Anna Olswanger has agreed to be our Guest Critiquer for June’s First Page. Deadline will be June 18th, so I wanted to give you an early heads up. For those who like the picture prompt, you will find it at the bottom of this post.

Anna Olswanger is a literary agent with Liza Dawson Associates in New York. Anna has been a literary agent since 2005 and has sold to Boyds Mills Press, Marshall Cavendish, Dutton, HarperCollins, McElderry, Pomegranate, and Random House Children’s Books, among other publishers. Specializing in: middle grade and young adult fiction and nonfiction, some adult fiction and nonfiction, children’s illustrated books, and Judaica.

Anna is particularly interested in working with author-illustrators.Anna enjoys discovering new authors and illustrators. She is looking for “voice,” the sound and rhythm of an author that could be no one else’s, and has a special interest in children’s picture books (author-illustrators only), adult nonfiction, Judaica, animal stories, and ghost stories. Contact her at queryanna@LizaDawsonAssociates.com.

Ms. Olswanger has a background in editing and has worked with the author Mary Ann Schaffer on the adult novel The Guernsey Literary and Potato Peel Society, which became an international bestseller.

She represents Jim Carroll’s THE BOY AND THE MOON (Sleeping Bear Press), Nell Dickerson’s GONE (BelleBooks), Luli Gray’s ANT & GRASSHOPPER (McElderry), Michael Hall’s MY HEART IS LIKE A ZOO and PERFECT SQUARE (Greenwillow), Zack Miller’s TRADESTREAM YOUR WAY TO PROFITS: Building a Killer Portfolio in the Age of Social Media (Wiley), Margaret Peot’s INKBLOT (Boyds Mills Press) and THE SUCCESSFUL ARTIST’S CAREER GUIDE (North Light Books/F+W) Barry Rothstein’s EYE-POPPING 3-D BUGS (Chronicle), Jennifer Sattler’s SYLVIE (Random House Children’s Books), CHICK ‘N’ PUG and PIG KAHUNA (Bloomsbury Children’s Books), and upcoming books by Allida Black (Penguin Classics), Cathy Fishman (Cavendish), Brett Hartman (Cinco Puntos), Michelle Markel (Balzer & Bray, Eerdmans, and Chronicle), Patricia Hruby Powell (Chronicle), Alan Rabinowitz (Houghton Mifflin), Vince Vawter (Delacorte) and composer Marvin Hamlisch (Dial).

In addition to being an agent, she is the author of the picture book Shlemiel Crooks, a Sydney Taylor Honor Book and a Koret International Jewish Book Award Finalist.

You may have attended some of her workshops, like Why Was My Manuscript Rejected? 3 Agents, 3 Opinions, with two other agents (see www.3LiteraryAgents.com). Writers in the Northeast may also know Anna, because she coorinated the Jewish Children’s Book Writers’ Conference at the 92nd Street Y for many years. In addition, she founded the website http://www.Host-a-Jewish-Book-Author.com

Anna’s own website is www.olswanger.com.

Anna Olswanger, Literary Agent

Liza Dawson Associates 350 Seventh Avenue,  Ste. 2003 New York, NY 10001 Direct tel.: +1-201-791-4699

www.olswanger.com www.shlemielcrooks.com www.host-a-jewish-book-author.com

Submission Guidelines for Anna Olswanger:

I only accept email queries (no snail mail queries, please.)

Please insert (cut and paste) the first five pages of your manuscript into the body of your email.  (I’m leery of opening attachments from addresses I don’t know.)

Queries to: queryanna@LizaDawsonAssociates.com

Lisa Dawson Associates says:

• We understand the priorities and passions that motivate editors, publicists, sales directors, and marketing directors.
• We consider each of our books to be an exciting kernel that can grow – into an international bestseller, into a movie, into a calendar, into a career. That’s the power of a thrillingly told story, and that’s what people expect from our submissions.

Liza Dawson Associates

350 Seventh Avenue, Suite 2003

New York, NY 10001

www.LizaDawsonAssicates,com

June’s Picture Prompt illustration was created by Shawna JC Tenney. She was recently featured on Illustrators Saturday. http://kathytemean.wordpress.com/2013/04/20/illustrator-saturday-shawna-jc-tenney/

Talk tomorrow,

Kathy

Authors Sudipta Bardhan and Kami Kinard gave a workshop at the New England SCBWI Conference in April. I had SCBWI member, Karen Calloway ask me why I never put up anything about the New England SCBWI Conference a few days before it was held in April. I told her I would be glad to share her experience on my blog, since I know the New England Chapter does a great job with their conference. Karen put the conference to verse. Here it is:

It was late Sunday night when my friend Christi and I returned to our homes in  western Maine. We had journey for twelve hours round trip to attend the New England SCBWI Art of Craft conference in Springfield, MA. We were bleary-eyed and exhaus-ted, but euphoric.

To say that my writing will be forever changed would be an understatement, but rather than write a long piece about every workshop I attended, who taught it, and what I learned, I offer the following verses.

What SCBWI Can Do if I Let It 

by Karen Calloway

All my stories, every one,

the old, reworked, or just begun,

seemed more than perfect, skilled and deft,

yet somehow I was  always left

with angst, confusion, doubt, and so -

off to a conference I did go.

It grew my brain and filled my heart-

an end, a middle, a whole new start.

I learned about metaphor, arc and rhyme,

character changes, voice sublime,

facebook, blogs, critiques and wine,

and illustrations I wish were mine,

indie publishing (self-help advice),

poetry, picture book (word-count precise),

young adult, middle grade, theories, craft . . .

new information to polish my draft,

authors, artists, new-found friends,

editors, agents, and newest trends.

Keynote speakers Lin and Creech

convinced me (again) that I must reach

to do my best upon this stage-

word by word and page by page,

for books are within me, daring, wild.

They will stir the heart of a waiting child.

Genre, genre, wish I might

have the wish I wish tonight . . .

to be courted by publishers, one, two, three,

considered a “find”  by the industry.

Then certainly, surely, my luck will have flipped.

Perhaps even Spielberg will ask for the script?

It was awesome. Wished you were there. Maybe you were.

Hazel Mitchell and Dawn Metcalf showing off the doodles they did on their book table. I am not sure, but I think they auctioned it off at the end of the conference.

Thank you Karen for sharing, hope you keep the motivation you found and attend more SCBWI events.

Talk tomorrow,

Kathy

I met Tori years ago at one of the first events I put on as Regional Advisor of the New Jersey Chapter of the SCBWI. I got to see the effort that Tori put into her books and making sure her work was seen by editors and agents.  She is represented by the Liza Royce Agency and was one of their first clients.

Tori’s interest in children’s books began when her daughter was born. She fell in love with picture books after spending countless hours at the library reading to her daughter. By the time her sons were born, she was inspired to write her own stories and quickly became hooked on writing. She also studied picture book illustration at the School of Visual Arts. Tori joined New Jersey SCBWI and attended writing conferences where she learned the ins and outs of the publishing industry.  Writing and illustrating children’s books became an unexpected, exciting second career for her. She has expanded her writing for children of all ages and is currently working on a historical fiction novel.

Her debut picture book, What Will It Be, Penelope? hits the book shelves on June 4th.

You can meet Tori Corn (author)and Dannielle Ceccolini (illustrator) at The Corner Bookstore tonight to celebrate the publication of What Will It Be, Penelope?

Wednesday, May 22nd – 6:00 p.m.

RSVP: (212) 831-3554 or cornerbook@aol.com

Here are a few questions I asked Tori that I thought you might be interested in reading:

Can you tell us about your journey with What Will It Be, Penelope?

Watching children try and decide what flavor ice cream they wanted is what inspired me to write the story. Sometimes my youngest son would hold up the line at the Mr. Softee ice cream truck! Of course there’s a bit of me in the story. I’ve been known to take forever to decide something silly like which soap to buy at Target! Penelope was the first picture book I wrote that wasn’t written in rhyme. I’m embarrassed to tell you how many versions there are!

How long ago did you write What’s Will It Be, Penelope?

It’s hard to say. I wrote the first version about seven years ago but I put it aside and didn’t look at it for years. It was way too long, around 850 words, which is a common mistake for picture book writers who are just learning their craft.  It took me a while to figure out how to tell a story in only 500 to 600 words.

Did you do revisions? 

Did I do revisions? All I did was revisions! And once I sold the manuscript, I still had to do more revisions!

What did it feel like to sign that first contract? 

It was a really special day for me, especially since I’d been envisioning the moment for such a long time.

Can you tell us a little bit about Sky Pony Press? 

Sky Pony is a wonderful publisher.(I’m not biased.) Launched in fall of 2011, it’s the children’s book imprint of Skyhorse Publishing. Their list includes picture books, middle grade, young adult, educational books and reissues of some well-loved classics. Since their first list in Fall 2011, Sky Pony now has over 100 books in print. I feel so blessed to have Penelope on that list. Next year, I’ll have another picture book called Dixie Wants an Allergy on the list too. What I love about Sky Pony is that they make decisions quickly and are capable of producing their books in record time. I signed my contract in Jan 2012 and I was holding a copy of my book in my hands in May 2013! Amazing.

Did you have any input into choosing the illustrator?

No I didn’t, but I’m glad that Sky Pony chose Danielle Ceccolini to do the illustrations for What Will It Be Penelope?  In general, the publisher chooses the illustrator, not the author.

Do you ever think you will try your hand in illustrating one of your books? 

Yes! I was an art major at SyracuseUniversity. I love to draw and paint!  As a matter of fact, I illustrated the cover for my website. You can probably tell by looking at it that I was a textile designer because of the textures and the prints on my character’s clothing.

I took picture book illustration classes at The School of visual Arts and began working on a book dummy for my picture book called Sometimes I Wake in the Middle of the Night. Hopefully I’ll finish illustrating it someday. And you never know, maybe I’ll write and illustrate a story about the mice on my website! www.toricorn.com

Do you have any other books on the horizon?

I’ve written eight picture books and I’m currently working on a historical fiction novel.

What types of things have you done to help get prepared for your book launch? 

Well, for one thing, I had a website developed.  I’ve also purchased some cute Penelope giveaways to give to kids after I’ve read my book during school visits. I’m hoping the children will go home and ask their parents to buy my book and these items will help them remember the name of my book!

Do you have any words of wisdom to share that would help unpublished writers? 

The most important advice I can give writers is to be thoughtful when deciding who to send their manuscripts to. This cuts down on the amount of (and type of ) reject letters you get. For instance, I only sent my manuscripts to editors and agents that I met at SCBWI conferences and I didn’t send them to everyone, only those whom I felt were seriously interested in my stories. That way, I only received encouraging reject letters! Most of them had excellent editorial comments so instead of feeling bad, I actually felt  inspired to work harder to improve my manuscript.

My second piece of advice is for writers to envision their books getting published. That’s really important. Someone once told me to “Stay on the road and keep looking forward” which is what I did. I think it’s also important to join a writing group so you can have your manuscripts critiqued often and learn what other authors are doing right and wrong.   And remember, if a few people are saying the same thing, you should listen. That said, always stay true to yourself.

Thank you Tori for sharing your experience with us. Best of luck with the book. Stop by www.toricorn.com to see Tori’s new website.

Talk tomorrow,

Kathy

What is the Katherine Paterson Prize for YA and Children’s Writing?

Do you have a manuscript—picture book, novel, or nonfiction—that needs work? Do you wish you could learn techniques that would help you revise not only this manuscript, but future ones?

Then come to the KBR “Editing without an Editor” workshop in Westport, CT. Learn how to revise like an editor by working with two experienced editors, who have distilled the methods they’ve used in editing manuscripts with individual clients and in the online Kid’s Book Revisions class. To create a framework, they’ll compare “reader response” theory and the lit. crit. approach, and explore ways to gain objectivity and to focus on different aspects of manuscripts. You will pick up and try out methods for making critique groups work better. After lunch, you will learn and try out a variety of techniques for self-editing, from big picture revision down to copy-editing, working on your own or with a partner.

Critiques are available for those that want them, but are not included in the standard package, to keep the price as low as possible. The workshop fee is $175 through May 21st, and $225 after that. A critique of up to 15 pages is $40; longer manuscripts can be critiqued by arrangement.

The workshop will run from 9 AM to 5 PM on  Sunday, June 30, at the workshop space, Write Yourself Free/The Editing Company, 252 Post Road East, Westport, Connecticut, (the little red schoolhouse).

Schedule:

In advance: Student preparation: You will need to bring copies of up to 5 pages of your manuscript for use in model critique groups and hands-on work. We will tell you how many copies are needed ahead of time.          If you want a critique, submit manuscript when you register but no later than two weeks before the workshop, to allow ER or HU time to review and comment. See details following the schedule.

• Class “textbook”: Writing It Right!, Sandy Asher. We will give copies of this to all students.
• Also useful: A Family of Readers, ed. by Roger Sutton and Martha Parravano. Find it at your local library.

9:00   Welcome, introductions, and review of schedule.

9:15   Introduction: Reader Response vs. Lit. Crit–different ways to respond to a manuscript and what you get from them.

10:00   How Critique Groups Work and Don’t Work–introduction and discussion.

10:30   Critique Group Practice and Feedback. Break into critique groups to dive into “what lies underneath.” Focus on trying out a specific technique and getting peer critiques and editor feedback. (Eileen and Harold will lead and take part in a group.)

12:00   Lunch: Sign-up sheet available at lunchtime for impromptu critique groups or work with partners, etc., during 3:30 to 4:30 individual meeting time.

1:30   Big Picture Revising – Some techniques and what they do for you. Hands-on practice with your manuscript.

2:45   Sweating the Small Stuff – Yes, the details matter!  Again, techniques and what they do for you. Hands-on work.

3:30   Individual meeting with editors for those students who signed up for them. When not in meetings, students can write, revise, meet with a reading partner or impromptu crit. group, or do creativity exercises we provide.

4:30   Lessons Learned—what you’ve learned about yourself and your manuscript, and what do you do next? Discussion. Final questions.

Click link for more information, and registration details:http://www.kidsbookrevisions.com/editing-without-an-editor-2013.htm

Talk tomorrow,

Kathy

1ST PRIZE: £5,000

Judging Panel:

Kirsty Lang, arts journalist and presenter of BBC Radio 4′s Front Row
Val McDermid, award-winning novelist, journalist and short story writer
Novel Competition 2013Charlotte Robertson, literary agent at Aitken Alexander Associates

The three finalists will be offered free professional feedback by The Literary Consultancy.

The 12 shortlisted authors will be invited to meet literary agents and editors at a special networking event in London.

The competition is open to unpublished women novelists writing in any genre for adults, including literary fiction, women’s fiction, young adult fiction, science fiction, fantasy, chick-lit, crime fiction, thriller, historical fiction… but not nonfiction or fiction for under 13s. To constitute a novel, your book must total at least 50,000 words.

Closing date: 23 September 2013

Please note: This is NOT an annual competition. The next adult novel competition will not be until 2015 (TBC).
Please make sure you have read the rules THOROUGHLY before submitting

YOUR NOVEL
•Your novel can be in any genre, but must be for adult or young adult readers. Nonfiction and fiction for children under 13 is not eligible. To qualify as a novel, your book must total at least 50,000 words.
• You may submit up to 5,000 words, which must be the first 5,000 words of the novel. Any preface is included in your 5,000 words. There is no need to submit a synopsis.
• Please complete your novel before entering. Shortlisted entrants will be asked to submit a full manuscript and synopsis for the final stages of the judging process. Entrants unable to comply will be disqualified.
• Please submit your work typed, double-spaced on A4-sized paper, single sided, with pages numbered and your novel’s title on every page.
• Your novel will be judged anonymously, so do not put your name on the pages of your novel. Use a separate cover page with your name, address, telephone number and email address, plus the title of the novel you are submitting.
• No alterations may be made to a novel extract once submitted.
• Your submission will not be returned, so please keep a copy. If you want confirmation that we have received your postal entry, please enclose an SAE labeled ‘Acknowledgement’. Sorry, we do not send copies of the result to entrants.
• The winner will be contacted in February 2014 and announced in the Mar/Apr/May 2014 issue of Mslexia.

ELIGIBILITY
•This is a competition for unpublished novelists. Women who have had a novel published commercially, for any age group, in any country, are not eligible.
• Women who have had other types of books published (e.g. poetry, memoir, nonfiction), but have not had a novel published, are eligible.
• Self-published manuscripts are eligible.
• Novels should be in English (or English dialect) and should not have been published or accepted for publication by a commercial publisher.
• Novels should not be a translation of another author’s work.
• You do not have to subscribe to Mslexia to be eligible, but you do have to be a woman. We will accept novels from women of any nationality from any country.
• Employees of Mslexia are not eligible.

HOW TO ENTER
•Send your novel extract by post or enter online at http://www.mslexia.co.uk/novelcompetition.
• If entering by post, mark your envelope ‘Women’s Novel Competition’ and send it postmarked no later than 23 September 2013 to Mslexia Publications Ltd, PO Box 656, Freepost NEA5566, Newcastle upon Tyne NE1 1BR. We regret FREEPOST is not available for entries from overseas, so please make sure you attach the relevant postage to your envelope.
• If entering online, be sure to follow the instructions on the website carefully. Novel extracts and cover sheets should be sent together as a single attachment.
• The entry fee of £25 allows you to enter an extract from one novel. You may enter as many novels as you like, provided each novel extract is accompanied by the £25 entry fee.
• Entry fees must be in pounds sterling. If you want to use a different currency, please pay online on our website via PayPal, which will convert your fee automatically into pounds sterling.
• You can pay by cheque (payable to Mslexia Publications Ltd) or by debit or credit card (phone +44 (0)191 204 8860 with your details). You can also pay online via our website, but in this case you must include with your entry a note of the date on which you paid, and the email address you used, so that we can trace your payment.

Here is Tracy explaining her process:

Below, I’ve included some of the steps I used to draw and paint the “Watermelon Barrette”.

Illustration:

• Draw the design, scan it, and then reduce the drawing to fit the surface.
• Trace the design onto tracing paper.

Paint/Supplies/Brushes:

• DecoArt Americana Acrylics.
• DecoArt Matte Varnish Sealer.
• Krylon Matte Finish Spray.

• Brushes—1/8” and 1/4”      Stipplers, #1 and #3 Round, 3/4” Wash, #2, #4, and a #10 Shader, #6      Filbert, and a #10/0 Spotter.

Wood Surface Preparation:

• Sand the wood barrette with 400 grit wet/dry sandpaper.
• Remove the dust with a tack cloth.
• Apply one coat of DecoArt Matte Varnish Sealer.
• Allow to dry, sand, and then wipe clean.
• Paint the background with at least three coats of paint.
• Center the tracing over the barrette.
• Slip the dark blue dress-maker’s paper under the drawing, and then
• Trace the main pattern lines with a stylus and/or a pencil.

Color Worksheet:

 Drybrush Tips:

• Use a 1/8” Stippler to      drybrush small areas.
• Use a 1/4” Stippler to      drybrush large areas.
• Dip the brush into the      desired paint color.
• In a circular motion,      wipe off the excess paint onto an absorbant paper towel.
• In a circular motion,      applying slight pressure, begin in the darkest area and move toward the      lightest area.
• Follow the above steps      until the desired results are achieved.

 Finishing Touches:

• Let the piece cure (I      wait three days).
• Apply one coat of DecoArt Matte Varnish Sealer.
• Let dry (15 to 30      minutes).
• Lightly sand with a      brown paper bag.
• Apply at least three      coats of sealer, sanding between each coat.
• Spray with Krylon Matte Finish.

Did you go to school for art?
No, not unless you count the “How to Paint” workshops I signed up for in 1991.

What types of things helped you to develop as an illustrator?
In 1994, a published picture book illustrator encouraged me to draw my own designs. So with shaky fingers, I picked up a pencil and gave it a whirl. And voila! The fabric tree and snow mama was my first design, and I painted it on slate.

I continued studying “How to Paint” books, and then with three years of drawing and painting practice under my belt, I designed “How to Paint” pattern packets. During that time, I attended a Tuesday morning group for young moms at a local church. The moms loved my designs, and they invited me to teach on Tuesday mornings. One of the designs I taught them, Noah’s Flying Angels, was painted on a wood piece.

My confidence bloomed like the flowers in my garden, and I decided to sell my expanding portfolio. Without access to the Internet, I packed up my car and traipsed all over Southern Ontario, begging and pleading with store owners to stock my designs on their bulging shelves. Krafty Kennedy’s, a store in London, Ontario, took a chance and purchased my packets. Wait, it gets better. They even asked me to teach workshops. A few years later, I became a “Big Brush” teacher at national painting shows in Toronto and London, Ontario.

Here is a pattern packet design.

What was the first piece of art you did where someone paid you?

A small marketing company hired me to design thirty cards. I recently revamped “Gone Fishing” to create a Father’s Day card.

Did you start out doing interior design work?

It wasn’t until 2004 that I received accreditation as an International Design and Decorating Professional. I then obtained my Staging, Color Consulting, and Professional Organizing designations. While I was running my decorating business, QC Design School approached me to tutor students and, later, to facilitate Color and Professional Organizing workshops. I’ve recently cut back on my decorating services to allow more time to pursue my new love…writing.

What are your favorite art materials?
Hmm…I don’t really have a favorite. I paint on many surfaces—illustration board, slate, tin, wood, and canvas.
Here is a “Musical Angel” I painted on a CD box.

Have those material changed over the years?

Yes, I’ve discovered Copic markers, which I must say are not forgiving. To avoid making mistakes, I test the markers on scrap paper to ensure I choose the correct tint, tones, and shades. The upside, I reduce my painting time in half.

Here is a very rough sketch for the painting below.

Once the idea takes shape, I redraw each figure, scan it, and then enlarge or reduce each element until I’m happy with the placement. I then transfer the final drawing onto Strathmore Windpower^TM smooth finish, acid free Bristol.

How long have you been illustrating?

I seriously began illustrating in 1994, so that means almost twenty years!

I like your note cards. How did you start creating and selling them?

Thank you, Kathy. Some of my three-dimensional wood designs were the inspiration that lead me to produce a line of square-shaped greeting cards, which I submitted to the Thirteenth Uniquely Ontario Creative Arts Show in Toronto, Ontario. My cards were judged on design, workmanship, promotional materials, and saleability. After receiving a score of 92 out of 100, I was invited to participate in the show that assists in the growth of Ontario’s best home-based entrepreneurs. I was disappointed I didn’t receive 100. 

Kathy, I hope you’ll indulge me for a moment. Regal Gifts hired me to create A Country Charm Collection, reproduced on wrapping paper and gift cards.

Here are just four designs.

My confidence soared. I queried a well-known calendar company in Markham, Ontario. Rejected, I sulked, unaware God was still at work. A few months later, I received a call. My name had been passed on to Zebra Publishing. They hired me to design a “baby’s first year keepsake” calendar, and the following year, a “twelve-month folk art” calendar. Both calendars sold like hot cakes in mom-and-pop bookstores, Chapter’s bookstores in Canada, and Barnes & Noble in the U.S.

It looks like you have written and illustrated a children’s book. Can you tell us a little bit about the book?

Our Story—You & Me is much more than a children’s book. It’s also a record-keeping book sprinkled with quaint quotes that will appeal to mommies and expectant mommies who want to capture the milestones of their baby’s first year. The book is unique in that it elevates a record-keeping book to an early-reader storybook a mom can read to her child, and uses a child’s natural curiosity about their first year of life to help interest them in reading. In the years to follow, mom and growing child will giggle together, poring over candid photos of things like a toothless grin, wobbly first steps, the ultrasound, and other special moments. This fifty plus page book mirrors my calendar art and will make the perfect baby shower gift.

Do you have plans to self-publish?

I’m on the hunt for an agent.

Is illustrating children’s books a new direction for you?

It sure is. 

Have you ever illustrated something for a children’s magazine?

I haven’t pursued that avenue yet, but I have been published numerous times in American and Canadian “How to Paint” magazines.

Here are two tear sheets.

The drawing and painting instructions for the “Musical Angel CD Box” are similar to the “Watermelon Barrette”. Below, I’ve listed the differences.

Additional Supplies:

• DecoArt Walnut Gel Stain.
• Krylon Matte Finish Spray.

CD Box Surface Preparation:

• Prep the box as per the previous instructions, paint the base Napa Red, paint the lid Antique White, and then paint the edge Deep Teal (apply at least three coats of paint).
• Drybrush the Deep Teal area with Blue Green, and again with Deep Teal plus Buttermilk to brighten.
• Apply scotch tape 1/4” from the edge, and then paint the border Country Red.
• Paint corner squares Lamp Black.
• Dilute the gel stain with water, and then apply with a foam brush. Wipe the excess stain with a cotton cloth. Let dry.
• Spatter with Burnt Umber and again with Lamp Black.
• Trace main pattern lines onto the lid.

Color Worksheet 1:

 Color Worksheet 2:

What have you been doing to get your artwork noticed?

I have an online whimsical shop over at http://www.tracycampbell.net/shop.html and a website over at http://www.tracy-campbell.artistwebsites.com, where Fine Art America reproduces my original whimsical works of art on metal, stretched canvas, and acrylic. You can also buy unframed prints or framed prints that are ready to hang on your wall or on a friend’s wall.

Have you made picture book dummies to show art directors, editors, and reps.?

Not yet.

Do you have an agent?

I’m hard at work querying agents.

Do you ever use two different materials in one illustration?

Not materials per se, but here’s another style where I used a Micron pen and watered down acrylics.

The above piece was painted on illustration board. The process is the same as painting on wood, except I don’t have to prepare the surface. I just transfer the line drawing, ink the design, and then apply watered down acrylics.

I also paint on Paper Mache items.

Have you seen your style change since you first started illustrating?

Oh my, yes! My earlier drawings and paintings were stiffer than my ironing board.

Have you gotten any work through networking?
Yes, from author extradornaire, Susanna Hill. She purchased designs for her online course—Making Picture Book Magic. Take a peek over at http://www.susannahill.blogspot.ca/p/making-picture-book-magic.html.

Do you do any art exhibits to help get noticed?

Not at present.

Are you open to doing illustrations for self-published picture book authors?

Not at the moment. I’d like to concentrate on illustrating my own books.

Do you use Photoshop?

Yikes! I hear the learning curve is steep and I’m not getting any younger. I do scan my artwork, and manipulate my designs with Microsoft Publisher and Paint. Here’s one I reconfigured.

Do you own a graphic tablet? If so, how do you use it?

Unfortunately not.

How much time do you spend illustrating?

Not as much time as I’d like. Some days I work on marketing, other days I write and/or paint.

Do you have a studio set up in your house? Where do you live?

I have a second-floor studio in my 1841 farmhouse, nestled high on a hill in a secret location. 

Is there anything in your studio, other than paint and brushes, that you couldn’t live without?

My art and writing reference books.

What are your career goals?

My career goals are to find a literary and/or art agent, finish writing two picture books, polish my middle grade novel, and continue creating art that one day will appear on home décor and giftware items. Lord willing.

What are you working on now?

Besides tutoring, I’m querying agents, blogging, writing a rhyming picture book, and adding art to sell on my website.

Are there any painting tips (materials, paper, etc.) you can share that work well for you? Technique tips?

I love dark blue dress-maker’s paper. I lay my line drawings over the transfer paper, and then I use a stylus to trace the design onto any surface I like. The beauty of this paper is that as soon as you add ink or water—poof—the lines disappear.

Any words of wisdom you can share with the illustrators who are trying to develop their career?

Don’t be afraid to try new things, step out of your comfort zone. As Will Rogers once said, “If you want to be successful, it’s just this simple: Know what you are doing. Love what you are doing. And believe in what you are doing.”

Thank you Tracy for sharing your artwork and process with us. We will be watching to see how you develop your style to illustrate picture books.

If you want to see more of Tracy’s work or follow her in the future, her website is www.tracycampbell.net.  Please take a minute to leave Tracy a comment. It is much appreciated. Thanks!

Talk tomorrow,

Kathy

KUDO’S:

BETH FERRY’s PIRATE’S PERFECT PET, in which a captain, who considers himself practically perfect in every way, decides that he’s just missing one thing — the perfect pet — and goes on a wild search to hunt that pet down, was sold to Mary Lee Donovan at Candlewick, by Elena Mechlin at Pippin Properties.

INDUSTRY NEWS:

Emily van Beek has been promoted senior vice president at Folio Jr., the children’s division of Folio Literary Management.

Joe Perez has joined the Random House Publishing Group as senior art director. Previously he was art director at Portfolio.

At Atheneum, Emma Ledbetter has been promoted to assistant editor.

Christina Pulles moves up to assistant editor at Simon & Schuster Children’s.

Congratulations everyone!

Remember that the deadline is May 22nd to submit a first page to win a critique with MELISSA FAULNER, Editorial Assistant, ABRAMS Books for Young Readers and Amulet.

Last week Melissa answered a few questions. Here they are, again:

1. This is the first time we have had someone from Abrams BFYR. Could you share what makes Abrams different from other publishers?

Abrams is a smaller, boutique publishing house, so we’re able to provide a level of personal attention to authors and illustrators that a lot of larger houses aren’t able to achieve. Because of our size, we don’t really have a “mid-list.” Abrams’ is also deeply rooted in design and art having begun as an art book publisher, so there is a strong visual sensibility to every book we publish.

2. Do the editors at Abrams work as a team or do they chose books independently?

While editors do acquire books individually, we very much work as a team on projects. We have weekly editorial meetings where we discuss potential acquisitions with the entire department before taking them to an acquisitions board meeting. It’s also not unusual for editors to ask other editors to read manuscripts or look over covers just to get a second opinion, or to bounce around ideas.

3. Does Abrams try to stick to a certain ratio or PB, MG, YA, Fiction, and non-fiction with each catalog?

We generally try to have as balanced a list as possible for each season (we have two a year). We’ve always had a very strong non-fiction publishing program in both our Books for Young Readers and Amulet imprints, which is really great since so many publishers are now looking to acquire more non-fiction.

4. What is the ratio of debut authors to published author on your list?

It’s generally a fairly even split, though some seasons it may weigh more heavily in one direction or the other. We’re equally enthusiastic about bringing new talent to Abrams as we are about developing and nurturing our house authors.

5. The industry has been changing quite rapidly, do you think the mid-list authors are finding it harder to stay on the list?

I think at a lot of larger houses, authors are finding that they have to be a stronger advocate for themselves. Most aspiring authors know it’s essential to have built a strong platform before their book has been acquired, but it’s also essential to maintain that engagement and build even after their book has published. It can be daunting, but today, authors are fortunate to have so many avenues of engagement to pursue.

May’s submission deadline will be May 22nd, due to the Memorial Day.

Below is this month’s picture prompt for those of you who like them. This illustration is by Maria Bogade. She was featured on Illustrator Saturday on Feb. 9th 2013 and I missed showing off this illustration. Thought it might provide some inspiration for a story. You do not have to use it. Feel free to submit a first page from a work in progress.

WRITERS Sending in a First Page: Please attach your double spaced, 12 point font, 23 line first page to an e-mail and send it to kathy(dot)temean(at)gmail(dot)com. Also cut and paste it into the body of the e-mail. Put “May First Page Critique” or “May First Page Picture Prompt Critique” in the subject line. Make sure you have your name on the submission, a title, and indicate the genre. Also let me know if you were able to post of facebook or Tweet. You will get your name in the basket for each time you comment, tweet, or mention on facebook, giving you a better chance of being picked. If you end up doing more things to get additional entries, then e-mail me a note by May 20th. The four chosen and their critiques will be posted on May 31st.

Call for illustrations for May: Thank you to everyone who sent in an illustration for April. There are a couple that I didn’t get up. I promise I will use them in the days to come.

You can send anything, but I am especially looking for illustrations that reflect the month. I hope you will send something for May. This is a good way to get your work seen. Don’t wait, I will post the illustrations as they come in. Please make sure the illustration is at least 500 pixels wide and include a blurb about yourself and a link to see more of your work. Please send it to kathy(dot)temean(at)gmail(dot)com and put “May Illustration” in the subject box.

Talk tomorrow,

Kathy

Freefalling by Children’s Author Debbie Dadey

“I didn’t think you would do it,” my son Nathan told me when I fell out of an airplane at fourteen thousand feet.  But I was determined since I was writing a story about someone who skydived.  I learned that freefalling at one hundred miles an hour is very terrifying!  The sad thing is that I have never been able to sell that story.  But as a former librarian, I love doing research for my writing even if I don’t make a sale.  Each new story is an opportunity for learning. Sometimes that involves doing something just a bit crazy.

“I didn’t think you would do it,” my husband said to me when I climbed up the hundreds of steps to the sixty foot drop into a pool of sharks.  I didn’t tell him, but I almost chickened out at the top.  Still, it was a chance to get close to sharks and I was determined to do the research.  So, I took a deep breath and plummeted to what I feared was certain death.  Luckily, I lived to write Danger in the Deep Blue Sea, which is book four in the Mermaid Tales series from Simon and Schuster.

I’ve done some other things that were slightly less crazy for research, like the multi-axis trainer at Space Camp for Mrs. Jeepers in Outer Space, a trip to Hawaii for Werewolves Don’t Go To Summer Camp (who says research has to be hard?), and a trip to the dentist for Hercules Doesn’t Pull Teeth (I took notes the whole time).

Another kind of research on Ancestry.com told me that my seventy-seventh grandmother was Cleopatra of Egypt.  That led to the fun of writing my newest book, The Lost Princess (Mermaid Tales #5)

I think doing research with books or websites is fine.  But whenever I get the chance to do something hands-on, I try to take that scary leap.  What better way to be able to write about it than to actually experience it myself?  Who knows what’s just around the corner for me to learn?  Who will say to me, “I didn’t think you would do it”?  I just hope it doesn’t involve freefalling at one hundred miles an hour!

You can check out Debbie’s skydiving screams at http://www.debbiedadey.com/Video/skydive.php  

Debbie Dadey is the author and co-author of 158 books, including The Adventures of the Bailey School Kids series and the new series, Mermaid Tales.       http://www.debbiedadey.com/    LinkedIn   Twitter    Facebook

Do you have any in your face research you want to share?

Talk tomorrow,

Kathy

Mary Zisk attended the Highlights Novel Writing Workshop at the end of last year, so I asked her if she would share her experience with us. I think you will enjoy hearing about it and what she learn.

Pumped Up in the Poconos By Mary Zisk (back row with yellow scarf)

“Work on voice—like a girl talking to her best friend.”
“Focus on characterization—your characters feel a bit stock. Bottom line: it’s your job to entertain.”
“Is this a historical novel or a novel that takes place in a historic time? There’s a difference.”
“Make your novel shorter and characters younger. Forget boyfriends. Add touches of fantasy.” (Whaaa?)
“I lived through the sixties. Why would I want to read about it?”

That’s what I heard at last year’s NJSCBWI Conference in June. After critiques from an author, an editor, a consultant, a publisher, and an agent pitch for my middle grade novel, my head was spinning like a boardwalk Tilt-a-Whirl.
But there was a hopeful note. At the end of each critique, I said “I’m thinking of illustrating my novel.”

“Hmm, that could work,” they all said.

So I literally went back to the drawing board to approach my novel illustratively. I kept drawing and writing and revising and characterizing and revising and plotting and revising. By winter, I had written my novel to the end, with illustrations for the first three chapters.

The 2013 NJSCBWI Conference was still five, long months away, which would be the next opportunity to meet with the pros to discuss my novel. Suspended in limbo, waiting for June, I cleaned the subterranean hoard known as my basement.

But the Universe pulled me out of limbo (and my basement) and led to me the Highlights Foundation Whole Novel Workshop: Middle Grade. I had heard writing friends reminisce about the Highlights Writing Workshop in Chautauqua, NY. Their eyes would glaze over with a combination of reverence and rapture. “Instructive. Inspiring. Life-changing,” they sighed.

“Huh, I need that,” I thought. “Now!”

No one had ever read my entire novel past the usual 15 or 30 pages. Hot-cha-cha, this workshop would be perfect! I’d return either pumped up or deflated.

The Highlights Foundation www.highlightsfoundation.org no longer has an annual workshop in Chautauqua, but instead, has more than thirty, short (three to seven days), theme-focused workshops throughout the year at their conference center outside of Honesdale, Pennsylvania, home of the Highlights office. The Whole Novel Workshop promised three author faculty members, one of whom would be my personal “reader.” Plus (GET THIS!), I’d have my own private, “rustic” cabin for writing and contemplation.

Author Alan Gratz www.alangratz.com was assigned as my reader. I immediately googled him and found that Alan had written sports novels and murder mysteries. I fretted. Could he relate to my female, coming-of-age 12-year-old, aspiring-artist, main character? Absolutely! Before the workshop, Alan sent me a six-page, single-spaced letter thoroughly critiquing my novel, and his insights were spot on. We had a strong starting point for renovating my novel at the workshop.

I drove (and antiqued) my way through the Pocono Mountains to the The Barn at Boyds Mills while the other participants arrived from all over the country. Our faculty members were authors Tami Lewis Brown www.tamilewisbrown.com, Alexandria LaFaye www.alafaye.com, and Alan, with help from authors Helen Hemphill www.helenhemphill.com and Sue Ford www.susanuhlig.com.

The week started with a face-to-face with our reader, which I wanted to be honest and blunt—no pain, no gain. Alan hit me with the difficulties of selling a book set in the sixties (no agent will touch it). Why did I choose that time period? Should it be contemporary instead? I stuck with the sixties. Look at The Wednesday Wars or Dead End in Norvelt.

We dug into the meat-and-potatoes of my novel (although Alan only eats pizza). Alan thought the novel started with a strong goal and then dropped away for 25 pages. My novel’s chronology had always been a struggle, especially finding my beginning. I could wallpaper a bathroom with all the “first pages” I’ve written over the years (a master-suite bathroom, not just a powder room). I retreated to my cabin to wrestle with the chronology, conferred with Alan again, then back to the cabin to move chapters around and write a new first chapter. Hot dog! The beginning pieces of my plot snapped together. On to the rest.

Alan felt my novel continued at a nice pace, with conflicts, ups and downs, good humor, and heart. He questioned some of my decisions: Are the seventh graders too savvy about art? Is the lightning strike and resulting fire an unrealistic act of God? Is the reference to Vietnam intrusive, not instructive? Would today’s tween really know who Pepe Le Pew is?
Again, back to the cabin.

Later in the week, Alan made a masterful plot presentation to all of the participants using the hero’s journey and Star Wars. The other faculty members also made presentations: Tami showed us the advantages of storyboarding both actions and emotions, from first epiphany, through attempts and failures, recommitment, the depths of despair, victory, and resolution. Alex took us into a deep analysis of text, like the Double Duty Detail that puts details to work in many ways, flashbacks that are triggered by an object (I used this), and that chapter names, not numbers, generate a cognitive response in the reader.

Throughout the week, talking during meals at a large communal table, gathering in the sitting room, or working alone in our cabins, we were immersed in the craft of writing and nothing else (although I did sneak in a couple of posts to Facebook). On our final night, each participant read a few pages aloud from their novel. I discovered I had a gift for voices (maybe I should only do an audio book). Then we shared what our plan would be when we got home.

My plan was to:

1. Work on voice;

2. Illustrate my novel’s most compelling events as seen through my MC’s eyes

3. Attend the NJSCBWI Conference in June to improve my novel through more critiques (I’ll pitch it as “Ellie McDoodle meets The Wednesday Wars”)

Not only did that week in the woods solidify my novel, it gave me confidence in my skills. I arrived at Boyds Mills a participant and I went home a writer.

Next step: I plan to make merry with the New Jersey Tribe at the Conference!
See you there!

*****************

Mary Zisk is the author/illustrator of The Best Single Mom in the World: How I Was Adopted (A. Whitman & Co.). During the day, she is a magazine art director trying to hold on to the use of illustration in print. The rest of the time, she writes and illustrates picture books and middle grade novels. www.maryzisk.com

Thank you Mary for sharing this very well written, interesting, and informative article with us. I love your idea of illustrating your middle grade novel and I love the humor in your illustrations. I can see how much your style has grown since I featured you on Illustrator Saturday in July of 2010. http://kathytemean.wordpress.com/2010/07/03/illustrator-saturday-mary-zisk/

Talk tomorrow,

Kathy

Illustrator Gregory Myers from Syndey, Australia sent in this illustration. He is a freelance illustrator. Studied under Czech artist Petr Herel at Canberra School of Art, and Akira Kurosaki at Kyoto Seika University. Hand-coloured scraperboard artworks like this has proven to be popular with his clients. www.gregorymyers.me

Mt. Airy Kids’ Literary Festival

Friday, May 17, through Sunday, May 19, 2013

Big Blue Marble Bookstore is proud to present its seventh annual Mt. Airy Kids’ Literary Festival! All events are FREE and open to the public!

This year, our festival includes events at the Color Book Gallery, 6353 Germantown Avenue (215-844-4200).

All Weekend

The Craft Table! Big Blue Marble Bookstore will have our special craft table open all weekend, stocked with brightly colored paper, collage materials, and all kinds of other supplies to create your own books! (In our Community Room, All Ages. Adult Supervision Required.)

Special Door Prizes! Winners will be randomly selected throughout the entire weekend to win free books, promotional goodies, and more. Stop by with your family and get a chance to go home with all kinds of special treats. (All Ages)

Friday, May 17

10:30am – Big Blue Marble Story Time with Amanda Hendricks. Join us for our regular Friday morning story time! (Ages 18m-4y)

6:30pm – Philadelphia Youth Poetry Slam. Share your words in a welcoming literary environment in the Big Blue Marble Bookstore cafe! Light refreshments will be served, and local poets will be invited to help decide the winners. Prizes include bookstore gift certificates for an overall winner, a middle school winner, and one runner-up. (Ages 12-18) Special Guest Judge/Host: Ms. Alyesha Wise

Alyesha Wise was raised in the city of Camden, N.J. She began writing at the age of 11 and eventually developed a passion 4 Poetry. The founder of “Love, Us,” she is on a mission 2 spark a LOVE REVOLUTION, holding a strong belief that unity and compassion is the healing force to all that exists. She’s the co-host of the longest running weekly open mic in Philadelphia, “Jus’ Words.” In addition, she’s the co-founder & co-host of “The Pigeon Presents: The Philadelphia Poetry Slam,” voted “Best of Philly” for Literary Activity in 2012, by Philadelphia Magazine.

Saturday, May 18

10:30am – Nature Yoga for Kids with Deirdre Vezirov-Kilkenny. Join yoga teacher Deirdre Vezirov Kilkenny as she reads from The Yoga Game, and incorporates yoga postures. (Ages 3-7)

Deirdre Vezirov-Kilkenny trained with the Radiant Child Yoga Program at Karma Kids NYC. She is also certified in Storytime Yoga levels 1 & 2 and Yoga4Teens, and has been teaching kids yoga since 2004.

Deirdre’s classes at Springboard Studio are 45 minutes on Tuesdays: Nature Yoga for 4-7 year-olds takes place from 4:00pm–4:45pm, and for 8-12 year-olds from 5:00pm–5:45pm. Spring classes will be April 2nd–June 4th. Nature Yoga for Teens and Tweens (10+) on Fridays from 4pm-4:45 pm this Spring will be April 4th–June 7th. The 10 session cost is $100; drop-ins are $12 per session. For information, call 267-241-4810 or e-mail natureyoga@comcast.net. Facebook page: http://www.facebook.com/NatureYogaforKids.

11:15am – Festival Storytime with Lauren Grace. Come join us for a special Mt. Airy Kids’ Literary Festival storytime! Together we will sing songs, play games, and read some books, of course!  (Ages toddler to 4)

Lauren Grace is a local mom who enjoys knitting, sitting outside, laughing with her two daughters, and reading!

12:00pm – Harry Potter fun with Grace Gordon.

1:00pm – Afternoon Drawing Workshop with Mark Mattson. (Ages 6 and up)

Mark Mattson is a Philadelphia-based artist, writer, illustrator, and designer. A graduate of Columbus College of Art and Design, he also makes video games and kids’ products; and is a member of The Society of Children’s Book Writers and Illustrators. He’s made everything from books based on famous red monster puppets, to Easter baskets starring martial-arts mutant turtles, to educational games prominently featuring deep-voiced tooth fairies. It is all true.

2:00pm – Reading and crafts with Ame Dyckman, author of Boy + Bot and Tea Party Rules. Join author Ame Dyckman for a cool Boy + Bot reading, with robot crafts and giveaways, and a special sneak peek into her forthcoming book, Tea Party Rules.  (Ages 4 and up)

Ame Dyckman

3:00pm – Creating Graphic Novels/Comic Books with Marta Rose and Judy McCoubry. Text (Ages 7 and up)

Festival Events at Color Book Gallery

All day – Face painting and activity table!

12:00pm – C. Getti, author of Bear’s Prayer

1:00pm – Melissa Conroy, author of Poppy’s Pants

2:00pm – Baba Abiodun, Storyteller

3:00pm – Rhiannon Richardson, author of Model Friendship

4:00pm – A. R. Bey, author of Netherworld of Kemet

Sunday, May 19

1:00pm – Reading with , author of .

10:30am – Music with Gina Ferragame! Join local musician Gina Ferragame for a fun-filled round of kid music and interactive fun. (Ages toddler to 5)

Gina Ferragame is a trained Music Therapist who has extensive experience working with children, special needs children, hospice care, and in-patient hospital care with emotionally disturbed adolescents. Gina is also a preschool Music Teacher in Mt. Airy, Philadelphia. “Music With Gina” is a class designed for babies/toddlers (ages 6mo to 3yrs) and caregivers. The intention for each class is to allow your little one the freedom to express themselves in a positive and compassionate setting through the use of movement, playing, and singing. Music classes are meant to enrich, enliven, and entertain your little ones! it’s just fun! 10:30am Tuesdays, Mt. Airy Yoga: 610 Carpenter Lane Philadelphia, 19119. $12 drop in $100 for 11 classes. Contact musicwithgina@gmail.com.

11:00am-12:00pm – Free Creative Writing Games Workshop with Cordelia Jensen. This workshop is for any kid who wants to get creative. We will play four or five writing games that focus on different aspects of the storytelling process, such as dialogue and character development. So, come and get wild with words! (Ages 7 and up)

Cordelia Jensen is a YA Writer; her novel in verse SKYSCRAPING is forthcoming from Philomel/Penguin. Cordelia graduated in 2012 with a MFA in Writing for Children & Young Adults from Vermont College of Fine Arts. Cordelia graduated from Kenyon College where she majored in English, with a Concentration in Creative Writing. Cordelia was Poet Laureate of Perry County in 2006 & 2007. She has also had nonfiction work appear in Literary Mama. Cordelia has worked with young people for most of her career; with a Masters of Education in Counseling, she has worked as a counselor, teacher and spent ten summers as a camp counselor in Central PA. She works at The Big Blue Marble Bookstore and loves being surrounded by books and people who love stories and language. Cordelia lives in West Mt. Airy with her husband, Jon, and twin seven-year-olds, Tate and Lily.

12:15pm – Reading with Kit Grindstaff, author of The Flame in the Mist. Join Kit for themed refreshments and a special reading from her new book The Flame in the Mist, a fantasy-adventure for fans of Philip Pullman’s The Golden Compass. (Ages 9 and up)

Kit Grindstaff was born near London and grew up in the rolling countryside of England. After a brush with pop stardom (under her maiden name, Hain) she moved to New York and embarked on her career as a pop song writer. Kit now lives with her husband in the rolling countryside of Pennsylvania. She is a member of the SCBWI. The Flame In The Mist is her first novel. You can also find her at http://www.kitgrindstaff.com , http://www.facebook.com/kitgrindstaff  and on Twitter: @kitgrindstaff.

Check the Big Blue Marble Bookstore for additions and changes: http://bigbluemarblebooks.com/kidslit13.html

Talk tomorrow,

Kathy

I personally do not know Dede Cummings, but I thought you would want to informed when a new agency opens.  Here is a little bit about Dede, her background, and what she brings to the table.

Dede Cummings started her literary career as a book designer at Little Brown & Company. Prior to working at Little Brown, she worked at David R. Godine in Boston as a designer and production editor. Design is something she loves to do, and she still designs covers and interiors of books; most notably, she is a six-time winner of the New England Book Award for a number of authors’ works, including Slow Learner by Thomas Pynchon, Voices From The Moon by Andre Dubus, a reissue of Borstal Boy by Brendan Behan, four books of poetry by Mary Oliver, and others.

She is also a publicist and literary agent for emerging writers. She’s been coined as one of the most accessible and yet well-connected agents starting out in the business. Because she is an author herself, she understands both sides of the publishing process. Dede is a 2010 graduate of the Harvard Medical School’s Department of Continuing Education course “Publishing Books, Memoirs and Other Creative Non-Fiction,” under the direction of Julie Silver, M.D. Her first book, Living With Crohn’s & Colitis: A Comprehensive Naturopathic Guide for Complete Digestive Wellness, was published in 2010 by Hatherleigh Press and distributed by Random House. She has another cookbook (Cooking Well:IBS) under the same imprint, and her third book—Questions for the Dalai Lama—is due out in 2014.

Dede holds a BA from Middlebury College in Literature where she was also a poetry contributor at the Bread Loaf Writers Conference and was the recipient of the Mary Dunning Thwing Award. In 1991, she received an award to study with Hayden Carruth at the Bennington Writers’ Workshop. Dede has had her poetry published in Mademoiselle magazine and she was a Discovery/The Nation poetry semi-finalist, and she was most recently published by ConnotationPress for her poetry.

Dede has attended the National Publicity Summit in NYC where she made media contacts at this premier event. She is excited to work with writers — from Children’s picture books, YA fiction and non-fiction, to adult trade books, and she will help you think about all aspects of publishing from pitch to publicity, and even self-publishing. In its first year, the Dede Cummings Literary Agency has sold a number of books to the trade, most notably, “Wonder Woman Isn’t Bulletproof,” by Shannon Galpin, to Daniela Rapp at St. Martin’s Press.

Dede is interested in literary fiction, both adult and YA, Children’s illustrated books, self-help memoir, health and wellness. Submissions can be emailed to her at dcdesignteamvt@gmail.com  and usually take 6-10 weeks for review. Self- or co-publishing writers may also contact Dede at this email.

Please note: The names below are of the agents who had the most children’s book deals report to Publishers Marketplace by a publisher, agent, or author. It is just a snapshot in time. When I ran the numbers in the beginning of the year, the names and numbers were different. Also you should know for various reasons not all deals are reported to Publishers Marketplace.

Many agents represent children’s books and adult books. Only children’s book deals were used. This is the type of information you can access if you sign up for the paid subscription to Publishers Marketplace. I consider this important information and part of the cost of doing your homework.

1. Jennifer Laughran (Andrea Brown Literary Agency)
has had 27 deals in the this category during the last 12 months - 4 six-figure+ deals Most recent deal in this category: April 9, 2013 – 11 PB – 11 MG – 8 YA

2. Ammi-Joan Paquette (Erin Murphy Literary Agency)
has had 26 deals in this category during the last 12 months - 3 six-figure+ deals Most recent deal in this category: April 3, 2013 - 9 PB – 7 MG – 12 YA

3. Erin Murphy (Erin Murphy Literary Agency)
has had 24 deals in this category during the last 12 months – 1 six-figure+ deal Most recent deal in this category: April 4, 2013 – 19 PB – 9 MG – 2 YA

4. Sara Crowe (Harvey Klinger)has had 21 deals in this category in the last 12 months – 12 six-figure+ deals Most recent deal in this category: April 10, 2013 – 11 MG - 14 YA

5. Holly McGhee (Pippin Properties) had 19 deals in this category in the last 12 months – 14 six-figure+ deals Most recent deal in this category: April 5, 2013 – 16 PB – 5 MG

6. Kelly Sonnack (Andrea Brown Literary Agency) has had 17 deals in this category in the last 12 months  - 2 six-figure+ deals Most recent deal in this category: February 26, 2013 – 14 PB – 3 MG - 1 YA 

7. Tina Wexler (ICM) has had 15 deals during this category in the last 12 months  Most recent deal in this category: March 20, 2013 – 2 PB - 8 MG – 7 YA

8. Rosemary Stimola (Stimola Literary Studio)has had 14 deals in this category during the last 12 months – 16 six-figure+ deals Most recent deal in this category: April 2, 2013 – 3 PB - 8 MG – 2 YA

9. Sarah Davies (Greenhouse Literary Agency)has had14 deals in this category in the last 12 months – 20 six-figure+ deals Most recent deal in this category: March 27, 2013 – 3 MG – 13YA

10.Paul Rodeen (Rodeen Literary Management) has had 14 deals in this category in the last 12 months – 2 six-figure+ deals Most recent deal in this category: April 10, 2013 – 13 PB – 1 MG

11. Brenda Bowen (Sanford J. Greenburger Associates) has had 13 deals in this category during the last 12 months - 7 six-figure+ deals Most recent deal in this category: February 15, 2013 – 10 PB – 3 MG – 2 YA

12. Teresa Kietlinski (Prospect Agency) 13 deals in this category during the last 12 months.  Most recent deal in this category: March 26, 2013 – 12 PB – 4 MG

This week we have Denise Ortakales who is a gifted paper sculpture illustrator. Here is Denise:

I was always artistically inclined as a child and loved to cut and paste. After high school I went to college and earned an Associate degree in Graphic Design. I married soon after, working in a variety of jobs, everything BUT graphic design. Why? Who knows, but different crafts and hobbies kept my artistic fires burning for years.

After my two children were born, I took some evening courses to update my graphic design skills. One of my teachers helped me realize that I what I really wanted to be was an illustrator. I had been buying beautifully illustrated children’s picture books for years, for the children I thought. I wasn’t fooling any one but myself.

In 1997, I went back to school. I have my family to thank for their support (and babysitting) throughout the next two years. Within one month, I had my first assignment and I’ve been busy ever since. In 1999 I graduated from the Art Institute of Boston with a BFA in Illustration. Soon after I received a contract for my first children’s book to illustrate.

Fast forward to today. I am still doing a variety of projects for various adult and children’s magazines (Consumer Reports, Utne Reader, Ladybug, Spider) and children’s books. I’ve also taught at the Art Institute of Boston, Chester College, and McIntosh College.

Here is Denise explaining her process:

First I start with a sketch…

Next I enlarge the sketch and trace it onto tracing paper.

I assemble my papers. Sometimes I paint my papers ahead of time. Sometimes I use a toothbrush, sponge, airbrush or anything to get the different textures I like.

Each shape is transferred to the colored paper . . .

. . . then cut out. I use an X-acto knife and many blades.

For the clouds I decided to paint them after they were cut. That way I could place the sponge painting exactly where I wanted it.

I glue spacers behind each piece. The thickness depends on how high I want it to stick above the background and other pieces. Typically I use foam core but you could use any type of cardboard or foam meat trays. Here I used thick blocks of Styrofoam. I usually use a white glue to glue the piece to the background. Aleene’s Tacky glue works best. Here I’ve used a repositionable glue which is why it looks yellow.

Here I’ve painted the background with a variegated swirly pattern.

At this point I lay my tracing paper sketch over the background. It’s a guide for placement of the other pieces.

Gently I lift the tracing paper and place the piece underneath it, not letting it touch the background until its fairly close to where it belongs. I’m usually able to fine tune the placement once its laid down. I continue this way until its done.

Here’s the finished piece. After it’s dry, it can be photographed.

Below are the covers of Denise’s books.

How did you end up going to the Art Institute of Boston?

I was looking for a small school with an illustration program. NH didn’t have one at the time. A substantial scholarship sealed the deal. I thought for sure traveling 100 miles each way, three times a week would get old fast. But it didn’t. I learned to love my commute—no children whining, I could listen to MY music, I could reflect on my day—I kind of miss it!

What types of classes did you take that really helped you to develop as an illustrator?

Illustration I & II, Children’s Book Illustration, Advertising Illustration, Buses, Billboards & CDs, 3D Illustration, Promotional Illustration, Illustration Survey. I made the mistake of taking five studio courses one semester. I did approximately 25 illustrations within those 15 weeks. Brutal, but I now know how to meet a deadline.

What did you do after you graduated?

6 months later I had my first book contract. I also did some editorial illustration.

Did the Art Institute help connect you to companies that could give you work?

Not directly, but I got my first job from an alumnus who looked for other AIB grads.

Did you start out right from the start doing paper sculpture?

Yes. Once I discovered my affinity for paper sculpture, then I decided to become an illustrator and go to school.

What was the first thing you did that you got paid to do?

It was a cover and two-page spread for a computer magazine. I had only been in school for one month. Gulp! After the phone call, I ran to my teachers and said, “What do I do now?” I think they were skeptical that I could pull it off.

How long have you been illustrating?

That first job was in 1997.

How many children’s books have you illustrated?

Six.

What was the first book that you illustrated?

Planets by Jennifer Dussling, published by Grosset and Dunlap in 2000. I was mortified that they published 6 spreads upside down in that first edition (well, they were round planets!)

How did that book contract come your way?

Probably from sending samples or postcards.

I see you have published with Grosset and Dunlap. How did you connect with them?

Good Morning, Garden was published by Cooper Square Publishing. Can you tell us a little bit about them?

It was published by Northword Press which was bought out by Cooper Square. Working for Northword was great. Sadly their gone.

How many children’s magazines have you done work for?

Ladybug, Click, Spider, ASK, Babybug, and Cobblestone.

Was The Legend of the Old Man of the Mountain (Myths, Legends, Fairy and Folktales) the first book you wrote?

It was the first one I wrote that sold. I have a few picture book dummies I’ve been working on.

How did that come together with Sleeping Bear Press?

The Legend of the Old Man of the Mountain was based on a beloved rock formation here in New Hampshire. While at AIB, I took a Writing for Children course. One of the assignments was to rewrite a folk tale or legend and make it your own, so I rewrote one about the Old Man. When the rock formation collapsed in 2003 and made the news, I knew it was time to dust it off. I revised the story and sent it out immediately. Sleeping Bear called within a month.

Carrot in my Pocket was published by Moon Mountain Publishing. Could you tell us a little bit about them and how you got the job to illustrate?

They were a new company. Since several friends also worked on some of their early books, I suspect they looked at local illustrators through the New England chapter of SCBWI. Unfortunately, they have since closed.

I notice you have illustrated a couple of books with other illustrators. How did that work?

Do you ever touch up the photographs with Photoshop?

Yes. Mostly dust or lint that shows up on the photographs.

What types of things do you do to get your work seen by publishing professionals?

Attend conferences, sign up for critiques, portfolio displays, website, BLOG, mail postcards.

Do you have an agent? If so, who and how long have the represented you?  If not, would you like one?

No agent. I’d be open to open to one though.

Have you seen your style change since you first started illustrating?

Well . . . I’ve actually been considering a change . . . to 2D. I am a little envious of 2D artists that don’t have to worry about photographing their artwork, or storing bulky pieces. A stack of spreads for a picturebook can be 20 x 30 x 4 feet tall! I’ll never give up on 3D but I’ve been working on an acrylic style to give clients options. It’s also good to mix things up once in a while. Keeps things fresh.

Have you gotten any work through networking?

We’ll see. I just attended a conference and rubbed lots of elbows.

Do you do any art exhibits to help get noticed?

No but I probably should.

Are you open to doing illustrations for self-published picture book authors?

No. I prefer working with established publishers. They understand art and artists, and allow you the freedom you need to create the best book possible. The fact that they can pay a decent fee doesn’t hurt either.

Do you own a graphic tablet? If so, how do you use it?

I have Wacom Intuos 3 that is a few years old now. I only use it for sketching.

How much time do you spend working on your art?

Not as much as I should because I have a day job, or rather, a morning job. If you’re asking how long it takes to create my art, a typical spread takes 2-4 days after the sketch has been approved by the publisher or client.

Any books on the horizon?

Nothing currently in the publishing pipeline.

What are your career goals?

I suppose the holy grail is a picture book that I’ve written AND illustrated. But really I would be happy with a few dozen more books, illustrated or written.

Why did you choose Paper Sculpture instead of drawing and painting like other illustrators?

I like to say that paper sculpture chose me instead of me choosing it. But in reality I remember seeing it as a child and wondering how they did that. When I was considering illustration as a career, I found a book on the paper sculpture and I knew that I had to try it. It was one of those Aha! moments that you shouldn’t ignore.

What kind of paper and glue do you use?

I use charcoal and pastel papers which are about the same thickness or a little thicker than construction paper. I prefer the papers that are colored in the pulp rather than printed color but will use anything if it’s the perfect color or texture. My favorite glue is Aleene’s Tacky Glue which is a thick white glue available at most craft stores. Really, any white glue will work, the key is to put it on VERY thinly.

What do you use to make your images 3-dimensional?

I use scrap pieces of foam core and mat board glued behind each piece of paper. If you’re trying this at home, try several layers of corrugated cardboard or foam meat trays work well too.

How did you learn to do Paper Sculpture? Did you have to go to school?

I really taught myself. I went to art school twice but I didn’t learn to do paper sculpture there. There are some books on the topic but the best way to learn is just to try it. Here are some of my favorite books:

Paper Sculpture : A Step-By-Step Guide by Kathleen Ziegler and Nick Greco.
More Paper Sculpture by Kathleen Ziegler and Nick Greco.

Couldn’t you get the same look on the computer?

Yes, you could get a very similar look. But I enjoy the creating of the actual piece, getting sticky fingers and paper cuts. I’ve always enjoyed a variety of crafts and creating art on the computer doesn’t hold the same fascination for me. Besides, I’m already on the computer too much surfing the internet, reading email and updating my websites.

What does someone need to consider if they want to try creating paper sculpture?

Transferring the 3-dimensional image to a 2-dimensional page is by far the biggest headache. Unless you are a professional photographer, you need to hire one to insure that your work will look it’s very best. At first, when you are just creating samples, it is a VERY expensive cost to cover. Be prepared for clients that have never used 3-dimensional artwork to balk at the photography expense. It’s your job to educate them.

The other problem is storing these darn things. Make friends with a framer who will give you good deals, otherwise they start to pile up and take over closets.

Are there any schools that teach Paper Sculpture?

Not to my knowledge, and I think that’s part of the fun of it, that a million other people aren’t out there doing the same thing. So buy yourself a good book (see above) and dig in. It’s not that difficult. You probably did something similar as a kid.

How do you handle the photographing of your artwork?

Because my work is 3-dimensional and difficult to ship, I have it professionally photographed locally. The photographer and I work together to create depth using lighting and shadows. I can then supply clients with digital files for publishing purposes.

Do you need to go to art school to become an illustrator?

Art School is absolutely not necessary to become an illustrator. No art director has ever asked to see my degree. It will, however, bring you up to speed quicker and perhaps save you from learning your lessons the hard way. I am a firm believer in the merits of art school but it may not be for everyone. Some of the benefits that you may not have thought of are:

Learning to talk intelligently about your work which you’ll need to be able to do with an Art Director.

Learn to be objectively critical of your own work.

Form a circle of peers that you can call on for advice and comradery when you are out on your own.

If you can meet assignment deadlines in art school, you’ll have no problems meeting deadlines in real life.

What are you working on now?

Um . . . a YA historical fiction novel? Yes, I’ve written it. 70,000 words, thank you very much. I have tried desperately to write picture books but could never get them below 2,000 words! So I embraced my wordyness and went in the other direction. It is such a rush finishing a first draft of a novel. I love it! It engages a completely different part of my brain. But that also makes is hard to illustrate and write novels at the same time.

Last summer I was appointed Illustration Coordinator for Northern New England SCBWI, so I am also busy working on conferences, Illustrator’s Day, and other activities for our illustrators.

Any words of wisdom you can share with the illustrators who are trying to develop their career?

Yes, listen to your inner voice. Not the one that whispers how bad you are at drawing, or telling you you’re a poser. You’re probably already listening to that one. Stop! Listen closer to the one that tells you something in your image is not working, or needs fixing. Have you ever had someone critique your work, and you thought, “yeah, I kinda knew that?” It’s because you ignored that little voice (I speak from experience.) Listen and your work will improve.

Thank you Denise for sharing you wonderful artwork, process, journey, and expertise. Please make sure you continue to share you successes with us. We looking forward to following your career.

If you would like to visit Denise and see more of her work, you can find her at: www.sculptedpaper.com.

Taking a minute to leave Denise a comment is greatly appreciated. Thanks!

Talk soon,

Kathy

MELISSA FAULNER, Editorial Assistant, ABRAMS Books for Young Readers and Amulet has agreed to share her expertise with us and critique the four winning first pages for us in May.

Melissa was kind enough to answer a few questions I thought you might be interested in reading. Here they are:

1. This is the first time we have had someone from Abrams BFYR. Could you share what makes Abrams different from other publishers?

Abrams is a smaller, boutique publishing house, so we’re able to provide a level of personal attention to authors and illustrators that a lot of larger houses aren’t able to achieve. Because of our size, we don’t really have a “mid-list.” Abrams’ is also deeply rooted in design and art having begun as an art book publisher, so there is a strong visual sensibility to every book we publish.

2. Do the editors at Abrams work as a team or do they chose books independently?

While editors do acquire books individually, we very much work as a team on projects. We have weekly editorial meetings where we discuss potential acquisitions with the entire department before taking them to an acquisitions board meeting. It’s also not unusual for editors to ask other editors to read manuscripts or look over covers just to get a second opinion, or to bounce around ideas.

3. Does Abrams try to stick to a certain ratio or PB, MG, YA, Fiction, and non-fiction with each catalog?

We generally try to have as balanced a list as possible for each season (we have two a year). We’ve always had a very strong non-fiction publishing program in both our Books for Young Readers and Amulet imprints, which is really great since so many publishers are now looking to acquire more non-fiction.

4. What is the ratio of debut authors to published author on your list?

It’s generally a fairly even split, though some seasons it may weigh more heavily in one direction or the other. We’re equally enthusiastic about bringing new talent to Abrams as we are about developing and nurturing our house authors.

5. The industry has been changing quite rapidly, do you think the mid-list authors are finding it harder to stay on the list?

I think at a lot of larger houses, authors are finding that they have to be a stronger advocate for themselves. Most aspiring authors know it’s essential to have built a strong platform before their book has been acquired, but it’s also essential to maintain that engagement and build even after their book has published. It can be daunting, but today, authors are fortunate to have so many avenues of engagement to pursue.

May’s submission deadline will be May 22nd, due to the Memorial Day.

Below is this month’s picture prompt for those of you who like them. This illustration is by Maria Bogade. She was featured on Illustrator Saturday on Feb. 9th 2013 and I missed showing off this illustration. Thought it might provide some inspiration for a story. You do not have to use it. Feel free to submit a first page from a work in progress.

WRITERS Sending in a First Page: Please attach your double spaced, 12 point font, 23 line first page to an e-mail and send it to kathy(dot)temean(at)gmail(dot)com. Also cut and paste it into the body of the e-mail. Put “May First Page Critique” or “May First Page Picture Prompt Critique” in the subject line. Make sure you have your name on the submission, a title, and indicate the genre. Also let me know if you were able to post of facebook or Tweet. You will get your name in the basket for each time you comment, tweet, or mention on facebook, giving you a better chance of being picked. If you end up doing more things to get additional entries, then e-mail me a note by May 20th. The four chosen and their critiques will be posted on May 31st.

Call for illustrations for May: Thank you to everyone who sent in an illustration for April. There are a couple that I didn’t get up. I promise I will use them in the days to come.

You can send anything, but I am especially looking for illustrations that reflect the month. I hope you will send something for May. This is a good way to get your work seen. Don’t wait, I will post the illustrations as they come in. Please make sure the illustration is at least 500 pixels wide and include a blurb about yourself and a link to see more of your work. Please send it to kathy(dot)temean(at)gmail(dot)com and put “May Illustration” in the subject box.

IN DOYLETOWN,PA – Tomorrow:

Talk tomorrow,

Kathy

Karen and Philip Cushman Late Bloomer Award

Are you over 50 years old and have not been traditionally published? If so, this is something you should consider.

The Karen and Philip Cushman Late Bloomer Award is for authors over the age of fifty who have not been traditionally published in the children’s literature field.

The grant was established by Newbery Award winner and Newbery Honor Book recipient Karen Cushman and her husband, Philip Cushman, in conjunction with the Society of Children’s Book Writers and Illustrators.  Karen published her first children’s book, The Midwife’s Apprentice (winner of the 1996 Newbery Medal), at the age of fifty-three and has gone on to become one of the field’s most acclaimed novelists.

“This award was established to encourage and celebrate late bloomers like me, who didn’t start to write until age fifty.  But then I bloomed, and I’d love to see others do so as well,” said Karen.

SCBWI Executive Director Lin Oliver agreed, “One of the great aspects of writing children’s books is that it’s not age-restrictive. The SCBWI hopes an individual’s creative expression can make a valuable contribution, no matter what his or her age.”

The award is open to both unpublished children’s book authors or author/illustrators over the age of fifty, and one winner will be chosen from the pool of those who have submitted material for the SCBWI Work-In-Progress Grants.

The winner will receive $500 in cash, and free tuition to any worldwide SCBWI conference.  The first winner will be selected this year and announced along with the other Work-in-Progress Grant recipients. Because this grant was started after the applications were due we will be contacting finalists to see if they are eligible for this additional award.

Application Process You do not apply directly for this award, rather it is chosen from among the Work-in-Progress grant entrees. To enter you will indicate on your application that you are over 50 and would like to be considered for the award.  http://www.scbwi.org/Pages.aspx/Work-In-Progress-Grants Must be an SCBWI Member to apply.

About Karen Cushman

Karen Cushman is the author of The Midwife’s Apprentice (winner of the 1996 Newbery Medal), Catherine, Called Birdy (a Newbery Honor book), The Ballad of Lucy Whipple (winner of the John and Patricia Beatty Award), and her latest book, Will Sparrow’s Road (Clarion 2012). Karen lives and writes on Vashon Island in Washington.  To learn more about Karen visit www.karencushman.com .

Talk tomorrow,

Kathy

I am starting to set up a small Writer’s Retreat for this September in Avalon NJ, similar to what we did last year, which was a four day workshop with an editor and an agent. It included a one hour full manuscript critique with one of the mentors and a one hour 50 page critique with the other mentor, a first page session, a brainstorming session, group critiques, and pitch practice. The cost last year was $850 which included the cost of the house, the critiques, and most food.

Since the house is rented for the week, you have the choice to come early before the mentors get there to relax and work on your writing. I have not confirmed the mentors, yet. It would be nice to customize to fit the final group. I am looking to let two additional writers attend, so if you are interested in joining our group of advanced writers, please email me (Kathy.temean(at)gmail.com) for more details. Last year’s retreat was the best thing I have ever put together.It is a great opportunity.

Gregory Myers from Australia sent in this illustration called “Haru” that was commissioned by Tokyo Journal as part of a series on the seasons in Japan. Gregory is a freelance illustrator. Studied under Czech artist Petr Herel at Canberra School of Art, and Akira Kurosaki at Kyoto Seika University. He is based in Sydney, Australia. Hand-coloured scraperboard artworks like this one prove to be popular with his clients.

Ammi-Joan Paquette has been promoted to senior agent at the Erin Murphy Literary Agency.

Julie Just, who became an agent at Janklow & Nesbit in late 2010 after working at the NYT Book Review as children’s book editor, is moving to Pippin Properties on May 1. Pippin founder Holly McGhee says: “We were looking to expand our agency and had just signed a new office lease when we began talking to Julie. Since we are interested in representing our authors’ and artists’ work across all genres, including more YA and adult trade books as well, Julie Just is exactly the right fit.”

Greenhouse Literary Agency has hired Polly Nolan head up the UK side of their business representing children’s and YA authors. Currently associate publishing director, fiction, at Macmillan UK Children’s, she will start her new job on June 3.

At Simon & Schuster, Molly Lindley has been promoted to associate editor.

Alison Weiss has been promoted to associate editor at Egmont USA.

Amber Morley has joined Chronicle Books as marketing coordinator for their children’s division.

At HarperCollins, Dana Trombley has been promoted to senior manager, digital marketing, adding oversight for the marketing of all the digital-first titles published through the Impulse lines.

Angela James has been promoted to editorial director, Carina Press.

At Harlequin, Adrienne Macintosh has been promoted to editor, series, while Karen Reid moves up to associate editor, Harlequin Superromance and Charles Griesman has been promoted to editor, Harlequin Desire. In addition, Reka Rubin has been promoted to senior manager, subsidiary rights, while Amy Wilkins moves up to the manager, online engagement.

At Simon & Schuster Children’s, Nicole Russo has been promoted to deputy publicity director and Lydia Finn has been promoted to publicist. Russo has been with the company since 2005.

Talk tomorrow,

Kathy

Hunger Mountain’s Annual Manuscript Critique Auction is happening NOW on ebay. Don’t miss out. It ends on May 12th. I have listed below the agents involved in children’s books and YA novels. Here is the link to bid: http://stores.ebay.com/The-Hunger-Mountain-Store

Young Adult/ Middle Grade Manuscript Critique with Literary Agent and former Simon & Schuster Editor Alexandra Penfold

ALEXANDRA PENFOLD has been working in publishing for nearly a decade. Formerly an Editor at Paula Wiseman Books/Simon & Schuster Books for Young Readers, she’s now an agent with Upstart Crow Literary and specializes in young picture books and middle grade and young adult fiction. She is the co-author of New York a la Cart: Recipes and Stories from the Big Apple’s Best Food Trucks. 

25-Page Middle Grade Fiction Critique with Agent Alyssa Henkin

ALYSSA EISNER HENKIN began her career in children’s publishing as an editorial assistant in 1999. Now, as a successful literary agent at Trident Media Group, Alyssa considers herself privileged to be able to work with such talented authors and illustrators who create the books readers cannot put down.

25-Page Middle Grade, Picture Book, or Young Adult Manuscript Critique with Author and Literary Agent Ammi-Joan Paquette

AMMI-JOAN PAQUETTE is associate agent with the Erin Murphy Literary Agency, where she represents all forms of children’s and young adult projects. She’s especially passionate about connecting with and launching the careers of debut authors and is most excited by a strong lyrical voice, tight plotting with surprising twists and turns, and stories told with heart and resonance. She is the author of a picture book, The Tiptoe Guide to Tracking Fairies, and a middle grade novel, Nowhere Girl.

Full-length Middle Grade Fiction Manuscript Up to 250 Pages with Literary Agent Elena Mechlin

ELENA MECHLIN  began as a literary agent at Pippin Properties, Inc. in June of 2009. She notes that she “is thrilled to be pursuing her love of children’s literature and the industry from her seat at Pippin and especially enjoys the treasure hunt that is sorting through the daily query emails.” Pippin Properties, Inc., an agency devoted primarily to picture books, middle-grade, and young adult novels, has represented such literary luminaries as Katherine Applegate, Kate DiCamillo, Kathi Appelt and illustrator Harry Bliss.

100-Page Young Adult or Middle Grade Critique with Literary Agent Emily Van Beek

EMILY VAN BEEK is a literary agent at Folio Literary Management. She spent six years as agent and rights director at Pippin Properties, Inc, where she represented such titles as Kathi Appelt’s Newbery Honor-winning The Underneath , Jandy Nelson’s The Sky is Everywhere, and Jenny Han’s New York Times bestselling Summer series. Since joining Folio in May of 2010, Emily has represented established writers of YA and Middle Grade fiction, debut voices in children’s lit, and a select group of illustrators, including the Caldecott Medal winning creators of A Sick Day for Amos McGee, Philip C. Stead and Erin E. Stead.

Full-length Picture Book Critique with Agent and Agency Founder Holly McGhee

HOLLY MCGHEE founded Pippin Properties, Inc., an agency devoted to the management and representation of the finest authors and artists at work today. Her fascination with making books began in 1991, and now her agency is devoted primarily to picture books, middle-grade, and young adult novels, and has represented such literary luminaries as Katherine Applegate, Kate DiCamillo, Kathi Appelt and illustrator Harry Bliss.

50-Page YA or Middle Grade Manuscript Critique with Literary Agent Tricia Lawrence

TRICIA LAWRENCE worked for 17 years as a developmental and production-based editor (from kids book to college textbooks, but mostly college textbooks) before she joined the Erin Murphy Literary Agency team in March 2011. As associate agent, Tricia represents picture books/chapter books, and middle grade and young adult fiction and nonfiction. She also writes a blog about social media for authors and the publishing industry at large.

Hunger Mountain is both a print and online journal of the arts. They publish fiction, poetry, creative nonfiction, visual art, young adult and children’s writing, writing for stage and screen, interviews, reviews, and craft essays.

Good Luck! and Happy Bidding.

Talk tomorrow,

Kathy

This is the last day to register for the New Jersey SCBWI June Conference. Over the last few months, I have posted information about many of the editors, agents, authors, and illustrators who are on the faculty. I didn’t get to all of them, so I am briefly going to mention some additional people. There are still pitch spots, one-on-one critiques with the editors/agents, one-on-one critiques with authors, and portfolio reviews for the illustrators available.

For the illustrators and author/illustrators:

Portfolio reviews are conducted one-on-one with an available editor, agent or art director (see list for choices) who is happy to offer feedback about your work.

It does not guarantee you will be published. BONUS! Kelly Light will be reviewing portfolios and offering feedback on character development, and Peter Brown will also be reviewing portfolios this year.

Have to share Kelly Light’s special box that was delivered to her today.

You can still get a portfolio Review from:

Agent Christina Tugeau,

Illustrator Peter Brown

Illustrator Kelly Light: Here is a little about Kelly.

Kelly Light has had a career that began in animation that led to a decade of drawing many of the most famous cartoon characters in the world of cartoon licensing. She has illustrated two middle grade chapter books out this Spring, The Quirks from Bloomsbury and Elvis and the Underdogs from Balzer and Bray. Her picture book debut as author/illustrator, Louise loves Art comes out Fall 2014 followed by another picture book series, Lola Knows A Lot! all with Balzer and Bray. www.kellylight.com

She is also doing a workshop during the conference about drawing characters. Here is a little bit from Kelly:
To be able to draw a well known character over and over again you have to focus on the construction, the shapes that make up that character and exactly where the details and features will go. Then that character has to be drawn doing all sorts of things. That character has to show emotions, action and inhabit the world created for it. Doesn’t that sound just like what we need to do with our characters in our books?

The workshop that I am giving will go thru gesture, construction, turn around, expression, acting and give attendees a chance to ask about their own character design questions. It’s all about drawing and having fun, so I hope you all come ready with pencils and paper and a smile. I will also be giving critiques that weekend. My portfolio critiques will have the same focus – character design. You can even bring some sketches and I will help you break the construction down right there for you.

Every year I always had published authors do critiques and attendees could get more than one editor or agent critique if their second critique was with an author and this year is the same. Why did I do that? Because I know how much work and effort authors put into giving a writer a great critique to help you get closer to your goal of getting published. Authors are going to dig down deep and share all of their knowledge. Don’t get me wrong. I always want an agent or editor critique, but authors bring a different set of skills to a critique. It is something you will find very valuable.

Here are the authors you can sign up for:

Sudipta Bardhan 

Laurie Calkhoven 

Tami Charles (nonfiction only) 

Ame Dyckman (picture book only)

Kit Grindstaff 

Suzy Ismail 

Tara Lazar 

Anita Nolan (mg/ya only) 

Kathy Temean 

Tim Young

If you have already registered and have a critique with an editor or agent, you can add an author critique, and then jump on a second editor/agent critique.

Hope I’ll see you there. www.regonline.com/njscbwi2013conference

Talk tomorrow,

Kathy

THE SOCIETY OF CHILDREN’S BOOK WRITERS AND ILLUSTRATORS ANNOUNCES THE WINNERS OF THE ANNUAL CRYSTAL KITE MEMBER CHOICE AWARDS

The SCBWI is excited to announce the winners of the 2013 Crystal Kite Member Choice Awards for our fifteen regional divisions: 

Africa

• Neil Malherbe – The      Magyar Conspiracy (Tafelberg Publishers)

Australia

• Meg McKinlay – Ten Tiny Things (Fremantle Press)

California/Hawaii

• Katherine Applegate – The One and Only Ivan (HarperCollins Children’s Books) 

Florida/Georgia/South Carolina/North Carolina/Alabama/Mississippi

• Augusta Scattergood - Glory Be  (Scholastic)

Kansas/Louisiana/Arkansas/Tennessee/Kentucky/Missouri

• Sharon Cameron – The Dark Unwinding (Scholastic)

Middle East/India/Asia

• Benjamin Martin – Samurai Awakening  (Tuttle Publishing)

Minnesota/Iowa/Nebraska/Wisconsin/Illinois/Michigan/Indiana/Ohio

• Aaron Reynolds – Creepy Carrots (Simon & Schuster Books for Young Readers)

Nevada/Arizona/Utah/Colorado/Wyoming/New Mexico

• Jean Reagan – How to Baby Sit A Grandpa      (Alfred A. Knopf (Random House Children’s Books)

New England (Maine, Vermont, New Hampshire. Connecticut, Massachusetts, Rhode Island)

• Jo Knowles – See You At Harry’s (Candlewick Press)

New York

• Kate Messner – Capture the Flag (Scholastic)

Pennsylvania/Delaware/New Jersey/Wash DC/Virginia/West Virginia/Maryland

• Ame Dyckman – BOY + BOT  (Alfred A. Knopf (Random House Children’s Books)

Texas/Oklahoma

• Lynne Kelly – Chained (Farrar, Straus & Giroux, Inc.)

The Americas (Canada/Mexico/Central & South America)

• Jennifer Lanthier - The Stamp Collector  (Fitzhenry and Whiteside)

UK/Europe

• Dave Cousins – Fifteen Days without a Head  (Oxford University Press)

Washington/Oregon/Alaska/Idaho/Montana/North Dakota/South Dakota

• Kim Baker – Pickle  (Roaring Brook Press (Macmillan Publishers)           

About the Crystal Kite Awards

The Crystal Kite Awards are given by the Society of Children’s Book Writers and Illustrators to recognize great books from the seventy SCBWI regions around the world.  Along with the SCBWI Golden Kite Awards, the Crystal Kite Awards are chosen by other children’s book writers and illustrators, making them the only peer-given awards in publishing for young readers.

About SCBWI

Founded in 1971, the Society of Children’s Book Writers and Illustrators is one of the largest existing writers’ and illustrators’ organizations, with over 22,000 members worldwide. It is the only organization specifically for those working in the fields of children’s literature, magazines, film, television, and multimedia. The organization was founded by Stephen Mooser (President) and Lin Oliver (Executive Director), both of whom are well-published children’s book authors and leaders in the world of children’s literature.  For more information about the Crystal Kite Award, please visit http://www.scbwi.org, and click “Awards & Grants.”

Congratulations to everyone, but big Kudos to Pennsylvania/Delaware/New Jersey/Wash DC/Virginia/West Virginia/Maryland – my regional winner Ame Dyckman!

Talk tomorrow,

Kathy

It seems more and more picture books and middle grade books are being picked up and brought to stages around the country. We all dream of seeing our books on the big screen, but more and more production companies are looking at children’s books to bring to the stage. I thought you might like to know that if you live in the New York area you can see Eileen’s Spinelli’s picture book “Wanda’s Monster” played out on stage.  It sounds like a lot of fun and runs through May 12 at Theater 3, 311 West 43rd Street, NYC (646) 250-1178, www.makingbookssing.org .

Here is a an article that appeared in Theater Review on April 25th.

Feared Fiend to Gentle Friend

Wanda’s Monster,’ With Laurie Berkner’s Tunes, at Theater 3

By LAUREL GRAEBER

Anyone familiar with cable television knows that plenty of adults believe in monsters. But the parents of Wanda, the heroine of the new family musical “Wanda’s Monster,” must not be fans of series like “Finding Bigfoot.” Wanda can’t convince them or her brother that a creature lives in her closet.

Audiences at Theater 3, however, know he’s there. Looking more like a Honker from “Sesame Street” than like Nessie or Sasquatch, this fuzzy beast enters from the aisles. Like the children around him, he’s been enjoying the show’s opening, set at a rock club run by Wanda’s grandmother. Granny, you see, is Joan Jett.

Well, not really Joan Jett, though she does wear black leather and ride motorcycles. Mostly Granny evokes Laurie Berkner, a wholesome singer-songwriter who’s bigger than Justin Bieber, if you happen to be 4 or 5. Making Books Sing, which turns children’s books into musicals, commissioned Ms. Berkner to write the score and lyrics for “Wanda’s Monster,” based on Eileen Spinelli’s 2002 picture book. Ms. Berkner, who doesn’t perform in the show, has filled it with catchy, folk-flavored pop, arranged by the production’s music director, Kristen Lee Rosenfeld. The upbeat melodies include one of Ms. Berkner’s longstanding hits, “Monster Boogie,” which fans are invited to dance to.

Barbara Zinn Krieger, founder of Making Books Sing, wrote the script, one of whose most inspired touches is turning Granny, who wears sweat pants and sensible shoes in Nancy Hayashi’s book illustrations, into this kick-out-the-jams rocker. Vibrantly played by Jamie Kolnick, Granny alone takes Wanda’s side, acknowledging the Monster’s existence but persuading her granddaughter (Laura Hankin, a grown-up who makes a convincing 5-year-old) that monsters are really shy, gentle, misunderstood souls.

In this hourlong adaptation, briskly directed by Adrienne Kapstein, the Monster is not only sweet but also sublimely silly. Winningly portrayed by James Ortiz in a role greatly expanded from the book, he eats the flowers Wanda slips into the closet for him and attaches her artwork to the wall with his spit. While the hulking, horned Mr. Ortiz may frighten a few little theatergoers at first, most, like Wanda, will want to hug him at the conclusion. This charming musical brings home a point worth considering at any age: embrace what you fear, and you just may find a friend.

“Wanda’s Monster” runs through May 12 at Theater 3, 311 West 43rd Street, Clinton; (646) 250-1178, www.makingbookssing.org.

Congratulations, Eileen! It must be exciting to see your book come to life.

Everyone, please let me know if you get to see this show. I would love to hear your thoughts.

Talk tomorrow,

Kathy

MELISSA FAULNER, Editorial Assistant, ABRAMS Books for Young Readers and Amulet has agreed to share her expertise with us and critique the four winning first pages for us in May.

Thank you everyone who sent in something for April. I read them over and each month wish I could pull off getting a critique for each one, but the editors are being very generous with their time, but please know I enjoy reading them. Feel free to resubmit a first page and try again. 

I am looking forward to meeting Melissa at the conference and reading her critiques for May. Next week I will include a short interview with Melissa on Friday. 

May’s submission deadline will be May 22nd, due to the Memorial Day.

Below is this month’s picture prompt for those of  you who like them. This illustration is by Maria Bogade. She was featured on Illustrator Saturday on Feb. 9th 2013 and I missed showing off this illustration. Thought it might provide some inspiration for a story. You do not have to use it. Feel free to submit a first page from a work in progress.

WRITERS Sending in a First Page: Please attach your double spaced, 12 point font, 23 line first page to an e-mail and send it to kathy(dot)temean(at)gmail(dot)com. Also cut and paste it into the body of the e-mail. Put “May First Page Critique” or “May First Page Picture Prompt Critique” in the subject line. Make sure you have your name on the submission, a title, and indicate the genre. Also let me know if you were able to post of facebook or Tweet. You will get your name in the basket for each time you comment, tweet, or mention on facebook, giving you a better chance of being picked. If you end up doing more things to get additional entries, then e-mail me a note by May 20th. The four chosen and their critiques will be posted on May 31st.

Call for illustrations for May: Thank you to everyone who sent in an illustration for April. There are a couple that I didn’t get up. I promise I will use them in the days to come.

You can send anything, but I am especially looking for illustrations that reflect the month. I hope you will send something for May. This is a good way to get your work seen. Don’t wait, I will post the illustrations as they come in. Please make sure the illustration is at least 500 pixels wide and include a blurb about yourself and a link to see more of your work. Please send it to kathy(dot)temean(at)gmail(dot)com and put “May Illustration” in the subject box.

Talk tomorrow,

Kathy

Alicia Schwab has worked as an illustrator and designer for nearly twenty years and holds a BFA from the University of Wisconsin-Stout. Her career began in Hannover, Germany where she co-founded and co-owned a graphic design company. During those years she developed her illustrative voice producing illustrations for newsletters and books. After returning to the States, she continued working at design firms in Minneapolis, Minnesota as well as producing illustrations for newsletters, websites, and food packaging. For more than a decade, Alicia has concentrated on illustrating for the editorial and children’s book market. She is a member of SCBWI since 2001, and in 2012 she became the SCBWI-Minnesota Illustrator Coordinator for that region. Outside of the studio, Alicia enjoys speaking to the community and schools about her work.

I  begin with an idea in my head and start sketching on paper to figure out who my characters are and what they want. Let your subconscious have a say too. Try to let ideas flow without judging them. This sketch was drawn on a large sheet of tissue paper and I used the lower edge to redraw a character from another piece. When I scanned it into the computer a funny accident happened. I noticed the little person looks as if she is trying to tell the audience a secret. A lightbulb flashes and I have a new direction, the girl gives the boy butterflies whenever he sees her.

There is a lot of body language that need to be worked out between the two of them. I tried several different ways of how they hold their hands and position their arms. Some things look great in the sketch stage but then don’t work when fleshed out into solid shapes with the paint.

I sketched several different arms and hands separately and pasted them in place in Photoshop to see what works and get the proportions right. I also chopped up the original sketch and spaced the two a little farther apart.

For the purpose of this example, I have gone back into the final art to simulate the color studies I did for the background areas. Normally, I work this out as I paint. Three areas: the far hill with the tree, the path and the foreground.

I am fairly happy with everything. I went back into Photoshop and fiddled with his right arm some more.

How long have you been illustrating?

I have loved drawing all my life. As a child, my art allowed me to express the ideas I had not yet learned the vocabulary for. This would prove to be a useful tool later in life. But professionally, I started taking illustration jobs a year after college.

When did you decide you wanted to illustrate a children’s book?

Growing up, I loved drawing and I was surrounded by great picture books. It only seemed natural to me, to try to make my own picture book as soon as I learned how to write words (at about age seven). My passion for children’s books continues to this day.

I see you attended the University of Wisconsin-Stout. Do you think the art classes you took in college helped you develop an illustration style?

I hold a BFA in Graphic Design. The program has a strong foundation in studio (fine art) classes. I took extra painting classes that helped a lot with color theory and composition. I also acquired a strong knowledge of computer graphics skills that has enabled me to stay competitive as an illustrator/designer. The program did not offer illustration courses at that time, so I have learned on my own and taken additional children’s book illustration classes through MCAD, in Minneapolis.

What was the first thing you did where someone paid you for your artwork?

After college, I moved to Germany co-founded a graphic design company. I began by doing editorial illustration and my work won an award, the “1997 Chicago Athenaeum Museum of Architecture & Design” back in the States. Each spread featured a pop-up with a riddle to solve.

How did you end up starting a graphic design company in Germany?

I’ve always had a curiosity for what is over the next horizon. I had studied abroad for a semester in college and was  looking for a way to go back. I figured if I could support myself, I might be able to travel in my free time.

What made you leave Germany and move to Minneapolis?

It was a great experience, I enjoyed living, working and traveling in Europe. But the time came when I wanted to live back in the States near my family.

Have you done any work for children’s magazines?

Not yet, but I have done work for the children’s section of a newsletter: “Just Coz” for Smiths Medical.

How did you get to illustrate the book titled, Great Group Skits?

I acquired this project through a networking connection. I had a great experience working with Search Institute Press on the book, GREAT GROUP SKITS, written by Lynn Grasberg and Gina Oldenburg. I enjoyed working with the text and creating chapter head illustrations in black/white.

How did you get involved in illustrating Good Grief, Finding Peace After Pet Loss?

This project also came to me through a networking connection. Although the author, Sid Korpi self-published this book, I did not work directly with her on this project. Sid had a clear vision and marketing plan for the book that worked out really well.

Have any of your books won any awards?

The book Good Grief, Finding Peace After Pet Loss has won 4 awards: 2011 Green Book Award—(Category: Animals).
2010 Premiere Book Award—”Best Book of the Year”, (Category: Self-Help).
2010 Reviewers Choice Award from Reader Views (Category: Inspiration/Spirituality).
2010 IPPY—Independent Publishers Book Award (Category: Pets/Animals).

Is Good Grief, Finding Peace After Pet Loss a self-published book? How is the book doing?

Yes, it is and it has done really well. It is still receiving good reviews from readers as well as the recipient of several awards. The book is not only well written but is well designed which lends itself as a reliable source to comfort those who are grieving the loss of an animal companion. Having been through this a few times myself, I was able to connect the illustration with the audience.

How did you get the job to illustrate St. Catherine University: Guide to Reflective and Intentional Giving?

Through word of mouth from networking. The Twin Cities creative community is like a small town, everybody knows everyone. It is vital to network and stay connected. http://www.aliciaschwab.com/books/book01.html

How long is the book? How many illustrations did you do for the book?

I created seven full bleed, campus scene illustrations to enliven nostalgic, fond memories of alumni experiences at the university. I was asked to incorporate a circular theme into the artwork. I always love a challenge, so I worked the theme into the gesso ground.

I see you became the illustrator Coordinator for the Minnesota SCBWI chapter in 2012. How did that happen?

I have been a member of SCBWI since 2001. I have volunteered for several organizations over the last +twenty years. I started volunteering for SCBWI a few years ago and found it a rewarding experience. When the position became available I applied for it and have been the IC for over a year now. I feel strongly about being part of a supportive community that helps people find their potential as a children’s book writer and/or illustrator.

What is your favorite medium to use?

Currently, my favorite is acrylic paint.

As Illustrator Coordinator, what types of things have you done with the MN SCBWI chapter members?

I develop workshops to help members learn the craft, marketing and business of children’s book illustration. We have been also exploring newer areas of the industry by offering workshops on Picture Book Apps and Ebook publishing. Last year, we hosted our first Portfolio Show at our regional conference, which was well attended. For the future, we are looking at doing a One-Day-Intensive for illustrators and one for writers. It has been a rewarding experience to work with Quinette Cook, RA and Jessica Freeburg, ARA of the Minnesota SCBWI chapter.

Have you taken advantage of showing off your portfolio at one of national conferences?

This last February, I participated for the first time at the New York Conference and Portfolio Show. I would recommend any SCBWI member to take part in this event or the portfolio opportunities at LA Conference. You will learn a lot.

Do you see yourself writing and illustrating your own book someday?

I have held fast to my childhood dream of becoming a published author/illustrator. I am in several critique groups for writers and for illustrators.

Do you have representation from a artist rep or an agents?

I am currently not under representation but am actively seeking an agent.

Not counting your paint and brushes, what is the one thing in your studio that you could not live without?

I love my sunny studio, but it is chilly most of the year being that it is located in our basement, so I drink lots of hot tea.

Do you take pictures or do any research before you start a project?

I do, I use myself as a model with a big mirror. Because the client is local, I was able to make my own reference photographs for the book for St Catherine University. This helped tremendously to understand the campus layout, the position of the sun, the building proportions and the greenery.

Do you think the Internet has opened doors for you?

Sure, social media, blogging and access to information via search engines has really helped me grow as an illustrator.

Do you use Photoshop with your illustrations?

I currently use Photoshop in the sketch stage of the project and the fiddle with a few things for the finish. It is a deep program and enables me to utilize it in a variety of ways.

Do you own or have you ever tried a graphic Drawing Tablet?

I use a small Wacom Bamboo tablet when I need to draw on the computer. I would love to upgrade someday to a larger unit.

Do you think your style has changed over the years? Have your material changed?

My style has changed a lot since the mid-90′s, but so has my target market. The type of editorial illustration I sold in Germany is different than what was being bought stateside at the time. It taught me to be flexible. I used to work in ink and watercolor, then dabbled vector art while working traditionally in acrylic.

How do you market yourself?

I do blogging, social media as well as send out promotional postcards. I also advocate networking and getting involved in a professional organization such as SCBWI.

What are you working on now?

I am currently writing/illustrating a picture book about a very curious dinosaur.

Do you have any material type tips you can share with us? Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – A how to tip, etc.

Currently, I paint in acrylic paint on watercolor paper. I use forks and different things to scrape into the gesso to create the background texture. Experiment. Play. Make a mess. Acrylic is forgiving in that you can edit out the areas you don’t like by painting over it.

Any words of wisdom on how to become a successful illustrator?

Draw everyday. Study what children’s book art is being published by visiting the library and the bookstores. Join a critique group. Read voraciously in the genre you want to illustrate in. I learned in Germany the best way to get to know a culture and its people is by learning the native language. Illustration is not just “pretty pictures” but is also a form of communication. The “culture” that it conveys is the specific use of language in the written word. For example, you wouldn’t create the same kind of illustration for picture books as you would for the young adult fiction genre. Understand what age group you are aiming for, and you will better understand your audience through the way they communicate.
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I have to point out the book trailer that Gayle Krauss sent me a few days ago. I knew that Gayle had published a book titled, RAT GIRL.  I was planning to buy a copy, because I know Gayle and I always try to support people I know, but somehow (Don’t be mad at me Gayle) the title did not entice me. I am so glad Gayle sent me this trailer, because it does exactly what a book trailer should do – sell the book. Now I am really  looking forward to reading RAT GIRL: SONG OF THE VIPER. Great job!

Gayle Krauss’s RAT GIRL: SONG OF THE VIPER book trailer.

Kit Grindstaff did a great job with her book trailer, too, for her new book THE FLAME IN THE MIST

Kit at her first book signing.

Paula Newcomer signing her poetry book, TOSSING OFF THE GLOVES.

Tori Corn’s debut picture book, WHAT WILL IT BE PENELOPE? arrived in the warehouse this week and will be available on June 4th. Here is the Amazon link.

It looks like Penelope is a popular name.

Robin Hutchinson has combined the fun of cooking and reading in this self published book titled, PENELOPE’S SECRET COOKING CLUB: IS THERE A SECRET TO KEEP? Here is the Amazon link.

Congratulations to all!

Hope I will be able to share your success on a future post.

Talk tomorrow,

Kathy

For all you Jerry Spinelli and STARGIRL fans, don’t miss out seeing STARGIRL on stage.

Stargirl

April 20—May 12, 2013

By Y York

Adapted from the novel by Jerry Spinelli

Directed by Samantha Bellomo

When an eccentric homeschooler arrives at Mica Area High School, hallways buzz with texts, whispers fill the air, and 11th grader Leo Borlock’s life is changed forever. Based on the critically-acclaimed young adult novel by Jerry Spinelli, the author of everyone’s favorite Maniac Magee, Stargirl celebrates first love, non-conformity, and the similarities that connect us all.  Best appreciated by ages 12 and up.

Join the actors after every performance to discuss the making of the production.

Meet Author Jerry Spinelli!

Jerry is the author of more than 30 books including Stargirl, Crash, Loser, Milkweed, Knots in My Yo-Yo String, and has recently released a new novel, Hokey Pokey.  In 1991 he received the Newbery Medal for Maniac Magee and was awarded the Newbery Honor in 1998 for Wringer.

Join us for book signings with Jerry Spinelli before these performances of Stargirl:

May 11 at 1pm

There are 5 shows still available from Thursday May 9th – May 12th and Jerry Spinelli will be signing books at 1 pm, before the 2 pm Saturday matinee.

Mother’s Day: The theatre is having a buffet brunch or prix fixe dinner with a performance of Stargirl on Sunday, May 12th! Experience their award-winning gardens and the charming, historic setting of the 18th-century farmhouse. What a nice way to celebrate Mom’s Day. Reserve your table and tickets now!

Calling all Star-people! Only today to work on this:

Enter to win tickets to a performance of Stargirl at People’s Light and Theater, along with a chance to meet Stargirl and receive a copy of the book, signed by Jerry Spinelli!

Simply send us a 250-word essay or link to a 2-min video describing to us the person you are, just like Stargirl does in her “The Person I Am” speech.

Essays and videos can be sent via email to artsdiscovery@peopleslight.org and MUST be received by Monday, May 6th.  Winners will be contacted directly so please be sure to include your name, age, and contact information (email and home phone).

(Note: If any of the pictures in this post or other posts are squished, refresh your screen and it will correct.)

Hope you live close enough to take advantage of this.

Talk tomorrow,

Kathy