Magic, turn-the-book, jars, board books, the other side, THIS, and what's missing: Author/illustrator Deborah Marcero
Charlie Barshaw coordinates our regular Writer Spotlight feature and interviews writers of SCBWI-MI. In this piece, meet author/illustrator Deborah Marcero.
Congratulations on your newest Book Baby, The Great
Escape. It’s gotten starred reviews and universal praise. The book is about
magic, ostensibly the magic Evie uses to try and escape the relentless presence
of her three younger siblings. But, as an insightful reviewer points out, “the
best magic isn’t about making problems disappear but rather finding new ways to
orient to them.”
You recognize that what you do is magic, conjuring up
stories and images from a blank page. Where do you find magic in the world?
I find magic in nature, the
creative process and the present moment. I find magic in connection and in
writing stories and making art. The act of creating often makes time disappear
– and that definitely feels like magic. I find magic in imagination and the
wild creativity that happens there.
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| The Great Escape line work |
Evie is a protagonist based on
my own childhood. I grew up on a small farm in rural southern Michigan as the
oldest girl with four brothers and one younger sister. In my early childhood we
didn’t have a TV. When I was seven or
eight, we got one, but only had 2.5 channels transmitted over a very large
antenna. So, I read. I played outside. My siblings and I made up games and
played sports. We dug for dinosaurs. In the winter, we skated on the pond until
our toes were frozen.
In my free time, I wrote poems and illustrated them. It
was a simple life with very few extras, but I wanted for nothing. From very
early on, my imagination was one of my favorite places to be. Part of my joy in
creating The Great Escape was exploring and expressing the powerful magic of
imaginative play through art, storytelling and design.
You incorporated images from the James Webb Space Telescope.
How did you do it?
I blended the images from the
James Webb Space Telescope into my watercolor paintings through layering
techniques in Photoshop.
Around the time I was making the
art samples for this book, preparing to go on submission, the Webb Telescope
was all over the news, publishing some very striking images of our universe.
NASA shared that the high-res images would be immediately available in the
public domain.
At that same time, I was painting an outer space sky with
watercolors for the magic realm of The Great Escape and I wondered: What
would happen if I could somehow blend the photographs into the paintings? I
had to try.
When I placed the Webb images over the watercolors and gave them
some transparency, it was a big YES moment. Integrating the photographs from
NASA elevated the visual atmosphere of the magic realm, while still fitting the
art style of the book.
When Evie dives into a snowbank to escape her siblings, the
picture book becomes a vehicle to be steered as the characters float through a
celestial sea. It is a daring re-imagining of the typical book viewing. What
magic brought you to manipulating orientation? Did you get any push-back, or
did everyone “get it”?
The turn-the-book idea came in
early revisions. At first, I had Evie falling through the snow bank. But
I struggled with this – because I didn’t want her to appear as if she was
falling. I wanted her to appear like she was flying.
This became a design
question and led to turning the book. Once I turned the book, being in the
magic realm felt even more special and distinct from the real world, because
once in the magic realm, the story has to read right to left – backwards! Then
re-entering the real world, the book turns right side up again. The experience
of turning the book becomes a portal for the reader.
I was prepared for pushback, but
my team at Putnam bought into it early on because it made the visual
storytelling stronger.
For media requests please reach out to my publicist, Lizzie Goodell . What prompted you to hire a
publicist? What do you ask your publicist to do for you?
Since 2020, I’ve published and
will have published a total of nine books with Putnam, so they assigned me a
publicist. I did not hire her. She directed me to put her contact information
on my website so as to direct media inquiries to her.
She often connects me to industry
reviews, interviews, events, media PR opportunities and book festivals around
the launch of a book. She also coordinates travel for out-of-town appearances.
The first, In A Jar, is about collecting memories (the past). The second, Out Of A Jar, is about emotions (the present), so it only seemed natural for the third, Hope In A Jar, to be about hopes and dreams (the future).
Was the “Jar” series conceived of as a three-book, past,
present, and future look at life and the memories we collect? Do you have any
jars?
Initially, there was only In A
Jar, about friendship, being in nature and experiencing the seasons, collecting
memories and putting those experiences in jars. When I was wrapping up the art
for In A Jar, I asked myself, “Are there other intangible things Llewellyn
could put in jars?”
Emotions immediately came to mind, which became Out Of A
Jar. When a possibility of a third book came on the horizon, I looked at the
first two books, and not until then did I realize In A Jar was about the past,
Out Of A Jar was about the present moment, which led me to know that the third
and final Jar book would hold something about the future.
When considering what
unknown things about the future Llewellyn would want to collect, the answer
came instantly: hopes and dreams.
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| In A Jar interior spread |
And yes, I do have many jars. I
collect shells, fossils, sea glass and stones; I keep my brushes and pencils
and many other things in jars. I also have an old letterpress drawer that I’ve
hung on the wall of my house. In it, I have placed tiny glass jars with tiny
things associated with memories of walks, friends, loved ones and places.
Little Bunny Board Books. Was it your idea to create board books for
infants 0-3? What constraints are required for the art when the die-cuts and
the thickness of the page are factored in?
Because the Jar books were doing
well, my editor approached me about making a spin-off series of seasonal board
books. She said it didn’t have to be about collecting. It could be more about
sharing and experiencing the magic of the seasons. So, I created a cast of young
animal characters and aged Llewellyn down, re-naming him Little Bunny.
This series was so fun and
challenging. It was a big learning curve shifting from picture books to board
books. Word count is around 100-120 words. There is usually short phrase repetition,
and they also wanted each book to have a simple story arc. There are 11 spreads
per book and I found it best to have each spread be a single full bleed image –
no spots or frames – which was really hard for me.
Little Bunny, Winter is
Here! will be out this fall, 2026. I just wrapped up Little Bunny,
Summer is Here! and next spring, all four seasons will be out and available
everywhere.
This is from your Amazon bio:
Deborah Marcero grew up in Michigan farm country where
from a very young age drawing, writing, and reading filled her time. She
received a BFA in drawing, printmaking, and photography from the University of
Michigan, and an MFA from the School of the Art Institute of Chicago in
Writing. After teaching in Chicago Public Schools as a Literacy Specialist,
Deborah realized that writing and creating books for kids was how she wanted to
spend her life.
What struck me in the bio was the lack of emphasis on your
art ability. Sure, you filled your time with drawing when younger, and got a
BFA from U of M in “drawing, printmaking, and photography.” But you have scores
of illustrations in all styles and mediums. Do you consider yourself a writer or
illustrator first?
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| Inside her studio |
I’ve always equally loved making
art and creative writing. I consider myself an author-illustrator. My training
in studio fine art (drawing, photography and printmaking) at the University ofMichigan (BFA) and my study of Poetry at the SAIC (MFA) gave me strong
foundation of both. From there, I took those skills and read, learned and
studied books for young people - especially the picture book form. The picture
book is such a unique genre. Storytelling where images and words work together
brings together both of my passions, energizing me in a way that neither
writing or art making can do on their own.
The love of the process keeps me going, not the product. What keeps me going is a belief in myself over the successes or failures of anyone project. This, I know is certain: every new character, every new book, every new story, drawing, and draft has something to show me and teach me about who I am. There are worlds inside of me that are waiting to be discovered. Being there, in that place–of seeking and finding-is everything.
At the risk of sounding woo-woo, how do you maintain this
level of whimsy and wonderment in a world that seems to demand the opposite?
To be honest, I have experienced
some difficult chapters in my life. Between loss, trauma, and therapy, I have
come to the other side of things with more compassion for others and myself,
alongside a greater appreciation for ease and joy.
No matter what life has thrown
at me, making art and writing stories were - at times - the only things I had
control over. No one could take my imagination away. No one could tell me not
to draw. No one could take away the sense of wonder and discovery the creative
process gives and has given me.
Deborah has a BFA from the University of Michigan in drawing,
photography and printmaking, an MFA from the School of the Art Institute of Chicago in
Poetry, and a K-8 teaching certification from Northwestern University.
This bio from your Cynsations interview suggests your
MFA was in poetry. What did you study while at Chicago’s School of the Art
Institute?
My MFA was in Poetry. There is a
small graduate writing program at SAIC and it was a wonderful experience. I
chose the School of the Art Institute of Chicago because in addition to poetry,
I could continue my study of drawing and photography. My MFA thesis was a mixed
media blend of drawings, essays and poems.
During her tenure as a Literacy Specialist in Chicago Public Schools, Deborah was
teaching a Young Authors unit to her fifth graders and realized that making
books for children was what she wanted to do with her life.
Was there an “Ah-ha” moment with the fifth-grade students
when your life’s purpose became evident?
Definitely. As a 4-8th
grade Literacy Specialist, I lead a YOUNG AUTHORS after school enrichment
program for mostly fifth graders. The goal of the program was to have each
student write, illustrate and “publish” a picture book story.
One afternoon,
about ten students were quietly working in my classroom. One student came up to
me with her book and while talking to her about her story and ideas, I heard a
clear voice in my head say, “THIS. This is what I should be doing.”
Teaching was very fulfilling, but my time off was mostly spent recovering, and
I had very little energy left to be creative.
In 2010, my teaching position was
cut and I took a leap. I decided to become a wedding photographer short term - to
pay the bills - while using the off season to build my career as a writer and
illustrator.
Four years later, I secured my first agent and paid book
illustration contract. Today, summer of 2026, I am working full-time as an
author-illustrator and wrapping up my twenty-first trade published book.
THINGS I LIKE:
Strong female characters
Subversive fairy tales
Animals & magic
The universe & big questions
Check, check, check, and check. Do you have additions to
your list?
I also have intentionally
created male characters with both tough and tender qualities. I think society
is eager to foster toughness in boys, while tenderness is often portrayed as a
weakness.
In both Llewellyn (rabbit from the Jar books), and Viggo (protagonist
of my upcoming picture book, The Lone Wolf) I wanted their journeys to show
strength in being both fierce and vulnerable.
You are represented by Laura Rennert of the Andrea Brown Literary Agency. A big-name agent with a big-name agency. How did you land Laura as your
rep? In the realm of children’s book publishing, has working with a superstar
agent from a superstar agency added stress, or security, to your career as a
creator?
I could not love working with
Laura more. She is transparent, supportive, editorially hands on, and available
for any questions I might have. In 2018, I fired my then agent (who is no
longer an agent) because she wasn’t doing her job. I took a six-month break to
regroup, then geared up for querying a new agent. At that point I had a handful
of books out and in contract, with a new project to pitch.
Doing
thorough research using the Children's Writer's & Illustrator's Market book, SCBWI resources, Publisher’s Marketplace and
the internet, I honed my list down to eight agents I would love to work with. I
followed each agent’s guidelines per their websites and queried them all in the
same day.
By 4pm that first day, Laura replied with a request for a phone call.
I was shocked and thrilled. We spoke the next day and she offered me
representation. She was my number one choice, so while I let everyone else know
and spoke to a few more agents on the list who followed up, I knew almost
immediately she would be my next agent.
Working with Laura has definitely
helped me feel secure and supported. While nothing is guaranteed, her editorial
feedback and guidance have without a doubt helped the last few projects we’ve
pitched get offers.
In being an author-illustrator, I get to play with what happens in that space between words and images. I love writing something spare in the text and filling the mind with an illustration to expand or even contrast the language. I believe that emotions, humor and wonderful storytelling can happen and be amplified in that space between.
The space between the words and images. That seems to be the
destination of most creative types. How do you get there?
It’s a fun and playful process
that’s not exactly the same each time. More recently, I’ve been starting with a
character that I love and want to spend a lot of time with. I draw them a lot.
I become familiar with their background and where the moment their story
begins. I start mapping out story beats for their journey. I make sure the
story has a viable beginning middle and end, with tension, suspense, conflict
and an unexpected surprise (or two!).
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| Northern Lights outside the studio |
From there I start sketching the dummy,
spread to spread. Since by this point in the process, I’ve worked out a
storyboard of sorts - a map of “what happens” on each spread - I then draw each
spread in pencil, thinking about the gutter, page turns, composition and
emotion. Once I have a rough sketch, the actual words click into place so
quickly. Doing it this way, I can see what’s missing from the illustrations.
And it helps prevent over-writing when I can see what is already shown in the
illustrations.
What’s next for Deborah Marcero?
The Lone Wolf, A Fairy Tale a new picture book, will publish in February of 2027. Board
books Little Bunny, Winter Is Here! will be out this fall, and Little Bunny, Summer Is Here! will launch in spring of 2027. I have more projects in
the works that I can’t quite talk about yet, so stay tuned!
Please share any social media you wish to:
Instagram: @deborahmarcero
Bluesky: @deborahmarcero
You can also find out more about
Deborah and her books at deborahmarcero.com
Hillary is an agent at the
Bradford Literary Agency. She acquires fiction and nonfiction for all ages,
from picture books to adult novels along with the occasional piece of
nonfiction for the academic market. Hillary begun her career at Scholastic
before shifting over to the agency side of the industry where she worked as an
editor at several agencies for about a decade before becoming an agent in 2023.
Outside of agenting, she has a PhD in medieval history and enjoys reading a
wide range of book types (along with watching documentaries).
Sarah Stephens is a children’s
book enthusiast in every sense. She has worked as an editor, author, and indie
bookseller. As an agent, Sarah is looking to champion books that make her laugh
out loud, delight her with new wonders, hold quirky surprises, or speak deep
truths. She is interested in elevating marginalized voices, amplifying stories
that need to be heard, and connecting children to nature. She enjoys working
with authors and illustrators who know their craft and tell their own unique
tales with humor, heart, and integrity. 
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