Claire Freedman Claire Freedman lives on the Essex coast. She is the author of a number of children’s books. When not writing, Claire spends her time sailing, walking in the countryside and, when she can, travelling.

You write about a lot of different animals in I LOVE YOU, SLEEPYHEAD, from pandas to foxes and whales to owls. But which animal is your favourite and why?
This is a very hard question! I love animals of all kinds, but if I had to choose just one, I think it would have to be tigers. They are just such beautiful, powerful and magnificent creatures.

What was your favourite book when you were a child? And which books have influenced you as an author?
I have always been an avid reader and my favourite book as a child was A LITTLE PRINCESS by Francis Hodgson-Burnett. I must have read and re-read this many times and it always brought a tear to my eye – I still have my original dog-eared copy! I also loved the CHRONICLES OF NARNIA books by C. S. Lewis. And, as a young child, WINNIE THE POOH was a much-loved character, with great humour that has stood the test of time. I’m not sure if any particular books influenced my work, but I very much admire the work of modern-day writers Martin Waddell, Debi Gliori and Geraldine McCaughrean.

How do you create your stories? Do you have a set routine or a special place where you go to write?
I don’t have a set routine – that doesn’t work for me. I usually have the germ of an idea while I’m in the middle of doing something else, like washing up or shopping. Or I’ll read a line in a book or see something on TV that might spark me off. I then rush off and write my idea down before it disappears, and I’ll add bits of dialogue or narrative as it comes to me. I always write in longhand on scraps of paper or old envelopes that I save for this purpose. I dislike writing on lined paper as it seems to restrict me. Very strange!

Are you a tidy-desk person or a messy-desk person?
I’m definitely a tidy-desk person – I have to be as I have very little space in which to work! Having said that I do tend to surround myself with lots of scraps of scribbled bits of paper and pictures to give me inspiration – but they are always in neat(ish) piles!

Do you have the reader in mind when you write?
I write the sort of books I think I would have enjoyed reading or being read to as a small child.

Do you look forward to seeing an illustrator’s interpretation of your ideas?
This is one of my favourite bits! Seeing how the illustrator has interpreted my story, and whether he/she visualises my characters in the same way as I do, is always a surprise and very exciting!

Do you have a favourite character from one of your books, and if so, why? I like Daisy (the rabbit) from my book OOPS-A-DAISY! as she just keeps on trying – and succeeds in the end. I was also very pleased with the ending of the story.

If you weren’t an author, what do you think you would be?
When I was young I wanted to be a vet until I realised it wasn’t just fluffy kittens and cute puppies! I never had a burning ambition to be a writer – it happened almost by accident. Before then I had quite a few different jobs. If I could start all over again I would have liked to go into medicine.

How do you reward yourself when you have finished a book?
I go shopping and treat myself to some new clothes!

What would be your ideal way to spend a day off from writing?
I love travelling, so it would be wonderful to be whisked off to Paris for the day! A bit of shopping, eating, culture and exploring – all in one. Great! The weather would be perfect, of course!

What do you most like about being a children’s book writer?
Seeing the surprise on people’s faces when I tell them I make my living from writing – I obviously don’t look like a children’s author!

Claire has written many books for Little Tiger Press. Click on a bookcover to get details of the most recent ones.

Ruth Galloway Award-winning author-illustrator Ruth Galloway studied art at A-level, but is basically self-taught. She knew she was going to be an artist from the age of eight, although she is also a trained aerobics teacher. In her spare time she enjoys making jewellery and mountain biking. She is married with two children, and lives in Oxfordshire.

I have always been fascinated by the sea – there is something magical about it. I enjoy snorkelling on holiday, but usually the sea is a bit cold in the UK! What’s your favourite sea creature and why? I think my favourite sea creature would have to be a lobster – they have such a lot of character.

What did you enjoy most about writing and illustrating FIDGETY FISH, SMILEY SHARK and CLUMSY CRAB?
The part I really find fun is painting the ‘supporting cast’ – all the tiny fish and creatures that are dotted around throughout my books. I like giving them funny or surprised expressions to make the pictures more interesting.

When did you decide you wanted to write and illustrate children’s books?
I had always been interested in illustration, then when I had my first son, Mortimer (who is now six), I used to make up stories to entertain him, and the story of FIDGETY FISH developed from there.

Who are your favourite children’s authors and illustrators?
I have a huge appreciation for children’s picture books, especially now I know how much hard work goes into them. I particularly like bright, colourful illustrations, and stories that are humorous. I like Michael Rosen, as his stories are very funny, and Jane Chapman’s illustrations are lovely and vibrant.

If you weren’t an author-illustrator, what else would you be?
I would still like to do something creative, like painting pictures. I also love cooking and gardening, but I’m not sure I would enjoy these so much if I had to do them every day as a job.

Do you have any tips for aspiring authors or illustrators?
Keep practising as much as you can, and don’t get discouraged if you don’t succeed straight away.

SMILEY SHARK won the Nottingham Children’s Book Award – how does it feel to be an award-winning author-illustrator?
I am delighted to have won this award. It feels wonderful to know that so many people enjoy my books, and this award is especially important to me because it is voted for by the children themselves.

See details of FIDGETY FISH AND FRIENDS, FIDGETY FISH, SMILEY SHARK, CLUMSY CRAB and TICKLY OCTOPUS

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John Henderson John was born in Glasgow and has lived there all his life. John has done many different jobs during his lifetime, including delivering newspapers, painting and decorating, but it was when he started working as a gardener that he found his true vocation. John enjoys running and has completed several Glasgow half-marathons. When the weather is good, he also likes cycling and fishing.

What was it like working with such a successful author as Julia Donaldson?
She was very inspirational to work with and the whole process was great fun.

What inspired you to start writing this story about your childhood?
Julia suggested that I write down some memories from my childhood or school years. When she read the story about me finding an injured pigeon when I was about 12, she felt it was good – especially the bit where I put a stone in the box instead of the pigeon!

Do you have any pets? No, not at the moment. Have you ever thought of owning your own racing pigeon? No! What do you like most about living in Glasgow? I like everything about the city – it’s a great place to live. I really cannot see myself ever moving away from Glasgow.

Do you have any plans to write any more books about your life?
Not at the moment – family has got in the way slightly, but maybe one day I will write more.

See details of FLY, PIGEON, FLY!

Diana Hendry Diana Hendry is a poet, children’s author and short story writer. She has written over 40 children’s books ranging from picture books to teenage novels. She writes poetry for adults and children and has won a number of awards for her work, including the Whitbread Award. Diana has worked as a journalist, teacher and creative writing tutor. She has a son, a daughter and three grandchildren, and now lives in Edinburgh.

Where do you get inspiration for your stories?
My ideas come in many ways: something remembered, a dream, a conversation. I tend to jot down ideas in a notebook and keep them in reserve. Mostly my characters are imagined, though sometimes a real person sneaks in.

Do you ever get ‘writer’s block’? What do you do to get the creative juices flowing again?
Whenever I get a case of ‘writer’s block’, I play the piano, go for a walk, brainstorm or just get very bad-tempered!

You’ve written books for so many different age ranges. Do you find it easier to write for children or adults?
I like writing for children of all ages – and for adults. The variety pleases me. Only occasionally do I find writing easy, but the difficulties in writing for children and adults are different.

The words in OODLES OF NOODLES beg to be read aloud. Did you enjoy reading to your children when they were younger?
I always read to my children at bedtime – probably at other times too. Now I have grandchildren I can read to as well.

Have you been influenced by any particular books or authors?
I think Russell Hoban’s books about Frances are wonderful. I read a lot of poetry.

Do you find it exciting having an illustrator interpret your stories? Do you look forward to seeing the results?
Yes. It’s always a surprise to see how an illustrator has shown the characters I’ve created, and to have someone else’s imagination added to the story. That’s a delight.

Do you have any tips for aspiring authors?
Read and read and read. Write a first draft really fast then go away and think about it and re-write it. Then repeat that process!

Diana is the author of OODLES OF NOODLES, THE VERY BUSY DAY,
THE VERY NOISY NIGHT and THE VERY SNOWY CHRISTMAS

	Julia Hubery Julia was born in Stamford and trained as an architect. She loves the countryside and nature and finds it a pool of inspiration to draw on in her writing. Julia now lives in Gosport with her husband and three children and hopes one day to get back to doing pottery, one of her favourite hobbies – once her children have all grown up!

Are you a tidy-desk person or a messy-desk person?
What’s a desk! Believe it or not, I sit on my bedroom floor and spread books, files and texts across my bed to write – usually it’s the only guaranteed peaceful place in the house. I like to think that if I had a lovely little writing room, I’d be ‘Mrs Tidy’ – but maybe not.

What are your habits when you are working on a book – do you have a very set routine or will you only sit down to work when the inspiration hits?
As I work part-time and have three children, I have to grab the writing time whenever I can and hope the ideas flow. I nearly always have a few texts bubbling along, so my writing day varies. Sometimes I’ll play with new ideas, maybe a picture or a sentence, to see if anything comes. Other times I’ll prod and stir my half-way texts to see if I can move them on. Inspiration likes to strike in awkward places, like on the way to work – so I have to scrabble for a pen and scribble it down to play with later.

Do you look forward to seeing how an illustrator has interpreted your story?
Yes – it’s like Christmas – waiting to see someone else’s imagining of the pictures I’ve had in my head. And I love picture book illustrations – my computer’s full of samples from illustrators I’d like to work with one day.

Decorating the Christmas tree is one of my favourite jobs, and always has been, but I don’t “theme” it – I just add maybe one or two lovely things each year to my “best decs” box. I can still get lost in the magical mix of twinkle and sparkle and reflections, in the gorgeous green of a real tree. When I was young, my favourite decorations were birds made of shiny woven ribbons, with ringlet tails draped through the branches – I used to perch them all over the tree.

What is the best thing about writing books for children?
I like the way writing absorbs you, and the fun of playing with words and characters. But best of all is when a story starts to have a life of its own, so it almost writes itself.

What would be your ideal way to spend a day off from writing children’s books?
Never mind a day off – I’d love a full day “on” writing children’s books. With work and a busy house, my writing hours are precious. But if I could write full time, then a walk in the woods or up on the Downs would probably be my choice for a day off.

What was your favourite book as a child and has it influenced your work as an author?
Does anyone out there remember Pookie the Flying Rabbit or Orlando the Marmalade Cat? I loved them, but if there’s any influence on what I write, it’s subconscious, because I can’t remember the stories themselves and I can only just picture Orlando. Reading to my own children, I enjoyed Jane Hissey’s stories, and Jill Murphy’s tales of the Large family, among many, many others.

Do you have any tips for aspiring authors?
Enjoy yourself. Don’t fret about having a plot or a start, middle and end when you’re starting something. If the blank page is scary, just write anything about anything – nobody but you needs to read it, and it’s surprising how the pen takes over once it gets started. I never start a story knowing the end, and I often start with just a sentence that I love the sound of or a picture in my head. Then I’ll write forwards, backwards and around that nugget until it starts to lead somewhere.

If a story gets “stuck”, try making one big change for the fun of seeing what happens – add a new character, or some silly event to loosen things up. A CHRISTMAS WISH only came to life some months after I started it, when I gave Gemma a little brother. If a story really won’t play, let it rest for a while. Just because you can’t make it work now, doesn’t mean you never will – and you’ll see it with fresh eyes when you come back to it.

For picture books, always read your text aloud as you develop it – to yourself in the early stages and to a patient friend when you think it’s nearly ready. Reading aloud really shows you where the “dead words” are and where the flow needs to be.

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Cecilia Johansson Cecilia Johansson was born in Västervik, a small town on the east coast of Sweden. Since graduating from Nottingham Trent University in 1999, Cecilia has worked full-time as an illustrator. She now lives in Stockholm, and likes to draw and paint, read books, travel and spend time with her dog, a Welsh Springer Spaniel called Dustin!

Tell us about the way you work. Where do you draw? Do you have a particular routine? Do you listen to music as you work?
I share a studio with six other people (and two dogs!) in a very nice part of Stockholm. I travel there by bus, which takes about 40 minutes and I spend the time reading a book or just listening to other people’s conversations. My friend, Jessica, and I have a room to ourselves. We listen to the radio most of the day. We don’t have the same taste in music, but she chooses the channel in the morning and I choose in the afternoon. We also talk a lot – the others tell us they can hear us chatting all day long!

What medium do you use to create your illustrations?
For most of my children’s books, I work in acrylics. It’s fun and a bit messy. And the good thing is you can make as many mistakes as you want – you can always paint over it until it looks like you want it to! However, I enjoy working in different styles. I often make quick line drawings, almost like sketches, and then colour them in using the computer. Hopefully one day I will be able to illustrate a whole book in this style!

Lots of different animals feature in TEN ON THE BUS. Which animal did you most enjoy drawing and have you seen any interesting animals in the wild?
I think I like the camel best. I gave him an iPod to listen to while travelling on the bus. I had just bought one myself at that time so I thought that was fun. Working with the drawings you kind of get to know the animals’ characters, you give them attributes and think of them as friends. I like animals a lot! Dogs are my favourite but I am a bit allergic. When I was in Australia four years ago, I met some kangaroos in the zoo. They were so tame and just lay on the grass while we fed and patted them. I was curious to see if I was allergic to kangaroos too, but now I know I’m not!

You lived in England for seven years and now live in Sweden. Which is the best country you have ever been to?
I am very happy in Sweden. I live in the capital, Stockholm, but I am very close to green areas, parks and forests. It’s a nice country which gets cold enough for skiing in the winter, and warm enough for swimming and sunbathing in the summer! But I also miss England a lot and I think a part of me will always be left there. Now when I go travelling I often take the chance to visit friends. My best friend lives in North Cyprus and I have been to see her and her family a few times. She takes me to places normal tourists don’t usually find, and we go diving and fishing and have barbeques on the beach!

Who or what are your influences?
Well, I read a lot and I collect children’s books for inpiration. Quentin Blake is, of course, one of my favourites, but I also like French artist Benjamin Chaud and Swedish talent Pija Lindenbaum. I like the kind of clever humour these illustrators all have. Another source of inspiration is my dog, Dustin! I think all of the animals I draw have a little bit of him in them…

What would be your ideal way to spend a day off from illustrating?
I’d probably spend it outdoors somewhere. I like jogging and I always say I’m training for the marathon. It will probably not happen for many years to come but that’s one of my goals anyway! I get very excited when the picnic season starts. My friend and I have decided to try out all the parks in Stockholm before the summer is over!

If you hadn’t become an illustrator, what do you think your career would have been?
Both my parents were teachers and I saw how hard they worked, so I always said that’s not for me! I had lots of different career plans when I was younger, for example, dolphin trainer, pottery artist, librarian, photographer for National Geographic… Now, however, I think teaching would not be such a bad idea after all… A PE teacher perhaps?

Cecilia is the illustrator of     ME AND MY MUMMY     ME AND MY DADDY     TEN ON THE BUS     JUST LIKE MUMMY     JUST LIKE DADDY

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Norbert Landa Norbert Landa was born in Austria and has worked as a journalist, songwriter and playwright. In 1980 he began writing books for children and has now had over 120 books published. He is also the publisher of Germany’s leading educational children’s magazine. Norbert now lives with his wife in Germany.

Are your stories completely imagined or are you inspired by real-life experiences?
I guess I imagine them completely, as I am not aware of writing about experiences that have happened to me. What I do is put my characters in an imagined scene and situation, telling them about the key idea and asking them to act naturally whilst guiding them through the storyline. In most cases my characters are reluctant or unable to tell a proper story, so I leave them alone in their unfinished play. Only very few trials end up in a story which I feel is worth being told; these are moments of happiness! 

In SORRY! Bear and Rabbit find it difficult to apologise to one another. Do you ever find yourself feeling as stubborn?
According to the people who know me quite well, including myself, I am ‘The Great Apologiser’!

Do you look forward to seeing the artwork for your books? Is it strange having someone else illustrating your text?
When writing a story, I get more and more familiar with the characters and the way they think, feel, talk and act. But I don’t have a clear picture of how they look and how the scenery should appear in the illustrations, so it is always a remarkable experience to see how my picture book looks in reality, and which aspects of the story the illustrator has preferred to emphasise. And as long as wonderful illustrators such as Tim Warnes are taking care of the visual side, it is a great pleasure to re-read the book alongside the illustrations. By the way, the original meaning of illustration is ‘enlightening’!

If you could have written any other book, what would it be?
Probably another children’s book or stories, poems or songs for my German children’s magazine.  There is one book I should have written a long time ago: a vegetarian cook book for children, with the recipes embedded in a story that tells children how good it is to be good to animals! 

What would you be doing if you weren’t a children’s author? 
Well, I have been an academic philosopher, a newspaper journalist, a songwriter, a playwright and an army officer. I tried out quite a few things before encountering, and writing for, illustrator Hanne Türk, who is now my wife of 25 years! Since then I have been a dedicated writer, composer and publisher for children, with no change in sight! 

What is the best thing about writing stories for children? 
I’d probably be an unhappy novelist, as I am a sprinter rather than a long distance runner, and luckily, children’s stories are short stories! Also, it is lovely to have enthusiastic readers.

When you are working on a book, do you have a set routine? Is there a special place where you find it easier to concentrate?
My working space is an office, and I consider myself lucky to be able to switch from business to creative tasks and to step, with a smile on my face, into the world of Bear and Rabbit in a minute. When I am working on a story, I prefer my home office and absolute stillness.  

As a German author, do you write directly in English or do you translate your text from German?
I wrote SORRY! in English from scratch. Apart from the fact that I love your language, I feel quite comfortable writing in English, as it seems to give me more freedom to write in a naive way. Anyway, the editors at Little Tiger Press do a perfect job in keeping the best parts of my approach and adapting the rest for English ears.

Norbert is the author of THE GREAT MONSTER HUNT,
DON’T BE AFRAID OF THE DARK, LITTLE BEAR, SORRY! and
LITTLE BEAR AND THE WISHING TREE.

Tina Macnaughton Tina Macnaughton was born in Edinburgh and did a BA Honours in Illustration before going on to work as a graphic designer for Grosvenor of London and Hasbro. She now illustrates picture books full-time. Tina loves travelling, sailing, cinema and animals. She worked in the Cayman Islands for a year before going to college, and has been on many safaris as well as sailing around Britain and Europe. She lives in Guildford.

What medium do you use to create your pictures?
I use soft pastels on tinted pastel paper with pastel pencils for fine detail. It’s brilliant for creating the soft fur of animals and snow. Plus, it’s great for instant colour, with no mixing, and makes planning a colour scheme very easy, though pastel paintings are very delicate because they smudge like crazy.

Do you listen to music or the radio while you work? Yes, I listen to radio that has a mix of music and topical conversation, though I have found classical music is best for doing grand magical landscapes and upbeat pop music is best for doing pictures with humour.

When did you decide you wanted to illustrate children’s books?
At the age of 10 or so I was asked if I was going to be an artist when I grew up and surprisingly I said “NO WAY” as I thought you could not make a living at it. Then at 14 I went to a careers evening at school and learned of graphic design and illustration, which I was delighted about because I really loved art above anything else.

Did you enjoy art at school? Yes, it was always my favourite subject and I was always the top of my class. I even won the painting cup at sixth form college, though art school did not do much for my confidence because it’s so subjective. One teacher may love your work, but another may hate it – it is all a matter of preference. With art, there is no right or wrong answer, which can be frustrating to a young artist.

What’s the best thing about being a children's book illustrator?
The best thing is creating worlds and characters in your head and making them come alive on paper. Not only that, it’s very, very fulfilling to know that so many people gain pleasure from looking at my pictures.

And the worst?
The worst aspect is tight deadlines and working late into the night.

You illustrated lots of different animals in SNUGGLE UP, SLEEPY ONES. Did you do much research?
Yes, I always research animals. You can never have enough reference material and I am slowly building up a collection of books on animals, plants and scenery. I also collect images from wildlife magazines, plus I spend a lot of time searching on the Web as well. Sometimes I see a pose and think “Wow, that is so cute”, and keep it for future books.

Which animal did you enjoy illustrating the most and why? I think maybe the hedgehog because he is so small and vulnerable. Plus he gets things stuck to his prickles, which offers scope for cute humour.

Who are your favourite illustrators?
I am a fan of John Butler whose animals are so adorable. I also love Alan Lees’ work on THE LORD OF THE RINGS novels — he has such awe-inspiring talent. He is everything any artist would wish to be.

Do you have any tips for aspiring illustrators?
Self-belief, unique painting style and passion are nothing if you have not got discipline to sit down and work without someone nagging you. You have to be very self-motivated and organised. A lot of people fail because they are not prepared to work hard. On a practical note you need financial back-up in the form of savings or a part-time job in the beginning for at least one or two years. Never enter into this with big debts because you need to give it plenty of time to grow and allow you to work at it full-time. Finally, don’t let any rejection make you depressed or destroy your confidence — even the very best artists get turned down.

What’s your favourite animal?
I am absolutely nuts about dogs. They have such funny personalities with such a lust for life that could inspire anyone. They are one of the few animals with a sense of humour.

Tina has illustrated many books for Little Tiger Press. Click on a bookcover to get details of the most recent ones.

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Mick Manning & Brita Granström

Mick has a degree in graphics and an M.A. in Illustration. An authority on birds and mammals, he has been a freelance illustrator since 1982 and has taught at various art colleges. Brita grew up on a small farm and studied Graphic Design and Illustration. When Mick and Brita first met, they began making children’s books together for fun in the evenings after their day jobs. They are now married and share a home and children.

How long have you been writing and illustrating books?
Mick & Brita: About 12 years in print – but we both trained to be illustrators and designers, Mick in England and Brita in Sweden.

Where did you get the idea for the story of COCK-A-DOODLE-HOOOOOOO!?
Brita: It was actually inspired by a newspaper article, from a Swedish newspaper, that my mum sent us. It was about an owl that had spent the sub-zero winter in a hen house. We have hens ourselves – but no owl! We have some ferrets too.

How do you organise yourselves when you are working together? Mick: We work quite closely together with an idea at concept and rough stage and then, depending on the book, we collaborate on the illustrations to a greater or lesser degree. We have four young children, so we tend to divide the days; one of us in the studio and the other pushing the pram or picking up the kids from school!

Where do you go for new ideas when writing a picture book?
Mick: We are always looking out for ideas. Many come from our own interests and day-to-day experiences – nature, history, children, pets, etc. We have recently published a book inspired by a family walk along Hadrian’s Wall.

Do you have anyone in particular in mind when you write or draw? Do you have a set of victims that you test your latest work on?
Brita: We tend to write books for ourselves, things we’d like to read or share with our children.

Which authors and illustrators influence your work?
Mick: We like many authors and illustrators, although I’m not sure if we are actually influenced by anyone. You’ll have to make your own minds up! I was taught by Quentin Blake among others, and Brita and I both love his work, attitude and spontaneity – but we don’t think our work shows an influence. Brita admires Janet Ahlberg and particularly Ardizzone, and I think her drawing shows a kindred spirit. I love Ardizzone too. Who else do we admire? Loads of people!

What is the best part of creating books for children?
Mick: It’s all exciting; from the first idea jotted down, to creating the book’s layout, to the artwork itself. It’s an intense process that can often feel like you’re rolling a heavy stone uphill! But when you get it to the top, the view is lovely!

Do you have any tips for aspiring authors and illustrators?
Mick & Brita: Don’t be disheartened. We had many book ideas turned down before we got our first one published together. You have to believe in yourself – it might sound corny but it is true. Be original. Know the market and don’t try to “re-invent the wheel”. Always remember you are making serial imagery not individual paintings. Think of your book as a film. Think about the progression from big to small, noisy and quiet, close and far away, and think about colour! Always make a dummy book for yourself to see how the illustrations work in sequence. Think about your audience.

Mick Manning and Brita Granström are the author -illustrator team behind COCK-A-DOODLE-HOOOOOOO! See details here

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Sarah Massini Sarah Massini began her career in corporate graphic design, and then settled as a designer in children’s publishing. After the birth of her son, she fulfilled a life-long ambition and became a full-time children’s book illustrator. She lives with her family in Sussex where she sits in her workroom each day, looking out over the fields, and being constantly distracted by her mad dog Tess! In 2008 Sarah was longlisted for The Big Picture campaign’s Best New Illustrators Award.

Where do you get inspiration for your artwork?
Everything, everywhere, everybody! Visual inspiration is around us all the time.

Are there any other illustrators, past or present, whose work you particularly admire?
There are too many to mention! I’m in awe of many contemporary illustrators – there is so much talent around. But one of my passions is collecting books from the 1950’s and 60’s. I love the style of the illustration and design, and the quality of the printing. I think this particular influence can be seen in OODLES OF NOODLES.

As a former children’s book designer, do you think you find it harder to take artistic direction, or does it make it easier to get it right first time?
I always try to take artistic direction on board – it’s usually helpful and constructive. The ‘laying out’ of text and illustration is second nature to me. I don’t always agree with the typefaces chosen, although I’m very happy with my two Little Tiger Press books – Little Tiger’s designers are top notch!

Have you always wanted to illustrate children’s books?
I started painting pictures for traditional children’s stories as part of school projects. Illustrating was my passion, but I was told that it would be more sensible to choose an artistic discipline that would earn a proper living, hence a degree and career in graphic design! After my son was born, and I was combining motherhood with freelance work, I decided to try my hand at what I’d always wanted to do – illustrating at last!

Do you show your illustrations to your son? Is he a fan of your work?
Matthew regularly looks over my shoulder and gives me sound advice. I put this question directly to him and he said, “I’m definitely a fan,” and then pondered over the fact that he didn’t have any of my work on his bedroom wall. But then pictures of cute bunnies aren’t very cool when you’re a ten-year-old boy! I think he is quite proud of his mum though, and will show my work off to unsuspecting visitors, even when I’d rather he didn’t! One final thing: I always try to sneak a reference to Matthew’s name into my book illustrations, and there is one in OODLES OF NOODLES!

What is the best thing about illustrating children’s books?
Knowing that children all around the world can take pleasure in the little details that I’ve thought about, roughed out, drawn up, and finally painted, at my window overlooking Sussex fields and trees and sheep.

Sarah is the illustrator of I'M SPECIAL I'M ME! OODLES OF NOODLES

Marni McGee Marni McGee grew up in North Carolina and graduated from UNC, Chapel Hill, with “Highest Honours in English”, and from Yale with an MA in Religion. She has treasured books and words ever since childhood. In addition to her award-winning picture books, she has written poetry, easy readers and historical fiction. Her favourite things include beach walks, reading, theatre, crosswords, travel and music. She lives in Santa Barbara, California with her husband.

Have you always wanted to be a writer?
Realising and embracing my career as a writer was a gradual process, but I was always a storyteller. My big sister and I shared a bedroom when we were little, and I remember telling her stories after our mother had turned off the lights… We were supposed to be asleep, but we would put our heads between the legs of the bedside table and whisper in the dark. This is a happy memory and the starting point for me.

What is the best thing about writing for children?
A writer for children has the amazing privilege of affecting a child’s view of the world. A story told early can touch a child’s spirit; a nest of words can shape a child’s dreams. I am profoundly aware that this is not only a privilege but also a trust. I take the responsibility very seriously – which is not to say that all my books are serious. Some are quite playful, like SILLY GOOSE. But even the most light-hearted ones have a meaning tucked away. These hidden messages always boil down to the basics – love, loyalty, honour, acceptance and courage.

Do you have a set routine when you are working on a book or do you wait for inspiration to strike?
In the early days of my career, my writing times were more disciplined and more predictable, but now travel, speaking engagements, and school visits intervene. And I’ve become a grandmother to little people in faraway places, so travel is inevitable. I write all the time. I think about my plot and invite my characters to chat no matter what I'm doing. I feel that I am always involved in the process, even when I’m asleep. There are times in any particular story when I don’t know where to go, what to do – and then I wait. This begins a time of openness, watching and listening.

Are your animal characters based on real people? Do you know anyone as cunning as Fox, or as sweet and naive as Goose?
I don’t know about “sweet”, but more than any character I've ever created, Goose is me, my alter ego. She is hopelessly gullible – and so am I. Fox is such a shifty character, such a smooth talker. Yes, I've met Fox… I used to work for him… in an office job long ago!

Do you look forward to seeing your characters interpreted by an illustrator? Are they ever as you imagined them?
I absolutely love the picture book process! I find it thrilling to see how my characters turn out, and I’ve only been disappointed once – a long time ago. In talks, I often explain that there are three imaginations at work to make a picture book, and they are all essential. The author’s imagination usually, but not always, begins the process. The other obvious component is the illustrator’s imagination. In between is the publisher and their team – the people who make the magic happen by “marrying” a particular author and the perfect artist for the task.

Do you do anything special to relax and celebrate when you finish a book?
Not really. It’s awfully hard to know when to say that a book is truly finished. For me, the ideal time to celebrate is when the finished art arrives at my door and I see for the first time how the words and images have come together. That’s the very best time – a good occasion for a nice dinner out. Of course, by this time, I’m working on something else. Writing is such a joy and a source of satisfaction for me that it really is its own reward.

What advice would you give to anyone trying to get their children’s book published?
Require the very best of yourself because children are worth it. This means that you have to revise and polish like crazy. It means that you may have to face a lot of disappointment before you get to celebrate success. Never give up on your dream. Finally, don’t do it for the money… Only do it if it brings you joy!

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Ann Meek Ann lives in Steeple Claydon, Buckinghamshire. She works as a Learning Support Assistant at a primary school and enjoys writing children’s stories, going to the theatre and reading in her spare time. Ann was the winner of the Little Tiger Press New Author Prize in 2003.

What was the inspiration for I’M SPECIAL, I’M ME!?
Working with so many different children and having my own family made me realise how different and diverse children can be, and how that uniqueness is special and should be celebrated in a positive way. Can you imagine what the world would be like if we were all the same?

What do you hope children will draw from the story?
I hope children will read the story and realise that it’s great to be different from anybody else; we’re all good at something – we just have to find out what it is!

How long did the book take you to write?
Actually not very long, but I kept revisiting it and changing words or adding bits and pieces until I was happy with it.

Is Milo based on anyone you know?
I think Milo is a combination of lots of the children that I have had the pleasure of working with, but I do have reddish hair and wear glasses for driving!

What was your favourite playground game as a child?
I was mad about horses as a child so I have vivid memories of charging around the playground with my friends using skipping ropes for reins. We also used to play lots of chanting, skipping and clapping games.

What is your favourite book? How has this influenced you as a children’s writer?
I absolutely love reading children’s books and enjoy reading at school so much. I love sitting in bookshops reading children’s books, and I have the perfect excuse that I’m looking for great stories for school. I don’t really have an absolute favourite book, but David McKee, Diana Hendry and Michael Morpurgo are among my favourite authors.

How does it feel to have won the Search for a Story competition out of over 1600 entrants?
Amazing! Absolutely fantastic! It has always been a dream of mine to have a book published, so it really is a dream come true.

Did you find it easy to combine writing and being a classroom assistant?
I have really only written for my own children in the past and this was the first time I have ever submitted anything, and I feel so lucky to have won. At the moment, I have just started a university degree in Primary Education so that I can become a teacher as well as still working as a Learning Support Assistant. So time to write at present is very scarce. However, I love writing and find it very relaxing and exciting as a story comes together, so I hope that in the near future I will be able to submit some more stories.

I’M SPECIAL, I’M ME! written by Ann Meek, is illustrated by Sarah Massini.  See details

Simon Mendez Simon Mendez was born in York and has loved to draw for as long as he can remember. He took a General Art and Design course at York Technical College and then studied Scientific and Natural History Illustration at Fylde College in Blackpool. He now paints many different subjects but mainly concentrates on portraits and animal subjects. Simon spends his time away from the easel reading, watching movies and walking in the countryside.

You studied Scientific and Natural History Illustration. Is this where you learned to achieve such a naturalist style? What medium do you use to achieve this effect?
I have always loved nature and animals, so naturally they were my most frequent subject matter as a kid. When I found out there was a course that combined the two, I was pretty chuffed. The juxtaposition of texture and form has always fascinated me, and the natural world is loaded with this stuff, so for a while it was a fun challenge to represent these in both a scientifically accurate and interesting way, often spending days just illustrating a square inch of crab claw, moss or detritus. Obviously this sent me a bit nuts, and I started moving away from the very restrained scientific world and into one focusing more and more on composition and lighting, which is a lot more rewarding. I use a mixed media of style combining all types of paints, oils, gouache, watercolour and mostly acrylic applied with a brush airbrush or my finger. I also use a lot of different coloured pencils and pastels.

What is your favourite animal to illustrate?
I like doing them all really, although tigers are tricky and I always run out of orange. I’ve struggled with squirrels and dead leaves more than anything, so I probably won’t be doing a book on an autumnal squirrel any time soon, but then I do like to punish myself!

Do you have any pets?
I have a cocker spaniel called Dillon Dog.

What do you like best about illustrating children’s books? 
Every day I get to think like a child, and it’s good to draw things I know I would have liked when I was little.

What would be your ideal way to spend a day off from illustrating?
I don’t really have days off, but I do like spending time with my twins.

Do you have any tips for aspiring illustrators?
Find out what you like doing and keep on doing it. The more you do it, the better you will get.

Simon is the illustrator of ONE WINTER’S NIGHT, ON THIS SPECIAL NIGHT, RUN, LITTLE MOUSE, RUN!, I LOVE YOU, SLEEPYHEAD and LITTLE BEAR AND THE WISHING TREE

Caroline Pedler Caroline Pedler lives in St Agnes in Cornwall and has been illustrating children’s books since 1999. She has lived in Portsmouth, Bath and Bristol, but her love of the Cornish coast and the pull of her family brought her back to Cornwall in 2005. She illustrates greetings cards and paints on canvas, many of which she exhibits in galleries all over the South-West. Caroline enjoys walking along the beautiful Cornish coast with Barney, the family dog, and surfing when the weather is warm.

Do you have a set routine when you are working on a book or do you only sit down to work when the inspiration hits you?
I have to set myself a schedule and stick to it, getting into the studio about 7:30-8:30am and finishing the earliest at 6pm. Then there’s also working weekends and evenings if I have an extra tight deadline or if I feel so inspired by the brief!

What medium do you use to create your pictures?
Acrylics... and pencil!

What’s the best thing about being a children’s book illustrator?
I love that you can inspire children. They are the most honest critics, which is so refreshing.

Have you ever seen a bear in the wild?
No...I don’t think they live in Cornwall! But I did see a polar bear in the zoo many years ago. They are gorgeous…but I would love to see one in the wild.

Do you have any pets?
No, but I baby-sit various dogs around the village and my parents’ dog, Barney, a big black Labrador.

What would be your ideal way to spend a day off from illustrating?
Walking with my friends and family dogs along the cliff tops and the beach. Spending time with my friends on the beach, in the village, going to see live music, kayaking, swimming in the sea…and just chatting, drinking and eating with my friends.

Who are your favourite illustrators?
In children’s books I love David Roberts and his Dirty Bertie series, and Jane Chapman and Tim Warnes’ work… I love Sara Fanelli's work… My friend and fellow student at University, Andy Potts, is a fantastic illustrator, along with loads of illustrators who work in Cornwall. There are too many to name! I like lots of different artists all around the world but their names escape me right now!

Liz Pichon Liz Pichon studied Graphic Design at Middlesex Polytechnic and Camberwell School of Art in London. She then worked in the music industry for Jive records as a designer and art director, organising photo sessions and designing record and CD covers. Since going freelance, her work has been used on many different products all over the world. From beach towels to fabric, calendars, mugs and games. She has worked on several successful ranges of cards, some of which are still selling today. Liz lives with her husband and three children in Brighton.

You write and illustrate your books for Little Tiger Press. What comes first, the words or the pictures? Do you enjoy doing one more than the other?
Sometimes I think of the title of the book then the characters, and other times I create a quirky character and the story comes from that. With THE THREE HORRID PIGS AND THE BIG FRIENDLY WOLF, I thought of lots of classic titles, and the story came from there. I love the initial ideas stage – the painting of the book can take ages, and I’m always pleased when that’s finished.

Do you have a special place where you work – a studio or office – or can you work anywhere?
I have just moved studio. I’ve taken over what was my husband’s studio in the garden (his shed!). Now it’s my lovely studio and it has all the mod cons and is very cosy. I carry a notebook and like to write down ideas for stories whenever I think of them, or if I hear anyone saying anything that sparks off an idea. My youngest daughter once asked me for one of those “Queen stickers”… it took me a while to realise she meant a stamp! That will appear somewhere in the future.

Where do you find the inspiration for your stories and characters? Are they ever based on real experiences or people?
I think you’d be surprised how subconsciously most illustrators and cartoonists draw themselves or characters that look like them. I once saw Nick Butterworth and I think he looks like his character Percy! All my stories have elements of my family life and people I know. I often draw bits of furniture from my house in books too. It’s easier than having to imagine whole scenes.

Do you let your children look at your books while you are working on them? Do they tell you what they like about them or what they think you should change?
I do read them the stories all the time when I’m working on them. I also read them to my husband who is always very honest.

After working in the music industry and creating designs for products, how did you become interested in storytelling?
I was asked to illustrate other people’s books a lot, so I thought I should have a go at doing my own stories too.

What is the perfect way to spend a day off from writing? 
During the summer, I swim in the sea then have a barbecue with my family in our lovely garden. In the winter, I swim in the local pool, then stroll on the beach to the Italian coffee and ice cream parlour for a big cappuccino, and the kids have homemade ice creams – even if it’s freezing outside!

See details of Liz’s books:
THE THREE HORRID PIGS AND THE BIG FRIENDLY WOLF
THE VERY UGLY BUG
BORED BILL

Bored Bill has his own activity page, click here to go there now.

Simon Prescott Simon Prescott first realised he had a talent for drawing when one of his masterpieces was exhibited on the 80’s children’s TV classic, Wacaday. Since then he has honed his skills at the Norwich School of Art, achieving a BA in Graphic Design, and the Cambridge School of Art, where he gained an MA in Children’s Book Illustration. Born in Aylesbury, now living in Cambridge, Simon also spent two years hunting Moomins in Finland.

Have you always wanted to illustrate children’s books?
Since I was young I would always be drawing and doodling, filling pads of paper, and coming up with characters and stories. When I was about 7 or 8 years old, I sent a little comic I had made to a publisher. They told me to come back when I was a bit older, so I did!

What made you decide to pursue this as a career?
I always wanted to have a job that involved art in some way. Eventually I found that illustration was the direction I wanted to pursue with my work. One of my final projects on my Illustration degree was a picture book. Then, after taking a gap year or two, I realised children’s books were what I really wanted to do. I ended up on a Children’s Book Illustration MA course, which then led me to getting published.

What role did books play in your childhood? What were some of your favourites?
Growing up, we always had shelves full of books at home. We were encouraged to read and were read to a lot, mainly fairytales and fables, and adventure stories. I always enjoyed the old-fashioned style readers and storybooks because the text wasn’t patronising and the illustrations were fantastic! It wasn’t just books; comics, cartoons and animation were also influential. Some of my favourite childhood books were Wind in the Willows, Aesop’s Fables, The Very Worried Sparrow, Asterix, The Beano, Rupert the Bear and Beatrix Potter’s books.

Do you have a special place where you work – a studio or office – or can you work anywhere? I have a large table in my workspace, which gets lots of natural light. I surround myself with objects, images and sketchbooks to inspire me. As long as I have a pencil and paper with me, I can pretty much work anywhere! What medium do you use to create your illustrations? I use all different kinds of mediums: pen, pencil, paints, ink, crayon, charcoal, the list goes on! I like to create texture in my illustrations; I’m always experimenting with different surfaces to work on. It really depends on what kind of mood or atmosphere I want the image or story to have. Are you a town mouse or a country mouse? I would have to say I am a country mouse at heart. But the city definitely has its own charm. Which other illustrators do you particularly admire? Shaun Tan, Tove Jansson, Ronald Searle, W. Heath Robinson, Paul Slater, and Jiri Trnka.

What is the perfect way to spend a day off?
This would probably involve being outside on a sunny day enjoying some nature and maybe a bit of sketching. I would probably get some instruments and friends together and make some music, then catch a film or see some live music.

Simon is the author/illustrator of ON A DARK DARK NIGHT and SMALL MOUSE BIG CITY Click here to download your own SMALL MOUSE BIG CITY wallpaper.

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Catherine Rayner Award-winning author and illustrator, Catherine Rayner, was born in Harrogate and now lives in Edinburgh. She has a BA Hons in Visual Communication and Illustration from Leeds College of Art and Edinburgh College of Art. Much of her inspiration for her illustration comes from her pets.

In a conversation with Catherine, we asked her about her work, her influences and The Big Picture campaign.

How does it feel to be recognised as one of the talked-about names in picture books at such a vibrant time in the industry?
It is a huge honour. When you spend most of your time sitting in your flat painting, drawing and writing, it can be quite solitary. It is fantastic to know that people in the big, wide world are getting pleasure from my characters. I studied the work of many of the illustrators in The Big Picture top ten when I was working towards my degree show. It is amazing to now be exhibiting my work alongside theirs.

This award highlights some of the best illustrators to be published in recent years. Of your peers, whose work do you particularly admire? 
Emily Gravett’s work is genius. Her ideas are really clever and her artwork is beautiful. I love the way Alexis Deacon captures creatures in such a fluid way. Elena Odriozola’s use of colour and perspective is just wonderful. I admire so many contemporary illustrators for the way in which they capture empty space and make use of it. Quentin Blake is still brilliant. His illustrations are so quirky and make you feel alive!

What role did books play in your childhood? What were some of your favourites?
Books were parent time. It was a different part of the day where we would sit and enjoy books together. That’s why it’s so important that there is something in books for adults too. I always loved the pictures the most; I was more interested in them than anything else. I loved the Brambly Hedge stories and Judith Kerr’s Mog stories. Judith Kerr’s pencil drawings are fabulous and the stories are just wonderful and comforting and sweet. Quentin Blake and Roald Dahl were a brilliant team. Their books are just so fun and naughty.

When did it first hit you that your success was growing and people were really beginning to notice your work?
When I realised it wasn’t just my friends and family who were buying my book! I did an event at a library in Scotland recently and the librarian showed me how many times their copies of AUGUSTUS AND HIS SMILE had been stamped. They’d been stamped so many times! One of them had to have a new sticker put in the front of the book because it had run out of space. It’s things like that which really make you realise how many people are interested in your work.

What comes first when you’re working on a book: words or pictures?
It’s really the character that comes first. I make friends with the character and then they tell me where they want to go. Once I’ve had the idea for the character I start sketching them. I then think about what they’re going to do, what their story is going to be and further sketches develop alongside the story process. You live, think and breathe your characters when you’re working on them. I guess they’re what you wish you could be: optimistic, happy and beautiful.

When you were working on AUGUSTUS AND HIS SMILE you went to sketch tigers in London Zoo. Where did you find a hare to sketch when you were working on HARRIS FINDS HIS FEET?
I had actually just seen some hares in the wild, which inspired me to start drawing them. I was displaying some hare pictures in a gallery and someone saw them and got in touch and told me they had a Belgian Hare, which is actually a rabbit, but looks just like a hare. So I went along to see Noodles the Belgian Hare and took loads of photos. These really helped me to capture the form, colour and movement.

Are you pleased to be acting as an ambassador for The Big Picture? Do you think the campaign will have a big impact?
I’m delighted. It really is an honour. I think touring the country will really make books and the people behind them more accessible. Booktrust events are the kind of things you couldn’t organise independently. They work so hard to get the authors and their books ‘out there’. Books can never be boosted too much. They are so important in developing a bond between adult and child. You can, and should, read anywhere. Books allow you to travel into a different world, no matter where you are.

See details of Catherine’s books: SYLVIA AND BIRD HARRIS FINDS HIS FEET AUGUSTUS AND HIS SMILE

Alison Ritchie Alison Ritchie works as a freelance editor and writer and has published several children’s books. She lives in a village in Oxfordshire with her two children and dog.

What was your dream job when you were a child? Have you always wanted to be a writer?
When I was little, my parents took me and my sisters and brother to stay in a hotel in Bournemouth. My brother and I spent most of the day going up and down in the lift so I think I thought working in a hotel lift might just be my dream job! I didn’t really think about being a writer. I used to save my pocket money every week to buy books, and I wrote a diary and holiday journal, but I never thought I would end up writing for real!

What was your favourite book as a child?
My favourite book was one my granny used to read to me, called Bobbity Flop. It’s about a rabbit who gets lost in the snow and is rescued by the postman who carries him home in his mailbag. When he gets delivered back to his family, Bobbity is allowed to sleep in his mummy’s bed, and I always loved that bit! I also loved a book called Bettina Bear’s Bus, about a bear who turns a doubledecker bus into her home, which was really cosy.

ME AND MY MUM is a beautiful story about the bond between mother and child. Did you enjoy sharing stories with your children when they were younger? Are they fans of your books?
I loved sharing books with my children and we always read together every night, then I used to fall asleep on their beds! They are fans of my books once they are published, but at the stage when I try out various versions on them, they’re not quite so keen!

Are your stories completely imagined or do you take inspiration from your own experiences?
I think my stories are mainly imagined, although I did write a book about cutting my daughter’s hair and getting it badly wrong. That definitely happened! At the moment I’m writing a story about a silly dog, and my black Labrador gives me a lot of inspiration for that.

What is the best thing about writing stories for children? Is there a particular part of the process you find most enjoyable?
I love reading picture books and I love writing them, but sometimes it doesn’t go quite the way you want it to, so you have to start all over again. That’s hard! Also I have lots of ideas and I often give up on them too soon and go onto the next idea, so I end up with lots of beginnings and no middles or endings. The best bit is when I manage to make myself keep going!

Do you look forward to seeing the artwork for your books? Is it strange having someone else illustrating your text?
I LOVE seeing the artwork! I can’t draw at all, and although I sometimes have ideas for what might work, the illustrator always has better ideas and the text just comes to life. I feel really lucky to have someone else illustrate a text I’ve written.

When you are working on a book, do you have a set routine? Is there a special place where you find it easier to concentrate?
I like to start working early in the morning tucked up in bed, and I try to stay there until I’m happy with what I’ve written. That means I spend a lot of my day in pyjamas. Bed is definitely the best place to concentrate!

Alison is the author of ME AND MY MUM!, ME AND MY DAD!,
IT’S TIME TO SLEEP YOU CRAZY SHEEP! and WHAT BEAR LIKES BEST!

David Roberts David was born in Liverpool. He studied Fashion Design and then worked as a fashion illustrator in Hong Kong and a couture milliner in England. He has now illustrated over 30 children’s books. David lives in London.

What is your worst habit? Leaving the washing up for days and days. How did you come up with the idea of Bertie? By observing other people and myself.

When did you decide to become an illustrator?
I started working as a fashion illustrator in Hong Kong in 1993, but I had shared a house with two children’s book illustrators in the late 1980s and I was very inspired by their work (Gillian Taylor and Dan Monsell).

What do you enjoy most about writing and illustrating?
Working for myself.

What is your favourite children’s book?
A HOLE IS TO DIG by Ruth Krauss and illustrated by Maurice Sendak. It was the first book I ever bought.

Are there any more Bertie books planned?
Yes.

What inspires and influences you in your writing and illustrating?
Looking at other children’s books, art, music and nature.

Dirty Bertie has his own activity page. Click here to go there now.

Hilary Robinson

Hilary Robinson was born in Devon and brought up in Nigeria and West Yorkshire. She currently works as a Producer for BBC Radio 2, and occasionally writes on educational and health matters for broadsheets and specialist press. She is the author of many children’s books including the Princess series for Little Tiger Press. Hilary lives in North Yorkshire with her family, and enjoys sport, music, art and writing.

What would you do if you got the chance to be a princess for a day?
If I were a princess for a day, I would turn the palace into a huge obstacle course and organise a fun sports day for all the maids and their cats. We’d have pink fizzy pop and tea in the middle of the daisy island in the palace gardens, surrounded by pink flamingos.

Lucy and Princess Isabella are pen pals. Did you have a pen pal when you were younger, or do you have one now?
I was brought up in Nigeria. My parents were lecturers there. My pen friend was my cousin, Felicity, who lived in England. She would tell me of all the books she was reading but all we had, because it was such a poor country, was Dr Seuss and the children’s bible! So I blame Dr Seuss and ‘The Feeding of the Five Thousand’ for transporting me into another world.

What did you like most about writing about Lucy and Princess Isabella in the PRINCESS’S SECRET LETTERS and the PRINCESS’S SECRET SLEEPOVER?
I loved getting into the mind of a princess and a little girl who aspired to be a princess. The words just flowed out as I just love writing letters. I could hear their voices, the tone of their language, and the humour just popped into my head.

Do you look forward to seeing how an illustrator has interpreted your story?
That is just the best thing about being a writer. I can’t draw a dog’s tail, so to see a brilliant illustrator interpret my work in such a fantastic way is just wonderful! Mandy Stanley has a delightful touch and her art-form perfectly complements the text.

What would be your ideal way to spend a day off from writing children’s books?
That’s a tough one. I love shopping for clothes, lunching with friends and going to the pictures. My favourite films of all time are Kes and Love Actually.

What is the best thing about writing books for children?
That’s an easy one! I love getting letters from children who write to me about my books. They become my new pen friends. They tell me all sorts of funny things.

What was your favourite book as a child, and has it influenced your work as an author?
My favourite book when I was tiny was THE CAT IN THE HAT. I couldn’t believe that an author could name characters “Thing 1” and “Thing 2”. I think Seuss is a genius because he takes everyday situations and twists and turns it like a kaleidoscope to create unusual scenarios!

Do you have any tips for aspiring authors?
I always say to people “rejection is part of life”. It’s easy to look at successful people, like footballers and pop-stars, and think they have the perfect life. They don’t because it’s terribly hard to stay at the top but what you don’t see are all the struggles and the often boring dedication that goes into getting to the top. It took me a long time to find a publisher for my first book but I never gave up.

Hilary is the author of THE PRINCESS’S SECRET SLEEPOVER and THE PRINCESS’S SECRET LETTERS

Steve Smallman Steve Smallman was born in Cambridgeshire and now lives in Staffordshire with his wife, four children, two dogs and two cats. Steve has been illustrating children’s books for over 25 years and has recently started writing his own stories. Steve also teaches illustration workshops in schools, including mural-painting. When he’s not working, Steve enjoys films, television, gardening and walking in the countryside.

Steve’s first book for Little Tiger Press was BUMBLETUM. It is now available in paperback under the name A HUG FOR HUMPHREY.

What was your favourite toy when you were a child? Do you still have it? I used to have an old, one-eared panda bear that was more grubby grey than black and white. It was stuffed with something that looked like wood shavings or straw (I know because his arm fell off and most of his stuffing fell out). I no longer have it. (Sniff.)

Do you prefer writing or drawing for children’s books? Having been an illustrator for so long, do you find it odd to see another artist’s interpretation of your ideas?
I like doing both – they’re very different disciplines. It is definitely weird to have other artists illustrating my text because I think very visually as I’m writing. It’s a shock to discover that other artists don’t have the same stuff in their head as me. Mind you it would be pretty scary if they did!

What are your habits when you are working on a book – do you have a very set routine, or will you only sit down to work when the inspiration hits?
I can’t afford to sit around all day waiting for inspiration to hit – I’d end up watching daytime television, and where’s the inspiration in that? When I’m writing I find it’s best just to get started and see where it goes and eventually the ideas start to flow, usually when it’s time to do something else like walk the dogs or cook the tea.

Do you have any advice for young people who’d like to embark upon a career in writing and illustrating children’s picture books?
My advice to illustrators is to try as many different techniques, materials and styles as you can till you find what works best for you. Be inspired by other artists but don’t try to copy them. Your own style will develop and it will be original. Don’t expect to make a living straight away but keep trying! I’ve only just started writing picture books myself, so I’m no expert but I find that listening to children is totally inspiring. The way they use their limited vocabulary to brilliant effect and invent words to fill in the gaps. My son Sam told me when he was three that a bee was a ‘bizzing creature’ with nettles in its bottom. Brilliant! I try to write like a child (I act like one quite a lot too!). Try to remember how you felt as a child and draw on your own experiences when you write. Humour is really important too and if it works on two levels, the child giggling and the parent chuckling at the subtext, all the better! Have fun!

Do you have anyone in particular in mind when you write or draw? Do you have a set of victims that you test out your latest work on?
I don’t usually have anyone particular in mind but most of my characters are a mixture of people that I’ve known or seen on the telly. When I’m writing I find that even if I do have a fixed idea about a character when I start, it alters as the story progresses. It’s a bit like meeting someone for the first time – your first impression changes as you get to know them better. I visit schools quite a lot and test out stories on the children when I can. They can be brutally honest!

If you weren’t an author or illustrator, what would you be doing with your life?
Something arty, but I really don’t know what!

What is your favourite book? How has it inspired you?
Winnie the Pooh by A. A. Milne, illustrated by E. H. Shepard.
I love the warmth, charm and ‘Britishness’ of this book. Milne’s easy narrative style, the simple but profound dialogue and a memorable cast of well-rounded characters (especially Pooh!) make it a treat to read. Shepard’s illustrations are just perfect – he manages to convey such expression in his characters almost entirely through their body language. It’s a bit good!

When did you realise that you wanted to be a full-time illustrator?
When I was 17, I had a ‘careers advice’ interview with a teacher who suggested that I might be able to do ‘art’ for a living. Up till then I was thinking about being a zoo keeper! I went to an art college in Cambridge where I was taught by Colin McNaughton and that’s when I decided I wanted to be an illustrator.

Bumbletum was printed in paperback with the title A HUG FOR HUMPHREY

Kenneth Steven Kenneth Steven was born in Scotland. He is a poet, novelist and children’s author. His work has been published in top literary journals, both at home and abroad, and it has been included in anthologies and broadcast on BBC TV and radio. For one year he lived among the Sami or Lapp people of Arctic Norway, the inspiration for his ‘new legend’, THE SONG OF THE TREES, for Little Tiger Press, which was shortlisted for the English 4-11 Awards 2002. He lives in Perthshire, Scotland.

What was your inspiration for writing THE SEA MICE AND THE STARS?
Strangely enough, DAVID COPPERFIELD by Charles Dickens. In that story, a family live in an old boat by the sea, and slowly the idea came to me of mice living in a similar boat.

Where’s the most interesting place you’ve ever been. What influence did it have on your writing?
There isn’t one place but lots. I think the Hebrides are most important to me. They are small islands off the west coast of Scotland with sandy beaches and wild hills. I find lots of ideas for stories (and poems) there. I wrote THE SEA MICE AND THE STARS on the island of Iona, my favourite of all the Hebrides.

When you travel do you go somewhere to research a book, or does the idea come from that place?
The idea comes from the place usually, although sometimes I find ideas in books (like DAVID COPPERFIELD). I don’t like doing lots of research for books. I prefer to walk in wild places and have daydreams. I suppose all my ideas come from daydreams!

What do you enjoy most about writing for children?
I like remembering being a child myself. Maybe I’ve never quite grown up, and I think there are still lots of ideas in my head about places and people from childhood days. It’s a world that is full of magic and I love being able to keep it alive.

What books have influenced you most as a children’s author?
The first books I ever read were THE CHRONICLES OF NARNIA. I also loved THE BORROWERS and THE HOBBIT, and many, many others. I used to read long into the night.

Where do you find it easiest to write? Do you have a nook or a special place just for writing?
I have my own wooden cabin at the bottom of my mum’s garden! It just has a light and a heater in it, and lots of books. I need it because I can really concentrate there, and I’m not disturbed by the telephone or the doorbell.

Do you have any tips for aspiring authors?
Read and read and read. Try to work at your writing all the time. Keep a note of your ideas and try to find a quiet place to write.

Kenneth is the author of THE SEA MICE AND THE STARS THE SONG OF THE TREES

Martin Taylor Martin Taylor studied Graphic Information Design at Falmouth. He has been Creative Director at Caterpillar Books for five years. Martin’s particular talent is in paper engineering, a skill that he has utilised to great effect in the award-winning PEEKABOO pop-up series. When he came up with the idea for the Adventure pop-up series he thought he would try his hand at writing the books too! In his spare time Martin enjoys surfing, scuba diving and wakeboarding, and has recently qualified as a Rescue Diver. He also delights in developing gourmet vegan recipes and adventuring in his green 'VW Beetle.

You have been working in children’s publishing for many years, but have only recently begun writing books. What made you decide to try your hand at it?
I’ve always loved writing and the way the English language works (I have a collection of antique dictionaries!), but never seemed to have the time to pursue it seriously until now. My degree course involved studying the thinking behind the visuals in design – it’s so much more than putting pretty pictures on a page – I always put a lot of thought into ensuring that the books I work on have a strong editorial concept that ties the novelty aspect into the book, so it seemed a natural progression to be writing the text alongside making the pop-up mechanisms.

How do you come up with the concepts for your books? Are they influenced by your hobbies? Have you ever found buried treasure on one of your diving expeditions?
Mostly by looking at the world around me and having an understanding of how children’s minds work. My daughter was a great inspiration when she was little and the perfect age for reading my books – children are usually pretty honest about whether they like something or not! I also love things like pirates, mummies, the ocean and treasure-hunting, so it was great to be able to make books about them. Scuba diving’s perfect research for my underwater books too. I’m still looking for treasure, and if you see me sailing off into the sunset on a shiny new yacht, then you’ll know I’ve found some!

Paper engineering seems to be quite a specialised skill. Is this something you studied in college or are you self-taught?
I’m self-taught. I've always made little paper models of things – ever since I was old enough to wield a pair of scissors. Being good at origami was useful, and making folding paper models came as an easy and fun next-step. Studying technical drawing and maths have helped (I always knew that geometry would be useful one day!). Of course, studying art helped as well, but it’s also about tailoring the mechanisms to the concept of the book, so the pop-ups vary according to whether they should be interactive with the reader, or funny, or scary, or anything else that the story requires. And for me the movement of the pop as the book opens is important, more so than just making a 3D paper model of an animal that folds away, so I spend a lot of time studying how animals move and researching how their physical structure works.

What was your favourite book as a child? Was it the words or the pictures that appealed to you most?
I remember getting The Chronicles of Narnia as a boxed set when I was young, and I absolutely loved them. I think that was when I first realised how amazing and magical books were and how incredible it was that you could have a complete world tucked away on your bookshelf. I love the feeling that you’ve entered a different world just by reading, and in the Lost Treasure series I did my best to get the reader to feel like they were a real treasure hunter and that the creatures in the book really would jump out and get them if they weren’t quick enough!

Are you influenced most by art and design outside the children’s book world, or are there particular authors or illustrators that influence you?
My influences come from all sorts of places! I had a good grounding in Art History, so I’ve always got things like the Golden Section in my mind as I design the pop-up compositions. I wouldn’t say that I was influenced by any particular authors or illustrators, as I tend to work from my own experiences or observations, although I’ve always loved Jan Piénkowski’s intricate silhouette work and have spent many hours at home doing painstaking delicate scalpel work on never-to-be-published architectural pop-ups!

What do you enjoy most about creating books for children?
Partly being able to remain a child myself – there are not many jobs that allow you to spend a day making things like a clucking hen that pops out of an egg or a flatulent Stegosaurus! And in today’s hi-tech, interactive world it’s fun to know that you can still make books that are an interactive 3D experience for children too. But mostly it’s to see the smiles on children’s faces as they read my books – it makes you see how worth it all the hard work is, and you really can’t beat that!

If you weren’t an author and designer, what else would you be?
I think I’d live on a yacht in a tropical ocean somewhere and dive and surf every day, but I’d make sure I had a good supply of waterproof paper, as I’d always be trying to make something pop up!

Martin is the author of THE LOST TREASURE OF THE DRAGON’S CAVE, THE LOST TREASURE OF SKULL ISLAND and THE LOST TREASURE OF THE MUMMY’S TOMB Click here to make your own pop-up from THE LOST TREASURE OF THE DRAGON’S CAVE.

Jack Tickle Jack Tickle likes painting in acrylic because when he spills coffee and food on his pictures, he can wipe them clean again! He likes to eat gingerbread men and chocolate biscuits while he paints and listens to loud guitar music or Radio 4. Mr Tickle lives in South-West England with his family and a large biscuit barrel.

The Very Smiley Snowman (left) interviewed Jack Tickle (above left), the award-winning illustrator. See details of the book

Christmas is my favourite time of year. How about you?
Oh, I love Christmas! I hope it snows this year so that I can make a snowman...just like you!

What do you like best about Christmas?
The best part is waking up on Christmas morning and eating chocolate in bed while I open my Christmas stocking.

Why did you decide to write a book about Christmas?
Because I love to paint snow and penguins and presents and Christmas trees…and I love all the sparkles!

Do you put up lots of decorations in your house?
Let me see... We have Christmas trees and fairy lights, and we often hang party flags around the kitchen to get us feeling extra festive.

My favourite Christmas present was a stripy scarf. What is the best Christmas present you have ever received?
An electric guitar! There’s nothing I like better after a day of painting than rocking out with my mates. There are loads of great Christmas songs and we like to make a lot of noise!

What is your favourite Christmas song?
We Wish You a Merry Christmas of course!

My friends, the Penguins, are really good at ice-skating – do you like ice-skating?
If I ever try anything like that I fall over (like the wobbly penguins in THE VERY SMILEY SNOWMAN), but I do love sledging very fast down the hill behind my house. Once I even took off...and then I crashed in a snowy heap!

Do you have a favourite Christmas book?
There are lots that I read at Christmas to my children, but I especially like I’VE SEEN SANTA! by David Bedford and Tim Warnes because it really makes me laugh.

THE VERY SMILEY SNOWMAN is one of the many titles in the PEEK-A-BOO POP-UPS series, all illustrated by award-winning Jack Tickle.

Other titles illustrated by Jack Tickle include: THE VERY GREEDY BEE INCY WINCY SPIDER THE TEENY WEENY TADPOLE THE VERY SLEEPY SLOTH THE VERY LAZY LADYBIRD and THE CRUNCHING MUNCHING CATERPILLAR

Kanako Usui

What gave you the idea to write a book about an eccentric crocodile?
I came up with an idea of a crocodile whose nose was too long and heavy to hold up. Then I drew a scene of the crocodile tripping over and having balloons on his nose. I also drew some mice and penguins. After that, all the adventures followed quite spontaneously.

What is the fantastic Mr Wani’s funniest characteristic?
The funniest characteristic is that Mr Wani had to go through all the catastrophic adventures just because he began running in order to arrive at a party on time.

What's your favourite animal and why? Tortoises because they don’t seem to be thinking about anything at all. They also look a little grumpy, and it makes me laugh.

What do you enjoy most about writing and illustrating children’s books?
I enjoy the first moment when I come up with a good idea. Then I can tell myself that my eyes are sparkling with excitement.

When you are beginning a new book, do you write the story or draw the illustrations first?
I usually start with the drawing. At the beginning, I like going to the library and flipping through books about wildlife. Then I pick an animal, and start to develop a character. I make lots of drawings of the character doing things, such as cooking, walking, running and tripping, etc. – whatever comes into my mind. After that, I begin to form a story.

When did you decide you wanted to be an illustrator?
I always loved drawing and making up stories. When my mother gave me a space within the house as my little gallery, it gave me the joy of showing my drawings to others. When I was 10, I wrote, illustrated and self-binded my first book. I think it was then I started to be conscious about living by illustrating books.

What was your favourite book when you were a child?
As I lived in Japan, all of my favourite books were Japanese. Books I liked were often either adventurous or mysterious. I used to read the stories with the pictures rather than by the texts.

What medium do you use to create your pictures?
I use various media depending on what book I’m working on. For Mr Wani, I used black ink and coloured by computer.

Do you have any tips for an aspiring illustrator?
It is important to have the balance between being obstinate in your creativity and being very flexible against other’s comments in order to make a better book.

What inspires you in your work?
I am often inspired by films (especially classic films) and animations. It is quite funny that I rarely look at somebody else’s artwork. Being excited by films and animations enables me to expand my imagination.

How did it feel to win the Best New Illustrator Award in the Booktrust Early Years Award 2005?
I was very happy and thrilled. It took me a while to believe that I actually got the award. This particular award was for newcomers only. It means that I will never have a chance to receive the same kind of award again in my life. Wow!

Do you enjoy receiving letters/fan-mail from your readers?
I love them! They always make me very happy. I have had them from the UK, America, Japan, and Australia so far. It is amazing that people in several countries are reading my book. I will probably never have a chance to meet them, but my book is sort of communicating with them instead of myself. It’s wonderful!

See details of THE FANTASTIC MR WANI. Click here to see how to get your own Mr Wani colouring sheet.

Alice Wood Alice Wood trained at the Camberwell School of Art in London, and began working as a freelance illustrator in 1990. She lives in London, where she also works as a Homeopath.

When did you decide you wanted to create books? What inspired you?
I remember when I was about 6 or 7 years old I did some pictures when we read the Greek Myths at school, and I got a gold star! I was so excited! It was the first time that I realised I was any good at drawing. I also won a writing competition for the Post Office. I had to write a letter from an alien to a child on earth. I filled the letter with little pictures. I was a huge bookworm as a child, and loved escaping into stories and fantasies, so it followed that I wanted to draw the pictures to go with the stories. I made up my own characters and stories too – dancing moles, and rabbits in dresses and bonnets! Much later I found out that it could be a ‘real’ job and that I might be able to get away with it and not have to stop playing!

What role did books play in your childhood? What were some of your favourites?
Books were the best! I lived in them, and developed a huge fantasy life. One book I am especially fond of is THE LORD OF THE RUSHIE RIVER by Cicely Mary Barker. The illustrations are just beautiful! Others I remember particularly are the MOOMIN books, HUNDRED AND ONE DALMATIANS (I loved the pen drawings by the Grahame-Johnstones), the NARNIA books (Pauline Baynes is still a favourite), and the books about UNCLE THE ELEPHANT (by J.P. Martin with brilliant illustrations by Quentin Blake). I used to make the characters from stories I really liked. I made a whole set of peg dolls of the characters from THE LITTLE WHITE HORSE. I spent all my pocket money on books, sewing materials and model kits.

You write and illustrate your picture books for Little Tiger Press. What comes first, the words or the pictures? Do you enjoy doing one more than the other?
Either can come first. Sometimes it will be a story idea, or a little set of words that sound good, or sometimes a strong image. Pictures that come first are usually very atmospheric, and a bit mysterious, and have a whole world already established. Often I don’t have a story for them, and I have to work out what's going on from the picture. I find it hard to do those drawings where you just draw the character, so the publisher can see what they look like. It feels odd to me because they seem like actors hanging about with nothing to do! They need a context. Sometimes I’ll just write a story in words with no thought about the pictures. I don’t think I enjoy one more than the other. I love words, and I love pictures. A picture book is special because you tell the story with both, and you have to work out which bits are best said in words, and which parts in pictures.

Do you have a special place where you work – a studio or office – or can you work anywhere?
I have a room in my house that nobody else is allowed into! It’s full of all kinds of precious rubbish: books, birds’ nests, dolls’ houses, toy theatres, paintings, wool, fabric and collections of interesting things. I can have ideas anywhere, and I have to scribble them down straight away. The worst is when you wake up in the night and have to fumble about for a bit of paper and a pen in the dark.

Do you have a set routine when you are working on a book or do you only sit down to work when the inspiration hits you? 
I try to work at the same times each day. It’s hard and you need self-discipline. Sometimes I can’t wait to sit down and start drawing, but sometimes I struggle with distractions and the desire to avoid work! I think most illustrators have that little trip round the cupboard, fridge, biscuit tin and a few other places before they finally sit down to work. You have to sneak up on yourself!

What advice would you give to anyone trying to get their children’s book published?
I’m not sure there is advice that applies to everyone, but I studied for a degree in Illustration and then an MA in Children’s Book Illustration. I looked at lots of children’s books, and asked lots of questions about the publishing industry. My tutors were all working writers and/or illustrators and full of useful information and good advice. I think you have to believe in what you do, be original, be persistent, and not get disheartened. Always try to find something useful in criticism. If you love what you do then at some point, hopefully, someone else will like it too. Oh, and a good website really helps!

Alice is the author/illustrator of PRINCESS DOLLY AND THE SECRET LOCKET
and ONE MAGICAL CHRISTMAS.

Gail Yerrill Gail Yerrill lives in Bedford with her husband and two children. She has a BA (Hons) in Two-dimensional design from the University of Hertfordshire and, as well as illustrating children’s books, she designs greeting cards and stationery. Gail loves spending time with her family, playing Articulate with friends, going to the theatre, walking in the countryside and travelling to new places.

Have you always wanted to illustrate children’s books? What made you decide to pursue this as a career?
Yes I have. From my early days at school, I used to illustrate every bit of creative writing we did and my teachers said one day I would illustrate children’s books! I absolutely adore being lost in a little magical world. Having my own children to read to now makes it even more rewarding to share that ‘cuddle’ time and see the looks on their faces.

Do you have a special place where you work and do you follow a set routine, or do you sit down whenever inspiration strikes?
I have a studio at home where I work. I do have a little routine that I follow, otherwise it’s very easy to get distracted. The only trouble is I can’'t always switch off from it, so if I really get into a piece of work, the children might have to wait a bit longer for their tea! I also have a notebook by my bed, as I always seem to get ideas in the middle of the night!

Which other illustrators do you particularly admire? There are very few that I don’t admire! My particular favourites are Quentin Blake, Beatrix Potter, Anita Jeram, Lauren Child, Jill Barklem – the list goes on! I also love pattern makers such as Kath Kidston and Tricia Guild.

When you read an author’s text, do you immediately begin to envisage the world they have created?
Yes, the power of words is awesome! The imagination is a wonderful thing!

Do you enjoy working on Christmas books? Do they feel particularly special?
I love working on Christmas books. I am such a big kid because I really get into that, the magic and wonder, all the trimmings and food, and just lovely family time with my two adorable children. I think Christmas is wonderful – I just wish we had more snow!

How do you reward yourself when you have completed a book?
I’m usually completely exhausted, so I take a few days off working, and have a little ‘me’ time, unless inspiration strikes of course!

Gail is the illustrator of HELLO BABY!, THE MAGIC OF CHRISTMAS,
THE CHRISTMAS ANGELS, TWINKLE TWINKLE LITTLE STAR
and the FAIRY FRIENDS series.

Elizabeth Baguley Elizabeth Baguley lives with her husband and two daughters in Nottinghamshire, where she works as an English teacher. She began writing for children after discovering the power of picture books when reading them to her daughters. She loves reading poetry and 19th century novels, and walking in the countryside.

Are your stories completely imagined or are you inspired by real-life experiences?
They’re completely imagined. Often when I’m doing something really boring, like ironing, and my mind is blank, another world seems to show me ragged pictures of itself. I see places I’ve never been to and characters I’ve never met, and they begin to weave themselves into a story. That story world is what I’d like the real world to be like!

The imagery in your writing is very vivid and descriptive. Do you find it strange having an illustrator interpret your stories?
The strangest thing about having someone illustrate my stories is that the artists seem to be able to read my mind. As I write, I see small snatches of scenes from the story, but the illustrators have the knack of taking those snatches and turning them into whole, beautifully detailed pictures. I’m breathless with excitement when I first see them – it’s like seeing my ideas lit up and put on a stage.

In A LONG WAY FROM HOME, Moz is desperate for a space of his own. Where do you go when you need to get away from it all?
There is a lane which runs near my house, and I often walk down it by myself. If I can’t do that, I shut out the world by reading a book.

If you could have written any other book what would it be?
Picture books? Well, it would be GUESS HOW MUCH I LOVE YOU by Sam McBratney because it is so simple and describes just the way I feel about my own children. For older children, it would be THE DARK IS RISING by Susan Cooper because it’s so frightening and so snowy. The adult book I would most like to have written would be LANTERNS ACROSS THE SNOW by Susan Hill. The way she describes the snow is perfect.

You look quite a lot like one of your characters, Meggie Moon. When you were a child, were you more of a rough-and-tumble kind of girl who preferred making rockets out of rubbish to playing with dolls?
I certainly didn’t like dolls, and I remember, to my shame, being given a doll’s pram for Christmas and never playing with it. I don’t think I was rough-and-tumble, though; my favourite games were make-believe ones, like wearing my big sister’s netty underskirt and pretending I was a swan. I also loved making potions from leaves and soil and water in the garden, and I was mad about the idea of space, so I did spend lots of time in an imaginary rocket made from a clothes horse and an old bedspread.

Do you have a favourite Christmas story?
It would be hard to choose just one! Even though my daughters are teenagers now, we still get all the old Christmas picture books out as soon as it’s Advent. They are as much a part of our celebrations as the Christmas tree and the decorations. We have a lovely book of the carol, The Twelve Days of Christmas, which I absolutely love as it looks as though the pictures were drawn in medieval times. And what better story is there than A CHRISTMAS CAROL by Charles Dickens?

What was your dream job when you were a child? Have you always wanted to be a writer?
My dream before I went to school was to be a teacher. My grandmother had a tin of odd buttons which I would pretend were my class, and I would line them up for assembly and make them move around as though they were doing lessons. I used to pretend that our kitchen cupboard was a piano, and teach the buttons songs! I was also quite keen to be a witch! As I got older, I knew that I wanted to write more than anything else in the world.

What is the best thing about writing stories for children?
The best thing for me is that children believe in the stories. They don’t mind if the things I write about are possible or not, and they can walk into the world of the story as easily as they can walk into a room. Writing for children is the nearest thing to being a magician that I can think of.

Elizabeth is the author of LITTLE PIP AND THE RAINBOW WISH,
A LONG WAY FROM HOME, THE LITTLE LOST ROBIN and MEGGIE MOON.

Klaus Baumgart Klaus is the internationally acclaimed author-illustrator of the LAURA’S STAR series. When the film of LAURA’S STAR hit cinemas across the UK we talked to Klaus about his work, his love of books, and the creation of LAURA. See Laura’s own page

Did you always want to be an illustrator? Yes, I always loved to draw and paint. At school, I used to do little drawings to amuse my classmates. Do you prefer writing or illustrating? I enjoy both. Whilst writing, pictures appear in my mind which I then draw, but this process works the other way round too.

What was your favourite childhood book?
I loved the PETZI books from Carla and Wilhelm Hansen. I also liked some fairy tales.

Who is your favourite author?
I admire many children’s book makers, but I think Tony Ross is the one who most comes to mind. I admire his humour and the messages he transports, and the lightness and vitality of his illustration.

How did you come up with the idea for LAURA’S STAR?
The story for LAURA’S STAR came to me while I was on holiday on Crete. I was stargazing, looking into the immensity of space – everyone knows the feeling, that’s the feeling I hope to have expressed in this book. The thought came to me; what would happen if one of those tiny stars fell down on the Earth? I scribbled a picture of a star, but it was in a cage like a little bird. That was the beginning of LAURA’S STAR, but it was clear to me immediately that the star must be set free. The story developed like a jigsaw from there. A picture told a story and the story drew more pictures, and so on.

How do you work?
Usually a story begins with a little scribble, an idea. Some stories develop quickly like LAURA’S STAR did. Some are still sitting in my head or in my scribble book, the idea is there but the story hasn’t arrived yet. Opening worlds of fantasy is not a mechanical process. Creativity is like the ocean, it ebbs and flows, so I just try to flow with it, using the techniques and talents that I have.

What do you like best about writing and illustrating?
I am first and foremost an illustrator; my first books were more visual and had very little text. I grew into writing, but I am enjoying it more and more, the more practice I get. Illustrating is second nature to me, it is not a choice, it is part of me.

	To see details of all books in the LAURA series, go to Laura’s own page.

David Bedford David Bedford was born in the West Country and now lives in East Anglia with his wife and daughter. He did a degree and PhD in Biology and worked as a biologist in England and the USA, studying antibiotics. He gave it up to write full-time in 1997. He has had several books published by Little Tiger Press, and spends his spare time listening to music and doing t’ai chi.

You made quite a career change switching from your work as a biologist, to writing children’s books, how did that come about?
I very much enjoyed being a biologist, finding out and making new things. Sometimes I was the first person in the world to find something new, and that was very exciting! The problem was, I also liked reading and writing, and I soon realised that there wasn’t time to write all the stories I wanted to write and be a scientist. In the end I decided to be an author, and it looks like that was the best decision I ever made because I enjoy being an author very much. I still find things out and I am often the first person to discover something new, because all of these can happen when I’m writing my stories.

Do you miss using the scientific part of your brain?
The scientific part of my brain must still be there because I still think scientifically, at least some of the time! In fact, writing stories is more scientific than people think because they have to be thought about, and I’m always making changes to them, to make them as good as I can.

Are your stories completely imagined or do you take inspiration from your own experiences?
Sometimes stories are completely imagined, but most stories are from my own experiences. LITTLE BEAR’S BIG JUMPER is about two young brothers, the older boy who is mostly in charge, and the younger boy who does his best to get along and enjoy himself. Big Bear is very much like my older brother, and I am Little Bear, of course! This story describes our relationship when we were boys very well - and my older brother can still get grumpy, just like Big Bear!

Do you often use your own children as sounding posts for your stories? Are they fans of your books?
I always ask my own children about my books! They are just the right age, so I get all kinds of good advice from them. It is a great test to read my stories out loud to children before there are any pictures to go with them. That way I really find out if they are fun and interesting - or not! The worst is when my children look bored. Then I have to change things… My children are both fans of my books and they often demand that I write a new story for them!

When you are working on a book, do you have a set routine? Is there a special place where you find it easier to concentrate?
When I’m thinking a story through, I like to sit on the sofa with a cup of tea and my notebook and pen. And when I think I have nearly finished the story, I rush to my office, turn on my computer, and type it up, changing it as I go along. Both of these places are good for my concentration. One unusual thing is that I have my computer on a very high desk, and I stand up as I type. That way I don’t get dozy from sitting too long. And it gives me very strong legs!

Do you look forward to seeing the artwork for your books? Is it strange having someone else illustrating your text?
The best days of all for me are when the postman arrives with a big, heavy envelope that won’t fit through my letterbox, and inside I find the pictures for one of my books. Often what is inside the envelope is a ‘proof’ book, which isn’t quite finished and the pages aren’t bound together properly, but it looks exactly like a book. I can turn the pages, and enjoy the pictures. It is quite strange to have someone illustrate my text, but also wonderful because the pictures, and the finished books, have always been better than I have imagined. I like writing, but I’m absolutely rubbish at drawing!

What is the best thing about writing for children? Is there a particular part of the process you find most enjoyable?
There is a lot of excitement for me about having my story, which is just a few words that I have worked very hard to write, made into a finished book. I can’t do that by myself because it involves lots of clever people with their own particular skills, including the illustrator of course. It’s a real team effort, and I enjoy that. The best thing about writing for children? I’m not sure. It could be thinking up the story in the first place while I sit on my sofa, or having a big, bright book that I’m proud to see sitting on a bookshop shelf. Maybe the best thing is reading the finished book to a hushed school assembly… These are all very different experiences, but I enjoy them all!

David has written many books for Little Tiger Press, the most recent are:
LITTLE BEAR’S BIG JUMPER, BEDTIME FOR LITTLE BEARS!, I’VE SEEN SANTA!
and BIG BEAR LITTLE BEAR

Cee Biscoe Cee Biscoe began her illustrative career at art college, designing gothic style stationery and punk record covers. She studied Children’s Book Illustration at Cambridge School of Art, gaining an MA in 2007. She lives in Suffolk with her husband and a small garden full of wildlife, many of which creep and crawl their way into her illustrations. Cee’s studio is a converted potting shed, and the messier and more paint-splattered it is, the better!

When did you decide you wanted to become a children’s illustrator?
I loved drawing and making up little books when I was very young and by my teens I had my mind fixed on designing record covers and that kind of thing, so I went to college to study art and graphic design. After that I ended up doing other jobs for a number of years which had nothing to do with art. It wasn’t until about eight years ago that I started to focus on it again. Perhaps because of something in the way my drawings tend to look, plus a personal love of children’s books, things started to fall into place a few years ago, and then I knew I wanted to become a children’s illustrator.

GRUFF THE GRUMP was your first book to be published in the UK. How did you feel when you finally saw your illustrations printed in a real book that you can find in your local bookshop?
It felt soooo exciting! GRUFF THE GRUMP is my first proper 32-page hardback picture book, illustrated in a way that feels very natural to me, so he has a really special place in my heart. I once illustrated some short novelty books for younger children (starting with one about potty training), but they were published in the USA and France so I never saw them in the shops here! The way I draw and paint has evolved a lot since then too, so Gruff was like a new start for me, but I’m very grateful for my previous experiences.

Are there any other illustrators you admire or find inspirational?
Lots, from classic illustrators like Arthur Rackham to contemporary ones like Emily Gravett, and many in between. However, I can feel disheartened if I look too closely at so many because their work is so amazing!

Do you have a special place where you work, or can you work anywhere when the mood takes you?
I have a very special place which I call my “shedio” as it’s literally a studio in a shed! It’s five steps from my back door, so the commute to work is very short! It has a carpet, blinds and electricity. Oh, and some nice resident spiders! As soon as I step inside I start to feel inspired and I don’t think I could work anywhere else now. It’s a bit like being in a hide too, as I have windows all along one side and the birds outside are used to me being in there, so I can watch them feeding, bathing and doing other birdy things when I need to give my eyes a break from painting. Sometimes other creatures turn up too; in fact the little rabbit in GRUFF THE GRUMP was modelled on one of our garden visitors…

What is your ideal way to spend a day off from illustrating?
Because I work from home in a quiet corner of the country and don’t see many other human beings when I’m busy illustrating, it’s great to get out of the house, go somewhere a bit more vibrant and be sociable for a change! An ideal day is to go out with friends in a city like London or Cambridge, have a leisurely meal with a glass of wine, a stroll through interesting side streets (but no shopping!), then maybe a trip to an art gallery, or a gig in the evening. It makes me feel reinvigorated.

Cee is the illustrator of: BUMBLE – THE LITTLE BEAR WITH BIG IDEAS! GRUFF THE GRUMP.

 

Paul Bright Paul Bright was born in Welwyn, Hertfordshire and studied engineering and materials science. An expert in plastics, he worked for a large chemical company. Paul started writing stories for his own children when they were young and he kept on writing even when they left home! As well as having written several books for Little Tiger Press, Paul has had many poems published in various poetry collections.

Until very recently you worked as a plastics engineer. How did you manage to juggle your ‘day job’ with your commitment to your writing?
Well, fortunately my job involved a lot of travelling, so I could write while I was on a plane or staying in a hotel – and sometimes when I was in a meeting. I would pretend to be writing notes, but really I was jotting down ideas for stories!

What is the best thing about being a children’s author?
Seeing that children enjoy reading your books, for example by reading a review that says: “This is absolutely my son’s favourite book”, or getting letters from children or a school.

Were you a big reader as a child? What was your favourite book?
When I was young I went to the library every week and read a lot. The best thing was to start reading a series, like Famous 5 or Biggles, and getting a new book each week until I’d read them all. I don’t think I had a favourite author, but finding a new author I liked was always exciting.

Do you have a favourite character from one of your books?
Pa Lion in QUIET! was one of my first characters and I think he’s my favourite. He’s rather lazy and always hungry – my daughter says he’s a lot like me!

Do you look forward to seeing how an illustrator has interpreted your story?
It’s always exciting to receive the first rough sketches of a story and to see the first illustrations. Sometimes the illustrations are very different from how I had imagined the story in my head. I’m very fortunate to work with some wonderful illustrators like Mike Terry, Jane Chapman and Lee Wildish. It’s their illustrations that make someone choose the book in the shop and open it – my words are hidden inside.

In CHARLIE’S SUPERHERO UNDERPANTS, Charlie finds himself traversing the globe in search of his missing pants. Have you been to all the countries Charlie visits?
I’ve travelled a lot with my job, but I’ve never been to Peru or the Serengeti Plain, or Nepal. I chose the places and the names partly to have different types of geography (river, plain, mountain), but also to give some interesting rhymes and rhythms – Serengeti is a wonderful word to have in a rhyming story.

Do you base your characters on people you know, or are they completely imagined? Did you have a devoted (but sometimes annoying) younger sister like Ty in CRUNCH MUNCH DINOSAUR LUNCH!?
I think people you know always influence characters. I didn’t have a pesky younger sister, but my son Martin has a younger sister who used to be very sneaky and annoying at times.

Paul is the author of GRUMPY BADGER’S CHRISTMAS, CHARLIE’S SUPERHERO UNDERPANTS, CRUNCH MUNCH DINOSAUR LUNCH, THE BEARS IN THE BED AND THE GREAT BIG STORM, FIDGETY FISH AND FRIENDS, I’M NOT GOING OUT THERE!, UNDER THE BED, QUIET! and NOBODY LAUGHS AT A LION!

M Christina Butler M Christina Butler was born in Scarborough. She had an idyllic childhood in the country where she spent her weekends playing on a farm among the animals. Christina has worked as a nurse, a pre-school nursery supervisor, and a governor at her local primary school, as well as writing a number of children’s books. She now lives in Driffield, East Yorkshire with her husband, and has two daughters and three grandsons.

What are the books that have influenced you as an author?
I am not conscious of being influenced by any of the books I read as a child. Living in the country, I did like animal stories, and I’m sure Beatrix Potter and THE WIND IN THE WILLOWS played a part. I loved stories where animals and dogs were the heroes. The fate of Ginger in BLACK BEAUTY always reduced me to tears. Out of the many very good writers for young children today, Martin Waddell and Jill Murphy are my all-time favourites.

How do you create your stories? Do you have a set routine, a special pen you have to use, or something you look to for ideas?
When I’m with children I try to pick up on their reactions: what makes them laugh, or what upsets them. I have notebooks and bits of paper with ideas all over the place. But that doesn’t always produce results. When you least expect it, a story idea suddenly presents itself and off you go! I’ve no set routine or special pencil. I use the computer now, as the inevitable alterations are so easy, and much quicker than producing a dummy book as I used to do.

What is your favourite childhood winter memory?
The winters were always colder (no central heating!) and the snow deeper. I have so many happy memories. My friend and I would spend all day after a good fall of snow trying to yoke the ponies to our sledges. It never worked, but we had a great time trying! I remember winter nights round the fire with stories read by my grandmother or mother, usually from Hans Christian Anderson. THE LITTLE MATCH GIRL was a great favourite (a very sad story!).

Do you have any advice for young people who’d like to embark on a writing career?
I remember John Betjeman refusing to answer this question when asked, so I hardly feel qualified! But I’ll try! Everyone approaches writing differently. I know you must keep trying, and forget the reject slips. Read as many children’s books as you can and compare them with your efforts – notice the structure, the humour, the situations and, above all, be honest with yourself about your own work. If you think it’s rubbish, don’t throw it away, keep it — perhaps the idea was good and only needs a re-write, maybe years later! Try and work with children, and share stories with them.

What do you like most about being a children’s writer?
When one of my stories is published! I can never believe it started with an idea, possibly months before, when I said, “I wonder if…” and finally it’s a book! However, I might add, with a great deal of help from a lot of people!

Do you have anyone in particular in mind when you write?
Not really. I do think about my grandsons and they do seem to like my stories (along with other writers of course!).

Do you base your animal characters on real people?
Very often, but it’s more a certain characteristic, not a particular person. However, I once wrote a book called TOO MANY EGGS and Mrs Bear was definitely my friend’s mother, who never measured anything when she was baking, but she was a wonderful cook. Mrs Bear on the other hand was not up to her standard!

Do you have a favourite character from one of your books and, if so, why?
At the moment, it’s Little Hedgehog. He’s kind and tries to help his friends regardless of his own safety. But when he gets into trouble there’s ‘something’ out there that takes care of him.

	Jane Chapman Jane Chapman was born in the West Country. She studied Illustration at Brighton University where she gained a First and a husband, illustrator Tim Warnes. They have two young sons and a hectic lifestyle juggling work and childcare. Jane enjoys walking in the countryside and embroidery, but spends most of her time off playing with lego and playpeople.

When did you decide you wanted to become a children’s book illustrator?
I decided to become a children’s book illustrator after my husband-to-be introduced me to the team at Little Tiger Press. It seemed a better career move to follow his lead instead of painting pictures to sell.

What medium do you use to create your illustrations?
I use acrylic paint.

What inspires and influences you in your illustrating?
I am influenced by the world around me – colours from magazines and TV, landscapes from photo references and inspiration from a good text. I need a good story to inspire me to make pictures.

Do you show your illustrations to your sons before they are published?
I show my illustrations to my oldest son (he’s seven years old) because he is always very encouraging. Sometimes he does a bit of drawing or painting for me, but my youngest son just eats everything I show him, so I have to keep it out of his way!

What is your favourite childhood winter memory? I love it when it snows – snow is so infrequent in the West Country where I live. When I was little we used to borrow my mum’s tray and slide down the hill at the top of our road. One year it snowed enough for my brother to build an igloo which we could actually sit in!

What is the best and worst thing about being a children’s book illustrator?
The best thing about my job is getting to sit quietly and listen to the radio while getting on with a big splodgy, snowy background. The worst thing is painting whiskers with a tiny brush, which makes my hand hurt and my head feel like it might explode.

Do you have a favourite character from one of your books, and if so, why? I like the baby polar bear in BIG BEAR LITTLE BEAR because he reminds me of my son when he was little – he was always having to be carried home when he was asleep. And I like Spike in DILLY DUCKLING because he is so cute.

Who are your favourite illustrators?
My favourite illustrators are my husband, Tim Warnes, because he’s my husband…and I like his work; Lauren Child because her work is very cool; and Lucy Cousins because everything she’s done has been a huge hit in our house. We’re reading her books all over again now and we never get fed up with them. I also like Anita Jeram, Flora McDonald, Richard Scarry, Satoshi Kitamura…the list goes on and on. I try not to think about them too much because they are so good, I feel like a fraud in comparison.

Jane Chapman has illustrated many books for Little Tiger Press. Click on a bookcover to get details of the most recent ones.

Jason Chapman Jason Chapman spent much of his early childhood drawing birds, animals, lorries and aeroplanes. He went on to study at Bradford and Camberwell College of Art and now illustrates full-time. Jason has been the official illustrator of Battersea Dogs and Cats Home since 2001 and also illustrates greeting cards, advent calendars and educational material. TED, BO AND DIZ – THE FIRST ADVENTURE, conceived whilst on holiday with his family, is his first children’s book.

This is your first book to be published. Had you always wanted to write and illustrate a children’s book?
Yes, but initially my illustration was suited to areas other than children’s books. A move to Suffolk and becoming a father spurred me on to develop my own stories and ideas, with the ambition to sit down with my children and read to them a book written and illustrated by myself.

Where did you get the idea from for TED, BO AND DIZ – THE FIRST ADVENTURE?
The idea came one day during a relaxing and much-needed family holiday on the Pembroke coast in Summer 2005. Each morning after bath-time my son, George, would sit on his bed with his sister, Iris, and his teddies (named Ted, Bo and Diz), and ask me to tell them a “made-up story”. On this occasion I thought about the previous day on the beach when George and I played in a small rubber dinghy on the calm, blue sea. The adventure started there.

Have you ever seen polar bears or penguins in the wild?
No, only in books, on the internet and television, which for the long-term survival of certain animals is possibly the most suitable way. I’m not sure that because an animal exists we need to get on several modes of transport to see it. That privilege should be for the few who have the animal’s sole interests at heart and who can inform the rest of the world on how they are doing.

What is your favourite animal?
Such a difficult question when you’re amazed by all animals! As the Battersea Dogs and Cats Home’s illustrator, I’m very much drawn to dogs and cats…so they are very high on the list. I’m fascinated by insects and I’ve always had a soft spot for birds – I walk in the countryside where I live and I’m always thrilled to see deer, owls, kestrels, hares, frogs, toads, foxes and rabbits. But if I had to choose a favourite it would be an animal that you have to pinch yourself to believe that it’s part of the world we live in. I would choose the tiger – such a beautiful creature with immense strength and beauty. I find it a tragedy that, in such a short space of time, man has driven them and many other species almost to extinction.

Did you show the book to your two children as it was being developed? Are they fans of your illustrations and stories?
I work in a studio from home so they often drop in to chat and see what I’m working on. Though to be honest it’s usually a request to play football. They were both very young during the earlier development of the book but became more interested in watching the paintings progress. The made–up stories are still requested on a nightly basis, which is good practice for creating new ideas.

Do you like sailing?
I wasn’t such a good swimmer as a child. I’m not brilliant now, but I tend not to sink as much. So, together with growing up in a city and rarely visiting the coast, sailing was never high on my list of interests. However, since moving to Suffolk the riverways and coastline have become very important to me, so now sailing is very much something I would like to learn in the future.

What medium do you use to create your illustrations?
The final paintings are created using acrylic (Liquitex soft body) paint applied, not too thickly and not too thinly, in layers on MDF board primed with gesso. Before painting, the composition of the spreads and placing of text is worked out with a combination of pencil/paper sketches and drawings made on the computer using a tablet and pen. Elements can then be erased, cut and pasted, enlarged or reduced to improve the design.

What would be your ideal way to spend a day off from illustrating/writing?
I would start the day with a run to re-energise the mind and body after too many hours at the desk. The rest of the day would be spent having fun with my family – making bread, playing football, having a picnic on the beach, swimming in the sea, eating ice creams, walking in some old oak woods, cooking food and listening to music. All with a sketchbook at hand – just in case there’s a chance to draw or note an idea down.

Who are your favourite illustrators?
Edward Ardizzone, SR Badmin, John Burningham, Bagram Ibatoulline, Richard Scarry and Fritz Wegner.

Jason is the author/illustrator of TED, BO AND DIZ – THE FIRST ADVENTURE

Natalie Chivers Natalie gained a First in Illustration from the University of Plymouth and now lives in Farnham, Surrey with her fiancé. She was shortlisted for the 2006 Booktrust Early Years Award for Best New Illustrator. Natalie works in PR and advertising for a food and cake decoration company. When not working or illustrating children’s books, she enjoys running and indulging her love of nature and natural history. RHINO’S GREAT BIG ITCH! is her first book for Little Tiger Press.

As your ‘day job’ is in PR, what made you decide to pursue a career writing and illustrating children’s books?
It’s something that I’ve always wanted to do, even as a child. I used to make little books for my family and would draw all over my school work – my poor friends and family must have box-loads of pictures and cards I have made them over the years! I remember the books of my childhood that I would pore over, all the gorgeous pictures and words that took me to another place, and I knew that was what I wanted to do. I studied art at college and university as a result, and my current role in PR came about quite naturally from a love of creative writing.

How do you manage to fit your creative work around a full-time job?
When I was working on RHINO’S GREAT BIG ITCH! I used the evenings and weekends, painting in the very glamorous setting of my kitchen! It also helps that my other half is very understanding, as well as my bosses in my full-time job.

What medium do you use to create your illustrations?
At first, a black Biro for all the planning work. When everything is in place, thickly applied acrylic is my favourite – not very sophisticated materials really!

Your first book was shortlisted for Booktrust’s Early Years Awards. How did it feel to be recognised as a rising star so early on in your career?
I was very surprised, and of course very pleased. Doing my first book was daunting, working out how to fit it all around my day job and finding a style that translated in a book. I learned a lot from the experience and it encouraged me to keep illustrating.

What is the best thing about writing and illustrating for children?
Watching them engage with and feel the emotions of a character you have created. Children are so responsive and open to ideas.

Are there any other authors and illustrators you particularly admire or find inspirational?
There are so many. I try not to go into the children’s department of bookshops any more because it makes me think ‘How on earth can I compete with that?’. In particular, I love Mini Grey’s ideas, Sara Fanelli’s use of mixed media and Oliver Jeffers’ adventurous use of each page.

Have you made a New Year’s resolution for the year ahead?
Yes, to make even more to-do lists, and to curb my online shopping…

Natalie is the author/illustrator of RHINO’S GREAT BIG ITCH!

Joëlle Dreidemy Joëlle Dreidemy was born in Saint-Avold in France. She gained a diploma in Plastic Arts in Strasbourg in 2002 and a diploma from the famous Emile Cohl School in Lyon in 2004, after studying animation, sculpture, drawing and painting for three years. Since graduating, Joëlle has been working in France, producing illustrations for magazines, as well as working on an encyclopedia for young children, and exhibiting her work at exhibitions in Paris. When not working, Joëlle enjoys playing the piano and guitar, and loves sports such as snowboarding, gymnastics and the martial arts.

What made you decide to become an illustrator?
I have been drawing since I was able to hold a pencil in my hand, and I was a very energetic little girl, so drawing was the only way to keep me still! I always knew that I wanted to become an illustrator or a karate champion, so I think I made the right choice! Moreover, my uncle Guy Prunier is a famous French storyteller, so I started illustrating the wicked witches, ugly and funny monsters and clever little heroines from his imagination at an early age.

When you read an author’s story, do you immediately begin to imagine what the characters will look like, or do you have to think about it for a long time?
Most of the time, when I read an author’s story, I immediately have the pictures of the characters in my mind. Sometimes it happens that it takes more time, so I sit in front of my piano and start to play, whilst thinking very hard about the characters of the story. The wolf in THE LAMB WHO CAME FOR DINNER appeared in my mind when I started playing Beethoven!

As you live in France, how did you come to work for a UK publisher?
I have always loved English illustrators such as Quentin Blake and Babette Cole, so when I went to the Bologna Book Fair five years ago, the first thing I did was spend time in the UK area, looking at the picture books. Ten minutes later, I met my British agent there! I’d say that I was in the right place at the right time!

What materials do you use to create your illustrations?
I work with ink, watercolour and pencils, and I use a computer as well. I always try to vary techniques for each project, which is really fun.

What do you like best about illustrating children’s books?
Illustrating children’s books is the best job in the universe for me! It propels me back to childhood. When an editor sends me a story to illustrate, I get as excited as a child in front of the presents under a Christmas tree! And thinking about the characters, imagining their personality and bringing them to life is a wonderful thing that makes me really happy. My life as an illustrator feels like one big adventure in a huge and fun theme park!

Joëlle is the illustrator of CLICK CLACK CROCODILE’S BACK,
 SMELLY PETER: THE GREAT PEA EATER, THE LAMB WHO CAME FOR DINNER,
and THE WITCH WITH A TWITCH

Alison Edgson Alison was born in County Down in Northern Ireland. She worked in the computer department of a bank before coming to her senses and studying Visual Communication at the University of Ulster in Belfast. After graduating with a First, she and her husband Jeff moved to an old chapel in the Usk Valley in Wales, where she now concentrates on illustrating children’s books. Alison spends most of her free time chasing her chickens out of the vegetable garden and brushing her cat. She also loves running and cycling in the countryside.

Do you have a set routine when you are working on a book, or do you only sit down to work when the inspiration hits?
I try to stick to a routine as much as possible because I like to have time off at weekends when everybody else is off. But it doesn’t always work like that! I try to work as much as possible in natural daylight because it’s much easier to get the colours right, but as a deadline approaches I work flat out! I haven’t worked right through the night yet, but once I start it’s hard to stop!

What medium do you use to create your pictures?
For children’s books I use acrylic paints on paper primed with gesso [a hard compound of plaster of Paris, sometimes used in sculpture or as a base for painting on wood]. The gesso allows me to create a surface to work on with the right amount of texture for my style of illustration. To finish off an illustration I work into the acrylic painting with coloured pencils, which allows me to add little touches of detail and make final corrections.

What’s the best thing about being a children’s book illustrator?
I love painting and drawing – and I get paid to do it! It’s so much fun seeing a book develop from the first character sketches through pencil drawings to the finished colour illustrations. And each stage has its perks for me. Doing the pencil roughs is fun but quite intense, so when I start the colour artwork, and can finally have the radio on while I’m working, it makes a lovely change!

And the worst?
It can be a bit isolating if you work from home. I used to teach watercolours for one afternoon a week just to break the routine and socialise, but now my husband works at home too so it’s not a problem for me any more. You also have to be careful not to strain your eyes – especially if you work at night. I like to get out for a run or a walk every day to give my eyes a rest and get some exercise thrown in!

Have you ever seen a bear in the wild?
Does a koala count? I’m not sure I’d like to come face-to-face with a grizzly, but I’d love to see a wild polar bear some day.

Do you have any pets? We have Kitty, our very cute black-and-white moggy. She likes to sit and stare so she’d be a good subject to paint! We also have four lovely chickens, who keep us well supplied in eggs. And I’d like a rabbit and two dogs but we think Kitty might object.

What would be your ideal way to spend a day off from illustrating?
My perfect day would be to pack a picnic and set off for a lovely, long walk with my husband, a camera and a pair of binoculars…and maybe, one day, our two dogs, who would be beautifully trained and wouldn’t chase rabbits!

Who are your favourite illustrators?
My current favourites are Alison Jay, Rob Scotton and Richard Johnton because their work is so quirky and colourful. But I should also mention Heath Robinson because he could illustrate beautifully both with line drawings and watercolours, and had a great sense of humour!

Alison is the illustrator of THE MAGICAL SNOWMAN, LOST IN THE SNOW, ME AND MY MUM!, ME AND MY DAD!, SILLY GOOSE and FOLLOW THAT BEAR IF YOU DARE!

Frank Endersby On leaving art college, Frank Endersby worked in an art studio as an illustrator. He then set up his own studio, initially illustrating games, board books and jigsaw puzzles. BABBITY’S BIG BAD MOOD is Frank’s second book for Little Tiger Press.

What’s the best thing about illustrating children’s books?
I love reading through the story and creating mental pictures in my mind before putting pencil to paper and seeing the story unfold into images.

Which other illustrators do you admire?
Quentin Blake, Janet Ahlberg and William Heath Robinson.

Do you have a special place where you work, or can you draw anywhere?
I can work anywhere, but love working in my own studio at home, as everything I need is to hand. I do love to sketch on a beach and in the countryside of the Cotswolds.

What materials do you use to create your illustrations?
Pencils, pen and ink and watercolours are my favourites.

Do you ever get days when you feel as grumpy as Babbity?
Not often. I am usually very happy, but like Babbity, I do get occasional ‘off days’!

How do you celebrate when you have completed a book?
I don’t celebrate as such, but do like to take a couple of days off and reflect on the story and the drawings I have created.

Frank is the illustrator of BABBITY’S BIG BAD MOOD and THE WISHING STAR

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