WHERE THE WILD THINGS ARE (or aren’t!)

I grew up fairly free. I knew each mountain path behind my house and every rocky outcrop on my beach. My backyard seemed to demand engagement and a certain fearlessness. I suppose it was before ‘stranger danger’. So I was struck by a recent article that said 38% of UK children spend less than an hour outdoors daily. One boy said he liked to play indoors because that’s where all the electrical connections were!

Richard Louv in his book Last Child in the Woods uses a term ‘nature deficit disorder.’ There’s a disconnection. Children can probably tell you about deforestation but do they know a real forest… its danger and its freedom?

I can’t imagine growing up without this sort of wild freedom. There are so many layers of memory I can hardly begin to choose one experience over another. Camping in summer… the smell of canvas and wood smoke, collecting alikreukels to roast (like a very large periwinkle) the crickets loud and the voices of the adults murmuring on in the dark until I finally fell asleep. The smell of the sea, the waves beating in at the river mouth bringing mountains of foam that frothed across the brown river water like an enormous coke float… don’t swim beyond the shadow of the bridge or you’ll be sucked out to sea! The incense smell of the mountain fynbos that we packed under our sleeping bags and the day someone was bitten by a scorpion… would she die? And the scary sound of the round rocks rolling along the riverbed with the incoming tide.

I felt thrillingly alive.
Not just the real wilderness, but wilderness in books fed me too… and still does. Myths of forest and icy wastes. The deep dark cave. ‘In a hole in the ground there lived a hobbit…’ that’s all that’s needed. I’m sorry I got to know the Greene Knowe stories so late. But I remember being mesmerized by Gerald Durrell’s Overloaded Ark… all those secret animals in pristine forests.

I think stories that encompass the wild are like maps that orient you to respond to the world. It would be interesting to know if other writers have wild places or wild stories that are special. What I do know is… I’m connected to my inner child when I’m exposed to an older, wilder world of animals, stone, wood and water. And I feel sorry for any child suffering from ‘nature deficit disorder’!
This is the Golden Orb spider that shared my backyard…totally harmless but fascinating… it’s called the ‘writing spider’ because of its intricate orb-shaped web spun in golden thread. The other is of an alikreukel picked off a rock ready to be roasted.

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HARRIS LEAPS TO FAME

Harris has not only found his feet, but has leapt as high into the air and the limelight as Roger Federer on Centre Court, after his defeat of the valiant Andy Roddick.

Harris’s leap has secured him top ranking and a place forever in the Hall of Kate Greenaway Fame where his portrait will hang alongside other such legends and Title Holders as:
Charlie and Lola
Dish and Spoon
Long Neck and Thunder Foot
Gorilla (and Hannah)
Tim (All Alone… not Henman)
Mister Magnolia
Borka
Little Bear
Baby Bunting
Gulliver
Dogger
Alice
and Mr Grumpy to name a few over the years.

His portrait (frame supplied by blogger and not artist) is a delightful reminder of his personality, his sense of awe, his courage in the face of danger and his huge leap of faith and belief in a world that is bigger than one small player can imagine.

Credit must go to his trainer, Catherine Rayner, who guided him through this adventure. With foresight she produced a mentor for Harris who is an old hand at the game. Not only wise and understanding, Grandad takes delight in Harris’s development of speed and agility and helps him develop an uncanny knack of knowing his enemy. So good is Grandad’s mentoring that in the end ‘Harris ran, feeling the bounce in his feet and the stretch in his legs. He ran faster and faster… as fast as fast…until he was on his own.’ And with more encouragement ‘ran, leaping over streams and bouncing through meadows on his big, strong feet that would take him to the end of the world … and back home again.’

Congratulations go not just to Harris and his Grandad, but to Catherine for her delightful illustrations that give energy to Harris and add character to Grandad with his wavery whiskers and freckly, old-age spots. And most of all congratulations for those long drawn-out shadows across the earth that remind me so much of Africa.

For anyone wanting to see a fascinating account of how those shadows were achieved so naturally and how Catherine Rayner developed Harris Finds his Feet, watch her video at the Shadowing Site for CILIP’S 2009 KATE GREENAWAY AWARD:
http://www.carnegiegreenaway.org.uk/shadowingsite/watch.php?authorid=8

PS Don’t forget our Birthday Blog in 2 days time… Friday 10th July… where you’ll be able to celebrate our OUR AWFULLY BIG BLOG ADVENTURE 1st Birthday by eating virtual cake, adding comments and winning books.

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Revisioning

Anthony Browne says ‘Every time we create something we play the shape game – every time we write a story or draw a picture or compose a piece of music we are playing it. We are taking something that we have seen or experienced and transforming it into a story… it’s the essence of creativity.’

I’m delighted it’s the essence because (taking his shape game rather loosely) it’s how I spend my day… seeing a sentence, experiencing its downfalls and trying to transform and shape it differently. I’m no longer a ‘writer’ but a ‘revisioner’, spending more time ‘revisioning’ than writing. It’s more constructive than editing, which seems a very harsh and blunt action, sort of like chopping off a head with a guillotine. ‘Revisioning’ is more mellow… the idea of finding another vision in what you’ve written, appealing. Other people might call it time wasting. I’m a rubbish plotter that’s why I have to ‘revision’. Actually a friend said politely, you’re an organic writer. Organic writing means the story is constantly changing. We’ve had this debate often… the plotters and non-plotters.

The reaction to Gillian’s post this week on Elmore Leonard’s Ten Rules of Writing shows how many opinions there are on how we should write and how we should edit. I’ve a penchant for puerile things… the ellipses, the word ‘suddenly’ and exclamation marks. How many times haven’t I put in those exclamation marks and ‘revisioned’ them out again, then ‘revisioned’ them back in? My people always speak in a high state of tension that can only be suggested by exclamations!!!

But seriously what I really wanted to say was congratulations to Anthony Browne! I think he’ll make a fine Children’s Laureate. It’s about time picture books get a look in again. Quentin Blake was a long time ago.

Anthony Horowitz was quoted as saying. ‘We don’t need a spokesperson to be the person representing children’s books. Children will come and listen to a writer whose books they like. They don’t need a government agency or a medal that says ‘laureate’ to continue that.’ I think Horowitz has missed the point entirely. No, children don’t need a Laureate in his sense… it’s not about children listening to a writer whose books they like.

A Children’s Laureate re-creates excitement for every kind of book… not just his own. And we need a Children’s Laureate like Anthony Browne who will do for drawing and seeing things in pictures, what Michael Rosen did for the joy of words and poetry. Anthony Browne’s books make no concession to what we expect to find in a picture book… they deal in mysterious nuances of the ordinary and not so ordinary… a world children connect with. The fact that they love his work shows their highly developed sense of visual discernment. Visual discernment is what it’s all about when the chosen Children’s Laureate is an illustrator. It’s about opening up a world that children will be able to access and share. And there can be no greater pleasure than sharing a book with a child.

PS. Come on, Charlie, now can you supply us with more details of what went on behind those closed doors?


PPS. I missed my yoga class this morning because I was so busy ‘revisioning’ this post and it still has a rubbish plot!

TAKING MY SNAIL FOR A WALK

Do any of you remember how you learnt to read your name? I learnt mine by seeing it written again and again… in print, in cursive and in capitals… on books, on scraps of paper, in the steam on our kitchen window at breakfast in winter. And I recognised my name without resorting to any form of phonics. In fact if I’d tried to sound it, I’d never have managed. Nor would I have managed to read Pinocchio because unless you’re Italian how would you know to say ‘kee’ instead of ‘chee’ as in church.

The point I’m trying to make is that we learn to read in spite of ourselves by recognising shapes of words and reading them as a whole word in the context of a story. The more a child is exposed to words by hearing the words repeated and seeing them in print, the more a child can absorb words. They become part of an embedded, dynamic, rhythmic pattern. Seeing pattern and shape and texture is inherent in all of us. Yet children are being taught the phonics method.

It was brought home to me yesterday during a visit to a reception class where I put up a cover of one of my picture books and listened to a boy trying with excruciating difficulty to sound Dianne Hofmeyr… impossible! There will be many views on this one. Some might argue that phonics give children the tool to break down words. But I think the eye of the child is intelligent enough to see pattern. Once the entire word is spoken and it’s shape recognised again and again and again, it’ll be remembered – whether in a book, or on a cereal box, or in the steam on a kitchen window.

The eye of the child is frighteningly observant. The drawing to the left demonstrates this… a child’s drawing of a bird, flying with enormous energy and imagination and then the same child drawing a bird after having been exposed to a workbook.

Children of four should be playing, drawing, and enjoying books, not learning to spell their name and colouring in their workbooks. ‘Colouring in’ books were banished in our house. All that’s needed to give freedom to the power of a child’s imagination, is a surface and something that makes a mark, because a child who is allowed to ‘story’ in his head by drawing, is a child who is opening up to the world of both oral and written stories.

I’m no longer sure what inspired my son at age three to do the drawing, ‘Taking my Snail for a Walk’, but it must have been some intense experience. If only we are able to keep those intense experiences alive for children… an intense experience of story. I can still almost smell the forest and hear the sound, as I recall the picture of Pookie the rabbit and the long line of his friends thumping their back legs to frighten off the wood-cutters.

Don’t let’s limit children and their imagination in any form… let’s banish phonics.

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Senegalese Suitcases and Sabrage in St James

Dates suddenly loom in my diary after great, big, white, open spaces of nothingness. April 23rd is one of them. I have this blog due and two workshops and a book launch (not mine).

Months ago when someone asked me to do two G&T sessions, I thought I was being invited to a drinks party. It turned out to be two sessions for Gifted and Talented boys in Year 9 and 10.

They’ll tower over me. I write for Year 7.
They’re just slightly older.
Could I do Egypt? I’ve written some novels set there.
We need something more creative.
Caves? I’ve this novel about caves. It could take them into the future.
Been done.
Suitcases? Their hidden past. I’ve a short story about suitcases. (Should I mention it’s also about apartheid and an abortion?)

Suitcases it is! I’ve this Senegalese suitcase (actually from Goree Island which has a bleak a history as apartheid). The case is made from tuna tins and is lined with comics of hyena’s speaking French. Inspirational enough for a Gifted and Talented Year 9 or 10?

 

Now Thursday 23rd April is upon me. I’ve this blog to write, visuals to prepare for the writing sessions and need to work out how to make the widget on ABBA post this blog tomorrow, instead of today.Tomorrow will be chaos. I’ll either arrive hours too early or hours too late.

When it’s all done and the boys have produced their inspired pieces of writing, with Senegalese suitcase in hand, I’ll race across London to St James to sip champagne and munch chocolates in the Alfred Dunhill shop for the launch of my friend’s book. (How come I never get a launch in Dunhill?)

The story’s about a skilled martial artist who is a stealer of chi. (proceeds from the book to be donated to a fighting initiative for Afghan women – CPAU Fighting for Peace.) And with martial arts in the air I’m hoping to see a fine display of Sabrage – the ceremonial opening of Champagne bottles with a sabre being sharply slid along the body of the bottle toward the neck so that collar lops off with cork intact. (the art is in finding the seam I’m told.)

The technique was popular in France when the sabre was the weapon of choice in Napoleon’s fearsome Hussar cavalry. Napoleon’s spectacular victories across Europe gave them plenty of reason to celebrate. One story goes that the tradition started when Madame Clicquot inherited her husband’s Champagne estate at the age of 27, and entertained Napoleon’s officers in her vineyard. When they rode off in the early morning with their complementary bottles of Champagne, they would open them with their sabres to impress the rich young widow.

Maybe I’m pushing it. Sabrage in the Alfred Dunhill shop is perhaps a step too far… all those impeccable pieces sprayed with Champagne. But all the same, look out for my friend Natasha Mostert’s book, Keeper of Light and Dust…


What is the greatest desire of all?
In the death choked corridors of Palermo’s famous catacombs surrounded by eight thousand mummified corpses, a young man asks this question. His answer will set the course of his life and take him on a journey into the heart of darkness. A brilliant quantum physicist and chronobiologist who’s devoted his life to the study of chi – this gifted scientist, is also a skilled martial artist… and a hunter. Drawing on the knowledge contained in an enigmatic Chinese text written by a legendary Chinese physician in the thirteenth century, he preys on martial artists who are blessed with a strong life force, draining them of their chi and making it his own.. But the hunter becomes the hunted when a mysterious woman enters his life.


Harper’s Bazaar dubbed Keeper of Light and Dust as ‘Buffy the Vampire Slayer meets Crouching Tiger Hidden Dragon’ and chose it as a Hot List Must-Read-Book. (Natasha’s pervious book, Season of the Witch, won the Spread the Word: Books to Talk About Award on World Book Day 2009.)
Perhaps after a day like the 23rd April with Gifted and Talented Year 9’s and 10’s and French-speaking hyena’s and the possibility of sabrage in St James, I need to hold on to my chi.

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Entering the Lion’s Den

I’m shamed into having to admit that I’ve done no school visits this year. Call it laziness, telling myself I’m too busy writing, lacking in competitive spirit, being too disorganised… whatever it is, I haven’t. Let’s face it, it requires an enormous amount of effort to tear one’s self away from what one likes doing best… playing with words, changing a sentence and then changing it back two seconds later to exactly what you had before. So to be organised enough to set out to visit a school, to find suitable/any clothes, to sort out travel etc requires enormous discipline.

And then there’s the moment of actually entering the lion’s den… that daunting, crowded space of bustling, noisy children when you’re used to spending hours of each day entirely alone in your head.
Damien’s blog struck a cord. So many of us have similar experiences – some great schools, wonderful book displays and an excited atmosphere, others where you come home flattened, having travelled halfway across the country, when you actually wouldn’t mind being Damien Hirst for a day… so you could pickle some teachers or children!

Last night as I read Damien’s suggestions and the positive comments, I was reminded of some experiences. The two girls who designed this Egyptian tile after a session, possibly won’t ever read Eye of the Moon but I sense from their work that for a moment they were transported with the eye of a jeweller or a fabric designer to something beyond the classroom.

And the time I was approached to do a workshop with a group of children with severe special needs, 11-13 year olds whose understanding was approximately equivalent of 0 – 4 years, some partially sighted, most with very little speech ability, where an autistic girl made no eye contact but worked untiringly to produce huge quantities of mosaic work on an Egyptian mural. Did I touch her? Or any of the others? I don’t know. They certainly won’t be reading my books. But at the end there was a tangible air of excitement as they hung the mural they’d made of Nut, the Star Goddess across the Library wall.

And then there was the visit in winter to the Library in Kwanokotula in South Africa where I discovered a group of street children escaping the cold. There weren’t any copies of my books in the library but I sat on the floor and we spontaneously shared and read whatever books we could find.

At the end of a school session, how many of us aren’t approached by a single shy child who hasn’t volunteered anything during the session but has stayed behind to mumble something almost incoherent. They might never become a writer or even an exceptional reader but they’ve been touched by something – there’s been a moment of creative thought that has taken them out of the ordinary. Maybe? I hope so. Enough reason perhaps to energise me out of my lethargy and send me back into the lion’s den.

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Flying towards the dark

illustration by Jude Daly from ‘The Star-bearer’


I’m home in the dark. Yesterday I arrived, dragging my case through the sleet from South Ken tube station, clutching a skimpy cardigan, bare brown feet in their paper-thin shoes slowly going blue, and couldn’t budge the door for the mounds of post stacked up behind it. Not a single incredible book deal or film offer! So I took to my bed with coffee and some back copies of the London Review of Books [less formidable than the buff-coloured envelopes] and found this bitter-sweet poem by Francis Hope [for which I have no permission].
Goodbye to the Villa Piranha
[the house I’ve left behind has no such fancy name]
Prepare the journey North,
Smothering feet in unfamiliar socks.
Sweeping the bathroom free of sand, collecting
Small change of little worth.
Make one last visit to the tip
(Did we drink all those bottles?) and throw out
The unread heavy paperback, saving
One thriller for the trip.
Chill in the morning air
Hints like a bad host that we should be going.
Time for a final swim, a walk, a last
Black coffee in the square.
If not exactly kings
We were at least francs bourgeois, [africain bourgeois?] with the right
To our own slice of time and place and pleasure,
And someone else’s things. [in this case our own]
Leaving the palace and its park [a matter of perspective when you return to a postage stamp flat]
We take our common place along the road,
As summer [a southern hemisphere summer] joins the queue of other summers,
Driving [flying] towards the dark.
Apart from the poem now here in the dark, alongside the upturned case and its contents of useless sandals and gossamer shirts, I’ve also discovered amidst the heap of post a letter that states:
‘There are holes in your plot!’ A polite way of saying – you’ve lost the plot? And references to ‘this first draft’.
What? Does she really believe this is my first draft??? Doesn’t she know how many drafts have been in my head before even committing anything to paper or how many have drafts have subsequently been written??? Hasn’t she read our latest blogs??? Doesn’t she know that no writer of any substance would ever dream of not re-writing? We just don’t like others to tell us to re-write.
So here in the dark, I’m ignoring all this. I’ve snuggled back under the duvets with these wondrous back copies of the London Review telling of writers who never have holes in their plots, with yet more coffee… and perhaps I won’t come out again until summer comes to London and things look different and I can write a blog called: Flying towards the light!

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THE POETICS OF SPACE

With last night’s moving inauguration of Barack Obama, I was reminded of Nelson Mandela becoming president through the ballot and not the bullet in South Africa… of the euphoria and need of the country to move on and put the spectre of apartheid finally to rest. There are moments in our lives which are forever etched… Nelson Mandela walking to freedom and now Barack Obama standing on the podium.

I could be writing on this theme but this morning with the sun up on another spectacular day, I’m writing of something more mundane – an envy of writers with rooms of their own – a loft, attic, shed in the garden, gazebo, beach hut, tepee, or any hidey hole that gives a sense of containment and peace – a space to which I can withdraw and be as reclusive/industrious/inspired or lazy as I want to be.

So here in the sunshine far from my 3m X 4m workroom in London shared with my husband (I email him when I want to move my chair!) I’ve put this right. Yesterday I built a driftwood yurt out on the dunes.

Ever since reading ‘The Poetics of Space’ by Gaston Bachelard, it’s hard to see space in an ordinary way. Bachelard believes language – especially poetry – can reveal hidden aspects of our experience of space, especially of our home space. He says certain spaces and experiences from childhood through to adulthood in places where we have lived, grown up, felt comfortable or alienated, have roles in our imaginary lives. The shell, the nest, the cave, the empty wardrobe or drawer, the attic, etc are significant spaces embedded in our memories and intrinsically meaningful in our lives. Fascinating reading!

A few years ago I wrote a book set on this same beach where my driftwood yurt now stands… Fish Notes and Star Songs… which is full of shelters of varying kinds. The protagonist and her father build a home from washed-up wood with a stone tower lined with shells and bits of mirror stuck on the walls so they can see the world reflected differently… a place where the girl’s imagination has free rein but where she feels sheltered and safe. Other children in the story, all have spaces which protect them from the world. A deep cave, a makeshift structure under a torn beach umbrella in the sand-dunes and the dark, shaded space under the branches of a Milkwood tree, provide refuge where they can hide away and reflect their true identity.

In confined space, experiences become condensed, intensified and enriched. Remember the dark space under the dining room table with a blanket draped over it? There’s the freedom to imagine but at the same time the space allows us immobility. We don’t have to do anything. We can just be. Which means from the confines of my driftwood yurt I can look out and observe the world… the shadows the beach grasses make against the sand, the terns dive-bombing between seals and dolphins in a fish-feeding frenzy that would impress even David Attenborough, the sea opalescent yesterday, today wild and crashing.

I can fool myself that inside my yurt, I’ll be creative… plots will come and words will flow. But will they? Does space or place make the difference? If I’m to believe Gaston Bachelard and judging by all those pictures or mention of garden writing sheds in this Awfully Big Blog Adventure, then yes! But I’m still sitting here with my chin tucked up against my knees thinking about it. And next week when the New Moon brings in the high tide, my yurt will be swept away and I’ll be back to envying all of you with rooms of your own!

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MAKING A CHAIR SPEAK

Some of you might be thinking… well isn’t that what any writer does? You animate your characters and make them speak! But this was an entirely different form of animation for me. It didn’t really involve words but sounds and it was the character/object that did all the work… not me… and it all happened in a few Digital Story-telling and Animation workshops at the Victoria & Albert Museum.

Armed with cameras we went to find prospective ‘clients/actors’ amongst the exhibitions. Many of my co-workshoppers were researchers with special interests and chose serious subjects like statues, tiles, pottery and fabric designs. But I suppose a little bit of laziness in me chose the first gallery up from the Sackler Design Centre where we were working – the 20th Century Gallery, where I found objects that already seemed to be people – a few chairs, an Alessi cork-screw, and down below in the Fashion Gallery some shoes. And they immediately began talking to each other in my head.

The joy of working on a Mac in iMovie is that you can take these very inanimate objects and imbue them with life. Make them not only speak but move! I was the ultimate puppeteer. What power! So armed with scissors, crayons, card, paper and glue (the comments on Susan Price’s Secret(ish) Love blog proved how beguiling all these objects can be!) I gave life to the Drum Armchair designed by Cecil Beaton in 1935.


With 18th century red-tasselled, silk boots kicking and arms taking up the drumstick motive on the back of the chair, he became the alter-ego of Punch forever imprisoned without legs, in his blue-striped, canvas stage on the beach. For a moment my newly animated chair with a fanfare of bugles and drums (no tiaras and ermine though – this wasn’t yesterday’s Queen’s Speech), and with animated arms creeping up his legs like caterpillars to the sound of marching feet, seemed more vital and vibrant and real than any character I’d written about in a book. (And if I wasn’t too worried about crashing the bigblogadventure site, might have added the entire animation with much leg kicking, drumming and fanfare as well, to this blog.)

Hmmm? A new career? Should I take up animation instead of writing? A very amateurish film of 1 minute took I don’t know how many hours and hours of work and a total of 720 stop-frames to come alive. So now I’m trying to do the maths… how many hours and words does it take to make a character more or less alive in a book?

(Great to meet a fellow-blogger Lucy, at the Soc of Authors AGM with your new book, Hoot-cat Hill. And Nicky Browne, yes, agreed, I’m also losing the plot. Through this Animation Course I’ve now added another few layers to a desk that like yours, remains permanently something of an archaeological dig! I’m also spending an inordinate amount of time for someone who should be writing, playing animation not just with Punch’s alter-ego but my own… pure escapism!)

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Collaboration

The Oxford dictionary defines to collaborate as:

  1. to work jointly esp. in a literary or artistic production.
  2. to cooperate traitorously with the enemy.

Perhaps it’s this sinister connotation that publishers have in mind when they try to keep authors and illustrators apart (in case the author and illustrator start collaborating against them). But don’t be put off – there’s something very positive about working with your illustrator.

Jude Daly and I have collaborated for many years. I claim her as one claims my agent and my publisher – mine even though she works for others. Since we both grew up next to the sea on opposite sides of the same bay, I like to think there were currents flowing between us, long before we met. The same sea washed up on her beach that washed up on mine and I like to imagine when the South-Easter blew my beach ball out to sea, it landed up safely in her hands on the other side of the bay!

The great plus of a partnership is that you give your illustrator the unthinkably impossible – you sprinkle words lightly, mix them all together and hand over the dough to rise in someone else’s kitchen, because you’re confidant they’ll know what’s inside your head. The sweep of the Persian desert, the void at the beginning of creation, the overwhelming loneliness of the Atlantic Ocean, are handed over without qualms. Not only does she succeed but she expands these concepts so that the scorching desert lives on beyond the double page spread of the book’s borders and the mists of the ocean curl up around the end pages. Baking at its best!

Another plus of collaboration is that as the images emerge, your words can be edited. (Eventually all the words could be redundant but it’s hard to convince your friends and family that you’re a writer when you show them your wordless book!)

The whole process becomes a playful one. Here are a few excerpts from Jude’s emails while she was working on The Faraway Island

I am painting pomegranates on Ferdinand’s pomegranate tree while his pineapples and bananas dry. Callas is serenading him, and me. As fast as I paint though, the sailors are picking the fruit!’

And… ‘A sparkling day in CT. (Cape Town) Our gardener and seamstress are about to set foot on his island. And, as you wrote, “on the long journey, she busied herself mending the ship’s sails” – in full flight, which just goes to show her incorrigible nature.’

Finally… ‘I don’t think I have been as enchanted by the characters I’m illustrating as I am with these… they have really got to me.’

So don’t be put off by publishers who say ‘we like to keep our authors and illustrators separate’. A collaboration is the best kind of picture book where ideas flow freely between you and your illustrator but at the same time you’re still breathless with awe when you see the illustrations in full colour for the first time.

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