Tag Archives: Interview

Bookchat: Q & A with Jennie Poh illustrator of The Pirate Tree

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The Pirate Tree written by Brigita Orel and illustrated by Jennie Poh is a tale of imagination and friendship, published by Lantana Publishing. It’s a beautiful picture book about Sam, who plays in a gnarled old tree which sometimes turns into a pirate ship! Sam is its fearless captain who one day sees another sailor, Agu from Nigeria, approach and must decide whether to let this stranger join the game.

A simple narrative combines with distinctive illustrations depicting the bond of friendship that forms, as Sam discovers Agu knows some very interesting things about treasure and boats. Suddenly their differences fade, and their joy in playing pirates takes over.  A great story to share, The Pirate Tree is a celebration of freindship and the joy of imaginative play.

I’m very pleased to welcome illustrator Jennie Poh to the blog today with a quick bookchat about her work. Jennie was born in England and grew up in Malaysia. She studied Fine Art at The Surrey Institute of Art & Design as well as Fashion Illustration at Central St. Martins.

How do you start illustrating once you have the narrative of the story in front of you? After a couple of reads through the manuscript I’m given a brief description of the characters by the publisher and author. I then play around with a lot of sketches, with this it was the ‘pirate tree’ different shapes and textures as this was going to heavily feature in the story. Once I was happy with this I did some development work with Agu and Sam.

What media have you used to create the pictures for The Pirate TreeI mainly work digitally, ‘Photoshop’ but scan in textures myslef and I make my own digital brushes to create a less digital feel to my colour work. Welcome to the blog Jennie!

The illustrations are gorgeous – I particularly love the expressions on the characters faces – including the fish. How do you go about capturing expression?  Thank you! I really loved illustrating these little fish. I think I try and pull these faces/expressions myself and do my best to put that down on paper. 

What stories do you recall from childhood that perhaps influence your work today? I read a lot of Beatrix Potter, Enid Blyton and always adored The Chronicles of Narnia. I think any illustrations that were enchanting, or heavily featured nature influened me as a child which has spilled through to my work.

Can you tell us about any new picture book projects you are working on? I’m currently working on a story about a biracial girl who is dealing with many questions about her heritage. I think this is a wonderful concept to work with.

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With thanks to Jennie Poh for participating in this Q & A and Lantana Publishing for sending me this book to review.

 

 

 

 

Bookchat: Q & A with M.G Leonard on the Branford Boase Award

BBA_LogoNext Thursday a whole host of the great and the good from the world of children’s books will gather to hear the announcement of this year’s winner of the Branford Boase Award. This year is the 20th anniversary of the award which is given annually to a first-time writer of an outstanding book for young people and also their editor, recognising the important contribution of the editor in identifying and nurturing new talent. Running alongside it is the Henrietta Branford Writing Competition which encourages writing talent in 19 year olds and under. 

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I’m delighted to welcome past award winner M. G Leonard to the blog today for a bookchat about the Branford Boase Award.  M.G Leonard won the Branford Boase in 2017 for her brilliant debut Beetle Boy, along with her editors from Chicken House, Barry Cunningham and Rachel Leyshon.  Beetle Boy was the first in a trilogy, and M.G Leonard has since gone on to have huge success (read my review of Beetle Boy here.) Today she shares her thoughts on winning the award, the important relationship between author and editor and also her current projects!

Can you tell us what makes the Branford Boase Award so special? A debut novel is a rough diamond, and requires more input from an editor than any other book an author will write. It is a powerful collaboration, and this award is the only one to recognise this work. The Branford Boase Award has an amazing history of awarding writers who go on to be some of the most exciting authors out there telling stories for young people. It is the award that all writers want to win.

How did it feel to win the award and what difference has it made to you two years on? I am very proud to be a Branford Boase Award winner. It was the first major award that I won, and it is hugely encouraging to be told that you did a good job when you are floundering in a new industry. It was particularly lovely to have Rachel and Barry’s work celebrated, because Chicken House believed in Beetle Boy right from the start. Winning the award increased my confidence and creativity, and it’s ever so lovely when people announce you before your event and tell everyone that you won it. The Branford Boase Award is a hallmark of quality, a standard to live up to, and the finest club I’ve ever been in.

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Barry Cunningham described the relationship between author and editor “like your first girlfriend or boyfriend in how it shapes you”. How do you think working with both Barry and Rachel Leyshon has shaped you as an author? I think the relationship depends on the people in it. My work as an author is considerably shaped by my working for fifteen years in the theatre, however what Barry and Rachel taught me was the importance of keeping the action, the power and the decision making firmly in the hands of the children. This is an invaluable lesson, because it’s so easy to be in love with your creation, when really you need to be in love with your characters.

What advice would you have for aspiring authors working on their debut novel about developing a good relationship with their editor(s)? To the aspiring writer I would say, the editing process is painful and infuriating. You will doubt yourself and lose all objectivity, so you must trust your editor. They know the world of books far better than you, if this is your first. Read your edits. Step away from your manuscript and vent all your frustrations and anger at a wall, or a friend. And you will be angry, or upset, because we are all defensive about our creations and the role of the editor is to question and poke and cut. Your debut is an epic voyage and your editor has the map; you must journey alone, but you won’t get to the end without your editor’s help. Once the quest is complete you will feel an enormous debt of gratitude to your editor, because you will see your book is a far superior vessel for your story than when you first set out.

Can you share with us what you’re working on at the moment? I am writing a new series of books for Macmillan, called Adventures on Trains. The first book, The Highland Falcon Thief will be published in March 2020, and swiftly followed by a second in September. Harrison Beck, the protagonist, is an eleven-year-old from Crewe with a talent for drawing. When his uncle, a travel writer, takes him on the last journey of the royal steam train around the British Isles, he draws what he sees. When a priceless diamond necklace goes missing, Harrison realised there are clues in his pictures, and sets out to catch the thief. The books are a joyous celebration of trains, rail travel and landscape, as well as a damn good adventure. Each book in the series features Harrison and his Uncle having a new adventure on a different train in a different country. The second book is set in America, on the California Zephyr.

I have also written a picture book for Walker Books, illustrated by Daniel Rieley, that will be published in January 2020 called The Tale of a Toothbrush – a story of plastic in our oceans, which I’m very excited about, because the subject is very important to me.

With thanks to M.G Leonard for participating in this blog today!

 

You can find out more about M.G Leonard on her website www.mgleonard.com. Read all about Chicken House here www.chickenhousebooks.com and for more information about the award visit www.branfordboaseaward.org.uk

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Pets as therapy – in books and in action!

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When Madeline Finn and the Library Dog arrived from Old Barn Books, it was clear this was a very special book.  The story, written and illustrated by Lisa Papp, features Madeline Finn a little girl who really does not like to read – at all.  Madeline struggles with reading so she really does not enjoy it, especially when she has to read aloud at school.

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So when she meets Bonnie the library dog at her local library, something quite wonderful happens. Madeline stops worrying about getting it wrong; she stops worrying about being stuck and she learns to be patient with herself. Bonnie makes her feel that it’s okay to go slowly and Bonnie doesn’t laugh at her like the other children in the class do so Madeline can practice her reading aloud without any worries.  And on the day when Bonnie isn’t there to help her, Madeline pretends that she is and reads so well that she even gets a special star from her teacher!

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Madeline Finn and the Library Dog perfectly illustrates how some children struggle to read and how those struggles take away any joy they might discover between the pages of a book.  Madeline could have been any number of children I have worked with during my career as a librarian – I wish I’d had a library dog on hand to help.  What an amazing way to help a child feel more confident in themselves!  Beautiful illustrations depict the frustration and joy Madeline experiences and of course, bring to life the gorgeous dog Bonnie. This really is a lovely book and one that could help struggling readers understand they’re not alone and those who can read well feel more empathy with those who can’t. For every copy of this book sold Old Barn will donate 50p to support the work of the Read2Dogs programme run by Pets as Therapy.

It seemed a huge coincidence that at the time of receiving this book, I heard that the school my son attends, Warden Park Secondary Academy, had got a therapy dog.  I wanted to find out more so I’m delighted to say that the teacher behind the scheme, Amanda Bell, joins me on the blog today to share how this came about and the impact the gorgeous dog has had so far. Welcome to the blog Amanda!

Tell us how you came to have a therapy dog at Warden Park. The idea originated from setting up the garden space which was an area developed through an ASDAN course we were running. Part of that project led us into getting chickens and ducks. I watched the impact these animals had on bringing the children into school but also taking responsibility for their care. I wanted to see how I could engage a wider audience through animals and so researched the organisation ‘Pets as Therapy dogs’ and then contacted schools that already had a therapy dog. This enabled me to research into the impact of a dog in classrooms.

How did you go about finding/choosing the right dog? I researched the breeds – mainly for their temperament in working with children but also with regard to their ability to be trained and came up with a Springador which is a cross between a Labrador and a springer spaniel.

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Tell us about her! We decided to call our dog a name that links with the Forest as this was another initiative we had recently brought into the department. This would mean that we would not favour a particular child’s name – however, we did find out that we had one child with this name so I asked him if he would mind if we called our dog after him! We first brought our therapy dog into school at just ten weeks old to get her used to the noise and lots of different people. We also secured the help of Michelle Garvey from Essentially Paws who has already trained eight school therapy dogs. She did a few training sessions with me and then I worked on this over the summer holiday. At nearly seven months old, Oakley is now involved with individual students, tutor groups, interventions and staff book her for lessons in a variety of subjects. We have a ‘puppy points’ scheme where students have a card that they can collect points on essentially for acts of kindness towards each other, staff or the environment. Once they have accumulated some points, they can earn free time with Oakley, teaching her tricks or just being with her.

What is the main purpose of your therapy dog? Oakley helps with the well being of the students and just has a ‘feel good factor’. Classes respond with calmness. Some teachers have a group task where they present/read to Oakley. For some students, they are able to express how they feel more readily to the dog than a member of staff! Research has shown that during interventions, students are more likely to engage with the sessions and attend than without a dog present. We will be gathering data to measure impact. Oakley will also be around the school at lunchtimes and breaktimes and allows students to engage with her who may not have a pet at home.

How have the students responded?  There must be a queue to see him at times! Students have engaged really well with the dog. Their role is to ensure that they take control and make her sit before stroking her. They also have to ask if it is OK to stroke her before doing so in case she is in training or on a toilet break. They really love her being in their class and many students have collected a puppy points card. Each week, Oakley writes a blog in the newsletter and currently there is a little competition for students to identify where she is from a photo.

Would you encourage other schools to do the same? It can be time consuming in the first few months and it is essential to get the training right so that the dog learns to respond appropriately to students. However, only a few months in we would definitely repeat the experience as there have been many more benefits that we had not anticipated!

Thank you Amanda. I think the work you and Oakley are doing sounds like an incredible opportunity to support and encourage students in school in a completely unique way.  

Find out more about the above book and pet therapy at www.lisapapp.comwww.petsastherapy.orgwww.wardenpark.co.uk

With thanks to Old Barn Books for sending me this book to review.

 

 

 

Author Interview: Wanuri Kahiu

I’m delighted to welcome to the blog Wanuri Kahiu to talk about her first picture book and the inspiration behind it. The Wooden Camel is a beautiful story full of hope, written by Wanuri, illustrated by Manuela Adreani and published by Lantana. Wanuri is an internationally renowned filmmaker having won awards including five African movie Academy Awards, Best Narrative Feature at the Pan African Film Festival in Los Angeles, Best Short Film at the Cannes Independent Film Festival and the ‘Citta di Venezia 2010’ award in Venice, Italy. She is one of the TED Fellows of 2017.  She currently lives with her partner and two children in Nairobi.

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Thank you for joining us today!  Can you tell us about the inspiration for writing The Wooden Camel? I am fascinated by Lake Turkana and I have been for a while. It is the largest permanent desert lake in the world and is under threat of extinction. so the people who have lived and based their culture and tradition around the lake will soon be pushed elsewhere. I write to draw attention to the region and the people.

The theme of family comes through strongly in the narrative; Etabo’s relationships with his father and siblings are beautifully reflected. Was this inspired by your own family relationships and feelings about the idea of family in general? I have a daughter and a son who are my most precious gifts and my husband has two other children. His relationship with them is truly exceptional to watch and I wanted to honour him. I also wanted to represent the creativity and kindness of the sister and her love for her brother as witnessed in the relationship between my daughter and her three brothers.
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Etabo calls on the Sky God to help him keep his dream alive. How important do you think faith and belief is for people in achieving their dreams? Dreaming is unachievable without belief. We must believe in ourselves and in the universe that our dreams will be delivered and that whatever dreams we have are valid and that they are sufficient. And when dreams come true there is always an element of magic, of some unexplainable spirit like Akuj the Sky God.
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The illustrations for the story are stunning. How did you work with the illustrator to achieve this? It must have been amazing seeing your words and come to life.
Working with Manuela was a dream. I had never worked with an illustrator before and watching her bring words to life was extraordinary. Sometimes she took the lead and I would rewrite the scene to add to her writing rather than the other way around. Her attention to detail in the clothes and the background and the world have made it the most pleasurable reading experience.
Do you have plans for any more children’s books and if so are you able to share with us what you’re working on? Yes. More books and more YA books to come. Too soon to talk about but I thank Lantana Publishing for taking a chance on an unknown writer and giving me the confidence to believe that I am capable of publishing and that my dreams are enough.
I can’t wait to read your next book and wish you every success with your writing; thank you for taking the time to share your experience with us!
Find out more at www.wanurikahiu.com.  Read my review of The Wooden Camel.

Author Interview: Simon James Green

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Simon James Green is the author of Noah Can’t Even, a story described as “snort-laugh-out-loud” funny!  Simon was an Undiscovered Voices finalist in 2016 and is also a screenwriter and director; Noah Can’t Even is his first novel and will be published by Scholastic on 4th May.  I’m delighted to welcome Simon to the blog today; thank you for joining us!

You can’t help but smile when you see the cover of ‘Noah Can’t Even’! Tell us what the story is about. It’s a funny, sweet, coming-of-age (and coming out) story about learning to be brave enough to be yourself. On the cusp of his 16th birthday, Noah longs to be accepted by his cool classmates. He thinks one way to social success might be to kiss Sophie, the most fabulous girl in the school. But Noah’s plans go awry when his best mate, Harry, kisses him instead and a chain of events is unleashed that turns Noah’s life upside down – with laugh-out-loud consequences!

What was the inspiration behind the central character Noah? Admittedly, there’s quite a lot of me in Noah. We both grew up in small towns and I certainly wasn’t one of the cool kids at school either. We also both have slightly geeky obsessions with Agatha Christie, although I must point out that my mum has never done a Beyoncé tribute act! Growing up is all about working out who you are and what you want to be, and sometimes that takes a certain amount of bravery. I wanted Noah to be dealing with those types of issues and be battling with feelings that he couldn’t (or refused to) understand. Noah worries about fitting in; he has that need to be accepted and liked, and he ties himself up in knots worrying about what people think about him. You eventually reach a point in life where you couldn’t give a damn about any of that, but for Noah, it’s a very real concern. Finally, when I think about my own teenage years, and when I think about why I love writing about this age group so much, it’s the fact so much of what you experience feels heightened. That’s probably because you’re being faced with a lot of things for the first time and you don’t always have the experience to know how to deal with it and know it’ll all work out OK. As a result, you make rash, irrational and sometimes plain crazy decisions. Of course, making those mistakes is how you learn, but in the meantime, it’s often comedy gold! (Although at the time, I definitely was not laughing!)

You were selected for the SCBWI’s Undiscovered Voices 2016 – this must have been very exciting; how did this come about? UV was such a fantastic experience! Two people really encouraged me to apply – my friend, the author Katie Dale, and my editor at the Golden Egg Academy, Jenny Glencross. I sent in the first two chapters and was staggered when I was not only long-listed, but then was actually one of the winners who would be included in the anthology. From there I was contacted by over 20 agents in both the UK and USA, who all wanted to read the full manuscript and within 7 months I’d signed with Jo Moult at Skylark Literary and had a book deal with Scholastic. I mean, it’s a fairy tale, right? It was such a fast, exciting, roller coaster of an experience and I’m so grateful to everyone at UV for everything they’ve done for me. And, to you all writers out there looking for rep, UV is open for submissions for the 2018 anthology, so get submitting – it’s life changing!

How has writing your first novel differed from writing screenplays? One of the key differences is all the extra stuff you need to put into a novel. With a screenplay, you generally allow the actor to interpret the lines and action in order to show the audience how they are feeling and what’s going on for them internally. With a novel, you need to get that on the page a lot more, and that was a big challenge for me at first. I’m also used to a much faster turnaround time with screenplays (I once had to do a rewrite in 48 hours), so it was lovely being able to work on the manuscript for longer than I’m used to.

As a coming-of-age novel, what do you hope readers will gain from reading Noah Can’t EvenFirstly, I really hope people have a good laugh reading Noah Can’t Even. I’m a big fan of funny books and I hope that when the humour in Noah is combined with some of the sweeter moments, it’s a book that gives you all the feels. And that’s what growing up is all about, right? You laugh, you cry… you screw it all up and make it all better again. I hope people read it and think – ‘that’s OK, what I’m going through isn’t completely weird and unusual then.’ But fundamentally, I wrote Noah for the same reason I write screenplays or I direct for stage and TV – I enjoy entertaining people and I hope it makes them happy.

The audience for YA novels is growing, which is great news for all concerned not least those reading the books! Were you a reader when you were a teenager? Yes, massively! I loved Agatha Christie as a teen and read loads of her books, but I also devoured Adrian Mole, The Catcher in the Rye, and most of Stephen Fry’s books, to name just a few of my favourites.

What is the best piece of writing advice you’ve ever received? Throw all the bad stuff you’ve got at your main character… and then make it even worse. That’s exactly what I’ve tried to do with Noah – in every chapter I turn the screws just a little bit more, until he’s basically in an impossible position. It’s a great way to drive the story, up the stakes and keep the reader interested!

And finally….have you got a thing for bananas and Beyonce?! Hasn’t everyone?! Actually, I think ‘Bananas and Beyoncé’ would be a great title should I ever write my autobiography!

Thanks so much Simon for sharing your experiences with us. We wish you every success with Noah Can’t Even!

Find out more at www.simonjamesgreen.com and on Twitter @simonjamesgreen.

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