Even though Labor Day is behind us, we’re just not ready to relinquish summer yet! Hey, we have until September 22nd (technically), right? Â In that spirit, we still have a few more Summer New Voices titles to share with you, and next up is INSIGNIA, by S.J. Kincaid. Â This is delightful, thought-provoking science fiction teen set in a futuristic world at war, and we gobbled it up like Ender’s Game and The Maze Runner– fun, fast-paced, and full of questions about morality, technology, and humanity.
A few words from the editor, Molly O’Neill:
“One of my absolute delights as an editor is when a manuscript takes me entirely by surprise, becoming a book that I had no idea I was dying to publish. And thatâ€™s precisely what happened for me a little over a year ago with Insignia, the story of a teenage video gamer recruited to become a superhuman government weapon in World War III.
Iâ€™m decidedly not a gamer, so I distinctly remember thinking on page one of the manuscript, â€śHmmm, a sci-fi war story about a gamer kid? Iâ€™m not quite sure this is gonna be for meâ€¦.â€ť But by page three, I was hooked: gaming, neuroscience, military boarding school, and all! Insignia is action-packed and intense, full of fascinating technology, high stakes, and provocative questions. But itâ€™s also just pure fun to readâ€”full of masterfully sly humor and laugh-out-loud hilarious scenesâ€”something Iâ€™ve found to be a deliciously welcome change from so many of the relentlessly grim futuristic worlds currently jockeying for space on YA bookshelves.
Tom Raines is instantly likeable and relatable as a main character, brimming with perfect measures of sarcastic wit, cockiness and insecurity. His yearning to be someone important, to truly matter will feel utterly familiar to teen readersâ€”and to anyone whoâ€™s ever been a teen. And Tomâ€™s not the only character that youâ€™ll adore in Insignia: his comrades at the Spire are by turns hilarious, brilliant, nerdy, and fiercely loyal: theyâ€™re characters that feel so vibrant and real that I desperately want to follow off the final pages of this book and become friends with them myself! (Currently, author S. J. Kincaid is working on the second book in the Insignia trilogy and each time she sends new chapters into my inbox, it feels wonderfully like the first day after summer vacation or winter break, back at school, where you canâ€™t help getting giddy about how good it is to see everyone again: â€śOh, look, itâ€™s all my friendsâ€”we get to hang out again! Omigosh, Tom, and Vik and Yuri and Wyatt, Iâ€™ve missed you guys!â€ť)
Weâ€™ve just received a blurb from Veronica Roth, #1 New York Times bestselling author of Divergent, so Insignia may be just the right book to put into the hands of her fans who are clamoring for a new read. She says Insignia is â€śA disarming and highly realistic view of the future. The characters are real, funny, and memorable. You wonâ€™t be able to put Insignia down.â€ť And bookseller Suzanna Hermans of Oblong Books summed up the reading experience of Â InsigniaÂ perfectly, saying: â€śS. J. Kincaidâ€™s debut is one of the best YA novels Iâ€™ve read in yearsâ€”original, thrilling, funny, smart, and not at all predictable. I will follow this writer to the ends of the Earthâ€”she is the real deal.â€ť I hope you and your readers will likewise want to follow S. J. Kincaid and her storytelling powers to the ends of the earth. ”
Thanks Molly! Â Check out an excerpt of INSIGNIA here, or go find it on bookshelves now!
Today it’s my pleasure to introduce you to S.J. Kincaid, author of INSIGNIA, the super engrossing sci-fi thrill ride that we all love around here. Â Yesterday we gave you a few words from S.J.’s editor, Molly O’Neill, and today we have a few words from S.J. herself (follow her on Twitter @sjkincaidbooks).
Which was your favorite book from childhood, and what are you reading right now?
My favorite book from childhood has to be a novel I first read in seventh grade called ‘Legacy’ by Susan Kay. It belonged to my sister, and I picked it up one day and couldn’t stop reading for a couple days until I’d finished it. That novel honestly changed the course of my life. It stirred a fascination with history that completely changed my interests in high school and college.
Right now, I’m re-reading Catching Fire, and getting ready to read Neil Tyson Degrasse’s Space Chronicles.
What is your secret talent?
I can draw faces reasonably well. Mostly when I’m in lectures. And I’m supposed to be listening to whatever’s going on. Actually, I’ve been out of school for about a year, so I’m probably rusty, but as soon as I’m in an enforced sitting-somewhere situation again, I’ll pick it up again.
Fill in the blank: _______ always makes me laugh.
Dogs. They’re just so cute and quirky and loveable.
My current obsessions areâ€¦
Michio Kaku. You know a guy is a genius when he can make principles of astrophysics comprehensible to me.
Any gem of advice for aspiring writers?
Persist. It took me seven novels to get published. The mantra I heard that really kept me motivated was this: “The only way to be sure I’ll fail is to quit.”
Finish this sentence: I hope a person who reads my bookâ€¦
…enjoys the hours they spend reading it.
Tell us more about how INSIGNIA was born.
INSIGNIA came to me in pieces. I had this story I’d started about a gamer kid traveling around with his father, but it was just sitting there alongside maybe twenty other stores with about five-thousand words on my hard drive that I never picked up upon.
I also had this other vague idea about a massive war fought remotely in outer space. I got this one from an article discussing the likelihood future combat will minimize human involvement, and will instead consist of remotely controlled machines battling it out. I was fascinated by this idea, because it reminded me of a video game, and I thought of all the troubling implications that could arise from further distancing the aggressors in a battle from the damage they’re wreaking.
Anyway, INSIGNIA came about at some point when I mentally jointed that story fragment of a gamer kid with the giant World War III scenario. I didn’t plan to write it because I was going to grad school for a year, and it just seemed too big, but I kept getting idea after idea for this world, and then I began to imagine a fortress right on top of the Pentagon we have today.
The last key? My grad school had a lighter schedule during the summer. I realized it was now or neverâ€”I could write the story or just forget about it. I already had so many ideas, I couldnâ€™t bear to just flush them away. So I gave it a shot. The rest is history.
Thanks, S.J.! Â Insignia is on bookshelves now, with a sequel set for next summer– thank goodness!
Today I have the pleasure of introducing you to Barbara Mariconda, author of the brand new, swashbuckling, spunky and spirited middle grade adventure story THE VOYAGE OF LUCY P. SIMMONS, as well as the co-founder of Empowering Writers,Â company that trains teachers how to help their students improve their writing skills. Today she’ll be giving you insight into both of her areas of expertise, writer and teacher, and she’s created a free downloadable sample lesson that you can use to teach LUCY (and later, any novel) in the classroom!
“Lucy P. Simmons – described as an â€śintrepid heroine with a swashbuckling spirit and a sailorâ€™s heartâ€ť and as â€śa feisty, unforgettable characterâ€ť â€“ this protagonist of my latest middle grade novel, The Voyage of Lucy P. Simmons has been evolving along with me for over fifteen years. Set on the coast of Maine at the end of the Victorian era, it is the tale of beautiful, red-haired Lucy, how her life changes in an instant, propelling her on an adventure sparked with magic, hardship, courage, and love. It redefines family, celebrating the miracle of people whose lives cross in unexpected ways, weaving rich tapestries of friendship, loyalty, sacrifice, and the kinds of relationships that change lives.
Years of travel to coastal Maine provided the inspiration and sparked the imagination that brought The Voyage of L. P. SimmonsÂ to life. Â Here, a shoreline mansion, not unlike the Simmons place.
In many ways, Lucyâ€™s journey reflects mine â€“ and surely, yours as well. True, my experiences have not been as colorful as Lucyâ€™s â€“ I didnâ€™t survive the tragic sinking of a ship, or meet a mysterious siren on the beach, nor did I discover a magical flute or have my beloved home surrounded by glittering mist. But, in my own small way, in my own unique life, Iâ€™ve had some narrow escapes, met some mystical, mysterious people whoâ€™ve brought marvelous unexpected gifts, and thankfully, experienced a sense of mystery and magic in the stuff of everyday living. And thatâ€™s what I write â€“ stories that revealÂ the edges and undercurrents of life that can be sensed and experienced, but neverÂ grasped.
As a teacher, I know children need to believe in magic â€“ not so much the magic in the pages of a fantasy novel, but rather, in the miracles and possibilities often disguised in the ordinariness of life. And, a book can open that doorway metaphorically, can help hone the eyes of hope and wonder to see beyond the literalâ€¦toward â€śwhat ifâ€ť and â€śwhy not.â€ť Especially in this era of high stakes testing, where school can become wrought with stress and pressure, children need the escape that fantasy provides, and the opportunity for them to immerse themselves in the creative, imaginative worlds where the spirit can soar freely. But, given the demands of new national and state standards that increase the breadth and depth of what students must learn, is the luxury of losing oneself in a fantasy story a thing of the past? Is there time enough in the school day to indulge in a book like The Voyage of Lucy P. Simmons?
To succeed as an author and as an educator, Iâ€™ve had to wear two hats and find ways to merge both worlds. When Iâ€™m not writing for kids, Iâ€™m writing for their teachers, through my company, â€śEmpowering Writersâ€ť â€“ our mission: to empower the next generation of authors in classrooms today. But, what I wonâ€™t ever do is compromise one goal for the other â€“ in other words, Iâ€™m committed to find ways for teachers to nurture the imaginations and creativity in the souls of their students, while continuing to challenge them academically and prepare them to excel as the junior test-takers they have to be.
This is artwork that Barbara owns which has inspired her writing. Â Can you see the any connections to Lucy’s story?
So, with both my writer and teacher hats squashed on my head, I went through my novel, The Voyage of Lucy P. Simmons, looking for every opportunity within the text that can be used a jumping off point for teaching the Common Core State Standards in writing. You can click on the link below for an entire outline â€“ and, not only that. The basic techniques Iâ€™ve applied to â€śLucyâ€ť as the basis for instruction, can be adapted for all of your favorite pieces of high quality literature. But, of course, Iâ€™m hoping youâ€™ll be applying them to mine!
And, lastlyâ€¦while Iâ€™m talking about using literature to teach to the standards, I want to be clear. Reading a fabulous story that transports the reader into realms beyond the ordinary, beyond the classroom, beyond the challenges of life, is really enough! And, I think, if only there was a state standard that read: Standard L.11.1a: Students lose themselves in story, imagining worlds of possibility, embracing hope â€“ Oh, what a world it would be!”
Thanks Barbara! THE VOYAGE OF LUCY P. SIMMONS is available in bookstores now. And don’t miss Barbara’s wonderful, FREE downloadable PDF lesson plan,Â available here!
Kristin Varner grew up in Salt Lake City, Utah and graduated with a BFA in Illustration from Rhode Island School of Design in 1995. Kristin has been operating as KBoom, an illustration and design studio since 1998. Some of her picture books for children include ‘Big Feelings’ and ‘Aladdin – A Tale from the Middle East’. Kristin has lived in Seattle, New York City and just recently moved to Berlin, Germany. To see more of her work, please visit her website at http://www.kboom.com
We are so lucky to see the illustrations for Kristin’s book PINK CUPCAKE MAGICÂ written by Katherine Tegen that is coming out in January.Â She has also agreed to give-a-way a signed copy of PINK CUPCAKE MAGICÂ as soon as she receives her copies. The book comes out in January, which isn’t too far away.
Here is how it will work: Anyone that leaves a comment will get their name put in the hat one time. If you would like to collect more entries into the hat you can do the following:
1Â entry everything you tweet this link (One a day).
1Â entry for putting this link on facebook
1Â entry for putting up this post on your blog.
2 entries if you reblog this post.
5 entries if you talk aboutÂ the bookÂ on your facebook page or blog.
Please come backÂ and leave an update on what you didÂ byÂ December 1st in the comment section, so I know how many times to put your name in the hat for the drawing. I will announce the winner onÂ Wednesday December 4th. Good Luck!
Here is Kristin explaining her digital process:
I always start my work by sketching in my sketchbook. I scan my sketch, resize, manipulate, tweak and clean it up and as needed within Photoshop.
I then flood my sketch with a wash of red. For some reason I just love the way the red reacts with the colors laid on top of it.
I then start painting directly onto the sketch using Corel Painter.
I do a complete underpainting to get down initial colors. Then I go back over with detail brushes for a final rendering.
This image was created as a sample for Henry Holt. It landed me my book deal for PINK CUCAKE MAGIC, but it was never actually used in the book.
Final sketch that was initially drawn by hand, and then scanned and manipulated within Photoshop.
When I’m painting with Acrylics rather than working digitally, I have an extra step to get my sketch transferred onto my paper. I stretch a medium weight, hot press watercolor paper and then coat it with a layer of gesso to create a nice textured surface to paint on. If I have the time I will transfer the sketch myself using carbon paper. If it’s a book job and I have several paintings to kick out, Â I choose a paper that is thin enough to be run Â through an oversized commercial printer and I print my sketches out at the local copy shop, which saves me a ton time.
I flood the image with a wash of my favorite colorâ€¦..cadmium red.
I then do a complete underpainting in acrylic to block in colors.
I work over the underpainting and render in details.
Final image. Now back to the interior images of the PINK CUPCAKE MAGIC below.
How long have you been illustrating?
I received my first paid illustration assignment in the winter of 1996. So as a â€śprofessionalâ€ť, I’ve been illustrating for a little over 17 years.
I see you lived in Utah and attended graduated with a BFA in Illustration from Rhode Island School of Design. How did you decide to attend RISD?
When I was applying to art schools and universities around the country, I was a bit naĂŻve about RISD’s solid reputation. It wasn’t until I was well into my first semester that I realized how fortunate I was to have chosen such a reputable school. But, at the time, I was eager to get out of the conservative influence of Utah and experience something completely new. I was intrigued about living on the East Coast and attracted at what RISD had to offer â€“ especially it’s partnership with Brown University and the opportunity to attend classes at an Ivy League University, which I did indeed do my Sophomore and Junior years.
Can you tell us a little bit about that school?
When I was attending RISD, I felt like the basic fundamentals of art and design were hammered into us. It was a pretty tough environment. I had amazing professors and great classes, but they pushed us hard and we were in studio classes all day and I would work on projects well into the night. I loved it. RISD taught me how to see the world in an entirely new light.
What types of things did you study there?
The first year is foundation and everyone takes the same courses â€“ drawing, two dimensional design, three dimensional design and art history. After declaring my major in Illustration I took the mandatory courses like drawing, painting and conceptual illustration, but for the remaining 3 years I was free to explore within and out of the department, dabbling in mixed media courses, watercolor, poster design, children’s book and editorial illustration, photography, printmaking and on and on.
What classes were your favorites?
I loved almost all of my classes in the Illustration department. I also took a class called â€śNew York, New Yorkâ€ť that was in the sculpture department.Â We hopped on a bus every other early Friday morning and drove down to New York City where we spent the entire day running after our professor (Ellen Driscoll) who would drag us to museums, galleries, random installations, meetings with art dealers, studio visits and any other nook and cranny in the city that had something interesting going on. It was pretty amazing and unrelated to all of my other illustration studio courses, but I found it to be totally inspiring.
Did the School help you get work?
Only indirectly. I landed some work and made connections by being associated with RISD. It was only a few years later that I found some assignments through RISD’s online job/internship publication called Artworks.
Do you feel that the classes you took there have influenced you style?
Yes I do think my style was somewhat influenced from school, but it’s an on-going process. My style continues to develop the more I experience and continue to research and find inspiration, albeit slowly!
What was the first thing you did where someone paid you for your artwork?
For the first several years after I graduated from RISD, I was doing a lot of editorial work for magazines. My first paid gig was an editorial spot for Utah Business Magazine. It actually turned out quite nice.
Did you move back to Utah after you graduated?
Yes, I unsuccessfully shopped my portfolio around the children’s book publishing houses in New York City for 6 months before finally giving up and I moved back to Salt Lake City, Utah (where I promptly found work!). I stayed in Utah for two years, then moved up to Seattle for eight years and eventually made my way to Brooklyn, New York where I happily lived for another four.
What made you move to Berlin, Germany? How long have you been there?
My musician boyfriend at the time (now fiancĂ©) was itching to leave New York and was drawn to Berlin predominantly for the music scene. We both loved the idea of living in Europe and I’d always wanted to really experience another culture, relish in the cuisine, learn the language etc. I’d spent time In Berlin in 2001 and was fascinated by the history of the city as well as how it’s continuing to rebuild itself today into a creative, modern metropolis. We lived in Berlin just over 3 years.
Do you find the German illustrating market different than the US?
The german children’s book trade market is very different than the US. My first year in Germany, I attended the Frankfurt Book fair and met with several German, Austrian and Swiss publishing houses. I was completely caught off guard when they told me that my style wasÂ â€śtoo americanâ€ť .Â German kids books are beautiful. They are sophisticated and often more edgy – sometimes border-lining on the bizarre.Â The color palette is much more subdued. Although my work is still punchy and very â€śamerican,â€ť I do like to think that the german influence did permeate my style a bit.
Do you think you will move back to the United States?
I loved my life in Berlin and thought we’d never leave, but a big job opportunity came up for my fiancĂ© that we couldn’t pass up on and that brought us back to the States in March. We are living in Seattle now, and even though we were not yet ready to leave Berlin, it is nice to be back in the States with all it’s conveniences and closer to family. It’s funny though, we do find ourselves constantly assessing the pros and cons of living in the two countries.
What was the first illustration work you did for children?
It was actually a job for Macy’s department store in Seattle. They funded an annual mothers day celebration in partnership with the Woodland Park Zoo called â€śMom and Me at the Zooâ€ť.Â I was hired to create the illustration for the event. I believe that was in 2004.
How did that come about?
The art director at Macy’s found me through my website.
When did you decide you wanted to illustrate a childrenâ€™s book?
It was 7th or 8th grade when I started collecting books solely for their imagery. At that time, I was especially into fantasy art. I can remember flipping through pages of dragons, wizards and magical landscapes and realizing that I really wanted to be illustrating these kind of books as well.
What was your first picture book? Who was the publisher?
â€śBig Feelingsâ€ť, published by Parenting Counts
Can you tell us the story behind you getting this job?
I was living in Brooklyn when this book actually came to fruition. It was written by Talaris Institute, who publishes picture books as well as books on childhood development and educational materials for parents. They were a client of an art director, friend of mine back in Seattle. She had used an illustration that I did of an Elephant in a design comp for one of their brochures. Years later, as they were working on the manuscript for BIG FEELINGS, a book all about emotions as told through animals, they re-discovered my elephant painting from years back and contracted me for the job.
Did you do anything specific to get the contract to illustrate ‘Aladdin – A Tale from the Middle East’?
The Aladdin book was for Macmillan UK over in England. They hired me directly through my children’s book agent.
How did you get the opportunity to illustrate a book written by Katherine Tegen?
This opportunity also came about through my agent, although not in typical fashion. My agent routinely sends samples out to publishers and art directors. Katherine Tegen happened to see my samples at Henry Holt and thought my style would be perfect for her book. Since Tegen is an editor and has her own imprint at HarperCollins, she had the pull to get me on board. Holt was a bit nervous in the beginning, risking a no-name illustrator like myself to do a book for a big-wig like Tegen, but they sent me the manuscript and asked me to create a sample for them. In the end, they were pleased as punch and we were off and running.
Is this the first book that you have done with Henry Holt?
How excited were you to get to illustrate a book by a famous editor and childrenâ€™s publisher?
I was absolutely thrilled! It was by far my biggest accomplishment to date. My only apprehension was that I was 7 months pregnant when I landed the contract! I had no idea how I could handle a baby and complete a major picture book in the first several months of becoming a new mom. It all worked out just fine in the end.
Have you done any work for childrenâ€™s magazines?
Yes, I’ve worked with Highlights HIGH FIVE, Scholastic’s LETS FIND OUT, Scholastic’s â€śGO!â€ť and I just recently finished a piece for CLUBHOUSE JR.
Have you worked for educational publishers?
The educational market is the bread and butter of my survival as an illustrator. I’ve done countless small readers for educational publishers such as Pearson, MacMillan/McGraw-Hill, Harcourt, Houghton Mifflin and Oxford University Press, to name a few.
Do you have an artist rep or an agent? Could you tell us how the two of you connected?
I’ve been represented by Maggie at Byer-Sprinzeles Agency for about 8 years now. She is also a fellow RISD alumna and she came across my work on the ispot website where I was advertising my portfolio at the time. She sent me a complimentary note about my work and then the dialog progressed toward the possibility of representation. It’s been a wonderful relationship.
Would you ever like to write and illustrate your own book?
Absolutely. I have a few ideas that I’ve been working on, but haven’t put anything on paper just yet.
Are you open to illustrating for self-published authors?
I get approached by at least a half a dozen or so writers every year who are looking to self-publish their manuscript. In most cases the authors have not done much research and have a very limited budget. I have yet to consider taking one on and I don’t think it would be wise for me to do so at this point in my career, unless it was under extraordinary circumstances, or the opportunity to work with a close friend.
What types of things do you do to find illustration work?
These days most of my work is derived directly through my agent and I rely on her to do the majority of my promotion as well. I also advertise my portfolio on the childrensillustrators.com website.
What is your favorite medium to use?
Not counting your paint and brushes, what is the one thing in your studio that you could not live without?
Music. I don’t like working in silence and depending on my mood the genre can vary. I just feel like I’m much more productive when I have tunes on.
Do you try to spend a specific amount of time working on your art?
I don’t have a set time per se but I’m quite a regimented person and my time is more limited these days. When I do have my scheduled work time, I try to make the most of it. If I’m not working on an assignment, I try to sketch or write down ideas for new projects or promotions.
Do you take pictures or do any research before you start a project?
I like to do a ton of research. If I’m working at my drafting table, I will make loads of printouts so that I have a collection of images for reference. I also use books with sticky notes so I can easily flip between pages. I find the bulk of my imagery off google images or getty but I will shoot my own pictures as well if I can’t find the correct angle I’m looking for.
Do you think the Internet has opened doors for you?
Yes. No question about it. The ease of having a portfolio online has provided an opportunity for my work to be seen by art directors, agents, and publishers all over the world.
Do you use Photoshop with your illustrations?
I use Photoshop after I’ve scanned my sketch. Sometimes I’ll spend hours within Photoshop, scaling pieces of my sketch, moving things around, changing proportions,Â tweaking and rearranging until I’m happy with the composition. If the illustration is going to stay digital, I will then take the sketch into Corel Painter for a painterly look, or Adobe Illustrator if it’s a more graphic approach. If I’ll be using my acrylics to paint, I will print the sketch back out and transfer it onto watercolor paper.
Do you own or have you ever tried a graphic Drawing Tablet?
Yes I use the basic Intuos Wacom tablet. I can’t function with a mouse anymore. I am very tempted to try using a Cintiq.
Have you ever won an award for your writing or illustrating?
The â€śAladdin â€“ A Tale from the Middle Eastâ€ť book won the 2011 Language Learner Literature Award in the Young Learner category. Otherwise, I’m terrible about submitting my work to competitions and seem to be about two weeks late when finally getting around to those call for entry forms.
Do you think your style has changed over the years? Have your materials changed?
My style has certainly changed since my early days. I still have slides of my portfolio from high school and my RISD years. I always document my work for my own personal library, whether I think it’s horrible or stupendous. I keep an active folder on my computer containing a catalog of all my current and past pieces. It’s very gratifying for me to occasionally go back and review past projects and see how my work has progressed. My materials have not changed. I’m still using acrylic paints, but over time I’ve developed a specific process of how I’m using them. The same goes for when I’m working on the computer. I have my own method that has evolved over time.
Do you have any career dreams that you want to fulfill?
#1. I’d like to start writing my own books as well as illustrating.
#2. I’d like to have my work shown in galleries.
#3. I love teaching. I taught Adobe Illustrator classes to professionals in New York at Noble Desktop and I think teaching is my true calling. I’d like to teach again, perhaps an illustration course focusing on the Children’sÂ Market on a collegiate level.
What are you working on now?
I’m wrapping up a small assignment for Pearson Education right now and will be starting on a few small Young Readers starting in October.
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.
I use Golden for my acrylic paints. I find them to be especially fluid to work with. They’re a great company. I had issues with some faulty caps when I was right in the middle of working on a big educational book assignment. They overnight, shipped me brand new tubes of paint over to Germany without any hesitation.
Any words of wisdom on how to become a successful writer or illustrator?
I had a professor at RISD who’s advice has stuck with me over the years. He said that as an illustrator, we should always create our best possible work, even when the client or job seems insignificant. Treat every assignment as if it were golden. I truly believe that persistence pays off at some point down the line….just be patient!
WhatÂ are some of the companies you have worked with?
Partial client list:
Children’s Museum of Utah Crocodile Creek Hartcourt Brace & Co. Highlights for Children Houghton Mifflin Company Macmillan/McGraw-Hill Oxford University Press Parenting Counts Press PBS Kids Quarasan Scholastic Pearson Education Sun Dance Publishing
Thank you Kristin for sharing your talent, expertise, and journey with us and double thanks for giving us a chance to win a signed copy of your book. It looks like so much fun. You can visit Kristin at: www.kristinvarner.com
Don’t miss your chance to win and leave a comment about Kristin illustrations and book. See above to see what things you can do to increase your chances to win.
Filed under: Advice
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