Thursday, November 20, 2025

Interview with Jennie Mayfield from the New York Pubic Library

Continuing our theme this month, I had the pleasure to connect with Jennie Mayfield, a Children's Librarian, currently working on the Children’s Programs and Services team at The New York Public Library. With so much changing in the children's literature landscape, we are thankful for Jennie's insight and expertise! Check out her interview!


- Q1: How long have you been a librarian? Tell us a bit about your journey.

I have been a Children's Librarian since 2021. I started at NYPL in 2019 as a Children’s Librarian Trainee in the Bronx and completed my MSLIS degree from University of Illinois at Urbana-Champaign.

-Q2: What inspired you to become a librarian and tell us what you find the most rewarding

I came to libraries a bit circuitously, as my undergraduate degree was a BFA in Acting. After being on the audition grind and working a million part time jobs I decided that I needed to take space and decide what came next by moving to Paris, France to be an au pair. While in Paris, I thought a lot about what drew me to acting, and I realized I loved sharing stories and experiences with people, and another great way to do that is by sharing books. From there I became a volunteer in the Children’s Department at the American Library in Paris and realized I wanted to become a Children’s Librarian.

I find our work within the community incredibly rewarding. Getting to know children and helping them develop their reading tastes is such a great feeling. One of my favorite memories from working in the branches was handing a copy of Stella’s Stellar Hair to a parent and their child after they had asked for books similar to Hair Love. They brought the book back three days later, and I asked if they enjoyed it and the parent said, “Oh we loved it so much that we bought a copy, so we’re bringing it back so other kids can enjoy this one.” Truly, there is no better feeling than nailing a book recommendation.

-Q3: In your opinion, what role do you think libraries play in supporting education, equality, and access to information?


Libraries play a major role in supporting education, equality, and access to information, and we do so holistically, supporting our communities from birth through adulthood. One major way we support education and equity is by supporting parents and caregivers. Parents or caregivers are often a child’s first and most important teachers, and the library supports these teachers. We offer storytimes to introduce books and early literacy strategies that grown-ups may not be aware of, we introduce concepts that are really important to a child’s development like playing or singing. We provide resources like toys, third spaces for socializing, and information on other community initiatives and resources.

We also continue this support through school with our free, drop-in tutoring service NYPL After School, allowing kids to access high-quality homework help regardless of socioeconomic status. We also offer KidsLIVE programming, introducing kids to authors, so they can learn from the creative people that shaped the stories they like to read. These programs are hybrid (meaning they are in-person and livestreamed online), to create equity so the talks aren’t just limited to the children that are able to show up to a particular branch. Our KidsLIVE talk this month was attended by children in Staten Island, the Bronx, and Manhattan, and focused on the anthology You Were Made for this World: Celebrated Indigenous Voices Speak to Young People. We not only provided access and equity to kids throughout the system, but we were able to celebrate and amplify Indigenous voices.

-Q4: As you are well aware, there is a growing trend of book bans and challenges that is sweeping the nation. Would you share some thoughts about this and how you feel it impacts our community and readership?

I feel like the homogenizing of literature will have negative impacts on kids and their interest in and ability to read. Kids need mirrors, windows and sliding glass doors when they are reading! They need to see their own experience reflected back at them, a mirror. They need to read about what others experience, a window. They also need to read about what could be possible for them to experience, a sliding glass door. Making sure children have access to all three types of reading experiences is important for creating well-rounded, empathetic, global citizens. It also helps children develop their own taste and interest in reading because every child is different. If we are banning books, we’re providing less options. You never know exactly what will get a kid to become a lifelong reader and library user, so having a multitude of high quality options is important. Think of all the times you were told, “everyone should read this book” and the book wasn’t for you? If we are limiting options, children may give up the hunt for their next favorite book.


-Q5: What would you like to say to those who want to fight back against the freedom to read? How have you kept your hope up during this time?

Keep on fighting! For every book challenge that I hear about, I remember the joy that kids find when they find the right book for them. I am also doing my best to uplift and empower authors whose work I’m excited about. That comes in many forms, whether it’s recommending new books to children, inviting authors for author talks, or supporting the purchase of a title for our collections.


-Q6: If you could share one message with people who may not visit libraries often, what would you want them to understand about why libraries are still vital in our society?

Libraries are a great equalizer. Information used to be reserved only for the elite, but public libraries take information, and make it accessible to people from all walks of life. Whether it’s a service you use or not, having access when or if you need it is imperative for an equitable society.

Jennie Mayfield is a Children's Librarian, currently working on the Children’s Programs and Services team at The New York Public Library. She is a slime enthusiast and you can usually find her participating in community theater or reading a middle grade or mystery novel.

Tuesday, November 18, 2025

The SOI Original Art Show And Some Advice From the Pros!

Hi SCBWI friends, and live from New York, it’s the Society of Illustrators Original Art Show! *Queue SNL music*  

Sorry about that, I’m not Bowen Yang. It’s me, Sibu TP! And this past Friday, I had the amazing opportunity to attend the reception for the Original Art Show at the Society of Illustrators.


I had the bonus treat of visiting as a participant in the show. My author-illustrator debut, Home, Home, was selected for the show! Yayy, what an honor. I’ve been submitting to the Society for years and to get in is really so special. 


With over 800 submissions, the Society selected around 245 picture books to be represented in the show this year. 

The building was packed with so many incredible artists, art directors, editors, agents, and many other folks involved in the wonderful process of picture book making. 


I realized something during the show. I saw many faces that I recognized from my time as a pre-published artist. I’m talking about artists I admire, as well as industry professionals I submitted work to and received feedback from. It was nice catching up with a few of these folks, and they were kind enough to remember me and noted my growth over the years. 


I realized that all the incremental changes that I made in that time, which always felt like nothing, all added up. That each individual effort that felt like I was moving in place and I was working in a vacuum, actually had real-world effects that meant something. I realized that all these artists that I admire are also my peers and I really need to get better at making small talk lol


But seriously, if you’re reading this and you’re pre-published and things are not looking up. I just want you to know that I was pretty down on myself for a long time. Everything that you’re doing is helping you get somewhere, even if that somewhere is hard to see right now. So please keep working.


With that, I asked around at the show for some advice for our SCBWI readers! And I got some answers from some heavy-hitters. My prompt: if you could give a picture book creative one bit of advice, what would it be…


Alex Gehringer, Agent, The Bright Agency

“Be a ruthless editor on your own portfolio. Don’t include everything...try to relax and have fun, because that’s when the creativity shows.”


Alex is one of the many great agents at Bright. She's also the mastermind behind the Bright Artists Retreat, which was an incredible and transformative experience. 


I also had the opportunity to catch up with some fantastic ADs, Chelsea and Nicole, as well as my Editor for Home, Home, Aneeka, and they were kind enough to give some advice as well!


Chelsea C. Donaldson, Art Director at HarperCollins Children’s Books

“Be a good editor of your own work, but also have a section in your portfolio for sketches and for what isn’t your most polished work. Show thinking, show something that’s not fully realized yet, but is inspiring."


Nicole de las Heras, Executive Art Director for Trade Picture Books and Preschool at Random House Children’s Books

“Work on finding your own voice and style. Think about what your dream illustration project is and work your portfolio around that."


Aneeka Kalia, Editor, Viking Children’s Books

“Keep doing stuff that you enjoy in your regular life and that will provide good inspiration for you. Don’t be focused on the market and let your life show through your work.”


And finally, from my wonderful Agent, James Burns(Hi, James!):


James Burns, Agent, The Bright Agency

“You’ve got to be authentic to yourself and not cave to pressures or trends. If the work is forced, it’s compromised.”



Authenticity is the key. Personal and authentic. Be yourself and keep working.

Oh and please do yourself the favor of visiting the Original Art Show at the Society of Illustrators, running through January 24, 2026.

Until next time, happy art-making, friends!

If this post interested you, please feel free to reach out and let me know!

You can find me as @sibutp on all the things, mainly Instagram.

Sibudraws.com


About Me

I'm a storyteller. I make cultural and societal picture books that are rich, colorful, and touch on universal stories. I work through the belief that we're all connected by those small moments in life that I try to capture in my illustrations.

Born and raised in New York, I am a first-generation child of immigrants from Kerala, India. I spent a great deal of my childhood years scribbling and sketching, dreaming and imagining. I studied English Literature at Stony Brook University and received my MFA in Illustration at the Hartford Art School.






Thursday, November 13, 2025

The Magic of the Library, as told by Justin

Post The Librarians film, I wanted to dedicate the month of November to the libraries and librarian! 

As a 90s baby, I can say, with full authority, that we had some awesome movies! Jurassic Park, Toy Story —JUMANJI! Like, come on!

Since the beginning of cinema there, of course, have been many groundbreaking films, but I have a true soft spot for the 90s. And among these incredible movies, there was one that changed the brain chemistry of my childhood mind—even though it didn't grant me powers.

Mathilda, the 1996 fantastical comedy based on the 1988 novel by Roald Dahl, was quite influential to me and my relationship with reading. I still remember watching young Mathilda, played by the adorable Sara Magdalin who grows up to become Mara Wilson, walk into the library, barely able to see over the counter, and talk to the librarian, Mrs. Phelps—perhaps the first adult she’s met up to that point that truly saw her.

After devouring all the books in the children's section, Mrs. Phelps even told Mathilda a very valuable secret...you can have your very own library card...and take books home!  Mathilda was "nurtured by the voices of all those authors who had sent their books out into the world, like ships onto the sea." (Ugh! Just writing this makes me emotional).  But the books gave Mathilda a "hopeful and comforting message—you are not alone."

That moment sowed a seed of wonder and excitement in me and immediately, I wanted to go to this magical place. Especially on top of the fact that this magical place was able to grant you the power of telekinesis as a direct result of exercising your mind; by growing your knowledge and brain power.




Art by Quentin Blake
Though I don’t have telekinesis as a result of years of reading, the action of engaging, entering and enjoying the library and what it had to offer has made me develop my own superpowers. Empathy, curiosity, confidence, and discernment. And though my childhood was full of tumult, very much like Mathilda, I wanted to find somewhere out there where I belonged. Somewhere that I wasn't alone.

8 year old Me
Today, I am able to connect to other people and cultures, to place myself in their shoes and to imagine a world larger than my own, to the point where I’ve realized my own wildest dreams as a result of entering the dreams of others in the countless books I’ve read. I learn so much from being in the library. I discovered my autonomy as a reader, socialization as a child and even deepened my love to research— There, I even discovered that I could be an artist when I grew up, my lifelong passion for drawing cultivated as a result to my exploratoin.

I even made a petition to try and get a library in my neighbor in Staten Island. I had to go to my closest library, which was 30 minutes away via bus, use my 40 cents to print a self-made petition to have my neighbors sign. I was very ambitious as a child! 

I recently heard that there is now a library in my old neighborhood and the lore is that I helped bring it to life. Whether or not I actually did, at that age, the library was my favorite place and I’m glad that there is a library in the community for kids like me. 

Reading was a lifeline for me and till this day, I can be found with a book in my hand, no matter where I am. And this love of reading was nurtured by movies like Mathilda, or amazing shows like Reading Rainbow— shoutout to LeVar Burton, and the host of the reboot, Mychal Threets.

So I invite you to join in supporting your local library. 

Get yourself or a child in your life a library card. Take them to the library, find a cozy corner, and read together. Check out what events are taking place. Engage with your library community. Introduce yourself to your librarians. 

Growing up in an underserved community, I understand the privilege that education, knowledge and books have. And I've made it my personal goal to read as many books as literally possible and my mission to create books in hopes of being one of those authors whose voice becomes a ship that a child can board and be whisked away to other worlds. 

In this tumultuous time for book creators and those who champion them, we must remember the importance of books, their power but also, our own strength to combat the attack on freedom to read and freedom of speech. Consider joining the fight to protect these "ships" by purchasing banned books, requesting them at your local library, joining an organization that is at the forefront! Together our fleet of imagination, of love, of truth will triumph!

Banned Book Resources
Here are some resources to continue the fight beyond Banned Book Week!
  • SCBWI Banned Book Video Playlists
    • Check out SCBWI's Banned Book Playlist, full of panel discussions with industry professional, censorship activists and more!

Tuesday, November 11, 2025

Let’s Talk About…References!

Hi again SCBWI fam! It’s me, Sibu TP, and I wanted to think out loud for a bit with you about references. 

My author-illustrator debut, Home, Home, released recently through Viking Press, and a great deal of the imagery in my book was based on references. The vast majority of these references were photos that I took while traveling to India, and some were from old family photographs that my parents keep in yellowing albums at home. 
 
I use references a lot in my work. For my previous project, A Taste of Home, I photographed a lot of references in the lower east side, NYC, where the story takes place. Reference usage is super important for telling stories. Having real-world references injected into your work not only adds an element of legitimacy and ethos to what you’re making, but it also grounds your work, allowing your brain to then think beyond those details to ideas you may not have otherwise gotten. 

I mean where do we get ideas for our stories? They don’t just come from nowhere. Even the most outlandish brainstorm session yields ideas that are filtered through our brains before they end up on the page. So it's always colored by our personal thoughts and experiences and would thus come from a place specific to us. It has to be both. It's an accurately depicted illustration, yes, but it's also a fuzzy message from your memory and imagination.

And to me, that’s key to reference use. It’s not always a 1 to 1 type of situation where you copy something down. References are like a sturdy guide post upon which your ideas can lean. They’re meant to inform and aid, not to necessarily be the primary content of the artwork itself. That's why I always try to use references as a supplement to flesh out my ideas, not as the end goal.


Here are two illustrations I did for my last book, A Taste of Home, written by the wonderful Richard Ho, and published by Roaring Brook Press. Below each illustration is a reference photo I used for them.








In both instances, I started by drawing out the composition, placing my characters and deciding on the lighting. Only after those decisions were all made did I implement changes based on the references I shot. In fact, the reference photos I took were also informed by the composition that I worked out for the spread. So there was a lot of synergy between illustration and reference informing each other.

I'm going to end off here. Does this one look familiar? If it doesn't, then you probably blocked it out of your memory because I spent SO much time (too much?) talking through the process in my last post. I didn't, however, talk about how I used reference for it. This illustration is from Home, Home, and it represents what I feel is my personal ideal for good reference use.



Just like I did with the two illustrations above, I made all of the decisions for this piece before using my references. The composition, the subjects, the perspective, the light source, etc. were all decided and loosely drawn. Unlike the two illustrations above, I actually had this reference photo for a couple years before I worked on the book. So I actually had to search for an appropriate reference from my library (Yes, I have a reference library. And also Yes, it is disorganized and impossible to sort through :) ).

The reason why I feel like this particular illustration process is my ideal for reference use is that there's a looseness in how I worked on it. I was able to work with openness and use reference that worked for the composition, and not just the other way around. Because I used the imagery that was in my mind as the north star for where to end up, the reference worked to serve that image. And in those moments that the real-world implications of the reference photo necessitated change in the illustration, I was able to make those changes because the process is so malleable and allows for alterations without negotiating the essence of that ultimate image. And in the end, that's exactly where you want to wind up: that beautiful and abstract message from your imagination.

Until next time, happy art-making, friends!

If this post interested you, please reach out and let me know!
You can find me as @sibutp on all the things, mainly Instagram.
sibup.art@gmail.com

About Me
I'm a storyteller. I make cultural and societal picture books that are rich, colorful, and touch on universal stories. I work through the belief that we're all connected by those small moments in life that I try to capture in my illustrations.
Born and raised in New York, I am a first-generation child of immigrants from Kerala, India. I spent a great deal of my childhood years scribbling and sketching, dreaming and imagining. I studied English Literature at Stony Brook University and received my MFA in Illustration at the Hartford Art School.



Thursday, November 6, 2025

"The Librarians" 2025, directed by Kim A. Snyder

 

https://thelibrariansfilm.com/

As Instagram probably does for all of us, when I was doom scrolling on night a few weeks ago, a suggested reels popped up on my phone. Usually, I just scroll right past, but within seconds, I was drawn into the video. It begins with body cam footage of two people in a library, and immediately, there was tension, sucking me in. What was the video, you might ask? 

It was the trailer to The Librarians directed by Kim A. Snyder. 

Post Book Ban Week and researching the multitude of advocacy groups and organizations, this film felt like a sign to me and I had to go see it.  I am a firm believer that in order to overcome the fear of anything, you must see it, understand it and face it head on so I was looking forward to the film to help me better grasp where this book banning business began. 

Playing at the Film Forum, here in NYC, I swiftly booked my ticket.

Lucky, I brought my notebook because as soon as the screen lit up, there was so much that I wanted to research further. So, notebook in hand, I sat in the dark, scribbled, and watched, what I would call, a love letter to those unsung heroes on the forefront of the book challenges and a call to action to those who value the freedom to read. 

"Librarians emerge as first responders in the fight for democracy and our First Amendment Rights. As they well know, controlling the flow of ideas means control over communities.

In Texas, the Krause List targets 850 books focused on race and LGBTQia+ stories – triggering sweeping book bans across the U.S. at an unprecedented rate. As tensions escalate, librarians connect the dots from heated school and library board meetings nationwide to lay bare the underpinnings of extremism fueling the censorship efforts. Despite facing harassment, threats, and laws aimed at criminalizing their work – the librarians’ rallying cry for freedom to read is a chilling cautionary tale."

The Librarians

Screening worldwide, the film follows the librarians who have been on the forefront of the book bans, who have been targeted for their belief that everyone has the right to have their stories on the library shelves; a right to exercise their First Amendment Rights. I was shocked by what I was witnessing, seeing these ordinary people under fire for their commitment to the freedom to read. Following the experience of many librarians and community advocates like Martha Hickson, Amanda Jones, Julie Miller and Reverend Jeffrey Dove, the Librarians documents the resilience, the trials and triumphs of these, in my opinions, champions and heroes. To see everything in context, from the beginning of this movement, with interviews from librarian, students, and the community was incredibly eye opening.

Everyone, all of us in the theater, were scoffing, shaking our heads, and huffing in disbelief at the ridiculousness what we were seeing and hearing. I was stunned by the hypocrisy of these challengers and how we've seen this type of movement in the past; circa 1984. I never thought it would happen here, but as Reverend Jeffrey Dove stated about the opposing groups, they have a "wicked genius" in how they use their intelligent, time and effort to destroy and challenge these books, targeting marginalized stories and voices. 

The film was incredible, and only fortified my commitment to telling my own stories. To be a librarian is a gift to our community and to our youth, and we must protect and support them. Books have the ability to save lives and this film stoked the fire within me to fight back against this darkness.

Here is a link to the find where you can screen the documentary near you and be sure to follow The Librarians on Instagram.

With tears in my eyes, I left the theater with mixed emotions but the more importantly, hope and fight. To watch ordinary people stand up against the book bans, refusing to let their voices be silenced was powerful and made me wonder, where can I be of service. -

Banned Book Resources
Here are some resources to continue the fight beyond Banned Book Week!
  • SCBWI Banned Book Video Playlists
    • Check out SCBWI's Banned Book Playlist, full of panel discussions with industry professional, censorship activists and more!

Tuesday, November 4, 2025

Let's Dissect A Picturebook Spread

            Hi SCBWI friends! My name is Sibu TP. I’m an illustrator and writer and my author-illustrator debut, Home, Home, released this past August (yay!) through Viking Press.

(Pictured above: it me)

I’m super happy to be able to speak to you all this month. I’m a big believer that it's the specific details that carry the universal lessons, so I'm going to share some of how I work. Ultimately, I’m hoping it will be more helpful than naval-gazing, haha. Ok, here we go…


In this post, I’m going to walk you through my illustration process for one of the spreads in Home, Home


(Pictured above: Home, Home in thumbnails)

As with the majority of books (I see you, picture-less picture books), Home, Home started with the thumbnails. Here’s the entire book laid out in thumbnails. (spoiler alert!).

The earliest versions of the thumbnails are way rougher. Just like you would do with each individual drawing, when you're plotting the entire book, you think more broadly. First it's the larger shapes and then you work your way into the finer details.

By the time we were really cooking with the manuscript and the layout, I started tightening up more and more. I added that gray mid-tone to help flesh out the light source(s) – this also really helps with mapping how I want to direct the readers’ eyes on each page. It also helps with showing how varied the spreads are.



I’ll be focusing on this spread right here:


So a little background: this book is a fish out of water story. In this moment, my main character, Ajesh, is visiting his parents' homeland (Kerala, India). In the previous spread, they land and he's immediately pictured as being separated from everyone around him. In this spread, it's the opposite. This spread is supposed to depict a feeling of claustrophobia while also maintaining that feeling of seclusion.

So to depict this, I decided to throw him right into a busy street.

People everywhere. Dust being kicked up. Signage that's unfamiliar. The perspective of the illustration is eye-level with Ajesh and we stay in his world. Everyone around him is taller and they're all walking in the same direction. He's caught in that forward momentum. What he does have is his sketchbook. It's the one source of familiarity to him, a piece of refuge.



(Picture above: color compositions)

So from the initial thumbnails, I go to color compositions. Here's two examples above. I went through several iterations of this spread to see where I'd want color to be placed and deciding on the color palette. It's great to consider as much as you can before moving forward to finals. It sounds a little obvious, I guess because it is, but all these small decisions really help bring to focus what that initial idea is. And that's kind've what you're chasing: that first moment of imagery.




(Pictured above: the pencil drawing)

Once these decisions are made, I start on finals. I realized early on in making Home, Home that I draw better with pencil. My last illustrated book, A Taste of Home, was done completely in Procreate. I'm pretty new to digital art, so Procreate is a great stepping off point for me. While I was making that book, something felt off that I couldn't place.

When I started making traditional work again, I knew exactly what it was. The drawing just felt different when it was pencil and paper. It was more comfortable, more intuitive.



(Pictured above: first pass of paint)

So when I work now, I feel it out more. There's no set point in how far I take the traditional side. For this spread, i really just mapped out light. Warm and cool, warm and cool. What will the light be touching and what will be bathed in shadow. Once I laid this thin layer of acrylic paint out over the drawing, I felt like I wanted to move forward to the next phase.

I think it's good to stay loose with process. I'm sure as I get older and work more (knock on wood ;)) I'll start to settle in more and more to a set process, but I like that there's a level of spontaneity right now and being open to change and adaptability is exciting to me. So for this, I moved to digital at this above phase. For other pages, I pushed the acrylic paint phase further before doing light final touches in Procreate.



(Pictured above: first digital pass)

This is where the noodling and the fine detailing comes in. In this case, it's a lot of signage and patterns/textures and background actors. So many of the decisions were already made. So now, it's just a matter of nudging it across the finish line. Because everything is more or less decided, any additions or changes will be generally minor and so it won't be too difficult to make. Speaking of which...

(Pictured above: the final!)

Pro tip: nothing makes things better than a pupper (or a kitty). This is where I ended up. In place of having a crowd of too many people, I made the people in the image more varied visually. He's still caught in a crowd of people, but the amount of people, the strange environment, and the different patters around him are all contributing to how jarring this new place is for our Ajesh.




(Pictured above: my book Home, Home)

If you this post interested you, please click the cover art here and it'll take you to where you can find my book. My contact info is below, please feel free to hit me up! Happy art-making, friends! Until next time.

About Me
I’m a storyteller. I make picture books that tell stories that aren’t often told, whether they be cultural or societal. They are rich, colorful, and touch on universal stories to the masses through specific, small details and moments. I work through the belief that we’re all connected by our relationships and our emotions, and all of the small moments in life that are captured in my illustrations. Born and raised in New York, I am a first-generation child of immigrants. I spent a great deal of my childhood years scribbling and sketching, dreaming and imagining. Today, I tell stories through picture books.I received my BA in English Literature at Stony Brook University and my MFA in Illustration at the Hartford Art School. When I'm not in front of a drawing board, I've got my camera in tow, taking pictures while hiking, and running from squirrels.

You can find me @sibutp on all the things, mainly Instagram
sibup.art@gmail.com

(Pictured above: Actual me, hi!)