SketchLook! March 2016

SketchLook is an ongoing feature of the SCBWI Blog. It is a glimpse into the working process of artists, how we experiment, think through our ideas, stretch our imagination and observe the world. This is a glimpse at current work in progress, free doodles, rough drawings, and sketches from life. CLICK HERE to participate in SketchLook.

 

Take a peek at the working drawings and sketchbooks of some of our members:


Aura Parker—Sketchbooks are great for scribbling down an idea before it fleets out of your mind, and I'll scribble on whatever's handy, a post-it note, scrap of paper or my phone.

When I'm working on a book the early thumbnails can look like cryptic heiroglyphics and probably don't make a whole lot of sense but it's great for working out how things will fit into 32 pages and the detail can come later. Other times though, if I keep a picture bottled up in my mind and imagine it in detail, by the time I start drawing it'll pour out more fully formed. When I'm working on a print I usually have a clear idea of the colour palette before I put pen to paper, and then begins the fun/torture of trying to make the reality match up with what's in my head. I love it though, can't get enough of that fun/torture!

This little girl character has been on my mind for a while and I drew her onto an illustration board, in the process of drawing and redrawing my sketches were rubbed out and drawn over. Hopefully now she'll grow a story... because pictures can grow into stories and that's a wonderful thing.



Liz Anelli—I'm making up a book about Martins mostly set at the seaside. At the rough storyboard stage I’m completely open to compositional possibilities and I go out drawing the things people do on the beach. Seagulls and such are pretty docile and easy to draw. They also seem to have a lot of character. Capturing them in flight is more about what they suggest to me than exactly how they look. Drawing children playing is harder – they move about all the time. So to develop characters I also draw them in another place – like watching TV.


A call-out for the next selection will be sent out in good time but members of SCBWI Australia East & New Zealand are invited to submit images at any time. Work should be scans or snapshots of sketchbook pages featuring sketches, drawings from life or working drawings. Up to five images, Jpeg format, 72 dpi, 750px width maximum. Kindly avoid overlaying text on images and other digital manipulation. CLICK HERE to submit images for SketchLook.

May Gibbs Fellowships Now Open

Dear SCBWI members

Published authors or illustrators of at least one book for children or young people are invited to apply for a May Gibbs Trust creative time residential fellowship.

Visit maygibbs.org.au and click on all the information provided under creative time fellowships.

The aim of our fellowships is to enable children's authors/illustrators to take up a one-month residency to concentrate intensively on their work and to advance their creative skills. Residencies are away from home in delightful rent-free accommodation provided by the Trust.

Please note that specific eligibility criteria apply. Make sure you read the FAQs below before applying.

May Gibbs Children’s Literature Trust

Applications for Creative Time Residential Fellowships

Frequently Asked Questions

 

What are the eligibility criteria to make an application?

To be eligible to apply for a 2017 fellowship you must have had at least one title for children or young adults published by a “mainstream” or trade publisher.

We regret that for 2017 fellowships, authors and illustrators whose titles are solely published through education publishers are not eligible. We also regret that self/indie-published authors and illustrators are not eligible to apply.

We are very aware that many authors/illustrators have created a fine body of work through these publishing avenues. We discuss and re-visit these criteria every year and so urge authors and illustrators in this position to keep in touch.

I am an emerging children’s author/illustrator. Am I eligible to apply?

We don’t mind where you’re at in your career, however to be eligible for a fellowship you must be the author or illustrator of at least one work published by a reputable publisher.

Please explain within your application why a fellowship would be valuable to you at this stage in your career.

Is there a fee to apply?

No. Applications are by e mail, removing even the cost of postage!

I have received a fellowship in the past. Can I apply for a second one?

Yes, after two years. In other words people who undertook fellowships in 2014 can apply in the 2016 round for another fellowship in 2017.

I live overseas. Can I still apply?

Yes, as long as you are an Australian resident or citizen and understand that the Trust is not in a position to provide an international airfare. You will need to provide a strong rationale within your application for wanting to travel back to Australia for a fellowship.

What does the May Gibbs Children’s Literature Trust provide?

We provide rent-free accommodation for the duration of your one-month Fellowship. We also book and pay for your flights to and from your nearest capital city. Where possible we support you with networking opportunities and professional contacts.

Is there a per diem?

No, you’ll need to ensure that you have the resources to cope with a month away from your usual income, as you’ll need to buy your own meals and organise any day-to-day transport you might need. The studio apartments are all self-catering and we make sure that you are met at the airport and returned there by our volunteers in each host city.

Do I need to specify the dates of my Fellowship as part of my application?

No, the actual scheduling of fellowships takes place over several conversations with the Fellowships Co-ordinator at the time of fellowships being offered and accepted. For 2017 fellowships these conversations will take place during September and October 2016.

Can I take my Fellowship in two halves IE two weeks each time?

We strongly prefer to organise fellowships in one block of time, which is one month. We allow fellowships taken in two halves only in exceptional circumstances. If this is relevant to your situation talk to the Fellowships Co-ordinator as soon as you can.

How do the May Gibbs Trust partnerships work?

Over the years we have evolved a range of formal and informal partnerships in a number of settings and institutions, including schools and libraries, which provide paid work opportunities to our fellows. Fees are based on Australian Society of Author rates.

Fellows taking on this work co-construct a program of sessions (workshops, presentations or meet the author sessions) occupying a maximum of 15 sessions/hours, scheduled in collaboration with the host institution. This ensures that uninterrupted creative time is still available. Taking on such work is a commitment made at the time of accepting a fellowship, however please also note that unless and until formal confirmation of work from one of our partners is made, the Trust is not in a position to guarantee paid work. For this reason, fellows must ensure that they are not relying on the prospect of paid work to resource their fellowship time.

Co-constructing the events with the host institution, often some time before the events, can be a simple or a considerably more complex process, depending on the partner’s requirements.

Fellows who take on such work all report immense satisfaction with the quality of the organisation and the chance to meet their target audiences face to face.

Other partners provide work that is more ad hoc and “one off” in nature.

Can I undertake paid work using contacts of my own?

Yes, unless you are undertaking work with a May Gibbs Trust partner (in which case your hours are already likely to be at the maximum amount) and as long as you keep your total contact sessions to a maximum of 15. You must ensure that your personal plans are not likely to compete for audiences with the activities of any May Gibbs Trust events/partners involved in your host city.

Please discuss your plans with the Fellowships Co-ordinator well before devising your schedule and be aware that brokering/liaising with such contacts is not part of the Fellowships Co-ordinator’s role.

Child Safe Environments

The May Gibbs Trust is committed to providing child safe environments. You cannot undertake work with any of our partner organisations without a valid police check and/or working with children clearance. The Fellowships Co-ordinator will need to make a copy of the original(s) of these documents before you can start your work.

Do I need to have an ABN?

If you intend to undertake paid work during your fellowship then yes, as we ask that you invoice the employer (schools, libraries and in some cases the Trust itself) directly for your work.

What about insurance?

We require you to have your own public liability insurance for work undertaken with the public during a Creative Time Residential Fellowship outside the May Gibbs Trust studios. We can recommend some user friendly and extremely cost effective ways of becoming insured. Contact the Fellowships Co-ordinator for further information.

If your fellowship consists purely of uninterrupted creative time, with no engagement with the public, insurance is not required.

What do you expect from me as a Fellow?

Fellows are required to:

qacknowledge the support of the MGCLT in any publication arising from the work undertaken or completed, in full or in part, during the fellowship, using the Trust’s logo (contact the Fellowships Coordinator) and an appropriate version of the following short acknowledgement:

[Title] was conceived/developed/completed as part of a Creative Time Residential Fellowship provided by the May Gibbs Children's Literature Trust

qcontribute to the fellows’ journal which is kept in the studio apartment

qcomplete a brief report about the fellowship within 8 weeks of its conclusion

qif working with a Trust partner take on no more than 15 hours paid speaking, teaching and/or promotional employment during the fellowship

qliaise with the Fellowships Co-ordinator prior to taking on any additional speaking, teaching and/or promotional work that has not been arranged by the MGCLT

qset fees at MGCLT rates for any additional speaking, teaching and/or promotional activities undertaken within the Fellowship

qprovide the Fellowships Co-ordinator with a copy of your police check/working with children clearance if involved in any work

qliaise with the Fellowships Co-ordinator on suitable content for information provided to the media

qspeak without further payment at a MGCLT function organised by the local support committee.

What is the MGCLT function?

As part of all fellowships we ask that our fellows speak/present without further payment at an event organised by the voluntary May Gibbs Trust support committees or partner committees. This is an event essentially in your honour, but also designed to promote you and the Trust and provide special experiences for our supporters.

Events may be literary lunches, dinners, partner functions, schools sessions, a PD for teachers or any kind of relevant function to link your skills and interests with the interests of our stakeholders. This is why we ask for information about the content and style of your presentations, even if you’re not looking for work. Where possible the functions coincide with major events, such as Book Week.

Can I have my partner/family to stay during my residency?

Partners and family members are welcome to stay for a short time, such as a weekend, with you during your residency. The accommodation is not suitable for longer-term stays.

What kind of networking opportunities will be available to me?

Fellows are invited to meetings and events, both formally and informally, as they arise during fellowship dates.

You can read more at the website.

If you’ve read the FAQs and are ready to apply, contact Sally Chance, Fellowships Coordinator, for details of what you’ll need to do next: contact@maygibbs.org.au

Completed applications must be received by midnight on Saturday April 30 2016

Good luck!

Warm regards,

Sally Chance, Fellowships Coordinator

Tassie MiniCon Wrap-up by Anne Morgan March 18, 2016

Tasmania’s second ever SCBWI MiniCon was held in the Beaconsfield Senior Citizens function hall, 2.45-5.30pm on Friday March, 18. Many thanks to SCBWI Assistant Regional Advisor, Deborah Abela, for chairing the gathering and to SCBWI TAS member, Christina Booth, who was our logistical genie, begging, borrowing and scrounging whatever equipment we asked for. Also to the organising committee of the Tamar Valley Writers Festival for supporting this invaluable SCBWI gathering.

The aim of the MiniCon was to connect Tassie authors and illustrators, explain how SXBWI can help them and discuss a few areas of the kids' publishing industry with the wealth of publishing talent present.

The MiniCon began with a preview of my next picture book, The Moonlight Bird and the Grolken (IP Kidz) illustrated by SCBWI illustrator, Lois Bury. Prepublicity, not the hoped-for launch, because not even our logistical genie, Christina, could make the books materialise in time. So instead of launching the book, we showed the trailer.

We then showed the hilarious trailer for Christina’s next picture book, Too Many Sheep (Scholastic), to be released 1 May. Check out the trailer on her website.

Deb then opened the MiniCon by discussing what SCBWI can do for writers and illustrators at all stages in their careers. Christina and Lois Bury then spoke about how SCBWI had boosted their careers.

This was followed by the Perils, Pitfalls and Pleasures of Publishing - What I’ve learned so far - successful authors Belinda Murrell and Jacquie Harvey shared the highs and lows of their publishing careers, and some tips, hints and advice of what they’ve learned so far.

Sally Odgers, Justin D'Ath and Christina discussed how authors survive – both Christina and Sally have come up with some ingenious ways of generating income from their books, aside from royalties and ELR/PLR payments.

Deb then presented some information and resources on school visits, and protocols for negotiating ASA rates.

Tassie illustrators, Lois Bury and Rosemary Mastnak, spoke about how they create their memorable pics. The final session of the day was a session on Tasmanian publishing successes.

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Post script

The Tamar Valley Writers Festival (18-20 March) has now come and gone, but the excitement of attending so many outstanding sessions, and having so much writing talent assembled in one place, still lingers.

Some weeks before the Festival, its Committee stirred up a nation-wide controversy world by declaring they were not paying their authors. The organisers were motivated by a well-intentioned desire to increase literacy levels in a relatively impoverished region of the poorest Australian state. Imposing charges upon festival-goers, they argued, would deter attendees, particularly children, from attending.

The organisers looked after their guests by accommodating them at a resort and providing shuttle buses to and from the festival; they also hosted a cocktail party and a festival dinner for their guests. But they didn’t pay their authors. Exposure and book sales, they argued, was enough.

This was the first time I have been invited to speak at a festival in my home state, despite having had twelve books published. After receiving the invitation to present, I decided it would be a great idea to hold a SCBWI miniconference at the Festival, to take advantage of the presence of so many star presenters, to provide professional development for Tassie’s aspiring, emerging and established children’s book creators . The Festival Committee was enthusiastic about the SCBWI minicon, and provided us with a venue, advertising and afternoon tea for about 40 participants.

When the Festival eventually announced it was not paying their guests, I felt the double sting of that proverbial horned dilemma. Should I resign as a presenter in protest against the non-payment of authors? But if I withdrew, that would end an ideal opportunity to provide networking and development opportunities for Tassie children’s book creators, not to mention destroying my best-ever chance of promoting my books.

After discussions with Susanne Gervay, SBWI Regional Advisor for Australia and New Zealand, we decided that, on balance, to go ahead with SCBWI miniconference. The Festival then provided SCBWI with even further support by offering to pay Deb Abela’s air fares from Sydney to chair the meeting. They also provided Deb with accommodation and invited her to speak at the Festival dinner.

There was scarcely a dry eye at the dinner when Deb told the gut-wrenching story of her own family’s emigration from Malta to Australia, soon after the end of World War II. This grim but compelling story inspired Deb’s soon-to-be-launched children’s novel: Teresa: A New Australian (Scholastic).

Being part of the Festival also allowed Deb and others to do some polite yet persistent lobbying of the Festival organisers, arguing that the payment of full ASA rates to authors should be at the core of any festival budget, rather than something that drops off the end of the budget when there is not enough money to go around. The issue of author payment was raised again at the final session of the Festival. A show of hands indicated that attendees would be willing to pay a $20 cover charge a day, although there was still strong support for keeping school sessions free to participants. Yes, I’d vote for that that. Provided the children’s/YA authors are still paid ASA rates.

The Beaconsfield Council has announced funding for two more festivals, one in 2018 and another in 2020. They have listened to SCBWI’s arguments regarding the payment of authors and have decided to begin a crowdfunding campaign in preparation for the next festival. And so, we hope we can look forward to future inspiring festivals at Beaconsfield, where the authors go home tired, happy and paid.

 

Anne Morgan