Why go to ALA?

thoughts from Hazel Mitchell

If you're not a librarian or a publisher, why would you go to an ALA event? (And for those of you who don't know, ALA stands for American Library Association).

My question is, why would you not?

Twice yearly ALA holds a national conference in Mid Winter and in Summer. Venues rotate each year, so they could be in Chicago, New Orleans, Los Angeles, Las Vegas, DC etc. At some point there'll be one near you! And if you're an author or an illustrator (pubbed or unpubbed) take some time and go see what it's all about. If it's within traveling distance, you could just go for the day, otherwise, obviously, there's the cost of travel and hotel, which may be tax deductible. The cost of registering for the exhibition floor is minimal, some of the panels or events will cost extra. Personally, I could spend all day on the exhibition floor and not see everything. Even better -  get your crit group/friends/booklovers together and have a road trip!

Aside from bagging goodies, seeing amazing authors and illustrators, witnessing librarians en masse, browsing the stands of publishers large and small, you'll see a whole other side to the publishing industry and what makes it tick.

Of course, one of the best ways to get there is if you are invited by your publisher, all expenses paid. In fact, a couple of years ago I thought that was the only way you COULD go!

But not so .. anyone can attend the exhibition or register for events that happen all through the week. And if you're published and your publisher has a booth, ask them if they'd like you to do a signing while you're there and if they are willing to get you a pass. Good publicity for you and your publisher. That's my opinion - the world has changed and so has publishing. TIP - you have to invest in yourself and your career.

Signing at Charlesbridge Booth

As I said, you can spend a long time just walking the exhibition floor. If you've a pass go an hour early before everyone arrives, grab a coffee and spend quiet time browsing the stands and looking at next season's books - in peace.

When the doors open, be prepared for a stampede! Librarians in large quantities are a little scary! It IS wonderful to witness the enthusiasm and sheer love of books pouring forth. Many of the publishers give away free copies (or at reduced cost) and arcs/f&g's and they're highly sought after. It's wonderful to have a copy of the book before it hits the shelves! Especially if you can get it signed by the author or illustrator. (Something to treasure on the dark days of winter).

Mo Willems!

Brian Selznick managed to get a photo with me ;-)

Yes, it's a chance to mingle with the great and the good! Maybe you'll only ever see so much children's writing and illustrating talent in one place. The publishers bring out the stars and the signing lines can be very, VERY long. Just the chance to say hello to a literary hero or have a photo with them is inspiring!


You never know who you will bump into round each corner...

Olivia!

Erin and Phillip Stead with Neal Porter watching over.

Editors and art directors are sometimes on the stands along with the hard-working marketing personnel. But this is NOT the place to pitch your idea or go for a hard hitting sell! People are here to talk to librarians and sell books. Not saying that occasionally there's time for a chat or to fall into conversation, and who knows where it could lead? In any situation be professional. If the meeting suggests it, leave your promo card and ask for theirs. TIP - be interested in what's new on their list and you'll always find something to talk about.

With Ellen Hopkins

During the day there are events happening on the floor. Different stages have authors and illustrators talking and demo-ing throughout the day - check out the schedule and mark who you want to listen to. This year I got to hear Ellen Hopkins reading from her new book. Then I got a hug too!

Artist's Alley always has an interesting display of art and artists to talk to.

Jon Klassen receives his Caldecott!

There may be panels you can attend free of charge, so again check the schedule. You may need to register for some of these before the conference.

Aside from publishers, all kinds of book related businesses exhibit at ALA and there are lots of things to browse.

Summer ALA is home to the Newbery/Caldecott awards (among other ceremonies). Treat yourself and buy a ticket for the banquet. TIP - go along to the venue and wait until after the eating has finished. Then interested listeners can sit on chairs placed at the back of the banquet hall to listen and see the awards presented. While the banquet is happening you can hang at the bar! The awards are magnificent, it's great to be in the atmosphere.

Coretta Scott King Breakfast

See your heroes. And talk to librarians!

Beautiful dessert at the Caldecott Banquet

The Coretta Scott King Breakfast is a wonderful event I'd highly recommend.Again, a fantastic atmosphere and will bring you to tears.

S&S Dessert Party

Outside of the exhibition itself you'll find peripheral events going on - a pre-Caldecott talk for example, or other events featuring YA authors. Often local Kidlit groups will organize get togethers. Best of all if you can swing an invite to one of the big publishing houses 'dessert' evenings GO!

Candace Fleming, Anastasia Suen and Eric Rohmann.

One of the nicest things is meeting up with friends you might not have seen for a while. Often people in the book industry are far flung, and events like this are the only time they get together.

With Kirsten Cappy of Curious City

All in all it feels like coming home.

See you at Las Vegas summer ALA 2014!

Find out more about ALA here:
http://www.ala.org/conferencesevents/ala-upcoming-annual-conferences-midwinter-meetings

And for a look at Summer 2013 Chicago ... http://ala13.ala.org/

Thanks for visiting Turbo Monkeys!

Find out more about me at www.hazelmitchell.com

See my latest book trailer for 'One Word Pearl' from Charlesbridge/Mackinac Island Press.

Come meet me at:
Princeton Book Festival, NJ Sept 21st NERA Reading Event, Portland Maine
Sept 19th
NESCBWI Illustrator's Symposium,
Nov 2 Manchester, NH.

An Illustrator's Bucket List by Hazel Mitchell

Last night I thought, 'Oh lummee! It's my turn to blog tomorrow.  And I hadn't a clue what I was going to write about. And then, happily, two illustrator friends messaged me on much the same subject: AGENTS.

Alright, that's a misnomer, I am NOT going to yak on about agents. (Important though they are.)

What those conversations did get me thinking about was my 'ILLUSTRATION BUCKET LIST'.

This began just about as soon as I started to think seriously about my 'career'. (Or lack of one.)

IN THE BEGINNING the list was pretty short:

• Have the nads to spend more than 10 minutes in a children's book store without feeling overwhelmed/excited/suicidal.
• Get published and be fabulously famous. And rich.

I missed a hell of a lot of interim steps out! Like the whole illustration process for one (and two, three, four and five). Luckily I got me to a workshop.

MY BUCKET LIST GREW

• Learn more about kid's books. 
• Go to a conference. Meet some people.
• Get published and be fabulously famous. (And rich).

I reacquainted myself with the children's library and recalled books I loved as a kid plus reading a **** load of new books.
I went to an SCBWI conference.

NEW BUCKET LIST

• I know nothing. (Do something about it.)
• Create a portfolio. One that I would dare show to people.
• Create a website.
• Get a platform.
• Get an agent.
• Get published and be fabulously famous. (And rich).

I DID do something. I read, I listened, I networked, I went to more conferences.I began to draw like I hadn't in years. I started working on dummies. I submitted. I got rejected. I got rejected. I got rejected.

WORKING ON A NEW LIST

• I know nothing. (Do more about it.)
• Create a portfolio. With better work in it.
• GET A STYLE. (What is style??)
• Change website (again).
• Mail out postcards.
• Work on platform. And Blog. And Facebook. And Twitter. And ...
• GET an agent.
• Create more time to work on CRAFT. (gulp. This will mean analyzing my life and work)
• Get published and be fabulously famous. (And rich).

I continued to immerse myself in gaining as much knowledge as I could. I worked on my illustration. I submitted and mailed out. I got rejected. AGAIN. and AGAIN.

BACK TO LIST

• I know nothing. (Do more about it.)
• Work on portfolio.
• Try not to worry about style.
• Simplify website.
•  Mail out postcards. Work on contact list.
•  Work on platform. And Blog. And Facebook. And Twitter.  Don't spend too much time online.
• Get an agent.
• Work on CRAFT. 
• Get published and be fabulously famous. (And rich).

So a few years passed. I found I could now spend a lot of time in bookstores without breaking out in a sweat and feeling totally inadequate.
I was beginning to recognize a glimmer in my work that looked like SOMETHING and not the hodge podge of regurgitated learning from my past life as a fine artist/graphic designer/other. It was - voice.
The time and effort in giving myself a fast education in the children's book industry (via conferences, workshops, internet, books) was paying off.

I got my first real book to illustrate.

PRESENT LIST

• Work on CRAFT. Seek out places to learn more. Be a sponge. Be INSPIRED!
• Create.
• Enjoy.
• Promote.
• Wait for the right agent.
• Hope to work with great art directors and editors.
• Find the balance between work, supporting everyday life, living, and letting the stories out.

All I want to say, (really), is that everyone's list is different, and rightly so. I am amazed at the paths of my fellow artists and writers. There's NO right or wrong way, there is only YOUR way. Our wants and needs change. For me it was from a 'tick list' that gave me a lot of stress, all of those things I thought would lead me on the path to 'success'. Not that we don't find those things helpful along the way! And I needed them to get me motivated. But the 'along the way' is where we are, not where we are going. The most important thing to me now, is to do work that inspires the reader and inspires me. That's where satisfaction lies.

So far I wouldn't change a thing.

Toodles!
Hazel
http://hazelmitchell.com

My newest book is out March 1st '1,2,3 by the Sea',
written by Dianne Moritz and published by Kane Miller.

In the coming months I will be presenting workshops at 'Europolitan 2013' Paris, France and NESCBWI 2013 Springfield, MA.

Why illustrating and writing aren't so very different - from Hazel Mitchell

It seems like the job of an illustrator and a writer are very different. In reality I'm finding they're not so far apart. The more books I illustrate the more the crossover becomes apparent. In my 'spare time' I'm writing stories. The more I write, (and the more I illustrate) I realize the tools and techniques are much the same - it's just what I do with my hands that's different.

In the beginning is the story. As an illustrator usually when I get the m/s the writer and editor have finished their work. Then I begin all over again, creating another story to weave with the words. The pictures are words in another form. For what are visual marks on the paper except another type of language?

As the writer begins with notes and jottings and outlines and character sketches - so does the illustrator. The first visualization of a character or a setting may be extremely rough. In fact I usually begin by writing a whole series of notes on the m/s before I sketch anything. When I begin to find the way into the book, there's a lot of notes and doodles happening that make no sense - except to me. Scribbled around drawings, or just writings. It's my visual thought chatter.

First draft = thumbnails. When the writer gets those first words down they are rough and clumsy like turned earth in a ploughed field before the elements break down the clods for springtime sowing. So it is with the illustrator. Everyone works differently, but usually there is some sort of system where the pages are broken down into little squares or rectangles. A rough feeling for flow and composition and placement happens. Mood and shape enter into it, a feel for the second story that will help bring the words to life for the reader. It's a time for not over thinking, but for playing - for getting it down. Just as the writer did.

Second draft. Where it gets more detailed. Time to go back and edit and expand those thumbnails. To see what's moving the story along and what's not necessary. Personally at this stage I work at 75% size and begin to flesh things out. I'm thinking about flow at this stage and page turns. How to create tension and check the story arc. Are the illustrations working with the plot? Are they moving the story forward? Are the illustrations coherent with the style of the story and the genre - or are they inappropriate? If so, why? Do I need to get rid of them? Is there an illustration in there that is purely indulgent or can I cut it? Have I missed anything? Do I need a different illustration or point of view? Who is telling this story? Who are the secondary characters? Do I need characters and information that are not in the m/s? Why? Will they enhance the book or distract? Do they help to move the story along, emotionally strengthen the main character's feelings (often in a book for very young children a sidekick can evoke what the m/c cannot).

At this point I will pin the roughs on a wall and consider them. Look at them all together to see progression. There's something intangible that lets you know if it's working or not, personal to the artist, just as to the writer when they make up a spreadsheet or chart of their book and are able to see at a glance where the story is going. I'll be looking for rhythm and consistency, variety and any needless repetition. If I don't like a spread I can pull it and redo. (Sometimes there's a lot of redoing). Have I left room for the text? In picture books the chunks of text and where they're set on the page is as an important visual element as the pictures. Young eyes must be able to read easily and connect the text with the visuals and vice-versa. You don't want them jolted out of the story. In effect I'm storyboarding the book.

 Now is when the layout would most often go back to the art director for a look see and edit. It's like the first time a writer's editor sees the story. Here's where illustrators will get the first edit. The AD may send you written notes, there may be telephone discussions. There will be revision. Just as it is with the writer.

When the revision's are given the okay it's on to the final draft. Of course this is entirely dependent on how the illustrator works. Digital or by hand, careful pencil or more loosely straight onto the paper. Everyone is different, just as writers are different. Some illustrators may work chronologically through a book, others work on different parts of the book all at once, or start in the middle or at the end. It's what feels right.

As the illustrations progress I like to replace the rough drafts on the wall with the finished pieces or print outs. That way I can see how it's coming together. I'm check for consistency of style - voice - flow - and making sure I'm not straying from the story. Am I loving the characters? Is the colour consistent, the mood, theme? Are there areas I need to work on? Or do over? I'll know when I hate something. It's like grit under the finger nails. You may have a lot of contact with the publisher - or you may prefer to work right through before you show the work. Just as an editor is there to talk to the writer when they get stuck or blocked, so it is with an art director and the illustrator.


Finally, it's finished - 'the final draft'. Polished as far as you are able. Knowing when to stop. It's time to send the proofs to the AD. There may be final tweaks, things to adjust and give more thought to. The final page - the cover - the end pages. Until - that's it. Final art is delivered and the next thing you know, it's book delivery day and your job is done!

 Whatever we're creating, the process of draws on essentially the same treasure chest of skills. What makes them special is YOU.

Thanks for dropping by Turbo Monkey Tales! Call back next time to visit with the lovely writer Julie Dillard.

The illustrations are from my new book from Kane Miller '1,2,3 by the Sea' by Dianne Moritz pub Spring 2013. The book is available online and soon from all good book stores.

It is also available as an ebook

Watch the book trailer here ...

Thanks for visiting!

Hazel
http://hazelmitchell.com

all images © Hazel Mitchell 2013

Making a list - checking it twice - yep, it's postcard mailer time!

Postcard Promo's by Hazel Mitchell

Illustrators, here's where we have a major advantage. Postcard promo's. Whether you are published, unpublished, agented or unagented the likelihood is you have/are/will be mailing postcards at some point in your illustration career.

If you're new to the business of children's illustration and considering mailing out postcards, here're some basics to get you started. 'But wait!' (I hear you cry) 'A postcard is a postcard, surely?' Yep, it's a piece of card with a stamp, but it's what you put on it and where you send it that matters.


More often than not, when considering a first mailout, we tend to think: WHAT IS GOING TO MAKE THE MOST IMPACT SO I GET SEVERAL FAT CONTRACTS FIRST TIME AND NEVER HAVE TO DO THIS AGAIN!!!

Unfortunately, it doesn't work like that. (Well, not for me anyway). The high-faluting-all-singing-all-dancing-die-cut-embossed-with-a-resume-included-and-portfolio-plus-recipe-for-chocolate-chip-cookies rarely gets much attention. OK, so they will eat the cookies. Because we all know chocolate gets you what you want, right?

Reasons include
1. The time the recipient has to look at your submission. If it's too complicated, it will likely hit the area of the office called - trash can. That is, if it even gets ONTO the slush area. Even opening envelopes takes up precious time, and with the amount of mail constantly hitting publishing offices, you don't want to aggravate the lovely people straight off.
2. You are trying too hard - let the images speak for themselves, with minimum info.

So here's some good rules that I have learned along the way, from people better qualified than I.

MAKE A LIST
And yes, check it twice. In fact, check it every time you mail out! Because people move around and addresses change. All the time!! And rule 101 ... use a spreadsheet. It's SO MUCH EASIER.
WHO? 
Make sure you are targeting the right publishers and the right people. There is no point mailing to companies who won't be interested in your style/genre of work. When you begin compiling a mailing list, there's no way around it - it's a lot of work but if you do it right you'll benefit for many years to come. You may want to compile more than one list. Art directors in one, editors in another. The companies you mail to may include publishing houses, magazines, multi-media companies, game and toy manufacturer's. What ever floats your boat and whatever part of the industry you want to work in. You may also want a separate list if you are looking for an agent or art rep. Later on, you may have lists for schools, libraries, reviewers, readers. Did they tell you about this in art school. NO! (At least not in mine).
HOW
No easy way. Sorry peeps. Trawl through the Children's Writer's and Illustrator's Market and read the publisher's section. You'll find addresses and names. Join SCBWI, their yearly guide includes a market guide to publishers and their national and local bulletins always include publishers looking for submissions, info on editors etc moving houses, new imprints. Attending conferences can also bring you a wealth of info for your mailing list (makes the cost doubly worth it). Harold Underdown's website has regular updates on the work movement of editors and art directors. Check places like Publisher's Weekly, Publisher's Marketplace for new info. There are a myriad other resources ... Jacketflap etc. Go to your local bookstore and look at the kind of books you want to do - sometimes the editor is listed on the verso page info. I mention editors because they also have a lot of input on the illustrator they would like for their books. So it really is worth mailing out to them too. All I can tell you is ... keep your list up to date and if (when) you get returns CHECK the person and the address. You can always call the company if you need to! Bottom line, a name on the card will give you a better chance of getting you out of the slush pile of DOOM. As will a stunning image, of course!
SHARE
One way to make keeping a mailing list easier is to share the burden with a trusted group, or one other illustrator. Then you can share keeping it updated and adding to it. Better like those buddies though ...
NUMBERS
How long is a piece of string? My AD list is about 250. With editors it's well over 500. But I have a 'I really want to work with these people' list of 100. Which is more affordable. You also may keep a list that is international. Hey, who has time for illustrating? I am too busy keeping lists.
SIZE
I like the standard 4" x 6" printed both sides. Boring? Possibly. But what AD's and editors like to do is pin the cards to their noticeboards (if they like your card!) so that they are in view for that certain manuscript. This size doesn't take up a lot of room. I have tried different sizes, and it doesn't make a lot of difference to the result. You can get bigger, smaller, narrow, blah blah blah. All I can say is I like to keep the cost down - it's important!
PRINT
Colour is about the same cost as black and white these days. Printed both sides is usually more expensive, but worthwhile. With digital print you can get as few as 25 cards. Often 1000 is the same cost (practically) as 500. Then you have cards to give away at visits and conferences. (I always collect cards at conferences - got to keep abreast of what the competition is doing!) Different companies offer different finishes - gloss, satin, matte and some have different card stocks. It's a personal choice. Also printing on different stocks can make a difference to colour output. Check the specs - does the company require CMYK, JPEG, what resolution, bleed etc. If you are not tech savvy, try and find another illustrator or pay a graphic designer to help. Or feed them cookies. But make sure you have a GOOD image to print on your card. There are an abundance of postcard printers online, or maybe you have a good place in town that can help? Pay for the best quality you can. Ask for samples .. they should send you a bunch free. When you order, make sure you have given enough time for the cards to get to you. Who needs nasty surprises if you need those cards next week??
Some of the companies are:
Overnightprints.com
vistaprint.com
moomoo.com
Just put in 'postcard printing' in a search engine ... you'll come up with a bunch. Plus, ask your friends who they use. If you don't have friends who send mail outs, network!!
You may also want to use a mailing company who will print, merge your mailing list, stamp the postage onto each card and then mail them for you. Sometimes this can even work out cheaper! But watch the quality.


CONTENT
What to stick on there? The first card I sent out I thought was hilarious! Unfortunately it had nothing to do with kid's illustration. What was I thinking? I didn't get to read a blog post like this, that's what. So, make it relevant, make sure it is representative of what you do and who you are. If you don't want to work in that style, don't send it! Send your best work. If you do a larger card you might want to include one big image and a couple of smaller ones on the front. Include your website address on the front, (what? make a website NOW!!!)  so it's easily seen when the AD or editor pins it in the middle of their board. On the back keep it simple. Again, I used to put a whole lot of info. Now I just put my website/portfolio address, name, address, email, telephone at most. Let this be about the artwork. I often add a small spot in black and white/grayscale on the back related to the image on the front. Some people do colour both sides, but I am from Yorkshire and we like saving money. Remember - the card usually has to make it through the GATE KEEPER (dun-dun-duuuuhhhh) possibly a design or editorial assistant. If you can make them go awww ... or wow ... you might make it to the BIG DESK OF AUTHORITY.

FREQUENCY
It's up to you. Most illustrators do a quarterly mail out. Or bi-yearly. Or yearly. Or once a month ... or ... argh. See? Very personal. You can mix it up and do a quick double/treble hit just to shake up that publisher. But just make it professional. Also, depends on how rich you are. Like I said, I don't like spending money.
STANDING OUT
What can I say? Good work speaks volumes. (So does bad work). If you are too ostentatious you might stand out for the wrong reasons. However, postcards are NOT the only way. I have heard people talk about sending small booklets of illustrations, or a pack of cards, or a mini portfolio or a concertina gizzit. You might include a short bio ... or a pitch on a book related to the image. This is where we stick it to the writers. In the end you might make a big splash with it and be set forever. These things cost $$ and are a biggish investment. But for ongoing 'hi, it's me, I'm still out here, working and ready for your great m/s' you can't beat the good ol' postcard.
LABELS
If you did what I said and kept a spread sheet, then printing labels is a doddle. I print on to Avery labels and use the easy to use software online from Avery. Of course, there are lots of other programs you can use on your computer.
EMAIL
Yep, some more advanced publishers don't want us using the world's resources up and ask for email's only with a couple of jpegs. It's great - you can start making a new list RIGHT NOW. Please send it to me on completion for checking ;-).
RESULTS
Here's to them! All I can tell you is over the years postcards have gotten me work. I believe in consistency and persistency. (sp?) Your first mail out may bring you NOTHING. Also: the second ... but, here's the thing, that postcard may be pinned to the middle of that notice board, waiting .....

Thanks for listening! If you have any other ideas, please feel free to add them to comments. (But don't be surprised if I nick them).

Hazel
Find me on Facebook
Portfolio

PS - I will be teaching workshops at the NESCBWI conference in Spring 2013

and my new book is '1,2,3 By The Sea' by Dianne Moritz from Kane Miller publishing Mar 1st 2013.

The children are listening ... from Hazel Mitchell

Lately I have been working towards visiting more schools and libraries. Next year I have two picture books coming out for young children and now is the time to start thinking about what I can do to help promote them, including school visits and workshops. I live in a rural area of Central Maine and reaching out is important, especially with cut backs on art and creative time in schools and libraries in my area. So I have been thinking about what it is I can offer and how important that is to children.

Which got me to thinking about my own experience of author and illustrator visits in schools when I was a child. I racked my brain and I came up with virtually nothing! I keep thinking we MUST have had visits, people MUST have come to speak to us, but nothing stood out. I don't think I even knew what an illustrator did until I got to college. (And not hardly then). We had school trips to museums and (possibly) art galleries, but most of my knowledge came from wandering around museums and galleries on my own. And, of course, the wonderful old library in our town.

I say virtually, because I do remember ONE visit to my school by an author. I think I was about 14 years old. At that time I was constantly drawing and writing, making  little comic books and newsletters. Working on the school magazine. Making up plays. So I was interested to see what a REAL author did.

In my memory she is somewhere between 35 and 85. Wild grey hair, no makeup (possibly), hippy clothes and baggy cardigan. We gathered in the library, myself and my best friend up at the front of the crowd. She must have told us something about her life as an author for adults, but I only recall that she read us some of her writing. And I was appalled. This was writing?? The story, I believe, was about a woman's life. Except all I remember was a long, long list. A list about everything in her kitchen, her cupboard, her fridge, her closet. And it went on and on and on. I am sure it was a good idea, experimental, deep, 1970ish. Anyway, she was published so I respected that.  But I preferred my Bronte, CS Lewis and pony books.

At the end of the reading we were set the task to write a short story from a set title. The author would read them and then come back and talk to us about them at a later date. My best friend and I were mega excited ... we ran home and started writing. The stories were sent off and we waited for the return visit.

In the library the author gave our stories back to us. I turned excitedly to the last page to see what she'd written. 'Good Try'. Oh. My heart sank. I peered over at my best friend's story. Her last page was covered in flowery writing. She grinned widely and showed me. 'Natural writer, what a voice, you are a born story teller!' I smiled and offered congratulations. Then I sank down in my chair and hunched my shoulders.

My best friend stood at the front of the class and read out her story.

I went home. I got out my drawing pad and I drew. And I drew and drew, because this much I knew - I could draw! And if they noticed nothing else, they would notice that!

I stopped writing. Or at least I stopped thinking about it as much and enjoying it. I still read voraciously. Gradually ART took over my life.

Later, in my twenties and thirties, I started to pen little stories. I never did anything with them. They were just scribbles. Drawing was how I made my living. And then, finally, in my late 30's, the urge to storytell begin to re-emerge. I sent off a few chapters to agents .. I got some hand written rejections which I cherished. And then, mid 40's I realized there was nothing else I wanted to do with the rest of my life than to follow my dream and illustrate and write - for children. My writing is coming on, it has a ways to catch up with my drawing, but it will.


I tell you this story because it is a reminder to me, and to us all, that the children ARE listening. When I do a visit to a school I will bear in mind that every child is important - not just those with the talent that shines most brightly. And as I do more of these visits I realize that one of the most important sessions is the Q&A. Because that's when you really get to talk to the children ... not just tell them about you. I am going to sit up and pay attention to what THEY have to tell ME.



Thanks for listening and if you have any links about school visits or your experiences, would love to read your comments.

Toni Buzzeo article

More information on school visits

Toodles 

Hazel

http://hazelmitchell.com

Facebook

PS. I still love my best friend. She has a fabulous family, is a great cook and performer. But she has not, as far as I know, yet written and published a novel. Of course, there is still time!

Portfolio 101 - by Hazel Mitchell

Putting together a portfolio should be SIMPLE, right? Just put in your best work and make sure it's in the style you want to work in. That's it. Then why is putting together a portfolio such an AGONIZING process? I think it's because as illustrators we're constantly changing and developing. What we did a year ago - six months ago - yesterday (!) may completely change our perspective on our work. Oh, the hours we can spend fiddling with our portfolio ... the hours I have spent!

And here's the thing ... it's totally subjective. What may get one art director/editor/other dancing on the ceiling, could leave the next one as damp as a rained out firework. That's why there's room for all of us (well, the diligent) in the world of children's illustration.

One illustrator friend of mine gave her portfolio to her friend and said - YOU DO IT! Good idea. But if you don't have an obliging friend handy, here are some guidelines:

Augmented Reality -- Not Just For Geeks

Greetings it’s me Craig,Turbo and my new assistant Smittens. 

So, today I’m writing about AR.  

No, it’s not pirate speak, not the state west of Memphis, and no my good teacher friends, not Accelerated Reader.  I’m talking about Augmented Reality.  Sound like Future Geek Speak? Until now it has been just that.

Originally AR technology was created for the military to provide marking ability of landmarks. 

If you have watched football in the last few years you’ve seen AR technology at work showing viewers the first-down line.

According to Wikipedia: Augmented reality (AR) is a live, direct or indirect, view of a physical, real-world environment whose elements are augmented by computer-generated sensory input such as sound, video, graphics or GPS data.  

Blah, blah, geek, nerd, geek, tech speak...

No one knows anything - from Hazel Mitchell

Last time we met here on Turbo Monkey Tales I talked about style and how to get it. I was going to do something similar and talk about the elements of the picture book, or story arc, or layout or some such. But when I opened the clean, white page of the 'new post' I found I didn't want to talk about that stuff at all.

A phrase has been tootling around the small space between my ears and that phrase is 'no one knows anything'. The more I think about it, the more convinced I am it is so.

This philosophizing was brought on by a Q&A with 'Roaring Brook Press' editor Neal Porter at a Highlight's Foundation workshop a couple of weeks back. Pretty much at the start of the discussion Neal quoted Hollywood screenwriter William Goldman - 'no one knows anything'. (Goldman was talking about the movie industry, but applying it to the industry of children's books makes a lot of sense).

I sat attentively, pen poised, ready to take notes like billy-o, absorbing pearls of wisdom. (I hasten to add there were MANY such pearls). But then I stopped writing and just listened. (see below).