The Boss Baby, a 32-page picture book written and illustrated by Marla Frazee was published in 2010 (S&S, Beach Lane). Since the book’s publication, more than 200,000 copies have been sold and, in 2016, Frazee followed up with a sequel, The Bossier Baby, introducing the Boss Baby’s infant sister. On March 31, 2017, the animated DreamWorks film was released with Alec Baldwin voicing the main character. Frazee’s book depicts the newborn as a tiny suit-wearing boss who dictates the household. Simon Spotlight released several movie tie-in editions—two board books, a junior novelization, and a leveled reader—and the original picture books have been labeled as the inspiration for the movie.
Christine Van Zandt: Has being part of SCBWI contributed to your career?
MARLA FRAZEE: I have a career because of SCBWI. I attended my first conference in the early 1980s; Jane Yolen was working the main desk and Trina Schart Hyman gave a keynote. I think there were 80 people in attendance. After that, I went to the national conference as often as I could afford to and I attended local Southern California conferences, too. I tried to introduce myself to the speakers, which was super hard because I felt so shy about doing it and I didn’t have much to say. But I forced myself. During those years I was also sending illustration samples to art directors and picture book projects to editors, so I would occasionally meet someone who I’d sent something to. A few of them recognized my name and told me they liked my work. Those exchanges truly kept me going. I met Linda Zuckerman, who at the time was an editor at HarperCollins, at a local conference, and she eventually became my first editor. And 25 years ago, after meeting at Illustrators Day, I became part of a critique group—which is still going strong. Continue reading
Author and SCBWI member Lynn Becker reports on this year’s Writers & Illustrator’s Day.
Eliza Wheeler is the author and illustrator of 
I mainly work in visual storytelling, which is a fancy way of saying I like to draw pictures that tell a story. Throughout the years, this has meant working in animation, editorial, and now, children’s books. Drawing and writing for kids is something I’ve always wanted to do, because when I was a kid, I loved stories and movies and books, but I wanted more of them to look like me (rather selfishly, I admit). This is a pretty common thread amongst a lot of creators and storytellers I meet. We become artists so we can add to the mix and enrich the narrative with our perspectives and experiences and dreams. 
Lori Nichols
I find my creative juices flow better when I have a fair amount of playtime. Right now, we are doing a kitchen renovation. Walls are being demolished and floors ripped up. My world has been turned upside down, so creative juices are not flowing– at least not until yesterday when I took a sharpie and started drawing on the exposed ceiling rafters and unfinished walls. That helped some.
Prolific illustrator John Nez shares with us about the tools he uses, why life as a working illustrator really is work, how to be your own best advocate, and how to keep that “little mouse of creative happiness” alive and thriving through it all. Read on for some great insight, tips, and illustrative goodness!
Debbie Ridpath Ohi writes and illustrates books for young people in Toronto, Canada. Her first solo picture book, Where Are My Books?, debuted from Simon & Schuster Books For Young Readers in 2015. Her illustrations appear in picture books by Michael Ian Black and in Judy Blume chapter books and middle grade reissues, 