How to use this Page

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

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

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

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

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

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

Welcome to Undiscovered Voices 2014!

Before everyone gets excited, this opportunity is only open to SCBWI members in good standing that reside in one of the current 27 countries of the EU, 4 European Free Trade Association (EFTA) countries, or 5 candidate countries (as listed here) 

Since I get close to half of my visitors from outside the United States, so I wanted to make sure those visitor knew about this. There is a separate contest for unpublished illustrators (see bottom).

Undiscovered Voices is a competition for unpublished and un-agented writers and illustrators living in the EU. In partnership with SCBWI British Isles and Working Partners.

Open for entries: 1st July to 15th August 2013

An anthology will present a selection of novel extracts from 5+ to Young Adult novels and be sent to editors and agents in the UK. The anthology is produced thanks to the kind support of Working Partners Ltd. To submit your written extract, please read the following eligibility criteria, rules and information, and then go here to fill in the online submission form and upload your entry.

• Click here for Tips for Writers. 

Submission eligibility:

• You must be a member in good standing of SCBWI and reside in one of the current 27 countries of the EU, 4 European Free Trade Association (EFTA) countries, or 5 candidate countries (as listed here).
• Only un-agented writers may submit work for consideration. Writers must remain un-agented until the anthology is published in February 2014.
• You must be an unpublished fiction author. This means you have not had a novel or collection of short stories accepted for publication or currently published in any country. Authors with only picture books published may submit. Authors who have only published non-fiction books or who have only been published in newspapers, magazines, anthologies or non-print medium (i.e. radio, web, etc.) are also eligible. Similarly authors who have ghost-written for book packagers or have self-published may submit work (but not an extract from any self-published work). Authors with adult fiction published are not eligible.
• Any submissions that do not follow the following guidelines or include the appropriate information will be disqualified. 

Submission rules:

• Find out more about previous Undiscovered Voices finalists here.Your submission must the first 4,000 words of an already completed novel for children, aimed at any age from 5 years to Young Adult.
• Your submission must be written in English.
• No picture book texts will be considered.
• You must include a synopsis of your novel at the end of the extract, which should be a maximum of 75 words.
• The author’s name must not appear anywhere on the extract or synopsis.
• The document should be written in 12 point, with a page number on every page.
• The document that is uploaded must be a .doc, .docx or .rtf file.
• Only one submission per member.
• You must fill in every required field in the online form, including a biography of a maximum of 50 words, written in the third person. Should you be selected, this is how it will appear in the anthology.
• You may not resubmit any extract from a novel you submitted for consideration in previous Undiscovered Voices anthologies. Authors included in previous anthologies may not submit an entry for the current anthology. Honorary mentions from previous anthologies may submit, as long as it is from a different novel.
• Submissions must be entirely the original work of the author and must never have been published, self-published or published on any website.
• Submissions should not include or require any graphic art or special fonts.

Submission information:

Find out more about previous Undiscovered Voices finalists here.

• There is no submission fee for this contest, but you must be a current member of SCBWI and live in one of the current 27 countries of the European Union, 4 European Free Trade Association (EFTA) countries or 5 candidate countries.
• The contest opens for entries on 1st July 2013. The deadline is midnight on 15th August 2013.
• To submit your entry, go here to fill in the online form and upload your extract. Submissions are only accepted by this means. They will not be accepted by email or by post.
• By submitting your entry, you agree to give SCBWI-BI permission to publish and promote (both online and offline) the extract in the 2014 anthology together with your name, as it appears on the SCBWI roster, and email address. No pen names can be used.
• A panel of children’s book editors and agents will make the final selection for the anthology in autumn 2013, and the long-list will be announced in December 2013 and the selected entries in January 2014.
• The ebook will be produced in early 2014 and copies of the anthology will be distributed free of charge to a comprehensive list of UK children’s book editors and agents, as well as a select list of US agents and editors. It will also be distributed to the media in order to achieve the most widespread industry attention to the authors and their stories.
• The authors of the selected works will receive one copy of the anthology (in ebook format). In addition, they will receive judges’ written comment sheets on their work. The selected authors will be invited to attend a ‘getting discovered’ workshop (18th January 2014) and the book launch party (26th February 2014) to meet in person with the judges and other agents and editors who attend.
• To become a member of SCBWI, visit http://www.scbwi.org/Registration.aspx. For membership queries, please email membership@scbwi.org. You can find out more information at www.scbwi.org or www.britishscbwi.org.
• Copyright remains with the author.
• The judges’ decision is final.
• No corrections or alterations can be made to submissions after receipt. The selected pieces will be proofread prior to publication.
• Entry implies acceptance of the rules and eligibility criteria, as listed above.
• A list of selected authors and honorary mentions will be posted on the Undiscovered Voices Blog and updated on the website once the judging is final and the results are compiled.
• You can contact us with any queries about the anthology, the submissions process, rules or eligibility at: scbwianthology “AT” hotmail.co.uk

Talk tomorrow,

Kathy

Elena Caravela’s Dancing bunnies helps us celebrate the results for April’s First Page Critique winners.

Elena is the illustrator of The Birds of the Harbor,  A Night of Tamales and Roses, and author/illustrator of Portrait of a Girl and Her Art.  You can see her process on Illustrator Saturday and find her work at www.elenacaravela.net www.elenacaravela.wordpress.com     www.portraitofagirlandherart.wordpress.com www.behance.net/elenacaravela       www.bluecanvas.com/elenacaravela

Here are the winning first page entries for April. Meredith said, “Hope these are helpful to the authors–all four of these first pages were very strong. I enjoyed them all!”

Half-Truths by Carol Baldwin – Young Adult Historical Fiction

Chapter 1: Lillie

Lillie hated the Dinsmore’s front door.

Standing on the sidewalk, she glared at the imposing entrance flanked by six white pillars. Even though she’d visited Big Momma at work a million times, she’d never once pushed the brass doorbell button, heard the musical chimes, or watched the elegant door swing open for her.

Not once.

No matter that she matched the color of the ivory pillars flanking that door, Lillie still couldn’t walk through it.

Thunder boomed and the gray clouds that had threatened all day opened up.  She raced around the house and came in the back door.  “Hey, Big Momma! How you doing?” she hugged her grandmother, who was taking cookies off a baking sheet.

“Girl, you gave me a fright!” Her grandmother shook her off. “You’re sopping wet! Go dry yourself and don’t you dare track no mud into this kitchen! I got me enough work without having to clean up after you now too!”

Lillie slipped a biology book out from under her jacket and laid it on the table. Good, it was still dry.

Big Momma eyed it and shook her head. “You know you is wasting your time studying that book. Ain’t no colored girl on earth ever gonna be a doctor.”

Lillie ignored Big Momma’s comment. In her grandmother’s mind, colored women were put into this world to serve white folks.

“When’s the company coming?”  Lillie put her tennis shoes by the backdoor and sniffed. The cinnamon smell of snicker doodles filled the kitchen.

Meredith Mundy’s Critique – Half-Truths

The author has managed to squeeze a great many important details into this first page—it’s easy to imagine the imposing front entrance of this grand house, and the feelings it might conjure in a young woman who is not allowed to enter except through the back door.

I’m interested in the fact that this book is labeled “Historical Fiction Young Adult.” Simply going by the first page, I would definitely have assumed that this character was much younger—perhaps belonging in a middle grade novel. The fact that she “hates” a front door and visits her grandmother immediately after school for hugs and snickerdoodles makes her seem quite young. If she is an older teen, we’ll need more immediate clues to help us see her more clearly. Her voice should be coming through right here on the first page.

Based on the title of the first chapter (“Lillie”), I am assuming—but I could be wrong—that the book’s narrative will switch off between different characters’ perspectives, and that each chapter title will let us know who is picking up the story. All the more reason to establish who Lillie is immediately so that the reader has a firm foundation for her before moving on to the next voice.

I like it that the conflict is established right away—Lillie is a young person who dreams of being a doctor at a time when that seems completely impossible—but I think the author will face quite a challenge in avoiding the predictability trap. I hope the character suffers some highly believable set-backs so that her road to success is not too smooth and easy to follow.

Also, there’s a somewhat fine line between authenticity and caricature, so the author has definitely set up a challenge for herself by giving Big Momma such a broad, Southern dialect. I’m no expert on dialect, but I think it would be well worth the author’s time to see how other authors have handled it. Does it need to be toned down? Fine-tuned?

In any case, I would definitely keep reading!

_______________________________________________________________________________

“Kyte’s Revenge,” a YA novel by Connie Goldsmith

I feel it first on the back of my neck – that prickly, squirmy feeling you get when someone’s watching and you don’t know it. Sort of like insects crawling under your skin.

I turn off my iPod and look around. Pull out the earbuds and listen. No one.

Off in the distance, live oaks strung with Spanish moss punctuate the landscape. The air smells of flowers and the herbs that I’ve tugged from the earth.

I scan the trees. Still no one. Must be my imagination.

Thunder booms and rain clouds threaten to let loose, just like every summer afternoon in this part of Florida. The electricity in the air stirs my hair, sends it flying around my face. Time to go. Time to get back to Baba’s house and start dinner.

I brush the dirt from my hands and grab the basket of herbs I’ve gathered. Baba needs them for the tambor tonight: sweet herbs to attract good luck and love; bitter ones to ward off evil. At the last minute, I spot the curly leaves of the wild lettuce my turtle likes best and add a handful of them to the basket.

The world changes in an instant. Footsteps thud behind me, twigs snap beneath a heavy stride.

“Hey, Kyte! I been looking for you, babe.”

The boy’s voice cuts through the sticky afternoon air and slices into my spine. I spin around to face him. When I see who it is, the basket slips from my fingers and spills to the ground. Herbs and wild lettuce scatter at my feet.

It’s Cole. He wears a Confederate bandanna tied around his forehead to keep his long blond hair off his face. Like always. “What . . . what are you doing here?”

“Like I said, I’m looking for you.”

Meredith Mundy’s first page Critique for – Kyte’s Revenge

This first page is extremely descriptive, loaded with natural imagery and tangible details. The author has done a great job of establishing information about the main character and her setting by showing rather than telling. (Much harder than it looks!) The iPod clues us in that this is a contemporary story; we know it takes place in Florida in the summer; someone close to the main character practices some kind of magic; and Cole, who is set up as the antagonist, is very likely one scary dude.

Kyte is already an intriguing character on the page—smart, intuitive, observant, able to spot the specific type of plant her turtle likes to eat with a quick side glance. Already we can see that she will be a resourceful and generous character, but clearly all is not well in her world. The title sets us up for something dramatic and dark, as does her tense interaction with Cole. The contrast between Cole’s casual tone and Kyte’s frightened reaction is striking. He feels free to call her “babe,” but clearly she is far from comfortable with him and therefore his loose, jocular tone is jarring. There’s no way to tell at this point what the tension between these two is all about, but by introducing Kyte’s obvious fear of him so early in the story, an unsettling dynamic is nicely established. I’m curious to know how old the characters are. Kyte hears a “boy’s voice,” but Cole feels older, more threatening than a young boy. Especially since his voice is capable of “slicing” through Kyte’s spine!

I wonder if the line “The world changes in an instant” might be too dramatic. Clearly Kyte is startled, but has the world really changed?

And I would take another look at the first lines. I like the ominous tone that is established from the outset, but the “insects crawling under your skin” verges on cliché. The idea is great in these first lines, but it would be an interesting exercise to rewrite them twenty different ways and see what starts to emerge. An even stronger, sharper ignition point may strike the author.

_______________________________________________________________________

LEFT OUT LOUIE by Patricia Newman                                            610 words / picture book

I love my zoo. Not to brag or anything, but my black-footed penguin pool rocks. I’m the tall good-looking one.                                     [Louie is a South African black-footed penguin.]

Every day, I race underwater with my buddies. Visitors listen to us sing and watch us dance. At night when we’re alone, we tell scary orca stories.

One day the wire crate comes out. My buddies and I cower in the corner. The penguin that leaves in that crate never returns.

Today that penguin is me. My buddies sing a sad song as I leave them.

At my new zoo, I hear a lion roar and a monkey chatter. My new pool has rocks, clean water, and a window for us to people-watch. It’s not home, but I like it.

I stick out my flipper. “I’m  Louie.”

My new pool-mates cross their flippers and stare at me. “This is Tux, Waddles, Tutu, Poppi, and Fatso. I’m Oreo,” Oreo says. “And you, new guy, are in our way.”

Fatso’s feet slap across the rocks to breakfast. Tux and Waddles stampede over me in their rush to beat Fatso. Oreo flaps his wings as if he expects to take off. (Earth to Oreo: Penguins don’t fly.) Tutu and Poppi squawk out a love song. (For each other, not me.)

No worries. I’ve played tough colonies before. I dust off my feathers and throw back my wings. I can do this.

I try a sincere compliment. “Waddles, your feathers are so shiny I need sunglasses.”

“Eew, you’re molting,” she says.  “Go away.”

I swallow hard. Molting?

My scruffy reflection mocks me. I slap my wing over a bald spot, but refuse to give up.

I try a friendly greeting. “Poppi my man, slap me some flipper!”

He shoves me. There’s no talking to some penguins before their morning fish heads.

Meredith Mundy’s First Page Critique – Left Out Louie

This penguin has class, style, and strong self esteem—characteristics that come through splendidly in his clear, certain voice. I found it refreshing that this was not another story about a character fearfully dreading a move away from home and adjusting poorly to his new environment. Louie takes life as it comes and is not afraid of meeting new penguins. He sets a great example for readers by not giving up, even after being repeatedly rebuffed. His confidence makes him very likable indeed. I’m also pleased to see that this is not another typical story about bullying—Louie is a character who will stand up for himself, and surely will not be “left out” for long.

The specific details included in this first page are terrific: the penguins don’t just tell scary stories at night; they tell scary orca stories! The window in Louie’s new enclosure is for people-watching, of course! I also admire the sly and unobtrusive way that numerous facts about penguins have been woven into the text. In a very small space we have learned what a penguin’s natural enemy is, their favorite food, the fact that they are flightless, etc.

This first page definitely makes me want to keep reading—I’m curious to know what the specific conflict will be and how Louie resolves it. Since his musical talents are mentioned at the beginning, surely he will be bringing some song and dance to this tougher new home of his.

I would definitely suggest that the author create a rough turning dummy for the whole text to make sure the pacing feels right. Is there too much here at the beginning, leaving not enough room for the rest of the story to spin out comfortably in 32 pages? Hard to tell from what’s here, but it’s a very promising beginning.

______________________________________________________________________

Tercules by Marcy Pusey, picture-book

The egg bounced. It boinged; it rolled; it rocked; it swayed; it swiveled; it tilted and tumbled. The nest beneath it crushed and crumbled as the little turkey chick freed himself.

“Too wild!” squealed the other baby turkeys.

“Too wild?” repeated the newly hatched baby.

“Just right,” beamed Momma Gobbler.

“He’s so big and strangely strong, I’ll call him Tercules,” Momma Gobbler said lovingly.

On his first flight, Tercules sent wind-storms of trees tumbling. Not to mention his brothers and sisters.

“Too windy!” whined Gobbeldy.

“Too windy?” asked Tercules.

“Just right,” flapped Momma Gobbler, spiraling through the air.

Perched on a branch beneath his momma’s wings, Tercules felt an itch.  The branch bounced low as he strained to relieve the tickle. Scratch, creak, scratch, crack. Suddenly, split, splat! Tercules and his family were in a heap on the ground.

“Too bouncy!” cried Poultrina.

“Too dangerous!” wailed Frank.

“Too bouncy? Too dangerous?” worried Tercules.

“Just right,” shushed Momma Gobbler from beneath her poultry pile.

Meredith Mundy’s First Page Critique – Tercules

I’m tickled by the fresh premise here—I’ve definitely never seen a tall tale about a Herculean turkey!

The first few lines nicely set up for the reader the exaggerated action to come, and I like the energetic language here, though there are perhaps a few too many alliterative pairs. Consider removing one or two so that the story can get going a bit more swiftly. (I’d vote to toss the first pair: “boinged” is the weakest of the examples here and sounds like a made-up word.) Also watch the wording in the third line—it’s not the nest that’s doing the crushing; it’s the egg.

The refrain that ends with Momma Gobbler’s sweet affirmation that her youngest child is “just right” works nicely—readers will recognize the rhythm from “Goldilocks” and appreciate the twist. Interesting to see how much is revealed about Tercules just by having him repeat his siblings’ criticisms: we see that he’s a bit insecure, not wanting to offend, and nothing like the braggart he could be based on his superior strength. It lends him a sweet uncertainty, and we like him immediately.

This story’s beginning sets up for the reader what Tercules is capable of—he crushes a nest just by escaping his shell; he causes a windstorm just by flapping his wings; he knocks his family out of the tree just by scratching an itch. After this series of three examples, I’m assuming that the story really gets going and a plot emerges. I’d like to see that happen a tad sooner, which could be accomplished by letting more of what is described in the text here be shown in the art. The first page definitely made this reader want to find out what happens next.

I worry that the second and third examples of Tercules’s strength are perhaps too similar—I imagine the art for both showing the turkey family’s tree swaying and shaking; feathers everywhere; turkey chicks off balance and tossed every which way. Is there another example—maybe something even more extraordinary—that would add variety in action and setting but still demonstrate his unusual strength? If the author keeps the current examples, I’d suggest saving the flying episode for last—it seems too abrupt to have Tercules born and already in flight within two pages.

I’d be curious to know if other readers tripped over the title. Once I got the joke, I thought it was very funny, but the spelling threw me off. Would “Turkules” create a more immediate connection in a reader’s brain between “turkey” and “Hercules”? Will the picture book audience know who Hercules is? Momma might have to—swiftly—clue her other babies into why she chose that name, thereby clarifying for readers, too. Or perhaps we just need a clever subtitle to seal the deal.

Thank you Meredith for sharing all your time and expertise to help authors to improve their writing skills. It is much appreciated and very helpful. If you are attending the NJSCBWI June conference, you will get to meet Meredith and I promise you will love her. Remember deadline to sign up is April 30th.

Talk tomorrow,

Kathy

This week I would like to introduce you to Kary Lee. I think you will enjoy hearing about her journey, her watercolors and process. Here is Kary:

I see things in pictures. I always have. It wasn’t until college that I realized not everyone did. It explained a lot. My need to solve problems visually made sense. Being artistic gave me a pass with the linear world. I could show through my art that I do get it. I just go about it differently.

I’ve worked with different mediums and as an art director and designer but it was through motherhood that things began to resonate. I rediscovered the wonder and magic of the world as a child sees it, the ordinary as extraordinary. This and my passion for picture books and my new found love as a watercolorist fueled me. I started out creating personal student work as a traditional fine artist.

That journey brought me to book illustration. Five published books and several awards later personal circumstances caused my work to be inturupted. But in finding my way back, my current successes have come from commercial illustration, creating pieces that visually solve problems for external intities. I now find my work coming full circle, returning to more traditional fine art with a new and  passionate sense of purpose.

My niche is the human figure and more specifically, children. My goal, to capture the innocence, curiosity and sense of wonder for the things adults take for granted. The hidden agenda is to subtily imply that regardless of our ethnic, cultural and physically challenging differences that make us all unique, we’re all the same on the inside. The message may or may not be loud and clear and that’s okay.

My execution involves using light and it’s play on the subject matter to mold my images. I use pure transparent watercolor pigments and whenever possible have them mix and blend on the paper to keep my colors vibrant and alive. These elements are the glue that hold together the feel and personality of the my composition. I work in a realistic style so it’s important to keep my images fresh.

To be successful requires an element of interest that can’t be achieved through a photograph. It has to look effortless even though every brushstroke is calculated. The fewer brush strokes, the fresher the feel. Too many and it becomes overworked, flat and boring.

I prefer displaying my work in public venues over galleries. I like the challenge of capturing the attention of people who may not realize the beauty of my art or any art for that matter. I want to tell a story to someone who didn’t know they were going to care until they see the image.

I love being an illustrator and sharing my stories. It makes everything else in my crazy life fall into place. Some years ago my daughter’s play group was discussing what their parents did for a living. “Well,” my daughter stated, “My mommy colors for a living.” Silence fell over the room. I’m totally cool!

Where did you grow up and where do you live now?

I grew up in sunny Southern California. I spent my early childhood barefoot and in a perpetual bathing suit.  On hot days we would      mix powdered tempera paints with the garden hose and use the sliding glass door as our canvas. On rainy days we would snuggle in the happy chair and read.  My mother’s love for books had a profound impact on me. Now I live in Pullman, Washington, in the South Eastern region of the state and home to Washington State University.

How did you decide to attend Washington State University for Communication and Graphic Design?

I am a fourth generation WSU Cougar (Washington State University).  So, attending WSU was always my first choice. Communications with an emphasis in Advertising made sense because it was a creative career with the hope of job security.

Can you tell us a little bit about the classes you took while at WSU?

WSU has a prestigious communications program; The Edward R. Murrow school of Communications, Murrow’s alma mater.  There were many interesting and informative classes. Ironically, my most practical experience came through my involvement with a volunteer club, National Student Advertising Competition (NSAC).  It mimicked an ad agency campaign and we competed with other universities.  I learned that I loved conceptual thinking, and problem solving I realize now that the process is similar to story telling.  My fine art classes centered on traditional graphic design. It was the early 80’s, before computers were part of any curriculum.  So I learned ‘old school,’ studying traditional typography and layout methods.

You don’t usually think watercolor with Graphic Design. Did WSU have a fine art class that you took?

My final year as an undergrad I took an illustration class from John Christ, an adjunct professor from Atlanta (spelling is to the best of my memory).  He spent extra time with me, taught me to see think critically and really see things before I drew.  He helped me to understand how and why to draw with purpose, to know my subject and the importance of good characters. The experience was wonderful! He was wonderful!  But, my focus at the time was to be an art director.  I turned down his offer to go to a portfolio school in Atlanta. I had no money left.  Hell of a time for me to be practical! But he went back to Atlanta and I lost him. It took years for me to admit that this was a grave career error.  What can I say?  I was barely 21.  I goofed!  John, if you’re out there, it took me 20 years, but I am finally taking your advice and going for the dream!

Did you try other mediums before you decided watercolor was what you enjoyed using?

Not really. Unless you include pencil and ink, because I’ve always loved to draw.  I played around with acrylic, oils and      watercolor in high school, but it was a small school and there was nobody to teach me.  It didn’t come up again until I decided to try book illustration.  And watercolor seemed my natural choice.  I took some classes while my kids were in school.  The instructor was good, but I was the only person under 60 and we spend a LOT of time with flowers and fruit. All humor aside, it was a tough time for me and watercolor gave me an outlet I needed.  I had finally found the my it.       And, as refreshing and empowering as it was, I knew still life’s were not gonna cut it!

How did you find your way from there to Dallas, Texas for an art director job?

It was actually my third job out of college. I was an artist at a local T-Shirt shop the first year. Based on my daughter’s terms, I think I was a hipster before hipsters were cool! It was great. Then I married to my high school sweetheart.  He took a job with Texas Instruments and we moved to Dallas. The art direction job came after six months working for a banner company specializing in Car Dealership Point of Purchase marketing.  Can you say ‘character builder?’  I set type for used car bumper stickers and cut rubylith for vinyl signs. We also had those fun hoola skirt flags that drape every dealership.  It was grueling but looking back, a great experience!  Every designer should have to squeeze Lewis and Clark Auto Sales into a 5” x 2” space that can be read from 40 feet. Ironically the typeface Impact became my best friend!  I could crank out a mean mechanical in nothing flat.  After 6 months of the sweatshop I landed the graphic designer job and worked my way up to art director.

What types of work did you do with that job?

I got to do everything; design, layout, illustration, photo direction and even some AV work. It was amazing. It was the type of environment where I was gonna sink or swim.  The story of my life!  So I swam!  I loved the work, the teams, and creative challenges.  Our team worked with a free-lance illustrator and I soon realized I secretly wanted her job.  She was a mom with a studio in her back yard and among other projects, illustrated kids books.  How cool was that?  We became fast friends and I was very jealous!

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

It was at an art show during my still life phase.  I did a whimsical painting that involved Hewey, Dewey and Louie and a color wheel (…you had to be there).  But, it sold for $165.  I couldn’t believe it!

How long have you been illustrating for a living?

I’ve been illustrating for about 14 years now.  Once the kids got old enough for me to breathe I made the decision to go for it.  I got the studio in my back yard, balancing my career as a stay-at-home mom. Things were going swimmingly until I suddenly found myself as a single-mom.  All emotions aside, the timing for my career was terrible.  I juggled my first book tour with my newly acquired real estate career! I remember attending BEA and signing books beside Judy Blume by day (I know, right?) and arguing escrow dates and appraisals over the phone with my broker by night. My plate was a bit full. Something had to give. I knew it would be temporary, but I turned down the next book and dug in to real life.  As I said earlier, I swim even if sometimes it’s upstream!  It was so hard to see that project completed without my name on the cover.  I vowed that I would return as soon as it was possible.  And, here am! I’m back on track with a newfound appreciation for everything! What doesn’t kill us makes us stronger, and it’s so true. It also gives me ton’s of subject matter. My passion has only gotten stronger.

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

I was 8.  Yes, that’s right. I wrote, illustrated and constructed my first children’s book when I was in the second grade. I guess you could say I was self-published.  I had an old typewriter, paper, pencils, and crayons.  I folded an old scrap of material over cardboard, folded it in half for a cover, glued it with Elmer’s, punched holes in spine with my pencil, and tied it all together with some yarn from the junk drawer.  Ta Da… “’Me and My Dog Ralph.’  Written and illustrated by Kary Lamb, grade 2.”

I see you have illustrated and published four books with Perfection Learning. How did you connect with PL?  

I met an editor, Susan Wilner at a local SCBWI workshop and gave her my card.  Much to my surprise, she called me a few months later!

Can you tell us a little bit about them?

They are actually pretty big educational publisher out of Iowa. The early readers I worked on are just one small division.  They do all types of educational books.  My connection was through Susan and when she hired me she owned her division, Lucy’s Letters out of Seattle, Washington.  In the interim, PL bought her out and my connection was lost.  I did one more book with one of their editors but he had his own group of illustrators, and things fizzled out.  All of the books are still in print.  There are links on my website.

Are they 32 page picture books? When were they published?

No, they were early readers; 1-3^rd grade.  They focused on phonics and letters in 8 page simple stories. They were published in 2005 and 2006.

How did you connect with Stonehorse Publishing?

It’s a very small publisher. Usually one book a year.  And, again, I met my publisher through SCBWI.  This time it was at the Winter NYC SCBWI Conference. Dizzy is one of a series of three fiction books.  But all included fun non-fiction facts about the animals the characters were created after. In our case, Pacific White-Sided Dolphins.

Do you have representation from an artist rep or an agent?

I definitely want an agent, but the right agent.  I have recently had some great feedback and a couple positive leads.  I am hopeful that things will come together and I will acquire representation soon.

Do you have any desire to write and illustrate your own book?

Yes. I actually have one of my stories written and blocked into a dummy, The Race.  It’s a historical fiction story (circa 1880; Kansas) based a story by great-grandfather, a published poet. I’ve had positive feedback from critique groups with award winning authors. But, I am focusing on getting established with an agent before I pursue it further.

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

Yes, and I won!  Runner Up; Realistic Category at the LA Conference in 2003.  It was amazing!  It was early in my career and I didn’t really know how cool it was. I had been upgraded from still life and fruit bowls but most important, I had found ‘my people.’  From that day on my dream turned to goal: to ‘make a living’ as an author/illustrator.

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

Can I say two?  My natural light view and my music! Both are essential.

Do you try and spend a certain amount of hours every day working on your art?

Yes. But it’s always a challenge. It’s like exercise.  If I skip, it shows.  Staying in ‘shape’ is the key to improving skills and perfecting your craft.

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

Yes, lots of research, in conjunction with sketching and creating characters.  For example, my current book project      involves a deaf girl, so I am trying to learn sign language.  My older work is more realistic and photos were imperative. Now I take photos but try to work more from imagination.  But, even if I’m not using likeness of the model, it always helps to have images, especially with strong light sources because luminosity is sort of my trademark.

Do you think the Internet has opened doors for you?

No question!  Early in my search it was Verla Kay’s website that opened the biggest door.  That’s where I learned about SCBWI, the single most important external impact on my success. That’s a mouthful, but it’s so true!

Are you willing to work with a self-publish author?

No.  It’s a good fit for some, but I choose not to focus my energy there.

Do you use Photoshop with your illustrations?

Yes, but sparingly and at this point only as a production tool.  I love the traditional process of paint on paper, and it’s also what gives my work my look.

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

I have an old WACOM from about 7 or 8 years ago.  I was curious when I first got it, but the concept was still abstract and the process seemed clunky.  It didn’t really save me any time.  But the new versions seem amazing.  So, I have it on my wish list.

Do you think your style has changed over the years?

I would describe it as my ‘evolving.’ I find my work loosening up, becoming more ‘painterly.’  The thing that remains constant in my technique is the underlying glazes of primary colors to create the luminosity.  As I said earlier I believe this sets my work apart and gives it the depth and life.  It’s not overly obvious but more like a ‘feel.’  The changes in my style have come simply in my gaining experience and knowledge, hence drawing and painting as much as I can.  It’s      quantity that creates the quality. There’s really not any big secret.  If you want to do this, then do it…. A      lot!

How do you market yourself?

With my graphic design/marketing background, I have been pretty good at creating marketing materials. Although I am a terrible client. I can’t seem to decide on anything for myself.  It’s a good thing I don’t have to pay myself.  I couldn’t afford it! I use social networking and attend conferences as often as I can.  I have a website, blog, and am active on Facebook, Twitter and most recently my girls are showing me the benefits of Instagram. Yikes! There are so many choices.  It can be overwhelming.

Do you have any career dreams that you want to fulfill?

Being able to do this full time, ‘for a living.’   I have so many stories to tell!

What are you working on now?

So glad you asked!  I am very excited to be starting a new book project this month!  A Good Sign for Alice; Guardian Angel Publishing, projected release – early 2014.  Alice is a deaf dog rescued from a shelter by Marie, a little girl who is also deaf and bombarded by two brothers who don’t understand girls.  It is written by Rachelle Burke.  I’m in the thick of research, learning sign language.  The challenge I’m finding will be to ‘illustrate’ deafness.  But hey, it’s the problem solving that I love about this job, right? I’ll be posting progress on my blog if anyone is curious. www.karyleeillustration.blogspot.com .

Do you have any material type tips you can share with us?

Professional grade paint and paper are a must if you’re serious about this medium.  My paints of choice are Windsor Newton and Danielle Smith with little exception.  Arches cold press is my choice for paper.  When trying something else I once found my self frantically waving my paintbrush in the air with one hand, the other propped on my hip and shouting with attitude, “What is this crap? I can’t work this way!” …with a French accent!

It’s not really a material type, but my wonderful new Epson Photo R2880 printer definitely affects how I use my materials.  It is oversized and takes watercolor paper.  I can now take sketches, scan them and print directly on the paper. It saves time and frees me up to try without worrying about ruining anything.

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

For me this answer has two parts:

1.         Philosophical:  Stop for a minute and think about WHO you are WHEN you are creating.  That’s your muse; the inner voice you should be listening to if you want to be true to your work.

2.         Practical:  Paint or draw EVERYDAY! Go to conferences! Do your research on publishers, art directors and agents.  Find where your work fits best. Ask questions. But remember the answers are based on that person’s situation.
The truth? There is NO RECIPE! And success for one person is different than another.  At first I would ask questions and get a little annoyed when the answer was, what to YOU think. I have received some amazing help from some very well known authors, illustrators and industry professionals, but it’s still my journey.  And yours will be different than mine!

We a have all heard this:  ‘Do what you love and the money will come.’

For me I suggest a slight change: ‘Do what you love and the happiness and success will come.’  (maybe money too….but that’s just a bonus.)

Kary’s work hangs in public venues and private residences throughout the Northwest. She is currently writing and illustrating a historical fiction book entitled, The Race. It is inspired by a poem written by her great-grandfather.

AWARDS & PUBLICITY

In 2009 she was featured in Washington State Magazine for a University of Washington athletic event project, The Windermere Cup. The link is on my website, www.karyleeillustration.com . In 2008, Dizzy the Dolphin received the Mom’s Choice award for Children’s Picture Book Adventure. And, she was a national portfolio finalist at the Society of Children’s Book Writers and Illustrators (SCBWI) Summer Conference in Los Angeles, CA in 2003.

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

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

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

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.
N
NNNNNNNNNNNNNNNNNNNNNNNNN

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

KIT & VESPER & JOYCE, YAY!

Kit Grindstaff’s debut novel hits the bookshelves on April 9th and she is having a Book Launch Party on the evening of April 19th from 7 pm- 9pm at The Doylestown Bookshop 16 South Main St, Doylestown, Pennsylvania 18901. If you live in the area, it would be great if you could stop by and help Kit celebrate. Big Congratulations to you. I wish you the best of luck with the book. Kit said, “And the book’s publication is SO much due to your teaming me w/Michelle Poploff at the 2010 conference!” That is music to my ears.

Vesper Stampers new picture book In The Hall of The Mountain King. Vesper will be signing her book at the New Jersey SCBWI June Conference, but if you aren’t attending you can get one with this link: http://www.allisonflannery.com/buy-book/ Congratulations, Vesper! Love how successful you have become. Versper was featured on Illustrator Saturday in Aug 2011.  Here is the link: http://wp.me/pss2W-39y

Joyce Wan signed a contract with Farrar, Straus and Giroux/Macmillian for her picture book WHALE IN MY SWIMMING POOL that she wrote and illustrated. It was a two-book deal, sold to editor Janine O’Malley by her agent Teresa D Kietlinski at Prospect Agency. If you attended the 2010 Writer’s Retreat in Princeton, you may remember the story, since that is the one she brought with her.  Congratulations, Joyce. We are so proud of your success.

Joyce will be teaching a workshop on Branding this June at the NJSCBWI annual conference. Don’t forget to register. www.regonline.com/njscbwi2013conference

Christian Trimmer will join Simon & Schuster Children’s as senior editor on April 15. Previously he was senior editor at Disney-Hyperion. GOOD LUCK!

Emily Graff has been named associate editor at Simon & Schuster. CONGRATULATIONS!

Other Industry News:

San Francisco-based publisher of science fiction & fantasy Night Shade Books, which has been struggling financially for several years, indicated in a letter to authors and agents earlier this week that the company plans to sell its assets to Skyhorse (as well as another entity, Start Publishing LLC.) The catch is that the sale cannot happen unless “a sufficient number of Night Shade authors agree to certain changes to their contracts.” Alternately, Night Shade will file for bankruptcy or liquidation proceedings.

In the letter, Night Shade explains their financial difficulties were exacerbated by Borders’ liquidation, so much so that they “have reached a point where our current liabilities exceed our assets, and it is clear that, with our current contracts, sales, and financial position, we cannot continue to operate as an independent publisher.” They claim the potential sale to Skyhorse and Start Publishing “will result in authors getting paid everything they are due as well as finding a future home for their books,” while the “revenue received from the sale would go towards paying off the debts of the company.”

The Science Fiction and Fantasy Writers of America originally supported the possible deal in a letter to members, saying “it was in our members’ best interests to encourage the deal to go through” because otherwise, liquidation could tie up contracts and owed royalties for years, if they are ever paid out at all. Should the asset transfer happen, Skyhorse would publish Night Shade titles under a dedicated imprint, with co-owners Jeremy Lassen and Jason Williams staying on in consulting editorial roles.

But a number of Night Shade authors, including Jeff Vandermeer and Kameron Hurley, said they would not sign off on the new terms. So everything continues to hang in question.

Talk tomorrow,

Kathy

HENRY HAZLITT CONTEST FOR BUSINESS FICTION

This contest catch my eye, because it doesn’t cost you to enter and it gives you a cash prizes, plus a chance to get published with an advance and royalties. 

Traditionally, business has been portrayed negatively in most novels. The purpose of this contest is to provide some balance to this situation, and thus provide a publication opportunity to debut novelists with a positive business mindset. 

I hope someone in the audience has a novel that fits.

NO ENTRY FEE
DEADLINE: April 30th, 2013
Unpublished Author
Pro-business theme
MG – Adult

The Henry Hazlitt Contest is a writing competition for the best new novel with a business or economics theme by a debut author.

The winner will receive the 2013 Henry Hazlitt Award for Business Fiction, which includes a cash prize of five hundred dollars ($500)  and an offer of a publishing contract that includes a royalty  advance of $2,000.

You must be an unpublished author, not previously or currently bound by a publishing contract. The novel must have a theme related to business, finance, entrepreneurship or economics. The novel’s theme should be pro-business. The target audience for the novel can be any age from middle-grade to adult.

No picture books. Deadline April 30, 2013.

http://www.fiscalpress.com/writing-contest.html

Talk tomorrow,

Kathy

Why create a Curriculum Guide for your books?  

“A discussion guide and/or activity guide is a valuable way for teachers, librarians and parents to give a book more depth and breadth,” says illustrator Melissa Sweet who collaborated with me on SPIKE, THE MIXED-UP MONSTER. Today, there’s more interest than ever in these guides. Why? Two words: Common Core. Educators everywhere are looking for ways to incorporate this new mandate.

And once you have a guide, it’s a win-win-win situation!

• For kids, the games, crafts and activities are fun. They encourage kids to play with ideas they’ve learned from the book and to dive deeper into the subject matter.

• For teachers, the guide helps them incorporate your book into lesson plans, especially if the guide aligns with the Common Core.

• For you, the guide increases your book’s exposure and lets you elaborate on ideas you’ve introduced. It makes a dandy handout for school and library visits and can drive traffic to your website.

What are the different kinds of guides?

Activity Guides

These offer interactive activities, such as cut-out masks, holiday cards, finger puppets, bookmarks and so on. They may include directions for games, activities, songs, recipes, and crafts.

Discussion Guides

These guides have more text, fewer cut-outs.  They might provide interviews with the author and illustrator, discussion prompts, projects and extension activities. They list questions to ask kids and suggest additional books, websites and resources.  See Michelle Markel and Melissa Sweet’s Discussion Guide for BRAVE GIRL.

All of the Above 

Our SPIKE, THE MIXED-UP MONSTER Curriculum Guide has something for everyone—pages of interactive cut-out, crayon and drawing activities for kids, plus book-related questions that align with the Common Core for educators.

How do you create a Curriculum Guide?

Talk to your publisher. More and more houses are interested in developing them.  Some will work with the author and illustrator. Others will hire an outside reading specialist to write discussion questions, illustrated with pick-up art from the book.

For our book SPIKE, THE MIXED-UP MONSTER, Melissa Sweet and I agreed to work on the guide together.  I came up with the games and wrote the copy. (As the former Children’s Content Director of Nick Jr. Magazine, they were right up my alley!) Melissa did sketches for some pages and we used pick-up art from the book for other pages. We submitted the “manuscript” and later sketches to our editor and then worked with the Simon & Schuster marketing department to have the guide designed and copy-edited.  Simon & Schuster also hired a literacy specialist, Tracie Vaughn Zimmer to add a discussion guide with questions that align to the Common Core. Tracie says, “I’ve been writing guides for 10 years. My focus is to really try to find what’s unique about the book and bring that forward for teachers to use in their classroom. The new push is the alignment with The Common Core Standards, which I’ve been trained in extensively over the last two years.”

Who pays the costs?

Sometimes the publisher, sometimes you! For my book JUST SAY BOO,

I worked with my illustrator Jed Henry to create Halloween cards, masks, paper dolls, a charades card game, and more.  Jed agreed to create some original art and we used some pick-up art as well.  We both donated our time and then I hired a former Nick Jr. designer, Jennifer Starr, to put it together. This is key. Without a good designer, your guide won’t look professional or be as appealing.

How long does it take?

It depends on the scope of the guide. Our SPIKE guide is 15-pages long and includes original art so the production process took several months.  Guides that are mostly text or use pickup art will take less time. 

How does it get distributed?

You, your illustrator and your publisher post the guide as a free downloadable PDF on your websites, Facebook, Twitter and Pinterest accounts. I also take copies along to school and library visits, conferences and other venues. To keep costs down, I might copy one or two pages, do those activities with the kids, and then provide the school the link for more. Or you can email your school contacts ahead of time and have the school download the guide before your visit.

To download the SPIKE, THE MIXED-UP MONSTER Curriculum Guide, visit: www.susanhoodbooks.com

For wonderful ideas for teaching SPIKE developed by the professors of Lesley University, see http://march23rdhandout.blogspot.com/p/panel-i.html

Have more questions? To get more information about creating guides, contact Susan@susanhoodbooks.com.

Talk tomorrow,

Kathy

Tricia Lawrence is the newest agent at Erin Murphy Literary Agency and attending the New Jersey SCBWI Conference in June. As associate agent, Tricia represents middle grade, young adult fiction and nonfiction and is looking to build her list of clients. She’s likes strong world building, wounded narrators, and stories that grab a reader and won’t let go. Tricia lives in Seattle, so you could say she is the “Pacific Northwest branch” of EMLA. With Ammi-Joan in New England and Erin in Arizona, they seem to have things covered, but of course, you do not have to live near an agent for them to represent you.

Tricia says, “I’m also beginning to look for younger books: picture books, early readers, chapter books as well as middle grade and young adult. I love all genres, but find that a story with a mystery is what I’m most drawn to. I love, love, love finding something new, whether it is a character that makes me laugh out loud to a character that continues to persevere in spite of everything being thrown at him/her. I would love to find books that are extremely high-concept, but that have an amazing main character. It really all comes down to character, doesn’t it?

I like historical, scifi, spec fiction, fantasy, paranormal (although the paranormal must be really original), contemporary, mystery/thriller, and adventure. I’m particularly drawn to books that focus on big educational transitions in a kid’s life (what it feels like to be leaving high school, that YA sweet spot or learning to navigate middle school coming from elementary school or learning to deal with school at all for younger readers). I must be reliving my own childhood years in school over and over again! I am also very interested in nonfiction for teens, on subjects covering babysitting to how to prepare for college in a fresh, original spin.”

EMLA is closed to unsolicited queries or submissions. We consider queries that come to us by referral from industry professionals we know, and individual agents are open to queries from attendees of conferences where they speak. So attending the June Conference in Princeton, will open this door for you. www.regonline.com/njscbwi2013conference

Here are some additional Tricia interview’s to read:

Forever Rewriting

Fresh As A Daisy

Talk tomorrow,

Kathy

Manelle graduated with a bachelor’s degree in illustration from Brigham Young University Idaho and has been working as an Illustrator since 2005.  She’s illustrated multiple books. Most recently, In the Garden, (spring 2012) In the Woods, (fall 2012) and At the Beach (spring 2013) for Peachtree Publishers.

Some of my other clients include: McGraw-Hill, Friend Magazine, The Empress Theatre, and Blooming Tree Press.

I work with watercolor, prismacolor pencil, pencil, Photoshop, Illustrator, and InDesign.

Manelle says, “My object in writing and illustrating books for children is: to recapture imagination, rekindle curiosity, and demonstrate the rewards of knowledge and virtue. Pretty good eh? I stole it from Walden Media. Regardless I am creating books and illustrations for children with this in mind. Hoping that others will have a chance to have fun, and learn from the products I create.”

Manelle has sent three panels that describe her process, thinking, and interview answers.

Have you always lived in Salt Lake Utah?

Basically, I did go to school in Idaho. I lived in West Yellowstone Montana one summer and I lived in Provo Utah for about a year after college.

How did you go to college to study illustration?

Well, yes, sort of, I went to college to study art. I thought I wanted to be a gallery artist but then I took an illustration class and the rest is history.

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

Like I said I took this one illustration class… It was intense and really hard. It seems like during the semester I was just exhausted the whole time but it really gave me the tools I needed to be able to draw the kinds of pictures I always wanted to draw. In the end I took that class three times, twice with the same teacher and once with another teacher. I learned so much in all of them.

What did you do after you graduated?

After I graduated I moved to Provo Utah and got a job doing layout for an educational publisher. I liked it there and I sometime I got to do small illustrations. It was fun learning more about Graphic design and layout there. I still use those skills all time.

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

I think it was an illustration for the Friend magazine.

How long have you been illustrating?

Eight years

What materials did you start out using for your illustrations?

Watercolor and pen, and I also did a lot of digital painting at first.

Have those material changed over time?

Yes. I still use watercolor but now I use colored pencil and pencil more than pen. I just use the computer for prep work now, value studies and things like that. I stopped doing digital after I got a few jobs painting that way and realized I didn’t enjoy doing that as much. And sometimes l like to just try something completely different if I can. That is what Ruby and the Skateboard is, a fun style experiment.

Was the artwork for Don’t be Afraid a self-published book project?

No it was for a small Christian publisher. I think the first book job I got. I was pretty excited about it at the time.

How did you get involved with Familius?

It’s a long story. I’ll try to sum up. The Just In Time books were first being published by another publisher and they hired me. But before they were published the authors decided they wanted to go a different rout than that publisher was going so they pulled out. I had already done some sketches and things for them and I really, REALLY, wanted to do them. Luckily the authors, Cheri Earl and Carol Williams, live in Utah and I had met them at some SCBWI conferences, so the next time I saw one of them at a conference I told her how baldly I wanted to do those books. Later I emailed the sketches I had done and she liked them. She said she would suggest me as an illustrator if they found another publisher. Years later they found Familius and Familius hired me. So I think the moral of the story is be patient, and go to conferences, you never know what will happen.

Will there be other Just in Time books coming out?

Yes, 50 are planned, one for each state.

Can you tell us something about Familius?

They are new as of last year (2012). Christopher Robbins the publisher used to be CEO of Gibbs smith. So far they have been good to work with and we’ve enjoyed getting the Just In Time books ready for publication.

Will you be the illustrator for all of them?

That’s the plan.

Did you do any interior art for The Princess and the Pee or was it just the cover?

Yeah, I did an illustration for each chapter.

I see that you just wrote and illustration your own picture book and are selling it on Amazon for $.99. Was it easy to take the book dummy and turn it into an ebook?

It wasn’t too hard. But like I said I had a job doing layout and I took some deign classes in college. I don’t know that it would have been as easy if I didn’t know how to do that.  After the layout there is just some mechanical stuff to figure out that takes time but isn’t too hard. Julie Olsen has a nice blog post about how to do that. http://jujubeeillustrations.blogspot.com/2012/01/how-to-create-and-publish-ebook-picture.html

How hard is it to get people to notice your ebook?

I haven’t been good at it yet. Gradually I’m selling more and more and I’ve been trying things here and there to market them. Just learning stuff from people online and trying it. No giant success yet but I kind of enjoy the trying.

Do you plan to produce the book and self publish it, so kids can hold it in their hands?

Not at this point. Both of the ebooks I have out right now were just little things I did for fun and for practice telling stories. I think they will always just be ebooks.

What are your thoughts about the acceptance of buying a digital picture book?

I think people are accepting it more and more and that we all aren’t sure what a digital book is exactly. It’s all a process and I just want to be involved in the new fun. I don’t have programing skills or animation skills so my books are just pictures and text but there are so many more things they can be. I plan to keeping learning and telling better stories and just seeing what happens with digital picture books.  And having fun with them as they evolve.

Do you plan to write and illustrate another children’s picture book?

Of course. I think the reason illustration appealed to me in the first place was the chance to tell stories with my art. I plan on doing that until I die and still doing it in the after life. Why stop right? I have some fun manuscripts written and new ideas all the time, and as I said I feel like I’ve just been practicing so far. I plan on getting better at telling better stories.

Are you concentrating on becoming a children’s picture book illustrator?

Um… yes, and no. I like variety I love picture books but that is not all that I want to do. Mostly I just want to tell good stories.

How did you get involved with Peach Tree Publishers and the board book you illustrated for them?

They hired me after I sent sample postcards.

Who is Jeremy D. Miller and how did you work together on a wordless picture book?

Ha ha, good question. Jeremy is my husband and after I had the idea for Ruby and the Skateboard he helped me figure out everything that would happen to her. Then I drew it.

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

Postcard mailings, and a website are the main things. Conferences are great also. You never know what is going to happen. I have heard of people getting jobs from twitter but that hasn’t happened to me yet.

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

I don’t have one. I would like one but I want them to be the right one so I keep dragging my feet. I’ve submitted to some before and got some offers but they never felt right. I’ve also gotten a lot (and I mean a lot) of rejections. That was a couple years ago though so maybe I’ll try again soon. But not having an agent has been good for learning. I feel like I know my way around contracts and I’m getting better at taking better jobs. It’s hard asking for more money or changes in contracts. When I have to do stuff like that It’s always nerve racking but I like the feeling of accomplishment at doing something hard even if I don’t get what I want. And of course I’m getting better at it the more I do it.

I see you have used your artwork to make t-shirts, cards, ipad, iphone covers, etc.  Can you tell us a little bit about this?

Yeah, I just use the website society6 which is a service where I upload my art and they print on demand. If someone buys something of mine I get a percentage. I think they have good quality from what I’ve seen. It’s been a fun little side thing.

Do you ever use two different materials in one illustration?

Yes. Right now almost all of my color illustrations are a combination of watercolor and colored pencils. Some of my pencil stuff has a grayscale digital under painting. Doing that helps me save time.  Ruby and the Skateboard is ink and digital.

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

Yes. Although I don’t know how I can explain it in detail.

Have you gotten any work through networking?

Yes. I would say the just in time books are a good example of that.

Have you published any illustration in magazines or newspapers?

Yes. I’ve done a couple jobs for the Friend Magazine, and some other stuff here and there. I’ve also done illustrations for text books and thing like that.

Do you do any art exhibits to help get noticed?

Not usually but sometimes if the opportunity arises.

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

No.

Do you ever use Photoshop?

Yes. I use it for value and color studies and all kinds of other stuff. I used to do a lot of my paintings with it but now I just do paintings with Photoshop for fun when I’m doing experiments and the like.

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

Yes. I use it  for painting in Photoshop mostly.

How much time do you spend illustrating?

As much as I can I suppose and sometimes more. I just finished the second book for Just in Time. We had a really tight deadline with it and I spent every waking hour illustrating.

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

I suppose I would prefer not ever live without the salt lake county library system. They provide most excellent recorded books for me to listen to while I’m illustrating (It’s not technically in my studio but the books are).

Any picture books on the horizon?

Not right now.  I have some manuscripts I’ve been working on but it remains to be seen if I will turn them into ebooks or try to publish traditionally. Right now I’m just really busy with Just In Time.

What are your career goals?

Be amazing and keep getting better.  I did have the goal to illustrate cover and interiors for beginning chapter and middle grade books. That’s what Just in Time is and they will keep me busy for a long time.  So I met that goal and haven’t made any new ones yet. I suppose my goal would be to not mess them up. I have some personal projects in mind to do while I’m working on those as well.

What are you working on now?

I just finished the second, Just In time and will probably start on the third soon.

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

Every painting needs an awesome composition and the right values.

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

Keep moving forward. I still think I’m in development stage but when I look back I can see that I have made progress. It has been slow going but the work is starting to pay off. I just had to be persistent and I have to keep being persistent and believe it’s gonna be great.

Thank you Manelle for sharing you process and journey with us. We look forward to hearing more success stories from you. Please make sure you let us know.

If you would like to visit Manelle you can go to her website: www.manelleoliphant.com And please take a minute to leave a comment here for Manelle. It would be  much appreciated. Thanks!

Talk tomorrow,

Kathy

Jessica Regel has been with JVNLA since 2002. She maintains her own list of talented writers while also handling Film, Audio, and UK rights for the agency. Originally from Iowa, she was working at her local library when she was offered an internship at JVNLA and she promptly moved to New York City. After receiving her B.A. in English Literature from Hunter College, she became a full agent at JVNLA, representing both children’s and adult writers. With energy and persistence, Jessica works closely with her writers to develop and sell their work to publishing houses.

She is seeking: strong commercial fiction, literary fiction, edgy/hip fiction, young adult, and middle grade novels, children’s non-fiction, and narrative nonfiction. She doesn’t handle practical nonfiction, inspirational/religion, genre science fiction or fantasy, or political thrillers.

Jessica says, “I want to be fully immersed in the story from page one. If it’s funny, I want to laugh. If it’s dramatic, I want to feel connected to the characters. It’s a similar feeling any reader has when they go to the bookstore and read the first few pages of a new book. What makes you buy that book? The line, ‘But it really gets going in chapter 10′ is lost on me. No agent, editor or consumer will get to chapter 10 if they’re not interested in chapters 1-9.”

Jessica is part of the faculty at the New Jersey SCBWI June Conference and she is looking to build her list of clients. Deadline to register is April 30th.

Talk tomorrow,

Kathy Temean

Alan Kingsberg was asked to be part of the New Jersey SCBWI Conference, because we a few of our member are studying with him in NYC.  The views of what they are learning from him and how he has helped improve their middle grade books are fabulous. So if you can see you book as a TV show or just want to enhance your book with more visual scenes, then you should consider signing up for this intensive workshop. Here is the description:

This intensive workshop is designed to teach children’s book authors and illustrators How To Break Into TV Writing. Topics will include: How to adapt your book or story for TV; how to structure a TV script that sells; how to build a writing portfolio to get an agent or a job; story telling for books vs. TV, and how to start writing a pilot script or improve the one you’re writing. This class is designed to teach you how to break into a growing and lucrative market with your existing talents and creative skills. The class is suited for beginners and experienced writers. Whether your goal is to turn your book into a successful TV series, get staffed on an existing TV show, or simply explore a new creative arena, this workshop will help you move forward. Clips will be screened from iCarly, Victorious, 30 Rock, News Room and Seinfeld.

In 1999, Alan Kingsberg created the popular TV writing workshop at Columbia University’s Graduate Film School.  He’s been teaching TV Writing and Advanced TV Writing to Columbia MFA students for over a decade. His students’ TV scripts have won many national contests, including the Humanitas Award and multiple first place prizes at the highly competitive film festivals.

Alan’s students have written for 30 ROCK, WEEDS, NEW GIRL, LAW AND ORDER, SMASH, LAST MAN STANDING, VEGAS, CONAN O’BRIEN, and CALIFORNICATION.

Alan has written for numerous network and cable shows including NBC’s “Law and Order: Criminal Intent” and Nickeloden’s “Are You Afraid of the Dark?”  He has been a show runner on five animated TV series including the hits “Winx Club”, “Pokemon” and “Cubix”.  As a show runner he produced or wrote over 220 half hour episodes.

Email Alan

TESTIMONIALS

“Alan is a phenomenal teacher, who taught me everything about TV writing, from story structure to dialogue.  In his class, I wrote and revised the scripts that launched my career in the industry.”  –– Vanessa Reisen, Supervising Producer, WEEDS, CALIFORNICATION.

“The script I wrote in Alan’s class won first prize at the Austin Film Festival, secured me an agent, and got me my first feature screenwriting job at Fox Searchlight Films.” – Martina Broner, Writer/Producer.

“Alan inspires you to write.  He is straightforward and clear.  When you take his class, you’ll end up writing a spec script for a TV show.  He is the real deal.”  – Beth Einhorn, Writer: THE TONIGHT SHOW.

“The Scrubs Spec I wrote in Alan’s class won the Humanitas award ($10,000).  Alan’s class prepared me to work successfully in the industry.”  Chris Carlson, Editorial Director, SPIKE TV.

Conference Link: www.regonline.com/njscbwi2013conference

Talk tomorrow,

Kathy

Tracy Campbell sent in this April showers illustrations.  She is a writer and an artist, living my dream. When she is not busy with her interior decorating business, she taps away on her laptop and writes for children, tweens, and teens. She also sharpens pencils, flips open paint lids, and yank off marker caps to draw and paint whimsical works of artfrom her second-floor studio in my 1841 farmhouse nestled high on a hill…assuming she doesn’t get distracted by howling coyotes marching up the gangway or by ribbon-streaked sunsets that take her breath away.  She has a whimsical shop where she sell greeting cards, inspired by all things warm and fuzzy. To view my Premier Collection, pop on over to www.tracycampbell.net/shop.html.

At Bloomsbury, Rachel Mannheimer has been promoted to editor.

Tracy Sherrod will join Amistad as editorial director on April 22. Previously she was the founder and proprietor of Tracy Sherrod Literary Services, representing Karine Steffans, Katori Hall, Kalisha Buckannon, and others (and prior to that she was an editor at Simon & Schuster).

Amistad is a division of HarperCollins, who publishes works by and about people of African descent, on subjects and themes that have significant influence on the intellectual, cultural, and historical perspectives of a world audience.

At Simon & Schuster, Nick Greene has been promoted to associate editor and Jonathan Cox moves up to assistant editor.

At Workman Publishing, Raquel Jaramillo, who has been acting creative director for two years, will return full time to her position as director of children’s publishing.

Following on Avon Impulse and Harper Teen Impulse in the US, Harper UK will launch a digital first women’s fiction and romance imprint in May. Harper Impulse, an imprint of their Harper Fiction division, aims “to find, publish and break new talent from debut authors, and import the hottest trends from the US.” Harper Fiction publishing director Kimberley Young will run the line , joined by content developer Charlotte Ledger, who worked previously at Chawton House Library as well as Mills & Boon.

They invite unrepresented submissions and are looking for everything from “short reads to epic sagas.” The company says they have received hundreds of manuscripts over the past month and have three acquisitions in the works. and has already received nearly 500 manuscripts in less than a month and has three acquisition deals in the works. Their editorial team will offer writing workshops and events “to give authors a diverse publishing experience.”

Publishers Marketplace reports: After Skyhorse and Start Publishing’s intended joint acquisition of Night Shade Books’ assets ignited public controversy over the original terms of sale (and now, after a revision, the sale “is in a holding pattern right now waiting for all the authors’ feedback”, a Skyhorse spokesperson told us) the two publishers have bought a different science fiction & fantasy publisher, Underland Press, for an undisclosed sum. The deal for the six-year-old press, according to a joint release, is part of Skyhorse and Start Publishing’s plans “to deepen their relationship to the genre community.”

Skyhorse publisher Tony Lyons said in a statement: “We are thrilled at the acquisition of Underland. We look forward to publishing 10–20 new books a year.

Talk tomorrow,

Kathy

I was going over my registration last night for the New Jersey SCBWI Conference and noticed an interesting intensive workshop titled Do-it-Yourself MFA in Writing for Children being held on June 7th at the conference. This intensive will focus on how writers can create a customized learning experience without going to school.

Gabriela Pereira will introduce the DIY MFA concept and then guide writers through the three main subtopics of DIY MFA. Write With Focus: This segment will focus on creativity and motivation. In particular it will cover techniques to help jumpstart a story or boost a work-in progress that has hit a rut. Read With Purpose: In this section, the emphasis shifts to reading like a writer. She will teach techniques that writers can use to make the most of their reading. Techniques that are not just about reading, but how by reading, you can gain a deeper understanding of the writing process. Build Your Community: In the last segment of the Intensive, Gabriela will shift gears and talk about building writing community. This section will include some information about building writer-to-writer relationships and community, but the primary focus will be on how writers can connect with their readers.

So I went to www.diymfa.com to see what other information I could find out about Gabriela Pereira. I discovered there was a lot of good information, but I wanted more, so I contacted Gabriela, so I could get answers.  This is what I found out: 

Before Gabriela Pereira started DIY MFA, she was a founding editor of a literary magazine, which gave her a lot of great experience in reading others’ writing with an “editor’s eye.” One of the things she does with DIY MFA is work as a content editor with writers, helping them write, revise and shape their books. She doesn’t advertise this service because she’s very selective about the clients she takes on. Writers she works with must be serious and ready to work hard. Gabriela has had clients go on to sign with agents and get book deals as well.

After she graduated from the MFA program at The New School (concentration in Writing for Children), Gabriela was inspired to share her knowledge by starting DIY MFA. She has spent the last few years building her audience and now she is branching out by doing workshops with shindig.com. The workshops have been greeted with a great response and turnout.

DIY MFA is also developing electronic workbooks and other self-guided workshop-type products like the Starter Kit which people can sign up to receive on the DIY MFA website. I signed up to get mine last night and it is filled with lots of information.  It was painless and free to receive. 

www.diymfa.com even has a Writer Igniter, which shuffles characters, situations, props, and settings to help trigger ideas. Very Cool! Check it out – especially if you need a spark to ignite a new story or break the writer’s block that may be plaguing you.

Gabriela is the spark, the Instigator of DIY MFA. 

Here is a more detailed bio:  

Gabriela Pereira earned her “real” MFA from The New School, in New York. While undercover as a graduate student, she collected information and discovered new techniques, even inventing a few writing tools of her own. Now she wants to share everything she learned with all writers.

Gabriela is a freelance writing teacher and leads workshops throughout New York City. She has taught at 826NYC, Everybody Wins and the East Harlem Tutorial Program, as well as a local writing workshop she built from the ground up. With a concentration in Writing for Children, when she’s not working on DIY MFA Gabriela loves to write middle grade and teen fiction, with a little “fiction for grown-ups” thrown in for good measure. Her work has appeared in several literary magazines and in a lesson plan anthology by 826 National. She enjoys coming up with new dastardly plans and innovative resources to share at DIY MFA.

For the latest articles, classes and tools, visit DIYMFA.com. Gabriela lives in NYC with “lawyer-hubby,” the “little guy,” and a collection of feline critters. Her secret dream is to take over the world.

TWITTER: @DIYMFA

FACEBOOK: facebook.com/DIYMFA

Hope you will consider coming to the conference.  Here is the link: www.regonline.com/njscbwi2013conference

Talk tomorrow,

Kathy

Shawna JC Tenney has always loved to draw and she has always loved children’s books. She graduated with a Bachelor of Fine Arts degree in Illustration from Brigham Young University and started illustrating as a freelance illustrator a year later. Since then, she has created artwork for 16 books along with children’s magazines, charities, educational materials, religious materials and theater playbills. I love drawing and learning every day.  She works in a number of mediums including acrylics, digital- Photoshop and Painter, charcoal, pastels and watercolor.  

Shawna lives in Utah with two very artistic little girls and graphic designer husband.  Shawna says, “One of my favorite things to do is teach an art class for my girls and other neighborhood kids. I love seeing the beautiful artwork they create!”

Here is Shawna explaining her process:

Process 1: First I draw lots of thumbnails. This helps me decide where to place characters and which angle I want to use. Sometimes I draw the thumbnails in pencil sometimes I use ink or the computer.

Process 2: I always sketch my drawings out first by hand using a mechanical pencil. Then I scan the picture into the computer and adjust lines and shape sizes in photoshop. Often I have to draw more than one sketch to get it right. Then I bring the lines into a new layer by selecting the channels so I can use my original lines and color under them. This also allows me to lock the “lines” layer and change the line colors later.

Process 3: Next I make a grayscale study.

Process 4: Then I make a color study. I usually don’t make this many, but it was fun to explore different color options for my dragon.

Process 5: I lay in the background color in photoshop. I like to use lots of different textures on my brushes. Sometimes I will print out my sketch and throw in some background colors with watercolor, just for fun.

Process 6: I lay in all the foreground color.

Process 7: Then I work in all the details over the top. Sometimes I finish the painting in Photoshop. Sometimes I use Painter because of the fun paint textures you can get. And that’s about it!

How did you end up going to Brigham Young University?

I first went to Utah Valley State College (which is now Utah Valley University) on an art scholarship, where I earned my associates degree. I had a great experience there, but at the time, they offered no Bachelor Degrees. I decided to go to BYU because at the time it had the best illustration program in the state (and also very high ranking nationally). At first I showed my portfolio to one of the professors there, Richard Hull. He thought I had some good potential. Unfortunately, I did not get in the university because of very high admittance standards. Richard Hull wrote a letter to admissions to request that I be admitted into the university to study illustration. Happily, it worked, and I was admitted. I will always be grateful to Richard for helping me get into an amazing illustration program where I learned so much valuable knowledge, which prepared me to working as an illustrator.

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

I took some awesome figure drawing classes, taught by Robert Barrett, who is phenomenal at figure drawing. I took an amazing (and very difficult) oil painting illustration class from Doug Fryer, where I learned amazing things about mixing color and composition. I also took some amazing illustration classes from Richard Hull, and Bethanne Anderson. Bethanne was my senior project mentor, and she inspired me in so many ways to become a children’s book illustrator and live my dreams. I took a couple  of digital classes in college, but hated them, and vowed I would never be one of those “digital” illustrators. This is very funny if you read on.

What did you do after you graduated?

Funny story. I graduated and had a baby two months later. Then we moved so my husband could go to school at another university. My husband was only able to get a part time job early in the morning working for UPS, and it wasn’t making enough to support us. So I went and got a part time job at JoAnn’s working in the frame shop. I worked there for a while, getting more and more annoyed that I was working at a retail frame shop for minimum wage. I was a well-trained frame shop worker (I had worked at several frame shops prior), and besides, I had a bachelor’s degree in illustration!  All I really wanted to do was be at home with my baby and draw. So I decided to work and pray really hard- take a leap of faith, quit my job and send out my work into the wide expanse of children’s illustration art reps and publishers, and see what happened. I think it was no coincidence that I was in the right place at the right time. Within a month, I got my first illustration job, and I got an art rep.

Did Brigham Young University help connect you to companies that could give you work?

No, but I did learn a lot of valuable information about the business of illustration, and how to start getting work.

I notice that you use a lot of different paint materials. Did you start out with a favorite material and expand to others?

When I graduated from school, my medium of choice for my children’s illustrations was acrylics.  Like I said before, I was scared of the computer. Then I saw more and more how people were able to save a lot of time and money by doing their art digitally. I was still afraid that using it would change my style, and I wouldn’t be able to make my art look enough like a traditional medium. Finally, I decided I wanted to learn once and for all how to paint digitally. So I asked my friend Manelle Oliphant to teach me a few things. I also learned from asking some of my other friends a lot of questions. I decided to jump right in and digitally paint a book I had been assigned. It took a while to really understand how to do things the right way (I am still learning a ton all the time), but eventually I got things to look more traditional than digital. So to answer your question- now I only paint digitally- except for things like watercolor sketches. I have tried a lot of different techniques, which may explain why it looks like I use a lot of different mediums.

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

It was some illustrations for a crossword puzzle for a magazine called The Friend, a children’s religious magazine. My second job was the more interesting one (in a bad way). It was a reader for elementary school called The Case of the Bushy Tail. Because of a misunderstanding I took on the job not realizing that I would only have 10 days to paint the entire book- and take care of a 1 year old at the same time. It was…something I don’t want to do again. But many lessons learned.

What was the turkey’s illustration for?

It was a self-promotion piece I did a few years back.

How long have you been illustrating?

About 8 years.

How  many children’s books have you illustrated?

If you count all the readers and chapter books, 17 all together.

I see that Picture Window Books published The Truth About Ogres that you illustrated.  Can you tell us how that contract came your way?

I got that job through my agent.

Can you tell us a little bit about Picture Window Books?

Picture Window books is an imprint of Capstone Publishing. They mostly publish through the school market. I have also illustrated one of their Read-it Readers, called Allie’s Bike. That was the second book I illustrated- a bit embarrassed to look at it now, but its fun to look back on it and see how my illustrations have grown since then.

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

The Friend Magazine, Highlights, Spider and Ladybug.

You illustrated a few book with Magic Wagon. How did those books and contracts find you?

That was also a job I landed through my agent.

Tell us about DEADWOOD put out by the new small publisher Pugalicious Press. I assume that it is a middle grade book and you were hired to do the cover. What is the story behind getting this job?

Yes, Deadwood is a middle grade novel written by Kell Andrews. I illustrated the cover, and the book came out November 2012. I also landed this job through my agent. Unfortunately, I recently heard that Pugalicious Press has gone under, and the book is already out of print. But I also heard that they are selling the rights to a new publisher, and trying to see if they can use the cover artwork that I have already created.  I hope that things go well for Deadwood, especially for the author’s sake!

It also looks like you have done a few Christian picture books. Could you tell us about those books, the publishers, and how you landed those contracts?

Yes, I have worked with  Concordia Publishing house on a couple of books (The Parable of the Prodigal Son, and King Josiah and God’s Book) which I got through my agent. I also illustrated a book called, When I Take the Sacrament, I Remember Jesus, through a local publisher called Covenant Communications. I got that job because I met the art director at a couple BYU Alumni events.

It also looks like you have done a few Christian picture books. Could you tell us about those books, the publishers, and how you landed those contracts?

Yes, I have worked with  Concordia Publishing house on a couple of books (The Parable of the Prodigal Son, and King Josiah and God’s Book) which I got through my agent. I also illustrated a book called, When I Take the Sacrament, I Remember Jesus, through a local publisher called Covenant Communications. I got that job because I met the art director at a couple BYU Alumni events.

I notice a lot of illustrations on your website that have a Christmas (Santa) theme. Are they all from one book? Where they published in a picture book?  Same questions for the reindeer illustrations?

The Christmas and reindeer themed illustrations are all from a book I illustrated for an author, Chantell Taylor, called Rosie the Reindeer. The book was finished about 3 years ago, but the author has not been able to publish it yet. That was a fun book to illustrate!

Do you want to concentrate on being a children’s picture book illustrator?

Yes, it is my dream and passion. I have always loved picture books- I love looking at them and reading them to my kids. My big dream is to write and illustrate my own books.

Where were the Sleeping Beauty and Cinderella illustrations, published?

I think what you are referring to is the Beauty and the Beast pictures? I illustrated  a Young Learners Classic Reader version of Beauty and the Beast for Compass Publishing.

Tell us a little bit about the educational books that you have illustrated.

Well, I’ve done a lot of readers for the educational market. They are good bread and butter jobs, but not ultimately what I want to do for my career. Same thing with the religious books. I am really trying to focus my career on getting work in the trade book /big publishers market.

Have you ever tried to write and illustrate a children’s book?

Yes, I have written a few of my own stories, which have failed. I am currently writing a new story, which I plan on finishing soon and then illustrating. I have so many great ideas floating around my head, and I would really just like to write and illustrate my own stories and ideas rather than always illustrating other peoples ideas.

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

I did make one dummy book that I sent to my art rep some years ago. It was a flop, but I learned a lot from the experience and gained a lot of wisdom since then. I hope to have a new dummy out by this fall.

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

I’ve been doing a lot of blogging, social media, and sending out my own post cards. Lately I’ve really been focusing on what kind of things I need to do to connect with other illustrators and art directors.  I’ve also been trying to focus my work on the trade book market.

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

Yes, my agent is Janet DeCarlo of Story Book Arts Inc. She has been a great agent and has gotten me pretty steady work for the past 8 years.

Do you ever use two different materials in one illustration?

Yes, I’ve used digital with pastels, Photoshop with Painter, watercolor with Photoshop. It’s fun to experiment!

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

Yes, a lot. When I first started, I only painted in acrylic. My goal was to have as little texture as possible and to finish every single last detail. My colors were very saturated all the time. The end result is that every one thought my illustrations looked too “Disney” and too mass market. So I’ve changed things up quite a bit. Now I use a lot more textures. I realized I don’t need to finish every single little last detail- in fact, it works better when I don’t. I have tried to make the eyes of my characters look less “Disney.” I know better how to use color. I know now that it’s better not to saturate everything with pure color. I also know better how to stylize characters and how to compose an illustration. I think it’s important to be learning all the time- from teachers, from friends, from books, from conferences. I hope my style evolves and changes and improves a ton in the next 10 years!

Have you gotten any work through networking?

Funny enough, no, not really. But I have gotten lots of lifetime friends through networking. And I learn tons from my friends all the time. In fact, I run a local monthly illustration critique group, which I love!

Do you do any art exhibits to help get noticed?

I have participated in a couple BYU Alumni illustration shows. I have also participated in two shows at the Bountiful Davis art center called Illustrators Utah. It is a juried show, and the last  show I was in, I one 3^rd place for my illustration entitled Ghost Watcher.

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

As I said before, I illustrated the book Rosie the Reindeer for a self-publishing author. I think since then I’ve learned a few things. I may be open to illustrating for a self-publishing author if they had a phenomenal story and gave me an offer I couldn’t pass up. But for the most part, I would say no. I’d rather write and illustrate my own stories or work with a publisher.

When did you start using Photoshop?

The first book I illustrated in Photoshop was The Parable of the Prodigal Son, which was published in 2008. After my friend Manelle showed me how to paint in Photoshop, and I just jumped right in, hoping to make it look just like I illustrated it in acrylics. Since I was so new to the medium, the process took way longer it would have taken to just do in acrylics. Since then, I have learned a lot of tips and tricks to really speed up the process.

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

Yes, I paint all my illustrations in Photoshop and Painter with a Wacom Bamboo tablet. I hope someday soon to be able to get a Cyntiq!

How much time do you spend illustrating?

Well, I’m a mom. So whenever I can fit it in! Both my kids are in school now for a full day, so I really try to get a lot done while they are at school. Sometimes I illustrate late into the night or early in the morning.

Do you have a studio set up in your house?

Yes, I have a studio/office room in the house. It’s pretty small and I share it with my husband who is a graphic designer. I have a computer desk and a drawing desk, he has a computer desk, and we also have scanners, printers, a book shelf, and a supply closet. So as you can guess, it’s a little crowded in here. It is also often filled with my kids and their drawings, so it gets even more crowded! But it serves it’s purpose.

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

Of course, my computer (I used a Macbook Pro which I hook up to a bigger screen). My Epson Scanner (since I draw all my drawing with pencil and scan them in). I also love my Epson Artisan 1430 large format printer. And of course my art books. I am obsessed with children’s books and art books!

You have an illustration you titled Christmas Surprise. Was that used in a picture book? What about the one titled Flying Pig? 

Christmas Surprise and Flying Pig are both self-promotion pieces I illustrated quite a few years ago- when I was still using acrylics. I like Christmas Surprise, but I don’t put it in my portfolio anymore because I often get the comment that it looks too mass market, and I’m going for trade books.

Any picture books on the horizon?

Right now I’m working on a few non-picture book jobs. But I am also working on my very own written and illustrated book –I hope to have a dummy finished and sent out this year.

What are your career goals?

I would love to illustrate more middle grade novels. My ultimate goal is to write and illustrate my own books steadily.

What are you working on now?

I am working on an few illustrations for The Friend Magazine, and I am illustrating a story which will be published by Oxford Publishing house called Harpoona. It’s an under the sea/fish Cinderella story .  And of course, I’m working on my own story!

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

Something that I really like to do is scan textures into Photoshop- such as watercolor textures or gesso textures. This is how to do it. Scan in a texture such as a watercolor texture. Change the mode to gray scale. Play with the curves to make the pattern more contrasted. Select the entire image. Go to the “Edit” menu and choose “Define Pattern” and give it a name. Then your pattern will show up in your brush palette when you double click “texture.” Then set the brush mode on multiply and you can make the contrast go as high as you like. Use this on an already textured brush. Then you can get textures that look like you are using real paint!

I  love the examples of the paper doll illustrations you have on your site. Who did you do these for?

I did some paper doll illustrations for Girl Guiding U.K. (equivalent to Girl Scouts in the U.S.). I also did a fun zombie-ish paper doll for self promotion.

Here are a few examples of Shawna’s black and white illustrations,

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

If you are in this field, illustration needs to be your passion. You need to keep finding ways to learn and improve your style every day. Find friends and mentors who will help you and inspire you. Blogging and social networking are important. Never ever give up, no matter how depressed you might feel about where your career is going, or feeling that your art isn’t good enough. The people that make it are the ones that never give up. I don’t even feel like I’ve made it yet to where I want to be, but I’m not going to give up! Remember, you don’t have control over what is happening in the industry, but you do have control over the quality of artwork you are producing– so keep making better artwork. Don’t ever do artwork for free. Don’t take on cheap jobs that pay way too little. Instead, focus on making better artwork, and if you do, the better jobs will come. I keep having to tell myself this every day. I know if I do, good things will happen for me and my art. And I know it will for you too!

Thank you Shawna for sharing your talent and process with us. I see a great future for you and you art and good luck with adding the writing to your achievements. Please remember to let us know when you have new successes. It will be fun following you.

If you would like to visit Shawna, you can go to: www.shawnajctenney.com Please take a minute to leave a comment below for Shawna. It will be  much appreciated. Thanks!

Talk tomorrow,

Kathy

I was going over my New Jersey SCBWI Conference Registration and noticed Lexa Hillyer co-founder of Paper Lantern on the faculty. I was not familiar with Lexa, so I read her bio. Here it is:

Lexa Hillyer received her BA in English from Vassar College and her MFA in Poetry from Stonecoast at the University of Southern Maine. She has received various poetry awards, including the 2011 Melissa Lanitis Gregory Poetry Prize for her first book of poems, Acquainted with the Cold. She was named one of the Best New Poets of 2012 by Matthew Dickman. Lexa worked as an editor at both Harper Collins and Penguin, and is co-founder of boutique literary incubator Paper Lantern Lit.

This still didn’t tell me enough, so I visited Paper Lantern Lit to see what additional information I could discover. I found out Paper Lantern Lit is a “book incubator” that creates hits for publishers–and careers for undiscovered writers. Lexa Hillyer and co-founder Lauren Oliver are story architects. I still needed more information so Lexa and I talked and she answered my questions in this interview. I think you will find what they are doing, very interesting.

What is Paper Lantern Lit?

We come up with story ideas, we plot them using our knowledge and experience with narrative structure, and we coach authors through the writing process. Like architects, we envision, design and layout all the basics of a book, but it’s our writers who inhabit them and bring them to life.

How did you and Lauren Oliver decide to start Paper Lantern Lit?

We met when we both worked as editors at Penguin, before Lauren decided to pursue a career in writing. After a few years, we had stayed friends, and realized we both had pieces missing from our lives. She missed editing, and often found she had more ideas than she could possibly write herself. I longed for more creative flexibility for my ideas, and the freedom to make stronger connections with writers. We discovered that we both possess creativity and passion for storytelling alongside a pretty unusual obsession with structure and form. We know that a great novel has both, and while the elusive power of an original, emotive voice may not be teachable, the a-to-z of plotting a book is. So why not build incredibly fun book concepts, offer to help new writers, and get the thrill of discovering them ourselves?

Once we had that all figured out, we just started having meetings. We took it one step at a time and taught ourselves what it would mean to really own a business. We made sure we had a lot of different projects we felt confident pursuing, so that our company would have longevity. Then we reached out to Stephen Barbara of Foundry Media, to ensure that we would have strong representation. Finally, we hired the most amazing interns ever, two of whom now work for the company full time!

Was this before she wrote the Delirium Series?

Yes, though I believe she was already working on it. It was right after her first book, BEFORE I FALL, came out. 

How does Paper Lantern Lit differ from a traditional Publisher?

We are not a publisher or an agency, though our company does have certain similarities to an agency: we seek out excellent writers, work with them on a project, and then typically sell the project to a publisher. However, at Paper Lantern Lit, we develop many of our book ideas in-house. So while a traditional agency looks for finished manuscripts, we are far more focused on finding the best new writers out there and fostering their voices. We pride ourselves on cultivating emergent authors, and providing them a context in which to further learn their craft.

So you could say you are a book packager?

Our business model is certainly similar, but we feel our approach is unique in that we put a major emphasis on the author and on our relationships within the industry. We’re not about making a product, package or sale. We’re about creating an experience that is hopefully lasting and has universal appeal. We attach writers and projects together much the way a matchmaker might: it’s all about finding the perfect pairing.

Since Paper Lantern gets the advance for the books they sell, how does the writer get paid?

We pay the writer directly per project. You can consider it as doing Freelance or Work-for-Hire. Some of our deals offer sub rights and other financial participation—we want our authors to enjoy success as the book’s audience grows, and for them to feel invested in its future and their own!

Does the writer get their name on the books they write?
Sometimes yes, though many times we mutually agree to move forward under a pseudonym. Often that feels like the best way to give both parties the most freedom and most protection at the same time. We understand that many of our writers may be concurrently pursuing other work, and this allows for greater flexibility to do so.

Do you accept full manuscripts?

We are looking for writers, typically, not manuscripts, because our focus is on building story from the ground up. We are the story architects, after all! You might say we prefer to work on new designs rather than renovations: this way we can always vouch for the end result—we can guarantee a sound structure. However, there’s an exception to every rule. If you love what we do, we encourage you to reach out. You never know what opportunities will arise, especially as we turn our focus with more and more interest toward the digital publishing sphere.

How long have you been in business?

We officially launched PLL in May of 2010, so we’re at the three year mark.

How many books have you gotten published?

We have 25 domestic titles (this includes multiple book deals for each author). We’ve also sold our books in dozens of foreign countries. Of these, we have 9 that have hit shelves so far, and our 10th, TRUTH OR DARE by Jacqueline Green, comes out May 14, 2013!

Do you run your book ideas past editors before you look for an author?

Not often, but we certainly have many editor friends and are always discussing what they’re excited about and where we all feel the market may be headed. Further, we do ALWAYS share our ideas with our agent, Stephen Barbara, before taking on a writer. We consider him the third partner and take his objective reactions very seriously—it’s important to have some checks and balances!

So I would image that you work closely with the author to develop the book. Is that right?

Oh absolutely. It’s a very hands-on process. We check in with our authors weekly and provide very consistent notes and feedback. They constantly work to adapt the story so that it is truly theirs—in the end, sometimes they depart wildly from the original concept, but we communicate and work together the whole way through to be sure at all times that the structure is solid and that their voice is being heard.

I see you have a group of teens called Trendsetters who read pre-published YA books from you. Have you changed books due to this feedback?
Definitely! It’s fascinating to get a peek into what teens are really thinking, what their experiences are like, what they most care about. We take their input very seriously and we just love all of the awesome ways they get involved in our projects, from coming up with soundtracks to the books to creating character collages and inspiration boards. These teens are very savvy, very articulate, and love books—so of course, we love THEM!

Do you feel that an unknown author benefits from working with you, other than the freelance money they receive?

I very much believe and hope so, yes. Some of our authors have gone so far as to refer to us as a “paid MFA in writing.” Others call it novel-writing boot camp.  We offer a lot of insight and structure regarding the craft and the writing process, in addition to offering serious access to new contacts in the industry and help them reach their fans directly.

If the authors get school visits from librarian who come to you, do they get the full amount of money for the visit?
Yes!

I read that Paper Lantern has a Fellowship Program for a MFA student enrolled at Queens College’s MFA Program in Creative Writing and Literary Translation. What do they get if they are chosen?

The recipient receives full tuition remission for the spring semester in addition to a $1,000 internship stipend.

What do authors do to get you interested in working with them?

Send us your resume, a brief bio, and a ten-page sample of your best writing (preferably fiction.) Please submit all of the above in the body of your email (no attachments), and include your name and sample title in the subject heading. Also please let us know where you heard about us!

Show off their voice. Knowing your own individual strengths, rather than trying to prove you can be malleable, is key. Also show us that you are savvy with the interwebs and not afraid to have a presence there. If you fear your own audience or seem like a ghost when we google you, that can be concerning. Writing for young people these days means having confidence in your voice, what you have to say, AND your ability to interact with your audience.

You can still register for the New Jersey SCBWI Conference in June and get a critique with Lexa. Don’t miss this opportunity. Here is the link: www.regonline.com/njscbwi2013conference

Talk tomorrow,

Kathy