Nancy Opalko, youth services librarian at Oxford Public Library, introducing Hester.

Hester Bass delivering a singing telegram to the lunch crowd.

Hester siging copies of her book after the luncheon speech.

Cynthia Wetzel, a librarian at Mississippi Gulf Coast Community College, introducing Ellis Anderson.

Ellis Anderson, author of Under Surge, Under Siege, winner of the nonfiction award.

Read more about Under Surge, Under Siege here.

Donna Fite, librarian at Purvis Public Library, introduces Mary Anna Evans.

Mary Anna Evans, author of Floodgates, won the fiction award.

Read more about Mary Anna Evans and her books here.

Marty Coleman, librarian at First Regional Library and chair of the Author Awards Committee, giving Hester her award.

You can read more about Hester and her books here.
Also, if you have read this far and are still interested, you can see last year’s award winners.

Elizabeth Dulemba preparing for her critique.

A member being critiqued by Melissa Manlove, editor at Chronicle Books. See more about Chronicle Books here.

A member being critiqued by Linda Pratt, an agent with Wernick & Pratt Agency.

Elizabeth Dulemba showing her portfolio to Deborah Kaplan, art director at Penguin Group USA.


A member discussing her work with Alexandra Cooper, editor at Simon & Schuster Books for Young Readers.
Lin Oliver, author and executive director of SCBWI, discussing work with a member.
A member discussing work with Author Lisa Yee.

Read a review of the book on Lemuria’s website here. There are lots of nice pictures, too.

Last week, I sat in the room while an independent review panel discussed this year’s eight fellowship applications. Before the meeting, each panelist had read for each application a 15-20 page work sample and an artist’s statement (with all identifying information removed).

Besides me, two other applicants came to listen to the panel.

The panelists were identified by name cards on the conference table. I knew two of them from their work in the arts community. Two others were new to me.

It was very strange to listen to my writing being talked about in that setting. Because my work-in-progress is a memoir, the panelists did at least have the luxury of using the pronoun “she” when they wanted to speak about the author, namely, me. From the discussion, I learned that other applicants’ work samples ranged from a literary cookbook to a play to newspaper column-style family reminiscences.

I kept imagining that the panelists could tell it was my work they were discussing. I was sure it showed on my face. All three of us observers took notes during the entire discussion, but I wrote more assiduously when they were discussing my work.

It was interesting to hear how the opinions of the panelists were in some cases diametrically opposed. “Unique and interesting” versus “Didn’t see the originality.”

Though it was a strange experience, I think all artists should take any opportunity to listen in on this kind of discussion. Perhaps most importantly, the process allows you to see how effective (or not) you are at conveying your goals and at displaying the expertise to carry out those goals. For example, in at least one case, a writer, in his/her artistic statement, proposed a biography, but the work samples were unrelated to the biography project.

At the end of a brief discussion, panelists were asked to give each application a series of numerical scores, based on certain criteria (originality and vision of the work; technical skill and mastery of the artistic discipline).

Observers were not allowed to see scores. We were asked to leave before the panel had its final discussion. In my past experience with arts commission panels (when I wrote project grants for schools and nonprofit organizations), this final discussion is where the panel’s ultimate preferences are revealed. (Observers used to be able to stay in the room for these discussions. I’m not sure when/why the change was made.)

I will have to wait until July to learn whether I will get a fellowship. The panel’s recommendations go to the Mississsippi Arts Commission‘s governing board, which meets in June.

The Not-Blind Part

The other two applications I submitted to the arts commission this year were for its artist rosters. I have been on the artist roster for the literary arts for three years and it was time for me to re-apply. In addition, I applied for the first time to join the teaching artist roster.

My application to be included on the artist roster for the literary arts went for review to the same panel that reviewed the fellowship applications. In this case, however, the panelists knew my name, saw my resume, my marketing materials, my work samples, and a list of the presentations and signings I’ve done in the last three years. I could tell from the comments by panelists that all of them supported my application to be on the roster.

The story was largely the same for the teaching artist application, though it went before a different panel. During the discussion, several panelists said they wished they had more information on which to base their recommendation. Some suggested the application requirements should be amended to include examples of student work. I would have loved to have shared my students’ work. You can see some of it here and here.

Another interesting aspect of the discussion was something I’ve struggled with over my years of trying to make the most of the resources available from the Mississippi Arts Commission. In order to apply for individual support (fellowship or grant) or to appear on rosters, an applicant must chose a particular art form. So, though I am equal parts writer and photographer in the creation of nonfiction picture books for children, I must choose for the purposes of each application whether to apply as a literary artist (writer) or as a visual artist (photographer). The rules about work samples make it hard to show my picture book work — because I am limited to typed manuscript pages on the literary arts side and photographs on the visual arts side.

I wonder if the panelists are allowed to and/or encouraged to look at the online materials of the applicants for rosters. I have so much information available on my website and on this blog that could have filled in some of the information panelists seemed to be seeking.

Have any of you blog readers experienced a similar “blind” review process? What was it like?

Another of my favorite Sutton quotes: “Kids have always fallen in love with terrible books. But they can be led to others.” Led carefully, however. “In my fantasy library, no librarian ever says to me ‘if you like this, let me give you a good book.’ ”

This is David Diaz, a Caldecott-winning illustrator. He gave us a look at his process during one lunch session.

Later the same day, Diaz spoke at Oddfellows Gallery in Downtown Hattiesburg about Golden Kite Golden Dreams, an exhibit of original art from award-winning children’s book illustrations.

The Southern Breeze region of SCBWI partnered with USM, the Hattiesburg Arts Council, and Oddfellows Gallery to bring the exhibit to Hattiesburg. Claudia Pearson and Jo Kittinger (pictured above) are co-regional advisers for Southern Breeze.

Boyds Mills Press rented a corner booth in the conference exhibit hall and my editor, Andy Boyles (pictured above helping M. make a Fibonacci Folding Book), and I were responsible for greeting conferees. Andy arranged display copies of all of BMP’s science titles around the walls of the booth. We set up a table in the front of the booth with display copies of Wolfsnail: A Backyard Predator and Growing Patterns: Fibonacci Numbers in Nature. I put out my two mini-quilts (here and here), some private eye loupes, a pinecone, a nautilus shell, a sample Fibonacci Folding Book, and a stack of my postcards. I’ve gone to two other national conferences, the 2009 American Library Association meeting in Chicago and the 2010 International Reading Association convention (also in Chicago). In those cases, I was one of many BMP authors and illustrators who signed books. I was scheduled for an hour on each day. This time, I was signing all day every day. We left the booth only for three presentations (two featured information about 2011 Outstanding Science Trade Books) and a lunch meeting. I met lots of interesting people — some who teach science to kids, others who teach teachers how to teach science to kids, and people who work with organizations that promote science education.

We sold all the copies of Growing Patterns that BMP shipped and could have sold at least a dozen more. It helped that many teachers had seen the feature article about the 2011 Outstanding Science Trade Books for Students K-12 in Science & Children, NSTA’s magazine for elementary school teachers. Andy and I had a great time having lunch with current, former, and future members of the Outstanding Science Trade Book selection committee, including Suzanne Flynn, J. Carrie Launius, Betty Crocker, Steve Rich, Karen Ostlund, Kristin Rearden, and Juliana Texley. We also met Lauren Jonas and Emily Brady, who are on staff at NSTA and help coordinate the NSTA Recommends program and the OSTB list. We learned about the process and met some great people. Most of them seem to be on their second or third career. They started in classrooms teaching kids and then went into either administration or into teaching teachers at the college or post-graduate level.

They had stories about using trade books in classrooms. Juliana told me about the time she took flowers on an airplane so she could use them in a presentation about my book. They didn’t like the dry environment and shriveled beyond use. She had to hit a grocery store for replacements. One plant she bought was a peace lily (featured in the book to illustrate 1). When it was time to go home, she put it in her suitcase. “I threw some clothes away and made room for it,” she said. “It’s still doing fine.”

Right after lunch, I participated in a session featuring the 2011 NSTA/CBC Outstanding Science Trade Books led by some of the teachers at the luncheon. Other authors with winning books who participated were: Debbie S. Miller, who wrote Survival at 40 Below, and Seymour Simon, who wrote Global Warming.

The final session Andy and I attended was led by Seymour Simon and centered on the changes in children’s book publishing being driven by electronic devices. Simon and his wife, Liz Nealon, who has worked in many creative capacities over the years including with Sesame Street, talked about the growing numbers of children and families who have access to electronic reading devices such as Kindles, iPads, Nooks, iPhones, etc. Simon demonstrated how he has begun publishing some of his out-of-print titles in electronic format. His talk was very inspiring and I left there thinking about how I could get some e-publishing going.

I mentioned it to Richard when I got home and he’s spent a good amount of time this week building an iPhone app for Wolfsnail. How cool is that?!

1. Alvin Ho:  Allergic to Girls, School & Other Scary Things by Lenore Look

2. Dragonbreath by Ursula Vernon

3. Extra Credit by Andrew Clements

4. Gooney Bird is So Absurd by Lois Lowry

5. Hush Harbor: Praying in Secret by Freddi Williams Evans

6. Knucklehead:  Tall Tales & Almost True Stories of Growing Up Scieszka by Jon Scieszka

7. Masterpiece by Elise Broach

8. Make Way for Dyamonde Daniel by Nikki Grimes

9. Moonshot:  The Flight of Apollo 11 by Brian Floca

10. Redwoods by Jason Chin

11. The Secret World of Walter Anderson by Hester Bass. Read my post about this book here.

12. Where the Mountain Meets the Moon by Grace Lin

Some authors and illustrators who launched books this year
photo by Sandy Fry

Our keynote address Friday night was delivered with good humor and aplomb by Lindsey Leavitt, author of Princess for Hire and Sean Griswold’s Head.

Here are some of my favorite quotes from her talk:

“The only thing in this business that we can completely control is the words.”

“Ask yourself: What is the story I want to tell and why am I the one to tell it?”

“Some things to home in on: emotions & feelings; experiences & memories; unique settings; complete randomness (things that spark your interest for no apparent reason. For ex., fog machines).”

“The primary relationship is between you and the page. The ones who succeed are the ones who keep writing and keep submitting.”

“Find what you do well. Stop trying to do what others are doing. Embrace the books that you are good at.”

Sarah Davies

On Saturday, Lindsey did a joint session with her agent, Sarah Davies, of Greenhouse Literary Agency.

Sarah began by relating what happened when she read Lindsey’s query letter three years ago: “I sat up. My boots came off the desk. I had this visceral sense that this person knew what she was doing. Her promise was borne out by the pages she sent.”

After they agreed to work together, Sarah sent Lindsey a six-page (“extremely alarming”) document with revision suggestions. Lindsey had to adjust to the revision process. “I thought revision was spell check.”

After revision, Sarah submitted Lindsey’s Princess for Hire to 17 American editors and 14 in the UK. In the end, Lindsey signed a 3-book deal with Hyperion in the US. The UK deal went to Egmont.

Sarah called Lindsey on a Friday afternoon. Lindsey was driving and had her kids in the car. Sarah told Lindsey to pull over. Lindsey: “I kept saying, ‘Shut up!’ ‘I don’t understand what you are saying.’ It was a surreal moment. It was delightful; it was life-changing. I wish I had a tape of it so I could watch it over again.” Sarah could hear everyone crying.

Katie Carella with her conference angel Stephanie Moody

Katie Carella is an assistant editor for two divisions of Penguin: Grossett and Dunlap and Price Stern Sloan (PSS!). In her talk, she walked us through the development of a “homegrown series” titled Pete and Penny’s Pizza Puzzles. A homegrown series is one that is developed entirely in-house at a publisher. In the case of Pete and Penny’s Pizza Puzzles, the idea came to Katie from a friend. The friend had read an article in the New York Times‘ Home and Garden section featuring an apartment with puzzles and hidden clues.

Katie explained her three step process:

1) Who is my audience and what do they need?

She decided to aim for 6- to 8-year-olds, which meant the stories would need to be high-interest and fast-paced. She decided she wanted to reach boys and girls. She chose mystery.

2) What is the vehicle for my story?

She settled on 64-page chapter book series, which would be illustrated.

3) Is there room for my story in the marketplace?

She did research. A few similar series were Jigsaw Jones and Cam Jansen, but she had identified at least one way her series would be different: it would include puzzles that the character would need to solve. The reader would get the puzzles at the same point in the text.

Once she had the concept for the series nailed down and had gotten approval to move forward, she began the process of finding the right writer and illustrator for the project. She consulted her work-for-hire files. (In order to be considered for work-for-hire, writers should send a resume and a 5-page work sample. Illustrators should send postcards with references to internet-based portfolios. “Work for hire projects aren’t really publicized that much so you have to talk to each other. That’s how you find out about the opportunities,” she said.

She asked a few writers to audition for the series by writing a sample chapter. Carella provided a detailed outline. Illustrators auditioned by doing two sketches, based on a few paragraphs about the main characters.

Aaron Rosenberg won the writing job and David Harrington got the illustration nod. You can read about Case of the Secret Sauce on Penguin’s website.

I’ll continue the wrap-up tomorrow.

lettuce germinating taken with my iPhone

Here’s a good example. I should have taken the one-minute walk back to the house to retrieve a real camera. I could even have put on the macro lens. Then, I would have had a chance of getting these dicots in all their beauty. And, since they are the first seedlings in my garden this year, they deserve a real photograph.

These are my raised beds. Richard and the boys built them three years ago. We had a great year the first year and a so-so year the second. I am hoping for another good year. I am using good seeds and starting most of them inside. Last year, we had a big flash flood that washed out the middle bed and took the wind out of my sails.

So far, all the water I’ve used has come from my rain barrel. I expect my water needs will exceed this supply, eventually, but right now it’s nice to be using rainwater.

One caveat on the iPhone photography thing. It has saved my butt a few times when the real camera I had along didn’t work for some reason — usually a dead battery. I had to use it to get photographs of classmates at a recent funeral and the kids’ MathCounts team.

in Wisconsin

Guest on Read, Write, Howl
My writer friend Robyn Hood Black did an interview with me that appeared on her blog. She pulled a few obscure facts out of me that tickled some of my other writer friends. This photograph is a clue.

The photograph below is another clue.

I am looking forward to seeing my writer friends this weekend in Atlanta at the SpringMingle’11, the spring conference of the Southern Breeze region of SCBWI.

In Mississippi at the old store