Q and A :
1. Who or what inspires you to write?
I love to write and paint, so my inspiration comes from everywhere. Especially I guess from children's
conversations and behaviors, art, music and dance, animal behaviors, nature, and conflict resolution. I love humor too. My need to create puts me on high alert to stop, look and listen. Invite ideas in. And wow, what a party. Ideas come to play. Some stay and won't leave. I take mental pictures. I write a little about them and file them away. Then one idea becomes a real pest and won't leave. Demanding all my attention. Waking me up at night. Eventually, the idea-the objective for the story and the characters- become defined, an "aha moment" of discovery creates the first draft and dummy.
2. What is your favorite illustrating environment? Describe your workspace.
I have two. One is a finished room in the basement where I teach; the other is a cozy room next to the family room. There are two walls of windows. Sunshine pours in. Light pours in. And in the winter, cold pours in. I turn on the space heater. I wear a warm, bulky sweater. I have a swivel chair that rotates from my computer workstation to my drafting table and art station. I have a rattan chair with oversized cushions in which to read. I am surrounded by my collection of picture books--I am among friends wearing colorful jackets.
3. Are there any special supplies you use for writing/illustrating?
I like to use ebony pencils for initial sketches and layouts. The thicker line keeps my drawings bold and expressive. No need for detail at this stage. But, my ebony pencils play hide and seek all the time. I waste a lot of time searching. I only work with watercolors or acrylics in my upstairs studio. The basement studio is supplied with oils, pastels and printmaking supplies. I don't have a special medium. I chose acrylic for Marco.
4. Describe your creative process? What is a ‘must have’ when you are in the creative process?
Ideally, I must have quiet when I'm thinking and working out creative solutions. Birds can sing, but no crows cawing. The rhythm of rain is welcoming. The quiet of my cabin on the lake is heaven. I usually have a fresh cup of coffee prepared. I take a sip. I take another. I forget about it. An hour later, I make another cup. It gets cold. By the end of the week my studio looks like a lab of mold experiments. When I'm in the groove on a project, I need music pulsing and blaring. I played Bette Midler, Willy Nelson, and B.B. King most of the time when I was illustrating Marco.
5. Who are your favorite authors/illustrators? What influence have they had on your work?
The Bear and Mr. Bear by Frances Thomas, pictures by Ruth Brown A Splendid Friend Indeed and Treasure by Suzanne Bloom, Owl Moon by Jane Yolen, illus. by John Schoenherr, Officer Buckle and Gloria by Peggy Rathmann, That New Animal by Emily Jenkins, illustrated by Pierre Pratt, Rap a Tap Tap Think of That by Leo and Diane Dillon, The Great Fuzz Frenzy by Janet Stevens and Susan Stevens, Crummel and Papa by Philippe Corentin. I like all styles of illustration especially the body of work of David Weisner, Kevin Hawkes, Brian Pinkney, Eric Carle, Chris Van Allsburg, Thomas Locker and Brian Wildsmith. I love Mark Teague's illustrations in Pigsty, Georg Hallensleben's in And If the Moon Could Talk, AnnaLaura Cantone's in Pecorino's First Concert, Mark Buehner's in Snowmen at Night, Donald Dreifuss's in Birdhouse For Rent and Dan Andreasen's in Love Song for a Baby.
6. What specific message do you want people to get from this book and why? What experiences have you had that directly reinforce your book’s message?
Make things Happen!! Don't wait for someone to encourage you and don't let others discourage you. Light your own fire. Discover who you are and what you love. I throw myself wholeheartedly into an adventure that captivates my spirit--first it was dance, then musical theater, then teaching, and now writing and illustrating.
7. Do you have any hobbies?
I've never been a hobby kind of person. I love nature and gather treasures for my collection of natural objects--an interesting shell pattern, bark textures---that kind of thing. I guess too, I build on my collection of references for art work. But, it's not an intense search. If I come upon something, I pick it up.
8. How long have you been at work on this book? Why did you write it? Where did your ideas come from?
From the initial idea to the finished art work, about two years. I've been writing actively for about four years and never had a desire to illustrate my work---so awed by all the talent out there. I am an art teacher and fine artist, but I don't actively show my work. I've exhibited in a few shows, but haven't approached a gallery. Then I starting condensing my picture book stories and found I needed to sketch the pages to support the text and carry the idea. Everything worked so much better-the text and the art really hummed. I found I could edit more effectively and tighter. I went for it. I did a dummy for Marco and painted a few final samples.
9. Did the book involve special research?
I did research birds that migrate to Florida and further South to give credibility to the birds Marco would encounter. I took photos of flamingos at the Atlanta Zoo to create the character Marco and sketched at "Ding" Darling Natural Preserve with its rich migration of bird species.
10. Detail any fun things that have happened/or are happening because of the publication of this book.
Friends have given me flamingos, not real ones yet. I’m sure to get a flamingo lawn ornament soon. I was given a flamingo puppet that will be great to use for school visits. I am now tuned in to “pink” I see it everywhere!” I have more pink clothes than I ever had before and a pink suitcase.
