Introducing our esteemed Illustrator Committee panel, from top left to right: Paul Zelinsky, Pricilla Burris, Dana Carey, Cecilia Yung, Laurent Linn, Jerry Bennett, Pat Cummings.
This Q&A made for a lively discussion. It included information about SCBWI's Policy on AI, The Essential Guide to Publishing for Children, Awards and Grants, and the Illustrator Gallery.
Art director Cecilia Yung began by reminding attendees that publishing is full of conflicting opinions! Learn the rules so you can figure out what you can break.
Here are a few questions asked and answered.
Q. Many of my favorite books are old. But a lot of the advice offered here focuses on modern books. How do you feel about the oldies?
A. Pat Cummings: It's good to know the history. Who illustrated what in the past? Artists build upon each other. Seeing artwork from the past is how we can learn. We focus on recent books in order to find the editors and art directors behind them. Classics are classics for a reason. These books are long-lasting because they offer something emotional.
A. Cecilia: The classics have already been done. You'll need to do contemporary versions of the classics that speak to today's children. What are today's kids attracted to and what concerns them? In retelling these stories, do not leave the kid behind no matter what.
Q. I have a different style for fairy tales. Is it okay to have different styles in my portfolio?
A. Paul: There is no rule; there are plusses and minuses. If you have two distinct styles, they both need to be good. If one style is better, they won't work together in a single portfolio. Exposing your weaknesses won't work to your benefit. Do what you love and what excites you.
Q. Finding the right agent. How do you know if you have a good match.
A. Priscilla: You need to have a good connection and communication with your agent. Check with other illustrators, information gets passed along. Honesty and transparency are important. Also, you must be able to take the critique and revisions that will come. This is still a business. A good agent will knock on doors you don't know exist. Ask a lot of questions.
Q. Social media. Generative AI. What's the what?
A. Laurent: See the SCBWI's Policy on AI. Keep in mind that nothing can be done better than what's created by the hand of a human being. The heart and soul are in the hands of illustrators.
Q. How can you balance a day job and still get started in children's book illustration?
A. Dana: Try an accountability partner. It's a great way to get to know a person, gain trust, and offer critical feedback. Join a critique group. Participate in challenges such as SCBWI's Artober. Be sure to use the hashtag. Keep in mind, that some art challenges last one week, a month, or one-hundred days. Find one that works for you. Sign up to show up while navigating a day job.
Q. Concerning graphic novels: Are agents looking for author-illustrators only?
A. Jerry: A lot of agents prefer author-illustrators for graphic novels. It makes negotiating the contract easier for the publisher.
Q. How can you reach an editor or art director?
A. Pat: If you find a book with illustrations you love, you've probably found an editor and an art director, too.
Q. What elements of an illustration capture an art director's eye?
A. Cecilia: A lot of artwork today looks alike. That's because artists think what is already being published is what art directors want. Create good characters with great craftsmanship. Create something different than what's already out there. Study picture books. Develop an original voice. What can you bring to the table that can't be done or stolen? Don't do things like someone else. What makes you you? What are your ideas? How do you feel about a piece of art you create. AI does not feel.
Q. How do I get started?
A. Dana: Research. Read blogs. Read the Essential guide (link above). Keep looking for answers.
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