A Whole New World: Changing careers to fulfil your passion

Tita Berredo - Children's Writer Illustrator

Hello everyone, I am so excited to be a guest here! \o/

For those who don’t know me I’m a Brazilian children’s writer and illustrator, based in Scotland (I married a Glaswegian and someone had to move). Since I moved to the UK I have been actively engaged with the kids lit community, volunteering for SCBWI, the Society of Authors, and the Association of Illustrators. There’s no doubt that I was able to explore and expand the most with SCBWI by becoming a volunteer from the get go. I was Illustrator Coordinator of the British Isles for years, and now that I am moving back to Rio I am the IC for the International Central.

Connecting with this community has been a great joy for me, and through the years it’s proven to be an excellent way to exercise a myriad of skills I actually use for the career I've chosen. Whether it is practicing communication, networking, writing articles, hosting events, meeting people from different countries and backgrounds, learning, sharing... all of that makes me be a better creator. Books after all have everything to do with human connection. So, when the lovely Justin Campbell asked me to write a four part blog post I thought that the best thing I could share is how I found myself and grew by nurturing these connections.

SCBWI at the Bologna Children's Book Fair  2025

SCBWI British Conference 2024

Interestingly, but not uncommon in this industry, this wasn’t my first profession. Like most people, I was very young when I had to make a choice of what to study and work with. In my late teens all I knew was that I hated maths. I was good with art and literature, but that was not considered a good enough foundation for a normative profession by my parents or the society I lived in. They weren't wrong, but they also weren't right. I was good at many things, was theatrical and entertaining, very sociable, and no doubt a  creative. So as a middle ground between what I was good at and what was acceptable, I ended up in social communications at PUC University in Rio. In retrospect, it was a great foundation to what was to come later. I was able to experiment in different areas like cinema, journalism, and marketing. Ironically, on every area I worked with I would always end up drawing and making stories: in marketing I made logos and commercials; in journalism I wrote journeys and illustrated the editorial headers; and in cinema, well, I’d often work with animations. So…, I guess we can agree there were a few clues on the way, huh?

Me at the age of ten, I was always drawing 

Anyway, I was already into a mixed career in publicity and marketing when one thing really changed my life (and it’s not even a thing): my husband. Martin was living in Singapore when we met on a trip to Chile with friends (yes, very international, very romantic). Jump ahead a little bit and suddenly I was living in Singapore, speaking a second language, and reinventing myself under adulthood’s autonomy – away from parents' and cultural expectations. 

Autonomy means freedom in many levels. For me it meant freedom to play again with my original passions. Everyday I would draw something different and make a little story about it for Martin, until he said the obvious thing that I actually had never heard from outside my head before: you love this, and you have a talent, go take it seriously. That was the very start of what would become a happy and fulfilled life based on a career that deeply reflects who I am.

In my studio in Glasgow, with my cat Juca 

I was already deeply focused on children's publishing and picture book making when we moved to London in 2017. There I enrolled in a Master’s degree in Children’s Literature and Illustration at Goldsmiths. Note, I did a Master’s because I also wanted to teach – you don’t need that to make books and become published. But that really opened up my horizons and helped me develop my art along self expression rather than pleasing a public (hmm, I should have learned that but then, wasn’t this the whole point of changing careers?). When I finished the MA we moved to Glasgow in Scotland, and there I was: a new beginning, in a different country, in a different language, and a new career knowing zero people. Then I met SCBWI.

MA at Goldsmiths with Axel Scheffler 2017

Early sketches for the MA degree show 2017

Well, I shall leave a gap between then and now so I can share it in different ways on the next posts (I still have three to go, and there’s a whole lot of fun to explore). The point is: I took a long circuitous path to end up where I always was supposed to be, and this probably made me better at it. I was able to reinvent (or, in this case, rescue) myself and grow in a completely different industry from scratch within a few years. That’s to say that wherever you are in your life, you can always change your career, you can also work with different things that reflect you or not, or keep a side job that allows you to pursue a passion. Our priorities change, our limits shift, and we should always be open to changing our minds. Because there’s no doubt that you will always be who you are, even if you don’t end up where you were meant to be. It might be a cliché, but “be yourself” is never overrated.

Presenting for SCBWI at the Bologna Children's Book Fair 2025

Whoah, that was a philosophical trip down memory lane! Next time I’ll jump ahead and talk about more recent discoveries, how I was able to generate new opportunities and learn to deal with them professionally. 

See you then! Beijos! (that’s kisses in Portuguese)

Tita Berredo is a Brazilian children’s writer and illustrator. She holds an MA in Children’s Literature and Illustration from Goldsmiths UOL and a BA in Marketing from PUC-Rio. Her work has been recognised internationally, including a London's House of Illustration award and selection for the Bologna Children's Book Fair. She has illustrated books for the US and Brazil, and is making her author–illustrator debut with a Seuss Studios early reader published by Random House Children's.

Tita is the Illustrator Coordinator for SCBWI International Central, and a Picture Book reviewer for My Book Corner. 

Find Tita's work at www.titaberredo.com follow her on Instagram: @titaberredo

2026 Virtual Winter Conference: THIS WEEK!

The 2026 Virtual Winter Conference is almost here! Join SCBWI on February 6th and 7th to continue the fun with exclusive industry panels, hands-on sessions on writing and illustrating, as well as networking opportunities to meet other creators.

Get inspired by keynotes from renowned children's book creators, like Olugbemisola Rhuday-Perkovich and Traci Sorell.

Attend the several panels, like Ready, Set...Submit! and  First Pages Panel, where you will get insider knowledge on how to make your first page hook in the reader instantly, with real-time critique of attendee's work. I am always interested and enlightened when I attend the State of the Children's Book Industry panels, moderated by the wonderful TeMika Grooms!

With wonderful Creative Labs to attend, this is your chance to join in, for those who couldn't attend the In-Person Conference back in January.

So take the leap and experience the chance to boost your children's book knowledge, and career!

"Whether you’re looking to sharpen your skills, gain insider knowledge, or connect with other talented authors and illustrators, this event is for you! If you can't make it to the live sessions, video replays will be available to view through March 15th."

Register HERE for the 2026 Virtual Winter Conference!

Draw What You Like. Draw What You Know.

Only a month has passed since the New Year, but with so many things happening around us that drain our emotional and physical energy, it feels like years. It is a hard time to sit down and create. We might feel angry but also lethargic, hopeful but also despairing. But as Justin said in a previous post, creation is a form of resistance. We do what we do, and we do what we can. Creators help fill the world with joy and spread hope—especially for children, who see what we see, hear what we hear, and feel what we feel. 

When we're not in the mood to create—affected by everything happening in society—it is especially daunting to face an empty canvas or blank document. When this happens to me, I try to remember what I want to create. This is my last guest post, so I’d like to share the mantra of my artistic endeavors for the past decade. It consists of two simple phrases that took me years to truly understand:

Draw what you like. Draw what you know. 

These are deceptively simple phrases (yes, so deceptive I couldn’t even believe it) from late Marshall Arisman, the chairman of Illustration as Visual Essay MFA program at the School of Visual Arts. He was a fantastic artist and a master storyteller. I remember so clearly how I felt when he said this in a classroom over a decade ago: I felt deeply inadequate. I didn’t know what I knew. I didn’t know what I liked. 

It seemed like my classmates and other artists were interested in and passionate about something big and meaningful. They seemed to make illustrations to address social, political, and environmental issues, or expressing admiration for the grandeur of nature. But what did I know? What did I like? In despair, I remember jotting down three words in my sketchbook:

Cat, Korea, Food

That was all I could come up with. They are three solid items, right? Sadly, to my young and immature eyes, these three didn’t feel significant or impressive to draw. It is often hard to grasp the value of the things closest to us. Today, cats rule the internet, Korean culture is a global phenomenon, and food is all anyone talks about—but back then, before my friends and I even had Instagram accounts, I wasn't sure. I wondered: Shouldn’t I be addressing society with my art? Shouldn’t I use my illustrations to change this unfair world?

 

Regardless of that inner struggle, I kept working. I published picture books and told the stories I wanted to tell. I didn’t stop to think about why I wanted to make a book about a stray cat riding a bus on a cold winter day. I didn’t analyze why I felt so passionate about making a book about kimchi pancakes, moving through draft after draft and workshop after workshop. It was only years later, while preparing a guest lecture for college students, that I realized all my books have been about those very three things:

Cat, Korea, Food

 

A blurry photo I saw online that inspired
my first book, Cat on the Bus

Coincidence? Of course not. Without consciously trying, I was making stories about what I knew and what I liked—just as Marshall Arisman had advised. I think that’s when I finally made peace with myself. I realized I can focus on what I love and what I know, however "insignificant" they may seem. By telling stories that amplify empathy—something we desperately need right now—I am building a career I can be proud of and contributing to society in my own way. This realization gave me the confidence to keep working, no matter what the outside voices say. So, I want to tell you today: believe in yourself. Believe in what you love and what you know. Tell it the way only you can tell. I hope this mantra helps you face the uncertainty of these times, just as it has helped me.

All my books have 1, 2, or 3 elements from Cat, Korea, Food

Thank you SCBWI and Justin Campbell for letting me share my stories in the blog! It has been an honor and has gotten me off to an amazing start for the new year. I hope everyone's 2026 is filled with joy, fulfillment, and love for one another.

________________________________________________________________

Aram Kim is an award-winning author and illustrator of many acclaimed picture books, including the Yoomi, Friends and Family series. Aram's work has been recognized by the Junior Library Guild, Bank Street College of Education, the Mills Tannenbaum Award for Children's Literacy, and more. Raised in South Korea and now living in Queens, NY, she creates stories that bridge traditional Korean culture with universal childhood experiences. Find more about Aram's work at AramKim.com.

Why Creation is Resistance: Thoughts on Hope

Hey ya'll.

It's been a week. 

And to be honest, I've been feeling overwhelmed by it all. As artist, we are an empathetic bunch and with everything going on in the world, if you're like me, it can be paralyzing. Sometimes we think—what do I have to contribute? Especially when the situation we're in feels abysmal...

Well, know that you're not alone. We are in unprecedented times and it is beyond overwhelming but remember, creation is a form of resistance. As we have seen, the first things that are attacked are the artists and education, the very values we as bookmakers know to be the true liberation of the heart, mind and soul.

So today, I want to share some quotes and poems that I've found that remind me to keep hope in my heart and that creation is a form of resistance. Our voices cannot and will not be silenced.

“When I would feel overwhelmed by what was going on in the world, I would just say to myself: ‘Hope is a discipline.’ It’s less about ‘how you feel,’ and more about the practice of making a decision every day, that you’re still gonna put one foot in front of the other… It’s work to be hopeful. It’s not a fuzzy feeling. You have to actually put in energy, time, and you have to be clear-eyed, and you have to hold fast to having a vision. It’s a hard thing to maintain. But it matters to have it, to believe that it’s possible to change the world.”

– Mariame Kaba

“Hope is essential to any political struggle for radical change when the overall social climate promotes disillusionment and despair.”

– bell hooks

“I can’t be a pessimist because I’m alive. To be a pessimist means that you have agreed that human life is an academic matter, so I’m forced to be an optimist. I’m forced to believe that we can survive whatever we must survive.”

– James Baldwin

“To be hopeful in bad times is not just foolishly romantic. It is based on the fact that human history is a history not only of cruelty, but also of compassion, sacrifice, courage, kindness. What we choose to emphasize in this complex history will determine our lives. If we see only the worst, it destroys our capacity to do something. If we remember those times and places—and there are so many—where people have behaved magnificently, this gives us the energy to act, and at least the possibility of sending this spinning top of a world in a different direction. And if we do act, in however small a way, we don’t have to wait for some grand utopian future. The future is an infinite succession of presents, and to live now as we think human beings should live, in defiance of all that is bad around us, is itself a marvelous victory.”

– Howard Zinn

Here are some poems that I revisited that uplifted my spirit.

Caged Bird

By Maya Angelou

Still I Rise

By Maya Angelou

A Ritual to Read to Each Other

By William E. Stafford

Stay safe, stay defiant in your joy and take care of one another. And don't forget to create. Create, create, create. We are the ones who will rebuild the world with love, hope and healing. So remember the world needs your stories. 

Keep Calm and Tell Stories

The exciting winter conference is over and we're back to everyday life. Despite the freezing weather accompanied by snow, the conference was full of energy and happy vibes from passion for learning and connecting. It was a great reminder of how inspirational in-person conference can be.

My first SCBWI experience was the 2014 NY winter conference during my last semester of grad school. As inspirational as it was, I also felt overwhelmed and intimidated. People I met couldn't have been kinder or nicer, but I couldn't help feeling small and sensing that the door to publishing was tightly shut. Everything changed though when I started interning at a publishing house after graduating and finally saw behind the curtain. I joke that I took the job to steal (or let's say, learn) industry secrets so I could publish my own books. It's only half a joke. That was genuinely my intention when I started, but I fell in love almost immediately. The collaboration, the process of making books together, being part of something bigger—it was exhilarating. I learned so much from artists and coworkers alike. Witnessing the entire journey of each book—from before the beginning to after the end—and seeing how different every process was mind-blowing. A decade flew by working on both sides of the industry before I made the leap to focus on making books full-time. That was exactly a year ago.

A view from the Macmillan Children's Publishing Group office where I worked for seven years. This was from the Flatiron Building before they moved to the current Financial District in 2019. Macmillan offered a tour of the office to those who signed up during the winter conference.

Working on books is often lonely. You might think everything will be better once you sign your first contract, but you quickly realize the loneliness persists. Sometimes it feels like no one cares about your book except you, that your editor/art director/agent doesn't respond quickly enough, and even when your precious book is finally out in the world, it doesn't get the attention it deserves.

These are all common feelings. However, I'd like to share what I've learned from my not-too-long-but-not-too-short career working on both sides of the publishing table, hoping to ease some of that frustration creators feel.


1. There is a whole team behind you and your book. Creators typically communicate with just one or two people—your editor or art director. But there's an entire team working on your book: copy editors, production managers, sales, marketing, and publicity folks. (And that's not even counting the warehouse workers, reviewers, booksellers, librarians, educators, and your readers!) People want you to succeed. Even if you don't see them working, know they're there cheering for you and your book.

2. Collaboration and communication is key. Always communicate. Be open and direct about your needs. I often hear illustrator and author friends frustrated about not hearing back quickly enough. I can relate! But they'd be surprised to hear that publishers have the same issue with some creators. Over-communication is better than under-communication. Don't be afraid to ask questions, ask for what you need, and let them know when you need more time.

3. Work on several projects simultaneously. Because waiting is inherent in publishing, it's best to juggle multiple projects so you can always focus on something else while waiting to hear back. That way, you're not too emotionally tied to one project. Plus, we've all experienced needing to step away from a project to return with fresh eyes, right? Always have something else cooking.


There are many downs in this journey, just as there are ups. Go through it with dignity. Seek community—you'll discover you're not alone. Keep calm and tell your stories.

________________________________________________________________

Aram Kim is an award-winning author and illustrator of many acclaimed picture books, including the Yoomi, Friends and Family series. Aram's work has been recognized by the Junior Library Guild, Bank Street College of Education, the Mills Tannenbaum Award for Children's Literacy, and more. Raised in South Korea and now living in Queens, NY, she creates stories that bridge traditional Korean culture with universal childhood experiences. Find more about Aram's work at AramKim.com.

Post In-Person Conference/ Virtual Conference Still to Come!

Phew! What a magical weekend! Thank you to all who attended! You all make the event as special as it is! The connections, the laughter, the WORK that you all brought during this past weekend was inspiring!

For those who couldn't attend, don't forget that SCBWI offers a Virtual Winter Conference as well! February 6-7, you can join in the fun with exclusive industry panels, hands-on sessions on writing and illustrating, as well as networking opportunities to meet other creators.

Take the leap and experience the chance to boost your children's book knowledge, and career! 

"Whether you’re looking to sharpen your skills, gain insider knowledge, or connect with other talented authors and illustrators, this event is for you! If you can't make it to the live sessions, video replays will be available to view through March 15th."

Register HERE for the 2026 Virtual Winter Conference!

SCBWI Winter Conference: A Guide to Curating Your Best Work as Illustrators

My First SCBWI Conference in 2014

SCBWI winter conference starts tomorrow! I'm excited to meet the illustrators who signed up for 1:1 portfolio reviews with me—they'll be the first people I connect with during a weekend packed with sessions and gatherings I'm thrilled to be part of.

It has been exactly a year since I left the business side of the publishing industry to focus fully on making my own picture books. Having worked as a designer and art director for a decade, my favorite part of the job was always meeting illustrators—artists who, like me, are passionate about visual storytelling. I’ve had the privilege of working with everyone from debut artists to award-winners, as well as many aspiring creators. Today, I want to share some practical tips for selecting the pieces that make it into your promotional materials and portfolios. As artists, we are inevitably attached to all our creations, and it’s hard to look at them objectively. So, here are some questions to ask when you select your pieces.

For Promotional Pieces

• Subject matter: Can you envision the image as a page from a children's book? (Skip the figure drawing from art class—focus on narrative scenes.)
• Emotions: What is the character feeling, and what is causing that emotion? The story should be clear, not ambiguous. (Avoid simple "smiley face" closeups; even a cute face needs a story behind it.)

• Character interactions: If the piece involves two or more characters, show their relationship. Interaction is everything!

• Setting specificity: Ensure the environment is specific. While abstract backgrounds work well within a book, a promotional piece should show off your ability to build a world.
  
  

For Your Portfolio

• Appropriate subject matter: Include children from your target age groups (3–7 for picture books, 8–12 for middle grade, 13+ for YA), animals, and adult-child interactions.

• Compositional Variety: Vary your compositions, perspectives, and formats. Showing a mix of spot art, single pages, and double-page spreads demonstrates your range.

• Inclusivity: Show diverse characters in terms of race, gender, ability, and body type.

• Variety in settings: Include domestic, school, indoor, outdoor, urban, and natural environments.

• Consistency: Include sequential art pieces that demonstrate your ability to maintain character consistency throughout a story.

These points may sound clinical, but I hope they serve as a helpful checklist when you feel lost or wonder what might be missing. Above all, remember: it’s about emotion. Can viewers feel what the character is feeling? Does the piece tell a story?

My portfolio (l) and a dummy (r) I was preparing for the 2014 winter conference.
That's not the image I would include as a portfolio cover today. The dummy never became a book.

Like many others, I started my journey through SCBWI with my very first conference in New York in 2014. Later that same year, I attended a regional conference where I met my first editor, Grace Maccarone from Holiday House, who published my debut and four more books. SCBWI is where you hone your skills, meet industry professionals, find your people, and build a lasting support system. Whether you are attending in person or online—Happy Conferencing!

_______________________________________________________________________

Aram Kim is an award-winning author and illustrator of many acclaimed picture books, including the Yoomi, Friends and Family series. Aram's work has been recognized by the Junior Library Guild, Bank Street College of Education, the Mills Tannenbaum Award for Children's Literacy, and more. Raised in South Korea and now living in Queens, NY, she creates stories that bridge traditional Korean culture with universal childhood experiences. Find more about Aram's work at AramKim.com.

Thoughts before this Year's Conference

The week is finally here! The In-Person 2026 Winter Conference! It is such a special and exciting time, which I look forward to every year. As authors, artists and illustrators, it can be very solitary work and I always relish the times when we can be in community. As I think about last year and what I looked forward to and the goals I set for myself, I decided to browse over the blogs from last year. 

So as we gear up for the eventful weekend, I wanted to reshare this amazing Closing Keynote by Sophie Blackall from last year's conference. I was blown away by this keynote and I revisit it all the time. Sophie Blackall had a quiet power, so warm and inviting, that I was captivated and her advice changed my perspective as an artist and a person. If I could go back in time and watch it all over again, I would. 

Some of my favorite points were:

• Remember People's Name
• Give Voice to Your Own Astonishment
• Stand Tall

I decided to reread the blog and I'm glad I did. As I prepare to attend the In-Person Conference as the new Chief Blogger, I want to bring some of this energy into my experience this year. Meeting new people, reconnecting with old friends, staying curious, and standing tall—excellent advice to remember.

So here's the final moment of the 2025 Winter Conference to bring us into the 2026, with the excitement and joy to continuing growth and discovery in our journey as creators. See you very soon!

Why Do You Want to Make Children's Books?

Hello everyone, Happy New Year!

My name is Aram Kim, your fellow author/illustrator of children's picture books. Please allow me to ask you: Why do you want to make children's books? I'm curious. I genuinely am.

I moved to New York City from South Korea in 2006 with two gigantic suitcases, a laptop, and a backpack—the maximum I could bring on an international flight. I arrived in late summer, a couple of weeks before school started, where I was going to study illustration. While exploring the city, I ended up in the Union Square Barnes & Noble. While browsing the shelves, I reached the children's book section and felt captured by a magic spell. I couldn't walk away. Every single book I picked up was beautiful. But the real shock came when I picked up this book: In the Night Kitchen. 

I didn't even know who Maurice Sendak was back then, but I could tell the book was a masterpiece. Every panel of illustrations was mesmerizing. The story made me laugh and smile. The harmonious combination of story and illustrations was packaged seamlessly with design that felt just right. All of this…for 7 dollars! To me, it was the perfect form of art: the extraordinary pair of story and art beautifully designed together in an object you can touch, hold, and even hug, with a price that anyone can afford. What else could be more perfect?

What's perhaps more shocking is that it never occurred to me making children's books could be my career—even while I was learning to illustrate for a living. I couldn't begin to think that maybe, just maybe, I could also make children's books. After many years of boring but necessary detours, I finally realized I wanted to make children's books. I never looked back. I knew I had found home.

This year marks the 10th anniversary of my debut picture book, Cat on the Bus, which I made with the immense fortune of having guidance from Pat Cummings. When the book came out, instead of feeling excited and happy, I worried I wouldn't be able to publish a second book. Six books later, and after ten years of working in publishing from both sides of the table, I still wonder if I can keep making books.

If you're reading this blog, you probably already know the uncertainty of being in this world, whether you're a published creator or looking to publish. The anxiety comes just as often as the happiness. The uncertainty never leaves—not about my love of picture books or what a wonderful art form they are, but about my future. Can I keep making them while paying bills? Can I keep myself from falling into a rut? When uncertainty looms, reminding myself why I want to make children's books always helps. I think of that moment when I fell in love with picture books. I still have that paperback edition of In the Night Kitchen I bought at the Union Square Barnes & Noble in summer 2006. I keep it as if it's a signed first edition. It's a good tangible reminder of why I want to make children's picture books.

So, I want to ask you at the beginning of this new year: Why do you want to make children's books?

_______________________________________________________________________

Aram Kim is an award-winning author and illustrator of many acclaimed picture books, including the Yoomi, Friends and Family series. Aram's work has been recognized by the Junior Library Guild, Bank Street College of Education, the Mills Tannenbaum Award for Children's Literacy, and more. Raised in South Korea and now living in Queens, NY, she creates stories that bridge traditional Korean culture with universal childhood experiences. Find more about Aram's work at AramKim.com.