That's an interesting question. Usually you see more discussion about quiet books. Sometimes you may get the feedback that a book is "too quiet" for someone's list. This generally means that the plot that happens is sort of slice of life versus something with a lot of great change and a big buildup going on. It's easier to see this in a novel--a slice of life book versus a sweeping fantasy where the hero has to use magic and wits to vanquish the dragon/death lord/big bad evil force. But I think the same general principles would apply to a picture book--not the magic parts, but the idea that there is something at stake and the character has to take some risks to accomplish their goals, and they meet challenges and eventually are able to overcome them through trying hard. Maybe in a quiet book, there is not a lot of change from beginning to end. But in a loud book, there would be a lot more dramatic change for the character? I mean, yes, it could be loud in a humorous way, but I think it doesn't have to include humor, it could have that punch in other ways as well.

I'm not sure if it's appropriate to piggyback off of another person's question, but I feel like there are similarities between kirsten-hardin's likely-adult-by-age fairy and an idea for a story/character I have that I haven't gotten around to writing yet.

The MC has remained a child (11 or 12) for decades (or possibly longer) because of experiments that were done on her. Essentially, she's immortal and doesn't age... but obviously having been around for so long she's had lots AND LOTS of experiences that other tweens haven't. I always think of the child vampire character in Interview with a Vampire. But I want to play her both as being sort of world-weary and "adult"... as well as having a brain that hasn't matured past the age during which she was experimented on. MG? Or something totally different?

The common wisdom is that a MG MC is figuring out their place in their family/school/other group, and a YA MC is figuring out their place in the world.

The Blueboard, previously Verla Kay's Blueboard, has meant everything to my career.

When I first decided to try to write for children, I knew absolutely nothing. I read books, scoured the internet, and jumped in. But despite all the good information out there, there was none better or more relevant, and no people more gracious and knowledgeable, than those on the Blueboard.

I found my first critique group--eventually my first real writing friends--on the Blueboard. I learned about the industry, about the ins and outs, about specific editors, publishers, agents, librarians, marketing ideas, author websites, author visits, how ERs are different from PBs, which are different from BBs.

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I check the Blueboard every day and post when I have something I think might be useful to others. This forum is so much more meaningful in terms of educating people about writing and publishing for children and for making meaningful connections with others in the kidlit industry than any other platform, like Twitter. Unlike great books about children's publishing, the Blueboard is real time. There is no substitute. It is well organized and wonderfully moderated. I'm grateful for it.

I'm relieved and thrilled the Blue Boards are here to stay! Yay! It's a great resource and helps promote community. Great work to everyone for saving the Blue Boards! Thank you.