Kate Messner’s Studio Tour

Kate Messner - 1 (1)Today on Tuesday Tours I’m excited to share the writing room of Kate Messner, which overlooks Lake Champlain. Kate creates beautiful books written in multiple genres, and she also blogs on her website about a variety of topics. Some of my favorite posts from her site include Picture Book Math, Bullet Journaling (Children’s Authors Version), and Owning Our Words. Kate also gives her time and expertise for free to teachers and librarians interested in learning how to write for children in her summer series Teacher’s Write! And she helps her fellow authors connect with schools by showcasing the listing of Authors Who Skype on her blog.


Tell us a little bit about yourself and your creative medium.
I write books for kids of pretty much all ages – from picture books to chapter books to novels for older readers. My best-known picture books are HOW TO READ A STORY, OVER AND UNDER THE SNOW, and UP IN THE GARDEN AND DOWN IN THE DIRT, all from Chronicle Books. I have three series with Scholastic Press – the Marty McGuire books, the Silver Jaguar society mysteries for middle grade readers, and the Ranger in Time chapter book series about a time traveling golden retriever. And I also write stand-alone novels with Bloomsbury, including THE BRILLIANT FALL OF GIANNA Z., SUGAR AND ICE, EYE OF THE STORM, WAKE UP MISSING, ALL THE ANSWERS, and coming this June, THE SEVENTH WISH. I draft all my books on my MacBook Pro, using Scrivener, but I also do a lot of brainstorming, off-draft pondering, planning, mapping, and outlining using colored markers on big sheets of paper.

Kate Messner - 6

How long have you had your space and how does it affect your creative process
Several years ago, when I transitioned to writing full time, we built a separate writing room in the back of the house, overlooking Lake Champlain, and it’s been absolutely wonderful. The room is tiny – just enough space for a big desk, a chair, and a wall of bookshelves – but it’s soundproof, which means that I can work quietly no matter what’s happening with my family upstairs. I also love that I have to go down to the basement, step out into an unheated storage area, and then go back in another door to get there. That really gives me the feeling of “going to work” when I transition to the writing part of my day.

Describe a typical work day. Do you have any rituals you do before you start creating?
I generally wake up at about six, get my daughter off to school, check email, and try to settle in to my writing. I used to work out first thing in the morning and write later on, but lately, I’ve been writing from about 8 to 11:45 and then taking a break for a noon fitness class at the gym. I’ve found that after an hour of boot camp or kickboxing, I find a second burst of creative energy, so I’ll usually take a quick lunch downstairs and go back to writing until it’s time to pick my daughter up from sports practice after school.

Kate Messner - 2

Is there any special item/trinket in your space that inspires you?
I have a shell full of incredibly smooth, polished pebbles on my desk. I picked them up on a magical little beach during a family trip to California a couple of summers ago. They are fabulous rocks, and I play with them when I’m stuck. I’m also lucky enough to have art from illustrators Brian Floca and Mark Siegel on my walls, which just makes me happy to be in the room, even when it’s not the easiest writing day.

Kate Messner - 3

Kate Messner - 7

If you could share a studio with anyone in the world, whom would you pick?
My day to day writing habits are probably too weird for me to share a studio with anyone. I talk to myself constantly and sometimes act things out in my little room so that I can find the right words to describe what a character is doing. Yesterday, for example, I was writing a scene where a girl has to lift a heavy wooden shelf that’s fallen during an earthquake to free her brother, who’s trapped underneath. I was struggling to describe how she did that, so I pretended I was lifting the (attached) bookshelves in my studio and used that experience to think about what my body was doing and what it would look and feel like for my character. Also, I take little exercise and yoga breaks while I write, so it’s not unusual for me to stop working for two minutes to plank or stretch or do jumping jacks. I’d be a terribly disruptive studio mate, but I do love writing when I’m on retreat with other writers. There’s something about the collective creative energy.

Kate Messner - 8 What advice do you have for people who want to make a personal space where they can be creative?
Personal space for creativity doesn’t have to be a huge space – mine is tiny – and if you can’t swing even a small dedicated space right now, it’s always possible to carve out temporary sanctuaries. I know people who set up desks in corners and closets and laundry rooms, and I think just the act of saying, “I go to this place to write” can be helpful.Kate Messner - 4

sketchy ocean waves background

sketchy ocean waves background



What’s coming up for you and where can we find out more?
I have two books coming out in June and I’m super excited about both. The first is THE SEVENTH WISH, a retelling of the old fairy tale where a fisherman catches a magical, wishing fish. My version is set in an ice fishing community on Lake Champlain and is about not only ice fishing and wishes, but also Irish dancing, addiction’s impact on families, and the limits of magic. The lovely, lovely Anne Ursu read an early copy and called it “An empathetic, beautiful, magical fiercely necessary book that stares unflinchingly at the the very real challenges contemporary kids face and gently assures them they are not alone.”
My other June 2016 title is book 4 in my Ranger in Time series, RACE TO THE SOUTH POLE, in which Ranger travels to early 20th century Antarctica with a Maori-Chinese boy who’s stowed away on Captain Robert Falcon Scott’s Terra Nova, hoping to be part of the first expedition to reach the South Pole. You can find me on Twitter or my website  

Thank you for sharing your writing room with us, Kate! It’s great seeing where you work. I’d also like to personally thank you for sharing your thoughts on gender issues in kid lit and speaking up about sexism in the industry. Whether it be on Facebook, Twitter, or on your blog, you’ve given us all some food for thought. Best of luck on THE SEVENTH WISH!

Tuesday Tours will be return in May when illustrator Christina Forshay shares her newly-moved-into studio in California. If you’d like to get updates on Tuesday Tour guests, please subscribe to my mailing list.

Rowboat Watkins’s Studio Tour

A couple of weeks ago I came across the most unusual and charming picture book called Rude Cakes, and fell in love with the storytelling and the illustrations. It wasn’t until I’d re-read it that I glanced at the authors name—Rowboat Watkins. Rowboat? Hmmm… I turned to the bio page and was informed that his wife gave him the name. Intrigued, I went to his website and was thoroughly entertained by his longer bio. I thought it’d be a kick to see where he’s creating all this great stuff, and I’m thrilled he agreed give us a peak at his studio this week on Tuesday Tours! His creative style extends to his Brooklyn workspace, where he wrestles with the option of tackling household chores or creative pursuits each day, and where he keeps company with marshmallows and clay gorillas (you’ll see what I mean).


pic_of_me_1200wTell us a little bit about yourself and your creative medium.
Although you would never suspect if from looking at me, I’m an incurable neat freak living amongst crumb Visigoths. I live in the middle of a black hole in which all of Life’s unread mail and unpaid bills seem to gather, and in which most of Humanity’s dishes, and spoons, and whisks seem to daily convene in our sink. Which is notable only because there are but three of us living here. And nothing we eat during most days would seem to require a whisk. Or a cleaver. I have no idea why there are fourteen butter knives covered in peanut butter (or jelly) when it is only 10:00am…and maybe one sandwich (that I know of) has been invented since we all woke up this morning. But it is a sandwich which has apparently lived on 6 or 7 plates during its construction. Or at least before its eventual departure or demise. Which is all to say that my preferred creative medium is order. At this point I’m willing to settle for a spotty impersonation of tidiness. And some pencils and pens without syrup on them. Or whatever that sticky stuff might be. And a pad or two. And a window of desk space not occupied by marshmallows. Or little gorillas. The latter, I concede, are no one’s fault but my own.desk1_1200w

How long have you had your space and how does it affect your creative process?
We have lived here for 10 years. My wife and I, that is. My daughter’s only been here for 9 and a half. The dog for 4 and a half. And the marshmallows and gorillas for maybe a year. Depending on who you ask. In defense of my odd familiarity with the migratory patterns of cleavers and whisks, I would like to note that I work next to the kitchen. Out of the corner of my left eye, at this very moment, I can see a synod of greasy spatulas on the counter. A loaf of unwrapped bread. And a gaggle of foggy glasses.


In front of me is a computer screen. Most of the marshmallows are gone. Thankfully. There are a couple stragglers, but what can you do? At least all of the gorillas are back in their boxes. Or over on the mantel. It was starting to look like The Battle of Hastings on my desk. As you might suspect, it kind of becomes impossible to do anything when you are living in the middle of the Norman conquest.



Out of the corner of my right eye I can see the couch. Where my dog is currently asleep. And behind her, the playground across the street, peeking out from behind the trees. The window is open and I can hear the sprinklers sprinkling, and birds chirping, and someone dribbling a ball, and little kids talking on the jungle gym. And the skittering of plastic wheels rolling. And the faint beep of a truck backing up somewhere in the distance. And a plane flying overhead. But it’s all heard softly, and is mostly just one sound of a nice summer day.


Describe a typical work day. Do you have any rituals you do before you start creating?
I wish I were organized enough to have a ritual, but most days are a clumsy dance of getting my daughter off to school or camp, drinking a cup of coffee (or two), walking the dog, and trying to remember worrying about spatulas is not a valid reason not to be making more headway on whatever’s directly in front of me. Things are thrown into even greater disarray when my latest fatwa against Facebook has been repealed for no good reason. The current ban is mercifully still in place, so at least there’s some hope of getting something done before picking up my daughter from camp, and taking her to the orthodontist to see if they can save the retainer she stepped on yesterday during lunch.


When was a time you had the most fun working in your studio?
Whenever I forget what I can see out of the corner of my eyes, and am drawing in my sketchbooks and not worrying about what everything means, it’s usually pure delight. The same was true when I first realized that, if marshmallows look so fun to draw on, no one but ME was stopping me from drawing on them. Or that maybe all those gorillas I made out of sculpey for no good reason would be happier if they had a rocket ship made out of construction paper? Or a bed? Or a boat? Why? Why not? Fun pretty much never happens in my studio when I’m tarrying over technicalities like WHY.




Is there any special item/trinket in your space that inspires you?
Nope. I have all kinds of things piled around my desk, or taped onto the blackboard, or propped on the chalk shelf over my computer screen. Lucky wheatshaft pennies found in pocket change. Rusty washers. Drawings by my wife and daughter. Drawings by friends. Pink Pearl erasers. Japanese masking tape. I like it all. And it all becomes like a messy bouillabaisse of inspiration.


What’s the biggest distraction for you when you’re creating? How do you deal with it?
Worrying about dishes. Or that I don’t know how to do what I am doing. Someone else, who actually knows what they are doing, should be doing this. There must be a better way to draw this bed. Or that forest. If I were a different me, I would draw this whatever more persuasively. And Facebook. And email. What are the rules again? Weren’t those yesterday’s rules? Ugh…yesterday’s rules totally sucked. If I had better rules in place I would surely be further along. THERE ARE TOO MANY GORILLAS ON MY DESK! I can’t think with all this crap around my keyboard. With all those soiled whisks in the corner of my eye! If only I were my dog, I’d be living the Life of Riley. Look at my dog over there. Maybe I should take her for a walk? Maybe if I drove a Zamboni over my desk I would be able to see my thoughts again? Maybe I’m not liking what I’m working on because it all feels like TORTURE, and I should start all over, and pretend I am having fun? Wasn’t that the problem with yesterday too? Oh yeah. Torture=bad. Fun=good. I should write that down. I’ll do it tomorrow.


What do you like to nibble/drink when you’re working?
Coffee. Root beer. Pink lady apples. Popsicles. Peaches when in season.


Which other artists, writers or creative people are you most inspired by at the moment?
At this very moment, the first two names that come to mind are Joshua Oppenheimer and Petit Pierre. The former is the director of The Act of Killing and The Look of Silence. Both of which are too bracing and lovely for words. And the latter is the French guy who spent his whole life making this joyous wonder of a thing.

I only discovered Petit Pierre the other month when my friend Sergio sent me a link. You should watch the link. There are too many picture book writers and illustrators to name, so I won’t even try.


Does music influence your work? What are you listening to now?
I can’t listen to music while I work. Lately I have been listening to The History of the World in 100 Objects. Which I listened to when it first came out. It is great, but I am terrible at doing two things at once so I either have no idea what I’m listening to, or I am not paying attention to what I am drawing. And I have no idea why I keep putting it back on. But you asked. I’m best served when listening to nothing at all.


What advice do you have for people who want to make a personal space where they can be creative?
Hmm…I don’t think I would take advice from a guy who perpetually worries about whisks and cleavers, and listens to podcasts he can’t remember, and lets himself be overrun with marshmallows.



What’s coming up for you and where can we find out more?
My new picture book Rude Cakes was just published by Chronicle Books in June. I’m working on two more books for them, which are supposed to come out in 2016 and 2017. But I’m still doing line work for the first of them, so I can’t swear the time-space continuum will necessarily comply. All I know for sure is there are no greasy spatulas or horrific piles of mail in either. You can visit me at http://rowboatwatkins.com.

Thank you for sharing your studio, Rowboat! In addition to laughing out loud at some of your marshmallow escapades, I love the youtube video you shared of Petit Pierre work. Can’t wait to see your upcoming books—maybe some clay gorillas will grace the pages? 

i-dont-like-koala-9781481400688_lgI’m heading to LA for the SCBWI Summer Conference, so Tuesday Tours will return in a few weeks with a look inside illustrator Charles Santoso’s studio in Sydney, Australia.

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