A Visit to The World of William Joyce

I first ventured into the world of children's author, illustrator and filmmaker William Joyce, watching episodes of his animated television series, Roly Poly Olie,  with my niece when she was little. A current exhibit at the Los Angeles Central Library provides an overview of another side of Joyce - a selection of his wonderful illustrations for children's books: LALibrary

"When I was growing up, nobody thought you could make a living by painting or writing... but things worked out and this is my job. It's like getting paid for recess." - William Joyce

While Joyce devotes exquisite attention to technique and detail, he delights in ignoring the customary rules of scale, point of view and perspective. His imagery is eccentric, whimsical and above all, unexpected. In one of the illustrations for his book, Santa Calls, Santa is depicted as a distinguished gentleman, wearing an elegant vest with a pocket watch, a monocle in his eye, and smoking an ornate pipe. Incongruous hot air balloons festoon the North Pole sky.

Joyce's offbeat humor crops up in every frame: a school house chases children in the playground, a band of tuxedo-clad bug musicians serenades a river at nighttime - and faces appear on everything from buildings to soup ladles.

It's always informative to get an insight into a writer/illustrator's process. This exhibit includes pencil drawings, book dummies, and unfinished illustrations - as well as vivid finished paintings from several of Joyce's picture books.

Here are some William Joyce books to check out of the library:

Bently & Egg

Dinosaur Bob and His Adventures with the Family Lazardo

George Shrinks

The Leaf Men

The Brave Good Bugs

Buddy

The World of William Joyce Scrapbook

Or, borrow a DVD of Meet the Robinsons, the animated feature film adaptation of Joyce's book, A Day with Wilbur Robinson.

"Nevertheless, Notwithstanding" - Rediscovering The Golden Phoenix

I've just been reunited with a childhood friend. A favorite book - a literary treasure - The Golden Phoenix was part of my family's collection of children's books when I was growing up in Ottawa, Canada. Written by Marius Barbeau, a cultural anthropologist who collected French Canadian folklore passed down through the oral tradition, The Golden Phoenix was first published by Oxford University Press in 1958 and reprinted by Scholastic in 1973. It has been out of print since. I've looked for it at Ottawa children's bookstores when I've gone back to visit, but a few weeks ago, I found an old library copy through an Ottawa book dealer on Amazon.

When it arrived,  I removed the brown paper wrapping like it was an unexpected present. The book was musty and marked here and there with children's scribbles. Stamped, "Wallaceburg Public Library," this copy has passed through many hands. I couldn't stop myself from reading the first story right away,  but I was determined to savor the pleasure by rationing the remaining seven.

Having read the book over and over again as a kid, it isn't surprising that many of the details are indelibly imprinted in my mind. I instantly recognized Arthur Price's timeless illustrations which marry the text so well. Rediscovering it now, the stories are still as fresh and charming as I remembered. Growing up, I read the Brothers Grimm, 1001 Arabian Nights, D'Aulaire's Book of Greek Myths and many fairy tales of different origins, but The Golden Phoenix stood out.

Like most classic tales, these share the theme of cleverness and good trumping evil, greed and trickery. The stories are also faithful to the rule of threes. For example, one of the tales, Sir Goldenhair, begins, "All the best kings have three lovely daughters, and this King that I am telling you about was no exception." What made these tales so satisfying, perhaps, was - they conformed to formulaic structure - but did it in a playful way. The tales of The Golden Phoenix are characterized by an added element of wit.

In the first story, The Golden Phoenix,  two beans are left to cook slowly in a pot. The sound of their cooking convinces the sultan the prince and princess are in the palace, arguing through the night. "As soon as they felt the heat the beans began to croak. One of them said "Nevertheless" in a high voice; the other said  "Notwithstanding" in a deep voice. When they were both croaking they sounded just like a man and woman talking together." In the morning, the sultan finds out the prince and the princess have fled. I've always fondly remembered the idea of two beans arguing. It seems very French, n'est pas?

I am enchanted now as I was then - and delighted to have The Golden Phoenix back in my bookcase.

What outstanding childhood book made a lasting impression on you? Please comment.

Blog tour for Signed, Abiah Rose: Interview with Abigail Samoun - Project Editor, Tricycle Press

I'm delighted to host day two of the blog tour for my good friend, the wonderfully talented writer and illustrator, Diane Browning. Her debut picture book, Signed, Abiah Rose - released June 8th - already has been greeted with great critical acclaim. Booklist gave it a starred review, naming it one of the, “Top 10 Historical Titles for Youth 2010.”
A work of historical fiction set in the 1800s, Signed, Abiah Rose is the story of a young American girl who finds a graceful way to pursue her artistic goals. Diane included a dummy for the book as part of her submission for the 2008 SCBWI Summer Conference Portfolio Display - and someone noticed.
That someone was Abigail Samoun, project editor with Tricycle Press, the children's book imprint of Crown Publishing Group, a division of Random House – which ended up acquiring Signed, Abiah Rose. For day 2 of Diane’s blog tour, I am interviewing her editor, Abigail Samoun. Born in France, Abigail moved to the US at the age of seven. After earning an MA in French Studies and Journalism from New York University, Abigail joined Tricycle Press in 2001.
It's a pleasure to participate in the launch of Signed, Abiah Rose, and to have the opportunity to interview Abigail Samoun, project editor with Tricycle Press:

I understand you first discovered Diane Browning's picture book dummy of, Signed Abiah Rose, at an SCBWI conference portfolio display. Coupled with Browning's charming illustrations, the story is a vignette of historical fiction about a young female artist who finds a way to leave her unique imprint. Told in the first person voice of Abiah Rose, the narrative has a subtle feminist theme. What resonated with you about this book and why did you decide you wanted to acquire it?
A.S. A lot of wonderful art comes across my desk but it’s unusual to find an illustrator who truly understands and embraces the picture book form---working within the parameters of 32 pages, a certain trim size, the flat, two-dimensional space of the page. The form has its limits and authors and illustrators have to understand those limits and know how to work creatively with them. When I saw Diane’s sketch dummy, I saw an artist who knew how to interweave text and art, how to create a visual rhythm and vary layout. A lot of care had gone not only into the illustrations, but also into the way those illustrations occupied the page, into the way the text was placed within those illustrations and text and illustration flowed over the course of 32 pages. The visual language Diane was using so adeptly came straight out of the world of classic picture books. I knew that this artist was someone who had studied picture books closely and had a real appreciation for the form.
The voice in Abiah Rose is very distinctive. To me, it evokes nineteenth century America---the age of Emily Dickinson, the Transcendentalists---a time when America was creating its own literature, rather than borrowing from the British. The trick with this type of text is to evoke the age without making the language overly exotic for young readers. Few six-year-olds would understand authentic nineteenth century writing. It was a careful balance but Diane pulled it off beautifully.

Historical fiction for children may have more marketing opportunities than other fictional children's books. Presumably, libraries and schools will be particularly interested in the book because it deals with history and art, and has educational value. If so, to what extent do you factor this in when considering a book for acquisition?

A.S. We definitely consider the markets the book will sell into. Library sales are crucial for a book like this. The fact that the book also dealt with art opened up some opportunities for special sales to museums and gift shops. These days, we look for picture books that will sell in multiple markets---not just to the chains or independents. Those venues are just too unpredictable.

Signed, Abiah Rose received a starred review from Booklist. Having found, edited and art directed this book, which was designed by Katy Brown, you must find it gratifying to see how well it has been received. As project editor for Tricycle Press, you both art direct and edit. It must be challenging and fulfilling to bring the written and visual narratives together. What keeps you engaged in your role as editor? What surprises you, enthralls you about your work?

A.S. Ah, that’s a complicated question! I find many things gratifying about my role as an editor---working with creative people to make their stories and illustrations the best they can be, working with narrative and text, giving talented artists an opportunity to bring their art into the world. I love being able to work with an author and illustrator over the course of many projects---really seeing them grow and develop as an artist and being on that road with them. One thing that fascinates me endlessly is how unique each artist’s voice is---it’s like a fingerprint: no two are the same. This is true of both an author’s narrative voice and an illustrator’s visual style.

I studied art in France and have a journalism background, so I was especially intrigued to learn you were born in France, and did your graduate degree in French and journalism at NYU. To what extent do you think your background has influenced your sensibilities as an art director and children's book editor? How, if at all, does your journalism education inform your work as an editor?

A.S. Growing up in two cultures, I always felt I was a bit of an outsider---especially after I came to the States from France when I was seven. I didn’t consider myself wholly American, but when I went back to France I was “la petite americaine” (the little American)---soon France didn’t feel like home either. I think when you grow up divided like that, you often find a home in books---books are the ultimate experience of the outsider looking in. The writer and the reader have that in common: they’re both hovering above the story, looking through a window at the characters and action of the story.

The thing I loved most about Journalism was interviewing. When you interview a subject for a story, you have to listen actively to what they’re saying so you can ask good follow-up questions, and listen too to what they’re NOT saying. An editor’s relationship to a text is a bit like that: You have to be an active reader so you can know the right questions to ask, and you have to be aware of the gaps---what’s missing in a story. Being an active listener and reader is crucial to the work of both the journalist and the editor.

There's more to having a successful children's book than just being a good writer and illustrator - especially today. What else does it take? Can you offer some advice from the editor's seat?

A.S. Here in the U.S., we have a wonderful community of children’s book professionals. It’s a huge help to authors and illustrators to become active members of this community---to speak at conferences, give workshops, form critique groups. It’s helpful in terms of marketing yourself, yes, but it’s also helpful in terms of emotional support. Artists don’t receive a lot of support from the greater society. Art is not a quantitative thing---you can’t measure it and say, “oh, art was up three points yesterday.”

So, to borrow an astrologer friend’s term, our solar-minded society doesn’t give much heed to the arts. It’s up to us to support each other---to be champions for each other. It’s not easy to put yourself out there. Artists are often more comfortable locked away in their studios or offices. But getting out there and meeting other writers and illustrators can be invigorating---these are people that are also passionate about books and art. I’ve gone to many, many SCBWI conferences at this point and I always come away from them with renewed enthusiasm for the work I do. The children’s book world attracts some pretty cool people. There’s always something to learn from your fellow artists.
Thank you so much, Abigail, for sharing such interesting and valuable insights.
Please drop by Diane’s blog, Out of the Paintbox, to learn more about Diane, her book and the tour. Leave a comment there, here, or on any of the blogs on the tour this week, and you’ll be entered in a draw for a personalized autographed copy of, Signed, Abiah Rose.
Congratulations Diane, and best of luck with your lovely new book!

WIP resuscitation - Up next: Blog tour & interview with an editor

Today, I tried to resuscitate a manuscript - my abandoned WIP. When I opened the document file this morning, I was shocked to see the last date I'd written anything - April 19. It was like re-encountering college friends at a cocktail party long after graduation. You remember the $50 loan they never paid back and the night they drove into a ditch, but you don't know them anymore.

For the college friends, life has moved on. Their hair is shorter, they have business cards, they've gotten married, even divorced. Not so for my characters. Their lives have stagnated. They're dying of ennui. They'd almost given up on me. I've been too busy painting lately, but they don't understand. For now, all I could do was read the last few scenes I wrote, add some dialogue and write one new page. Just one. It's hard to get back into writing. I have to rebuild trust - in the story and in myself.

While I reacquaint myself with my own manuscript, exciting things are about to happen right here at On Beyond Words & Pictures. Next week, I'm hosting one day of the blog tour for my friend, the wonderful writer and illustrator, Diane Browning - whose charming debut picture book, Signed, Abiah Rose, is being released June 8. A work of historical fiction about a girl who finds a graceful way to pursue her artistic goals, Signed, Abiah Rose received a starred review from Booklist.

For the blog tour, I am interviewing Abigail Samoun, Diane's editor at Tricycle Press (an imprint of the Crown Publishing Group, a division of Random House) to be posted here June 9. I am thrilled about the opportunity to help with the launch of Signed, Abiah Rose, and to get to know more about Abigail Samoun and her imprint.

Please check back on Wednesday. Now I'm going to sneak, as unobtrusively as possible, back into my manuscript...