Tag Archive for Jigsaw Jones

Fan Mail Wednesday #21

Time’s a-wasting, so away we go:

Dear Mr Preller,

I recently read The Case of the Best Pet Ever. The main character of the book is funny and likes finding out mysteries. I noticed that Rags looks a lot like Daisy. Rags sleeps, drools, barks at the door bell and never seems to get things where he means to put them. Is that just like Daisy?

Is Rain just like your daughter? I liked her because she was the owner of the pet store and I love pets. I really liked when the ferret helped the team discover the mystery of how they lost their stuff. I also liked the time when all the pets came together for the contest and it got really nutty. Our family has stuff like that happen. Does your family have that kind of fun also? I also really liked how the little piece of fur lead them to discover the mystery of who was taking their stuff. I think it will help me to try to notice little things each day.

My favorite chapter is Rags to Riches, because at the end it tells us who took all their stuff. At Fins and Feathers it was really neat to imagine how crazy it was. I also thought it was cool that Rain the girl character was so active. I really felt like I knew her and I liked her because she was a girl.

Continued Success,

Reece

I replied:

Hi Reece,

Thanks for your kind and well-written note. You are an observant reader. Like a good detective, you notice small details.

You are right about Rags — he does look like my current dog, Daisy. But it’s only a coincidence.

When I wrote that book, we had a basset hound named Seamus (the book is dedicated to him). Seamus ate socks, stole food off the table, drooled constantly, and smelled bad. And those were his best features! He inspired aspects of Rags. While doing research, I discovered a Doggie IQ Test. You place a towel over the dog’s head and observe its reaction. An alert dog quickly shakes off the towel. A medium dog might wait a few seconds before responding. And a dog like Seamus sits and wonders who turned out the lights. Or in Rags’ case, falls asleep!

Jigsaw gets pretty bummed about Rags — he wasn’t going to win any talent shows — until Jigsaw realizes Rags’ true talent. As Jigsaw notes late in the book:

The big fur ball loved me with all his heart. Every minute of every hour of every day.

And that’s no small trick.

My father patted me on the shoulder. “A wise man once said, ‘Try to be the person your dog thinks you are.'”

He smiled and headed back into the kitchen. “I have an important meeting with a cheesecake,” he explained.

What else? Oh, yeah, you mentioned Rain. I wanted her father to be a “crunchy granola” type, thus his daughter’s name. I liked Jigsaw’s line after his brother, Billy, tells Jigsaw that his new girlfriend’s name is Rain. Jigsaw asks, “Does she have a sister named Partly Cloudy?”

My best,

JP

P.S. This was a difficult book for me, because when I was writing it my oldest son, Nicholas, became sick with leukemia. Though I did my best to keep working, my concentration was not great. And writing is nothing if not concentration. I finally asked my publisher for help and Howie Dewin stepped in as co-author. While this book is mostly me, some parts are not. The whole experience was a blur. So I look at that book and feel like it could have been better. It sort of bothers me. After that I took a break, then came back strong with Jigsaw Jones #23: The Case of the Perfect Prank.

P.S.S. Nick is doing great, by the way!

Jigsaw Jones Cover: Part 3, An Interview with R.W. Alley

This entry is the third in a series of posts following the creation of a single book cover. Here’s Part One and Part Two. Right now, let’s check in with artist R.W. Alley.

First things first: R.W. or Bob?

Bob is fine.

Do you ever receive a cover concept from the publisher and think, “Oh man, this won’t work,” or, “Gee, this is a really boring idea?”

The Jigsaw covers are very different from my other projects. Because of deadlines and the magic ways of publishing, I’m not given a chance to read the books before doing the covers. Now, there could be two reasons for this. One, is the above mentioned deadlines; the promo material for each title usually includes the cover art and this material is usually due while the book is still being written. Two, is that none of that is true and the editors simply don’t trust me to pick out the proper highlight to paint. I prefer answer one.

Of course this doesn’t answer your questions. Those answers would be “yes and yes.” My favorite editor silliness is when the spec reads in part, “Jigsaw in his tree house office, hears a noise, puts down his book, looks out the window, sees a shadowy figure which may or may not be a yeti making off with a glowing globe of uranium, and he, Jigsaw, runs after him, the yeti.” The problem is neither yeti nor uranium. Rather it’s the impossibility of showing our hero doing five things in one drawing.

Okay, I think I’ve got it. You have an irrational hatred of yetis.

Luckily, I think we’re OK for this cover.


How do you begin? Just coffee up and grab a sketchpad?

I put on my slippers, make some coffee, stare at the words on the paper, read the words on the paper, turn on the radio, become annoyed at the radio, put on a CD or even a record, tape some copy paper to my drawing table, notice there’s nothing on the paper, look at the old covers, try to think how to make this one different, pick up a pencil and start drawing. After a while, I notice a foul smell coming from the kitchen and realize I never poured the coffee I’d started two hours ago.

Specifically with this new cover — we’ll call it, “the skeleton in the closet gambit” — how did the concept strike you? I thought the flashlight angle was okay, in that it would give you something to work with, the whole light and dark thing. But I am concerned about the expression on Jigsaw’s face. I don’t want to see him terrified, you know; he’s Jigsaw, he’s got pluck! At this point, does that level of concern even enter the picture (literally) for you?

The first thing will be to get the general composition right. There’s a lot going on for a small image. School, closet, skeleton in general, skeleton hand with clue in particular. The flashlight will help to give a spotlight effect that will add interest and focus. As for Jigsaw’s expression, I completely agree with the pluck concept. However, this will be pinned down a little later.

You’ve done about 40 covers for the series. It must be difficult to keep things fresh — for “it” and for you. I mean, you can’t draw another picture of him writing in his journal, with yet another puzzled expression on his face. Can you?

The thing is that each drawing is a puzzle to be solved. Not too crazy different. Not too much like others. For this one, there are a couple of looking through door setups on other covers (not exactly the same, but there are doors), so I need to make sure this is somehow different.

What else are you working on these days? Are you excited about anything in particular?

The newest book is There’s a Wolf At the Door by the lovely Zoë B. Alley (October, 2008, Roaring Press). It’s a big picture book (11×14, 40 pages) in a comic panel format that retells five wolf-centric tales in a connected way. I am very, very happy to be working in this format.

Lightning round: Favorite illustrators?

Illustrator favorites, in no particular order, but always the same people: Garth Williams, Edward Ardizzone, Raymond Briggs, Tomi Ungerer, Ernest Shepard, J.J. Sempe and Tibor Gergely.

Those are some great choices. All-time favorite children’s book?

Two favorite children’s books at different ages: The Sailor Dog by Margaret Wise Brown, illustrated by Garth Williams. The Wind in the Willows by Kenneth Grahame and illustrated by Ernest Shepard.

Thanks so much, Bob. I’ll have to seek out The Sailor Dog. In over ten years, we’ve talked exactly once. It’s been interesting to learn about your creative process. Hopefully we won’t wait another decade until the next time.

PLEASE NOTE: In Part 4 of this series, coming this Friday, Bob has generously shared some of his sketches for the upcoming Jigsaw Jones book cover. You won’t believe how cool these are; even as the author, I’ve rarely felt this INSIDE the process. What a treat.

ALSO NOTE: Fan Mail Wednesday has been moved to Thursday. And, um, Thursday is now on Mondays, Tuesdays will appear on alternate weekends, casual Fridays now require dinner jackets, and Latin Nights have been moved to Bolivia. Just to clarify.

———

LASTLY: Here’s some links to the all the posts in this seven-part series: One, Two, Three, Four,  Five, and Six, and Seven. Read them all and experience the awe and wonder of the creative, collaborative process!

Jigsaw Jones Edits, Warts and All

Last Friday I handed in the first draft of Jigsaw Jones: The Case of the Skeleton’s Secret. In series publishing, things move quickly. Because the manuscript ran a little long — and because I’m far from perfect — my editor, Matt Ringler, returned the first draft with some comments, suggestions, and cuts. This is all normal operating procedure. My job was to then respond to Matt’s editorial comments and send a revised manuscript to him, which I have already done. None of this is genius; just basic revision. And, I should add, with more tweaks to come down the road.

Here are four brief sections, showing Matt’s suggested cuts in red, and my changes in green, which were made on top of Matt’s. I want to be honest here, show my mistakes, flubs, blunders, and weak sentences. Possibly this is instructive for any teacher working on writing in the classroom. Hopefully this post demonstrates the importance of a strong editor, the value of revision, and how much we need all the help we can get! Cutting is almost always a good thing.

1

ORIGINAL VERSION w/ EDITS:

Mila pulled on the strands of her long black hair. She was a good listener. That made her a good detective – and a good friend.

I continued, “Everybody has their party at the Putt-Putt Emporium,” I said. “Everybody — except for me.” Laser Tag rocks. Plus get soda and pizza!”

“Did you try whining?” Mila suggested.

“Of course,” I said. “I complained for a week.”

“How about begging?”

“That only made things worse,” I said.

“Worse?” Mila echoed.

“Yeah, my dad wanted to strangle me at one point,” I said. “And he’s not really the strangling type.”

“Good thing.”

“Yeah, I guess,” I said.

“But you’ll still celebrate your birthday, right?” Mila said.

“Sure, we’ll have cake and presents,” I said. “I’ll pick my favorite dinner. But let’s face it, Mila. Laser Tag would have been way cooler.”

Mila shrugged. “I’d rather have a sleepover, watch a DVD, and paint my toenails.”

* * * * *

REVISED VERSION:

Mila was a good listener. That made her a good detective – and a good friend.

“Everybody has their party at the Putt-Putt Emporium,” I said. “Everybody – except for me.”

“But you’ll still celebrate your birthday, right?” Mila said.

“Sure, we’ll have cake and presents,” I said. “I’ll pick my favorite dinner. But let’s face it, Mila. Laser Tag would have been way cooler.”

Mila shrugged. “I’d rather have a sleepover, watch a DVD, and paint my toenails.”

2

ORIGINAL VERSION w/ EDITS:

Reginald walked down a long hallway. We tagged along behind, our stocking feet sliding on the cool tile floor. We made two lefts and a right at an old grandfather clock. As we walked, I thought about Reginald. Sure, he was the richest kid I’d ever met. Spoiled, too. He had everything a kid could want. And maybe he did eat too many cucumber sandwiches. But he was always a good friend. Mila thought he was lonely. She Mila was probably may have been right. She often was.

Reginald stopped before a white door. He pressed the tips of his fingers together. “I’m awfully glad to see you two. My Auntie Griselda is visiting from La Jolla. She’s very proper. I have to be on my best behavior. It can be a little . . .” His voice trailed off.

“Boring?” Mila suggested.

“Indeed, yes, rather,” Reginald confessed.

* * * * *

REVISED VERSION:

Reginald walked down a long hallway. We tagged along behind, our stocking feet sliding on the tile floor. We made two lefts and a right at an old grandfather clock. As we walked, I thought about Reginald. Sure, he was the richest kid I’d ever met. And maybe he did eat too many cucumber sandwiches. But he was a friend. Mila thought he was lonely. She may have been right.

Reginald stopped before a white door. “I’m awfully glad to see you two. My Auntie Griselda is visiting from La Jolla. She’s very proper. I have to be on my best behavior. It can be a little . . .” His voice trailed off.

“Boring?” Mila suggested.

“Indeed, yes, rather,” Reginald confessed.

3

NOTE: In this scene, Jigsaw is at Reginald Pinkerton Armitage’s house, where Jigsaw just borrowed a “Spy Ear,” a listening device that magnifies sound. Faithful blog readers might recall my whimsical desire to have someone — anyone — fart in a Jigsaw Jones book. Even when I dreamed of it, and wrote it, I knew it wasn’t right for Jigsaw. But still: I had to get it out of my system.

On our return trip to the front door, I switched on the Magnifying Spy Ear to see if it really worked. Thump, thump, thump. The sound of our stocking feeet pounded on the floor like small explosions. Then I heard a faint popping sound. Like this: poof.

“Um, Reg?” I asked. “Did you just . . . toot?”

“Certainly not!” he protested. “Armitages don’t, as you say, toot..”

“You don’t? Never, ever?” I asked.

Reginald stood ramrod straight. ““It’s not something an Armitage does.”

“Nobody in your family, huh?” I said. “That’s amazing.”

Poof.

There it was again. And this time, the sound was loud and clear. Even Mila heard it – without the Magnifying Ear.

Reggie fumbled with his eyeglasses. He dropped them to floor, picked them up again. His face turned a deep crimson. (That’s a ten-dollar word for red.)

I titled my head, waiting.

“Not so bad, is it?” I asked.Reginald’s eyes widened. He grinned. “I liked it!”

Poof, poof, poof.

“Okaaaaay, Reg, let’s not get carried away. It sounds like we’re in a shooting gallery at the carnival.”

Mila snickered, and so did Reginald.

“A carnival, that’s rich,” Reginald said. “Please excuse my manners. But it does feel rather good, doesn’t it?”

“I daresay,” I said with a smile.

* * * * *

REVISED VERSION:

On our return trip to the front door, I switched on the Spy Ear to see if it really worked.

[NOTE: Ha– so much for Little Toot! But I enjoyed writing it, even though I knew it was destined for the scrap heap. At this point, we added a brief exchange where Jigsaw overhears a conversation between the butler and Gus the driver.]

4

ORIGINAL VERSION:

When I need thinking time, I usually pull out a new jigsaw puzzle. Unfortunately, I didn’t have new ones. I did a couple of easy 100-piece puzzles, but my heart wasn’t into it. As a detective, I liked to take action. Do stuff. Make things happen. But there wasn’t much I could do. I had to sit back and wait for the riddler to make a mistake.

* * * * *

REVISED VERSION:

As a detective, I liked to take action. Make things happen. But there wasn’t much I could do. I had to sit back and wait for the riddler to make a mistake.

Jigsaw Jones Cover: Part 2, Over to the Artist

I recently received an email from R.W. Alley (that’s him, up there), the artist who does the covers for the Jigsaw Jones series. R.W. — or Bob, as his friends seem to know him — has been an enormously productive illustrator for many years. Just take a gander at his website! I’ve especially enjoyed his Mrs. Toggle books, written by Robin Pulver. Here’s another sweet piece, from Because Your Daddy Loves You by Andrew Clements:

Hmmm. There’s a little bit of Marc Simont in R.W.’s style, don’t you think?

As discussed previously, sheriff Matt Ringler and his Scholastic posse have already sent Bob a “cover concept” memo regarding an upcoming book. It is my hope to follow this process to completion, so I wrote to R.W. Alley — first time we’ve had contact in at least six years — and asked for a peek behind the scenes.

He wrote back:

“I would be happy to share my sketches with your readers. The Scholastics have asked for a cover finish by Feb ’09, so I should have a first sketch ready by Thanksgiving. I can send not only the color sketch, but also all the first doodles, if you like — and it sounds as if you will like. I’ll keep you posted.”

First, I love how he calls them “the Scholastics.” That’s just funny. Second, yes, doodles! Third, documenting this process should be illuminating. Hopefully, there will be some ugly cat fights along the way. It would be such a letdown if this turns out to be a mature, professional, collaborative process of give and take, where creative talents work together in a spirit of mutual respect to blah, blah . . . boring, boring, boring.

I don’t know, though. Old R.W. doesn’t strike me as the diva type. But one can hope.

———

NOTE: Here’s some links to the all the posts in this seven-part series: One, Two, Three, Four,  Five, and Six, and Seven. Read them all and experience the awe and wonder of the creative, collaborative process!

Jigsaw Jones: What’s In a Book Cover?

One of the central themes of this blog is that whatever touches my life as a writer is valid content. Or as my pal Matthew Cordell might say, “blog fodder.” So, thus: I recently got this note from my editor at Scholastic, Matt Ringler:

TITLE: Jigsaw Jones Electronic Mystery: The Case of the Secret Skeleton
AUTHOR: James Preller

COVER CONCEPT:
Jigsaw Jones is sneaking into the janitor’s storage closet. We see him standing in the doorway. It’s dark but Jigsaw has a flashlight. In a back corner, lit up by the beam of light is a plaster human skeleton, hanging from a stand by its head. The skeleton should be the size of a normal person, like the ones used in science class to study anatomy. Jigsaw looks frightened. We can also see the normal paraphernalia that would be in the storage closet (i.e. mops, brooms, buckets, etc.). Visibly crumpled in the skeleton’s hand is a piece of paper (a clue).

And that’s it, one of the early steps toward designing a book cover. The manuscript, you should know, is not yet finished. In paperback publishing, it often isn’t. The book won’t be out for a year — but covers need to be placed in catalogs and brochures; the marketing guys need ’em in well advance. And you don’t want to mess with the marketing guys.

Matt and I discussed the “cover concept” over the phone. Then he had to present it at a meeting to get approval before taking the next step. Which is, I’m pretty sure, speaking with the art director who will contact the cover artist, R.W. Alley.

NOTE: At this point, I decided to do a quick Q & A with Matt Ringler.

Hey, Matt, thanks for helping me out. So what’s involved with getting this particular cover concept approved? Is it anything like, for example, meeting with the Spanish Inquisition?

I’d say it’s more like the “History of the World” version of the Spanish Inquisition, you know, with Mel Brooks singing and fully choreographed synchronized swimmers.

See, that’s where we part ways, my friend. I prefer the Monty Python version, with soft cushions and comfy chairs. [See clip below.]

The trickiest part is making sure everybody is happy. In this case everybody means: the author, the editor (me), the editorial director, the art designer, the manager of the Book Club this title is going on, and a creative director. After all those people sign off on it, the illustrator gets to add another important opinion. I don’t know how many times you’ve ever been around seven people who fully agree on anything. Personally, I have never seen it happen.

The Seven Dwarfs seemed pretty high on Snow White. [That’s the Disney spelling, btw.]

Well, you know what Randy Newman would say about that.

The Dwarfs would have hated the song “Short People” — with unanimous agreement, I’d bet. Too bad they didn’t design book covers.

It’s rare to get full agreement on anything, and that’s a positive thing. Different perspectives often work to improve a book cover. From most conversations I’ve had, many people are under the impression that an editor only corrects spelling and grammar mistakes. While that helps with the job description, I think the most important quality needed in an editor at this stage in the process is diplomacy. I’m happy when all of those people are satisfied and the cover concept arrives on my desk with all of the necessary signatures.

Once the concept is approved, what next?

The next step is to discuss it with the art designer. The designer will then discuss the cover ideas with the artist. A time line will be set. A rough sketch will then come in to the designer, who will place that art into the template of the book cover. At that stage, everybody will look at it again to make sure it works.

I have to say, I love this process stuff — how crayons are made, or Hershey’s Kisses, or whatever — I find it so interesting how many small steps are taken to make a book happen. When do you think the rough sketch will come in?

Most people aren’t aware of the hundreds of minor decisions that are made before each book is published. The time it takes to get a sketch depends on several factors: how fast the artist works, how busy they may be at that time, the book’s schedule, when the final art is due, etc. The standard time is about three weeks to a month. It is important to leave enough time for the illustrator to make any changes that may be needed.

Thanks, Matt. I intend to keep my loyal blog readers — who, clearly, and I don’t think this is saying too much, are willing to lay down their lives for me — posted on this whole process. We’ll be talking soon (and not just about the New York Mets, and our shared pain, but about actual work, too!).

Thank you, Jimmy. I always look forward to our conversations, and I know we will one day have one about a championship Mets team — even if we are old and retired by then!

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NOTE: Here’s some links to the follow-up posts in this seven-part series: One, Two, Three, Four,  Five, and Six, and Seven. Read them all and experience the awe and wonder of the creative, collaborative process!