Tuesday, October 20, 2026

Registration for 2027 New York Conference Opens October 29!


Registration for 2027 New York Conference Opens October 29!

This year the conference will be March 5-7. Register for an unforgettable in-person event with keynotes by Pete Oswald and Catia Chien, industry panels, one-on-one critiques, a half-day illustrator intensive, and much more. Limited seats available! Don't forget to mark your calendars!

MEET THE KEYNOTE SPEAKERS

Pete Oswald
Author, Illustrator

About
Pete Oswald is a #1 New York Times bestselling illustrator and an Annie Award-nominated animation production designer best known for The Angry Birds Movie film franchise and Oscar® Nominated ParaNorman, in addition to multiple animated studio films. He is also known for his work as a children's book author and illustrator, and painter. Pete's work includes the #1 New York Times bestselling picture book, The Good Egg, the #2 New York Times bestselling picture book, The Bad Seed, and the #2 New York Times bestselling picture book, The Smart Cookie, all written by Jory John.
Discover more at www.peteoswald.com


Catia Chien
Author, Illustrator

About
Cátia Chien is the 2026 Caldecott Medalist for Fireworks, recognized for her luminous and evocative picture book art. She is also a winner of the New York Times/New York Public Library Best Illustrated award and a two-time Society of Illustrators Gold Medal recipient for Original Art. A three-time Golden Kite Award winner, her acclaimed works include The Longest Letsgoboy, The Bear and the Moon, and A Boy and a Jaguar—the latter was also named an ALA Notable Book and received the Schneider Family Book Award.www.catiachien.com/

Thursday, October 15, 2026

Milena Milak: Emphasizing Story in Your Portfolio

Hello again! 

I'm back again this week with a new Illustrator interview! 

Next up:

Milena Milak


What are some illustration choices you make by instinct now that took you a long time to build, and what frustrated you as you learned it?
 

The big one is visual storytelling. I used to create "pretty pictures", where I would focus so much on my technical skills, yet hardly any of my portfolio pieces had any storytelling going on. It was only after my portfolio was rejected by agents that I decided to dive deeper and understand illustrating children's books better, and the craft of telling a story with pictures. I still have a lot to learn. What has changed is that every time I work on a new portfolio piece, I try to build more than just an aesthetically pleasing image. 

Can you take us through a spread of work you've created (published or not): from sketches, to thumbnails and final work and talk to us about what changed along the way and why?

Lately, I've been feeling pretty confident and happy with how my characters and colours work together, but I still feel I have a lot to improve when it comes to illustrating more detailed scenes and environments. With this illustration, my goal was to illustrate an emotion using both a character and their environment. There's a bored kid in a room full of toys and objects, and no matter how hard they've tried to entertain themselves... they're still bored. I started by building a mood board with pictures of kids' bedrooms. 




I spent quite a bit of time thinking about the composition. One thing I knew was that I wanted to avoid an eye-level, straight-on view and play with a more interesting perspective. It's been months since I started studying movie stills to improve my composition and storytelling (you can read about it here: https://www.milenamilak.com/blog/cinematic-composition-guide), and I decided to use what I learnt. I wanted to experiment with foreground, middle ground and background to create a stronger illusion of depth. That's why I added the open door and the table with the snake toy in the foreground. 




This idea was all about how the environment is part of the story too, so instead of drawing a generic bedroom, I wanted every object to add a little to the feeling of boredom. The toys and objects scattered around should feel like they've all been played with and abandoned by the girl in the tiger pyjamas. There are unfinished drawings, an open book, teddy bears left behind, and half-eaten cookies. It's almost like you're able to retrace everything Lucy tried before finally giving up and collapsing on the bed. For this illustration, I wanted to keep most of the painting in blue and purple hues while using orange for the details and Lucy herself. I love using complementary colour palettes for contrast, and orange stands out against the purples and blues just perfectly! Even at the early stage, I already marked that the orange I used for Lucy should be darker and much more saturated than any other orange in the painting. I wanted whoever looked at the illustration to notice her first. 




One habit I've developed over the last few years is constantly checking my values as I paint. I add a new layer on top, fill it with pure black, and change the blend mode to Color. This lets me see the painting in greyscale. If all the values are too similar, nothing attracts our attention. I always make sure there's enough contrast to keep the focus on the main subject, which in this case is Lucy. 


 

I ended up happy with the final illustration, and it's one of my favourite portfolio pieces I've created in the last few months. 


 

What do you notice a lot of in your life? How do those things make their way into your art, or how do you get rid of them while you're working so that you can bring what you want into your art? 

I've always been a quiet observer, and I've remained one. I enjoy watching people and creating little stories about their lives. I love watching their interactions with the people around them, their surroundings or their pets. I find myself sitting on public transport and daydreaming about the lives of people I've never met. Characters have always been a central part of my art, and to this day, creating a character with their personality, look and backstory is my favourite creative process. I'm particularly interested in wordless interactions and how much can be conveyed through a gesture, body pose, mood and surroundings. I dream of creating a graphic novel with no text. 

When you’re feeling at your best or your worst—about your work or a specific project—what does that look like and how do your work habits help you? 

It's very important to rest. I'm late-diagnosed neurodivergent, and one thing I need to remind myself is that rest is productive, not a reward I need to earn. If the project timeline allows it, I try to disconnect completely over the weekends. I don't check work emails, and I stay off social media. I like watching movies or playing video games to relax. Engaging in fictional worlds helps my brain relax. 

Have you ever taken something out of your portfolio that you really liked but knew wasn't helping your overall portfolio? How did you decide? 

Just this summer, I worked on my portfolio and recently updated my website. I decided to remove all work that focused on a character but that I felt lacked story. I had a few portfolio pieces with a character just standing or wearing a costume, and I felt it was time to let them go. I still like them, but with my focus on picture books, I want to show I can do more than just character design.

You can find more in-depth process from Milena on her blog here: https://www.milenamilak.com/blog/mixed-media-look-in-procreate-tips



Bear Howe is an author/illustrator and multidisciplinary artist living in Michigan, USA. Their art practice includes fine art, illustration and staying curious, exploring themes of belonging, awe, mystery, discovery and liberation. Where you can find Bear:

On Substack at BecomeingArt and @bearhoweart on IG

My website has my Portfolio

Teaching kids art classes at Young Illustrators Studio










Tuesday, October 13, 2026

SCBWI Gen AI Policy and FAQ



ADOPTED SINCE 2023

For over 50 years, SCBWI has encouraged and celebrated the creativity, dedication, and lived experiences of our members. This is a bedrock principle of our organization. Therefore, we are opposed to any use of text-prompted generative AI in writing, illustrating, translating, or other aspects of creating children’s books.

Generative AI developers train their systems on human-made work, unethically using and copying this work without regard for copyright, credit, or compensation. Our position on AI goes beyond these immediate issues. While Generative AI is a burgeoning technology, we don’t believe it produces unique and meaningful creations.

As a community, we craft and cherish transformative books brought to life through imagination and talent, human heart and soul. The power and joys of children’s literature originate from a creator’s inventiveness, talents, and hard-earned skills. We have a responsibility to young readers everywhere to make the immersive books they need and deserve. The stories and art we create have the power to change lives. We make books to share ourselves and inspire others. It is long, difficult, and immensely personal work, and it cannot be any other way.

No technology can ever replace your labors, your vision, and your urge to create. Our community wants to see the world through your eyes, and hear your voice. Young people need books as singular and original as you.

2026 POLICY ADDITION

GenAI continues to evolve and change, not only as technology, but also in how it has quickly become an everyday part of our lives. Today’s traditional publishing standard is not to encourage or include any GenAI created text, translated text, or illustrations in books, and we abide by that. Protecting the creativity, insights, and empathy that human creators bring to book creation for young readers is essential. SCBWI is dedicated to supporting our members as they create the books young readers will cherish for years to come.

In light of that, we have revised and updated our GenAI policy as of September 2026. As GenAI evolves, we’ll keep a close eye on how it develops and will update the policy as needed.

The following addenda apply to all members, whether you’re seeking traditional publication or choosing alternative publishing, including hybrid or self-publishing. We have given careful thought to these points and feel they will best protect the creativity and integrity of the work SCBWI members create. Generative AI is not to be used to generate, rewrite, illustrate, or alter any portion of work, including but not limited to Awards, Grants, Scholarships, Draw This, the Member Bookstore, the illustrator gallery, BookStop, the portfolio showcases, pitching events, critiques, or consultations at any SCBWI global or regional events or conferences.

When submitting text or illustrations to any of the above, members must check the box on the submission form confirming that no GenAI was used in the creation of their text or images. We will not accept submissions without this declaration.

Members must remove any GenAI created content from the SCBWI website by December 31, 2026. This includes any such content in the member bookstore or the illustrator gallery.

SCBWI reserves the right to disqualify submissions or rescind awards if they are discovered to have been created with GenAI.

Finalists may be asked to provide evidence of the development of their submitted work, such as preliminary sketches, drafts, revision history, layered source files, or other process documentation. Failure to provide reasonable process evidence may result in disqualification.

A panel of Advisory Council members will review the process evidence on a case-by-case basis if the submission is believed to have been created with GenAI. SCBWI will not be using AI detectors to assist in this process.

Thursday, October 8, 2026

Saki Tanaka: Making Magic Real

Hello SCBWI community! 

My name is Bear, and I'm so happy we are here together! 

This month for the blog, I asked some of my favorite kidlit illustrators to share some of their thoughts on art process. And I have been BLOWN away, inspired and fascinated by what these hard-working, deeply thoughtful, skilled-up people have shared with us! 

I feel so lucky to be in the company of this community, out here chasing the joy, empathy, humor and heart that make children's books so special and important, despite the bottle necks, rejections and intense economical realities of our industry and our world. The kindness, generosity and fortitude of all of you is powerful! 

First up:

Saki Tanaka

What are some illustration choices you make by instinct now that took you a long time to build, and what frustrated you as you learned it?

One illustration choice or skill that took a while for me to build is color selection. I used to be terrified of color, and primarily only worked with graphite when starting out! Eventually, through trial and error, I discovered my favorites (Cobalt Turquoise, Opera Rose, Lemon Yellow etc) and got better at selecting palettes around these faves. Thinking about what the illustration was trying to do (e.g. feel enchanting or otherworldly, draw the viewer's eye to the main character, capture a specific emotional state) also helped ground my color choices in an intent beyond just my subjective preferences and predilections. That being said, things tend to go well when I prioritize working with colors that have characteristics I'm drawn to, like certain types of pigment granulation and how hues react to each other physically (mmm glazing) and in relation to one another. 

Can you take us through a spread of work you've created (published or not): from sketches, to thumbnails and final work and talk to us about what changed along the way and why? Please include photos!

My first book, BETWEEN WORDS, took TEN years to make, so a lot changed from inception to publication! It started off as a text-only manuscript that went through multiple rounds and story versions. Eventually I sketched thumbnails for the text and mocked up many, many, many dummy books. I have various versions of "final" art that resulted from this iterative process. What changed most along the way was the heart of the story as I dug deeper to source my own lived experience, and the style of the illustrations as I discovered new techniques and mediums. You can find a very detailed description of this specific journey here, if helpful!





Where do you think your most interesting ideas come from? Do you have any rituals or habits that keep you connected to those sources, and what happens when you forget?

I love this question because catching ideas and nurturing story seeds is my absolute favorite part of the book making process! I've distilled this down to what I call my 3 S's: SPARKS (things I'm obsessed with), mySELF (life experiences/memories), and what I want to SEE in the world (wish fulfillment!). Making time to play is a primary habit that keeps me connected to these sources, and clearing my brain cache daily (i.e. meditation) helps make more room and catch new ideas. I also keep an idea sketchbook that I try to add to at least once every few weeks, which often ends up cross-pollinating with and enriching the way I approach my current book projects.



What do you notice a lot of in your life? How do those things make their way into your art, or how do you get rid of them while you're working so that you can bring what you want into your art?

I notice things that make me feel a whole spectrum of deep feels: from joy to fear to anger and everything in between. Of these emotional responses, enchantment is at the top of my list. My macro goal as a creative person is to make magic real — so whenever something comes close to making magic "real" and enchanting me, I notice and remember and chase it like my life depends on it (because it kind of does). Some examples I can think of at the moment include cosmology, surrealist art, lucid dreaming and dreamwork in general, news stories about humans doing things that help and uplift each other, immersive exhibits like Meow Wolf, and the worlds dreamed up by Hayao Miyazaki. All of these seep into my work directly and otherwise, as visual influences, conceptual inspo., synchronicities, and ideally end up becoming output as feelings of being enchanted, embraced and empowered in the readers of my stories. I actually don't get rid of these "noticings" while I work! My studio is a maximalist explosion of sketches, postcards, toys and treasures that remind me of these goodies. They entice me to come play and dream for as long as I possibly can, whenever I can. 




What are some things you used to believe about developing a style that you no longer believe? & How has your work changed in the last 5 years and what caused those changes?

I used to believe style and illustration were a means to an end, and now realize it can be an expression. For a long time, illustration was a bit like an unruly tool I had to wield—something I can learn to execute well enough to convey my ideas and bring the worlds/characters/stories in my head to life. I primarily used style to try to evoke a feeling in an audience, so it shifted from book to book. But in the last several years since I moved to Denver, CO, I've had a very lucky streak of meeting the most amazing artists (locally and beyond). Being surrounded by so many expressive and inspiring friends has lit my desire to excavate my own unique visual language for it's own sake. So I've started keeping an "Expression Excavation" sketchbook and have been exploring the answers to questions like "what is a mark that my soul wants to make? What do I look like as a color palette? What forms feel juicy to me and why?" I have a feeling this will be a WIP for the rest of my life!








Bear Howe is an author/illustrator and multidisciplinary artist living in Michigan, USA. Their art practice includes fine art, illustration and staying curious, exploring themes of belonging, awe, mystery, discovery and liberation. Where you can find Bear:

On Substack at BecomeingArt and @bearhoweart on IG

My website has my Portfolio

Teaching kids art classes at Young Illustrators Studio





Tuesday, October 6, 2026


October 4th through October 10th is Banned Books Week! Now, more than ever, we must fight back and protect our right to read freely. 

Check out Banned Books Week for ways you can take action! There are tons of resources available to read, from Print and Digital resources to Publications to Librarian and Educator resources. Whether you are a creator, reader, educator, student, librarian, etc, your voice, your stories and your work deserves to be in seen. 

So this week, feel empowered to push back and LET BOOKS BE!

Other 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!

Thursday, October 1, 2026

Artober Prompts!

 

Happy Fall! As summer starts to wanes, and sweater weather begins a-gain, I hope the transition in your personal and creative life is as crisp as a newly turned leaf! But if you are feeling the oooph and the uggghhh, it's okay, and you're not alone. I know that I struggle in the transition of the busyness of summer into the business of autumn! 

A great way to keep that creative pumpkin rolling to join the SCBWI Illustration Community in SCBWI's Artober! Every October, SCBWI hosts this month long event, where there's 31 days of drawing prompts to help inspire your daily practice!

Work in your favorite art medium or play with new materials during the month. Share your work when you can or post it daily with the #scbwiArtober2026 hashtag on Instagram and Bluesky. The goal is to develop a daily practice of creating new art. Writers are welcome to join in the fun too! 

Here are the Rules:

– This is not about perfection. The goal is to develop a daily practice.

– We encourage you to try new media.

– Share your work on Bluesky and Instagram with the official hashtag #scbwiArtober2026.

– Go to the #scbwiArtober2026 hashtag to see current art, inspiration, and to cheer on other SCBWI Illustrators.

– Play and have fun each day!

ARTOBER 2026 Prompt List - October 1 - 31 2026
  1. Pumpkin
  2. Nocturnal
  3. Crush
  4. Human
  5. Camp
  6. Quiver
  7. Feline
  8. Crisp
  9. Home
  10. Vestige
  11. Crusty
  12. Lunge
  13. Howl
  14. Belonging
  15. Carnival
  16. Hairy
  17. Oddity
  18. Cosplay
  19. Wish
  20. Stolen
  21. Faerie
  22. Knit
  23. Concoction
  24. Veil
  25. Forest
  26. Hunter’s Moon
  27. Cottage
  28. Savory
  29. Underneath
  30. Moth
  31. Ghoul