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Carin Berger never deliberately set out to become an author/illustrator, but she found her true calling in picture books. She was awarded the Society of Illustrators Founder’s Award in 2006, the NY Times named The Little Yellow Leaf one of the top ten picture books of 2008, and Publishers Weekly called her “one to watch.”
And now’s a great time to watch.
Her latest title OK Go, a playful book about making greener choices, releases in bookstores today.
I had the opportunity to talk with Carin about her journey to publication (somewhat serendipitous) and her plans for the future (deliberately delightful). I shall follow PW’s lead and not only watch her, but predict the Caldecott will soon be calling.
Carin, how did you start on the path to becoming a children’s book illustrator?
I’ve always loved reading, writing, old paper stuff, children’s books, type and making things. I studied graphic design and spent almost 20 years working in the field. I worked my way down the (pay) food chain towards what I really loved: from very high-end annual reports and brochures to eventually designing book jackets for all the major publishers. I did jackets for poetry, fiction and non-fiction. I still do this and love it. I get to read manuscripts and can often use my own illustration or photography.
Anyhow, I had a daughter, and it turned out she was a sleepless wonder. (When she was little. Now she sleeps like a baby!) I spent much of most evenings hanging with her, waiting for her to fall asleep. I wrote the poems for Not So True Stories and Unreasonable Rhymes in those long hours, mostly to amuse myself.
How did you first get involved in collage?
As for collage, that was kind of serendipity. I thought I would do paintings and was experimenting with different painting styles, some which included collage, and then my friend gave me a magic box full of old letters and documents and ephemera that she picked up at a flea market, knowing I had a thing for that kind of stuff. And that was the beginning.
Once I had pulled together some sample illustrations and manuscript, a friend-of-a-friend agreed to rep it; and she, amazingly, ushered it into the world.
And was Not So True Stories and Unreasonable Rhymes your first manuscript?
Yes, it was my first manuscript, though I’d written a bit, for myself, before.
Wow. That’s a rare accomplishment and speaks volumes about your talent. Where did you go from that first success?
Not So True Stories was a quirky little book that got good reviews but sold…well, like a quirky little book. Chronicle Books graciously published my second book, All Mixed Up, another quirky and very little book. (It can fit in your pocket.)
I was then called by Greenwillow Books and asked to illustrate Jack Prelutsky’s book. A real honor. And, because it was the amazing Master Jack’s book, it received lots of nice attention. He was named the first ever Children’s Poet Laureate right when the book came out which meant that there was a shiny golden sticker that went on the front of the book, too. I’ve been working with Greenwillow Books for the last couple of projects.
How has your illustration style evolved from one book to the next?
As for the collage style, it has sort of evolved in a few directions.
All Mixed Up, a mix and match book where the heads, middles and legs (as well as the alliterative poems) combine in various ways to make new characters, was born out of the idea of collaging the collaged illustration. I had originally conceived it as a game, but Chronicle preferred to do it as a book. The illustrations are similar, yet somewhat simpler than Not so True Stories, so that the mixing worked.
For Behold the Bold Umbrellaphant, I wanted to do a slightly different style than the books that I had authored, and also, because the poems are about a conglomeration of animals and objects (such as Ballpoint Penguins), I thought it would be fun to play that up and make it really obvious.
I collect old dictionaries and army/navy catalogues that have engraved images, and so I used those images and integrated them into the collage. To do this I actually scanned engravings from the book, played with them in Photoshop, printed out pieces and used them to cut and paste with.
The Little Yellow Leaf felt like a really simple, nostalgic story and I ended up introducing a bit of paint (stenciling) to the collage to add another layer and also, at times, to age the paper.
Ok Go has a zillion funny little characters carousing throughout the book and feels much more like the art in the end papers of Not so True Stories and also in All Mixed Up. It was fun to change things up a bit and to do such playful art.
My next book, due out late next winter, is called Forever Friends and the art is much more similar to the art in The Little Yellow Leaf. I see it as a companion book to The Little Yellow Leaf because the bunny on the front cover and the bird on the back cover of Leaf are the characters in Forever Friends.
Your newest picture book OK Go is a playful book for the wee set, all about making greener choices. How did the concept for this book come together?
As best I can recall, it all sort of came as a whole piece. I liked the idea of introducing taking care of the environment to really young kids. I remember growing up in the 70s when “Give a Hoot, Don’t Pollute” was around and feeling very empowered to help make the world a better place. Here are some early sketches:
One of the biggest things I needed to figure out was how to emphasize the message in a powerful yet playful way. The gatefold came about because I wanted it to feel like a huge gathering or movement.
How do you choose which paper to cut for certain images? Does the paper speak to you?
I have files of papers sorted by color—yellows/oranges, reds/pinks, blues/purples—and I also have files for some of my passions: polka dots, plaids, wood grain, buttons…
I actually cut a vellum stencil of the shape I need and hold it over the paper to find a good section. Something with good gradations for example, that help the piece, say a car, look more dimensional. Clothing catalogs are great for plaids and buttons. And then I use a variety of old stuff, both really old ephemera like letters and receipts with great calligraphy on them and also bits and pieces that I find around: ticket stubs, laundry tags, etc.
Do the words on the paper hold any significance?
I do think about the paper I use, where it comes from and what it says. Not in a huge way, but in a quiet, just-to-amuse-myself sort of way. And in almost every book I make sure to include, somewhere, my daughter’s name, Thea. In The Little Yellow Leaf it appears on the page with the giant sun, and in OK Go I use her name and the names and initials of lots of friends to decorate the cars.
Speaking of the glorious sun in The Little Yellow Leaf, do you have any idea how many pieces of paper you used? Or how long it took to create that page?
I always knew what I wanted to do with that illustration, but it took a little longer (well, w-a-y longer) than I thought it would. I spent probably close to a week on it. Actually, part of the reason it took so long is that I started from the outside and was working my way towards the center and I got pretty far before I realized that, because the sun is asymmetrical, it wasn’t going to work. I had to add another layer working from the center out. Ugh!
I have absolutely no idea how many pieces there are, and I can’t imagine anyone who would be nuts enough to count (though I’d be curious to know that)!
Circling back to your newest book, what kind of impact do you hope OK Go will have on green thinking among parents and young children?
There are some very simple things that kids can do to be more green and they are listed in the back of the book.
I think if you plant the idea early, children will live more careful, aware lives, and remind their parents to do so as well. Plus, what is more motivating than our kids to get us to take care of this planet and the environment?
But mostly I want kids to have fun with the book, and to be introduced these ideas in a playful, engaging way.
One last thought: all of my art is made with found and recycled materials, so maybe this will prove inspiring and enabling, too.
Indeed it is, Carin! So let’s use that inspiration for a contest!
Kids age 10 and under, create a collage with a green theme–reduce, reuse, recycle or whatever you can dream up! Email your illustration to tarawrites at yahoo (you know the rest, dot com) and include child’s first name and age.
With the help of Random.org, we’ll randomly select three winners.
The grand prize winner gets an autographed copy of OK Go. The second and third winners will receive an All Mixed Up promotional mini-book. And all three illustrations will be featured on Carin Berger’s website and/or blog.
In your email, be sure to grant your permission for sharing the illustration and the child’s first name/age online.
One illustration per child. Enter now through midnight E.S.T., Tuesday, May 12.
Carin, thank you for giving us a glimpse into your beautiful world! I bet everyone is going to GO! GO! GO! get your book today!
Take a peek inside OK Go or
Find OK Go at your local bookstore!
OK Go by Carin Berger
April 2009
Greenwillow Books
Marsha Riti grew up in Texas where everything is big, including dreams. So I assumed that she had always dreamed of becoming a children’s book illustrator. Truth is, Marsha knew she had a place in the arts, but it took her a while to discover where that place was.
Marsha currently resides in Austin but she was raised in “the sticks.” Living in a sparsely populated town forced Marsha to use her imagination for entertainment. (Good training for a children’s book illustrator, huh?)
When Marsha’s not at her desk, you might find her cleaning, cooking, gardening, creating pottery, doing math homework, and hanging out with her boyfriend and friends.
Marsha, how did you evolve from doodler to doer? What got you started in children’s book illustration?
I was always the best at drawing in high school so when I went off to college it was a no-brainer. In college I tried doing a little bit of everything. My only regret would be not taking metal working or lithography. Even though my interests were (and still are) all over the place I have always loved drawing.
After receiving my BFA from the University of Texas at Austin I went to work for a string of locally owned businesses, some of which were related to the arts, others were not. These jobs were great learning experiences: I can now show great professionalism in the face of adversity and I have also found my true love, illustration.
How did you find your true love?
I took a children’s book illustration class at a local art school. My teacher Mark Mitchell did a great job inspiring me to pursue children’s book illustration. He made the idea of being an illustrator accessible. Before I took his class I had no idea about where to start, but he did a really good job outlining ways to get into the field. I also got a better understanding of watercolor form taking Mark’s class.
Can you tell us about the inspiration behind your illustrations?
Two of the sample paintings were assignments given to me by my boyfriend, artist and designer Adam Norwood. He just gave me a simple phrase like: “full moon over the treehouse” and “fun in the rain.” Then I thought of an image that would best fit the words.
The other sample painting titled “Treasure Apartments” is for a book dummy titled Treasure Hunt that I have not yet finished. Here is a description of the painting:
Each apartment has a very specific owner: the top is a fashionable twenty-something who loves the mid-century look. The next apartment houses the main character, the little girl. Her father (behind the paper) has been everywhere and has the trappings to show it. Then there is the pink apartment—she has lived a long life and loves to listen to her vintage record collection. The bottom apartment is a stay-at-home programmer who is also a bike enthusiast.
I really enjoy using my imagination to think up all kinds of interesting scenarios and characters. Then I get to think about the attire and items that would best show their persona. It is like playing with a really elaborate doll house.
How would you describe your illustration style?
I think my style is illustrative and cartoony with an emphasis on fun.
Some of my favorite children’s book illustrators are: Samuel Ribeyron, Jean-Baptise Monge, Graeme Base, and Lisbeth Zwerger. These illustrators are inspiring to me because their work is visually deep both in the sense of space but also because they have texture and substance.
I am inspired by the composition of Japanese woodblock prints by Katsushika Hokusai.
For figure study and line inspiration I like to look at drawings and etchings by the old masters: Rembrandt, Titian, and Durer.
I have a fondness for minimalist art by Donald Judd, Frank Stella, and Carl Andre. For an artist to be able to break their aesthetics about line, weight, color, composition, and form, down to its base level is very inspiring to me.
I love the color field paintings by Mark Rothko and Barnett Newman. They amaze me–the scale of their paintings envelopes you in color and can really change your mood.
I also find inspiration from installation art by James Turrell. His installations show beauty in nature in a deceptively simple way.
Other influences would be the early cartooning done by Winsor McKay and George Herriman. Their innovation, imagination, and humor are strong influences on me.
I guess I subscribe to the “less is more” school of thought that I am trying to merge with my love of lush illustration.
What are your goals for the future?
Finishing my first book dummy, getting work, and improving as an artist and storyteller.
Marsha, thank you for sharing your amazing art! Good luck to you!
Marsha Riti is a member of Austin SCBWI. To learn more about her work, visit MarshaRiti.com and follow Marsha on Twitter @MarshaRiti. (Besides her daily doodles, I enjoy Marsha’s daily vintage furniture picks from the Austin Craigslist.)
Children’s book writers were treated to another fun and informative first page session this week in Princeton, hosted by the NJ-SCBWI. Editors Michelle Burke and Allison Wortche of Knopf & Crown Books For Young Readers listened to 30 first pages read aloud as they followed along with each manuscript page. Then they gave their immediate first impressions of the work.
If you’ve never attended a first page critique, it’s a quick way to get a handle on what your peers are writing. A first page session shows you what it’s like for an editor to spend two hours in the slush pile. Common themes emerge. Mistakes reveal themselves. If you listen carefully, you’ll learn how to avoid first page problems and encourage an editor to read on.
So what did the editors say? I encourage you to read on…
Picture Books:
Use varying imagery in picture books. One manuscript conveyed a lot of emotion and the editors didn’t see where the illustrator would take inspiration for art. The same scene through several page turns may lose a child’s attention.
Dialogue needs to match the age of your character. A picture book character shouldn’t sound older than a five- or six-year-old child. Their actions should also match their age.
Cut excess detail in picture books. The first page of the manuscript should reveal a clear story arc. If the manuscript is bogged down with details, it slows the story down. For example, writing that a mother is carrying a napkin to the table and setting it down next to the plate is unecessary (unless that specific action is crucial to the story, and even so, it could probably be illustrated).
Premise and conflict should be apparent on the first page of a picture book manuscript. For example, dialogue between two characters should reveal a story, not just serve as adorable banter.
Every line in a picture book should move the story forward. There’s no room for chatting or extraneous stuff.
Picture books should have a linear approach. Moving back and forth in time can confuse a young child.
With holiday stories, you automatically have to work harder. Stories about specific times of year are a tough sell. There’s a lot of competition and a small sales window.
Some picture book stories are told better without rhyme. If the phrasing is unnatural in rhyme–things you wouldn’t ordinarily say–it can be jarring to the story. One bad line can ruin the manuscript’s chances.
Middle Grade/YA:
The narrator/main character should be the highlight of the first page. One manuscript began by describing a minor character as a way to compare/contrast the narrator. However, when that minor character disappeared from the rest of the page, the editors were confused. Was that comparison necessary to introduce the narrator?
Historial fiction should tell a story. The reader should get a sense of the main character first–how he/she is affected by historial details. Too much fact will bog the story down and lose the character.
Don’t be too reptitive in a novel–get on with the story. If a main character reveals the same thing over and over again on the first page, it feels overdone. Introduce a concept and then move on with the story; don’t circle back paragraph after paragraph.
A first person narrative should have more narrative than dialogue on the first page to take advantage of this device. Plus, the narrative voice and the dialogue voice should match (unless the disconnect is for a specific purpose).
Avoid the stereotypical whiny, displaced, unhappy middle-grade voice. More than one middle-grade manuscript began with a character learning that he/she had to move. The result was a whiny narrator who wasn’t necessarily likeable. Editors warned that they see a lot of the parents-uprooting-child theme, so to rise above the slush, consider a different approach.
Be cautious in stories with several important characters. It’s difficult to write a story with multiple characters because introducing them can sound like a laundry list. Reveal their personalities in a way that’s organic to the story. It also asks a lot of the reader, to keep track of several characters.
Watch tense. The switch from dialogue to narrative in one story felt very abrupt because the dialogue was in past tense and the narrative was in present.
The difference between MG and YA is edgy, gritty. If the main character’s personality feels innocent, the genre might be middle grade, not young adult.
Balance description and dialogue. Dialogue moves a story along fast. Description slows it down. Long stretches of each create a choppy storytelling rhythm.
Make descriptions specific, not generic. One story began with vague details that could be applied to almost any story setting. It wasn’t until further down on the page that the reader learned the unique time and place, something that attracted attention. The editors suggested moving that info higher up.
YA characters should be teenagers. College YA characters and those over the age of 19 can be a tricky sell. That moves the story into adult territory. YA readers need to relate to the characters, and 20+ seems like a lifetime away to a 15 year-old.
Finally, stories should be kid-friendly, not sprinkled with adult sensibilities. One of the editors warned, “this feels like it’s about kids rather than for them.” Don’t let a parental point of view creep into your writing–kids find that creepy.
I had the pleasure of meeting author Jeannine Norris at a recent NJ-SCBWI mentoring workshop. One of the organizers, Kathy Temean, held up a copy of Tonight You Are My Baby and pointed to Jeannine, the author, sitting right behind me. Kathy told us that Jeannine had met her editor at a previous NJ-SCBWI event. Amazing! I immediately knew I had to talk to Jeannine about her path to publication.
Jeannine, how long have you been writing?
I have been writing for about four years. I dabbled in writing when our children were babies, as I missed the creative stimulation of my former job. I really started to write when our youngest went to pre-K.
Where did the inspiration for Tonight You Are My Baby come from?
The inspiration came when our daughter, Quinn, who was four years old at the time, was diagnosed with a brain tumor. As a mother, I needed the strength to help our daughter get through this difficult journey. I started to think about Mary, as the mother of Jesus, and her incredible strength. I decided to write about the Nativity, from a mother’s perspective, and, if the book was published, donate part of the proceeds to helping kids with brain tumors. Quinn’s tumor was benign, and next year will be her five-year celebration! We started a foundation, At Least Kids, that contributes to pediatric brain tumor research at Children’s Hospital of Philadelphia and supports families struggling financially. A portion of each book sold is donated directly to At Least Kids.
What a scary time for you as a parent, but what a blessed outcome—a healthy child, a beautiful book and a charitable foundation.
You met your editor at a writer’s event here in New Jersey. Can you tell us how the deal transpired?
I met my lovely editor, Catherine Onder, at a NJ-SCBWI mentoring workshop. Catherine heard Tonight You Are My Baby during the first page session. Another editor asked to see the rest of the manuscript, but it was eventually declined. Several months later, I met Catherine at another NJ-SCBWI workshop (with another manuscript) and she remembered the first page of Tonight You Are My Baby. She asked to see the rest of the manuscript and several months later it was acquired. I couldn’t have been happier! The right time, the right place, a great editor. I’m a huge cheerleader for SCBWI events. Opportunities abound!
I love NJ-SCBWI, too!
After your book was acquired, what was the editing process like?
The editing process was fascinating! I needed to add a few stanzas, when Tim Ladwig, the illustrator, started working on the book. Catherine helped me with the revisions as well. I have to say, I love revising, as my book became so much better! Revisions and rhyme are always a challenge—often it means changing the entire line, instead of just a word. Catherine pointed out that I had used the word “quiet” several times in my manuscript. Not a good idea when you are only dealing with 400-500 words! I hadn’t even noticed. When I do my school visits, I always tell the students about my revisions. A good editor is like a good teacher—encouraging, has a vision, and wants your work to be its best. Kids are always surprised that even authors make many revisions.
Interesting–how many times had you repeated “quiet”?
I think I had repeated “quiet” three times!
I suspect that many writers have a “crutch” word or phrase in a manuscript that we just don’t notice. Yours was “quiet.” Mine is “just.” (See?) It takes a good editor to point that out!
Why the need to add the stanzas? Was it because of the illustration spread count? Or did Tim add a drawing you hadn’t envisioned?
We added three stanzas because when Tim started to draw the story arc, we wanted Mary first traveling to Bethlehem and meeting Jesus several pages in. Naturally, the book is about a mother and her baby, but we needed additional stanzas to add other images: the angels trumpeting, the sheep/cows/donkey in the stable, the wise men bringing gifts. All those stanzas were added during revisions. As it happens, the angels trumpeting is my favorite illustration! It’s not what I imagined, and I love it! Tim was so creative. The rest of the illustrations are what I saw in my mind’s eye when I was writing. Tim really “got it”—Mary is very young, completely accessible and a joyous mother.
What has surprised you most about being a published author?
My big surprise was—I didn’t really have any big suprises! The tremendous benefit of using the SCBWI and Verla Kay discussion boards is using the experiences of other authors to make the path easier. I am hugely indebted to those who have traveled this literary path before me! Through the discussion boards and workshops, I felt really well-prepared. Any of my questions were answered: simple questions such as “How do I make postcards?” to more complicated questions dealing with contracts. One pleasant surprise was that all of my school visits were wonderful. Each one was gracious, organized, prepared AND I sold a lot of books! Again, I learned how to prepare pre-order forms, write school contracts and even develop a PowerPoint presentation through the experiences of others. There is much to be learned, but a wealth of information is readily available.
What other advice do you have for aspiring children’s authors?
I would urge writers to join a critique group—or start one of their own! I belong to an online group and a local group. I met both of these groups through SCBWI conferences. Critique groups have so much to add! My groups provide me with valuable, honest comments and help prepare my manuscript for an editor’s eyes. I would also suggest aspiring authors gain writing credits through magazine articles, local publications and online sites. The extra income is nice, too! Attend every SCBWI workshop/conference you can afford. I’ve had an SCBWI workshop on my birthday list for the past several years! If your manuscript is acquired, be prepared to market yourself–heavily. The debut author MUST knock on doors, visit schools, call the bookstores, have a website, ask for interviews. This is your opportunity! Finally, have fun. Write what will bring you to your desk each day with a smile on your face.
That’s excellent advice, thank you, Jeannine.
Although Tonight You Are My Baby is about the birth of baby Jesus, a celebration of Christmas, what makes it a relevant read throughout the entire year?
Tonight You Are My Baby is really a celebration of a mother’s love. It’s about the boundless joy that every new mom experiences. The knowledge that a baby’s birth is truly a miracle—a gift unto itself. Tonight You Are My Baby is a celebration of Christmas, but it’s also a celebration of a mother’s heart. The book is certainly most popular at Christmas, but I find many people buying it for other occasions: new baby presents, baby showers, birthdays, etc. Mothers and little ones snuggle as they read of the love story that took place long ago.
Extra cuddle time: a wonderful reason for everyone to pick up this glorious book. Congratulations and thank you for sharing your journey to publication with us!
Tonight You Are My Baby
Story by Jeannine Norris
Illustrations by Tim Ladwig
HarperCollins, September 2008
Check it out!
A few weeks ago, YA author Mitali Perkins put together a list of young adult authors on Twitter.
In the same spirit of connecting children’s authors with fans and other publishing professionals, here’s a list of published picture book authors and illustrators who maintain a Twitter presence. Also included are debut authors with books due for release in the coming year or two.
UPDATE AUGUST 2013: It’s been eons since I’ve updated this list, but I see it’s been referenced online in several places and has become a popular resource. Unfortunately, I can no longer take the time to update this list–there are just too many changes to keep up with. But if you want to be included, simply add a comment with your Twitter handle and you’ll be seen there. Thank you!
Enjoy! Make new connections; discover talented people!
- Bonnie Adamson @BonnieAdamson
- Laurie Halse Anderson @HalseAnderson
- Boni Ashburn @BoniAshburn
- Carin Berger @CarinBerger
- Phil Bildner @PhilBildner
- Deborah Blumenthal @DeborahBlu
- Susan Taylor Brown @Susanwrites
- James Burks @JamesBurksArt
- Heather Ayris Burnell @HeatherAyris
- Clay Carmichael @ClayCarmichael
- Tara Larsen Chang @TLCillustration
- Susan Chodakiewitz @SusanChodak
- Rob Christianson @RobChristianson
- Peggy Collins @PeggysBooks
- Susan Crites @SusanCrites
- Kristy Dempsey @KristyDempsey
- Sarah Dillard @SWDillard
- Brandi Dougherty @BrandiDougherty
- Elizabeth Dulemba @Dulemba
- Ame Dyckman @AmeDyckman
- Wendy Edelson @WendyEdelson
- Carol Gordon Ekster @CEkster
- Claudia Golden @Claudiamm37 (Account deleted)
- Gus Gordon @IllustratorGus
- Jean Fischer @JeanFischer1
- Kakie Fitzsimmons @KakieF
- Alison Ashley Formento @AFormento
- Roz Fulcher @Rozzieland
- Neil Gaiman @NeilHimself
- K.L. Going @KLGoing
- Lorie Ann Grover @LorieAnnGrover
- Diane Dawson Hearn @DDHearn
- Anette Heiberg @AnetteHeiberg
- Leeza Hernandez @leezaworks
- Ryan Hipp @HippHop
- Lisa Horstman @LisaHorstman
- Oliver Jeffers @OliverJeffers
- Ward Jenkins @wardomatic
- Dani Jones @danidraws
- Cathy June @CathyJuneArt
- Michelle Knudsen @MichelleKnudsen
- Kara LaReau @KaraLaReau
- Tara Lazar (me!) @taralazar
- John Lechner @JohnLechner
- Kelly Light @KellyLight
- Grace Lin @pacylin
- Wendy Martin @wendymartinart
- Anne Mazer @AnneMazer
- Rich McCoy @McCoyDigital
- Kate Messner @KateMessner
- Jennifer L. Meyer @JenniferLMeyer
- Jamie Michalak @JamieMichalak
- Amy Moreno @EarthenVessel
- Cyn Narsisi @CynDraws
- Jeannine Norris @JeannineNorris
- Neil Numberman @NeilNumberman
- Dianne Ochiltree @WriterDi
- Eric Orchard @EricOrchard
- Alicia Padrón @AliciaPadrón
- Todd Parr @ToddParr
- The Pigeon @The_Pigeon
- Jamie Pogue @JamiePogue
- Jean Reidy @JeanReidy
- Peter H. Reynolds @PeterHReynolds
- Jacqui Robbins @JacquiRobbins
- Shelly L. Rogers @KidsIllustrator
- Candace Ryan @CandaceRyan
- Tammi Sauer @SauerTammi
- Niki Schoenfeldt @NikiofWare
- Corey Rosen Schwartz @CoreyPBNinja
- Jon Scieszka @GuysRead
- Diana Scimone @DianaScimone
- Cynthia Leitich Smith @CynLeitichSmith
- Kim Sponaugle @PictureKitchen
- Laurel Snyder @LaurelSnyder
- Ruth Spiro @RuthSpiro
- Patricia Storms @stormsy
- Susan Marie Swanson @Susan_Marie
- Don Tate @Devas_T
- Nikki Tate @WriterGrrrl
- Jennifer Therms @JenThermes
- Holly Thompson @HatBooks
- Renee Ting @ReneeAtShens
- Joyce Wan @wanart
- Kathy Weller @wellerwishes
- Leah Wiedemer @RoamingArtist
- Karma Wilson @KarmaWilson
- Paula Yoo @PaulaYoo
- Laura Zarrin @CreativeGirl
- Paul O. Zelinsky @PaulOZelinsky
Every SCBWI first-page session I’ve attended has had one thing in common: picture book manuscripts about new babies in the family. At least two or three are submitted each time. Editors and agents respond by warning new writers: “The market is saturated with mom-is-having-a-baby books. If you’re going to write about a new sibling, the idea must be unique to stand out.”
I remember a harsh moment. After reading the first page of a new baby tale, an editor said, “This isn’t special enough to continue.”
Daunting, isn’t it? Makes you want to toss your baby—erm, your manuscript—out the window!
So when they say the idea has to be unique, what do they mean?
In a perfect world, they’d whip out Michael Sussman’s Otto Grows Down. Illustrated by Scott Magoon, it’s a tale of a boy who wishes his baby sister Anna was never born. “Be careful what you wish for” might be a cliché, but trust me, Otto Grows Down is an uncommon cautionary tale.
Otto makes his Anna-be-gone wish on his 6th birthday as he blows out the candles. Immediately, life begins to travel in reverse. Otto wraps up his gifts and hands them back to his friends. The second hand on his new watch ticks backward.
The next day at school, they start with mess-up time. Otto can’t get used to sliding UP the slide, and he’s so tired at the end of the day, he just wants to eat breakfast and get to bed. And going to the bathroom? Nasty business. (Nasty, hysterical business to my kids.)
Otto’s parents soon return Anna to the hospital and she disappears. Otto rejoices. But strangely, time doesn’t move forward again, it just keeps unraveling. Otto celebrates his fifth birthday, his fourth, his third…and he realizes that he may disappear, too! He’s slowly losing the words he needs to make his new wish come true: OTTO BIG!
Call it a dark comedy for kids. Scott Magoon’s film noir feel strikes the right balance between humor and horror. Dark shadows and warm colors mimic Otto’s flip-flopping emotions. (And hey, did you notice all the character names are palindromes? Another cool touch, huh?)
I won’t tell you where it ends—or where it begins—but let me just say: every editor who sent Mr. Sussman a rejection probably wishes they could make time go in reverse, too.
Otto Grows Down
Story by Michael Sussman
Illustrated by Scott Magoon
Sterling, February 2009
Want it? Get it!
P.S. Author Heather Ayris Burnell interviewed Michael Sussman on her blog–plus she’s giving away a copy of the book!
I love picture books with a touch of magic, so I was thrilled to speak with Patricia Storms, illustrator of the whimsical Edward and the Eureka Lucky Wish Company by Barbara Todd. Edward wishes he could fly, and by chance he gets three wishes–but he doesn’t use them wisely.
What a fun challenge to illustrate the Skyhopper 2000, a flying bike! Patricia, how did you land the contract to work on this book?
I’ve been very fortunate when it comes to getting book illustration jobs. Most of the time, publishers have approached me. If memory serves me correctly with the Eureka book, I had sent off a pamphlet of my recent work to various publishers in North America, and as luck would have it, Kids Can Press just happened to be looking for a humorous illustrator for this project. I believe they had been considering my work, since they were already familiar with my art (it’s a small world in Canadian publishing). My portfolio pamphlet just helped to seal the deal.
How did you get started illustrating children’s books?
Well, it was a very slow process for me. I always enjoyed drawing (especially cartoons) and took art all through high school, but for various reason (fear of failure being the big one) I initially took a different path, and studied to work in libraries instead (being a bibliophile and all, and settling for more ‘secure’ work).
But I continued to draw when I could, and slowly started selling art on the side, while working full-time in libraries. I ended up working for the Toronto Public Library cataloguing of all things–children’s books! That’s when I started dreaming about how it would be so much more enjoyable to illustrate the books, rather than catalogue them. Eventually in my mid-30s I went back to school and became a graphic designer, still selling the cartoon/humor work on the side.
About 6 years ago my freelance work really started to increase, mainly because I began putting my work online. My first few picture book illustration jobs were work-for-hire jobs, doing illustrations for the educational kid’s book market. In all those cases, I was approached by the publishers. I enjoyed doing the educational illustration but I really wanted to get into trade book illustration, because I knew I would have a much wider audience.
My first trade illustrated book was 13 Ghosts of Halloween, published by Scholastic Canada. Once again, they approached me. My upcoming illustrated picture book, The Pirate and the Penguin, which is completely my creation, will be my third trade picture book, and I hope I can do more in the future.
This job, more than anything else I have ever done, feels so right for me. Because for me, it’s not just a job. It is who I am. I view myself as a bit of a ‘late bloomer’ in this field. I still feel like a newbie in the kid’s book industry – there are many people my age (45) who have been doing it for 20 years or more. I have so much to learn. I hope I can continue to learn and grow in this industry, if the gods will allow it.
What is the biggest challenge when translating someone else’s words into pictures? How much input does the editor have? Do you ever speak directly with the author?
I guess finding that perfect balance in which the editor and author are happy, but also where I get to add my own personal flavor without completely taking over the story…yet at the same time, where I’m not just being a “hired hand” doing grunt work.
How much input the editor has in developing the art for the story really depends upon the publisher and editor with whom you are working. Some editors will give some basic guidelines and then just let you fly, while others are much more hands-on, giving lots of direction and feedback. It’s never been the exact same experience for me.
The only time I’ve spoken directly with the author is when I have been illustrating the story written by me. It’s actually kind of hard to get away from myself. 😉
Generally, editors prefer to keep the author and the illustrator apart until the project is done. I’m not entirely sure of the reasons for doing this, but I suspect it is because they fear a) the author and illustrator will conspire together to give the editor and publisher grief or b) the author and illustrator will hate each other with a passion and disagree on everything and kill each other thus giving the editor and publisher grief.
It’s a tough, time-consuming (and expensive!) job creating a picture book so the last thing anyone working on the project needs is any added emotional stress.
The way I understand the process is that once the story has been accepted, the editor will work with the author to fine-tune the words, and then when the story is pretty much polished, that’s when the artist comes in to illustrate said words. By this point, the editor and art director work together to communicate with the illustrator concepts for the vision of the story, and of course the illustrator provides feedback, too. The script may still get edited a bit at this point, because once the pictures come into the equation, one discovers that very often the images can take the place of any extraneous words.
Once rough sketches are satisfactory for the editor and art director, they are shown to the author, just to make sure that the author doesn’t totally hate the artist’s vision. I’m pretty sure that if the author really were upset with the art, that something would have to be done, but once again, it all depends upon the publisher working on the project.
I only met the authors of my first two trade picture books AFTER the books were complete. Thankfully, both authors were happy with the final product. I do find it a stressful, worrisome experience, wondering whether or not the author is happy with my art. But I am a bit of a neurotic worry-wart, so I tend to let these things eat away at me.
How and when did you make the decision to morph from illustrator to author-illustrator? Can you tell us about The Pirate and the Penguin, your first book as both author and artist?
Well, I’ve always enjoyed writing as well as drawing. As a kid I wrote and illustrated many comic strips, some of which were quite detailed, chock full of numerous characters. English and Art were my two favorite subjects all through school, and well, they still are! I think as soon as I realized that it was possible for me to get work in children’s book illustration, I knew in the back of my mind that I would eventually want to write my own stories. A lot of this stuff has been bouncing around in my head for a long time, and I really needed to let it out! That’s one of the reasons I started a blog a little over 4 years ago.
I became more determined about becoming an author/illustrator about two years ago. I began reading a lot online and in books about writing picture books, and of course, I read lots and lots of picture books that I brought home from the library. Around this time I joined an online critique group which was very helpful. Then about a year ago I took a “writing for children” course, which was also very helpful in teaching me about what worked in my writing, and what didn’t. During this time I would meet up with a wonderful writer friend of mine, Liam O’Donnell, from time to time. He writes pictures books and graphic novels and he’s just a really cool guy.
I was in one of my crabby moods, and I was kvetching to Liam about how tough it is to get published in the kid’s book biz. I made a flippant comment to him, something to the effect of, “If someone really wanted to cash in on two popular icons in kid’s books, they would write a story about a pirate and a penguin!”
Liam, being much smarter than me, actually thought it was a cool idea for a story, and urged me to write this crazy idea. I didn’t follow up on his suggestion right away, but every now and then he’d ask me “how’s that Pirate and Penguin story going?” So I figured I’d better do something.
When I finally thought of the story idea, I thought it was just too silly, but I mentioned it to Liam, and he loved it, and encouraged me to pursue it. So I did. And that’s how my upcoming picture book The Pirate and the Penguin came to be.
Of course it’s a fun story, because pretty much everything I write and draw is somehow touched by my wacky sense of humor. It’s a silly version of the classic The Prince and the Pauper, except that it involved a Penguin who hates the South Pole and a Pirate who can’t stand life on a pirate ship in the Caribbean. When they meet, lots of interesting stuff happens! And that’s all I’m going to say about the story for now, other than to say that I owe so much to Liam O’Donnell, and I’m eternally grateful to him for his guidance and encouragement.
There are many factors that come to play in getting published–knowledge, talent, perseverance, luck and patience. But it sure doesn’t hurt to have friends who are right there behind you, pushing you, rooting for you, and guiding you towards your dream.
That’s terrific advice! Thanks, Stormsy! (You don’t mind if I call you Stormsy, do you? No? Thanks.)
Patricia is generously giving away an autographed copy of Edward and the Eureka Lucky Wish Company!
Please leave a comment to be entered into the drawing.
Blog or Tweet about the interview and get another two entries–just let me know here or on Twitter. Winner will be picked by Random.org one week from today! Good luck!
“Pooh-pooh on the blue,” Barnaby said.
“I’m Barnaby Bennett and I only wear red.”
Young children declare their emerging independence in many ways. They don’t cling to Mom and Dad so tightly. They insist on doing simple tasks by themselves. And they choose their favorite things—a huggable stuffed toy, a cherished blanket, or a bright, cheery color.
Come on, what kid doesn’t have a favorite color? Every morning my toddler asks to wear “pretty purple.” My Kindergartener’s closet is filled with “Shrek green.” So when we read Barnaby Bennett for the first time, we instantly understood Barnaby’s passion for pigment.
With a jaunty rhyme, author Hannah Rainforth dresses Barnaby Bennett in toe-to-head red. But there’s a problem: Barnaby wears the same red clothes every day. He loves them so much he won’t take them off. His shirt, shorts and socks get stinky. (Let’s just say we’re happy this isn’t a scratch-n-sniff book!)
Barnaby’s family tries to convince him to change colors. Dad thinks navy is nice. Sissy’s keen on green. And Bro? He’s mellow for yellow. But Barnaby is no chameleon!
Then Barnaby’s clever Aunt finds a creative way to break Barnaby of his crimson obsession. Does he become partial to pink? Go ga-ga over gold? Get smitten with silver? You’ll just have to read it to find out!
Ali Teo’s mixed-media illustrations combine quirky cartoon characters and photographed elements—blue jeans, fabric patterns, toys—resulting in something “real” to discover on every spread. The pages seem textured; alive. Even the words jump out with clever use of funky fonts. “Yanked” stretches across the page and “sludge” squirms.
Originally published in New Zealand, Star Bright Books recently brought this colorful Kiwi to the US. (Thanks, Star Bright!) This vibrant tale will knock your socks off, even if they aren’t red. Now if you’ll excuse me, I have to jump into my cherry jammies and read Barnaby with the kids.
Barnaby Bennett
Story by Hannah Rainforth
Illustrated by Ali Teo
Star Bright Books, November 2008
Want it? Get it!
- “What did you do in school today?” elicits complete silence or the popular refrains, “I don’t know” and “I don’t remember.”
- You are the “only mommy” who did not pack a lunch dessert for your child. Apparently, strawberries don’t qualify as dessert, especially not if your child cannot open the Ziplock baggie in which they were stored.
- Your child must have a backpack even though they don’t have books or papers to carry back and forth on a daily basis. Carrying an empty backpack is completely normal and necessary.
- The details you do learn of your child’s day are superfluous: “My teacher wears high heels!”
- Smiling while looking at the camera is an endeavor more difficult than the decathalon.
- Stopping to chat with other mothers for only a minute or two turns into over an hour and you wonder if you will soon be referred to as a yenta.
- Even though your child concedes that the Dora the Explorer pillow you provided for naptime is not actually alive, Dora still managed to grab and pull your child’s hair with malicious intent.
- Your child whines of hunger the second you pick them up. Refer to #2 above.
- Once greeted by six hours of free time (even though that free time is spent with a 10 month-old baby) you should not start promising owners of Gymboree franchises that you will teach infant classes three days a week.
- Do not provide your child with the coolest new underwear from the most popular new Disney movie if you do not want her lifting her dress every five minutes to show her classmates.
- You can get up at 6:30am without being a zombie—just go to bed at 6:30pm.
- If you send your child to school in sandals, they will return home with black feet.
- Never before have six hours gone by so slowly…and yet so quickly.
Tammi Sauer is the author of Cowboy Camp, a knee-slappin’, whip-snappin’, giddyup of a picture book.
I predict you’re going to be hearing a lot about Tammi soon. With several gotta-read-’em titles on the way–including Chicken Dance, Mostly Monsterly and Princess-in-Training–we can all say we knew her when!
Tammi is moseyin’ over to my blog today to talk about her trail ride from writer to published author.
Tammi, how did Cowboy Camp gallop from your desk to the bookshelves?
Cowboy Camp didn’t start at my desk, it started on my front porch.
One evening, there was an unexpected knock at the door. I opened it and was greeted by a young boy. He was selling newspaper subscriptions in an effort to go to…COWBOY CAMP. I looked at this kid with his everywhere hair and thick glasses and uncowboy-like everything and knew I had a story.
I wrote the manuscript, revised it, and sent it out in under a week—my fastest ever. Early on, Cowboy Camp made its way to three acquisitions meetings. Oh, the joy. But each time the manuscript was returned to me with regret. Oh, the agony. Many personal rejections rolled in as well. Then I discovered a house that was just starting up a picture book line. I thought, “Maybe this is it!”
I sent Cowboy Camp to Sterling Publishing. Within two weeks, I learned the manuscript was going to acquisitions. Shortly thereafter, the editor emailed and told me the acquisitions team loved the manuscript, but the house wanted to find the perfect illustrator before offering me a contract. Yes, more joy. More agony.
Months went by. I decided to send Cowboy Camp to SmartWriter’s first W.I.N.! (Write It Now!) Competition. Cowboy Camp ended up placing second in the picture book division out of more than 400 entries. I shared the news with my editor contact at Sterling. Within weeks, I had an offer. Yee-haw!
You said Cowboy Camp was your “fastest ever.” How many picture book manuscripts did you write before Cowboy Camp? Are any of those slated for publication?
I’m not sure how many picture book manuscripts came before Cowboy Camp. Maybe four or five? I do know that they were collectively awful. I consider them my “practice manuscripts.” And ha! No, none of those early works are slated for publication.
So how long had you been writing for children when you got the contract for Cowboy Camp?
In 2000, I started toying with the idea of writing children’s books (this meant I would write for a couple of hours one day and not write another word for the next, oh, ten months or so). I didn’t get serious about writing children’s books until the spring of 2003 when an illustrator paid a visit to my daughter’s preschool. Seeing a real live person who was involved in the creation of children’s books was the push I needed to make writing a priority in my life. I received Cowboy Camp’s offer the following year.
You have five books slated for release. Do you have an agent now, or are you continuing to submit on your own?
I have an agent. In August of 2005, after much agent research, I sent Laura Rennert at Andrea Brown Literary Agency a query for a humorous, contemporary teen novel. It wasn’t long before she asked for the manuscript. The next thing I knew, she wanted to call me. Eek! Fortunately, a miracle occurred and the phone call went well…so well in fact that I KNEW I found the right match for me and my work.
Around the time that I signed, my PB writing started to take off. And that teen novel of mine? It was getting revision request after revision request after revision request to infinity. I made the decision to put the novel on hold and focus on what I loved and did best–PBs. Laura fully supported me on my decision.
You obviously have the talent to succeed in novels. How did you come to the realization that you were a PB-writer at heart? Do you think you’ll ever go back to that YA novel?
PBs just felt more right.
I don’t think I will ever go back to that novel. There was a lot that I loved in that manuscript (the characters, the humor, the voice). But one day it occurred to me that if I was going to have a novel Out There, I’d want it to be someone’s favorite. I would want others to feel about my book the same way I had felt when I read A Crooked Kind of Perfect by Linda Urban. My manuscript was nice, but it didn’t have that kind of wow factor.
What do you love most about writing picture books? Is there a particularly satisfying challenge? Are you thrilled to see your words come to life through each illustrator’s interpretation?
I can’t think of the one thing I love most. Coming up with a good idea is awesome. So is finding the perfect word, creating just the right story arc, and discovering new ways to build heart and humor into a manuscript.
As for satisfying challenges? I would have to say getting the “Yeah, baby!” from my critique partner Cynthea Liu is one of the hardest things to come by and therefore one of the most satisfying of challenges. The “Yeah, baby!” is what we give one another when a manuscript is decidedly brilliant and ready to be sent agent-ward. Believe me, getting the coveted “Yeah, baby!” is worthy of fanfare.
It has been a real thrill to see my words come to life through each illustrator’s interpretation. In Chicken Dance, Dan Santat created an Elvis Poultry that absolutely floored me. I recently received Scott Magoon’s sketches for Mostly Monsterly and I was equally amazed. Scott’s take on the main character and her story was better than I had ever imagined. I feel honored to be working with such talented people.
One way for children’s authors to promote their books is with school visits. You just got back from a school visit in Texas. Can you tell us about that? What is a typical Tammi Sauer visit like for the students?
I absolutely love doing school visits–especially when schools work hard to make the day an event. On my web site, I list some tips for a successful school visit and Holliday Elementary certainly made the most of it. The kids–as well as some of the faculty and staff–gussied up in their best cowboy and cowgirl gear. Cowboy grub was served. Stick horse races took place in the gym. Bandana-wrapped trail mix was passed out. A guess-the-number-of-beans contest was held in the library media center… It was truly a cowboy-themed day.
I always strive to make my school visits fun, engaging, and informative. I offer a lot of opportunities for audience participation, perform a couple of magic tricks and/or an impromptu theater experience, and do what I can to really connect with the kids. Creating a memorable and meaningful experience for students is my top goal.
Yee-haw, honey! That sounds like a rootin’-tootin’ good time!
Once your picture book is accepted, the publisher has to find an illustrator. How much input do you give your editor regarding illustrator choice?
Some houses ask for illustrator input. Some don’t. I was thrilled when my editor at Simon & Schuster asked me for an Illustrator Wish List. So fun! One of the names at the very top of my list was Scott Magoon. I was astounded when Scott signed on for Mostly Monsterly. Total writerly dream come true!
I am happy to say I have formed good email relationships with Dan Santat and Scott Magoon. They are both so funny and brilliant and beyond what I had ever hoped for as partners for my books.
How do you stand the wait until your book is released? Most picture books take 1-2 years to hit the shelves!
I WISH it only took 1-2 years! Chicken Dance will hit the shelves three years after I received the offer. Mostly Monsterly debuts two and a half years post-offer. The waiting is pretty horrible–especially since I am not a patient person. At all.
But, wow, when little bits of news trickle in—like finding out who will illustrate an upcoming book or receiving preliminary sketches or seeing the final art for the first time–it makes for some really nice moments along the way.
Tammi, thanks for sharing your story. Before you ride off into the sunset, what’s your best piece of advice for aspiring picture book authors?
My best piece of advice for new writers who dream of becoming published picture book authors is to read–and study!–as many picture books as possible. Knowing picture books inside and out–their feel, their rhythm, their language–is the very first step in creating quality picture books of their own.
OK, cowpokes! You heard Tammi! Now get on back on yer saddle! Read and write!
And don’t forget to visit Tammi’s blog! You can order Cowboy Camp or pre-order Chicken Dance via Amazon.
Writing for Kids (While Raising Them) 