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Archive for the ‘Illustrating’ Category

 

Developing as an Illustrator, Interview with Tara J. Hannon

tara-hannon head shotI’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.

Cover from BWP site 978-0-9814938-9-3

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?

NBA_Page23_Color

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.

NBA_title page

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.

NBA_Page11-ColorD1

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!

Poster correctI 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?

NBA_Page14-15_ColorD2

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.

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This two-part Q&A with Kathryn Otoshi was originally posted way back in 2013. I’m sure a lot has changed for Kathryn since then. But one thing I know for sure is her success continues to grow. I thought it might be fun to bring this oldie but goodie back for all you Kathryn fans. Following is the interview as it appeared in 2013.

Before I get started, I want to give a giant THANKS to Kathryn Otoshi for taking many hours out of her busy schedule to answer my questions and for sharing so much of herself with us in this interview. Today, I am happy to post Part 2 of my interview with Kathryn and even happier to first offer the bonus of Kathryn’s thoughts regarding THE TOP FIVE THINGS THAT MAKE A SUCCESSFUL INDEPENDENT PUBLISHED BOOK.

There are many definitions floating around for “Independent Publisher.” I tend to like the following: Jenkins Group, Inc., the organizers of the Independent Publisher Book Awards, define “independent” as 1) independently owned and operated; 2) operated by a foundation or university; or 3) long-time independents that became incorporated but operate autonomously and publish fewer than 50 titles a year.

Keep an eye out for future posts on independent publishing.

BONUS INTERVIEW QUESTION AND ANSWER

AKC: What are the top five things that you think make a successful independently published book?

KO:

  1. Write about a story or topic you feel strongly about — First and foremost there must be a real love and passion for the story you are writing about. I’ve always felt that the author must be absolutely fascinated with the story they are telling in order to be motivated to finish it. And also for the reader to be engaged with it as well! Another suggestion: do your research. Do your homework. If you want to connect with your readers, then start connecting with them before your book is published. Be willing to read a draft mock up to whoever your target audience is. I read to classrooms, teachers, booksellers, young kids, and parents to get their feedback on my children’s book. I found that experience invaluable. Then when your book is published, you will need to go out and do author visits. You must feel passionate about your story for you to be able to speak about it over and over, again and again and still keep it real.
  2. Strong production value — The saying ‘don’t judge a book by its cover’ doesn’t apply to children’s books! With thousands of books for a reader to choose from, having a strong production value with appropriate design does indeed matter. An elegant embossment or appropriately placed foil stamp on a jacket, for example, is never lost on your readers. They might not be able to vocalize about exactly why one book might feel ‘good’ over another, but they will instinctively know that the loving details are in there. Graphic design is key. Bringing on a professional graphic designer for your book to have a strong visual appeal is necessary. If you are independently publishing a book, how your book ‘reads’ across a room or how you package it becomes a deciding factor on if your book is picked up – or not.
  3. Have a business plan and budget — While it’s true, that most of us agree that writing and illustrating is a labor of love, publishing is a business. You must factor in all aspects when you publish a book. Be willing to take off your creative hat momentarily to look at how much it will cost to properly produce your book. And how much will it cost to properly support your book in the market so that it will have the best chance for success?  Editing, designing, distributing, printing, marketing and advertising all have a price tag attached. Other questions that involve your overall budget are: how much should you list the book for?  How many copies of the book should you print for the first run? Will you print 2,000 copies of this book? Or 10,000 copies? And if it’s a success, do you have enough buffer in your budget to be able to push the print button right away?
  4. Marketing strategy and distribution is key — Almost 1/3 of my overall budget is set aside for Marketing. Consider the review copies that need to be sent out. Budgets need to be set aside for contests and awards, for conferences, travel, promotional materials, fliers, postcards, bookmarks, ads, website updates and social media. The list goes on. Decide up front how much you want to set aside to promote your book so you know how much you’ll need to budget for. And although Distribution should probably be in its own category, I put it next to Marketing here for the purpose of consolidation. But in a nutshell, having the right distributor for your company to get you into the right channels can make all the difference in the world for the success of your book. I found John Kremer’s web site very helpful in obtaining an initial list of book distributors to start the researching process.
  5. Get involved — Go out there and get involved in your book community! Do readings, go to conferences, meet booksellers, join organizations, have coffee with other authors and illustrators. Listen to your peers speak at events. While writing is by its very nature, introverted, the other part of getting your book out there is you getting yourself out there. So move away from your desk, out of your room, through the door and into the world. In today’s book market, part of sharing your story is also about sharing a part of you.

MORE ABOUT KATHRYN AND WRITING ILLUSTRATING

AKC: How many awards have your collective works received?

KO: Collectively over 20, I’d say.

Teacher’s Choice Award, the E.B. White Read Aloud Honor, and the Flicker Tale Award.

AKC: Which came first, the desire to illustrate picture books or the desire to write?

KO: My desire to simply tell a story rises above my desire to illustrate or write a children’s picture book.  If I absolutely had to make a decision between the two though, I’d probably choose writing…but whew – it would be a very close call.

AKC: Out of all the books you have illustrated, do you have a favorite? How about those you have written?

KO: I suppose I had fun illustrating ONE the most. In general, I’m a representational illustrator. So for my book ONE, where all the blobs of color are symbolic, this was very unique style for me, but also the most freeing. Originally, One started as a story about differences – physical differences. I thought, “What if I created a story about children with totally different colored faces?” Instead of using white, black, brown skin tones, etc – I could use completely different colors like green, purple, blue and orange!  Gradually in my quest to make One as simple as a story possible and boiling it down to its core essence – I ended up making the children’s faces into splotches of colors instead. It was a risk because of the abstraction, but I think that by doing so, I got more leeway to touch upon complex themes and subject matters.

AKC: Where did you get the idea or inspiration for your books?

KO: Mostly from life. “What Emily Saw” is about a day of discovery through the eyes of a little girl. But it’s also based on my own childhood memories. There’s a page spread in there where there’s a hill that transforms into the back of a dinosaur. That’s what I used to imagine when I was growing up! That the hills were the backs of sleeping dinos!

AKC: What advice would you give to writers?

KO: I would say…keep it authentic. And being passionate about your story.  It needs to be meaningful to you if it’s going to mean something to someone else. Everything is key to making a children’s book work because everything is so honed down: the text, the illustrations all the way to the graphic design and production of the book. Even the size of the book and the style of the font have a big influence on the overall look and feel of the book. A children’s book is so limited in text, you have to ask yourself  – What  is each page saying? Is it leading toward my theme? The core ingredients to making a children’s book really solid is to ask yourself a lot of questions about what is working and what is not. Is it really saying what I want it to say in the least amount of words possible? Then before the book is released, it is crucial to read the story to children, parents, teachers, booksellers, librarians – the book lovers in general. They are your audience. Stories are meant to be shared, after all.

AKC: What advice would you give to illustrators?

Before starting the illustration, ask yourself the question: What am I trying to say here? And then ask yourself, What else can I tell the reader that wasn’t in the text? The illustrations are just as important as the text in a children’s picture book. And the pictures should say what the text does not. If your story starts out as “Morris was a lonely mole” …the illustrator has this wonderful opportunity to show us how lonely Morris really is! Is he so lonely, there are cobwebs on his doorknob? Are there briar branches blocking his pathway? A welcome mat that is new and shiny, and never been used? Pictures are a glorious way to engage young readers. Children see and understand images before they ever learn to read. If we get children interested in reading children’s books at an early age, they will become readers for a lifetime. How wonderful! I’m thrilled to be a part of that process.

So for me, it’s making the page come alive. I’m still learning how to do this, by the way. It takes all my experience about composition, leading the eye to where you want it to go, using gesture, POV, lighting, values…and finally the x-factor — your own style, which will summon the page and bring your characters to life.

Through a story, if you are able to create something that influences a young reader in some positive way, however minor – to me, that is true success.

 AKC: Do you have any projects in the works that you are able to tell us about?

KO: I am currently working on a chapter book called “Peter Dobb and the Wondrous Pod” and then two more picture books. I’m coming up with ideas for a graphic novel to pitch in a year. Just recently, I’ve started working on a short screenplay which deals with love, loss and memory.

Please read INTERVIEW WITH KATHRYN OTOSHI, PICTURE BOOK AUTHOR/ILLUSTRATOR AND SUCCESSFUL INDEPENDENT PUBLISHER – PART ONE for Kathryn’s bio with photo, a list of her published books with links, and a link to KO Kids Books.

This concludes my interview with Kathryn Otoshi.  I hope you have found it as informative as I have. With one final thank you to Kathryn, we are done.

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This two-part Q&A with Kathryn Otoshi was originally posted way back in 2013. I’m sure a lot has changed for Kathryn since then. But one thing I know for sure is her success continues to grow. I thought it might be fun to bring this oldie but goodie back for all you Kathryn fans. Following is the interview as it appeared in 2013.

I first became aware of Kathryn Otoshi’s talents when her book, “One,” was awarded the gold medal in the Independent Publisher Book Awards. My book, “Butterfly Kisses for Grandma and Grandpa,” won the silver, and I became curious about my competition, so I purchased a copy of “One.” It did not take me long to understand why “One” took the gold. I sure am proud to be in such excellent company. Kathryn’s second picture book “Zero,” has been just as successful as “One.” During this interview, I was excited to learn that “Two,” the third book in the number series, will be released next year.

Obviously, I have kept my eye on Ms. Otoshi’s amazing success as an independent publisher. The more I observed, the more my curiosity about this award-winning author/illustrator grew until one day, I thought, Why not introduce yourself, and see if she would be willing to answer some questions. And that is exactly what I did. Kathryn was extremely responsive, very sweet and gracious. It has been my pleasure to get to know her. And now, it is my honor to introduce this lovely woman to you.

KathrynOtoshi_crop

Kathryn Otoshi is a children’s book author and illustrator living in the San Francisco Bay Area. Prior to this, Otoshi worked in the film industry at Disney’s ImageMovers Digital (Christmas Carol) as well as George Lucas’s Industrial Light & Magic (Star Wars) as the Graphic Design and Multimedia Art Director.

Otoshi’s first book as author and illustrator was “What Emily Saw”, a Borders Original New Voice Nominee. This was followed by “Simon & the Sock Monster”, short listed as a USA Book News Honoree, and “The Saddest Little Robot” (2004), a BookSense Pick. She teamed up with author Liz Hockinson and created the illustrations for “Marcello the Movie Mouse”(2005). Marcello garnered the Writer’s Digest Award for Best Children’s Book, the DIY Best Children’s Book, the Hollywood Book Festival Award, and the Eric Hoffer Notable Award.

Her book “One”, winner of 16 awards, including the E.B. White Read Aloud Honor Book and the Teacher’s Choice Award, is an anti-bullying  book introducing colors, numbers, and counting while playing on larger themes of acceptance, tolerance, and the power of one voice. Her newest book, “Zero”, is about finding value in ourselves and in others.

Otoshi has been a guest speaker at over 100 venues, including the San Francisco Writers Conference and a keynote speaker at the International Reading Association (Canada).

ON WITH THE INTERVIEW!

My curiosity got the best of me, and I swamped Kathryn with 25 detailed and probing questions. Like most writers and illustrators, Kathryn is busier than busy. Yet, she was kind enough to choose the questions that appealed to her the most. This resulted in 15 questions and answers that allow us to step into Kathryn Otoshi’s creative world for a while. The interview will be posted in two sections. Part 1 covers Independent Publishing. Part 2 is about Kathryn’s experience and her advice related to writing and illustrating.  I will share Part 1 today and Part 2 next week.

INDEPENDENT PUBLISHING

AKC: Are you the sole proprietor of KO Kids Books? If so, what is it like to wear so many hats?

KO: Hi Alayne.  KO Kids Books is currently a DBA under the corporation, Baytree Entertainment, Inc. But yes, I do wear many hats!  It’s a bit of a balancing act, but what I find most interesting about having all these different job positions  (Creative Director/Graphic Designer/Illustrator/Editor/Writer/Sales Marketer/Publisher) – is that you have a much clearer understanding of how each position impacts the other. For example, you can easily see how deciding to make an oversized book might accommodate the Illustrator’s desire to have more expansive pictures. But the Publisher and Marketer part of you would inherently know this might not be a great idea, due to the high cost to produce a book like this and the fact that your book might not fit on a standard shelf.

AKC: I believe next year will be the tenth anniversary of KO Kids Books’ first two releases, “What Emily Saw” and “Simon and the Sock Monster” (both copyright 2004). I know that publishing independently is hard work and costly. How do you manage to continue publishing independently given the cost and work involved?

KO:  Well, when I first started KO Kids Books, I had my own graphic design freelance company. I was fine keeping my ‘day job’ and having KO Kids Books be what I lovingly called ‘my expensive hobby’.  Later I started working freelance at Disney’s ImageMovers Digital.  When the company closed at the end of 2010, my fourth KO Kids book, “ONE,” had already taken off. My expensive hobby had suddenly and surprisingly turned into something more. So I phased out doing a lot of graphic design work. I’ve been focusing on KO Kids Books and the children’s book industry ever since.

AKC: Do you have any advice for those who might be considering independent publishing?

KO: Sure do. Talk to a few indie publishers you admire. Ask them the pros and cons of being a publisher and really be willing to listen to the cons – not just the pros. Writing and illustrating is a creative process. Having a publishing company is a business. So realize that up front, and accept that you will have to be fiscally responsible for it. I would also join a local indie publishers association or organization to get to know more presses. Lastly, I would read Dan Poynter’s “Self Publishing Manual”. I wish I had read that book when I was first starting out!

AKC: What is the best part of independent publishing?

KO: Having the creative control and final say over the writing, illustrating and design of my books.

AKC: What is the most difficult part of independent publishing?

KO: For me, it’s the business side. That’s why I have someone dear to me, Daniel Jeannette, who has given me sage fiscal advice on the business side of the organization.

INDEPENDENT PUBLISHING – MAINSTREAM PUBLISHING

AKC: I know, in addition to KO Kids Books, you have also illustrated the following books:

“The Saddest Little Robot” by Brian Cage, Soft Shell Press/Red Rattle Books 2004

Maneki Neko: The Tale of the Beckoning Cat” by Susan Lendroth, Shen’s Books 2010

What was it like illustrating for other publishers versus KO Kids Books?

KO:  I enjoyed working with other publishers and seeing how they worked. It was great getting a different perspective and working with a team as I generally fly solo.

They have final say, of course.  Once I said I was done…I really had to be DONE. If there was indeed a valid last minute change I had to make in the illustration, it would have to be a very compelling reason why I needed to do this. It affects a lot of people when changes are made in the 11th hour – the writer, the editor, the designer, the printer are all impacted by this. And of course, the publisher, would ultimately need to approve it.

Versus if I did work under my own company, if there was a moment of inspiration that came to me,  or a more clever way to show the illustrations, I could make that tweak or change on the spot – even if the book was right about to go to press.

AKC: In your experience, what is the average process time to get a book into publication (from writing/illustrating to release)? Was there a difference in process time between KO Kids Books and the other publisher’s books?

KO: I’d say from the time the contract is signed, it takes about 2 to 3 years to get a children’s book published – and that might be considered fast by some publishers! When I published my first two books under KO Kids, it was done in less than a year. But I realized what a disservice I was doing by not spending more time working on the marketing and promo aspects of things before the books were released. Now, I’d say it takes a good solid 2 years for KO Kids Books to release a new book, which include all marketing/promo, a plan for a tour, and shows and conferences I plan to attend.

AKC: In 2006, KO Kids Books released “Marcello the Movie Mouse” by Liz Hockinson. This appears to be the only book, so far, that was written by an author besides you. Why did KO Kids Books decide to take on this project? What was the experience like for you?

KO: At the time, I had been thinking about considering submissions from other authors.  I met writer Liz Hockinson in a children’s picture book class at my local indie bookstore, Book Passage.  I really liked her writing style, and admired her dedication to the craft. We ended up in a writing critique group together and became good friends. One day she told me she wanted to write a story about a moxie little mouse named Marcello who had a big dream:  he wanted to make a movie!  I loved the idea and told her I wanted to hear more. After many writing drafts from Liz, and hours of illustration from me, “Marcello the Movie Mouse” was released a year and a half later. We had a great time marketing the book together. Currently though that’s the only book I plan to publish from another author. I’ve decided our focus for KO Kids will be on the Number Series: ZERO, ONE…and now TWO, which will be released next year.

* * *

Jenkins Group, Inc., the organizers of the Independent Publisher Book Awards, define “independent” as 1) independently owned and operated; 2) operated by a foundation or university; or 3) long-time independents that became incorporated but operate autonomously and publish fewer than 50 titles a year.

Sometime in the future, I plan to share my experiences with independent publishing and offer more thoughts on independent publishing companies versus self-publishing. I’ll keep you updated regarding when this might happen.

Be sure to come back next week when Kathryn shares more about herself and gives a little advice to both writers and illustrators.

KO Kids Books

Kathryn’s Amazon Page

Zero

ZERO
By Kathryn Otoshi
ISBN: 978-0-9723946-3-5
List: $17.95

“Zero”, the follow up to “One” is about a big round number, Zero. When she
looks at herself, she just sees a hole right through her center. She admires
the other numbers who can count. She wants to count too, but wonders how can
a number worth nothing become something? Thus begins the story of Zero’s
search to find value in herself and in others.

OneONE
By Kathryn Otoshi
PUBLISHER: KO Kids Books
ISBN: 978-0-9723946-4-2
List: $16.95

“One”, winner of 10 awards including the Teacher’s Choice Award and the
Mom’s Choice Award, is an anti-bullying, number/color book that introduces
the concepts of acceptance, tolerance, and what it means to count!

Movie MouseMARCELLO THE MOVIE MOUSE
By Liz Hockinson, illustrator by Kathryn Otoshi
PUBLISHER: KO Kids Books
ISBN: 978-0-9723946-2-8
List: $16.95

“Marcello the Movie Mouse”: Marcello, has a big dream: he wants to make a
movie. But without a camera, a crew, and Ravioli the theater cat lurking
around every corner, can this moxie little mouse make tail ends meet? A fun,
inspirational story which includes a glossary of movie terms to wrap it all up.

Simon & the Sock MonsterSIMON & THE SOCK MONSTER
By Kathryn Otoshi
PUBLISHER: KO Kids Books
ISBN: 978-0-9723946-1-1
List: $16.95

“Simon & the Sock Monster”: A little boy loses his lucky soccer sock right
before his championship game, and his older sister tells him the Sock
Monster ate it for dinner. Simon enlists the help of his friend to rescue it, but what they discover in the end will have everyone laughing.

What Emily SawWHAT EMILY SAW
By Kathryn Otoshi
PUBLISHER: KO Kids Books
ISBN: 978-0-9723946-0-4
List: $16.95

“What Emily Saw”: A story about a day of discovery through the eyes of an
imaginative little girl. She sees mice getting married in her room, men with
balloons having tea in the sky, and meets a friendly dinosaur to play
hide-and-seek with, but in the end, she finds the true magic comes from home.

Maneki NekoMANEKI NEKO: The Tale of the Beckoning Cat

Published by Shen’s Books
By Susan Lendroth, illustrated by Kathryn Otoshi
PUBLISHER: Shen’s Books
ISBN: 978-1885008398
List: $17.95
“Mankei Neko: the Tale of the Beckoning Cat”: When a young samurai gets
caught in a terrible storm, the cat who lives in the monastery saves him by beckoning
him out of danger with her raised paw. Discover the legend behind Japan’s most famous cat!

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At a recent SCBWI conference, one editor mentioned leaving room for the illustrator. So, I asked Tara Lazar if she would share what that means to her and give some advice on how to do it.

 

HOW PICTURE BOOK WRITERS CAN LEAVE ROOM FOR THE ILLUSTRATOR
by Tara Lazar

“Leave room for the illustrator.” You hear it all the time.

But what does it mean?

I imagine the school bus, smelling like moldy socks and overripe bananas (which have an eerily similar aroma). Should you scoot over? Stop saving that seat for your bestie?

Well, kinda. The illustrator’s art is the elephant on the school bus. It’s the first thing people see when your bus…err, I mean book…rolls into the world. So it’s in your best interest to make that pachyderm shine.

So let the elephant speak for himself. Don’t shove words into his mouth. Don’t over-describe what he’s doing.

The elephant picked the perfect seat. [elephant in back, bus on two wheels]

The kids made him feel welcomed. [kids crowd in first row to balance bus]

It was a smooth ride to school. [flat tires]

OK, you see what I did there?

Read those lines without the art notes:

The elephant picked the perfect seat.

The kids made him feel welcomed.

It was a smooth ride to school.

Eh, rather ordinary without those notes. But with them, it’s funny. It might even be hilarious.

A picture book comes together when the words and the text play together. And sometimes there’s a tug-of-war between them that elicits giggles and guffaws.

Leaving some things unsaid is a technique you must learn as a picture book writer.

So go ahead, DON’T WRITE!

And that, my friends and elephants, is how you write a picture book.

Alayne: Tara’s guest post prompted me to ask one of the most common questions that picture book writers ask. . . .

“I’ve been told by agents that text should be clear enough that art notes are not necessary, so how do you leave room for the illustrator without art notes?”

Here is Tara’s answer. . . .

Well, what you’ve been told by agents is true…and also not true at all.

Often at conferences and workshops geared toward new writers, presenters steer picture book writers away from art notes. That is mostly because new writers tend to use unnecessary art notes. New writers either try to dictate what their characters should look like or describe action that is perfectly clear by the text (or at least well implied). So it is sometimes easier to put the ix-nay on the ote-nay at that level.

Also, some illustrators will tell you they don’t look at the art notes. And that’s fine. Once they understand the overall story, they can tuck the notes away and think of something better.

However, if what you have written is not understandable without art notes, if the story does not make sense without art notes, YOU MUST USE ART NOTES.

Look at DUCK, DUCK, MOOSE by Sudipta Barhan-Quallen. There are only three words in that book–really, two, because DUCK is repeated. If she submitted that manuscript without art notes, there would be no story. Her story is IN THE ART, IN THE ACTION.

I have written manuscripts that use so many art notes it renders the story difficult to read. In those cases, my agent and I submit the manuscript in grid format. There’s a handy post on my blog that talks all about it. (https://taralazar.com/2012/10/03/art-notes-in-picture-book-manuscripts/)

The art of playing tug-of-war with text and image is best demonstrated by author-illustrators. It’s a difficult skill for authors-only to master, but it is one that all the best authors use.

Alayne: For additional information, see my post on including art notes in manuscripts.

Tara Lazar head shot

 

About Tara

Street magic performer. Hog-calling champion. Award-winning ice sculptor. These are all things Tara Lazar has never been. Instead, she writes quirky, humorous picture books featuring magical places that everyone will want to visit.

Tara loves children’s books. Her goal is to create books that children love. She writes picture books and middle grade novels. She’s written short stories for Abe’s Peanut and is featured in Break These Rules, a book of life-lesson essays for teens, edited by author Luke Reynolds.

Tara created PiBoIdMo (Picture Book Idea Month) as the picture book writer’s answer to NaNoWriMo (National Novel Writing Month). PiBoIdMo is held on this blog every November. In 2015, PiBoIdMo featured nearly 2,000 participants from around the world.

Tara was diagnosed with Multiple Sclerosis in 2010 and has permanently lost feeling in her feet and legs. She has an inspirational story to share about overcoming a chronic illness to achieve your goals and dreams. Tara can speak to groups big and small, young and old—just contact her for more information.

Tara is the co-chair of the Rutgers University Council on Children’s Literature Conference, a picture book mentor for We Need Diverse Books and an SCBWI member. She speaks at conferences and events regarding picture books, brainstorming techniques, and social media for authors. Her former career was in high-tech marketing and PR.

Tara is a life-long New Jersey resident. She lives in Somerset County with her husband and two young daughters.

7 Ate 9

Tara’s picture books available now are:

• THE MONSTORE (Aladdin/S&S, 2013)
• I THOUGHT THIS WAS A BEAR BOOK(Aladdin/S&S, 2015)
• LITTLE RED GLIDING HOOD (Random House Children’s, Oct 2015)
• NORMAL NORMAN (Sterling, March 2016)
• WAY PAST BEDTIME (Aladdin/S&S, April 2017)
• 7 ATE 9: THE UNTOLD STORY (Disney*Hyperion, May 2017)

A big THANKS to Tara for sharing her wisdom with us. To learn more about Tara and her work, visit her website at https://taralazar.com/

 

 

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ALL ABOUT PLATFORM BUILDING V2Our guest bloggers for the final ALL ABOUT PLATFORM BUILDING series are Sylvia Lui and Elaine Kiely Kearns. I’m proud to call these two smart, talented, and lovely women my friends and critique partners. In this post, they share what they learned from planting a seed of an idea and nurturing it into a successful platform. Thanks Sylvia and Elaine for sharing your experience and wisdom.

 Top Ten Signs That You’re Building a Successful Platform

By Sylvia Liu & Elaine Kiely Kearns

A year and a half ago, we created a kid lit resource website, www.Kidlit411.com. The idea was simple – a website where children’s writers and illustrators can learn about the world of kid lit – from writing and illustration tips, to finding an agent, to listings of conferences, classes, contests, and more. kidlit 411

We soon added weekly interviews with authors, illustrators, agents, and editors, a weekly update email, a Facebook page to connect with our community, and a manuscript swap group. Earlier this year, we were named by Writer’s Digest as one of The 101 Best Websites for Writers, as well as one of The 100 Best Websites for Writers in 2015 (The Write Life) and The Top 50 Writing Blogs for 2015 (Positive Writer).

A side effect of Kidlit411 was that we created a nice platform for ourselves as children’s authors and illustrators. (What exactly is a platform? Jane Friedman defines platform as having visibility, authority, and a proven reach to a given audience). We didn’t set out to do so, but we learned the following about building a successful platform:

  1. You grow naturally and organically.

No, we are not talking about free-range chickens. We have found that platform building is an organic and slow process. When you do something you love and share your passion, like-minded people will find and join you. Instead of having a grand plan, you let things evolve over time.

  1. You’re filling a need.

A great way to build a platform is to identify a need for something (a service, a community, a challenge) and meet it. For Kidlit411, I (Elaine) found myself gathering links to good articles and resources on writing for children. I (Sylvia) joined her, designing a site and adding my illustration perspective. We now have a convenient, organized, and curated site for all things kid lit. Other excellent resources are available, but many require a membership fee, such as the Society for Children’s Book Writers and Illustrators (SCBWI).

  1. You’re building a community.

Our Facebook page is a great way to connect with old and new online friends in the kid lit community. Through the group, we are able to keep people up to date on our new postings. Better yet, our group has become a place for people to ask questions, share tips, and connect with one another.

  1. You’re not doing it alone.

Having two of us work on the site, with the help of many others who send us links, makes the task easier. We can back each other up when other life and work obligations come up and two minds are generally better than one.

  1. You’re thinking outside the box.

You do something new that excites people, or you do something that’s been done, but with a new twist.

About seven years ago, the kid lit world was a lot less connected. NaNoWriMo (National Novel Writing Month) had piboidmo2014started in 1999, but it wasn’t until 2008 when Tara Lazar created PiBoIdMo (Picture Book Idea Month) and Paula Yoo started NaPiBoWriWee (National Picture Book Writing Week) that the picture book community found a way to connect and encourage each other to develop ideas and write picture books. What a great idea – spur people to create stories, while providing prizes and expert advice.

Other successful platforms also harness individuals’ creative impulses while creating a community. Tania McCarthy’s 52-week illustration challenge (an illustration a week) and Jake Parker’s Inktober challenge (31 drawings in 31 days) are illustration challenges that have grown tremendously.

Other kid lit people also thought outside of the box to create great platforms. Katie Davis has been the mastermind of over 200 Brain Burps podcasts over the past five and a half years. 12-x-12-new-bannerJulie Hedlund leads the enormously successful 12×12 picture book challenge (write 12 picture book manuscripts in a year).

When we started Kidlit411, we didn’t re-invent the wheel. But we like to think we provide a visually appealing and user-friendly wheel.

  1. You are building on your areas of strength and expertise.

Part of building a platform is knowing yourself. Are you a people person who loves to socialize? Do you love information and technology? Are you an artist at heart? All of these characteristics will steer you naturally to the platform that best suits you. We figured out that we both enjoy seeking, organizing, and sharing information. We are curious about the career paths of other creative people, which led us to our weekly interviews of authors and illustrators.

  1. Your project is self-sustaining without enormous amounts of work.

If you find yourself spending more time working on your platform than doing your creative work then you are not using your time wisely. For Kidlit411, we read and keep up with kid lit, so adding the links to our website does not take much additional time. Our weekly interviews involve finding people, asking questions, and formatting their answers, also not time consuming.

If you do find that your platform has grown beyond your individual capabilities, you hire or outsource your work. For example, NaNoWriMo is now a professionally run nonprofit organization. 

  1. Your project has grown beyond your initial expectations.

The great thing about many successful platforms is that most times, the creator didn’t expect or imagine what it would turn out to be. For example, an artist begins a personal creative challenge and invites a few friends, and before he or she knows it, it becomes a widespread challenge. 

  1. You’re not in it for yourself.

You didn’t build the platform just to sell your wares. You provide meaningful content, or a meaningful experience that attracts others to fill a need. We found that providing easy access to good information is an idea that sold itself. 

  1. You are having FUN.

Life is short. Don’t start or continue a platform-building project because someone said you had to. Only work on things that you enjoy and are having fun doing. If the side effect is that you are bringing other like-minded people along, all the better.

Sylvia New

SYLVIA LIU is a former environmental attorney turned writer-illustrator. Her debut picture book, A MORNING WITH GRANDPA (Lee & Low Books) is scheduled for publication Spring 2016. She lives in Virginia Beach with her husband and two daughters. She is inspired by aliens, cephalopods, bunnies, and pigs who want to fly.  Her portfolio: www.enjoyingplanetearth.com and blog: www.sylvialiuland.com

ELAINE KIELY KEARNS is currently chasing the dream as a published author. Armed with a master’s degree in Education Elaineand working from her home office, she spends her time creating picture book and middle grade stories. She lives in New York with her husband, two beautiful daughters and three furry babies. When she isn’t writing, she can be found doing yoga and eating chocolate but not usually at the same time. She is represented by Linda Epstein of the Jennifer Di Chiara Literary Agency in New York.

Following are the links to the other guest posts in the ALL ABOUT PLATFORM BUILDING series:

THE PUSH AND PULL OF PLATFORM by Heather Ayris Burnell

A CASE OF THE WHY NOTS: How I Built (and am still building) My Platform by Marcie Flinchum Atkins

IF YOU BUILD IT, WILL THEY COME? AND WHO WILL THEY BE? by Susanna Leonard Hill

JULIE HEDLUND BUSTS MYTHS ABOUT AUTHOR PLATFORMS

BREAKING THE FOURTH WALL: My Platform-Building Strategy by Miranda Paul

YOU ARE YOUR PLATFORM by TARA LAZAR

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sub six series 2I am excited to announce the Sub Six Blog Series: ALL ABOUT SUBMISSIONS. We will launch the series tomorrow with guest blogger Sylvia Liu in a post titled CONTESTS AND OTHER SUBMISSION OPPORTUNITIES FOR BOTH WRITERS AND ILLUSTRATORS. Sylvia will be sharing a list of writing contests and illustration contest. Her list also includes opportunities to apply for grants, mentorships, scholarships and so on.

Each month, the Sub Six Series will feature a different guest blogger who will share his/her thoughts and knowledge on various subjects (see list below). Some months, we will be offering some bonus posts. January is a bonus month with three posts instead of one.

Our titles are not quite worked out, but I can give a basic idea of what will be happening in the coming months.

January is a busy month. I hope you will bear with my many posts. And I hope you will find them beneficial.

We start the month on January 4 with Sylvia Liu’s list of contest and submission opportunities for both writers and illustrators.

Polishing a manuscript before submission is crucial because you want to submit your BEST work. On January 6, I will post a list of things to look for when revising or polishing a manuscript. This post will link to my interview about revising manuscripts on Meg Miller’s  blog for the ReviMo challenge.

Improving your craft is another way to submit your best work. At the end of January, guest blogger Marcie Flinchum Atkins will be showing you how using mentor texts can improve your picture book writing. She will even be offering some worksheets that you can print out and use.

February will spotlight Marcie Flinchum Atkins and her tips for submission organization.

March brings Elaine Kiely Kearns. Her topic will be about things such as, how to choose an agent, knowing when to nudge, and so on.

In April, Yvonne Mes will be helping us learn how to submit without feeling like throwing up. Can you relate?

May is another bonus month. On May 4, Kristen Fulton will share her secrets for submitting nonfiction works. Then later in the month, we will feature Jan Godown Annino who will cover the topic What Critique Pals and I Know about Submissions.

In June, Vivian Kirkfield will be sharing what she has learned about submitting to niche publishers, and she might share one interesting way to get your foot in the door.

July – I will be covering queries and cover letters.

Sylvia Liu  will be returning in August to share her knowledge and experience with submitting as an author/illustrator.

September – December, we will be answering questions that writers have asked about submissions. The questions will be answered by a group of writers who are experienced in submitting to agents and editors.

The Sub Six support group submitted hundreds of manuscripts in 2013. I will be posting the actual numbers in February. I would like to invite anyone that is ready to start submitting to join us in 2014.

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This is my final Doodle Day July prompt. Thanks to Alison Hertz for letting me have some fun sharing my ideas. This one is fun and easy. I often play this game with children, and they love it. All you have to do is have someone scribble on a piece of paper or close your eyes and do your own scribbles. Then look at the scribble from every direction to see what it inspires. In my following examples the original scribble is in red and my doodle is in black. My husband did some of the scribbles and I did some with my eyes closed. As you will see, I did not spend a lot of time on these doodles. I find scribble doodles to be an excellent way to let go of my inner judge and perfectionist. There is only rule for this prompt – keep it simple, fun and quick.

Happy doodling!

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OTHER POSTS YOU MIGHT LIKE

Wishing in Color Doodle Prompt

Mandala-Doodle Samples

Including Art Notes in Picture Book Manuscripts

Interview with Kathryn Otoshi Part One and Part Two

The Social Network Monster that Ate the Author

When My Story Becomes Their Story

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