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Revising Rhymes

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Today I am very happy to be the featured blogger on Angie Karcher’s outstanding site! If you are not familiar with it, I urge you to check it out. It’s chock-full of informative posts on the topic of rhyming picture books. She also includes lots of resources, writing prompts and much more! And,  if you are interested in the rhyme editing process and want to read some of my lousy first drafts, then hop on over here.

OLD KING COLE book trailer

Hello, anybody there…?

I know, I know. I have been away a long time and I apologize. I’ve had an unplanned hiatus- an awful case of blog block,  and then I was too scared and embarrassed to return. But now it’s a new year…

And may it be a happy one for us all!

Last July when I posted, I had already finished the paintings for Old King Cole and was starting sketches for another book (Gabe and Goon 2016.) In the meantime, I have been waiting for final high-res scans and proofs for King Cole which just arrived a few weeks ago. It’s a lengthy process- this book making stuff. I have learned to be patient, though it’s not always easy.

So now, as publication date (Aug 4th) is getting nearer, I’ll be able to post a few of my early rhymes and sketches and compare them to the finished versions. I will do that soon and I hope writers/illustrators will find it informative.

In the meantime, here is the OLD KING COLE BOOK TRAILER.  My stepson put it together. My good friend played the fiddle. And I? Well, you’ll find out my contribution :-) I hope it makes you smile! 

OLD KING COLE cover

 

Picture Book Illustration: Making an architectural model

Well, thank goodness for modern technology. Here I am on a small island 10 miles offshore and, though reception is mostly spotty, there are rare moments when I have a good internet signal and can actually tether my iphone to the computer. This is one such moment and I want to show you what I’ve been doing on my working vacation.

In preparation for my next book, Gabe and Goon (Fall 2016), I have made up an architectural model of a boy’s bedroom. Since the whole story takes place in the room, I thought it would be helpful to have this model to sketch from. I can take photos from various angles and viewpoints and maintain consistency. I have drawn floor plans in the past, but I have never done a 3D model before. What fun!

IMG_5033

  More

Thinking visually

A few days ago my editor asked me to send her the pagination (what text goes on what page) for my new children’s story. Usually I like to send a clean manuscript, with no side notes that may distract. But this wasn’t one of my nursery rhyme retellings and had more verses then usual, so she wasn’t sure what I had in mind for the page breaks. She said it would be helpful to know this to edit the story.  And  she said that since I am a “visual thinker”,  I surely had the page breaks in mind. She was right. Whenever I write a picture book draft, I do a rough storyboard. I mean rough- like this:

storyboard example (thinking visually)

(click to enlarge)

I do this on a sheet of 8.5×11 paper and there is not enough room for me to write the entire text, so I number my verses in the manuscript and jot down the corresponding numbers in the storyboard (and include the first and last lines of the verses so I know what’s what. )

This simple process really helps me see the flow of the book, the pacing, how the story arcs, if there are too many or not enough verses, if the story moves forward from page to page, if the words suggest good imagery and how the words and pictures fit together.

You don’t need to be an illustrator to do this. I think it’s a useful tool for all picture book writers. All the non-illustrating picture book writers I’ve met said they can envision the pictures. They are visual thinkers too.

Some things to keep in mind: Most picture books are 32 pages. The first few pages are called the front matter. Page 1 is either a half title page (just title of book) or full title page (title, author/illustrator and publisher names.) Pages 2 and 3 can be either the full title spread (if  page 1 wasn’t the full title page) or they can be the copyright and dedication pages. That would allow for the story to begin on page 4. Or, as in my example, I have a half title page on 1, full title spread on 2+3, dedication and copyright on page 4 and the story begins on page 5.  If the story is short, there is also the option of doing 1/2 title on page 1, copyright and dedication on pages 2+3, full title on pages 4+5 and the story begins on page 6. All this is subject to change after the edit- if verses are removed or added- and also after the art director’s input. But it’s a good starting point.

Even if the editor doesn’t ask  for the pagination, doing a storyboard like this is extremely helpful. And if  you are asked for it, this is my editor’s preferred format. I think it’s the least distracting:

P. 6
Text…….

P. 7
Text….

Pp. 8+9
Text……..

Etc…

I hope this is helpful.  If you have any questions, don’t hesitate to ask.

On monday I am heading off to Maine for vacation- a working vacation, but still an opportunity to rejuvenate. Have a wonderful summer and I’ll  see you in September!

Remembering My Father

A very happy Father’s Day to all the great Dads out there!  I hope you are getting some extra well-deserved love and pampering today!

I only knew my father for the  first seven years of my life- when I was still in Poland- and he was very dear to me. In his honor, I thought I would post a short excerpt from my in-progress memoir, reliving some early memories of him:

Tata

Nothing was better than parading on the streets of Warsaw with my father. We walked, hands clasped, arms gently swinging, my five-year old feet scuttling to match his pace, my eyes alert for sweet shops but mainly fixed on him, my Tata, tall, dashing and jolly as a polka.

His eyes were lake blue and quick to wink. An expanse of shiny brow reached for his tea-colored hair, lightly streaked with gray and always neatly combed, especially when going out. His gently rounded nose, though pink-tinged with tiny broken capillaries, was none the less noble. His mouth, what a mouth! It could chirp a perfect whistle which made me jubilant, or suck up a raw egg which made me gag and run out of the room.

He had a song for everything and he sang with a husky baritone, like  the swish of field grass in a lazy breeze. In between songs, jokes lined up on his tongue.

His whistling made me proudest of all. Such a champion he was that he even performed on the radio once.

“Teach me to whistle Tato,” I said, “please, I want to whistle just like you.”

“It’s easy. Just form your lips like you would to say the letter “u” and then blow some air out,” upon which my father puckered his lips and demonstrated a trill of such beauty and mastery that a songbird would have been slighted. My attempts, on the other hand, produced only harsh wheezes and a good amount of spit.

“Gently, gently,” he said.

I tried again. More spit.

“You’re soaking the floor.”

Giggles.

“Now listen,” he said. “You can whistle or you can giggle, but you can’t whistle and giggle.”

By then whistling was no longer an option. I was in the midst of an out and out, riotous, hilarious giggle fest.

Jaunty, impulsive, slightly reckless. That was my father. He surprised us with a television set – a rare item for communist Poland in the fifties.  He took me to the circus, to the zoo, to the big park downtown for a ride on the carousel. He taught me silly songs. He told me if I was a good girl he’d bring me exotic fruits like pineapples, bananas, and watermelon and, by God, he managed to find them. But if I was bad, he warned, “I’ll send you off to the cygani.”  They often rode in caravans down our street and he knew I was afraid of them. But my father’s eyes couldn’t tell a lie. They twinkled with a waggish glint so bright it put his gold tooth to shame. No way was I going to the gypsies.

 

 

 

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