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“In addition to interviews with Kate DiCamillo, K. G. Campbell and Aaron Becker, we’ve been delighted to have both Flora & Ulysses and Journey reviewed on our site. So, it simply made sense to offer our readers a chance to share the enjoyment we’ve gotten from reading both these brilliant books. We’d also be remiss if we didn’t use this occasion to thank all our followers for their continued support. We love bringing our favorite books, authors and illustrators to our readers’ attention.”
– Ronna Mandel, founder Good Reads With Ronna
“Working at Candlewick is an embarrassment of riches for any book publicist, honestly. There are too many wonderful books and authors, it can be overwhelming!
But working with Kate DiCamillo is a singular privilege that I can honestly say is one of the defining aspects of my career in publishing. Over almost a decade now, we have worked and grown together, and her books have continued to surprise and impress me at each publication. Not to mention, she’s a good person, and who doesn’t want to see a really, genuinely good person do well?
While no longer an underdog by any means, she’s still easy to root for. And I count myself among her biggest cheerleaders — ever.”
Illustrator and author, K. G. Campbell discusses Flora & Ulysses, The Illuminated Adventures
and more with Ronna Mandel!
I had the good fortune to sit down with K. G. (Keith) Campbell earlier this month when he joined Kate DiCamillo for a Flora & Ulyssesbook event at Vroman’s in Pasadena. He’s a charming L.A. local with an intoxicating accent who’s not only an extremely talented and versatile illustrator, but an author, too. This Q & A focuses mostly on his artwork.
Click here now to enter our giveaway. Thanks to Candlewick, we’re giving away 3 copies of Flora & Ulysses, The Illuminated Adventures (Candlewick Press, $17.99, ages 8-12). Please write FLORA in the subject line, include your address and enter by midnight on Sunday, November 10, 2013.
GRWR:A quote I read called you an “up and coming illustrator.” How do you know when you’re no longer up and coming, but have arrived? What’s changed?
K. G. CAMPBELL: Well I think that’s a description from Candlewick Press and at the time I’d had only published one book, Lester’s Dreadful Sweaters for which I won the (2013) SCBWI Golden Kite Award. But since then I won the Golden Kite and an Ezra Jack Keats (New Illustrator) Honor for Lester. Flora & Ulysses had just come out and also Tea Party Rules by Ame Dyckman had also just released. I think you know you’re no longer up and coming when you no longer have to search for work. Candlewick just came to me recently and offered me another project
GRWR:Did you take it?
K. G.: Yes, actually. And also I’ve turned down a few. I guess that’s when you know – when you don’t have to pound the pavement.
GRWR:Tea Party Rulesis with which publishing house?
K. G.:Tea Party Rules is with Viking. My second picture book with Kids Can Press, which is my manuscript, is due to come out next spring. It’s called The Mermaid and the Shoe.
GRWR:Can you please tell us the process when you try to develop the characters after after receiving Kate’s (DiCamillo) manuscript and how long it takes?
K. G.: So obviously the first thing that you do is read the manuscript. You try and get a feel for the characters which isn’t difficult for Kate because her characters are so three dimensional, quirky and hilarious. You look for visual clues you have to be really careful to see if there’s any physical descriptions in there. And you go from there.
Being an LA local, what I tend to do is a little casting. I go in search of the perfect Flora or the perfect Phyllis or whoever it is. But unlike a casting director, I can select from anyone who’s ever lived. They can be friends or family, they can be famous actors They can be TV actors. They can be film actors. They can be theatre actors. They can be fictional. I try to find a type that will fit that character. Then that sort of gives me a feeling how they’re going to react physically in any given situation they’re faced with, expressions and all that stuff. And then I do the sketches based on that. And then, in this case, but it’s not always the case .., well, they always go through the art director and the art director has some input as to whether they think that physical manifestation of the character is appropriate. In this case, because Kate is Kate, they (the sketches) also went to her. Often, usually in fact, they wouldn’t go to the author. The author has very little input in the illustrations. But Kate had something to say. Some characters were modified from my original sketches. Now they are what they are so that’s perfect.
GRWR:Who was the most difficult character to draw or create?
K. G.: I think the most difficult was probably Ulysses himself, because, and it’s actually technical reasons. It’s a middle grade novel so the format is quite small. All of the images are printed as 5×7. I drew them very slightly larger just so it would crisp up as it was reduced, but I didn’t want to draw so much larger that I didn’t know what was going to happen to them. Ulysses is a squirrel and everybody else is a human being and human beings are much larger than squirrels. And in fact, I made Ulysses slightly larger than real life so that he would be visible. So getting the amount of character that we wanted to into Ulysses when his scale was so small, that was the most difficult part.
GRWR:Who was the easiest to draw?
K. G: Phyllis.
GRWR:I love the look of Phyllis. I feel like I’ve met her before.
K. G.: I wanted someone with a crazy, curly hairstyle, girlie, melodramatic. And I actually had a person in mind for Phyllis. She was inspired by a Broadway actress. Phyllis is like my original sketch. Some changed a bit, some changed a lot. But not Phyllis.
GRWR: What medium do you work in?
K. G.: I usually work in water color and colored pencils combined but Flora & Ulysseswas executed entirely with colored pencils, no water colors.
GRWR:You’ve lived in Kenya, Scotland and California. Is one locale particularly more inspiring for you as an artist?
K. G.: Yeah, I would say Scotland, probably. The weather and the atmosphere make it a less attractive place to live, but it’s definitely a very romantic and gothic setting. And it makes for a good location for the kind of gothic stories that I like. Not that Scotland was the setting for either Lester or Ulyssses. It wasn’t. But in my future writing I think some of it will be set there.
GRWR:Since you do not consult with the author, is it scary interpreting their vision or is that a challenge you enjoy?
K. G.: It’s definitely more difficult illustrating for other people’s manuscripts than my own. Obviously not all illustrators are in my position. Not all illustrators write as well so they may not make that comparison. For me I do have that comparison and it’s definitely more difficult and more time consuming because you have more parties involved who make changes, so it becomes a bit more difficult. I wouldn’t say it’s more intimidating or daunting, but it’s more of a challenge.
GRWR:Do you prefer to illustrate others’ books or do the entire book yourself.
K. G.: It’s easier to illustrate my own, but illustrating other people’s work does take me to places that I wouldn’t have gone. So in that sense the product that emerges at the end is perhaps more surprising and unexpected. It becomes something of a team effort almost like a play, I suppose, or when you have several screenwriters working together it becomes a collaborative process and the creation is the product of that.
GRWR:You studied art history, did interior design yet always felt the call to illustrate even as a child. What stopped you from pursuing that from the start?
K. G.: Well that’s quite a complicated answer. And to be honest I’m not 100% sure that I have an answer to that. I was flattered and encouraged to take an academic route as I graduated from high school. My academics were pretty strong and I wound up going to a fairly prestigious school which is Edinburgh University. And really at that point I made the decision not to go to art school and I put down the pencil and I didn’t pick it up again for decades. I got onto a different path.
GRWR:But it was always tugging at you to return to it?
K. G: Yeah. And the more I delved into exploring children’s literature and illustration, the more I felt compelled to do it, the more I felt very strongly that I had the talent and the skill to participate in that world. So I began to take it more and more seriously and so here I am.
GRWR:At that point, did you go back to school?
K.G.: No. As an artist I’m more or less self-taught. I’ve done some life drawing classes. Obviously I’ve done a bit of research on the materials and stuff online, but on the whole you would call me a self-taught artist. I did however go to UCLA and Art Center Pasadena for some night classes in creative writing, in children’s writing and specifically in illustrating. I did a class with Marla Frazee who’s a well-known children’s writer and illustrator who lives here in L.A. She teaches at Art Center. While it wasn’t an art class per se, it wasn’t teaching you to draw, it was teaching you how to use whatever skills you had and whatever style you had to illustrate and how images participate in a book and how they enhance a text. I did a great writing class with Barney Saltzberg who’s another local author/illustrator who has had a string of books published. He teaches a night class at UCLA in writing for kids basically.
GRWR: Did you find when you weren’t working in the field of children’s books that you were still drawn to it, that you still loved wandering around the children’s books department of a bookstore?
K. G.: Oh all the time! In fact I never really stopped reading children’s literature which a lot of my adult peers find a little odd. But definitely my favorite books probably are children’s books or perhaps adult books that have a fairy tale quality to them to some degree. I love sort of sophisticated middle grade novels. Philip Pullman, who wrote The Golden Compass, is one of my favorites.
GRWR:Which illustrators have most influenced you?
K. G.: Edward Gorey, Tim Burton and Lisbeth Zwerger, an Austrian artist.
GRWR:How many hours per day do you devote to your projects?
K. G.: Well, I try to do a full workday. I am my own boss. I’m probably not working a full eight or nine hours, but maybe about six or seven hours a day. And depending on where I am in a project will dictate how much of that time is allocated to illustrating and how much is allocated to writing. An ideal scenario is kind of half and half – three and half hours writing and three and half hours illustrating. Something like that. But in the real world, as deadlines loom for my illustrating projects, I find that the writing has to take a back seat to some extent because the illustrations have to get done and that’s what happens.
GRWR:Any advice for new illustrators?
K.G.: I would certainly say if you haven’t, then take a class, some classes, in illustrating specifically because it is a distinct branch of artistic output and it’s about bringing to a text something that perhaps the text doesn’t already contain. But it has to be complementary. And in many cases, especially in picture books, you’re telling a story along with the text. Sometimes you are a carrying a subplot as well, and you can throw in characters, usually a pet or something, that aren’t mentioned in the main text and you can have things going on, a whole storyline, that’s purely visual. So I think understanding what illustration is is very important. It’s more important than any level of artistic skill or style.
I’m a huge fan of unexpected things, and finding unexpected friends tops this list. It just takes the strain off everything if you just happen to find a friend. This is precisely what occurs in Kate DiCamillo’s new book, Flora and Ulysses, the Illuminated Adventures.
When Mrs. Tootie Tickham receives a new Ulysses, Super-Suction, Multi-Terrain vacuum cleaner for her birthday from her husband she has no idea that it contains enough power to drag her outside her home, into the front yard, to ultimately suck up an unsuspecting squirrel! Luckily, her next door neighbor, Flora Belle Buckman, is watching and is able to bring the squirrel back to life by remembering advice from a comic she is fond of reading called “Terrible Things Can Happen to You!” Flora remembers how to administer CPR and the squirrel is brought back to life. Not just to his normal life though, for now he can appreciate life on a higher plane entirely! He can heft the vacuum cleaner over his head, he can type, and he can write poetry! Flora dubs him “Ulysses” after the vacuum cleaner that almost took his life. She tells him that he is a superhero, much like the ones she reads about in the comic books she loves.
Every self-respecting superhero needs an arch-nemesis to overcome, and Flora has decided that this has to be her mother who is convinced that Ulysses is diseased. Flora’s mother has decided that Ulysses must go. What ensues is nothing short of high adventure. It will take Flora, both her parents, a boy named William Spiver (who seems a very unlikely, slightly paranoid friend), and a doctor of philosophy to help Flora on her quest to sort out her life. Of course, all along the way there is Ulysses, the very best friend a girl could have. After all, when I look back on this sweet story, I begin to see that it is when Ulysses arrives that the problems in Flora’s life are pulled to the forefront. It is only through their adventures he finally brings out the truth in her life. Here is the truth of Flora’s life. She has parents who love her, discovers three new friends, and comes to find that she is not a cynic as she thought she was. Someone who can see superhero potential in a squirrel is someone who has hope dwelling in her heart.
K.G. Campbell’s illustrations, in a comic book style that appear every few pages, add soft, detailed, but action packed visuals to DiCamillo’s story. What originally appeared to me to be a funny, original story turned out to be something more. As so often in DiCamillo’s books, there is a depth of emotion and potent symbolism throughout the story. What is presented here is a tale that can be fully appreciated by young readers, but which is full of a deeper meaning that it took me two readings to truly understand it. What is wonderful about this book is that the reader can enjoy the book with or without understanding that deeper layer of meaning because it is so very funny! From the get go, Ulysses and his resurrection as superhero set the stage for many comic events (including my favorite one involving a giant donut restaurant), that lighten the tone of the book. Well done again, Kate! Very well done indeed. Be sure to put this one on your “to read” list right away! How can any of us say no to a story of a superhero, poetry-writing squirrel who loves Rilke, and giant donuts? You have to admit that this tale is extraordinary, and it is the sort of story only Kate DiCamillo could pull off, adding yet another wonderful title for readers of all ages to enjoy. Holy bagumba!