One Word Pearl and the Beautifully Full of Words Hazel Mitchell

by Amy Allgeyer Cook

Today, I'm super happy to be interviewing my dear friend and fellow Turbo Monkey Hazel Mitchell, whose latest illustrations hit the shelves last week in the darling new picture book One Word Pearl, written by Nicole Groeneweg.

So, Hazel, give us the pitch for One Word Pearl.

Pearl loves words. All kinds of words. Words make up songs, stories, poems . . . and what does a lover of words do? She collects them, of course!

But one day most of Pearl’s words are blown away, leaving her only a few which she keeps safely in her treasure chest. After that day she uses each word carefully—one at a time, until she has no words left. When her teacher asks her questions at school, she doesn’t answer. When her friend wants to know what she has for lunch, she can’t respond. What will Pearl do without her precious words? Will she ever find them?
One Word Pearl explores the power of words to transform, inspire, and cultivate imagination. This whimsical story is the winner of the National Association of Elementary School Principals (NAESP) Children’s Book Competition in the Picture Book category.

(ISBN 978-1-934133-53-8 $17.95 HC  -- Ages 5–8)

It sounds fantastic. What’s your favorite part of the story?

A look at the Bologna Children's Book Fair

by Hazel Mitchell

This year I visited the Bologna Children's Book Fair in Italy and I wanted to share my experience and the benefits of visiting this prestigious event.

The Fair was celebrating it's 50th year. It was my first visit to Bologna and I combined my visit with a trip home to England (where I was born) and also the Paris Europolitan SCBWI conference.

I was lucky enough to hook up with the SCBWI Illustration Co-ordinator for Europe (Kirsten Carlson who is a wonderful artist! and we shared a cute little apartment that was VERY reasonable compared with hotel rooms, right in the heart of the old city. We could walk everywhere or easily get the bus/taxi. Restaurants were on every corner and it was easy to buy groceries etc.

Bologna is the most fabulous city. The architecture is beautiful, the food amazing and the people so friendly and accommodating. This was my first trip to Italy and I am longing to go back!

I felt very safe there walking around on my own, even at night. There are so many museums, shops, art galleries, so if you go, try and give yourself a little time to get around the city as well as the fair.

Every 2nd year the SCBWI have a booth at the fair and it's a good idea to go in that year, (if you're an SCBWI member), because there will be lots of people to connect with, hangout with and go to dinner with! Find out more at http://www.scbwibologna.org/ - they will have a booth there in 2014 and lots of SCBWI happenings.

The fair is HUGE. In reality it is very much about selling rights and watching the business happening on the floor is fascinating. The halls are many and filled from wall to wall with publishers from every region of the world. It's an education to look at books from other cultures, too. You'd do well to study the guide before you get there and find out where the publishers are that you'd like to visit.

Make sure you have comfortable SHOES, stay HYDRATED and take RESTS. It's fun just to stop, find a resting place and watch the book world go by.

 Be sure to have coffee and arrive before the crowds.

So why go? For me, I was curious to visit this legendary book fair and to network with publisher's from around the world. There is also a very big contingency of illustrators attending and events for illustrators. So if you are an illustrator it makes complete sense to go.

I have to say if you're a writer, it's a big investment for what will be a great experience, but much harder to network. Having said that I know plenty of writers who've been and there are many, many editors and agents around to chat with if you network hard.

In this pic you can see the famous 'illustrator's wall' behind me where everyone leaves their postcards.

Each year there is an exhibition of illustrators which you can enter via the Bologna Fair website. It's very interesting and usually includes many avant garde illustrations from across the globe. This year there was also an exhibition of Peter Sis' work and Peter gave many talks throughout the Fair.

Peter Sis talking about his life and career in the Illustrator's Cafe. You do have to listen to the Italian translation though, which can make the sessions a wee bit ... long. Take a sketch pad!

 

There's lots of other great things going on, like the digital cafe which ran great panels and discussions. You will find a plethora of panels and talks to attend.

The fair runs for 4 days. It's not terribly expensive and illustrators can apply for a discount voucher to reduce the price.

Nearly all day the big publishers are in meetings and it's hard to get on their stands unless you have an appointment ...

Some of the publishers will see portfolios and they announce this on their stands for particular times during the day. I do have to say, though, standing in line with a bunch of what mostly seemed to be art students for hours didn't seem to me to be a good use of my time, but I'm sure some people are discovered that way! For me, I was happier browsing the stands and chatting to marketing/editors/art directors if available and giving them a card and taking one to follow up later.

There is a LOT to see and much of it is great fun and a visual feast. I did two days at the fair and didn't see all of it!   Here's a tip .. after the exhibition officially closes, many of the booths have drinks parties (and food!) so seek these out,  

eat cheap and meet contacts and new friends! But for goodness sake, remember those comfortable shoes!

Here are some MAD MEN ....

While you are walking around, look above when you're standing in the Illustrator's Cafe and you will see a big glass room. Go up the escalator and gaze at the rows and rows of tables and chairs, (like something from 1984), seating agents talking to buyers and look in wonder. THIS is where the real business happens!

If your publisher is there, maybe you'll find your book on display too! There are very few signings at Bologna, it's not that kind of fair. It is all about the selling.

One thing there is a lot of at Bologna is wonderful food, even in the cafes at the convention centre. This was a lovely light lunch I had on one of the days.

 And, of course, after all the walking and talking was done, there was dinner and wine and FRIENDS!

 I would thoroughly recommend a trip to Bologna, even if it is only once in a lifetime. Plan carefully, and have a great time!

Toodles
Hazel

http://hazelmitchell.com
"One Word Pearl" coming Fall 2013
Click here for my events diary

So you're going to self publish ... you found yourself an editor. But what about the art?

by Hazel Mitchell

You got options. We all got options, these days. Let's look at the possibility that you're going to self publish your story.

Maybe you're not doing this because you are abandoning traditional publishing. There could be several reasons that you're going down this path.  I'm hoping it's NOT because you are desperate to have a published book in your sticky mitts. Self publishing (and making a success of it) has to be one of the hardest (and most expensive) ways for an author to see their book in print. Maybe you have a niche book .. you know your market, you can sell a lot of copies. Or traditional publishing doesn't appeal to you - you want to keep control of your book and sell it for many years to come. Or you have a good online base and are going to sell online. Or you love marketing and a challenge!

Whatever the reason it's becoming more and more of a requirement for your book to be as PROFESSIONAL as possible to succeed in an over-crowded market place. Whether your project is a physical book or an e-book, there's a whole support team you may need. No, wait, very PROBABLY need!

You've got a great story. Maybe it's a novel, non-fiction or a picture book. For reasons (as above) you are not submitting it to publishing houses. You're going it alone.


Route One - you use an 'all inclusive' publishing house. They do everything from editing to marketing. Read no further.
Route Two - you are going to put this book together yourself and hire all the individuals.

You'll need:

An editor. (Don't skimp on this one - an editor is a damned fine idea. God made them for a reason. OK, they have issues, but they are GOOD issues). You are the creator, not the editor. Publishing has worked good for this long for a reason. Everyone has their own job to do!

An illustrator. (Maybe you are also the illustrator? Fine) Hmm .. let's come back to that one.

An art director. Really? What the hell do they do anyway??

A book designer/graphic designer. (No, you can't just knock up the whole thing in word or similar.)

A proof reader. (Hire a pro, or maybe your editor will offer this service).

A printer. (Shop around.)

A marketing professional. (You, possibly.)

A PR person. (Nice to have.)

An understanding partner. And lots o' stamina. And not a small amount of investment (hence understanding partner.)

That's a lot of people right?

And here's the thing. Unless you are a professional artist/illustrator, most creators will need to hire someone to produce a cover and any internal art. Find the best you can. (That's the best, not the cheapest.) Don't be surprised if your favorite book illustrator isn't interested. They're usually busy working on their own projects. But good illustrators can be found to produce self-published projects. But expect to pay industry prices. Check references and see previous work.

You may be lucky and find an illustrator who can also do the book design. If not, then find a good book designer.

But wait, I was talking about art directors. You understand the need for an editor, but an art director? Hell, you know what looks good, why pay someone to tell you?

Because a professional art director can save you a lot of money in the long run. Without someone to oversee or place a guiding hand on the entire project, then your vision, (and all the money you're investing in it), may come to nothing. 

You CAN get by without an art director. But I'd suggest, (just as any sane person would hire an independent editor), it's as important to have an art director look over the total design BEFORE it's produced or illustrated. Someone who can pull the project together, advise on any design issues and look at the art from an outsider's POV.

It could be the difference between a project booksellers can't wait to get on their shelves, or that festival organizers are begging to have at their events. A poorly produced book, however stellar the writing or art, will NOT get a second glance from a professional buyer. Or hold the attention of a reader. Think about it.

Seeking out these individuals is a bit harder than locating an independent editor. But it can be done. Ask your editor if they know an independent art director that would work on your project. If you hire an illustrator or book designer, they also may be able to refer you. Ask contacts or your local SCBWI chapter for any information they have. Get a copy of the Graphic Designer's Handbook and leaf through the directory. Also of help might be The Graphic Artist's Guild and the Art Director's Guild. And then there is always the internet - but check references! A great website to look at for talented individuals is http://www.creativehotlist.com/.

What I wouldn't suggest you do is call an art director at a publishing house. They are working for someone else!

Don't leave it to chance. It could be the difference between a successful book or the waste of a great story.

(Also ... if you know any, OR are a freelance AD, leave a comment!)

Toodles!
Hazel

See my latest books at - http://hazelmitchell.com/Hazel%20Mitchell%20Books.htm
I'll be speaking next at the Europolitan SCBWI, Paris, France on 29-30th March.

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.

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).

What's your style? by Hazel Mitchell

I'm pretty much surrounded by writers here on Turbo Monkey Tales, so choosing the first topic for my first blog post here has been a little perplexing. Should I try to address you writer folk out there, or stick to my knowledge base, illustration? Or try and talk about illustration and writing and how they work together ... oof! I put the kettle on and had a cup of tea. (It's what the British do when they have to solve a problem - it's what the Brits do at any given time really!)

And while the tea was mashing (Yorkshire speak for brewing) I thought of the first question that most beginning children's illustrators are burning to know the answer to:

HOW DO I KNOW WHAT MY STYLE IS?

and the second question

HOW DO I GET ONE?