I wish I could show you more from I DEFINITELY WILL NEVER GET A STAR ON MRS BENSON'S BLACKBOARD, but it is all super top-secret, guarded by three-headed dogs. Unless you come to my house--then I could show it to you, and we could have cake and tea, while the three-headed dogs loll around in the sun. STAR is due out just about a year from now, so keep an eye out for it during the spring or summer of 2015.
How does my work differ from others of its genre?
This is such a hard question. I see that Mike Curato also thinks it is a hard question. Hmm, well… I think my work is somewhat different because I am utterly untrained in the area of writing for children, and illustrating for children. Sometimes I feel I am just swinging my pencil with my eyes closed, hoping the ideas hit the paper and not the wall. Not really-- I mean I went to college. And I got a masters degree in architecture. So I have practiced writing and drawing from time to time. But creating books for children is not writing papers on the French Revolution, nor is it drawing window framing details. So when I am really banging my head against the wall because I-have-no-idea-what-I-am-doing, I remind myself that my lack of training means that my work is fresh, and unique, and all mine.
Why do I write what I write?
My favorite stories to write are the ones that spring pretty directly from an emotional memory from my childhood. I’ll remember a time when I felt that I was the victim or the perpetrator of an injustice, and just how that felt at age four or five or six or seven--and then I have a story. The more I access memories of my childhood, the more I have access to them—just last week I woke up with a vivid memory from a challenging time in my family when I was very, very young. It’s now at the top of my list of future book ideas.
How does my individual writing/illustrating process work?
I can’t really say how my writing process works, because it is still a mystery to me. I just write whenever I can, and especially when a not-ignorable idea pops into my head.
And I am growing as an illustrator, so each project is just a little different from the last.
But, once I am really excited about a story, and I have fleshed out the text for a bit, then I start doodling and pretty quickly hash out images for various scenes on rolls of architectural tracing paper (cheap, plentiful, and not at all intimidating). I tear it off and mound it up, and before you know it I am on my way with a sketch dummy!