Tuesday 31 March 2015
Wednesday 14 January 2015
Not the last word in endings: South East Scotland Network news
By Sarah Broadley
December is a fantastic time of year to reflect on what you have achieved in the last twelve months as a writer or illustrator. As it’s the end of the year, South East Scotland's members arrived in Edinburgh on Saturday 6 December ready to discuss our topic, 'Not the last word in endings'.
Joined by published authors Keith Gray and Christina Banach, we racked their brains about their endings and the processes they use to get there. Christina uses James Scott Bell's PLOT & STRUCTURE. A fantastic book, slowly helping you carve your way though what can seem a never-ending road, this is also the work Christina drew from when guiding our very first SES teach-in last October on plotting (http://www.wordsandpics.org/2013/11/network-news-scbwi-south-east-scotland.html). Christina noted that looking at your novel in a more unconventional way might also help - write the end first or start from the middle (another Bell work Christina recommends is WRITE FROM THE MIDDLE).
As we went round the room, we talked about our own personal experiences on writing and we all have different ways of getting there. So, if you have reached the point of no return and it's only downhill from here to the last page then...take your time, optimise the ending and Clang Like A Bell! Christina reminded us of the favourite Micky Spillane quote that Bell likes to share: “The first page sells that book. The last page sells your next book.” (See more on Bell and endings here)
Final emotion for the reader
Emotions were also the order of the day. A fascinating question for any writer was posed by new SES member Carol Jones - what emotions do you want your reader to go through when they read your book, and what’s the final feeling you’d like to convey? Sad, elated, nervous, fearful, anxious, happy, joy?
As we all come from different walks of life, we discussed how we all see the characters forming in our minds. Have you ever thought about your book in colour? What would it look like? What shape would it be? Thanks to member Linda MacMillan for that insight.
In addition to the Bell works mentioned above, books discussed this meeting include THE BUNKER DIARY, HUNGER GAMES, THINNER, A BOY A BEAR AND A BOAT and THE FOREST OF HAND & TEETH.
This was our farewell to 2014 and everything that has gone before. We have been a busy network with book launches, agents acquired, NaNoWriMo success, Scottish Book Trust Awards and so much more. Look out for more from SES in 2015, including our spectacular Nicola Morgan event on 14 March 2015, Perfecting your Agent or Publisher submission. Bookings for that are open now – do join us if you can: https://britishisles.scbwi.org/events/edinburgh-nicola-morgan-on-perfecting-your-agent-or-publisher-submission/
All the best to you all,
South East Scotland
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Sarah Broadley joined SCBWI BI in July 2013 and has recently taken on the role of picture book Eyes & Ears and PB & MG critique group organiser for BI South East Scotland. She recently attended her first SCBWI conference in November 2014 which gave her the push she needed to stop procrastinating and just get on with it!
Sarah normally writes rhyming stories for younger readers, however she finds herself throwing caution to the wind and is currently working on an 11+ that has been keeping her awake in the wee small hours.
Tuesday 13 January 2015
Proofreading Tips: Anagrams
With Laugh Out Loud as the Words & Pictures theme this month, here’s a look at some wordplay – anagrams and transpositions.
What do Tom Marvolo Riddle, VivianDarkbloom and Torchwood have in common?
They are, of course, famous and deliberate anagrams for:
- I am Lord Voldemort
- Vladimir Nabokov
- Doctor Who
The Lemony Snicket books include several anagrams of characters’ names: for fun, to reveal connections, and more. But here’s a new dilemma for you and your work-in-progress. As if you didn’t already have regular proofreading to do, how about checking out your title or your characters’ names – for unintentional and unfortunate anagrams.
You can search for this mildly amusing phenomenon using an anagram checker/solver website, there are several. Try out your title or a character’s name; the most useful results are achieved if you choose to filter for ‘words of three letters or more’ and ‘two words at most’
Thus, for ‘Proofreading tips’ there’s:
- Rapidest proofing
- Forgot drainpipes
- Drafting porpoise
‘Transpositions’ are mini-anagrams made from the letters of a single word, such as carthorse for orchestra, or raincoat for Catriona. Again, it’s intriguing to see what can be made out of a title or name you’ve chosen.
This doesn’t necessarily mean you have to find ‘untranspositional’ character names, or ‘unanagramable’ titles. It is merely useful to be aware of these possibilities. You can practise your look of ennui and savoir faire, or your witty riposte, should anyone – kids, trolls, the Press – tiresomely point out a transposition or anagram. This heads-up partners the Proofreading Tips article of April 2014 which highlighted the possibilities of unfortunate website names and title acronyms. Having checked out your anagrams too, you’ll be ready for anything.
Forewarned is forearmed.
Catriona (Raincoat) Tippin aka @ProofReadingTip will be back next month with more proofreading tips.
To see previous tips, click on this proofreading link.
Monday 12 January 2015
Ten-Minute Blog Break - 13th January
Those looking for books to help them, and their children, understand the world in the wake of this week's events should check out the excellent list by Sita Brahmachari on the Guardian Children's Books site, which includes SCBWI writers such as Miriam Halahmy and Sam Osman.
One of the authors at The Edge uses their weekly blog slot to mount a robust response to the recent violence, arguing for the continued importance of unfettered freedom of speech.
K.M. Lockwood takes a more cautious (but no less thoughtful) approach in her blog post, and focuses on the risk of polarisation in the debate on freedom of expression.
Sarah McIntyre blogged her own detailed reaction to the Charlie Hebdo killings, and voiced her hopes that the events in Paris could ultimately lead to more people around the world taking up cartooning/comics to tell their stories. Commendably, Sarah then wrote a second, even longer post called I Want to Make Cartoons & Comics But I Have No Idea Where to Start, which is full of useful advice on how to make that happen.
As for me, I deliberately haven't weighed in on the subject up till now. But I will say that I identified most strongly with that Joe Sacco comic that Sarah includes in her first blog post - free speech is all very well, but what do we want to achieve with that freedom?
OK, time to leave the weighty topics for something lighter. And what could be lighter than snow? Catherine Friess has a list of snowy picture books to cuddle around while dodging the winter weather outside.
Larisa Villar Hauser has decided to stop juggling and just "be". It all sounds very zen, but it's really a way to cope with being a writer, publisher, translator, mother etc. without going completely mad!
Finally, Liz Flanagan has an interview with someone who "popped over for a cup of tea." That doesn't sound very exciting, until you realise that Liz has Melvin Burgess in her living room! In an entertaining blog post, Melvin talks about the current state of YA and shares some tips on writing for teenagers.
Nick.
On his blog, Nick is thinking about flashbacks, and their use as a narrative device: Flashback to the Future.
Sunday 11 January 2015
Ask a Picture Book Editor
Illustration
This month, we’re focusing on some questions about picture book illustration.
For Authors
As a picture book author, it’s likely that you might also be the sort of person who likes to think visually. As the author you may have a very strong vision of how you see your text being depicted. The question is - how far should you go to convey these thoughts with your prospective publishing house?
This month’s blog will focus on three frequently asked questions that have been put to us regarding illustrations:
1 - Are illustration notes a help or a hindrance to an editor?
The quick answer to this is that minimal illustrative notes are helpful if they are really necessary, BUT excessive illustrative notes can be a hindrance.
They can be helpful when:
a) You have a clear idea of what you feel the art should show in certain places or if you think that it will add greatly to the text.
One of the best illustration notes I’ve read concerns a book about animal poo, some of which came from a squirrel. The author had made an illustration suggestion that said:
( please add a sign next to the squirrel poo saying – Caution: May contain nuts!)
It’s this kind of funny aside that adds lovely moments of humour and help direct the tone of the book.
However, be prepared that this visual interpretation of your work may not always be exactly as you had first imagined. There may often be professional thoughts and input from your editor, the publisher, the designer, the art director and, most importantly, the illustrator. As a picture book writer, you must be flexible as to how the illustrator chooses to interpret and visualize your characters and the world they inhabit. It’s important to have an opinion, but you should always be open to their perspective.
b) The art tells a different story to the text.
For instance: Here the text reads: "Sometimes, when he was finding answers, Archie made a little bit of a mess."
But the pictures show Archie's made a huge mess!
c) You have a visual punch-line
For instance, in the final spread of Billy's Bucket by Kes Gray, Billy's dad borrows his bucket to wash the car despite Billy's warnings that there are some very special sea creatures in it. Dad isn't quite prepared for what's inside this time . . .
Illustration notes are a hindrance when:
a) Your illustration notes tell more of the story than your text.
It may mean that there isn’t enough story in your words. Imagine yourself reading to a large group of children. If you have to pause too many times to explain the full story, you lose the flow of your text narrative and may lose the attention of your audience.
2 - Should I get an illustrator to do some sketches to accompany my submission?
You can, of course, but this is discouraged unless you are an author/illustrator. A publisher will judge your text on the merit of the writing and the story alone. Also, it is usually the work of the publishing house to pair your work with an illustrator who they feel will make the strongest possible team. Their aim is to create the most commercial book possible and one which will sit comfortably on their list.
3 - Should I be thinking about how the pages will look?
The easy answer to this is yes and no!
YES! As the author you should be mindful of things like pacing and setting and how to make sure you choose a range of backdrops in your story to ensure that the there is enough visual variety throughout. You have 12 story spreads to work with so think about how to maximise the distance your characters can travel. It can be helpful to create a paper dummy for yourself, so that you can get a feel for how the book reads with page turns. (You can even add stick figures!)
Little Puppy Lost, by Holly Webb, illustrated by Rebecca Harry is a lovely example of a varied journey. In the text we see a park, woodland, town street and finally, home.
Just think, if your story is entirely set in one place it will make the scope of the illustrations fairly limited. However there are ways around this - you just need to get creative!
Harry and the Monster, by Sue Mongredien, illustrated by Nick East is largely set in Harry’s bedroom and yet look at the amazing dreamscape world that she and Nick have created:
Also be mindful of stories created entirely with dialogue as these can get tricky to illustrate if the characters are just in one place chatting to one another. There has to be some sort of plot!
NO! As the author you don’t need to think about the ‘look and feel’ of the book. The finished ‘look and feel’ (by this we mean composition, typography and layout) of the books is usually the remit of the illustrator, working with the designer and editor. Standard industry practice would be for the publisher to share character sketches and roughs with you.This is usually the time when you, the author, can offer thoughts and feedback. Remember, picture books are a creative collaboration between the author and the illustrator, and you will both bring your own special ‘stamp’ to the book.
This section is split into answering the following questions from illustrators:
It’s great to see sketches, colour pieces, vignettes and full-bleed images. Also, picture book dummies if you have these. Be sure that the included pieces showcase your storytelling skills - publishers are looking to see that you can take a character through its paces in different situations. You should also have illustrations of children - or child-like animals.
2 - What styles are ‘in vogue’?
Here’s a selection of the current best-selling picture books in the UK TCM charts!
But remember, styles vary for different markets (trade, mass-market, etc.) and countries and are always changing. Generally, publishers are looking for child-centred, bright and appealing artwork that will be commercial. They are always looking for something innovative and fun.
International appeal is an important factor when acquiring picture books, since publishers are often reliant on foreign rights income to make them commercially viable. To get a good overview of what styles work for co-edition, publishers head to foreign publisher websites or international Amazon sites and browse their picture book catalogues to see the sorts of styles that work in different territories. At meetings at bookfairs such as Bologna, LIBF and Frankfurt, publishers' foreign rights teams test out new projects and artwork styles and get feedback on what is selling well. If a book sells globally that is a real boon, though some styles may work well for the USA only and only a handful of European countries, while still others may be a big hit in the Far East.
Ultimately, illustrators should aim to create an illustration style that is child-centred and unique.
This month, we’re focusing on some questions about picture book illustration.
For Authors
As a picture book author, it’s likely that you might also be the sort of person who likes to think visually. As the author you may have a very strong vision of how you see your text being depicted. The question is - how far should you go to convey these thoughts with your prospective publishing house?
This month’s blog will focus on three frequently asked questions that have been put to us regarding illustrations:
1 - Are illustration notes a help or a hindrance to an editor?
The quick answer to this is that minimal illustrative notes are helpful if they are really necessary, BUT excessive illustrative notes can be a hindrance.
They can be helpful when:
a) You have a clear idea of what you feel the art should show in certain places or if you think that it will add greatly to the text.
One of the best illustration notes I’ve read concerns a book about animal poo, some of which came from a squirrel. The author had made an illustration suggestion that said:
It’s this kind of funny aside that adds lovely moments of humour and help direct the tone of the book.
However, be prepared that this visual interpretation of your work may not always be exactly as you had first imagined. There may often be professional thoughts and input from your editor, the publisher, the designer, the art director and, most importantly, the illustrator. As a picture book writer, you must be flexible as to how the illustrator chooses to interpret and visualize your characters and the world they inhabit. It’s important to have an opinion, but you should always be open to their perspective.
b) The art tells a different story to the text.
 |
| Extract from Why? by Tracey Corderoy, illustrated by Tim Warnes. |
For instance: Here the text reads: "Sometimes, when he was finding answers, Archie made a little bit of a mess."
But the pictures show Archie's made a huge mess!
c) You have a visual punch-line
For instance, in the final spread of Billy's Bucket by Kes Gray, Billy's dad borrows his bucket to wash the car despite Billy's warnings that there are some very special sea creatures in it. Dad isn't quite prepared for what's inside this time . . .
 | |
| From Billy's Bucket by Kes Gray and Garry Parsons |
Illustration notes are a hindrance when:
a) Your illustration notes tell more of the story than your text.
It may mean that there isn’t enough story in your words. Imagine yourself reading to a large group of children. If you have to pause too many times to explain the full story, you lose the flow of your text narrative and may lose the attention of your audience.
2 - Should I get an illustrator to do some sketches to accompany my submission?
You can, of course, but this is discouraged unless you are an author/illustrator. A publisher will judge your text on the merit of the writing and the story alone. Also, it is usually the work of the publishing house to pair your work with an illustrator who they feel will make the strongest possible team. Their aim is to create the most commercial book possible and one which will sit comfortably on their list.
3 - Should I be thinking about how the pages will look?
The easy answer to this is yes and no!
YES! As the author you should be mindful of things like pacing and setting and how to make sure you choose a range of backdrops in your story to ensure that the there is enough visual variety throughout. You have 12 story spreads to work with so think about how to maximise the distance your characters can travel. It can be helpful to create a paper dummy for yourself, so that you can get a feel for how the book reads with page turns. (You can even add stick figures!)
Little Puppy Lost, by Holly Webb, illustrated by Rebecca Harry is a lovely example of a varied journey. In the text we see a park, woodland, town street and finally, home.
Here’s a selection of the current best-selling picture books in the UK TCM charts!
 |
| From left to right: Gigantosaurus, by Johnny Duddle; The Day the Crayons Quit, by Drew Daywalt and Oliver Jeffers; Pirates Love Underpants, by Claire Freedman and Ben Cort; Superworm, by Julia Donaldson and Axel Scheffler; How to Hide a Lion from Grandma, by Helen Stephens; Supertato. by Sue Hendra |
3 - What styles work for co-editions?
International appeal is an important factor when acquiring picture books, since publishers are often reliant on foreign rights income to make them commercially viable. To get a good overview of what styles work for co-edition, publishers head to foreign publisher websites or international Amazon sites and browse their picture book catalogues to see the sorts of styles that work in different territories. At meetings at bookfairs such as Bologna, LIBF and Frankfurt, publishers' foreign rights teams test out new projects and artwork styles and get feedback on what is selling well. If a book sells globally that is a real boon, though some styles may work well for the USA only and only a handful of European countries, while still others may be a big hit in the Far East.
Ultimately, illustrators should aim to create an illustration style that is child-centred and unique.
Natascha Biebow is editor, mentor and coach at www.blueelephantstoryshaping.com
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