By Elisa Boxer and Kjersten Hayes
Welcome back to our series, 20 QUESTIONS!
This is the place where we here at the Soaring ‘20s answer questions about our picture-book process.
With just two months to go until our debut year, today’s question is:
What’s been the most surprising part of your pre-publication journey?
Melanie Ellsworth
Melanie Ellsworth, author of CLARINET AND TRUMPET: “I think it’s the fact that it’s actually possible to write a picture book and get it published. Years ago, I thought that was just a dream — a possibility only for the very lucky and the inordinately talented. But somewhere along the journey, I figured out that while luck and talent are factors, commitment to your craft, perseverance in the face of continual rejection, and support from your peers are far more important.”
Susan Kusel
Susan Kusel, author of THE PASSOVER GUEST: “Crying. I have cried a lot. They’re happy tears but they keep catching me off guard. I’ve been working on this project for so long. Every time I see it get a step closer to an actual book, it’s a very emotional experience. I cried when I first saw a piece of art from the professional illustrator of something I had made up in my head. I cried when I signed my contract. I even cried when I saw the book had an actual ISBN. I’m going to need tissues when I see the final book!”
Kelly Baptist
Kelly Baptist, author of THE ELECTRIC SLIDE AND KAI: “My patience! Since this is a picture book, I imagined that I would be chomping at the bit to see the illustrations. Instead, (while I have been eagerly awaiting the draft pictures) I have made it a point to stay busy with next projects, etc., so that when there are updates, they are pleasant surprises!”
Kelly Carey
Kelly Carey, author of HOW LONG IS FOREVER: “I never thought that what seemed like such a solitary, stay-at-home career, would offer so much comradery. The long journey to publication has given me time to gather an amazing circle of writing friends and colleagues. I have always loved writing, but now I love my writing community too!”
Kjersten Hayes, author of THE ELEPHANTS’ GUIDE TO HIDE-AND-SEEK: “After years of experiencing all the roller coaster hard parts of the industry, I am constantly surprised and amazed that none of it has yet seemed to affect my love of actually making the work. I just love making stories and art for kids. Despite all the hard stuff, the work delights me.“
Rob Justus
Rob Justus, author/illustrator of KID COACH: “I guess my biggest surprise since getting my first book contract has been how much freedom I’ve had in crafting my story, especially with my illustrations and layout. I was expecting so many more comments and critiques. I guess I was lucky in providing the editor and art director with what they were looking for.”
Mary Wagley Copp
Mary Wagley Copp, author of WHEREVER I GO: “The most surprising part has been how much work I feel I have to put into getting ready for publication: business cards, website, planning a launch party and bookstore launch, staying up to date with debut group postings, thinking about school visits! On and on. But I realize that this is all part of getting the book into the world and supporting the work of fellow authors!”
Rajani LaRocca
Rajani LaRocca, author of SEVEN GOLDEN RINGS: “The most surprising part has been REALLY internalizing that a book needs to find the right home, that rejections are not a reflection on me or my writing, and that patience is the best quality to have in the world of publishing.”
Hope Lim
Hope Lim, author of I AM A BIRD: “Every part of the journey requires more waiting and patience than I had imagined.”
Angela Burke Kunkel
Angela Burke Kunkel, author of DIGGING FOR WORDS: JOSE ALBERTO GUTIERREZ AND THE LIBRARY HE BUILT: “The most surprising part has been a new understanding of time! There are long stretches between the offer, signing the contract, different rounds of edits, and just about every other benchmark. I’ve tried to give in to how time moves in the publishing industry and relish the process, from big moments to small.”
Julie Rowan-Zoch
Julie Rowan-Zoch, illustrator of LOUIS: “I suppose the biggest surprise for me has been that recognizing a great (or bestselling) manuscript is as much a shot-in-the-dark calculation for myself and my critique partners as it is for an editor or agent. Starting out, I imagined editors would just know what would sell at first sight. But they have no more super powers than we do!”
Qing Zhuang
Qing Zhuang, illustrator of HOW LONG IS FOREVER: “It was a pleasant surprise to work with such kind editors. It took me several years to break into publishing and I had imagined that editors would be rather cold and ruthless. My editors expect high quality and professionalism but they are also supportive, warm and wise.”
Vicky Fang
Vicky Fang, author of INVENT-A-PET: “I’m surprised (and excited!) every time I see updates on my book! It’s such a treat and I’m always re-invigorated when I see the amazing work my editor/illustrator/designer/team have done.”
Kirsten W. Larson
Kirsten W. Larson, author of WOOD, WIRE, WINGS: EMMA LILIAN TODD INVENTS AN AIRPLANE: “It takes many hands to make a book! Creating picture books isn’t solitary, but involves working with critique partners, agents, editor, art director, book designer, and marketing staff. Every person helps make the book the best it can be and helps it reach a reader who can fall in love with it.”
NoNieqa Ramos
NoNieqa Ramos, author of BEAUTY WOKE: “One surprise for me was how much I have been included in the artistic decisions for illustrations. I am grateful, but find it a tiny bit terrifying. All my years at conferences taught me I would have no input into the process. I even heard illustrators say they found author input to be an infringement on their interpretation of the work. It’s a new learning curve for me.”
Lindsay H. Metcalf
Lindsay H. Metcalf, author of FARMERS UNITE! and co-editor of NO VOICE TOO SMALL: “I never imagined how connected I would feel to the publishing industry, living in rural Kansas, but even my agent and one of my editors work from home. There’s so much opportunity to learn and collaborate online. And I’ve formed true friendships with people I’ve never met in person.”
Joana Pastro
Joana Pastro, author of LILLYBELLE, A DAMSEL NOT IN DISTRESS: “No publishing experience is the same. There’s no use in trying to compare timelines, order of events, or milestones. A Publishers Weekly deal announcement might come in three, nine, or twenty-two months. Some learn their illustrators before a contract is even signed, while others don’t know for over a year.“
Carrie Finison
Carrie Finison, author of DOZENS OF DOUGHNUTS: “One surprise for me is how incredibly humbling it is to realize the hours and hours that an illustrator has lavished upon my story to bring it to life. I was thrilled when my publisher selected Brianne Farley, and even though we didn’t communicate directly, I was lucky enough to get some glimpses into her process through posts on Instagram. It hadn’t occurred to me just how many details an illustrator would have to think through about my story that I didn’t have to consider as a writer.”
Candy Wellens
Candy Wellins, author of SATURDAYS ARE FOR STELLA: “I’ve heard other authors express disappointment with how the art turned out for their books. As a writer, it can be challenging when your vision does not match the illustrator’s. And even authors who like the end result are dismayed with how different it is from what they had imagined. So the most surprising part of my journey so far is how pleased I am with the art for my book.”
Abi Cushman
Abi Cushman, author/illustrator of SOAKED!: “The warm welcome of the kidlit community. Four years ago, when I first started, I viewed publication as an individual pursuit. I never would have imagined the strong kinship I now share with other authors and illustrators. We really do bolster each other up.”
Now… Over to you! Wherever you are on the picture book journey, what’s been the most surprising part for you? Leave a comment and let us know!