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Dan Santat, a Caldecott Medal winner, has signed a four-book deal with the Macmillan Children’s Publishing Group. Connie Hsu, the editor behind Santat’s Beekle picture book, will serve as the editor on three of these books.

Publishers Weekly reports that Santat’s first title will be a Humpty Dumpty-themed picture book called After the Fall. Roaring Brook Press will release the book in Fall 2017. He also has a second untitled picture book in-the-works. Dude, a children’s book written by Aaron Reynolds and published by Neal Porter Books, will feature Santat’s illustrations.

The fourth project, a graphic novel entitled You Bad Son, will be published by the First Second imprint and edited by Hsu. According to the First Second blog post, Santat drew inspiration for this book from his “experience growing up as an only child in a Thai American family. The story centers on his decision to go to art school over pursuing a career in medicine, and what his family is faced with when his mother is diagnosed with cancer.​” A publication date has been scheduled for 2018.

by Dan Santat

published 2014 by Little, Brown (release date is tomorrow, April 8th. I’d recommend lining up outside your local bookstore as soon as possible. You want this book.)

Sometimes, you can tell that a story is going to squeeze its way into your soul.

I got those story-goosebumps when I saw this trailer recently. Hat tip to Mr. Schu and Margie Myers-Culver probably. Or maybe Mr. Santat himself. But:

Maybe sobbed is a more appropriate word choice than saw, because that’s what I did. It was all I could do. But some things you see with your eyes, and some things you see with your heart alone.

I saw Beekle.

This is Dan Santat’s first offering as an author in a decade, though he has illustrated about a trillion books in the meantime. His work is inviting and bold and gripping and nuanced and so clearly Santat. Paired with his own words now, they haunt and amaze. Sweeping and startling and so very shivery.

(Speaking of all those Santats, my students peek under every dust jacket thanks to Kel Gilligan. They are super disappointed if a) the library mylar is in the way and b) if it’s a plain old case cover. Smarties.)

Thank goodness for this:And this.Whether accidental or intentional, the title is a nod to other epic journeys. The Adventures of Huckleberry Finn, Tom Sawyer, Tintin, Pete and Pete (remember those redheads?). All of those escapades belong to memorable characters.

But Beekle. See him up there on the cover? That milky lump with the crooked, shy smile? No one has remembered him yet, because no one has ever imagined him. Not with their eyes, and not with their hearts.

The folks at the bus stop (save the tiny schnauzer) are too busy with real life and grownup things like tracksuits and newspapers. Of course they can’t see him. That’s why he’s looking at you, the reader. So in you go. Beekle was born on a magical island, a home for imaginary friends to wile away the days until they were dreamed up by a real friend. He waited and waited to be picked, and watched everyone else get imagined. And Beekle was alone, so . . .

. . . he did the unimaginable.The whiff of a wild thing on those waves . . . you recognize Beekle’s sailboat and crown, right?

(image from here.)Beekle’s sailboat reaches the real world, but no one stops to hear the music. Like any good adventure and friend seeker, he finds branches to climb and a lookout to perch. But no one came.

And then.

If you slowed down and savored the pictures, you might have seen a gust of wind pick up something thin and white. That thing, thin and white, stuck right to a limb holding Beekle. That thin and white canvas, her dream.So many moments add to the magic of this, in addition to the anticipation and raw rooting we are doing for our hero. See the leaves? The stars? That’s how she drew the leaves. That’s how the leaves look on the tree, too. That shape creates instant charm and magical mood, sure. But also, remember the beginning? The waiting and the hoping? On the island, all of that happened under the stars.Friends are matched under the stars.

That’s when the world begins to feel a little less strange.

If there’s a word that means flabbergasted and gobsmacked to the infinitieth power, that’s what I was when I got Beekle in the mail from Dan’s editor at Little, Brown, Connie Hsu. Not only did I get a sneak peek at this gorgeous story, but I got my very own friend. 

 How did he know a squatty, mechanized lightbulb bearing tools for creating and messing up and creating anyway was the perfect friend for me?

The stars must have been out that night above Dan’s studio. Thank you, Dan. So, so much.

When setting up the workshops for the 2012 June Summer Conference, I wanted to ask Connie Hsu to share some of her vast knowledge with the attendees.  Knowing that she is drawn to books that include illustrations, we talked about doing a workshop that focused on that aspect and “How to Pitch and Submit Illustrated Projects” was born.

Diana Patton offered to take notes and write an article that I could share with you.  Here is what Diana wrote: 

Connie Hsu, editor at Little, Brown Books for Young Readers, says that her talk was inspired by meeting with artists and seeing what works. She first talked about what a children’s book illustrator must show in their portfolio. It’s imperative that it reflects your interest in children’s books, no extraneous works, please. Unlike some art directors, who prefer to see only one (or at best, two) styles, Connie would like to see:

1.  Your range of styles, in a variety of mediums.

2.  Full color and in black and white. 

3.  Both animal and human forms, and animals anthropomorphized.

4.  Work that reflects your ability to convey sequential story-telling.  Each piece should tell a story, have narrative content. Your illustrations should hint at the greater story behind it. There can be (several) layers of meaning in one picture.

5.  Picture book work and illustrations suitable for MG and YA.

6.  Include literary and commercial pieces.

7.  Make sure you show your ability to draw the same character over and over again using different body language and facial expressions.

Here is an illustration by Sandra Salsbury that I (kathy) think is a good example of what Connie is talking about when she says to use body language, facial expression and providing narrative content. Sandra was featured on Illustrator Saturday. Here is the link: http://kathytemean.wordpress.com/2012/03/24/illustrator-saturday-sandra-salsbury/

Connie feels that showing a range in styles and mediums broadens your opportunities, as does including illustrations that show your ability to age your art style for different age groups.  For example, you might include cover images for two popular books.  Including both a literary and a more commercial style will help find a place for your work.

You want to convey the personality of the character(s) in your portfolio, in body language as well as facial expression. Including black and white samples is useful because that is often used in middle grade and even YA books. You might also take an old fairy tale or folk tale and illustrate it in a new way, your way, exhibiting what you do best.

As for submitting stories to Connie Hsu, you’ll want to mail the full manuscript in Word format, and include your full-length sketch dummy, whether 32 or 40 pages long, with text.  You’ll also want to include a finished color sample for the story. Connie loves graphic novels but feels that the bookstores often don’t know how to shelve them. In submitting a graphic novel, submit the fully formed synopsis with the story arc, characters, and plot. If possible write out all the text.  Complete about a three to five panel sketch page and convert it to a PDF.  Also, complete a full chapter with finished art.

Connie also gave hints for your websi

Before I leave as Regional Advisor, we will have one or maybe two Networking Dinners in NYC with editors and agents. Space is limited, so if you want to attend, you will need to e-mail me to let me know you want a spot. Please put “Networking Dinner Spot” in the subject area and I will get back to you.

Date: June 26th
Time: 6:30 pm – 9:00 pm Networking, dinner, dessert
Cost: $145 per person. Includes dinner and drink.
Place: Private Room Morton’s Steakhouse 551 Fifth Avenue New York, NY 10017

3 to 1 ratio of attendees to Editors/Agents/AD

OUR GUESTS FOR THE EVENING:

Ginger Clark, Literary Agent with Curtis Brown LTD

Daniel Nayeri, Editor at Clarion Books, an imprint of Houghton Mifflin Harcourt.

Lucy Cummins, Associate Art Director with Simon & Schuster Books for Young Readers

Connie Hsu, Sr. Editor at Little, Brown Books for Young Readers

Melissa Sarver, Agent at Elizabeth Kaplan Literary Agency

Kate Sullivan, Associate Editor, Little, Brown, and Co. BFYR

Tamra Tuller, Sr. Editor at Philomel Books

Allison Wortche, Associate Editor at Knopf Books for Young Readers

Tamson Weston, Editorial Consultant, Published Children’s Book Author, and Editor with over 15 years of experience at several prestigious publishing houses including HarperCollins, Houghton Mifflin Harcourt and Disney Hyperion.

The posted illustration was submitted by Mary Zisk for May.  Mary is a mild-mannered magazine art director by day, and an author/illustrator on weekends. She wrote and illustrated “The Best Single Mom in the World: How I Was Adopted,” published by Albert Whitman in 2001. She has a picture book dummy,”Oliver’s Week,” that is under consideration. By attending NJSCBWI events, Mary is learning to write her middle grade novel, “The Art of Being Remmy,” which takes place in 1964. And she’s a Jersey girl. www.maryzisk.com

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