I like the idea of doing two - one with and one without. And I agree with you about not using them unless your example of where hand written words need to be included and the actual text crossed out. Thank you for sharing this info.
Just looked you up for funsies. My son, now in his thirties, loved Things That Go. We still have it and I just replaced the batteries (ours had sounds for each vehicle) for the next generation of wee ones. This is yours, right?
I don't think art notes are something to have feelings about one way or another. Sometimes they're useful to understand what the author was trying to get at, and sometimes they're best ignored. Several editors I've worked with delete the art notes from the script entirely before I get it, and *maybe* they come out if or when I'm stuck on something.
I've had two situations where an author expecting control was a problem -- one where the author was a control freak, and started emailing me directly. The editor shut that down pretty quickly. The second was one where the author expected the main characters to be drawn a particular way, and I wasn't told. The thing was that this way the author was wanting was exactly what I'd told the editor I wouldn't do when I first read the script (I know -- it sounds dramatic but it wasn't). The editor didn't communicate either of these things so there were some hurt feelings to mend when I made the sketches.
Anyway, the illustrator is 100% an equal collaborator, not a servant. If the author expects to oversee the visuals, just wait til I send my notes on their usage of punctuation and dialog! (And I have.)
Great post - your art perfectly depicts the initial realization, that in PB land, authors don't have full control. I now fully embrace the notion but it took a bit for me (we engineers are control freaks) to turn the corner. As I was reading this, it reminded me of how our elementary school allows parents to choose the type of teacher they'd like their child to have (regimented/organized, artsy/free spirited, etc.) but not a specific teacher. Authors can't help but have a vision of how their story will be represented and definitely have artistic tastes - bright/muted colors, simple line drawings/complex detailed drawings that fill whole space etc. I'm wondering if/how this broader preference is communicated or if authors should consider an agent's illustrator pool when deciding on an agent. Any insight is appreciated.
Authors and editors often have these discussions about potential illustrators and styles, and to some extent an editor might take them into account, but it's a discussion: The author might *want* line art and flat color that fills the space, but the author might be wrong about that and an editor might explain why it would be better some other way. The author might want *famous illustrator* to do the work, but famous illustrator is probably booked for three years and wants too much money anyway. And also, author might be wrong.
Who an author's agent represents has zero to do with it, unless the agent is putting projects together to sell. That's not an issue at all.
Well they do -- they'd never represent someone else's illustrator. But they don't decide who gets to illustrate a book written by an author they represent unless there is some special circumstance in play.
Very good points here and such a good reminder Debbie. As an author, I've learned to get out of the way of the illustrator. I think this has made me a better writer because my writing has become more spare. One writing workshop advice was to 'give the illustrator something to draw on every page'. If I make art notes, they are only for clarification.
Thanks for this! Perfect timing. I’m getting a picture book ms ready to send out and my last edit was focused as much on removing and trimming illustration notes as editing text! I’m down to 4 notes for the whole book.
I once heard an illustrator say they return the manuscript and ask for a clean one if it has too many notes! I thought that was brilliant. Fortunately I haven't had one like that myself. Most of my authors have been pretty experienced. Either that or the AD is secretly stripping them out! 😂
Wonderful! I love how you use your experience as examples to bring light to an often confusing issue. One thing I sometimes tell authors is that if they feel it’s necessary to give an art note, then it can be a sign their text isn’t quite working yet. Not always, but this can be a help in terms of evaluating the manuscript when revising.
I write nonfiction and when I include art notes they are often quotes from primary sources. I want to arm the illustrator with accurate contextual information without cluttering the text with description. I appreciate your comment about phrasing art notes as suggestions and not commands, though! My books are much richer because the illustrator brings elements I never would have thought of.
What a great breakdown! Bookmarking this for sure. As an illustrator, I also fear overly detailed art notes. Especially since the author might not have an eye for design. I much prefer reference pics (with notes specifying 'I like the colour' or 'I like this cheeky expression' - otherwise I might misinterpret the reference completely!)
I've done a few books where I'm both author and illustrator. In that case (for me at least) the art notes are directed at the editor, trying to explain what happens here and why it'll be funny (the tricky bit here is not wasting time with wordy descriptions of an illustration you can already visualise, while still selling it to the editor, who's working in the void)
I like the idea of doing two - one with and one without. And I agree with you about not using them unless your example of where hand written words need to be included and the actual text crossed out. Thank you for sharing this info.
Just looked you up for funsies. My son, now in his thirties, loved Things That Go. We still have it and I just replaced the batteries (ours had sounds for each vehicle) for the next generation of wee ones. This is yours, right?
😁that’s probably Richard Scarry you’re thinking of. Everything Goes was inspired by Scarry’s books but only came out a decade ago.
I don't think art notes are something to have feelings about one way or another. Sometimes they're useful to understand what the author was trying to get at, and sometimes they're best ignored. Several editors I've worked with delete the art notes from the script entirely before I get it, and *maybe* they come out if or when I'm stuck on something.
I've had two situations where an author expecting control was a problem -- one where the author was a control freak, and started emailing me directly. The editor shut that down pretty quickly. The second was one where the author expected the main characters to be drawn a particular way, and I wasn't told. The thing was that this way the author was wanting was exactly what I'd told the editor I wouldn't do when I first read the script (I know -- it sounds dramatic but it wasn't). The editor didn't communicate either of these things so there were some hurt feelings to mend when I made the sketches.
Anyway, the illustrator is 100% an equal collaborator, not a servant. If the author expects to oversee the visuals, just wait til I send my notes on their usage of punctuation and dialog! (And I have.)
Great post - your art perfectly depicts the initial realization, that in PB land, authors don't have full control. I now fully embrace the notion but it took a bit for me (we engineers are control freaks) to turn the corner. As I was reading this, it reminded me of how our elementary school allows parents to choose the type of teacher they'd like their child to have (regimented/organized, artsy/free spirited, etc.) but not a specific teacher. Authors can't help but have a vision of how their story will be represented and definitely have artistic tastes - bright/muted colors, simple line drawings/complex detailed drawings that fill whole space etc. I'm wondering if/how this broader preference is communicated or if authors should consider an agent's illustrator pool when deciding on an agent. Any insight is appreciated.
Authors and editors often have these discussions about potential illustrators and styles, and to some extent an editor might take them into account, but it's a discussion: The author might *want* line art and flat color that fills the space, but the author might be wrong about that and an editor might explain why it would be better some other way. The author might want *famous illustrator* to do the work, but famous illustrator is probably booked for three years and wants too much money anyway. And also, author might be wrong.
Who an author's agent represents has zero to do with it, unless the agent is putting projects together to sell. That's not an issue at all.
Thanks for clearing that last part up. I’m new to all this and thought agents only used illustrators that they represented.
Well they do -- they'd never represent someone else's illustrator. But they don't decide who gets to illustrate a book written by an author they represent unless there is some special circumstance in play.
Very good points here and such a good reminder Debbie. As an author, I've learned to get out of the way of the illustrator. I think this has made me a better writer because my writing has become more spare. One writing workshop advice was to 'give the illustrator something to draw on every page'. If I make art notes, they are only for clarification.
Thanks for this! Perfect timing. I’m getting a picture book ms ready to send out and my last edit was focused as much on removing and trimming illustration notes as editing text! I’m down to 4 notes for the whole book.
Great thoughts! I try to do minimal notes and am open to changes. Thanks for sharing.
I once heard an illustrator say they return the manuscript and ask for a clean one if it has too many notes! I thought that was brilliant. Fortunately I haven't had one like that myself. Most of my authors have been pretty experienced. Either that or the AD is secretly stripping them out! 😂
Excellent post!
Wonderful! I love how you use your experience as examples to bring light to an often confusing issue. One thing I sometimes tell authors is that if they feel it’s necessary to give an art note, then it can be a sign their text isn’t quite working yet. Not always, but this can be a help in terms of evaluating the manuscript when revising.
This is incredibly helpful, Debbie. Thank you!
Cecilia Yung is great and will be very sorely missed! Lucky for us she worked with so many people and helped spread the positive vibe!
Definitely sharing this with my critique group.
I write nonfiction and when I include art notes they are often quotes from primary sources. I want to arm the illustrator with accurate contextual information without cluttering the text with description. I appreciate your comment about phrasing art notes as suggestions and not commands, though! My books are much richer because the illustrator brings elements I never would have thought of.
Well stated. Illustrators can bring so much to a project! Trust is the key.
What a great breakdown! Bookmarking this for sure. As an illustrator, I also fear overly detailed art notes. Especially since the author might not have an eye for design. I much prefer reference pics (with notes specifying 'I like the colour' or 'I like this cheeky expression' - otherwise I might misinterpret the reference completely!)
I've done a few books where I'm both author and illustrator. In that case (for me at least) the art notes are directed at the editor, trying to explain what happens here and why it'll be funny (the tricky bit here is not wasting time with wordy descriptions of an illustration you can already visualise, while still selling it to the editor, who's working in the void)