10 Questions with Anita Yasuda

Today is a very special day for author Anita Yasuda. Her latest book, Up, Up, Ever Up! Junko Tabei: A Life In The Mountains is officially out today! Illustrated Caldecott honor artist Yuko Shimizu and published by Clarion Books, this stunning picture book biography tells the story of Junko Tabei, the first woman to summit Mount Everest.

In addition to this newest book, Anita is also the author of many other books for young readers, including Diwali: A Festival of Lights , illustrated by Darshika Varma. Bollywood Beat, is forthcoming from Kids Can Press in 2026, and will be illustrated by Devika Oza She earned her honors degree in East Asian and South Asian studies at the University of Toronto, Victoria College, and her Montessori and Early Childhood qualifications at the AMI Institute in Vancouver, British Columbia. After graduating, Anita worked many jobs, from preschool teacher, sales clerk, caterer, firefighter (for one day), freelance magazine writer, and authoring books for educational publishers. 

Anita lives in the rolling hills of Ontario with her family. Her dog keeps her company as she writes stories at her desk or on long hikes in the woods. When she is not writing or hiking, Anita can be found visiting family in Japan and meeting fascinating people all over the world.

Anita and Yuko will be celebrating the launch of their incredible book at the legendary children’s books story Books of Wonder in NYC this Sunday (September 29th) at 11:30 am. On October 19th, Anita will be at A Different Drummer Books in Burlington, Ontario with Anitha Rao-Robinson, author of Sari Sisters..

1. Were you a bookish child? Were there any particular books from your early years that have stuck with you in some way?

I grew up in a home with books stacked from floor to ceiling. If my mom and dad weren’t reading, discussing what they had just read from Austen to R.K. Narayan, or reading to me, we would be at the local library, which I loved visiting. The children’s librarian was a key figure in my reading journey, always dynamic and never failing to place a book into my hands. I remember thinking the library was the best place in the world, so much so that I created a library in my home, complete with lending cards inside the back cover of each book.

My love for books also sparked a passion for creating my own stories. I was particularly drawn to mysteries, and during my childhood, mysteries were synonymous with Nancy Drew, George, and Bess. Girl guide camp was not just an opportunity to learn practical skills but also a chance to spin stories around the campfire and investigate our cabins for any Nancy Drew-like hidden staircases. Spoiler alert- we never found anything hidden- unless it was the odd pop bottle, but we had fun, and those days of creating for the sheer joy of making have never left me.

2. Everyone comes to picture book writing via a unique path? Can you talk a little bit about your particular journey?

I studied East Asian and South Asian Studies at Victoria College, U of T, and spent much time reading children's literature in translation. I later trained as a Montessori and ECE teacher and discovered a love for reading picture books aloud. 

While teaching, I began writing easy readers, early graphic novels, chapter books, and educational titles for publishers, including Capstone, Lerner and ABDO. Some of my favourite series I wrote for were about dinosaur detectives and a sports-loving practical joker. It was so much fun working on these books with the entire editorial team, and later, I enjoyed receiving science and history-based topics because I enjoy research. 

After attending an SCBWI conference before COVID-19, I pursued writing picture books. I read as much as I could and wrote many awful drafts before finding a group of friends and critique partners. My critique group is called the Word Weavers, a name that came to me while I was quilting and thought about the similarities between piecing a quilting and constructing a story. I also took classes through the Highlights Foundation, the Writing Barn, and other online webinars.

Diwali: A Festival of Lights, words by Anita Yasuda, art by Darshika Varma, is available now from Random House Children's Books. Find it where ever you like to buy your books!

3. I’m always so curious about other creatives’ workspaces. Can you describe yours?

I work from my writer's shed at the back of my garden during the warmer months. I still need to give it a name. I should. It once was a chicken coop and the residence of an ornery raccoon, though truth be told- he was there first. After my husband and I evicted its resident, we began rebuilding it from scratch. 

I love the light that warms the space, the smell of cedar, and the call of the cardinal. During the height of summer, snowball-like hydrangeas bloom around the shed, reflecting even more light. The odd brave rabbit or bold chipmunk has been known to visit me. 

Some items that spark joy on my desk and walls include postcards from my travels, family photographs, and wire artwork from Knot and Needle. One piece from K & N has a partial book title—Ever Up—and the encouraging word—Read. During the winter, I write in any cozy space within my home and from Tokyo, where my daughter lives.

4. What’s the best hour of the day for writing?

I am most creative in this space early in the morning. I love writing around the edges of the day. I am usually up around four a.m. After a cup of tea, I write for a few hours. Then, I write in my head as I walk along the lake. This moving meditation is a great way to work through story problems, develop characters, or remember to breathe in and out.

5. Your book tells the incredible story of pioneering mountaineer Junko Tabei. How did you first learn about her? Do you have a personal relationship with mountains or climbing culture, or was it another aspect of her story that resonated with you?

Up, Up, Ever Up! Junko Tabei: A Life In The Mountains, words by Anita Yasuda, art by Yuko Shimizu, is available now from Clarion Books, and imprint of Harper Collins.

I learned about Junko Tabei as a high school student in Japan, so she has always been in the back of my mind. While I am not a mountaineer, I love hiking and have many friends who do climb. During the pandemic, I was still living in California, and one of my best friends was planning an Everest base camp climb. As she trained, I remembered Junko and began my research by contacting climbing organizations in Japan, former Junko colleagues, and acquaintances. 

Junko's supportive family, drive to climb and be outdoors, and sheer will to put together a dynamic all-women team resonated with me. I love that Junko worked hard to achieve her goals through tremendous odds. The team struggled to find sponsors, and the amount of equipment and supplies they needed was staggering. That is also why they made so much of their gear; it was cheaper and allowed customization. Sponsors came much later; initially, prospective sponsors told the team to stay home. Aren't we glad they didn't?

6. Yuko Shimizu’s illustrations are so striking. They feel traditional in a way that strikes me as just-right for the content, but also so fresh and unlike anything that I’ve encountered recently in the picture book landscape. I especially loved how several of the spreads featured a bird’s eye view of the climbers, so that there were clouds between us and the characters-- it gave such a wonderful sense of what it might feel like to be up that high. Did you have a vision for the illustrations that you discussed with your editor, or was this an approach that originated from the art team?

Yuko Shimizu is a Caldecott honour illustrator. Her artwork is stunning. She has outdone herself from the textures on the kimono to the yarn in the children's hats and their expressive faces. When I turn the pages, I feel like I am climbing alongside Junko, and I hope the reader will feel this, too. 

I left a few art notes for Yuko but mainly links to photographs of the actual expedition or Junko as a child. I believe we only spoke about the illustrations to confirm page turns. So, when I received the mockups, it was a complete surprise. I couldn't be happier with the book. I am honoured that Yuko took on this project. She is a treasure.

7. Do you have a favorite spread?

Choosing a favourite spread would be like picking a favourite child—impossible. I love the energy and sheer happiness of the copyright page. It shows a young Junko on top of her first mountain, followed by the warmth of the spread with her mother. It is so interesting how Yuko superimposed the mountains in Junko's head to communicate what Junko was dreaming of. The emotion on the avalanche page and the illustration of her family catching her gives me shivers each time I see it.

8. You’ve published several books at this point. What one piece of advice might you give to pre-published picture book authors?

One piece? How about one list 😊

Taking classes from reputable places, including the Highlights Foundation, is important. Many organizations offer scholarships, and I have taken advantage of them. There are organizations, including CANSCAIP, with a yearly conference where aspiring creators can hear from professional authors and illustrators at various career levels. The international organization SCBWI has virtual conferences, in-person webinars, and other opportunities through regional divisions. Canada-East is the SCBWI division that Ontario is in. I help with the BIPOC Chat, an encouraging space for creators identifying as Black, Indigenous, or a Person of Color. 

I recommend joining or forming a critique group. Your critique group will be a great support to you on this journey. They are there to read your manuscripts and offer advice or comfort when rejections or feedback differ from what you hoped for. There are also online groups, such as the 12x12 picture book challenge. You can attend webinars and hear from industry professionals, including agents, editors, authors, and illustrators, to create or revise 12 manuscripts over a year. There is no pressure, and it is lots of fun. Lastly, believe in yourself and your work. There is a child waiting for your story. 

9. If you could pitch any three titles as must-haves for every kid’s bookshelf, what would they be?

As so many fantastic picture books are released each year, I will name a few recent titles I've bought as gifts or added to my library. I loved Lion Queen, the story of Rasila Vadher, the first woman guardian of the last Asiatic Lions of India's Gir Forest by Rina Singh and illustrated by Tara Anand. Cameron Kids published the book, and children will enjoy reading this true story with its lyrical text and stunning illustrations. 

I enjoyed reading A Bindi Can Be by Suma Subramaniam and Kamala M. Nair, published by Kids Can Press. I can imagine sharing this charming book about a young girl who learns about the significance of a bindi from her Paati, grandmother. Another favourite, which is also a window into Indian and South Asian cultures, is Chaiwala! by Priti Birla Maheshwari and Ashley Barron. This book celebrates a small moment in a young girl and her mother's Jaipur train trip. I have two upcoming picture books based on my childhood experiences and South Asian heritage.  These books are Diwali: A Festival of Lights, illustrated by Darshika Varma, with Penguin Random House, 2024, and Bollywood Beat!, illustrated by Devika Oza, with Kids Can Press, coming 2026. I hope they will find a special place on children’s bookshelves, too.  

10. Guest questions from Jennifer Harris:

"The pacing in a story of this kind is so important—how did you decide how much to include before and after the ascent of Mount Everest? Were there episodes you loved, but couldn’t include because they might disrupt the pacing? "

My first editor on this picture book was the lovely Harriet Low. With Harriet's guidance that we zeroed in on a few events after the ascent to show Junko's commitment to the environment through her work with HAT-J, which is the Himalayan Adventure Trust of Japan, an offshoot of the organization founded by Sir Edmund Hilary. 

With HAT-J, Junko worked to raise money for an incinerator that is no longer in use. The team also planted apple trees and encouraged farming exchanges between Nepal and Japan, as well as a Carry In and Carry Out campaign in Japan. This program stressed the importance of leaving natural environments as you found them. The apple planting is in the story, but the rest of the information was better suited to back matter.

Later in life, Junko attended a master's program at Kyushu University, where her thesis and research focused on waste created by climbing expeditions on Everest. She measured and weighed what teams brought in and out, and interviewed teams from around the world. In the picture book, this information is in a spread showing Junko picking up trash on Everest with volunteers. The information on her university went into the timeline.

As I had worked in educational publishing for a decade, I had experience pulling out a few threads of information and knew I could expand more in the backmatter. After all, a picture book biography is an introduction, not an exhaustive inquiry into a person's life.  

CONNECT WITH ANITA ONLINE:

 Website www.anitayasuda.com 

Instagram @anita.yasuda