New Year Reflections on 2016

Well it has been three years since I actively started blogging and as it is January it is a time for reflection upon what I got up to in the last year.  In general I have blogged less this year, probably due to returning to the world of work after an extended maternity leave, but I have still endeavoured to become a picture book Author and Illustrator, which is what my blogging aims to document.

So this year I started my Instagram account after hearing that it is how a lot of illustrators get spotted by agents.  I like it as a platform and it brings my work to a new audience judging from the likes and follows.  I treat it as a sketchbook showcase and show different work from what I show on my Facebook page and Twitter.  I’ve have not been approached by any agents yet though.

Speaking of agents, after going to the brilliant SCBWI Workshop; Getting Your Picture Book onto the Page with Elizabeth O Dulemba, I chatted with Sheila Averbuch about how she found Writer’s Digest Webinars (the live ones with access to editors and agents) very valuable in her path to publishing.  So I decided to try one and bought How to Write a Picture Book That Sells complete with a critique from a US agent .  While I found the webinar itself to be just okay (useful content but delivered by reading from slides) I was more interested in getting a professional critique on my current ‘best’ manuscript.  For the money I paid, I was initially disappointed with the four lines of feedback that I received.  The first two lines were positive and then I read these comments;

“I wish there was more of a story, though.  The picture book market is so competitive 
that I wonder if this story has enough in it to make it stand out from the rest.”

I couldn’t believe it, especially as I had just added more conflict to my latest draft, in truth I felt a bit despondent and stopped writing for a little while.  A few months later there was an opportunity to have a 121 session with Skylark a UK literary agency, organised by SCBWI BI NE.  So I got that manuscript out and read it again, I still thought it was good until I analysed it using Alayne Kay Christian’s Art of Arc self-study exercises .  The agent was right there wasn’t actually any story there at all.  It was a bittersweet moment of realisation that I need to revise that manuscript more before I can send it out for submission again.

So I didn’t submit this Picture Book manuscript to Skylark as it obviously wasn’t ready and because they are mainly Young Adult and Middle Grade agents.  Instead I decided to submit an old comic script that I had recently re-drafted.  And I was very surprised to get great feedback from Joanna Moult. Find out what she said here in Em Lynas’s write up of the event.  So I now feel encouraged to continue working on the both the comic a bit more and the picture book.

This year I have increased my volunteering duties for SCBWI, not only did I hang the SCBWI Illustrator Showcase in Seven Stories again, I am also now co-Network Organiser for the North East alongside Marie-Claire Imam-Guitierrez.  You can read an interview with me about the role in SCBWI's Words and Pictures, online magazine.  So far I have learnt a lot from watching Marie-Claire organise the wonderful Creating Believable Characters Event and I will be organising an Illustration event in the next few months.

The SCBWI BI Illustration Showcase at Seven Stories

My artwork output has diversified this year and now includes Caricatures and Comics!  Both as a result of doing Inkotber. I’ve done three Inktobers now and for Inktober2016 I wanted to do something a bit bigger to grow my audience.  I thought I’d draw and ink a page of my comic manuscript everyday but realised how ambitious that would be in the timescale of a month.  Instead I adapted Kate Bush’s song Under Ice into a 16 page, one panel per page, minicomic.  I am a massive fan of Kate Bush and was lucky enough to go to a concert of hers during her 2014 residency at the Eventim Apollo.  Under Ice is a song from a suite called the Ninth Wave on her 1985 album Hounds of Love.  It is a very visual suite of songs that I interpret as being about a woman falling overboard a ship and slipping in and out of consciousness before she is finally rescued.  Each song is either a dream or an account of what is happening.  As you can see from my  drawings, I imagine the song to be about Kate skating on a frozen river when it cracks and she falls in the water and dies, the ending sequence is her seeing herself under the ice and emerging as a spirit.

So did this grow my audience?  Yes it did!  And if you follow this blog you will find out when my next post is live, and I will tell you how.

What I Learnt From Workshops With David Almond and Chris Riddell

Last month I attended two workshops by two people who are amazing at what they do; David Almond and Chris Riddell and I want to share with you what I learned from them about the craft of writing and drawing.  

David Almond is one of the most unique children’s book authors around, whose work is difficult to categorise, it is very personal and whimsical, magical realism is probably the closest genre he could be labelled as.  Skellig is probably his most famous book. He is local to the North East, so he writes about some familiar-to-me places and I had the pleasure of meeting him a few times when I worked as a Fundraising Assistant for Seven Stories back in the early 2000s, he was and still is a Patron for them and he captures their early days so well in this Guardian article for their tenth birthday. 

Chris Riddell is an Illustrator, Author, political Cartoonist and he is the current Children’s Laureate in the UK. He has illustrated novels by Neil Gaiman and Paul Stewart as well as his own novels and picture books.  He is a compulsive, prolific and accomplished drawer which he demonstrates on Instagram and Tumblr. As part of his laureate work he champions drawing as an activity for everyone!

At the Wild Writing workshop at The Live Theatre on Newcastle’s Quayside, David Almond shared his thoughts on writing, his philosophy and his techniques and got the group to do some of their own writing.  From that description you may think ‘oh so it was just another writing workshop then?’ but no this is David Almond we’re talking about, his highly individual books come out of his highly individual approach. As I commented to a friend afterwards; he rewrites the books on how to write; he does not plot and plan, he revises as he goes along and when writing longhand, he doesn’t even write in a neat line!

David Almond with one of his A3 notebooks

He started the session appropriately with childhood and and talked about how wonderful learning to write at primary school is; how we start by listening to the teacher sound a letter out, her showing us how write it, then copying her marks and sounding the sound back to her.  He said that for his writing he draws on his own childhood in Felling, and suggests we often deny the extraordinariness of our own lives.  He talked about imagination, that it is us, it is the history of storytelling.  He illustrated it in a great way, he asked us to hold our heads in our hands then bring them in front of us to see how small in size our heads are, he then asked us to compare that size with size of our imagination.  He talked about how writing is about the exploration of possibility and that you often don’t know what you want to write until you discover it by the act of writing itself.  He wrote Skellig without planning!  

David Almond’s process is to initially write longhand in A3 notebooks from Newcastle’s Details. He accepts imperfection, embraces it even, his longhand notebooks are fantastic to behold, he writes anywhere on the page, not always on horizontal lines, obliterating the white space. Then when he takes to the computer he creates a title page with the title in a big, bold font as that gives the work a sense of importance.  Then he gets typing, he writes short chapters and uses huge line spacing to trick himself that he has written loads and when he prints the manuscript out for more revision he bull dog clips the pages together so it looks like an object, like a real manuscript.

I have seen Chris Riddell before at the Hartlepool Festival of Illustration and though I’d heard some of his stories then I still very much enjoyed this Ink and Drink session at Seven Stories.  There was a good atmosphere in the crowd where we sat at tables drawing together while Chris talked and drew with an overhead camera projecting his drawings behind him.

I got to take this Chris Riddell drawing home!

He is very funny and had the room in stitches with laughter.  He started with the beginnings of his career,  how he was taught by Raymond Briggs (The Snowman, Fungus The Bogeyman, etc)  at Brighton and how Briggs filled him (and every other student as it turns out) with hope with his stock refrain of ‘Marvellous’.  Chris found talking about Raymond Briggs quite poignant as he had just decorated a Snow Dog for Seven Stories. He then gave us a great exercise to generate a drawing with a story, the three Ws exercise; drawing something then write the Who? Where? What? of it. When we all had finished, he shared our drawings on the screen.  There were differing levels of art on display and I expected that he was about to do the standard drawing critique on proportion, perspective, anatomy etc but instead he read our three Ws out and made us laugh at our own stories without mocking the quality or skills on show.  In fact it was a demonstration of how picture books work; there was a picture juxtaposed with words read out loud by a reader culminating in generating a response. Great stuff!

Chris Riddell talking about my drawing projected on the screen behind him

So as a writer I learnt that it is okay to have a non-conventional approach to writing and to value and use my imagination.  As an illustrator I learnt a new little exercise to generate stories to go with my sketches that can elevate them from just a sketch.  As a teacher (though I am not currently teaching) I learnt about how wonderful it is to be in a workshop with someone who is at the top of their game, oozing their craft and being fluently articulate about it. From Chris Riddell, in particular I learnt a new approach to talking about other people's drawings. To witness the speed and quality of his own drawings on the screen was so inspiring, in fact it prompted me to run a caricature stall for the first time (which I look forward to sharing my experience of in a future blogspost).  Have you attended any inspiring workshops by these two or other people? Please leave a comment, I'd love to hear.

October / Inktober 2015

October is my favourite month of the year as it is my birthday month and because of Halloween, I just love spooky things.  I’ve been working on some portfolio pieces and this one is appropriate for the season; a witch taking a night flight as a swarm of bats spirals by.

Night Flight by Claire O'Brien, 2015, gouache on paper

I took part in #Inktober again this year.  Just to recap, Inktober is a drawing challenge to make one ink drawing a day for the entire month of October.  Inktober was started in 2009 by an artist called Jake Parker, who set himself the challenge to improve his inking skills and develop positive drawing habits.  I am pleased to say that I made a drawing every day except for the last.  

Doing Inktober was as fun as last year, I even took some requests this year for subjects to draw which added to the challenge. Inktober really motivated me to draw every day and the quality of drawings ranged from throwaway sketches to not bad, I even sold some prints and have been commissioned to draw in my ink style.

You can see all of my Inktober drawings on my Facebook page but here are are some of my highlights:

"Playing in the Garden" by Claire O'Brien

"The Gentleman" by Claire O'Brien

"I Found a Fox" by Claire O'Brien

"Kate Bush - Before The Dawn" by Claire O'Brien

"Halloween" by Claire O'Brien

There was also lovely a meet up of some sociable SCBWIs, Top, 2016 Carnegie long-listed, YA author Teri Terry was in town for writing research so a gang of us had dinner and viewed the SCBWI Illustration Showcase exhibition at Seven Stories.

Geoff Lynas, Maureen Lynas and Janet Foxley outside of Seven Stories

Teri Terry, Geoff Lynas, and Maureen Lynas

"Maureen and Teri" by Claire O'Brien

Up month is Tara Lazar's PiBoIdMo - Picture Book Idea Month a where you come up with an idea for a picture book every day of November.  

Promotion

I have had quite a fun-filled children’s book-related month so far, I have been to some promotional events, I have even been promoted myself and there are some great opportunities for more promotion to be had, not just for me but for other aspiring children’s picture book author and illustrators too!

Promotional Events

First up was Seven Stories’ Jodi Picoult talk and signing at the lovely Tyneside Cinema.  Jodi and her daughter, Samantha Van Leer, have co-written a YA (Young Adult) novel “Between the Lines” that is a book about a book, a fairytale book, with characters coming out of the page.  Jodi and Sammi gave a great talk, the pair of them in conversation, no compere!  The book also features striking illustrations by Yvonne Gilbert and enchanting silhouettes by Scott M. Fischer.  Let’s hope we see more YA novels with illustration adorning their pages in the future.

  

Next up was the launch of Gabrielle Kent’s Middle Grade novel “Alfie Bloom and the Secrets of Hexbridge Castle” at Stockton Library.  I’m so excited by the book because I’m a friend of Gabrielle. We met at Teesside University when she was my tutor and then, when I worked there, my colleague.  “Alfie Bloom and the Secrets of Hexbridge Castle” is her debut and it is the start of a series.  It was a lovely book launch with readings, signings and fun activities for children and Stockton Library looked like a really good libary.  I’m so pleased for Gabrielle and look forward to seeing how her writing career turns out and I know she is cheering me on in my own writing endeavours.

 

The last of the events that I went to were some illustrator talks that kicked off The Festival of Illustration in Hartlepool.  The talks that I attended were great, they were by Chris Riddell, John McCrea (comic artist) and Sara Ogilvie. The festival has been well-organised by Cleveland College of Art and Design and the main illustration exhibition and is held in the beautiful former church, Hartlepool Art Gallery.  The exhibition runs between the 4th June to the 4th July and it is well worth a look (and a second visit from me) as it features some top illustrators all-round and as well as children’s picture book illustrators.   I attended with some SCBWI friends and it was nice to meet Chris Riddell, little did we know he was about to become the Children’s Laureate, check out his five point plan for the role. 

Left to Right: Lucy Farfort, Claire O'Brien, Maureen Lynas, Chris Riddell, Cathy Brumby and Katherine Lynas

Chris Riddell by Claire O'Brien

Promotion of Me

This month saw the release of my first ever interview!  It was for the brilliant Kidlit TV who have featured me as their Community Member of the Month for June.  KidlitTV is a great community and YouTube channel that features original Kidlit content, particularly fantastic interviews with authors and illustrators in their ‘Story Makers’ series (a title I came up with).  As well as providing great content, the Facebook group is a mine of information about video creation and marketing, so if you make videos, you need to join.

SCBWI has launched a new email magazine INSIGHT, every month there is a drawing prompt for members, everyone who submits gets included in the gallery and two are picked to be featured in the email itself.  This email will reach agents and editors so it is worth submitting to.  You can see my entry for the ‘Bounce’ prompt here, leave me comment if you look.

Let’s Get Promoted

I have already mentioned being featured in SCBWI’s Draw This prompt, this month’s prompt is ‘Adventure’, here are the guidelines if you’re a SCBWI member and wish to submit, but hurry, the deadline is June 20th.

Another SCBWI opportunity is Undiscovered Voices, a competition for unpublished and unagented children's book writers and illustrators living in the EU.  Submissions are open on the 1st of July and close on the 16th August.  The illustration criteria give the opportunity for drawing some twisted fairy tales 

Here’s a contest to win a critique from talented illustrator, teacher and YouTuber Will Terry and $30 credit to his SVS online courses by submitting an illustration to the prompt of: “Amanda was so excited for her first day at the cottage until…”.  The deadline is 12:00 noon EST, June 25^th.

And just for fun and cool prizes there is Susannah Hill’s illustration contest on the theme of Discovery, you have until the 26t of June to submit.

Good luck with these if you enter, why don’t you post a link if you do, I’d love to see.  Thanks for reading.

02 - Spread Of Wonder: Oh No, George!

This is the second post in my series ‘Spread Of Wonder’ where I talk about spreads from picture books that I admire, I look at them and analyse why I think they make a good spread.  This month’s spread is the 6th spread of Chris Haughton’s “Oh No, George!” which was published in 2013 (in paperback) by Walker Books.  

The cover of "Oh No, George!" by Chris Haughton

The minimal art in “Oh No, George!” could not be more different to the intricately detailed art in last month’s spread from “The House in the Night”.  The main reason that I have chosen it is its excellent demonstration of sequentiality.  If you have been reading my “Creating A Children’s Picture Book Illustration Portfolio” blog posts, you’ll know that being able to successfully show storytelling and characters in sequence is a requirement of picture book illustration and something I’m aiming to get better at. 

The story of “Oh No, George!” is about a dog who is left home alone and promises to be good but he just can’t help himself.  It is beautifully structured with a setup of things that could go wrong, followed by a pause with the 'What will George do?' question, then the page turn reveals the results of George’s actions alongside the 'Oh no, George!' refrain. 

In this Spread of Wonder where George sees Cat, we see three depictions of George across the spread, two on the verso (lefthand) page and one on the recto (righthand) page.  And just like in "The House in the Night" spread last month, the direction of George’s actions are moving us forward left to right, through the story with him either moving to or looking towards the right.  

The spread has a white background with some minimal lines suggesting the location of the last spread; the floor and some remains of cake.  Haughton uses a flat, cutout style with bold colour and strong silhouettes, this is accentuated by him using no outlines (apart from on George’s eyes).  Like most artists working in a flat style he does not use light and shade to model the shadow of three-dimensional form but his colouring is far from flat.  George is red but he has a slightly lighter underside and a purple nose and there is always a pencil scribble somewhere on him.  I think the colouring is digital and rather than using Adobe Photoshop’s gradient feature I think Haughton has used the cutout technique for colouring too, as we see the straight edges where the colour subtly changes.

As I have already stated I have chosen this spread because it excels at sequentiality both within the spread itself and in context of the whole book.  This spread comes after George has eaten the cake that he shouldn’t have and before he chases Cat. The previous and following spreads show George’s chaos in full colour backgrounds which contrast with our spread which has a white background.  Unlike comics, picture books don’t often use panels to show sequence.  George is shown in differing sizes on the white background and this change in scale somehow visually signals to us that is a sequence and not three different dogs.  George is drawn consistently regardless of his different poses, he doesn’t change colour and his proportions don’t change, this also confirms that we are looking at a sequence of the same dog. 

Previous Spread

Following Spread

What can the aspiring illustrator learn from this spread of wonder then?  This spread teaches us a lot about Sequentiality and some of the elements that go into it: 

• Show Contrast - in pose, size and mood when depicting a character in sequence 
• Be Consistent - keep your characters and settings ‘on model’, don't change proportions, colours, etc. 
• Establish a Rhythm - Haughton's example is a setup, a pause and the following results

Please comment with your own thoughts on this spread, or make a suggestion for a future Spread of Wonder candidate for me to analyse and don’t forget to follow this blog to receive a notification of my next post.  Thanks for reading!