Sarah Davies at the Greenhouse Literary Agency sold Author Kat Yeh’s debut book THE TRUTH ABOUT TWINKIE PIE, pitched in the vein of SHUG and THREE TIMES LUCKY, about a girl who moves to a new town and tries to leave her past and her name behind, only to learn life-changing secrets about her family, to Alvina Ling at Little, Brown Children’s, at auction, in a two-book deal, for publication in Fall 2014.

Congraulations! Yay! Kudos!  

Kat and Sarah!

Egmont USA has hired literary agent Andrea Cascardi from the Transatlantic Literary Agency for the new combined role of managing director and publisher, effective immediately. Prior to joining TLA, she was associate publishing director at Random House Children’s for the Knopf and Crown imprints. Current publisher Elizabeth Law is leaving after five years with the company.

Fiona Kenshole has joined Transatlantic Literary Agency, where she will represent children’s authors and illustrators. Previously she was vp, development acquisition at animation studio Laika and before then, publishing director for OUP Children’s.

At Harper, Maya Ziv has been promoted to editor. She is looking for literary fiction with commercial appeal with a focus on women’s fiction; dark suspense (with a possible speculative twist); YA crossover; and narrative nonfiction, including memoir.

Film development and publishing veteran Ruth Pomerance will join Hyperion on January 28 as a senior editor, focusing on the acquisition and development of new stories and author talent that will translate across the Disney/ABC Television Group businesses. Most recently she was executive producer for the adaptation of Judy Blume’s Tiger Eyes and a consultant to entertainment firms. Pomerance has worked for producers including Scott Rudin, Arnold Kopelson, Fred Zollo, and John Davis, for whom she acquired and developed literary properties for film and TV, and has worked at The Rockwell Group, USA Films, Artists Management Group, and the William Morris Agency. She is known for coming across the unpublished manuscript of John Grisham’s The Firm in 1990 and helping him land a publishing deal with Doubleday and a film deal at Paramount.

At becker&mayer!, Kjersti Egerdahl has been promoted to senior editor/editorial manager for adult and children’s books.

Talk tomorrow,

Kathy

This week we have Kim Dwinell a California Girl who comes from a background in animation.  She also teaches animation and is going for her MFA in Illustration at CSU at Fullerton. 

She is currently working on a graphic novel titled, Surfside Girls, painting the domestic life of bugs, and doing freelance illustration.

Of course, living in California has given Kim the opportunity to become a surfer girl, a mom, a runner, and she says  occasionally even squeezes in cleaning her house.

Here is Kim explaining her process:

I do value studies on little “thumbnail” drawings to try and figure out where my light source is and where the shadows fall. I like to be absolutely clear on that before I start painting, since the way light is handled tells us so much- what time of day or what time of year it is, and it also reinforces the illusion of depth and form. Some artists are really intuitive about all of this, but I feel like I have to work it out logically first or I end up unhappy.

 
When I work in either red or blue pencil, I am again turning to my animation roots- animators do rough animation in blue (most studios) or red (Disney) Col-erase pencils. This method helps to “find” the drawing while staying loose and flowy. When the lines are where they’re supposed to be, then graphite is put on top. The scanning computers are calibrated to not pick up either the blue or red. I still use the Col-erase when I’m trying to find the drawing- it somehow feels like an intermediate step before fully committing in graphite.

Often I’ll go over and over with these pencils on layers of either tracing paper or animation paper, which is a little less transparent, like bond. When I finally find what I’m looking for, I’ll put it all together and graphite transfer that. The Col-erase is handy there, too, since I can use a different color line to see what I’ve already traced off.

All of this process is very meditative for me. When I’m actually working on my graphic novel, there is a lot less time to plan things out. I draw straight to the watercolor block, and paint straight ahead. It’s a very different way of working, kind of like the difference between a long, slow run and a sprint.

Also, SUP Asphalt style was done on 150 lb Arches hot-press watercolor paper, stretched and stapled onto plywood. I really love the process of preparing a paper to paint on- the soaking, the stapling, letting it dry on the porch, and the pristine surface when it’s ready.

I used Photoshop to combine the gestures of the girls and the sketches I had done from my photo reference of the environment and printed it out on printer paper.

I then graphite transferred that drawing to the watercolor paper. This is another one of my favorite parts- the clean transferred drawing on the clean paper. I use a 6B to color the back of the drawing to be transferred, I can’t stand transfer paper.

I then printed several thumbnail versions of the Photoshop-combined sketch onto one paper and did marker value studies. This clears up all light logic issues before paint goes to paper.

 I then, if the drawing is in daylight, wash the whole thing (besides any white highlights) with a yellow ochre. From this point, I feel I’ve done all the prep I can do, and I paint straight ahead until it’s done.

How long have you been illustrating?

Right after graduating with my BFA in 1993 I shared office space with a writer and a graphic designer in Laguna Beach. My “pay” was to have a desk in the office with no rent, and I did illustration and design for both of them to get some experience. That was a fun time. I went from that to animation, and then went back to grad school in 2007 to get back in touch with illustration.

What was the first thing you have painted where you got paid?

During those same days in Laguna I got some work doing logos. I did an illustrated logo for a marble craftsman and was so proud to see it on a business card and letterhead.

Have you seen your work change since you started?

I very quickly got hired into entry-level animation at various studios in Burbank. I utilized all of the variety of classes the studios offered- plein-air painting, figure drawing, animation, layout, sculpting, child drawing… the list could go on! That more than anything influenced how my work changed- I started understanding the form in everything.

I noticed you have an animation background.  How did you get involved in that?

“In the back door,” as they say. I didn’t have the money to go to CalArts, so I pasted together an education for about a year after graduating (from CSU Fullerton with my BFA in Illustration) by taking classes at the Animation Union, at ASIFA Hollywood, and at a local high school that offered animation as an ROP program. I drew and drew and drew, in figure drawing classes and at the zoo, and went to any conference where they might be hiring animators. I got my big break when I was given a hot tip at a conference to apply at Rich Animation, which was my first job. They hired me as an inbetweener. I was so nervous I didn’t talk to anyone the first couple of months on the job.

Do you see any opportunities for illustrator in that field?

There is a ton of crossover between illustration and animation. Right now I’m really enamored with the graphic novel I’m working on, because I feel it’s the closest I can get to doing both. Graphic novels are like storyboarding for animation, but with an illustration twist and page turns. Studios also utilize illustrators for character design, storyboarding and concept art.

Do you think an illustrator could learn to do some animation on their own?  What program would you suggest?  Flash?

Animation is physics plus drawing. It’s a whole different way of thinking of drawing, but an illustrator could totally work it out! The Preston Blair book “Cartoon Animation” is a great place to start. I wouldn’t suggest Flash, but a traditional capture program like DigiCel Flipbook would be a great choice. There is also a great website called animationresources.org that has a ton of useful information.

I see that you are going for your MFA. Could you give us the low down on what types of things you are learning?

Aha! I have to update my website! I have completed my MFA in Illustration from CSU Fullerton last year. It was a great experience to go back to school as an older student, knowing what holes I had in my education and filling them. I took some great classes- Plein Air painting in oils was one of the most delightful- but what I really got out of grad school was the focus I needed to get Surfside Girls off the ground. I used that project as my MFA show, and did my thesis on (deep breath) The Necessity of Social Media Promotion for the Success of Middle Grade Fiction. Whew. Basically I dug into the internet/ social media support of a fiction world- how an author has a whole new set of tools to reach an audience.  I studied how Kathleen Duey did a Twitter novel, and how Jeff Kinney started posting Diary of a Wimpy Kid on his Funbrain site. It inspired me to build a Surfside Girls website to extend the world I created.

I see that you are going for your MFA.  Could you give us the low down on what types of things you are learning?

Aha! I have to update my website! I have completed my MFA in Illustration from CSU Fullerton last year. It was a great experience to go back to school as an older student, knowing what holes I had in my education and filling them. I took some great classes- Plein Air painting in oils was one of the most delightful- but what I really got out of grad school was the focus I needed to get Surfside Girls off the ground. I used that project as my MFA show, and did my thesis on (deep breath) The Necessity of Social Media Promotion for the Success of Middle Grade Fiction. Whew. Basically I dug into the internet/ social media support of a fiction world- how an author has a whole new set of tools to reach an audience.  I studied how Kathleen Duey did a Twitter novel, and how Jeff Kinney started posting Diary of a Wimpy Kid on his Funbrain site. It inspired me to build a Surfside Girls website to extend the world I created.

I read about you doing a mural for your son’s 5th grade school cafeteria. Can you tell us something about that project? What material are you using? Do you have any pictures?

No, that one fell apart, PTA issues. Better to not talk about that one. A wretched example of miscommunication and artist abuse.

Is Surfside Girls going to be a e-book? a self-published book? or are you under contract with a publisher to write and illustrate it?

After some editing, rewriting and repainting, my agent will be sending it out in the next month or so. Fingers crossed! It’s a project that’s really close to my heart.

Do you have an agent?

I do have a lovely agent- her name is Andrea Cascardi and she’s with Transatlantic Literary Agency. She had worked previously for a number of years as an editor, so I feel very confident about her editorial suggestions. It’s great to have another set of eyes I trust looking over things before they go out for submission.

Do you have and use a graphic tablet?

I do not own a graphic tablet. I’m not opposed, but it hasn’t made its way into my toolbox yet. I’m really tactile and have resisted because I love the initial graphite-on-white-paper thing that happens when starting a drawing. I’m not sure a tablet could ever replace that for me. It does have that Command Z thing though…

Do you use Photoshop with any of your work?

I do use Photoshop to adjust color levels sometimes and to add text to speech balloons.

Do you have a studio in your house?

I do have a studio in the house. It’s out of convenience; we had an extra bedroom, and it’s right next to the sunroom, and it’s actually a really nice space. However, those of you who work at home know the challenges. The laundry’s beeping that it’s done, the dog keeps dropping her ball in my lap, the boy wants to know if I can drive him somewhere. You sure can’t beat the commute, though.

Do you follow any type of routine to attain your career goals?

I feel I have a nice balance in my life right now. I teach two classes at local universities, and that leaves me time to continue working on Surfside Girls. I have had to severely limit my focus to keep myself on track, and I think that’s the biggest step in attaining my goals. Initially as an illustrator I was producing new work all of the time, printing postcards, doing mailers, going to conferences and networking. I realized that what I need to do now is finish my project and get it out there. Not that those other things aren’t extremely important, but at a certain point in time you have to commit to one specific thing and see it through.

Any tips that you can share that might help an illustrator?

It is so important to have a support group of other illustrators. They keep you accountable and sane. Equally important is drawing every day. I learned in animation to carry a sketchbook everywhere and to constantly observe and record people and environments. I don’t think anything improves your drawing skills as much as this “café sketching.”

Are there any painting tips (materials, etc) you can share that work well for you? Technique tips?

I struggled putting watercolor over my ink drawings until I found the brown-ink Micron pens. I realized that often my color pallette is very light and the black was killing it. I also love Prismacolor grayscale markers for quick value studies. I usually do a value study for anything I’m going to paint- I don’t trust myself to understand light intuitively. Animation days have also taught me to keep a mirror by my desk where I can watch myself make the expressions I need to draw in my characters. Making the faces in the mirror is really embarrasing to do at first, and then it just embarrasses your kids. Oh, and I love how Windsor Violet lets me create shadows, especially in my Southern California light.

What kinds of things do you do to promote yourself?

I have done all of the things I mentioned before, but right now I make sure I post here and there on facebook and my blog, just to let people know what I’m up to. I post to the Surfside Girls facebook page anytime I have something new on the website. I also occasionally enter competitions and group shows.

Do you have any stories to go with your bug or fairy illustrations? Any book dummies?

I raised two older boys and have my own little one, so I think the fairies are really my need to be girly coming out. And the bugs are a reflection on the time I spent at home as a new mom raising my son- they have a lot to do with domestic life (I can’t tell you why it all came out in bugs!) Then out of the blue I started to see some imagery that was a little bit darker than what I ususally do. It involves both fairies- a tougher bunch of fairies- and mantises, and epic, medieval battle scenes. I don’t know quite where it’s going yet, but it’s on the back burner since I’m so involved in my current project. I have another dummy book on the back burner, it involves a capybara and a gecko.

Have you had an illustrations published in children’s magazines? If so, where. If not, is that something you would like to pursue?

I did a few illustrations for the L.A. Times Kids Reading Room, and enjoyed that immensely. I would love to do children’s magazines as well, but haven’t so far.

Do you have an words of wisdom to share with other illustrators?

I’m a great champion of believing in yourself and supporting your friends. Oh, and also for giving yourself a break. Some of my best work has come after giving myself some time out to clear my head. Without a refill, we go dry pretty quickly. Sometimes the beach IS a better choice than the drawing board, as long as you do go back to the drawing board.

I thought you would be interested on seeing how an illustrator take notes at a conference. This is a page from Kim’s notebook at the LA SCBWI Conference in 2010.

Thank you Kim for sharing you work and process with us. Wishing good fortune with Surfside Girls Make sure you let us know when it gets published. I am sure we are going to see your domestic bugs showing up in a book one of these days.

You can visit Kim’s at: www.kimdwinell.com  I am sure Kim would love for you to leave her a comment, so if you have a minute please leave a comment.  Thanks!

Talk tomorrow,

Kathy

On behalf of my friend, Anna Olswanger I am happy to share the following announcement about a terrific writer's workshop in the New York area.


Fall Workshop

Where Do I Go From Here?: 3 Literary Agents, 3 Opinions

You took the first step: you wrote a children's or YA manuscript that you are excited about—but where do you go from here?

We think we can help! We are three literary agents (Andrea Cascardi of Transatlantic Literary Agency, Anna Olswanger of Liza Dawson Associates, and Ann Tobias of A Literary Agency for Children's Books) who specialize in children's books and who are in regular touch with our clients and their publishers. We are once again offering our workshop Where Do I Go From Here?: 3 Literary Agents, 3 Opinions in New York City for children's book writers.

We offer this one-day workshop to help those who are trying to make sense of the publishing world. We will cover such areas as how to find an agent and/or a publisher, marketplace considerations, writing tips, and joining critique groups. We will read part of your manuscript in advance of the workshop and be prepared to discuss it with you in a small-group roundtable setting. We cannot guarantee publication but we can bring much-needed clarity to your pursuit of becoming a published author, and help you make the next step.

Workshop date:
Sunday, November 13, 2011

Location:
SLC Conference Center, 352 Seventh Avenue (at 30th Street), 16th Floor, New York, NY 10001

Time:
9:00-4:00 p.m.

Fee (includes continental breakfast and lunch):
$295.00 to September 30, $345.00 thereafter

Our previous workshops have all been a sell-out.

Contact Information
[email protected]