Spotlight photo: Authors Rebecca Gardyn Levington and Naomi Gruer with editor Lili Rosenstreich from Kalaniot Books.
Today we welcome two picture book authors to talk about their new releases. Rebecca Gardyn Levington’s I Wish that You Knew, illustrated by Alyssa Russell (Little Bee Books, 2026) was released Aug. 25 and Naomi M. Gruer’s debut Hear Me Roar I’m a Hanukkahsaur, illustrated by Mel Zohar (Kalaniot Books, 2026) was published Sept. 29.
I have known Rebecca and Naomi for over a decade as part of a New Jersey SCBWI writers support group. What has struck me, as I have watched their journey to publication, is their inspiring dedication to storytelling and writing, and how much of this journey is unpredictable. Yet, writers persist because they believe in the uplifting power of stories for young children. Rebecca and Naomi share their precious resources and strategies for practicing a writerly life.
Congratulations Rebecca and Naomi! And how does it feel to finally hold this particular picture book?
Rebecca: I Wish That You Knew is particularly special to me for two reasons. First, because it is probably the most personal book I’ve ever written, based upon my own feelings of loss and memories of my grandmother. And second, because this is my tenth published picture book, published exactly 10 years after I started to write picture books in 2016!
It feels pretty incredible to look back and see how far I’ve come. When I started, I had no idea if I’d ever publish even one book, so to now have 10 of my book babies out in the world is just amazing.
Naomi: It’s surreal to hold my debut picture book—it’s a moment I visualized for years! Before I held the actual book, there were other exciting moments such as viewing the editor’s digital dummy, approving pages before the book went to print, and leafing through the Advanced Review Copy.
Both your books are thematically connected, with the threads of tradition and rituals observed in families. What inspired you to pick this specific topic for your book?
Rebecca: For those who haven’t yet read I Wish That You Knew, it is about a little girl who is remembering the special relationship she shared with her grandmother, who passed away one year prior. It takes place during the grandmother’s unveiling ceremony, with is a Jewish ritual that occurs on the yahrzeit, or one-year anniversary, of a loved one’s passing, and is the time when the permanent grave marker is placed and “unveiled” at the burial site.
As I mentioned, this was a deeply personal book, with the primary inspiration being my Grandma Charlotte, my gram. She was just 46 years old when I was born, so I had her in my life for almost 40 years and she was truly my best friend. So much of who I am is a result of my relationship with her. In 2023, around the 10-year anniversary of her death, I was thinking about how much has happened in my life since she died. She never got to see my two sons grow up or see me reinvent myself as a children’s book author and poet. She never got to read any of my books.
And so, I did what I do when I need help grappling with my strong emotions. I wrote a poem. I never initially intended this poem to become anything other than a way for me to process my grief, but as I continued to write and revise, I felt like there was a more universal story coming through me that might help others cope with their own losses. But when I did a search for comp titles, I found so many beautiful books on grief already, so I put the manuscript away, thinking it wasn’t special enough.
Then, after attending a friend’s father’s funeral, I started to think about Jewish traditions when someone dies. Since the book is about a child reminiscing about moments her grandmother missed, it would make sense to have the story take place a year after the grandmother’s passing, at her unveiling ceremony. Maybe the incorporation of this tradition could give my story the angle it needed to stand out in the market.
As it turned out, when my editor, Jaime Gelman at Little Bee Books, expressed interest in the book, she said: “I’ve been looking for an unveiling book” which shocked me (in the best way, of course!). So obviously, this book found its exact right home with the exact right editor at the exact right time. I’m very fortunate.
Naomi: Usually, I come up with ideas and decide which I’m most passionate about, but the topic of dinosaurs and Hanukkah picked me! I’m a preschool teacher, and the same year my kids pretended to be dinosaurs, one of the preschoolers wore a “Menorah-saur” sweatshirt featuring a dinosaur with Hanukkah candles instead of spikes. The seed was planted. Though there are many Hanukkah books, and some with dinosaurs, I haven’t read any with Hanukkah-inspired dino names that also capture the big energy exhibited by my students every day.
For this particular book, would you share with us the process of gestation, from idea to execution, and if there were any hiccups along the way to publication?
Rebecca: As I mentioned, this manuscript started as an ode to my own grandmother, so my initial draft was pretty melancholy and sentimental, so my challenge was figuring out a way to turn this poem into a story that would resonate with kids, rather than a personal lament.
Thankfully, Jaime, my incredible editor, helped me. She asked me to revise with two pieces of feedback in mind. First, she asked me to step back emotionally, to separate myself from the protagonist to “center the joy of the relationship, instead of just the sadness of her being gone.” This was super helpful because I began to think of the child as separate from myself, freeing me to create more scenes of joy and humor, making the book more child-friendly.
Second, in the initial draft, I included the unveiling ceremony simply as a backdrop. But Jaime, brilliantly, asked me: “How specifically does the unveiling ritual help the character process her grief?” She wanted me to include more ceremony details and address how participating in this ritual helps the child begin to heal from her grief.
While I’d attended several unveilings, I’d never thought through why the ritual exists. One of the reasons I uncovered in my research is that it offers us time to get used to life without our loved one before we make the goodbye more permanent with a grave marker. With this in mind, I revised so the child is both missing her grandmother while also recognizing that the passage of time has been a gift that has given her distance from her loss, so now (a year later) she is finally ready to start moving forward. As she says: “It’s time to let go of some of the sad/and celebrate moments of joy that we had.”
This, too, made the topic more child-friendly by offering a more hopeful ending in which the character feels she has permission to simultaneously miss her grandmother and to feel immense gratitude for having had her in her life.
Naomi: Once the seed was planted, I submitted several versions of the manuscript to my critique group. I’d mentioned the manuscript to my agent before she attended the Bologna Children’s Book Fair, so when an editor asked if she had a client with Hanukkah book, she brought up mine. There weren’t hiccups to publication; rather a honing of the focus while making sure the manuscript didn’t sound didactic. My character’s dino-sized energy was causing him to get carried away, and my agent suggested he clean up, also. Once I signed a contract, the editor and I worked together to ensure the story represented the main character’s enthusiasm while poring over illustrations to take out extraneous text.
What is your favorite revision strategy with picture book texts?
Rebecca: Sharing my picture texts with my trusted critique partners is crucial to my revision process and my favorite revision strategy. I know some people like to share their stories very early on in their process to determine if their idea has legs or if they are the right track, but I don’t ever do that.
What works best for me is to get my story into the absolute best shape I can before sharing with anyone. My feeling is that you only get one chance with that fresh set of eyes, so I don’t want to waste it on drafts I know in my heart aren’t yet ready. I don’t need my crit partners pointing out things I already know aren’t working. Instead, I get my drafts super polished to the point they are ready to submit, and Then I send them.
In what I believe is a “polished ready-to-go” story, these amazing writers will point out plot issues I can’t see because I am too close to the story, word choices that can be more descriptive, or places in the meter that have them stumbling. Once I gather all their feedback, I sit down and soak it all in. I don’t always take all their advice, of course, particularly since some of it may be conflicting. Instead I remind myself of my intentions for the story, and choose to revise those parts that will be elevated by the changes they’ve recommended.
I know a lot of people enjoy having critique partners who only praise their work and find zero flaws, but I actually love it when my crit partners push me and question my choices. It always makes my work better.
Naomi: At some point during the revision process, I paginate the text by sitting with a physical picture book in my lap. I turn the pages of the book while typing my manuscript and thinking about the layout of text and illustrations. I sometimes take this a step further by making a physical dummy of the manuscript. I print out my manuscript, cut up the lines, and glue them onto the pages.
“To Rhyme or Not to Rhyme” this is the eternal dilemma of a picture book writer. Please share your personal take on this. Rebecca you have been part of Renée M. LaTulippe’s Lyrical Language Lab in the past, are there any other resources that can help writers attempting rhyme?
Rebecca: The Lyrical Language Lab is honestly the gold standard and I 100% credit that course with teaching me everything I now know. If you really want to learn the craft and science behind writing in rhyme and perfect meter (because it is a science, as well as an art!), as well as how to insert more lyrical language into your prose, I really can’t recommend that class enough.
In a strange twist of fate, ten years after I took the course, I will be co-teaching the class with Renée in January 2027! This is a 10-week intensive where students receive personalized video feedback on assignments every week from us. So, for anyone who is interested, go to Renée’s website and sign up for her newsletter. That’s the only way to find out when registration will open (should be sometime in November or December). The class always fills up very quickly because she only offers it once or twice per year.
In the meantime, I would recommend folks check out Renée’s free YouTube channel where she has a ton of videos about the craft. I also recommend you read as many picture books in rhyme that you can get your hands on, and to type out those you love the most so you can study their structure.
Naomi: Some of my manuscripts rhyme and others don’t, but for some reason I love writing rhyming onomatopoeias! It may even be a signature of mine. I love the expressive, energetic, and show-rather-than-tell characteristics of onomatopoeias. Three resources I rely on are The Scholastic Rhyming Dictionary by Sue Young (Scholastic, 1994), The Penguin Rhyming Dictionary by Rosalind Fergusson (Viking PRH, 1985), and merriam-webster.com.
I fill pages with rhyming words, and when I pair them, I try to do it in a way that moves the plot forward. An example from Hear Me Roar! is when Miles imagines he’s a Ve-latke-raptor and wants to help make potato pancakes, what happens? “Glop! Drop!” In two words, readers understand his dino energy and how the batter ends up on the floor.
Do you have any recommendations of craft books or resources for aspiring PB writers?
Rebecca: Yes! Rules For The Dance: A Handbook for Writing and Reading Metrical Verse by Mary Oliver (HarperCollins, 1998), Writing the Life Poetic: An Invitation to Read and Write Poetry by Sage Cohen (Queen of Wands Press, 2019), Poem-Making: Ways to Begin Writing Poetry by Myra Cohn Livingston (HarperCollins, 1991), and How To Write Poetry by Paul B. Janeczko (Scholastic, 1999).
Naomi: I’ve taken dozens of workshops and classes at just as many conferences and retreats, so for me the learning is cumulative and constant. Several sources are Boyds Mills, The Writing Barn, and SCBWI. For SCBWI, I suggest looking outside of your region. You never know what another state is offering.
What’s worked for you in terms of book promotion, and how do you balance visibility with boundaries?
Rebecca: When my first book, Brainstorm! illustrated by Kate Kronreif (Sleeping Bear Press, 2022), came out, I tried to do all the things: tons of blog posts, giveaways, social media, book festivals, school visits, bookstore readings, library events, etc.
But the longer I’ve been at this and the more books I have out, the more I realize there isn’t much I can do to move the needle when it comes to sales — a difficult reality to come to grips with because I really dislike feeling like I have no control (I’m very Type A!), but also a bit freeing because now I can focus on the things I actually enjoy doing, rather than feeling pressure to do it all.
So now I try (emphasis on try) to only say “Yes!” to those things that I really want to do and will help boost my own personal goals. For instance, this year, I decided I wanted to do more presenting and teaching because I enjoy helping other writers and sharing the lessons I’ve learned along the way (with the hope of saving others from making the same mistakes!). Since I write mostly in rhyme and all 18 of the books I’ve sold so far are in rhyme, I’ve decided that I want rhyming to be a big part of my “brand,” and want to help fellow writers in this way.
So, I said “Yes!” to teaching a session on rhyme at the local NJ SCBWI conference, “Yes!” to doing a webinar for the 12×12 Writing Challenge community called “Rhyme is NOT a Crime: Writing Rhyming Picture Books That Sell,” and “Yes!” to writing an article for Writer’s Digest with tips on rhyme.
I also said “Yes!” to presenting I Wish That You Knew at the Association for Jewish Libraries conference in Chicago, and “Yes!” to book signings at both ALA and NCTE, and “Yes!” to doing a webinar called “Should I Say Something: Leaving Room for the Illustrator Without Losing Your Vision” for the Writing Barn on October 20.
I don’t particularly enjoy social media, so I don’t spend a lot of energy there. But I do want to remain connected to the online kidlit community, so I post occasionally (and respond/post about others’ works), just to let people know I still exist!
I also do in-person book festivals, but I’m very picky and only do a few per year. Book festivals take up an entire day of my life and, at most, I sell maybe 30 books, and while I love reconnecting with fellow authors and meeting readers, time is very precious!
In terms of finding balance, I’m still working on that, but when an opportunity is presented, I try to pause and force myself to take a day or two before responding. I really think through the time commitment and the pros/cons.
One thing I do really love, is writing my newsletter. I’ve been sending it out every month for almost 4 years. In each issue I answer a reader question, often about craft or a publishing subject, share book recommendations, something that has inspired me, and tell folks about what I’ve been up to writing-wise. I’ve gotten a lot of great feedback from my subscribers which helps keep me going!
Naomi: Since Hear Me Roar! is my debut, I’m new at book promotion, but decided on a three-pronged approach. The first goal was to give my social media a facelift by continuously adding content related to writing, parenting-and-teaching, and book promotion. Focusing on only two social media channels, Instagram and Facebook, made this doable.
The second goal was to expand the reach of the book, so I hired a children’s book PR professional to send out a press release and line up a Blog Tour that includes reviews and interviews. The third aspect entailed me reaching out to over a dozen bookstores to schedule events.
I’ve ordered swag: stickers, dreidels, gelt and tiny dinos for mini goodie bags, and also sewed adorable pillows for Blog Tour giveaway winners. My publisher, Kalaniot Books, has supported me by handing out mini-ARC’s along with dino eggs at ALA, printed bookmarks, and posted promotional graphics online.
Cynsational Notes
Watch for part 2 of Mitu’s conversation with Rebecca Gardyn Levington and Naomi Gruer tomorrow on Cynsations.
Rebecca Gardyn Levington is an award-winning children’s book author, poet, and journalist with a particular penchant for penning both playful and poignant picture books and poems – primarily in rhyme. She is the author of 18 books for children, including Finding Forgiveness (a Sydney Taylor Book Award Notable and PJ Library selection), Whatever Comes Tomorrow (a SCBWI Crystal Kite Honor winner and Northern Lights Book Award winner, which has been translated into 11 languages), Afikoman, Where’d You Go? A Passover Hide-And-Seek Adventure (a PJ Library selection which was named one of the best holiday books of the year by both School Library Journal and the Association of Jewish Libraries), Some Days I’m The Wind (a 2026 Children’s Book Council Librarian Favorite and a 2026 Children’s Literature Assembly Notable), and Brainstorm! (a Pennsylvania Readers’ Choice Award winner). Rebecca’s poems and articles have appeared in numerous anthologies, newspapers, and magazines. She lives with her family in Summit, NJ, where she enjoys bouncing on a mini-trampoline, playing Mah Jongg, and eating chocolate-peanut butter ice cream (although not usually at the same time!). Find out more and sign up for Rebecca’s monthly newsletter at www.RebeccaGardynLevington.com.
Naomi Gruer is a freelance writer who has published articles, essays, a column, and a blog. She’s written leveled test texts for NYC’s Department of Education and, as a Microsoft Guest Educator, has participated in World Read Aloud Day by Skyping with schools in Spain, Canada and the U.S. She’s a preschool teacher in New Jersey where she’s raised triplets and a younger daughter. She’s represented by Rena Rossner. Hear Me Roar! I’m a Hanukkahsaur is her first picture book. Find her on Instagram: @naomimgruer and Facebook: Naomi Milsten Gruer
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 a 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