from the BRG archives: blah, blah, blurbs

Last year, I was asked to write a blurb for the upcoming book Kimchi and Calamari, by Rose Kent (which is a really nice book, by the way). I agreed. However, recently after perusing Amazon and looking at the images, I think my quote was not used.

Now, I am NOT upset in any way, shape or form that it wasn’t used. In fact, I am pretty relieved. I had never written a blurb before, so I tried to “sparkle”; and whenever I try to do that my writing comes off really fake. I realize now I should’ve just written an honest line about how nice I thought the book was instead of trying to be some kind of marketing soundbite. Oh well.

I think the reason why I overreached was because I was so flattered to be asked. Famous people give blurbs! It’s their name that helps sell the book, right? But in the case of Kimchi and Calamari, I couldn’t imagine how having my name on the cover would help it, except perhaps as an additional, unnecessary curiosity factor. I imagine the conversation would go something like this:

“Look, this person Grace Lin liked the book.”
“Grace Lin? Who’s that?”
“Um, wasn’t she on one of those reality shows?”
“No, I think she’s an actress on that sci fi show, Battlestar Galactica.”
“Gee, I wonder if this book is about aliens eating human food, then.”
“Maybe, are you gonna get it?”
“Naw, I hate that spaceship stuff.”

But, regardless of my blurb-writing shortcomings and pitfalls, it is the idea of the blurb that I find fascinating. Do these one to two line quotations REALLY make a difference? Do they push a browser over the edge to actually buy the book? Or does the difference come in the judgement of the book? Do these blurbs bias the readers mind, filling them with preconceived notions? Does it elevate the book to a certain stature if Famous Person A endorses it? But book people are smarter than the average George Foreman grill buying public, aren’t they? They don’t need a big name to validate their purchase or opinions. They can choose their own books without a celebrity sanction, I’m sure. Right? Right?

I ask this as I shove my George Foreman grill into the closet.

Originally posted January 24th, 2007

from the BRG archives: QUESTION OF THE WEEK: What outside influences do you use to keep yourselves focused ?

Our question of the week is:What outside influences do you use to keep yourselves focused?

ALVINA:
What outside influences do you use to keep yourselves focused?

This is a somewhat ambiguous question--so many ways to answer it! When it comes to my job, it's all about people. I'm influenced by my coworkers and wanting to be good to work with and do a good job; by the authors and illustrators I work with, not wanting to let them down; I'm influenced by the librarians, teachers, parents, booksellers, and others who will read the books I work on; I'm influenced by the knowledge of the reader I am and the memory of the reader I once was as I child; and lastly I'm especially influenced by the child reader that I'm trying to reach, what I think they will love.

I also do have some inspirational quotations up in my office to help me keep things in perspective. One is "Follow your compass, not your clock" which is something I heard at a talk given by Andrea Jung, CEO of Avon. Someone had said this to her when she was trying to make a big career decision amd was conflicted, and I love to think about it when I get frustrated with work, or start thinking that I should be at a higher level, etc. I think, my clock might be saying I'm ready for something else, but my compass is telling me what is most important.

Another quotations is one I commented on in Grace's "Hope and Beauty" post above. "It is Simple. We are where we should be, doing what we should be doing, otherwise we would be somewhere else, doing something else."

And one last quote is from college. I think my roommate Grace (a different Grace!) penned it when we were stressing about midterms or finals. "Feel a sense of inner peace. Do your best. It's never too late!"



ANNA:
One thing that always brings me back to focusing is looking at work that inspires me, and reminds me why I wanted to make books in the first place. This is one of my all time favorite books. It awes me on so many levels. The quiet, perfect pacing, the understated storytelling, the somewhat unresolved, haunting ending.

This book brings me back to my desk for other reasons as well- my older sister gave it to me as a birthday present when I was applying to college. Chris Van Allsburg taught at RISD, and this was one of the deciding factors in my decision to go there to study illustration. So I guess this book also reminds me of all the hope and excitement I felt taking my first real step towards being an illustrator.

GRACE:
Well, I like to write when things are completely quiet with no distractions; I do have a music mix on my ipod I listen to when I paint.

But the one thing I’ve always done is make a folder for my work (I posted a photo of a couple of them to the left). I have a penchant for beautiful paper, making folder portfolios gives me an excuse to buy and use it (though I have a lot more paper than my folders need!). Usually I make the folder at the start of a project—as an incentive to fill it! The folder is a visual reminder for me to keep focused.

Here is my most recent folder made for the art of Lissy's Friends! I just had to post it because I love that bunny paper.



LINDA:
Definitely other people's art. I can get really inspired by a landscape, most especially skies and clouds, but often I end up feeling overwhelmed with the idea of trying to capture glorious reality. Seeing what choices other artists have made to come to their own conclusions of beauty is what gets me motivated to try my own version. I've been most certainly overwhelmed with the prospect of painting the landscapes of northern Tibet for my next book, until I found Nicholas Roerich's paintings of the same thing. His simplified paintings burst with colour, vastness, and desolation. Now I'm itching to get painting again.

Also, music. I could not work without music. Before I paint, I turn it up, I dance like crazy, I spin a baton, I get energy moving in my studio and my body, and then I sit down, and funnel it into my hands. (Did I just admit that in public?)

First published August 27th, 2006

from the BRG archives: Does anyone do both brilliantly?

Quite often when adults hear that I write for children their first question is,
“Are you going to write an adult novel?”
This is always said very nicely, even eagerly, or in a slightly encouraging tone – as though children’s books are training wheels for the real thing.

I thought it was just something about me – but on NPR a few days ago Katherine Paterson said that people often asked her that, too. Why do people do this? Obviously, they think it's easier to write for children -- but do they realize how insulting the question is? That it implies that people only write for kids because they aren’t good enough (yet is often implied, too -- that's where the encouraging tone comes in) to write for grown-ups?

It’s not easy to write ANYTHING good – but I don’t think the age group that you’re writing for has anything to do with a book’s difficulty. It just takes a different kind of talent, or set of interests – and if anyone doubts this, think of how few people there are who have written great children’s books AND great adult novels. I really can’t think of anyone!

The closest is probably C.S. Lewis – I at least really like That Hideous Strength and Out of the Silent Planet; but are these books as good as the Narnia books? Louisa May Alcott and E.Nesbit both wrote trashy books for grown-ups, I’ve never been able to even finish any of them, and I’ve read their kids books over and over and over.

If you think this just proves the point that kids books are easier: Thurber's adult stories make me laugh (and still are read in literature classes), but I don't think anyone would still read the book about the Princess who wanted the moon(Many Moons ) if it weren't for the great illustrations. And Dickens and Thackeray would be out of print today if their children's books were their only books.

Robert Louis Stevenson did write for adults, and actually, some of his adult stories are pretty amazing (if you like well-written, well-plotted adventure stories) – but are they as good as the best poems in A Child’s Garden of Verses? I don’t think so. If you count YA, then I can think of one person: F.Scott Fitzgerald. His Basil and Josephine stories still make me laugh out loud. I especially love the ones about the ten-year old, totally obnoxious Basil (based on Fitzgerald himself), with his best friend who – no matter how crazy and impossible Basil’s ideas were -- responded to each one with an immediate:
“Let’s do it!”

But those aren’t BOOKS. Maybe there are people who write brilliantly for both age groups that I just haven’t read. If you can think of any, please put them in the comments! And another question: what do YOU say when adults ask if you’re going to write for adults? I usually just mumble no. No child has ever asked that question, by the way: they just say “Have you written any other books?” and of course, “other books” means – for kids. As it should.

Originally published February 24th, 2007

from the BRG archives: down to the cupcake level

This is an attempted group photo we blue rose girls tried to take of ourselves this weekend. The goal was to "take a picture with all of us and the cupcakes."

I made the cupcakes. Before I made them, I had grandiose schemes of piping professional-looking blue roses, awing everyone with my culinary expertise. However, as I began the attempt, I realized frosting roses were beyond my capabilities so down-graded to simple blue flowers. Yet, even trying to create the "simple" flowers was a challenge--the frosting was too soft, my kitchen too warm, my control was shaky and my time was limited. I remember being distinctly disapointed, feeling that my blue flowers resembled ameoba-like blue octopi. Yet, when I brought them to our blue rose girls weekend, it seemed as if everyone loved them and even I had to admit they were delicious. So, in the end, a nice warm sense of pride filled me.

And I realized, that is the epitome of my creative process. I always begin with dreams of creating a literary masterpiece; and, when faced by my own limitations, realize I can only do the best of my ability, which always seems to falls short. However, despite its flaws, it still finds ways of pleasing its audience; and even I appreciate what I've accomplished. And, in the end, I am proud of my creation.

But this weekend I realized one more thing. Perhaps all those imperfections are not flaws. Perhaps, like our failed, imperfect group photo, those are the things that make me love it even more.

Originally published September 25th, 2006

from the BRG archives: Christmas Poems

CHRISTMAS IS A-COMING
English Nursery Rhyme

Christmas is a-coming,
The goose is getting fat,
Please to put a penny
In an old man’s hat.
If you haven’t got a penny,
A ha’penny will do.
If you haven’t got a ha’penny,
God bless you!


FOR ALLAN
Who wanted to see how I wrote a poem
by Robert Frost

Among these mountains, do you know.
I have a farm, and on it grow
A thousand lovely Christmas trees.
I’d like to send you one of these,
But it’s against the laws.
A man may give a little boy
A book, a useful knife, a toy,
Or even a rhyme like this by me
(I wrote it just like this you see),
But nobody may give a tree
Excepting Santa Claus.


DAY BEFORE CHRISTMAS
by Marchette Chute

We have been helping with the cake
And licking out the pan,
And wrapping up our packages
As neatly as we can.
And we have hung our stockings up
Beside the open grate.
And now there’s nothing more to do
Except
to
wait!


CAROL OF THE BROWN KING
by Langston Hughes

Of the three Wise Men
Who came to the King,
One was a brown man,
So they sing.

Of the three Wise men
Who followed the Star,
One was a brown king
From afar.

They brought fine gifts
Of spices and gold
In jeweled boxes
Of beauty untold.

Unto His humble
Manger they came
And bowed their heads
In Jesus’ name.

Three Wise men,
One dark like me—
Part of His
Nativity.


From MARMION
by Sir Walter Scott

Heap on more wood!—the wind is chill;
But let it whistle as it will,
We’ll keep our Christmas merry still.


CHRISTMAS
by Marchette Chute

My goodness, my goodness,
It’s Christmas again.
The bells are all ringing.
I do not know when
I’ve been so excited.
The tree is all fixed.
The candles are lighted,
The pudding is mixed.
The wreath’s on the door
And the carols are sung.
The presents are wrapped
And the holly is hung.
The turkey is sitting
All safe in its pan,
And I am behaving
As calm as I can.


I HEARD THE BELLS ON CHRISTMAS DAY
by Henry Wadsworth Longfellow

I heard the bells on Christmas day
Their old familiar carols play,
And wild and sweet
The words repeat
Of peace on earth, good will to men!

And thought how, as the day had come,
The belfries of all Christendom
Had rolled along
The unbroken song
Of peace on earth, good will to men!

Till, ringing, singing, on its way,
The world revolved from night to day,
A voice, a chime,
A chant sublime
Of peace on earth, good will to men!

HAPPY HOLIDAYS!



Originally published December 22, 2006

from the BRG archives: boy do they have some kids' book ideas for you!

Calling all kids' book folks--writers, illustrators, booksellers, librarians, editors, etc. What has been the most OUT THERE story idea you've ever heard? I'm talking about those times when you're at a gathering and someone overhears that you have something to do w/kids' books. Then they immediately launch into the "I have a GREAT idea for a kids' book that I KNOW will get published soon..." and all you can do is sigh.

I'll start -- I was at a party a while back and a seemingly normal guy told me about his story idea. It was about a selfish child who loses her precious red shoes. She needs to be taught a lesson... (so far okay) and THEN things got interesting. "The girl whines that she can't find her shoes and Jesus comes in the form of a giant hand which comes from a cloud to tell her she doesn't need the shoes and she should learn her lesson..." This guy with beer in hand blabbed on and on about Jesus and shoes and even bunnies may have been involved, though I'm not sure. Then he said "So, you think you could help me with it?" "Help you?" I said. "Yeah, he replied, "help me get it published....

Originally published September 26th, 2006

from the BRG archives: marathon painting

I am a week short of a deadline and painting like a maniac. Recently a 9 to 5er pointed out that as freelancers we don't HAVE to do everything at the last minute... painting into the wee hours, and ignoring any and all other commitments to make a deadline. Its true and a really good point I think that many times there is an option, that a carefully planned out schedule could prevent the last minute crunch that often happens. Now granted there are times when a publisher will rush you, spend a long time with revisions and then expect that you can magically cut your work time in half to make the deadline. But that is not always the case.

Often times I think we illustrators (and writers perhaps too?) let this situation happen on purpose. There is something about the momentum of focusing ALL your time, energy and attention on one thing that is really gratifying. Its like a little break from your ordinary life where everything becomes really simple and your paintings become the only thing that is important. Even when you are doing other things... eating a meal, talking with a friend, making the occasional venture outside the house, your creative mind is still engaged. Sometimes in the middle of a conversation about, I don't know, the weather or something, I will bust out with "WAIT, thats what I need to do, a little more green!" Usually the comment is met with silence. Or if the person knows me, they'll just say "Go."

This kind of feast or famine intensity is something I've struggled with over the years. There is something satisfying about it, and yet as I get older, sometimes I don't want such an extreme lifestyle. Sometimes I want to be able to disengage and go to the movies, without obsessing about the project at hand. But its a tough balance to strike. Sometimes I just think this is the nature of the beast.

Originally published October 10th, 2006

from the BRG archives: first books and relationships

I was looking for the exact quote but I think it's long gone. A few years back (I think!) I'd read in PW about Mark Brown's first book memory. He said his editor sent a limo and Champagne to his door on the book's release date. I was SHOCKED when I read this. Was publishing THAT much better back then? When a book of mine gets released, it gets zero fanfare. I've grown accustomed to this fact. But boy would a little fanfare be nice! Picture books have also changed a lot since then. They've gotten bolder... edgier. Is this a good thing? A bad thing? When I was little there weren't any books like the ones I create so I must wonder what *I* would have thought of them. Hopefully I would have liked them.

A friend of mine just gave me Dear Genius: The Letters of Ursula Nordstrom. It's clear from reading the letters that Nordstrom really valued her author/editor relationships. So here's another random question-editors and authors out there: what are your relationships like with the people you work with? Do you think having a close, friendly relationship helps? I've talked to so many authors who've told me they've never met their editors! Wow. I don't know how I would operate if that were the case. I like the face-to-face contact. I like to know who's on the other end of the computer/phone. Do you think face-to-face contact matters? Does it make a book better?

Well, those are my rambling thoughts for now.

meghan

Originally published Septemeber 28th, 2006

from the BRG archives: There's stuff outside the studio? Seriously?

Thursdays are my day to write in the Blue Rose Blog. I have my own blog that keeps me very blog-occupied, but it is as scattered and variable as my life, which is very scattered and variable, and there's been no mention of children's books there in a long time.

I've been having a lot of adventures lately that seem distinctly non-illustration-oriented, but in fact, the thing about illustration, is nothing is non-illustration oriented. To be an illustrator you have to be someone who is interested in everything in the world, because at any moment you could be assigned a story about a bunny, or a Russian folk tale, or a true account of modern day mountain climbers in Tibet. There is always a lot of research to be done, but the best sources are always your own memories and experiences.

Right now I happen to be working on the true account of modern day mountain climbers in Tibet. There's a challenge there in that I've never been to Tibet, or climbed a mountain. I've immersed myself in a small fortune of pictorial reference books to get a feel for the landscape, and studied the men and the equipment used on the actual journey. But the spirit of the book will come from my own monumental journeys, such as a 3 week ride on horseback from Massachusetts to Canada when I was young, and times I came upon awesome landscapes that took my breath away-- the Utah Salt Lake, Mount Katahdin, the Grand Canyon, Italy.

This blog, being specifically about children's books, and not mine alone, will make me find the links between my eccentric out-of-the-studio activities and what's on my desk. But I'm especially looking forward to reading the thoughts of my fellow Blue Rose Girls, who are all personal heroes of mine. I'll blog about how incredible they are next Thursday. :)

Todays studio music: The Fiery Furnaces.

First published August 3, 2006

from the BRG archives: clearing the decks

I feel a little like a squirrel preparing for winter (and not because it is once again 40 degrees in Boston). I'm about to start the paintings for a picture book and hole up in my studio, my little hollow in a tree.

This involves several stages:



1. Getting rid of all sketches, notes, books, odds and ends that are filling up all usable table space in my studio so that I won't be distracted (above was my desk at the beginning of the day).



2. Now I can start filling up all usable table space with new sketches, notes, books, odds and ends that will weave their way into the illustrations for this book (this is my desk at the end of the day- I'm in OCD paradise!).

3. Settling all unfinished business that has been hanging over my head and dragging on for weeks so that I can, without guilt, completely withdraw into my head and live in the world I'm about to try and paint.

Its a little like going away to camp when you're a kid. You feel a little nervous about going somewhere new. Hopefully I will make friends with my characters and fall into a groove quickly. Then, before I know it, I'll be emerging from this cave and blinking at the sun. I am glad I have my pen pals at the BRG to send postcards to!

Originally published November 21, 2006

from the BRG archives: making literature, making a living

More often then not, when I'm introduced at a book event I'm described as a prolific author/illustrator. While it is usually meant as complimentary (at least I hope so) I always wince a little inside. Just because a person (especially someone in the creative field) creates many works doesn't necessarily mean they are any good.

Of course, I am extremely grateful that I have been able to be so prolific. But the truth is, I have to be. I depend on it. If I don’t produce, I quickly drown--mortgage, health insurance, medical bills, groceries-- everything breaks through the rickety dam of my paying books.

Which is probably why I was so affected by Linda Sue Park’s speech about creating your best work . I didn’t go into children’s books for the money (who does?); and it goes without saying that I want everything that I do and publish to be the absolute best of my ability. But I would be lying if I didn’t say that sometimes my creative juices flow out of desperation for the cold hard cash, that compromises are made to get contracts, and sometimes work is rushed when bills are waiting.

To be able to make a living in children’s books is a gift, but one that is dearly paid for. And is compromising quality one of the unavoidable taxes? That is the question I struggle with when the projects are over and the bills have been paid. Could I have done it better? Should I have done it better? Was it my very best?

The answer is always yes and no. Everything I’ve done probably could’ve been done better. But it was the very best I could do at that time. And while that’s not quite satisfactory, it’s enough to make me try again with another book.

Originally published January 13th, 2007

from the BRG archives: Turnover in the children's book publishing industry

The following question was posted anonymously in the comment section of my personal blog, but since it seemed more appropriate for this blog, I'm answering it here:

Eds, art directors, marketers, etc. move around a lot in the publishing biz. What is it like for you to be at a house for a while and to have people coming and going all the time? It seems as though inefficiency would be rampant. Do you find you have to get new folks up to speed often as you usher a ms through to publication? Why do you think people in the biz move around so much?

For the first three years I was at my house, I think only 2 or 3 people in all of the children's division left the company. Of course, at that time we were based in Boston, where publishing jobs were fewer and far between, so people tended to stay at their jobs forever. When the division was moved to NY 4 1/2 years ago, everything changed. First of all, we lost our entire Marketing and Publicity group, our entire Production Department, and all but one Designer. As I wrote about here, it was a tough transition period--and all of the turnover after that was a piece of cake--kinda. I think for me, it wasn't just the regular amount of turnover, but also the fact that we were growing. Boston's editorial department of ten people is now fourteen. Four designers have doubled into eight. The five-person marketing/publicity department is now nine. And yes, we've also had quite a bit of turnover, which I think is natural during transition periods. I got very used to seeing new faces in the office, and sadly, also saying goodbye.

I will say that sometimes as the one "left behind" it does make me wonder if I'm missing out by staying in the same place, or maybe missing the reason why people tend to leave all at once. I had a conversation with at least two other coworkers this year about whether we felt weird staying when everyone else was leaving, if it made us want to leave, too. And I also see people moving up more quickly than me, or people with less experience in higher positions in other companies. But then you remember how much you love your job, your coworkers who aren't leaving, the books you work on, and you know you're doing the right thing for you. As I think I may have mentioned in the past, I "follow my compass, not my clock." And if you look at the reasons why people left this year, out of the five people who left, only one left to go to the competition. One moved to France, one moved to Hawaii, one went back to school, and one moved to PA and is now a professor. Why would I leave my dream job?

I don't think inefficiency is rampant at all. In fact, just the opposite. The people who remain pick up the slack and are forced to work either more efficiently and/or longer hours than before to make up for being short-staffed, or taking time to train new employees. Sure, there are tough transition periods, and I can't say that some books didn't suffer due to staff changes. But everyone was committed to getting the books on our list published in the best possible way. And there are positives that come out of turnover, too: new staff brought a welcome fresh perspective to our company and made us even stronger, made the other employees more invigorated. As with anything, it's good to mix things up a bit every now and then so you don't get too set in your ways.

On the other hand, I think we have a nice balance of old and new. Three of us in editorial: me, one of our editorial directors, and our publisher, have been with the company since we were editorial assistants (I think over seven, ten, and fifteen years respectively), and we bring with us the knowledge of our backlist and how things used to be done, and how so much of our procedures are more streamlined and effective now.

I've certainly done my fair share of getting new staff trained and up-to-speed, but even new employees had much to contribute, and could perhaps take over more duties from me that they could dive into right way, such as manuscript reading for example, while I got them up to speed on other procedures and responsibilities.

And finally, why do I think people in the biz move around so much? Do they, really? I've never worked in any other industry aside from retail at B&N, and certainly there was more turnover there than in publishing. People move around in every industry for the same reasons--to get a higher position, more pay, change departments, change industries, get married, have kids, because of problems with their bosses or problems with their coworkers. I don't think people move around in children's book publishing more so than in other industries.

If in fact there IS more turnover in children's book publishing than in other industries, perhaps it can be attributed to the fact that so many of the staff are young and female. This has been discussed on several other blogs, and I posted my response to the issue here. I think women are perhaps more likely than men to move for their spouses who most likely make more money, or leave if they decide to start a family. The low pay is also a factor--people may be eager to either move up more quickly into higher-paying positions, and sometimes the only way to do that is to move companies.

Anyway, I know I may be naive and overly optimistic sometimes, but when I look at our staff today, I think we're probably the best, most stable we've ever had, and it seems to me that most everyone is really happy there doing what they do. Of course there will be changes in the future, but I hope we stay this way for a little while.


Originally published December 10th, 2006

from the BRG archives: good influences

When their children got in trouble, parents often said that the parties involved were a “bad influence” on each other. As one friend of mine put in our teenage years, laughing:
“Meanwhile the kids are having a great time.”

It still feels strange – but nice – to have friends who are fun and a GOOD influence. The Blue Rose Girls are both. When we spend the weekend together, we get to talk about children’s books as much as we want; and we inspire and reinforce each other as artists. The only bad thing we do is eat too many cupcakes. We talk about careers and jobs and other practical things and give each other the kind of advice that really helps (instead of the kind that makes you feel like a bad person).

But we’re a good influence in other ways, too: I’m getting to work earlier as a result of the visit (one hazard of being a freelancer is wasting time, especially in the morning. Too often I dawdle mine away). But this week – so far! – I haven’t. I’ve gone for a bike ride first thing, partly because of the BRGs. It was cold when they arrived, and hot by the time we decided to go for a bike ride – so instead of wearing their blue jeans, Anna borrowed a pair of shorts, and Grace decided to wear her pajama bottoms (they were flowered and looked MUCH nicer than the black spandex most people around here wear for biking).

On Monday morning, I decided to go for a bike ride first thing and accomplished this partly by wearing my pajamas (I did pull a fleece on over the top). Perhaps parents would not count this as being a good influence on each other, but I do – and maybe part of being a good influence is that we reinforce each other in being who we really are.


Originally published September 27, 2006

from the BRG archives: rate of consumption

Recently, at a school visit, a young student rushed up to me and said, “I read The Year of the Dog in 2 hours!”
“That’s wonderful,” I said to her, but inside I felt a strange sense of shock. Gosh, that book took me over 4 years to write, but now takes only two hours to read. The rate of consumption is a lot faster than production!

I suppose the surprise was greater because I am knee-deep in my revisions for novel #2. I’m on my 5th revision, which actually doesn’t sound that bad. But it’s the 5th “official” one, which means it’s the 5th time I’ve gone through it with my editor…the times that I’ve gone through it with myself is about, oh, I don’t know, 133?

The hardest part about working on something for 133 times is that when I get to around revision 131, I start thinking, “Oh, this will be fine. As long as it makes sense, no one will care…just get it done.” But there’s always that other part, the side that wants to get every word is right, that makes me stay up until 5 in the morning and haunts me when I try to concentrate on other things, that pushes me to revision 132.

And I think all authors are like that. Because we want those two hours of reading to be the best we can possibly make them.

Originally published October 16, 2006

from the BRG archives: a really long list

Some (ah-hem…many) truths about being a children’s book author (or at least some truths about me). In no particular order.


Petrified of…

1) Running out of ideas

1) Getting burnt out

2) Reading a bad review that is in some small way right

3) Reading a bad review that is completely wrong but your editor says it’s not professional to send hate mail

4) Doing a story hour and noticing there’s a kid in the back who doesn’t care to listen!... or worse, throws spit balls and says something bad about your mama

5) Never meeting that goal to become a moderately successful and semi-known author

6) Not making the next sale and going back to living off of the credit cards and eating pasta 6 out of 7 days of the week (7 is reserved for being luxurious—McDonald’s 99 cent menu)

Worried publisher will…

1) Lose too much money on the books

2) Lose faith in the author

3) Not agree to make changes to the book’s design

4) Use ugly fonts

5) Continue to use the ugly author photo you mistakenly gave because you were sleep deprived

Sick of…

1) Pulling all night-ers

2) Not having time or energy to keep the work area clean

3) Tripping over random computer wires because you don’t have time to figure out where to put them

4) Accidentally drinking yesterday’s coffee

5) Constantly being reminded of work because the “office” is in the “home”

6) Publishers not understanding that creativity can’t be forced—a deadline can’t be made if the author or illustrator is having a mental block! It’s not like accounting! You can’t help it if your brain doesn’t want to be clever or smart or creative today!

7) Going to the doctor’s or the bank or the library or the bookstore or a wedding or the park or a family reunion or on the bus or the bathroom or the soup isle and meeting someone who has a story that he/she thinks would make for the BEST KIDS’ BOOK EVER!!!!!!

8) People asking if it’s okay if they mention you in his or her cover letter

9) People asking for editors’ names and phone numbers

10) Hearing that kids mostly spend their time watching TV and not appreciating a good story on paper

11) Reading that Madonna’s books are on the bestseller list

12) Reading that Madonna is now hiring Rembrandt to illustrate her new book because her spiritual advisor brought him back to life for the very occasion.

11) Reading that 5 more celebrities will be writing about their childhoods because they think when they stuck a cookie up their nose at the age of 6 it was much funnier than when you did it…because they’re celebrities.

12) Knowing your books are just as good or better than the ones selling like hotcakes but no one has heard of your books so Joanne Smith will settle for what’s on the cardboard display with the flashing lights and toilet flushing sound because she’s in a rush and her kid’s is getting whiny and your book is having a grand time collecting dust with the other “spine-outs.”

13) The publisher not promoting your books because it’s more exciting to make blow up pigs that squirt water out of their noses and oink for the book written by adult romance novel writer turned juvie queen who still uses the same hazy author photo that looks like a fog machine had malfunctioned in the background.

14) The publisher expecting you to promote the books because they’re too busy pouring money into the books that already sell. Oh wait, that one was just mentioned. Someone is becoming repetitive.


Enjoys…

1) Free lunches

2) Getting to wake up whenever you want

3) Working in pajamas

4) Being special enough to get a name tag at events

5) Free lunches

6) Editors being especially nice and sending delicious cookies

7) Being hugely dorky but seemingly cool

8) Good reviews

9) Great reviews

10) People who GET what you’re doing

11) Hearing that your book is his or her bedtime favorite


Want to add to the list? Go for it!

Originally published Decemeber 6, 2006

from the BRG archives: inspiration

Some quotes that keep me working, or help me to look at my work in a new way:

"When you write don't think, listen." -Madeleine L'Engle

"Nobody ever gets what they want and that is beautiful. Everyone dies frustrated and sad and that is beautiful." -They Might Be Giants
(This one I stole from Linda, she sent it to me several years ago and it hangs on the bulletin board next to my desk)

"I was tracking something very slippery, very elusive, and had to use every sense I had to stay on the trail - other people were distracting. Later, I discovered what I was hunting was my own spirit." - Ana Forrest

What are some of yours?

Originally published October 17, 2006

from the BRG archives: another beginning

Libby's posts on beginnings, and then Anna's post about BLOW OUT THE MOON (which was a beginning for me, too), and then Meghan's post about how it feels to begin painting a new book made me think about another beginning--my start at the company I work now.

This week another editor and I took our shared assistant out to lunch, and she was recounting how she felt after she interviewed with me, how badly she realized she wanted the job, so much so that she could barely talk about it after the interview to her boyfriend. This was so different from her reaction to other interviews she had been on that her boyfriend commented, "You really want this job, don't you."

It reminded me about my own beginning. I talk about my "path" in my interview here, but not the specifics, really. Not those moments, those specific moments that I'll remember forever:

-I remember how I spent the night before my interview frantically trying to figure out what to wear. I didn't own a suit then (I still don't, actually), and was trying on skirt after skirt, shirt after shirt. I finally settled on a black business skirt separate, and a nice, deep purple, short-sleeved T-shirt. And I borrowed a long black suit jacket from Grace (do you remember, Grace?!) that didn't quite fit right, but I thought made my outfit look more professional. I found out afterwards that Megan found my outfit "refreshing" compared to all of the boring interview suits. Whew.

-I remember how it was so incredibly hot and humid and sticky the day I interviewed--it was the middle of July. After my interview I was so distracted and excited and worried, because I wanted the job so much, more than I wanted anything else in the world. I was so distracted that after the interview I went to get on the T (subway) and completely forgot about using a token and ended up walking into the turnstyle without paying. Ouch.

Other moments:
-A few weeks later, I was standing at the information desk in the children's section of B&N where I worked, waiting for the phone call. I had interviewed for two jobs at the time, the EA job and also a position at the Horn Book, a job that my coworker at B&N also interviewed for. The Horn Book told us that they would wait to see who Megan hired for her editorial assistant before making their decision, because they assumed that was the more desireable job, but that process had of course dragged on longer than expected, so we were waiting for that call, too. I would have loved either job. So I was standing at the information station talking to my coworker when the intercom buzzed saying that she had a call. My heart started beating faster when she took the phone and I could tell that she was getting good news, and I felt a mixture of dispair and hope. When she got off the phone she was trying not to be too happy because she knew I was worried about my own situation. But I was happy for her. And even though I despaired that I wouldn't end up with either job, I also hoped that perhaps my not getting that job meant I would be getting the other...

-The WAITING. Oh, the waiting. It was agonizing. We all know how that waiting feels! Like waiting for the phone call from someone you like, like waiting to hear about a manuscript you've submitted. Like waiting to hear what your agent or editor thinks about your new book. But it was worth the wait. My future boss called me later that afternoon to make me the offer. I remember I was standing near the cash registers when my manager walked up to me and told me I had a call. When I picked up, it was her.

-And finally, a moment I talk about all the time. Two weeks into my job I remember the distinct feeling that I had found it. IT. I think I was photocopying something at the time--the exact task I don't quite remember, but I know it was somewhat menial. But still, I loved it, and I couldn't believe that I was actually working in children's book publishing, that this was my job, and I realized that this was what I wanted to do with my life, this was where I belonged. EUREKA!

I love these little snapshots of moments, these memories, remembering where I came from, how I felt. As my career progresses, I hope I don't forget these beginnings.

Originally published September 22nd, 2006