menu
Archives

Part 2 with Susan Eaddy: Adventures in Hybrid Publishing

Let’s finish up our interview with clay illustrator Susan Eaddy as she discusses her current project and new opportunities in publishing.

Detail from My Love For You Is The Sun

Detail from My Love For You Is The Sun by Julie Hedlund, illustrated by Susan Eaddy

 

OUaS: You are in the middle of working on My Love For You Is the Sun, by Julie Hedlund, founder of the 12 x 12 Picture Book Challenge. The book will be published by Little Bahalia. Tell us how you first became involved with this project.

SE: I went to the Bologna International Children’s Book Fair in 2012. Sarah Towle, an amazing app expert & consultant gave Julie a consultation at the SCBWI booth. She told me, “Oh, you two MUST meet!” We had dinner together, and later met again at the LA conference where she bought Papa Fish’s Lullaby for her children. Julie had been in discussion with her publisher and her agent about this hybrid publishing model, and apparently her kids pressed her to ask if I would be the illustrator. I kept a blog about my Bologna experience; I think I may have mentioned dinner with Julie, but I had no idea where that introduction would lead. One truly never knows where an opportunity or collaboration will come from.

OUaS: The book is being published under the “hybrid” model of publishing. Most explanations of the hybrid model suggest that the risk is shared by the book’s creators and publisher – in this case that’s you, Julie, and Little Bahalia. Can you describe how the three of you shared the risk and how you will share the benefits once the book is successful?

SE: Yes, the advance payment is much smaller for this sort of project. ALL of us risk in putting a huge amount of work in the front end. I am madly working on the illustrations, Little Bahalia is designing and printing & positioning the book in the marketplace, Julie is not only the author, but the marketing guru, developing films, websites, and social media. It is a tremendous investment before the book is printed, but if the book sells well we will all do well.

OUaS: What has been your favorite part of working with this hybrid model? What would you do differently on your second hybrid venture?

SE: I have to say, working with Julie and Little Bahalia has been the best. We are all excited about the possibilities in this out of the box approach. And since it is a small group, we can brainstorm and be very creative in the process, without the sometimes kludgy experience of getting approvals from many people. Being small in this case equals being nimble, and we can publish more quickly. The whole process from contract to books in hand will take less than a year.

OUaS: What advice would you give a new illustrator who might be considering working with an author on a hybrid book?

SE: First, make sure you have a contract. Don’t just sign the first thing that appears to you, contracts are made to be negotiated, and make sure you feel good about your compensation, because once you have agreed to take it on you HAVE to do your best job. Secondly, if you plan to use Kickstarter or a similar crowd funding site, do your homework to figure out HOW to make it work for you. Julie has information about the process on her website. It really takes someone who is savvy with social media and networking to make a crowd funding project successful. I am naturally shy and am NOT good at that stuff. But Julie is great at it THANK goodness. So at least one of you in a hybrid project needs to be the designated marketing/social media guru. And of course, you have to have a project that you really believe in! Your passion will help you create work you can be really proud of!

FrogsCMYkRain

Interior illustration from My Love For You Is The Sun by Julie Hedlund, illustrated by Susan Eaddy

OUaS: My Love For You Is the Sun is not your only book in production right now. You also have Poppy’s Best Paper coming out from Charlesbridge in 2015. What can you tell us about Poppy? Originally you wrote and illustrated it but then you and your agent decided to submit with a different illustrator, what’s it like to be the “writer’s seat” as opposed to the “illustrators seat” 

SE: Poppy’s Best Paper came out of a Children’s Illustration class I took with Robert J. Blake. I polished the manuscript and created a sketch dummy in his class with a couple of sample clay illustrations. I started submitting it but I kept hearing the same thing over and over…the clay is not really a good fit for this story. I agonized & re-did illustrations for YEARS. Finally, Karen Grencik of Red Fox Literary asked me if I would be offended if they submitted my story with Rosalinde Bonnet’s illustrations. I looked at Rosalinde’s website, thought about it for about 30 seconds and said “Go for it!” Charlesbridge picked it up, and I have just seen the first round of sketches. I am THRILLED with her interpretation! I mean really, she has given Poppy a spirit and character that makes me laugh out loud. She TOTALLY gets her.  I know that Poppy is in good hands now, and and one of the best parts is that MY job is done! At least until the book is published, and then of course I’ll be working like crazy to promote it.

Thanks Susan for sharing your wisdom and beautiful artwork in both posts! Readers, take a look at Julie Hedlund’s video for the original Kickstart campaign below. You can also see the original campaign here and read Part One of Susan’s interview here as she describes working as a clay illustrator.

Sculpting an Illustration with Clay Illustrator Susan Eaddy

Let’s meet clay sculpting illustrator Susan Eaddy in the first of a two part interview about her process, children’s book illustration, and licensing artwork. Susan’s illustrations are fabulously detailed clay reliefs. Each form is designed, sculpted and attached – each part becoming a facet of the whole glorious piece. But even better than me trying to describe it, watch this short time lapse video as she creates colorful tide pool creatures for a Click Magazine illustration.

OUaS: How did you get the impetus to begin making the videos of your clay process? How have they worked as a self promo tool?

SE: I took a Make your own Book Trailer breakout from Chris Cheng at the 2011 LA Conference. It was so empowering that it basically gave me the confidence to tackle iMovie. I had to keep telling myself not to get perfectionistic, that this was supposed to fun, and I should totally revel in my amateur status. So I have! And that has released me to just play with the medium. The clay is so perfect for video-ing the process, and it has been a great self promotional tool. I started out videoing with my still camera and when I saw how fun, I finally bought a video cam.

OUaS: Susan is being completely humble when she describes these as a great promo tool… in fact her videos have been shown all over the world and even landed her a feature on the Parent’s Choice blog and a TV interview with Tennessee Crossroads.

In this world where everything is more an more digital what challenges do you find working in a most non-digital medium? What benefits?

tidepool

Final tide pool illustration

SE: Well, there are so many steps in my process and digital  certainly plays a part. I start with drawing, then composing, then coloring, either with pencil or on the computer, to figure out my palette. Then I do the clay. The clay is the most joyful part of the process for me! By the time I start the clay, I have figured out composition and palette, and I can get my hands dirty and figure out how to construct my reliefs. I’ve said it before, but it is this discovery process that I love the most. I don’t know HOW to make things until I just get in there and play. I often redo pieces and parts of the clay as I go along. Because you don’t really know if something is working until it is made. After the illustration is done, I photograph… again playing with light and angle until I like what I see.  When I put the digital files in the computer, THEN I can see how it translates to 2D and I notice things that I didn’t see before. So I usually shoot things anywhere from 5 to 15 times. I finalize all of my files in Photoshop and send digital files to my clients. Without Photoshop, I could not do my job.

OUaS: How do art directors/buyers react when you tell them about your process?

SE: Actually, it’s been a bit of a hard sell. Even the very visually oriented are often uncomfortable with a medium that is so different, and many are afraid to take a chance. Before digital was so common, art directors were confused about HOW they would get final files. But the digital age has streamlined that so easily that there is not so much confusion.

I was an art director myself for 15 years and I KNOW how tight and important deadlines can be. If an art director perceives that a process will take longer than normal they tend to shy away. When they look at my very detailed illustrations they assume that it takes me longer than other people to do an illustration. But that is just not the case. I have worked in ALL mediums through the years and the clay doesn’t take any longer than other mediums I have used.

teddysofa Continue reading