This Is It (Greenwillow, 2018), her debut picture book as an author-illustrator, follows a young girl of color getting ready for a ballet audition. Although she loves to dance, she doubts herself as she approaches the studio.
I love Daria’s use of the girl’s shadow self to help her overcome her hesitation. The endpapers with the young ballerina demonstrating the ballet positions remind me of my own trepidation at performing during my few years taking lessons as a child.
Daria, as an author-illustrator, how did your writing journey inform your artistic journey and vice versa?
For This Is It, I wrote the poem as a gift for my daughter to give to her on the day of her first ballet audition.
I didn’t intend for it to become a picture book, so I illustrated the poem after the manuscript was written, and the text really drove my ideas for the illustrations.
However, in other projects, I find that the story comes as text for some spreads and illustrations for others. Eventually, during the revision process, the pace of text and illustrations evolve organically.
|Daria’s writing workspace|
Please describe your illustration apprenticeship. How did you take your art from a beginner level to publishable? How has your style evolved over time?
I began painting as a child, alongside my dad. In high school, I took the mandatory semester of art, and fell in love with drawing, but it wasn’t until I was an adult that I really started practicing. The ability to draw and paint relies on a person’s ability to see. As your visual intelligence improves, your art will as well.
I remember Marla Frazee saying that in the journey from beginner to becoming publishable, you have to just practice until your art is good enough.
Every year, I put together a portfolio and took it to SCBWI conferences. Eventually, it was good enough.
There is no magic to making publishable art. There is truth to the 10,000 hours. Whether that is in art school or at home in your living room, 10,000 hours is 10,000 hours, and it took me three years of practicing before my portfolio was good enough.
Do you have any tips for putting together a portfolio?
I’m sure there are many more qualified people to answer this question, but I think anyone who wants to be an illustrator has to create from a place of love in order for their work to see the world.
You can check the boxes of having everything in your portfolio we learn to include at intensives and conferences, work that demonstrates our mastery of skill, but if we don’t love what we are making, the work won’t evoke the emotion of the viewer, or stand out to industry gatekeepers. Absolutely love everything you include.
If you don’t love it, if it doesn’t make you laugh, or tear, or smile to yourself, take it out, and make something else.
|Daria’s illustration workspace|
What were the best and worst moments of your publishing journey?
The best moment was when This Is It sold. After three years of developing it, I was on the verge of moving on. Waiting is hard, but I’m learning to wait better.
The worst moment? I haven’t had one yet, but it might be around the corner, and that will be okay. It’s all a part of the journey.
What was the funniest moment of your publishing journey?
I introduced myself to Matt de la Pena at a children’s book festival, and I knew he had a daughter, so I brought a copy of This Is It to give him. When he asked me to sign it for him, I froze. I’d never signed my book before.
He was very gracious, and taught me how to sign my book. I had to laugh about it afterwards, and I was a little embarrassed, but it was definitely memorable and funny for him, I’m sure.
As a member of a community under-represented in youth literature, what did your diverse perspective bring to your story?
The physical rendering of the heroine in This Is It is very intentional.
Like me, she checks a lot of racial and ethnic boxes, and not fitting into any one box informs her lack of belonging. She looks different, but because of her differences, she is extraordinary and special. She represents the underrepresented child’s uniqueness and desire to do something in an arena where she is often the only one present.
Brown ballet dancers are underrepresented at pre-professional ballet schools and companies all over the country. I hope this book whispers, “You can do it.”
|Daria talking with students|
The text is the rhythm and movement of my mother’s New Orleans’ roots. New Orleans’ women are resilient with deep-loving hearts.
I wanted to portray a character who overcomes her fears by using the greatest catalyst an under-represented youth could possibly use when she feels alone in the world—-the power of affirmations spoken from within herself.
Dancing through our fears is also a metaphor for how we can choose to approach life. Whatever challenges we face, let’s surrender to the journey.
I think the strength we discover along the way will be change the trajectory of our lives forever.
Daria Peoples-Riley’s first job was at nine years old in the children’s section of her hometown library in Paso Robles, California. She worked a little, but she mostly read picture books.
Daria loved basketball, competing in oratorical contests, drawing, and painting. Her dad gave her art lessons in their garage on Rose Lane, and Daria’s mom rescued her first self-portrait from the kitchen trash can, and had it professionally framed the next day.
Today, it hangs in her parents’ living room as a reminder that our life’s purpose almost always introduces itself to us as a child.
Daria earned a B.A. in English from U.C. Santa Barbara, where she found herself shelving books in the library once again and reading the writings of many notable authors.
After earning a Masters in Education and 10 years of teaching, Daria became a full-time author and illustrator. A companion book to This Is It will follow in 2019. She is also the illustrator of What Gloria Heard by Jessica M. Rinker (Bloomsbury, 2019), a picture book biography about the life and work of Gloria Steinem.
Daria lives in Las Vegas with her family.
Traci Sorell covers picture books as well as children’s-YA writing, illustration, publishing and other book news from Indigenous authors and illustrators for Cynsations. She is an enrolled citizen of the Cherokee Nation.
Her first nonfiction picture book, We Are Grateful: Otsaliheliga illustrated by Frané Lessac, will be published by Charlesbridge on Sept. 4, 2018. The story features a panorama of modern-day Cherokee cultural practices and experiences, presented through the four seasons. It conveys a universal spirit of gratitude common in many cultures.
Traci is represented by Emily Mitchell of Wernick & Pratt Literary Agency.
Enter to win a copy of This Is It:
No purchase necessary. Enter between 12:00 AM Eastern Time on April 12, 2018 and 12:00 AM on April 26, 2018. Open to residents of the fifty United States and the District of Columbia who are 13 and older. Winners will be selected at random on or about April 26, 2018. Odds of winning depend on number of eligible entries received. Void where prohibited or restricted by law.