Comments on: Jack (and Jill) Be Nimble: An Interview with Mary Cash and Jason Low

By: Roger Sutton

Roger Sutton — Fri, 22 Mar 2013 18:54:03 +0000

http://archive.hbook.com/magazine/editorials/jul99.asp

By: Roger Sutton

Roger Sutton — Fri, 22 Mar 2013 18:53:01 +0000

Oh thanks, E. “ARTIST-HATER ALSO ACCUSES PLEASANT COMPANY OF PEDDLING CHILD PORNOGRAPHY”

By: Elizabeth Law

Elizabeth Law — Fri, 22 Mar 2013 18:48:55 +0000

I also appreciate Barbara Johansen Newman’s comment. Illustrators *have* sometimes been treated as stepchildren in our business , or at least they’ve often been professionally overshadowed by writers, who have loud voices. At the same time, what I’ve taken away from the long exchange above is “Gee, you must be new here. This is the many-decades-outspoken Roger Sutton speaking, guys.” And hey, Roger, isn’t it time to run another link to your American Girl editorial?

By: Roger Sutton

Roger Sutton — Fri, 22 Mar 2013 18:17:28 +0000

Christine, you’re right about “partner.” I used “client” because that is how I have heard illustrators refer to publishers, but your term better reflects the nature of the relationship.

In the article, I made a joke about why illustrators might be late. In the comments here, i amplified that joke to observe that all contributors to the publishing partnership are capable of being late, and that their reasons for being so are not always the best. While I don’t see the obligation to apologize for any of these remarks, i do take Barbara’s point about illustrators feeling like step-children, which I do understand and have sympathy with. I’ll only say that ninety-some years of the Horn Book Magazine should prove that we are on your side.

By: Barbara Johansen Newman

Barbara Johansen Newman — Fri, 22 Mar 2013 18:02:55 +0000

I think it is important to remember that illustrators have felt like the step children in the industry for long time. Let’s not forget how long it took to get that “I” added to SCBW. Ironic, since you can’t have picture books without pictures. Can you blame any of us for having feathers that are easily ruffled?

I’ve been illustrating for 30 years, the last 15 of which have been of-by-for-and-about children’s books. I’ve had to beg for a little (and I do mean little) more time because of delayed sketch comments, changes in text, or highly detailed artwork that required extra attention in spite of 12 hour days and 7 day work weeks. And once in a blue moon, the realities of real life intervene. But, damn! Never even thought of the “I need to sleep in” approach. I shudder to think of how many extra zzzz’s I might have had. Who knew?

By: Mary Cash

Mary Cash — Fri, 22 Mar 2013 17:41:57 +0000

I’m so sorry that some illustrators were insulted by parts of the interview. I assure you that we did not intend to be dismissive or disdainful. One thing I’ve definitely learned in my years in the business that the publishing process can be fraught with perils and setbacks–and the creative process is complicated, surprising, and even startling to say the least. The creative process does not recognize or consider the concept of time. Also, life itself can throw us all some zingers. I think I can speak for all three of us in saying that we meant no disrespect to either process or the talented and hard-working people involved in them. However, we are probably all three guilty of irreverence and sometimes having a little too much fun in a professional context–which is no doubt how we ended up in this particular issue of The Horn Book.

By: Maurie J. Manning

Maurie J. Manning — Fri, 22 Mar 2013 17:15:40 +0000

As an author/illustrator and single parent raising two kids alone, I have always had to juggle freelance jobs as a survival skill. There have been many times over the years where the “book” was forced to the back burner so I could pay rent by accepting a educational, WFH illustration job that had just been offered — so I am sure that sometimes “my” priority was not what my editor wished it was. What do publishers expect when they pay an illustrator half a $5K — or 15K advance — (no benefits) and that’s it until finals are delivered six months or a year later?

Maybe publishers should consider that their terms of payment are actually what is archaic in our field and think about paying illustrators an “exclusivity fee” (a fair living wage) for our time on the project in addition to royalties (and instead of an advance.)

By: christine tripp

christine tripp — Fri, 22 Mar 2013 17:06:04 +0000

Mr. Low, I appreciate you commenting and in such a mature and professional manner. I’m not aware of any new Illustrators that would come in late, with the luxury of an almost one year deadline, and risk getting future work but this is your experience and I will not doubt it. As to the Illustrator being encumbered by “archaic” art mediums of paint, most that I know are now working all digitally or mostly/partly digitally. Even with that, it does nothing to speed up more then the delivery of sketches and then the final art, as much of our time is taken in planning the art, plotting where each element will go. Painting, digital or otherwise, goes fairly quickly, it’s all the sketches, revisions and thought that takes up the time.
I wish Mr. Sutton had addressed our reactions to the comments in the same professional manner as you have but that seems he would rather point the finger at the accused.
Of course, he didn’t see your comment prior to his last.
Mr. Sutton, there is nothing wrong with, once called out on the rug for something, explaining that there are more reasons for a book being late then the Illustrator.
Also, a publisher is NOT my client, as you put it. A publisher, unless it’s a WFH, is my partner, and I his/hers. The book is ours, not theirs.

By: Rebecca Thornburgh

Rebecca Thornburgh — Fri, 22 Mar 2013 16:59:15 +0000

Mr. Low, I appreciate your writing to clarify your understanding at the time of the interview of the tenor of the comments made by you and Mr. Sutton regarding illustrators and meeting deadlines. It’s clear that you now want to set the record straight — that you personally meant no offense to illustrators (I do hope you actually meant not just those illustrators whom you consider “seasoned.”) However, I am greatly disappointed that, in responding to comments made by illustrators to Mr. Sutton about his remarks, he continues to take the offensive (and I mean that in every sense of the word), and refuses to acknowledge his insult to the professionalism of illustrators. Whatever we illustrators have said (or however he chooses to characterize what we have said) in response to his original comments within the interview, his original comment was offensive, and he still owes us an apology.

By: Ward Jenkins

Ward Jenkins — Fri, 22 Mar 2013 16:53:33 +0000

Being an illustrator and reading the interview and comments here, I don’t find any offense to what you said, Roger. I got it as an off handed joke, a jest as well. No offensive taken. I can see why some artists are sensitive to this sort of thing, but honestly, life is too short to worry about such things like this. There are bigger fish to fry, in my honest opinion.