mermaid treasures

One of my dreams is to do book covers and internals for burgeoning chapter book readers and to help it take flight I’m going to show what I can do. Da Da DAaaaaaaa!

Firstly I’ve created myself a little dummy logo for some dummy book publishing, introducing Platypus Books!

This is going to be used in my dummy book covers as a place holder, so that publishers can see it all laid out before them and they’ll have no option but to commission me to work with them on their next series *fingers crossed*

Then I made up an author name, I have a few, pulling from family names and the like. I settled on L.M. Hoskin, a good robust name that is gender neutral and may be used in other formats for a couple of other projects I have bouncing around in my rather roomy noggin.

For the cover, I took an image which got really great feedback when I posted it on Instagram. I set about finessing it in Procreate so that it could be laid out correctly, making room for the title etc.

original

finessed

I’m also not a writer so I sourced some dummy text using the old faithful Lorem ipsum. This site, https://www.lipsum.com will give you any number of paragraphs for your own adventure if you’re interested. This place holder text allows me to show how a finished page might look with the text in place.

Again, using Procreate, I set about drawing some images to represent other aspects of the imagined story to show I can do consistent characters, provide motifs, some fancy border action and incidental characters.

page borders

motifs and cover border

sketch ideas

From these I finished up three images in a greyscale format.

Working in InDesign I fiddled about. I’m not a graphic designer, but have had cause to use the program before and was willing to have a bash at it.

I used two fonts: MVB Grenadine for the body text and Providence Sans Pro for the titles and page numbers.

Creating shapes I allowed the text to flow around the more organic edges of some, but not all, of the images. The result is below, and I think I’ve knocked it up into something really good (I also had a person give an opinion or two, and they liked it (once I made the changes they suggested)).

sample cover

sample chapter 1

sample page 5

sample page 10

sample page 20

sample page 25

So, if you are a publisher of early chapter books or middle-grade fiction, I’m contactable here.

If you’re not a publisher BUT you know someone WHO IS a publisher of early chapter books or middle-grade fiction, send them this page.

And, if you like what I’ve done, let me know on Instagram or Twitter, give us a follow or just send out some positive vibes.

I’d love to do some of these in real time, but until then, Platypus Books might just dummy up some more!

Earth Matters: How to make a book, from catastrophic fires and through a pandemic

Part 2: Pandemic ahoy!

Winning a portfolio review from Donna was a step out of my comfort zone. But I needed a poke and I didn’t know what I might actually get out of it. Hopefully, some direction, what to watch out for or where my strengths and weaknesses were.

When Donna arranged for me to meet Maryann from Wild Dog Books, I was a bit overwhelmed. Finally, the negative self-talk was shut down and there was silence. What a buzz. Is that what confident people get every day?!?

Maryann loved the infographic work I’d been doing, and liked my style. So I was asked if would I be interested in illustrating Carole Wilkinsons book for primary aged children about climate change? Would I be able to do it on a short timeframe, as it’s going to be taken to Bologna in May? Yes and YES! - try and stop me!

But low, what is that on the horizon? ...Ruby Princess.

I heard nothing more about the book. Problems with the printers. Bologna cancelled. Small beans really, people were dying.

But after the first shutdown in Melbourne, we were able to get started. Donna will be the book designer and hold my hand through the process. YAY!

I began by reading the text and talking through each page with Donna from the layouts she had sent through.

With a lightbox and each page, I sketched and placed what went where. Larger full-page infographics were given special treatment. Some, I had to do sums on!

The infographic work I’d done in the past was faceless - that is each of the little characters I drew had no facial features. I thought about changing this, but came to the conclusion - it wasn’t a narrative and I didn’t want to comment or provide any editorial on what any reader might interpret from the text. Just the facts.

Each of these were then photographed with the iPad and sent as a PDF for Donna to check and send feedback.

While waiting I looked at colour palettes, one of my favourite things to hunt around for. I like muted tones with a retro feel but I did need a dark - but not black - and I wanted it not to be gendered. Setting myself a palette keeps everything consistent and cohesive throughout the book.

To help, I needed to see it in a picture so picked a page and did three different colour versions. We all liked the same one *phew*

Shutdown 2 became imminent.

I packed up my lightbox, some paper and pencils, my iPad and set up at home to do it all in Procreate.

We watched Dan’s presser every day.

As each page was approved I worked up a set of colour roughs.

I set the page size in Procreate and photographed the rough. Laying the image on the artboard on the iPad. Making it 50% transparency and drew the finals over, just like tracing on the lightbox but straight into the drawing program using an Apple Pencil.

We watched Dan’s presser every day.

While waiting for approval, I made a few images to post as a small way of channelling some lightness past peoples eyes as they doomscrolled.

There were a lot more, which you can’t find on my instagram, as well as some colouring sheets which you can get here

As the colour roughs were approved, I finessed and tidied the images.

Phone meetings with Donna were like a little bit of light, someone different to talk to, something new to focus on. They were long rambling chats and I needed it.

Text was edited, layouts changed, more roughs were drawn.

We watched Dan’s presser every day.

My fancy printer was at the studio and with the shutdown, we were discouraged from going, and can I just say - it was a bit scary in and around the city with only a few people, one coffee shop and police roaming around.

I trusted the technology and I trusted Donna, and I was right to. It worked. Donna did an amazing job and we all deserve a nice cup of tea and chocolate biscuit or something cold and sparkling to celebrate.

Oh, and by-the-by, I picked up my single advance copy right before Shutdown 3.

And it looks great :)

Earth Matters: How to make a book, from catastrophic fires and through a pandemic

Part 1: Catastrophic fires can’t stop my self promotion

The story of how I got to illustrate this book is just as amazing as getting it done. Really, it is.

It all began with the 2019/2020 new year. We’d decided as a family to go and camp at the block my sister-in-law and her husband own. Spending a couple of days seeing in the new year, singing songs around the campfire, swimming in the cool clear waters of the Sapphire Coast, doing the Merimbula Shuffle (where you and all the other tourists wander up and down the main street of Merimbula), just like last year!

But it had already begun.

By the time we got there, the rest of the camp was on high alert. Not a lot of action in town, people staying put. Weary and worried, we were welcomed nervously. With the smoke already in the air, we settled in the best we could.

The next day we went to the beach, while there, a cavalcade of caravans and campers started setting up in an area not to be used for that purpose. Word spread. They’d been evacuated from Mallacoota.

The following morning, we went and did the Merimbula Shuffle, that is, we walked up and down the main street of Merimbula looking in the shops and eating all the foods.

We went back to the camp packed everything up leaving only what we actually needed to put our hands on, just in case. We had dinner at Eden’s Fishermans Club, deciding not to head too far away from the camp - but trying to get out of the smoke.

With the red glow showing over the mountain at the back of the block, we had a nervous night at the camp. Ash was everywhere when we woke up. Camp Leader decided we needed to move closer to town, out of the bush land. They had a friend with an empty house not far from town and we would all stay there. We made sure the cars had full tanks. The smoke was very thick by now, and everything was orange. The road to Melbourne was closed. The road to Canberra was closed.

NYE was stressful - to say the least.

New year’s day dawned and we woke to the news that the road to Canberra was open. We didn’t hesitate. We got the last of our belongings packed and we headed out in a convoy.

Camp Leader decided to stay.

So we went home the long way. Nose to tail until Cooma. We were on the road for 14 hours, with a short stop in Canberra. We were safe. A bit smokey, very tired and with raspy voices.

We continued to watch the emergency apps, hoping then camp and Camp Leader was keeping safe.

Alerts and stories were being shared all over Twitter: what can we do, who can we, help, where can we help. Celeste Barber had raised so much money but it was set up for a narrow band of recipients, so different parts of the community started to step up. #AuthorsForFireys  was born. Led by Emily Gale, it created a way for established Authors and Illustrators on Twitter to provide services like manuscript reads or portfolio reviews or query letter finessing or signed copies of works etc... Ran as an auction it raised over $500,000 (AUD).

I spied a little tweet.

I put in a bid and da da dahhhhh... I won a portfolio review!

It was from that quick look at my website that Donna saw something for a friend in the industry, and from there the rest is in the previous post. 

So out of the catastrophic fires came a book illustrator. Hopefully, that’s the last time that happens and the next one comes from a quiet search through portfolio sites. No more fires, thanks.

Stay tuned for Part 2: Pandemic Ahoy! 

Cheers,

…and Camp Leader and camp were all ok too.

Earth Matters

I know, right?!?

In January, during the fires, a million years ago, Donna Rawlins French put up her hand as part of the #AuthorsforFireys fundraiser on Twitter. I put in a bid for a portfolio review. Donna was very positive and forwarded my work to a publisher with the following comment to me:

I have also sent your folio on to a publishing chum. I hope that's okay. She and I work together and I KNOW she'll love your work

So after being contacted in January, Maryann Ballantyne and Wild Dog Books took me on to illustrate Earth Matters authored by Carole Wilkinson. 

After a few pandemic induced false starts and much back and forth and Donna as book designer, it’s done!

Out in April it is a non-fiction book for upper primary schoolers about climate change providing them actionable tools to help them feel safer.

All of the equipment and studio and  ‘stuff’ I have acquired over the years to work as an illustrator came to naught as all of the images were done on Procreate on an iPad on my dining table. And now I’ve got an advance copy!

The colours are fantastic, Donna has done superb work.

The trust I placed in her was amply rewarded, her knowledge and skill in book design is huge and cannot be overstated, and I think the trust in me was rewarded too ❤️

It certainly was a journey in what was a truly amazing year, in the full meaning of the word.

The opportunity to do this book through the long lockdown in Victoria was an absolute life saver for me and my mental health.

We all, myself, Donna, Maryann and Carole will look back on this as a major achievement with everything that was ongoing on in 2020.

It’ll be available in selected bookshops in April but you can order it at your local to make sure you get one 😉 I’m sure you’ll love it too!

Cheers and chin-chin!

SCBWI

So I’ve made the leap and joined SCBWI. This is the Society of Children’s Book Writers and Illustrators.

Based in the USA is has a couple of chapters in Australia so I’ve joined the Australia East/New Zealand. How this works in today’s social distancing environment is anybody’s guess, but I’m giving it a go regardless.

SCWBI Logo: Australia East andNew Zealand

I have long looked covetously at their website and it’s been at the top of the list of any person I speak to about children’s publishing. I’d even made the decision to do it two or three times over the past few years. Why I hadn’t joined sooner  was all around time. I just couldn’t get to the meetings. My geographic location and the demands on my time meant it was a (very) convenient excuse.

They’ve all evaporated with our move closer to the city and I actually have no external demands on my time anymore. The kids are all adults now... In short, I have no excuses. I have to take my own advice and be brave. Make some new connections and maybe even friends. It’s strange how the older you get, meeting new people is just as hard as starting at a new school or job or party. So here I go, making new connections. 

Hopefully the advice and support this group may give will help in getting my illustrations under the right noses. Although I won’t be putting carts before horses as I have been wont to do. I have to let this stuff just work the way it works and stop vacillating between forcing and hiding at any opportunity that presents itself. And, I can’t stress this enough, no leadership positions for me. NO LEADERSHIP POSITIONS EVER AGAIN . It’s just exhausting.

Chin-chin,

Self-publishing

or I've written a picture book and I need some pictures done…

You’ve put in the hard yards in and taken some words, massaged them into place and created a beautiful story. It’s a great thing to do and it’s something you’re very passionate about. You know you need some pictures for the story and so you’ve landed here. That’s great, and I’m looking forward to our adventure together.

Before we start, there are a few things I need you to understand and there is no judgement in this, but from many requests I and many of my illustrator colleagues get it is clear that there is a gap in the information available to writers as to how and what it takes to get a book published.

Let me be very clear, If you are going to submit your book to a publisher, they will want to chose their own illustrator. Employing me to draw anything will be a waste of your money, the drawings will be discarded. Publishers do not want illustrated submissions unless the author is an illustrator, illustrating their own writing.

Publishing houses exist is because it takes a lot of work to get a book published and involves a lot of people. Looking clearly at how the industry works will protect you emotionally and financially. It will help you clarify what you want out of me and what other things are involved in getting your book out into the market place.

• Editor: Basically, the project manager, pulling all the parts of the book together. Managing expectations of the author, illustrator and book designer to get the best result

• Art director: Like and editor, but for pictures

• Book designer: A specialist graphic designer who lays in the text and places the illustrations getting the item ready for print

• Author: Writes the words with editing guidance from the editor

• Illustrator: Draws the pictures under direction from the editor (and/or art director)

• Marketing: Assess the book for sales potential, deciding on print run and distribution

• Printer: Prints and binds the book

• Distribution: Delivers the book to the shops

If you are going to self-publish, you take on all of these functions or you pay someone to do them for you.

Illustrators and anyone you ask to do work on your book will expect to be paid. Your passion project is not their passion project. By all means you can ask for advice, almost everyone is happy to share their knowledge (if they have time) but it is not right to ask them to work for free or at a discount.

It can cost thousands of dollars to get a book published and the person doing the publishing will bear this cost.

Economies can be made with the scope of the project, but the illustrations alone can cost $5000 to $15000 (maybe even more), depending on the illustrator, the number and complexity of the illustrations and how soon you want them.

I am not trying to step on your dream or be nasty, this is an industry and there are, few (if any) short cuts.

There are successful self-published authors, it is a lot of hard work and an ongoing commitment to your project is needed.

Find a few and talk to them.

Join the ASA and/or SCWBI, these are your network. You will meet lots of people who have lots of information and advice to get you on your way. They are your peeps!

SO, when you’re ready and you’ve learned all you can about publishing and want to go ahead and get a quote for me there is one more step (sorry). Fill in this form and send it through when you request your quote.

It will help you clarify what you’re asking for and it will help me put together an accurate figure for you.

I want us to have a fun and rewarding working relationship, getting the best result and realising your vision. Having a comprehensive understanding of what’s involved and clear communication paths is the foundation of a really positive experience for everyone.

See below for some further information to read and listen to. Good luck and hopefully I haven’t done myself out of too much work.

Cheers,

Further information…

On publishing…

Sarah McIntyre 'Can you illustrate my book?' Some tips for writers approaching illustrators, 25 April 2016 https://jabberworks.livejournal.com/744387.html

Tania McCartney, The Happy Book Children’s Book Podcast, 2 January 2019
http://taniamccartney.blogspot.com/2019/01/the-happy-book-childrens-book-podcast.html

Australian Society of Authors, Find and answer, Publishing https://www.asauthors.org/findananswer/publishing [5 March 2019]

Australian Publishers Association, Getting Published
https://www.publishers.asn.au/resources/getting-published [5 March 2019]

Join…

Australian Society of Authors (ASA) https://www.asauthors.org
Contract advice, workshops, industry information

Society of Childrens Writers and Book Illustrators (SCWBI) https://www.scbwi.org
Meet your people, network and learn.

Keep and eye out for…

CYA Conference https://www.cyaconference.com

KidLitVic http://www.kidlitvic.com

On writers and illustrators

This article by Sarah McIntyre was written in April 2016 but it's great information for both writers and illustrators. It popped up on my twitter feed today.

'Can you illustrate my book?' Some tips for writers approaching illustrators
https://jabberworks.livejournal.com/744387.html [10 February 2016]

As well as being a illustrator, she has a lot of knowledge to share. Check her website out to see her portfolio and her live journal for more of her articles and goings on. Sarah is also active on the usual socials!

Cheers,

Robot sketches, 2016

Next chapters

With submissions to agents and publishers opening in earnest in February I’ve begun to put together a new portfolio. This is why I’ve been a little distracted and not quite so active on the socials. 

I’ve been developing a new style and exercising my thoughts attending intensive courses with Australian Writers Centre. So I have researched the literary agents I would love to work with. Very scientifically, basing it all entirely on the illustrators who I admire and are represented by them. 

In this process I've also listed the Australian publishers who I see my work fitting neatly into their lists. Most of course don’t take unsolicited manuscripts but it is good to have goals.

Soon I’ll be updating my portfolio and bringing it all together as a package for attendance at KidLitVic again this year. The line up this year looks great, I'm hoping to meet a lot of people!

Cheers,