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A Toucan Can, Can You?
By Danny Adlerman
Illustrated by Lindsay Barrett George, Megan Halsey, Ashley Wolff, Demi, Ralph Masiello, Wendy Anderson Halperin, Kevin Kammeraad, Pat Cummings, Dar (Hosta), Leeza Hernandez, Christee Curran-Bauer, Kim Adlerman, and Symone Banks
Music by Jim Babjak
The Kids at Our House Children’s Books
$19.95
ISBN: 9781942390008
Ages 3-6
On shelves now

Under normal circumstances I don’t review sequels. I just don’t, really. Sequels, generally speaking, require at least a rudimentary knowledge of the preceding book. If I have to spend half a review catching a reader up on the book that came before the book that I’m actually reviewing, that’s just a waste of everyone’s time. Better to skip sequels entirely, and I include chapter book sequels, YA sequels, middle grade sequels, nonfiction sequels, graphic novel sequels, and easy book sequels in that generalization. I would even include picture book sequels, but here I pause for a moment. Because once in a while a picture book sequel will outshine the original. Such is the case with Danny Adlerman’s audibly catchy and visually eclectic A Toucan Can, Can You? A storyteller’s (and song-and-dance parent’s) dream, the book is is a sequel to the book How Much Wood Could a Woodchuck Chuck but comes into its own as a writing assignment for some, a storytime to others, and a darn good book for everybody else.

Many of us are at least passingly familiar with that old poem, “How much wood could a woodchuck chuck if a woodchuck could chuck wood?” But why stop with the woodchuck? What other compound words can you break up in amusing ways? And so we are sucked into a delightful world of teaspoons spooning tea, spaceships shipping space, and ice cream screaming “ice!” Each one of these catchy little poems (which are set to music on the accompanying CD) is paired with art from an impressive illustrator. Part collaboration and part exercise in audible frivolity, Danny Adlerman’s little book packs a great big punch.

For a group collaboration to work in a picture book there needs to be a reason for it to even exist. Which is to say, why have different people do different pieces of art for the same book? To best justify bringing these artists together you need a strong hook. And brother, I can’t think of a stronger hook then a catchy little rhyme, turned into a song, and given some clever additional rhymes to go along with it. Let’s hear it for the public domain! It’s little wonder that the customary “Note to Parents and Teachers” found in books of this sort appears at the beginning of the book rather than the end. In it, mention is made of the fact that the accompanying CD has both music with the lyrics and music without the lyrics, allowing kids to make up their own rhymes. I can attest as someone who did storytimes for toddlers and preschoolers for years that music can often be a librarian’s best friend. Particularly if it has a nice little book to show off as well. So for the storytimes for younger children, go with the words. And for the older kids? I think a writing assignment is waiting in the wings.

I was quite taken with the rhymes that already exist in this book, though. In fact, my favorite (language-wise) might have to be “How much bow could a bow tie tie if a bow tie could tae bo?” if only because “tae bo” makes shockingly few cameos in picture books these days. Finding the perfect collaboration between word and text can be difficult but occasionally the book hits gold. One example would be on the rhyme “How much ham could a hamster stir if a hamster could stir ham?” Artist Leeza Hernandez comes up with a rough riding hamster in cowboy gear astride an energetic hog. Two great tastes that taste great together.

Obviously the problem with any group collaboration is that some pieces are going to be stronger than others. But I have to admit that when I looked at that line-up I was a bit floored. In an impressive mix of established artists and new up-and-comers, Adlerman pairs his illustrators alongside rhymes that best show off their talents. Demi, for example, with her meticulous details and intricate style, is perfectly suited to honeycombs, honey, and the thin veins in the wing of a honeybee, holding a comb aloft. Meanwhile Wendy Anderson Halperin tackles the line “How much paint could a paintbrush brush” by rendering a variety of famous works, from Magritte to Diego Rivera in her two-page spread. Mind you, some artists are more sophisticated than others, and the switch between styles threatens to give one a bit of whiplash in the process. Generally speaking, however, it’s lovely. And I must confess that it was only on my fourth or fifth reading that I realized that the lovely scene illustrated by newcomer Symone Banks at the end of the book is dotted with animals done by the other artists, hidden in the details.

I don’t have to do storytimes anymore. In my current job my contact with kids is fairly minimal. But I have a two-year-old and a five-year-old at home and that means all my performance skills are on call whenever those two are around. I admit it. I need help. And books like A Toucan Can: Can You? can be lifesavers to parents like myself. If we had our way there would be a book-of-the-week club out there that personally delivered song-based picture books to our door. Heck, it should be a book-of-the-DAY club. I mean, let’s be honest. Raise a glass then and toast to Danny Adlerman and his fabulous friends. Long may their snowshoes shoo, their jellyfish fish, and their rockhoppers hop hop hop.

On shelves now.

Like This? Then Try:

• The Wheels on the Bus by Paul Zelinsky
• Down by the Bay by Raffi
• The Itsy Bitsy Spider by Richard Egielski

Source: Galley sent from author for review.

Leeza Hernandez is an award-winning illustrator and children’s book author, hails from the south of England, but has been living in New Jersey since 1999. In 2004 she switched from newspaper and magazine design to children’s books, and hasn’t looked back. With a few books now under her belt, she’s currently working on three new projects: a follow up to Dog Gone! called Cat Napped; a sequel to Eat Your Math Homework called Eat Your Science Homework, other released this year. In 2013 she illustrated a picture book written by acclaimed actor and author John Lithgow. Follow Leeza on Twitter @leezaworks. She also took over my place as the Regional Advisor for the New Jersey SCBWI chapter and is doing a great job.

Below is Leeza at six years old with her cat Minnie Weasle!

Here is Leeza explaining her process:

The cover of Never Play Music Right Next to the Zoo took a fair amount of working out—between not giving too much away and showing to little that it looked too vague. The images show a handful of the different covers that were sketched up, then the progression of the final color cover.

These are the thumbnail sketches for the book layout.

Because there were so many animals in Never Play Music Right Next to the Zoo, I kept all my research pictures organized in a jumbo ring binder.

But, no matter how hard I looked, I just couldn’t find an image of a yak playing a sax so had to use some creative license!

Below you can see the process of the cover art.

Below is an up close look at the final cover.

What caused you to move from the UK to the US?

Work. I took an art director position at a newspaper in the late 90s which was the field I worked in back then.

When did you decide you wanted to illustrate for children?

It wasn’t a conscious decision really, but in the early 2000s I discovered Illustration Friday (www.illustrationfriday.com)—a great source of inspiration but also a way to help you create illustrations for yourself based upon a weekly word prompt. Browsing through the site, one link led to another and I eventually landed at SCBWI (www.scbwi.org) and that was that!

This image was created for the Illustration Friday prompt “Wisdom” and received an American Illustration selection back in the early 2000s. I added it to my portfolio among a handful of painted images and it was what art directors responded to the most. I was encouraged to create more!

What was the first picture book that you illustrated? And how did that contract come your way?

Eat Your Math Homework was the first trade picture book I was hired to illustrate, which came about after attending a Rutgers One-on-One Plus conference (ruccl.org). I met an editor at the luncheon who took my promo postcard away with her and about six months later the designer reached out to my agent asking if I was available-yay!

How did you connect with John Lithgow to illustrate his book, Never Play Music Right Next to the Zoo ?

I was asked to do some samples (along with some other illustrators) for a book written by a ‘high-profile’ author but I didn’t know who it was until I found out I was picked for the project. It was all very mysterious and exciting!

Have you met John Lithgow?

Yes, he’s lovely. We launched the book together in New York, it was so much fun. He sang his songs. I spared the audience and did not sing!

How long did you have to illustrate Never Play Music Right Next to the Zoo?

This was one of the quickest turnaround books I have worked on and it was 40 pages. From initial sketches, through revisions and to final art was a little less than eight months total.

I see you illustrated a second book with Ann McCallum this year, titled Eat Your Science Homework. Did you sign a two-book deal when you illustrated Eat Your Math Homework in 2011?

No two-book deal. It was simply an organic progression. Ann had an idea and submitted her proposal for the science book and a few months after they acquired the manuscript, Charlesbridge asked if I’d
illustrate it.

Will there be a third book with Ann?

Yes! Eat Your U.S. History Homework is due to release in late 2015.

I am assuming that Cat Napped! published by G. P. Putnam’s Sons came about due to the previous book you wrote and illustrated titled, Dog Gone! Can you tell us the story behind these two books?

Back in 2009 I won the Tomie de Paola portfolio award at the New York SCBWI conference—which was amazing. As a result, I was invited in to the Penguin offices to meet with an editor, publisher and art director and they looked at my work as well as a sample and manuscript for Dog Gone! and they took it. I was beyond thrilled and so, so grateful for the opportunity.

During the time I worked on Dog Gone! I had this idea that I wanted to create a cat book in the same vein and I already had the title Cat Napped! noodling around in my head, but it took a while to flesh out the story. I remember having submitted the story along with a couple of other ideas to the editor and right after Dog Gone! released they took it.

Have any of the books you worked on won any awards?

Eat Your Science Homework was awarded a 2014 Junior Library Guild selection—awesomesauce!

Do you have plans to write and illustrate another book?

Hahaha, yes of course! I hope I never stop.

What do you consider your first big success?

Wow, that’s a tough question. I’m not sure I can measure one big success that easily. Having a book published is amazing, but I also consider the ever-evolving process as a series of successful stepping-
stones and I do a little happy dance each time I move to the next one—because they all teach me something about myself and/or my work. Creative folks are such sensitive creatures and it can be
intimidating to put our work out there in front of people, so each time we are brave and face our fears head on, that’s a success. Actually, when I attended a SCBWI conference for the first time, I was so overwhelmed I almost didn’t go back the next day—so I’d say not giving up right off the bat was my first big success!

For pencil work, I use 2H, HB, 2B and 5 or 6B pencils on Arches hotpress 140lb paper.

What is on the drawing board now?

My schedule has been a little nuts lately so I am taking a rest-of-the-year break and finally getting around to updating my website, which has been somewhat neglected.

Do you ever use Corel Painter or Photoshop when illustrating?

I ‘collage’ in Photoshop. I take all the pieces that I create by hand, scan them in, then slice ‘n’ dice them into a final illustration. I think of Photoshop as my digital scissors and glue, but I don’t actually illustrate with Photoshop if that makes sense, like, I’m not drawing or painting digitally using brushes and filters.

Do you own a graphic tablet?

No. If you mean a Cintiq or Wacom, that is. I’ve seen them in action though, wow!

Is there one thing that you did or happened that you feel really pushed your career to the next level?

I joined SCBWI. So far, this has been an amazing journey of education, connections, opportunities, projects and rewards, but it all started with this incredible organization that continues to play a role—LOVE SCBWI!

Do you take pictures or other research before you start a project?

Before and during—yes. Having reference material gives me a much better understanding of what I am drawing than simply imagining. I like to begin by drawing realistically before I think about characterizing for a book because it gives me an accurate sense of anatomy, behavior, body language, etc., even though they’re very loose drawings. There were a number of animals in Never Play Music Right Next to the Zoo that I hadn’t drawn before, so I filled a ring binder with reference just for that project.

The original pick-up truck for Cat Napped! was a struggle, but after sharing with my editor, we realized it was too square and modern, so I went back and researched vintage trucks from the 40s and 50s. The end result was a bit of a hybrid but its softer, curvier edges suited the tone of the book far better than the angular truck I had originally drawn.

The internet is a powerful tool—National Geographic (nationalgeographic.com), Nat Geo Kids (kids.nationalgeographic.com), NASA (nasa.gov), and Pinterest (pinterest.com) are some of my favorites but discipline is key. The amount of research I do depends upon the project but I have to be careful with the amount of time I spend researching versus creating the art.

I use a timer to stay on top of it. And even if I am not researching for a particular project, I carry a sketchbook with me and either have my phone or camera for taking any pictures. Inspiration strikes when I least expect it so I like to be as prepared as possible.

Have you found most art directors and editors give you a lot of freedom when illustrating a book? Do they want to be involved all the way through the process?

Once, I was given very specific art notes for an educational book but the turnaround time was tight, so the notes were helpful for me to jump right in. I’ve received minimal notes for nonfiction projects if there was a point that needed to be demonstrated visually for some specific text. For example: the Homework books sometimes have charts.

For the fictional projects, I’m pretty much left to it for the first round of sketches, then the art director and/or editor and I discuss together. Sometimes, I’ll offer up additional sketch options for a handful of spreads if I have lots of ideas and can’t decide which direction to go. There can be a lot of back and forth on the cover, though.

What is the one thing in your studio that you could not live without?

My art materials—pencils, brushes, paper, inks, sketchbooks—I’d be kinda lost without them!

Do you try to spend a specific amount of time working on your craft?

Yes, even if it’s only for ten minutes, that’s my rule.

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

To travel, keep making art, and continue creating books for young readers—that would be lovely!

Thank you Leeza haring your journey and process with us. Can’t wait to see your career go forward. You can visit Leeza at her website: http://www.leezaworks.com to see more of her work.

If you have a moment I am sure Leeza would love to read your comments. I enjoy them too. Thanks!

Talk tomorrow,

Kathy

Want a sure-fire way to make your summer rock this year? Think geology and food! As the weeks of summer stretch by, one way to keep kids engaged (and learning) is to head to the kitchen and cook up some science! Not only is this a fun way to tap into a child’s curiosity, but it maintains the momentum of learning that often stalagmites—I mean stagnates—during the summer.

Illustration copyright © 2014 by Leeza Hernandez.

1. With an adult’s help, cook the ground meat in a frying pan until it is brown. Drain off any fat. Add the pizza sauce and mix well. 
2. Spread about 1/2 cup of the meat sauce on the bottom of the rectangular pan. Top with oven-ready lasagna noodles, overlapping slightly to cover the whole pan. Top with more sauce—about 1/2 cup. 
3. Crack and beat the egg, then mix thoroughly with ricotta cheese. Spread half this mixture over the noodles.
4. Arrange a layer of pepperoni next, followed by a sprinkling of cheese. Top with a layer of lasagna noodles.
5. Repeat the layers. Cover the final layer of lasagna noodles with the remaining meat sauce and a generous amount of mozzarella cheese.
6. Cover the pan with heavy-duty foil. Bake in a 375°F oven for 35 minutes. Uncover and bake for another 10 minutes. Can you still identify the individual ingredients?

by Leeza Hernandez

Do you mutter the words “Yes, but…” when someone suggests you take ten minutes for yourself? Many people I know cannot seem to muster a simple “yes” or “great idea, I think I’ll do that” then go do it. That big ol’ but (and life) keeps getting in the way. Dang that BUT!

Imagine, though, ten whole minutes just for yourself—to do whatever you feel like—not reading emails, doing chores or running errands—something special. What does that look like?

INVEST
Close your eyes and take one long, satisfying breath. Imagine what you would do with ten minutes. What is it that you truly love to do? Where do you see yourself? Are you dancing? Singing? Lying on a beach? Getting a back rub? Making art? … Writing?

Typical responses to the ‘what-would-you-do’ question revolve around creativity. Yet, human conditioning suggests that taking time for creativity is when you have nothing else to do, or that you should be doing something more practical, or that it’s a forbidden guilty pleasure…oh, how selfish!

If the human conditioning changed, there’s a chance the habit of saying “Yes, but” could change, too. So, instead of feeling like you don’t deserve, you happily invest in your creativity time and subsequently open up a channel of beautiful inspiration and ideas—a new story, perhaps.

DIG DEEP
You wouldn’t be participating in PiBoIdMo if you weren’t creative. Writing (or illustrating) comes from another place. I call this place the Creative Self. Some refer to it as ‘The Well,’ or ‘Sea of Creativity,’ or ‘Happy Place.’ It’s where your ideas manifest from a deeper part of who you are, emanating from your heart and your soul. You have a calling or desire within you to bring your message to the world through story (visual or written). You cannot explain it, you just know it’s there—you feel it.

HABITUATE
Some researchers consider that repeating a behavior for 21-30 consecutive days is a habit. So why not make ten minutes a day a habit? That’s the month of November right there. You may already do this, and that’s awesome. I have to remind myself to take the time because I easily get caught up in life filled with a job, family, friends, NJ SCBWI, book deadlines, school visits, etc. It’s exhausting. Yet, when I do take that time to paint, sketch, write and be creative, I feel reenergized, spontaneous, excited and suddenly new ideas begin to flow.

Taking time out might seem difficult at first, but as mentioned before, think of it as an investment for your Self AND your writing/illustrating career. Here are some simple ways to find ten-minute pockets to get you started:

• Wake up 10-30 minutes earlier than usual and paint/write while still in a dreamy state
• Take a break from online activity (after you read the daily PiBoIdMo posts of course!)
• Take the train instead of driving
• Arrive ten minutes early for school pick up and stay in the quiet of the car.
• Switch off the TV
• Set a timer for household chores. (Instead of spending 30 minutes cleaning the bathroom, do it in 20. It’s great because you’re challenged to work faster to beat the clock!)
• Go to bed 10-15 minutes early, relax, let go of the day and imagine yourself doing what you truly love to do.

AFFIRM
Affirmations are powerful, self-appointed statements that can help condition the subconscious mind in a positive way to accomplish goals or boost self-perception. You can write them down, pin them in your creative space and say them aloud every day. Feel free to use any of the affirmations listed below or create your own:

• I am creative ten minutes a day
• My creativity brings me new and brilliant ideas
• When I am creative I nurture my soul
• Creativity fosters my imagination
• My creativity comes from my heart with love
• Creativity is a gift that I cherish ten minutes a day
• When I write/illustrate, I bring my joy to the world

RECEIVE
PiBoIdMo is all about ideas. Ideas come from your creative thinking. Creativity comes from the very depths of your soul. It’s who you are. Nurture your soul and ideas will flow abundantly. Plus, you are a beautiful giver—to your spouses/partners, families, co-workers, readers, community, environment—you makes others feel good. Please don’t forget give to your Self and how good that can make you feel, too. All it takes is ten minutes a day!

Leeza Hernandez is a children’s book author and illustrator and volunteers as Regional Advisor for the New Jersey chapter of SCBWI. Her latest illustrated book NEVER PLAY MUSIC RIGHT NEXT TO THE ZOO, written by John Lithgow, released October 22.

Leave ONE COMMENT ONLY to be entered into TWO prize drawings!

The first prize is a copy of NEVER PLAY MUSIC RIGHT NEXT TO THE ZOO signed by both Leeza and John Lithgow!

The second prize is a 20-minute Skype session with Leeza to read and discuss her new book, plus a Q&A!

Both prizes will be given away at the conclusion of PiBoIdMo. You are eligible for these prizes if:

1. You have registered for PiBoIdMo.
2. You have commented on this post.
3. You have completed the PiBoIdMo challenge. (You will have to sign the PiBoIdMo Pledge at the end of the event.)

Good luck, everyone!

Here are some literary events to pencil in your calendar this week.

To get your event posted on our calendar, visit our Facebook Your Literary Event page. Please post your event at least one week prior to its date.

Actor John Lithgow and illustrator Leeza Hernandez have collaborated on a picture book; they will headline a signing event for Never Play Music Right Next to the Zoo. Meet them on Tuesday, October 22nd at Books of Wonder from 5 p.m. to 7 p.m. (New York, NY)

continued…

New Career Opportunities Daily: The best jobs in media.

The theme for this years artist exhibit and contest at the NJSCBWI Conference was “Down the Rabbit Hole” There were four different awards. Below is Deborah Cuneo’s winning illustration. She was the winner of the Members Choice Award. Anyone who didn’t attend missed a wonderful display of talented illustration pieces.

The 259 people who attended the NJSCBWI conference this past weekend included 30 auth/illus speakers, and 32 industry professionals. They came from 18 states, various Canadian provinces and one from South Africa.

I just have to sing the praises of RA Leeza Hernandez, ARA Sheri Oshins, former ARA Laurie Wallmark, ICC Karen Romanga and their wonderful committee and volunteers. I had forgotten how much fun attending a conference could be. Having the opportunity to see things from the attendee side gave me the time to talk to the many friends who would not be in my life had I not volunteered to run the chapter for ten years. What a treat it was to be able to enjoy their company!

It was a privilege to read and critique a few writer’s manuscripts and share my thoughts about improving their stories. I conducted a workshop on marketing and gave everyone who attended a plan on what to do at every stage in their career, which I hope motivated them to start thinking about what they could do right now and start laying out a plan to be prepared for the successes that will come on the road to publication. Plus, I laid out what to do once they have signed a contract with a time frame on how to prepare for that book launch and after.

To be able to go to a workshop without having to run out to put out fires was fabulous. This gave me time to learn from the great editors, agents, and authors who shared their expertise. I even got to do my first pitch ever with agent Louise Fury from L Perkins Literary Agency – love Louise’s voice and her energy.

Louise was just one of the “New To NJSCBWI Conference” faculty. The conference was a good mix of conference veteran editors and agents and first time faculty members like: 

Elizabeth (Betsy) Bird, Librarian, NYPL/SLJ
Melissa Faulner, Editorial Assistant, Abrams
Louise Fury, Agent, L. Perkins Agency
Julie Ham, Editor, Charlesbridge
Erin Harris, Agent, Folio
Janine Hauber, Agent, Sheldon Fogelman
Lexa Hillyer, Editor/Co-Founder, Paper Lantern Literary
Janet Kusmierski, Art Director, Scholastic
Tricia Lawrence, Agent, Erin Murphy Literary
Rotem Moscovich, Editor, Disney/Hyperion
Jessica Regel, Agent, Jean V. Naggar Agency
Martha Sikkema, Senior Designer, Charlesbridge
Jenne Abramowitz, Senior Editor, Scholastic

Vin Vogel was the winner in the Published Illustrator category for the above illustration. He was featured on Illustrator Saturday in December. Here’s the link: http://kathytemean.wordpress.com/2012/11/10/illustrator-saturday-vin-vogel/

Ame Dyckman picked up her Crystal Kite Award for BOY+ BOT before funny and nice-guy Author/Illustrator, Peter Brown kicked off the conference. Shared his artwork as a child and his colorful illustration of his “Mommy.” Peter has promised to be featured later this year on Illustrator Saturday. I was disappointed that I didn’t grab his Creepy Carrots book on Saturday, because they were gone on Sunday. I’ll just have to buy it at Amazon.

Tara Lazar (The Monstore) followed by sharing her publishing journey and the pitfalls of battling Multiple Sclerosis. Tara is proof that you can overcome anything if you have to in order to get published – very inspiring.

I signed up for Stephen Barbara and Lauren Oliver (Delirium, Pandemonium, Requiem, Before I Fall, Spindlers ) workshop, but Lauren was sick with the flu, so she stayed in bed and pumped up the antibiotics, so she would be able to show up for the ending keynote on Sunday. Luckily Lexa Hillyer (Ex- Razorbill editor and Lauren’s partner at Paper Lantern was at the conference and could step-in without a hitch. Lexa was the hidden jewel at the conference.

Stopped in to learn from ultra successful author (25 books) and New Jersey member Wendy Mass talk about how she builds a book chapter by chapter.

Wanted to attend Laurie (Boys of Wartime) Calkhoven’s workshop on writing scenes and her mediation workshop, who everyone raves about, but I was doing my workshop during the mediation workshop and I only caught the end of the scene writing workshop. I am sure that Laurie will repeat both of these next year or another time during the year. Laurie always give a good workshop on every topic she does.

I attend Julie Hedlund’s workshop on App’s, but that is a big subject to tackle in a 45 minute window. I know I would be interested in an intensive on this subject. Julie took some of her unpublished picture books and developed apps of them which can be bought on Amazon.

Charlotte Bennardo (co-author Sirenz) did a fantastic workshop about what type of swag you could use to promote your book and individualized it for everyone who attended. I am sure she will repeat it again next year, so if you attend in 2014 – DON’T MISS IT!

It was nice to hear Charlotte remind everyone (what I always emphasize) that we are all in this together and should try to support each other by buying each others books and attending each others book signings when possible. What goes around comes around, so do unto other as you would have them do unto you. When your house starts getting run over by books, give them away to schools or friends.

Idea: Laurie Wallmark has a book swapping party at her house once a year where she gives away books and takes what isn’t picked up to the schools in the area.

More Tomorrow.  I will share the long list of people who came up to me at the conference to let me know about their successes. If something good has happened with you, please email me. You do not have to have been at the conference. I love to hear them and I think we can all draw inspiration from sharing in their successes.

HAPPY BIRTHDAY TO MAURICE SENDAK!

Talk tomorrow,

Kathy

The countdown is on, PiBo peeps!

In a few days, the challenge of producing one idea per day for the month of November will be upon us. Bring it!

If, like me, you’ve been stuck in a rut lately, this is the best time to blast the cobwebs from your brain and set to task. So…

• Creative space clean and tidy: Check!
• Pencil sharp, sketchbook open: Check!
• Ready to draw: Ch … wait! Draw? Isn’t PiBoIdMo for writers?

No. That’s the beauty of PiBoIdMo. You can be an illustrator and still participate—heck, you don’t have to write at all—you can sketch your ideas.

A doodle can develop into a character sketch that turns into a scene, which might eventually become a concept for a book—it’s a great way to flesh out story ideas.

And doodles don’t always have to become an entire picture book either. Portfolio or promotional pieces can happen this way, too. So, it’s a three-fer—bonus!

As an illustrator who likes to write, but struggles with words, I go to what comes easiest first. Sketching. No thinking. No pressure. Just me, my pencil and a blank page. That’s why I am looking forward to PiBoIdMo.

However, even the best of intentions can go stale if the motivation well has dried up. Obviously that’s what PiBoIdMo’s for, too, but what if that’s not enough or you simply have blank-page syndrome, and you’re still stuck?

Get out! Go on, you heard me, grab your sketchbook and leave the house. Here’s some additional ways to kick start that motivation and prepare for PiBoIdMo:

SHOPOHOLIC: Pouring over the classics in your favorite library or bookstore is an obvious choice, but ever thought to mosey through a shop you might not otherwise frequent—certainly not for inspiration, anyway? Pet stores are choc full of fascination, especially those exotic ones. Tarantula watching might trigger a Halloween tale, reptile research could spark an alphabet book or snake sketching might lead you to that perfect promo card. Other stores to consider include: antiques, costume, hobbyist, candy or maybe try a farmer’s or fish market.

SHOW UP: The Original Art Show at the Society of Illustrators in New York City is an amazing exhibit that showcases some of the best picture book art of the year under one roof. Not only can you get up close and personal with the real art but most of the selected picture books are on display too. You can see how the art was used, and check out the story at the same time. The OAS times perfectly with PiBoIdMo. If you can’t make it to Manhattan, visit the website and check out the featured artists here. This year’s show runs from October 24 to December 22, 2012.

TAKE A HIKE: Whether you live near a beach, park, forest, farm, or town square, going for a walk is healthy for PiBo mind and body. If time is precious in your daily schedule, allow yourself 30 minutes once a week to walk off some PiBo stalemate, but remember to open your eyes. Look at your surroundings. Really look. Notice colors, human interaction or simply cloud watch. Don’t force it, just watch and let the mind capture moments. It might take a few tries to get all that chatter out of your head, but don’t forget your sketchbook and pencil for when it clears!

SEASON’S GREETINGS: Halloween hangovers, corn maze castaways, apple bobbing, pumpkin picking, and Thanksgiving get-togethers are all perfect fodder for inspiring new ideas. Put your observational powers to the test and see if you can put a new spin on time-old themes. Let the fall season motivate new ideas!

Music is my main motivator indoors. I jump up and dance, and don’t care how ridiculous I might look. I do it to release energy, loosen limbs, and rev up the creative force within.

Heading outdoors motivates me in more internally charged ways. When I let go internally, the ideas flow effortlessly. All I have to do is catch them with sketches, doodles and scribbled notes. I’m stoked for this year’s PiBoIdMo, motivated and raring to go! What’s motivating you?

Leeza Hernandez lives in central New Jersey. Her debut-authored picture book DOG GONE! released in June with a companion book CAT NAPPED due for release in Spring 2014. She is currently illustrating John Lithgow’s latest picture book NEVER PLAY MUSIC RIGHT NEXT TO THE ZOO, due for release in Fall 2013. Leeza is also the newly-appointed Regional Advisor for New Jersey SCBWI. Follow her on Twitter @leezaworks.

Listen up!

Leeza has some SWAG for you!

There’s a DOG GONE! goody bag including a bookmark, postcard, signed book, signed poster, and an original signed lineart drawing from the book!

Plus there’s two paperback copies of EAT YOUR MATH HOMEWORK! One for you, one to give as a gift!

DOGGONE AWESOME!

Just leave a comment to enter. A winner will be randomly selected one week from today.

Making children’s book dummies can be a frustrating process-pages buckled, type cut off, spines not lining up—to a point where you don’t want to make dummies at all. But as an illustrator of children’s books, you know that making dummies is an essential part of the process. Here’s a step-by-step guide for making a 32-page picture-book dummy with, hopefully, less fuss:

WHAT YOU’LL NEED

Manuscript
2 small binder clips
Sketches
Pencil
Glue stick
Metal ruler
X-acto knife
Cutting mat*
* Paper trimmers work too, but the knife/mat method gives you more control.

BEFORE STARTING

Decide what size your book will be. Some illustrators choose to make dummies at one hundred percent, others create smaller dummies. Making dummies at a smaller size reduces photocopying costs. At fifty or sixty percent, you can usually fit a full spread on a sheet of 11” by 8.5” piece of paper.

Set your manuscript in a basic typeface such as Times or Helvetica and at a smaller size suited to the size of the dummy. The width of the text on any single line cannot exceed the width of a single dummy page, so make sure you give the text some room.

Illustrators usually include one or two finished color samples with the submission package. Some paste the color spreads directly into the dummy, and some include separate printouts. It’s your choice.

ASSEMBLY

1. Photocopy your manuscript and each spread of your sketches. Don’t forget to include title page, copyright/dedication page and end papers. End papers are used to adhere the pages of a book to its cover. Not all illustrators use or show end papers, but they can be a way to tell more of your story visually.

2 & 2b. Cut each spread to dummy size.

3. Fold each spread in half.

TIP:  Make an extra copy of everthing in case of mistakes.

4. Mark the back of each spread with page numbers to keep track. Most picture books follow this sequence:

1 Title Page
2&3 Copyright/Dedication/half title
4&5 Opening spread for story
6&7 Second spread
And so on …
32 Last page of story

TIP: Odd-numbered pages appear on the right and even-numbered pages on the left of a book. If you use end papers, don’t include them in the page count, even though they’ll appear at the front and back of the dummy.

5. Cut the manuscript into blocks of text. Lay out the spreads and decide where each block of text will go. Try to evenly distribute the words unless the context of the story calls for something different.

6. Glue your text to the pages.
1 Comments on Crafting A Book Dummy, last added: 5/16/2012