The submission window for the 2021–2022 SCBWI WWA Mentorship Program is open, and we’re sharing interviews with each of our magnificent mentors to help prospective mentees get to know them better. Learn more about the mentorship program, including how to apply, here. Deadline: July 30!
What are the best parts about being an author-illustrator?
It’s pretty neat when someone reads your book and they find a meaning in it that you didn’t even know was there. It’s also nice when someone tells you that your book is one of their kid’s favorites.
What does being a successful published professional look like to you?
Being successful means having a steady stream of projects that are fun or interesting to work on. I enjoy projects that challenge me to learn something new or try a new technique. I don’t really have an established style or medium that I work in, and I like the challenge of coming up with a style that fits the story.
What surprised you most about becoming an author-illustrator?
From doing storytimes and school visits, I have developed a really odd skill: I can draw my characters upside down while sitting behind my drawing pad. This is absolutely a skill I never expected to develop, and it has become my trademark storytime party trick.
What books did you love when you were a child or teen?
I loved fairy tales, in particular there were a few Japanese fairy tales that were my favorites as a child—”Urashima Tarō,” “Momotarō,” and “Kaguya Hime.” I also loved Diana Wynne Jones.
What are you reading?
I just finished Flamer, by Mike Curato, which was incredible, and am currently reading Almost American Girl, by Robin Ha, both of which are graphic novels.
What are you working on these days?
I am working on a couple of projects, but they haven’t been announced yet so I can’t say much at this point!
What do you listen to when you create?
I usually listen to audiobooks. I can’t listen to audiobooks while writing or while doing anything that requires looking at the text of the book, but they are perfect when I’m painting.
What roles do diversity, equity, and inclusion play in your work?
I try to apply an equity lens to my work and try to be conscious of what books I’m recommending, who is represented in my illustrations, how I am portraying people in my illustrations, and of removing gendered language from my lexicon. That being said, I have written multiple books about animals and have only illustrated one picture book with humans in it (Pirate Queen: A Story of Zheng Yi Sao, by Helaine Becker.)
I feel conflicted about the fact that I haven’t written books about the Asian American experience, but at the same time I feel like I shouldn’t be expected to write books about the Asian American experience simply because I am Asian. However, if I’m not writing diverse books, I feel like I can support diverse creators by either buying their books, recommending and reviewing their books, and boosting their books on social media.
What helps you get through challenging writing and illustrating times?
I take a break. I feel like social media has given us an impression that you need to constantly be churning out something new, but my creativity ebbs and flows and that’s okay. Sometimes I am creating and sometimes I just need to be taking things in. I also think it’s wise to set aside some non-goal-oriented creative time. Just play around and make a mess with no expectations of making anything that will turn into a final product.
I like to mentor because . . .
I have learned so much from other authors and illustrators. The generosity of others—their willingness to share information, provide support and encouragement—has meant so much to me. I hope to be able to provide that to an aspiring illustrator or author-illustrator.
What can a mentee expect from your mentorship?
I will provide critique of portfolios and book dummies, professional guidance and general cheerleading and support. I will share what I know about the industry and what has worked for me. I am happy to meet over Zoom on a regular basis.
What qualities would your ideal mentee have?
My ideal mentee would be open to critique, have a good attitude, and be willing to learn.
What’s the creative advice you give most often?
Just keep going. Most people don’t get published because they give up. Keep making things, keep trying, and find a supportive group of like-minded creators (aka a critique group). And check out SCBWI!
Liz Wong was born in Honolulu, Hawaii, where she spent her early childhood painting and clambering about in mango trees. Winning the first-place trophy in her elementary-school poster contest encouraged her to pursue art instead of a sensible career in finance like the rest of her family. Liz is the author-illustrator of Quackers, The Goose Egg, and I Am Not a Penguin, and the illustrator of Pirate Queen: A Story of Zheng Yi Sao, written by Helaine Becker. Liz holds a B.F.A. in Art and a B.A. in Anthropology from the University of Washington and currently resides in Edmonds, WA, with her husband and son. Visit Liz’s website at www.lizwongillustration.com, and follow her on Twitter and Instagram.
Brought to you by Suma Subramaniam and Jenny Tynes, SCBWI WWA Mentorship Program, and Dolores Andral, Pen & Story