SCBWI VICTORIA EVENT 13 JUNE 2015

We had a wonderful VIC SCBWI event in Melbourne on Saturday 13 June, with three industry professionals sharing their experience and expertise: Publisher for young children at Penguin, Jane Godwin; author and illustrator Judith Rossell and author Corinne Fenton.

Our first speaker, Judith Rossell, used PowerPoint to show what led to her multiple award winning novel, Withering-by-Sea. After a brief introduction to her early work, she talked about her interest in ‘Victoriana’ and how many of the amazing inventions that appeared in 1885, formed the background to her novel. Think telephone, electric light bulb, typewriter, bicycle, chocolate bars, compulsory schooling, heritage buildings and hotels, to name just a few. Her advice, which echoed throughout the afternoon, is to write about whatever sparks your passion, and to trust the process, because you might not come up with all the answers immediately. Above all, she emphasised the importance of careful research and well developed characters.

Our next speaker, Corinne Fenton, is known for her prize winning picture story books. However, this time she was speaking as a judge for the Primary School Dorothea Mackellar Poetry Awards. Corinne talked vast numbers of entries; some six thousand poems turned up in 2014, a large percentage coming from NSW and Victoria. This year the numbers seem to have fallen, but that may still change. We agreed that being asked to judge these awards is only for the brave hearted and thanked her profusely.

Our final speaker, Jane Godwin, is a multiple award winner for her books and also a publisher of books for young readers at Penguin Books Australia. She outlined twenty nine things she has learnt in both roles, claiming each new book presents another challenge. To condense these a little:

·      Every new book ultimately reflects one’s taste.

·      The book is the result of a relationship between creators and publisher.

·      A schedule must be established between author and illustrator.

·      People have very different ways of reading.

·      She likes books to be inventive and take risks.

·      Publishers and creators can’t control everything, no matter how hard they try.

·      Both creators and publishers should enjoy the process.

·      Know your market: education, bookshops, discount stores etc.

·      She is never elated at the end of a project, always thinks it could be better.

·      The writer and the publisher wear different hats.

·      A book can be published in many different ways.

·      No matter what the future holds, there will always be a place for paper books.

·      Writing and illustrating is always hard. We are ‘compost heaps’ who use all our experiences in our work.

·      Constructive criticism can be helpful. Mistakes will still happen.

·      Writing what you don’t know encourages research and imagination.

·      Character is everything. Without convincing characters a book will fail.

·      It is important to find your own voice.

·      Don’t be obsessed by markets.

·      Don’t see children as all the same.

·      Keep an idea or character in your head even when you aren’t creating.

All this information was appreciated by both established and emerging creators.

www.goldiealexander.com

Perfect your Portfolio with Donna Rawlins

If you were one of the very fortunate SCBWI members to be at this event, you’ll have spent an illuminating afternoon with one of the kids’ book world’s wisest and loveliest, art director and illustrator, Donna Rawlins. Donna had so much wonderful advice that it was hard to get it all down, but I’m going to try and condense it here.

Firstly, Donna wanted all illustrators to know that they are storytellers and that every illustration has to earn its place on the page. Art director and illustrator, Wayne Harris tells fellow artists, ‘You are providing the adjectives the writer has had to leave out.’

She added that you need to read and read. To be a good picture book illustrator, you need to be bibliophiles and your portfolio needs to reflect that.

Work to the Child Within You

Donna began by asking us our real ages ….many of us were about 8, some were teenagers. Others were 2 years old. Donna believes this is the age where something happened to us to make us aware of ourselves and made us aware that we were separate to other people. It is important because the greatest critic of your work is that child in you. They are your first real editor and if you take on a story that is not right for your age, it will feel like a chore. If you work to your age group, it will feel like a guilty pleasure.

The class was asked to bring along a drawing of their favourite nursery rhyme, (which were amazing!) to allow them to go back into their childhood and experience the picture as a kid and have that kid critique it.

Process of Choosing an Illustrator at Walker Books

Several illustrators are put forward to the team for a text. The aim is to choose the perfect combination of art and text for the best version of that book. It is always done with the author’s approval.

Once an illustrator has been chosen and the contract signed, Walker will ask for character sketches, roughs or storyboard.  

Donna pointed out that if a publisher approaches you, they love your work, trust you and firmly believe that you are the right person to do the job but to be open to direction. Art directors will always give notes (with love in their hearts), to entice your best work from you. Donna’s job is to know you and your work better than you from her experience as both an illustrator and art director.

Some Cold Hard Facts about Folio Submissions

All publishers receive many, many folio submissions and keep most of them on file, however, perhaps fewer than 10% will be considered to be of a standard appropriate for their list. Most successful submissions clearly demonstrate the artist’s connection with and love for books.

A Few things to Consider including in your Folio

• At least 14 pictures of your best work.
• Add a nursery rhyme (with text)
• Show a sense of narrative – include a series of 2-3 sequential drawings. Show pacing and consistency of character across different illustrations.
• Show some degree of emotional depth in characters eg scared, shocked, angry.
• Use an existing, published story and complete a storyboard for it.
• Include a rough followed by the finished drawing so they can see how you approach your work.
• Include B/W drawings – this may double you chance of getting work…there’s a lot of call for B/W junior chapter books.
• Media/Techniques – Show as much of a range of your versatility as possible. Choose a drawing and then do it in a different range of styles – charcoal, pencil, paint, acrylic, pastel, collage etc.
• Experiment with a book cover for a novel you love.

What’s the Best way to Submit?

• As a PDF that you email or collection of JPEGS on a disk with a selection of printouts of your best.
• Include a cover letter and add anything of interest about you that may show your range as an artist… eg you’ve travelled extensively, you’re a marine biologist or you used to work as an anatomical illustrator. Let them know about your brain.
• Never send originals.

And Just a Reminder…

• Publishing professionals change, so resubmit if staff has changed.
• Keep track of who you send your work to, what you’ve included and when. Find out who publishes what and make sure you address it to the right person.

Thank you so much to Donna for her advice, her knowledge and her warmth and generosity.  

The Business of Illustration—Melbourne

Are you constantly sidetracked and hindered on your path to becoming the best illustrator ever by the piling of collateral activities (contracts, negotiation, finances, self promotion, etc.) that seem to incessantly leech your creative energies,

Or have you lost clarity and sense of purpose and are struggling to balance artistic and financial goals to further your career - you feel like your head is spinning due to a seemingly unsurmountable amount of management problems draining your time and stamina, THEN this short yet powerful seminar is designed to bring you some much needed clarity!

Topics to be covered:

• understand your value and that of your work
• learn to visualise your long-term goals and put yourself on the path to achieve them
• manage your time with purpose and understand that time is the only currency that really matters
• be flexible and open to opportunities, think out of the canvas
• promote yourself by focusing on what matters, skills, presentation and networking
• negotiate like a professional, don’t get lost into the legal jargon and focus on obtaining what is most important to you

When: Friday May 8th, 6.45pm for a 7pm start (finishes at 8.30pm)

Venue: Billy Blue College of Design in the heart of Melbourne city

Deadline for booking 5pm Thursday May 7th - limited seating so be quick!!

$25 FOR IA MEMBERS (incl. SCBWI, ACA, ASA)

$35 Non-Member, $15 Student, $10 IA Student (Billy Blue & MDC students)

FOR BOOKINGS CLICK HERE

Vincenzo Pignatelli

Vincenzo Pignatelli is a neuroscientist by trade, and entrepreneur at heart.  Starting from scratch, animated by a personal passion for technology and storytelling and with no previous knowledge of the AppStore ecosystem, he has founded Blue Quoll Digital, a studio creating interactive (and gorgeous) picture books for the Apple devices.  Vincenzo has been managing Blue Quoll since coordinating the work of illustrators, designers, and developers, and curating the quality of Blue Quoll book Apps in every detail.

Presented by Illustrators Australia