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...
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