Artist Spotlight: Katie Risor
Tell me a bit about yourself. Where are you from? How did you decide to become an artist?
I grew up in San Antonio, Texas. My family has been in Texas for many generations, and we have a place in the hill country that has been in the family for over 100 years. So having a connection and interest in history and the privilege to be in nature a lot has really affected me personally and artistically, I think.
The ranch house is full of paintings that my great-grandmother, Granny B, did. A lot of them of the land or other Texas countryside scenes. After my maternal grandma married in, Granny B introduced her to oil painting, which then passed down to my mom and all the way to me. My mom was a very creative person, she always had little projects or missions that she roped us in on. The process of making stuff together was always fun, no matter how it turned out.
I think growing up like that allowed me to bypass the perfectionism that many of my artist friends suffer from and allowed me to just assume I could I do it. I always knew I wanted to have a creative career, though it’s never been a set path. I wrote stories and comics when I was young, attempted novel writing in my teens, but I didn’t learn to finish projects until college. And I came to illustration late.
The only time I really made a “decision,” though, was near the end of college, when I realized that pursuing a career in storyboarding didn’t align with the lifestyle I wanted or my creative needs. So when I began looking for illustration work, I realized that narrative illustration was the only thing I was really interested in.
What's your favorite medium, and why do you love it?
I absolutely love gouache, but I think my favorite medium right now is just graphite pencil.
I love the texture and softness, I love scribbling and how you can always see the human touch in it. It’s so easy to get an idea down. Sometimes I feel jealous of people who do very clean inking or digital art, because I think they get more work, but I just find now joy in making that kind of stuff.
What does your workspace/studio look like? What aspects of it are most important to you?
I just finished renovating my current studio in our first house! It has hardwood floor, white walls, an L desk, and two windows. The shining star of the space is wall shelves that I built above the desk to hold all my picture books.
Having a space that is cozy, comfortable, and functional is so important to me. When I get into this space after having a temporary desk spot I felt so relieved and happy, I didn’t realize how much not having a proper space stressed me out. When I design a studio space, having my most important supplies in easy reach is my number one priority. After that, it’s lighting and aesthetics, well lit, warm and airy spaces are what I like.
What tool has improved your workflow or creative process recently? (This could be anything -- an app, a plug-in, a specific brand of pen or paper, a particular software or hardware, an invigorating type of tea, whatever!)
I am obsessed with finding the ultimate painting surface and trying out supplies. I recently tried out Saunders Waterford hot press watercolor paper, and it totally reawakened my love for painting. Something about it is so nice, it seems to blend paint more easily and I really like the look of the paper texture coming through transparent paint. Sometimes I mount it onto chipboard or illustration board, but I am still on the hunt for the most cost effective and professional way to do it.
If anyone knows how to buy thick chipboard in bulk, please hit me up.
What artists, books, or other things are particularly inspiring to you right now? Where do you go when you need a dose of creative inspiration?
Honestly, right now all my creative friends give me the most inspiration.
Whenever I meet with my critique group, go to a meet up, or talk on Discord, and get to hear see all the stuff my friends are working on, I feel a crazy boost of inspiration and motivation. If I’m feeling frustrated or down about my work, talking it out with them always helps. But if the thought of working on a project feels me with sick dread, then I know it’s time for a break.
What are some recent projects or work you’ve particularly enjoyed? What kind of work makes you really happy?
Last year, I got to work on developmental art for a preschool animation pitch. It was in a world that was right up my alley, and designing the characters was so fun.
Any project that allows me to just be myself and do my work is a real treat. I love projects that have that special sauce, just a little delightful, surprising, funny, or spooky, that makes you feel just a little bit uncomfortable but in a fun way. And I love when stories are both funny and sad. I’ve always been drawn to stories with layers, or meta narratives.
It probably comes from reading A Series of Unfortunate Events at age 10. The idea that there is always something new to discover is theme that runs through all my work.
Do you have a dream project in the future? If so, what is it?
I have a lot of dream projects, haha. One big one is doing an illustrated edition or graphic novel adaptation of The NeverEnding Story by Michael Ende. Both the movie and book were formative for me, and I’ve wanted to illustrate it since I was a kid.
I think at age 28 my skills have finally caught up with my vision. Other than that, I would love to work on creature design or developmental art for Henson, Sesame Street, Laika or something similar, like how Brian Fraud directed the world of Dark Crystal.
Drawing some weird doodles, then getting to see it come to life as a puppet and set? That’s the dream.
Katie is working on two available projects: an early reader graphic novel called WELCOME TO THE FOREST (featuring adorable forest monsters!), and a middle grade contemporary fantasy graphic novel called TO THE END. Contact me for more information.
Find out more about Katie on her website, or connect with her on Instagram or TikTok.
How to Break Down a Comics Page: Josh Smeaton's Process
I love reading and watching different comics creators' process at all different stages of producing a graphic novel. You might think there would be certain "best practices," but what I've found is that there is huge variation in how people tackle the process!
Josh Smeaton is working on a graphic novel called Woodland Hills with Pixel + Ink. It's about a loner kid from the trailer park who unexpectedly becomes friends with the popular, athletic son of the school principal.
He's fun to "talk shop" with because 1) he is particularly analytical about process; and 2) his process is a bit unusual in certain ways.
Below is a complete description of how Josh breaks down a comics page, in his own words.
How Josh Smeaton Breaks Down a Comics Page
Step 1: The Script Stage
I’ll start with the caveat that there’s no set way to make comics. Find what works for you and get it done.
I write my stories like a screenplay. I don’t worry about panels and page breaks at this stage. When it’s complete, I’ll then go through and figure those out. Once that’s figured out, I’ll thumbnail it.
Step 2: The Thumbnails Stage
I thumbnail in a cheap notebook. This does two things. One, it enables me to work small and keep it to essential details only. I’m not working digitally here, so I can’t zoom in and add bits that are unnecessary at this point.
Two, I’m able to draw the left and right pages next to each other as they’ll appear in the final book. When thumbnailing, I’m thinking about page turns and how the side-by-side pages work together. Is it clear what’s going on?
Clarity above all. I like a gorgeous spread as much as the next guy but I am here to service the story, not make a cool pinup.
For me, the thumbnailing is probably the most exciting part. This step determines how the story is presented to the reader. I occasionally make changes when working on the final art but for the most part, this is where the visual storytelling is determined.
Keeping my art style and the print size of the book in mind, I try to keep a page to five panels or less. I also don’t want a text-heavy page or panel. A big block of text is an express ticket to skimsville.
Step 3: The Lettering Stage
The common practice in comic making is to do the lettering after the art is completed. But I do it first.
I include word balloons in my thumbnails to make sure the order of the balloons is clear to the reader and also to not have the tails of the balloons crisscrossing.
Doing the lettering before the art allows me to know exactly how much space I have for the art. I want to make sure nothing essential is going to be covered up. I can move the balloons around later on the final art if I find something that works better but doing it first ensures that it works.
Step 4: The Pencils Stage
Next are “pencils”. I draw in Clip Studio Paint so the line between pencils and inks is often blurred. I still work out some things that are more complicated for me in a rough pencil layer. I find though, the further I get into the book, the more I just work it out in the “inks”. That’s one of the benefits of working digitally.
In the example shown above, the trailer in the first panel was created with SketchUp. Using a 3D model also enables me to quickly try out different angles and use the one that works best.
Step 5: The Inks Stage
Here are a few extras in my process not covered above. If I have a location that’s going to be used a fair amount, I’ll make a model of it in SketchUp. It’s fairly easy to use and you can still download the 2017 version for free.
I like it when I’m able to create a page with no words and the storytelling is only pictures. But when there are no words on a page, the reader may rush through it. So sometimes I’ll add a line of dialogue that wasn't in my original script if I want to slow the reader down.
I want to keep things visually interesting. I default to medium shots so I remind myself to mix it up with a combination of wide, medium, and close-up shots.
The final page! Only 160 more pages to go.
And that’s how I break down a page.
Joshua Smeaton is an award-winning cartoonist, husband and father. There is a comma after cartoonist. He has not won awards for being a husband or father. Though, there has been considerable buzz during awards season that Josh could take home a “World’s Best Dad” mug.
Josh lives in Los Angeles, California with his wife, two children, and Catfred, the world’s friendliest cat. His middle-grade graphic novel, Woodland Hills - The Paper Plane Party comes out Summer 2025.
You can find Josh and his socials at www.joshdrawscomics.com.
THE DEEP!: An Interview with Lindsey Leigh
Tell us a bit about yourself. Where are you from? How did you decide to become an artist?
Hi, I’m Lindsey Leigh! I’m originally from Maryland and I currently live in Boston, Massachusetts. I grew up in a suburb between Washington D.C and Baltimore and my parents would often take me to the Smithsonian National Museum of Natural History, the National Zoo, and the Baltimore Aquarium, which definitely kicked off my interest in animal life.
I wouldn’t say there was ever a moment where I decided that I was going to be an artist, I just always made art! I was often drawing and making up my own wacky characters and creatures.
On June 27th, 2023, you’re launching your middle grade nonfiction book, THE DEEP!: WILD LIFE AT THE OCEAN'S DARKEST DEPTHS – congrats!!! Tell us about the book. Where did the idea come from? What’s your favorite thing about it?
Thank you!
I have been fascinated by the deep ocean since I was a child because it is a place that seems so full of mystery with many animals still to discover. The creatures that live down there are so downright alien and strange, I was hooked. I have always had a soft spot for animals that other people consider a little odd or creepy, and the deep sea has no shortage of these wonderful weirdos. How could I resist making a book about a place that has carnivorous sponges and yeti crabs?
My favorite thing about this project is that I just love communicating scientific ideas through the medium of comics to make the information fun and accessible to all.
Who do you see as the audience for THE DEEP!, and why is it a great book for them?
I basically made this book for my younger self who was a big nerd about animal facts and loved learning new information. I’m hoping this book appeals to the same type of kid, but I’m especially hoping it sparks an interest in biology for children who were not previously interested.
How do you start your day?
I’ve been trying to do a short meditation in the morning and then I make a cup of black tea with milk and sugar and get to work.
What tool has improved your workflow or creative process recently?
I usually ink my work with a nib pen, but it’s a slightly more time consuming process than inking with just a regular pen as you have to use the inkwell and dip the pen in, sometimes there are smudges.
With one of the current projects I’m working on, I needed to save some time so I started inking with a Kuretake ZIG cartoonist flexible pen, which has great line quality and I don’t have to bother with dipping it in ink. The nib pen still has a cool quality so I’ll probably keep using it on projects where I have a little more time.
You have a day job as a designer for Barefoot Books. A lot of creators are in the same boat (and very curious about how others do it): balancing a day job with creating books – and having a personal life, too! How do you manage everything?
It’s pretty tough! My design job has been great as I have gained a lot of insights over the past few years into the full publishing process from a different point of view, but it means I have to work a little harder to maintain both my design and illustration work at the same time.
If I’m working through a particularly busy period, I try to wake up at 6am to get a few hours of work in before my 9 to 5. When I get home, I usually take a shower and make dinner to break up my day, and then squeeze in another couple hours before I start to get ready for bed. I also typically will spend a lot of time working on the weekend as well.
I know this sounds like a lot but I do make room for “enrichment time”. I think of myself like a little animal that needs to go for a walk and socialize with other creatures to be healthy, so I take a walk or run around the neighborhood, meet up with some friends, or explore the Boston area. I have been trying to explore all the nature-y areas near the city that I can access via public transportation like the beautiful Middlesex Fells Reservation.
What websites, podcasts, books, or creators are particularly inspiring to you right now? Where do you go when you need a dose of creative inspiration?
I’ve actually been reading a lot of adult literary fiction books lately, like the works of Ottessa Moshfegh and Sayaka Murata. I’m finding those to be very creatively inspiring (even though they’re very different from the child friendly work I have been making recently!).
What’s a favorite project that you’ve worked on so far in your career? What did you love about it?
The Deep! is definitely my favorite project so far, it’s just always been my dream to make a book about deep sea life and I’m thrilled that it actually came true.
What does your workspace/studio look like? What aspects of it are most important to you?
Most of my work happens at my main work desk which has a large monitor for my digital artwork, but I also have a drafting table that I try to use when I’m drawing or inking something larger. It also gets me away from screens, which I definitely see too much of during my work day.
I like that my desk has tools like my printer and scanner as well as books and tools within easy reach. I love my little trinkets that sit on the shelves up top!
What's your favorite medium, and why do you love it?
I started doing observational sketches in museums with a brush pen when I was in school and really fell in love with the fact that there was no erasing so I had to really commit to the line and I had to make my marks more intentionally. I think that really helped me develop my art when I was still learning and the ink process is still my favorite step in my workflow.
What’s an example of a past rejection or "failure" that ended up helping you? How did it help?
One of my dreams in college was to work in the animation industry as a visual development artist, but I wasn’t able to get much traction in that area and the competition is also very fierce because so many people are interested in doing those jobs. I think those rejections shifted my focus more towards comics and children’s book publishing, which I think is a great fit for me. It’s still a collaboration between myself, the editor, and the art director, but I feel like I have the freedom to create what I’m really passionate about, even if it’s a little niche.
When you’re feeling “artist’s block,” what do you do to get “unblocked”?
I usually take a break and go for a walk or do some other non-art activity so I can come back to work more refreshed. I also find that experimenting with a new medium is a good way to break out of a slump. I’ve recently been experimenting a bit with Posca pens and those have been fun.
Are you already working on a new project now, or do you have a dream project in the future? If so, what is it?
Yes, I’m currently working on a new book about cave animals and illustrating another book about animal germs and immune systems!
For a dream project, I love horror as a genre so it would be great to do something spooky at some point as well.
Where can people connect with you and find out more about THE DEEP!?
You can find me on twitter and instagram @linseedling and my website is www.lindseyleighart.com
The Deep! is available now wherever books are sold and also at this link!:
https://www.penguinrandomhouse.com/books/709331/the-deep-by-lindsey-leigh-illustrated-by-lindsey-leigh/
UNACCOMPANIED: An Interview with Tracy White
Tell us a bit about yourself. Where are you from? How did you decide to become an artist?
I’m from NYC and still live here. I don’t know that I ever decided to become an artist. I’ve just always wanted to draw and tell stories.
On June 20th, 2023 your book, UNACCOMPANIED: STORIES OF BRAVE TEENAGERS SEEKING ASYLUM comes out – congrats!!! Tell us about the book. Where did the idea come from? What do you love about it?
Thank you! I’m really excited to finally have the book available to readers.
Unaccompanied is about five strong tenacious teens from four countries who risk everything they have and leave everything they know to seek asylum in the United States. It’s an incredibly dangerous journey and once they are here, another journey through the US immigration system begins.
The idea for this book was born out of my partnership with the Safe Passage Project. The Safe Passage Project is a non profit organization that provides pro bono legal help and other services to unaccompanied refugee minors.
Together, we created a comic that helps their clients navigate the legal system. While making the comic, I realized how little most people (myself included) know about unaccompanied refugee minors, the communities they come from, what they think about, why they leave, how they get here, and what happens once they arrive. So I kept asking questions and expanding who I spoke to until I had collaborated with folks around the globe and this book was made.
This book is important because it illustrates, through visual storytelling, the human side of the complicated issues around children seeking asylum alone -- while underscoring the hopes, joys and incredible strength these kids possess.
Who do you see as the audience for UNACCOMPANIED, and why is it a great book for them?
The audience is teens, teachers, librarians, anyone interested in immigration. Unaccompanied offers a way to understand an often politicized situation from a human perspective.
While we can’t walk in someone else's shoes, we can walk next to them. This book gives readers that opportunity.
You have some interesting upcoming events related to UNACCOMPANIED coming up. What will you be doing? Are any of them open to the public?
I’m so glad you asked! The reason I made this book is to raise awareness around unaccompanied refugee minors, and to change the common media narrative of pity to the reality-based one of strength and fortitude.
My book launch will actually be a panel discussion around immigration/migration/borders and the power of storytelling to make a difference. Please come to WORD in Brooklyn on June 21st at 7 PM, to celebrate, learn, and also buy the book!
My author's proceeds go to the organizations that support unaccompanied refugee minors. Click here to RSVP.
What websites, podcasts, books, or other creators are particularly inspiring to you right now? Where do you go when you need a dose of creative inspiration?
Lynda Barry is always an inspiration. I really like Austin Kleon’s newsletter, it always leads me to discoveries, and I read a LOT of books.
What tool has improved your workflow or creative process recently?
The new tool (now a couple of years old for me) is Clip Studio Pro. It has a lot of options that make sense for cartoonists and for making books. I have barely scratched the surface of what it can do, but it does exactly what I need.
I especially love the navigation tool because I can rotate the canvas so easily when I draw. I know it sounds small, but for me it's huge and speeds up my work flow.
You teach comics at NYU. Is there anything you’ve learned from teaching young people the craft of comics that informs your own work?
I am so grateful to be a teacher. Talking through the mechanics of comics, reassessing the syllabus, and creating in-class exercises every year help me grow as a cartoonist because I rethink everything I’m doing.
My students all bring unique perspectives. For example, last semester one student did a beautiful wordless comic that took place entirely underwater using a traditional Chinese painting method she learned in China, and another student did a comic about a monster under a bed that had physical components to it.
What advice do you wish you could give your younger self? Have you had any "failures" that ended up helping you?
In general I’d say to my younger self, “It’s all gonna work out, and you are enough.”
For this project specifically, I was rejected by one publisher who supported the work but had to pass, saying the margin for error was too slim. Those words were always in the back of my mind and spurred me on to research more, reach out to more people with relevant lived experiences and expertise, as well as constantly check my own biases.
In the end, that comment was one of the most positive things anyone could have said.
Do you ever feel “artist’s block”? If so, what do you do to get “unblocked”?
I walk, I read, I watch documentaries, and I reach out to friends to find out what they are currently inspired by. I find curiosity to be my best method for unblocking.
You’re a mom of three, in addition to being a comics creator and a teacher. How do you balance work and art with personal life?
HAHAHAHA. It’s hard.
As an artist, especially when working on a big project, I need large swaths of time. I can’t dip in for twenty minutes here or there.
So I’m really thankful to my husband and our kids who would visit my mom on weekends so I could work. They even went on a week-long vacation with her at a critical moment so I could hit an important deadline.
Are you already working on a new project now?
Right now my focus is on getting this book out there to teens, teachers, librarians and anyone interested in the issues around immigration today and the power of storytelling to change things.
I’m really excited because I’ve already started visiting classrooms and have created two workshops for folks interested in non-fiction comics. If you're interested, details are at www.traced.com/workshops.
Where can people connect with you and find out more about UNACCOMPANIED?
Please visit my website www.traced.com, find me on social media @tracedcomics, and/or sign up for my newsletter and get free advice on making nonfiction comics, book suggestions, and obligatory cat pics.
Ms Magazine: UNACCOMPANIED by Tracy White
From Ms Magazine's "June 2023 Reads for the Rest of Us":
"This is a powerful graphic novel focused on five teens who have desperately crossed the border into the U.S. to better their own lives and those of their families.
The author’s proceeds go to organizations supporting unaccompanied refugee minors."
MY DAY WITH DAD: An Interview with Rae Crawford
Tell us a bit about yourself. Where are you from? How did you decide to become an artist?
My name is Rae Crawford! I’m a biracial full-time designer by day and freelance illustrator by night. I’m from the most mysterious regions of the Chicagoland suburbs. When I’m not at my day job, I’m working on my children’s books and my webcomic, I’m Broken, Send Help. I lived in NYC for 8 years until recently when I moved back to Illinois with my partner.
The decision to be an artist wasn’t mine. I just always have been. It’s been ingrained into my interests, hobbies and goals my whole life. My decision to pursue a professional artistic journey was made early into my life when I realized how much joy drawing brought me and others. I saw the need in the world for beautiful images. The journey has been a wild ride of ups and down but I am excited to be sharing my first book with the world!
On May 23rd you’re launching your debut children’s book, MY DAY WITH DAD – congrats!!! Tell us about the book. Where did the idea come from? What’s your favorite thing about it?
In many ways, my father-figure, Uncle David, and I wrote this story together through our fun adventures together as father and daughter. However, the story is mostly based on a series of images I drew for Father’s Day for him as a card. They were vignettes of my favorite things we’ve done together: watching movies, making breakfast, and having a pillow fight. I posted them to social media and a couple of people asked me if I had a story to go with it so I made one. This is that story. My favorite thing about it is the little details that included from my childhood. No one else will notice but I do and my parents do. It makes us smile and we bond over it. I hope people who read the book will feel the love I put into it.
Who do you see as the audience for MY DAY WITH DAD, and why is it a great book for them?
When you create an early reader, which this is, there’s the technical answer. The audience is parents with kids around the age of 5 who want to share a nice story about a girl and her dad. However, I would like to think this story reaches kids who have and are growing up in unconventional co-parenting settings. I made it to celebrate fathers and their kids everywhere and I think that will come across to the audience.
Do you have a dream project in the future? If so, what is it?
It’s hard to choose one as I’ve been keeping a list since grade school. However, many of my recent projects are grounded in reality, so I’m craving working on something that’s surreal, whimsical, and fun. My dream is to make stories in lands of perfect nonsense and imagination with characters full of personality and heart.
What has been improving your creative process recently?
For me, since I recently moved, it’s been curating and customizing creative spaces within our new home. I think having the right environment sets the tone for a productive creativity session. I’m especially proud of my office space!
What artists, creators, books, or websites are particularly inspiring to you right now? Where do you go when you need a dose of creative inspiration?
Since most of my books are still packed away, I mostly google my inspiration! My go-to recent top searches from movies and media are anything from Cartoon Saloon (Wolfwalkers, Song of the Sea, The Breadwinner, The Secret of Kells), Studio Ghibli, Steven Universe, Adventure Time, or mostly recently, Bluey (Those backgrounds are gorgeous!!!)
I also reference comic artists frequently. I look up Craig Thompson (Particularly Habibi and Goodbye Chunky Rice), Lucy Knisley (Particularly Stepping Stones and Relish), and Lisa Hanawalt’s zines (Hot Dog Taste Test and My Dirty Dumb Eyes). I’m also very blessed to have a long list of inspiring artists in my circle to gain inspiration and insight from. This is not to mention the inspiration I find in everyday life. It’s all around!
You have a day job working in book design at Scholastic. How do you juggle graphic design with writing and illustration work?
Honestly, some days it feels impossible. With doing both, the hours are rough. I procrastinate, then I cry because I procrastinated. I literally ask myself, what am I doing?
But my dad always told me, "where there’s a will, there's a way." And I have so much will and love for what I do. It’s like living a double life and both lives are hard work. But in Japanese culture, there is a principle called Ikigai. At the intersection of what I’m good at, what the world needs, what I can get paid for, and what I love is Ikigai. And in my professional life, I have found that harmony in living in two worlds.
How do you market yourself as an illustrator, and how do you do it while holding down a day job and doing your art? (Lots of creators feel overwhelmed by this and are dying of curiosity about how other people do it!)
For me, the art is the easy part. It’s the marketing that’s so much energy for me! It’s been a struggle especially lately. On top of juggling things professionally, I’m juggling personally as well. But I think I have some fun and creative ideas coming to promote this title and others in the future!
That being said, I think the key to marketing yourself in the modern age is to keep it small enough to be able to do it consistently and across multiple platforms. Big marketing campaigns are only as good as their execution. I also find having a strong network of friends, family and colleagues really helps as they will be your support not only in marketing but through the process and in your life.
Do you ever feel “artist’s block”? If so, what do you do to get “unblocked”?
Is there a creative out there who doesn’t experience artist’s block? If there is, I haven’t met them. I experience it all the time.
First, I try to work on projects that play to my strengths. It is much easier to unblock yourself if you’re enjoying what you’re drawing and you’re good at drawing it. It also helps to choose projects to work in a style I’m comfortable in.
My second method is to look at inspiration. When I work on my books, I have stacks of art books, comics and children’s books to fuel me and to get me to think outside of myself. It’s also so important to look at references for what I’m drawing. You can burn yourself out trying to remember what trees look like.
Lastly, I try to keep in mind that perfection is the death of completion. I just have to trust in my abilities and work through it. If all else fails, I go to my artist friends for a good pep talk. Especially with deadlines, these methods help me immensely.
Do you have any advice you wish you could give your younger self? If so, what is it?
There are many things I would say to a younger version of myself. But top of my list is ‘Life is tough, but so are you. It doesn’t get easier, you just get stronger.’
I love that! Where can people connect with you and find out more about MY DAY WITH DAD?
You can find me on Instagram and Twitter @itsraecrawford! My website is www.raecrawford.com with even more details.
The book is on sale through most of the major retailers including Barnes & Noble, Amazon, Bookshop.org, and Target.
MY DAY WITH DAD by Rae Crawford published today!
Congrats, Rae Crawford, on the publication of MY DAY WITH DAD!
Games, kites, a bike ride, and mac and cheese–it’s fun to spend a day with Dad. First-graders can read this Level G story on their own!
A day with Dad is a day packed with fun! Eating too many pancakes is just the beginning. Morning rain means it’s time for board games. When the sun comes back out, so do bikes and kites. Pup the dog tags along, too! Back home, the evening continues with mac and cheese, movies, and a phone call from Mom. Then Dad has one more surprise: PILLOW FIGHT!
This is one adorable, irresistible early reader.
Kirkus Reviews: UNACCOMPANIED by Tracy White
From Kirkus Reviews:
"A documentary-style account dramatizes the situations of many teen asylum seekers.
Spare, striking, black-and-white illustrations portray five teens fleeing dangerous situations and making hazardous journeys to the U.S.... This fast-paced, relatable work is informative and enlightening, treating its subjects with respect."
WUTHERING HEIGHTS by Gibson & Rori Acquired by Andrews McMeel
In Gibson and Rori’s creative graphic novel adaptation of WUTHERING HEIGHTS, set among the fairies and ghosts of 18th century English moors, young genderqueer Heathcliff uses his self-made fortune to rekindle the bond with his childhood love, Cathy. But in seeking revenge against the wealthy families that tore them apart, he sets a terrible tragedy in motion.
Pub Date: Fall 2025
Publisher: Andrews McMeel
Translation rights: Andrews McMeel
Film/TV rights: Janna Co
Merchandising/Commercial rights: Janna Co
2/5/2022: All About Graphic Novels Day, with Writer and Illustrator Master Classes
90 minute webinar panel with Megan Lloyd, Janna Morishima, and Kiara Valdez
Exploring writing or illustrating a graphic novel? Already have one in progress? Just want to learn more about a growing segment of children’s publishing? Learn more in the webinar offered by SCBWI.
In the morning panel middle-grade graphic novel author Megan Lloyd (Allergic, Scholastic, 2021), agent Janna Morishima (Janna Co.), and editor Kiara Valdez (First Second Books) will talk about craft, submissions, scheduling, the current market, and more, followed by Q&A.
RSVP Information
HOSTED BY: Society of Children’s Book Writers and Illustrators (SCBWI)
WHEN: Saturday, Feb. 5, 2022
11:00 am ET
10:00 am CT
9:00 am MT
8:00 am PT
WHERE: Online
Registration to view webinar live and access recording for 30 days: SCBWI Members: $15; Non-members: $25
2 hour online masterclass for ILLUSTRATORS and writer-illustrators with Janna Morishima: Round Table Review of Finished Graphic Novel Spreads based on a Homework Prompt
Live participants will create a finished graphic novel page or spread based on the homework prompt. They also have the option of attending an online peer-to-peer roundtable on Tuesday, January 18, 2022, at 7-8:30 PM EST to give each other feedback on work-n-progress, and will receive an in-webinar review of their work during the master class.
Homework Prompt: Tell the story of a moment from one of your strongest childhood memories that had a big impact on you.
Specifications: Prepare your assignment in a 6” x 9” format (single page) or 12″ x 9″ (spread), using as many panels as you like. It can be color or B&W, in your own style. Make sure it includes character development, panels, and treatment of text/dialogue.
RSVP Information
HOSTED BY: Society of Children’s Book Writers and Illustrators (SCBWI)
WHEN: Saturday, Feb. 5, 2022
3:00 pm ET
2:00 pm CT
1:00 pm MT
12:00 pm PT
WHERE: Online
Registration with in-webinar homework review: SCBWI Members: $60; Non-members: $80
Registration to access recording only: SCBWI Members: $15; Non-members: $25