This is something Donna Taylor wrote for Sprouts Magazine. Even though it was published in 2010, it still is relevant to today.
Feeling both excitement and anticipation, I passed the majestic lions and entered the New York Public Library. I was attending “From the Page to the Screen… Television Screen, That Is”, presented by The Children’s Literary Café.
Elizabeth Bird, the children’s librarian, introduced the mediator, Liz Nealon, a children’s media executive, who’d brought together the panel: Linda Simensky, VP of Children’s Programming for PBS; Diana Manson, co-founded Silver Lining Productions; author/illustrator, Laura Vaccaro Seeger, and Jim Jinkins, producer of Nickelodeon’s Doug.
During the session, speakers discussed aspects of adapting picture books to TV animation, including the fact that most picture book characters can’t be adapted.
Characters can lack fullness, be too many or too few, or they or their worlds don’t lend to storylines that can carry a series. For PBS, if not inherent, curriculum must be integrated. The idiosyncrasies of a cast of characters and setting determine how drastic the changes need to be for the adaptation.
Simensky stated a key difference between writing/illustrating and TV animation: writing tends to be solitary and TV animation is collaborative. The author generally gives up his rights and doesn’t have final say. Typically the author isn’t part of the process, sometimes by choice, though Simensky stated that when the author has input, it often makes for a better outcome.
As we viewed a clip from the upcoming PBS series The Cat in the Hat Knows a Lot About That, (airing in the Fall, 2010,) Simensky described the process of staying true to the books.
Manson discussed how the suffering economy is affecting the industry. Sponsors and broadcasters cut back, making the production process even more selective. The panel agreed that TV animation production can be arduous, with years invested developing each project. She also shared clips of Nickelodeon’s Olivia, showing different style renderings.
Seeger’s take was unique, having worked in animation before writing and illustrating. She offered a clip of the adaptation for First the Egg, showing the transformation from egg to chick to chicken, retaining the look of her illustrations.
Jinkins presented all things Pinky Dinky Doo 1 Comments on TV at the Public Library, last added: 6/11/2012
Hey, Kathy
That was very cool seeing that article up. Thanks for posting it!
In rereading it, I remembered how, in having to cut the word count for publication, the article went from conveying an “experience” to a more flat “report.” The ambience in the room that day was spectacular. It reminded me of the kind of feeling we get when we attend our Chapter events, with all the kindred spirits passionate about the same thing: children’s literature. In this case it was children’s literature and programming. I got to meet “Maria” from Sesame Street, and the producer of the show, too. Jim Jinkins was really a sweetheart and I had been in touch with him afterwards, too, having submitted an idea to him that was sparked by a project he was involved with at the time.
The panel was fantastic and it made me wish I could afford to attend more events there. They do have a mailing list which I think you can get through nypl.org, if memory serves, though I don’t think it’s called “The Children’s Literary Cafe” anymore.
I also love seeing one of my favorite pieces of artwork here. What a treat!
Donna
P.S. Great conference, huh?