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Attention authors and illustrators! Have you heard about the SingTel Asian Picture Book Award? If you have written or illustrated an unpublishedAsian-themed picture book (targeted at children ages 0 to six years old) the National Book Development Council of Singapore looks forward to receiving your submission for this new award! Entries are being accepted until Dec. 31, 2012 with the inaugural SingTel Asian Picture Book Award to be presented next May at the 2013 Asian Festival of Children’s Content. Submissions will be accepted from writers and/or illustrators of any nationality and from any country who are 18 years of age and above. Here’s the press release:
The National Book Development Council of Singapore is delighted to announce the inaugural SingTel Asian Picture Book Award. Beginning in 2013, the award will be presented annually for an outstanding unpublished picture book with a distinctly Asian theme.
The objectives of the SingTel Asian Picture Book Award are as follows:
a) To encourage and inspire the publications of more Asian-themed picture books
b) To stimulate public interest and support for picture books with Asian themes
c) To recognise and award a prize to an excellent picture book with Asian theme each year
The SingTel Asian Picture Book Award offers a total of S$10,000 for the First Prize consisting of S$5,000 for an author and S$5,000 for an illustrator. These will be individually known as the SingTel Asian Picture Book Award – Author, and the SingTel Asian Picture Book Award – Illustrator.
Closing date for submissions is 31 December 2012. Official rules and regulations can be found here.
Hello all! I wanted to let you know about my latest work hanging at the very wonderfulModen Eden gallery in San Francisco, CA! I was lucky enough to be part of their latest group show, "Myth," and returned to a subject I find myself coming back to time and time again; the Japanese folktale The Crane Wife.
More info "behind the work" and purchase info here!
I didn't get to post about the opening reception back on July 14th, but luckily, there is a closing reception in conjunction with North Beach First Fridays on Friday, August 3, 2012. The closing reception will be held at 403 Francisco Street from 6-9pm.
According to an art history book published in 1904*, Ernest Meissonier (1815-1891) would be remembered as the greatest painter of the nineteenth century. His paintings certainly sold for the highest amounts at the time.
Other artists of Meissonier's time reflected on his greatness, though with amusing qualifications. Sir John E. Millais said, “He was more complete than any Dutchman.” Kenyon Cox said he was “The greatest genre painter of any age.”
A book called "Modern French Masters*" from 1896 begins the section on Meissonier this way: "In Paris, a few years ago, twenty or more well-known artists were dining at the house of a prominent art dealer. During the evening the question came up: "Who, at the end of the 20th century, will be thought of as the greatest painter of our period?"
They posed the question fully aware of the fickleness of changing fashions, of the tendency of one generation to crush the idols of those that came before.
So who did this panel decide would rule 100 years later as the greatest painter of the nineteenth century?
"The verdict of the jury was nearly unanimous that the paintings most sought after toward the close of the twentieth century would be by Bouguereau and Meissonier."
They chose Bouguereau because "his work is nearly perfect in its draftsmanship, the nude will always occupy a high place in art, and time will mellow much that is rather objectionable in its coloring."
Why Meissonier's pictures? Because they "are as nearly perfect technically as human skill can make them, because they are masterful in their knowledge, and because they are true in appearance."
Born and raised in London, Canada, Jocelyn graduated from York University and has attended The Humber School for Writers. She is co-editor of Cleavage: Breakaway Fiction for Real Girls, and her books for teens include Seraphina’s Circle, Cross My Heart and Getting a Life. Her work has been translated into Swedish, Norwegian, Finnish and German for Stabenfeldt’s tween book club GIRL:IT. Her award-winning stories have appeared in anthologies, newspapers and magazines. She lives in Toronto and on Vancouver Island.
Q: Could you tell us a little bit about your new novel, How To Tend A Grave?
Hi Debbie, and thanks so much for interviewing me on your blog. I'm thrilled to tell you about my new book. How to Tend a Grave is contemporary fiction for readers 14 & up. It was published in April 2012 by Great Plains Teen Fiction.
Here’s the back cover blurb:
“When Liam’s mom is killed, he thinks life can’t get any worse. He’s wrong. He’s forced to live with a grandfather he’s never known, in a small town where kids called Youth and Crime lead the local gang. They’re posers, but they mean trouble, and their favourite hangout is the cemetery where Liam’s mom is buried. But the cemetery is also where Liam meets Harmony, a gorgeous but unusual girl who records the names of all the babies buried there long ago. Besides their grief, both Liam and Harmony have secrets. The very different stories of these two fifteen-year- olds interweave brilliantly throughout this fast-paced, engaging and unforgettable novel about family, love and healing.”
I started writing this book in 2005, when I was living in Kingston, Ontario, and read in the local paper about teens vandalizing a historic cemetery. I wondered what would make a kid do something like that, and began to create a male character lost and angry enough to desecrate a cemetery.
At first the book was just Liam’s story. But it didn’t have enough depth, and I put the manuscript aside to work on other things. When I went back to it a year or so later, I decided that what it needed was a female character for Liam to fall in love with. I hadn’t planned to write a book with two main characters, in two different voices, but somehow that’s how things developed.
Q: How did the book get published?
My other books were all published by a small literary/feminist publisher, but this book didn’t fit their list, so I had to look elsewhere.
Since I don’t have an agent, I sent out query letters with a synopsis and sample chapters and had requests for the full ms from four Canadian and one American publisher. Two of these were interested but went out of business before offering a contract, one pretty much hated it, and two sent what I call “glowing rejections”.
Those letters started out raving about the book, then ended by saying sorry, just not right for us. All five editors did offer great feedback though, and I used their comments and suggestions in yet another revision.
Then I heard about Great Plains Publications, and contacted their teen fiction editor, Anita Daher. She was interested, so I sent her the full ms by email, and tw
This alternative London Olympics torch relay cuts the event down to size, or in the words of the filmmakers, “pokes fun at the Olympics and its so-called ‘inclusivity’ dogma.” It was co-directed and animated by Amaël Isnard and Leo Bridle at London-based Beakus.
Tomorrow I will be working with researcher Charles Limb in his research on creative improvisation. Me and a few of my MICA illustration colleagues were invited last week to come to Johns Hopkins and draw while having our brains scanned. Ummmm, yes, please! It’s my Sheldon Cooper dream come true.
Mr. Limb gave a TedTalk last year on his research with jazz musicians and rappers. The premise is the same…perform with a controlled piece and then perform while improvising a piece while in an FMRI scanner. The illustrators that are participating will draw photographs exactly as they see it and then draw caricatures of that photograph. Controlled action versus improvisation.
Here is a video of Mr. Limb’s TedTalk, “Your Brain on Improv”. I will post thoughts on my experience tomorrow~
Imagine that animator/film director Terry Gilliam had a daughter. Imagine that daughter dug through her dad’s archives. Imagine that she started a blog to share all the cool things she found with the rest of the world. Now, stop imagining! Rush over to Holly Gilliam’s fantastic new blog Discovering Dad. Even better, she’s organizing her dad’s work “so it can eventually be put in a book and an exhibition.”
You may feel like negotiating a book contract requires some magical skills like the princess in the July illustration by Michelle Munger, but Betsy Devany took notes at Agent Sarah Davies workshop in June and she is sharing them with us today.
Overview: Ms. Davies, a Literary Agent and creator of The Greenhouse Agency.She compares standard agencies’ contracts and negotiations to those of the Greenhouse Agency. Ms. Davies explains how an agent will protect your rights and ensure you receive the most in a contract.
I) Agency Agreements: Agreements should be short and easily understood in English. An agreement is binding for the duration of the contract.
Standard American Agencies take 15%, Foreign takes 20% and Film and TV take 20%. The Greenhouse Agency: US takes 15%, UK takes 15%, Film and TV takes 20%, and Foreign takes 25%, and are paid within 10 days.
Reputable agencies belong to AAR. These agents are members of a code of ethics. The agency must be in business 2 years and have done a certain amount of deals in order to belong to this group (www.AAR.org).
Most agencies, if you breech a contract, agents keep the money generated from it. Greenhouse Agency allows you to break a contract by giving 60 days notice and they continue to honor the existing contract even if you walk away.
Since agreements are binding, if something happens to you, royalties go to those who inherit it.
II) How Deals Are Agreed:A manuscript that is in submission goes to:
Sales – Who cast the deciding vote.
III) When You Get An Offer: There are exclusive territories. The publisher wants:
North America / Canada
World English Language Rights
World Rights ( All Languages)
IV) The Advance: What you receive upfront when you sign a contract or delivery of accepted manuscript: Usually if you are given $20,000 or less, you receive the money in two parts. If you are given $20,000 or more, you will receive the money in three parts.
V) Royalties: Domestic market – 10% of the cover price. Sometimes a publisher will force you to see your next book as a bargaining chip. The agent protect you to get the most royalties as possible.
VI) Joint or Separate Accounting: Each book has the potential to earn royalties by itself as opposed to bundling several books. Agents will figure out a good profit against royalties. Agents have leverage to go to other publishers to get more offers. When multiple publishers want to offer, it goes into auction. Contracts (15-20 pages) can take 3-5 months from a publisher. The proprietor is granting the publisher to publish your book, marketing, warranties, take part in the publishing, pay you royalties, discounts and territories.
Kudos to two of my SU friends for this collaboration! Sara Gates, owner of Kingsland Printing in Brooklyn, NY, shares her work and love of the craft with film maker, Nadirah Iman. At Syracuse I knew Sara as a painter. We met in our foundation year and remained friends throughout. When I moved to NY in 2003, she and I reconnected and then later we found we lived in the same neighborhood in Greenpoint, Brooklyn, where her studio is located. Nadirah and I met through Sara and have been close friends ever since. Nadirah and I began as graphic designers at SU and from there she studied animation at SVA and then earned her M.F.A. in film making at SCAD. Nadirah is also the editor and producer of two of my book trailers, BIRD and OCCS.
The problem with sharing Yoko Tanji’s work is how do you pick just one or two images to share? Yoko is an illustrator out of Tokyo and her work has me mesmerized. I love the lines, the textures, the colors, the shapes, everything.
I made a new lino cut print! It's a private commission and illustrates a poem called The Frivolous Cake by Mervyn Peake, from his Gormenghast book Titus Groan.
A freckled and frivolous cake there was That sailed upon a pointless sea...
I didn't really have time to do this piece, and I did the first sketch quite quickly, to knock off a very small print. But then the client came back with a very reasonable offer of payment, so I decided I could get up extra early in the mornings and somehow fit in a more elaborate piece. So we decided to go with the second sketch. I really was going to say no, but I do love making lino cuts...
Here's some of the first cutting I did late one evening:
Can you see what it is? This is the fun bit, when I roll on the ink and the picture suddenly pops up.
So I lay the paper on top of it and rub the back of the paper with the spoon. Then when I peel off the paper, there's the picture, in reverse!
Since it's oil-based ink, I have to use white spirit to clean up.
I can never entirely clean the block, it always keeps traces of the ink. But it still looks kind of cool. So there you have it, a new lino print!
Other news: Do you live anywhere near Berkshire? One of Britain's top writers, Geraldine McCaughrean (The White Darkness, Peter Pan in Scarlet) has written a brand-new play which you can watch outdoors, from tomorrow. Bring your own picnic! Details here.
And my Oliver and the Seawigs co-creator Philip Reeve has some new treats online for you! Alex Fitch has interviewed Philip and Jodi Picoult on Resonance FM, which you can now listen to as a podcast here. I've only read one of Jodi's books, My Sister's Keeper, but I'm curious to read her first YA novel, Between the Lines. And I had no idea that she was only the second woman to write for Wonder Woman, who would've thought.