Super fascinating! I love seeing and learning about the process! And I always try to credit the illustrator and the book designer. So many people go into the production of a book— not just the writer! Especially for illustrated books! So many people tell me how pretty my debut picture book is, and I always tell them I can’t take credit for how it looks— but the illustrator Natalia Bruno is the one who deserves that credit.
Thanks, Jacob! And I agree....Laurent IS awesome. His is SUCH a great communicator, able to convey art notes clearly and objectively, often making suggestions and giving examples.
And it's very reassuring to see that cover design sometimes takes longer for other illustrators too. Thanks for the interesting insight into your way of working!
It was so cool to see your process! And I can’t wait to hear about your in-person scbwi experience. Sometimes I’ve heard that the conferences are better for those looking to get an agent / their first book deal (I found mine super helpful to prepare me), so I’m curious what you think about the pros and cons for PAL members!
I'll eventually write up a longer and more detail post, but to summarize some pros from my own perspective (as someone who is already PAL-published):
- I always want to feel like I'm learning something new. This not only helps keep me from getting into a rut, but re-energizes me. In NYC, I focused on two MG-focused Creative Labs (by Kate Messner and Cece Bell) because that will be my next "major career goal": to start getting my MG novels published.
- As much as I appreciate the convenience and affordability of virtual meetups, I find in-person meetups FAR more satisfying and motivating....especially the unplanned meetups, like impromptu conversations in elevators, hallways, mealtimes, before and after scheduled programming.
- From a professional perspective, I've found in-person interactions (even a brief hello at one of the socials) is a great way to remind industry people (esp editors, art directors, and agents) that I'm still active in the community, as well as to gradually strengthen relationships over time. 😁 I was also delighted to meet some industry people in person at SCBWI-NYC whom I had previously only known online ("So great to finally meet you in person!")
This comment is probably getting too long, so am ending here.
It's really amazing how many variations you went through and and I laughed at the different titles. My first draft of my first book had a title that was wildly different from what it ended up being. When the story had been revised so that the original title no longer made sense, I remember being at a conference and brainstorming with a new friend ideas for a title and we had so much fun coming up with something that worked. I love your cover and the dog is a sweet addition!!
Thanks, Laura! Good for you, brainstorming with a friend re: title ideas.
I am so bad at coming up with final titles that I've gotten in the habit of keeping tracking of ANY title idea as I work on a project, so I'm not so panic-stricken later on. 😁
There is so much work to create a book. Included are those creatives who deserve the credit for all aspects of design, including the covers of books. Thank you again for sharing your process. I really appreciate it.
Fabulous post Debbie, and huge congrats on the new book!
Wow, what an incredible process, Deb! I'm so impressed, and I really thank you for the reminder to thank the illustrator!!!
Wow I am fascinated by your use of 3D modelling and VR art! SO much to learn from this post – thanks for sharing, Debbie!
Super fascinating! I love seeing and learning about the process! And I always try to credit the illustrator and the book designer. So many people go into the production of a book— not just the writer! Especially for illustrated books! So many people tell me how pretty my debut picture book is, and I always tell them I can’t take credit for how it looks— but the illustrator Natalia Bruno is the one who deserves that credit.
Love the sneak peak into your process. Looks awesome. That advice from Laurent for adding the purple was ace. He’s pretty awesome. 👏
Thanks, Jacob! And I agree....Laurent IS awesome. His is SUCH a great communicator, able to convey art notes clearly and objectively, often making suggestions and giving examples.
The cover turned out really great! So many books!
And it's very reassuring to see that cover design sometimes takes longer for other illustrators too. Thanks for the interesting insight into your way of working!
Thanks, Hanna!
It was so cool to see your process! And I can’t wait to hear about your in-person scbwi experience. Sometimes I’ve heard that the conferences are better for those looking to get an agent / their first book deal (I found mine super helpful to prepare me), so I’m curious what you think about the pros and cons for PAL members!
I'll eventually write up a longer and more detail post, but to summarize some pros from my own perspective (as someone who is already PAL-published):
- I always want to feel like I'm learning something new. This not only helps keep me from getting into a rut, but re-energizes me. In NYC, I focused on two MG-focused Creative Labs (by Kate Messner and Cece Bell) because that will be my next "major career goal": to start getting my MG novels published.
- As much as I appreciate the convenience and affordability of virtual meetups, I find in-person meetups FAR more satisfying and motivating....especially the unplanned meetups, like impromptu conversations in elevators, hallways, mealtimes, before and after scheduled programming.
- From a professional perspective, I've found in-person interactions (even a brief hello at one of the socials) is a great way to remind industry people (esp editors, art directors, and agents) that I'm still active in the community, as well as to gradually strengthen relationships over time. 😁 I was also delighted to meet some industry people in person at SCBWI-NYC whom I had previously only known online ("So great to finally meet you in person!")
This comment is probably getting too long, so am ending here.
Major downside, of course, is the COST.
Lovely answers! Thank you so much for taking the time to share ❤️
It's really amazing how many variations you went through and and I laughed at the different titles. My first draft of my first book had a title that was wildly different from what it ended up being. When the story had been revised so that the original title no longer made sense, I remember being at a conference and brainstorming with a new friend ideas for a title and we had so much fun coming up with something that worked. I love your cover and the dog is a sweet addition!!
Thanks, Laura! Good for you, brainstorming with a friend re: title ideas.
I am so bad at coming up with final titles that I've gotten in the habit of keeping tracking of ANY title idea as I work on a project, so I'm not so panic-stricken later on. 😁
There is so much work to create a book. Included are those creatives who deserve the credit for all aspects of design, including the covers of books. Thank you again for sharing your process. I really appreciate it.
R.D.
Thank you, RD!
So interesting! Thanks for sharing the process, especially for the word people like me.
Thanks, Patricia!
As a writer it is so fascinating to have this insider's look at the way an artist revises work.
Thanks, Susan!
Thank you so much for sharing the process! I may finally start the path towards picture book illustration 🫢
Good luck with your own creative journey, Victoria!
Really fond of that journey with the wagon too!
Thanks, Nicholas! That cover idea was based on one of the interior illustrations from my book. 😁
Yeah, I can definitely see how that'd be a great start to a story. It captures quite a lot. :)
I cannot wait to see this book! It has been years in the making!
It has indeed, Jennifer! Thank you!
I love seeing all your early sketches for the cover :)
Thanks, Jenna! Glad you enjoyed my early sketches. As you can tell, my early cover brainstorming ideas are VERY rough.
They are all beautiful 😍