Roxie Munro Author and Illustrator of Children books Tells and Shows

I was born in Texas, and grew up in southern Maryland, in a small town called Shady Side by the Chesapeake Bay. My parents encouraged their children to read, draw, and make their own toys. At the age of six, I won first prize in a county-wide contest for a painting of a bowl of fruit, and have been an artist ever since (my sister, Ann Munro Wood, is also a professional artist). I studied at the University of Maryland, the Maryland Institute College of Art (Baltimore), earned a BFA in Painting from the University of Hawaii, attended graduate school at Ohio University (Athens), and received a Yaddo Fellowship in painting. For a while I freelanced in Washington DC as a television courtroom artist. It was great training for life drawing, concentration under pressure, and making deadlines (and quite entertaining - attended some fascinating trials). Clients included CBS, the Washington Post, and the Associated Press. I started taking the train up to NYC to get work, and when The New Yorker magazine bought the first cover (of fourteen in all), I moved up to the city and have lived here ever since. I’m married to the Swedish writer/photographer, Bo Zaunders, with whom I’ve collaborated on four children’s books.


Tell us about the genre of your work. 

Most of my books are nonfiction (architecture, cities and countries, biographies, science)          and concept, interactive books (real life mazes, finding/counting, lift-the-flap books).

Why did you choose this genre?

I have always loved science (have a minor in chemistry), and architecture… am curious about a lot of things. I try to make nonfiction come alive for children. Truth is stranger than fiction; real life is fascinating.

What are some of your books, stories that have been published?

I’ve written/illustrated more than 35 books, including Mazescapes; Amazement Park; The Inside-Outside Books of New York City [New York Times Best Illustrated Award], Washington DC, Texas, London, Paris, and Libraries; Feathers, Flaps & Flops; Doors; Gargoyles, Girders & Glass Houses; Ranch; Wild West Trail Ride Maze; Circus; Mazeways: A to Z; Rodeo; Go!Go!Go!; Inside-Outside Dinosaurs; EcoMazes: 12 Earth Adventures; Desert Days, Desert Nights; and Hatch!

What ages do you direct your books?

From PreK (maybe 3-4 years old) to probably the 8th grade (the biographies).

They can be found on amazon and in bookstores.

Newest book?

Hatch! Published by Marshal Cavendish, 2011. Busy Builders (also Cavendish) will be out spring 2012.

Do your books have a teaching objective?  If so, what is it?

Yes, as mentioned, some are about places (New York City, Washington DC, Texas, Paris, London, libraries across the US, ranches). Some are about nature and science (Inside-Outside Dinosaurs; Hatch!; Desert Days, Desert Nights; EcoMazes: 12 Earth Adventures). I’ve done five maze books (Mazescapes; Mazeways: A to Z; Amazement Park; Wild West Trail Ride Maze; EcoMazes: 12 Earth Adventures) - not the paperback activity books, but based upon the multitude of mazes we run into and work through in real life. Mazes help children learn decision-making and critical thinking skills. They make them think ahead and plan steps in advance. Mazes teach alternative ways to solve problems and judge spatial relationships. For younger children, mazes help develop fine motor skills; for older children, maneuvering through mazes helps improve handwriting. Researchers have proven that mazes are particularly suited for boys and reluctant readers. And they're fun! The books also have finding/counting /naming and ABC elements.  And I do lift-the-flap paper-engineered books (Doors; Rodeo; Circus; Go! Go! Go!), which all of which have educational uses involving vocabulary, counting, and so forth.

What is your favorite thing about your book/

How much fun children have finding and noticing all the hidden details…

Is your book illustrated?  If so, would you tell us by whom, and if you worked with an illustrator, can you discuss that experience?

I illustrate all my own books (I’ve illustrated a few for others).

Are there any problems in getting children’s’ books published?

There’s a big debate going on now about picture books - are they over (No!) and also where in the children’s publishing world e-books and apps fit in. I’ve done one interactive animated app for the iPad (“Roxie’s a-MAZE-ing Vacation Adventure”) with another one out shortly (“Doors”).

Why and when did you begin writing?

I have always been an artist. Started writing my picture books in 1985, so I’ve been a writer for a long time too.

What is your writing schedule?

I go to my studio 6 days a week…work from 9ish to 6 or so (except Saturdays, when I come in a bit later).

What projects are you working on now, or plan for the future?

I am increasingly interested in apps - many of my picture books (the seek-and-find, lift-the-flap, and maze books) are considered interactive. It seems the next step to make them interactive apps.

What kind of advice or tips to you have for someone who wants to write and get published?

Refine your style - be individualistic, original, find your own voice. Work very hard. Don’t give up. Join SCBWI and research the business side of publishing also.

What do you do when you are not writing? 

Travel and read.

Anything else you would like to add?

The world of children’s books is a wonderful involvement.  The authors and illustrators are generous and sharing with each other; librarians, reviewers and teachers are informed and enthusiastic.

What “Made It” moments have you experienced in life?

A couple. Six weeks after starting my first college art class, I did a series of really good figure drawings. I was stunned that I could really draw - I remember taping them up to my dorm room wall and staring all night at them. I vowed that night if the world would “let” me be an artist, I would devote my life to it. And I have.

Another moment: Being in the art editor’s office at The New Yorker” when he told me they bought the first magazine cover. Changed my life. I walked out, bought a paper, got on the train to return to my apartment in Washington DC, and by the time I arrived had found an ad for a place in NYC. Moved up within a couple months.

Learn more about Roxie and her work on these sites:

http://www.roxiemunro.com/

http://www.publishersmarketplace.com/members/roxiemunro/

http://www.youtube.com/ChildrensBookClub#p/a/u/1/Wc5Bcni6onE

http://www.ocgstudios.com/roxies-a-maze-ing-vacation-adventure/portfolio-1/

Exploring the Writing World of Betsy Riley

Author/artist Betsy Riley left her small hometown in Kentucky to spend over 35 years working at the leading edge of science and computing in Oak Ridge Tennessee. Now she continues this work as a Program Manager for the federal government. But it hasn't been all bits and bytes for Betsy. She has owned a ballroom dance studio, been a ham radio operator and traveling lecturer. Along the way she had four marriages and three divorces, and learned that being alone doesn't have to mean being lonely.

Tell us about the genre of your work. 

This particular book is an illustrated fable that is inspirational. It uses an extended metaphor to offer a message of hope to people who have gone through relationship troubles.

Why did you choose this genre?

I had originally written the piece for therapeutic reasons after my second divorce. Recently I came across it and shared it with some friends who had been through similar breakups. Their reactions encouraged me to make it more widely available.

What are some of your books, stories that have been published?

The Comet is my first fiction book to be published. Before this, I had published essays and poetry in high school publications such as The Beta Club Journal. Until now my publications have been non-fiction appearing in the proceedings of computer conferences or in business magazines like The Office.

Give a short description of each. 

The Comet, print version ISBN-13:978-0615475783, ISBN-10:0615475787, is available from Amazon.com and http://BlueDragonPress.com and my website http://brws.com
An epub version for the Nook Color is ISBN-10: 0983735603, ISBN-13: 978-0-9837356-0-1

How do you come up with the names of places and characters in your books?

Often I take names of friends that inspired certain character traits, and then modify them slightly. I mostly use real locations, real place names.  Of course, in The Comet, the characters don't really have names per se. There is the comet, the sun, the moon, etc.

How did you develop the character of your protagonist in this book?

Although the protagonist is a comet, she is based on every woman I know who has gone through a breakup, divorce, or bad marriage. Since I want all my work to have a positive message, I had to be sure that she developed strength during the course of the story.

What about an antagonist…is there a unique “bad guy” or a recurring nemesis of any

kind?

The "bad guys" are a planet, a sun, etc. I guess that could be considered unique (chuckling).

What’s your favorite thing about your book?

The positive message and t

he images. I had originally planned to illustrate it using pastels, but decided to mockup some placeholders digitally. I wanted a primitive, iconic look. I liked the first image I did using Photoshop's paint option so much, I decided to go all digital.

How is writing in the genre you write, different than other genre?

This particular book is heavily illustrated, and shorter than a novel. But I write in multiple genres (sometimes mixing prose and poetry in the same piece). The common thread in my work is the concept of "family of choice" and finding a way to show a positive message from negative experiences.

Why and when did you begin writing?

I've been writing ever since I was a child. I did my own neighborhood newspaper, complete with movie reviews, when I was 10. I never stopped writing. I wrote poems, stories, essays, and speeches. I'm hooked on writing, I can't stop. When I'm stressed, I write and it makes me feel better. When my husband had a cerebral hemorrhage while he was in another state,  and the earliest flight wasn't till the next day, writing a poem about it helped me stay calm.

What is your writing schedule?

I work full time, at a demanding job, so my writing is done on evenings and weekends.  I write while watching TV. I jot down ideas for later while sitting at stoplights, while shopping, while out to dinner.

What projects are you working on now, or plan for the future?

I like to keep several projects going at once, so I can switch when I get bogged down. I'm currently working on two poetry chapbooks (one illustrated), a fictionalized memoir/guidebook for step-parents,  a zombie novel (that does NOT involve an apocalypse), and a collection of twisted nursery rhymes and fairy tales, working title "The Grimmer Goose".

I have two poems coming out in the launch edition of Empirical Magazine (in January 2012) and two short stories in an anthology to be published by Lebrary later in the year.

What kind of advice or tips to you have for someone who wants to write and get published?

Don't just want to write, WRITE! With digital publishing and e-books, there are so many more avenues to publishing now than in the past. Like "you can't win if you don't play", you can't publish if you don't write.

Are there any other comments, advice or tips that you would give to beginning writers?

READ. Read magazines like Writer's Digest; read books on writing; read books in your chosen genre; read at least a sampling of books in other genres.  While I'll never write a western, if I ever have to write a fist fight scene, I'll be able to use what I learned by reading Louis L'Amour.

What do you do when you are not writing?

Besides editing, you mean? I read, or paint, or draw. I play solitaire or video games (I'm hooked on one of the AARP mah-jongg games). I go to craft shows and art exhibits.

What “Made It” moments have you experienced in life?

Getting married barefoot on the beach
at sundown on Maui.

Having a letter to the editor published at 12.
Being called out of study hall my senior year of high school to be handed a telegram from President Nixon, naming me a Presidential Scholar.
Getting a standing ovation for my winning speech at the Tennessee JayCees state convention (after I had to follow the state Poet Laureate on the program!)
Dancing the twist onstage with Chubby Checker (solo).
Being invited to West Berlin to give exactly the same speech I had given there the year before.
Successfully doing a dive to mid-air hover in Indoor Skydiving.
Seeing my first book selling on Amazon.
Having friends that I had given copies to, buying extra copies to give to their friends.
Winning first place in an online contest with my very first flash fiction short story.

Behind the Scenes with Deb Lucke, Artist and Children's Book Author

Deb Lucke is a writer and illustrator of children's books that portray bad behavior and horribly embarrassing incidents. Since her own childhood had plenty of both, she is never short of material.

Prior to getting involved in children's books Deb worked with many talented people in advertising from whom she learned how to trap and snare an idea. She also studied filmmaking, which influenced the way she visually tells her stories. She finds camaraderie in a group of children's book illustrators that meets in the Hudson Valley and a group of writers that meets in New York.

She spent her childhood in Cincinnati, Ohio.  After high school, she attended an art school/college in Storrs, Connecticut.  After college, Deb began her design and advertising career in Boston, Massachusetts, and later moved to New York City where she accepted a higher position in advertising.  Later she moved to the Hudson Valley to begin her career writing and illustrating children's books.

Why did you choose this genre?

I worked as an Art Director in advertising for many years.   While I was in this position, I was teamed with a writer. Together we produced concepts for commercials and print ads. Somewhere in during that time-period, I started coveting the writer's job.  Because of this desire to write, I took classes in short story and screenwriting writing; however, the result was writing children's books instead. 

What did you learn from your years in advertising that has helped you as an author?

Working in advertising taught me how to take something a synapse fired off in the back of my brain and turn it into a really good story. It might be a story about why you need this consumer product, but it was a story nonetheless.

Day in and day out, I would be locked in a small office eyeball to eyeball with a writer until one of us would have a moment of inspiration on how to communicate whatever product advantage our product had. Then the other person would say, "Oh that's great!" and describe something that was not what the first person said at all. However, it would be better.

As we worked on a project, we would build off each other until it seemed like we had a really good idea. Then we'd pound it into a script [for a 30 second spot] with a beginning, middle and end that left the impression we wanted it to in the viewers minds and did so a way that was at least as entertaining as what the hugely talented and hilarious team that sat in the office down the hall did.

I learned to trust the creative process. I learned that some ideas come easy, some ideas take years to develop, but some curl up and die. You sit down, do the work, and something comes through.

Can you tell us about your books, and where we might find them?

Seezenesia:  It was published by Clarion Books in 2010.

ISBN #978-0-547-33006-8

A boy sneezes so hard he forgets his own name. Then he sneezes so hard he forgets where he is, who his mom is, and pretty much everything else he had learned that year in school! He sneezes out everything stored in his brain. What is an empty-headed, lost little boy to do?

The Boy Who Wouldn’t Swim: It was published by/Clarion Books/2008

ISBN #978-0-618-91484-5

It was so, so hot that summer that all of Clermont County practically lived at the pool. Everyone in Eric Dooley's family was in the water, including his little sister who was not the least bit afraid even though she, like Eric, did not know how to swim.  Everyone, that is, except Eric. Nothing would entice him in. He sat on the hot concrete and steamed while Jessica got the swim lesson meant for him. Under his thick coating of sun block, he was green with envy. What would his jealousy lead him to do?

The Book of Time Outs: It was published by/Clarion Books/2008

ISBN# 978-1-4169-2829-4

Here are the stories of some of the biggest troublemakers in history. Cleopatra could not stop fighting with her brother. Christopher Columbus told a big fat lie about what he found in the new world. Napoleon took things that were not his–like other people's countries. Sooner or later, they all had to have a time out.

All three books are available on Amazon and Barnes & Noble.

Do your books have a teaching objective?  If so, what is it?

In general, I find publishers do not like stories with lessons. That said, "The Book of Time Outs" is all about people getting in trouble and having time outs, so it raises many ethical questions...and that is part of its appeal.

Most of my characters behave badly. Let us face it, well-behaved characters make for a dull story. I am a firm believer than children's books are subject to the same narrative rules as books written for adults. I try to make my characters struggle with the same human condition that adults do, only it takes a sillier form.

Do you think it is important for parents to read to their children at an early age?

Deb at a Book Fair

A good storyteller allows the listener to follow the story, leap ahead, and anticipate the outcome, and then surprises the reader all the same. Leaping ahead, projecting him or herself into the story, and vicariously experiencing a new situation stretch a child's imagination.

Therefore, I would say if you want your kids to be imaginative, read stories to them. Also, give them enough free time for boredom to set in.  Earlier I described my experiences as a child and the influence it had on me.

Is your book illustrated?  If so, would you tell us by whom?

I was an artist first and writer second so I illustrate my own books. Usually, the words and pictures come simultaneously. I start with an idea about a character in a situation.

I write notes and draw doodles around this concept–sometimes over a long period of time. Then I sit down and write. Once the idea is pretty much fleshed out, I start drawing–not illustrating the words but imagining the character in situations, what the character's world looks like, and what's happening inside the character's mind. I usually draw hundreds of sketches. Then I start putting the visuals and words together. The sketches always change the story. So I rewrite, then I redraw, and back and forth until I think I have it right. In my opinion, this makes the pacing much tighter.

Why and when did you begin writing?

I grew up in the mid-west and was bored a lot during childhood. Boredom, it turns out, is a necessary condition to the development of a vivid imagination. It is as if the blank page–it asks to be filled up. So while I kicked aimlessly at the dust in the cornfields, or swung back and forth listlessly on a too small seat suspended by two squeaky chains, I imagined that the events of that afternoon were about to change dramatically. I would launch off my swing and it would turn out that I could fly! On the other hand, the corn would grow five hundred feet tall and I would be lost in the field. I would have to learn to survive on my own–live in a house made of corncobs, wear clothes made of cornhusks, eat creamed corn night and day, and grow rotund.

The stories I invented then all turned out to be pretty silly. However, the feeling of surprising myself when a narrative takes an unexpected turn has stayed with me. That is what keeps me writing today.

My three younger brothers were mostly annoyances to the childhood me, but over the years they have turned into protagonists. Eric's fear of swimming became, The Boy Who Wouldn't Swim. An older version of Kurt was the lifeguard in the same book. Dan's drippy nose is the basis of Sneezenesia. Of course, the truth has been wildly exaggerated and the stories changed dramatically, otherwise they would be boring!

My father says he knew I had talent because I got the legs on right when I drew cows, pigs and horses. Apparently, I was looking closely at the front legs and the back legs of my subjects early on.

I still spend a great deal of time looking at things. I work part-time at a contemporary art museum and I do surreptitious sketches of some of the visitors while they are looking at the art. I do the same thing on trains and subways. In fact, I find Metro North such a great stimulus that I sometimes go for a ride when I am stuck on an idea or need a fresh start on a project even if I do not really need to go anywhere. I live a little over an hour away from New York and there is something about heading there that gets my juices going. 

What projects are you working on now, or plan for the future?

I am currently working on a graphic novel titled, The Lunch Witch. This is the story of a witch who finds herself unemployable because no one really believes in magic anymore. Grunhilda's only skill involves boiling up foul things in her cauldron. Unlikely as it seems, there is a job that needs exactly what she has to offer: lunch lady.

Grunhilda goes to work torturing small children with horrible meals until one of those children, a rather-dull witted one in her opinion, manages to outsmart her. She finds herself being forced to do awful, unspeakable things–things that she did not think she was capable of doing – like being a mentor.

What do you do when you are not writing? 

There is virtually no separation between my work and my life. However, I do believe in what I call feeding the imagination. I go to many art museums, see as many movies as possible, read about five books as week, and meet with my writer's group every two weeks for lunch, intellectually stimulating conversation, and story critiques. As I mentioned before I spend a lot of time looking at things. I also like to go for long walks.

I should be spending more time studying grammar, but I am not.

What “Made It” moments have you experienced in life?

I wanted to explore the graphic novel form years ago, but then I read a quote from a successful cartoonist saying you have to be psychotic to spend years doing something that might not sell. Therefore, I waited a while. Now it is five years after that and I have ignored the needs of my budget, family, friends and cardio-vascular system to write my first graphic novel. I got it done this week.  

The next day I watched my significant other devour a radish I grew from a seed.

Check out Deb’s books at:

Here are the links:

http://www.barnesandnoble.com/s/deb-lucke 

http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Deb+Lucke&x=11&y=11

and see more of her Art at:

http://www.deblucke.com.

Illustrator/Author Patti Gay Sharing a Glimpse of Her Books and Art

After graduating from the Columbus College of Art and Design, I started illustrating for advertising agencies in Columbus Ohio then New York City. Then a move to San Francisco started a career as an art director for greeting cards. A few years later, it was time to get back to doing my own illustration again. I began doing art for licensing, and I have images on a variety of products including; gift bags, cards, garden flags, mugs, prints, 3-d plush, needlepoint, stickers, holiday clings and paper product goods.

Tell us about your art and books.

I have illustrated a children’s book, Cats for Golden Books as well as two educational books for Evan Moore publications. I also have two e-books that I wrote and illustrated, Friends, Amanda and Max and animals, Must Be.

I like working in different media and styles. I do realistic images as well as whimsical, and like working in oils and watercolors. I have a studio in my home in the Santa Cruz Mountains and can be contact via e-mail at pattigay@sbcglobal.net.

Why did you choose to be an illustrator, and tell us about some of your illustrations and books that have been published?

I cannot remember a time when I did not want to be an illustrator. I am very lucky to have known always what I wanted to do. I am especially excited about the e-books that I have done recently. One is Friends, Amanda and Max is about an orange tabby cat and a wee dachshund pup exploring what it means to be a friend. It is available at Barnes and Noble. http://www.barnesandnoble.com/w/friends-amanda-and-max-patti-gay/1030966799 .

Amanda and Max also have their own blog in their voices with free downloads of paper dolls and coloring pages. http://amandaandmax.blogspot.com/

Would you tell us more about your books and art work?

Must Be is about a menagerie of friendly animals that are playing in the park when they notice the reader) is observing them. What must it be? Each animal tries to discern what is watching them. They each have their own ideas based on the wonderful, individual characteristics they themselves possess. Finally a clever pig declares that it is in fact a child. Upon this discovery, the animals invite the child reader into their play.http://www.barnesandnoble.com/w/animals-must-be-patti-gay/1030528593.



Nutty is one of the
 animals in Must Be.



Ronnie Herman currently represents me for books and JMS Art Licensing for licensing. For books, I have never worked directly with an author, but have always worked with the art director. You can see my work on my website; www.pattigay.com, and I also have a blog with updates of what I am doing at http://pattigay.blogspot.com/.  What are some of your illustrations that have been published? My blog also has links to my books and my agent’s sites.

What do you do when you are not writing or illustrating?

When I am not writing or illustrating, I am managing a home teaching program for my son, who is autistic. I train all of his aides and cover for them when they are not here.

Two Can Art

Since my studio is at home, I am also on call for them whenever they need me. I do my illustrating and writing when his aides are here during the day. I also do sketching when we are hanging out together in the evenings. One new exciting project I have recently done is to create a line of art called Two Can Art. My son loves to paint and creates wonderful textures.

I have taken his paintings and scanned them into my computer than fused them with design. I am now working on setting up a blog for signed and numbered giclee prints on demand. It will be at http://twocanart.blogspot.com/ when it is done. Right now, you can see images on my agent’s site. http://www.jmsartlicensing.com/two_can_art/.

Do you usually work directly with authors, or with the publishers?

Characters in a
possible future book.

I have not illustrated book cover for publishers, but have designed a few for my portfolio. I think if an author is thinking about hiring an illustrator the first thing to think about is that they may have a different vision than an illustrator may have. When working with a publisher the illustrator’s job is to put their vision to the words. It may be very different from what the writer may have visualized, but I think it can often enhance what the words say in a way the writer had not thought of.

What “Made It” moments have you experienced?

Patti may have created
this one just for fun,
but I love it.  Don't you think
this would make a great
character in a new book?

I do not really think of things as made it moments. One thing I love about what I do is that I know I can always grow and learn. I do not think there is a goal higher than being better than I am. I think if what I have visualized in my head makes it to my illustrated image I have succeeded with that image. I like pushing myself outside of my comfort zone with my work.

Check out more of Patti's work on her website at:
www.pattigay.com

P.S.  Don't forget to leave her some comments. 
I am sure she would
appreciate the feedback.

Award Winning Illustrator, Mark Wayne Adam, Shares His Work and Advice

I saw your artwork, and was fascinated.  Would you tell us a little about your background before we begin talking about the work itself? 

         Anyone who knows me, knows drawing is a huge part of my life.  When asked if I illustrate for a living, I respond with an inspiring drawing lesson and recommend my best sketchbook to aspiring writers and artists. Recently, I was awarded medals for the 2010 Florida Publishers Association, the 2010 IPPY Awards, the 2010 Eric Hoffer Awards, and 2009 Moonbeam Award as Best Illustrator for contributions to “Nicholas, That’s Ridiculous” written by Christa Carpenter.  Also received were medals in the 2010 Ben Franklin Awards, 2010 Indie Excellence Awards, and the 2010 Mom’s Choice Awards for contributions to “The Belly Button Fairy” and “The Fart Fairy” written by Bobbie Hinman.

Newly released is “King for a Day, the Story of Stories” and a Simplicity Pattern #2299 featuring an original toy design.

Where do you work?

Longwood, Florida is where work commences most days, usually by the pool or in the home office.  I also enjoy working remotely at a quiet hotel lobby, a local WiFi restaurant, or even a public library, I can illustrate most anywhere.

Tell us about your work.

My goal is to create diversity in my work, so I use a variety mediums and styles.  Each is as unique as the authors with whom I work.  As an aspiring animator, I knew matching specific styles would be an asset.  This has proven especially helpful for authors with nightmare illustrators.   Whether the illustrator quits, is slow, or has personal issues, I can complete the project.

Speed has become my second greatest asset.  I can usually illustrate a 32 page children’s book in about 30 days.  This allows series authors to release multiple books in one year.  Most times an author takes longer to sign a contract, than I take to illustrate their book.

Why did you choose to be an illustrator?

I will make this as short as possible.  Illustration was not my choice at first.  Animation was my dreamy first choice, so I moved to Florida seeking a career at Walt Disney Animation Studios.  Not long after arriving, the studios moved to California.  I had many good reasons not to follow; a wife, house, and daughter to mention a few.  The studio’s move helped me explore other artistic possibilities. 

I worked as a Lead in the Theming Department at SeaWorld, Orlando, Art Director for an Architectural Sign Company, and manager for a Commercial Printing Company.  Each business was a profitable facet of artistic design.  From murals to signs, digital to paper, and mass markets to individuals; art was an income for every company.  This valuable business knowledge was applied to my own illustration company.  Working 10 to 20 hours a week, I generated an income equal to my 50 hour a week J.O.B.S.  I do not mind working hard, however I much rather work smart.

As an illustrator, I began to visit schools sharing my career.  Illustration chose me at my first presentation for Cuba Elementary, in Cuba, KY.  After fumbling my way through the day, I realized my contribution to books reach more than bookshelf.  My art inspired children, adults, educators, and peers.  Not only when I was presenting, but also at bedtime, story time, and most importantly when someone wanted to tell his or her story.   Those children at Cuba Elementary helped illustration choose me.

What are some of your illustrations that have been published?

Most all of my illustrations are published.  The unpublished works are found in my best sketchbooks and given to children at special events.  In 10 years, I completed 52 journals, almost 12,000 sketches.  These are notes, storyboards, and character building pages.  My next 10 years of journals started in 2010.

What are the titles of some of the books you have illustrated.    

 “Nicholas, That’s Ridiculous!” by Christa Carpenter

 “Jilli, That’s Silly!” by Christa Carpenter

 “The Belly Button Fairy” by Bobbie Hinman

 “King for a Day” by Mark Wayne Adams

 “Best Sketchbook” by Mark Wayne Adams

 “The Fart Fairy” by Bobbie Hinman

 “Field of Dreams” by Mark Hoog

“Treasure Island” by Mark Hoog

 “G.B. Duck’s Autobiography” by Chip Tullar

“The Skunk Who Was Afraid to Stink” by Brielle Kelley

“Lu and the Earth Bug Crew, Zap the Energy Spikes” by Derek Sabori

“Jadyn and the Magic Bubble, I Met Gandhi!” by Brigitte Benchimol

“Jadyn and the Magic Bubble, Kenya Kenya!” by Brigitte Benchimol

“Guinea in My Cap?” by Wanda Hughes

“Shanti the Yogi” by Spirit Voyage Music

“The World’s Greatest Pillow Fight” by Suneet Bhatt

“Pop the Bubbles, 1-2-3” by Jennifer Goble

“Good Nightmare” by Mark Wayne Adams

“Miss Mary’s Missing Book Bag” by Mark Wayne Adams

“The McGregor’s and Me” by David Garrett

“The Little Orange Salamander” by Dolores J. Mazzeo

“The Nerds” by Beverly Webel

“Dogs of the Caribou and Other Stories” by Mary Gentry

“The Magical Forest” Kristen Mason

How do you come up with the visual portrayal of characters in books?

I first seek input from the author.  I ask authors about each character’s personality and “underlying” story.  For example:  Nicholas Wallaby and his mom from “Nicholas, That’s Ridiculous!,” are actually the author, Christa Carpenter, and her son, Nicholas Carpenter.  The entire series is based on actual events in her life.  In addition, knowing Christa’s love for teaching, writing, and embroidering t-shirts helped me illustrate some great marketing tools within the story.  

How is being an illustrator different than other graphic artist?

Being an illustrator requires a fusion of art and storytelling talents.  Illustrators create entertaining artwork for a variety of audiences using a variety of mediums.  The variety is not limited to realism, fantasy, cartoon, or portraiture, not even by digital art vs. oils.  This talent separates illustrators from graphic artists.

Why and when did you begin?

I have two beginnings, uneducated and educated.  My uneducated beginning started in the late 90’s.  I no longer wanted to follow my animation dream, so I illustrated a few under estimated projects.  I was making no money at that time.

My educated beginning started in 2005. I discovered the Graphic Artist Guild Handbook of Pricing and Ethical Guidelines.  This book contains industry pricing standards, contracts, and business tools that made making art a business.  A must own for authors and illustrators to determine the value of illustrations.

What is your working schedule?  Is this your fulltime profession, or do you do other things as well?

Wow!  A working schedule sounds like a J.O.B.  Have you every heard the saying, “if you love what you do you'll never work a day in your life?”  That sums up my schedule.  I illustrate about four to six hours a day, five days a week.  If I am not illustrating, I am drawing in my best sketchbook. My full time profession maneuvers around school visits, book events, and most importantly my family.  

Do you usually work directly with authors, or with the publishers?

I work directly with authors.

Is there something that writers should know about time and cost of having their books illustrated?

Hiring a professional illustrator will save authors time and money when having their books illustrated. Illustrators require the printer and graphic designer’s guidelines along with the final edited story.  Artists are liberal with time; however, a professional illustrator creates according to timelines and budgets.  Require communication throughout the process using standard Digital Proofing.  The Digital Proofing website is one that allows remote viewing for the author, editor, printer, graphic designer, and artist.  The site is generally password protected and includes the story, storyboard, and resources.

Three basic Children's Book contracts are Purchase Contract, Copyright Contract, or Royalty Contract.  (Descriptions can be found in Graphic Artist Guild Handbook of Pricing and Ethical Guidelines)  A Royalty Contract should require the least up front investment, and usually offer unlimited use with a royalty percentage.  Each contract is based on the number of illustrations, artistic style, scanning, manipulation, and digital clean up.

(Do you ever design just book covers?) 

Yes.  I include book covers within the scope of an illustration contract.

What things should an author know when they are thinking about working with an illustrator?

Royalties are a wise investment!  By rewarding the illustrator through royalties, authors can expect 110% from their illustrator.  Working to make an author successful is less inspiring than working to make author and illustrator successful.

What kind of advice or tips to you have for someone who wants to have their books illustrated?

Illustrations take time.  It takes generally 30 to 60 days for professional illustrators.  Much longer for artists, first time illustrators, or “nephew artists*.”  Before choosing an illustrator, define a production timeline and insist the illustrator follow.  Sign a mutually rewarding contract.  Being underpaid, rushed, and inexperienced are all ways to ruin even a close family relationship.

*Nephew Artist; a family member with minimal artistic training.  Authors generally choose a “nephew artist” out of loyalty, a desire for cheap artwork, and to keep the money in the family.

Are there any other comments, advice or tips that you would give to writers?

Expect the same quality you see on the shelves of your bookstore.  Compare your illustrator’s artwork with that of other professionals.  If the quality is not there, do not be ashamed to terminate the agreement.  Having a quality product is much more important than making caressing your illustrator’s ego. 

What “Made It” moments have you experienced.

As a marathon runner, milestones are important to reach the finish line.  Therefore, I will mention a few personal milestones. 

1.  Winning my first poster contest in 1^st grade, taught me I could make money with my gift.

2.  Attending the 1988 Governor’s School for the Arts in Kentucky, taught me my gift would take away from the farm.

3.  Meeting Don Egbert, the bank manager in my hometown of Dawson Springs, KY.  Don said, “Mr. Adams your name is the most valuable thing you own. Be careful where it appears.”  A milestone I did not understand then, but apply daily in my business!

4.  Meeting Arnold Schwarzenegger who stopped his workout to discuss my sketchbook.  As a Disney employee at the time, I was not allowed to approach guests for autographs.  So, I did what I do best…draw.  Mr. Schwarzenegger talked for over 15 minutes about my “gift” as he called it.  The one “star” I had hoped to meet exceeded my expectations with his interest.  This moment taught me how to introduce myself to some incredible people, and all without saying a word, but by only using my “gift.”

My life is still moving in milestone moments.  I love what do, which means I will feel successful all my life. My “Made It” moments will be determined by others.



Ms. Christa Carpenter,
author of "Nicholas, That's Ridiculous!",
and I at the
 "King for a Day" launch party
 held at Barnes & Noble, Altamonte Springs, FL



Mrs. Bobbie Hinman,
author of the Best Fairy Books series,
and I signing
at Barnes & Noble, Bel Air, MD.  



Mr. Mark Hoog, author of the Growing Field Books series,
 and I with the Principal and teachers of
Twin Lakes Academy Elementary in Jacksonville, FL.

If you wish to contact Mark or learn more about him and his work, you may do so in the following ways:

Mark Wayne Adams, P.O. 916392, Longwood, FL 32791

Phone:             (407) 756-5862

Email:  markwayneadams@mac.com

Website:  www.markwayneadams.com