February 21, 2011

Jason K. Burke is the creator of A Lesson Learned Series,™ a collection of children’s stories developed to teach children some of life’s difficult lessons through creatively illustrated books. The series includes unique scenarios, an uncommon cast of characters, and big imagination—all while managing to maintain subtlety, avoiding the oftentimes “preachy” quality of other lesson-oriented children’s books. In addition, the illustrations by Troy Gillogly are both inventive and also beautifully bring the stories to life.

We sat down with author Jason K. Burke and illustrator Troy Gillogly, who discuss their A Lesson Learned Series™ and the process of creating and publishing their children’s books.

Where are you from?

J.K.B. - We are both from Columbus, Ohio.

What did you want to be when you grew up?

J.K.B. - When do you grow up?
T.G. - An artist

What inspired you to become a writer/illustrator?

J.K.B. - My skills with descriptive writing were inspired by growing up with a blind mother. I spent a lot of my childhood describing things to my mother. I figured out a positive spin on the situation, and it worked out to my benefit.
T.G. - The love of art was a skill that my father and I shared in. He taught me how to draw, and I aspired to be as good as he was. He passed unexpectedly in my younger years, and I have been continuing to improve the skills that he taught me.
J.K.B. - Another positive spin on a potentially sad story.

What other types of jobs have you had?

J.K.B. - Retail, Digital Printing, Graphic Designer, Musician.
T.G. - Construction, Screen Printing, Pizza Maker.

How did you both meet?

J.K.B. - At our full-time jobs. Digital and Screen Printing.

What led you to begin working together on children’s books?

J.K.B. - I had a handful of what I felt to be quality children’s book stories. I asked Troy if he was up for illustrating them. He jumped at the opportunity, and it gave him an outlet through which he could stretch his creative muscles.
T.G. - What he said.

How did the A Lesson Learned Series?™ come into being?

J.K.B. - The springboard idea behind A.L.L.S. was this: If children love having books read to them repeatedly, then the adults that read those books have to get bored with the simplistic stories and verbiage. So, why not make stories that are just as entertaining for the adults as much as the child?

How long does it normally take you to write and illustrate your work?

J.K.B. - On an average, it takes me about 3-4 weeks to sit on an idea and mull it around in my head. I have to figure out a problem, a solution, a “grey area” of life with a lesson that I have had direct experience with, and a cast of relatable characters who can execute the story correctly. Writing it all out usually takes about 1 month. Then again, The Chicken That Chewed Gum was written in 3 days, and Stories On The Sunrise with A Bird and A Worm took me 3 months.
T.G. - It takes me about 15 to 20 minutes to draw a pencil sketch. About 45 minutes to an hour to trace it, add definition, then scan it into Photoshop and start coloring, adding gradients and textures and Photoshop effects. Probably 4 hours per illustration.

You have written a number of children’s books, including the recent The Flight of Udders, about Udders Buttercup, a nearsighted brown cow who learns that sometimes we need the help of friends in order to better see the world around us; and The House Full of Weather, about a boy who learns that feelings don’t last forever. Some of your characters might be considered unusual for children’s books. In what way do these characters or the underlying themes in your work relate to your own personal philosophies or beliefs?

J.K.B. - The Flight Of Udders was inspired by growing up with a blind mother. She was always bumping into things and had bruises and band aides on her a lot of the time. In the story, Udders Buttercup can only see three feet in front of her, and she has band aides and bruises on her knees. Her friends (including a pig with O.C.D. and a rooster with a lisp) build her a pair of glasses that help her to see. I have received a small amount of criticism for the name of the main character, and the fact that I have an O.C.D. character and another with a speech impediment. Having a cast of odd characters was intentional; I want the work to be “all inclusive.” Sometimes people who stand out just want to feel accepted. I purposely don’t make a big issue of their conditions, because sometimes it just feels good to feel included. The House Full of Weather was inspired by creative people who are bashful about their artwork. My step-sister is an incredible artist, but sometimes she is shy about displaying her art. Creative people always seem to be our own worst critics. I thought that it was important to encourage people to share what they have to offer to others. I did that with the weather house analogy. Along with the message that feelings don’t last forever.

This question is directed at Troy: What made you decide to illustrate these books?

T.G. - These stories differ from my comics in a sense that the richness of the content can be passed down to kids and grandkids.

Where do you get your story ideas?

J.K.B. - My life experiences and daydreaming. A lot of daydreaming.

Jason, as the author, do you have ideas in mind for the illustrations as you are writing the story?

J.K.B. - Yes. I usually write the story in Microsoft Word. Then I will do the page layout, text placement, page numbers, table of contents, and then figure out what text to commit to what page. At that point, I’ll read what is on the page and then sketch out with stick figures and a descriptive paragraph of what I want each character doing on every page. Troy then takes that page and does a pencil sketch (and usually hits it out of the park). Then we will tweak and make any changes. Troy will then trace the drawing, scan it into Photoshop, and then add color, gradients, or texture. Then I place that finished illustration into the page layout files with the text on top.

Writing and creating art both seem like a largely solitary pursuit. Do you work closely with others while developing your ideas? Since these are children’s books, do you get feedback from children?

J.K.B. - I love listening to kids wax poetic about what they would have done with the storyline. They are hilarious! Creatively, we stick to what we know are good ideas and stories. Not much third party input.

What are some of the more surprising things you’ve learned while writing/illustrating these books?

J.K.B. - Life is complex, and trying to say that with words in a children’s book can be hard. The ability to get lost is the result of the details. Children’s books can be a great vehicle to encourage communication between parents and children.
T.G. - The most supportive people are people who you would never have expected, and the ones you thought would support you the most don’t. Because we have been involved in so many creative projects our whole lives, they are probably burnt out.

What would you say is the greatest challenge in your writing/illustrating?

J.K.B. - Making sure that the “filler” plot stuff flows and meshes well with the story.
T.G. - I’m so good, I don’t have any challenges (laughs). Making people look different so that all of the characters in the book look different. Going back 6 months after not drawing a character and trying to draw him from memory.

In what ways do you feel the subject of your work is important to current political or social events?

J.K.B. - Our stories are more humanitarian with a spiritual twist. Politics is an adult thing, right? I’m not there yet (laughs).
T.G. - As far as daily current events in family households, our books are very relevant to social issues not often discussed.

In what ways do you work to bring your material to your particular audience?

J.K.B. - We do live readings at businesses and schools every month. Whole Foods, Borders, and local Elementary Schools have all welcomed us with open arms. We love meeting the kids and doing the live reads. Troy flips through the blown-up illustrations while I read the coinciding page.

Jason, you have a close relationship with the illustrator of your work. Do you feel this has produced a better result than if you had hired someone you did not know? What would you recommend for those seeking out an illustrator for their work?

J.K.B. - Don’t compromise on a drawing style you don’t like. Every time you see that illustration that you don’t like, you will be drawn to the imperfection.

Troy, what are some things you feel would be good for beginning children’s book authors to know when it comes to working with or choosing an illustrator?

T.G. - You are going to get what you pay for, so do your research. Find somebody within your price range online.

What do you feel is the best way to market your own work? Has this approach been successful for you?

J.K.B. - Word of mouth. Yep. Putting your product out there. Sometimes it just takes talking to the owner at the store. Sometimes it’s a lot more work than that.

How do you feel about advancing technology in terms of both marketing (such as the web and ebooks) and in terms of social networking? In what ways should today’s authors take advantage of these things, or avoid them, as the case may be?

J.K.B. - We are both pretty ignorant when it comes to those options.
T.G. - But, we both use Facebook and Myspace.

Are you self-published? If so, what led you to take this route over traditional publishing?

J.K.B. - Yes. No big publishers were knocking on our doors. So, the next step was to self-publish, in order to get a physical copy of Recycled Again. It was easier than I anticipated. The trademarks and copyrights are a bit trickier (but doable). And I didn’t have to order a room full of my books in order to place one order.
T.G. - We are currently seeking a publisher and distributor.
J.K.B. - Show us where to sign (laughs).

Do you feel there’s a stigma attached to self-publishing? If so, how did you work around that when making the decision?

T.G. - Some would say one is better than the other and vice versa. It’s a double-edged sword. You aren’t going to make everyone happy.
J.K.B. - What’s wrong with just creating, letting the cards fall where they may, and if you get a deal … and that deal helps you gain more exposure, what is the problem? Everyone wants their “art” to have more exposure, right?

Who are some of your favorite authors/artists?

J.K.B. - I’m more of a music fanatic but, Shel Silverstein, Carl Sagan, and Looney Tunes to name a few inspirations.
T.G. - Todd McFarlane, Michael Turner, and Dr. Seuss.

What do you think makes a good story?

J.K.B. - When its told from the heart and is relatable.
T.G. - A beginning, middle, and end. Preferably, in that order (laughs), unless it’s Pulp Fiction.

Do you have any projects in the works that you can share with readers?

J.K.B. - Birthdays At Christmas will be done by April 2011; Pea Soup Clouds will be done by Summer 2011; Stories On The Sunrise with A Bird and A Worm will be done by August 2011; and hopefully The Chicken That Chewed Gum will be done by winter 2011. Three more brand new books to be completed in 2011. And we are currently fleshing out two new book plotlines.
T.G. - Jason just told me a bit of info about the gun laws in Ohio that I will be using in a plot line of my new Snuffy comic book issue number 4.

Finally, editors are fond of saying you should write what you know. Do you think this is important? In what way does your work reflect this principle?

J.K.B. - That’s what we do.
T.G. - It definitely makes it more legit. And I’m too legit to quit.