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If you follow me on Twitter, you may have seen this last week:
So today’s the day! I’m going to give away 3 adorable BLOOP plush dolls by Merrymakers! I’ll choose the 3 winners randomly in two weeks on Monday, July 11 (because we all need something good on a Monday).
Here’s how to enter:
- Review the picture book BLOOP anywhere online
- Post anything about #BLOOP on social media (← using hashtag)
You receive one giveaway entry for each social media post or review. Just leave ONE COMMENT PER ENTRY METHOD below. All you have to do is say, “Shared BLOOP on Facebook” or “Reviewed BLOOP on Goodreads”. Remember, make one comment below per entry method. So if you did two things, that’s two comments and thus two entries.
You can share anything you’d like about the book. Post the cover, a brief endorsement, the premise, your favorite doggo from the story, a photo of your doggo reading the book—anything.
(This is Kendall, Jyn Hall’s sweet pupper.)
Make sense? Fabulous!
Bloop is wagging his tail just for you!
(Look at how curlicue cute it is!)
Also, the Bloop plush is SAFE FOR ALL AGES—there are no small buttons or anything that a young child could remove and choke on. All details are sewn.
Good luck!
Thanks to Merrymakers, Inc. for the plushies!
by Winsome Bingham
“Abrams sets the table for SOUL FOOD SUNDAY by Winsome Bingham,
illus. by Charles G. Esperanza, which finds a boy helping Granny
prepare the dishes for a family feast.”
~ Publishers Weekly
You are all invited. To sit with us. And share with us. And eat with us. And CHEER with us. We will be in the same place, at the same time—sitting, sharing, eating, cheering. Every SUNDAY, Our virtual table welcomes you for SOUL FOOD.
I grew up in a family where on Sundays, everyone gathers at my aunt’s house for dinner and dominoes, wrestling and conversations, and fun. It was like a weekly family reunion where you get to see everybody you didn’t see through the week. Those were my childhood summer Sundays. My Brooklyn Sundays. My Bed-Stuy Sundays.
SOUL FOOD SUNDAY was written in 2013 and sold in 2018. This book went to auction and I’m so grateful to all the wonderful editors who saw the importance of showcasing #BlackBoyJoy. My attempt to show families getting together celebrating every day. Black folks living and passing on traditions and recipes. Cooking. Talking. Playing. FUNNING!
Here you have a beautiful Granny teaching her grandson what she knows. She knows how to cook. My Granny always said, “Everybody—boy or girl—should know how to cook. ‘Cause everybody have to eat. Learning to cook and wash your own clothes is independence.” I couldn’t agree more.
On September 14, 2021, this book will be ready to be on your book table. It will be paired with other side-dished booky meals. RIBS! CHICKEN! MAC-N-CHEESE! COLLARD GREENS! TURNIP GREENS! MUSTARD GREENS! HOT & SPICY SAUSAGE LINKS! They are all part of the main course and a delicious delight on this SOUL FOOD SUNDAY.
You can place a pre-order today to reserve your seat at the table.
Without further ado, THE. COVER. REVEAL:
Granny teaches her grandson to cook the family meal in this loving celebration of food, traditions, and gathering together at the table.
On Sundays, everyone gathers at Granny’s for Soul Food.
But today, I don’t go to the backyard or the great room.
I follow Granny instead.
“You’re a big boy now,” Granny says.
“Time for you to learn.”
At Granny’s, Sunday isn’t Sunday without a big family gathering over a lovingly prepared meal. Old enough now, our narrator is finally invited to help cook the dishes for the first time: He joins Granny in grating the cheese, cleaning the greens, and priming the meat for Roscoe Ray’s grill. But just when Granny says they’re finished, her grandson makes his own contribution, sweetening this Sunday gathering—and the many more to come.
Evocatively written and vividly illustrated, this mouthwatering story is a warm celebration of tradition and coming together at a table filled with love and delicious food.
Thank you, Winsome! This is a gorgeous book!
Blog readers, you can win a signed copy of SOUL FOOD SUNDAY! Winsome has three copies to give away!
Leave one comment below to enter.
Winners will be randomly selected later this month.
Good luck!
Winsome Bingham is a soul food connoisseur, master cook, and a US Army war and disabled veteran. She received both bachelor’s and master’s degrees in education and has more than 15 years of teaching experience. You can find her writing on a deck while waiting patiently with a camera to capture a submarine shooting out of the water. She lives in Groton, Connecticut.
Charles G. Esperanza is the second of six cool kids. The South Bronx is where he first opened his eyelids. A dope land shrouded in bright-colored decay, the home of graffiti and hip-hop DJs! He paints funky elephants! Bodegas, too! Mixed with this wonder is some whimsical truth. Esperanza has a voice that is seldom heard. A fusion of jazz, distorted guitars, and chirping birds. Esperanza is also the author-illustrator of Red, Yellow, Blue (and a Dash of White, Too!). He lives in the Bronx.
I hope you’ve been taking advantage of all the free webinars available to kidlit writers and illustrators! One introduced me to OLD ROCK (is not boring) by Deb Pilutti—which I must share with you! Because…often I’ll hear that certain subjects aren’t kid-friendly enough for a picture book main character. I’ll even say this myself while teaching. Yep. Guilty as charged.
But Deb Piluitti knew that an OLD ROCK could be a delightful MC with tons to teach nay-sayers.
Deb, how did the idea for OLD ROCK roll into your head?
I have two different answers for that, and both are true.
My family has always liked to hike. In Michigan there are many wooded trails with pine trees, wildflowers, gently sloping hills and every so often you will see a large boulder, sitting on a hillside, without any other rocks or boulders around. And you wonder, How did THAT get here? (Spoiler: glaciers were involved.) I think this question created space for the idea to form.
One day I was doodling in a notebook and drew a rock with a face on it. I liked it and wondered if I could write a story about a rock character. Then I thought, rocks don’t DO anything. They just sit there. That would make for a boring book—which became the premise for the story. Old Rock’s friends think being a rock must be awfully boring. They can’t imagine sitting in the same spot, day after day.
And right now we’re all sitting in the same spot for a long time! What serendipitous timing!
I love how OLD ROCK breaks a picture book rule, which is to NOT jump back and forth in time. But you do this so seamlessly in the story. How did you use the illustrations as a visual cue between the past and present?
Oh, is that a rule? Haha, I guess it helped that I didn’t know.
But seriously, it was a challenge to differentiate past from present day. The main device I used was to change the color palette.
The past starts out in fiery unnatural colors, pinks and yellows and oranges, and gradually shifts as time progresses.
Present day is depicted in blues and greens.
Old Rock’s appearance changes as time passes and becomes smaller, worn down with rounded edges, cracks and grey eyebrows.
Haha, I didn’t even notice the change in eyebrows! Then again, your humor steals the scene often…
Also, the present is always shown from a static vantage point, the spot at the edge of a clearing in the middle of a pine forest. Scenes from the past occur over a large geographical area, with angles and motion to suggest forward movement and genuine tumult.
Inanimate objects as main characters—like Amy Krouse Rosenthal’s “Spoon,” Josh Funk’s “Lady Pancake” series and now your OLD ROCK—do you think that’s a trend or is it here to stay?
True, we are seeing more fun & silly anthropomorphic books for sure, including your own hilarious 7 ATE 9, illustrated by Ross MacDonald, but the concept has been around awhile.
One of my favorite books as a child was LITTLE BLUE AND LITTLE YELLOW, by Leo Lionni, a very dramatic picture book about two splotches of color.
I think it’s a childhood tendency to anthropomorphize an object. I remember my own children picking up a stick or a piece of food and giving voice to it. I talk to my Pez dispensers all the time or say “excuse me” when I bump in to a side table. And I have been talking to rocks and trees for as long as I can remember. I think of them as witnesses to life on this planet. Once they become a character, they can have feelings or empathy or misbehave and we can look at the world from their perspective. I think there are a lot more inanimate objects to explore. Any guesses on what the next big one might be?
Oh, you’ve put me between a rock and a hard place! I have no idea, but I welcome all the anthropomorphizing we can get!
You’re right, we make objects come alive as children, so why not do that in stories? I love it.
Do you have any secrets about the “making of” OLD ROCK?
I don’t know if I’d call them secrets, but a lot of research and background information went into the choices I made for the characters and illustrations. The book isn’t nonfiction, after all it does have a talking rock in it, but I think it would be categorized as informational fiction.
I did much more research for this book than any other. I talked with a geologist, an evolutionary biologist and a paleobotonist, plus read books and online resources about glaciers, volcanoes, and dinosaurs, and the research informed or changed the narrative.
In my first draft, Old Rock erupted out of the volcano as a blob of lava, but after researching rock types, I decided Old Rock should be a metamorphic rock which formed underground with heat and pressure and has course grains, like Gneiss. And though the location is never stated, I wanted Old Rock to end up in one of my favorite places: Along the western edge of the Michigan’s lower peninsula, overlooking Lake Michigan. That meant I needed to choose characters that were either native to Michigan, like Spotted Beetle (ladybug) and Tall Pine (white pine), or visitors, like Hummingbird. Ruby Throated hummingbirds spend the winter in Central America and then fly north in the spring. Old Rock is transported to the spot near Lake Michigan by the same glacier that formed it. None of this information is in the text, nor is it crucial that the reader know these facts, but they helped shape the story.
That is fascinating, Deb! Your research helped to make the story authentic with its cast of supporting characters.
Thanks so much for the opportunity to chat about OLD ROCK. It was a challenge and a joy to make the book.
And I know my blog readers will have a lot of joy reading your book. And winning it!
Leave one comment below to win a signed copy of OLD ROCK from Deb Pilutti.
A winner will be chosen randomly next month!
Good luck!
It’s Halloween! A perfect day to introduce you to a book for year-round fun: THE ITTY BITTY WITCH by Trisha Speed Shaskan and Xindi Yan. I interviewed both creators for a sweet blog post today!
Trisha, what inspired you to write The Itty-Bitty Witch? How did the story evolve?
When I was a child, I lived in a neighborhood full of kids. We played ditch, Sardines, and baseball at the nearby park. Halloween was magical because the kids took over the streets at night, in costumes! Because of my love for Halloween, the first picture book I chose at a RIF event was Tilly Witch by Don Freeman, a story about a witch who feels happy instead of wicked on Halloween! Drat! That story inspired me to write and read witch stories as a child. As an adult, I thought: What if I wrote a story about a witch who is the smallest witch in her class? I was always one of the smallest and/or shortest children in my class. In the early drafts of The Itty-Bitty Witch, Betty Ann Batsworth (the itty-bitty witch) tries to take part in all the activities at school–spells, phys ed, and flying, but falls short. Literally! But the story needed focus, so I centered around one event: The Halloween Dash, a race on brooms. From there, the story took shape.
Trisha, this book isn’t just a Halloween story. What can readers gain from this book any time of the year?
As a child, I played nearly every sport from flag football to basketball. I was often the one girl athlete on a team of boys. Kids called me “short” and “Tommy” since I was seen as a tomboy. I didn’t like being labeled because it set me apart from other kids. Although my height and ability to play on any team was often an asset, I often didn’t see it that way. Betty is similarly given a nickname she doesn’t like (“Itty-Bitty”) but learns that being small can be a strength. Readers can learn the magic of believing in one’s self. Since Betty’s broom is shorter than the other witch’s brooms, she tries different methods to gain speed, but fails. Yet she never gives up. She uses critical thinking and demonstrates perseverance, both traits readers can fly away with!
Xindi, which aspects of Betty Ann’s personality did you want to showcase in your illustrations for The Itty-Bitty Witch? How did you accomplish that?
Betty Ann is a friendly, lovable, little witch. Her small stature is the focus of the story, so the character design process started there. Since she’s innocent and unreserved, I gave her expressive, bright eyes. I also believe she’s a confident girl, even though she experiences temporary defeat in the story. On the first day of school, she rocks her floppy hat, messy, carefree hairdo and a small broom, completely oblivious to others’ stares. Believing in herself is what pushes her to work harder and eventually win the race. The details of her outfit are different than her more “polished” classmates. I chose yellow for her top because it’s the contrasting color to the purple uniforms. Visually she pops out of any composition. Yellow also represents her warm, friendly personality and relentless energy. I was so inspired by the story, I did more than 20 variations on the initial character sketches of Betty Ann. The final design is based on bits and pieces from a lot of them.
How did you choose the illustration style of The Itty-Bitty Witch?
The style of the book was inspired by one personal piece I did of a little witch.
This is a Halloween story with witches and magic, so obviously dramatic lighting, colors and spooky elements are a must! And nighttime is the best setting to show these off.
While creating the scenes where Betty’s trying to fly faster on her broom, I was inspired by comic books and LeUyen Pham’s work. I alternated from full-spread illustrations to spot illustrations to create visual breaks and change the pacing of the story.
Thank you for taking a break from Trick-or-Treating to chat with me about THE ITTY-BITTY WITCH!
I have a copy to give away!
Leave one comment below to enter. A random winner will be selected very soon.
GOOD LUCK!
In one month, The Carle Museum of Picture Book art will hold its annual Carle Honors, awarding four people/entities who have made significant contributions to the art form.
Also that evening, September 26th, final bids will be accepted on original artwork by picture book masters. Today, The Carle Honors are pleased to announce the artists whose work will be auctioned this year.
The auction will go live on Friday, August 30th and you can register to bid here.
For the past few years, I’ve had the opportunity to ask the Carle Honorees a question about picture books. My question this year is…
“Picture books exude a certain kind of magic. How would you describe that magic?”
Melissa Sweet
2019 Carle Honors Artist
In a picture book, the magic begins as a swift and surprising connection to the art and design of a book, and later the words.
Often I dissect a book from cover to flaps to endpapers and everything in between, in order to figure out the decisions that make it compelling.
But in thinking about magic, I also think of magicians. One thing that makes a magic trick awe-inspiring is the set-up, which takes practice, timing and repetition, and drawing in the audience.
Then a myriad of decisions so that every word, every movement, points to witnessing something extraordinary.
Creating a picture book also requires minute decisions by a cast of dozens. The words, images, and design come together to create something wholly new.
Often there’s a moment when a book seems to have a mind of its own. And when the final book feels effortless and like something we’ve never seen before, it seems…like magic.
REFORMA
The National Association to Promote Library & Information Services to Latinos & the Spanish Speaking
represented by Kenny Garcia, President
2019 Carle Honors Angel
‘Picture books allow readers to imagine a world or a future that the reader exists in and thrives. It opens up new possibilities, words, and worlds full of love, hope, expressions, and emotions that affirms the reader’s life. This magical spark empowers children to imagine and create a better world for themselves and their communities. Multicultural picture books can be such a transformative experience for all of us, but for children of color, the ability to see and read picture books by illustrators of color can nurture the idea that they can also have a future career in writing and illustrating books, and continue the magic for future generations.
Chihiro Art Museum
represented by Takeshi Matsumoto
2019 Carle Honors Bridge
statement by Yuko Takesako
Executive Director of the Chihiro Iwasaki Memorial Foundation
Chief Curator of the Chihiro Art Museum (Tokyo & Azumino)
When children open the cover of a children’s book, a special kind of magic bubbles up. It gives a glimpse of a world yet unseen, enables the reader to experience something never done before, or brings back a memory of an event long forgotten.
The magic of picture books especially has a great impact on children of different nationalities or languages, or on babies who still cannot read, or at times on children who are not so adept at communicating with others. The visual magic cast on a young child once he or she opens a picture book is so powerful that memories of the book may suddenly come alive when the book is placed firmly in their hands—once again after a forgotten period of 10, 30, or even 50 years.
In this fashion, the yearning, understanding, and sympathy found through experiencing a different world helps to create another sort of magic which is respect and love for people of different cultures and the world they live in.
Such is the magic that exudes from picture books—something all too precious and special.
David Saylor
VP, Creative Director, Trade Publishing
Publisher, Graphix
Scholastic Inc.
2019 Carle Honors Mentor
What I love most about picture books is how the words and artwork blend to create an enhanced and perfect entity: the book itself. Their heightened interaction is the alchemy that every picture book hopes to achieve, that moment where words spark a thought and the pictures expand the narrative spaces between and around the words and sentences. For that reason, my favorite picture books are fully alive with emotion and artistry.
I’ve often wondered why picture books that were read to me as a child have stayed so vivid in my memory. I don’t think it’s simply that my young mind was eager to discover the wider world. I think it may also be that hearing my mother and father read aloud to me was my first experience of artistic communication. Those moments—the warmth of a lap, the sounds of words, the lively pictures on the page—brought to life a moment where a writer and an artist spoke directly to me, to my innermost self. I felt suddenly more alive, more aware, more full of life than I had felt just a moment before.
There’s a beautiful scene in the play Wit, by Margaret Edson. The main character is Dr. Vivian Bearing, an English professor, dying from ovarian cancer. Her mentor, an older professor, visits and tries to comfort her by reading aloud. Then her mentor does something extraordinary: she lays next to her in bed and reads a picture book that she had intended for her grandson. The books is Margaret Wise Brown’s The Runaway Bunny, and it’s one of the most beautiful and touching moments I’ve seen in any play. In her final moments of life, when Dr. Bearing’s ebbing life has been paired down to the elemental, only a picture book could express the right feeling with such simplicity and depth.
Thank you, Honorees, and congratulations!
Blog readers, I hope you’ll visit the Carle Honors Auction, attend the Honors gala, or donate to The Carle Museum for all they do to celebrate picture books. Just visit carlemuseum.org.
You can celebrate, too, if you’re the winner of Eric Carle’s THE ARTIST WHO PAINTED A BLUE HORSE. Simply share this blog post and comment that you’ve done so…and you’ll be entered into the random drawing to win a copy. A winner will be selected next week.
Good luck!
by Gabi Snyder & Robin Rosenthal
Thank you, Tara, for hosting the cover reveal for TWO DOGS ON A TRIKE!
READY TO EMBARK ON A JOURNEY?
When the gate is left open, one dog escapes the yard for an adventure on tricycles, trolleys, and trains. This hilarious story counts up to ten and back down again as more pups join the fun—and one very determined cat goes on the chase!
Coming in May 2020!
We (author Gabi Snyder and illustrator Robin Rosenthal) “met” for the first time over video chat to discuss our experiences creating TWO DOGS ON A TRIKE, which is the debut picture book for us both!
RR: What inspired TWO DOGS ON A TRIKE?
GS: I’d say one part real-life and one part kidlit! The dog versus cat dynamic that plays out in the story was inspired, in part, by my childhood pets. I grew up with a cat we called Kinko (named for his kinked tail) and an assortment of dogs. Kinko was the undisputed boss. Now my family includes one dog and one cat. (They take turns keeping each other in line.)
As a kid, one of my favorite picture books was GO, DOG. GO! by P.D. Eastman. I must’ve read that book hundreds of times, anticipating the playful and action-packed dog party at the end. The silly dogs and sense of movement and fun in TWO DOGS ON A TRIKE are, in part, an homage to the P.D. Eastman classic.
GS: Speaking of silly dogs, I adore the characters you’ve created for TWO DOGS ON A TRIKE and your bold, colorful style! What drew you to the text?
RR: Thank you! Wow, I love hearing the backstory!
I loved this text when I first read it. It is so simple, and you leave such a generous amount of room for the illustrator to play. The joke is entirely in the illustrations. You really had to trust your illustrator to pull it off! It’s a true partnership of art and text.
RR: How did you make choices about leaving room for an illustrator? Was that hard? What, if anything, surprised you about my art?
GS: Tough questions! I didn’t make a conscious effort to leave room for an illustrator, but I did aim for spare. The text is very simple, but functions as both a counting book and an epic chase! As a counting book, it does specify the number of pups and mode of transportation for each spread, but the appearance and personality of the dogs and the setting were left open to interpretation. I did include a few illustration notes about the cat character and her story arc that’s not obvious from the title or the text!
The story escalates to “Nine daring dogs on a hot-air balloon.” But when we reach “Ten dogs,” there’s a revelation. That tenth animal is NOT a dog! And while my illustration notes made clear who that is, I did not specify where we are. Robin, your illustration there is hilarious and unexpected! I gasped in surprise when I saw it, and yet it seems like the inevitable “of course!” choice. Truly perfection. Thank you!
GS: The humor in your art is fantastic. I especially love the facial expressions and costume choices for the cat. What influences did you draw upon when creating this fun group of pups and one sneaky cat?
RR: When I read the text, I immediately knew that I wanted to create this cat character. In my head she was part Garfield/part Terminator: kind of aloof, but also with strong drive and purpose. I wanted the dogs to be happy, optimistic, and confident. I also wanted each dog to be different so there would be a surprise on every spread. I spent a lot of time getting the expressions right, as they need to convey the emotion of the story without any text to back them up. The clothing is a little bit 80s retro mixed with current kids’ fashion styles.
GS: Part Garfield/part Terminator—ha! I love the 80s retro vibe in your art.
RR: What was your experience like as a debut picture book author? Anything that surprised you about the process?
GS: I was delighted to have the opportunity to work with editor Meredith Mundy and the team at Abrams. The suggested text changes were pretty minor, but definitely strengthened the story. As a newbie, I didn’t know what to expect, but was happily surprised that Meredith kept me apprised of each new development with the art. It was such a delight to watch the characters come to life in your adorable illustrations.
Meredith recently asked me whether the book looked like what I’d imagined when I submitted the text. In truth, the book’s illustrations are even more adorable and humorous than I’d imagined in my head. The 80s retro vibe/wardrobing of your characters is very much in line with my aesthetic. The only big surprise was the “Ten dogs…WAIT!” spread (which, as I mentioned above, I ADORE). And then when I saw the full color illustrations—wow! It may sound clichéd, but there’s something magical about the picture book collaboration between an author and an illustrator. The whole is so much more than the two parts!
GS: What was your experience like as a debut picture book illustrator? Anything that surprised you about the process?
RR: So, first of all, that is so nice to hear! I appreciate that they keep the author and illustrator separate throughout the process, but it is also a little strange to not really know how an author is feeling throughout the process. Meredith would give me very nice updates—like “The author loves the character sketches!”—so that was helpful. I felt a big responsibility with your work!
I think the hardest part for me as a debut picture book illustrator was the pressure I put on myself. This is your first impression, DO NOT blow it! I had to keep reminding myself that the kids are my audience. Will they laugh? Will they love it and want to read it again? I tried to make that my focus.
Meredith and our art director, Hana Nakamura, were a pleasure to work with and they gave me a lot of freedom and great feedback. For the cover, we agreed we wanted to show our three main characters. I drew a lot of options and here are a few.
Meredith and Hana and the team at Abrams picked one and sent some feedback:
And here is the final cover! I’ve just heard they are going to foil stamp the blue type and the scarf stripes, so I am excited to see that when it is printed!
TWO DOGS ON A TRIKE is available for pre-order!
Gabi and Robin will give away one copy of TWO DOGS ON A TRIKE to a lucky commenter (to be sent your way when it releases in May 2020)!
Leave one comment below.
A winner will be randomly selected next month.
Good luck!
I was chatting with my editor last week about my upcoming book with Mike Boldt, ALIEN IN THE DOGHOUSE (working title). I mentioned my philosophy about picture book art notes—how they describe the action that needs to happen for the story to work.
While I teach this at writing conferences and workshops, I never Tweeted it. So…
…and this resonated with a lot of picture book writers.
New writers often hear “don’t use art notes”—but that’s not correct.
I believe some editors/agents say that because new writers tend to misuse art notes. The mistake is overusing them—writing visual instructions that are unnecessary or superfluous. It’s like writing [bunny hops away] when the text already says that the bunny skedaddled.
Misused art notes can also dictate what things should look like when that’s not a writer’s job. Art notes like [she has pigtails] or [green ball] aren’t the writer’s decision. The only time something like that is necessary is when the appearance of pigtails or a green ball act as important plot points. Can the girl have short, curly hair? Can the ball be orange? Does the story still make sense? Then leave out the art notes.
Art notes should only be used when it’s not clear what’s happening from the text alone. Like when you want to be subversive:
She smiled!
How will anyone know your character is supposed to look upset? Art notes! Erm, I mean ACTION NOTES.
Then Kevin asked me a question…
So, here’s my newest book from Tundra, YOUR FIRST DAY OF CIRCUS SCHOOL, illustrated by the fabulous Melissa Crowton.
I set out to write a story with mostly visual puns and jokes, and this book is the result.
Here’s one of my favorite pages…
My manuscript reads:
Don’t worry, the bus has an endless number of seats! [clown car]
How else is the illustrator supposed to know the school bus is really a clown car?
Then there’s this page…
My manuscript reads:
Walk this way! Your big brother will show you the ropes. [tightrope]
Now, truth be told, I imagined the brothers on a high wire, carrying a balance stick and walking into the school, hence the “walk this way”. However, coupled with the previous page, which had to show the BIG TOP, this was the best way to illustrate the entire spread. Notice I did not dictate exactly how or where the tightrope should go. All the illustrator needs to understand is the literal tightrope.
And this is another hilarious page…
My manuscript reads:
You can let off some steam during recess [circus train], but watch out for other stuff that steams! [poop]
Ahh, what’s a picture book without some well-placed scatological humor?
That’s how I approach art notes, as action notes. Note that I don’t even write “art note” between the brackets—the brackets and italics is enough for the editor and illustrator to know what they are.
I try to be as succinct as possible so I don’t interrupt the flow of the story.
But Tara, I hear you ask, what do you do when the art notes are so plentiful, it does interfere with reading the story?
Well, take a look at the grid format solution. It’s how my agent and I submitted YOUR FIRST DAY OF CIRCUS SCHOOL!
And now that it’s back-to-school time, how about a giveaway?
I have 3 signed copies of YOUR FIRST DAY OF CIRCUS SCHOOL!
Leave one comment below to enter. A winner will be randomly selected next week!
Good luck—with your art notes and the giveaway!
Hooray, it’s a new baby!
Wait, it’s TWO new babies! Because two brothers star in YOUR FIRST DAY OF CIRCUS SCHOOL!
One brother is brand new; the other already knows the ropes. One will show the other how it’s done. And then, vice-versa.
It’s blasting into a bookstore near you TODAY!
Kirkus Reviews said: “In this feel-good story, an older brother helps his younger sibling navigate the first day of circus school. Whether getting ready for school themselves or relating to the comfort of having a loved one as a guide, young readers will enjoy this upbeat twist on the genre.” And Imaginary Elevators wrote, “Kids will love this book.”
To celebrate the release of my 7th picture book, I’m giving away 30-minute Skypes galore, either for your classroom or for you, if you’re a writer.
To enter, simply tell me your favorite act in the circus. I’ll randomly select 7 classroom winners and 7 writing winners. Just let me know which one you are when you comment below!
Good luck!
When people ask me when I first knew I wanted to be a writer, I share a story about a dream I had over 12 years ago. An actual dream. A dream that woke me up at 2am and had me jumping out of bed to write it down so I wouldn’t forget. I wasn’t trying to be a writer at the time. I’m guessing I just wanted to share my dream with my husband and sons. But I loved it. LOVED it. So I wrote it down.
My dream was about a cow who accidentally left her farm and (unknowingly) created chaos wherever she went. I thought this was funny because whenever I see cows, they never really seem to be doing anything. They’re just sort of standing there. Not playing. Or frolicking. I’ve rarely even seen them walking. I thought it could be funny to have a picture book with a cow character who is “just standing there” but in an unusual place for a cow to be. What sort of chaos would that cause?
I’ve always been charmed by cows. They seem so sweet and curious to me. One of my favorite photos of my husband Mark was taken during a trip to England. I had wanted to get a picture of the beautiful scenery, but before we knew it, Mark was surrounded by cows. I joked, “Maybe they think you’re the farmer?” In the photo, I imagine the cows thinking, “Hey, what’s going on? Can we play?”
I think a lot of cow humor, like in Doreen Cronin and Betsy Lewin’s CLICK, CLACK, MOO (one of my favorite picture books) and even with the Chick-fil-A cows, is how the cows are acting like cows for the most part, but there is a suggestion that there is more going on than we can see.
One of my favorite Far Side comic strips illustrates this perfectly…
In early drafts of my manuscript, hide-and-seek was just a small part of the story, the opening scene. All the cows were playing together, but Bessie got distracted and accidentally left the farm. (I had a running list of “cow games” that I could possibly use for other Bessie stories, like “cow patty-cake” and “cow tag.” 🙂 The idea was that these cows were doing more than we realized, just like the Far Side cows. But in my early versions, after Bessie left the farm, she wasn’t playing the game anymore.
After I joined a critique group and started getting feedback from other writers, I noticed that the game of cowhide-and-seek was getting the most attention and compliments. Several revisions later, I finally realized the entire story could be about the game. And that the reason Bessie accidentally leaves the farm could be because she is looking for the perfect hiding spot.
So back to my dream. I wasn’t a writer at the time, but something about that idea got me started. I probably did share the dream with my family, but I also started writing. I feel like I learned how to be a writer with Bessie. Bessie and I have been through a lot—revisions, submissions, rejections, more revisions, and so on. But how special to have the idea that inspired me to become a writer end up as my debut picture book. It’s a dream come true. Literally.
Thanks for sharing your journey, Sheri…and congratulations on COWHIDE-AND-SEEK…which releases TOMORROW!
You can win a copy of Sheri’s debut! Just leave a comment below to enter. A winner will be randomly selected very soon!
GOOD LUCK!
Sheri Dillard is a children’s author and preschool teacher/librarian. She lives in Atlanta, GA, with her husband Mark, three sons, and a 100-pound puppy named Captain, who is not so good at hiding. Cowhide-and-Seek is her first book.
Visit her at sheridillard.com, on Twitter @sheridillard and Instagram @sheridillard.
Get ready for a new classic flying into bookstores next week: A KITE FOR MOON.
Late last year I had the pleasure of hearing Jane Yolen and Heidi E.Y. Stemple speak about the genesis of KITE and the long, winding journey it took. I’ll let Jane and Heidi take it from here…
Heidi: My mother and I have written about 22 books together and every one has it’s own process. KITE FOR MOON began in a completely different way.
Jane: Initially, it was my picture book. A combination of remembering the moon walk (Heidi was only about 2 and a half at the time, which we watched on our very small TV) and the fact that all through my growing up, my father was a kite flier. In fact he was the International Kite Flying Champion and president of the of the International Kite Fliers Assn. My card said, “May design own costume.”
Both my agent and I liked the manuscript, and so she sent it off. It kept getting rejected.
Heidi: Eventually, everyone gave up on that manuscript and it wound up collecting dust in a drawer. At some point, at least a couple years later (but, likely close to 5) I was asked to find it and send it on to an agent friend of ours who was looking for a project for one of his illustrators. But, before I sent it, I read it. It was not good. It was too sentimental and too long—too wordy, wordy, wordy. I’m pretty bossy, so I told her. And asked if I could take a whack at it.
The bones were good. But, it promised an ending it didn’t deliver. It needed serious pruning and a ton of focus. So I did that.
And sent it back to JY. (Yes, that’s how Heidi refers to her mom.)
Jane: I saw immediately that while Heidi had seen this as an editing job, and while she kept a great deal of my prose, what she added made it her book as well. And I insisted that her name be on the manuscript as well. There was a bit more back-and-forthing till we were both satisfied. Then the book went out with both our names attached. And lo! Zonderkidz (an arm of Harper Collins) bought it. And they started looking for an artist.
Heidi: We were sitting at a conference listening to lectures when Matt Phelan got up to speak. His art was being shown and, there was a piece he had with kids in a classroom and my head exploded. THAT was our kid! I poked JY in the side (she didn’t appreciate that) and whispered “Kite! Kite!”
Once I explained what I meant, we both went to work on Zonderkidz to approach Matt to illustrate. He said yes. The only thing we changed after that was the last page originally said ‘listened’ and we changed it to “watched” based on Matt’s amazing last page. I don’t want to give anything away, but when I read the last 2 pages, I still get choked up.
Jane: We’ve read the book to a number of audiences so far, mostly adults, mostly writers, and when we get to the last two pages, everyone chokes up or gasps. I am not sure that was what we were going for. But my husband and I had given that same sort of gasp when Neil Armstrong walked down the ladder and stepped on the moon. I hope all our readers, young and old, feel the moment. Though this is not the story of Armstrong and Buzz Aldrin first on the moon, it is the story of something monumental about how one small child becomes an adult who does something truly out of this world.
I listened to Jane and Heidi read the book, and I gasped, too.
If you want to gasp at your own copy signed by this amazing mother-daughter duo, please leave a comment below.
A winner will be randomly selected in a couple of weeks!
Good luck!
Writing for Kids (While Raising Them) 