Fine Arts in Creative Writing from National University.
Mitu Malhotra holds an MFA in Writing for Children and Young Adults from the Vermont College of Fine Arts. She has been recognized as a Lee & Low New Visions Award finalist, winner of the Katherine Paterson Prize for Literature, and with scholarships from Boyds Mills/Highlights Foundation, Tin House, and a Djerassi Program writing residency. Her short story “Toxins” is part of ELA curriculum and her writing has appeared in Hunger Mountain, Thin Air Magazine and elsewhere. In previous avatars, Mitu was a textile and fashion designer, and has taught in India, the Middle East and the US. Mitu is an active member of CBIG (Children’s Book Illustrators Group, NYC) and SCBWI, New Jersey. When not writing or drawing, Mitu can be found cooking, upcycling clothes and sewing memory kimonos or building miniature doll houses from salvaged materials. Website: www.mitumalhotra.com Instagram: @mituart Bluesky: @mitumalhotra.bsky.social