So far, this year, I’ve been taking a break and being kind to myself. Meanwhile, the Kid-Lit Writing Wisdom team members have been doing their own thing. I believe that in the future I will be offering periodic guest posts from wise authors and/or illustrators, so keep an eye out. Before I move on to talking about picture book structures, I want to mention that my book BUTTERFLY KISSES FOR GRANDMA AND GRANDPA is featured in the summer reading section of the recent County Line Magazine. There are a couple cool things about this nice surprise. First, they put me in the great company of two other Texas authors Rosie Pova and Jen Betton. Rosie’s book SUNDAY RAIN (illustrated by Amariah Rauscher) is featured and author/illustrator Jen Betton’s cute book HEDGEHOG NEEDS A HUG is featured. The other thing that surprised me about BUTTERFLY KISSES FOR GRANDMA AND GRANDPA is that out of all my books, they picked the one that has been around the longest. What I love about this is the fact that my first picture book has had such a long life. I believe it may be the top seller of all my books, even after all these years.
The message that I want to leave with you is that some books do have long lives. One never really knows what the future will bring for our precious babies. You can see the magazine feature here.
Now I will move on to picture book structures.
PICTURE BOOK STRUCTURES
A few months back, someone inquired about my course ART OF ARC, asking if it covers the many different picture book structures. The answer is yes, but not extensively. There is certainly enough information and lists of mentor texts to get one very familiar with books that don’t fall into the traditional story structure. This is not to say that many of the different structures don’t still have an arc of some sort. Anyway, after that inquiry, I decided it might be nice if I could share a little bit about the various structures with you. The best and wisest way to do that is to share what others have already created. So here is a list of links where you can learn all about picture book structures.
Enjoy!
2016 ReFoReMo Day 5: TAMMI SAUER MODELS HOW-TO DO THE STRUCTURE STRUT (ReFoReMo is now March on with Mentor Texts)
Last week Ellen Leventhal and I focused on building a story via cause and effect and how a weak cause and effect thread can lead to an episodic story. If you missed this mini-course, you can find it here. If you read the post, but missed the links to the additional resources links see below.
I just discovered that my friend, 2021 Word Birds group member, and fantastic author/illustrator Laurie Smollett Kutscera’s new baby MAYA’S TREASURE was born yesterday!!!! CONGRATS Laurie. This is a lovely book. My heart has been connected to it for a long time.
There are so many names for the place where our manuscripts get stuck — right after our brilliant beginnings and right before our extraordinary endings… it’s the muddy middle, the murky middle, the mushy middle. But why not the Magnificent Middle? Because it can be so hard to get out of the muck! But what if there were a way…
That’s it… ask yourself, “What if…?”
Not sure what your character will say next? What if he says this or that or shouts or cries or stays silent? (Make a list of the possibilities). Then, what would happen?
Not sure where your characters will go next? What if they go here or there or to the moon or to the cinema or into the garden or nowhere at all? (Make a list). Then, what would happen?
Not sure what your characters will do next? What if they do this or that or ride their bikes or eat a poisonous snake or surf in the Board Master competition or do nothing at all? (Make a list). Then, what would happen?
Check your lists. What combinations of dialogue, scene, and action will lead your story to that extraordinary ending you have in store for your readers? But what if none of those possibilities work? That’s ok! Because you can tweak your ending accordingly.
In my experience, when I am forcing my story and characters to go specifically to only one possible ending, the messy mucky middle becomes quicksand that leads to no one going anywhere. So what if you let your inner critic take a nap, put your plot outline under some books, and go on an imaginary, non-committal, “just ’cause” adventure with your characters? You can stop at any point. You can open a new document and start again as many times as you want. The narrative will eventually pull you by your own bootstraps into your story and take you where it needs to go… and it will be magnificent!
KEEP THE MAIN CHARACTER ACTIVELY MOVING FORWARD (with a nonfiction focus example)
Just like in a family with three children, the middles of your manuscript sometimes don’t get the same attention as the youngest (opening lines) and the oldest (satisfying ending). But the middle of your manuscript is where the action is, where your main characters are pursuing their goals, overcoming obstacles and inviting the reader to connect with them.
That’s why I love writing nonfiction picture book biographies…the middle pretty much writes itself. 😊 Well, perhaps not quite. 😊 But the plot and pacing are provided by the true events of the person you are writing about. It’s all a matter of choosing which information to include and which to omit. I think the key is to keep the main characters front and center…keep the main characters active…and keep the main characters moving forward towards realizing their goals.
Here’s an example from MAKING THEIR VOICES HEARD: The Inspiring Friendship of Ella Fitzgerald and Marilyn Monroe:
1. Beginning: Two girls, different on the outside, but inside they have hopes and dreams and plans of what might be. Ella wants to share her voice with the world and Marilyn wants to become a great actress.
2. Middle: Ella sings at the Apollo Theatre and signs a contract with a band. Marilyn captures the attention of photographers and signs with a motion picture studio. Ella encounters discrimination as she works in the entertainment industry but continues to perform wherever she can. Marilyn battles salary inequality and lack of control of her career but she studies Ella’s singing. Marilyn buys a ticket to Ella’s show to thank her for her help. Ella confides in Marilyn. Ella and Marilyn hatch a plan. Marilyn calls the club owner. Ella practices her songs. Marilyn attends the performance. Ella wows the audience.
3. End: Ella never misses one of Marilyn’s movies. Marilyn listens to all of Ella’s songs. Two stars, different on the outside, but on the inside, both understood that even stars need a little help to shine.
Just remember – keep your main character actively moving forward towards realizing her goal and your middle will keep your readers engaged!
Compelling middles come from stellar structure. Including a repeating refrain, or the rule of three helps readers engage, anticipate the structure, and want to turn the page.
A DELICIOUS SANDWICH FILLING: GIVE YOUR MIDDLE FLAVOR
Think of the middle of a story as a delicious sandwich filling. Full of flavor. It is where your story truly develops for your main character. It is where they face their main obstacles and we see their characters being tested and reacting and learning along the way. It can often be neglected in your first round of edits, even your second and third but without a strong middle, it is easy for your readers to lose interest. So, here are my top tips for making the middle flavorsome:
1. Vary the setting for the middle section. Whether your story has emotional or physical obstacles, try to make the middle scenes exciting and different for the illustrator.
2. Include a variety of obstacles or plot complications that your main character must overcome before they can reach their ultimate goal. Try to build these as you go, creating more and more climax along the way.
3. Don’t be too wordy. Keep the middle active and moving forwards. I often use a plot clock for this. I find this very helpful in checking I maintain the pace of the story.
4. Raise uncertainty through emotional depth. As your main character reaches their low point, make the reader uncertain about the outcome too. This will heighten tension and make them care about their main character more.
5. Take a break. When you feel your middle isn’t working, put the story aside for a few days. Take a walk, a bath or a nap and let the story play out in your head over and over. When you are most relaxed, that is when solutions come and your problem solving can begin.
WHAT IN THE WORLD IS AN ICHTHYOLOGIST? Mahalo and a final aloha to an amazing man.
I originally posted this story August 17, 2019. I am republishing it today in honor of Dr. John E. Randall, a distinguished ichthyologist and coral specialist who discovered and named more species of fish than anyone. He died April 26 in his home in Kaneohe, Hawaii. He was 95.
Since the original post, the picture book titled after Dr. Randall, Randall and Randall, has been released and was named as one of the best 100 indie books in 2019 by Kirkus Reviews. Author, Nadine Poper and the Blue Whale Press team will be forever grateful for Dr. Randall and his contributions to this educational and funny book. Our deepest sympathies go out to his family and friends. May he rest in peace.
With a final aloha to Dr. Randall, we offer the original post below.
Before I answer the ‘ichthyologist’ question, I want to explain why I’m presenting the question in the first place. Blue Whale Press’s latest picture book, Randall and Randall, is now available for pre-order, and this book just happens to have a foreword written by the renowned ichthyologist Dr. John E. Randall. Please read the post to the end because while I was writing it, I got some fantastic, must see, news. I want to share the surprise with you.
An ichthyologists is . . .
. . . a branch of zoology that deals with the study of fish and other marine life. Ichthyologists (ik-thee-AH-lo-gists) are also called marine biologists or fish scientists. They discover and study new and existing species of fish, their environment, and their behavior.
Ichthyologists dedicate their time to studying different kinds of fish species, though many will focus on one family of fish in particular. They generally focus on the biological history, behavior, growth patterns, and ecological importance of these fish. Most ichthyologists will go into the field to collect various samples or observe fish behavior and then return to a lab or office to analyze their collected data. If funded by a university, many of these scientists may be required to teach in addition to their other duties. Some of these scientists may also dedicate their time to educating others about the field and advocating for the importance of fish to ecosystems.
About Dr. Randall
Dr. John “Jack” Randall, ichthyologist emeritus at Bishop Museum, Honolulu, Hawaii, has over 900 publications and has described more valid marine species than anyone, living or dead—at least 800 of them.
Why did Dr. Randall write the foreword for Randall and Randall?
First, the author, Nadine Poper, named the characters and the book in Dr. Randall’s honor. But the answer goes deeper than that.
Why are goby fish named Amblyeleotris randalli and the pistol shrimp named Alpheus randalli? Either there is a strange coincidence between Dr. Randall, the Randalls in the book, and the scientific name randalli or there is a strong connection and explanation.
The explanation starts with Dr. John E. Randall.
“A dive pioneer and a dedicated taxonomist for over 70 years, it’s doubtful there is anyone who knows more about fish than Hawaii’s Jack Randall.”
–Christie Wilcox, Hakai Magazine
Some fun facts about Dr. Randall
• He is sometimes referred to as “Dr. Fish”
• His O‘ahu home is methodically littered with hundreds of pickled fish specimens sequestered in alcohol. Click here to read why he collects these specimens.
• For Dr. Randall, collecting the fish has been exciting and adventurous. He has dived on some of the most beautiful reefs in the world, but the actual process of identifying species takes passion and patience.
• Dr. Randall was one of the first to study fish in their ocean habitat. He first dove in the mid-1940s, before the acronym SCUBA (Self-Contained Underwater Breathing Apparatus) was even coined.
• He became one of the first scientists to use scuba gear, allowing him to access fish that no one else had ever seen.
• Dr. Randall even pioneered wet suits—sort of. He tried using long underwear to stay warm at first, but they didn’t retain heat. Then he got the brilliant idea to dip his long johns in liquid latex, creating a primitive wet suit years before the first neoprene was used.
All the above facts came from an article by Christie Wilcox at Hakai Magazine (May 15, 2016)
2) At the age of 91, he received the 2016 Darwin Medal from The International Society for Reef Studies. The award was presented at the 13th International Coral Reef Symposium on June 20. Jack gave an entertaining presentation on his work with coral reefs in the U.S. Virgin Islands to an enthralled audience of hundreds of conference attendees.
Dr. Randall has likely won many other awards, and here is one more example: At 94 years of age, he won the Marine Aquarium Societies of North America (MASNA) Pioneer Award for Science.
Dr. Randall’s scientific and academic achievements are too extensive to list in one blog post, instead I will share the following video. Although it doesn’t cover all his accomplishments, it is so much better than a list! It’s only six minutes long and definitely worth viewing.
This man is amazing, and I urge you to read more about him and to visit the links I have shared.
Finding Dr. Randall: Nadine Poper’s research for the book
During Nadine Poper’s research for this book, she was eventually led to Dr. Randall, and they became friends. Dr. Randall told Nadine anything she wanted to know about these creatures and their symbiotic relationship. He even provided her with photos that he took personally under the sea. And Dr. Randall graciously obliged when Nadine asked him if he would write a foreword.
When Nadine asked Dr. Randall how the fish and shrimp species came to bear his name, he responded with the following: “If you see the two-part scientific name Alpheus randalli, Alpheus is the generic name for a group of very similar shrimps, and randalli is the species name which was given by the person who prepared the scientific description of the genus to honor me. . . .”
I’m going to assume the same goes for the goby (Amblyeleotris randalli). And it makes sense, given the interesting relationship between the shrimp and goby (Randall and Randall).
Live goby fish and pistol shrimp, compliments of Dr. Randall
A real-life view under the sea. Goby fish guarding the burrow and protecting a pistol shrimp while it digs their home. Compliments of Dr. John E. Randall
As I was writing this post, the Kirkus review for Randall and Randall arrived . . .
and I cannot resist hijacking this Dr. Randall post to share an excerpt from it (in green below). Well, I’m not fully hijacking it because they do mention ichthyologist Dr. John Randall. But the really exciting thing about this review isit is starred review!According to Kirkus, only 10 percent of the 10,000 reviews they do a year earn a blue star. And according to Washington Post, only 2 percent of independently published books earn a blue star. This also means that Randall and Randall will automatically be entered into the Kirkus awards!
Young readers get a slice of science in this undersea tale about symbiosis.
Randall the pistol shrimp accidentally gets a new roommate when he snaps at a fish he believes is a threat. But the goby fish, also named Randall, offers to let the shrimp know when genuine predators are around. Unfortunately, the goby misidentifies plankton, a sand dollar, and a sea cucumber as dangerous foes, all the while singing songs that drive the shrimp to distraction. Likewise, the noises the shrimp’s snapping claws make irritate the goby. After a huge fight, the goby leaves, only to run into a real killer . . . Based on a real-life symbiotic relationship, this silly tale makes the science approachable through the goby’s giggle-worthy antics. Notes from ichthyologist Dr. John Randall describe the phenomenon for adults, and Gortman’s (Fishing for Turkey, 2016) closing illustrations supply diagrams of the charismatic creatures. The picture book’s cartoonish interior images deftly mix human and animal characteristics, showing the shrimp’s long antennae as mustaches. Poper’s (Frank Stinks, 2017, etc.) simple English text seamlessly introduces a few straightforward Spanish-language phrases (“mi casa”) due to the coastal Mexico setting. The ingenious aquatic tale also encourages readers to realize they can find friendship even if they don’t see eye to eye with their cohorts.
A clever introduction to a scientific concept with an accessible moral.
Written byNadine Poper Illustrated byPolina Gortman. Dr. Randall’s foreword does a fantastic job of explaining all about the goby and pistol shrimp and their special relationship.
Published by Blue Whale Press
Randall, the pistol shrimp, is a master at excavation. Randall, the goby fish, is his skittish, yet happy-go-lucky watchman. The problem is that both have quirks that drive each other bananas until one day their relationship is driven to the breaking point. This very funny informational-fiction story about one of the sea’s naturally-existent odd couples illustrates how certain species depend upon their symbiotic relationship for survival. It also shows children how two very different beings can embrace each other’s peculiarities and become best of friends.
With the holidays coming, I’m offering contests with prizes and random giftaways to kid lit writers and illustrators as a thank you for always supporting me, Blue Whale Press, and our authors and illustrators. Last week, our giftaway offered four ARCs for No Bears Allowed by Lydia Lukidis and illustrated by Tara J. Hannon. The first place winner will also win a 15-minute “first impressions” picture book critique from me (Alayne) via phone or Skype. There is still time to get in on the fun! The deadline for the photo caption contest is December 4. The first week, we offered four ARCs for Randall and Randall by Nadine Poper and illustrated by Polina Gortman. And this week, we are offering even more!
This week, we are giving away, for first prize, a hardcover pre-release proof for Who Will? Will You? along with a picture book critique from the author of the book, Sarah Hoppe, PLUS a 15-minute “first-impressions” picture book critique from me (Alayne) via phone of Skype. For second through fourth places, we will be giving away a softcover Who Will? Will You? ARC to three winners. If you aren’t familiar with Who Will? Will You? you can view the fun book trailer below.
“A beautifully illustrated tale that’s sure to appeal to animal lovers and budding environmentalists. . . .” Kirkus Reviews
“A fun, unexpected conclusion teaches kids not only about shore life, but about what makes a welcoming home for a stray. Kids who love beaches and parents who love thought-provoking messages will find “Who Will? Will You?” engrossing and fun.” —D. Donovan, Sr. Reviewer, Midwest Book Review
My goal is to have weekly contests until we run out of prizes. So watch for more Holiday Giftaways–books, critiques, bundles of ARCs, and some other great things.
The beauty of writing contests is it gives you a possible start for your next picture book. So, it is never a waste of time.
Following is the picture book trailer.
Following is a short peek at the Who Will? Will You? activity book for teachers, parents, and librarians
The Contest—WHAT’S IN LOTTIE’S WAGON?
Write a 100-word story about what’s in Lottie’s wagon. The story must include the words pup, beach, help, and of course wagon and Lottie. Any form of the words is acceptable—for example: puppy, puppies, beachfront, beach ball, helpful, helping and so on. The title is not included in the 100 words. You can go under, but not over.
It should be appropriate for children ages twelve and under.
Your story can be serious, funny, sweet, or anything in between. It can be written in poetry or prose, but it must include those 3 words.
NO ILLUSTRATION NOTES PLEASE! Keep reading beyond the following image, there are more steps you must take.
Post the above photo with your story on your blog, along with a blurb about the contest and a link to this blog.
IMPORTANT! Along with the story you paste into comments, add your name and your blog post-specific link(post-specific link not your blog’s main url because if you put up a new post on your blog after your entry during the dates of the contest, the judges will find the wrong post!)
Post between now and Saturday, December 14 by 11:59 PM EDT
If you don’t have a blog, just leave your name and paste your story in a comment, explaining you don’t have a blog. But please share the a blurb about the contest and the link in social media.
If you have difficulty posting in the comments, which unfortunately sometimes happens, you may email your entry using the contact form on my blog or at alaynecritiques at gmail dot com, and I’ll post it for you. Please place your entry in the body of the email including your title and byline at the top – NO ATTACHMENTS!
Please submit your entry only ONCE.
By entering this contest, you agree that if you win, and you like the book, you will post an Amazon review.
The Judging
Judging criteria will be as follows:
Kid appeal—something the twelve and under reading audience will enjoy and relate to.
Originality and creativity.
Humor, heart tugging, or thought provoking.
Wow factor—something that makes the story stand out from all the others.
Following the directions thoroughly. Very important. Not following directions may result is disqualification.
Winners will be announced on this blog, Facebook, and Twitter on Sunday, December 8.
The Prizes
First place:
A pre-release proof (hardcover) of Who Will? Will You? along with a picture book critique from the author of the book Sarah Hoppe, PLUS a fifteen-minute “first impressions” critique from me (Alayne) via Skype or telephone. Learn more about Sarah here and more about Alayne here.
If outside of the U.S., the prize will be an e-ARC and Alayne’s critique will have to be Skype or written.
I’d like to introduce author/illustrator Milanka Reardon. She is the illustrator for Who Will? Will You?—written by Sarah Hoppe and published by Blue Whale Press. In this interview, Milanka shares excellent tips for remaining consistent from page to page, illustrating facial expressions and body language, dealing with creative direction, and more!
How did you get your start as a children’s book illustrator?
I have always loved to draw from the time that I was a little girl living in Titograd, Yugoslavia with my mother. I was fascinated by the pictures in the old fairy tale books from that country. I still have most of them. That is the one thing that I carried with me when I emigrated from Yugoslavia when I was six years old. I left any toys I had behind. My aunt sent us a roll of toilet paper when we lived in the old country, and I used to draw pictures on it. It made a great continuous storyboard and I filled each square with pictures!
When I decided to go back to school for art, I thought that Natural Science Illustration would be a great fit for me since my undergraduate degree is in biology, (art school wasn’t considered a practical thing for an immigrant girl). And while I loved drawing and painting plants and animals, I wanted to tell a story with them. I always loved the funny individual expressions of the animals and saw them as characters, and I wondered about their story. So that naturally led me to the Children’s Book Illustration program at Rhode Island School of Design. Once I started that program, I found that I had so many stories that I wanted to tell with pictures, and that was just the beginning.
You are also a writer. Which came first? Writing or art?
The art, definitely! I still find it hard to think of myself as a writer.
Side note from Alayne: I’ve had the pleasure of seeing one of your author/illustrator pieces (Blog reader: see image above for Nana’s Wall) and it is so wonderful that I can’t forget about it!
Thank you so much, Alayne. That story parallels my life so much that it came naturally. But of course, the pictures came first. Then it took several years of revising the story to make it into a real picture book. I’m hoping that it will be published someday.
Kirkus Reviews had the following to say about your Who Will? Will You? illustrations:
“A beautifully illustrated tale that’s sure to appeal to animal lovers and budding environmentalists. . . . Reardon’s realistic pastel-and-ink illustrations, populated with humans with a variety of skin tones, do an excellent job of hiding the identity of the pup and showing the adults’ shocked expressions.”
I agree with Kirkus. The drawings you have done for my next book, Old Man and His Penguin, are equally as impressive.
Do you have any artistic influences? If not, what does influence your style?
I have so many influences! I love to travel and get the feel for a place, and I think that influences my illustrations. Maybe that’s why they have an old-world feel. With Who Will? Will You? I really tried to show a diverse world of characters for the book. That is why the Kirkus review made me so happy. I was really trying to show a population of humans that was diverse without singling out one group of people. I wanted Lottie to ask different people who will take care of her pup, and I tried to imagine who she would meet in the real world. The animals were just the extra fun bonus to illustrate!
Do you have a preferred medium?
I painted mostly with oils when I started painting portraits. Then I found that I could achieve some fantastic results with colored pencils. I love to explore different mediums. Now I am happiest working with watercolors and pencils. I love the looseness of the water and paint and watching it flow on paper, and then I like to have some areas more controlled with colored pencil or pastel pencil. I try to achieve a nice variety of textures. But most of all I am drawn to whatever works for creating that unique character that best fits the story. I have also been able to add finishing touches digitally with Photoshop or Procreate.
What medium and process did you use for the Who Will? Will You? illustrations?
For Who Will? Will You? I used mostly watercolors and pencils, both pastel pencils and colored pencils. After scanning the paintings, I was able to make adjustments using Procreate and Photoshop as well.
Blue Whale Press is involved in the illustration process throughout book development. What was it like following a publisher’s process versus working independently?
Working with Blue Whale Press has been a wonderful experience. I had creative freedom with the illustrations, and the editor and publisher were very supportive while providing professional feedback throughout the process. Also the author, Sarah Hoppe, did a fantastic job writing a fun story and making each word count.
The last book I illustrated was self-published. Illustrating for someone who is self-publishing their book is very different. The author of the story had definite ideas of what he wanted on each page, and there was a lot more input on each individual illustration from the author throughout. It’s kind of nice with a small press because you have the best situation in that the publisher trusts you to create the characters and to come up with the book dummy but is available and provides professional feedback where needed. The overall process was very positive and supportive with great communication between the editor, publisher and myself. Thank you, Alayne, for that!
It has all been my pleasure, Milanka.
You have been very gracious and such a pleasure to work with in all ways, but also in the area of creative direction. Do you have any tips for illustrators regarding how to keep from taking direction personally?
Wow, that’s a tough one. I think that anyone that has gone to art school realizes that critiques can be tough. But you try to use them to improve your own artwork. In the case of illustrating a picture book, you have to always be open to suggestions and ideas that may improve the story. So, it’s more about working together with the editor to make a better book. Making a good picture book is a collaborative effort. The author, the illustrator, editor and publisher all have ideas to make it work and hopefully it all comes together in the best way possible in the end. That is why I have always been open to edits. I know personally that I spend so much time staring at that illustration that I may miss something important, so the creative direction is appreciated.
My advice to any illustrator would be to look at the final image and to do what is best for the book. If more than one person critiques the same area of the illustration, then it’s probably not reading correctly. The creative direction from the editor and publisher is meant to improve the story, it is not a personal commentary on you.
I love the little extras you put on every page of Who Will? Will You? One little thing I noticed that made me smile is one of the sea lions is cross-eyed 😉 But you just created such a nice world for Lottie.
How do you get over the natural instinct to show only what is in the text and instead put some of yourself into the story by doing a little something extra or special on each page?
The job of the illustrator is to add to the story and to tell the story with pictures. So naturally you want to add a little something extra to the story. The illustrations should complement the text and the text should also complement the illustrations. They work together. There is no need to be redundant and only show what is told in words. It’s a lot more fun to add the little extras. Children are smart and they will notice. It’s the difference that makes a book one that a child will want to read over and over again to discover even more within the book and the illustrations each time they read it.
Does it take courage to express yourself and help tell the story?
Yes and no. Personally it does show some of your sense of humor, adventure or even if you’ve done your research correctly. But, I feel that you should show some of yourself in your illustrations because that’s the point of both telling with words and pictures. It’s all about making the story fun for children.
Do you have any tips for illustrators for going beyond the text with your expression?
Research! Research the location. In Who Will? Will You? I had to think of where could you find all of those types of animal rescue places in one area, and even a bat cave! And how do you make each one different and unique. Then you can put who would be in those places. So that research was fun – going to the beach and even a cave and sketching and photographing. You notice, especially when you sketch people and animals the different body positions and facial expressions that people have. Animals too! It’s fun to observe and sketch.
Character study, younger Lottie and Rufus
Lottie and Rufus are so adorable. Where did you find your inspiration for them—well, for all the characters, really?
Character design, older Lottie and Rufus
I can remember when I was thinking about Lottie. I was in a Paneras and I saw this beautiful little girl come in with her mother and she had this messy hair. When I came home I couldn’t forget her funny expressions and the messy hair. So I drew who I thought Lottie would be. And I remember my initial sketches were of a much younger Lottie! I remember you telling me that my little preschool Lottie would not be walking the streets alone looking for a home for a pup, so please change her to an older child. You were so nice with your directions and I thought, okay, that’s not really a problem. I can draw an older Lottie. And then what kind of dog would my older Lottie have. It was early enough in the process that it wasn’t a problem to change because I was only showing you initial sketches, and I hadn’t started the storyboard yet. I did a lot of sketching before the right Lottie and her dog appeared on the pages.
Notice the fun eyes on the sea lion. But notice the sad eyes on Lottie. This is actually an earlier image. In the book, she has tears 😦
In the Who Will? Will You? art, you do an excellent job of showing mood and emotion via facial expression and body language.
How did you learn to do that? And do you have any tips for illustrators on developing that skill?
That takes time and a lot of sketching from life. Really noticing that people hardly ever stand like those stick figures looking straight ahead that we all love to draw. Most people are always leaning or moving around. Body language tells a lot. I went to the SCBWI LA conference and took an Illustrator Intensive on character design that the art director Laurent Lin was in. He used to work for Sesame Street, so he brought in puppeteers that showed us some amazing things about body language. The stories that they told with just those puppets brought me to tears and made me laugh. That was with just body language – the puppets eyes and mouth weren’t moving, just their bodies. It was an awesome lesson, one that I am still working on. It also comes back to sketching from life and observing body language and putting in the tiny details after.
I believe one of the most difficult things for an illustrator is to remain consistent from page to page—especially with characters. What is your trick for remaining consistent?
I try to keep the body proportions the same. It’s not always easy to do, especially when you want to draw freely which I think is more important in order to get expressive illustrations. But you can always scan things into Photoshop or Procreate and check your proportions and use that as a guideline when you are going into the final drawing phase. Or you can use good old-fashioned tracing paper. Let your initial sketches be free and fun. In the final illustrations try to get those proportions right. That will make the painting stage go so much more smoothly. You will have figured it all out in the drawing stages.
You recently signed with an agent as an author/illustrator! I was so excited to get that news. Congratulations, again!
Thank you so much, Alayne! I signed with Barbara Krasner with Olswanger Literary. I am really hoping to get my picture book dummy out into the world!
Blog reader: See toilet paper art image at the beginning of this interview. That image is from the dummy for Nana’s Wall. A beautiful story.
What was it like to see your granddaughter look at the book for the first time?
Aw, look how sad she is for Lottie. So sweet.
So happy. I love it!
Yay! And happy again.
Oh my goodness, that was amazing! It truly was a test. She’s not quite two years old yet but she loves the book. She was so funny when she looks at the pictures, she absolutely loves the way each of the adults say “no” to Lottie. She actually mimics the hand movements that they use (thank goodness I got the body language on those characters!) No is a favorite word of hers! She also was sad when she first saw Lottie crying and kisses that picture. And she loves to sing one of her favorite songs in the end. (From Alayne: Sorry, we can’t share the song without giving away the ending of the book.)
She is so adorable. It is a thrill to see this. Thank you for sharing these precious moments!
It is an absolute pleasure to work with you, Milanka. I’m thrilled that you are illustrating one of my picture books next! Your work has brought us so many smiles and heartfelt moments over the last year. And the visual story you have told is amazing! Thank you for helping us make a wonderful book that we are so proud of.
It has been and continues to be a pleasure working for you and with you, Alayne! Thank you so much for the kind words and for this opportunity!
BONUS!
When, at another time, I asked Milanka questions that I had for myself personally, as an illustrator wannabe, she graciously shared excellent advice—excerpts below.
About Style
I think that’s wonderful that you are taking an online art class. And cute is a wonderful style to have. We can’t all be the same, that would be boring. . . . A realistic style can be a curse. It just takes a lot of time and no matter how hard you try, there is always someone that can do it better. That’s what an illustration teacher at RISD told me. Besides, if you have a realistic style, it’s so easy to notice little mistakes. So go with your style and just practice every day.
Best Advice
Honestly, the best advice that I can give you is to sketch people every day. They don’t have to be perfect sketches, just sketch. And one thing you’ll notice is all of the wonderful gestures. People don’t just stand still, they lean, they bend they do all sorts of poses even when just standing there. Sketching will help no matter what style of illustration you choose, or sometimes I feel it’s the style that chooses you. But either way, you need to know a bit about anatomy and that’s great to be learning from online classes and reference books too.
I love “the style that chooses you”!
More about Inspiration for Lottie and other Who Will? Will You? Characters
Lottie was made up in my mind and so were her various adult people. Remember when I sent you the turnaround of Lottie. I did all the things that I needed to to map out her features and size, etc. But she looked a little stiff at first. So I never used those exact images. By observing real people, she became softer and moved better along the page. Actually even though Lottie was made up, I noticed a little girl in Paneras that was so cute but had that messy hair, and I loved the way she sat on her leg and leaned from side to side, so expressive. So, I had her in mind when creating Lottie and I knew I wanted a diverse set of characters. Children in a playground are also fun to watch and to draw. So just observing people helps. They are not all the same size or shape either.
Character study, Lottie’s dog Rufus.
Final painting of Rufus and friends
Sketching is Fun
Sketching is a lot of fun. You don’t need to spend a lot of time on it. Nobody has to look at it. Afterwards, you can choose a sketch to really focus on and draw out. It’s such a good feeling when your drawing starts to come to life.
Inspiration for Alayne’s Next Picture Book
Old Man and His Penguin
The kids in the penguin story came from my sketchbook from when I traveled to Cuba on a cruise. I had my sketchbook with me and children were on recess when we were in the old town in the plaza. I did some quick sketches—it was fun, and like most things in life, you never know when they might come in handy. The old man is made up, but I did ask my husband to do a couple of poses and to walk so I could take a picture to draw from. He would never stand still long enough for me to sketch even a quick two-minute sketch!
Sneak peek, dummy sketch Old Man and His Penguin
Simple Lines
You don’t have to be super realistic. Some people are so expressive with simple lines. I wish that I could be. I’m still working on that. Just go out there and sketch different people and gestures and have fun with it.
About Milanka
Milanka Reardon learned to illustrate at a very young age. When she emigrated to the U.S. from the former Republic of Yugoslavia at the age of six, no one in her school spoke her language, so her teachers sketched images of the English words for her. But instead of copying the words, Milanka took it upon herself to improve their work and draw more interesting pictures. Later, Milanka went on to earn a children’s book illustration certificate from the Rhode Island School of Design and was awarded the 2016 R. Michelson Galleries Emerging Artist Award. She is the central New England illustrator coordinator for the Society of Children’s Book Writers and Illustrators (SCBWI). You can read more about Milanka and see some of her artwork by going to MilankaReardon.com.
To read interview with Who Will? Will You? author Sarah Hoppe click here.
WHAT IN THE WORLD IS AN ICHTHYOLOGIST? Mahalo and a final aloha to an amazing man.
I originally posted this story August 17, 2019. I am republishing it today in honor of Dr. John E. Randall, a distinguished ichthyologist and coral specialist who discovered and named more species of fish than anyone. He died April 26 in his home in Kaneohe, Hawaii. He was 95.
Since the original post, the picture book titled after Dr. Randall, Randall and Randall, has been released and was named as one of the best 100 indie books in 2019 by Kirkus Reviews. Author, Nadine Poper and the Blue Whale Press team will be forever grateful for Dr. Randall and his contributions to this educational and funny book. Our deepest sympathies go out to his family and friends. May he rest in peace.
With a final aloha to Dr. Randall, we offer the original post below.
Before I answer the ‘ichthyologist’ question, I want to explain why I’m presenting the question in the first place. Blue Whale Press’s latest picture book, Randall and Randall, is now available for pre-order, and this book just happens to have a foreword written by the renowned ichthyologist Dr. John E. Randall. Please read the post to the end because while I was writing it, I got some fantastic, must see, news. I want to share the surprise with you.
An ichthyologists is . . .
. . . a branch of zoology that deals with the study of fish and other marine life. Ichthyologists (ik-thee-AH-lo-gists) are also called marine biologists or fish scientists. They discover and study new and existing species of fish, their environment, and their behavior.
Ichthyologists dedicate their time to studying different kinds of fish species, though many will focus on one family of fish in particular. They generally focus on the biological history, behavior, growth patterns, and ecological importance of these fish. Most ichthyologists will go into the field to collect various samples or observe fish behavior and then return to a lab or office to analyze their collected data. If funded by a university, many of these scientists may be required to teach in addition to their other duties. Some of these scientists may also dedicate their time to educating others about the field and advocating for the importance of fish to ecosystems.
About Dr. Randall
Dr. John “Jack” Randall, ichthyologist emeritus at Bishop Museum, Honolulu, Hawaii, has over 900 publications and has described more valid marine species than anyone, living or dead—at least 800 of them.
Why did Dr. Randall write the foreword for Randall and Randall?
First, the author, Nadine Poper, named the characters and the book in Dr. Randall’s honor. But the answer goes deeper than that.
Why are goby fish named Amblyeleotris randalli and the pistol shrimp named Alpheus randalli? Either there is a strange coincidence between Dr. Randall, the Randalls in the book, and the scientific name randalli or there is a strong connection and explanation.
The explanation starts with Dr. John E. Randall.
“A dive pioneer and a dedicated taxonomist for over 70 years, it’s doubtful there is anyone who knows more about fish than Hawaii’s Jack Randall.”
–Christie Wilcox, Hakai Magazine
Some fun facts about Dr. Randall
• He is sometimes referred to as “Dr. Fish”
• His O‘ahu home is methodically littered with hundreds of pickled fish specimens sequestered in alcohol. Click here to read why he collects these specimens.
• For Dr. Randall, collecting the fish has been exciting and adventurous. He has dived on some of the most beautiful reefs in the world, but the actual process of identifying species takes passion and patience.
• Dr. Randall was one of the first to study fish in their ocean habitat. He first dove in the mid-1940s, before the acronym SCUBA (Self-Contained Underwater Breathing Apparatus) was even coined.
• He became one of the first scientists to use scuba gear, allowing him to access fish that no one else had ever seen.
• Dr. Randall even pioneered wet suits—sort of. He tried using long underwear to stay warm at first, but they didn’t retain heat. Then he got the brilliant idea to dip his long johns in liquid latex, creating a primitive wet suit years before the first neoprene was used.
All the above facts came from an article by Christie Wilcox at Hakai Magazine (May 15, 2016)
2) At the age of 91, he received the 2016 Darwin Medal from The International Society for Reef Studies. The award was presented at the 13th International Coral Reef Symposium on June 20. Jack gave an entertaining presentation on his work with coral reefs in the U.S. Virgin Islands to an enthralled audience of hundreds of conference attendees.
Dr. Randall has likely won many other awards, and here is one more example: At 94 years of age, he won the Marine Aquarium Societies of North America (MASNA) Pioneer Award for Science.
Dr. Randall’s scientific and academic achievements are too extensive to list in one blog post, instead I will share the following video. Although it doesn’t cover all his accomplishments, it is so much better than a list! It’s only six minutes long and definitely worth viewing.
This man is amazing, and I urge you to read more about him and to visit the links I have shared.
Finding Dr. Randall: Nadine Poper’s research for the book
During Nadine Poper’s research for this book, she was eventually led to Dr. Randall, and they became friends. Dr. Randall told Nadine anything she wanted to know about these creatures and their symbiotic relationship. He even provided her with photos that he took personally under the sea. And Dr. Randall graciously obliged when Nadine asked him if he would write a foreword.
When Nadine asked Dr. Randall how the fish and shrimp species came to bear his name, he responded with the following: “If you see the two-part scientific name Alpheus randalli, Alpheus is the generic name for a group of very similar shrimps, and randalli is the species name which was given by the person who prepared the scientific description of the genus to honor me. . . .”
I’m going to assume the same goes for the goby (Amblyeleotris randalli). And it makes sense, given the interesting relationship between the shrimp and goby (Randall and Randall).
Live goby fish and pistol shrimp, compliments of Dr. Randall
A real-life view under the sea. Goby fish guarding the burrow and protecting a pistol shrimp while it digs their home. Compliments of Dr. John E. Randall
As I was writing this post, the Kirkus review for Randall and Randall arrived . . .
and I cannot resist hijacking this Dr. Randall post to share an excerpt from it (in green below). Well, I’m not fully hijacking it because they do mention ichthyologist Dr. John Randall. But the really exciting thing about this review isit is starred review!According to Kirkus, only 10 percent of the 10,000 reviews they do a year earn a blue star. And according to Washington Post, only 2 percent of independently published books earn a blue star. This also means that Randall and Randall will automatically be entered into the Kirkus awards!
Young readers get a slice of science in this undersea tale about symbiosis.
Randall the pistol shrimp accidentally gets a new roommate when he snaps at a fish he believes is a threat. But the goby fish, also named Randall, offers to let the shrimp know when genuine predators are around. Unfortunately, the goby misidentifies plankton, a sand dollar, and a sea cucumber as dangerous foes, all the while singing songs that drive the shrimp to distraction. Likewise, the noises the shrimp’s snapping claws make irritate the goby. After a huge fight, the goby leaves, only to run into a real killer . . . Based on a real-life symbiotic relationship, this silly tale makes the science approachable through the goby’s giggle-worthy antics. Notes from ichthyologist Dr. John Randall describe the phenomenon for adults, and Gortman’s (Fishing for Turkey, 2016) closing illustrations supply diagrams of the charismatic creatures. The picture book’s cartoonish interior images deftly mix human and animal characteristics, showing the shrimp’s long antennae as mustaches. Poper’s (Frank Stinks, 2017, etc.) simple English text seamlessly introduces a few straightforward Spanish-language phrases (“mi casa”) due to the coastal Mexico setting. The ingenious aquatic tale also encourages readers to realize they can find friendship even if they don’t see eye to eye with their cohorts.
A clever introduction to a scientific concept with an accessible moral.
Written byNadine Poper Illustrated byPolina Gortman. Dr. Randall’s foreword does a fantastic job of explaining all about the goby and pistol shrimp and their special relationship.
Published by Blue Whale Press
Randall, the pistol shrimp, is a master at excavation. Randall, the goby fish, is his skittish, yet happy-go-lucky watchman. The problem is that both have quirks that drive each other bananas until one day their relationship is driven to the breaking point. This very funny informational-fiction story about one of the sea’s naturally-existent odd couples illustrates how certain species depend upon their symbiotic relationship for survival. It also shows children how two very different beings can embrace each other’s peculiarities and become best of friends.
Developing as an Illustrator, Interview with Tara J. Hannon
I’d like to introduce author/illustrator Tara J. Hannon. Tara did the fun and expressive illustrations for No Bears Allowed—picture book written by Lydia Lukidis and published by Blue Whale Press. In this interview, Tara shares excellent tips for remaining consistent from page to page, illustrating facial expressions and body language, dealing with creative direction, having the courage to help tell the story with your art, and more!
Interview Q & A
How did you get your start as a children’s book illustrator?
I always knew I wanted to be a children’s book illustrator. I went to college for illustration and after I graduated, I steered myself towards every possible artistic outlet that I could find and said “yes” whenever anyone came knocking. Slowly but surely, experience led to growth and knowledge, and I was able to secure jobs illustrating books with self-publishing authors. The books that I have been able to illustrate for self-publishing authors helped me stay focused on my craft, improve my skills, and enjoy the kid lit world. I am thrilled that No Bears Allowed will be my first traditionally published book.
How has your business Meant for a Moment Designs influenced your illustration career or visa versa? Which passion came first?
Meant for a Moment (M4AM) was born from my desire to make art my career. So the answer to this question might be a ‘chicken or the egg’ kind of thing. I always knew I wanted to write and illustrate children’s books, but it took me a very long time to learn how to do that. Years ago, I had a graphic design job that was unfulfilling and terribly boring. I was starving for something more. So I created tons of little sketches on my lunch breaks that I turned into greeting cards. Meant for a Moment was born from these drawings and slowly evolved from there. M4AM gave me the platform that I needed to take on custom work. And every custom piece that I created gave me more knowledge and skill and time at my drawing desk, which was a dream come true for me.
You are also a writer. Which came first? Writing or art?
Illustration definitely came first. I went to school for illustration, and I still kick myself a little for not having the foresight to have snagged a creative writing class while I was there. Writing came much later. But I found that I loved it just as much as I loved illustrating. And when I discovered the magic that happens by balancing words and images, I was forever hooked. To me, a good picture book is like a good song. I could read it over and over again.
I’ve had the pleasure of seeing one of your author/illustrator pieces, and it truly is magic!
Others have described your art as whimsical, playful, and quirky. I tend to agree with them. Do you have any artistic influences? If not, what does influence your style?
My love affair with children’s literature and illustration began with Dr. Seuss and Shel Silverstein. I also used to spend hours copying Mary Engelbreit illustrations when I was in Middle School. In my early work, you can see strong influence from these artists. I think my style has evolved into its own space now but every so often, I can see a trace of them slip in. I still love their artwork so much, but have found so many contemporary artists to admire, like Peter Brown, Anita Jeram, and Kelly Light.
Do you have a preferred medium?
I really enjoy drawing digitally. About a year ago, I transitioned from primarily pencil and paper to a drawing tablet (Wacom Cintiq). I found that with a tablet I could take more risks, add more detail and LAYER to my heart’s content. It has been a really fun learning process for me and I am thrilled about it.
What medium and process did you use for No Bears Allowed?
No Bears Allowed was one of the first books I illustrated with my tablet. I really enjoyed creating the textures of Bear and Rabbit’s fur and layering in all of the bits of nature in those outdoor scenes.
Blue Whale Press is involved in the illustration process throughout book development. What was it like following a publisher’s process versus working independently?
Blue Whale Press was wonderful to work with. They were supportive throughout every step and they gave me a lot of independence to create. I’d say the biggest difference between working with BWP vs. working independently would be the technical support I received. At each phase of every illustration Steve was there to ensure that there was enough space for bleed, text etc. which was really helpful. It was also really nice having extra eyes to look out for any inconsistencies. It was a wonderful team effort.
You have been very gracious and such a pleasure to work with in all ways, but also in the area of creative direction. Do you have any tips for illustrators regarding how to keep from taking direction personally?
Oh wow, that is really nice to hear, thank you. I do think it is helpful to understand that when you are illustrating a picture book you are part of a team. And that team is stacked with experts. Trusting the input of others is certainly easier when you believe that you are part of a team of people who are all working towards the same goal. Feeling like a part of the team is helpful too and BWP did a great job of making me feel valued and heard.
I love that tip of remembering that everyone is working toward the same goal. This is so true!
I love the little extras you put on every page of No Bears Allowed. Of course, my favorite is the illustration with the survival list. It cracks me up. How do you get over the natural instinct to show only what is in the text and instead put some of yourself into the story by doing a little something extra or special on each page? Does it take courage to express yourself and help tell the story? Do you have any tips for illustrators for going beyond the text with your expression?
Oh yes, it does take courage. It has taken many years of picture book observation to understand that illustrations are allowed, and encouraged to go beyond the text. No Bears Allowed has such a playful tone (my favorite kind of story) so it felt really natural to add those bits into the images. I think every added detail should add to the story in some way. And when you think of it that way, the illustrations become a lot more about storytelling and less about simply mirroring the text. Example: If you are drawing a messy room, are the undies on the floor white? Or do they have super heroes on them? Or is the character so wild that they’ve thrown them on the lamp instead of the floor? Does the character have a ton of stuffed animals? Or just one ratty overloved teddy? Is there evidence of a tea party still set up? (You get the idea right?) It is really fun to make decisions in artwork that compliment a character’s disposition and help tell a history of the scene. And I think every detail that you add like this will be noticed by a child, and that is a really cool thing.
Wow! These are fantastic tips!
In No Bears Allowed, you do an excellent job of showing mood and emotion via facial expression and body language. And on animals, to top it all off! How did you learn to do that? And do you have any tips for illustrators on developing that skill?
Bear and Rabbit have a ton of personality, so it was a lot of fun creating their expressions. I suppose I learned this through observation. I think it is common for artists to observe the world in a unique way. I tend to dissect art as I view it. An example of what I mean is, when I watch a cartoon with my daughters, I notice the way the art is drawn. I watch how the eyes squint or widen during certain scenes or how the posture changes with the mood of the character. It is a really fun practice and has actually been very helpful. I do this in real life too. And I often make the face or gesture that I am drawing to work out exactly how it should look.
I really like that idea of studying cartoons. And making the face yourself is an excellent tip. Shadra Strickland has a course where she actually looks in the mirror to see how her face changes with different expressions and emotions.
I believe one of the most difficult things for an illustrator is to remain consistent from page to page—especially with characters. What is your trick for remaining consistent?
Yes, consistency is very challenging! Character sketches are super helpful and very important. I used them obsessively while creating the art for No Bears Allowed. Beyond that, one thing that helped me for consistency was that the characters felt really natural to draw. I drew Bear and Rabbit a bunch of times in rough sketches to give my hand a muscle memory of their shape and proportions. So when it came time to start the book I really “knew” the characters.
Interesting, muscle memory and really getting to know the characters by living with them by drawing them for a long time makes so much sense. Another great tip!
You recently signed with an agent as an author/illustrator! I was so excited to get that news. Congratulations!
Thank you so much, Alayne! I am so grateful and excited to see what is next.
It is an absolute pleasure to work with you, Tara. Your work has brought us so many smiles and chuckles over the last year. And the visual story you have told is amazing!
I couldn’t be more grateful for the opportunity to work with you and Steve. This experience has been nothing but a joy for me. Thank you so much for choosing me for this awesome book. XO
About Tara
Tara Hannon has always loved to illustrate. As a child, her wish lists included only one desire: more art stuff! Now that she is an adult, her wish lists really haven’t changed—the more art stuff the better! She is truly grateful to be doing what she loves for a living.
Tara’s illustrations have been described as whimsical, playful, and quirky. She works happily from her home studio in Crownsville, Maryland.
When Tara is not illustrating, she can be found playing in the sand with her two daughters, jogging, and drinking strong coffee. It is her dream to find a way to do all of these things at once. To learn more about Tara, visit her website.
Get tips about writing and surviving the writer’s life and learn more about author Lydia Ludikis and her journey to publication here.
So far, this year, I’ve been taking a break and being kind to myself. Meanwhile, the Kid-Lit Writing Wisdom team members have been doing their own thing. I believe that in the future I will be offering periodic guest posts from wise authors and/or illustrators, so keep an eye out. Before I move on to talking about picture book structures, I want to mention that my book BUTTERFLY KISSES FOR GRANDMA AND GRANDPA is featured in the summer reading section of the recent County Line Magazine. There are a couple cool things about this nice surprise. First, they put me in the great company of two other Texas authors Rosie Pova and Jen Betton. Rosie’s book SUNDAY RAIN (illustrated by Amariah Rauscher) is featured and author/illustrator Jen Betton’s cute book HEDGEHOG NEEDS A HUG is featured. The other thing that surprised me about BUTTERFLY KISSES FOR GRANDMA AND GRANDPA is that out of all my books, they picked the one that has been around the longest. What I love about this is the fact that my first picture book has had such a long life. I believe it may be the top seller of all my books, even after all these years.
During Nadine Poper’s research for this book, she was eventually led to Dr. Randall, and they became friends. Dr. Randall told Nadine anything she wanted to know about these creatures and their symbiotic relationship. He even provided her with photos that he took personally under the sea. And Dr. Randall graciously obliged when Nadine asked him if he would write a foreword.
I’d like to introduce author/illustrator 
I love the little extras you put on every page of No Bears Allowed. Of course, my favorite is the illustration with the survival list. It cracks me up. How do you get over the natural instinct to show only what is in the text and instead put some of yourself into the story by doing a little something extra or special on each page? Does it take courage to express yourself and help tell the story? Do you have any tips for illustrators for going beyond the text with your expression?
Alayne Kay Christian 