Chapter Two: Masterclass for Illustrators with Sarah Davis

Illustrious Illustrator, Sarah Davis attempting distracting techniques

Prior to this year’s SCBWI conference I knew we were in for a treat when I learned Sarah Davis would present a workshop and sure enough it has been an absolute delight. I was pleasantly surprised, though, when Sarah started off with a little slide show enlightening us about her own “unremarkable life story of a very ordinary, humble, unassuming mild mannered illustrator” and her many heroic deeds (saving polar bears, being an astronaut, bringing us world peace and fixing climate change) all before she started her illustrator career. Most definitely she meant to distract us from her amazing and mostly self-taught illustration skills but I am happy to report she didn’t succeed in this attempt.

First up talking about illustrated book characters, Sarah pointed out they need to be convincing and there are different ways to achieve that. Her own characters clearly are a product of her “obsession with bringing them to life”. The reader can connect with these characters by experiencing them as pure individuals. This is supported by the three principles of character design:

• shape
• proportions
• energy

Just as the shape of your character or even just its face’s shape can carry emotional weight (a triangular face oozes evil!), the energy levels add to that (a hunched over character demonstrates sneaky ambitions while an upright character can convey a happy energy). Playing around with your characters’ proportions can open up a whole new level of character design and be very enriching, too.

Another important part in creating a visual narrative is perspective. Sarah demonstrated that by your choice of the focal point you can achieve different kinds of connections with the illustration. For example, if your focal point is on eye level with your character it can convey a sense of intimacy and closeness. This might well reveal a character’s softness. In comparison, if you chose a distant focal point this could create a sense of harshness and underline the character’s fierce side. Personally, I was not quite aware that perspective could influence your perception of the character’s disposition that much. So this was quite an eye opener.

We then had a closer look at Sarah’s broad choice of medium that demonstrate her multi-talent and joy in experimenting. While her book ‘Sounds Spooky’ (written by Christopher Cheng) was created using hand-made puppets and cardboard sets and then photographed, others are done on paper with layers of Prismacolors,  oil paint and many more. Currently Sarah is experimenting with ink and glazes of acrylics and oil paints.

For all three aspects – character design, perspective and choice of medium – it is important for an illustrator “to speak clearly so you can communicate your ideas” visually. These visual elements enrich or undercut the text and help children to decode the story in a special way.

I think it is fair to say that Sarah Davis yet again not only inspired us with her amazing talent and colourful treasure box of wisdom but also how she incorporates her family life into her work. Being a parent and full-time working is not always easy but Sarah sure made it look like that. Holding that thought I am now off to find out how on earth she actually fixed climate change with just a massive fan in her heroic hands….

Katrin Dreiling Roving Reporter

#SCBWISyd

Chapter Two: Denouement and Resolution - Masterclass for authors with Tara Weikum

Vice President of Harper Collins USA, Tara Weikum

Listening to Tara speak about how to approach a revision after an editor has provided feedback was riveting. I took as many notes as my typing fingers could muster.

While Tara’s talk was based on her personal approach to editing, she provided us with universal truths about writing and revisions.

Tara approaches each manuscript differently. She speaks extensively with the author and aims to provide feedback that fits their needs.

She doesn’t make notes on the manuscript; she prefers to write an editorial letter.

Tara’s editorial letters:

• Can be 20 pages, and they can be intimidating - not a sign your story is awful, rather a sign that the editor has a passion for your work, they are invested and want to make it as strong as possible.
• Can be 3-4 pages - it varies depending on the book.

Tara usually writes her comments under subject headings, e.g. character development, pacing, voice …

The letters contain suggestions - not absolute changes. However, if she believes certain changes are necessary she discusses this with the author before signing them. Sometimes changes are deal breakers and she needs to be certain that she and an author have the same vision for the book and can work together to achieve it.

Plot

Tara suggests authors think about plot in terms of jacket copy:

• How you would right your own jacket copy?
• Can you describe your story in a succinct and compelling way?
• What is the core story?
• Which plot line is the reader meant to care about the most?
• If you can write your own copy then you (and your editor) will have clarity about the plot.

Tara said editors are concerned authors will think they don’t ‘get’ the story if they question the plot. Instead, editors are trying to find out why a story is written a particular way and if there is a reason for the way a story unfolds.

Revision is more difficult if a story has layers of mystery and subtext, because any problems might not be obvious. Tara approaches these edits by pointing out that something isn’t working and she’s not sure why. Then it up to the author to think ‘what can I do to make this clear?’

Beginnings

Tara suggested we make sure our stories start in the right place. Beginnings need to include a set up and story thread that will lead the reader into the second chapter. The set up not just dumping reader in the middle of the action.

Number One Problem

The most common problems she sees is … telling vs showing. A way to think or fix the telling problem is to ask yourself:

• ‘Can I show this through action and/or dialogue?’
• ‘Would this scene be stronger if I show why?’
• ‘By summarising this part does it keep narrative flowing?’ Closely followed by ‘If this isn’t adding to the story or moving it forward, then can I get rid of it.’

Voice

Voice can be elusive to edit, and it’s difficult to tell someone why a voice doesn't work. A problem with voice is usually caused by a conflict between the character on the page and the character the author is trying to establish.

Tara suggests an author figure out the reason why you write a voice in a certain way, if you know the reason then you’re more likely to develop an authentic real character.

Some things to think about when writing a teen voice include:

• word choice - the way teens communicate, and
• focus on what they care about.

Some other great points Tara made during her talk included:

• When you receive feedback from an editor decide what makes sense for your story.
• With critiques, sift through what is going to work as you contemplate a revision.
• Editors want to collaborate.
• You may not agree with everything you hear.

If you don't have a contract with an editor and they write to you, take what they say seriously because they would only do this if they believe a story is worthwhile.

Tara tries to get as much feedback as she can in an editorial letter so the author doesn't have to go through another revision thinking they could have fixed it the first time.

She never turns down something she loves, even if it needs a lot of revision. However, the authors writing ability has to be strong.

She pauses if significant changes are required to a manuscript e.g. an ending. Tara asks the author if they will go through a revision with her before she decides to take the story forward.

Finally, editors only sign up books they love because they need to sustain their passion for a story through the gruelling acquisition process.

Sketch attributed to Liz Anelli

Thank you Tara for the insights into your editorial process. We hope to see you over our way again soon.

Melanie Hill Roving Reporter

#SCWBISyd

Chapter Two Cimax! - International Publishing with Mallory Kass

International Publishing Session with Mallory Kass (Scholastic USA) in conversation with Suzanne Gervay. 

Mallory Kass Commissioning editor for Scholastic USA

Despite a difficult Skype connection, Scholastic USA Senior Editor Mallory Kass gave SCBWI delegates a fascinating insight into the US Market.

Mallory acquires middle-grade and young adult fiction. She particularly loves rich word building, magic in unexpected places and heart-expanding emotion.

However Mallory says the editor of each imprint (Blue Sky Press, Orchard Books, Cartwheel, Arthur Levine etc.) will have their own preferences. She says US agents are adept at placing the work with the right agent. Susanne Gervay asked Mallory if she there are any agents who she particularly loves working and Mallory answered that she will read the work from any agent, even if she doesn’t know them.

“Every author I have has a different agent,” she said.

There is no umbrella submission process for Scholastic USA. It is all about finding the right fit – right manuscript with right imprint.

When Susanne asked Mallory what she is looking for in Middle-Grade and Young Adult, she replied that above all, the storytelling must be compelling Although Mallory says Scholastic USA is experiencing success on every level, she is particularly excited by the possibilities of YA at the moment because of the Adult genre crossover.  They also have a lot of middle-grade success due to Scholastic’s strong relationship with schools (book fairs).

Although Scholastic USA is open to Australian creators, Susanne Gervay confirmed Scholastic Australia does look to the USA for their list. Furthermore, regardless of where the story comes from, every office will look at an exciting manuscript with global appeal. According to Mallory, she has a colleague who looks at lists outside the US.

The acquisitions process can be complicated. Mallory’s challenge is to effectively communicate why she is passionate about a manuscript to the different departments within Scholastic (art direction, sales and marketing). If everybody is on board, there is a lot of enthusiasm for the book.

“They take the book very seriously,” she said.

What is your role in the publishing process? How does the pitch go if you love something?

SUSANNE – EK model where the book goes straight to UK and USA. You automatically go into three markets.

How the US classifies genres?

• Picture books aged 3 to 8
• Chapter Books aged 6 to 8
• Middle Grade aged 8 to 12 – (between 30,000 and 65,000 words)
• Young Adult is 13 to 18 – 45,000 to 80,000 words).

Susanne was keen to understand how Mallory approaches the editing process with an author.

“I like to make the character suffer in ways they never imagined. For me, it’s also about the emotional state and make things more urgent. I do three big picture revisions and help the author identify the vision for the story and make sure that vision ends up on the page,” said Mallory.

The editing process normally takes nine months.

“I don’t ever want the author to feel rushed,” she said.

Susanne Gervay asked Mallory if Scholastic USA is open to books with an Australian setting.

“I personally am very open to books set in Australia. We are very proud to publish authors such as Jaclyn Moriarity.”

Susanne also asked Mallory about the relationship between author and publisher. Mallory answered she would never want to reject anything from my authors.

“If it doesn’t fit, I’ll always talk to them about it. I never want to reject anything from my authors, I’ll always talk to them about it. Sometimes, I may not be the best editor for it.”

Regardless, Mallory emphasised the importance of good communication so there is no misunderstandings.

A delegate asked about the category of ‘New Adult’ and whether this is an emerging category.

“Scholastic doesn’t publish New Adult. We publish up to the age of 17/18. I don’t think it’s a category that is going to have continued support. I think it’s a marketing hook.”

Another delegate asked if they expect submissions to be exclusive?

“Submit as widely as you can. It’s assumed.”

Rachel Noble Roving Reporter

#SBWISyd