Some Enchanted Evening

Has anyone ever considered the off chance that birds fly because the earth and its inhabitants take periodic plunging drops, that perhaps birds don’t so much rise as refuse to fall? Yes, smarty pants, I know full well the answer is clear as a daisy but I for one have been through enough plunges to wonder if perhaps there is some starker purpose.

Now to get back to the story. Just before my manuscript went out to publishers I attended the Spring SCBWI conference in Redmond. If you’re not familiar with SCBWI it’s the acronym for Society of Creepy Bearded Winged Intruders, or something like that only more related to writing for children. Anyway, I decided my one goal for the conference was to meet an illustrator. Why? I don't know but it somehow seemed like a good idea.

By late afternoon of the first day my butt was tired from keeping a chair planted on the floor so I went wandering the halls. In doing so, I discovered the room where a juried art show was taking place. I found before me the artwork of over 50 aspiring picture book illustrators. It was an amazing sight to find so much talent crammed into one little room. I wandered about for an hour taking in all manner of fairy, critter and childish flights of fancy.

One portfolio in particular caught my eye. The images had a Berkley Breathed quality with oversized, whimsical eyes that seemed to jump from the page. I felt a connection I can’t describe except to say I wanted one of my stories to look like THAT.

I picked up the artist’s card and that evening made the bold move of emailing her. I attached two of my stories and asked if she’d be game to take a look at them. She replied shortly thereafter that she loved them both. We met the next day and had a smashing time talking all things children's books. By the end of our meeting we had agreed that she would do three full color sketches for one of the stories and, in return, I would send the sketches to my agent in hopes he’d like them enough to pick her up as a client as well as send out the manuscript and sketches together to publishers.

This might not seem like any big deal to the lay person but in the world of picture book publishing writers and illustrators are forbidden from even loitering on the same street corner let alone actually working together on a spec project. But I figured what the hey, I’d rather go down in a blaze of glory of my own making then die a slow death waiting for someone else to jumpstart my career.

Over the course of the next month the illustrator and I conversed back and forth over her preliminary sketches discussing everything from overall concept to the most insignificant details. Despite the old adage that authors and illustrators should never mix we had a great time and got along fabulously.

At long last the day came she sent me the three final illustrations (I've posted one below for your viewing pleasure). I immediately sent them off to my agent. For five long years (ok days) we waited to hear back. This gave me plenty of time question every aspect of the plan including my choice of illustrator, the story we selected, every suggestion I had made to her along the way and, of course, I became convinced the final product was a big load of crap that only I could be blind enough to have encouraged.

Finally, I received a short note from the agent telling me he loved the drawings and was excited to work with the project. I, of course, knew from the start that would be his reaction. Uh, well maybe 'knew' is a bit strong of a word. Anyway, he said he'd form a submission plan as soon as we knew the outcome of the project already out (which I described in my last post).

My story is now pretty much up to date but still without any sort of thrilling conclusion. Perhaps I'll hear something more tomorrow. Or the next day. Or the next. Or...

Cloudy With A Chance Of Sun

As stated in the previous post, things took a dramatic turn for the potentially better when my agent hooked one of my manuscripts up with an illustrator he represents. The illustrator took an immediate liking to the text and agreed to do several preliminary drawings.

Let me be clear. The idea of marrying an illustrator with a manuscript prior to submitting to publishers is taboo in the industry. Publishers want absolute control over the pairing of a manuscript to the artist of their choice. To be so bold as to make that decision for them is just not done. You might liken it to a young couple getting married before the boy asks the father for her hand in marriage. You can see where that tends to go.

However, all rules are meant to be broken and I'm more than willing to risk a professional punch in the nose on the off chance it might get me a book deal. Also, the agent gave examples of previous successes he'd had using this secret tactic (which thanks to me is not so secret anymore). Anyway, it was good enough for me.

Two weeks later (two weeks in the children's publishing world is like a blink of the eye in the real world) the illustrator sent three full color sketches. WOW! They were surprising and absolutely wonderful (I don’t use the word wonderful much but we are talking children’s picture books here). I printed the sketches out and carried them with me everywhere. They were like sea creatures I had brought home in a bucket and couldn’t stop staring at. I showed them to anyone and everyone. I probably showed them to you, if not I will the next time you’re within half a state.

I lay in bed that night thinking about how someone, a very talented someone with multiple publishing credits, had spent hours giving their creative energy to something I had written. Tears flowed silently (silently because I wasn’t about to wake up my wife to tell her I had cried AND used the word wonderful all in the same day, I may be a budding children’s author but I’m still a man, gosh darn it).  

Shortly thereafter the agent sent the manuscript and accompanying illustrations out to a select list of editors, including several I knew by reputation and would never have dared approach on my own. I suppose that's the power of having an agent, your work gets slipped through doors cracked open that otherwise would be slammed shut, politely of course with a genuine spirit of children's lit esprit de corps.

He prepared me it could take anywhere from two weeks to two months to hear something back. Two days later he called to tell me two of the editors had shown early interest. Seriously? He cautioned me this in no way guaranteed a sale but was definitely a positive early sign. I asked him how soon I could cash the check. He reminded me there was no check and please stop asking. Yes, perhaps I was getting a little ahead of myself, the Hawaii plans would have to wait.

The next day an offer arrived. Not really. That would be much too simple and hardly worthy of this fine blog. Rather in the spirit of true drama the twists and turns just keep coming. And coming. And I’ll explain more in the next post…