Hugs, Hurrahs and Happy Holidays!

December is all about celebrating, and here at The Mitten we love a party! It’s hard to believe this is the last issue of Hugs and Hurrah’s for 2015. Just for fun, I’d thought we’d take a moment and reminisce about all the wonderful 2015 writing news from our Michigan SCBWI members. Here are a few facts based on the Hugs and Hurrahs information I’ve collected for this year:

• YA Contracts - 8
• Short Stories, Poems, Cartoons, Testing Pieces, etc.- 3
• Speaking Engagements/Blog Tours- 5 
• Agent Signings-4 
• Picture Book Contracts- 13
• Middle Grade Contracts- 2
• Magazine Pieces- 2
• Awards/Degree Completion- 5
• Illustration Contracts- 7

I definitely think those numbers call for a standing ovation, double Woo Hoo and a hearty Hip Hip Hooray!

And now, let’s end this year with a bang and keep the party going with all of your good news from October through December!

Hats off to member Kathleen Vincenz who recently self-published her middle-grade novel, OVER THE FALLS IN A SUITCASE (Squirrels at the Door November 2015). The book was released in November and is available on Amazon. Congratulations Kathleen!

Janet Heller of Portage has been very busy since our last edition of Hugs and Hurrahs. She received a positive book review for her chapter book, THE PASSOVER SURPRISE (Fictive Press 2015) from the Midwest Book Review in October. Janet also had two of her poems, “Inheritance (For Oma)” and “Policing My Apartment,” in Old Northwest Review’s Fall 2015 issue. Janet spent time autographing her books at the Chanukah Bazaar at the Congregation of Moses in Kalamazoo, the Local Writer’s Expo at the Portage District Library, and at Kazoo Books in Kalamazoo in early December. Congratulations on all your hard work Janet!

Illustrator Kirbi Fagan was recently accepted into the Los Angeles Society of Illustrators 54th Annual Exhibition. Kirbi was also featured in Imagine FX magazine as "Artist of the Month,” and had three works of art included in "Infected By Art Volume 3." Way to go Kirbi!

Lori McElrath-Eslick has her own great illustration news! Her art for a magazine publication has been accepted into the 35^th Western Spirit Art Show and Sale, a national juried exhibition. The exhibition dates are March 5- April 17, 2016. Lori also illustrated three new e-books for Schoolwide Publishing. They are: Westward to Oregon, How the Cardinal got his Red Feathers, The Girl Who Would Not Listen to Her Elders all written by Patricia Curtis Pfitsch. Congratulations Lori!

PJ Lyons is happy to announce that her rhyming picture book, THANK YOU LORD FOR EVERYTHING (Zonderkidz 2015), was released September 1 and has received some lovely reviews! We’re so proud of you PJ! 

Three cheers to our Mitten editor-extraordinaire, Kristin Lenz! Kristin is the winner of the 2015 Helen Sheehan YA Book Prize. Her debut YA novel, The Art of Holding On and Letting Go, will be published by Elephant Rock Books, Fall  2016. So excited for you Kristin!

Neal Levin has been at it again! Neal’s poem "Cavemanners" has been published in the November/December issue of Spider Magazine, and his short story "Messy Messages" has been published in the November 2015 issue of Highlights Magazine for Children! Neal’s poem "My Little Porcupine" was published in the Sep/Oct 2015 issue of Fun For Kidz Magzine, and his poem "Baby Ate a Microchip" has been purchased by a nonprofit educational testing agency for use in a standardized testing project. That’s amazing Neal!

Jean Alicia Elster’s middle-grade novel, Who’s Jim Hines (Wayne State University Press), has been placed on the Southfield Public Library’s Middle School Challenge Battle of the Books List for 2016. Congratulations Jean!

Joseph Miller of Livonia is happy to announce that he recently signed with Nicole Resciniti of the Seymour Agency! Joseph participated in Michelle Hauck and Sharon Chriscoe's PBParty contest and had his picture book, TOO TIRED TO TELL A STORY chosen for the agent round. Seven agents and editors requested the full story and of those Joseph had three offers of representation. So happy for you Joseph!

Wendy Booydegraff is excited about her new picture book, SALAD PIE (Ripple Grove Press 2016). Here is a peak at the cover! Congratulations Wendy! 

Barb Rebbeck is thrilled to announce that she has just been chosen to be a featured speaker at the MRA Conference in Detroit in March. We’re so proud of you Barb!

See?! I told you we were ending the year with a BANG! You Michigan kidlit writers are an amazing bunch, and I'm happy we’re on this journey together!

From all of us here at The Mitten- Kristin, Nina and me (Patti)- Happy Holidays and Happy New Year! May your 2016 be filled with bountiful blessing, sweet surprises, peace-a-plenty and loads of love!

Illustrator Insights

 

AN INTERVIEW WITH DEBORAH MARCERO

What is your art background? 

 
I loved to draw from the time I could hold a pencil. My early passion led me to the University of Michigan, School of Art, where I acquired my BFA. Then after living in New York City for three years, (which was an art education in itself) I attended the School of the Art Institute of Chicago where I earned an MFA. 

Have you been published in other illustration related fields?

No. I did not seek publication until I developed my style in Children’s books. I wasn’t ready. In the past I’ve participated in Art Gallery Exhibitions and small poetry publications, but very casually.

How long were you trying before you got a contract?

I officially started my path to publication in 2009. My first book deal came in April of 2014. So: 5 years.

How many hours a day did you work on your illustrations?

 
This varied tremendously. I am also a photographer. In the summer (my busy season) I would say my work on the illustrations was less. Two – six hours per day of daydreaming/ brainstorming/ sketching/ writing/ character designing/ etc. In the winter, however, I would have long stretches of time where I would be able to work 10 – 16 hours of the waking day working on a project.

How many hours a day did you work on your self promotion?

 
VERY LITTLE. Self-promotion was and is a huge weakness of mine, and I never enjoyed doing it. However, my first big step in this area, was building a website and curating a portfolio exclusively for children’s illustrations.

What steps did you take?  

I built and started a website in December of 2012. In making my work visible and public, everything became more real. In May 2013, I attended the Wild Wild Mid-West conference in Fort Wayne, which was a game changer for me. Energized by the conference, and by finding a strong critique partner, I worked even harder on my writing and portfolio that summer.

In August of 2013, I had a full picture book project to pitch (with 3 final art pieces, manuscript and finished dummy book – all uploaded to my website on a password protected page) so I started targeting and soliciting specific agents. Although this first attempt garnered 100% rejections from the 10 or so agents I submitted to, I took everything I learned (which was a lot) and was more motivated than ever. It helped that in some of the rejections I received helpful feedback and encouragement. I decided to start a totally new project that September, and by the end of October it was ready to send out.

I used the Writer’s Market book and the internet to help me find an agent that might be a good fit for me and my new project. Within a week (two agents wrote back or called on the same day of my email submission), I had several interested parties and after several revisions and a few months later, I signed with my current agent, Danielle Smith with Red Fox Literary. Even though I currently have accumulated five book deals with Danielle, I still have room in my schedule for more work, so I continue to send out snail-mail postcards with new art every three months to a list of 100 editors/art directors.

How did you find an agent and how long did it take?

I used the Children’s Writer’s and Illustrator’s Market Book as a starting point in my research, then I followed up by doing online research on each potential agent. From my initial search and submissions (two rounds – with two different projects) to finding and signing with an agent, it took about 6 months.

How many agents/ art directors did you approach?

With my picture book in August, I approached 10. And then with my illustrated early middle-grade project in November, I approached 8.

How many conferences and workshops did you visit?

From 2009-2010 I attended two six-week community education classes with Esther Hershenhorn in Chicago. In 2013 I attended two SCBWI conferences: The Wild Wild Mid-West multistate conference, and a small regional conference on “The Picture Book” in Indiana.

How did you prepare for them?

At the Wild Wild Mid-West Conference, I signed up for the Illustrator Intensive with Laurent Linn. In preparing for the intensive, we needed to come with a finished drawing of the “Mad Hatter”. The critiques gave me amazing insight. I mostly attended the conferences prepared to be a sponge. I took a notebook and a pen, and wrote down all that I could. After each conference, I went back to my studio inspired with a deeper understanding of what I needed to do to make my work stronger.

Is there anything special you did that other people might not think of?

There are two things that stand out to me in answering this question: 1. Putting in the time. 2. Ability to be critical and self-reflective in one’s own work.

Was there a point where you wanted to give up?

I honestly don’t think so. When I made the decision to really give this a go – I knew that it was the long plan. That it would be a journey. I knew I had to take big rejections with the small victories… and that everything moves at a snail’s pace in this industry.

What kept you going?

When moments of doubt crept and creep in, I almost always shift my focus to a new project; re-directing my energies helps keep my creativity flowing.

Do you have any tips to stay motivated? How do you stop procrastinating?

I create routines. I stay disciplined by making lists and creating very specific time-sensitive goals. I try to leave room in the schedule for making mistakes – those are such an important part of the process for me

Do you write too?

Yes – I have always loved both.

Do you approach it the same way as illustrating?

I approach them in very similar ways. I love to create work where the images and words lean on each other for meaning – and in their juxtaposition, they are able create something totally new, that neither words nor pictures can solely do on their own.

What was your biggest aha moment?

This came after the Wild-Wild-Mid-West conference. I walked away realizing that I needed to strengthen the narrative elements in my portfolio. Not only did the art need to have strong color, line, composition, character designs, etc., the art needed to evoke emotion and feel like it was in the middle of a story. I wanted each of the images in my portfolio to prompt the viewer to want to “turn the page” so to speak.

What do you consider your biggest break through?

My process: When I finally figured out a way to merge traditional media with digital to create images that didn’t feel or look “digital”. My biggest compliment came from my editor at Harper Collins when she asked if I worked digital or traditional – because she couldn’t tell!

What people or events helped you most on your journey?

I would have to say that my writing partner has helped me the most on my journey. We met at an SCBWI conference, and even though he lives in another state, we were and are able to share and critique each other’s work via email and on the phone. It has been the most critical part of the journey for me. I don’t feel alone in this work, and when I get stuck, or even when I think I nailed it – I send it to him or now, to my agent (who is editorially hands-on, which I love) and they see things and ask questions that I hadn’t even considered. Having a partner in this work helps me get out of my head and see what I’ve done from a new angle, which leads to revision and consequent improvement.

What is your advice to the aspiring children's book illustrator?

Work hard. Put the time in. Make mistakes. Revise. Make more mistakes. Revise again. Find a writing/art partner or group. Know that it will take time (you will need endurance). Every person’s journey is unique in this field because you have to forge it. Be open to critique. And lastly, the most important thing might be: to believe in yourself. 

 

Deborah Marcero received a BFA in drawing, printmaking, and photography from the University of Michigan, and her MFA from the School of the Art Institute of Chicago in Creative Writing. Deborah’s illustration debut in The Backyard Witch series, HarperCollins, released July 2015, her picture book URSA’S LIGHT, Peter Pauper Press, will be published in Spring 2016 and she is also contracted to illustrate Corey Rosen Schwartz’s new picture book, Twinderella, set for publication by Putnam’s Sons (Penguin) in 2017. She has been a member of SCBWI since 2009. deborahmarcero.com

Illustrator Interview: Heidi Woodward Sheffield

Thank you Heidi Woodward Sheffield for creating the first banner for our blog! We'll feature a new illustrator every three months, but this is Heidi's moment to shine. Read on to learn more about her artwork and career.

Q and A with Heidi Woodward Sheffield

 
Tell us about the banner you've created. How and why did this piece come about?
This pup was originally created for the Ann Arbor District Library’s “Born to Read” program and earned ALA recognition. This CD of songs and stories was given out to new moms. The idea came about when I was looking at an old button one day. As I gazed at it, the distressed texture, hair and face looked to me like a much-loved puppy.

How long have you been illustrating and how did you get started?

I’ve been drawing since I could hold a crayon, somewhere around two or three years old. I loved using bright beautiful colors, which is ironic as black was one of my favorite crayons to use. They just ran out faster than others. As a kid, I always wondered why there weren't two to a box. Drawing has always been something that I didn’t just like doing. I needed to do it, every day. I have a degree in art, but I wasn’t taught how to create. I was just born that way.

After earning a B.A. in English from the University of Michigan, I attended College for Creative Studies, where I'd hoped to study illustration. Little did I know they were transitioning illustration out of their program (cut to 2014, where it’s been added back in). At the time, many teachers told me illustration was a dead art. One instructor felt a little sheepish and researched things for me. The only program he came up with for studying children’s book illustration was in Switzerland, at the time! (Yes, it was long ago.) So when the same instructors introduced advertising and design to me and said I’d make a great art director or copywriter, I went with it. “I’ll pursue illustration after I build up a nest egg and have children,” I thought. (Ha! I had no idea the path was so difficult and circuitous!) Around 2004 I began pursuing illustration full-timewith a series of posters for the Ann Arbor Book Festival. The Ann Arbor District library contacted me about creating work for them. Many of these illustrations were recognized by the ALA. They became springboards for picture book ideas.

What are some of the things you learned in your advertising work? Has this informed your children's writing and illustrating in any way?

You can’t work in advertising unless you can tell a good story. Ads are emotional. Great ads are elegant in their simplicity without being simple. With copywriting, I learned to use each word. Wisely! You also throw proper grammar out the window. You learn to write in sentence fragments, because that’s the way people think and speak. Another thing you do as an art director and copywriter is pitching ideas to the client. Tell them the story, get them to identify with it, and make it their own. Other things? You learn to fly by the seat of your pants, follow deadlines—“be creative” at the drop of a hat, and trust your instincts. That experience directly translated to elevator pitches in publishing and cold calls at conferences. It helped me introduce myself to various editors, art directors, and agents. That’s how I got my first agent. I was amazed with one of his talks at SCBWI NY. Afterwards, I introduced myself and thanked him. I kept it very brief, gave him one of my illustration postcards with a few words about how his speech had resonated with me. Within two weeks he offered me a contract.

What is the one thing in your studio you couldn't live without? What are your favorite tools?  What mediums do you work in? The one thing I can’t live without is a window. Something about looking out, beyond yourself, when you’ve spent the whole morning looking inward. Favorite tools? Plain white 8.5 x 11 paper for storyboarding and Uniball Deluxe Micro pens. The pens are hard to find, but nothing feels so right to draw with.

I love thumbnails—the fastness, the fluidity, the looseness of them. Keeps you limber and your thoughts flowing. It’s something from my advertising days. More often than not, I take the thumbnail and blow it up to create final art. If your art (and concept) can hold up as a postage stamp size, it’ll be good as a larger piece, too. Blowing up the thumbnail to use in the final helps maintain the vigor and freshness in the final piece.

Other tools? Gouache paint, water-soluble oils, Photoshop, a 8.5x11-inch wacom tablet, plus a Canon Digital Rebel for creating collages. And a crazy huge monitor. I use my camera a lot, but don’t consider myself a photographer. I use the Rebel over other cameras because it takes photos in real time with no shutter lag. That’s especially important when taking reference pictures of children. I’ve taken literally thousands of texture pictures, which often inspire different stories from the get-go. I must have been a bowerbird in another life, for my studio is chock full of bright and shiny things, buttons, and old stuff in general. I like to think about the person who lived with that item. What their lives where like. I also surround myself with hand-stitched embroidery from various cultures, old paper, books, textiles and vintage clothes. My new office mate Buster Brown, (a Boston terrier) helps keep things real.

When you're absolutely stuck, where do you turn for inspiration?
It’s unusual for me to get stuck art-wise. I’d say the writing side is sometimes a bit stickier.

I have a tiny 2-inch x 2-inch photo of my family when I was five. Looking at it immediately transports me to a simpler time. I read quotes taped to the bottom of my computer: “Without fear, there cannot be courage,”—Aragon,  “Do not let great ambitions overshadow small success,”—fortune cookie wrapper, “A professional writer is an amateur who didn’t quit,”—Richard Bach.

If I’m having a hard time letting my guard down and getting into the nitty gritty of an emotionally-filled piece, I listen to the blues. There’s something about the raw power of human emotion. I might listen to introspective tunes like “Help Me,” by Johnny Cash, “Let it Be,” and “The Long and Winding Road,”  by Paul McCartney. When I’ve chosen a direction to pursue art wise, I celebrate and amp up the volume listening to vintage Beetles, stuff like “Hard Day’s Night.” It helps keep my art loose and organic and keeps me moving forward, rather than nit picking details. And the experience becomes extra sweet, living in the moment. The art becomes truly organic, taking on a life of it’s own. There’s always something that surprises me.

Other things for inspiration? My seven-year-old daughter Lauren. She’s a whimsical little pixie and she inspires many sketchbook ideas. I go to the museum. Or visit online museums. I look at closeups of brushstrokes. Something about feels immediate, intimate, like the artist and I are present, together. The brushstrokes themselves feel private, like a secret that the artist is sharing with me. Sometimes I call my good friend Charlie. His enthusiasm inspires me. He makes me feel like I’m standing on my head and all the ideas come rushing down. We take cameras and go shoot stuff. Mostly pictures of the ground. We get lots of strange looks. But it’s worth it! Try it sometime. Look down. There’s a world in the granite you stand on.


A huge thanks to Heidi for creating our first blog banner and participating in our first Illustrator Interview!

Heidi created this image for t-shirts and book bags for the SCBWI Nevada Mentorship program. Come back tomorrow for part 2 of Heidi's interview and learn about her mentorships - maybe one of them will be a good fit for you, too. In the meantime, learn more at http://www.heidibooks.com/.

Welcome to The Mitten!

Welcome to the brand new blog for SCBWI-MI!  The Mitten began as a paper newsletter requiring a subscription and later evolved into a free e-newsletter. Our latest transformation is a public blog available to anyone with a love of literature and a desire to provide the best for children and young adults.
 
Why is our blog called The Mitten?

The state of Michigan looks like a mitten, and we're fond of holding up our hands to show where we live, whether it's in the thumb or way up in the upper peninsular.

A few years ago, our newsletter editor, Jennifer Whistler, held a contest to name the new e-newsletter. Lorri Casey was the winner with The Mitten. We're happy to carry over the name to our new blog.

We hope this blog space fosters a strong sense of community for our Michigan members and beyond. We want to encourage your creative growth, support your many small steps of progress, and cheer for your accomplishments. Whether you are a creator, publisher, reviewer, librarian, bookseller, educator, or if you simply love to read, whether you live in our backyard or across the world, we welcome you to join us.

Our goal is to post once per week, but we'll have occasional two-part interviews and coverage of special events over several days.

Heidi Woodward Sheffield created the first banner for our blog, and we'll feature a new illustrator every three months. Please stop by on Friday, Sept. 12th to read an interview with Heidi. We guarantee you'll leave with a healthy dose of inspiration.  Thank you, Heidi!

Here's a sneak peek at what you'll find on The Mitten in the weeks ahead:


Dear Frida...


Ahhhhh, Mackinac Island...

 









Click the links to learn more about SCBWI and our Michigan chapter.

Cheers!
Kristin and Jodie