Success in publishing can become a creative trap. Publishers often reject new projects from their bestselling authors if they deviate from an established genre. This risk-averse behavior pigeonholes proven talent and stifles their creative evolution, forcing them to stick to what's safe.

Instead of starting with complex source material, Rabe begins her research for new science books in the children's section of the library. This provides a baseline of already-simplified facts and concepts, which she can then absorb and adapt into her signature rhyming style more efficiently.

To combat inevitable creative blocks, Rabe sets personal deadlines for herself that are weeks earlier than the official due date. If a publisher wants a draft by April 1, her internal goal is February 15. This creates a crucial buffer, allowing her to step away when stuck without risking a delay.

After decades writing for major publishers, Rabe founded her own company to pursue innovative concepts that had been rejected, such as "dialogic reading" books with embedded questions. This move prioritized creative freedom and allowed her to bring her unique vision directly to the market.

Rabe's book used a mnemonic where "pizzas" stood for Pluto. When the planet was demoted, the art of a character holding pizza boxes couldn't be changed. Her solution was to alter the line to end with "...999 Nickels," requiring the artist only to redraw the boxes as coin rolls.

Rabe's first book deal came after she pitched a heartfelt personal story from her childhood. Though the pitch was initially met with silence, an editor recognized the universal emotional core (friendship over possessions) and asked her to adapt it for the Sesame Street character Bert, proving the power of authentic storytelling.

Literary agent Georges Borchardt championed works now considered classics but was initially met with overwhelming rejection. Editors called Samuel Beckett's work an "unreadable" imitation of Joyce. Elie Wiesel's Holocaust memoir *Night* was rejected by 15 publishers, with one claiming the author would "never find an audience."

To maintain the Seussian universe, writers must follow two strict rules: the anapestic tetrameter rhythm must be perfect and never vary, and all end rhymes must be "pure" (e.g., migration/vacation), not "slant" rhymes (e.g., farm/barn). Making up words is an accepted workaround for difficult rhymes.

To make the songs in her books more accessible, Rabe writes original lyrics that fit familiar tunes like "Twinkle, Twinkle, Little Star." This removes the barrier of learning a new melody, encouraging parents who lack musical confidence to engage with their children through song immediately.