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

Monkey Favs: Writing/Illustrating/Kidlit Related website

We monkeys are taking a lil' holiday, going swingabout for a week to hang with our tribes. We wish you healthy, happy and inspired Holidays and a truly wonderful New Year! If you have a little quiet time between your festive frolics, you might check out some of these great websites...

Amy:  Querytracker—not only helps you find which agents or editors might be interested in your ms, but also helps you keep track of who you've queried and their responses. And Harold Underdown's The Purple Crayon website. Tons of info on the kidlit publishing process and a "Who's Moved Where" of the publishing industry.

Craig:  DrydenBooksFacebook page—Emma posts great daily links to kidlit articles, news and websites

Ellen:  YA Muses, Laurie Halse Anderson’s blog

Hazel:  Seven Impossible Things Before Breakfast and Turbo Monkey Tales (Yay for Monkeys!)

Julie:  Writer Unboxed, YA Muses, YA Highway

Kristen:  Verla Kay’s Message Board --nearly every question you've ever asked yourself about kid lit is answered here, somewhere, on this message board. Take a few hours to poke around and you'll probably make some new friends.

Marilyn:  Amazon – because I see all my favorite authors there and I can have their books in my hand or on my Kindle in seconds or a few days. I also enjoy simply shopping for the latest tools and resources for writers without having to leave the house. (I also love going to bricks-and-mortar bookstores and browsing and buying from them.)

Sarah:  Janet Reid, Literary Agent and Queryshark

Monkey Favs: Favorite Book on the Craft of Writing/Illustrating/Kidlit

We monkeys are taking a lil' holiday, going swingabout for a week to hang with our tribes. Wishing you healthy, happy and inspired Holidays and a truly wonderful New Year! If your Santa is sweet, maybe you'll find one of these great books in your stocking!

Amy:  Alexandra Sokoloff’s Screenwriting Tricks for Authors

Craig:  Save The Cat by Blake Snyder

Ellen:  The Art and Craft of Writing Historical Fiction, James Alexander Thom

Hazel:  Stephen King – On Writing

Julie:  Bird by Bird, Annie Lamott

Kristen:  Goal, Motivation & Conflict by Debra Dixon

Marilyn:  Writing the Breakout Novel Workbook (Maass) and Plot & Structure (Bell)

Sarah:  I find I fall back more and more on what I learn in workshops than what I read in books…the Nevada SCBWI Mentorship and Patti Gauch’s amazing Heart of the Fantasy Novel workshop through Highlights were both wonderful.

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...

Inspiration©: A Software Tool for Writers

Posted by Kristen Crowley Held

As you've probably guessed from my collage post, I'm definitely a visual thinker. Today I thought I’d introduce you to another visual brainstorming method: webs! 

Keeping the Balls in the Air

Hello.  My name is Amy and I’m a YES-aholic. 

If you’re looking for someone to care for your llamas while you’re away, build cardboard pagodas for the school food carnival, or teach thirty first-graders to sing and dance like monkeys…then YES, I’m your girl!  I’ve served on boards, coordinated critique groups, established organizations and launched everything from books to water balloons. 

I also run my own architecture firm, captain a couple sports teams, part-time single-mom my kid, president the PTO and turn nouns into verbs.  I have seven siblings, a host of lovely friends, and stacks of unread books for which I never have enough time.  And in the cracks between all those things to which I say YES, I write. 

I’m guessing this sounds familiar. 

Not-Writing

School has just started here in Virginia, and like many teachers, I’ve been asking my students what they did this summer. So it seemed appropriate to write about my summer, and how I learned the value of Not-Writing.

My summer has been framed by two Highlights workshops with the fabulous Patti Gauch: one in May, the other this October. Between May and October, I was supposed to write the entire first draft of a new story. 

No worries, right? 

I'm a huge proponent of the Butt in Chair school of writing: You write whether you feel like it or not. You hope the muse shows up, but if she doesn't, you don't sit at your desk, weeping softly and consuming large amounts of ice cream. You write. Finally, the muse feels so left out that she actually shows up. 

Imagine my surprise when I discovered how well I wrote when… I didn’t write. Here's what happened:

Courage, Strength Welcome Here

Greetings, monkeys—turbo and otherwise! Marilyn here. One of my favorite sayings is, “Be strong and courageous.” Whenever I feel discouraged, that message picks me up, gives me a cold drink, and nudges me forward. Writers and artists need strength and courage from time to time. When you're low, here are a few ways to find them.

Be strong in listening to your muse. I don’t mean to wait for the muse in order to create, because you know as well as I that if we did, very little would get done. What I mean is that we all get our inspiration from somewhere, and it’s up to us to find where it lives. It might be a type of music, or gorgeous writing or painting at a level you want to be creating. Perhaps meditation, candlelight, a particular scent, being in nature, or yoga is your muse. Your children, your romantic relationship, or your faith might open the channel to your creative self. When it does, spend some time with it. The muse is always speaking, but do we always listen?

Be strong in saying No, and courageous in saying Yes. When we know what we do and don't want, it’s easier to say No kindly and without apology. Clearing your schedule, your assignment list, and your life of tasks that aren’t a good fit allows two things: (1) others who are better-suited and -abled get the opportunity to say Yes to them, and (2) you have the space to say Yes to those things that are the best fit.

Why Slog When You Can Collage?

Not long ago I had a conversation with a writer friend (I’m looking at you, Heather Petty) about the book I’m currently revising. Okay, mostly it was me despairing about my ongoing revisions and her listening patiently. And then she said this:

“If you are slogging through the writing, it will read like slog. You need to find the fun again.”

A few weeks later I stumbled across a post on author Jennifer Crusie's blog in which she described using collage to brainstorm her books.  

     As a costume designer, part of my process included creating a concept board (also known as a mood board, inspiration board or design board)- a collage of images and fabrics that could be used to communicate my design ideas/concept to the rest of the production team. 

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?

Giveaway Wrapup!

The winners of the following prizes are:

Monkey Change Purses:  Linda Tate, Roberta Gallagher Rivera and Kevin Barry

Fused Glass Necklaces:  Janis Seminara and Paula Sheen

Pitch it Like a Movie

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We are pleased to announce...

...Turbo Monkey Tales will officially launch August 13th!  Please join us for meetings and greetings, giveaways, and general Monkey mayhem!

Turbo Monkey Tales is a group blog focusing on the craft, production, marketing and consumption of Children's Literature.  We are illustrators, writers, animators and media mongrels.  We are readers!  We are published, unpublished and self-published; agented and searching, and 100% dedicated to our Kid Lit journey, no matter where we are on the path. 

Click our bios to learn more about each monkey!

Coming Really, Really Soon!!!

 

Eight little monkeys jumping through the world of Kid Lit...

Join the Turbo Monkey Tribe!