Raven Howell's Blog, page 2
June 22, 2021
Poetry Tips & Inspiration in 43 Words
Now’s the time to not be afraid.
Dig deep.
Use precision, and word choice play.
Does a rhyme beleaguer,
Or come eager?
Unite memorable images.
Let phrases linger.
Give away the essential,
But keep some deciphering
To yourself,
And the reader to ponder.
A Cheer for the Year
Dig deep.
Use precision, and word choice play.
Does a rhyme beleaguer,
Or come eager?
Unite memorable images.
Let phrases linger.
Give away the essential,
But keep some deciphering
To yourself,
And the reader to ponder.
A Cheer for the Year
April 29, 2021
Font Fun!
Although fonts may not be the most popular literary-themed subject to share, I can’t help but find it fascinating how the variety of lettering designs, called fonts, came about. Guess how many fonts exist in the world today? Over 200,000! That’s a lot of typeface fun!
The Old English font, called BLACKLETTER was the first invented font in the world. It has dramatically thick and thin strokes, think “Gothic”. This font evolved from the mid-12th century, Europe.
Pioneer, Johannes Gutenberg, through his mechanical moving type printer, produced the bible in the TEXTURA font. The Declaration of Independence? That was printed in a British font, CASLON. And I had no idea there was a “most hated” font! Even its creator, Vincent Connare doesn’t like it. Ha! COMIC SANS.
Beyond font history, the first question other fellow writers and book lovers ask me is what is the most often used typeface? Most of the signage you see, and the typeface on business forms, receipts, and invoices is the world-wide popular HELVETICA.
I also love the psychological aspect of fonts. As you may guess, different fonts communicate different messages. Most people are likely to believe the text written in BASKERVILLE rather than say, COMIC SANS. Diners reading a fancy font on their menus assume the chef more posh. Simple fonts on menus? Blah – no special kitchen skill, the mind tells us. Should you pick up a vibe of assertiveness, you are probably reading either GEORGIA, ROCKWELL BOLD or IMPACT fonts.
CASLON continues to be one of the most popular fonts today with lots of versions and interpretations. Some say this font conveys an inviting feeling. It gives a feeling of warmth and familiarity. Choose CASLON for historical novels and if a dependable feeling is desired.
Finally, ideally, online text should never be less than 10 pt in size, and keep it easy to read by using a font such as ARIAL, GEORGIA, VERDANA or TIMES NEW ROMAN.
Got a favorite font? Share it! The font used in my picture poetry book, SPIN A CIRCLE! uses a DYSLEXIE font. You can check out my book here. Spin a Circle!
The Old English font, called BLACKLETTER was the first invented font in the world. It has dramatically thick and thin strokes, think “Gothic”. This font evolved from the mid-12th century, Europe.
Pioneer, Johannes Gutenberg, through his mechanical moving type printer, produced the bible in the TEXTURA font. The Declaration of Independence? That was printed in a British font, CASLON. And I had no idea there was a “most hated” font! Even its creator, Vincent Connare doesn’t like it. Ha! COMIC SANS.
Beyond font history, the first question other fellow writers and book lovers ask me is what is the most often used typeface? Most of the signage you see, and the typeface on business forms, receipts, and invoices is the world-wide popular HELVETICA.
I also love the psychological aspect of fonts. As you may guess, different fonts communicate different messages. Most people are likely to believe the text written in BASKERVILLE rather than say, COMIC SANS. Diners reading a fancy font on their menus assume the chef more posh. Simple fonts on menus? Blah – no special kitchen skill, the mind tells us. Should you pick up a vibe of assertiveness, you are probably reading either GEORGIA, ROCKWELL BOLD or IMPACT fonts.
CASLON continues to be one of the most popular fonts today with lots of versions and interpretations. Some say this font conveys an inviting feeling. It gives a feeling of warmth and familiarity. Choose CASLON for historical novels and if a dependable feeling is desired.
Finally, ideally, online text should never be less than 10 pt in size, and keep it easy to read by using a font such as ARIAL, GEORGIA, VERDANA or TIMES NEW ROMAN.
Got a favorite font? Share it! The font used in my picture poetry book, SPIN A CIRCLE! uses a DYSLEXIE font. You can check out my book here. Spin a Circle!
April 18, 2021
Rejection Reboot
Ouch. "Thanks for considering us for your submission, however it's not right for our publishing house. We wish you luck placing it elsewhere." If you're a writer, you have probably seen these words before.
We ALL get rejections. I feel mine come like a rainy season - one after the other until finally there appears a sunny crack in the clouds. Meanwhile, I know it can feel debilitating, and often, an author may sink into hopelessness.
But take the time to just stop. Practice some self-care. Take a deep breath and think of the reasons you write. Remind yourself to not take it personally. YOU are not getting rejected, it's the manuscript that isn't befitting at this time with this publilsher. No biggie - you can move on, and you will.
For the fun of it, write a short story, paragraph, or funny rhyming verse about the rejection - express yourself, and give yourself a laugh at the same time!
Of course, if you receive professional criticism, great. Time to listen and incorporate any updates that would benefit your writing. But aside from that, try to connect with a family member, friend or another author. You'll most likely receive understanding and compassion because in one way or another, even if you're not a writer, the experience and pain of rejection is universal.
For me personally, I often "listen to my instincts". And often, it works. For instance, at one point, my instinct told me that receiving a particular rejection was a good thing because my hoped-for book needed to have a venue/a publisher to reach a special learning disabled child. So a week later, when I received an acceptance from my publisher, and was told they wanted to produce a dyslexic format, I knew things were as they should be.
Another re-boot from rejection that works for me are gentle, positive affirmations. It helps in bringing back clarity and focus, practice kindness and release stress.
Reconnect with your talent, your passion, your beauty. And KEEP ON! The world wants to hear from you.
Spin a Circle!
We ALL get rejections. I feel mine come like a rainy season - one after the other until finally there appears a sunny crack in the clouds. Meanwhile, I know it can feel debilitating, and often, an author may sink into hopelessness.
But take the time to just stop. Practice some self-care. Take a deep breath and think of the reasons you write. Remind yourself to not take it personally. YOU are not getting rejected, it's the manuscript that isn't befitting at this time with this publilsher. No biggie - you can move on, and you will.
For the fun of it, write a short story, paragraph, or funny rhyming verse about the rejection - express yourself, and give yourself a laugh at the same time!
Of course, if you receive professional criticism, great. Time to listen and incorporate any updates that would benefit your writing. But aside from that, try to connect with a family member, friend or another author. You'll most likely receive understanding and compassion because in one way or another, even if you're not a writer, the experience and pain of rejection is universal.
For me personally, I often "listen to my instincts". And often, it works. For instance, at one point, my instinct told me that receiving a particular rejection was a good thing because my hoped-for book needed to have a venue/a publisher to reach a special learning disabled child. So a week later, when I received an acceptance from my publisher, and was told they wanted to produce a dyslexic format, I knew things were as they should be.
Another re-boot from rejection that works for me are gentle, positive affirmations. It helps in bringing back clarity and focus, practice kindness and release stress.
Reconnect with your talent, your passion, your beauty. And KEEP ON! The world wants to hear from you.
Spin a Circle!
March 28, 2021
Word counts! Words count!
Pictures in books? They help children connect them with the words on the page, and the meaning of those words. Richard Scarry books often taught the names of new objects by their images. Often, the illustration will give background knowledge or clues to the story’s plot, and offer vocabulary development.
Picture book word counts through the decades have had several general shifts, and some interesting changes. For instance, in the 1920’s and 1930’s they were quite long. A few popular children’s books for the youngest were up to 1,000 – 1,500 in word count. During this time period many of the books published weren’t written with too much thought to lavish illustration in accompaniment. The stories, as written, could usually stand on their own with little art embellishment.
Eventually that trend changed course. Around the 1950’s? The average length of picture books dropped to 500-600 words on average. Since then, the word count has varied depending on the decade, but really not by too much. In addition, keep in mind that “picture books” have a wide age range – from toddlers to age eight.
These days, many authors agree on a 500-word target when writing picture books, but publishers and editors will have their own ideas and submission needs. Do they want lower word counts because of the current climate of busy days and parents desiring shorter story reading times?
Since the early 2000’s, there has been a clear dropping of word count lengths in picture books from years before. Still, there are exceptions and considerable variation. But it is less common to find 600-word plus book lengths.
If you’re a writer considering word counts for your picture books, try thinking of each page having one line, maybe two. That’s easy for a child to follow. Then you’re heading toward your book having about 500 words. This is a good place for ages 4-8 and falls into a 32-page format. Board books are for the younger crew, shorter, with less pages and subsequently less words.
Trust that your story will call for how many words it needs simply by its very nature. And if a publisher, a friend, or just you, yourself, love what you’ve written, and need to adjust your word count, well- that’s what editing is for! Write what you love, trust yourself, and remember every words counts in its own way.
My 2021 picture poetry book is about 800 words. You can find SPIN A CIRCLE! here: Spin a Circle!
Picture book word counts through the decades have had several general shifts, and some interesting changes. For instance, in the 1920’s and 1930’s they were quite long. A few popular children’s books for the youngest were up to 1,000 – 1,500 in word count. During this time period many of the books published weren’t written with too much thought to lavish illustration in accompaniment. The stories, as written, could usually stand on their own with little art embellishment.
Eventually that trend changed course. Around the 1950’s? The average length of picture books dropped to 500-600 words on average. Since then, the word count has varied depending on the decade, but really not by too much. In addition, keep in mind that “picture books” have a wide age range – from toddlers to age eight.
These days, many authors agree on a 500-word target when writing picture books, but publishers and editors will have their own ideas and submission needs. Do they want lower word counts because of the current climate of busy days and parents desiring shorter story reading times?
Since the early 2000’s, there has been a clear dropping of word count lengths in picture books from years before. Still, there are exceptions and considerable variation. But it is less common to find 600-word plus book lengths.
If you’re a writer considering word counts for your picture books, try thinking of each page having one line, maybe two. That’s easy for a child to follow. Then you’re heading toward your book having about 500 words. This is a good place for ages 4-8 and falls into a 32-page format. Board books are for the younger crew, shorter, with less pages and subsequently less words.
Trust that your story will call for how many words it needs simply by its very nature. And if a publisher, a friend, or just you, yourself, love what you’ve written, and need to adjust your word count, well- that’s what editing is for! Write what you love, trust yourself, and remember every words counts in its own way.
My 2021 picture poetry book is about 800 words. You can find SPIN A CIRCLE! here: Spin a Circle!
January 30, 2021
What's catchy, sometimes short, and always memorable?
The answer? A children’s book title! Come play with these fun names!
I love intriguing titles, and always end up jumping to search for their summaries to read the general plots. Let's start with "And To Think That it Happened on Mulberry Street". Come on! That’s a tough one to NOT want to pick up and peruse. What happened there? And where is Mulberry Street? And what if that happens to me, whatever it is? This title falls into the category of memorable for sure.
Another beauty is "Cloudy With a Chance of Meatballs". Huh?! Any child needs to open the cover of such an intriguing and catchy title to find out if meatballs really could rain down on his town.
How about the short and catchy title, "The BFG"? Hmmm….what’s the “BFG”? Is it a good thing or a bad thing? Or, "Chicka Chicka Boom Boom" -is that some kind of a dance? What will I see in the pictures when I open this book?
Picture book titles that can lure a child into grabbing it and saying, “Mom, let’s get THIS one!” usually fall into the categories of word play, familiar expressions or even an event, for example "How I Became a Pirate" or "Around the World in Eighty Days".
There are lots of terrific kids’ book titles with animal intrigue, also. "Don’t Let the Pigeon Drive the Bus!", "Mr. Popper’s Penguins" and "The 101 Dalmations" are classic. And consider character names and how they can draw in even the stingiest little reader: "Pippi Longstocking", "Knuffle Bunny", "The Cat in the Hat".
If you want to travel to "Where the Wild Things Are" or to "The Little House on the Prairie", or the "Magic Tree House", the authors have made that journey available to you.
A good children’s book title plays with language, sometimes in rhyme, sometimes with humor, alliteration, and all are memorable in one way or another. I hope this inspires you to get an idea for a book through coming up with your own title! Happy reading, writing or coining!
My own recent celebratory title, "A Cheer for the Year!"
I love intriguing titles, and always end up jumping to search for their summaries to read the general plots. Let's start with "And To Think That it Happened on Mulberry Street". Come on! That’s a tough one to NOT want to pick up and peruse. What happened there? And where is Mulberry Street? And what if that happens to me, whatever it is? This title falls into the category of memorable for sure.
Another beauty is "Cloudy With a Chance of Meatballs". Huh?! Any child needs to open the cover of such an intriguing and catchy title to find out if meatballs really could rain down on his town.
How about the short and catchy title, "The BFG"? Hmmm….what’s the “BFG”? Is it a good thing or a bad thing? Or, "Chicka Chicka Boom Boom" -is that some kind of a dance? What will I see in the pictures when I open this book?
Picture book titles that can lure a child into grabbing it and saying, “Mom, let’s get THIS one!” usually fall into the categories of word play, familiar expressions or even an event, for example "How I Became a Pirate" or "Around the World in Eighty Days".
There are lots of terrific kids’ book titles with animal intrigue, also. "Don’t Let the Pigeon Drive the Bus!", "Mr. Popper’s Penguins" and "The 101 Dalmations" are classic. And consider character names and how they can draw in even the stingiest little reader: "Pippi Longstocking", "Knuffle Bunny", "The Cat in the Hat".
If you want to travel to "Where the Wild Things Are" or to "The Little House on the Prairie", or the "Magic Tree House", the authors have made that journey available to you.
A good children’s book title plays with language, sometimes in rhyme, sometimes with humor, alliteration, and all are memorable in one way or another. I hope this inspires you to get an idea for a book through coming up with your own title! Happy reading, writing or coining!
My own recent celebratory title, "A Cheer for the Year!"
December 11, 2020
Writing a picture book? A Flock of dos and don'ts
I recently received a letter (snail mail!) from an elementary language arts teacher who delightfully shared her thoughts about my picture book, A Flock of Fun having a good formula for her classroom reading curriculum. Apparently, the students got into, engaged and discussed the book’s text from beginning to end, having been inspired.
Simultaneously, that same day two authors messaged me inquiring about writing tips as they were working on their own story manuscripts. Putting those two incidents together, I came up with these little pointers when it comes to creating your most polished picture book text.
First, think like the child for whom you are writing for. Get into that age group to create the heart of the theme. From that child’s point of view you’ll better access fears, joys and emotions that will click with the reader.
Then, if possible, try to write with a visual as your guide. In my book, A Flock of Fun, the inspiration and the springboard was literally a children’s illustration of a boy trying to fall asleep but amused by the flock of sheep in his bedroom. That visual aid guided me to many of the verses in my book.
This may be obvious, but it’s easy to get caught up in some special angle or point you’re attempting to convey in your story. Make sure you have all the parts: beginning, middle, end/conclusion. You’ll need something challenging or exciting to occur and then be resolved. For instance, in A Flock of Fun, the main character mentions right on the first page, that he has a hard time falling asleep. Uh, oh – sounds like trouble (conflict). A flock of funny sheep are introduced and they all frolic, and cause a little chaos, yet the boy gets tired out and sleeps well afterward. But, what if the boy tried something more tame like counting snails? That turns out to be a disaster since the snails are as boring as heck. The resolution? Bring back the silly insanity of the sheep flock! Dance it out and sleep well. Done. Resolved.
Do choose an interesting environment if you can. Your story does not always have to take place in a neighborhood or household just like the one you live in. Having said that, it’s pretty easy to spot when an author is trying to “be different” with some type of over-the-top name or dilemma that appears outlandish. If someone or something has a very unique characteristic, make sure it fits into the plot and is clearly explained and connects into your storyline. Then, a reminder - do not write in a condescending tone. Do be warm-hearted, do not be sticky sweet in your writing sentiments.
Have a “flock of fun” with your writing and/or reading! Feel free to comment and share your thoughts. A Flock of Fun
Happy regards,
Raven
Simultaneously, that same day two authors messaged me inquiring about writing tips as they were working on their own story manuscripts. Putting those two incidents together, I came up with these little pointers when it comes to creating your most polished picture book text.
First, think like the child for whom you are writing for. Get into that age group to create the heart of the theme. From that child’s point of view you’ll better access fears, joys and emotions that will click with the reader.
Then, if possible, try to write with a visual as your guide. In my book, A Flock of Fun, the inspiration and the springboard was literally a children’s illustration of a boy trying to fall asleep but amused by the flock of sheep in his bedroom. That visual aid guided me to many of the verses in my book.
This may be obvious, but it’s easy to get caught up in some special angle or point you’re attempting to convey in your story. Make sure you have all the parts: beginning, middle, end/conclusion. You’ll need something challenging or exciting to occur and then be resolved. For instance, in A Flock of Fun, the main character mentions right on the first page, that he has a hard time falling asleep. Uh, oh – sounds like trouble (conflict). A flock of funny sheep are introduced and they all frolic, and cause a little chaos, yet the boy gets tired out and sleeps well afterward. But, what if the boy tried something more tame like counting snails? That turns out to be a disaster since the snails are as boring as heck. The resolution? Bring back the silly insanity of the sheep flock! Dance it out and sleep well. Done. Resolved.
Do choose an interesting environment if you can. Your story does not always have to take place in a neighborhood or household just like the one you live in. Having said that, it’s pretty easy to spot when an author is trying to “be different” with some type of over-the-top name or dilemma that appears outlandish. If someone or something has a very unique characteristic, make sure it fits into the plot and is clearly explained and connects into your storyline. Then, a reminder - do not write in a condescending tone. Do be warm-hearted, do not be sticky sweet in your writing sentiments.
Have a “flock of fun” with your writing and/or reading! Feel free to comment and share your thoughts. A Flock of Fun
Happy regards,
Raven
October 25, 2020
A "Charmed" Fairytale
Many friends, colleagues and fellow writers have reached out to me recently, discouraged with the state of affairs in the world, our nation, our society, our economy – all effecting creativity and work life in one way or another. We decided to pick a positive event to focus on and share as encouragement to remind each other of the magical moments that occur, if even on a small scale.
#writerslifeforme
After spending weeks, months, or years of writing, re-writing, editing, critiquing and polishing manuscripts, I await responses from my submissions. As a full time writer, some of my work is assigned, some commissioned. Recently a special "charmed" situation came about. A couple of years ago my agent requested a submission from me for a publisher looking for a fractured fairytale series to add to their catalog. Unbeknownst to me, a delightful experience was about to unfold.
I worked night and day for many months on a draft and proposal for the book series. This was my first serious attempt at writing a fractured (twisted) fairytale even though it's a popular children’s book genre, and I’ve enjoyed the few I’d read. After submission I tried to be patient through the obligatory waiting period, wondering if all those hours, days, weeks, months, blood/sweat & tears I dedicated were worthy of attention.
Jack and the Lean Stalk was my obvious take on Jack and the Bean Stalk. I wrote a story that flips some of the qualities of the original Giant with the boy, Jack. The main change was the addition of the theme of anti-bullying and acceptance in a community of diversity. Charmed moment #1! The editor was specifically interested in an anti-bullying theme at that time. How lucky! Pursuant to a couple of editorial meetings, I was offered the book deal.
Charmed situation #2: working closely with the senior editor in sharpening, tweaking and polishing the text. A wonderful relationship was forged with an extremely gifted person. I now understand several key ingredients of how to tighten and clarify a plot, serving me well in my writing work since.
Ok, now for my publisher’s pursuit to find an illustrator whose work would be befitting. Being a lover of the arts in the children’s literary community, I come across many talents whose artwork sticks with me, and have several I dream of contacting tucked away in my heart….and somewhere in my notebook journals. So, my editor says to me, “I’ll send you this illustrator’s portfolio to look at. I have a feeling you’ll connect with her artwork and it may be perfect for our book.” Ok. Sure, send it over.
When I received illustrator Sarah Gledhill’s email and portfolio package, I smiled and literally shouted out loud- charmed moment #3! I had been wanting to work with Sarah for several years, finding her illustrations sweet, whimsical and charming. Uh…yeah, pretty please let’s have Sarah do the illustrations! Ha! And I was so charmed to find Sarah one of the nicest and most playful artists that I am honored to work with. We continue to collaborate to this day.
My book is being actively promoted, and particularly in the current climate, it’s heartening to see Jack and the Lean Stalk being stocked in independent bookstores and in elementary school classrooms. And frankly, it’s crucial to receive those royalties to pay bills.
Funny how sometimes things just come together rather magically. Jack and the Lean Stalk has been one of my best selling books to date, and I’m left feeling grateful, and charmed.
Jack and the Lean Stalk
#writerslifeforme
After spending weeks, months, or years of writing, re-writing, editing, critiquing and polishing manuscripts, I await responses from my submissions. As a full time writer, some of my work is assigned, some commissioned. Recently a special "charmed" situation came about. A couple of years ago my agent requested a submission from me for a publisher looking for a fractured fairytale series to add to their catalog. Unbeknownst to me, a delightful experience was about to unfold.
I worked night and day for many months on a draft and proposal for the book series. This was my first serious attempt at writing a fractured (twisted) fairytale even though it's a popular children’s book genre, and I’ve enjoyed the few I’d read. After submission I tried to be patient through the obligatory waiting period, wondering if all those hours, days, weeks, months, blood/sweat & tears I dedicated were worthy of attention.
Jack and the Lean Stalk was my obvious take on Jack and the Bean Stalk. I wrote a story that flips some of the qualities of the original Giant with the boy, Jack. The main change was the addition of the theme of anti-bullying and acceptance in a community of diversity. Charmed moment #1! The editor was specifically interested in an anti-bullying theme at that time. How lucky! Pursuant to a couple of editorial meetings, I was offered the book deal.
Charmed situation #2: working closely with the senior editor in sharpening, tweaking and polishing the text. A wonderful relationship was forged with an extremely gifted person. I now understand several key ingredients of how to tighten and clarify a plot, serving me well in my writing work since.
Ok, now for my publisher’s pursuit to find an illustrator whose work would be befitting. Being a lover of the arts in the children’s literary community, I come across many talents whose artwork sticks with me, and have several I dream of contacting tucked away in my heart….and somewhere in my notebook journals. So, my editor says to me, “I’ll send you this illustrator’s portfolio to look at. I have a feeling you’ll connect with her artwork and it may be perfect for our book.” Ok. Sure, send it over.
When I received illustrator Sarah Gledhill’s email and portfolio package, I smiled and literally shouted out loud- charmed moment #3! I had been wanting to work with Sarah for several years, finding her illustrations sweet, whimsical and charming. Uh…yeah, pretty please let’s have Sarah do the illustrations! Ha! And I was so charmed to find Sarah one of the nicest and most playful artists that I am honored to work with. We continue to collaborate to this day.
My book is being actively promoted, and particularly in the current climate, it’s heartening to see Jack and the Lean Stalk being stocked in independent bookstores and in elementary school classrooms. And frankly, it’s crucial to receive those royalties to pay bills.
Funny how sometimes things just come together rather magically. Jack and the Lean Stalk has been one of my best selling books to date, and I’m left feeling grateful, and charmed.
Jack and the Lean Stalk
August 14, 2020
An Editor's Tips/I'm the Elf, you're Santa
My writing career has branched more seriously into the role of editor. It’s challenging, fun, and I’m always learning something new. When it comes to working with author and illustrator submissions, I receive lots of inquiries about what is expected, what is needed, how to do right to find, work with, and have a healthy and happy relationship with an editor.
Here are a few things I’ll share. This is my own opinion of course, and every editor as well as every author and illustrator has their own set of do’s and don’ts.
First, an editor wants the artwork or text to achieve the creator’s intentions. So, it’s never about someone else changing it, but instead, finding the clearest and strongest path to achieve the submitter’s concept and ideas. I’m also playing the role of pretending I’m the book buyer and reader. Will I like what I’m reading or seeing? Is there a powerful theme, plot or vision? Any pointless words to dispose of that simply clutter the plot? Does the artwork flow easily from page to page? Is the color scheme appealing to the age group?
From here, it’s important to keep in mind that we both have the same goal to make a book, artwork, story, poem, any submission, the very best it can be! I’m the behind the scenes Santa’s helper, the Elf that works on building and mending the most lovely toys for girls and boys (or adults). You’re the “Santa” that will ride it into the world on a magical sleigh. It doesn’t matter if the work is self-published, traditionally published, released to just friends and family, an article for a magazine, an on-line publication – who is the target audience? How many will it ultimately reach? Where does it lovingly belong? We prep for this behind the scenes, while you end up ultimately delivering it.
If you’re the author, trust in the illustrator’s playing field. Allow them the space to travel in their paints, pencils, and palette’s to make your written dreams come to life. Most artists are quick to make adjustments if they are off track, and teamwork is integral. Drop the defenses, and it’s okay to suggest and even stand firm at times, both as writer and illustrator. If you have a super reason for something and can justify its relevance or how important it is – great! Together, we often come up with lots of compromises not previously considered.
The last thing I’ll say is to really know what you’re writing or illustrating about. If you’re passionate about your submission and have done the research, I’ll know. Your subject and you need to have some intimacy. For example, when I work with other poets, I value an explanation of why there’s a choice to not have a rhyme in a certain spot or why having a bumpy last verse is the way to go.
So, keep these things in mind – and you’ll have a smooth ride. Happy writing, illustrating, and creating!
Chuckles and Smiles
Here are a few things I’ll share. This is my own opinion of course, and every editor as well as every author and illustrator has their own set of do’s and don’ts.
First, an editor wants the artwork or text to achieve the creator’s intentions. So, it’s never about someone else changing it, but instead, finding the clearest and strongest path to achieve the submitter’s concept and ideas. I’m also playing the role of pretending I’m the book buyer and reader. Will I like what I’m reading or seeing? Is there a powerful theme, plot or vision? Any pointless words to dispose of that simply clutter the plot? Does the artwork flow easily from page to page? Is the color scheme appealing to the age group?
From here, it’s important to keep in mind that we both have the same goal to make a book, artwork, story, poem, any submission, the very best it can be! I’m the behind the scenes Santa’s helper, the Elf that works on building and mending the most lovely toys for girls and boys (or adults). You’re the “Santa” that will ride it into the world on a magical sleigh. It doesn’t matter if the work is self-published, traditionally published, released to just friends and family, an article for a magazine, an on-line publication – who is the target audience? How many will it ultimately reach? Where does it lovingly belong? We prep for this behind the scenes, while you end up ultimately delivering it.
If you’re the author, trust in the illustrator’s playing field. Allow them the space to travel in their paints, pencils, and palette’s to make your written dreams come to life. Most artists are quick to make adjustments if they are off track, and teamwork is integral. Drop the defenses, and it’s okay to suggest and even stand firm at times, both as writer and illustrator. If you have a super reason for something and can justify its relevance or how important it is – great! Together, we often come up with lots of compromises not previously considered.
The last thing I’ll say is to really know what you’re writing or illustrating about. If you’re passionate about your submission and have done the research, I’ll know. Your subject and you need to have some intimacy. For example, when I work with other poets, I value an explanation of why there’s a choice to not have a rhyme in a certain spot or why having a bumpy last verse is the way to go.
So, keep these things in mind – and you’ll have a smooth ride. Happy writing, illustrating, and creating!
Chuckles and Smiles
May 31, 2020
If You Give a Mouse an interview
For me and my children, it started with “If You Give a Mouse a Cookie”, and then we were off and running, making sure we had the latest Laura Numeroff picture book in our household when it was released. Whether it was another in the "If You Give A" series or not, Laura's books lined my kids' bookshelf during their childhood.
To date, Laura’s releases continue to entertain and bring joy and smiles to literally millions of children around the world.
With so many changes we’ve all had to make recently, I’m finding it important to share our support, time and kindness with kids in reassuring ways. Laura agreed, and allowed me into Mouse’s world for a fantastic interview that is sure to bring a giggle and cheer to all readers.
Laura, you’ve written so many wonderful Mouse books considered kidlit classics now. Mouse is beloved by many children around the world, and a joyful character. May I ask Mouse some questions?
“Absolutely! Mouse loves being interviewed!”
First, we want to know, Mouse, do you wear your whiskers in or out of the face mask?
“My whiskers have to go inside the mask. I usually just tie my bandana around my face!”
When washing your hands, some suggest singing the Happy Birthday song two times for the length of the wash. What song do you sing?
“I sing MARY HAD A LITTLE LAMB but I substitute the word “Lamb” for “Mouse”!”
What do you always like to have in the refrigerator?
“Nectarines, ice-cream sandwiches, pumpernickel, crunchy peanut butter, dill pickles, whipped cream, tuna fish, olives, orange juice, and milk.”
Favorite type of cheese?
“I don’t like cheese.”
During the quarantine, you’ve picked up an instrument to learn. What was it? How did that go?
“I got a little harmonica but I couldn’t blow hard enough so it didn’t go so well. I prefer to whistle.”
What’s your favorite word?
“Splendid"
What's your favorite form of exercise these days?
“I love to do yoga.”
Finally, what advice could you share with our children’s community?
“It’s very important to do what adults tell you to do, like wash your hands and sneeze into your elbow. And, read! A lot! Reading is great for your imagination and to take you places you’d never be able to go on your own! Stay safe! Love, Mouse.”
Laura Numeroff
To date, Laura’s releases continue to entertain and bring joy and smiles to literally millions of children around the world.
With so many changes we’ve all had to make recently, I’m finding it important to share our support, time and kindness with kids in reassuring ways. Laura agreed, and allowed me into Mouse’s world for a fantastic interview that is sure to bring a giggle and cheer to all readers.
Laura, you’ve written so many wonderful Mouse books considered kidlit classics now. Mouse is beloved by many children around the world, and a joyful character. May I ask Mouse some questions?
“Absolutely! Mouse loves being interviewed!”
First, we want to know, Mouse, do you wear your whiskers in or out of the face mask?
“My whiskers have to go inside the mask. I usually just tie my bandana around my face!”
When washing your hands, some suggest singing the Happy Birthday song two times for the length of the wash. What song do you sing?
“I sing MARY HAD A LITTLE LAMB but I substitute the word “Lamb” for “Mouse”!”
What do you always like to have in the refrigerator?
“Nectarines, ice-cream sandwiches, pumpernickel, crunchy peanut butter, dill pickles, whipped cream, tuna fish, olives, orange juice, and milk.”
Favorite type of cheese?
“I don’t like cheese.”
During the quarantine, you’ve picked up an instrument to learn. What was it? How did that go?
“I got a little harmonica but I couldn’t blow hard enough so it didn’t go so well. I prefer to whistle.”
What’s your favorite word?
“Splendid"
What's your favorite form of exercise these days?
“I love to do yoga.”
Finally, what advice could you share with our children’s community?
“It’s very important to do what adults tell you to do, like wash your hands and sneeze into your elbow. And, read! A lot! Reading is great for your imagination and to take you places you’d never be able to go on your own! Stay safe! Love, Mouse.”
Laura Numeroff
April 20, 2020
How to Babysit a Logan author and illustrator discuss why cats are love bugs and why human faces are challenging.
April is Autism Awareness month – a great time to feature one of my favorite picture books, How to Babysit a Logan by Callie Metler-Smith and Cindy Vatatthil.
I read this touching children’s book last year when it was released and ended up sharing it with many friends. The story follows an autistic child through the eyes of his beloved cat and friend, Thunderbolt. The result is a gentle informational with the storyline written in an easy conversational tone. The accompanying imaginative illustrations deserve just as much attention since they pop out and can’t help but bring the pages to life.
Callie, How to Babysit a Logan is a true story. Was there one point in particular that you knew was significant to write into your story or plot, and highlight?
My son, Logan, has asked me to write a book about Thunderbolt so I wanted to make sure I captured all the things that made their relationship so special. I also wanted to highlight the many quirks that makes Logan unique.
Cat Thunderbolt is a relatable character. It’s not an easy feat for an author to take the reader into the eyes, life, and perspective of someone not human. Let’s say Thunderbolt was a dog. What breed would it be and what do you imagine may happen in his day with Logan that would differ?
I love this idea! I imagine that Thunderbolt would be a big black lab. Thunderbolt is a total love bug and has the personality of most labs I know. I think he would still support Logan in the same way, but would be unable to get up on the counters anymore!
How do you handle your writing/creative routine? Are you a fretter if say, you started a story and then haven’t gotten around to finishing it? Or do you freely tackle your inspiration at the times it comes your way?
I have to be very intentional about my writing time. If I don’t start out with a plan for it, it doesn’t happen. I will usually start a story and tinker with it on my phone when I have down time for a few weeks. I love working with Lynne Marie, so I will often bounce it back to her to get her thoughts.
Is there anything special that you consider essential to have around or near your work space when writing or involved with artwork?
My perfect writing day involves green tea with honey, the movie Breakfast at Tiffanys, and spinach and artichoke dip. This last year I got more intentional and I love putting in my headphones and getting comfortable and writing. I usually begin with some sort of devotional or prayer time.
Which scene or sequence in How to Babysit a Logan was the hardest for you to capture?
I really struggled with making sure there was enough heart in the story. I wanted to spotlight the relationship between Logan and Thunderbolt, and spent a long time making the interactions between them was just right.
Did it take you a long time to write the general draft, something that you went back to over and over again, or did it come quick?
It took me about 6 months to work out the story in my head and probably about three months to really polish it and get it where I wanted it. I had met my illustrator, Cindy, at that point and I really wanted to work with her on this project so I fast tracked my writing process quite a bit.
From the perspective of your creative spirit, what was the most influential place you’ve traveled to?
Nature is my favorite place and I’ve had the pleasure in the past two years to visit a beautiful beach in Florida and hike near Pine Mountain, Georgia. Both places provided a lot of grounding and inspiration for me. I am hoping to go back to Pine Mountain this summer.
Give us an example of a real life “Thunderbolt” situation that impacted you creatively for your book. Is there a special cat moment or two?
There are so many! One of my favorite memories of Logan and Thunderbolt is when Logan was about 10. Logan was laying on his stomach on the couch and Thunderbolt was laying on his back. Thunderbolt kept flicking his tail on Logan’s ears to get him to giggle. I’m not sure who was having more fun! Thunderbolt has always been so loving with Logan. He loves to press his forehead to Logan’s as if to say, “I’m with you.” We had a teacher one time say, “If you know Logan, than you know who Thunderbolt is.”
When considering the artwork for How to Babysit a Logan, did you know you wanted the story to have collage work? How did you end up working with Cindy?
I didn’t at first, but when I saw Cindy’s work I knew she was the one I wanted. I had contacted her about another project and when that project fell through I asked her about my book. I felt like her style complimented mine so well and she was also an amazing human which was a bonus! It made it very special to work with her.
Finally, what sentiment would you like the book fan to leave with after reading your book?
A common phrase in the Autism Community is “I don’t just have to teach my child about the world, I have to teach the world about my child.” I’m hoping that this book provides people some insight into Logan’s world, but also shows them how great that world is.
Cindy, this is your first picture book release and introduction as an illustrator. Congratulations! How have you celebrated?
Thank you! It was really quite low-key, actually. The book arrived in the mail one day, my kids gathered around as I opened the box, and then my eldest child asked me to sign her copy. It was really sweet and special to be able to share that moment with them. Also, a few weeks after the book's release, my son's kindergarten teacher asked me to come up and read to their school. It meant a lot to me that my first school event was one that my son could be a part of. I am not a fan of public speaking, so I was extremely nervous...but, I knew I could get through it when I saw his sweet face in the crowd.
Your site, Painting With Scissors, is chock full of gorgeous artwork. What’s your favorite collage work theme?
My favorite thing to create would be cityscapes. Don't get me wrong, nature is inspiring. Portraits are fun. But, there is nothing like capturing the intricate and lively beauty of a skyline full of skyscrapers. As a city girl, I may be partial, but I don't think there is anything more lovely than that.
Your cut-out artwork from How to Babysit a Logan endearingly captures the heartfelt relationship between child and pet. Are you a cat or dog person?
Despite having many clients who are avowed "cat people," I can quite honestly say that I have always been more of a dog person. However, after building a life that involves three kids, I think my mentality has shifted and I may have transformed into more of a fish person...
Do you favor certain collage textures? What colors/palettes do you tend to move toward?
I have always been a fan of the fauvist art movement, with its bright and bold use of color. I also love using textures that compliment one another and work together to create a tapestry of beauty. When I put colors or textures together, I'm always guided by an underlying instinct which tells my "gut" yes or no. Quite literally, in my mid-section, there is just a sort of feeling I get when something looks right...or doesn't. And I always, always, always work from that!
What are the most difficult characters/images for you to capture in collage?
Human faces are challenging, which is why I ultimately prefer to leave them blank. Within the context of the face, eyes are the hardest to get right because if they are wrong the whole piece kind of feels hokey. Also, hands are an artist's nightmare - they are one of the hardest things to get right. But, if you really get down to it, so is posture, and lighting, and proportion and perspective. When you really stop to think about it, it's ALL hard. That's why, when I'm creating my art, I just like to turn on some music and switch my mind to auto-pilot, because if I think too much about what is difficult, I will psych myself out and forget about all that is possible!
For the cover of How to Babysit a Logan, did you create or choose the font style? The 3D effect allows the cover artwork its crispness, clarity, yet provides softness on the eyes.
The cover art font for How to Babysit a Logan was completely under the direction of Callie Metler-Smith, the book's amazing author and editor. I simply gave her the illustrations and she was the master of the text and layout. Sadly, I am so old school that I wouldn't even know how to overlay the title, unless I did it with paper and glue and my own two hands.
Were there other cover images that were options, or did you and Callie know this was the one to use?
Thanks, in part, to a hurricane, a pregnancy and a major home renovation, the illustrations for this project took me over a year to complete! As I worked on it, my main focus was to finish the page spreads inside of the book and then tackle the cover image last. I submitted each spread as they were completed, never expecting for any of them to take center stage. And yet, once all of the inside pages were done - right when I was geared up to make one last image to be used on the front - Callie surprised me with the idea that page 7 would work as the cover. She mocked up some images of how she thought it should look and it actually really seemed to fit the characters and the story. Thunderbolt's back is turned, showing us from the beginning that his focus is always watching over Logan as opposed to looking around at the world. He's a watch cat and he takes his job VERY seriously. We get that, just from the cover! I think it's brilliant and I like the subtlety that Callie used in delivering this message.
Your influences range from Dr. Seuss to Amy Krouse Rosenthal, Eric Carle and Richard Scarry, naming just a few. If you were working in your yard and encountered The Very Hungry Caterpillar, and could ask him anything about himself or his creator, what would it be?
I would ask him if there was a food he absolutely wouldn't eat. It would be an interesting thing to know, I think...kind of like asking Andrew Zimmern what his worst meal was.
Knowing you enjoy baking, what would you make The Very Hungry Caterpillar for lunch?
Dinner rolls are my specialty, so I might make a couple dozen of those to start off. From there, I would cook up some of my delicious crock-pot ribs slathered in barbecue sauce. And, finally, I would add a nice, crunchy side salad (just for the much-needed greenery).
Say he needed new shoes for all those feet. What would your collage cut-outs look like?
All of the shoes for The Very Hungry Caterpillar would be funky and colorful, just like the sort of butterfly that he would someday become! Maybe there would be a boot here and there (like the Elton John-esque glittery Doc Martins I used to own in my teens) or a solid Mary Jane complete with shiny buckles and polished leather. Of course, if my daughter were to influence me in the process, I would have to broaden the pain threshold and allow for a good number of those feet to wear heels (the higher, the better).
On the same whimsical note, how would Thunderbolt and Clifford the Big Red Dog get along?
Being that he's a cat, Thunderbolt might be a bit indifferent to Clifford the Big Red Dog...but, we are living in surprising times, so who knows?! It would be interesting to explore a pet-themed version of "The Odd Couple." I'm thinking Thunderbolt would be more like Felix Unger and Clifford would be more like Oscar Madison. (And now the theme song is stuck in my head....ha!)
And finally, as a children’s illustrator, what are your dreams for the future?
My dreams for the future would be the same as every person - to do more! I LOVE making art, but I also LOVE writing stories. I would be so honored to write and illustrate another book (or twenty) and have them inspire children in the same way that the authors and illustrators of my childhood have inspired me! Passing it on...that's the ultimate goal!
How to Babysit a Logan
I read this touching children’s book last year when it was released and ended up sharing it with many friends. The story follows an autistic child through the eyes of his beloved cat and friend, Thunderbolt. The result is a gentle informational with the storyline written in an easy conversational tone. The accompanying imaginative illustrations deserve just as much attention since they pop out and can’t help but bring the pages to life.
Callie, How to Babysit a Logan is a true story. Was there one point in particular that you knew was significant to write into your story or plot, and highlight?
My son, Logan, has asked me to write a book about Thunderbolt so I wanted to make sure I captured all the things that made their relationship so special. I also wanted to highlight the many quirks that makes Logan unique.
Cat Thunderbolt is a relatable character. It’s not an easy feat for an author to take the reader into the eyes, life, and perspective of someone not human. Let’s say Thunderbolt was a dog. What breed would it be and what do you imagine may happen in his day with Logan that would differ?
I love this idea! I imagine that Thunderbolt would be a big black lab. Thunderbolt is a total love bug and has the personality of most labs I know. I think he would still support Logan in the same way, but would be unable to get up on the counters anymore!
How do you handle your writing/creative routine? Are you a fretter if say, you started a story and then haven’t gotten around to finishing it? Or do you freely tackle your inspiration at the times it comes your way?
I have to be very intentional about my writing time. If I don’t start out with a plan for it, it doesn’t happen. I will usually start a story and tinker with it on my phone when I have down time for a few weeks. I love working with Lynne Marie, so I will often bounce it back to her to get her thoughts.
Is there anything special that you consider essential to have around or near your work space when writing or involved with artwork?
My perfect writing day involves green tea with honey, the movie Breakfast at Tiffanys, and spinach and artichoke dip. This last year I got more intentional and I love putting in my headphones and getting comfortable and writing. I usually begin with some sort of devotional or prayer time.
Which scene or sequence in How to Babysit a Logan was the hardest for you to capture?
I really struggled with making sure there was enough heart in the story. I wanted to spotlight the relationship between Logan and Thunderbolt, and spent a long time making the interactions between them was just right.
Did it take you a long time to write the general draft, something that you went back to over and over again, or did it come quick?
It took me about 6 months to work out the story in my head and probably about three months to really polish it and get it where I wanted it. I had met my illustrator, Cindy, at that point and I really wanted to work with her on this project so I fast tracked my writing process quite a bit.
From the perspective of your creative spirit, what was the most influential place you’ve traveled to?
Nature is my favorite place and I’ve had the pleasure in the past two years to visit a beautiful beach in Florida and hike near Pine Mountain, Georgia. Both places provided a lot of grounding and inspiration for me. I am hoping to go back to Pine Mountain this summer.
Give us an example of a real life “Thunderbolt” situation that impacted you creatively for your book. Is there a special cat moment or two?
There are so many! One of my favorite memories of Logan and Thunderbolt is when Logan was about 10. Logan was laying on his stomach on the couch and Thunderbolt was laying on his back. Thunderbolt kept flicking his tail on Logan’s ears to get him to giggle. I’m not sure who was having more fun! Thunderbolt has always been so loving with Logan. He loves to press his forehead to Logan’s as if to say, “I’m with you.” We had a teacher one time say, “If you know Logan, than you know who Thunderbolt is.”
When considering the artwork for How to Babysit a Logan, did you know you wanted the story to have collage work? How did you end up working with Cindy?
I didn’t at first, but when I saw Cindy’s work I knew she was the one I wanted. I had contacted her about another project and when that project fell through I asked her about my book. I felt like her style complimented mine so well and she was also an amazing human which was a bonus! It made it very special to work with her.
Finally, what sentiment would you like the book fan to leave with after reading your book?
A common phrase in the Autism Community is “I don’t just have to teach my child about the world, I have to teach the world about my child.” I’m hoping that this book provides people some insight into Logan’s world, but also shows them how great that world is.
Cindy, this is your first picture book release and introduction as an illustrator. Congratulations! How have you celebrated?
Thank you! It was really quite low-key, actually. The book arrived in the mail one day, my kids gathered around as I opened the box, and then my eldest child asked me to sign her copy. It was really sweet and special to be able to share that moment with them. Also, a few weeks after the book's release, my son's kindergarten teacher asked me to come up and read to their school. It meant a lot to me that my first school event was one that my son could be a part of. I am not a fan of public speaking, so I was extremely nervous...but, I knew I could get through it when I saw his sweet face in the crowd.
Your site, Painting With Scissors, is chock full of gorgeous artwork. What’s your favorite collage work theme?
My favorite thing to create would be cityscapes. Don't get me wrong, nature is inspiring. Portraits are fun. But, there is nothing like capturing the intricate and lively beauty of a skyline full of skyscrapers. As a city girl, I may be partial, but I don't think there is anything more lovely than that.
Your cut-out artwork from How to Babysit a Logan endearingly captures the heartfelt relationship between child and pet. Are you a cat or dog person?
Despite having many clients who are avowed "cat people," I can quite honestly say that I have always been more of a dog person. However, after building a life that involves three kids, I think my mentality has shifted and I may have transformed into more of a fish person...
Do you favor certain collage textures? What colors/palettes do you tend to move toward?
I have always been a fan of the fauvist art movement, with its bright and bold use of color. I also love using textures that compliment one another and work together to create a tapestry of beauty. When I put colors or textures together, I'm always guided by an underlying instinct which tells my "gut" yes or no. Quite literally, in my mid-section, there is just a sort of feeling I get when something looks right...or doesn't. And I always, always, always work from that!
What are the most difficult characters/images for you to capture in collage?
Human faces are challenging, which is why I ultimately prefer to leave them blank. Within the context of the face, eyes are the hardest to get right because if they are wrong the whole piece kind of feels hokey. Also, hands are an artist's nightmare - they are one of the hardest things to get right. But, if you really get down to it, so is posture, and lighting, and proportion and perspective. When you really stop to think about it, it's ALL hard. That's why, when I'm creating my art, I just like to turn on some music and switch my mind to auto-pilot, because if I think too much about what is difficult, I will psych myself out and forget about all that is possible!
For the cover of How to Babysit a Logan, did you create or choose the font style? The 3D effect allows the cover artwork its crispness, clarity, yet provides softness on the eyes.
The cover art font for How to Babysit a Logan was completely under the direction of Callie Metler-Smith, the book's amazing author and editor. I simply gave her the illustrations and she was the master of the text and layout. Sadly, I am so old school that I wouldn't even know how to overlay the title, unless I did it with paper and glue and my own two hands.
Were there other cover images that were options, or did you and Callie know this was the one to use?
Thanks, in part, to a hurricane, a pregnancy and a major home renovation, the illustrations for this project took me over a year to complete! As I worked on it, my main focus was to finish the page spreads inside of the book and then tackle the cover image last. I submitted each spread as they were completed, never expecting for any of them to take center stage. And yet, once all of the inside pages were done - right when I was geared up to make one last image to be used on the front - Callie surprised me with the idea that page 7 would work as the cover. She mocked up some images of how she thought it should look and it actually really seemed to fit the characters and the story. Thunderbolt's back is turned, showing us from the beginning that his focus is always watching over Logan as opposed to looking around at the world. He's a watch cat and he takes his job VERY seriously. We get that, just from the cover! I think it's brilliant and I like the subtlety that Callie used in delivering this message.
Your influences range from Dr. Seuss to Amy Krouse Rosenthal, Eric Carle and Richard Scarry, naming just a few. If you were working in your yard and encountered The Very Hungry Caterpillar, and could ask him anything about himself or his creator, what would it be?
I would ask him if there was a food he absolutely wouldn't eat. It would be an interesting thing to know, I think...kind of like asking Andrew Zimmern what his worst meal was.
Knowing you enjoy baking, what would you make The Very Hungry Caterpillar for lunch?
Dinner rolls are my specialty, so I might make a couple dozen of those to start off. From there, I would cook up some of my delicious crock-pot ribs slathered in barbecue sauce. And, finally, I would add a nice, crunchy side salad (just for the much-needed greenery).
Say he needed new shoes for all those feet. What would your collage cut-outs look like?
All of the shoes for The Very Hungry Caterpillar would be funky and colorful, just like the sort of butterfly that he would someday become! Maybe there would be a boot here and there (like the Elton John-esque glittery Doc Martins I used to own in my teens) or a solid Mary Jane complete with shiny buckles and polished leather. Of course, if my daughter were to influence me in the process, I would have to broaden the pain threshold and allow for a good number of those feet to wear heels (the higher, the better).
On the same whimsical note, how would Thunderbolt and Clifford the Big Red Dog get along?
Being that he's a cat, Thunderbolt might be a bit indifferent to Clifford the Big Red Dog...but, we are living in surprising times, so who knows?! It would be interesting to explore a pet-themed version of "The Odd Couple." I'm thinking Thunderbolt would be more like Felix Unger and Clifford would be more like Oscar Madison. (And now the theme song is stuck in my head....ha!)
And finally, as a children’s illustrator, what are your dreams for the future?
My dreams for the future would be the same as every person - to do more! I LOVE making art, but I also LOVE writing stories. I would be so honored to write and illustrate another book (or twenty) and have them inspire children in the same way that the authors and illustrators of my childhood have inspired me! Passing it on...that's the ultimate goal!
How to Babysit a Logan
