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Donna Earnhardt’s post on PiBoIdMo! October 28, 2012

Posted by flashlightblog in Author Notes, Interviews.
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PiBoIdMo= Picture Book Idea Month

Thirty ideas in thirty days wrapped in unlimited potential!

http://taralazar.com/2012/10/26/pre-pibo-day-2-donna-w-earnhardt/

Not April Fooling You April 1, 2012

Posted by flashlightblog in Contests, Interviews, Play.
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written by Linda Ravin Lodding, illustrated by Suzanne Beaky

Author Linda Lodding is a featured interviewee on Julie Hedlund’s April Author-Palooza! Read what she has to say about writing and publishing picture books, and leave a comment on that post to be entered to win a manuscript critique from Linda or one of the other multi-published authors.

Jodi Moore on BlogTalkRadio February 15, 2012

Posted by flashlightblog in Dragon, Interviews, Podcast.
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When a Dragon Moves In, written by Jodi Moore, illustrated by Howard McWilliam

Barbara Gruener, school counselor in Friendswood, TX, interviewed author Jodi Moore about writing When a Dragon Moves In. You can listen in here, and read Barbara’s review on The Corner on Character blog, here.

NY State Charlotte Award Blog interviews David Parkins November 30, 2011

Posted by flashlightblog in Awards and Honors, Book News, Cats, Illustrator Appearances, Interviews, NY Charlotte Award, Read Alouds.
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David Parkins, illustrator of That Cat Can’t Stay (one of 10 books on the NY State Charlotte Award Primary list), was interviewed by Ms. Down’s students at Town of Webb School on the NYSRA Youth Book Blog. Here’s what he had to say:

That Cat Can't Stay, written by Thad Krasnesky, illustrated by David Parkins

Did you use pictures of real cats to draw from?

If I have to draw something I don’t know well, I would always gather lots of pictures of the thing so I get it right. It’s easy to do this nowadays with the internet. I didn’t need to research cats, though, because we have kept cats as pets for years. At one stage we had six, but right now we have just three: a big grey one (very like the big grey cat in That Cat Can’t Stay), a black one and a tabby who is quite old (about 19 years, I think) but very sprightly still. I see them all the time, so I sort of know how they look.

What about people? 

Again, I didn’t need to research or gather reference for the people, because I have drawn so many over the years I just seem to know how to do it now. Sometimes, if I need to draw someone in a very difficult position, or they are, say, playing a sport I’m not completely familiar with, I may have to look that up. But I don’t think I needed to do that for this book.

Were any of the characters based on people you know?

No, I don’t know anyone quite like these characters. Although memories of how someone might have stood, expressions they may have had in certain circumstances, that sort of thing will have informed the drawing. It’s important to be a good observer when you are an illustrator. Always notice how your friends stand, what faces they pull, how they react to things. Then you will know how to draw people in similar circumstances. And you can always exaggerate a bit if you want to make it funny.

How long did it take you to create this book?

I didn’t get all that long to do this particular book. I think it took about three months to do the final art, but I was doing other work as well. If I had been able to sit and do just the book, and nothing else, it would have probably taken about six weeks. Add maybe another couple of months for the roughs and discussions, so perhaps five or six months in all.

Were you responsible for the use of white backgrounds and using text as part of the picture?

Sort of. I am given a manuscript, and I know how many pages I need to fill. Sometimes I decide which bit of text will go on which page, and sometimes a designer or editor will tell me (I think that’s what we did with That Cat Can’t Stay). Then I produced a set of rough pencil drawings that went with the text. After I had done that, it was the designer at Flashlight that had the great idea of changing the layout of Dad’s rants, so that sometimes it was boxed like a comic strip, and sometimes the words snaked around the page. She re-sized and re-positioned my sketches to fit, and then I used that new layout when I did the final art.

Did you like drawing for a children’s book?

I always enjoy doing pictures for children’s books. Well, nearly always. Except when I’m a bit behind with my work, then it just seems like work that has to be done. A bit like homework.

We liked the expressions on the character’s faces, esp. the Dad’s. How did you manage to get the expressions right?

Remember that thing about watching your friends’ expressions? I’ve been doing that a long time. But also, drawing is a bit like acting. You have to imagine what the person is feeling, and what that would make them look like. And I’ll let you into a secret: when I draw faces I am usually acting the expression that I’m drawing. I sit scowling as I draw a scowl, and grinning when I draw a grin, trying to feel what it is to be the person I’m drawing. When I was doing all Dad’s expressions, I think my wife must have thought I was quite bonkers.

Did you mean to have the Dad look harsh?

I didn’t want Dad to look harsh, exactly, but he had to look disapproving and completely determined. If he had not, it wouldn’t have been as funny when the rest of the family kept winning, and the cats kept staying. And in the end, we know he’s really an old softy, don’t we?

What is your favorite style of illustrating?

Such a difficult question. I have done quite a few children’s books, and each time I approach it differently. I always try to make the style of the pictures fit the text as best I can. My favourite style is the one that works best with the writing. But I know that’s not really a proper answer to your question, so I will confess that I do like to draw slightly cartoony characters with lots of energy and exaggerated body language and facial expressions. Like Dad, in That Cat Can’t Stay.

Do you like reading books?

I love reading books, but I always feel that I should be working and not sitting enjoying a book because I have so little time. So when I don’t have enough time, I love to listen to audible books. I do that while I work. I find I can listen while I am drawing without any problem, although I can’t if I have to think. So if I am working on roughs, and I’m thinking about the text I’m illustrating, I can’t listen at all. It distracts me. But once all that is done, and I’m just concentrating on the final drawing, I can listen to another book and it’s fine (I really enjoy Charles Dickens). Maybe drawing and listening occupy different parts of the brain.

David Parkins, November 2011

Playborhood Interview with Linda Lodding, author of “The Busy Life of Ernestine Buckmeister” August 14, 2011

Posted by flashlightblog in Interviews, Play, Upcoming Books.
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Written by Linda Lodding, illustrated by Suzanne Beaky

The Busy Life of Ernestine Buckmeister, available for the first time this week, is a great new children’s book about children’s play. Ernestine is scheduled to the max, and she’s not enjoying her life that much. After seeing her next-door neighbor, Hugo, play with abandon in his yard every day, she decides to blow off some of her activities in favor of play. So, she goes to the local park with her nanny, and she plays with Hugo, too.

As I’ve written recently, I’m very concerned about the widespread censorship of play in books, TV shows, and movies aimed at young kids (9 and below). Ernestine is one of my favorite new books in this genre.

Here I present a fascinating interview with the author, Linda Lodding. She provides some great insights into the backstory of the book, as well as how it might contribute to the play movement.

Q: On your web site you note that you didn’t play a lot during your childhood.  Why do you consider play so important now that you would write a children’s book encouraging play?

I don’t remember a play-filled childhood in the sense of spending carefree days outside in nature. Thinking back as to why that might have been, I can point to two reasons. Firstly, since my parents grew-up in the New York City, I don’t think they knew how to offer a nature-filled childhood to my sister and me. Secondly, when I was about five, we moved to a house in the wilds of New Jersey, surrounded by dense forest, situated on what was once an Indian reservation. The woods seemed frightening. Grizzly things with fangs, and child-eating witches with gnarly fingers lived in the woods!  And, of course, so did the tomahawk-wielding Indians whose land we were living upon. My mother tried to coax me outside to play, (she even took her ironing board outside so that she could iron while I was outside) but I was happier inside with my Barbies. But I did do a lot of imaginative “pretend” play – alone and with friends.

I never set out to write a book encouraging play per se, but was inspired by my own family’s ludicrously funny situation. Like many parents, I set out to enroll my child in as many classes as possible so that she’d quickly find her passion and excel.  Of course my daughter’s schedule wasn’t nearly as exaggerated as poor Ernestine’s, but she was falling asleep in her “Ballet for Tots” class and had little energy for her African drumming class. But I also recognized that play time was fundamental to her growth and we eventually pulled back on activities.

Q: In a previous conversation you told me that you added the nanny character in a later revision.  What did you have Ernestine doing alone before you added the nanny?  How do you think the nanny changes the central message of the story?

Like all books, The Busy Life of Ernestine Buckmeister went through many revisions. In earlier drafts of the book, I had Ernestine running away after school — breaking free from the demands of her after-school schedule to experience play. There was a lot of interest in the book from large publishing houses, but a few editors were concerned that this scene could be perceived as reckless. It’s every parent’s nightmare to lose their child and a few editors were concerned that Ernestine’s actions would alarm to parents. So, I later introduced the character of Nanny O’Dear to allay any potential unease with Ernestine being alone. The added bonus of having Nanny in the book is that she is also a play companion for Ernestine – together they share the joy of play. There’s a lot to be said for adults also participating in play. I don’t think adding Nanny changed the central message of the story which is, ultimately, to let children experience the joy of play.

Q: Why are there so few children’s books depicting children playing outside?  Why are there practically none that depict children playing with no adults directly supervising them?

There are books depicting children playing outside, but it’s hard to think of contemporary picture books where children are depicted as playing outside unsupervised. I think this is a direct result of societal fears for our children’s safety. We are bombarded with stories of pedophiles and missing children and these stories send us a chilling reminder that we must be vigilant for our child’s safety or else…As a parent, I can appreciate that it’s a thin line to walk between protecting our children from genuine threats and giving them challenging opportunities in which to learn and grow.

I’m aware, however, of our need to bring in some common sense into this dialogue and blogs and organizations such as yours, 50 Dangerous Things, Re-Thinking Childhood and Free-Range Kids are asking parents to question if our eagerness to be over-protective is detrimental to our children’s maturation process. My focus in The Busy Life of Ernestine Buckmeister was on allowing children to experience unstructured play, whether supervised or not.

But back to your question. While I’m not an editor and don’t make acquisition decisions for publishing houses, my take on the reluctance of depicting unsupervised play in picture books is that since adults are the primary picture book buyers, children’s book publishers are leery of putting stories out there where the child could be perceived as being in danger and thereby alienating book buyers. Naturally, publishing is a business and in order to protect their investment in a book, publishers need to make sure that the book will have a wide-enough appeal.

Interestingly, in older fiction (Easy Readers, Middle Grade and beyond) you can find an abundance of stories where children are playing and exploring unsupervised. I do think that children are drawn to stories where the protagonist  is given freedoms that today’s children don’t generally experience — characters that are orphans, or are somehow left to fend for themselves in an adult world. One of my favorites growing up was From the Mixed-up Files of Mrs. Basil E. Frankweiler, where a brother and sisters run away to the Metropolitan Museum of Art. This wouldn’t be the same story if their mother was in tow. And I do think that the hugely popular Magic Treehouse series partially owes it’s kid-appeal to the fact that the kids are on their own solving mysteries. Perhaps this is a way for children to experience freedoms that they haven’t been allowed. But in picture books, you won’t see this kind of characterization – unless they’re talking animals.  Pigs and rabbits are  allowed to take some risks!

Q: You told me that you weren’t very aware of the play movement before you wrote this book.  How do you think that it can contribute to the play movement?

While I was aware of the over-scheduled child phenomenon, I was less aware of the pro-play movement. It wasn’t until  The Busy Life of Ernestine Buckmeister  was accepted for publication, nearly two years ago, that I started to research the benefits of play. Articles such as “The Virtues of Play” (Wired Science) and “Want your kids to get into college? Let them play!” (CNN) dramatically focus the debate not only for parents but also for students, academicians, and policy experts.

Research shows that children can greatly benefit from unstructured playtime — imagination flourishes, emotional maturity develops, and certain life skills are honed. I learned that play is essential to physical, intellectual and social development and contributes to healthier and happier children. The bottom line is that children who play do better in school and are more likely to become successful adults.  The irony is, if our child could take a class that guaranteed that sort of outcome, I think we’d all enroll our kids immediately!

While there are many wonderful organizations that are crusading to put play back into children’s lives and recess back into schools, I’ve yet to come across a picture book that squarely addresses this issue. Hopefully, through the book’s humor, parents will be able to see the light-hearted side of this subject and, if they aren’t already doing so, just may decide to get their kids playing.  If my book gets kids and parents laughing and playing, then maybe I can make a small contribution to this important movement.

Q: Let’s say a real-life Ernestine reads this book.  Ideally, how would she react?

Ernestine is an exaggerated character, but I don’t think she’s too far off from what some children experience. There are many children who cope beautifully with full-schedules and those kids probably won’t recognize themselves in Ernestine but will enjoy the book on another level. But I also think there are many Ernsts and Ernestines out there who are wishing for time to just be — not to perform, to train, to compete — but just to play. And those young readers may feel sympathetic to Ernestine.  If the book starts a family dialogue then that’s a great bonus. But as a writer, my aim is also to entertain and tell a fun story.

Q: In the Netherlands, where you live now, you told me that children have more freedom than they do in the US.  Can you characterize the difference? (more…)

Summer’s In Full Swing, Dragons Are Moving In July 13, 2011

Posted by flashlightblog in Dragon, Imagination, Interviews, Summer.
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Jodi Moore, author of When a Dragon Moves In (Flashlight Press 2011, illustrated by Howard McWilliam), talks about her first picture book in an interview on WHVL TV, State College, PA. It aired April 2011.

Mediation through arm wrestling? May 16, 2011

Posted by flashlightblog in Bullying, Interviews, Values.
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Yes. Janice Levy, author of Alley Oops, is interviewed on online radio and talks about bullying.

Editor Shari Dash Greenspan quoted in Children’s Writer August 25, 2010

Posted by flashlightblog in Book News, Interviews.
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Flashlight editor, Shari Dash Greenspan, was quoted in an article on the advantages of small publishing houses in the August issue of Children’s Writer, a monthly newsletter from the Institute of Children’s Literature.

“Because we’re small we give a tremendous amount of attention to each story we acquire,”  Shari is quoted as saying.

But then, if you’ve seen our books, you already know that.

Antique Week features Grandpa for Sale August 17, 2010

Posted by flashlightblog in Book News, Grandparents, Interviews, Values.
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An antique shop is the perfect setting for a story about a girl and her grandfather, and Antique Week is a perfect place for a review of that story.

Grandpa for Sale is  a front page feature article in this week’s edition of Antique Week, the top national newspaper of all things antique.  The article includes excerpts from the book, interviews with the authors, and other rave reviews our book has gotten.

For a link to the online copy of the feature, click here.