Playing in the woods is a deeply underrated activity, but today’s picture book reminds me of all of the joys that can be found underneath a forest’s branches.

Meg Fleming is the author of Sometimes Rain, I Heart You, Here Comes Ocean!, Wondering Around, and The Everything Trail. A former voice teacher, Meg draws on her love of rhythm, rhyme, and lyricism to create and imagine stories. She lives near San Francisco with her husband and three kids. You can learn more about her at her website or follow her on Instagram, Twitter, Facebook, or BlueSky.

THE EVERYTHING TRAIL is a picture book about exploring the woods. The lyrical text rolls through the scenery like a classic and the illustrations make some really interesting compositional choices (like reading a majority of the book sideways so the trees can stand tall). It’s a gorgeous combination that makes for a wonderful re-readable book. Seriously! It just begs to be read over and over again.

Please note: I received a copy of this book from the publisher to review, but the opinions, as always, are my own.

Welcome Meg!

Me: Can you tell us a little bit about your writing journey? When did you start writing picture books? How has that brought you to writing this picture book?

Meg: Oh goodness! I think I wrote my first official picture book in 7^th grade, but I started getting serious about writing picture books for publication (gulp!) about 20 years ago. It’s safe to say that I’ve always been a writer. If you catch me without a notebook, then you’ll find me scrambling for any paper available. And I am never without pen. I weigh myself down with many.

I studied vocal and choral music in college and then went on to teach music and private voice lessons after that. I don’t know what kind of writer I’d be if I weren’t a musician first. (It’s a real chicken/egg scenario, I’ll tell you that!) I used to think there was big gap between the two art forms, but I’ve since decided that creating a good sentence or writing a story is quite similar to musical composition. Often times a rhythmic pattern will land in my head and it’s just begging for words. It’s the best thing in the world!

That’s what happened with The Everything Trail. I was hiking through the redwoods, completely awestruck by the glorious surroundings and a tiny little rhythm floated alongside my feet. I had to chase it.   

Me: I adore this lyrical text celebrating so many different aspects of the forest. What gave you the idea?

Meg: Thank you so much, I’m delighted to hear that! I wrote this story in the spring of 2021 while I was walking through the redwoods. The forest was newly bouncing back after a devastating wildfire. The forest floor was a little different. Ashes mixed with pine needles, and charred brickettes were becoming hidden by fresh, green sorrel.  I was noticing everything through a different lens. There’s something weighty that hangs on the heart when you’ve almost lost a treasure.

And then a robin sings, the creek ripples, and a giant banana slug… just sits there like a slug. It was all such a wonder, I had to write it down.

Me: I love that and it certainly comes through in your writing. Your manuscript is short and deceptively simple. It even reminds me ever-so-slightly of that childhood rhyme that kids make with their hands (i.e., “here is the church, here is the steeple, open the doors, and here’s all the people!”). Was that intentional? Did your manuscript undergo a ton of revisions to get to this finished state? Or was this story a gift from the muse that was good from the first draft?

Meg: Yes, it was absolutely intentional! First of all, the rhythm caught me. It’s a fetching little rhythm invented by children, perfectly suited for a romp through the woods. Plus, there’s a double-hit with the steeples. For me, there’s no place more sacred or restorative than outside.

And yes, again! This manuscript underwent loads and loads of revision. (And I loved them all, of course. Famous last words, “I think this is it!”) The intention and the feeling were consistent with each version, but I’m ever grateful to my trusty editor, Andrea Welch, for helping me shake out the story arc. One time I was so stumped, she ever so kindly said, “Maybe you need to stop thinking about it and go back to the woods for another hike.”

And that was the best advice. Because I came back with an entirely different perspective.

Me: That IS great advice for a project like this! You have such a huge variety of subject matter in your picture books (although natural elements certainly do reoccur as a theme). Why focus on forests this time? Why did you want to share this with young readers? 

Meg:  Thank you for asking that. I think that the forests need us right now. And we need them. Time outside, immersed in nature regulates us. To me, stepping outside is like recalibrating. And it’s so close to all of us – usually just one wall away! When we get out in it, we feel aligned, happy and good!

But we really have to take care of the outside world. The best way to inspire care for “the great open wide,” is by enjoying it. When we truly appreciate a tree, a stream, a specific special place, it becomes a part of us. We grow to love it there, so we’re poised to take better care of it. And by doing that, we remember that the trees love us back. They clean our air! They take care of us.

Me: Having grown up right next to a forest, I have to wholeheartedly agree with you! The illustrations by Chuck Groenink are absolutely delightful! I love the textures and the variety of perspectives. Any illustration surprises for you? Any favorites?

Meg: Soooooo many illustrative surprises!! I love Chuck’s use of the vertical orientation in this book. How better to illustrate the tallest of trees than to give them the tallest of spaces on the page? And I also love how the act of rotating the book involves the reader in a fun and interactive way. The return to the horizontal format is clever and perfectly timed too.

Chuck’s artwork in this book is breathtaking. Page after page, he captures both the awe and magnificence of the redwoods, alongside each child’s quiet relationship with nature. These quiet moments are truly Everything. (Yes, with a capital E.)

Do I have a favorite spread? How could I? My favorite spread changes each time I read it. But I catch my breath on the first page were two small children stand in awe of the towering redwood. And the next page, a joyous color-blast of explorative momentum. I can’t get enough of the rich panels on That way an eagle./This way a bug./Fast like a falcon./Slow like a slug. The apple crumble page so beautifully shows the birth of a core memory for the child smelling fragrant leaves. And when the book rotates to horizontal… it’s vista, after vista then majesty. And I always wind up heart-swept. 

Me: I agree! It’s a stunning effect. What is one thing that surprised you in writing this story?

Meg: This was an emotional story for me to write. It took a long time. I wrote it many, many times to get the story right. Looking back at drafts, it has surprised me that the words we don’t see are layered beneath. Somehow, the unwritten words feel visible in this one. It’s kind of like a linguistic use of negative space. It’s all in there. 

And one more thing. Chuck Groenink, to my knowledge, did not visit the exact trails that I hike. And somehow, his illustrations are almost turn-by-turn, an exact match to the paths I take. Only more beautiful. 

Me: Oh! I love moments of synchronicity like that. Any advice for new picture book writers?

Meg: Sure! Here are a few things I’ve found to be helpful:

1. Read 100 picture books that have been published in the past 5 years. Study what’s working and make note of what is not working. Then read 100 more. 
2. Read 100 classic picture books. Type 5 of them out in manuscript form. Take time to identify the differences between classic and current PB’s.
3. Join a critique group. Feedback is always helpful. (Plus, it’s fun to share the journey!)
4. Remember, an “easy read” does not mean it was an “easy write.” Rewrite until the manuscript is easy to read – out loud.  
5. Become a student of the industry.
6. Take a class and join a writing community like SCBWI, 12×12, The Writing Barn.
7. Develop a thick skin. Everyone gets rejections, near-misses and friendly passes all… the time. Expect that. Grow from it. And try again.
8. Make friends with other writers and illustrators.  Writing can be a quiet and lonely endeavor, but having the support of a friend (or two… or three) is a necessity and can change the trajectory of your career.
9. When something good happens – CELEBRATE!

What a lot of great advice Meg. Thank you so much for stopping by my blog today.

Dear readers, this book published just this week! If you haven’t had a chance to track it down yet, I highly recommend it. It has both a text that will stay with you like a song, and images that will stay in your mind. It’s an incredible combination. Trust me when I say, you won’t want to miss it!