• ~Guest post by Kristine Asselin

Thank you to 24 Carrot Writing for asking me to blog for them today. It’s a pleasure to be here talking about one of my favorite things: The Query Letter.

A bit of background: It’s no secret that I’d queried a lot in the early 2010s (I’ve written about it in a bunch of places -- Articles about Querying and Writing - Query Godmother). After a few false starts, I signed with my third agent in the summer of 2013. This past summer, after seven years with the same agent, we parted ways—and I was honestly feeling like a bit of a failure. I’d been hoping for feedback on a manuscript and wasn’t prepared for my agent to be downsizing their list. In the middle of 2020, I took it really hard.

All this to say that anyone can be in the query trenches.

Writing a query can be scary. Remember, a query letter is a tool. It’s a way to put your words into the world. Don’t overthink the query letter. It’s manageable. There are parts to it.

1. Introduction (and opening paragraph):
Sometimes this is called the “hook” part of the query. Include the title, the word count, the target age, and the genre of the book. A short tagline (elevator pitch) can be included in this section as well. It is not mandatory, though. If you have something personal to add, like that you met the agent at a conference, or took their workshop, do that here. If you don’t have anything personal, don’t force it.
2. Book section:
Think of this as your back cover copy. This is the most important part of the query. Be specific, but brief. Try to express how your book is different than others. Use specificity about character goals, stakes, and motivations. This section should be the longest—after all the query is about your BOOK. Make sure you are answering these questions in this section:

• Who is the main character?
• What do they want more than anything else?
• What is stopping them from getting it?
• What problem do they face?
• What choices do they have to make?
• How does the problem get worse?

3. Bio:
Something about yourself and your expertise. What makes you the person to write this book? If you have any relevant published works, mention them here. Keep this part business. Don’t include things about your family or hobbies.

Query strategies:

• Do your research, determine what the submission guidelines are and attach what is asked for. This will differ by agent. Some want the whole book; some only want a few chapters or pages. If you’re querying a picture book, it will typically be the whole piece.
• I generally advise starting by sending out five query letters. When you receive a pass, send out a new one. (Look at this blog for ideas of where to find agents.) Keep track of your process and replies in a spread sheet or tracking tool.
• Don’t send too many queries at one time. If you feel like revising or refining the letter, you can’t do that if you’ve sent out too many at once.
• Don’t let querying get you down. If you feel overwhelmed, it’s okay to stop and take a break.
• Don’t take anything personally. But that said, take any and all feedback seriously.
• Putting your work out in the world requires having a bit of a tough shell. You have to be honest with yourself. When you get responses, make changes as appropriate. Be ready to change the manuscript if necessary, but don’t let it affect your confidence in yourself and your work.

I’ll be honest, I have yet to sign with a new agent. However, my request rate is over 20%, so I feel like my query letter is working, and there are several people considering my work. Keep track of this sort of data, so you know when to revise and/or move to the next manuscript.

Jumping into the querying pool can help you put aside your fears and anxieties about your work. Querying is forward motion. It is taking control of your career.

Know yourself and what works for you. I wish you all good luck in 2021.

~by Amanda Smith

So, you wrote something. And now you wonder what the steps are for getting it published.

First of all, congratulations! Writing on a consistent basis, to the point where you have a book, is a huge accomplishment. (If you want to write children's books and aren't sure where to start, this blog by Kelly is for you.) Writing a book, however, is only the first step. Sending a freshly written manuscript to an agent or publisher would be like asking Paul and Prue to judge a cake after you had only gathered the ingredients.
 
Here are some basic steps towards publishing:

Critique Partners:
You need someone else's eyes on your work (not family!). Ideally your critique partners should be up to date on the current market and knowledgeable about writing. They will look at content, structure, plot and character development, language use and, if you need, line editing. It is imperative to have someone else read your work. Sometimes we gets caught up in the excitement of a new project, or have read the same words so many times we don't see the plot holes, unclear details, or glaring mistakes.
Where to find critique partners?
SCBWI
Local writing organizations 
Online groups such as Kidlit 411, Storystorm, Children’s Book Authors & Illustrators, 12X12, to name a few.
Craft workshops and courses
 
Revisions:
If your critique partners are worth their salt, you will receive lots of revision notes. Depending on the depth of the notes, you will have to revise or, in some cases, even rewrite. Regardless of the scope of revisions, you will likely have a couple of critique-revision rounds. Do not skip this step! It is during this phase that your work continues to mature and become the best it can be. It is hugely rewarding to dig deep and polish away the rough edges of your story.
 
Beta Readers: (Not necessary for picture books)
After critiques and revisions, you need Beta readers, who consist of readers the age of your intended audience or readers deeply familiar with your genre (think teachers, librarians). A beta reader questionnaire is a helpful tool for gathering focused feedback. Another round of revisions will likely follow beta readers.
 
Publishing choices:
Once you have completed these steps and you feel that your work is ready to send out, you need to decide whether you want to take the traditional publishing route or explore independent publishing? 
The rest of today's post will focus on traditional publishing. Next time we will learn about independent (self) publishing. Make sure you know the pros and cons of each option. 

If you choose traditional publishing, you should know that it can take months or even years. Most of the bigger publishers are closed to unsolicited submissions and you need an agent to represent your work.
Some publishing houses however, do accept unagented submissions. Books, such as THE CHILDREN’S WRITER’S & ILLUSTRATOR’S MARKET, can provide guidance as to which publishing houses are open to unagented submissions. Always check the publisher’s website for their latest guidelines. 
​ While you can certainly do research online and through publishing trade journals to find publishers who are open to unagented or unsolicited manuscripts, it is very helpful if you have a more personal contact with an editor at the publishing house. One of the best ways to make this connection is to attend a class or workshop taught by the editor. Also, editors who attend writing conferences will often accept unsolicited submissions from conference attendees for a limited time, so be sure to look into this possibility when attending these events.  Always do your research to be sure a specific publisher publishes the genre/age level you write. 
 
Agents:
A good literary agent will help you polish and edit your story, send submissions to publishing houses, negotiate contracts, and handle advances and royalties. They are super knowledgeable about the industry, and know what editors are seeking. Your agent is your ally and business partner. Therefore it is important to carefully research agents, not only for what genres they represent or what their interests are, but also whether they will be a good match for you. Once you have narrowed down agents you would like to approach, you need to query. 
Places to research agents:
SCBWI The Book
Agency websites
Manuscript wishlist (www.manuscriptwishlist.com/)
#MSWL (https://www.manuscriptwishlist.com/​)
QueryTracker (querytracker.net/)
Publishers Marketplace (https://www.publishersmarketplace.com/​)
Some writing websites also offer a treasure trove of information in the form of agent interviews and guest blogs. A few to browse are http://www.literaryrambles.com/, https://www.pbspotlight.com/, and The 12x12challenge
Most agents are active on social media
Acknowledgements of books you have read
  
Queries:
A query is a letter in which writers pitch their work and introduce themselves to an agent. It is a business letter that follows a specific form. Stay tuned for a guest blog regarding query letters by the Query Godmother, Kris Asselin, later this month.
Queries are used for picture books, both fiction and nonfiction, as well as all other fiction. Nonfiction writers send a cover letter, proposal with outline, and some writing samples.
Each agent or agency has their own rules regarding submissions. It is very important that you read and follow each specific agency's submission guidelines. Not only does it streamline the process for them, but it also reflects well on you, their future client, and your ability to take direction. 
Be prepared for several rounds of querying. If an agent would like to represent you, they will contact you and usually schedule a phone call with you to further discuss the details. Remember, not only is the agent interviewing you to see whether they want to take you on as a client, but you are also interviewing the agent to see whether they will be a good match for you.
Once you have received an offer of representation and contracts have been signed, you and your agent may go through another round of revisions before they submit your manuscript to publishers. There might be several rounds of submissions before you receive an offer for your book.
 
At this point the process is out of your hands. You have baked your cake to perfection. You've trimmed and filled and frosted. You've decorated and delicately flavored.  Editors, acquisition boards, and marketing departments are your proverbial judges, and once your delectable offering hits the right palate, you will get your Hollywood-handshake: A published book!

by Annie Cronin Romano

You’ve heard the advice: read what you write. Do you write nonfiction picture books? Read hundreds of them. Are you a middle grade fantasy writer? Read all the fantasy MG you can get your hands on. Write dystopian young adult? You get the picture. 
​
Let me be clear. This is good advice. Solid advice. It is imperative to be aware of what is getting published in the area in which you write. It’s important to study it. What makes those books work? Why did it make it to the shelves? What is unique about the concept?

But what writers often overlook is that it is just as important to nourish our reading souls as it is our writing knowledge. That means reaching for that book outside the genre in which you write and reading for pleasure. Grab that commercial book club novel. Dive into that mystery or psychological thriller. Itching to check out a sci-fi series? Go for it. Pour a glass of wine and crack the spine on that romance. 

I write picture books and middle grade, and I read as much as I can in both those areas. For quite a while, that’s all I read. But since working in a bookstore and a library for nearly a year, I’ve been reading a lot more YA and adult books of all stripes. I needed to be familiar with what was on the shelves beyond just the children’s sections. When customers and library patrons come in, I have to be prepared to offer tips and guidance in a broader range of areas. And—Surprise! Surprise!—I discovered I could learn a lot from those books that–despite not being the type of books I write--offered a window into strengthening my own writing, regardless of the genre. I found myself considering pacing, character development, plot, setting: the elements that are required in any story, inspired from a different perspective. I wondered how I could try different styles and points of view, how I could switch up my characters and make them more engaging, how I could play with setting and voice. I was still reading for pleasure, of course, but I realized that even though a book isn’t specifically a mentor text to what I write, I can still learn about the art of writing from reading it. Eureka!
​
Of course, no matter what I read, I’m always enjoying myself. But often, I felt locked into a particular genre because it aligned with what I wrote. Now I read more outside my writing genres because it feeds my reader’s soul and, I firmly believe, makes me an even better writer. So yes, continue to read mentor texts and study the areas in which you write, but go beyond that, too. Make time to read whatever catches your fancy. Your inner reader and your thoughtful writer will thank you for it.

Priscilla Alpaugh: Working on the Anthologies was a rare chance to work with such a large group of artists. It was wonderful to see each other’s work and be able to share constructive criticism with one another. It’s a treat to read the poems that the Lofters wrote. So many talented writers! It’s energizing to know that everyone is working towards the same goal.
It is always a challenge to combine different poems on one page or spread. I was lucky and got one of the easier combinations. In each case I went in with a pretty clear idea of what I wanted in the image. Starting with thumbnails for composition and then sketches for content led to a final sketch where I could also consider value. I typically combine watercolor and pencil digitally, but this time it was mostly all digital.

​To learn more about Priscilla, visit http://priscillaalpaugh.com/

Leanne Leutkemeyer: I enjoyed the feeling of community. I love the energy and excitement of being in a room with creative people. I enjoyed being part of the team. This project introduced me to so many wonderful and talented writers and illustrators. The timing of this project was perfect for me. It took my mind off the world and let me escape into oceans, play with whales and stingrays, and make art. The Zoom meetings helped fight feelings of isolation.
However, getting art direction from a group can be a challenge. It can be intimidating to sit shoulder to shoulder with artists you admire. In a meeting full of voices, it’s hard to catch and absorb all of the suggestions as they fly by. I scribbled many notes. It’s more challenging to have group input, but also exciting and inspiring to see the incredible work everyone was putting out.             
In which ways did it stretch me?  I developed new painting techniques to work large and discovered different scanning techniques. I’m excited about the new photoshop skills I’ve picked up through this project. In the past I’ve always fixed mistakes on the illustration as I painted or started over till I got it right. It’s pretty mind-blowing to be able to add an extra tail on a stingray while painting and know that I’ll be able to take the earlier one out that wasn’t working, and not have to repaint the whole illustration.

​To learn more about Leanne, visit ​https://www.leanneluetkemeyer.com/

​Amanda Davis: I was honored to have the opportunity to illustrate several poems in this year’s anthology. It’s the first time my illustrations are appearing in a published children’s book alongside many other talented creators to boot! For this particular anthology, illustrators brought to life the fun and crazy creatures of the sea. I knew I wanted to garner a likeness to the creatures in the poems while also putting my own original spin on them. Typically, my process involves drawing from my imagination or from real-life models or scenes. Since I didn’t have access to real-life models of vampire squids or narwhals, I knew this part of my process was going to be a challenge. With the help of the Loft team, I learned more about properly using reference images, avoiding copyright issues, and finding creative ways to craft original models using materials such as clay.  Because I was illustrating for publication, I also felt an added pressure to get it right. This meant practice, practice, practice and revise, revise, revise! I enjoyed working collaboratively with the other artists and design team who provided me with valuable feedback that helped polish my work. The whole experience was a learning process, and I’m grateful for the knowledge and patience of the Loft community. I can’t wait to share our beautiful, seaworthy collection with the world! 
To learn more about Amanda Davis, visit https://www.amandadavisart.com

Joy Nelkin Wieder: Working as a team was the most exciting and educational process in working on an anthology with other Lofters. I learned so much about marketing a children’s book from others on the team that I was able to apply everything I learned when my own book launched in January. Everything from writing up a press release, to making contacts at local bookstores and media outlets, to participating in book signings and presentations, to creating marketing materials such as flyers and posters. During the marketing of An Assortment of Animals, I took the lead in putting together art exhibitions of our original artwork from the anthology. Our framed illustrations were displayed at the Art and Frame Emporium in Westborough and the Hopkinton Art Center in Hopkinton. We currently have an online exhibit of illustrations with the Acton Memorial Library – check it out here: https://www.actonmemoriallibrary.org/events-programs/art-exhibition/ 

​Visit Joy's website at http://jnwieder.com/ to learn more.

Doreen Buchinski: ​I was honored to design An Assortment of Animals. It was a wonderful opportunity and a chance to challenge myself. As a graphic designer, I’ve created brochures, logos, promotional materials, etc., but hadn’t explored designing picture books. I was excited and terrified of the herculean project ahead. Applying principals of good design to the book layout—like alignment, balance, repetition, contrast, type, and space—was priority. Tasks included: researching fonts, colors, and on-demand printing, managing art files, emails, edits, and file prep, while also completing my own anthology illustrations. Yes, there were days when the project felt overwhelming—but I stayed focused on each day’s priorities. With superb anthology editors, Kristen Wixted and Heather Kelly, the Writers' Loft founder, at the helm, the development and completion of the book was successful. Collaborating with talented illustrators and authors, and displaying their beautiful art and poetry on the pages of the book were experiences I will always treasure. 

​Visit Doreen's website at ​https://www.doreenbuchinski.com/

Sarah Brannen: For me, the first step was picking the creatures I was going to illustrate. I went back and forth with the editors as they sorted out who would make art for which poem. I specifically requested jellyfish and they were kind enough to make that work. I also thought I’d like to do sea glass. I was an avid collector as a child and I still have a jar of my very best pieces, which include even rare colors like yellow and pink. 

Kristen Wixted and I talked a lot about how to group the poems. It was her idea to do a spread of things found on the beach, so that I could do a trompe-l’oeil image of everything spread out on the sand. At the last minute Kristen asked me to illustrate the very last poem in the book, Sea Serenity. My most recent book, A Perfect Day, is set on the ocean and it opens with a very calm image of the ocean at dawn. We both felt that something similar would be perfect to close the anthology as well. I sketched a very old wooden lobster pot buoy that I’ve had since I was little, although I changed the colors to white, blue and green. It’s meant to evoke, in some way, the earth itself. Old buoys have numbers carved into them so I put “2020” on the one in the illustration. 

​My web site is www.sarahbrannen.com.

Jodie Apeseche: When illustration assignments were divvied out, I was super excited. I felt that everything was in my wheelhouse-lobsters, cuttlefish, crabs, sea otters, seahorse and sea dragon-yup those would be fun.
 The tricky part was how to make my illustrations connect to the  poems while keeping in my style of painting. For example, after reading Lobster Rainbow more carefully, I was faced with a predicament. I had not realized that I would have to paint 6 different colored lobsters.  I couldn’t figure out how to do that without making a very cluttered illustration. 
 Solution, I created a lobster grid a la Andy Warhol. Problem solving is such a big part of illustration and I owe gratitude to author, Jean Taft, for pushing me to that end.

​For more about Jodie, visit  jodieapeseche.weebly.com or http://art-jam.net/

FRIENDS AND ANEMONES: OCEAN POEMS FOR CHILDREN is set to launch in November and is chock-full of whimsy, fun, and freaky animal facts that will delight children and adults. To learn more about the Writers' Loft visit  www.thewritersloft.org/ and www.thewritersloft.org/anthology for information regarding previous anthologies.

~ By Amanda Smith

In last week’s blog, Lindsay Ward encouraged us to lean into our creativity and reinvest in our goals during this truly bizarre time. For some of us, writing in the midst of quarantine feels like sanity and welcome routine. However, I have heard other writers mention that they are unable to write, that they are not in the head-space to be creative. And others’ writing time is consumed by keeping young children on track with school work, or working longer hours from home. So how do we keep our writing goals?

At 24 Carrot Writing we have always proposed two kinds of goals: Creative goals and craft goals. The beauty of setting these two kinds of goals, is they access different skill-sets and even different brain hemispheres, so we can always keep moving forward in one area when the other seems inaccessible.

 If you are happily plugging along with your creative goals, writing your story and meeting your word-count targets, carry on. You’ve got this! However, I would urge those writers who feel as if their muse is quarantined in a whole different zip code to lean into those craft goals. Here are some ideas:

• Have you always been curious about Scrivener? Now is the perfect time to work through the tutorial and learn this amazing writing tool.
• Were the first couple couple of months of the new year filled with other projects and you missed out on Storystorm and ReFoReMo? Those blogs are still available to read. You may not have access to all the mentor books, but you may use this time to study some of the books you own as mentor texts, and discover why and how they work on a structural level.
• There are a myriad of online classes, webinars and author resources available right now, such as those from SCBWI. If you are experiencing writer’s block, taking some of these classes is a perfect way to develop your craft.
  This piece of advice comes with a caveat, though. The abundance of online resources could be a distraction and might be overwhelming. it’s okay to miss some! My rule of thumb is: Does this webinar fit into my yearly goals or support my WIP? If so, go full steam ahead. If not, you might find yourself like a squirrel in fall, gathering a bunch of nuts, but not remembering where you buried them.
• Speaking of workshops and notes, when was the last time you looked at any? Kelly often wisely says that sometimes we need to stop taking classes and apply what we have learned. This is a great time to pull out your workshop notes on plotting, or tension or whatever, and apply it to your WIP.
• While you are at it, you could also create order in your work space by filing your notes in a way that makes them easy to find again. ( Francine wrote a wonderful blog about taming conference notes a few years ago)
• Offer to be a beta-reader or critique partner for a writing friend. Some of my favorite quarantine hours have been spent reading and critiquing others’ work. Asking Who? What? Where? When? Why? and How? about someone else’s work is easier and less intimidating than trying to muddle through your own. The added bonus is that it trains you to spot these things in your own work as well, strengthening your craft.

 
These last few ideas are craft/ creative cross-overs:

• Start an idea notebook. (Click here for Annie's blog on how.)  Most writing happens in our heads long before it happens on paper. If you are unable to write, but have thoughts about your WIP, or snippets of dialogue that wake you up in the middle of the night, it is handy to have one place to put it all. For picture books, I recommend Annie’s technique. For novels, have a designated notebook or folder per project. This way you will have your thoughts together for when you get back to writing.
• Do the behind the scenes work on your WIP. Tension charts and scene spreadsheets, story grids and all the analysis. This way you are staying in your novel, working towards your goals, and preparing for when the muse returns.

​

Above all, feed your creative soul with what brings you joy! If writing doesn’t bring you joy right now, that is okay. Step away. Follow a few online watercolor tutorials. Play with clay. Write some poetry. Go dig in the garden. Make music. Sew a few face masks. Because your marvelous mind will be puzzling at your story, carving out your characters, and coming up with fresh ideas, all waiting for you when you are ready to pick up the pen again.
 

Guest Blog by Rob Justus

​Hey there beautiful reader!
 
This is author, illustrator, nice guy, Rob Justus. The lovely people at 24 Carrot Writing have asked if I could contribute a couple points on how to begin your journey into the world of creating graphic novels.
 
Now I know, I know, who the heck is this guy? I don’t even have a graphic novel published!....But I will.

​Right now, I’m the author/illustrator of the amazing KID COACH picture book, but come Fall 2021 my first graphic novel series, DEATH AND SPARKLES, will be flying off bookshelves! ​

​So how did I get here? How did I go from picture books to middle grade graphic novels?
 
Well, I was told by a few people that middle-grade graphic novels are a booming segment of the book market, and that my humor and storytelling might be a could match. That’s when I saw dollar signs dancing in my eyes! Muh-ha-ha!
 
Just kidding.
 
Everyone thinks that writing a picture book is easy. It is really freakin’ hard!!! You’re generally constrained to 32 cohesive pages, where every single word is scrutinized over and over. With graphic novels, there’s a little more room for my ideas to run around. And run around I did!

 It starts with character
 
When I start a story, it starts with a character that I’ve sketched. These characters tend to have something that stands out from all the other things I’ve sketch. They have a life to them.

For DEATH AND SPARKLES, it started with me drawing random skulls. Those skulls evolved into this:​

​Originally, I planned on aiming these characters at younger kids, and having the graphic novel set up as a simple sitcom with each chapter being a funny situation. I pitched this to my agent and she politely told me it was a steaming pile of poo-poo caca.
 
Then she gave me the most important piece of advice I’ve gotten in this crazy journey I’ve taken to become a real author...
 
World building
 
WORLD BUILDING changed everything. My agent told me to write lists of personality traits for each character. How they react to certain situations. How they feel. Sometimes I just wrote lists of random questions: How does Death feel about swimming? Why would Sparkles want to be friends with Death? How does Death feel about death? How can I include cupcakes? Would Death have a pet?
 
Once I had an idea of who Death and Sparkles are as characters, I began to define the world they live in. Where does Death live? How does he travel around? Does Sparkles do anything for himself? Who’s in his entourage? Are unicorns descendants of dragons? From there I could start to populate this world with other secondary characters and antagonists.
 
Because I spent so much time defining and building this world it became SO easy to write. I knew how the characters would react to different situations, how they’d deal with conflict and how Death and Sparkles would grow to become best buds. I even know how their friendship is going to evolve over the next six books! That said, my agent was worried I’d struggle writing something longer than 32 pages, with our goal to have a nice arc over hopefully 120 pages. All the work beforehand let me run wild! Just a mere 275 pages later we had a fully sketched out dummy ready for submission. DEATH AND SPARKLES is easily one of my proudest achievements as a writer and illustrator.
 
Scrivener
 
I’m a firm believer in just doing your thing. As long as you’ve got a pencil and paper you’re good to start creating anything you want, but I will plug one little thing that helped me immensely. A little program called Scrivener. It’s a writing program that let me keep all my notes in one place, while having a great outlining/cork board/cue card thingy. Go check it out. Best $20 I ever spent.
 
I grew up reading and wanting to draw comics when I was a kid, but “chose” the safer options in life and got a comfy job as a consultant. When I decided to leave all that behind and switch to a creative career, it felt like things were coming full circle. This is what I’m supposed to be doing. I can’t wait to show the world I built for DEATH AND SPARKLES in Fall 2021, but in the meantime feel free to check out my picture book KID COACH.
 
I’m author, illustrator, nice guy Rob Justus, and hopefully you found this ramblin’ insightful. Shine on, people!

To learn more about Rob please visit his website at https://robjustus.com/ or find him on instagram at https://www.instagram.com/robjustus/. Rob is a member of The Soaring '20s High Flying Picture Book Debuts. Find all The Soaring '20s authors and illustrators at https://www.soaring20spb.com/. 

​You can order a copy of KID COACH here. 

Final thoughts
Thank you for letting me share my process of bringing Night Train to life with you, and thank you to 24 Carrot Writing for inviting me to do so. I hope it was helpful and am looking forward to reading all the different approaches/processes other illustrators have here in the future.

About the Illustrator
Ileana Soon is an illustrator/vis dev artist who grew up in a small seaside town in Borneo, before making her way to Los Angeles where she currently lives and works. Her clients include The Wall Street Journal, The New York Times and Oprah Magazine. She has also won multiple awards, including a Silver Medal from 3x3, as well as recognition from American Illustration and The World Illustration Awards. Learn more about Ileana and see more of her work at http://ileanasoon.com/, on Instagram at https://www.instagram.com/ileanadraws/, and on Behance at https://www.behance.net/ileanasoon.

~ By Amanda Smith

Earlier this month, I found myself again as substitute teacher in the art room, but this time with middle school students. They were in the process of painting an impressionist landscape. What I encountered, though, was hesitancy. They were so afraid that they were going to mess up their pictures by experimenting with this new style, that even after explaining and demonstrating multiple times, most students still opted to mix solid colors on their palettes and apply flat, texture-less paint to their canvasses.

I recognized that anxiety of “messing up a picture.” I felt that many times as an art student myself and have vivid memories of an art teacher dipping my brush in the bright red and yellow paint of my neighbor’s palette and brushing thick globs of primary colors on my super-careful shades-of-blue painting. I was crushed, and furious, and traumatized by the experience for years. But now, I can see that she tried to push me, in the true spirit of the Impressionists, towards experimenting. To stop resisting change. To be brave. To play.

For interesting short videos on Monet's Waterloo Series, visit WAM's website here. 
For more Waterloo Bridge images, click here.