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: Ascending Action with a Big Twist! - From Ideas to Publication

Editors, authors and illustrators from Penguin Random House and Harper Collins discussed the process of creating their books.

The audience were treated to an exciting insight into how ideas are developed by a team of committed people, each with a unique skillset, to create the best possible book.

'All we want to do is create the best book possible' Lisa Berryman Harper Collins

Harper Collins - Lisa Berryman, Jen Storer and Lucinda Gifford

The idea for Jen's book The Fourteenth Summer of Angus Jack started when two goblin girls strolled onto the page while she was writing The Accidental Princess. The girls didn't fit this story, but they were fascinating, and Jen invited them onto a blank page so she could find a different story for them. Eventually they made themselves at home in Angus Jack.

Lisa had a strong vision for Angus Jack and knew an illustrator would need to bring out the gothic atmosphere of the story, but she didn’t have anyone in mind at the time. Lisa and Jen had seen Lucinda’s work separately and were both thinking her style suited the story. When Lisa suggested Lucinda, it was an easy decision.

Lucinda took time to develop the characters because the target age of the readers meant that the illustrations needed to have realistic features, not stylised one. She also focused on quirky details described in the story, such as the artefacts. Lucinda sent sketches to get feedback, then developed roughs before the final drawings were submitted.

Lisa loves creating a team and values a collaborative process. She selects a designer early so they are involved with the author, illustrator, editor and publisher from the start. In the case of Angus Jack, the book designer had a strong vision, which helped guide Lucinda's illustrations.

The team worked together to find the voice of the book - i.e. the marriage of text, illustrations, internal design, and cover design.

Lucinda and Jen happen to live close to each other. When Jen used a local antique shop and its owner as the inspiration for a character and setting, Lucinda could draw on the same source of inspiration for the illustrations. Their collaboration resulted in the characters being drawn just as Jen envisioned them.

Penguin Random House Team - Belinda Murrell and Serena Geddes (Zoe Walton was unwell – we hope she’s started to feel better – Ed)

The Lulu Bell books were created collaboratively too. The writer, illustrator and editor developed the books together.

The idea for the Lulu Bell series came to Belinda in 2011 and was a shift from writing for 10-14 year olds to writing for 6-10 year olds. Initially, Belinda found writing for a younger audience challenging. The editing process focused on adjusting the sentence length and changing the vocab to suit the readers.

Belinda lived in a vet hospital when growing up. There were a number of quirky animal characters she drew upon, including an escape artist python.

The series was initial named Charlie Rose. Zoe loved it but asked Belinda change it because of Jacqueline Harvey’s Clementine Rose. Belinda tried many names and eventually came up with Lulu Bell.

After suggesting a number of other illustrators for Belinda’s new series to Zoe, Serena finally gathered the courage to put her own work forward. Zoe said she couldn’t promise but she’d try.

Serena’s illustrations are inspired by watching the author speak about the story they’ve written. She also borrowed a lot of Belinda’s photo albums and based the characters on Belinda as a girl and Belinda’s family members. Using real people and things in her illustrations also peaks the interests of kids when she’s visiting schools and libraries.

The consistency within the series (family life, characters, clothing, etc.) is maintained by the editor and publisher.

Belinda was asked why there are 13 books in the series. Originally four books were planned, written, and released. They were so successful, Penguin Random House took the series to six, then eight, then ten, a Christmas special, and the final two. Three big bumper books will be released this year.

The panel was a great insight into how books for younger readers are created by a team of dedicated and passionate professionals.

Melanie Hill Roving Reporter

#SCBWISyd

Chapter One: Pitch Perfect

The pitch to publishers session was an opportunity for 8 delegates to pitch their PB/MG/YA manuscript to a panel of industry experts in just 3 minutes.

An excited audience watched as Tracey Hawkins and Katrina Germein introduced a panel of publishers while 8 very brave delegates waited in the audience for their names to be called out.

The publishers:

Donna Rawlins – Book Designer, Walker Books

Lisa Berryman—Associate Publisher, HarperCollins
Clare Hallifax—Publishing Manager, Scholastic

Maryann Ballantyne—Publisher, Black Dog Books an imprint of Walker Books
Suzanne O'Sullivan—Commissioning Editor, Hachette
Sue Whiting - former editor for Walker and author

The pitchers should consider the following:

1. What makes the publishers want to read on?
2. What makes the publishers want to request a full manuscript?

Previous pitch winner:

Pamela Rushby explained how her successful pitch resulted in publication. Firstly, she was feeling terrified and had a lot of sympathy and empathy for the those pitching today.

When each publisher on the panel showed an interest in her manuscript she was delighted but it soon came back ‘like a homing pigeon.’ After a bit of reworking Clare Hallifax from Omnibus, Scholastic picked Pamela’s manuscript up.

Pamela said you must make it enticing and intriguing so members on the panel will want it. She recommends having a tag line like she did for her own book as follows:

‘Princess Diaries meets Monster High.’

The Pitchers:

Christina Booth with ‘One Careless Night.’ A picture book based on historical events.

• Sue Whiting said the story behind the story gave her chills.
• Maryann Ballantyne said it was the kind of book Black Dog does best.
• Lisa Berryman said it was a very good pitch spoken in a calm voice.
• Jenny Hale with ‘Immortal Me.’ Historical fiction for ages 12+
• Lisa Berryman said she loves historical fiction and that the story was compelling. She loved the sense of jeopardy.
• Suzanne O’Sullivan was holding her breath due to the action and suspense.
• Donna Rawlins said that she loved historical fiction and joked that she would love to do the cover.

Jodie Wells - Slowgrove with ‘Two Islands.’ A picture book for 8+

• Maryann Ballantyne wanted to know more about the characters.
• Clare Hallifax said the story was a universal theme that conveyed an enormous amount in so few words (300.)
• Lisa Berryman’s brain was fizzing with illustration ideas.

Benjamin Johnston with ‘Shoes From Somewhere Else.’ A middle grade novel.

• Suzanne O’Sullivan said it was an intriguing mystery.
• Sue Whiting thought it was suitable for 8-12 year olds, not 10 to 14 as Ben had suggested. She loved the deeper meaning with lots of twists and turns.
• Clare Hallifax thought the fairytale type of story was very evocative.

Karen Collum with ‘Hatch.’ Dystopian, 500 word picture book for 6-10 year olds.

• Suzanne O’Sullivan said it was beautiful and that she had illustrations running through her head.
• Clare said it was very emotive and the themes were love and conquering fear.
• Sue Whiting wanted to know more about the characters fears and the world after the inciting event.

Gina Newton with ‘Tides of Orca.’ YA series and epic maritime adventure.

• Lisa Berryman said strong female characters are popular.
• Suzanne O’Sullivan said it was a complex story with strong characters and that she would be unlikely to sign up 5 books in one go but maybe 2 or 3.
• Maryanne Ballantyne said Gina did well trying to pitch 90,000 words in 3 mintues.

Dee White with ‘Beyond Belief.’ Historical fiction based on a true events for 10-14 year olds.

• Clare Hallifax said it was a beautiful pitch. She thought the story was gripping and timely and that she wanted Dee’s manuscript!!!
• Suzanne O’Sullivan said she loves reading about WW2 as the stakes don’t get any higher than that.

Jenny Blackford with ‘Dead Girl In The Mirror.’ MG for 10 to 12 year olds.

• Clare Hallifax loves a good ghost story.
• Lisa Berryman thought it felt more suitable as YA (Young Adult).
• Maryanne Ballantyne liked the fact it was a historical and ghost story all in one.

Anna Popova with ‘Button City.’

• Suzanne O’Sullivan said there was so much potential for secret hidden worlds and that it was lots of fun.
• Maryanne Ballantyne said she had extensive button tins and that it was an intriguing story.
• Donna Rawlins loves tiny people worlds.

This session was so fascinating. I could not write my notes fast enough to keep up with all the nuggets of great information being shared by the publishing panel. They were generous in their encouragement and constructive feedback. So to wrap this up, if you are considering entering a pitch, think about the following:

1. Give the genre (picture book, middle grade, young adult)
2. Word count
3. Age range
4. Theme (environmental, dystopian, adventure)
5. Tagline/pitch (your story in one sentence)
6. Consider the illustration potential
7. Research two comparables
8. Who is your main character and why should we as the reader be rooting for them.

Donna Rawlins, Maryann Ballantyne, Sue Whiting, Clare Hallifax, Suzanne O'Sullivan & Lisa Berryman - The Publishers Photo attributed to Oliver Phommavanh

The other exciting snippet of information is that the publishers when attending a conference like SCBWI Sydney, do pick up new talent.

Suzanne O’Sullivan signed up an illustrator for KIDLITVIC2016.Clare Hallifax signed up an illustrator from KIDLITVIC2016.

Maryanne Ballantyne discovered 2 authors from CYA and 2 illustrators from SCBWISydney 2016.

They are on the look out for new talent so give them your best effort and goodluck!

Ramona Davy Roving Reporter

#SCBWISyd