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by S.britt
When Tara initially asked me to be a guest writer for Storystorm, I was flattered. When she then suggested I write about how motorcycles influence my artwork (and vice versa), I was intrigued. I suppose I had never really thought about the connection in great detail before, other than the fact that I rather enjoy riding and restoring vintage British motorcycles and working them into my artwork when I can. In fact, a tiny tiger riding a lil’ Triumph motorcycle can be spotted in the jungle jamboree spread in Tara’s NORMAL NORMAN.
I first began doodling shortly after I was able to grasp my first red Crayola. Not long after that, I remember my father plopping me on the gas tank of his gold Honda CB and taking me on long rides throughout the countryside of Louisiana. It wasn’t until my early adolescence that I first set foot on a motorcycle of my very own, an early 70s baby blue and white Honda Super Cub. I clocked a lot of miles on that little scooter ’til the day a crash rendered it far too expensive to fix and it was sent to the great motorcycle scrapheap in the sky.
After that, I turned my attention to restoring vintage cars, specifically late 60s and early 70s Volkswagens, many of which began appearing as backdrops in my illustrations. However my lifelong passion for old VWs was cut short with a move to Minnesota in late 2012. After witnessing firsthand what ice and salt does to vintage tin, I wasn’t about to see my beloved 1969 VW Fastback (named Jaunty) dissolve before my eyes, so I sold it to a retired teacher in upstate New York. A short time passed and I once again began to feel that familiar itch for something to wrench on, so I headed down to the local dealership and picked up a brand new red and white Triumph Bonneville motorcycle. Thus rekindling my childhood love affair with two-wheeled transportation and I haven’t looked back since (unless a cop is issuing me a speeding ticket!).
At this point, you may be asking yourself “what does any of this vehicular nonsense have to do with children’s books?!?” Well, I’ll tell you.
Before I start any illustration project, I either like to go for a long ride or drive to clear my head and allow new thoughts and ideas to percolate and germinate; to ping-pong inside my empty brain like a giant popcorn popper on wheels. Right after I get home and scrape the bugs out of my teeth, I jot down as many ideas (good and bad) as I can before they disappear back into the ether. There’s just something about careening through bucolic backroads and twisty tarmac at 70 mph that really gets the creative juices flowing! The same can be said for simply taking a break from painting to put down a brush and pick up a socket wrench. To me there’s nothing more satisfying than restoring a rusted-out, dinged-up, long-neglected piece of machinery back to its former showroom glory. Each one of these old metallic souls has a unique personality and a story to tell. It just takes the right person to come along and to coax it out of them. And there’s as much art to that as any children’s book in your library.
I’m currently illustrating my next book for Clarion Books and restoring a 1964 Triumph Cub Trials motorcycle. And to me, both are of equal artistic merit and personal gratification.
View S.Britt’s art and find out more about his work at sbritt.com.
Tara and S.Britt are giving away a copy of their book NORMAL NORMAN.
Leave ONE COMMENT below to enter. You are eligible to win if you are a registered Storystorm participant and you have commented once on this blog post. Prizes will be given away at the conclusion of the event.
Good luck!
Stuffed Norman by dollsforfriends.com!
A four-foot-tall stuffed NORMAL NORMAN sits in my house and my 12-year-old forgets he’s here, so she jumps upon spotting him, not unlike Gloria’s reaction to dog-butler Barkley on Modern Family. OH DIOS MIO!
It’s exciting and shocking to see your character come to life. Although, truth be told, Norman is not really MY character. If you were participating in PiBoIdMo this past November, you discovered that I didn’t know what kind of animal Norman was. I left the art note blank in my manuscript. Editor Meredith Mundy asked me what Norman was but I refused to name his species—I thought an illustrator would do a much better job. So Norman, he really belongs to S.britt. Only Stephan could have created a purple orangutan with handsome-nerd glasses and such emotional expressions. But it did take a while to find the real Norman. The first few attempts didn’t feel quite right. But we all knew it when the true Normal Norman revealed himself. On a unicycle.
So if I didn’t imagine Norman, how did he come to life?
I began with his name, the title: Normal Norman. That’s all I had. But I knew there was no way Norman could actually BE normal. No siree. He had to revolt at all I threw at him. By making my character act in unexpected ways, I conveyed a message to readers that I didn’t necessarily intend, but which worked out perfectly: there’s really no such thing as “normal.” We are all different in our own special—sometimes zany—ways. And that’s something that should be celebrated.
I’ll be celebrating the release of Normal Norman in just a few days, on March 1st! Sterling Children’s Books is giving away five copies via GoodReads—please click below to enter and add Norman to your want-to-read list!
If you’d like to pre-order a signed copy, please call my good friends at The Bookworm in Bernardsville, NJ at 908-766-4599. I’ll dash over there to personalize and sign it.
A couple of places I’m not dashing are London and Bologna for the international book fairs. But guess who is? Yep, you’ve guessed it: Norman. He’s on a world tour! I hope they don’t serve bananas in first class.
Meanwhile, the author will be on a virtual tour. Be sure to stop by these entertaining blogs for all kinds of uncommon fun and giveaways. But sorry, we’re not giving away stuffed Norman. After all, he’s got a jet-set schedule. Lucky dude!
by I recently celebrated my 20th anniversary as a children’s book editor. (Still loving it as much as ever!) One of the questions I am still asked most often is why an author and illustrator so rarely collaborate directly. Why WOULDN’T it be a great thing for the two creative parents to discuss and brainstorm? Why don’t I encourage lengthy Skype chats about their amazing book-to-be? What’s up with those control-freak publishers anyway?!
Most people assume the worst: surely author and illustrator are kept apart so the publishers can hold all the cards, hoard all the power. But I am here to tell you this couldn’t be further from the truth! The reason editors and art directors keep the wordsmith separate from the artist is to allow for maximum inspiration and creative freedom on BOTH sides. Authors needn’t weigh down their manuscripts with descriptions of scenery or characters, and illustrators are allowed unencumbered freedom to conjure with paintbrush or pixels the story’s characters and surroundings without trying to match an author’s vision of them.
I’d like to share three very recent examples of how well it can work out when an author trusts an illustrator and refuses to define how a character should look or how a plot should unfold visually:
- When Tara Lazar sent in her hilarious picture book manuscript for NORMAL NORMAN, in which a scientist attempts to pin down a definition for the word “normal,” I needled her to tell me more. Who exactly is this scientist? And who—or what—is Norman?? But Tara could not be persuaded—she had complete faith that illustrator Stephan Britt (AKA S.britt) would know exactly what to do with the scientist narrator and his or her mysterious test subject. It was fascinating to see Stephan experiment.
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First Norman looked a bit like a lion.
Then he looked more like a friendly monster.
Finally Stephan found exactly the right Norman.
Who knew he would be a purple orangutan in square-frame glasses?!
And much to our surprise, the scientist turned out to be a young Latina girl in black Mary Janes and a stylish bob. This certainly would NOT have been the case had Tara (or art director Merideth Harte or I) attempted to sway Stephan in some definite direction.
- Tammi Sauer is another author who very rarely includes illustration notes in her manuscripts. When I acquired YOUR ALIEN, I asked Tammi what the lost extraterrestrial in her story might look like, and all she would say is that she hoped it would be so adorable that readers everywhere would wish for an alien to crash land in THEIR front yards.
By giving illustrator Goro Fujita complete carte blanche to imagine the cutest alien in the whole universe, Tammi got exactly what she’d hoped for. See for yourself!
- My final example of an author bravely allowing an illustrator’s inspiration to take the driver’s seat is Kim Norman and her charming THIS OLD VAN, sung to the tune of “This Old Man.”
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Not only did she boldly leave wide open what exactly the characters should look like . . . she also left the entire ending up for grabs! In this rollicking picture book road trip, a pair of hippie grandparents receive a very important invitation from their grandson. Soon they are zipping cross-country in their trusty old van, which must deliver them to their destination in time for The Big Event. But WHAT IS THAT EVENT?, I kept asking Kim. She assured me that illustrator Carolyn Conahan would come up with something PERFECT, but I was too anxious. Surely an illustrator would want some guidance from the author on something as crucial as the ending, wouldn’t she?? Reluctantly, at my insistence, Kim brainstormed a few ideas—perhaps the grandson was starring in the school play or had a big solo in a recital? Carolyn wisely ignored the illustration notes and surprised us with a grand finale so clever that any alternative is unthinkable now: of course the grandson is racing his own miniature version of the old van in the Downhill Derby!
For those of you writing picture books, I challenge you to leave 50% of the inspiration to an illustrator. You are not alone and by no means have to do all the heavy lifting. Write the story and then step away. And for those of you illustrating picture books, I challenge you to ignore any illustration notes that don’t inspire you! Trust one another from afar, inspire one another at a distance, and then get together AFTER the book is printed to celebrate what your wonderful, individual, untainted visions brought into the world.
Meredith Mundy, Executive Editor at Sterling Children’s Books, has always had a passion for character-centered picture books with heart, but she is also seeking everything from funny, original board books to unforgettable middle grade novels to gripping contemporary YA fiction. While she enjoys editing lively nonfiction, she wouldn’t be the right editor for poetry collections or projects geared primarily toward the school and library market.
Meredith is very proud to be blogging alongside such a wonderful group of people, including five stellar Sterling authors/illustrators whose picture books are among her very favorites: Josh Funk, Tara Lazar, Kim Norman, Tammi Sauer, and Liza Woodruff.
Want to give the slush pile the slip? Want to know what advice a seasoned picture book editor would give you? Now’s your chance! Meredith is giving away a free picture book critique.
Leave a comment below to enter. One comment per person, please.
This prize will be given away at the conclusion of PiBoIdMo. You are eligible for this prize if:
- You have registered for PiBoIdMo.
- You have commented ONCE ONLY on today’s post.
- You have completed the PiBoIdMo challenge. (You will have to sign the PiBoIdMo Pledge at the end of the event.)
Good luck, everyone!
Writing for Kids (While Raising Them) 