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Recently, I attended the annual Francis Clark Sayers Lecture at UCLA in Westwood, California. The lecture is a treat for Children's Authors and Illutstrators. The panel for the evening included Sid Fleischman (one of my favorites), Cynthia Kadohata (Kira-Kira), and David Diaz (Smokey Night). The evening was a casual discussion on writing and the artistic process of creating children's books, moderated by Michael Cart (Booklist).

The discussion was pretty good. Michael Cart knew the panel and their works very well, so that did help move the evening along. An interesting part of the evening included a lady who asked a question during a little Q & A time at the end.

The lady said that she and a friend (who I'm guessing is an artist or illustrator) have an idea for a picture book and they were wondering how to go about getting it recognized or "out there."

Michael Cart said something about approaching an agent about the work and then the lady asked, "Well, how do you get an agent?"

Michael Cart responded with the ever-so-popular Guide to Literary Agents that can be found in nearly any bookstore or library, which was the correct response, in my opinion.

But when the lady asked the question, my first thought was "an idea for a picture book?" Is she serious? Does she know how many people out there, teachers, parents, librarians, and Girl Scout troop leaders, have ideas for books, especially picture books.

Don't get me wrong, the question, "How do I get an agent?" is a good one. But what I really wanted to do was stand up and say this:

"How about you and your friend get together and actually start working on this picture book. You know, sit down at your computer and type the darn manuscript and then you and your friend can collaborate on the story together in the editing process. Then, when you are both satisfied with the manuscript and you think the story works and you've run it by some trusted professionals (if you have that luxury), your friend (or the artist) can start working on the illustrations. And then maybe you run those by some trusted professionals (again, if you have that luxury). In the end, at least you would have a mauscript and some sample illustrations to show an agent or editor. You know, some actual work! Not just an idea."

Okay enough, but that's what I really wanted to say.

I have found through the submission process that literary agents (at least those who represent work for children) are very queryable through email. You like that word? Queryable. I think I just created a new word. Some agents still use the old snail mail method, I guess in fear of their inboxes filling up beyond belief. But really, most are approachable through email. You just have to send a good query letter, which is another couple of posts in itself. But for godssakes, have some work to show before approaching anyone, even your grandmother.

Overall, Sid Fleischman was colorful, Cynthia Kadohata was informative, and David Diaz shed some light on his own artistic process. They were all great. And, of course, Michael Cart was great, too.

Can't wait to see who comes next year!

I've reached back in my archives for this week's IF. The two illos above are from Hopscotch for Girls magazine, from early in my artistic career. I was a pen and ink nut then. I was so proud of my first assignment for a magazine (the Toes and Tails gig) that we went out and framed it! I still love drawing little cakes and things.