Karlin Gray

Driving past a seltzer factory, Casey W. Robinson saw something that inspired her #firstpicturebook. Today she tells us how she travelled from that moment of inspiration to the publication of IVER & ELLSWORTH —“an original and unfailingly entertaining picture book" (Midwest Book Review), “sure to be a bedtime favorite.” (BookPage).

Q. Was IVER & ELLSWORTH the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Definitely not! I wrote many (terrible) picture book manuscripts before Iver & Ellsworth. They all sit very neatly in a file marked OLD on my computer.

Q. What inspired IVER & ELLSWORTH?
A. I was on a road trip with my family and we drove past the Polar Seltzer factory in nearby Worcester, MA. The factory has a rooftop bear, which we’ve driven past many times. But this time as we waved to the bear I thought, I wonder what this bear’s name is and what kind of life he leads… this would make a great story.

Q. How did you pick the title of your book?
A. It was the obvious choice!

Q. Do you write by hand or on the computer?
A. Mostly on the computer because it’s fast and I constantly fiddle with words as I write. But I take notes on paper whenever I think of a phrase, first line, bit of dialog etc so there are scraps of paper all over my house and tucked into pockets of clothing and jackets.

Q. What is your favorite part of the book? And was that part in the first draft?
A. The two-page spread that begins “Before he returns to work, Iver always makes sure that Ellsworth looks his best.” This was in the first draft. I just love the way Melissa pulled it all into one spread.

Q. How did you select the names for your characters? 
A. “Iver” was easy – it felt like it suited his character, an older name, uncommon but not too quirky. (I have a list of names I like that I keep for characters yet to be created.) Originally the bear’s name was Orson. But as that is the trademarked name of the Polar Seltzer bear, my editor and I brainstormed new names – he liked “Ellsworth” because of the character in Deadwood, and I liked it because it's a town in Maine near where I grew up.

Q. Why did you decide to tell the story in third person? 
A. Third person provided the right distance from which to observe this story.

Q. How much of the story did you know when you began writing IVER & ELLSWORTH? 
A. I knew the beginning – both the setting and how to establish their deep friendship. But I had no idea how it would end! I wrote and re-wrote many different endings before I settled on one that felt right. And then we changed it again during revisions.

Q. Did IVER & ELLSWORTH receive any rejection letters? If so, how many (ballpark)?
A. Actually, no. Ripple Grove Press was my first submission. I took a long time to assess which publisher would be the right fit for the story. Also: I’ve received plenty of rejections since then!

Q. Describe your reaction when you received an offer on IVER & ELLSWORTH.
A. Ecstatic. I remember jumping up and down in my kitchen with excitement and the stunned looks of delight on my three daughters’ faces as they watched me and wondered what on earth was happening.

Q. What kind of input did you have in choosing an illustrator for the book? 
A. Rob and I had a few in-depth conversations about general art direction. I sent him the names of a few illustrators whose style felt similar to what I had in mind for IVER & ELLSWORTH. We were definitely on the same page and I felt very comfortable when he said I’d hear from him once he had signed the illustrator.

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. When I saw the very first sketch of the characters, my first reaction was “Of course!” I didn’t know Iver wears a cap and has a mustache, but of course he does. I had the same reaction when I saw the jacket cover – Of course. It’s perfect.

Q. How long did IVER & ELLSWORTH take to be published—from the time you received an offer until it was printed?
A. Two years.

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. We turned a good portion of what I’d written for the second half of the book into wordless spreads, so I edited out probably ~150 words. But for good reason – that part of the book is now much more powerful because you get to experience it visually alongside the main characters.

Q. When you read IVER & ELLSWORTH to kids, which part of the book gets the best reaction?
A. When the wordless spreads begin, kids usually lean right in to see what’s happening. The scene where Ellsworth is next to the Dinosaur billboard seems to be a crowd pleaser.

Q. Did you create any book swag for IVER & ELLSWORTH? If so, what kind?
A. I did – bookmarks, post cards and stickers. For my book launch event I also got balloons printed with Ellsworth on one side, which I love!

Q. What is your #1 tip for picture-book writers?
A. Read as much as possible – all types of picture books, old and new. And don’t limit yourself to picture books: novels, graphic novels, poetry -- be insatiably curious about words and the art of storytelling.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Marketing tip: Spend time helping to promote other authors and the books you love – write online reviews or reviews on your blog, post book covers on social media, retweet news of deals or book launches. The kidlit community is fueled by this kind of reciprocity; it will come back around when it’s your turn to celebrate.

Q. What are you working on now?
A. Many more picture book manuscripts. I have about 6 that are in various stages of revision.

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
www.CaseyWRobinson.com
https://twitter.com/CaseyWRobinson
https://www.instagram.com/cwrobinson/

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Carly Gledhill has worked as a print designer for studios and retailers and completed an M.A. in children’s book illustration. In April, she became an author too when her #firstpicturebook was published by Orchard Books. Today she tells us about creating MONTY & SYLVESTER: A Tale of Everyday Super Heroes, including how she got the names for her characters after watching a popular daytime television show.

Q. Was MONTY & SYLVESTER the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. MONTY & SYLVESTER is the first book I finished writing from start to end, I had tried a few times before to write but nothing came together. The book was quite a quick process, everything fell into place organically, although I still wasn’t sure it was any good when I had finished. I completed an MA in Children’s Book Illustration and had made many novelty books to avoid having to write a story, so it’s not my natural habitat.

Q. What inspired MONTY & SYLVESTER?
A. I drew the characters first and they existed for a while before I came back to them. I loved the unlikely friendship between big furry bear and little blue mouse. I was trying, and failing, to work on other stories, so I thought I’d give these 2 another go. The original drawings really inspired the story at this point, the characters seemed quite naive and lovable so the story naturally lent this way. I decided they should become superheroes when thinking about what kids do at play time, obviously flying and saving the world was what I did as a toddler so it seemed about right. They are the least likely characters to do well at being superheroes too which is where the humour kicks in, pow!

Q. How did you pick the title of your book?
A. I wanted the title to reflect the everyday playtime nature of the story. Obviously MONTY & SYLVESTER need their name in lights on the cover as they are the stars, but it is just a tale of playtime gone exciting, it could happen to anyone!

Q. Do you write by hand or on the computer?
A. All by hand for this one, there isn’t an awful lot of text in the book and a lot of it relies on humour. I drew it all out as I illustrated the book. I’ve always used type in my illustration so knew where and what it should look like to enhance the story. Some of the original hand-drawn type made it into the final version too.

Q. What is your favorite part of the book? And was that part in the first draft?
A. The first spread is probably my favourite. It hasn’t really changed since the first draft and sums up the personalities of our protagonists straight away! It’s a soft introduction to the book, sets the scene with a few clues of what’s to come!

Q. How did you select the names for your characters?
A. They were originally named after a couple of property developers on daytime TV Favourite ‘Homes under the Hammer’. (I don’t watch daytime TV usually I was just waiting for a delivery to arrive, honestly.)

Q. How did you decide between telling the story in first, second, or third person?
A. Oh dear, I didn’t, it’s a bit of a mish-mash of narration and the characters chatting away!

Q. How much of the story did you know when you began writing MONTY & SYLVESTER?
A. I had the basic outline ready—2 friends want to be super heroes that day, they’re a bit rubbish at it, they need a plan! I knew the setting would be domestic. I think that was about it. It really escalated from there with a different problem at the turn of each page, introducing more characters and peril!

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. I have to get excited about the characters so I usually start with a good drawing of what they will look like then usually they talk to me and lead their own adventure!

With MONTY & SYLVESTER I didn’t know what I was doing, so I did both at the same time. Now I’ve got more of a clue. I try to write the story first before illustrating the spreads, working on storyboards with rough sketches.

Q. Did MONTY & SYLVESTER receive any rejection letters? If so, how many (ballpark)?
A. I was very lucky in this respect, I sent the book to my agent Arabella at the Bright Agency and very soon Orchard Books were interested in it. I couldn’t believe my luck!

Q. Describe your reaction when you received an offer on MONTY & SYLVESTER.
A. Disbelief, excitement, ticking off life goals with a big pen!

Q. How long did MONTY & SYLVESTER take to be published—from the time you received an offer until it was printed?
A. It’s been about a year and a half, which as an illustrator who has worked commercially for years, seems forever! I’ve just received my advanced copies of the book, so it still isn’t out in the world yet. I can’t wait!

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. It was more the opposite with this book. The initial book had very clean spreads, very minimal with a pared down colour palette and I had to add more in. More was needed to make the book more colourful and action packed, inspired by classic Batman with graphic stars and action words.

Q. What is your #1 tip to those who want to write picture books?
A. It’s fine to give up on an idea and move on to something else, not every idea will work. You’ll know when you’re onto the right one. Also leaving your desk and going for a walk, or taking a few days off to refuel the mind is usually a good idea when things get frustrating.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. I love storyboards. Making the story fit with exciting doodle illustrations is my favourite part. I usually have lots of blank storyboards printed out and go through tens of them before everything fits and flows together. It’s picture book problem solving!

Q. What are you working on now?
A. I’m just completing the second MONTY & SYLVESTER book with Orchard (top secret at the mo). Then I’m going to have a bit of time to draw and be creative and think of some new book ideas. I also have a children’s brand called Corby Tindersticks, I’ve just designed some new products so I’m working on marketing those too! You can see more at www.corbytindersticks.com

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A.
www.carlygledhill.com
instagram.com/carly_gledhill
twitter.com/carlygledhill
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While doing research for his #firstpicturebook, Markus Motum visited the NASA’s Twitter account for the Mars Rover which was written in first person. Markus knew that element would help the reader connect with the robot’s story so he followed the rover’s lead in CURIOSITY —“a fascinating page turner” (New York Journal of Books) and an “engaging children’s book debut” (Publishers Weekly, starred review).

Q. Was CURIOSITY the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. It was my first after graduating, however my final major project at university was a picture book. I already loved picture books but it was that project which cemented the fact that I wanted to make them myself.

Q. What inspired CURIOSITY?
A. The true story of Curiosity—a rover the size of a 1 tonne car, successfully making its way to Mars, attempting a never before done landing—to me was stranger, or rather, more wonderful then fiction. On the one hand it was a great scientific based story, but on the other I just saw this amazing story with a rover people seemed to care about on a personal level. 

Q. How did you pick the title of your book?
A. The name of the rover was such a perfect fit for the title of the book. The book shows where your curiosity can take you. Clara Ma won a NASA competition to name the rover, and part of her submitted essay for the competition is used to close out the book itself. 

Q. Do you write by hand or on the computer?
A. I'll start by hand, as ideas or sentences come to me I'll want to get them down immediately, for me there's no more instant method than pen to paper. Notes or paragraphs will be jotted all around my sketchbooks. As the project progresses and I need something resembling a coherent story, I need the computer to help!

Q. What is your favorite part of the book? And was that part in the first draft? 
A. I always liked the last few spreads, which take place after the rover has finished telling us about her journey. The story beats haven't changed since my original idea. I also had to change the colour of the Martian sky for one spread, as the colours I had chosen didn't match up to the time of day it would have been when Curiosity landed on local Martian time! I really liked the new colours and how it turned out. 

Q. What kind of resources did you use in your research for this story?
A. I used a number of books, including the Haynes Owner's Workshop manual which featured previous rovers like Spirit and Opportunity, as well as Curiosity. NASA is great at putting out content whether it be written or videos, so I had a great library of resources from things they just make public. Finally to make sure the book held up to factual and scientific scrutiny, Walker brought on a Mars expert, Stuart Atkinson, who brought some great insight to the project and was great at making sure the text (and pictures!) were kept accurate. 

Q. Why did you decide to tell the story in first person? 
A. In the very early days, when I was still approaching how I might tackle the book and story, I visited the rovers official Twitter account, and saw that the rover tweets in the 1st person. “My launch was a total success!” or “I’m making final preparations for my landing...wish me luck.” It created an immediate connection for audiences with this rover. It anthropomorphized the rover beautifully, and I knew having the rover talk directly to the readers could help in getting them engaged. I didn't want this to be a dry science lesson. By the end I wanted readers to really care about this rover and its amazing journey, and hopefully having it in the 1st person helped achieve this. 

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. The story was only very loosely planned out before the images I wanted in there started popping into my head, from there they would appear in tandem. 

Q. Did CURIOSITY receive any rejection letters? If so, how many (ballpark)?
A. I made a list of dream publishers I would love to be published by, and was going to work my way down the list, sending my only copy of the book to each in turn. That was the plan, but Walker Books, at the top of the list, asked me to come have a meeting with them. Needless to say I was rather caught off guard!

Q. Describe your reaction when you received an offer on CURIOSITY.
A. I tried to remain as calm as possible — I didn't want to risk counting my chickens before they had hatched. Needless to say my parents reaction more then made up for my seemingly calm one!

Q. How long did CURIOSITY take to be published—from the time you received an offer until it was printed?
A. It took a little over year, which was spent making many iterations and changes to the one I had originally pitched to Walker. Some of this was narrative based, to help the book and story flow better, and some of this was changing illustrations based on Stuart's Mars knowledge.  

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. Towards the end of the book there was an additional spread of the rover with no text which I really wanted to keep, but we had too many pages so the spread had to go. There was so much to cover in the book, there was nowhere else we could take pages out!

Q. What is your #1 tip to those who want to write picture books? 
A. Spend time working on your idea/story. Once you've got your foundations established, everything else will fall into place that much easier. 

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. It’s not a very original one, but always have your pen and sketchbook/paper to hand wherever you go. You can guarantee inspiration or an idea is going to come to you when you least expect, not when when you need it the most! 

Q. What are you working on now?
A. I'm currently working on a book cover for a novel by Walker Books— producing artwork for someone else's writing is a first for me, and solidifying ideas for the difficult second album, or rather picture book!

Q. Where can people find you? (Website, Twitter, Facebook, etc.)
A. I'm on Twitter (@markusmotum ), Instagram (markus_motum), and my blog can be found at www.markusillustration.blogspot.com 
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After teaching American Revolution history in elementary and middle schools, Sarah Jane Marsh became intrigued with Thomas Paine—author of the pamphlet Common Sense, which rallied the American people to declare independence against England. His journey of courage, failure, and resilience inspired her to write her #firstpicturebook. In THOMAS PAINE AND THE DANGEROUS WORD, “Marsh does a fine job of mixing the personal and public elements of Paine's life; he comes across as not just a historical figure, but a fully realized fellow, with hopes and dreams, enthusiasms and disappointments.” (Booklist, starred review)

Q. Was THOMAS PAINE AND THE DANGEROUS WORD the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it? 
A. THOMAS PAINE was my first picture book manuscript. Once I committed to writing about Paine, I spent three years researching and experimenting with different angles and voices across multiple drafts.
 
Q. What inspired THOMAS PAINE AND THE DANGEROUS WORD?
 A. I developed a fascination with the American Revolution after reading Laurie Halse Anderson’s INDEPENDENT DAMES with my kids. I became such a nut about the subject that my daughters’ 5th grade teachers invited me to teach the American Revolution to their grade.
 
Along the way I became enamored with Paine and his renegade spirit and resilient life. Before he wrote his scandalous Common Sense advocating for American independence, he sewed corsets in England.  As a teenager, he ran away to be a privateer (a government-approved pirate) and later struggled through repeated failures before discovering he had knack with words. His story inspired me to persevere with my own writing aspirations. No one had written a picture book biography on him, so I wanted to try.
 
Q. How did you pick the title of your book?
 A. Students often discover Thomas Paine and his Common Sense in a sanitized paragraph in their history textbook. We forget that Paine wrote about a dangerous subject during a dangerous time. He was counseled not to write about the subject of independence or even mention the word. Common Sense was shocking. It was explosive. And it was a game-changer. I wanted to capture those feelings in THOMAS PAINE AND THE DANGEROUS WORD.  
 
Q. Do you write by hand or on the computer?
 A. I prefer to write by hand when I’m starting out. It’s less daunting. I jot down research notes in a spiral notebook and when I’m inspired by a gem of information, I scribble my own retelling in different voices. When I have a good sense of the story, I switch to Scrivener on my computer and write lots of bad drafts, rearranging and retelling different story beats. Ultimately, I set aside about 95% of my writing as I streamline the story for young readers.
 
Q. What is your favorite part of the book? And was that part in the first draft?
 A. I love when “persuaded by words on a page,” teenage Paine runs away to be a privateer with Captain Death aboard the Terrible. It shows his courage in taking action to change his destiny. And later, he uses his own words to persuade American colonists to change their destiny by declaring independence. But also, it’s important to show kids that sometimes the results of our big moves are not what we expect. Sometimes what we say “no” to is as important as what we say “yes” to.
 
The privateering scene was in my first draft, but in more detail with twists and turns. We discussed eliminating this section because of the lengthy word count, but compromised by slimming it down. And Ed’s action-packed illustration was the cherry on top. To my delight, this is the section kids most want to talk about.
 
Q. What kind of resources did you use in your research for this nonfiction story?
A. I seeped myself in history by reading books and Paine’s own words, watching documentaries, visiting the historical sites, and tracking down primary sources online. I’m a stickler for using primary sources, so I went on some wild journeys to chase particular quotes to the original source. A particular thrill was finding the original newspaper advertisement for the Terrible in a database through my local library.
 
Q. How did you decide on the timeframe of this nonfiction story?
 A. Determining a timeframe was a real challenge. Thomas Paine led a full life stirring up trouble around the world with his opinionated writings. However, I wanted to concentrate on his role in the American Revolution. My original draft extended through the end of the war and was 3900 words. I knew I needed to cut, cut, cut!
 
My agent, Caryn Wiseman, suggested ending my manuscript at the Declaration of Independence and moving the rest to the author’s note. This is valuable advice for nonfiction writers. You can always tell more of your story in the back matter.
 
Q. Did THOMAS PAINE AND THE DANGEROUS WORD receive any rejection letters? If so, how many (ballpark)?
 A. We received about 7 rejections.  We knew my manuscript was risky because of the length -- about 2500 words. But my agent Caryn was an ardent supporter of the lengthy story and advocated for it. She found a similar spirit in Disney-Hyperion editor Rotem Moscovich who embraced Thomas and his resilient journey and dedicated 80 pages to tell his story.
 
Q. Describe your reaction when you received an offer on THOMAS PAINE AND THE DANGEROUS WORD.
 A. Stunned. Caryn had kept me in the loop about the many meetings in the approval process, so we were crossing fingers and toes that THOMAS PAINE would make it through. When the offer came, I felt a deep sense of relief and appreciation that Disney-Hyperion loved this story as much as I did.
 
Q. What kind of input did you have in choosing an illustrator for the book?
A. To my surprise, Disney invited me to submit a “wish list” of illustrators. I had been so focused on crafting the best possible manuscript that I hadn’t allowed myself to daydream about potential illustrators. However, I loved Edwin Fotheringham’s work so he topped my list. His book with Barbara Kerley, THOSE REBELS, JOHN & TOM, was a mentor text and all his books are rich with emotion and historical detail. I was thrilled and nervous when Disney sent my manuscript to Ed and stunned when he accepted. I cried.
 
Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Well, I cried again. It was amazing to see dear Thomas Paine come alive in Ed’s unique illustrative style. I had spent three years alone with these words and Ed added more emotion and detail to elevate the story beyond my capabilities. And Disney went all out with the jacket cover. I love the bold red color and Lincoln’s sprawling quote on the back. And when you remove the jacket cover there is another bold surprise!
 
Q. How long did THOMAS PAINE AND THE DANGEROUS WORD take to be published—from the time you received an offer until it was printed?
 A. Almost three years. At 80 pages, THOMAS PAINE is not a typical picture book and was an especially large project to illustrate. I also appreciate that Disney was equally committed to getting the history right. We fact-checked with retired history professor Dr. Jett Conner and went through several rounds of fine-tuning with Disney copyeditors. So including my three years crafting the manuscript, this was a six year journey.
  
Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
 A. Always. My achilles heel as a nonfiction writer is that I want to share ALL the good stuff. It pains me to leave tidbits out, but I’m getting better about recognizing that more can be shared in the back matter and school visits. There is a scene in THOMAS PAINE that I cut for word length that I might revisit in another picture book. And one omitted detail still haunts me, which is Captain Death and his ship Terrible were scheduled to leave from Execution Dock. But I’m taking that tidbit with me on school visits to show that fact is often stranger than fiction!
 
Q. What is your #1 tip to those who want to write picture books?
 A. Study other successful picture books, especially the ones you love. Outline the story arc and analyze the different components. What angle did the author take in starting the story? How do they introduce character and motivation? Is there a climax or page-turning tension? Is there a theme and how is it revealed? How does the emotional journey change from beginning to end? You don’t have to copy what you learn, just understand the different techniques employed. Don’t be afraid to be a self-taught writer.
 
Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. In the later stages of writing, I like to storyboard my books or make a picture book dummy. (Debbie Ohi has a great storyboard template here).

I quickly sketch with bad stick figures, just to get a sense of scene. Mostly I see how the text reads page to page: where the page turns might be, how the scenes change, and where I need to trim my text for pacing.
 
Q. What are you working on now?
A. My next book is MOST WANTED: JOHN HANCOCK AND SAMUEL ADAMS, a prequel to the history in THOMAS PAINE. This book will span ten years before Common Sense and feature the troublemaking partnership that landed these two men at the top of Britain’s most wanted list. I’m excited to work again with Ed Fotheringham and our team at Disney-Hyperion.
 
Q. Where can people find you? (Website, Twitter, Facebook, etc.)
A. I’m on Twitter at @MsSarahJMarsh, Facebook at @SarahJaneMarshBooks, and my website is www.sarahjanemarsh.com. Thanks for hosting me, Karlin!

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Becky Cameron is a graduate of the Cambridge School of Art and the illustrator of PADDINGTON & THE CHRISTMAS VISITOR. And recently her #firstpicturebook as an author/illustrator was published. Inspired by Becky’s childhood memories of playing with her sisters, WISHING FOR A DRAGON is “a delightful whimsical debut . . . with just the sort of lovely little artistic touches we love to see in picture books” (ReadItDaddy).

Q. You worked as an illustrator before WISHING FOR A DRAGON. How did you make the transition to writer/illustrator and how does it compare with being an illustrator of someone else's work?
A. I knew for a long time that I wanted to illustrate and write my own books for children, it just took me a while to figure out how! It was after some research that I decided the best way to get into children's books was to go back to university so I saved up and completed a Masters in Children's Book Illustration at Cambridge School of Art. I learnt a lot in that year and a half about the structure and pacing of books but also about the industry. 

I loved the creative freedom of writing my own narratives on the course and was over the moon that my first deal out of university was for one of my own books (Wishing for Dragon). From there it all just fell into place! I've illustrated other people's texts since and I think it's just a very different experience, I like the process and freedom of writing my own books but equally it can be a joy to help bring someone else's words to life. I think probably I'm still transitioning from illustrator to author-illustrator but I'm doing a lot more writing these days and an evening course on writing for children so hopefully there will be more to come.

Q. Was WISHING FOR A DRAGON the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. It was actually the third or fourth I'd written, and the least finished when my publisher picked it up. It was very rough around the edges and the illustrations very much informed the text (it was wordless to begin with- gasp!) My editor Emma helped me to restructure it and add more depth.

Q. What inspired WISHING FOR A DRAGON?
A. The imagination of me and my sisters when we were children and the endless games we played together.

Q. How did you pick the title of your book?
A. I can't count how many titles we went through for this book! Originally it was called "We're off on an Adventure" (quite a mouthful). Then for a long time we referred to it as 'adventure story' and then 'dragon book' and finally, after toying with lots of variations, my editor and I settled on WISHING FOR A DRAGON. I think it was the right choice to have the dragon in the title because he is such a central character.

Q. What is your favorite part of the book? And was that part in the first draft?
A. I think my favourite part is when they finally meet Ella's dragon. I wanted it to be clear as soon as you saw him that he wasn't a scary dragon and I think (I hope!) that comes across in the text and the image.

Q. How did you select the names for your characters? 
A. I probably used an online baby name website. I just went for names that I thought sounded nice together!

Q. Why did you decide to tell the story in first person? 
A. That is a very good question. I'd like to say it was done consciously but the truth is that was just how the story came out when I wrote it. I think because one of the children has this secret wish (to see a dragon) I wanted it to be from her perspective. I think because it was influenced by my childhood memories I probably felt like in a way I was the little girl telling the story and I was right in the action.

Q. How much of the story did you know when you began writing WISHING FOR A DRAGON? 
A. Not very much! It was rewritten so many times I don't think much from the first draft has remained in the final book!

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. I made the pictures first and when my publisher picked it up it was at a very early stage and wordless which I think is quite unusual. To make the text work we had to restructure and look at the text separately before redrawing the rough artwork to fit the pacing of the text. 

Nowadays the text comes to me more at the beginning of the idea process and then the pictures and text sort of develop together as one which I think is probably a better way to do it!

Q. Did WISHING FOR A DRAGON receive any rejection letters? If so, how many (ballpark)?
A. It didn't because it wasn't submitted as such. I was lucky to meet lots of publishers and agents at my graduation show and had meetings with some of them where I showed them my portfolio and dummy books. A few showed interest in Wishing for a Dragon but were perhaps a bit apprehensive as it was so unfinished. I was very grateful to Emma Layfield at Hodder for putting her trust in me.

Q. Describe your reaction when you received an offer on WISHING FOR A DRAGON.
A. I did a little dance around the room before composing myself and setting to work on finding an agent! I had no idea what I was doing with contracts so thankfully the publisher was happy to wait for me to find an agent before I signed on the dotted line!

Q. How long did WISHING FOR A DRAGON take to be published—from the time you received an offer until it was printed?
A. Two years. I'm still getting used to how slow this industry is!

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. I've squeezed all of my favourite things into this book and I don't think I've had to leave anything out.... oh, other than the text originally started with 'We're off on an adventure...' which was then repeated throughout the text which I quite liked!

Q. Did you create any book swag for WISHING FOR A DRAGON? If so, what kind?
A. No book swag but now I'm thinking maybe I should do! Plushy hot air balloons anybody?!

Q. What is your #1 tip to those who want to write picture books?
A. Don't give up! Your first, second and third ideas might all be rubbish and get rejections but keep working at it until you hit gold.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Keep making things for yourself. Write for yourself and draw (if that's your thing) for yourself. You never know what new ideas will spring from the little things you're making for pleasure. Even when I have a deadline looming I try to write down new ideas or sketch characters that pop into my head. They might not turn into anything or they might just be your next big story idea.

Q. What are you working on now?
A. I'm working with Hodder again on an illustration brief for an exciting book project and I've just submitted a new picture book text to publishers. I've been working on it for some time, fingers crossed it finds a publishing home because I really love it!

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A.
www.beckycameron.co.uk
@doodleyboo on twitter and instagram
Becky Cameron Illustration on facebook
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Cate Berry is a faculty member with the Writing Barn in Texas and also speaks at schools, libraries and conferences on such topics as "Gender Stereotyping and Poetic Devices" and "From Stand Up to Sit Down: Funneling Surprise and Stand-Up Comedy into Humorous Picture Books." Inspired by a class assignment, Cate wrote her #firstpicturebook which will be published on May 8th. Today she talks to us about crafting PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!—a Junior Library Guild selection and “a definite do for bedtime” (Kirkus Reviews).

Q. Was PENGUIN AND TINY SHRIMP DON’T DO BEDTIME! the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. It was close to my first book. I took two picture book classes at the Writing Barn in Austin, Texas (And I am lucky enough to teach there now). During my second class we were given the assignment of writing a bedtime book. I got a jump on the assignment and wrote this very quickly. It’s one of the few times something has come out “whole” and not needing a lot of revision (because that NEVER happens, as we know).

My very first picture book manuscript was called Puffin and Slip. It follows two creatures in a faraway galaxy. They are separated but stay connected through the moon and their special friendship. That manuscript is in a drawer right now but I think you’ve awoken my curiosity again! Thank you and I’ll keep you posted.

Q. What inspired PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!?
A. As I stated above it was a class assignment. But also, as I examine it closely years later, it was a love letter to my children. They are only thirteen months apart and when they were little acted as one unit. Plus, they hate bedtime. Can you tell?

Q. How did you pick the title of your book?
A. Oh, that’s a fun topic. The book was originally titled This is Not a Bedtime Book. In the end, we wanted something a little more original and full of the voice of the characters. I brainstormed a list and Penguin & Tiny Shrimp Don’t Do Bedtime! was a favorite with the Harper Collins/Balzer+Bray team. I’m so glad we changed it. I really love the final title.

Q. Do you write by hand or on the computer?
A. I write by hand but I also write a lot on my iPhone notes app. I heard an interview with Annie Leibovitz talking about how the best camera to use was the one on you all the time. She champions iPhone photography and that got me thinking about using my Notes App for writing while I’m out in the world. There are so many opportunities to write: waiting for the dentist, right before your household wakes up, when insomnia hits in the dead of night. It’s freeing to just swipe over to an app and jot down inspiration when it hits.

Q. What is your favorite part of the book? And was that part in the first draft?
A. My favorite part of the book is probably the double spread of the “turn” or climax of the book. Penguin & Tiny Shrimp’s anti-bedtime shenanigans have reached a fever pitch and Charles Santoso’s illustrations are just so joyous and fun. He really captures my heart in that spread because it epitomizes being a kid.

Q. How did you select the names for your characters? 
A. I’ve been asked this a lot and I wish there were a snappier answer. But the truth is they just came to me very suddenly while I was drafting. You have to pay attention to your story when things are flowing. Things were definitely in “flow” that day.

Q. How did you decide between telling the story in first, second, or third person? 
A. A teacher of mine from grad school once said, “Every writer gets something for free.” My “freebie” is dialogue. It comes very organically for me. This entire book is told through dialogue and that is very much my voice as a writer.

Q. How much of the story did you know when you began writing PENGUIN AND TINY SHRIMP DON’T DO BEDTIME! ? 
A. Well, my subconscious knew quite a bit since sleuth bedtime tactics had been my life for so long with small children. I think when I started the story I knew they would end up passing out at the end. I can’t believe in a story fully until I know the ending.

Q. Did PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!  receive any rejection letters? If so, how many (ballpark)?
A. Oh yes. It was on submission for several months and we received around 8-10 rejections. But then, presto we got several offers all at once. The book ended up at auction with four publishing houses. It sounds cliché, but I guess the take-away is that you should never give up on something you believe in.

Q. Describe your reaction when you received an offer on PENGUIN AND TINY SHRIMP DON’T DO BEDTIME! 
A. My agent called me and I had to pull over because I was driving. I screamed, of course, and then cried. I was very, very happy. Getting a book published relies on a lot of things lining up perfectly. I feel grateful every day for this opportunity.

Q. What kind of input did you have in choosing an illustrator for the book? 
A. My editor was open to suggestions from me. I requested that she consider Charles Santoso among others. She was charmed by the idea of Charles illustrating the book and we were both thrilled when he agreed.

Q. What jumped out at you when you saw the first sketches and jacket cover?
A. Oh. They exceeded my expectations. Not only were they adorable but also they were also full of personality and verve. I don’t know how Charles did it. I have so much respect and admiration for illustrators in general. It was such a gift when the first sketches came in.

Q. How long did PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!  take to be published—from the time you received an offer until it was printed?
A. I believe we sold the book in the fall of 2016. It debuts May 8, 2018.

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. That’s a great question. There was not much editing on my end. However my editor did nudge me to perfect some of Tiny Shrimp’s lines, adding more specificity. I’m so glad she did as it goosed the humor, in my opinion, and made his character that much more fun.

Q. Have you read PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!  to kids? If so, which part of the book gets the best reaction?
A. I have read the book to lots of kids! I think the biggest laugh always happens when the Uni-Hippo makes a surprise entrance. I think my biggest thrill is seeing kids delight in two aquatic creatures bounding into zany adventures avoiding sleep. It’s every kid’s fantasy, or at least the kids I know.

Q. Did you create any book swag for PENGUIN AND TINY SHRIMP DON’T DO BEDTIME!? If so, what kind?
A. Yes! My sister is a wonderful designer and she and I have just ordered postcards for librarians, bookplates, stickers and buttons. I also made an invitation for the book launch on May 20th at the indie bookstore BookPeople in Austin, Texas. You’re all invited!

Q. What is your #1 tip for picture-book writers?
A. Read, read, read and then read more picture books. Don’t underestimate how much you’re learning about the form while you read picture books, especially aloud.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. I try to write something every day even when I have just a few minutes. One of my advisors in grad school taught me this. It can be as small as a picture book title idea or a stanza in a poem. But it does wonders for keeping your creative wheels greased.

Q. What are you working on now?
A. I’m in the middle of revising four picture books and I’m on my third major revision of a middle grade novel. I’m also dabbling in non-fiction picture books. It scares me because the research is so interesting I’m afraid I’ll fall down the rabbit hole and never come out!

I’m also reminding myself every week to pay it forward and be generous about helping other writers as much as time will allow. That’s important to me: connection and community.

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A. I love to hear from kids, readers, and writers! You can find me here:
www.cateberry.com
Twitter: @cberrywriter
Insta: @cateberryatx
Cate Berry Reads PENGUIN & TINY SHRIMP DON'T DO BEDTIME!: https://m.youtube.com/watch?v=7_kfuwBfvPc
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When Daria Peoples-Riley was nine years old, she got her first job in the children’s section of her hometown library. Later, she became a teacher and now she is a full-time author/illustrator. Released last month, her #firstpicturebook THIS IS IT is “a beautiful tribute to the power of dance” (Kirkus Reviews) that “shows a girl gaining confidence in herself—an important message for all children” (School Library Journal, starred review).

Q. Was THIS IS IT the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. No! Ha. The first picture book dummy I finished and submitted to agents was called Joy Ride, and it was rejected over and over and over again. 

Q. What inspired THIS IS IT?
A. THIS IS IT was inspired by my daughter. She is an aspiring classical ballerina, and I originally wrote the poem as a gift to give to her on the day of her first audition. After I enrolled in an online picture book class, I was asked to illustrate a manuscript. I didn’t have a manuscript, so I pulled out the poem to illustrate and it became a picture book in the class.

Q. How did you pick the title of your book?
A. It was the last line of the poem, and it resounded the loudest to me. I thought it was fitting for a few reasons. First, there are only a few "This Is It" moments in life that can potentially alter the course of our destiny. It’s important for us to recognize these moments as they occur instead of in retrospect when often it’s too late, and we regret not making the choice we deeply desired. And, all of those choices determine our journey to becoming the best version of ourselves. We only have one journey, and one opportunity to accomplish all we dream and imagine for ourselves. This is it. The sooner we realize this, the better. And I hope children and the adults who love them receive that message after reading THIS IS IT.

Q. Do you write by hand or on the computer?
A. Both. Often, in the early stages, I write by hand . And, as I get further along, I move to my laptop. But truth be told, I’ve written entire manuscripts on my iPhone. 

Q. What is your favorite part of the book? And was that part in the first draft? (Please send an image from the book or link to book trailer.)
A. The middle spread. It’s a visual representation of surrender. Whatever happens, happens. Whether we succeed or fail, let it be. We’re here. We’re trying. We’re not eliminating ourselves by not showing up. And yes, it was in the first draft, and the first final art sample I submitted.

Q. How did you decide between telling the story in first, second, or third person? 
A. The poem came in second person, and it made sense because of all of the affirmations the shadow speaks to the heroine. 

Q. How much of the story did you know when you began writing THIS IS IT? 
A. All of it. It came out in one draft mainly because I never intended it to be a picture book. It was written from a mother’s soul to her daughter's heart, and that came from a place I'm not sure any other stories will ever come from again.

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. As I revised the text once it was acquired, my editor and I settled on the text first, and then I revised the illustrations.
 
Q. Did THIS IS IT receive any rejection letters? If so, how many (ballpark)?
A. Oh yes. Everyone rejected it in the first round. 6 or 7
times. But!! One of the rejections held a gem of advice that helped me revise it, and in the second round, it sold in a preempt within 48 hours. 

Q. Describe your reaction when you received an offer on THIS IS IT.
A. Well, I was sitting with my mother as we were waiting for my grandmother to go into surgery. Marietta called me, and something told me the book sold before I answered the phone. I stepped out of the pre-op room , and when Marietta told me the news, I accidentally kind of, sort of, might've shrieked in celebration, and my mom came out and yelled at me. I took the phone call in the restroom to continue  my celebratory dance. When I shared the news with my mom, we all got a little weepy. It was really special. Both my mother and my grandmother's mother tried to be published, so I felt like all of our dreams came true. 

Q. How long did THIS IS IT take to be published—from the time you received an offer until it was printed?
A. I received the offer in April of 2016, and its publishing date was February of 2018. 

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. I was really pleased with every word. There was one line, in particular, that was changed in copy edits, but I was just as happy with my revision as I was with the original line.  

Q. Have you read THIS IS IT to kids? If so, which part of the book gets the best reaction?
A. Yes! Many times, and they all giggle when it says, "Shake it baby. SHAKE. IT. BABY." Then, they shake it. Haha!

Q. Did you create any book swag for THIS IS IT? If so, what kind?
A. I made bookmarks, posters of the cover, and little tote bags for the book launch.

Q. What is your #1 tip for picture-book writers?
A. Write a story for the audience of the one child who needs to read your story, and her story will touch the hearts of all the children who need to hear her story too.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Be yourself. There is only one you.

Q. What are you working on now?
A. I am illustrating a book by Jessica M. Rinker called Gloria Takes A Stand about the life of Gloria Steinem (Bloomsbury, 2019), and I am working on my next picture book with Greenwillow for Summer of 2019.
Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A.
dariapeoples.com
Twitter and IG: @dariaspeoples
Book trailer: https://www.youtube.com/watch?v=OzzKIhf45A4
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Aura Lewis studied psychology in college but changed paths when she earned her MFA in illustration from the School of Visual Arts. Guided by her admiration for feminist Gloria Steinem and her love of 60s-70s fashion and design, Aura created her #firstpicturebook GLORIA’S VOICE—“a subtle ode to an iconic figure of quiet “strength and enormous influence.” (Publishers Weekly).

Q. Was GLORIA’S VOICE the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. Yes!

Q. What inspired GLORIA’S VOICE?
A. I’ve always been interested in the women’s movement, feminism and gender studies. When I thought of writing a picture book biography, I thought of Gloria Steinem- I’ve always admired her, and in a way I also identified with her story, of someone from a small town wanting to go to New York to do something big. This was combined with my love for 60s and 70s fashion and design! I was excited to portray that era. When the idea came to me I knew I had to make it.

Q. How did you pick the title of your book?
A. The title was actually suggested to me by my agent at the time :)

Q. Do you write by hand or on the computer?
A. Both! I have a sketchbook where I write ideas, and then I organize them on the computer. I actually also write a lot on my phone when I'm commuting!

Q. What is your favorite part of the book? And was that part in the first draft?
A. Hmmm. I think my favorite part is the “poster” spread where Gloria and Dorothy go on the road. The idea to make it this way came to me pretty late in the process of making the book.

Q. What kind of resources did you use in your research for this nonfiction story?
A. I read books, articles and interviews by Ms. Steinem and about her. I watched lots of interviews with her as well as documentaries about the time period. I loved the research part!

Q. How did you decide on the timeframe of this nonfiction story?
A. Good question! At first I tried to fit in Ms. Steinem’s whole life. But, I realized after a few drafts that the story arc would be better if it ended much earlier (after the publication of Ms. Magazine.) Ending it there gave the book a better rhythm and an ending with a look to the future.


Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. It was a really organic process—I wrote and drew and wrote and drew until everything came together. The words helped me figure out the spreads, but sometimes I changed the text and pacing of the manuscript in order to fit with the images that I thought would work best.

Q. What information do you include in the back matter?
A. I have page-by-page notes, with information I wanted to include but couldn’t fit in the story itself. In the notes, I also explain some of the details in the illustrations that have a back story. We also included a biography of Gloria Steinem and a list of other children’s book titles about women’s empowerment.


Q. Did GLORIA’S VOICE  receive any rejection letters? If so, how many (ballpark)?
A. No.

Q. Describe your reaction when you received an offer on GLORIA’S VOICE.
A. I was SO excited! I was really, really sick that day—I completely lost my voice so I couldn’t shout for joy. I did do a very happy dance though- and then collapsed on the bed:)

Q. How long did GLORIA’S VOICE take to be published—from the time you received an offer until it was printed?
A. Just a little over a year!

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. I feel like there’s always something I could change or add about the art or text! In all of my work, I am learning to put it out there and let it be what it is.

Q. Did you create any book swag for GLORIA’S VOICE? If so, what kind?
A. Yes! The publisher made some beautiful posters and buttons to go with the book.

Q. What is your #1 tip to those who want to write picture books?
A. Here are a few tips that really helped me:
1. Read a ton of picture books so that you’re really familiar with the genre.
2. Read a great book about writing for kids (there are a few excellent ones out there!)
3. Learn to make a book dummy and mock-up a story in 32 pages (even if it's just words and scribbles!) This will help so much with pacing, storytelling and structure!


Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. I like to try different things at different times, but one fun exercise is thinking of an awesome book title and what would be the cover for it. Sometimes that’s enough to come up with a complete story!

Q. What are you working on now?
A. I’m working on my next book, THE ILLUSTRATED FEMINIST. It’s an illustrated handbook for adults and YA about American feminist history, coming out in 2020 with Abrams.

Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A. I’m on instagram & Twitter:  @auralewis
Website: Auralewis.com
Book discussion guide a>
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Baptiste Paul is a dad, sports fan, woodworker, gardener, and school speaker. On March 6th, he will also be an author. Today he does a quick Q&A of his #firstpicturebook THE FIELD—an “excellent” (Kirkus Reviews) and “engaging book . . . sure to resonate with children who are passionate about soccer and even those who simply enjoy lively play. (School Library Journal)

Q. What inspired THE FIELD?
A.The inspiration for THE FIELD came about as a result of my childhood experiences. The idea for the story came while playing outside in the rain with my children. They were so happy running in rain, splashing in pools of water and rolling in the dirt. I saw myself in them and, although our childhood experiences were totally different, we found joy in the same exact thing.

Q. What is your favorite part of the book? And was that part in the first draft?
A. I like every part of the book. One of my favorite parts is when the kid is chasing the animals off the field. It was something we did everyday before we started our game. This scene was in the first draft and it was the only part where I included illustrator notes.

Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. Kids getting into a little scuffle after a rough tackle from one of his friends was cut from the book. I believe that part was important simply because, there were days we got into scuffles with each other but we always found a way to settle our differences before the game ended.

Q. What is your #1 tip for picture-book writers?
A. Live life deliberately and ideas will find you. Record moments for later use. What works for one person might not work for the other. With life constantly evolving around me, I walk around all day with a memo book and a pencil tucked above my ear to record those moments.

Q. Do you have a favorite writing exercise or marketing tip that you can share?
A . When I’m working on a piece, I ask questions like who, what, why, where, when and how over and over again. I always think universal — similarities and differences. Most times those questions are being answered while I pace back and forth talking out loud to myself.

Q: Where can people find you? (Website, Twitter, etc.)
A. Website
Twitter: @baptistepaul
Watch THE FIELD book trailer

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Animator and illustrator Qian ('Chen') Shi grew up in Shijiazhuang, a northern city in China. Her short animation Shoe won two awards and she worked as an artist on Tim Burton’s movie “Frankenweenie.” She’s a little bit afraid of spiders but that didn’t stop her from writing her #firstpicturebook THE WEAVER—a “beautiful and wise” (Kirkus Reviews) story that “integrates facts about the natural world with this unusual arachnid adventure (The Irish Times).

Q. Was THE WEAVER the first picture book manuscript you ever wrote? If not, what was the first picture book you wrote and what happened to it?
A. The Weaver indeed is my first ever picture book manuscript. But the first manuscript I wrote was for an animated short film Shoe, which was completed some year back. Eventually I’d like to adapt this short film into a picture book.
 
Q. What inspired THE WEAVER?
A. The short answer is that I saw a piece of leaf stuck in the middle of a spider web, somehow this scene just got my imagination going. The full answer is that THE WEAVER is a story about what I have been through my life — I’m originally from China and have lived in Norway, Denmark, and the U.K. My life was formed and transformed through all the years of moving around. It hasn’t been the easiest experience, partially due to my ever-growing collection of books, things, and even furniture! Finally, I was quite into the idea of minimalism. Although I have to admit that I would probably never be able to be a minimalist myself, I have given a lot of thought about it. So when I saw this leaf on the spider web, the story of THE WEAVER formed in my head.
 
Q. How did you pick the title of your book?
A. The title “The Weaver” came sort of naturally when I was already working with my editor Libby (Andersen Press). Stanley the spider is a web weaver, as spiders do, but he also weaves his imagination as a way of creativity. It just felt right to call this book “The Weaver”.
 
Q. Do you write by hand or on the computer?
A. I would say I write by doodling on the paper.
 
Q. What is your favorite part of the book? And was that part in the first draft?
A. Perhaps it is the first spread—“Every spider leads a life of adventure”—as it sets the key tone of the entire book with spiders flying around holding a piece of leaf or flower. I had been doodling them even before I had the entire story figured out. I knew I wanted something magical and poetic for the story.
 
Q. How did you select the names for your characters?
A. Coming up with a name for the main character was the hardest thing! Both Libby and I had suggested quite a few names to each other. We wanted something catchy, but none of them felt right. So “he the spider” didn’t have a name until the project was almost completed. Then I went to this Stanley Kubrick exhibition and thought—Stanley Kubrick was a collector. He was so creative and did lots of great movies which influenced generations of artists and filmmakers. Stanley works with Spider too!
 
Q. How did you decide between telling the story in first, second, or third person?
A. I didn’t duel on this for very long. It felt natural to tell this story in third person. Stanley didn’t talk in the entire book. His thought process and conflict through the journey is internal, also instinctual. Using first person might make the story too analytical.
 
Q. How much of the story did you know when you began writing THE WEAVER?
A. After I saw the leaf on the spider web, I went on a short train journey. During the 45 minutes on the train, I pretty much thought through the whole story in broad strokes. Then later on, I sat down and figured out a much more fine-tuned story arc.

Q. Did you write the story first, then illustrate it? Or did the images appear before the words?
A. The story and the image sort of came at the same time. Sometimes certain images come first. I doodled the moments of what the main character Stanley would do when he collects things. The final illustration came a little later, after I had done some more research on plants. If you remember, there was a 100-day challenge on Instagram. I participated in it by drawing plants, flowers and leaves everyday, which was preparation for this project.
 
Q. Did THE WEAVER receive any rejection letters? If so, how many (ballpark)?
A. Yes, of course. It’s inevitable to get rejections, especially in the beginning. I went to Bologna Children’s Book Fair to present my book idea rather than sending out submissions. During the fair, I got both interest and rejections. But because I’d shown the book idea to so many people within a short amount of time, I also quickly learned that it’s quite subjective whether this publisher/editor/art director likes your idea or not. Each publishing house has their own set of style and lists of interests. Don’t let this make you lose confidence. Always look for feedback and suggestions and consider them. You might pick up some really good ones!
 
Q. Describe your reaction when you received an offer on THE WEAVER.
A. YAY FINALLY!
 
Q. How long did THE WEAVER take to be published—from the time you received an offer until it was printed?
A. 1 1/2 years. I’m not used to the turnaround speed as I normally work in advertising/animation which is always in a rush. But it’s incredible to see what goes on behind a printed book. Sometimes things take time and it’s worth waiting.
 
Q. Was there a part that you really loved but had to edit out? Or did you think of something later that you wanted to add?
A. I’m quite lucky. The initial story which I presented was pretty much intact. Throughout the collaboration with my editor and art director, we added a few things, improving the story here and there.
 
Q. Did you create any book swag for THE WEAVER? If so, what kind?
A. I haven’t created book swag but I am thinking about printing wrapping paper with the endpaper designs.
 
Q. What is your #1 tip to those who want to write picture books?
A. Read lots and lots of picture books. Read classic picture books - they’re classic for a reason. You can learn so much from them! And write your story ideas down—even if you’re not 100% sure yet, they might just need some more time to mature.
 
Q. Do you have a favorite writing exercise or marketing tip that you can share?
A. Once I joined a writing workshop with Barbara Slade who gave us a great advice. First, write down all the things you imagine that could happen in the story. Don’t judge, just write them down. Then once you’ve got enough material, look through them and edit. Use the ones that make sense, put away the ones that don’t work. You can repeat this process a few times, eventually you will get a story that can even surprise you.
 
Q. What are you working on now?
A. Recently I was just finished up a couple of short animation clips for promoting The Weaver (http://www.qianshi.co.uk/illustration.html) And I’m currently exploring the next idea for a picture book!
 
Q. Where can people find you? (Website, Twitter, Instagram, etc.)
A. My website: www.qianshi.co.uk
Instagram: @qian.shi
Twitter: @qianshi_design
Facebook page: https://www.facebook.com/QianShi.Illustration/
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