How did you get your first break in children's publishing and what has been your career path to date?

My first job in publishing was with First Second Books – I started there as a Marketing Associate, working with Mark Siegel and Lauren Wohl. I started six months before they published their first books and then stayed there working in marketing and publicity until I moved to Random House Children’s Books last year as the Publishing Director of Random House Graphic. 

What does your role as Publishing Director of Random House Graphic broadly entail and how would you describe your vision for this exciting new imprint?

Our mission statement at Random House Graphic is, “a graphic novel on every bookshelf.” What that means is that we want graphic novels to be everywhere – and read by everyone. 

As Publishing Director, I do a little bit of everything at the company – from editorial to marketing to systems to public speaking. The job of a Publishing Director is really to support everyone else in doing the best work possible. 

Where does your passion for graphic novels stem from?

My passion for graphic novels stems from the fact that they’re awesome! I love the combination of writing and art. And the community around graphic novels – from the authors to the booksellers, teachers, librarians, and media people I work with on a day-to-day basis – are some of the most enthusiastic and supportive people I’ve ever met. It’s a wonderful space to get to work in. 

Can you tell us about some of the exciting new titles that will be on your spring 20 launch list?

I can’t wait for our spring 20 list! What we’ve got coming up is: 

The Runaway Princess, by Johan Troïanowski – this princess doesn’t want to stay home and be polite. She wants to have adventures – so she runs away!

Bug Boys, by Laura Knetzger – in which you’ll meet the nicest, kindest bugs yet. And they go to the library (as well as having other adventures). 

Aster and the Accidental Magic, by Thom Pico and Karensac – when Aster’s parents move their family to a small rural town, she expects the worst; when she meets a magical trickster spirit, things only go downhill from there.

Witchlight, by Jessi Zabarsky – magic and loss permeate this graphic novel about a girl and a witch who go on a quest together – and gradually fall in love along the way. 

And then coming up in the summer is an amazing autobiographically-inspired middle-grade graphic novel by Lucy Knisley, Stepping Stones!

How would you describe the current climate/appetite for comics and graphic novels within the kids market?

Kids and YA graphic novels are a growing part of the children’s publishing market today. Publishers – and readers – are really enthusiastic about this format.

What portfolio advice would you offer graphic novel artists looking to appeal to your new imprint?

The first thing I always recommend to graphic novel artists is to read kids and YA graphic novels! There are so many amazing books out there – knowing what’s being published and what’s happening in the market is essential. 

Next, draw comics! With the small press comics convention scene and the online webcomics community, comics are one of the easiest formats of books to find a community and share your work with to improve your skills.

Can you tell us more about the relationship between Random House Graphic and the RHCB graphic novel backlist?

Random House Graphic is a dedicated imprint at Random House Children’s Books; we publish exclusively graphic novels. 

Our sister imprints at Random House Children’s Books publishe many amazing graphic novels as well – including Babymouse, The Cardboard Kingdom, 5 Worlds, and Hilo. We’re graphic novel publishing siblings – and in many cases, we’re right down the hall (or next door). We all work to support each other!

How would you articulate the kind of titles you are looking to acquire moving forwards?

To get “a graphic novel on every bookshelf,” we want to appeal to all kinds of readers! That means we’re interested in books for different ages – from ages five up through YA – on all different genres, and both fiction and nonfiction. We’re looking for great stories with wonderful artwork.

How important is diversity in the graphic novel sector?

Diversity is important in every part of our world today. 

Any publishing for kids – including graphic novels – has the potential to make a vital impression on kids as they figure out who they want to be.

What makes a great graphic novel?

When all of the elements – writing, art, story, characters, design – come together perfectly, that’s a great graphic novel!