Writing & Illustrating Tip/Developing Character with Leslie Helakoski

"We like this story, but we don't like the art."  I heard this comment for years. Each time I sold a picture book, I held out hope that I would be able to illustrate my own work. I knew I could draw, so what was the problem?

The problem was that good design and execution are not the same thing as good children's book illustrations. For me, the answer lay in better character development.

Just as we strive to develop strong characters when we write, we must develop them even further when we illustrate. We have to do more than show what the text is saying, we have to show something extra about the character than can be seen visually.

Authors often fill out character trait forms to get to 'know' their characters. I do the same sort of thing when I start drawing. I make many rough sketches until I start noticing specific character traits that come out as I work. Here are some questions I ask myself when I start
sketching a character:

1. How is this character different from others of his species. (What physical traits make him/her stand out? Big feet, nose size, crazy hair? Bowlegged?)
2. What does the character's stall/home look like? (Neat, messy, extravagant?)

3. What does she love/hate to eat?
4. What does she look like as he moves? (Graceful, clumsy, joyous? This can lead to showing her tripping in a scene or maybe wearing toe shoes and mooning over pictures of ballerinas)
5. What is the predominant emotion in each scene?
6. What fears/strengths does she have? (Does she shrink back from others? Tower over them? Have a nervous tick?)
7. Show attitude!
8. Will I know something personal about this character just by looking at her in this scene or is she a generic space filler?
9. Can I emphasize emotion from the way I place her on the page? If she's feeling uplifted, should I show her high up on the page? If she's feeling left out, maybe I can show her far from the others in the spread? Or,
using perspective, show her small and other characters large to emphasize how she feels?
10. Is she intentionally doing something contrary to what the text says?
11. Do I show different view points and vary the size of the characters?
12. Are there any bigger than life characters I can compare mine to, that help me amp up my character? (Is my wanna-be beauty more of a Zsa Zsa Gabor or more of a Phyllis Diller?)
13. Can I exaggerate a point or understate it?
14. Does something about my character change over the course of the story?

When I finally started developing my characters more on the drawing board, my art was picked up along with my text.

Of course, I also spent a lot of time viewing other's illustrations and learning just by absorbing--which sometimes just takes time. But I did find that as an illustrator, I have to do all the things I do as a writer.
Revise, develop strong characters, show changes, show humor and emotion. Include more information than you see at first glance. And I thought all I had to do was draw.

ABOUT LESLIE: Leslie Helakoski writes humorous picture books and sometimes (but not always) illustrates them. She lives in Michigan with her husband, three large (as opposed to small) children, and one literally small dog. Her latest book, Fair Cow, is about a dairy cow who dreams of winning blue ribbons at the state fair. She gets beauty advice from a pig but finds something is wrong with her shape, her hair, her hooves and even her walk. How can she compete?


Book trailer for Fair Cow:  http://www.youtube.com/watch?v=N7Ok7haxPWw
Book trailer for Big Chickens: http://www.youtube.com/watch?v=RStUVypk4gQ
Website: helakoskibooks.com

Previous books:
Woolbur (Harper Collins, illustrated by Lee Harper) Nominated for 9 state
book awards.
Big Chickens (Dutton, illustrated by Henry Cole) Michigan Reads Award,
Great Lakes Great Books Award
Big Chickens Fly the Coop, 3 state book awards
Big Chickens Go to Town
The Smushy Bus

PERSONAL NOTE FROM LYNNE MARIE: I had known Leslie previously from an online critique group, but you can imagine what a pleasure it was to meet her in person at the Highlights Foundation Writer's Workshop at Chautauqua in 2001.  Just another example of the fabulous(!), talented(!) people you can meet at those spectacular(!) writing retreats, which you have noticed, I cannot say enough about (LOL).

Writing Prompt/Pondering Possibilities with PB Writer Samantha Vamos

Ask "What If?" by Samantha R. Vamos

I have an extremely simple “What if” writing exercise, which I typically perform several times a day.  Almost every day, I hear a little voice in my head pose the question, “What if _________” in response to a situation.  Here’s an example.  The other day I peered out my front door and discovered a box.  I neither recognized the labeling, nor the sender’s name, and the idea occurred to me – instead of opening the box to find an item I had ordered online, what if all that I found inside was a mysterious code and a cryptic note from a friend, or a telephone number and a photo of a friend in a setting I did not recognize?  Sometimes I answer my “What if” questions by writing my imagined responses and evaluating whether any of the answers evolve into threads that may be sewn together as a storyline. 

The idea for The Cazuela That The Farm Maiden Stirred occurred to me after performing my “What if” exercise.  I was in the kitchen gathering ingredients to make pancakes and realized I lacked both milk and eggs.  At the time, my husband and I lived in Chicago, Illinois and did not own a car.  That morning was bitter cold with gusty winds and the prospect of walking to the subway or waiting for a bus to the nearest grocery store was not appealing.  Suddenly, I thought what if I lived on a farm and I could simply call one of my animal “neighbors” for a pail of milk or a basket of fresh eggs?  Envisioning myself a farm maiden, I smiled and my story took off from there.  I never finished making pancakes that morning, but I did manage to write a first draft of our story!

One more thing:  there is a recipe at the end of The Cazuela That The Farm Maiden Stirred, but it’s not for pancakes!

Samantha’s Picture Books:

Before You Were Here, Mi Amor (Viking, 2009, illustrated by Santiago Cohen)

2010 Washington State Book Award for Picture Book

“Best for Babies” - Parents Magazine

The Cazuela That The Farm Maiden Stirred (Charlesbridge, 2011, illustrated by Rafael López)

Alphabet Trucks (Charlesbridge, Fall 2013)

Website: 

www.samanthavamos.com

Book Trailers:

The Cazuela That The Farm Maiden Stirred

http://samanthavamos.com/books-trailers-cazuela.aspx

Before You Were Here, Mi Amor

http://samanthavamos.com/books-trailers-bywh.aspx

Book Contest:

http://samanthavamos.com/contest.aspx

More About Samantha and Her Books:

Samantha attended Georgetown University Law Center, and once upon a time, practiced law in Washington, D.C. and Chicago, Illinois.  Now she’s a full-time mom and part-time writer, who, upon moving to the Pacific Northwest, has added coffee to her already significant chocolate addiction!

Before You Were Here, Mi Amor (Viking, 2009), her first children’s picture book, won the 2010 Washington State Book Award for Picture Book and was featured as “Best for Babies” by Parents Magazine (May 2009).  Samantha’s second picture book, The Cazuela That the Farm Maiden Stirred (Charlesbridge, 2011, illustrated by Rafael López) released February 1, and is an amusing tale of five farm animals, their farmer, and a farm girl.  From the book jacket:

"When a farm girl starts cooking, all the animals want to help.  The cow contributes milk, the hen offers eggs, and even the duck makes a special trip to the market.  While the pot is bubbling merrily on the stove, everyone dances and sings - but who is watching the cazuela?  Samantha R. Vamos and Rafael López serve up a spicy tribute to the classic nursery rhyme "The House That Jack Built" in this bilingual celebration of community and food.” 

In The Cazuela That the Farm Maiden Stirred, as the action builds, the Spanish words repeat.  At the book's end, a glossary with pronunciation and recipe are provided.

Writing Advice from Illustrator Will Terry/How Not to Kill 'Em with Color

Ok -- I admit it. I am an author who is a wanna-be illustrator. I study art and pictures probably just as much as I study words and text. You might not even know that about me, so maybe I am a "closet" wanna-be illustrator.  Then, one of my favorite picture book illustrators, Will Terry, releases his video series "How to Illustrate Children's Books" and "Digital Painting in Photoshop" and I tell myself I must have him Guest Blog over at my blog pond so that other writers who are closet wanna-be illustrators can come out and stretch their wings along with me. But does sweet, humble Will mention it in the following post? No. So here's the link. Enjoy the creative process (and the color aspect - but in moderation, of course)! http://www.willterry.com/store.php


And without further to-do, here are some enlightening anecdotes from Will Terry:

I feel like the brother of three sisters all over again sneaking into their bedroom with one mission – get to the barbie dolls, rip as many heads off as possible before their screams forced me to run and hide. Part of me feels that I don't belong here. I got horrible grades in school. I'll bet that most of you did well in school. I'll bet that most of you enjoyed writing as a child – I didn't. I'll bet most of you have no trouble with reading comprehension – I did and still do. I lived in the shadow of an older sister who over-achieved in school. Why am I confessing all this? Because it's part of who I am and I feel lucky to have found what I'm good at. It pains me to realize that the world is littered with souls like mine but who never found themselves or were never rewarded for their talents. I grew up feeling inferior to those who excelled in reading, writing, and math. I was afraid of you guys.

Ok, that was a very heavy way to start out but I feel I owe it to my counterparts to push this message whenever I can for awareness. The public school system is broken – it looks to strip mine a few skills from those who posses them while leaving the rest feeling unwanted and discarded.

I thought I would talk about a very important lesson I learned a few years ago. It was very painful but I'm so glad I allowed myself the opportunity to open up to new possibilities. Often we get to a comfortable place in our craft and we don't want to receive criticism – we stop practicing what we preach. I'm in a critique group called Brotique (a bunch of guys trying to write picture books) and I have no trouble accepting criticism on my writing. I think it's because I have very few hours writing in relation to the time I have spent refining my illustration style.

A few years ago I met David Small (caldecott winner for So You Want to Be President? ) at a writing conference out here in Utah. I had the chance to go to dinner with him after the conference and he started talking about professional critiques. He said most professionals don't really want an honest critique. I gulped because I realized that I was in that camp. Why would I want a professional critique? After all I'm a professional right? I know what's good about my work and I don't need anyone telling me different. As he talked I thought about it and one thing I learned early in life is that whenever you're confronted with an opportunity that seems painful or difficult it usually is followed by growth. Also life is too short to say “no” to new experiences – I know too many “no” people and they're boring – I don't ever want to be accused of being boring.

So I found myself volunteering for his critique – almost like I was hearing my voice from across the table. Mr. Small then looked through me - “Ok, but let me warn you.” Uh oh. “I'm too old and I've wasted my breath telling artists what they want to hear to long to sugar coat my feelings any more – in other words I'll tell you exactly what I think of your work.” GULP - ok. What had I got myself into?! Luckily he didn't do it right at the table so everyone could see me melt into my chair. “I want you to send me the book you're most proud of and I'll look it over and get back to you.” Sheesh – what a relief – I could still back out gracefully – at least nobody at the table would know that I chickened out.

This would be a boring story if I had chickened out so of course I didn't. That which does not kill me makes me stronger – so after a trip to the post office (I sent him “The Frog with the Big Mouth”) I waited to hear from David. A few weeks later I summoned the courage to call him and take my flogging. After the small talk I said so what did you think of my book? His response came with another disclaimer. “Ok, but there are illustrators I've lost touch with after I've commented on their work – some people can't handle criticism.” I assured him I was well prepped and ready for my lashes – not in those words but you get the point.

Anyway quite simply he said that I have beautiful illustrations but I don't give the reader any rest from my fully illustrated color spreads. He went on to ask, “Are you trying to kill your audience with color and visuals?” “Not everything is as important as you're making it.” “In order to have a crescendo you have to have rest – a place to build from.”

WOW! He was right. I was trying to kill the viewer with color. How did he see through me so easily. In fact I remembered looking at picture-books in college wondering why every illustration wasn't treated with equal value? I remember thinking that most books were lacking a consistency in image quality. But I was making a horrible mistake. I wasn't looking at the book as a project but more as an excuse to showcase artwork. I felt silly. Was I trying to kill the viewer with fully illustrated color spreads? I was trying to wipe out the planet with my color! “I wanted to blow the viewer off their chair with color – If you gaze upon my work I'll burn your retinas kind of color – and the funny thing is that I can't stand movies that have 20 min action scenes where the story fall apart. Talk about blind.

So I thank you David Small – I have to admit that it took me a few months to fully accept your gift but it has changed me in a good way. I'm trying to be more sensitive to the story. Ask myself more questions. What can I do to enhance the plot, characters, etc. When should I underplay the illustrations? When should I unleash my powers?

What did the author intend? Will the reader understand the text better if I put this or that in the pictures?

In the end I now look at each manuscript as the first half of the completed project. And I'm happy to share this experience with you – perhaps you too can improve your craft if you let go a little and allow for the fact that you just might not know it all.

I'm now working on another book (Senorita Gordita) for Albert Whitman by Helen Ketteman (a total sweetheart) and this time I'm going to get it right – or as right as I can with my current skills.

http://willterry.blogspot.com/

http://willterry.com/

RANT: Up with Picture Books! by Lynne Marie

I am a positive person with passion, dedication and determination. When I finally began submitting my picture book manuscripts (after many years of college-level classes, SCBWI conferences, ICL classes, critique groups, etc.), my rejections were positive and personal. And finally, after approximately twelve years (with a five-year hiatus during which I gave birth to my daughter, enjoyed her toddler years and got her off to kindergarten), I am having my first picture book HEDGEHOG GOES TO KINDERGARTEN published with Scholastic, with other picture books under consideration.

SO...
I am not going to let anyone rain on my parade.

Although I have heard the recent negative buzz about picture books and can gather the gist, I haven't read any of the articles, nor do I intend to.

AND....
I am not going to be one of those people who circulates depressing news about the decline of the picture books. Not only because I write them, but because I read them and LOVE them. Because my daughter reads them and LOVES them. Because I see them read in the class room. Because I see them read in the library. Because people love looking at beautiful pictures.  Because picture books are absolutely wonderful, marvelous things that take on a life of their own!

ALSO...

Tthe NY Times has been wrong before. They CAN be wrong now.

And they WILL be wrong again.

WHAT I AM GOING TO DO...

is buy MORE picture books. Give them as gifts to teachers. Give them as gifts to friends. Birthday presents, holiday presents, just because presents! Give them as contest offerings on my blog.

Here's a quote for you: A Picture Book a day keeps DECLINE away!

SO I SAY...

Up with Picture Books! Rather than waste time and energy reading an article that will depress you, go out and buy a picture book today. That'll show 'em!

Here's the picture book I'm going to get today: Quackenstein Hatches a Family by my dear friend Sudipta Bardhan-Quallen.

Click Here to Enter This Month's Contest for a Fun Book from the

Scholastic Book Club <3

http://mywordplayground.blogspot.com/2010/10/fall-contestscholastic-book-club.html

Writing Exercise/Understanding Your Perspective by Jean Reidy

As my six-year old daughter and I end a short, TWO-day school week that was actually TOO long (LOL), I think it's quite appropriate to feature Jean Reidy, author of "Too Purpley!" and "Too Pickley!" I think she has just the right perspective to understand what too much is! I hope you enjoy Jean's exercise on perspective.

*.*.*.*

Picture Book Writing Exercise - Understanding Your Perspective by Jean Reidy

I'd like to take a poll. How many of you are teachers? How many are librarians? Parents? Childcare providers? How many of you once were kids?

This is terrific because you have this marvelous window into childhood and children.

However, it’s interesting how easily our perspective can get in the way of our writing. So often we want to teach or discipline or judge or convey a message. And this can get us into trouble as picture book writers.

So how do you get over your perspective? Well first you need to understand your perspective. Here's an exercise to help you do just that.

Choose a beloved picture book, like WHERE THE WILD THINGS ARE or KNUFFLE BUNNY or maybe even TOO PURPLEY! and rewrite the story from an exaggerated adult point of view, teacher point of view, parent point of view - whichever most closely resembles you. Keep that adult thinking cap tightly on your head and really let those lessons, frustrations, messages and judgments fly from your pen to the paper.

What will this do for you?

Even the most exaggerated perspective holds at least some semblance of your actual point of view while writing your book.When you understand your perspective more clearly, it can’t sneak up on you in your writing.

NOW,  here's the skinny on Jean:

Jean Reidy's been told that a naughty little kid lurks somewhere inside her ... and she takes that as a high compliment. She eats crunchy peanut butter by the spoonful while she writes from her home in Colorado. You can visit her at www.jeanreidy.com.

Her books include:

TOO PURPLEY! (Bloomsbury 2010)
TOO PICKLEY! (Bloomsbury 2010)
MY OWN LITTLE PIECE OF THE UNIVERSE (Disney Hyperion 2011)
THERE'S A CORNER IN MY HOUSE (Disney Hyperion 2012)
TOO PRINCESSY! (Bloomsbury 2012)
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