You are currently browsing the tag archive for the ‘Halloween Books’ tag.
It’s almost time to dress in costume and eat tons of candy! (No, not Tuesday!)
Halloween!
There are spooky stories about monsters, ghosts and goblins, even pale green pants with nobody inside them…but when have you ever seen a haunted Halloween tale about a HOUSE?
Sure, there’s plenty of movies and books that make you scream DON’T GO IN THERE! But there’s never been one where the house itself was the main character. This story by Marcus Ewert puts a unique twist on the haunting trope.
And the vibrant illustrations by Susie Ghahremani are like nothing you’ve ever seen. How did she make a mix of sweet and spooky work together? I asked her!
The main character Clarissa is an (unfortunately) cheerful pink house—and I wanted to be sure that her “world” felt colorful and friendly to contrast the muted, darker worlds of her scary parents, so there is some exaggerated color.
The color really pops! What’s your secret?
I painted the book on black boards so a little bit of black pokes through the paint, to hint at how inside she’s a little sinister—but it also allows the colors to really come forward and create contrast.
This book is *funny*, not scary, so I definitely wanted readers to be able to feel that from the moment they look at the images rather than to play up traditional Halloween motifs!
What other considerations did you have, besides color, in order to bring Clarissa to life?
Marcus (the author) gave me so many wonderful verbal details to work with, like her windows that “seemed to wink.”
I used to live in a pink house in New England that looked a lot like Clarissa, so I was able to draw from those memories— particularly the decorative trim and shingles!
I also use the tree on Clarissa’s side as an extension of her to assist her expressiveness.
I love that about the tree–it’s droopy and sad on one spread, all abloom on another.
Clarissa’s parents are a vampire’s castle and a witch’s hut–which is hilarious. Both are inherently creepy, but other creatures in the story, besides Clarissa, are adorable. How did you create such diverse characters but still keep the overall style of the book uniform?
There’s also a character that transitions for cute to truly monstrous! I tried to create characters that can express emotional range in general—animals that frolic sweetly but then become worried or monstrous; a mother who is tough and fearsome but also can be tender. Using the same materials and process visually unified them, but so does giving them a little emotional range, too. No character in the book stays one fixed way throughout! Even the vampire has a campy moment in a family photo!
This story’s charm comes not only from the illustrations, but the playful rhyme and a surprise character at the end.
When editors and agents say they want a story to truly stand out, SHE WANTED TO BE HAUNTED is what they mean.
Thanks, Susie, for introducing us to your new book.
Blog readers, we’re giving away a copy!
Leave one comment below to enter.
A random winner will be selected on Halloween.
Good luck!
Susie Ghahremani is an award-winning illustrator, an internationally exhibiting artist, a designer, and an educator. She is a graduate of the Rhode Island School of Design where she has also taught. She is the recipient of awards and honors from the SCBWI, American Illustration, the Society of Illustrators New York, and the Society of Illustrators Los Angeles, and has been profiled in several publications, including The New York Times. She served on the board of ICON the Illustration Conference. Ghahremani lives and creates art in San Diego, CA. Follow her on Instagram @boygirlparty.
by Salina Yoon
Ever wonder how those cute books with moving parts, lift-flaps, pop-ups, or touchable things get sold to publishers?
With a novelty book submission, the dummy is critical. Unlike other formats that may be story- or art-driven, a novelty book is format-driven. This means that the physical format can be even more important than the text, the story, the concept, or the art, though all of these elements have to work seamlessly together at the end. Creating a novelty book is like solving a puzzle on a multi-dimensional level. But the challenge is what makes it FUN!
The format has to be unique and versatile enough to work as a series.
But how do you build a book with moving parts?!
I’ll show you.
It begins with an idea. You sketch it out. This sketch is no bigger than 2”, but it’s got a lot of info here. The tail of an animal will wag by the pull of a pull-tab.
Since I already know that it would be important for the publisher to be able to make this into a series, I created a series title.
The things that I considered while creating the series title:
- Must highlight its most unique feature on the book
- Must be catchy
- Must inform reader how the book works
I came up with a WAGGING TAIL BOOK. But I revised the series title to A WAG MY TAIL BOOK for the final submission, which the acquiring publisher kept.
Then comes the tricky part. Before I do anything else, I have to figure out how to make the tail wag with a pull tab. What if you’re not a paper engineer? While I consider myself a format engineer, I’m not a paper engineer myself, so I sought one out. I happen to have a good friend who can really make paper do anything! Having some experience with novelty, though, I knew the possibilities and limitations. I explained how I wanted the tail to move with a tab on the side. She sent me various options, and this mechanic worked the best for me.
You could hire a freelance paper engineer, like Renee Jablow or carefully open up other books with a similar mechanic to the one you want, and see if you could recreate it. No need to reinvent the wheel. All paper-engineers pull apart other paper mechanics to learn from them! Don’t worry about making it perfect. This is for the purpose of submitting it to a publisher so they see how it works. If the publisher is interested, they would send this dummy to their printer, and the printer would re-engineer it (and clean it up)—and supply quotes to the publisher. Pricing is KEY in getting through the acquisition process. If it’s too pricey, it’ll be passed. Be sure to only include interactive elements that are absolutely necessary and cost effective.
Once I had the mechanic figured out, I worked on creating an art sample. But since I want to show this format as a series, I created four covers. After building the four dummies, I had to source the fabric for the touch-and-feel tail. This could be done by visiting a fabric store, or even a party store that sells costumes. All I needed was a tiny piece of fabric for my dummy. A fully designed dummy shows the publisher exactly how I am envisioning this series.
But I wanted to offer less-expensive versions of the dummy, too, so I did not put fabric on the tails of all of the animals. It’s nice to offer options.
After building the dummy, I created a video to show how the dummy works. This would allow me to share the dummy without actually sending it, unless it was requested.
The acquisition process for a novelty book typically takes far longer than a traditional picture book, even when the publisher is excited about it. Expect 7-12 months…or longer to get an offer, if one is coming! Some books have been acquired as late as 18 months after submission!
The Wag My Tail series was sold to S&S as a 3-book deal (though more are coming). Instead of going with the original concepts, the publisher asked for holiday themes, which was easy to apply to this format. The first book HALLOWEEN KITTY is available now, and the others will follow.
Don’t be afraid to tackle a novelty book idea. Take it just one step at a time—beginning with the format. It’s challenging on multiple levels, but you’ll have lots of fun and maybe less hair than what you started with. Good luck!
Thanks, Salina! What a fascinating process. You are the novelty master. How could any publisher resist?
You can visit Salina and her books online at SalinaYoon.com.
To celebrate the release of HALLOWEEN KITTY, Salina is giving away 5 copies of the book!
Leave one comment below to enter. Five random winners will be selected in a couple weeks.
Good luck!
Authors always say that we write what we know, and it is completely true—you cannot tell an authentic story if it doesn’t come from a place of truth. The trouble, though, is when you write picture books for kids, how do you define what it is that you know?
I write books about talking pigs and lonely ducks, and I can assure you I am neither a pig (verbose or otherwise) nor a duck nor any other kind of animal featured in any of my books. And yet I feel very strongly that I only write about the things that I know and that almost every one of my picture books draws heavily from my own life.
Take QUACKENSTEIN HATCHES A FAMILY, for example, my newest book published by Abrams. In this story, poor, lonely Quackenstein looks on in envy as all the other animals in the zoo settle in with their families. So he hatches a plan to solve his problem—upon spying a sign for “orphaned eggs,” Quackenstein decides to adopt an egg to start a family of his own.
The previously cantankerous duck becomes a devoted father-to-be, even cooing to his “ducky-poo” that he will never be neglected. But when the egg finally does hatch, it is more than the eggshell that cracks—Quackenstein takes one look at his hatchling and runs off in terror.
Without giving away the whole book, suffice it to say that the hatchling eventually catches up to his father and a few choice words serve to melt Quackenstein’s heart and open his eyes to the fact that families can be different or strange but always find a way to work. Despite his fears, Quackenstein learns to be the father he wanted to be—and that his son deserves.
I wrote this story when I was pregnant with my son, Sawyer, who is my third child. I’d already had two girls, Isabella and Brooklyn, and I was convinced that baby number three was going to be daughter number three. So when the doctor told me that I was having a boy, my first response was, “No, I’m not, and you can’t make me.”
Turns out, I really was going to have a boy and nothing was going to change that.
I will freely admit being terrified at the prospect of having a son. After all, I knew lots and lots about how to be a good mother to girls, but knew absolutely nothing about mothering a boy. (Since then, I’ve learned that boys and girls truly are as similar as, well, ducks and platypi—they might as well be two different species.)
I honestly didn’t sit down to write a book about a parent who was both excited and terrified about having a baby. But looking back, I realize I did exactly that.
Had I written QUACKENSTEIN five years earlier, I am convinced it would have been a different story, because there were different things important in my life then. If I’d never written the book and started fresh on it now, it would definitely be a different story (and probably far scarier!).
As much as authors write what they know, the real test of a good story is whether the author has not only found his or her own truth, but also illuminated some truth for the readers. So I’ll leave you with this hope: that you can find a little Quackenstein in your own heart.
Thanks for giving us a warm-up for PiBoIdMo, Sudipta!
Want a sneak peek of QUACKENSTEIN? Look no further–the trailer is here! With every view, a donation will be made to the Association of Zoos and Aquariums!
Writing for Kids (While Raising Them) 