The ever-present drafting table.
How did I get to Greenwillow? Mon Dieu, it was sooo long ago! I actually thought I was going to stay for a year or two at the most . . . but it’s been 18 years (this past May). Insane! It does not feel like it.
My first job in publishing was at Dutton Children’s Books, as Riki Levinson’s assistant. I spent two years there, and then went to France for a year and a half to learn desktop publishing. When I came back to the States, I did some freelancing for a couple of months.
Sylvie and Ava Weiss, circa 2001.
Then I interviewed for a designer position in William Morrow’s marketing department with Jazan Higgins. I was waiting to hear back about the interview when a design job came up at Greenwillow, with Ava Weiss (one of Riki’s oldest friends). To be quite honest, I liked Greenwillow, but I wanted to try something different from designing books. I was freelancing; I had an open schedule; summer was coming. . . . So what made me go to the first interview? I wish I could say it was a calling of some sort, but no—it was my father! “You need a job, you need health insurance, and you like doing books. What’s the problem?” Honestly, I think he just wanted me out of the house!
I was supposed to meet with Ava early in the morning, but she was running late. I had never met Susan Hirschman before, so I didn’t know what she looked like. It was Susan who found me wandering in the hallways like a lost puppy (much less security in those days!). She sat me on her bench, and we talked about our rings. We were wearing almost the same identical ring that day. We did not talk about books at all!
Finally I met with Ava for the first time. I had often spoken to her on the phone but never met her in person. The interview lasted for about twenty minutes—and then I was hired! That was it. I showed up to work the Tuesday after Memorial Day, and Ava was waiting for me with a whole book to design! OUF! It was like I had been working there for years on the first day. Already, I was part of the Greenwillow family.
That book was Black on White, one of Tana Hoban’s original board books. I designed it on a drafting table. I had to wait a few more years for my computer. I still have that original drafting table in my office today, and it always reminds me of Ava. Whenever I’m stressing out over a cover design, I can hear her voice in my head: “Sylll-vie! Will it sell another copy?” So I put down my pencil, let go of the mouse, and breathe. Less is more!
