Patti encourages both authors and illustrators to think of their picture books in terms of music and cinema, there should be flow and rhythm to the book, and you can play with easing the readers along with repetition and then surprising them with something wholly different.
Patti shares Me... Jane which has a very steady rhythm of illustration on one side of a page spread and text on the other, so when we get to a climactic moment in the book, we also see something different on the page—an actual photograph of Jane Goodall out in the wild.
When Patti works on a book, she understands the author/illustrator is focused on the tiny details of every page, but she tries very hard to see things globally and offer guidance there. She encourages the audience to take a step back and get allll of your pages on one page so you can see how everything is working together. She likes
CALDECOTT MEDAL WINNER Dan Santat's practice of storyboarding out something successfully cinematic like a Hitchcock movie to understand storyboarding better.
Jay Asher's debut teen novel, THIRTEEN REASONS WHY, spent over two and a half years on the New York Times bestseller list (and began as a SCBWI Work-In-Progress Grant Winner!). His second book, THE FUTURE OF US, was coauthored with Carolyn Mackler.
Stephen Chbosky wrote and directed the feature film adaptation of his novel, THE PERKS OF BEING A WALLFLOWER.
The mutual respect and admiration each has for the other already makes this session a great one.
When Jay thought up the idea for THIRTEEN REASONS WHY, he was afraid. It was not the type of book he thought he would want to read. That's when he decided to focus on making it a page turner.
Stephen has learned more about the page turn by watching
Buffy the Vampire Slayer because it's all about what happened or what happens next.
Jay notes that his books are more plot driven suspense and Stephen's more character driven suspense.
Jay was thinking about the reader the whole time he wrote THIRTEEN REASONS WHY, thinking about what he wanted to say and what he wanted the reader to be thinking about. He wanted the reader to always be guessing what's going to happen next. If they're right, they'll be happy that they were, or if they weren't, hopefully they will be surprised by what happened in a good way.
Jay needs an ending in mind to shoot for, not that it means the ending might not change. He still needs to leave some room for the story to surprise even him as he writes it. He loves those moments. Let your characters sometimes surprise you.
Stephen echoes the same thoughts: If I know everything in the beginning then there's no room to make it better.
Jay wanted THIRTEEN REASONS WHY to read clean so that it would read quickly, building suspense and not allowing the reader to come out of the story.
Stephen on confusion: It's confusion if the reader is lost and doesn't know what's going on but
it's great suspense if the reader is guessing what the confusion is.
Jay Asher: Your book has one main thing that has to be solved that the reader knows will be solved at the end, so along the way the reader is going to need some micro-mysteries along the way to keep them reading forward to the end.
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