Thursday, August 23, 2018

Suzette in Paris

This summer I have brought Suzette to Paris with me. We are visiting favorite places from Crepes by Suzette book-app (and discovering new favorites, bien sûr!) 
Notre Dame Cathedral
Lions in Luxembourg Gardens
Carousel in Tuileries Gardens
Assemblee Nationale
Tour Eiffel

For more about CREPES BY SUZETTE book-app click HERE

Tuesday, July 03, 2018

Interview with author/illustrator SHANDA McCLOSKEY

Shanda McCloskey’s first book DOLL-E 1.0 has just been published - Congratulations! I remember when she showed up at SVA in illustration class - she had big talent from the start! But then it takes commitment and persistence to successfully get a book from dream to reality. I’m so happy to share with you this Q&A with Shanda. Enjoy and be inspired to work hard for your dreams!

It is exciting to hear about a book's journey to publication, especially a first book! How did Doll-E 1.0 get started?
The idea for Doll-E 1.0 came from watching my two-year-old daughter pretend that her doll was a robot doll! I knew in my gut that this idea might be a good one with the empowered girls movement and girls in STEM being hot topics. I also knew from experience (because I looked pretty hard) that there were no robot books with real girl appeal! The robot books I found may have had girls in them, but they still seemed to be created with boy readers in mind.

My daughter just turned 8, so Doll-E 1.0 took 6 years from idea to real book!

What was your favorite part of working on this book?  
My favorite part of making this book was working with others (much more experienced than me) to make it its best! My agent (Erica Rand Silverman), editor (Andrea Spooner), art director (Jen Keenan), publicist (Siena Koncsol), etc. all added exquisite parts and solutions to the book and promotional efforts that I would’ve never thought of or could do alone! I truly enjoyed the Little, Brown team and it seemed as if they enjoyed working on this book too, which was extremely cool :)

Also, school visits are really special! I didn't realize I would treasure them so much until I tried one!

And the most difficult part?  
Life has a way of really getting messy sometimes, and at the time I created this book, I had some serious eye health issues arise that affected my sight. The day to day frustration of working with impaired vision was definitely the hardest part to overcome.

Where do you live and what is your studio like? What are your art materials?  
I live in Ball Ground, GA, which is about an hour north of Atlanta. I live with my husband, two daughters, and our dog in a very small house. My studio is a wall in my living room parallel/behind the couch. It has a long white desk with a computer and drawing space with a “clothesline” of sketches and inspiration above it. Beside the desk is a large Ikea armoire where I store my two printers, large scanner, and art supplies (which are mostly 6B drawing pencils and watercolors).

What were you like as a child?  Did you always draw and paint since you were very young?  
I was known as the best artist in all my classes and grades. That was a huge part of my identity. I loved it. 

How did you decide you wanted to be an author and illustrator of children's books? 
Picture books have constantly lured me through my lifetime. I bought them at the book fair when I was a kid when I was “supposed” to be into chapter books, and then I found myself just having to own various books through the years before I even had kids. But when I found myself unfulfilled in a teaching job, things became clearer. I really wanted to figure out how to become a children’s book illustrator! (I had no idea I would ever be an author too at the time :)

Did you have some rejections along the way? What have been some of the ups and downs?
Of course I did! I’ve been pursuing this path for about 10 years now. I would attend a conference excited to show my new work, feeling accomplished only to end the conference with a dose of reality that there’s still so much work ahead of me. But it always felt productive, and eventually my work was “ready” to be published. 

I also was rejected by several agents and publishing houses along the way. And when my work was really “ready” I got several bites!

What are some of your other projects that you are currently working on?  
I’m currently working on a companion to Doll-E 1.0 called T-Bone the Drone! It features a boy character this time and his drone. So. Much. Fun!

Is there anything you learned back in class that has particularly stayed with you?
Monica really opened my eyes to the possibility of being an author-illustrator instead of just an illustrator. I remember her saying that she makes her own illustrating jobs by writing her own stories. That resonated with me, and I must say that doors started opening up for me when I had a dummy proving I could do both!

Do you have any special words of advice or encouragement for illustrators/writers starting out now?
If you can write and illustrate, put them together in a dummy! THAT combination is what got things rolling for me. I started setting it beside my portfolio at SCBWI conferences and bringing it to paid manuscript critiques. I updated my dummy for each new conference with what I had learned from the last.

I was thrilled to see Shanda up from Georgia at her NYC book signing:

and follow her on Instagram: @shandamccloskeydraws and Twitter: @ShandaMcCloskey

Thursday, March 15, 2018

Visiting School with Zinnia's Flower Garden

I love visiting schools and sharing my books with children.
I had a wonderful welcome at PS 347: a bilingual American Sign Language and English lower school here in Manhattan. Some children in the classes are deaf but many have deaf parents, and I had an interpreter, Rick Rubin, by my side.

It was snowing as I traveled across town, and so it was especially fun to share Zinnia’s Flower Garden: there is nothing like flowers to help put everyone get in the mood for spring!
I read the book as Rick translated it into ASL.

And then I showed some stages of working on the book. I did research by learning more about flowers:  I grew flowers, I went to the library for books about flowers, I went to gardens...

I got started on my book by making tiny sketches like these:

And then the children did some of their own “research” with flowers.
I brought a beautiful bouquet and they all picked flowers to observe and draw.

 They did fantastic work. I think there are a lot of future scientists and artists amongst them!

Thank you so much to Gary Wellbrock, teacher extraordinaire, for these photos! Read more about all that goes on in his classroom at

Friday, August 04, 2017

Paris on bicycle

My favorite way to explore Paris is with my velib bicycle pass:

I love finding interesting stores:

and trying patisseries from every bakery in my neighborhood:

I love beautiful cheeses in the market:

I'm constantly stopping to admire lettering and details on buildings:

 I love visiting small museums:

Paris is endlessly beautiful and I'm so happy to be here!

Take a little trip to Paris too? Come visit HERE with Crepes by Suzette!

Tuesday, April 04, 2017

Interview with author/illustrator PATRICIA KEELER

I'm thrilled to introduce author/illustrator Patricia Keeler and to celebrate the publication of her new book with a Q&A. When Patricia was in class at SVA some years ago, she had already successfully published several award winning books but she wanted to change direction and explore new ideas.  She plunged in with her book project about a little girl and her flip-flops and many versions later, LIZZIE AND LOU SEAL has come to life. Joyful, full of action and energy, Lizzie is immediately an endearing character. Get ready, set, go: Summer is coming!

It is exciting to hear about a book's journey to publication—can you tell us about LIZZE AND LOU SEAL?

I breathed in the delicious smells of turpentine and oil paint. I touched the cold cinder block walls and looked out the giant dirty windows and smiled. It had taken me practically a lifetime to get to attend a real art school class. It was 2014, my first class at the School of Visual Arts. 

After college, I became a teacher with a familyLater, I got an art rep and started doing realistic illustrations where the Art Director often told me what to draw. No, no, no.

So this day, I was starting over with no rep, no prospects. I was walking into Monica Wellington's class on Writing and Illustrating Children's Books with my own picture book dummy called Flip, Flop, Stomp

It was the first time I had been in a large group of author/illustrators where the spreads of a book dummy could be seen at a glance. In the class, we critiqued manuscripts and discussed elements that support the visual success of a picture book. We talked about first page illustrations and text placement.We talked about the directional movements of the characters between the pages, and how to visually strengthen the climax of a book.
In later classes, we sometimes worked in smaller groups. By this time, several of us knew each other and our book dummies, so what remained was adjusting and tweaking.

How did LIZZIE get started? What are some of the stages?

The idea came from news articles about problems caused from wearing flip-flops. I imagined a little girl, Lizzie, who loved her flip-flops, but they caused her all kinds of agitation. They got caught on loose stair boards, stuck to boardwalk chewing gum, and didn't keep the hot sand from her feet

The first version was called Flip, Flop, Stomp! because Lizzie stomped her foot in frustration.

In my original idea, Lou Seal was a blow-up beach toy that didn’t show up in the story until a third of the way throughBut as I sketched the dummy, Lizzie got younger and Lou Seal got bigger. The change in sizes was unexpected—but I could see it was more dynamic.

Now Lou Seal was so big, that he needed a bigger part to play in the story. So I thought while Lizzie is busy fussing with her flip-flops, what is happening to Lou Seal? 

Perhaps Lou Seal was also having difficulties. And what fun, if the reader discovered what was happening to Lou Seal before Lizzie did!

Figuring out the story plot seems conceivable now—logical. But it took years and three classes with Monica Wellington.

What was your favorite part of working on this book?

My favorite part was discovering the encaustic wax process. I used it to show Lou Seal as plastic, and for the ocean waves. Here I am creating a wave for LIZZIE AND LOU SEAL.

Where do you live and what is your studio like?

I live in Hoboken, New Jersey. My studio is on the top floor of my building. It is a converted large bedroom. I look down on a retro drug store, bagel shop, and the bus stop. 

When I take a lunch break I walk along the Hudson River. I'll sit for a while, then look over at Lower Manhattan and think, "My editor is over there waiting for the finished art." Then I get a large iced coffee and a butterfly cookie, and go back to illustrating. 

What are your art materials?

I love my box that contains tubes of Winsor & Newton Designers Gouache. I had it made in a plastics shop on Canal Street so each hue could fit neatly in it's own space. 

I made color swatches with the mixing instructions on the back. It's always those final bits of color that add vibrancy to an illustration. These color samples allow me to see what colors would work best. 

The mechanical yellow pencil laying on my paint box is PaperMate Sharpwriter #2. I found these pencils in the grocery store. These pencils are amazing! The lead is cushioned and won't break when you press down. It gives my hand a little bounce!

What are some of the other projects you are currently working on?

I have a second book for Sky Pony Press to follow LIZZIE AND LOU SEAL. I'm so excited about this book, SCOOP THE ICE CREAM TRUCK! It will be out in Spring 2018. I'm in the thick of finishing the artwork now!

Do you have any special words of advice or encouragement for illustrator/writers starting out now?

Don't try to completely understand an inspiration or art process before you try it! If you come across an interesting plot twist or illustration technique, go for it! It's the mistakes you make that make it yours!

Patricia will be at Book Expo America! Meet her at Booth AM34, June 1 and 2, for illustration demonstrations and giveaways!

A few tips: a wonderful place to discover new techniques is UPPERCASE Magazine.

Kelly Rae Roberts Unscripted  (great while working)

Social mediaFacebook for friends and family, Twitter for marketing, and Instagram for artists from around the world whose work I want to learn from.
Facebook:  PatriciaKeelerBooks
Twitter: @patriciakeeler

Patricia is represented by Liza Royce Agency and her website is

Tuesday, February 21, 2017

Interview with author BARRY WITTENSTEIN

First books are so exciting! Usually it is artists who come to class at The School of Visual Arts but Barry Wittenstein came as a writer. He wanted to learn more about books from the illustrator's point of view. He had the right idea that he might improve his writing if he understood more about how illustrators work on books. And now, let's celebrate his first book, WAITING FOR PUMPSIE, illustrated by London Ladd. 

In 1959 the Boston Red Sox was the last baseball team in the Major Leagues to integrate. But when they call Elijah “Pumpsie” Green up from the minors, Bernard, the child narrator, is overjoyed to see a black player on his beloved home team... It has received great reviews and is a selection for the Junior Library Guild. Congratulations!

It is exciting to hear about a debut author's journey to publication – can you tell us about yours?
My journey certainly has been a long and winding road. I’m happy where I’ve ended up, but it took me a long time to get here.  I guess that was my journey.

I have always been a creative person. I’ve tried everything from photography to songwriting, poetry, sports articles and reviewing. Both in college and after, I have taken classes in memoir, creative nonfiction, screenwriting, picture books, even greeting cards!  But there was never a thought of giving up, even when nothing seemed to be clicking. Which was most of the time.  I knew “my voice” had to be heard. I promised myself that if it was the last thing I’d do, I had to receive some acknowledgment for my creativity. Just a sip from the cup of success!   Finally! It's happened.

How did PUMPSIE get started?
I am and always was a huge baseball fan. And as every fan of the game knows, Jackie Robinson broke the color barrier with Brooklyn in 1947. But I think that it especially resonated a bit more if you grew up around, or close to, New York City like I did.

My favorite team growing up was the New York Mets. When I was 9 years old, in 1963, the Mets traded for a player. His name was Pumpsie Green from the Boston Red Sox. He didn’t last long, and soon retired. But how can you not remember a name like that?

As l got older and learned more about the history of baseball, I learned that the Boston Red Sox were the last team to integrate. The first African-American player to suit up for Boston in 1959 was Pumpsie Green. Pumpsie’s story and the story of Boston Red Sox racism have been written about extensively for adult readers. But I began to realize that few kids knew Pumpsie’s name or his struggles. Most people (except for die-hard fans of the game) considered what transpired in with Major League Baseball integration beyond Jackie Robinson.

When I began to work as a NYC substitute teacher in elementary schools, this was reinforced.  It got me thinking about what stories are handed down from one generation to another. And the process by which they are handed down. Pumpsie’s story provided the bookend to Jackie Robinson crossing the color line twelve years earlier. Pumpsie added a bit of context to that era, and major league baseball’s efforts.

Can you describe some of your steps of working on PUMPSIE?
First of all, it’s the light bulb over the head moment. Like, yeah! That’s a great subject! Then I research whether or not the story has been done as a picture book. If it has, then I drill down deeper and research whether my specific angle has been done. Since I’m only writing picture books for the 5-8 age group, it’s okay if it’s been written about in MG or YA. “Pumpsie” had not appeared in kid’s lit, so this was an easy one.  

When I was ready, I pitched the story around. At that time I was calling it “Pumpsie, the Red Sox, and Me.” All rejected it. I sent it up to Charlesbridge, a smaller, independent company based in Boston. I had pitched a few things to them previously, all without success. I thought “Pumpsie” had a chance. But, again, no luck.  I was disappointed because I thought it would be a perfect fit, especially since the story took place in Boston.

I wrote Charlesbridge a note saying that they really should take another look at Pumpsie. I rarely, if ever, do that. A rejection is a rejection. It’s usually a waste of time and a bit amateurish to get involved in a conversation. It’s better just to thank the editor and continue on. To my surprise, Karen Boss, a different Charlesbridge editor than the one I had sent the story to, got back to me and wanted to sign it.

What was your favorite part of working on this book?  And the most difficult part?  

Favorite part was finding the voice of the main character, eight-year-old Bernard. Of course, it’s somewhat autobiographical. How could it not be, right? Bernard is naïve, but catches on quickly, is honest, has a sense of humor, and loves his hometown team. It’s been half a century since I was eight, so I had to put myself back into that mindset. Would Bernard say this or that? And what would a kid like Bernard say in 1959? For some reason, it wasn’t that hard to do.

The hardest part was not PUMPSIE specific. It was learning how a picture book is put together. Page turns, using back matter to fill in details. The basics! There’s nothing that substitutes working with a professional editor like Karen, and having her guide me…and the process. 

Did you have illustration ideas for the book, 
or were you involved in that part of the book at any stage?
No - I was happy just to focus on the words, and not get caught up in the visuals. I also trusted Karen to guide the process. Which she did brilliantly.
They were nice enough to ask me if I had any illustrator suggestions. I did find some work of illustrators and ran those ideas past Charlesbridge. Looking back, they were terrible suggestions. Great illustrators, but wrong for PUMPSIE. Karen suggested London Ladd, who I never heard of at this point. Thing is, I never heard of anybody!  But I looked him up, saw that he had done picture books about Oprah Winfrey, Martin Luther King, Jr., Frederick Douglass and others, and knew he was the perfect choice.

Once the sketches were submitted, Karen did let me review them, and I noticed a few minor details that London was good enough to tweak.

Sketches from London Ladd for the cover and a sample interior page.

Have you met the illustrator London Ladd?
I have not, although we have exchanged emails. I feel incredibly lucky to have London work on one of my books, no less my debut. His vision and artistry made my words come alive.  He also told me – and I think this is important to include – that my words made it easy for him to “see” the story. I’m paraphrasing, but that’s a great compliment about making his job easier.  In turn, the entire project benefits. You always want to make the illustrator’s job as easy as possible. That’s a big lesson I have learned about writing visually.

Did you have some rejections along the way? How did you find your agent, publisher and editor? 
Initially, I did not have an agent. I pitched it myself and it was signed due to my efforts. I subsequently signed with Karen Grencik to assist with contract negotiations.
But regarding rejections, if you don’t have rejections you’re not trying hard enough. Of course, PUMPSIE got rejected. What I have learned is that there are many reasons for a manuscript not to be accepted. It might not be the genre or written in the style that the editor is looking for. It might duplicate a similar story they’ve already signed. Or the writing might be weak! Sometimes the editor (or agent) will provide some info why it didn’t make the cut.  Other times, it’s a form letter.

Where is your favorite place to write?
Any place as long as it's not at home! I like to be out and about.  Coffee shops. The park.  I like white noise.  Helps me focus. Too many distractions at home. I have to clean that room. The dog needs her belly rubbed. Who’s at the door?

Do you have a writing routine?
No. Except that I try to write as much as possible. On my iPhone, iPad, on a subway, walking down the street and having to stop to notate something, in the middle of the night, whatever and wherever. I am always thinking of new stories, how to complete old stories, where to pitch, etc. I keep my eyes and ears open to things people say, situations I see. I don’t wait for the muse to visit. I demand that she does!

What were you like as a child?  Did you always write stories when you were very young? 
When I a kid was growing up in the 1950s and 1960s, I loved two things. Baseball and the Beatles. There were few picture books. Or, at least, they didn’t cross my path. In high school I wrote for the school newspaper. But, what really turned me on was the Beat poetry of Lawrence Ferlinghetti. Especially his, Coney Island of the Mind poems. Not that I was introduced to that in school. But my older brother, who was into jazz and knew of the Beat poets, bought me the book. It blew me out of the water, the topics, the irreverence, all of it. That really was the door to my own pursuit of poetry and writing.

When/How did you decide you wanted to do children's books? 
I went back to get my Masters in Childhood Education around 2011.  This was 40 years after getting my BA in English. I had just left my job as a web editor with Major League Baseball, and I needed a source of income. So, I enrolled in Hunter College in New York and got through about half the credits I needed to become a teacher. The teacher profession does not discriminate based on age. And I was 58 at the time. So, at Hunter, I took a class onteaching of reading, writing, and children’s literature. There I got really introduced to contemporary children’s picture books. Up until this point, I was trying to write screenplays, a memoir, etc. But I guess this class really piqued my interest. So, I figured, I’d try this, too.  I was running out of genres.

Do you have more projects in the works that you can tell us about?
Besides Waiting for Pumpsie, Charlesbridge also signed a second picture book of mine about the inventor of the Band-Aid. This comes out in February 2018.  Then, in January 2019, Neal Porter signed a picture book about Martin Luther King, Jr. I met Neal at a SCBWI conference in LA last summer, sent him a few things, and he liked my second submission. So, that was quite a coup since Neal is a legend in the business (and a great guy, I might add). Then, he sent the manuscript to illustrator Jerry Pinkney who agreed to illustrate it. So, a double coup. Besides that, I am always, always pitching material. My mantra now is I need to get a picture book lined up for publication for 2020. Since it takes two years from signing to release, I have a little bit of time, but am still working hard. It is like pushing a boulder up a hill.  

Is there anything you learned back in class that has particularly stayed with you?
Starting with your class, and continuing through my projects, I have a fuller understanding of how the illustrator does her job. Meaning, as a writer, my natural tendency is to overwrite. Adjectives. Adverbs. Too much description. Then I would add a zillion illustrator notes. I’ve had to develop my visual sense, to put myself in an illustrator’s shoes and imagine how my words would appear on a page. Not that I nail it every time. I still get rejection notes from editors saying, “I couldn’t ‘see’ this story.” Or,” I found it difficult to imagine how this would look on a page.” So, I think of how movie scenes keep the storyline going. I guess my classes in screenwriting weren’t a total waste!

Do you have any special words of advice or encouragement for writers starting out now?
Like any other creative endeavor, writing children’s literature is difficult. And each genre within children’s lit has its own rules, too. There is a lot to learn, but you learn by doing. Take classes –either online or in person -- write everyday, go to conferences, join organizations like SCBWI, be polite and use a sense of humor and humility when sending out material (it’s a small business and word gets around when a writer is problematic). Get involved in Facebook groups; follow other writers, etc. etc. etc. Dive in. Be a sponge. And don’t be afraid of rejection. Woody Allen once said about success, “Showing up is 80% of life.” So, show up. And don’t give up.

Thank you, Barry, for bringing us behind-the-scenes to hear about the creation of Pumpsie! So inspiring!
Barry's website is here at and twitter: @onedogwoof
Illustrator London Ladd's website is here at