In the world of children’s publishing, there’s a certain methodology to creating a new book. Chronologically, it goes something like this:
- Author writes a book.
- Author mails book to agents and publishers.
- Author files rejection slips.
- Author passes out from shock during phone call from interested party.
- Publisher selects illustrator that fits the manuscript; Author fights for 10-year old niece to do the pictures in crayon and loses.
- Illustrator gnaws hand off during anxiety attack, wondering if he/she is up to the challenge.
- Illustrator makes a dummy.
A dum – wha?
Before the illustrator makes the pretty pictures, he or she makes a preliminary mock-up of the book, called a dummy. Working with the editor, the artist breaks down the manuscript into pages and sketches concepts for possible illustrations. It’s much simpler to sum up in a sentence than it is to do. Humongous thoughts go into the process of creating a book dummy. There are considerations of color, overall tone, character development, logical text breakdown, flow and pace… it’s a huge task.
In fact, to read more about the process, I highly recommend “How to Write, Illustrate, and Design Children’s Books” by Frieda Gates. It’s a comprehensive textbook-style guide to the whole business of creating books for children.
When I created “Road Trip with Rabbit and Squash,” the whole process from idea to completion was about two years (not counting a huge gap year where the MS sat neglected on my Mac). When I got to the point of creating the dummy, I took a very large breath.
Who's the dummy?
I love creating dummies. When I worked on storyboards for TV, I loved breaking down the script into bite-sized chunks and creating the images to go with them. It’s a craft, similar to woodworking or knitting. It’s one of the things I do where I don’t think I would rather be surfing.
My process is very simple and very pre-school. I re-format the manuscript in the computer to manageable chunks of paragraphs. Once I print it out, I cut those sections up and try not to knock them off the desk. Order is good. Part of the process is deciding how many pages you will have, which pages will spread across the gutter (that middle part), and where that last page will go (by itself? hmm…).
I created a small booklet stapling and folding regular copy paper. I knew what size the book and pages would be, so I marked off the pages to the correct scale. From there, I start arranging the cut-out chunks of text across the pages, developing a flow and nice progression through the book. It’s a living process that keeps changing as I work out concepts and adjust the flow. I think about how it will be read both silently and aloud. Does it make sense? Can I put a little cliffhanger in here? Does this page even need text on it or can the picture stand alone? It’s a process that only a slightly insane person would enjoy. And yes, I do. Am. Whatever.
It’s a complex process of thought and impossible to explain. Hey – sort of like writing.
When I was setting up my new studio/office recently, I came across the first dummy copy I made of “Road Trip.” It was buried under a pile of demo reels and chunks of plasticine. I guess I had moved on when I got to the next phase. It was really freaky to see how the first few pages had changed throughout the course of developing the dummy. In the end, I could see why I had made certain choices and I still question others. The photos below give you a tiny glimpse into my secret dummy world:
Pre-school skills come into play. I knew they would come in handy someday.
Here's page 1 as it's published. How did I get here from there? Lots of coffee.
If you want to see more images from the book, they are posted here. If you ask me how I created those concepts, I might even remember.