Background
Marissa Valdez is a children’s book author and illustrator with four years of experience in the industry. Based in Birmingham, UK, but originally from Texas, she has published seven books so far, with another on the way in April 2025, which she both wrote and illustrated. Marissa has always loved drawing and feels grateful to have made it her career.
She lives with her husband and two beloved, chubby cats, whom they enjoy walking daily in their garden. Known for her quirky love of garden gnomes, Marissa’s collection began as a humorous gift from her grandmother, much to her mother’s dismay. Over the years, her collection has grown, now numbering around 17 gnomes, a testament to her unique sense of whimsy.
Getting started in Children’s books
Marissa Valdez’s journey into children’s books began in 2018 when she was working as a graphic designer, a field she enjoyed learning and practicing but didn’t find truly fulfilling. With a background in animation, Marissa had taken on several jobs before landing in graphic design. However, she realized it wasn’t her ultimate passion and began exploring other creative fields. Around this time, she discovered Three Point Perspective, a podcast hosted by three children’s book illustrators who discussed the children’s book industry. Fascinated by what she learned, she called her then-boyfriend, now husband, to share her revelation: she wanted to pursue a career in children’s books.
The podcast also introduced her to the Society of Children’s Book Writers and Illustrators (SCBWI), which happened to have a chapter in Houston, Texas, where Marissa was living. Though she felt nervous, Marissa attended a local SCBWI chapter meeting, where she met other illustrators and authors, and with their support, began building a children’s illustration portfolio. In 2019, her dedication paid off when she won a portfolio award from the Houston chapter of SCBWI, encouraging her to continue. At the time, she was still working full-time as a graphic designer, dedicating her evenings and weekends to illustration. Then, in 2020, with the pandemic shifting many people’s focus to books, Marissa’s work started gaining attention. She entered a Twitter contest showcasing her portfolio, which caught the eye of agents and editors, ultimately leading her to sign with her current agent. Soon after, she earned an honor at an SCBWI conference, which sparked further interest from editors and led to multiple book deals. By then, the demand had grown so significantly that she decided to leave her graphic design role to become a full-time illustrator.
Teaching experience
Teaching was another pivotal experience in Marissa’s journey. Since her teenage years, she had volunteered at a local art museum, teaching kids basic drawing skills, which she enjoyed immensely. During college, she had a unique job teaching kids how to play Minecraft, a role she loved since it essentially involved hours of creative play. After graduating with a degree in animation in Boston, she returned to Texas, realizing there weren’t many local opportunities in animation. She applied for various positions, including at retail stores like Target and Bath & Body Works, before deciding to work at a preschool. She quickly adapted, embracing the role for about a year, where she read picture books to the children daily.
Her time teaching preschool children was eye-opening, especially as she observed firsthand how much they connected with books. She read hundreds of picture books to them and found it fascinating to see which stories resonated most. Some books that she assumed wouldn’t capture their attention were beloved by the children, while others she thought they’d adore fell flat. Even more impactful was how they recalled and discussed the stories later, sharing memorable moments over lunch. Marissa was inspired by how deeply stories could affect children, an experience that greatly influences her approach as an author and illustrator today.
Navigating the UK creative sector as an American
After moving from the US to the UK, Marissa found navigating the children’s publishing industry as a creative professional to be surprisingly seamless. She retained her US-based clients and agent, continuing her work with American publishing houses without major interruptions. Since much of the work in publishing is conducted online, Marissa’s physical location had minimal impact on her professional relationships, as she hadn’t been meeting with publishers or her agent in person even while based in the US. The remote nature of her work, along with the industry’s global connectivity, allowed her to maintain her career in the UK.
While she hasn’t yet established formal relationships with UK-based publishers, she’s open to the idea and finds the differences in market trends and illustration styles between the US and UK intriguing. She observes that UK children’s book illustrations often have a distinct aesthetic from US illustrations, with certain stylistic nuances that don’t always overlap.
Though her agent remains US-based, Marissa has had casual discussions with UK publishers, typically at conferences, and has received UK book inquiries through her agent. Marissa appreciates the global nature of her industry, where she can receive inquiries from publishers worldwide based on their interest in her work, regardless of location. In her experience, publishing inquiries can come from anywhere, reinforcing her view of illustration as a globally connected profession.
Agent representation and collaborative process
She reflects on her experiences with agent representation and collaboration in her illustration career. Early in her journey, Marissa handled a project independently with a small Texas-based publisher. Negotiating contracts herself, she often found that she undervalued her work. Her breakthrough came after winning a portfolio contest, which brought attention from several agents and ultimately led her to her current agent, Kelly Sonnack at Andrea Brown Literary Agency. Marissa values Kelly’s ability to see the broader potential of her work and effectively advocate on her behalf.
When working with authors, Marissa explains that direct interaction is rare; typically, editors and art directors facilitate communication in children’s publishing. Although she occasionally exchanges messages with authors, like Lourdes Heuer of the Esme series, most of her direction comes from editors. Nonetheless, Marissa finds ways to infuse her vision into each project. For example, with Hattie Harmony, she imagined the characters as animals, a concept that resonated with the authors.
The collaboration process begins when a publisher contacts Marissa through her agent with a manuscript, which she reviews to decide if the project aligns with her schedule and interests. After agreeing to take it on, she receives creative input from the editor and art director and begins with preliminary sketches, which are reviewed and often revised. Once approved, she finalizes the illustrations using a blend of digital and traditional techniques. For instance, Ambitious Girl was illustrated entirely digitally, whereas her more recent projects involve mixed media, including gouache, colored pencils, and digital adjustments.
While publishers handle most of the marketing, Marissa and her authors also contribute. She hopes to eventually do an in-person book reading with an author, as her collaborations have all been remote so far. Marissa’s adaptability in style and medium allows her to approach each story uniquely, making her work continually engaging for both herself and her readers.
Career highlights and impact
Marissa Valdez celebrates two career milestones that marked her journey: her debut book achieving number one on the New York Times bestseller list, followed by Hattie Harmony also reaching the top spot. These successes propelled her career forward, bringing further recognition such as the Golden Kite Honour Award for Esme’s Birthday Conga Line and inclusion of Who’s in Charge? in the Society of Illustrators Original Art annual show – an esteemed honor within the illustration field.
Although she doesn’t often see children engaging with her books first-hand, Marissa finds deep fulfilment in knowing her work helps young readers. She was particularly moved by feedback from a children’s hospital and a library in Edinburgh, Craigmillar Library, where Hattie Harmony was used by children to cope with hospital stresses. Small gestures, such as messages from young fans saying, “I like drawing Hattie,” bring her joy and remind her of the real impact her illustrations and stories have on young readers, beyond the accolades.
Latina heritage influences
Marissa Valdez’s Latina heritage profoundly shapes her work, though her journey to fully embrace this influence has been gradual. Raised on the Mexican-American border in a bicultural family – her father from Mexico and her mother, white American – Marissa often felt “in between” two identities, uncertain if she could fully represent a Latina perspective. Initially, this led her to hesitate about creating Latina-centered stories, as she felt she wasn’t “100% Latina.” But with encouragement from friends and colleagues, Marissa came to view her bicultural background as a unique and valuable experience, inspiring her to create books she wished she’d had as a child – ones that reflect both her blended heritage and a broader, inclusive Hispanic identity.
Her collaboration on the Esme series with Cuban-American author Lourdes Heuer was a turning point. Heuer encouraged Marissa to incorporate Cuban cultural elements, including pastel colours and traditional patterns, enriching the illustrations with authentic visual details. This opportunity allowed Marissa to celebrate both her own background and Heuer’s Cuban heritage, an experience she found deeply rewarding.
Marissa’s personal story and identity are central to her upcoming graphic novel, inspired by her own experiences growing up as a Mexican-American preteen on the border. She explores themes such as body image, drawing on memories of feeling self-conscious about traits like dark body hair, which her lighter-skinned mother didn’t share. In this story, Marissa seeks to highlight the experiences of young girls navigating bicultural identities, addressing underrepresented perspectives in children’s literature.
Her creative influences extend beyond her heritage. Marissa’s early years teaching pre-schoolers instilled a sense of playfulness she brings to her illustrations. Recently, she has found new inspiration in sewing and quilting, particularly in historical quilts from the U.S. and the UK, which tell stories through fabric and pattern. This fascination with textile art has subtly shaped her illustration techniques, inspiring her to layer textures in her work much like quilt designs, adding a tactile richness.
Marissa describes herself as an “indecisive illustrator,” embracing a constantly evolving style fuelled by diverse influences. This adaptability allows her to craft each story uniquely, blending her heritage and creative passions into illustrations that resonate with authenticity and depth.
Affiliations, mentorship and self-development
Marissa Valdez is dedicated to improving her skills as an illustrator and writer by engaging with various resources, organizations, and mentorship opportunities. She emphasizes the value of reading picture books regularly, noting that it inspires her creatively and allows her to learn from the methods other illustrators use—information she often finds on the copyright pages.
Marissa highly recommends the Society of Children’s Book Writers and Illustrators (SCBWI), which she describes as an excellent resource for affordable courses and webinars from experienced writers and illustrators. SCBWI, she believes, is invaluable for newcomers to the children’s literature industry who may have limited financial resources. Additionally, she recently found the Author’s Guild, which educates members on author and illustrator rights, particularly relevant in the context of AI’s growing impact on the industry. Marissa appreciates the Guild’s support on topics such as marketing and finding an agent. She also mentions Gotham Writing, a New York-based organization with online writing classes, as a helpful resource for illustrators wishing to develop their writing skills.
Mentorship has played a pivotal role in Marissa’s career. She feels fortunate to have friends and colleagues who support her through course recommendations, contest advice, and writing feedback. Marissa underscores the importance of not working in isolation, as critique groups help mitigate self-doubt and improve one’s work. She is part of an illustration critique group that meets bi-weekly on Discord to share progress and feedback, providing her with accountability and encouragement.
Marissa’s critique group originated from her active networking at virtual conferences and on social media. It began when another illustrator reached out to her on Instagram, leading to regular discussions and eventually a four-person critique group, which she finds ideal for collaboration. Since their formation in 2020, this group has become a crucial support system for her creative journey.
Business
Besides illustrating and writing, Marissa has a Domestika course on creating online portfolios for children’s book illustrators. Teaching fits into her overall business plan, hence, she is working on a class with the Society of Children’s Book Writers and Illustrators (SCBWI) focused on defining artistic style and navigating the industry.
Marissa has recently begun developing patterns and has even entered an art licensing conference to gauge interest in her work. Art licensing involves creating artwork that companies can purchase rights to use on their products, such as designs for water bottles at Target or pillows at John Lewis. She expresses a keen interest in applying her designs to children’s products and quilting fabrics, noting that this direction aligns with her business goals.
She compares her business approach to a table supported by four legs, with her book publishing and teaching serving as two of those legs. Adding art licensing as a third leg would bring more stability to her overall business structure.
Current and future projects
Marissa Valdez has a variety of current and upcoming projects on her plate. She reveals that she is working on a picture book using collage techniques, expected to be released in late 2025 or early 2026. Additionally, she has plans for her next author-illustrator book, which will be a two-part series slated for 2025. Marissa is also developing a board book series with a Hispanic focus and a humorous tone, as well as a graphic novel inspired by her experiences growing up on the border, which will address themes of body positivity. Alongside these projects, she continues to engage in art licensing and teaching.
Collaboration wishlist
Marissa would love to work more with Lourdes Heuer, with whom she recently completed a series, praising her as a funny and talented writer. She also mentions Eliza Kinkz, a Texas-based author-illustrator whose vibrant, childlike style she admires and would love to collaborate with on a book.
Working with Marissa
For those interested in collaborating with her, Marissa states that all her contact information is available on her website www.marissavaldez.com. Inquiries about books should go through her agent, while questions related to illustration or writing can be directed to her email, artofmarissavaldez@gmail.com, or via direct message on Instagram at @marissaarts.
Work-life balance
Having faced burnout in the past, which drained her creativity, she has recently implemented a structured workday, allowing herself to take walks and engage in meditation, which she initially found daunting but now enjoys for its calming effects. She and her husband also take their cats for walks, which adds a light-hearted aspect to their routine.
Marissa highlights the importance of pursuing creative hobbies outside her primary work, like sewing and quilting. These activities help her relax and ultimately enhance her creativity in her professional work leading to better output.
Tips for others
Marissa offers the key takeaway of avoiding burnout. She stresses the importance of taking calculated risks, reflecting on her own journey from being cautious as a child to embracing opportunities within the children’s book industry. Marissa explains that nothing significant happens if one doesn’t take risks—whether it’s networking, reaching out to companies, or exploring new ideas. She encourages emerging illustrators to think ahead about their careers, noting that in the freelance world, constant effort is needed to find new work.
Marissa also urges creatives to remain open to learning and growth. She encourages others to listen to and learn from their peers in the industry.
