Author/Illustrator Cassandra Federman on the Mentors and Digital Illustrations that Led to Her Debut Picture Book

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Cassandra Federman, digital illustration, illustrating, mentors, mentorship, picture books, This is a Sea Cow

Author/Illustrator Cassandra Federman was born and raised in Massachusetts where she spent her childhood reading comic books, playing action figures, drawing super heroes, and participating in all things nerdy. She graduated magna cum laude from Brandeis University and moved to Los Angeles, where she became a hand model. When she isn’t pretending to be famous people’s hands, she’s creating art and literature for children. She is the SCBWI Los Angeles 2017 Mentorship Contest Winner, Writing With The Stars 2017 Mentorship Contest Winner, SCBWI Central California ArtWorks 2016 Promotional Card Contest Runner-up, and her first book, This is a Sea Cow (Albert Whitman), is coming fall, 2019.

SARAH PARKER-LEE: A lot seems to have gone your way in 2017, leading up to your successes this year with a book deal. Congrats! Before you won all the awards, what were you doing that got you there?

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And the 2018 SCBWI-L.A. Mentorship Contest Winners Are…

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Andrea J. Loney, Jennifer Fitzgerald, mentors, mentorship, Monica Mancillas, picture books, SCBWI community, Wade Bradford

By Karol Ruth Silverstein, SCBWI-L.A. Contest Coordinator

SCBWI-L.A. is thrilled to announce the winners of the 2018 Mentorship Contest. These two lucky writers will each enjoy a six-month mentorship with their respective PAL member mentors. To all those who applied but were not selected, please know that our mentors considered the competition very steep. Your applications definitely made it difficult for them to choose their mentees.

“I am so honored by and grateful for everyone who submitted to be my SCBWI mentee,” mentor Andrea J. Loney said. “Everyone put a tremendous amount of thought, passion, and heart into their applications and it showed. So I encourage everyone who submitted to keep going, keep writing, keep critiquing, keep sharing, keep networking, keep revising, and once again, keep writing. I’m looking forward to seeing your words in the world.

And now for our lucky winners:

SCBWI Central Coast Regional News, Second Quarter 2018

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book talk online, illustrators, Lynn Becker, Mary Ann Fraser, Mary Penney Hershey, mentorship, picture books, SCBWI events, workshops

By Ann Rousseau Smith, SCBWI CenCal News Liaison

A Changing of the Guard

By Mary Ann Fraser

Change seems to be one of the few reliable constants at play in the universe, and so it is with our region. I will soon be moving, and since regional advisors must live within the areas they serve, as of March 1, 2018 I officially stepped down from my post. Thankfully, the talented, hard-working, and did I mention best Assistant Regional Advisor a region could ask for, Rebecca Langston-George, stepped up to take my place. I have no doubt that she will do an outstanding job. I have thoroughly enjoyed serving our region for the past many years, first as Regional Kite Tales Editor, then as Illustrator Coordinator, and most recently as Regional Advisor. Before all of that, along with Lisze Bechtold, I also coordinated several local SCBWI Illustrator Retreats. As a result, I have had the joy of meeting and working with so many people I admire and the honor of calling many of them friends. I will miss you all, but please know that in my heart I will forever be a CenCal Gal!

Wishing you all endless inspiration and great success in all you do,

Mary Ann

SCBWI Cen-Cal 2018 Mentor Program

Our 2018 Mentee is…

Ask an Editor: Should My Picture Book Have Page Breaks?

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editing, pages, pagination, picture book, picture books, submissions

“Ask an Editor” is a forum wherein SCBWI members submit questions that are answered as part of our quarterly Kite Tales blog.

Dear Editor – I’m ready to submit my picture book to agents but there are no page breaks in my manuscript. Is that a problem?

—Unbroken, Los Angeles

Illustrator Kent Culotta on Animation vs. Illustration, Inspiration, and Leveling-Up Your Skills

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Busy Trucks on the Go, D is for Dump Truck, Dan The Taxi Man, Eric Ode, illustrating, illustrator tips, Kent Culotta, picture books, SCBWI members, The Twelve Days of Christmas in Kentucky, Too Many Tomatoes

Some of professional illustrator Kent Culotta’s most recent projects include illustrations for D is for Dump Truck, published by Sleeping Bear Press, and The Twelve Days of Christmas in Kentucky, published by Sterling Children’s Books. He’s also collaborated with author Eric Ode and publisher Kane Miller on three books, Dan, The Taxi Man, Busy Trucks on the Go, and the recently released Too Many Tomatoes. Kent lives in Southern California, but grew up in a small town in Michigan. When he was five, he covered an entire wall of his parents’ living room with his own gallery, each drawing taped lovingly in place. No blank piece of paper, used envelope, or post-it note have ever been safe from his pencil. And today Kent, a fellow SCBWI member, shares with us his experience along with some tips and tools for leveling-up your own skills.

SARAH PARKER-LEE: You’ve worked as an artist in newspapers and on film, including several years in the animation industry working on some pretty memorable Walt Disney movies. How, and why, did you make the transition to children’s book illustrator? Did SCBWI play a role?

KENT CULOTTA: Being a children’s book illustrator was always in the back of my mind when I was working at the big animation studios, and I took a couple of book illustration classes back then at Otis Parsons. I think that I first learned about SCBWI from one of those classes. At the time I was a bit discouraged because publishers then were less open to illustrators whose work showed an animation influence. That has changed a lot. The big transition I went through was when animation rather quickly went from hand-drawn to CG. I worked hard to update my skills and did pretty well, but I soon realized what I really missed was drawing by hand. I joined a group called Drawergeeks that my co-workers participated in. Each week a new subject was set and we all would do an illustration piece on that subject. It helped motivate me and also helped me get out of my own head a little and tackle subjects that I wouldn’t normally think of, a good skill when you’re illustrating other people’s stories. I ended up getting a pretty nice first illustration portfolio from those Drawergeeks illustrations. It was at that point I started regularly attending SCBWI schmoozes/mingles and conferences, which were great motivators as well.

SPL: As an illustrator, you’re tasked with interpreting someone else’s story while still being true to your artistic identity. Do you have any advice on how to maintain that balance for those just starting out or perhaps feeling a little lost?

HarperCollins Editor Karen Chaplin on Defining Voice, Trends, & Time Management

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Guardian Herd, Karen Chaplin, middle grade, picture books, trends, voice, writing tips, YA

Karen Chaplin began her publishing career at Scholastic. She was an editor at Puffin Books/Penguin Young Readers Group for six years before she moved to HarperCollins Children’s Books, where she is currently a senior editor of picture book, middle grade, and young adult fiction and nonfiction. Karen received her undergraduate degree in English from the University of Delaware, and her MA in English from Simmons College. When she’s not working, she enjoys spending time with her family, traveling, finding DIY projects to do, and dabbling in photography. She also has graciously offered to do a Q&A with us!

Sarah Parker-Lee: As an editor, it’s your job to take a writer’s labor of love and not just fine-tune it but take it to the next level. What are you looking for when you first begin this process?

Karen Chaplin: One of the first things I look for in a manuscript is voice. The voice of the story, of the main character, of all the characters, really needs to draw me in from the first few pages, and if that happens, then the author has got me hooked. Plot points, character issues, the ending—all of that can be modified. But the voice is difficult to accomplish, and if an author nails that, it’s a fantastic start.

SPL: Any advice for writers working with an editor, whether they are first-timers or old pros?

Author/Illustrator Stan Yan on Quitting Your Day Job, Joining the Con Circuit, & Halloween Picture Book Scares

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author, Cons, Halloween, illustrator, monsters, picture books, San Diego Comic Con, SCBWI members, Stan Yan, zombies

I met Stan Yan, a Denver-based writer/illustrator, caricature artist, and instructor, at his booth at San Diego Comic this year. I’m a bit of a zombie-aficionado and could not resist checking out his kids’ picture book – There’s a Zombie in the Basement (Squid Works Kids). We got to talking, and, when I found out he is an SCBWI member, I knew I had to interview him. He went to school at the University of Colorado in Boulder, where he got his bachelor’s degree in accounting, but gave up on financial security to become a full-time freelance cartoonist. Stan also teaches summer camps, after-school programs, workshops, and helped to develop a degree program in graphic storytelling as an adjunct faculty member at the Community College of Aurora. His other recent credits include art and colors for Show Devils (Mother Mind Studios) and writing and art for Vincent Price Presents (BlueWater Productions / Storm Comics).

Sarah Parker-Lee: You’ve written and illustrated comics and books with horror themes for adults and older readers, but There’s a Zombie in the Basement is a picture book for kids. How did that come about? Were you worried it might be too scary?

Stan Yan: Even though I spent most of my life doing more adult-oriented comic book work, some of my major inspirations growing up were picture books, including anything Dr. Seuss and Maurice Sendak’s Where the Wild Things Are. While many of my family continued to badger me to do children’s books, I had no interest until my son was almost 4 years old. One day, he wouldn’t come downstairs to my basement studio, and when asked why, he said he was afraid. When asked what he was afraid of, he started pointing at all of my zombie artwork decorating the walls. Over the next hour, I wrote the fast draft version of my rhyming bedtime storybook.

As I worked on the artwork I wanted it to be a bit unsettling at the beginning, not unlike Sendak’s Wild Things. And, it was precisely my fascination with these unsettling Wild Things that kept me checking that book out from the library as a kid. Of course, by the end of the story, they’re no longer scary, which is what I was going for too.

SPL: As a writer and illustrator, you’ve spent a lot of time with “horror” themes, monsters, and the like. Any advice for other kid lit writers/illustrators looking to translate some of these things into spooky stories kids can enjoy? 

Author/Illustrator & Nickelodeon Story Artist Ashlyn Anstee on Pitching an Agent & Leveling Up Your Illustrator Skills

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agents, Ashlyn Anstee, authors, illustrators, picture books

 Ashlyn Anstee is a story artist at Nickelodeon on Harvey Beaks as well as the author/illustrator of Are We There, Yeti? and No, No, Gnome! (Simon & Schuster, 2015 & 2016), a comic artist, film maker, and devourer of cookies. She talks with us about finding her agent through SCBWI, how professional relationships are just like any other relationship, and how she keeps her skills sharp.

Sarah Parker-Lee: You’re an illustrator, author, and storyboard artist for animation. Which came first and how do you find time for both?!

Ashlyn Anstee: It helps that all of them are a little different, so it’s actually been fun to jump between them, thank goodness. I started out first as a reader–I was a voracious reader as a kid (and my mom’s a teacher-librarian). I didn’t really start to draw until my teens. I fell in love with animation, and it wasn’t until I graduated from college that I started to rediscover illustration and kids’ books. I find writing the hardest, so I’ve been focusing on that, lately!

SPL: For those unfamiliar, can you tell us a little about being a story artist? How does it compare to illustrating a book?

Illustrator Gallery: Emily Asaro

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Emily Asaro, illustrator tips, illustrators, picture books

By Emily Asaro

I’ve always dreamed of illustrating children’s’ books since I was little, but I didn’t quite know how to get there. After college, I was lucky enough to secure an animation production job. I love my job, but it isn’t an art job. Being surrounded by so many talented artists, it was very easy to feel self-conscious about my own work. I found myself coming home tired and creating less art. All too often I was asking myself, “Am I a real artist? Am I good enough?”

Debut Author Helena Ku Rhee: How She Scored a Book Deal Without an Agent

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agents, authors, Bill Contardi, Colleen Kong-Savage, contracts, Helena Ku Rhee, illustrators, picture books, publishers, publishing, The Turtle Ship

Jessica Echeverria (editor, Lee & Low), Helena, and Colleen Kong-Savage (illustrator)

Helena Ku Rhee is the author of The Turtle Ship, a forthcoming picture book by Lee & Low (Fall 2018). Helena, trained as a lawyer, followed an uncommon path by negotiating her own book deal. She tells Kite Tales about her debut and navigating publishing without an agent.