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!

Caroline has illustrated many books for Little Tiger Press. Click on a cover image to see details of the book.

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 REAL STORY OF CINDERELLA AND THE UGLY SISTERS
THE THREE HORRID PIGS AND THE BIG FRIENDLY WOLF
THE VERY UGLY BUG and BORED BILL

Bored Bill has his own activity page. Click here to go there now.
The Three Horrid Pigs also have their own colouring sheet.
Click here to see it 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: IRIS AND ISAAC
SYLVIA AND BIRD, HARRIS FINDS HIS FEET and 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

Gavin Scott Gavin Scott lives in Somerset with his partner and little boy. He studied Natural History Illustration at Bournemouth Art College before becoming an artist for Hallmark cards. Gavin loves the countryside and draws a lot of his influence from it.

In your book, THE BEST CHRISTMAS EVER!, Christmas wouldn’t be Christmas for Millicent Mouse without some very special things. What is your favourite thing about Christmas?
My favourite thing is being with my friends and family (a bit like Millicent!). And the food… I love eating!

What did you most enjoy illustrating in THE BEST CHRISTMAS EVER!? I really enjoyed illustrating the finches because they’re very comical. I couldn’t help chuckling as I did them!

What medium do you use to create your illustrations?
For THE BEST CHRISTMAS EVER I used acrylic inks and coloured pencil on watercolour board.

When you read a story, do you immediately begin to picture the illustrations, or do you have to think long and hard about it?
I generally have an idea but by the time I’ve drawn a few different sketches they change quite a bit. Some things end up exactly how you first pictured them but not usually.

Are there any other illustrators you particularly admire or find inspirational?
Tim Warnes and Jane Chapman are great. I also like Axel Scheffler’s illustrations because they have loads of character.

Do you have any tips for budding illustrators?
Try lots of different mediums and styles. Mix things up too. It’s always good to be out of your comfort zone!

Gavin Scott is the illustrator of CUDDLE BEAR, BRAVE LITTLE PENGUIN,
HOT CROSS BUNNY!, THE BEST CHRISTMAS EVER!, I LOVE YOU, LITTLE BEAR
and YOU’RE MY LITTLE BUNNY.

Steve Smallman Steve Smallman began illustrating children’s books thirty years ago. Then he began writing them as well, and he has since written many books for Little Tiger Press, including DON’T WAKE THE BEAR, HARE! and SMELLY PETER: THE GREAT PEA EATER. When he’s not busy writing, Steve enjoys films, television, gardening and walking in the countryside. As a father of four and a grandfather of one, Steve has had lots of practice at reading stories with youngsters, so we asked him to share some of that experience with us.

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 anyone 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!

Do you have any advice for anyone 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 until 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! When writing a children’s book, 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!

Which is your favourite of your stories to read aloud?
I love reading THE LAMB WHO CAME FOR DINNER because it’s a real rollercoaster of a story, and it has lots of sound effects that are fun to do. SMELLY PETER: THE GREAT PEA EATER is fun to read too, but the sound effects in that one are rather different!

What tips would you give to a parent who doesn’t feel confident reading to their child?

• Try to think of it more as sharing a story with your child, like sharing a joke or a secret.  • Have a go at the different voices and have fun with sound effects. Ask your child to do them too. • Don’t be afraid to make the scary bits really scary because it’ll all be alright in the end. (Promise!) • Don’t rush. Having the odd pause for dramatic effect, especially just before you turn a page, will make it more exciting. • But above all, enjoy spending a little quality snuggling time with your little one while you read!

Your book, THE LAMB WHO CAME FOR DINNER, was read by Meatloaf on CITV’s Bookaboo. Do you think he did a good job? Good? It was brilliant! Meatloaf is a legend and I was thrilled that he chose to read my story!

The nice people at Little Tiger Press showed me a sketch by Tim Warnes of a little soft toy and asked me if I would like to write a story about it. I looked at the drawing and tried to work out what sort of toy it was supposed to be – it was a bit like a bear, a bit like a mouse, had a tail like a dog and a belly like a bumblebee. It occurred to me that if I didn’t know what sort of toy he was that maybe he didn’t know either, and the story developed from there.

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.)

Steve Smallman has written many books for Little Tiger Press,
click on an image to see details of the book.

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.

	Michael Terry Michael Terry was born in Folkestone and studied Graphic Design and Illustration at Folkestone Art School. He has since worked as a designer/typographer and has been a successful illustrator for over thirty years, recently illustrating many books for children. Michael has three sons and lives and works by the coast in the UK.

Are there any other illustrators you particularly admire? John Butler, Ronald Searle, Ralph Steadman and Heinrick Kley. What materials do you use to create your illustrations? Gouache, which is a water-based paint, coloured pencils and pastels. Do you have a special place where you work? Yes, my studio.

How do you relax when you’re not working?
I go birdwatching and take photographs of them, and I also run, do yoga and meditate.

If you weren’t a children’s book illustrator, what would you be doing?
Studying and photographing wildlife.

Mike is the illustrator of SILLY BARNEY!, WHAT’S MORE SCARY THAN A SHARK?,
CRUNCH MUNCH DINOSAUR LUNCH!, OUCH!, CHAMELEON'S CRAZY COLOURS,
HERE COMES THE CROCODILE, GROWL, GROWL, ON THE PROWL
and SQUEAK, SQUEAK, TAKE A PEEK!

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:
FUZZY WUZZY BUGS, THE VERY GREEDY BEE, INCY WINCY SPIDER,
THE TEENY WEENY TADPOLE, THE VERY SLEEPY SLOTH, THE VERY LAZY LADYBIRD
andTHE CRUNCHING MUNCHING CATERPILLAR

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Sam Usher Sam Usher gained a BA in Illustration from UWE, Bristol. When he is not painting, drawing or writing, Sam likes playing the piano and riding horses. He is fuelled mainly by tea, cake and cheese. Sam has recently relocated from Chew Magna, near Bristol to Windsor, near the Queen! CAN YOU SEE SASSOON? is Sam’s first picture book, published by Little Tiger Press.

CAN YOU SEE SASSOON? is your first book to be published, how did you start illustrating children’s books? I studied illustration at UWE in Bristol where I concentrated on illustrating children’s books. I didn’t know until I was in Bristol that that was what I wanted to do - up to then I had been studying animation. After university I was very lucky, in that the some publishers spotted my work at my degree show.

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 to a set routine, but I am very bad at it and usually end up being distracted by the piano. Instead of waiting for inspiration I like to go out and find it - a story can come from almost anything.

What medium do you use to create your pictures?
I use gouache, watercolours, ink and sometimes washing-up liquid. I draw the pictures by hand and then jiggle them about on the computer.

What do you like to do when you’re not working?
Play the piano, endlessly and badly.

If you weren’t an illustrator, what do you think you would be?
A tramp.

What tips would you give to any aspiring illustrators who are just starting out or looking for work?
I don’t think I am really qualified to give advice, but here are some good things to do: Work as hard you can, be antisocial, visit galleries, do things that are pointless, enter competitions and don’t give up.

Sam Usher is the creator of CAN YOU SEE SASSOON?

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.

Tim Warnes Award-winning illustrator Tim Warnes shares a studio at his home in the Dorset countryside with his wife, illustrator Jane Chapman. They have two young sons who are a constant source of inspiration, as well as a major distraction! He has an ancient inherited tortoise, enjoys gardening and loves birds. Tim is best known for illustrating the Little Tiger books, which gave Little Tiger Press not only its name, but its logo too!

In Icky Little Duckling, Mr Rabbit likes to have everything just so. Is your working style very neat like Mr Rabbit, or paint-all-over-the-place like Little Duckling?
Hmmm… my working style is definitely not terribly neat – I have a very big desk which is cluttered with files and paper and receipts and paint and pencils which I have to sweep aside to make a space big enough to work in. I don’t tend to get paint everywhere though, just where it should go. Sometimes I knock over my paint water or a cup of coffee - that’s annoying! But I do like the house to be neat and tidy, and like Mr. Rabbit I hate getting icky and sticky or muddy (unless I’m mentally prepared first!).

Kids can be the toughest critics. Do your own children offer criticism on your work?
Yes they do! They can be very blunt, and why not?! To be honest, there’s only a handful of my own books that I ever look at with them -I much prefer to read someone else’s.

The majority of your characters are animals, do you have any pets which act as models for your work?
We had a hamster; but he died... but we’re getting some more chickens in the spring. I love chickens - my previous ones featured as characters in books with other publishers.

What medium do you use to create your illustrations?
Watercolour, acrylic and water-soluble crayons.

Do you have a set routine when you are working on a book?
Decide whether I like the text enough; clean and tidy my desk and studio!; start working on character sketches (at this point I always feel like I’ll never be able to draw anything ever again); develop the layouts and get them approved; PAINT!

Do you have any tips for aspiring illustrators?
Enjoy yourself and read lots of children’s books.

Tim has illustrated many books for Little Tiger Press. Here is a selection. Click on an image for more details. Click here to see the full list.

Kathryn White Kathryn White was born in Bradford-on-Avon but grew up in the Midlands. After leaving school she travelled, working in London, Italy and the Lake District, where she met her husband. She now lives in Wells with her husband and has five children aged between 23 and 9. She has worked in many aspects of childcare and has written a number of children’s books. Kathryn also works as a reviewer of children’s books. How do you usually like to work, do you have your own writing space or do you like to be surrounded by hustle and bustle? I work in my study which can be quiet, so long as I lock the door and hide in the corner.  I sometimes put on music to work to.  I select the tracks very carefully to match my writing mood. Aside from writing, what else do you do with your day? Do you do lots of school visits? I take my daughter to school, then shoot back home, feed Elfin and Nap my two lazy cats, then feed the fish and write in snatches between checking my emails and drinking tea.  I love visiting schools, getting the kids busy on art and storytelling is great fun.   What is it like seeing your characters brought to life by an illustrator? Fabulous!  Illustrators bring a whole new dimension to my stories and that’s the joy of working in children’s fiction, seeing the bright, bold illustrations. What is the best thing about writing for children? Apart from seeing the illustrations, it’s great fun making up stories.  Writing is hard work, but it’s wonderful to have a job where I can be imaginative and creative - children’s fiction is an amazing world to inhabit. If you weren’t a writer, what do you think you would be? I would be a singer, ah, but I can’t sing.  I do often howl to music on my CD player and wish I possessed an amazing voice.  But I can’t complain, I write stories instead. Did you love books as a child? What were some of your favourites? Yes, I did love books when I was a child.  My favourite book of all time was Rikki Tikki Tavi by Rudyard Kipling, never has a garden been so dangerous.  I also have a lovely book titled: Dumpy and Slappy which is now the grand old age of 50 years and has survived all through childhood intact. I adore animal tales but I do remember Emil & the Detectives written by Erich Kastner way back in 1929.  What was so fab about this book was the teacher who read it to us in class.  He had such a range of voices for the characters and was so enthusiastic that we were literally gripping the edge of our seats; he had a real gift and no doubt, made readers of us all. What piece of advice would you give to anyone hoping to become a children’s author? Write down any spark of an idea you may have for a book, no matter how tenuous or fleeting the thought may be.  I’ve often had a brief flash of creativity only to lose it in the hustle and bustle of daily life.  Ideas are a writer’s bread and butter, they are to be caught and nurtured.  Kathryn White is the author of WHEN WILL IT SNOW?, THE VERY NOISY JUNGLE, HERE COMES THE CROCODILE,  CLICK CLACK CROCODILE’S BACK and THE NUTTY NUT CHASE.

Sheryl Webster After graduating with a degree in English and Psychology, Sheryl Webster worked as a primary school teacher before taking a career break to raise her young family. This gave her the opportunity to pursue her passion for writing. Sheryl lives in Liverpool with her husband and four young children. NOODLE’S KNITTING is her debut title for Little Tiger Press.

Where did you get the idea for a knitting-obsessed mouse in NOODLE’S KNITTING? Are you a knitter yourself?
The idea just suddenly came to me. For some reason, I had thought of a mouse’s tail and how it reminded me of a long piece of spaghetti or noodles. This led me to think of a mouse with the name ‘Noodle’ who loves to knit, and the idea grew from there. My mum taught me to knit as a little girl, but I could only ever knit straight lines! Our little girl got a knitting set for Christmas, and to my shame I have still not done it with her. I got into a terrible tangle just trying to cast on! But my Nan was a fantastic knitter!

Knitting has seen a recent resurgence in popularity, why do you think this is?
I think the fact that a lot of film stars and celebrities have taken up knitting has made it quite a trendy thing to do. It has become recognised as a relaxing, creative hobby, and something that people of any age can take up, not just grannies!

You previously worked as a primary school teacher, but have you always harboured an ambition to be a writer?
Yes! Reading and creative writing was always my passion when teaching and my biggest focus with the children I taught. I’m a firm believer that reading is at the heart of all learning, so I used to try to instill a love of books in the children through reading them lots of stories. Many were ones that I had as a child; Enid Blyton stories in particular. I would always try to tie a story into most of the topics I taught, and if I couldn’t find one then I would make up my own. So it has always been in me…somewhere!

With four children under the age of eight, however do you find the time to write?
When I get an idea throughout the day I jot it down on a pad. Only
at nighttime, when the children are all tucked up in bed, do I then get a chance to shape those ideas into a story.

Where do you write?
On a pad of paper initially, which could be in any room of the house, or even in the car! Then the story is typed up on my laptop, usually in the living room or the kitchen, or if I really need peace and quiet, the office.

Do you road test your stories on your children before sending them to your agent or editor?
Yes – and on my poor, long-suffering husband! But I do have to bear in mind that the children are very biased – they love anything and everything that I write! But my husband Phil has been fantastic in giving me real, honest, constructive advice which every author needs!

What is the best thing about being a children’s author?
The best thing for me is being able to see my ideas, which have often stemmed from our own children, developed into a story. Seeing that story brought to life in illustrations and in the form of a real book is a fantastic feeling. And of course knowing how proud of me my husband and children are makes it very worthwhile. It’s also nice to think that one of my stories may help in some way to encourage a child to develop a love of books, or just make them giggle!

Do you have any advice for budding writers?
Practice, practice, practice! And patience…patience…patience! I am the most impatient person ever, and often want to send my agent a story as soon as it has leapt off my pad and onto the laptop. However, my best stories are the ones that I leave to develop and mull over. When you re-read an initial idea you can often see ways to improve the story. I also recommend trying to write in lots of different styles and lengths. Write about anything and everything that interests you – there is no right or wrong way – and this will help you find a style that suits you.

Sheryl Webster is the author of NOODLE’S KNITTING.

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 BEDTIME, LITTLE ONES!, THE FAIRY TALE WEDDING,
SANTA’S SPECIAL LETTER, HELLO BABY!, TEN CHRISTMAS WISHES,
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.

Rachel Baines Rachel Baines has been painting and drawing from a young age and never wanted to do anything else. She studied graphic design at university and has been a greeting card designer for almost twenty years. Rachel lives in Leicestershire with her husband, two sons and an Airedale Terrier called Archie. The whole family studies Tae Kwon Do together, and they are all black belts - except Archie!

How did you become an illustrator?
As a young girl I always dreamed of becoming a children’s book illustrator! I have been designing greetings cards for over 20 years and in that time through perseverance I have also been very lucky to have illustrated some young children’s books. Researching publishers is very important to see their current work and to see whether my style would sit comfortably amongst their range, I then summit a range of characters showing movement and personality. This way of working has been successful for me on a number of occasions.

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 like to have a set routine when working on a book. Always develop the character/characters first. I like to imagine I am the character, drawing inspiration from my childhood memories and my own children growing up. Once the characters fit the brief the rest seems to fall into place. I am very lucky as I’m not one to struggle for ideas.

What materials do you use when illustrating?
I like to work in watercolours and pencil. I have a super fine brush for the finishing details (and steady hand). I enjoy working on small scale.

Princesses seem to be everywhere at the moment, what would you do if you got the chance to be a princess for a day?
I’m not very girlie so to be a princess for the day is a bit tricky, however I would love to be whisked of to the North Pole to see polar bears – they have always held a huge fascination for me.

What do you like to do when you’re not working?
When I’m not working I love to walk my dog Archie, an Airedale terrier. He’s great company and really makes me smile!!! For the last 10 years I have been studying the martial art of Tae Kwon Do. I am a black belt 2nd Dan soon to take my 3rd Dan in October this year.

If you weren’t an illustrator, what do you think you would be?
If I wasn’t an illustrator I would be a Tae Kwon Do instructor running my own club. I already have my instructor one certificate. I am very passionate about helping people achieve.

Which illustrators inspired you when you were a child?
When I was a child I was inspired by first Peggy Fortnum and then Fred Banbery who brought Paddington bear to life also Pooh bear was a huge influence by E. H. Shepard.

If you could go back in time to you were starting out as an illustrator and tell yourself one thing, what would you say?
If I was to go back in time to when I was starting out as an illustrator to tell myself one thing it would be… if you believe in something it will happen.

Rachel Baines is the illustrator of MY PERFECT PRINCESS DIARY and BABY BABY!

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!

When you read an author’s text, do you immediately begin to visualise the characters they have written?
Yes – but only very vaguely at first. They start out quite fuzzy and confused in my head, then take a while to develop fully on paper. There might be many ideas which have to be narrowed down, and I’ll have pages and pages of differently shaped bears and rabbits or whatever, with various combinations of features. I value the input from the great people at Little Tiger Press who really help with this process. The final characterisations are often completely different to the very first scribbly sketches, and it can be quite surprising to look back at them!

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.

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.

Matt Buckingham was born in Cheshire and grew up in the countryside. He studied Illustration at Loughborough University and went on to work as a freelance illustrator and junior design engineer for a specialist vehicle manufacturer that builds fire engines. He then did his Masters at Falmouth College of Art, where he began to write and illustrate his own picture books. Since then he has continued to invent stories and draw the kinds of pictures that he would have loved to have seen when he was growing up. Matt now lives in the Cheshire countryside with his wife, two children and their two naughty dogs.

Where do you get the inspiration for your books?
I get my inspiration from everyday life. Whether it’s something I’ve read in a book or seen on TV, even walking down the road and, as funny as it sounds,
sitting in a bath always brings me new ideas for my books. But I think my biggest inspiration is my children.

Stanley is a very intrepid young fish. Is he based on anyone?
Stanley isn’t directly based on anyone. His bold, bright outlook on life really came about from me trying to imagine what life would be like for a bright little fish in a big dark ocean.

When you are working on a book, what comes first: the words or the pictures? 
For me the character comes first then I write the story. After I have a story I can begin to think about the pictures, but getting the character right is very important from the beginning as they need to shine and become the star.

What medium do you use to create your illustrations?
I use watercolour and ink to create my pictures, as well as a little help from the computer. But I sometimes use crayons and other types of paint from time to time.

Are there any other authors and illustrators you particularly admire or find inspirational?
I’ve been a fan of Quentin Blake from a very early age and it was his work that really inspired me to draw. Other illustrators I admire are Max Velthuijs and Emma Chichester Clark, to name but a few.

If you weren’t an author and illustrator, what career might you have pursued?
I really don’t know as I’ve always wanted to draw. Maybe I would have been an animator, but I don’t have the patience! I just consider myself very lucky that I am able to do a job I truly love. 

Matt is the author/illustrator of BRIGHT STANLEY AND THE CAVE MONSTER, BRIGHT STANLEY, PEEK-A-BOO PENGUINS, and THE NOT SO ABOMINABLE SNOWMAN He is also the illustator of NOBODY LAUGHS AT A LION!
Find out more about Bright Stanley at http://www.brightstanley.com/

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.

Christina has written many books for Little Tiger Press. Click on a bookcover to get details of each one. Christina has worked as a school governer at her local primary school, so we also asked her a few questions about her thoughts on encouraging children to read. To go to Little Hedgehog’s own page, click here.

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!

Tracey Corderoy Tracey Corderoy was born in South Wales and now lives in a hidden valley surrounded by sheep, wild deer and cows with big fluffy ears! Along with her husband and two daughters, she shares an ancient cottage with a huge Golden Retriever called Dylan (from Pontypool), several cats, guinea pigs and a teeny mini lop-eared rabbit who makes loud ducky noises!

You’re having a very busy year, with three books published by Little Tiger Press, and three by Stripes Publishing. How are you finding being a full-time author?
I absolutely love it! It’s great to wake up in the morning and look forward to starting work. I love creating characters and allowing them to take me on journeys. You never know where you’ll quite end up! And now that I’m writing young fiction too, it allows me to think in different ways and makes the job so varied. I think writing is the best job in the world! I also get to spend all day with Dylan, my big, big dog who’s usually after my biscuits (and numerous snacks!).

The Grunt and The Grouch are a pretty gruesome pair. Do you think people are surprised to find the author is actually a rather refined lady? Where do you get your inspiration for all their bad habits?
A refined lady? Me? Okay, who’s been spreading those nasty rumours?!
Seriously though, I get my “gruesome two-some” ideas from anything and everything. I tend to watch people all the time. I listen to things they say. There’s a bit of troll in all of us, you know! Also, I think way back to a time when I was never happier than being knee deep in mud, when I’d really rather not clean my teeth or have a boring bath. My trolls are very child-like in their honesty (and love of dirt!). They react to the world spontaneously, which makes them wonderful characters to write for. They mostly dictate the storylines just by being themselves. I feel I know them so well now, and this really helps as I know how they’ll react in most situations…

Where do you get your story ideas from generally?
Again, I watch and observe the world. I wonder what people are thinking. I carry a notebook everywhere because sometimes I might see or hear something that sets me off thinking. It’s good to capture those moments on paper before they escape. I have a notebook by my bed too! Quite often I get really good ideas when I’m hoovering. I know it sounds really strange, but it’s true! I’m not sure why. I collect things too; interesting pictures or objects and phrases that I like. Or sometimes I see a character that I’m drawn to. I have a notice board by my desk where I pin up interesting characters. Sometimes these come to nothing but sometimes I come back to them again and again and then, quite often when I’m least expecting it, those characters tell me their story. I love it when that happens. It’s magical!

You worked as a teacher, before having your own children. Do you think this experience gave you a good idea of what children want to read?
Yes, definitely. The children and I loved story time and I used to read to my classes (and my daughters) as often as I could. Children react so spontaneously to stories – the happy and the sad ones. They tell you exactly what they like and they tell you what they don’t, which gives you a feel for what they want and what makes characters special.

Have you always harboured a secret ambition to be a writer?
Well, I always loved reading and I always loved writing. When I was a little girl I had hardly any books. I lived on a very deprived council estate in South Wales. I remember I had a huge Welsh Bible, (which I couldn’t read a word of!), a set of ancient encyclopaedias and one book, Cinderella. I read this story hundreds of times. I knew every word on every page and I lived the magical fairytale over and over again! I knew then that one day I wanted to write and to share my stories with others. There were other things I wanted to do too – I really wanted to teach for instance, and I longed to have my own children, but the desire to write has always been there, and now that I’m actually doing it I feel very lucky.

In April, you embarked on a book tour of South Wales. Did you enjoy visiting young readers and introducing them to THE GRUNT AND THE GROUCH?
I had such an amazing time! To go back to Wales for my very first tour seemed just perfect. The children were fantastic; they absolutely loved the trolls! It was wonderful to see their reactions to the troll sack, bursting with troll goodies – snot and slime and belly button fluff, to name just a few! They also loved making “hairy cakes” – a Grunt and Grouch delicacy! It was great to have the chance to talk to the children about their own writing too. They were very brave and shared their stories with me. I hope that by seeing a “real writer”, as they called me, they will want to write too, and I hope my visit will be something that they’ll always remember. I have more events planned over the next few months – I’m visiting some schools in Gloucestershire, going back to North Wales, then coming to London too, so if you’re having a party on a Tuesday, you’d better watch out for the trolls!

THE LITTLE WHITE OWL, is a very special character with a gift for storytelling. Is there a little bit of you in him?
I’d love to think there was lots of me in The Little White Owl because he’s so very special to me. In actual fact, I do think that we both share a degree of determination. He overcomes so much in the story, but he does it on his own terms. He shows great strength of character and I wish I were more like him in fact! We also share a love of stories. The Little White Owl is full of colour; there’s every shade in his heart. He has stories “bumping up and down inside” which he longs to share with others. Out of all of my characters, The Little White Owl will always hold a special place in my heart.

In June you appeared at the Winchester Writer’s Conference to share your experiences with ambitious new writers. What is the best piece of advice you could share with budding writers?
I think it’s important to have fun with your writing and write because you want to. This will really make your stories sparkle. Get to know your characters – really, really well. Care about them, then others will care about them too. Finally, be brave and, like The Little White Owl, share your special stories with others.

Tracey Corderoy has written JUST ONE MORE!, BRAVE LITTLE PENGUIN,
IT’S POTTY TIME!, OH DYLAN!, THE LITTLE WHITE OWL, STAR FRIENDS
and THE GRUNT AND THE GROUCH.

Read the Little White Owl’s Christmas story.

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 MY MONSTER DUMPER TRUCK, LITTLE STINKER!,
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 has illustrated many books for Little Tiger Press. Click on an image to get details of the book.

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.

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 - LITTLE LIBRARY, FIDGETY FISH AND FRIENDS, FIDGETY FISH, SMILEY SHARK, CLUMSY CRAB and TICKLY OCTOPUS

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Gill Guile Gill Guile was born in Halifax, West Yorkshire and always knew she’d be an artist. Since gaining a First at Birmingham Art College she has been scribbling away designing postage stamps, greeting cards and over 400 children’s books and has been published in 22 languages. In her spare time Gill loves playing tennis and socialising with family and friends.

When did you decide you wanted to become a children’s illustrator?
Probably after I graduated, although my art college did lean towards general illustration. Then in my twenties, when I was designing greetings cards, I was advised that my style might suit children’s books – this appealed to me very much so I gradually swapped over to illustrating and loved every minute of it!

What do you like most about being a children’s illustrator? Creating cute and cuddly characters is a great way to spend your day and being surrounded by children’s books and toys reminds me of my own very happy childhood.
	If you weren’t an illustrator what do you think you’d be doing? Ooh that’s a hard one! It would have to be something creative and it would have to involve drawing and painting. I can’t actually think of anything else I’d be happy doing, or anything else I’d be any good at – sorry!
There are a whole host of jungle animals in THE VERY NOISY JUNGLE, which one was your favourite to illustrate? That has to be the elephant – I loved painting him!

What is your working space like? Do you work in a studio? The spare bedroom is my studio and from my swivel chair everything I need is within arm’s length. On my left is a cutting table, sink and phone; in front is my desk with a nice view of the garden and the wood beyond; to my right the computer sits on a set of drawers full of materials; behind me are a couple of overstuffed bookcases and a wardrobe, and below me the floor is littered with bits of tracing paper and pencil shavings.

Were you a big reader as a child? What was your favourite book? I’ve always loved reading. From being very young we had weekly family visits to the library and I continued this with my own children. My favourites were Enid Blyton’s Famous Five books.

What advice would you give to anyone starting out as an illustrator?
Spend plenty of time in the children’s section of the library and bookshops, and get a feel for what’s popular. Most publishers have submission guidelines so send samples of your art to as many of them as you can. Some will answer and many will not, but if any of them are kind enough to offer advice make sure you take it on board. And if you are offered work make sure you never miss a deadline.

Gill Guile is the illustrator of THE VERY NOISY JUNGLE

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

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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.

Julia is the author of YOU'RE MY LITTLE STAR, BECAUSE I LOVE YOU, A LITTLE FAIRY MAGIC, CHRISTMAS WITH YOU, A FRIEND LIKE YOU and A CHRISTMAS WISH

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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 SLURPY BURPY BEAR, 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 cover to get details of the most recent ones.

To buy prints of Tina Macnaughton’s artwork, visit http://www.tina-macnaughton.com/shop/.

Angela McAllister Angela McAllister has written over thirty children’s books. She lives in Hampshire with her husband and their two children, who are often the inspiration for her stories. Is the character, Little Shock, based on anyone? No, but it’s great fun to play about with expectations in a story. Where do you get the inspiration for your books? I find I’m constantly bombarded with ideas from everywhere. My own children were a great source when they were younger and now I’m a school governor, which gives me a great chance to spend more time talking to children, watching and listening. Sometimes I write to work through a problem, sometimes to have fun and sometimes because a compelling idea just seems to grow out of nowhere, like a phrase or picture – just being alive is constantly inspiring.  Do you find it exciting having an illustrator interpret your stories? Do you look forward to seeing the results? I love the interaction of images and words in a picture book – the way the words spark the visual narrative, which then contributes something unexpected and unique to create the whole work. I started my publishing career as an illustrator so I have great admiration for the skill of the illustrators I work with now. As I’m busy on several books at once, it’s usually a surprise when illustrations appear in my inbox or letterbox, often a long time after I’ve worked on the text. The best surprise in the world is when you see your characters first brought to life. What was your favourite book when you were a child? And which books have influenced you as an author? I loved my Janet and John school reading books when I was a child and was thrilled to find they were still in print until a short while ago – the stories and pictures still intrigue and delight me. I also loved Orlando the marmalade cat and all the Rupert annuals with their mysterious characters. I remember swapping my stamp collection for a shelf of Enid Blyton books. Later I discovered Just William, which has certainly influenced me, and the joyful spirit of Quentin Blake's work always thrills. 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 wish I could work to a set routine – my family would probably be much happier! Unfortunately I’m undisciplined in all things and would write all night if I didn’t have to get everyone up for school, and I’d go off for a walk at the drop of a hat and forget to do important things because I’ve got monsters or bears in my head. I have a tiny, wonderful room to write in, full of books and pictures, fossils and feathers, inks and brushes, old wooden toys and a heap of colourful clutter. But if I’ve got an idea in my head I can concentrate anywhere. Several of my stories were written while I was wedged into a cramped space beside the bath as the children splashed away when they were young. Unfortunately none of this applies when I’m writing novels for older children. I have to behave and sit properly, which I find very difficult!  What would be your ideal way to spend a day off from writing? My great passion these days is archaeology. I live in a fascinating part of the country where people have been living continually since the ice age, and the traces of their lives are easy to see all around us here. So the best day for me would be hours of field walking, looking for the flint tools that they left behind and trying to understand this landscape as they knew it. There’s nothing more thrilling than picking up a flint tool from the soil, which was last used by a Neolithic farmer five thousand years ago.  What would you be doing if you weren’t a children’s author? I always wanted to be a painter, so probably doing all the same things I love to do now but making pictures from my experiences and ideas instead of stories.  Angela is the author of YUCK! THAT’S NOT A MONSTER!

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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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

Sue Mongredien Sue Mongredien lives in Bath with her husband and three children. She used to work in publishing and for the BBC, and then spent a long time travelling around the world and having adventures. She still can’t believe she actually gets paid for having fun writing lots of exciting, magical and funny stories for children. How different was it writing a picture book rather than a longer fiction book? Was the writing process more difficult? I write a variety of fiction, including novels for adults (as Lucy Diamond), so the difference between writing a 400-word picture book and a 110,000-word novel is huge! I find working on picture books every bit as challenging as a longer book though - you have to think much more visually and allow space for the artist to tell some of the story too. The writing needs to be sparing and punchy, with lots of scope for illustration, and every single word has to earn its place. Tricky stuff! Do you look forward to seeing your characters interpreted by an illustrator? Are they ever as you imagined them? It’s really exciting seeing an artist bringing my characters to life, although slightly nerve-racking too – I dread seeing the roughs and thinking, “But X doesn’t look like that!” Thankfully I have been delighted with the results every time so far. I am hopeless at art and am absolutely in awe of the talented artists who have illustrated my picture books. Where do you find the inspiration for your stories and characters? Are they ever based on real experiences or people? I have three young children so often find inspiration for stories in things that make them laugh/scared/excited. My forthcoming picture book, Harry and the Monster, came about when my son was having nightmares, and I was trying to think of a way to help him – it struck me that this was a situation shared by parents and children all over the country. 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 write four days a week during school hours, and am always working on something, whether it’s a full-length novel or a children’s book. Picture books tend to be flashes of inspiration that I write fairly quickly but I then go through a lot of drafts to perfect them: at least three or four before I show my agent, another couple before she’s happy to send it to an editor, and then as many as eight versions with an editor. What do you do to take your mind off writing? I find it quite hard to take my mind off writing. I often think about the characters as if they are real people, particularly when I’m starting a book and getting to know them, and spend a lot of time mulling over plot intricacies. I even dream about the books I am writing at any time! My children are good at taking my mind off writing – I try to give them my full attention once school is over for the day, although sometimes I still find myself scribbling ideas down on bits of paper in the middle of a conversation (which they find quite irritating). I also love swimming, reading and going to the theatre.   If you weren’t a writer, what do you think you would be? Before I became a full-time author, I worked in publishing and then for the BBC, both of which I loved, so anything creative would suit me. Equally, I love working with children so possibly a teacher. What children’s books inspired you when you were younger? I was a voracious reader as a child – devouring anything by Enid Blyton, Noel Streatfeild, Roald Dahl, Helen Cresswell… I loved school stories, funny stories and stories about big, noisy families, all of which I could relate to.  What advice would you give to anyone trying to get their children’s book published? Try to be as critical as you can be about your own work. Read it aloud, and check every single word sounds right. Edit out the waffley bits and keep the plot tight and fast-moving. Next, try to find a literary agent who will represent you and your work to publishers. Be prepared to redraft some more. And don’t give up – getting rejections is all part of the job. Good luck! Sue Mongredien is the author of SUPER-DUPER DUDLEY! and BEFORE WE GO TO BED. Sue also writes for our sister company, Stripes Publishing – click here to see her books.