Posts from the About Me Category


Last month, I turned 30. My brother, Philip, journeyed from Hays to spend the weekend with us, my husband took me to Oceans of Fun, and my family treated me to The Cheesecake Factory.


My “little” brother, me, and Aaron


Mum and Dad in pointy, shiny hats!

They spoiled the pants off me. By night’s end, I had eight tubes of gouache paint, two Winsor & Newton Series 7 Kolinsky Sable brushes, a John Pike Big Well Palette, the Color Mixing Bible, and Color and Light: A Guide for the Realistic Painter. What more could an illustrator wish for?


I put my new supplies to use for September’s SCBWI prompt word “Muse.”


This illustration is approximately 5.5″ tall by 5.5″ wide, painted in gouache on hot press watercolor paper with a dash of sea salt.

The process was unusual for me. I decided on a water nymph the day the prompt was announced, but it was another week before I settled on the nine fish (one for each Greek muse) and arrived at a sketch.

I painted the first layer this past Wednesday, a second on Saturday, and a third on Sunday. Still, I couldn’t get the fishes’ texture quite right. I came back later to puzzle it out. The solution was to sprinkle in salt!

The beauty of cut paper collage is that you can pull everything apart if it doesn’t look right and put it back together. Gouache requires more consideration. While I can always rewet the paint or add a thicker layer, each color must be mixed, each brushstroke is intentional. As James Gurney says, you have to make a plan and commit to it.

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Last week Thursday (June 11th, 2015), Aaron and I marked our tenth wedding anniversary.


We celebrated with a special showing of Jurassic World at Alamo Drafthouse Mainstreet in downtown Kansas City.


We rode with raptors . . .

Jurassic World Photo Shoot from Alamo KC

. . . ate fearsome food . . .


. . . and won tickets plus a bag of dinosaurs for impersonating a triceratops. Roar!


Aaron gave me a multipurpose drafting table so I can paint and cut and collage without worrying about Godzilla cats or getting all creaky or spilling glue on the carpet. He chose one with a glass top and a clamp-on light so I can convert the surface into a giant light box whenever I wish. (Genius idea, right?) I adore my drafting table and look forward to many hours spent illustrating on it.


As for my gift to him . . .

In 2011, I made a cut paper collage in the shape of a heart as a wedding gift for my friend Tiffany. Every so often, Aaron would hint for a Love Machine of his own, and I would promise to make one.

Only I’d forget.

Well! I finally remembered.

I didn’t want Aaron to know what I was planning, so I worked during lunch breaks and while he was busy writing, and hid the materials out of sight. We are just awful at keeping secrets from each other, but this surprise I kept.

Here is Love Machine AP6115.

This collage is approximately 3” wide by 4” high, made from Tim Holtz idea-ology scrapbook papers, a Monet waterlilies print, metal gears, and glue. Its design is based on a medical illustration I found online. I set it in a shadowbox so Aaron can take it out from time to time and hold it in his hand.

Because this is our “tin” anniversary, my friends Alesha and Ashley suggested I wrap the frame in aluminium foil. I presented it to my loverly on anniversary morning.


I’m so happy he liked it!

Although . . .

I can’t imagine he likes it more than I like my new drafting table. Squeak!

Here’s to a lifetime more of memories with my favorite person.


I’m back home after an amazing four days at John Wayne’s Waterfront Resort on Sequim (pronounced “skwim”) Bay, Washington. Organized by west-coast agents Mandy Hubbard, Kristin Vincent, and Bree Ogden, Camp D4EO was attended by a dozen writers and Mandy’s New Zealand assistant Claire.

The week was ripe for reflection and professional growth. We wrote outside among the calls of gulls and scent of salty ocean air. We dove into contract clauses, how to work with librarians and booksellers, and spaces for success in domestic and foreign markets. We pow-wowed about current projects and plans for our careers.

We set aside our laptops and explored. We hiked sloping woodland trails and walked marina docks. We fed bread to bison, yaks, reindeer, and elk. We lifted tide-washed rocks and uncovered scuttling crabs. We tasted sea beans fresh-plucked from the shore.

We feasted on chili, burgers, seafood, French pastries, Tim Tams, jícama, and American and Kiwi s’mores. We drank our weight in coffee, wine, beer, and Diet Coke.

And we told stories. About our books and publication journeys, our hometowns and our travels, our first loves and forever loves, our trials and our triumphs.

We became friends.

Thank you Mandy, Kristin, and Bree for bringing us all together for this retreat. Sequim Bay will forever be the setting of this writer’s heart.

Here are some of my favorite pictures from the trip.

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Happy New Year, friends!

I’ve got big plans (BIG PLANS I say!) for 2015:

  • In March, I’ll travel to the Pacific Northwest to attend D4EO’s first agent-client retreat.
  • In June, Aaron and I will mark our tenth wedding anniversary which we’ll celebrate in October with a trip to the Caribbean.
  • In July, I’ll turn 30. Last night my dad noted I’ve lived half my life in one millennium and half in another. 2015 is a fine year to enter my third decade.

Professionally, I have big plans, too:

  • Complete pre-submission revisions on my middle grade WIP.
  • Embark on an intensive picture book craft journey.
  • Write! Read! Draw!

At my day job, I work with a wonderful group called Top 20 Training who travel the country speaking to teachers, kids, parents, and professionals about how developing thinking, learning, and communication skills (i.e. EQ) can yield incredible rewards in how we experience life.

One of Top 20’s concepts is R = R+. It’s the idea that you can be right about something while also recognizing there is more you don’t know. It’s a concept that encourages listening to understand, being open to possibilities, and being willing to admit when you are wrong or simply don’t have all the information.

2014 was a year of realizing I have a lot of room to grow personally and professionally. My goal for 2015 is to internalize R = R+: To listen with the desire to understand, to embrace feedback, and to relish opportunities for growth.

Here’s to a year of creativity, learning, and shelves upon shelves of good books!



Last weekend I drove down to Oklahoma City for the SCBWI Oklahoma Spring Conference.

This one-day conference was jam-packed and incredibly well organized. We kept on schedule (thanks to their RA Anna Myers!) and, apart from breaks, stayed in the same room. That meant once you settled in for the morning session, you didn’t have to worry about navigating an unfamiliar building or finding seats until lunchtime. As a directionally-challenged introvert, I felt this format made the experience less stressful and facilitated a focus on the sessions.

Here are some excerpts from my notes.

Tricia Lawrence, Agent, Erin Murphy Literary Agency

Tricia focused on discovering what’s lurking in a character’s unconscious. She walked us through an exercise inspired by Brandilyn Collins where we:

  1. Chose a cliché character (e.g., the heartless popular girl, the chosen one, the fantasy character who is shocked by his or her universe, etc.);
  2. Turned the cliché inside out; then
  3. Personalized the character.

“Level B”—turning the cliché inside out—is where most writers stop. But that final level is the most important one. That is where you ask your character a series of questions to find the “so what” of your story. If you listen to your character, you will uncover his or her pain points. Tricia said, “The author has to know what’s at the ‘bottom’—even in happy books!”

You must ask these questions before you send your manuscript to an agent or editor. As she noted, “Not all of this information will end up on the page, but it will color what is.”

Colleen AF Venable, Art and Design Director, First Second Books

The graphic novel form has always been mysterious to me, so Colleen’s “Graphic Novels 101” session was illuminating. She began by defining a graphic novel (“anything in book format with a spine; a long-form comic; visual storytelling using sequential images.”), then explored an illustrated history of graphic novels, reasons for creating graphic novels (for instance, 8 of the 10 most circulated books at the New York Public Library are comics or hybrids), and the seven steps for creating graphic novels.

She emphasized you don’t have to be an artist to make a graphic novel. You can collaborate!

Tucked into our conference folder was an incredible handout containing a Reading List for Aspiring Creators, a Graphic Novel Best of the Best checklist—divided by age group—AND a list of Publishers with Great Kids Graphic Novel Lists.

Andrew Harwell, Editor, HarperCollins Children’s Books

Andrew spoke about family dynamics in middle-grade and young adult books. He chose this topic because he found he is drawn to books with strong central families.

He explained that authors can use family dynamics to serve various purposes in middle-grade and young adult books, including creating empathy and sympathy for a character, creating a support network (to keep the pace going when a plot turn is devastating), and creating conflict.

The quicker you can have a character interact with others, the better because it’s revealing. In these scenes, you see a lot of different sides to a character.

Andrew said he appreciates parent characters who “feel three-dimensional”—where you can see how they influence the main characters. After all, parents’ knowledge informs kid’s knowledge.

Melissa Manlove, Editor, Chronicle Books

In Melissa’s “First Pages Like a Pro” workshop, we studied the qualities of first pages (e.g., anticipation/tension, cadence, humor, word choice, structure, etc.) by close-reading openings to eight different picture books. These picture books included OVER AND UNDER THE SNOW, CARNIVORES, ON A BEAM OF LIGHT, and the forthcoming SWAN.

Some points Melissa made:

  • Be aware of metaphors. Make sure they’re consistent.
  • For “goodnight books” (e.g., GOODNIGHT, GOODNIGHT CONSTRUCTION SITE, ALL THE WORLD) structure and predictability is important.
  • Predictability is the opposite of humor and tension.
  • On inspiration: “Lightning doesn’t strike the person sitting in a field in the sun. It strikes the person habitually cranking the generator.” (Everyone in the audience liked that quote a lot.)

Kristin Vincent, Associate Agent at D4EO Literary Agency

Kristin led a GIF-dotted presentation on “Keeping it Fresh: Writing About What You Don’t Know, Things You Can’t See, and What Doesn’t Even Exist.” She said “fresh” is often defined similarly to “voice”—agents and editors don’t know what it is, but they know it when they see it. She typically thinks of “fresh” ideas as ideas she hasn’t thought of or a treatment she hasn’t seen yet.

She provided a number of suggestions for writing something that feels fresh. One suggestion was to put a new spin on an old tale. An author can accomplish this by applying a new setting (see CINDER), swapping genders (see SCARLET), or using a great voice.

Voice is created when you know your character well enough that you can let go of your ego and use them as a vessel to tell the story. You don’t get in the way. She noted that voice should tell her everything from setting to the ages of the character to genre and tone, time period and class—without the narrator or character outright telling her these things.

Liza Kaplan, Editor, Philomel Books

In the final session of the day, Liza spoke about how to use drama and tension to create the “flashlight-under-covers reading” that you want.

Stakes are what a character stands to win or lose, the motivating factors. The higher and more demanding your stakes, the more you draw a reader in. If you receive feedback that your novel doesn’t feel immediate or urgent—or that it isn’t making an agent or editor feel—that means the stakes are not high enough.

How do you create a book readers want to clutch to their chest?

  • Make a reader care. Your character must be messy and honest—whose stakes are huge.
  • Reach them on an emotional level. Serve up characters struggling with something profoundly human and universal. The reader can relate regardless of plot and setting.

Liza recommended having an emotional hook (what the reader needs to know) in addition to the intellectual hook (what the reader wants to know) as this doubles the opportunity for storytelling. These hooks should be identifiable in the first 1/5th of a novel.

“Adolescence is a time of heightened emotionality,” she said. “Readers come to novels seeking answers to questions they might not even have yet.”

Conference Highlights

Each attendee was assigned a table at lunch with a faculty member or well published author or illustrator. I had the pleasure of sitting with Hannah E. Harrison, author and illustrator of EXTRAORDINARY JANE, and a group of other writers and illustrators. Hannah answered questions about being a picture book author/illustrator and shared her publishing journey with us.

Of course, the BEST part of the trip was meeting my agent for the first time.


On Sunday morning, Kristin and I chatted over breakfast about projects, pets, awkwardness, and the conference. It was a real treat!


For me, a great conference is marked by note-taking hand cramps, new ideas, clearer understandings, and brain weariness. I have to say the Oklahoma SCBWI Spring 2014 Conference was the best regional conference I have ever attended.

THANK YOU to the incredible faculty and conference organizers for a thought-provoking and inspiring weekend.