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Laura with her cat, Milk

By Elisabeth Norton
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Laura Stitzel is an independent artist in Melbourne, Australia. She has been working as an illustrator, designer and animator in Australia and Canada since 2007.

Working mainly for children’s television, Laura was recently part of the creative team at one of North America’s largest animation studios in Toronto, Canada.

 There she worked on the Emmy Award™ winning "Peg + Cat," and led the painting department on "Arthur,'" the world’s longest running children’s television series.

In her home of Melbourne, Australia, Laura has also illustrated and animated on a wide range of media including educational interactive projects, video games, advertisements, and television.

In her own illustrations, Laura’s work shines a light on animals and their place in our world. Creating artworks with a uniquely vintage style, Laura’s illustrations feature detailed pen and ink ornamentation and hand-lettering, paired with cheeky characters and cute creatures.

Congratulations on being awarded a SCBWI Bologna Illustrators' Gallery Honorable Mention for your illustration "A Little Nonsense"!

Thank you, I’m just delighted!

You have a varied background as an illustrator - can you tell us about the different types of projects you’ve worked on?

My training is in animation. I’ve been working in the animation industry in both Melbourne and Toronto since 2007. I’m primarily a background artist, and I also animate and design characters and props. I’ve worked on children’s television programs as well as interactive projects and print media.

When I’m not working on these big projects I like to keep creating my own illustrations that have my own style.

What mediums do you work in? Does this vary depending on the type of project (print vs. website vs. television/animation)?

It does vary project to project. For my own illustrations, I always use pen and ink along with watercolour or digital painting. Sometimes there is no digital input at all, sometimes just for touch-ups.

When I’m working for an animation studio, the process is almost entirely digital. I’m an avid Photoshop enthusiast. I love figuring out ways to imitate real painting and drawing techniques in Photoshop. This was a big part of my role on the children’s show Arthur, during its transition from cell animation to digital. I developed a new process for the painting team and created digital brushes to best recreate the original look of the beloved show. It was a great experience.



Of course there are exceptions, I was lucky enough to create some artwork for "Peg + Cat," which is made using gouache and pencil and then scanned in for animation. Sitting in a modern animation studio and painting was quite surreal - and a real delight.

Do you have a favorite medium or illustration tool?

Absolutely - fine liners. I love using ink and I get the best results using a handful of fine liners with variations in thickness. I use black, brown and sepia. I just love that I can do both fine details and bold outlines.

I’m a big fan of old fashioned rendering techniques like stippling and cross hatching. I also use a nib pen sometimes, but it’s a lot less predictable - which is sometimes a good thing.

When I’m doing my roughs in pencil, my other cant-live-without tool is an eraser stick. With a ‘sharpened’ eraser, I can erase in a very fine line, which I use to carve gaps in or clean up my messy pencil line work. So it’s like I have two drawing tools - a pencil for grey and an eraser for white - genius!

Can you tell us about your typical creative process?

Sure. Once I have an idea for an illustration that I’m happy with, I draw a quick rough sketch to work out the story, the poses and the composition. Then I dive into references. I have loads of books of vintage advertisements and posters from the early 1900s, and I can’t do without them. I’ll use them to get ideas for a border, or a rendering technique, a font, a little ornamental decoration or even a character’s clothing.

If I’m doing hand lettering I’ll often go online to find the perfect font, and I also use Google Images for references for animals. How anybody ever drew without Google Images, I’ll never know. Then I rough out my line work in pencil. I use tracing paper a lot to mirror decorative elements or shift parts around. Then, when I’m ready - I go over all my line work in pen, and do some passes of watercolour. I often draw in layers, then scan them in and assemble them in Photoshop.

Lastly, I digitally apply any finishing touches. I’ll usually leave it and come back to it the next day with fresh eyes and find a few little things I want to change.

Does it vary depending on what kind of project you are working on?

Of course when I’m working for an animation studio, the creative process is dictated by the established style of the show, and by tight deadlines! That means there is less individual freedom, but I’m creating part of a larger vision which is immensely satisfying.

However, there are parts of my own creative process that I bring to a studio environment. I’m always a believer in taking time to rough out a plan and to look at references before diving in.

Taking a step back and reassessing an image’s readability is also very important.

Of course with studio work I can’t always leave something overnight, but I have little tricks - such as always having the Navigator in Photoshop visible, so I can keep seeing my image at a glance and making sure it works.

We’d love to hear more about your winning illustration "A Little Nonsense." Was it part of a larger project, or is it a stand-alone piece?

This piece is a stand-alone work - but it is one of a few illustrations I’ve created using quotes from the 1971 film "Willy Wonka and the Chocolate Factory." Mr. Wonka’s dialogue is smattered with literary references, and I’ve used a handful of them over the years. So I guess I have borrowed quotes from a character who borrows quotes from everyone else!

I intended for the characters in the illustration to be familiar from old stories and nursery rhymes, but not specific to one film or book. For example there is a little piggie eating roast beef, there’s an owl and a pussycat, and there’s a fox in a bandit mask. They’re all on some kind of adventure together that we don’t really know about, but we might imagine it.

By pairing these characters with the quote - ‘A little nonsense now and then is relished by the wisest men’ - I’m saying that imagined characters and stories mean something to all of us, they have a place in our world and they’re important.

What was the medium and the creative process for this illustration?

I illustrated the characters, the border and the lettering using my beloved fine liners, and painted the colour in Photoshop. The colour palette I borrowed from a 1917 advertisement for McCallum Silk Hosiery.


I love colour theory and finding out why some colours work together and others don’t, and I wanted to see if I could appropriate an established colour palette. I don’t usually reference something quite so directly - I also borrowed the sun and fish! - but it was an experiment and I’m happy with how it turned out.

What is a typical creative session like for you?

Just so much fun. I give myself a few dedicated hours to cut off from the world. I always put on loud music and sing terribly.

I find the pencil stage makes me a bit anxious - what if I can’t get on the page what I can see in my head? But the inking stage is pure bliss - I’m in my own world, what they call ‘flow’. I usually draw way longer into the night than I ever intended and regret it the next day.

Do you have a dedicated place that you like to create?

No, actually I don’t! I like to move around a lot, and it’s very important to me that I can create no matter where I am and no matter my surroundings. I have a fairly portable drawing board and a laptop.

In the past few years, I have traveled a lot and get my best ideas when I’m out discovering the world, so it’s important to me that I can draw and create in a variety of spaces.

Some of my favourite illustrations I’ve done in a sketchbook propped on my lap on a bumpy train ride, waiting in an airport, lying in a park, or wearing earbuds in one of the world’s many coffee shops.

Thank you so much for spending time with us today! I look forward to seeing more of your illustrations in the future.

Thanks for having me!

Cynsational Notes

Find Laura on Facebook at facebook.com/lauradrawsart.

Elisabeth Norton grew up in Alaska, lived for many years and Texas, and after a brief sojourn in England, now lives with her family between the Alps and the Jura in Switzerland.

She writes for middle grade readers and serves as the regional advisor for the Swiss chapter of the Society of Children’s Book Writers and Illustrators.

When not writing, she can be found walking the dogs, playing board games, and spending time with family and friends. Find her on Twitter @fictionforge.

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

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By Angela Cerrito
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Lisa Anchin has been drawing since she could hold a pencil and making up stories since she could speak. 

She grew up just outside of New York City, passing briefly through Massachusetts where she picked up a B.A. from Smith College, and then she returned to New York to work and to later pursue additional graduate degrees—an MA at Columbia and an MFA at the School of Visual Arts. 

Lisa now freelances full time as an illustrator and designer. She is the illustrator of A Penguin Named Patience by Suzanne Lewis (Sleeping Bear, 2015). Her second illustrated book, I Will Love You, by Alyssa Satin Capucilli will be released in spring 2017 (Scholastic). 

When not in her studio, she can be found haunting one of the many cafes of the five boroughs, sitting with a bucket of tea and scribbling in her sketchbook. She lives in Brooklyn with her partner in crime and a not-so-little black cat.

Congratulations on your work "Happy Birthday Fox," being selected as a finalist for SCBWI’s Bologna Illustrators’ Gallery. It's on display at the Bologna Children’s Book Fair. What was the inspiration behind Happy Birthday Fox?

I’ve been trying to expand my palette, so as an exercise, I’ve started picking colors that I don’t generally use then planning an illustration based on those colors.

"Happy Birthday Fox" was one of these painting exercises.

The mustard, aqua, orange, bright magenta, and lime green felt like party colors.

But rather than the moment of the party itself, I wanted to illustrate that contented, happy sigh moment that comes after the party has ended.

You are the illustrator of A Penguin Named Patience (Sleeping Bear, 2015). What was it like illustrating your first children’s book? Were there any unexpected developments?

A Penguin Named Patience was my first illustrated book and an interesting challenge.

Serendipitously, I actually received the offer only a few days before I left for a trip to New Orleans for an illustrator’s weekend. While I was there, my fellow illustrators generously agreed to accompany me on a visit the Audubon Aquarium, so I could take reference photos.

I was able to photograph the penguin enclosure and the South African penguins featured in in the book. That was a really luck coincidence, and then the publisher also sent additional images of Tom, the penguins’ keeper, and videos of the penguins’ triumphant return to New Orleans.

I had never made such a large body of work on a single subject before. That in and of itself was an experience. Before I began work on the final pieces, I did quite a few character studies and color tests. I wanted to make sure that everything would be consistent throughout the book.

Overall it was a really wonderful experience. Not to mention, drawing penguins is a pretty great way to spend your workday.

Tell us about your school visits? I imagine students are excited to learn about Patience and the other penguins who were rescued after hurricane Katrina.

My school visits have been really rewarding. The first one I did was actually at my old elementary school. The kids I’ve spoken with are always excited that the book is based on a true story, and that Patience was a real penguin living at the aquarium at the time of the storm.

After reading the story together and answering their questions about the reality of what happened and the making of the book, I like to draw with the kids. I usually start by talking about South African penguins before taking them through the basic steps to draw Patience.

With older kids, I can also talk about storytelling, character development, and how to visually emphasize your protagonist, especially when all of your characters are a single type of animal and all look very similar. I love watching the kids draw and seeing the characters they imagine and create.

What is a typical work day like for you?

On studio days—I also freelance at a publisher doing book design during the week—I’m usually at my desk by nine. I set aside some time in the morning to take care of business related things—emails, invoices, etc.—and then I begin with warm-up sketches.

Sometimes these are drawings of the characters for the project I’m currently working on, but usually I use it as free drawing time. Often these open, sketch-anything moments lead to nuggets of ideas for future stories.

After my warm-ups, I dive into work, which ranges from writing, thumbnailing images for a new dummy, sketching, working on color studies, or painting a final piece.

The actual work of the day depends on where I am in a project. I try to take small breaks as I work—for a new cup of tea, to play with my cat, or just to stand up and stretch—and I always take a long walk in the middle of the day, which inevitably includes a stop at the library three blocks from my apartment on my way home.

What are you working on now?

As of this week, I just finished the art for a new book called I Will Love You, written by Alyssa Satin Capucilli and being published by Scholastic in the spring of 2017. It’s a lovely story, told from a parent/care-giver to a child. The text uses beautiful, lyrical language, and is a non-linear narrative, which allowed me to stretch my imagination. It was a joy to illustrate.

I’m also working on a number of my own stories, and I often have a few in progress.

If I get stuck on one project, I can put it aside and work on another until I’m ready to return to the first.

Right now I’m juggling work on an entirely new manuscript with revisions on two book dummies—one is a story about a precocious little plant and her garden and the second features a character that I’ve been calling Little Viking.

Do you have advice for artists who are just getting started in the field of children’s illustration?

Childhood Painter

First and foremost, join SCBWI. Between the conferences, the technical and professional information, and the community, the organization provides an unparalleled wealth of resources for someone new to the field. I owe much of my career to SCBWI, and I specifically want to emphasize the importance of the community generated by SCBWI.

As illustrators and writers, our work is largely solitary, and it’s so important to find a group of like-minded folks. They can both provide moral support on those hard-to-work-through days of doubt, and also honest feedback on your work.

If you don’t yet have an agent, editor, or art director to turn to for creative feedback, it’s helpful to have critiques from peers. I still look to my illustration critique group for a first round of editing and feedback well before I pitch a new story or dummy to my agent.

Cynsational Notes

Angela Cerrito is a pediatric physical therapist by day and a writer by night. She thinks she has the two best jobs in the world.

Her latest novel, The Safest Lie (Holiday House), was named a finalist for the 2015 Jewish Book Award, a Sydney Taylor Notable Book for Older Readers and a Notable Social Studies Book for Young People.

Angela coordinates the SCBWI Bologna Interview series, volunteers as SCBWI’s Assistant International Advisor and is a Cynsational reporter in Europe and beyond.

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By Elisabeth Norton
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Elizabeth O. Dulemba is an award-winning children's author-illustrator with more than two dozen titles to her credit, including her debut historical fiction, A Bird on Water Street (Little Pickle, 2014), which has been awarded thirteen prestigious literary honors, including Georgia Author of the Year and a Green Earth Book Award Honor.

Elizabeth splits her time between Roanoke, Virginia, where she teaches Picture Book Design as visiting associate professor at Hollins University in the MFA in Children's Book Writing and Illustrating program, and Scotland, where she is currently pursuing an MFA in Illustration at the University of Edinburgh.

Elizabeth maintains and active blog where she hosts author/illustrator guest posts each week and gives away free coloring pages. Her weekly newsletter has more than 3,600 subscribers.

Elizabeth, welcome to Cynsations! Thank you so much for taking time to talk with me today.

Thanks so much for having me!

Can you tell us a bit more about your background? How long have you been an illustrator? What led you to pursuing a career in children’s books, and specifically in illustration?

Hoo boy. I’ve wanted to illustrate picture books since I was a little kid. I used to stare at Garth Williams’ illustrations in The Golden Book of Elves and Fairies (1951) and wish I could create that same magic with my art.

As a kid, I always had a drawing pad and pencil with me. Of course, back then, I didn’t know real people actually made books. And even though the adults in my life knew I was an artist and supported me with lessons my entire life, they steered me towards a more stable lifestyle.

I became a graphic designer for many years. I was always in-house illustrator, though, and I never stopped dreaming about creating books.

When I married my husband, I got the chance. We moved to be together, and I went freelance while I pursued my dream to illustrate books. Three years in, I got my first contract to illustrate The Prince’s Diary (Lee & Low, 2005).

You have illustrated both your own stories, and those of others. Is there a creative difference for you as an illustrator when you are illustrating your own work, versus illustrating someone else’s work?

It took me seven years to get my first contract as both author and illustrator, Soap, Soap, Soap (Raven Tree, 2009). Until that time, I had a lot of fun coming up with images for other people’s writing - I still do. But yeah, it’s a blast to come up with my own text and images.

Heck, I imagine it will be fun to have another illustrator use my words at some point. It’s all about telling stories and creating! I love all of it!

What mediums do you work in?

I’m currently pursuing an MFA in Illustration at the University of Edinburgh College of Art. It’s an introspective and experimental time for me. I feel like I’m in the thick of a creative chrysalis at the moment.

So while I was digital for my first 15 years, I’ve been working with more traditional media of late, getting messy with paint up to my elbows.

We’ll see what style steps forward as my fave. I don’t know yet!

Does this vary depending on the type of project?

Yes! I tend to follow the vision of the story rather than stick to one particular personal style (so far). Although, I’ve been told that when you look at my works on the whole, they all look like mine. Ha!

Do you have a favorite medium or illustration tool?

Elizabeth's studio

Not at the moment! I’ve been leaning towards dip pen and ink with watercolors. But I just discovered dyes, and I don’t want to throw out the computer altogether, so we’ll see!

Can you tell us about your typical creative process?

I’m right in the thick of a new project, so I can share exactly!

Right now, I’m in the research stage. I’m looking at images, costumes, architecture, landscapes, color palettes, trying to soak in the looks of the story I’ll be working on - get it set in my head. I broke out the text into the key moments I think I’ll need to illustrate. And I’ve done some very rough thumbnails to get an idea of how the story will visually break out.

Next, I’ll start doing sketches - tons and tons and tons of sketches! Slowly, I’ll start working out my compositions and get bigger and tighter with those. Then I’ll start playing with whatever media I choose. I love the rendering stage the best, so I can’t wait to get to that!

Does it vary depending on what kind of project you are working on?

Y’know, not really. I was sitting here doing online research, and for a minute I thought, “I’m not drawing, why am I wasting time?” And then I realized that I always do it this way and I’m not wasting time at all!



What is a typical creative session like for you?

There’s no such thing as a typical creative session! It’s always different.

Even though my processes remain similar, I might be researching, sketching, painting, digitally rendering - all while listening to music, an audiobook, or requiring absolute quiet so that I can concentrate. It all depends on what stage I’m in.

Do you have a dedicated place that you like to create? Has that changed for you over the years?

Right now, my dedicated space is my desk at the university. It’s a big change from my dedicated studio/office bedroom in the states! But I love the energy of being surrounded by creative students.

I also love that I have to walk through beautiful Edinburgh every day to get here (1.6 miles from my flat). My view is of 17th and 18th century buildings, and lunch often involves meandering into one of the loveliest and oldest areas of the city (Grassmarket). Yeah - it rocks.

You are also the author of a middle grade novel, A Bird on Water Street (Little Pickle, 2014). What was that creative process like for you, in contrast to the very visual medium of picture books?

Completely different. I didn’t realize I was writing a novel when I started it, but dozens of interviews, rewrites, and ten years on, I’m a novelist!

A Bird on Water Street has gotten fantastic reviews and even won 13 literary awards and honors! I’m so proud of the novel, it’s done some wonderfully positive things for the community in which it took place, and for me personally. It has its own web page at http://ABirdOnWaterStreet.com.

As far as the creative process when writing - it has to be dead quiet outside my head because it is so loud inside my head! Now that the writing muse has been set loose, there’s no stopping her.

Sadly, she doesn’t get along very well with my illustration muse. They are constantly battling for my time.

Do you have plans for more middle grade works?

I do! I have about three or four other novels that are at various stages. It’s hard to concentrate on novels right now, though. School is keeping me unbelievably busy, and I don’t get unified chunks of mental space where I can focus on one project.

Instead, I’m working on dozens of projects all the time right now (including personal projects - mostly picture books - and school projects). But spring break is coming, then two months of summer before I head to Hollins University where I teach in the MFA in Children’s Book Writing and Illustrating program, then over a month free before school starts back.

I’m planning to do some concentrated creating in those windows!

I loved your recent TED talk. Like you, my husband and I sold our house and most of our possessions to make a move from the U.S. to Europe. For those who haven’t seen your TED talk yet, can you tell us what led you to make that move?

Thanks! I’ve received the nicest emails from folks who feel the same way or have experienced something similar. It’s been a tangent from my children’s books and school studies, but equally as gratifying. I think a lot of folks are experience-based people trapped in stuff-based lifestyles and could do what I did… I sold almost everything I own to move overseas and go back to school.

Truly, the best way to understand my journey is to actually watch my TED talk.

While it’s not specifically about children’s books, it describes the motivation behind how I live my life, which is all about children’s books!


So you’re currently studying children’s illustration in the masters of fine arts program at Edinburgh University in Edinburgh, Scotland. Can you tell us more about your plans once you complete that program?

I’m going to pursue a PhD in Picture Books! Several reasons have come together in my life to make an advanced degree make sense for me. And who knows, I might actually become an expert!

Through it all, I’ll continue to teach at Hollins University in the summers (it’s a summer MFA program).

After that, I really don’t know. That’s one of the nice things about being mobile. I don’t feel trapped by anything anymore. The future is exciting and shiny!

What is the one piece of advice you would give an aspiring illustrator or author?

Follow your heart, not the trends. The only thing you can control is yourself. Heck, you can’t even always control your own creativity.

Be willing to jump down rabbit holes and see where creativity leads you. More often than not, your instincts will take you someplace good - especially if you get your pesky brain out of the way.


Thank you so much for spending time with us today! It’s been an absolute pleasure to talk to you.

Thank you! I’m honored!

Cynsational Notes

Elisabeth Norton grew up in Alaska, lived for many years and Texas, and after a brief sojourn in England, now lives with her family between the Alps and the Jura in Switzerland.

She writes for middle grade readers and serves as the regional advisor for the Swiss chapter of the Society of Children’s Book Writers and Illustrators.

When not writing, she can be found walking the dogs, playing board games, and spending time with family and friends. Find her on Twitter @fictionforge.

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

Add a Comment

By Angela Cerrito
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Rahele Jomepour was born in Mashhad, Iran. She moved to the United States in 2011 and graduated with MFA in Visual Arts from Iowa State University in 2015. 

She is a professional children's picture book illustrator and painter, living and working in a tiny city of Ames in the state of Iowa. 

Rahele has illustrated seven children’s books, including Donkey in the Woods, The Great hunting, The Lion and the Rabbit, The Grape Garden. Follow her Instagram/blog.

I really enjoyed the detailed coffee cup illustrations on your website. What inspired this set of illustrations?

I started to draw on paper coffee cups right after I came back from the SCBWI conference in Los Angeles, summer 2013. I was overwhelmed with a lot of fabulous information I had received from the workshops and people who share the same love of picture books.

I actually went to the university’s coffee shop and ordered my regular coffee. While I was reviewing my notes from the conference, I started to just draw on my paper coffee cup as a mental break.

Suddenly I found the surface of the coffee cup very smooth and very friendly to work with in pencil. I looked around and imagined myself and other people as different type of animal characters - rabbits, dogs, cats, etc. Later, I started to think how cool it would be if I kept all of my coffee cups every day and instead of drawing in my flat sketchbook, use my coffee cups as my daily round sketchbook.

This unique dimension altered my understanding of composition, forgoing page borders in exchange for unending movement. I found this idea to be vital in illustrating a story - propel the viewer toward a world without borders and limitations imposed by the edge of a page.

All drawings include every simple joy we have in our routine life and sometimes we forget about them. The illustrations help my audience to take a look back into their inner child and invite it to come up and play the life and enjoy the freedom of uninhibited self-expression. This open-ended approach to storytelling helped me find a new style in illustration.

You categorize your children’s art in your website into two categories “fine & detailed” as well as “loose & simple.” Is this a decision you make before starting on a piece? Or is it something you decide after completion?

Mostly this is an afterthought. Some works are highly detailed images of simple ideas, other times they are sketches containing a great deal of meaning. These categories describe how I’m feeling at the time.

Some works I really focus on, and curate every detail. Other works I’m just not so patient with, and need to just get the basic point across and move on.

But the major differentiation is not always in terms of graphic detail. Sometimes I spend extra time on subtleties that illustrate complexities of life, whereas other times I just want to make something that is easy for people to relate to.

There are times in our lives when we look at every little detail, and focus on it intently, and other times in our lives where we just want to ‘take it easy’. I only make the distinction on my web site to aid the viewer, not necessarily to define my work.

What was the inspiration behind "Donkey in the Forest," your piece that was a finalist for the SCBWI Bologna Illustrators’ Gallery?

"Donkey in the Forest" was part of a series of images associated with a series of books I recently completed with a publisher in Iran. These books were part of a national curriculum that millions of young people took part in, as part of national testing.

I was honored to be included in this project, as it drew on stories and themes that have been part of Iranian culture for hundreds, even thousands of years. Stories are the conduit of human understanding through the ages. It is through metaphor that we grow and maintain a sense of who we are, our place in this world, and our duty to grow.

The donkey represents so many aspects of humanity. His reflection is our reflection, and through his life experience we evaluate our own. Have we grown? Have we been content with our own understanding of the world? Is it a fact that everything we believe is true?

Letting go, and connecting with the small animal that is ourselves is a step toward understanding these broader issues. The donkey is simply a trusted friend with whom we can travel, each on our own unique journey.

How has your art changed over the years?

Art for me over the years has changed with my life, as anyone else. As a teenager in Mashhad, Iran, I was interested in testing limits as any normal teenager would. I felt lost and alone, burying myself in books and culture well past the limits of my own neighborhood and city in an attempt to know that which is not widely known, or see that which is not readily available in a confusing and contradictory world. In my twenties, I was concerned with independence and growing past my preconceptions of those expectations upon me. There were a number of pieces of art that I produced that I was excited to publicize, but I knew better as it may have proven difficult for my family or detrimental to my career.

I grew past this impulsive and sometimes mischievous phase into my thirties as a master’s student at the University of Tehran. Unfortunately, I had not yet understood the boundaries and cultural limitations that my work tested, and I left before I was finished with my MFA.

Since coming the U.S., I have tempered my message, working to understand the deeper meanings of my roots, while also refining and broadening my messages to appeal to a wider variety of audiences, enabling people to think and question the world around them without fear of persecution.

The donkey relates to us that we are all put on this Earth to live, and breathe, and feel and love, right or wrong, and that it’s ok to relate to an image that may reflect our emotions at the time. The donkey also carries with him the test of human character over time, that all of our cultures have come from somewhere, and are worthy of patience and understanding.

What are you working on now?

I have several projects at the moment. Project Art at the University of Iowa Hospitals and Clinics is part of the “Percent for Art”--an effort promoting education and cultural understanding within public spaces.

Two projects focus on public spaces and our relation to them. The BenchMarks project in Iowa City takes a simple public object, a bench, and creates a metaphor for public engagement, encouraging passers-by to relax and enjoy a peaceful moment that their community has provided.

The second project is through City Sounds, The Des Moines Public Piano Project. This project takes used pianos, subjects them to visual artistic interpretation, and places them throughout the greater Des Moines area in attempt to draw out and engage the public in well-mannered frivolity under the sun, with music and sound at their fingertips.

I have also begun collaboration with a New York agency working on a new and evolving project focusing on education-oriented work for school-age children.

What advice would you offer someone just starting out in the field of children’s book illustration?

The common adage in writing is “Write what you know.” Illustration is no different, in that one should illustrate what they see, both through their eyes and through their mind.

Likewise, this is not as easy as it sounds, so don’t be afraid to see things differently. Not every dimension is well-defined, and not every answer is questioned.

Cynsational Notes

Angela Cerrito is a pediatric physical therapist by day and a writer by night. She thinks she has the two best jobs in the world.

Her latest novel, The Safest Lie (Holiday House), was named a finalist for the 2015 Jewish Book Award, a Sydney Taylor Notable Book for Older Readers and a Notable Social Studies Book for Young People.

Angela Coordinates the SCBWI Bologna Interview series, volunteers as SCBWI’s Assistant International Advisor and is a Cynsational reporter in Europe and beyond.

Add a Comment

By Angela Cerrito
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

From an early age, Dorothia Rohner knew she was an artist. Inheriting her artistic parent's fascination with art and nature, she was encouraged to pursue and refine her skills. She studied technical illustration, fine art, art history and graphic design. 

Eventually, she earned her degree in Biological Pre-medical Illustration from Iowa State University—a curriculum that allowed her to combine her love of illustration and science. 

As an artist, she has worked in various fields: scientific illustration, animation, graphic design, nature painting, licensing and gift design. She now works from her studio, surrounded by woods, overlooking a small pond where she writes and illustrates stories for children; inspired by nature, imagination and a tad bit of humor. She also enjoys creating pop-up and moveable books.

Her illustrated children’s books include: Numbers in a Row, An Iowa Number Book (Sleeping Bear Press) and Effie's Image (Prairieland Press). 

Her work for children has also been published in Cricket Magazine. 

Her illustration, Firefly Forest, was the Grand Prize Winner at 2014 SCBWI Bologna Illustrator Gallery, Bologna Children’s Book Fair. 

That same year, she was selected for the 2014 SCBWI Portfolio Mentorship Award at the SCBWI Summer Conference. 

Her portfolio was one of six chosen out of two-hundred. Follow Dorthia: Instagram & Twitter: @dorothiar and Facebook.

What inspired you to begin creating illustrations for children?

When I was small, my mother wrote stories for my six siblings and me. She created believable worlds and illustrations to go with them. They were never published, but I remember how magical an ordinary day became when she shared her stories with us—inviting us into her imaginative worlds.

My mother’s influence first inspired me to want to create books for children. Years later, while studying scientific illustration, the class assignment was to make a spread for a children’s book. That studio project sparked my childhood memories and rekindled that desire to make books for kids. It took a little while, but eventually I illustrated my first children’s book.

How has your experience with scientific illustration influenced your work for children?

Good question! The transition from creating scientific to children’s illustration has been interesting journey for me. Because of my scientific training, I wanted to add every detail into an illustration. For children’s illustrations, I’ve had to un-learn some of that training in order to leave emotional room for the viewer, exaggerated expressions, emotion and motion. I’m still working on that.

My training has influenced me to enjoy drawing animals, plants, birds and insects living in the natural world. However, with my illustrations for kids, I find it much more fun to add in a few fairies, and other whimsical critters.

What was the inspiration for the illustration Firefly Forest, winner of the 2014 SCBWI Bologna Illustrators’ Gallery?

I’ve always been fascinated with fireflies because of the magic they bring to summer nights. Years ago, like most children, we used to chase and capture them to fill our jars with light.

Inspired by these memories and the forest we now live near, I sketched out the trees that speak only truth, an angry council of fireflies that rule the forest and a little girl carrying a jar full of fireflies, searching for her brother. I intentionally left the narrative open for the viewer to interpret.

I created this illustration in two days and I really enjoyed working on it. However, I almost didn’t enter the BIG contest because I thought it was too odd of an illustration. However, I ended up sending it anyway. I’m glad I did.


What are you working on right now?

With the input of my agent, Laura Biagi, I am revising a manuscript that is almost ready for submission. Yay! I’m finishing up the character sketches and illustrations that will accompany this story.

While I was in New York at the winter SCBWI conference, I was able to meet with Laura to discuss my other projects. She asked about the story behind Firefly Forest, so I am brainstorming and diving into that next. I also received helpful input from an art director in New York on a novelty fairy book, so I will be revising that too. I also have a sketchbook filled with ideas that could be potential stories.

Dorothia & Laura

What advice would you offer illustrators who are just starting out in the field of children’s literature?

The advice I try to remember is patience, practice and perseverance. It’s hasn’t been that long since I began focusing on making books for children, so I still feel new to this, too.

In any field of creating art, I believe it is essential to honor your individuality and create from the inner voice. This helps to quiet the inner critic that so often leads to comparison and competition with other artists. It is important to study other artists work, get involved with online picture book communities, and celebrate other’s successes.

I would suggest joining SCBWI, going to conferences, getting portfolio and manuscript critiques, joining local critique groups and finding like minded people who you can learn from, share with and enjoy the journey. Lastly, read lots and lots of kids books!

Cynsational Notes

Angela Cerrito is a pediatric physical therapist by day and a writer by night. She thinks she has the two best jobs in the world.

Her latest novel, The Safest Lie (Holiday House), was named a finalist for the 2015 Jewish Book Award, a Sydney Taylor Notable Book for Older Readers and a Notable Social Studies Book for Young People.

Angela Coordinates the SCBWI Bologna Interview series, volunteers as SCBWI’s Assistant International Advisor and is a Cynsational reporter in Europe and beyond.

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By Angela Cerrito
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

New-York based illustrator Annie Won received her MFA at the School of Visual Arts in New York. 

Her style is characterized by the use of digital collage, mixed perspective, and a dreamlike quality that speaks to the imagination of children. 

Her illustrations will appear in The Dragon Circus, Tea Party, Picnic in the Snow, and Welcoming Song, ibooks such as The Old Man and The Sea, The Hound of the Baskerville and picture books that will appear in 2017.

Congratulations on your illustration The Light being selected as a finalist for SCBWI’s Bologna Illustration Gallery. SCBWI will display The Light at the Bologna Children’s Book Fair. Can you tell us about the inspiration for this illustration?

Thank you to SCBWI for selecting my piece. I am so pleased to have such a great opportunity. I hope I can attend the Bologna Children’s Book Fair one day.

I can’t say what inspired me exactly. It may have been a sweet lyric of a song, a warm breeze across my face or a touching story from news. What I know is all of those were mixed harmonically and made me to create image of mother and her child.

As a children’s book author-illustrator, my illustration is always based on stories. It’s funny that I need a full story even though I draw a simple doodle. And The Light is the peak moment of a story about a Mother who finds her lost child.

I can see that emotion in the illustration. When did you begin drawing?

I started drawing when I was able to grab something to draw with. My official artistic career started with my first job. I was a computer game concept artist. I drew all kinds of things such as characters, trees, clothes, weapons and more for the game.

However, after working as a designer about seven years, I decided to do something more meaningful for both people and myself: a children’s book author-illustrator. I studied at School of Visual Art and after graduating the awesome course, now I am working as a freelance illustrator.

What led you to children’s book illustration?

I love children’s picture books. They are each like a small art gallery with brilliant stories. Also I’m always amazed by how children read stories from a single image. They even find something interesting in my image that I haven’t recognized!

You’ve illustrated work for children’s magazines, including the cover for the back to school issue of Spider (September 2015). What do you enjoy most about magazine illustration?

I like magazine work because I can try something new for each piece and have to complete those as fine images. I must get successful results right away, since I don’t have much time to start everything again. Compare to children’s book assignment, magazine assignments have to be completed on a tighter deadline. Thus it is pretty tough but I love the challenge. And I love my editor Sue, who encourages me to try the new thing.

What advice do you have for others who are starting a career as a children’s book illustrator?

Do not to give up your dream. It seemed like I would never get a book assignment until I was offered my first assignment by Little Golden Books.

Before that, I tried my best to promote my work and learn from others. I made more than dozens of picture book dummies, sent bunch of postcards to publishers, presented my portfolio to several publishers, joined SCBWI and attended three conferences, enrolled children’s book boot camps and more. While I was trying those things, nothing was sure and clear except one thing: I believed that my dream would come true if I don’t stop trying.

What are you working on now?

I just completed my first Golden Books illustration assignment. And now, I am working on another magazine piece, cover art for Ladybug magazine. I am also developing my own story for a picture book, too. I am truly happy to start my career as children’s picture book illustrator but I hope I can publish my own story as well.



Cynsational Notes

Angela Cerrito is a pediatric physical therapist by day and a writer by night. She thinks she has the two best jobs in the world.

Her latest novel, The Safest Lie (Holiday House), was named a finalist for the 2015 Jewish Book Award, a Sydney Taylor Notable Book for Older Readers and a Notable Social Studies Book for Young People.

Angela Coordinates the SCBWI Bologna Interview series, volunteers as SCBWI’s Assistant International Advisor and is a Cynsational reporter in Europe and beyond.

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By Angela Cerrito
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Ying Hui Tan is a Malaysian Chinese illustrator. Born in a small town, Teluk Intan, she graduated with a degree in 3D Animation at the University of Hertfordshire and currently living in Reading, U.K. She spent the first few years working as a concept artist for games and cartoon series then she decided to become a children’s book illustrator. 

She loves storytelling and giving ideas while working with talented people. Her favourite parts of creating her artwork are mixing colours and experimenting different lighting setup for her scenes. 

Tan’s dream as a children's book illustrator is to spread positive energy, thoughts and happiness to another because she believes everyone is born kindhearted and have a choice to forgive and help another. 

Tan spent her free time traveling with her husband and camera, eating local food, taking good photographs and meeting local people or just staying at home watching classic old films, listening to oldies and cooking new dishes. Tan loves animals especially whales, dogs, dragon like reptile and dinosaur, she wanted to adopt a dog someday.

Congratulations on having your illustration Dreamer Whale selected for SCBWI’s Bologna Illustrators’ Gallery. Dreamer Whale will be displayed by SCBWI at the prestigious Bologna Children’s Book Fair. What inspired Dreamer Whale?

Thank you, I am thankful for being selected as a finalist and taking part of this interview. I always fond of whales, especially blue whale. They are the biggest living thing yet they are so gentle and elegant, they can sing too! I don't know how to swim but I always imagine myself swimming closely with them just like a kid having a dream.

Your career as an artist has included many fascinating achievements from working as a concept artist for games and cartoon series to 3D animation and now children’s books. 

How do these experiences influence your current projects?

Those experiences help me see my art differently, making a children's book is like building a 3D world for me, everything has to start from scratches and find the connection between them. Since I left the games and animation industry, I always start from a story before I creating a character or a scene. I don't like to paint without my soul and feelings, so having a background story really helps me to stay excited of making the scene looking right to tell the story.

Being a children's book artist is really fun because I can be a director and photographer at the same time, the biggest challenge is using limited frames to tell a story and make each page / frame counts.

As a woman from a small town in Malaysia who now lives and works in Reading, U.K., do these experience inspire your art?

I have been living in the U.K. for more than five years without my family and friends. I never felt this loneliness and emptiness before. What I could do to help myself is creating and imagining happy and beautiful things to keep me going.

You mention on your website that it was your love for Japanese anime that got you started drawing. 

Did you first draw your favorite characters? Or did you create your own stories?

I drew my favourite characters at first because I didn't know I can draw, then soon I started creating my own stories, it was more fun to create my own.

What are you working on now?

I'm working on a new book called JoyN'TheVoid, a book to help children opening their mind and feelings towards happiness and helping another.

What advice do you have for artists just starting out in the field of children’s book illustration?

Good things will come eventually after loads of hard work, always have faith in yourself and keep trying!



Cynsational Notes

Angela Cerrito is a pediatric physical therapist by day and a writer by night. She thinks she has the two best jobs in the world.

Her latest novel, The Safest Lie (Holiday House), was named a finalist for the 2015 Jewish Book Award, a Sydney Taylor Notable Book for Older Readers and a Notable Social Studies Book for Young People.

Angela Coordinates the SCBWI Bologna Interview series, volunteers as SCBWI’s Assistant International Advisor and is a Cynsational reporter in Europe and beyond.

Add a Comment

By Angela Cerrito
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Erin Bellingham grew up in San Diego, where you could usually find her playing make believe, running around outside, reading a book, or doodling. She studied illustration at Cal State Fullerton and moved to Oregon shortly after graduating. 

She now lives in Sherwood, Oregon with her husband Ryan and their dog, Scout. She still enjoys reading and playing outside (usually with Scout right beside her). 

And of course she loves to draw and play make believe; only now, she's working at making a career of it. 

Erin has been a member of the SCBWI since 2008 and recently signed with Danielle Smith of Red Fox Literary.

Congratulations on having your illustration Tree Climbers selected for SCBWI’s Bologna Illustrators’ Gallery. SCBWI will display your illustration at the Bologna Children’s Book Fair. As a long time tree climber, I was especially drawn to your illustration. Tell us about the inspiration for this work.

The initial idea popped into my head while I was poking around on Pinterest. There was an image of this great tree with a mom and her kids posed sitting in the branches. It reminded me of some of the trees we'd seen on a trip to Costa Rica that seem to expand across your whole view. And it looked like a great tree for climbing.

So I started thinking about a tropical tree that stretched across the whole page and all the fun things kids could do in its branches.

Side Note: we just went to Maui and I saw this scene actually happening in real life on a tree near a playground. It was just about the coolest thing ever.

How did you get started illustrating?

If I'm going all the way back, it started with me pasting an image of a painter in the "What I Want to Be When I Grow Up" section of an "All About Me" collage in Kindergarten.

Add that goal to years of my loving, supportive family being just crazy enough to continuously tell me, "That's a great idea! Be an artist!" and you get me, heading to Cal State Fullerton to study illustration.

There I decided I wanted to illustrate children's books and met a couple of amazing professors/mentors. They taught me the importance of narrative in illustration, showed me what it takes to create submissions for publishers, and even got me an internship at a publisher in Los Angeles. Then, one of them introduced me to the SCBWI.

After joining SCBWI, I went to at least one conference a year and always made sure I got a portfolio critique. That gave me the feedback I needed to keep developing my craft and my style. I would also submit my portfolio for the showcases at the conferences. Eventually, a couple of digital educational publishers picked up my postcard and I got my first official illustration job.

What comes to you first a character? A story? An image? Something else?

It's probably a pretty even split between an image inspired by something I've seen and a story.

A lot of times I'll start with the piece of an image (a cool tree, a bright red barn, boy scout uniforms, the tiny bubbles underwater after you jump in a pool) then expand from there until I feel like I'm telling a story with my illustration.

I also like to write stories so sometimes I'll draw from just the idea of a story, which then helps me flesh out the writing of the story.

And other times I've basically finished writing and I'll start a dummy book, picking a few images to finish out. (I say basically finished because I always end up changing the text once I start sketching.)

Every once in a while a character will pop into my head that's so cute that I have to get it down onto paper. Or I'll be doodling and I'll draw a kid or animal that I fall in love with and I'll create an image or two from that.

What is a typical work day like for you?

I usually go for a run or do a workout in the garage if it's raining (which is a lot) when I first get up. Then I'll check my e-mail and poke around on social media while I eat breakfast.

At this point, Scout starts getting restless, so we go play until she is sufficiently worn out to leave me alone for a few hours.

When we get home, I head upstairs to my work space. If I have a project/job going, I'll jump right into that. If not, I'll take a look at my website, see what kind of things are missing from my portfolio, and start listing ideas.

I'm a big list maker. I have a ton of story ideas, observations, and even pictures of things that inspire me on my phone so I'll refer to that if I'm having an "uninspired" day.

Another option is going through the stories I've typed up to see if I want to develop any into dummy books. Then I start sketching and see what I fall in love with and start working on that.

After a while of this, Scout starts poking my arm with her nose (really not helpful when you're trying to paint/draw), which means... lunchtime! After I eat, I take Scout on a walk to the park and throw sticks for her in the woods.

If I'm painting, this is when I let my first layer of paint dry but it's also just a great time to let my mind wander, stretch my legs, and see if there are any stories going on around me. For example, someone builds these amazing fort-like structures up against the trees in the park that are really cool and mysterious. I just know there's a story there waiting to be told.

When Scout is tired again, we head home and I keep working on whatever I started in the morning, or if I finished something in the morning, I start the process of deciding what's next all over again.

Then around dinner time, I call it quits for the day and relax on the couch with my husband and still tired dog. Or if I have a tight deadline, I'll go back upstairs and work until I feel like I shouldn't be anymore (AKA I'm tired and I'm about to start screwing things up).

What advice have you received that has been helpful to you as begin your career as a children’s illustrator?

One of the best and for me the most challenging pieces of advice came from a workshop lead by Steve Malk, agent extraordinaire (that's his official title, I'm pretty sure) at the summer SCBWI conference a couple of years ago.

He emphasized the importance of refining and re-refining your submission, whether it be a novel, picture book, or portfolio, and with that, patience.

It's so easy to want to finish something and send it off right away or to complete enough pieces to fill a portfolio and assume you're ready for work right now. But you want what you're submitting to be the best you can possibly do.

So, as tempting as it is to rush through a dummy book or throw in a couple of mediocre pieces to finish out your portfolio, it's always better to stop, look with a critical eye, and revise it again.

When you think about it, taking a few extra weeks, months, or even years to create the most polished product you can and become the best at your craft that you can, will all be worth it, and seem like nothing when you start your hopefully lifetime career. With that in mind, enjoy what you do, work hard at it every day, and patience!

Cynsational Notes

Angela Cerrito is a pediatric physical therapist by day and a writer by night. She thinks she has the two best jobs in the world.

Her latest novel, The Safest Lie (Holiday House), was named a finalist for the 2015 Jewish Book Award, a Sydney Taylor Notable Book for Older Readers and a Notable Social Studies Book for Young People.

Angela Coordinates the SCBWI Bologna Interview series, volunteers as SCBWI’s Assistant International Advisor and is a Cynsational reporter in Europe and beyond.

Add a Comment

By Elisabeth Norton
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Nicola L Robinson is an illustrator based in Nottingham U.K. Her children's illustration work includes cover art, pop-up books, pen and ink illustrations, hand lettering, illustrations for children's poetry and illustrations for prints and greeting cards. She particularly loves drawing monsters, dragons, animals and architecture, often with a slightly creepy edge.

She is the author and illustrator of The Monster Machine, a monster picture book published by Pavilion Children's books. The Monster Machine was shortlisted for the Cambridge Children's book awards 2013 and selected as part of the Summer Reading Challenge by The Reading Agency.

Nicola won the Silver award in the self-promotional category at Images 36. Last year, she exhibited in London in the HAI Illustration 100 exhibition and also in multiple locations as part of the SCBWI BI showcase exhibitions. Nicola also owns and runs Teeth and Claws, her personal brand of prints and cards featuring her illustrations, predominantly dragons, dinosaurs and cats as well as other beasts too. Follow her blog and via Twitter @NLRobinsonart.

Congratulations on being awarded Honorable Mention in SCBWI’s Bologna Illustration Gallery for your illustration of The Billy Goats Gruff. I still have my copy of the Three Billy Goats Gruff book from my childhood, and I love your take on this classic tale! Was this piece part of a larger project such as a picture book, or was it a stand-alone piece?

Thank you very much! I'm pleased you like my version. The Three Billy Goat's Gruff has always been a favourite story of mine since being a small child.

I'm particularly drawn to fairy tales featuring animals and monsters so had been meaning to illustrate this for a while. It is a standalone illustration, done purely for myself- I wanted to capture an overview of the whole story with it, with a focus on the troll.

How long have you been an illustrator? What path led you to pursuing a career in illustration?

I've been drawing and creating all my life, so a career in art was a natural progression for me. I have always loved drawing particularly from my imagination.

I did art at school and went on to University where I did my degree in Fine Art, specialising in Painting. It was during my Fine Art studies that I found I really love making art with a narrative, something which tells a story be it from text or on its own and I realised Illustration was where my passion lay. I started freelancing and taking commissions when I was still a student.

I graduated in 2005 from Cardiff School of Art and Design and have been illustrating ever since. Although it is only in more recent years that I have been illustrating for children's publishing.

You are also an author. Is there a creative difference for you as an illustrator, when you are illustrating your own work, versus illustrating someone else’s work?

I had a lot of fun writing and illustrating my picture book. I found being both author and illustrator and so able to work on both text and image simultaneously was really useful- particularly when designing the layout of image and fitting the text on the spread. Being both author and illustrator gave me a lot of control over the finished look. Although as ever deciding which story elements to be shown in the artwork and what to tell in the text was a bit of a balancing act.

When illustrating other people's work I've usually have less control as there are more people's inputs to be considered. Most of my other commissioned children's book work has been for cover art and classic books which have a different set of requirements to work within than the larger canvas of a picture book. I usually work with art directors who are commissioning something very specific. I do enjoy illustrating other people's work though, and I try to bring something new to any text or cover I work on.

Do you have a favorite medium for your illustrations?

I love working in pen and ink, particularly old dip pens and nibs as well as finicky technical pens too. I love the lines which come out of them. I also love watercolours, coloured inks acrylic paint and digital techniques too. I have used a lot of different materials over the years depending on the project and subject to depict.

Is this the medium you used when creating your piece that was selected for the Bologna Illustration Gallery?

Yes. It is a combination of pen and ink drawing, watercolour, coloured ink, acrylic paint and a touch of digital fine tuning too.

Could you describe your creative process?

This varies depending on the particular demands of each project and how the end product is going to be printed, or presented. Although I always start every project with some kind of thumbnail scribbles to get a feel for the overall composition. I do a lot of research if the subject is not familiar, and often visit the library in order to read up on the topic and get a strong mental image of the subjects to be illustrated.

I then do lots of drawings, and rough sketches often going over the same ones tweaking the composition and making edits as necessary. When I'm happy with the rough sketch (or if I'm working with a client once they are happy) I'll transfer my sketch to paper to start inking and if I'm going to be working in colour I'll stretch the paper beforehand too so it dries nice and flat.

Once painted in a combination of watercolour and coloured inks I scan the artwork before moving to Photoshop for any final editing and to prepare the artwork for delivery. I often work in layers to allow for maximum flexibility, so elements can be repositioned or used elsewhere in a project. This is particularly useful for popup books and covers requiring movable elements of text or other details or vignette illustrations requiring totally clean transparent backgrounds for clean printing.

Not everything goes through this process, sometimes it is nice to just work in a sketchbook and let the ideas simmer in there for a while until they are ready to be developed. Sometimes that is where they stay.

Can you tell us about your work space?

My work space is a bedroom at the front of my house, I've only recently moved in so it is still a work in progress! It is the place that I work, and drink copious amounts of tea, and also the place where I think and read too. I also use the room for sewing and other crafty things as well as packing orders for my Teeth and Claws shop.

Moving house took ages and as a result I did not having a fully functioning work space for some time last year, working out of boxes and not knowing quite when moving was going to happen was disruptive to my work, so I am very appreciative of my new workspace now I'm here. I love it, but I will be stripping that wallpaper...

Sometimes it is nice to have a change of scenery, so I do work outside weather permitting, and I've always enjoyed working on the floor (less prone to tea/coffee spillages here too) sitting cross legged with my wooden drawing board on my lap.

What is a typical creative session like for you?

If it isn't part of a project for a client which obviously requires a solid block of work I tend to create when inspiration strikes. So my creative sessions can vary from waking up in the middle of the night with an idea from something I've been dreaming and trying to scrawl it down on paper, to whole evenings and weekends in my studio just content in my own universe.

I do stop for regular tea breaks though although I have been known to forget to make lunch if I'm particularly absorbed in my work. I hate distractions so I work best alone with no phone calls or emails to interrupt!

I like to listen to music while I work, it often helps get a rhythm going particularly when inking something with a lot of texture or detail like a city with lots of roof tiles and tiny windows or a big scaly dragon.

Thank you so much for spending time with us today! I look forward to seeing more of your illustrations in the future.

Cynsational Notes

Elisabeth Norton grew up in Alaska, lived for many years and Texas, and after a brief sojourn in England, now lives with her family between the Alps and the Jura in Switzerland.

She writes for middle grade readers and serves as the regional advisor for the Swiss chapter of the Society of Children’s Book Writers and Illustrators.

When not writing, she can be found walking the dogs, playing board games, and spending time with family and friends. Find her on Twitter @fictionforge.

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

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By Angela Cerrito
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Lauren Mills spent her youth in the woods trying to tame wild animals and has been illustrating since she could hold a crayon. She always knew she wanted to write and illustrate children’s books and was the first in the California State System to receive an MA in Illustration.

Her picture book, The Rag Coat (Little, Brown, 1991), won numerous awards including the Charlotte Award, and her original fairy tale, Fairy Wings, co-illustrated with her husband, Dennis Nolan (Little, Brown, 1995), won SCBWI’s Golden Kite for best picture book.

Mills is also a sculptor and painter, but returned to children’s books, especially after reading that her Tatterhood and the Hobgoblins (Little, Brown, 1993) had helped young girls.

Her first novel, Minna’s Patchwork Coat (Little, Brown, 2015) is a Social Studies Notable Trade Book and a Children’s Book Council Hot of the Press pick.

Congratulations on your illustration Minna’s Patchwork Quilt being selected as a finalist in the Bologna Illustrators’ Gallery. The illustration is the cover to your latest work. The novel Minna’s Patchwork Quilt is based on the much-loved picture book (The Rag Coat). What was it like to expand the characters of Minna and her family into a novel? Were there any specific challenges?

It was very gratifying and rewarding to expand Minna’s story into a chapter book. When I originally sent in the first five chapters I had only intended the book to be a small chapter book of about sixty pages. When my editors, Deirdre Jones and Andrea Spooner responded they asked for the synopsis for the rest of the novel.

 Since I didn’t have one, and I write very stream-of-conscious, letting the characters move the story along, I wrote the rest of the short chapter book in the following two weeks so I could give them a synopsis. They then wanted it longer and with more tension and character development of Minna. So, that’s when I focused more on the new characters of Lester and Aunt Nora, his grandmother, the Cherokee midwife, and changed the ending a little bit.

In The Rag Coat, Minna remembers her Papa’s words about “People only need people”, jumps off the log and heads back to school. In the novel, she says, “People only need nice people” and she resolves never to go back to school until her conversation with Lester makes her think about her own power.

Picture books are like poems or songs where every word counts and you must tell a whole story in very few words. I was daunted by the idea of writing a novel, but in some ways it’s easier to let your characters have interesting conversations without trying to cut them short.

What is difficult is tying it all together and remembering what was already said and done and keeping the reader interested from one chapter to the next.

Your sculptures have received national acclaim in the U.S. and have been recognized in Italy. How do the two art forms, sculpting and painting complement each other?

I noticed my drawing skills improving after I began sculpting and studying anatomy.

When I teach drawing, I always use sculpting to help with: perspective, anatomy and character design. Drawing and painting are a like a magician’s trick - how to show something three dimensional on a two dimensional surface.

Sculpting is the real thing. It just has to look right at all angles.

When one draws one must think about what is on the other side and how it connects to what they see from their perspective.

In addition to creating your own work, you also teach drawing as a faculty for Hollins University's MFA in Children's Book Writing & Illustrating. What advice do you offer to students who are starting out in the field of children’s illustration?

Three favorite quotes I give to students are: “Follow your bliss” by Joseph Campbell and “Do what you love, love what you do”, anonymous. And the third I think is John Burton - “It is the love of the process that pulls one through the discipline necessary to master the demands of that craft.”

I tell students that if you love doing art then make it your priority. Fit it into your day the best you can, and don’t worry how you make your living, as long as you can spend some of your day doing what you love. Somebody, somewhere will also love it and you will have made the world a better place by pleasing yourself and that other someone.

While I am a task master and believe in passing on the traditional academic teachings from the old masters. I believe that if one doesn’t love what they are doing that will show. And your love of the process, which for me is meditational, will show in your work and people will respond to that.

The only problem is that much of today’s American art education, art and book markets do not support or value craftsmanship or tradition or anything that takes a lot of care and time. “Quiet” and “precious” are seen as negative terms that don’t sell books.

Evie with a bust of her, created by her mother (Lauren)

Sometimes I wonder if I was born in the wrong century or the wrong country or both, but I have hope that my work will reach and inspire the next generation and/or the pendulum will swing back.

All the classical ateliers now are indicative of that, but we need more stories. That’s where illustration comes in. My definition of the difference between fine art and illustration is that there shouldn’t be any difference if they both are at their best.

Since this recognition of the cover for Minna’s Patchwork Coat, I have had an American agent in France ask to represent me. I’m now happy to have Erszi Deak of Hen and Ink Literary Studio as my agent and hope to expand to the European market.

The Rag Coat was adapted into a ballet. What was it like seeing your characters on stage, living, breathing and dancing?

It was thrilling to see the book translated into song and dance! It was almost an opera as well.

When someone approached me about making it a movie that’s when I thought about expanding the book into a novel myself and adding my favorite folk songs that would have been sung in 1908.

How do you juggle everything – painting, illustrating, sculpting, teaching and exhibiting your work?

I’m scattered. I work from project to project and sometimes do have too many things going on at once and our place gets very messy at times. I wasn’t writing or illustrating when I was painting and sculpting. Now, I hardly sculpt, unless it’s to make a doll out of clay I can fire in the oven.



Sometimes I get together with doll artist, Anna Brahms, and illustrators, Jane Dyer and her daughter, Brooke, and Kathy Brown to sculpt dolls. I adore sculpting but the cost of working from a model, making a mold and casting it into bronze is extremely expensive and difficult to sell these days.

Someday I would like to combine the sculpting, painting, and writing into art pieces... or perhaps a puppet show!

When I am teaching it is hard to get too much other work done, but teaching helps my art, too, and I believe in passing on what you’ve learned. Sometimes, we go on three day writing retreats with our writing group. Noticing how much we accomplished by not having any other interruptions, we’ve sometimes scheduled “at-home retreats” and just let people know we can’t be disturbed for a couple of days.

What is a typical work day like for you?

Lauren's studio

It always changes, but lately I get up at 5:30 a.m. or 6 a.m. and Dennis and I do 20 minutes of yoga stretches and exercises then go down to the first floor where there’s a gym.

(We used to live in a converted barn on 15 acres with our daughter and two whippets, but the dogs are gone, sadly, and our daughter is grown so we’re now in a converted factory building filled with lots of other artists who live on the fourth floor, and the other floors are studios and businesses such as the gym, a restaurant, hair salon, printer, photographer, yoga studio, and Figure Drawing studio... all of which we frequent!)

After working out at the gym, I make a smoothie, rinse off and get dressed into vintage, hand-made, natural clothing... mostly made by Magnolia Pearl - (I believe in creating the world you want to live in. Wearing art that harkens to another time and has a story book feel with handmade old lace or homespun linen brings me joy and brings beauty to the world I inhabit.)

At 7:30 a.m., I arrive at my elderly parents’ house, five minutes away, and make their smoothies and breakfast, take out the dog, and do whatever chores or errands they need.

At 9:30 a.m. or so I come back home and begin my work day. A lot of times it is taken up with business, so that’s why we need to schedule “creative retreats” where that’s all we do.

At 4 p.m. I may or may not go back to my parents to help them with dinner, etc...

View of Mt. Tom from Lauren's studio window

Sometimes we go to Figure Drawing at night or we continue working or we read or see a movie.

(We haven’t owned a TV for 30 years, but we do watch movies and series, such as the "Downton Abbey" or "Outlander" series or Jane Austen movies.)

Sundays we have our writing group here... either we all write for the day and critique or they just come over at 3 p.m. and we critique then go downstairs for dinner.

We belong to WMIG (Western Massachusetts Illustrators Guild) and once a month there is an illustrators meeting at someone’s home.

What are you working on now?

Lauren, Kathy & apple-head puppets at a Carle Museum workshop

I have just sent off sketches and manuscripts for three picture books about a little girl and her dog. My agent, Erzsi Deak, also has many of my picture books and novels that I’ve just sent her.

I have several novels in various stages, but the front runner is a novel version of Tatterhood (loosely based on the folk tale). My picture book, Tatterhood and the Hobgoblins came out about 20 years ago and is part of the reason I returned to children’s books.

I have read online that my book helped little girls who had felt different feel like they were special. Now that is the reason to keep writing and to publish books!

Is there any wisdom you’d like to share to other’s who write and illustrate children’s books. Especially those who are just starting out?

My advice to anyone in the book field: There are children out there who need to have books that can help them navigate this world. Do whatever it takes to create a better life for children.

Cynsational Notes

Angela Cerrito is a pediatric physical therapist by day and a writer by night. She thinks she has the two best jobs in the world.

Her latest novel, The Safest Lie (Holiday House), was named a finalist for the 2015 Jewish Book Award, a Sydney Taylor Notable Book for Older Readers and a Notable Social Studies Book for Young People.

Angela Coordinates the SCBWI Bologna Interview series, volunteers as SCBWI’s Assistant International Advisor and is a Cynsational reporter in Europe and beyond.

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By Elisabeth Norton
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Naomi Kojima is an author and illustrator of children’s books. Born in Japan, Naomi has divided her life between Japan and the United States. Her first two picture books, Mr. and Mrs. Thief and The Flying Grandmother were published in New York. 

Since then, her books have been published in Japan, France, Sweden and Indonesia. 

Living and working in Tokyo, she is that author and illustrator of picture books The Alphabet Picture Book and The Singing Clams. She has been a keynote and presenter at major Asian conferences including the Asian Festival of Children’s Content in Singapore and has given illustration and picture book workshops in India and Indonesia.

Naomi serves as the illustrator coordinator of SCBWI Japan.

Welcome Naomi! Thank you for taking the time to answer some questions about your career as an illustrator, and about serving as a judge for the SCBWI Bologna Illustration Gallery (BIG).

Can you tell us about how you entered the field of illustrating children's books?

illustration from The Alphabet Picture Book

When I was a child, I wanted to become a writer of children’s books and illustrate my stories. I went to the school library almost every day, and read and talked to the kind librarian until it was time to go home. I would look at the bookshelves and dream that someday, my books would be on these shelves, and a child like me would take them off the shelf, read it and enjoy it.

I made my first picture book for a class assignment during my senior year at Rhodes College in Memphis, Tenn. The story was based on my friend’s next door neighbor. We were sure they were thieves!

I wrote the story, drew illustrations, stapled the pages, and called the picture book Mr. and Mrs. Thief. Making the picture book brought back my childhood dream.

I knew in my heart that I wanted to keep on writing and illustrating picture books. But I had no idea how to start on the path as a writer and illustrator of children’s books. I went back to Japan after graduation, and worked as an art teacher.

Some years later, my husband and I moved to the U.S., to a college town in Massachusetts, and I met Jane Yolen. It was Jane who helped me start my career in children’s books. I went to the monthly meetings Jane organized in a small library in Hatfield. The group was called the Society of Children’s Book Writers, now the Society of Children’s Books Writers and Illustrators.


By attending the meetings, I learned how to make picture books. I worked on Mr. and Mrs. Thief, and received critique at the monthly meetings. After several revisions, Jane told me that Mr. and Mrs. Thief was ready. I made five appointments with publishers in New York City, and the editor at the second publisher showed strong interest in Mr. and Mrs. Thief and another picture book dummy The Flying Grandmother. Three weeks later, she called and gave me a contract for both books.

It was Jane and SCBWI that helped me make my childhood dream come true. And do you know what? The library at my elementary school in Tokyo has a special shelf for my books!

How did you discover your illustration style?

My illustration style is influenced by the illustrations from the books I used to enjoy as a child. One book I liked was a collection of New Yorker cartoons. It was my parent’s book, and I couldn’t understand the captions and I didn’t get the jokes, but I thought the black and white illustrations were so clever. I was amazed how much could be expressed in just black and white.

illustration from The Sparrow's Gift

Another book I loved to look through, turning from page to page, was the Fireside Book of Folk Songs, which is a 300-page songbook. I didn’t know the songs, but I would look at the illustrations and try to imagine what the ballads were about.

Many years later, I realized the illustrations were by Alice and Martin Provensen. That was a wonderful surprise!

During my school years in Japan, I was fascinated with the illustrations by E. H. Shepard in Winnie-the-Pooh; with Walter Trier, who illustrated many of Erich Kaster’s books; with Edward Ardizzone in The Little Bookroom; and Pauline Baynes, who illustrated the Narnia books.

Naturally, I chose pen and ink and water colors for my illustrations.

Do you have a favorite artistic medium for your illustrations?

I like to work in pen and ink and water colors. I like the clear and black lines of pen and ink, and a light layer of water colors over the lines. I also use colored pencils. I like to combine soft and hard colored pencils.

I like to work in pencil too. The illustrations for Singing Shijimi Clams are done in pencil. I used a mechanical pencil to get a very fine and sharp line.

Has that changed over the course of your career?

No, it hasn’t changed much. I experiment with markers and crayon, but I go back to pen and ink, pencil, water colors and colored pencils.

Do you illustrate your own stories, the stories of other writers, or both?

I illustrate my own picture book stories. I don’t think I would illustrate someone else’s picture book, but from time to time, I like illustrating long stories by other writers. As a child, I always looked forward to finding the illustrations in long stories. I think the combination of illustrations and words are beautiful, in picture books and in longer stories.

I have illustrated four stories by Japanese fantasy writer Sachiko Kashiwaba. The most recent book we worked on together is Princess Tapir’s Classmate. Her stories usually have mythical beasts and animals, which is a challenge, but also fun to illustrate.

What are the differences and/or similarities in the creative process when illustrating your own or other people's stories?

The biggest difference is, if you are writing and illustrating your own story, you are responsible for everything: the content, the plot, the structure, the quality of writing and art.

When you illustrate other people’s stories, your mission is to interpret the story, and make illustrations that represent and enhance the story.

The similarity is that you give your best to make a beautiful book.

As a judge for the SCBWI Bologna Illustration Gallery, what makes an illustration stand out to you?

Good illustrations have the power to draw you in instantly, and make you want to keep looking. The more you look, the more you see. It seems there are layers of things to look at.

It could be the movement of fine lines, the confident brush strokes, the subtle and rich colors, the careful details, the striking composition, the humor, the playfulness, the expression of the face or body that evokes a feeling, and reminds you of a place or time.

There are illustrations that are successful in catching your eye by using strong colors and composition, but when you look closely, you notice it is a dead end, that you cannot see or feel the artist, and you cannot go any deeper than the surface. Depth is an important quality in good illustrations.

The successful illustrator seems to know when to stop and when to add. This sense of balance, I believe, comes from training and experience, from many hours of drawing.

What are the benefits for illustrators from submitting their work to showcases such as BIG?

The biggest benefit for submitting to BIG is the opportunity of having your work displayed at the SCBWI Showcase at the 2016 Bologna Book Fair, where people in the children’s book business from around the world will come to browse.

Another benefit is the digital version of the shortlist portfolio, where thumbnails of artwork and contact information will be on display on the SCBWI website. SCBWI continues to display portfolios from 2010. This is wonderful, as it gives illustrators from around the world an opportunity to show their work on a long-term basis. Many editors come to the SCBWI website to find illustrators.

As you can see from this shortlist, the quality of the illustrations were very high. The judging process required a lot of concentration and energy, but I enjoyed every moment of looking at the submissions.

I know it takes a bit of courage to submit work to illustration contests, but when you submit, you are taking a step forward and making a commitment to your career as an illustrator.

What qualities do you think are important for an artist to have in order to be successful in the field of illustration for children's books?

Good drawing skills, a love for children’s books, determination, perseverance, patience, objectivity and believing in yourself. And if you want to be a picture book illustrator, read many, many picture books.

What is the one thing you wish someone had told you at the beginning of your career as an illustrator?

That life is much too short to make all the story ideas I have into picture books!

illustration from Singing Shijimi Clams

Thank you Naomi for your time! It’s been a pleasure talking to you.

Cynsational Notes

Elisabeth Norton grew up in Alaska, lived for many years and Texas, and after a brief sojourn in England, now lives with her family between the Alps and the Jura in Switzerland.

She writes for middle grade readers and serves as the regional advisor for the Swiss chapter of the Society of Children’s Book Writers and Illustrators.

When not writing, she can be found walking the dogs, playing board games, and spending time with family and friends. Find her on Twitter @fictionforge.

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

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By Patti Buff
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Christopher Cheng is the award-winning author of more than 40 children’s books in print and digital formats. The picture book New Year Surprise! is his latest publication. 

His other titles include the picture books One Child, Sounds Spooky and Water, the historical fiction titles New Gold Mountain and the Melting Pot as well as the nonfiction titles 30 Amazing Australian Animals and Australia’s Greatest Inventions and Innovations. 

His narrative nonfiction picture book Python, was shortlisted in the 2013 Children’s Book Council of the Year awards, and was listed as of “Outstanding Merit” in the 2014 edition of Best Books of the Year for Children and Young Adults, selected by the Bank Street College of Education Children’s Book Committee. 

In addition to his books, Christopher writes articles for online ezines and blogs, and he wrote the libretto for a children’s musical.

He is co-chair of the International Advisory Board for the Society of Children’s Book Writers and Illustrators (SCBWI), an International Advisory Board Member for the Asian Festival of Children’s Content (AFCC) and a recipient of the Lady Cutler Award for Children’s Literature. 

He is also the director of the digital publishing company Sparklight. He presents in schools, conferences and festivals around the world and he established the international peer voted SCBWI Crystal Kite Awards. He dwells with his wife in an inner-city Sydney terrace and is often heard to say that he has the best job in the world!

Welcome to the blog, Chris! With much more focus on diversity in children's books than has been in the past, how important of a role do you think book fairs like Bologna play in introducing young readers to children from other countries and cultures?

They are critical - we move in a global sphere but we don’t all dress the same or say the same things or behave the same way thus it is important for today’s children, no matter where they are in the world, to be exposed to the authentic literature from other countries and cultures who tell ‘their’ stories with an authentic voice.

Any tips for new Bologna visitors?
 
• It’s big so enjoy the experience.
• Plan out what you want to see, make notes ahead of time and follow your nose.
• Make notes of what you see, how the books are displayed, how the different publishers publish their content, look at the types of books that the publishers and other organizations have on display - can you find a continual link between their titles?
• Don't bug/hassle the publishers / agents / marketing folk etc. unless you have been invited.
• Don't rush home (this is especially for those of the authorial persuasion) and write the book that you have decided is the ‘happening thing’ at Bologna. It will have already been done and dusted by the time you get down to it.
• There is a lot of ‘paper’ at Bologna - you can’t carry it all … but much of it will be digital!
• Visit our SCBWI booth - we are your home away from home!
• And don’t forget to sample, no feast, on some of the amazing food that is available in Bologna.

Bellissimo!

You've had books published in markets all around the world. What do you think makes a book successful in all different types of markets?

Having a global theme, like peace/war/growing up, death, childhood, animals etc.

That said I know you can’t create a book that will fit all markets throughout the world. You have to create your own story!

I’ve read you do weeks and months of research for your historical fiction and that by the time you’re ready to write, the story has already been formulated in your head. Which I can imagine lends itself to easy drafting. 

But once the editing starts, have you had to ‘change facts’ for the story’s sake and if so, how hard has that been?

Easy drafting for sure … not so easy for editing though! There has always been too much in the story. I don’t think I have had to change the essential facts at all to ‘fit the story’ as my historical fiction has always been based on the facts themselves.

The facts themselves are often what make the riveting story!

You write for a wide range of ages and over a wide range of subjects and genres. What advice can you give authors who’d like to branch out and diversify their writing.

Know your audience. Know the genre. Know what you are writing. If it is factual - know the facts and that goes for authors and illustrators.

Write your story, and if it doesn’t work, then try it in a genre you are comfortable with.

And finally, what are you working on now? Any surprises you can share with us?

My newest title, birthed Feb. 5 is New Years Surprise! It was written to tie in with an exhibition of paper art and objects, that is being held at our National Library in Canberra (our national capital) on the Celestial Empire.

At this exhibition, visitors experience 300 years of Chinese culture and tradition from two of the world’s great libraries - the National Library in China and our National Library.

From life at court to life in the villages and fields, glimpse the world of China’s last imperial dynasty and its wealth of cultural tradition.

The exhibition (and thus, by association, my book) is being launched by the Prime Minister of Australia. Woo hoo--will have the glad rags on for that! There will be lots of twittering and facebooking going on!

That’s wonderful, congratulations! Not every author can say their book was launched into the public by the Prime Minister. 

Thank you so much for joining us, Chris. Have a great time in Bologna!
 
Cynsational Notes

Patti Buff

The tenth out of eleven children in a family that took in hundreds of foster kids, Patti Buff found solitude in reading at a young age and hasn’t stopped. She later turned to writing because none of her other siblings had and she needed to stand out in the crowd somehow.

Originally from Minnesota, Patti now lives in Germany with her husband and two teenagers where she’s also the regional advisor of SCBWI Germany & Austria.

She is currently putting the finishing touches on her YA novel, Requiem, featured in the SCBWI Undiscovered Voices 2016 anthology.

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

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By Elisabeth Norton
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Laurent Linn, art director for Simon & Schuster Books for Young Readers, began his career as a puppet designer/builder in Jim Henson's Muppet Workshop, creating characters for various productions, including the "Muppet Christmas Carol" and "Muppet Treasure Island" films. 

With Henson for over a decade, he worked primarily on Sesame Street, becoming the creative director for the Sesame Street Muppets, winning an Emmy Award. 

Currently, at Simon & Schuster, Laurent art directs picture books, middle-grade, and teen novels, working with illustrators and authors such as Tomie dePaola, Patricia Polacco, Bryan Collier, E. B. Lewis, Raúl Colón, Debbie Ohi, and Taeeun Yoo. 

Laurent is on the board of the Society of Children's Book Writers and Illustrators, and is the artistic advisor for the annual original art exhibit at the Society of Illustrators in New York. 
 
He is also an author: His debut illustrated teen novel, Draw the Line (Simon & Schuster), comes out in May. You can follow him on Twitter, Instagram, and facebook.

Laurent, thank you so much for taking the time to answer a few questions about the world of illustration in children's publishing, and about the SCBWI Bologna Illustration Gallery (BIG). 

As art director at Simon & Schuster Books for Young Readers, what is the importance of the Bologna Children's Book Fair to you and other publishing professionals?

The Bologna Fair has so much to offer everyone, and for a publisher like us, it serves more than one role. It’s a fantastic event to see what books are being published in other countries that we may want to acquire rights for to publish here in the U.S.

Also, we share certain books that we are publishing in the hopes international publishers will want to acquire, too.

In addition, we’re always on the look-out to discover illustrators from other countries that we’re not yet aware of — there is so much talent on display there!

What makes an Illustration Gallery such as the BIG at the SCBWI booth in Bologna interesting to publishing professionals?

In the U.S. and around the world, children’s book publishers know that SCBWI members are serious about their careers. So it’s understood that the illustrators on display at the SCBWI booth are both knowledgeable and professional — something very important to us when we consider hiring an illustrator who is new to us.

When an art director or publisher views an illustration showcase such SCBWI's BIG, is s/he looking primarily for illustrators for picture books, or are they also scouting talent for other illustration opportunities within the industry?

Speaking for myself, I always consider the strengths of each illustrator individually based on their work. For example, when I see someone whose strength is art that would be best suited for picture books, I may potentially keep them in mind for a future picture book. The same would be true of someone whose style is best for middle grade, etc.

Of course, many illustrators have different styles, which may be right for all types and genres of books, and I’d think about that as well.

Overall, I imagine that each art director and editor look for what he or she is publishing. Having said this, I do think the majority of art directors and editors at Bologna are looking at picture book illustration.

What makes an illustration stand out to you when you are serving as a judge for a showcase like BIG?

A few factors. Talent and skill as an artist is extremely important, of course. But I’m also looking for strong visual storytelling — children’s book illustration is all about a narrative. If a piece is more of a portrait or composed scene lacking story, that doesn’t show how an illustrator could visualize a key moment of a narrative.

Also, I’m always looking to see if an illustration has an emotional connection — readers need to be emotionally invested in a book’s characters.

I think many illustrators, when thinking of a career in children's publishing, think primarily of illustrating picture books. Yet there seem to be more and more illustrated middle grade series, graphic novels are very popular, and your own illustrated young adult novel, Draw the Line, is scheduled for release in the summer of 2016. Do you see a trend in the industry towards more illustration in books for older readers?

It’s such an exciting time for illustration in children’s literature! Picture books are being published with art using all kinds of media and in varied styles. More and more middle grade uses interior black-and-white illustrations within the pages, for all ages from young to pre-teen. And more and more art is even being used YA (young adult) fiction.

As you mention, my own debut YA novel, Draw the Line, has illustrations — 90 pages of art, in fact! It’s not a graphic novel at all, but is a traditional text novel that also has illustrations in it.

In my book’s case, the art is “drawn by” the main character, Adrian, but is of course really drawn by me. It’s a way to tell the story on a visual level to enhance the storytelling in the text. My YA is unusual in the amount of art in it, but we’re seeing more boundaries being broken down.

We have talented author-illustrators like Brian Selznick to thank in many ways. His illustrated novel The Invention of Hugo Cabret (Scholastic, 2007) really broke ground.

And then, of course, there are true graphic novels for all ages. A graphic novel differs from an illustrated YA or middle grade in that the format is like a comic book: The entire story is told through art panels with speech balloons and narrative text boxes.

However, now we’re seeing hybrid books that are mixing up all preconceptions, so who knows what comes next?

I love the idea of the illustrations in Draw the Line being “drawn by” the character! I look forward to seeing it when it releases. How important do you think it is for an illustrator to be an author as well? 

Every creative person is unique — many illustrators have no interest in writing or are not good writers, and many are extremely talented writers with a passion for it.

If you look at the most successful top illustrators in children’s literature, you’ll find those that also write their books as well as those who only illustrate books written by others.

For me and my colleagues, whether an artist is also a writer or not has no bearing on if we will work with them or not.

What qualities do you think are important for an artist to have in order to be successful as an illustrator in the children's publishing industry?

Certainly those creative elements I mention above: alent, a unique style and vision, good visual storytelling skills, and ability to bring an emotional connection to the art. But you must also be professional — children’s literature is a collaborative process.

In addition to being realistic and professional about deadlines, you have to keep in mind that art direction and editing are not personal judgments, but useful and necessary ways of communication.

Everyone in the process has her or his expertise, and we all want your book to be the best book possible. It’s a balance of creating a work of art yet being sure it sells and gets into the hands of readers who want and need it.

Another part of being a professional is making connections, getting your work out into the world to be seen, and being engaged in the children’s book world. For example, showing your art in the SCBWI Bologna Illustration Gallery!

Is there something that you think every illustrator should know, that I haven't asked?

This may seem obvious, but it can be easy to lose sight of: always be yourself! Don’t imitate others or create art that you may think art directors “want to see.” There certainly are artistic rules to follow, but within those parameters, find your own vision and dazzle us with it. Yes, use influences and inspirations in your work, but only as tools to enhance your singular style and vision.

Cynsational Notes

Elisabeth Norton grew up in Alaska, lived for many years and Texas, and after a brief sojourn in England, now lives with her family between the Alps and the Jura in Switzerland.

She writes for middle grade readers and serves as the regional advisor for the Swiss chapter of the Society of Children’s Book Writers and Illustrators.

When not writing, she can be found walking the dogs, playing board games, and spending time with family and friends. Find her on Twitter @fictionforge.

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

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Doug Cushman

By Elisabeth Norton
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Since 1978, Doug Cushman has illustrated over 130 children's books, 30 or so of which he wrote as well. 

Among his many honors, he has gained a place on the New York Times Children’s Best Sellers list and on the 2003 Children’s Literature Choice list.

The first book of his popular beginning reader series featuring Aunt Eater (HarperCollins, 1987) was a Reading Rainbow Book. 

He has received a National Cartoonist’s Society Reuben Award for Book Illustration, the 2004 Christopher Award for his book illustrations, a 2007 and 2010 Maryland Blue Crab Award and the 2009 California Young Readers Medal.

He illustrated the best-selling “Can’t Do” series, including What Dads Can’t Do (2000) and What Moms Can’t Do (2001) for Simon and Schuster. 


His recent titles include Pumpkin Time! by Erzsi Deak (Sourcebooks, 2014), Halloween Good Night (Square Fish, 2015) and Christmas Eve Good Night (Henry Holt, 2011), which received a starred review from Kirkus. His first book of original poems, Pigmares (Charlesbridge, 2012), was published in 2012. 

He has displayed his original art in France, Romania and the USA, including the prestigious Original Art, the annual children’s book art show at the Society of Illustrators in New York City. 

He is fan of mystery novels and plays slide guitar horribly. He enjoys cooking, traveling, eating and absorbing French culture and good wine—even designing wine labels for a Burgundy wine maker—in his new home in St. Malo on the Brittany coast in France.

Welcome Doug! Thank you for taking the time to answer a few questions about illustration and the SCBWI Bologna Illustration Gallery (BIG) at the Bologna Children's Book Fair.

You have had a long career in the children's publishing industry, illustrating both your own stories, as well as the stories of other writers. Do you have a favorite medium for illustrating children's books?

I love watercolor with pen and ink. There is so much expression one can have using ink line with the occasional “happy accidents” in watercolor. Pretty much all my books have been rendered in those two mediums.

It was more controlled in the beginning, but I’m trying to loosen up now. For a couple books I did everything: writing, watercolor illustration and hand-lettering the display type and entire text including the copyright. I even simulated aged, yellowing, lined notepad paper with watercolor, hand drawing each blue line on every page of the book.

My philosophy is: do whatever it takes to make the book work.

Has that changed over the years?

Moving to Paris loosened me up a bit. A few years ago, I rendered three books in acrylic, something I’d wanted to do. I love the bright colors and thick brushstrokes. I even added some collaged elements as well.

But, for me, the medium I use depends on the story. The technique I use to illustrate a book must complement the heart and soul of the story. An illustrator should never force his style on a text.

I’ve discovered digital painting recently. There’s a lot one can do with it. I’m having a grand time playing with my Wacom tablet, but I believe my training as a traditional artist has held me in good stead. Knowing the craft of drawing and painting has always helped me out with a multitude of problems! Yet, the story always dictates how I approach the way I draw my pictures.

So it varies from project to project. What influences your choice of style and medium for a given project?

Rackham

Shepard

The story is always the first thing that defines my approach to a project, even when I’m the author. An illustrator must read what’s between the lines as well as what’s on the page. The author is telling a certain story, the illustrations must work in harmony with the text.

A good example is The Wind In the Willows by Kenneth Grahame (1908). The master draftsman Arthur Rackham illustrated one (1940) edition.

He's a brilliant illustrator, one of my favorites. But his style was so wrong for the atmospheric and slightly goofy story (Toad driving a car!). He was perfect for Grimm but not for the animal denizens living along side an easy, flowing river. E.H. Shepard’s illustrations are spot on.

What qualities do you think are important for an artist to have in order to be successful as children's book illustrator?

Patience! Flexibility and a thick skin are paramount as well. This is a tough business. So many books are being published every year. But there’s always room for someone with a different voice, a unique way to look at the world.

Be aware of the trends but never be a slave to them. Follow what interests you. It may take longer but in the long run your work will be more sincere and that will catch the attention of editors and art directors. Honesty always shines through.

As writers, we talk a lot about voice, both the voice of the character, as well as our own authorial voice. Do illustrators have a voice as well? What about individual projects, or even characters?

Absolutely, illustrators have a voice. Like writers, it’s the way we see life.

In my case, I see the silliness, the zaniness in the world and through my characters, both human and animal. I’ve been told that one of the qualities people like about my work is the expression on my characters.

That’s part of my voice, my way of interpreting a text and the world in general, that internal struggle, waiting to get out. It’s like being an actor; artists must get inside the skin of the characters they’re illustrating, feeling what they feel. But, as I said earlier, the voice of the illustrator shouldn’t interfere with the voice of the author. They need to play off of each other, work in tandem together.

As a judge for the BIG, what makes an illustration stand out to you?

The BIG is a show of illustration, not just an exhibition of pretty pictures. I’m looking for art that is not only drawn and painted well, wonderfully composed and executed, but also tells a story.

I confess that much of what I see in the grand Bologna Book Fair judged art shows are marvelous paintings but they don’t tell any stories. We’re talking about book illustration here, art that serves a purpose. In many ways it’s harder and a much higher calling than easel painting.

I want to see something that dives deep into a story and tells me something in a way I haven’t seen or thought of before.

Why do you think participation in illustration showcases such as BIG is important for illustrators?

Exposure is one factor. Getting noticed. Working for a specific purpose is important as well. I’ve submitted illustrations to many judged shows with very specific criteria; size restrictions, medium, subject matter, etc. I haven’t always been accepted, but in the process of working on these pieces, I’ve learned something and expanded my working methods.

In almost every, case these pieces have always been the most popular and the most “Wow!” paintings in my portfolio. Picasso said a studio should be a laboratory.

I think shows like BIG can be a way to experiment with new ideas and techniques. Who knows? You may stumble across a way of working that may change your artistic career.

You have been to the Bologna fair on several occasions. How has your experience of the fair changed over the years?

I’m not sure that my experience has changed that much. But that’s not to say I’m bored!

It’s always exciting to see what’s being published around the world. I expect to see new things and I’m rarely disappointed. Of course digital publishing has grown since I started going to the book fair so it’s much more influential.

Through the years I’ve met more editors, art directors and illustrators so I know more people and it’s always fun to renew old friendships. And, of course there are the restaurants that I go to on a regular basis.

Over the years I’ve become friends with one of the owners. Now, that's really exciting!

What are your "must-do's" when you are there?

It can be overwhelming for a first timer. My suggestion is to wander around and “absorb” what you see, not seeking out anything specific. Take notes, jot down what strikes you.

If you open yourself to everything, you’re guaranteed to see something you would have missed if you were focused on a certain goal. I love wandering the “foreign” stands (foreign to this American, at least). There is so much creativity happening all over the world. I confess, working mainly in the American market, it’s easy to become too provincial in my thinking.

Any first time fair attendee should see as many books in as many stands that are not her market. It’s a real inspiration.

Also, as a “must-do”, I try to make a trip to Florence, only 40 minutes away by train. It’s every artist’s heritage, birthplace of who we are. It’s a lovely town chockablock with history and art (with some nice markets and restaurants!) It’s well worth a day off from the fair or staying the extra day.

Celebrating the 25th Anniversary!

Will you be in Bologna in April?

Definitely plan to go. I missed it last year and feel the need to return.

Will you be participating in the ever-popular Dueling Illustrators event at the SCBWI booth?

Yes and it’s always great fun. In past years I was teamed up with Paul O. Zelinsky, which is always a great thrill, and honor.

Thank you Doug! I look forward to seeing you in Bologna in April.

Cynsational Notes

Elisabeth Norton grew up in Alaska, lived for many years and Texas, and after a brief sojourn in England, now lives with her family between the Alps and the Jura in Switzerland.

She writes for middle grade readers and serves as the Regional Advisor for the Swiss chapter of the Society of Children’s Book Writers and Illustrators.

When not writing, she can be found walking the dogs, playing board games, and spending time with family and friends. Twitter: @fictionforge

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

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Photo by Peter Nash

By Patti Buff
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Susan Eaddy works in her attic studio writing picture books and playing with clay. She was an art director for fifteen years, during which time she won international 3D illustration awards and a Grammy nomination. 

She lives in Nashville, Tenn.; and is the regional advisor for the Midsouth chapter of SCBWI and a co-organizer of the SCBWI Bologna Book Fair. 

Her illustrated books include Papa Fish’s Lullaby by Patricia Hubbell (Cooper Square, 2007) and My Love for You is the Sun by Julie Hedlund (Little Bahalia, 2014). Her latest picture book, Poppy’s Best Paper, was released by Charlesbridge in July 2015.

She loves to travel and has used the opportunity to do school visits anywhere in the world from Taiwan to Alabama to Hong Kong and Brazil.

Hi Susan! Thanks for participating in the 2016 SCBWI Bologna Book Fair interview series.

With much more focus on diversity in children's books than has been in the past, how important of a role do you think book fairs like Bologna play in introducing young readers to children from other countries and cultures?

I think that book fairs like Bologna offer hope and understanding for our future. It creates the opportunity to come together from all over the world and find common ground in stories.

Children can only benefit from books translated into their native language to both learn about new cultures or to find that other cultures are very much like their own. With this experience, they see that kids from all over have similar feelings and experiences.

Any tips for new visitors to the Bologna Children’s Book Fair?

First of all, the SCBWI booth is your hub, and home away from home. You’ll be surrounded by friends you’ve never met before. To maximize your opportunities:

• Apply for a personal or regional showcase with Chris Cheng.
• Schedule portfolio reviews.
• Bring promo materials.
• Read the program.
• Attend the talks.
• Network!

Getting Around: Being the worrier that I am…I like to figure out where I am going via Google Maps the day before I need to be somewhere.

Since wi-fi is not always available on the streets, I take a screen shot of the map I need when I am connected, and can then access it through my phone or iPad photos whether I am connected or not.

Get city and bus maps at Tourist Info in the Neptune Fountain Piazza. Buy bus tickets there or at the Tabachi (the little kiosk).

Budget Tips: Have breakfast bars with you at all times. There are food stands at the Fair, but they are pricey and packed, and often a breakfast bar will get you though the day. Then you can splurge a bit on the dinner meal.

Some lodging comes with a modest breakfast, but if you have the option of declining breakfast for a price break, do so. You can generally get a cappuccino for much less and chomp on your breakfast bar.

If you have an apartment, buy groceries and make lunches, even some dinners.

But do eat out when you can. This is Italy! Home of spectacular food. Share a room, a taxi, a bottle of wine.

Do keep all receipts, again, remember this is a business trip.

Those are some great tips. You really are a pro. You’ve done a lot of traveling over the years, China, Italy, and Brazil. As an illustrator, how does seeing different cultures influence you?

I love getting a peek at different cultures when I travel, and specifically I love visiting the schools. One of the things that strikes me most, is how universal kids reactions and questions are.

I have had the same questions from kids in Hong Kong as I've had in Brazil. ("How long does it take you? Why clay? How much money do you make?")

Kids' artwork and enthusiasm are so similar in every culture I have seen. And since so much of my presentations are visual, language does not impose a huge barrier.

In 2015, you officially stepped onto the writing side of picture books with the release of Poppy’s Best Paper. First off, congratulations! And secondly, what particular challenge surprised you when you took off your illustrator’s hat and switched it for an author’s hat?

Thank you! I have lots of memories and ideas from my childhood.

I began writing because most art directors told me that my clay artwork was a tough fit for other people's manuscripts and that I should come up with my own stories.

As I began to write, the stories that unfolded were more complex than suited my illustration style, and the irony is that my own manuscript of Poppy's Best Paper was not a good fit for the clay!

I tried to illustrate Poppy in clay many times, until finally my agent intervened with the suggestion of using another illustrator.

Brilliant! Rosalinde Bonnet's illustrations made all the difference in the world.


Sometimes a fresh perspective is exactly what the project needs. So glad that worked out. 

I’m just fascinated by your illustration method of first drawing an outline then filling it in with clay. Do you see the image with color before you begin or is that something that changes as the page progresses?

I start with a color palette that interests me, then I explore it further in the computer or with colored pencil, working on top of copies of my original sketch. Often colors are changed a bit in the clay stage, but I try to have the colors worked out before I mix them in clay.




I can imagine mistakes can be costly. After your artwork has been published in a book, how do you preserve it and are you allowed to sell it?
 
I save my artwork in pizza boxes and other flat boxes and have my studio knee wall space filled with them. The sad thing is that if I am using plasticine, it is not a permanent medium and they can never displayed in any way but on a tabletop under glass.

I do have some framed and saved that way, but I don't sell them. I also use some polymer clay which is more permanent, but I don't sell those either. Since the end product is ultimately a photograph of my clay, I do sell large prints of the work.



Pizza boxes. I love it! What question have you never been asked on an interview or school visit, but wish to be?

Hmmmm.... How old do you feel, or rather, what is your mental age?

I think ten years old is the age I identify with most. I still think like a ten year old. I'm forever trying to figure the world out and gain experiences by feeling my way through while keeping that sense of wonder. I rarely feel like an expert, but in a way that feeds the creativity.

That's actually why I enjoy clay so much, because I don't know how to do it! Every illustration becomes a discovery process. With lots of skills, ten year olds are still trying to do things in their own way with exuberance and angst, and most are not yet jaded.

Ten is my favorite age, too. And finally, what are you working on now? Any surprises you can share with us?

I am thrilled to say that my editor and I are working on a new Poppy book! In this second book, Poppy faces sibling rivalry with not one but two adorable additions to the family.

We'll see if Poppy can learn to share the limelight!

Congratulations! Can’t wait to find out. Thank you so much for stopping by, Susan. I wish you a lovely time at the Bologna Children’s Book Fair.

Cynsational Notes

Patti Buff

The tenth out of eleven children in a family that took in hundreds of foster kids, Patti Buff found solitude in reading at a young age and hasn’t stopped. She later turned to writing because none of her other siblings had and she needed to stand out in the crowd somehow.

Originally from Minnesota, Patti now lives in Germany with her husband and two teenagers where she’s also the regional advisor of SCBWI Germany & Austria. She is currently putting the finishing touches on her YA novel Requiem, featured in the SCBWI Undiscovered Voices 2016 anthology.

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

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By Patti Buff
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Kathleen Ahrens was born in the suburbs of New York City and aspired to be an astronaut and to live in a skyscraper. Poor eyesight led her to forgo the first dream, but her move to Hong Kong allowed her to finally fulfill the second.

As a child, she read constantly — often in very dim lighting — leading to her poor eyesight, and she could often be found with a book in one hand and a dictionary in another, now clear precursors of her love of both literature and language.

Her favorite subject in high school was Latin, but her aptitude in math led her to enter the University of Massachusetts Amherst as a computer science major, later switching to a degree in Oriental Languages after she grew bored writing computer programs that mimicked war scenarios.

Currently a professor at Hong Kong Baptist University, where she is the director of the International Writers’ Workshop, she is also a fellow in the Hong Kong Academy of Humanities, and the international regional advisor chairperson for the Society of Children’s Book Writers and Illustrators. 

Hi Kathleen! Thanks for stopping by the blog to discuss the upcoming Bologna Book Fair. 

With much more focus on diversity in children's books than has been in the past, how important of a role do you think book fairs like Bologna play in introducing young readers to children from other countries and cultures?

The fact that buyers can walk from one hall to another and see and acquire books from all over the world is very important — without Bologna it would be much harder to know of and gain rights for books from outside one’s own geo-political boundaries.

In addition, while most everything is available on the internet nowadays, it’s still people who connect their friends to books they find at the fair and introduce people who buy and sell rights to each other. These connections happen quite naturally in Bologna, which make it that much more likely that the books from one country may make it to the shelves of another country.

One thing that I’ve noticed as I’ve traveled is that so many publishers in countries outside of the U.S. bring in (and translate) books from all over the world. I’ve yet to see that kind of cross-cultural diversity in U.S. bookstores, even in independent ones, mainly because the U.S. publishers are simply not buying (and translating) that many books from other countries.

Part of that has to do with the fact that US has its own rich publishing environment, but part of it seems to stem from the assumption that U.S. children will not read translated books. This assumption needs to be tested by regularly putting the very best of literature translated from other languages into the hands of readers in the U.S.

Any tips for new Bologna visitors?

I highly recommend the museums in Bologna, including the Archaeological Museum of Bologna and Museo d'Arte Moderna di Bologna (Mambo). My favorite is the Museo Civico Medievale because it contains artifacts that show medieval life in Bologna, including funerary monuments and tombs for professors, some of which have engravings that show teachers lecturing to students. Perhaps because I am a university professor myself, I find these representations fascinating, especially as the scene is still a familiar one in universities today.

One tip if you visit the museums: there are audio recordings are very well done and worth the cost of renting if available.

Great tips. I’ll be sure to check them out. Your picture books (Ears Hear and Numbers Do, both co-authored by Chu-Ren Huang, illustrated by Marjorie Van Heerden) are bilingual in English and Chinese and feature an Asian setting. How hard was it to cross both cultures in one project?

The challenges for these two picture books was in the language. I like to say I “co-argued” these books with my co-author, who also happens to be my husband.

We were adamant about having the text read naturally in both languages and yet still be clear translations of the other language. So sometimes my husband would come up with a line that sounded great in Chinese, but awkward in English, and vice versa.

Another challenge was that the editor wanted the text and illustrations explained, as she was afraid that the minimal text and illustrations with fantastical elements might be confusing.

This is not something that is usually done in picture books published in the United States, as the reader is free to interpret the text and illustrations as he or she wishes.

We compromised by providing commentary and questions in the back of the books to assist the adult reader in interpreting the text and illustrations. I think it worked out well in the end because it helps parents see that it’s okay to stop and discuss a text during a reading, and that there is no single correct interpretation. For parents who are unfamiliar with reading to young children, or who feel that a book should have a particular overt message, it’s important to let them know that multiple interpretations are fine.

‘Multiple interpretations’, which in themselves are another form of diversity. Very cool. Your other writing projects, including the one that won the Sue Alexander Most Promising New Work Award are more western based. What are some of the challenges of writing for children in your adopted country and writing for your homeland audience? And how do you keep up to date with teens from the other side of the world?

The biggest challenge is the same for any audience — namely, getting what is in my head down on paper. I can sit at the computer and see the scene perfectly in my head. I can hear the dialogue and smell the freshly-shampooed hair of a character. But all that needs to be translated to the page and that’s part of the challenge and excitement of writing.

In terms of keeping up with teens in the U.S, I know enough to know that I could never keep up. But I also know that, as Doreathea Brande said, “If a situation has caught your attention…[if] it has meaning for you, and if you can find what that meaning is, you have the basis for a story.”

That’s what I’m doing when I write — I’m finding that meaning. And when someone reads what I’ve written, they’re creating their own meaning based on what is going on in their lives at that particular point in time. So to my mind, it’s not so much keeping up-to-date as being curious and open to meanings in everyday situations and figuring out how they might intersect with universal themes and current issues that are of interest to readers.

You are extensively published in the academic world, which requires a fair amount of research. Do you apply the same research techniques to your fiction? If not, how do they differ?

Hong Kong at night

In my linguistic research, I set up a hypothesis and then test my hypothesis by gathering linguistic data through experiments or through analysis of linguistic patterns in that corpus.

When I write creatively, I utilize the internet, the public and university library, newspapers, published diaries, etc. in order to get background information for my story — the details that make a scene come alive for reader.

In the former, I’m testing hypotheses; in the latter, I’m gathering information. However, they share a similarity in that I also need to gather information before I test a hypothesis — I need to see what other conclusions researchers have before I start my own research. So I’m pretty good at locating and sifting through information — I used to do this on 3 x 5 inch note cards. Now I use Scrivener and Mendeley to stay organized.

And finally, what are you working on now? Any surprises you can share with us?

I’m working on a YA novel about two sixteen-year old half-sisters meeting up at a summer camp for the first time in ten years — one has been waiting for this summer for ages, while the other has been doing everything possible to avoid it.

What’s at stake is not only the relationship between the two of them, but also the main character’s relationship to her mother, who left her at an early age and later died while serving in Iraq.

That sounds amazing – and powerful. Hope to be able to read it soon. Thank you so much for stopping by, Kathleen. I wish you a lovely time in Bologna.

Cynsational Notes

Patti Buff

The tenth out of eleven children in a family that took in hundreds of foster kids, Patti Buff found solitude in reading at a young age and hasn’t stopped. She later turned to writing because none of her other siblings had and she needed to stand out in the crowd somehow.

Originally from Minnesota, Patti now lives in Germany with her husband and two teenagers where she’s also the regional advisor of SCBWI Germany & Austria. She is currently putting the finishing touches on her YA novel Requiem, featured in the SCBWI Undiscovered Voices 2016 anthology.

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

Add a Comment