Hello Readers and Creatives,
Today, Teazurs is trying something new. I had this idea when I saw Elizabeth's Instagram post stating she is searching for representation. And I wondered...
Might the Teazurs blog help writers
and illustrators out there
searching for an agent or publisher match?
I hope so! This is a call for us creatives to help out another. If you know of an agent or publisher who would be a good fit for Elizabeth's work, let her know.
You can also reach out to me here, and I will make the connection for you.
Let's cheer each other on to more tremendous success in this KidLit Industry!
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Hello, Elizabeth,
How does your background in counseling influence the way you approach writing and illustrating children’s picture books?
I have a unique blend of counseling and fine art degrees that includes teacher certification. As a result, I’ve taught art, been a counselor in private practice and at a University, and volunteered with Hospice where I facilitated grief groups for children.
My goal as an author/illustrator is to create picture books that encourage emotional intelligence and resilience through humor and imagination. To reach this objective, I needed to refine and hone my writing and illustration skills, and I want to thank the Society of Children’s Book Writers & Illustrators for helping me through this process
by providing access to dynamic writer and illustrator groups.
What strategies do you use to weave lessons on emotional intelligence and resilience into your stories without making them feel didactic?
I have just finished a 510-word picture book dummy entitled CALAMITY WAYNE.
The description of the book includes:
Signing up for a farm talent show is easy. Figuring out what to perform? ‘Udderly’ impossible! But as Calamity Wayne perseveres in finding his talent, he learns that being helpful may be the best ‘act’ of all. Couched in cow-pun humor, this amusing ‘tail’ is for young readers aged 4-8.
I like to use humor, including lots of puns, to drive the story and introduce concepts to young readers. In Calamity Wayne’s story he is a purple cow that never looks back to see how his actions impact others in the farmyard. Once he slowly becomes aware, Calamity Wayne learns that helping is his responsibility and with this insight he discovers his talent and wins the talent show.
So I guess you’d say I embed the lessons in an engaging, fun narrative. And the best part is creating pictures to support the process.
Can you describe your creative process, from the initial idea for a story to the final illustration? What turnaround times do you have for picture book projects?
As you can tell from my book dummy CALAMITY WAYNE I love puns and am a big fan of Tammi Sauer picture books. Initial Idea: I start by creating a character with a lot of personality.
Story Idea/Manuscript:
Then, I keep a notebook where I write down all my ideas, collect kids' jokes about my character, find puns and anything else that can lead to inspiration!
For example, after a lot of research, I came up with a story titled A LOAD OF HOOEY. It’s about an owl named Hooey who happens to be a know-it-OWL. Hooey believes that showing off is the way to make friends, and not surprisingly, his forest friends are constantly shouting, “What a load of Hooey!” Of course, Hooey’s approach has the opposite effect, and he is always alone. Throughout the story, Hooey learns that paying attention to others is the key to friendship.
I submit drafts of my manuscript to my writer's group, Creative Inkers. With their patience and many revisions, I work on the plot, characters, and develop the theme.
While working on the manuscript I work on character sheets that are submitted to my illustrators group, Artsy Authors, along with the first draft thumbnails. This ultimately leads to plotting out the page designs.
Thumbnail A LOAD OF HOOEY!
Thumbnails to storyboard then onto picture book dummy:
As you can see, the thumbnails are rough, like the first draft of a manuscript. What’s unique about being an author/illustrator is the “dance” between the text of the story and the illustrations. I love the process: As I tweak a drawing I can end up adding or deleting words in the story.
Storyboards are larger images (4 X 8 inches) where the drawings become more refined. However, this phase allows me to see the overall story at a glance, checking for page turns, redundancy, etc.
Book Dummies are more refined drawings with one or two pages of finished art. When I submit the book dummy to agents, editors, or publishers they can see the story idea and images. If they are interested in the story, revisions can be easily made to illustrations and text.
Turnaround Time:
With a wonderfully supportive husband, I am able to work on my picture books full-time.
As I was finishing up the CALAMITY WAYNE book dummy, I was completing the final manuscript of A LOAD OF HOOEY. Now, I am in the process of thumbnailing this project. While drawing out ideas for HOOEY, I have a new story idea called HOLD THE LINE CLEMENTINE about a giraffe learning about boundaries. I am working on the first draft of the manuscript that I will soon submit to my writer's group.
I work best when my projects overlap. If I get tired or feel stuck, I can work on the next project. Specifically, if all goes well, I figure 4-6 months from the story idea to the finished book dummy.
I love the process of creating a picture book. It is like a puzzle, and I look forward to working on my projects every day.
How do you see your books fitting into the current children’s literature market? What makes your stories and illustrations stand out from others?
I see my books fitting in with picture books like “Mavis the Bravest” by Lu Frasser and illustrated by Sarah Warburton, and “Wordy Birdy” by Tammi Sauer and illustrated by Dave Mottram. Many picture books these days are digitally produced, and while they can be beautiful, they lack, in my opinion, a personal touch. My illustrations are unique.
I work traditionally-
using watercolor, color pencil, and ink.
My illustrator group tells me they have no difficulty recognizing my style, so I must be doing something right!
What are your long-term goals as an author-illustrator?
To continue to create, because I love making books. I learn something new every day, and I relish the collaboration with my critique groups. The challenge of being an author/illustrator is constant, like juggling and keeping many balls up in the air. That keeps me “on my toes” as I’m gaining knowledge. That said, I have learned that I have no control over when I will be published, so my goal is to continue to submit my work and then focus on my next project. I am very hopeful one of these books will be accepted.
How has being the SCBWI assistant regional advisor helped your writing & illustration Goals?
Currently, I am the Assistant Regional Advisor for the SCBWI Carolinas Region and a SCBWI member since 2006. I love serving those who have a passion for children’s books. My belief is that we cannot have too many good children’s books!
As ARA, I volunteer my time, however the support from SCBWI has allowed me to take advantage of many opportunities such as attending the SCBWI New York City conferences, getting to know art directors, editors and agents in the business. Really learning about the business side of the children’s book industry.
This is amazing, Elizabeth! Thank you for sharing your love of children's books and your process on creating a picture book. I hope everyone here feels like they learned something about this amazing Kidlit industry and will pass it on to their creative people circles.
And if anyone has a lead for Elizabeth - please reach out to her!
Here at Teazurs,
I wish you all the luck
and
creative love in the world!
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