With the Writer Spotlight Series, we create a positive image for young girls to refer to by having conversations with different writers and illustrators. This month we have been doing Q&As with many writers, to get to know more about them and their work. Here, we are showcasing all the questions we have asked author J.T. Williams and illustrator Angela Vives. We discuss the debut book, Bright Stars, Black British History.
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Bright Stars, Black British History, is a brilliant guide presenting the extraordinary life stories of fourteen bright stars from Black British history, from Tudor England to modern Britain. Can you tell us the journey of writing this book?
J.T: History fascinates me! I grew up in Britain with Sierra Leonean and English heritage and was always curious about the history of Black people in Britain. People of African descent have lived in Britain for many centuries and have influenced the course of history in powerful and exciting ways.
When I became a mother and a teacher, I realised that there were just not enough books about Black British history, or about Black British people, especially for young readers. So I decided to do something about that. I was determined to share the amazing discoveries I had made through my research over the years.
Writing each chapter felt like spending time with the person I was writing about, whether it was Sarah Forbes Bonetta, the young Yoruba girl who became a protégée of Queen Victoria, or Claudia Jones, the political journalist who introduced Trinidadian carnival to Britain.
I immersed myself in a deep research process: I read books, pored over photographs and paintings, listened to music, visited museums and galleries, walked streets these people had walked. While making extraordinary discoveries about their lives, I reflected on the experiences that shaped their decisions. Each unique life story I wrote was an inspirational journey.
Bright Stars, Black British History features iconic individuals, including freedom fighter Mary Prince and Notting Hill Carnival founder Claudia Jones. What was the inspiration behind the illustrations?
Angela: The inspiration behind the illustrations perhaps originated during my Master's program, as I discovered the potential that non-fiction children's literature and, specifically, picture book biographies have to emphasise the intricate stories of people. I wanted to immerse myself in the lives of these remarkable 14 individuals to highlight their lives, achievements, and contributions to our history.
The primary goal was to create a place. A never-seen-on-the-page world for them, a visual narrative that positioned them at the forefront of their own stories. To achieve this, they took a meticulous approach over a long period, selecting a distinct color palette for each of the 14 personalities.
Every biography has a different border, serving as a vehicle for incorporating symbolism and enriching the visual storytelling elements. I found immense pleasure in the decorative details of crafting this book, delving into visual research of the historical periods they lived in. This exploration informed elements like architecture, interior design, and costumes, contributing to the overall aesthetic and historical authenticity of the project.
I hope the result is a collection of illustrations representing these 14 Bright Stars’ remarkable journeys within the broader historical context.
What mediums do you create your work in?
Angela: I alternate between working with traditional and digital methods. During the designing phase, I extensively sketched on paper while daydreaming, letting my imagination wander. As this is a non-fiction book, I grounded my creative process through thorough visual research of the historical periods involved by visiting museums, looking at books and the internet, and studying the visual references given by the editorial team. The chosen sketches get selected and scanned into procreate. I print my sketches on a Fabriano 200-gsm paper, where I apply paint directly.
I use gouache or pigments with a gouache binder to uncover the colour. Then, the painted sketches undergo high-res scanning, and I add details, such as facial features, back into Procreate. Finally, I moved the illustrations to Photoshop, ensuring they fit the design's page layout, the file meets the printing standards,
and the whole page spread flows nicely. I also ran a last colour correction.
It's time-consuming, but it suits my process. I find it challenging to work exclusively inside digital platforms; there's an absolute satisfaction in drawing and painting with traditional materials that I can't replicate digitally.
What was an early experience where you learned that language had power?
J.T: What a brilliant question! My most powerful writing experiences began when I started a diary at the age of ten. I wrote down not just what I did, or what happened to me each day, but how I felt about it. Describing the world in my own words became my power. Writing down my deepest thoughts helped me to deal with my worries, with difficult situations like fallouts with friends. But it was also a way to express joy and excitement about the things I loved, the books I read, the music I listened to.
I’ve solved many problems by reading over my diaries. It’s like having a conversation with your own thoughts, working out your ideas about life and the world. To this day I still write a diary. That’s where I draft all my early ideas. I highly recommend it!
How did you develop your own illustration style?
Angela: This is my debut book as an illustrator, and each day brings new lessons and opportunities for growth. My illustration style has developed since I finished
my MA in children's book illustration in 2020. Still, I am conscientiously working to maintain a distinctly human touch in my drawings with visible brushstrokes and using pigments to convey uniqueness and a personal touch. While drawn to a muted colour palette, my appreciation for the three bright primary colours adds a vibrant contrast, surely reflecting my Colombian heritage!
Whatever project I am in, I will continue to emphasise that there's a human
behind each drawing, embracing the handcrafted aspect of illustration.
What do you hope young readers will take away from this book?
J.T: We can learn so much from people who lived before us. When I looked closely at these people’s lives, I could see that their journeys started in childhood, that they were already showing signs of what they would go on to achieve, of who they would become.
Mary Seacole, a pioneer of medicine and an adventurous traveller, actually began practising her nursing skills on dolls and pets when she was a young girl in Kingston. Walter Tull started playing football for his orphanage team to find solace from having been separated from his brother. We are never too young to start making a difference! Take Una Marson, the Jamaican journalist, poet and playwright. She started writing poetry as a young girl and founded her own feminist magazine, The Cosmopolitan, in her early twenties. And this was almost a hundred years ago - what an inspiring woman!
We have a saying in the world of Black history education: ‘Each one, teach one’.
I hope that readers will feel they have ‘met’ some inspirational people, and have learnt some fascinating and important history. Pass these stories on, share them, tell them in your own words, write your own versions. Who will you write about?
What are you currently reading?
Angela: There is a massive pile of books that looks at me every morning. I am a slow reader, a teacher, an artist, and a busy mum of two teenagers and two cats. On top of the pile is Toni Morrison's Sula, which was given as a Christmas present by my dear author and friend JT Williams. Sula gives me great pleasure. It's less than 200 pages, so I am about to finish it. And I want to hang onto every word Morrison writes; she speaks about the complexities of human relationships, community and the impact of our choices.
I am also reading Professional Learning for Artist Teachers, edited by Rachael Payne, which explores the intersection between being an artist and a teacher. It is theoretical but has many practical examples. Written by a handful of incredible humans and experts in their fields, it's an engaging guide to anyone who is an artist and a teacher.
J.T: Since my girlhood, I have always loved reading. I teach Creative Writing at a university and I still read every day. Right now I am reading African American folktales collected and retold by Zora Neale Hurston, a brilliant writer who came to prominence during the Harlem Renaissance, a flourishing of Black culture in the 1920s. Zora was sassy and smart, witty and wise. She believed strongly in the power of storytelling to keep a culture alive. She is a true inspiration.
Read our Recitatif book review here
About the author
J.T. Williams is an author and educator specialising in Black British history. She has a Master’s in Creative Writing from Royal Holloway University. Her debut children’s book, Lizzie and Belle: Drama and Danger was shortlisted for Foyle's Children's Book of the Year 2022 and for the Waterstones Children's Book Prize 2023.
About the illustrator
Angela Vives is an award-winning illustrator with an MA in children’s book illustration from Anglia Ruskin University, Cambridge, UK. In 2020 she won the Picture Hooks Winter Comforts competition. She was shortlisted for the Cheltenham Illustration Awards 2019, and longlisted for the World Illustration Awards 2020.
With the Writer Spotlight Series, we create a positive image for young girls to refer to by having conversations with different writers and illustrators. This month we have been doing Q&As with many writers, to get to know more about them and their work. Here, we are showcasing all the questions we have asked author Diana Anyakwo. We discuss her YA book, My Life as a Chameleon.
Our recent issue is out now! All about gaming and filled with interviews, activities and book reviews. Grab a copy here!
Welcome Diana. Tell us about yourself.
I currently live in Manchester, working as an editor and author, but for educational books, mainly for teenagers and children. Manchester has been my home for most of my life. I spent most of my childhood in Nigeria, Lagos, before moving to the UK. I started writing when I was in my 20s. Writing was not something I wanted to become, because I did not know that was a profession. I spent three years living in Greece in Athens, where I was teaching English as a foreign language. That was quite nice, the beautiful weather and culture.
My Life as a Chameleon tackles important issues with honesty and trust. Can you explain the inspiration behind the story?
The inspiration comes from growing up in Nigeria. It was a great nostalgia for Nigeria and my childhood, but particularly the time that I grew up, which was like the 80s. While writing this story, I pictured it to be a short story. The focus was on the setting, as a child growing up in Nigeria, from little scenes and memories. After a few years, I went back to Nigeria. It differed totally from what I remembered growing up. Which was slightly disappointing. However, it was nice to see the developments.
My Life as a Chameleon is set in dual timelines. 1990s Manchester and Lagos in the 1980s. Can you describe your writing process? Do you outline, plot and plan, or is your writing more organic?
It was organic. I am disorganised as a person. For my next project, I am trying to be
more organised. I just knew that I wanted a youthful voice to narrate the story. Originally writing short scenes and extracts from the girl's memory, then eventually, tie them all together to make a novel. My editor helped with the time frames throughout the story. I would have to give her credit for making it very clear. As I mentioned before that I wanted a youthful voice narrated, she mentioned “it was not clear enough for the reader”. So I needed to make the storyline clear that it is 15-year-old Lily that is looking back on their life and using the things that she experienced to find some kind of resilience for her current teenage years. By introducing two time frames, it gives an introduction and a final summary.
I also wanted to capture the fact that, like various teenagers, they have had unique life experiences. Teenagers are often told “they have not lived yet” but there are some teenagers that have gone through more life experiences than someone in their 50s. So they still have the right and benefit from reflecting on those sorts of experiences. Maybe using them to face what is ahead of them for the future.
What is your favourite line from your book?
So I have it here. So just as an intro, it is the main character Lily. She is at her father's funeral. And it is when they all come back to the house for the week. And she's kind of reacting differently from all her family members. There are people being very dramatic at the funeral, and Lily is not feeling or acting the same. So she questions herself, “What is wrong with me?”. “Why am I not crying?”
“Back at home, the formalities keep going on around me. And as I stand in a corner of the lounge watching, I begin to feel as if I am a ghost.”
I just wanted to show that Lily feels like she does not exist, because there was so much emotion in the room. That might be something numerous people feel at funerals. People could feel numb, or not focus on their feelings. Especially for a child that has lost a parent, everyone grieves in different ways.
As a YA writer, how important is it to have stories about life experiences?
I tend to read stories that are based on life experiences. I like realistic fiction or contemporary fiction, although mine was based in the 80s. When a young reader reads My Life as a Chameleon, maybe they can relate to emotions or feelings of the character. That can make them feel good, or less alone, more seen. Genres around fantasy are fantastic, as I used to read these stories as a child.
My Life as a Chameleon would be a good reference for teachers. There may be some students in class who are going through something which nobody is aware of. Their attitude may change. For example, they could be passive or aggressive. Lily had some trouble with her teacher, as she turned up to school late every day and her teacher was not pleased about this situation. However, it is not Lily’s fault that her father has fallen ill, and Lily has to be there to give him his medication, which makes Lily late for school. So instead of shouting, the teacher should address these issues with the parents. The story was based in the 80s, so I am
sure schools have changed today to allow the students to have a voice.
What are you currently reading?
I just finished reading a book that just had me in tears. It is called Hurricane Child by Kacen Callender. Caroline is from the Caribbean, the island of St. Thomas. It is a coming of age book. The main character is Caroline, a 12-year-old girl who thinks that she is cursed because of her mother leaving her and her father. We discovered that her mother has mental health issues. Plus, Caroline has new feelings for another girl in her school. She is not sure if these feelings are right or not. It is beautifully written, I highly recommend it!
Who inspires you in your genre?
I wrote a few names down, as there are various writers. I love Danielle Jawando. She deals with social issues and makes them very human. So you learn something, also there are various emotions. And it's difficult to read her books without crying, beautifully written. I enjoy Jacqueline Woodson's writing. Her book, Brown Girl Dreaming, was great.
Lastly, I enjoy Kereen Getten’s writing, love her book called Life Gives You Mangoes.
Quick Fire Round
Would you rather have an endless summer or an endless winter?
Summer
Where is your happy place?
Home
What song is always on the top of your playlist?
Feeling good by Nina Simone.
About the author
Diana Anyakwo grew up in Lagos, Nigeria. Diana is of mixed Irish and Nigerian heritage. Anyakwo moved to the UK when she was a teenager and later graduated from the University of Manchester with a degree in Molecular Biology and a Masters in Bioreactor Systems. She spent three years in Athens, Greece, where she taught English and worked as an editor at an educational publisher. She currently lives and works in Manchester as a freelance writer and editor for English Language teaching materials.
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Welcome Abiola. Tell us about yourself.
Hello! I'm an author and write children, middle-grade and YA. I've been writing books since I was eight years old and wrote the first draft of my first book, Emily Knight, I am when I was twelve years old. I also run a small indie publishing house and The Diverse Book Awards.
What was the inspiration behind the characters, Tia Solanké and Quincy Parker in Only for the Holidays?
Tia is a representation of my dislikes! We both don't like the countryside, both are scared of horses, both don't like having to leave the city to stay in the countryside! She's also British-Nigerian, which was fun to write. Then Quincy is ultimately the representation of a nice guy, who are usually friend-zoned but for me nice guys never finish last, so I really wanted that type of character as my prime male MC.
Only for the Holidays, a perfect holiday read. Can you share with us something about the book that is not in the blurb?
Quincy and Tia are experiencing a toxic love that they both have to navigate in different ways.
As a YA writer, how important is it to have stories about Black love?
Very important. Representation in romance is so weak and I love that I'm able to contribute to that. It's important for young people to see Black people not just in the context if slavery and gangs.
In three words, what does holidays mean to you?
Jesus, family, blessings
Hashtag Press is a book publishing house promoting fresh voices. Can you explain the inspiration behind it?
Becoming a published writer, especially as a debut and, if you're underrepresented, is really difficult. I've had a journey getting published, so I totally understand the ups and the downs of being an author. Getting an agent can take a lot of time and patience and although Hashtag does work with agents, we are open to working directly with authors. To really grow the access of literature, it's important to find those fresh voices and support them.
Quick Fire Round
Would you rather have an endless summer or an endless winter?
Endless summer always
Movie or Book?
Book
Sweet or Savoury?
Definitely sweet
About the author
Abiola Bello is a British-Nigerian author from London, England. She is the bestselling, award-winning author of the children's series Emily Knight I Am and contributed to The Very Merry Murder Club anthology. Love in Winter Wonderland is her debut YA. Abiola has won London's BIG Read 2019, was a finalist for the People's Book Prize Best Children's Book and was nominated for the Yoto Carnegie Award.
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With the Writer Spotlight Series, we create a positive image for young girls to refer to by having conversations with different writers and illustrators. This month we have been doing Q&As with many writers, to get to know more about them and their work. Here, we are showcasing all the questions we have asked author Shiko Nguru. We discuss her middle grade book series, Odwar vs. the Shadow Queen.
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Congratulations on the release of your second book, Odwar vs. the Shadow Queen, which is part of the Intasimi Warriors. What was the inspiration behind the plot?
Thanks! I would say two things: First, I wanted to convey the message that
What sources [research] did you use for the intriguing development of each character as they continue on their journey? What are the important elements when creating a character’s personality?
Books and TV are significant sources of character research. When I’m writing, I read a lot of books featuring young characters. For example, I’m just about to start Akata Woman by Nnedi Okorafor and just started watching Supa Team 4 on Netflix. Seeing the work that other creators have done is great inspiration and inspires my creativity.
When creating characters, I always make sure that each character’s personality draws deeply from my own experiences and that of those around me. It’s easier to write them because they’re believable. I also think it’s important for characters to be vulnerable and flawed so that their journey is meaningful.
Do you think that ancestral fables have affected how we think and understand the world today?
Absolutely! Ancestral fables reinforce cultural values and remind us of our traditions. We keep African culture alive when we tell these stories to our kids.
What has been your favourite memory whilst writing this novel?
Writing this book reminded me of travelling during the school holidays from the city of Nairobi to the countryside where my dad grew up. I always looked forward to this time of the year - we didn’t have a tv in our upcountry home and would spend all day playing and listening to the grown ups tell stories of when they were younger.
Quick Fire Round
What is the last song you listened to?
Shut Down by BLACKPINK. I was trying to explain to a friend what K-Pop is and why my 12-year-old daughter is obsessed with it!
Which character do you think you relate to the most - from your latest book?
Odwar. I was that kid who really wanted to make my parents proud in school and at home.
What is your favourite quote?
Comparison is the thief of joy
About the author
Shiko Nguru is a Kenyan author and content creator, sharing her motherhood journey in the most genuine and beautiful way she can. Odwar vs. the Shadow Queen is the second novel in her debut series, inspired by her love of East African mythology.
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Welcome Sufiya. Tell us a bit about yourself. When did you discover your love for writing?
I loved reading and was known as a bookworm by my teachers. I started writing when I was about eight. It was my childhood dream to be a writer, and I started practising from an early age. I would copy the first few chapters of my favourite books word to word in my exercise book and then, halfway through, let my imagination present my ending. As I grew older, I became more confident with dreaming up my own stories and writing them down in my exercise books.
I grew up on a council estate and bang in the middle of it was my most favourite place in the world. My public library - my safe and happy place, which gave me access to all those free books that I could devour. It is why I feel so passionately about public and school libraries. I would not be the writer I am, or indeed have had my previous career working in the Houses of Parliament if it had not been for the aspiration that I gained from all those books. The stories allowed me to dream and imagine a world outside my council estate bubble.
Rosie Raja: Mission to Cairo and Churchill Spy series is filled with thrilling and empowering WWII adventures. What came first, the plot or characters?
Every story is different. With Rosie, it was a character because I wanted to write about a girl of dual heritage set in World War II and her experience in Britain and India during that time. Rosie has a foot in both worlds with a father who is English and a mother who is Indian.
I thought a lot about her backstory, which influences her choices and makes her who she is. Rosie loses her mother and tries to cope with the loss and grief. She also has an emotionally distant father who is a hero, but struggles to communicate with his daughter. All of this set in the period of the British Empire at the time of its decline, in the middle of a world war filled with danger.
While writing the series, did you want to do more research on the subject and time period discussed?
I had already done the research on WWII spies when I wrote my book about the real historical figure, Noor-Un-Nissa Inayat Khan. Noor was one of Sir Winston Churchill’s spies who was sent to occupy France to spy on the Nazis just like Rosie’s father. I had all that information in my head in terms of dates, settings, real people, Morse code etc. for the first book Rosie Raja: Churchill’s Spy. You could say Rosie’s character is inspired by Noor.
I did have to research Egypt during WWII for the second book, Rosie Raja: Mission to Cairo. Egypt was an important location for the British because of the Suez Canal. This is the waterway through which all our resources from the east sailed through. It had to be protected from the Nazis.
I read books on the battles that occurred in North Africa, the historical figures involved, and what the city of Cairo was like. I read a lot of non-fiction adult books about the war. It helped with getting the story setting right.
What do you hope young readers will take away from this book series?
I’d like young readers to walk away with a rounder view of WWII. The Rosie Raja books mention the empire’s soldiers that fought in the war. Most people do not know that 5 million soldiers from the British Empire came to fight in WWII. They came from African countries, the Caribbean, New Zealand, Canada and Australia. Of the five million, half that number, 2.5 million were just from India. That was the largest volunteer army in history, and they came to fight the Nazis for Britain.
I think it’s important that young readers see this side of the war too. It is not an alternative history. It is our shared history. Perhaps it could help British children of colour with their sense of belonging to their birth country, and also allow all children to see why our country looks the way it does. Personally, I have always felt that I belong to this country, but there were times as a little girl that I felt I was peeping into someone else’s history. It seemed that WWII was fought and won by people who did not look like me. But that is so far from the truth.
Who is the author you most admire in your genre? Why?
Oh so many, but if I have to name one, then Emma Carroll. I love her historical fiction. Her writing transports you into the past.
Are you working on any new projects?
I have a time travel book releasing in February 2024 which is currently being edited. I am also plotting a new Rosie Raja adventure in my head.
Quick Fire Round
What is one of your favourite memories?
Going to Blackpool beach in the summer with my cousins. We had day trips there when we visited our family in the northwest of England every year.
You have 3 wishes. What would you wish for?
Free school dinners for all the primary school children in Britain.
A library with a librarian in all primary and secondary schools
Copies of Rosie Raja in all the school libraries
What is your favourite place in the world?
London–it’s home.
About the author
Sufiya Ahmed was born in India and arrived in the UK as a baby. She lived in Bolton, Lancashire, before moving to London, where she still lives. Sufiya has worked in advertising and in the House of Commons, but is now a full-time author. In 2010, Sufiya established the BIBI Foundation, a non-profit organisation, to arrange visits to the Houses of Parliament for diverse and underprivileged school children. Sufiya also writes for The Independent newspaper.
With the Writer Spotlight Series, we create a positive image for young girls to refer to by having conversations with different writers and illustrators. This month we have been doing Q&As with many writers, to get to know more about them
and their work. Here, we are showcasing all the questions we have asked
Author Sathnam Sanghera. We discuss his new middle grade book, Stolen History: The Truth about the British Empire and how it shaped us.
Congratulations on your first published children’s book. Stolen History: The Truth about the British Empire and how it shaped us. Chapter seven - What can I do? Explains the importance of readers expressing their knowledge. How important is this for young readers?
I think it's important for them, but also for the entire country, because of this history, it's just never been taught at school properly. This history that we struggle to talk about on a national level. I think the only way we finally begin talking about the biggest thing we ever did as a country is if children start talking about it; I believe it’s happening already.
To be honest, I think kids are going to school. And they're saying, “Miss or Sir, can you tell me about colonialism"? This has never happened before. Black Lives Matter has been a part of expressing and sharing the knowledge of our history. You can only repress the truth for so long. So I think it's incredibly important, and it's already happening.
How much research did you need to do for Stolen History: The Truth about the British Empire and how it shaped us? What was the journey like?
I wrote Empireland, thinking that Stolen History: The Truth about the British Empire and how it shaped us was going to be easier. I simplified the language, add a few jokes. But actually, there's no shortcut with writing, and it was really hard. The empire is such a big subject, always and still are discovering additional facts. There are a few brand additional facts in the Stolen History: The Truth about the British Empire and how it shaped us.
For example, I didn’t know the Imperial background of London Zoo; I didn't know about the history and Lancashire of the workers there, and the history around the enslaved. Britain's favourite brands are filled with facts, including HP sauce, cigarette cards. There's probably 80,000 ways of writing this book, because this history is 400 years long. There's so many ways of telling the story, so that keeps it interesting as well for me.
What do you hope young readers will take away from this book?
I think there's two main things. One is, I hope they understand something that I did not understand until I was in my 40s, which is that history is an argument based on facts. I left school with GCSE history, however I left school with the idea that history was facts. I didn't realise there were multiple versions of events.
Children are really smart enough to be able to comprehend that. And that also solves the problem of the fact that the empire is such a divisive subject. I think children can understand that people have different views.
So that's the first thing. Secondly, I feel that I want people to understand that we are a multicultural country, because we had a multicultural empire. It's something that is not understood by politicians, by our state. It's why we had the Windrush crisis scandal, you know, where we're deporting British citizens to a country they don't even know. Because it's not understood. It's such a basic point. The dominant narrative of my lifetime is that brown people and black people came in uninvited, with no connection to Britain. We all know that there are centuries long relationships between brown and black people in Britain. And so I hope that's the main point. I want people to understand.
Empireland is an adult version of Stolen History: The Truth about the British Empire and how it shaped us. How has the writing journey of Empireland shaped your own identity?
I think it's made me realise that the British Empire explains so much about my identity. I didn't realise, I mean, I'm a Sikh. The British created a lot of the Sikh identity, the sheer numbers of people who were Sikhs. The British had a large role in that. I discovered recently that I studied English literature at university. That was a subject that existed in India, before it existed in Britain, and they imported it back. The multiculturalism of my hometown, the racism of my hometown which is Wolverhampton. A lot of that goes straight back to the Empire and museums or wealth, politics, the royal family. There's so much in our news every day that this history can explain.
What are your top 3 landmarks, and why?
I mean, places that really say a lot about the empire in Britain. One is a Harewood house, which is a stately home in Yorkshire. We have a famous black actor in Britain called David Harewood, his surname comes from the Harewood family who made their fortune in Barbados from using slave labour to produce sugar. They made an absolute fortune. Harewood house is a testament to that, and Lord Harewood is related to the royal family. If you visit Harewood house today, you will find photos of David Harewood. It is an interesting place to visit because you'll see how the conversation is changing.
Secondly, I'd say go and look at the statue of Lord Clive, in Whitehall. Clive of India, he's in my book, was the man who arguably, resulted in Britain establishing an empire in India. That statue was put away after his death. Lord Clive was really unpopular in his own lifetime, he ended up killing himself, because he was so overcome with the crimes he committed, a quote from Samuel Johnson. I think there's an idea that criticism of these people is already happening now. But actually, a lot of these people were criticised at the time by British people.
And actually, the third thing is just right next to the Lord Clive statue, the Foreign Commonwealth and Development Office, but actually it was once the India office, and it's full of statues celebrating empire and imperialism, but you don't have to go inside, because you could just look at the reliefs on the outside celebrating the British Empire. The way Africa is depicted the way India is depicted, is different to how the British people are depicted. I would say, quite racist, but this is an office where we still establish our relationship with the rest of the world. And I think we should think about it, because I think it still affects our psyche.
What are you currently reading?
I'm reading a lot of books by Empire because I'm writing a sequel to Empireland, but I guess I've just read William Boyd's The romantic, which is a beautiful novel actually set in the days of empires about one man who works as a soldier in the East India Company ends up in North America as part of colonialism there. It is a great book and it shows you how history can be written in a really accessible way. Another book I'm reading is by Elizabeth Day Friendaholic: Confessions of a Friendship Addict. Very entertaining.
About the author
Sathnam Sanghera was born to Punjabi immigrant parents in Wolverhampton in 1976. He entered the education system unable to speak English but went on to graduate from Christ's College, Cambridge, with a first class degree in English Language and Literature. He has been shortlisted for the Costa Book Awards twice, for his memoir The Boy With The Topknot and his novel Marriage Material. Empireland has been longlisted for the Baillie Gifford Prize for Non-Fiction. He lives in London.
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School Trip is your new award-winning book. Can you share the inspiration behind it?
When I graduated from college, my dad took me to the Bahamas to celebrate. It was my first time leaving the country, and his first time on a plane, even though he was in his 70s. We went to a different country every year for the next 20 years. We loved it! I try to do the same for my sons, so when I thought about the concept of School Trip, I took them to Paris so that I could see it through their eyes. But for many of my friends, growing up, travelling out of the country was almost unheard of. Especially since many of them had never left the state.
I just wanted to show my readers that there is a big world out there and they are an important part of it. Maybe if they see Jordan, Drew, and Liam going to Paris, it may spark their desire to want to see the world as well.
When did you discover your love for art? What was that experience like?
I never remember a time in my life when I did not want to draw. When I was a kid, my brother was a Marine stationed in Okinawa. I remember going to the movies and drawing a cartoon summary to send to him. From there, I started to design my own comic books. And the rest, as they say, it’s history.
What mediums do you create your work in?
I do almost all of my work on a Wacom tablet with Adobe Photoshop
How would you describe your illustration style?
Semi -realistic cartoony. It is a light and friendly style, but all the ways of how a character relates to their surroundings in real life, such as movement, light, and gravity, are pretty realistic.
Describe your creative space. And why is it special to you?
It is my fortress of solitude. In August I moved to a bigger studio which is lit well. I filled it with books and toys. I proudly display the awards that I have won. And I have various drawings from kids that I have received over the years. It has a constant reminder of why I do what I do.
Who inspires you, and why?
I love talking to other artists and writers. It has a constant exchange of ideas. I especially like the ones who push me to be better. My buddy Eric Velasquez is one of those guys. Kwame Alexander is kind of okay, too. Sort of. So is Jeff Kinney. :)
About the author
JERRY CRAFT is the New York Times bestselling author and illustrator of the graphic novels New Kid and Class Act. New Kid is the only book in history to win the John Newbery Medal for the most outstanding contribution to children’s literature (2020); the Kirkus Prize for Young Readers’ Literature (2019), and the Coretta Scott King Author Award for the most outstanding work by an African American writer (2020). Jerry was born in Harlem and grew up in the Washington Heights section of New York City.
]]>The Conversations Series creates a positive image for young girls to refer to by having conversations with different writers, entrepreneurs, and creators. Here, we are catching up with Rachel Faturoti, a writer who has written Sadé and her Shadow Beasts and her new book, Finding Folkshore.
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Finding Folkshore is your latest YA novel. Fola Oduwole, the main character, experiences heartbreak over her brother’s illness, as well as finding herself in Folkshore - a hidden part of London. Where the adventure begins. What inspired you to write the book?
In 2018, I first had the idea for a Black Rapunzel. I have always loved fairy tales, but they have not been very diverse, so I wanted to tell a story about a hidden mythical place in London with these subverted fairy tale characters. London itself has charming elements to it and Folkshore stems from that.
What do you hope young readers will take away from this story?
I want the readers to know that they are never too young to make an impact in this world. It’s important to stand up for what you believe in and use your voice. I also want to stress the importance of having a community around you and this does not have to be just family — it could be friends too.
Why is it important for young Black readers to be represented in stories?
Positive representation allows young Black readers to understand more of the world, it grows their self-esteem and shows them future possibilities.
When did you discover your love for writing? What was that like?
I have always loved writing. My earliest memory was when I was approximately six years old, crafting short stories on my dad’s typewriter. I have always written.
I loved writing songs before too!
Quick Fire Questions
Who inspires you?
God and my family.
What is the last book you read?
Yomi and the Fury of Ninki Nanka written by Davina Tijani
About the author
Rachel Faturoti is a British-Nigerian author, editor, screenwriter and poet. She believes it is important for readers to see themselves represented well in stories.
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The illustration details featured in This Book will Save The Planet are wonderful! We are fans of the Empower the Future series. What was the inspiration behind the illustrations?
I represent Afro-descendants as joyful, proud, and empowered — a united community whose destinies are intertwined. These colourful personalities present the unified voice of a global community whose hopes, dreams, and desires envision an inclusive future for all.
Could you tell us what the best part of working with Dany the author was?
Fun fact, we did not work together directly. Dany wrote the book with the publisher, and I worked on the illustration with the designers of the editors.
What mediums do you create your work in?
I create my work in Adobe Illustrator.
What inspired you to be an illustrator?
I was not expecting to work on a series of books. I was not comfortable with words or books, but thanks to my editor, I feel more confident and see that my artwork can transmit knowledge and inspire people. It's powerful.
What advice can you give to young climate activists?
Believe in the cause you fight for, be persistent, meet people, talk to people, be curious, and know you can pass on your message.
Quick Fire Round
You have one superpower. What would it be?
My superpower is to be creative.
Favourite season?
Spring is my favourite season; the flowers bloom, and the days are brighter; it feels like a hope that nature is still alive.
Any hidden talents?
I like to cook 😉
About the illustrator
Aurélia Durand is a French graphic artist. Her work, which includes the illustrations for the #1 New York Times bestseller This Book Is Anti-Racist, is a vivid celebration of diversity; she dedicates her artistic voice to matters involving representation. Her work has been featured in advertising campaigns, galleries, and editorial magazines; her clients include Nike, The New Yorker, Facebook,
and more.
With the Writer Spotlight Series, we create a positive image for young girls to refer to by having conversations with different writers and illustrators. This month we have been doing Q&As with many writers, to get to know more about them and their work. Here, we are showcasing all the questions we have asked Award-Winning Author Angie Thomas. We discuss her new middle grade book,
Nic Blake and the Remarkables.
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Welcome Angie. Tell us a bit about yourself.
I am an author. I am most known for my first novel The Hate You Give, which was a novel about a 16-year-old girl and she is the sole witness of her friend who got killed by cops.
Which turned into a movie. My second novel, On The Come Up, they also made this book into a movie.. I have a third young adult novel called Concrete rose. Now I am doing my first middle grade novel for younger readers, and it is called Nic Blake in the Remarkables, the manifester prophecy, and it comes out April 4.
Congratulations on your new book, Nic Blake and the Remarkables. What was the inspiration behind the stories?
I always loved fantasy stories as a kid. They were some of my favourites. I read the Harry Potter series, obviously; I read The Chronicles of Narnia, all these original books. But one thing I noticed as a child was that there were not a lot of people in them who looked like me, not a lot of Black people within the stories.
Black children definitely were not the main characters. And I thought, why not? I remember thinking that as a kid. And so once I became an author, I knew I wanted to write a fantasy novel one day, and I knew I wanted to make one about a Black girl, because I did not see that in the novels I was reading. I felt like it was an opportunity to do that. Also, I was inspired by so much African American folklore and history. There are so many stories and mythologies that have been forgotten or are not discussed nearly enough that I thought would be so cool to draw up for a fantasy world. So that was a huge inspiration for the book.
Nic Blake is the main character in Nic Blake and the Remarkables. We follow her experiences as a young Black girl with a magical gift. What do you hope young readers will take away from this story?
There is a line in the book where Nic's dad tells her, “you are the only gift you need”. And I hope that is what my readers take away from reading this book. So often, the world makes us feel like we are not enough. Nic’s dad wants her to know that she is all the magic she needs. She is the gift! I want my readers to know that, with all their strength and intelligence, that is what they need to be the person they want to be. It has to mature and they learn and they evolve, but they have everything that they need already inside of them.
The Hate U Give is a book about equality and democracy, which was
inspired by the Black Lives Matter movement. Were there any lessons you took away from writing this book?
The biggest lesson that I took away from writing that book was to stand in the truth and stand by the truth and be okay with writing that, even when it makes people uncomfortable. So, like all of my books, address things that may make people uncomfortable, but their truths. Police brutality is a truth, unfortunately. And even in Nic Blake, we address some of these truths. We address the truth of the brutality of slavery, and even what Black people in America went through post slavery. These are all things that are mentioned and addressed. And I think, if I would not have written The Hate You Give and saw the success of it, and also saw just how people gravitated towards it and fell in love with it, it would not
have given me the confidence to continue to discuss these uncomfortable truths, no matter what kind of book I am writing.
The main protagonist of On the Come Up is Bri, an inspiring rapper. Who is having a complicated time at school and home. Were there any challenges you faced while writing this story, and if so, how did you overcome them?
The whole reason I kind of wrote that book was because The Hate You Give was being banned in so many places here in America, including various schools. It was very upsetting, however; I was more upset about the messages sent to the readers. Saying that the stories were inappropriate to read. I took offence at these messages, because I wrote these books for young readers so that they can connect with someone that looks like them.
So I wrote On the Come Up, because I wanted to write about a young girl who people are focusing on how she is saying things as opposed to what she is saying, when people need to focus on what she is saying they need to focus on what she is going through. It was to address and be more aware of the things young people deal with daily.
So my biggest challenge at the time was deciding what story to tell. In this story, I was going to address censorship throughout the story. It is going to be my way of answering back to all those people who are trying to silence me. So I think getting the courage to do that was probably my biggest obstacle.
What do you like to do when you are not writing?
I am a full-time dog, Mama. Besides that, I play video games a lot online. And I am learning to do self care more. So, getting my nails done or something pampering like that. I love shopping; I have a large trainers collection!
What is the last book you read? What are you reading next?
Just finished reading Spare written by Prince Harry. I also read Kindred by Octavia Butler. Because I feel like if you are going to write anything magical fantasy you need to read the OG as far as Black writers. My next read would be Chaos, written by a friend of mine, Nick Stone.
Are you working on any new projects?
I am working on the second book in the Nic Blake series. I am super excited about that, having so much fun with the second book. For the next series, I get to write about different schools based on HBCUs that are here in America, the historically black colleges and universities. This will be HBCU culture, which would be nice to introduce to my international readers.
I am writing the film script for the Nic Blake series. This time I am doing the script myself. Regarding The Hate You Give, I am super excited about it, however, I am not allowed to discuss it just yet.
Quick Fire Questions
What is one of your favourite memories?
Oh, one of my favourite memories is the time I got to talk to one of my favourite music artists. A group called TLC. I was a huge fan of TLC and my favourite member was Left Eye. I was 14 years old; Left Eye spoke with me on the phone. The conversation was flowing. My mother organised this for me, and I feel that was my best memory.
Movie or Book?
Book every time!
Favourite artist and favourite song?
I would say, TLC, Beyonce, Tupac, Drake, Lizzo and Kendrick Lamar. Favourite song would be United in Grief by Kendrick Lamar.
Nic Blake and the Remarkables | Walker Books | Available Here
About the author
Angie Thomas was born and raised in Mississippi, but now calls Atlanta her home. A former teen rapper, she holds a BFA in creative writing from Belhaven University. Her award-winning, acclaimed debut novel, The Hate U Give, is a #1 New York Times bestseller and major motion picture from Fox 2000, starring Amandla Stenberg and directed by George Tillman, Jr. Her first middle age book Nic Blake and the Remarkables is on sale now.
With the Writer Spotlight Series, we create a positive image for young girls to refer to by having conversations with different writers and illustrators. This month we have been doing Q&As with many writers, to get to know more about them and their work. Here, we are showcasing all the questions we have asked Cheryl Diane Parkinson, the author of Last Girl In.
Our latest issue is out now
Welcome Cheryl. Tell us a bit about yourself.
I am Caribbean British and live in Norfolk. Passionate about writing, and that age old cliche, I have been writing for as long as I can remember! Started writing poems and short stories and then progressed to novellas and novels. At school, I enjoyed English Literature. I loved the way I could arrange words into poetry or sentences and how you could manipulate them to create what you wanted. This love of language and literature carried me to university, where I studied writing and books up to the PhD level. My interest in Caribbean literature came when I studied it at Master’s Degree level at Warwick University.
I was extremely fortunate to have the esteemed David Dabydeen as my professor - something which I will always be grateful for. He taught me how important representation was, and said that “I have a space in British society”. Explaining that my history is hidden, but it is there. He also showed me the beauty of the sounds of words and, specifically, Caribbean patois. A beauty that I am keen to replicate in my writing. I began writing for children when I had children of my own. They did not like the books that the school provided, and having looked at them, I realised they were quite boring! So I began writing stories that made them the main characters. I published them on a WordPress blog so that my children could access them without me if they wanted, and they did. We even used to illustrate some of them.
Congratulations on your debt, children's book Last Girl In. What was the inspiration behind the story?
The inspiration had to come from cricket and my dad’s love of cricket. My late father, Andsurd, was passionate about the Windies and watched cricket at every opportunity. I remember sitting next to him on the sofa for hours, watching matches, but not really taking in what was happening. I just used to enjoy sitting there with my dad, watching him glued to the television.
There wasn’t much on television that held his attention. It was mainly cricket, and, of course, wrestling. Cricket was something that pulled Caribbean people together. Everyone loved cricket. And everyone watched and played cricket. My dad even taught me how to play when I was around 8. We played in the street in those days. Something that probably couldn’t happen today, but we lived down a quiet London street without traffic. Cricket pulled the community together, and what was even better was that we were good at it. It was a celebration of everything Caribbean. It was a celebration for us.
Kerry-Ann is the main protagonist in Last Girl In. She enjoys cricket, thanks to her grandpa teaching her the sport. It explores girls in sport. What do you hope young readers will take away from this story?
I would hope that the young readers realise they can do anything. That they do not have to allow themselves to be restricted by what others think they can and cannot do. They decide for themselves who they are. I would also hope that they take away the understanding of who we as Caribbean British people are and where we come from. For this knowledge is empowering. We have roots. Most Caribbean people have slavery ancestry. This system stripped us of our identity and culture. It stripped us of our roots. But we have built a new culture and have a new identity, and it firmly rooted us within this identity. Knowledge is power. And so when we meet people who try to affect our self-esteem, telling us who we are and what we cannot do, if we know ourselves, these individuals have no power over us. We control our own destiny.
Throughout the story, there is a strong mention of the culture and traditions of Jamaica. What was the highlight of writing this book?
Jamaica has a special place in my heart. Not only were both my parents born there, but I lived there for a time as a child. When you are a child, you see the world differently to adults. For me, the whole of Jamaica was enthused with magic. From the enormous John Crows, the bullfrogs and the crickets. I even found Anansi spiders fascinating! I loved the heat, the way you could watch the rain approaching - a moving grey sheet in the sky.
I loved when the sunset; the sky was ablaze before the world was plunged into an inky darkness. I loved the magic of fireflies in the bushes, the ghost stories that were told during power cuts and the lyrical language of the people, all tied up in this magical, green and blue gem. It was paradise to me, where anything seemed possible. This is what I tried to create in Last Girl In.
The scenes in Jamaica are what I remember. The heat, the space, the magic and the people. I particularly enjoyed writing the scene where the goat gets hit by a flying cricket ball. This was a true story! One that I enjoyed giving a creative spin. Writing about Nana was also extremely enjoyable. I loved writing about how she was in church, how she wasn’t bothered about the environment because Jesus was going to fix it all, and I loved the way she bossed Kerry-Ann around. This is a character that I am so familiar with and have so much love for that it was fantastic to see her immortalised within the pages of a book.
When did you discover your passion for writing?
I have always written, but it was not until I was 17 that I decided I wanted a career in writing. It was then that I started writing short stories for competitions. Reading and writing go hand in hand and I was always the sort of child who had her nose in a book. I used to read a lot. I wasn’t the sort of child to go out playing with friends, or visiting the cinema, (my mother was a strict Caribbean British mother, this was never an option.)
I was a bookish nerd and extremely proud of it. I wanted to write. And so when my mother bought a house a few roads away from a cemetery, (this was around the time Poltergeist the film came out) I distinctly remember writing my version of the horror, and of course, making myself the protagonist. I created zombies that pushed up through the concrete at the end of my street. A sinkhole that fell away, opening a blazing hot gateway to hell. And my protagonist (a 15-year-old me) was there to save the day. I created stories I wanted to read that were not in my local library. I fell in love with creating worlds. And being able to manipulate them, however I chose. And I was, by then, completely in love with language. Organising words to create tension, or show horror and the grotesque. I would draft and redraft scenes so that they were perfect. And then, I would add a soundtrack of songs that I loved and fitted into my scenes.
You have recently completed a PhD at Birmingham University in Creative Writing. Can you share your experience?
My PhD was challenging. Partly because I was studying while being a full time secondary school teacher and a mother, but I was passionate about what I was writing about. I very much enjoyed the freedom to create whatever narrative I wanted but found towards the end, it was more restrictive. There are few Black creative writers with a PhD in writing, and so my mentor was white. The most frustrating thing was when I was writing about something to do with Caribbean culture and because my mentor didn’t understand it as a white man, they marked it wrong. This happened many times. And so, I had to edit what I wrote to suit my white audience, my white examiners. Which was extremely frustrating. I remember being in tears about it and my mother telling me that once I passed, I will be free to write what I want. And now I do exactly that. As a writer, I dislike being restricted to what others think I should write about, or have my style changed to suit others. What I write and how I write expresses me and what I think is important. My PhD taught me the logistics of how to write, but it also showed me the importance of self expression as an artist - and I consider writing an art form and myself, an artist.
As difficult as my PhD was, my graduation was emotive. I was allowed just two guests, which of course were two of my daughters, Jessica and Amelia. The pride I felt walking around the campus in my gown was something that I will never forget and the look of sheer elation on my daughters' faces was priceless. I also noticed that I was the only black female PhD graduate in my group. I remember someone in the Ladies asking me about my experience of studying for a PhD, and I told her how challenging and exhausting it was. But this is what I expect when studying at this level. You expect it to be challenging. It is overcoming these challenges that makes graduating all the sweeter. And you learn not just more about your craft, but about the person you are.The self growth during a PhD is amazing. It is an experience that has helped create the person I am today. And I very much like who I have become.
About the author
Cheryl Diane Parkinson is a British Caribbean writer and journalist. She has taught for 17 years; imparting her love of English Literature to GCSE and A Level students and she recently completed a PhD in Creative Writing at Birmingham University. Cheryl has published two novels for adults and has also written also for ByLine Times, The Voice Online, and Fem Magazine. Last Girl In is her first children’s book.
]]>Our featured artist for our Art Issue is Héléne Baum-Owoyele. You can read all about her journey. Buy our latest issue here
You have illustrated a few children's books. What was different about the
Kyan Green and the Infinity Racers story?
Many of the books that I had illustrated prior to Kyan Green were about historical figures and true events. It instantly inspired me after reading the exciting backstory of Kyan Green for the first time. It was refreshing to illustrate so many black and brown characters making their way through the multiverse.
When did you discover your love for art? What was that experience like?
I discovered my love of art when I was 9. My best friend at the time taught me a few drawing basics and encouraged me to experiment on my own. The feeling of creating something from “nothing” gave me a rush that I had never felt before. Shortly after that, I was using my dad's printer paper to make my very own poorly drawn comics.
What mediums do you create your work in?
I mostly use digital mediums. Photoshop, Illustrator, and Procreate are
my bread and butter.
How would you describe your illustration style?
I’d describe my style as a “gumbo” of my biggest influences and my fondest memories. It took a really long time to find my creative voice, but I felt unstoppable once I did.
Describe your creative space. And why is it special to you?
My space is pretty cramped and intimate, but it has five tall windows that really open the room on sunny days. I covered the walls with paintings, prints, and photos made by my creative friends. It could use a few plants, but I love it. It’s actually my first real creative space, and I’ve experienced most of my biggest career moments there.
Who inspires you, and why?
I’m inspired by people like Tristan Walker, Rodney Lucas, Nipsey Hussle, and Stefan Grant. Like me, they faced a lot of adversity to become the best versions of themselves. They inspired me to become a voice in the space that I occupy as well.
Kyan Green and the Infinity Racers | Bloomsbury | Available from Bookshop.org
]]>Our featured artist for our Film Issue is Emily Chin. You can read all about her journey. Buy our latest issue here
What was the experience like working on the It’s Her Story series?
Working on the series was my first real jump into graphic novels for children. I learned a lot about story pacing and the design of panels. I also learned a lot about the historical figures given to me; Josephine Baker and Shirley Chisholm were two women I knew by name, but not in-depth. Being able to draw their life-story really put some things into perspective for me about the eras they grew up in.
When did you discover your love for art?
In elementary school, I would say. My classmates used to ask me to draw dragons all the time. I didn’t really take art seriously until 7th grade when I had to move schools for the first time. I didn’t know anyone, so I would open a Game Informer magazine and copy the pictures I saw there.
What mediums do you create your work in?
I use Clip Studio for the bulk of my work and Procreate. I’m a strictly digital artist even though I still want to learn to do inks traditionally.
How would you describe your illustration style?
It depends on the day, really; I have various styles in my pocket, but overall the influence is a mix of American comics, Disney, and Manga. I bounce around a lot and I love experimenting. I’m influenced by many artists.
Describe your creative space. And why is it special to you?
I honestly don’t have the luxury of a creative space. I just have a desk by a window. No decorated walls or anything. I grew up constantly moving, so I never found a reason to decorate. I learn to just shut off my brain, sit down, and do the work. The most important thing for me in my creative space is music or Let’s Plays of Indie Horror games playing in the background. I love making playlists and discovering music.
Who inspires you?
This is a hard question because I haven’t thought about it in a while. My art inspiration stems from artists like Joe Madureira, Philip Wight, and Ami Thompson. However, my motivation to get up and draw seems to stem from wanting to be a good example for my family and my hometown of Detroit.
Quick Fire Round
Your favourite snack?
Cucumber slices covered in lime, salt, and chilli powder. Try it! It is great.
Any hidden talents?
I haven’t done it in a while but I know how to fish.
What book are you reading now?
When We Were Birds by Ayanna Lloyd Banow and I am re-reading
A Bride’s Tale by Kaoru Mori.
With the Writer Spotlight Series, we create a positive image for young girls to refer to by having conversations with different writers and illustrators. This month we have been doing Q&As with many writers, to get to know more about them and their work. Here, we are showcasing all the questions we have asked Davinia Tomlinson and Andrea Oerter, the author and illustrator of Cash is Queen.
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Cash is Queen, is a brilliant girl's guide on securing, spending and stashing cash. Can you tell us the journey of writing this book?
Davinia: It was an absolute joy to write Cash Is Queen. We had originally discussed the idea of a book on finance for women until we pivoted to focusing on young adults instead. That decision was a real game changer. Suddenly we were thinking more strategically about where the biggest impact could be made with a book like this–there are already innumerable books on money for women, but few (if any) specifically for girls. That realisation meant that I could be super specific in my writing and embed positive financial habits early. Having two daughters and being surrounded by so many wonderful women through rainchq and in my personal life meant I had huge wells of inspiration from which to source in really pinning down what I wanted to say and how best to say it.
Cash is Queen is your second illustrated book. What was the inspiration behind the illustrations?
Andrea: Cash is Queen is my second illustrated book, but the biggest project I have worked on so far, because of the amount of illustrations and the challenge it represents. My inspirations then differed a lot from what I usually draw. For Cash is Queen, the audience is younger, and the taste of a 12-year-old girl is sensibly different from mine. My inspiration came from a colour palette first, and then from images I still have from my childhood, from toy stores, from magazines, from music icons I liked when I was younger. And I tried to mix that with current trends I see on social media or on the street.
What mediums do you create your work in?
Andrea: I work with the software Procreate on an iPad Pro, and 90% of my work is created digitally from beginning to end. I barely sketch on paper anymore, because it saves me time and allows me to adapt the sketches if needed.
The activities throughout the book are engaging, especially “Your money tribe matters”. What do you hope young people will get from this?
Davinia: I hope Cash is Queen will be a great read, but I want it to be a practical guide that young readers can use to apply the principles discussed in their day-to-day lives. That’s the only way we are going to embed positive habits and behaviours early. By thinking about the concepts explored, understanding how we feel about them, and then taking action.
In the book you discuss “Secure the bag, but not today”. Can you explain the importance of this?
Davinia: I am a big advocate of deferred gratification, as a key determinant of our goal attainment and overall success. The idea of securing the bag is about making sure you are being paid and paid well, in whichever path you choose. The trouble comes when we expect to be paid overnight without putting in the work and effort to achieve it. Deferred gratification means developing the discipline, focus and patience to delay immediate reward for a much greater reward in the future.
As a financial fairy godmother, do you have 3 main tips on how young people can save for a rainy day?
Davinia: I absolutely love the idea of being a financial fairy godmother! Ok, so three top tips on saving for a rainy day are:
Set a clear, realistic budget – like anything in life if you do not have a clear plan or direction in mind. It is fairly easy to veer off track. Understanding how much money you have coming in, and then being clear on how much you will spend and how much you will save and breaking these down into categories, is a key part of your financial planning and will go a long way to helping you stay in control of your cash.
Automate it – don’t rely on memory or willpower to remind or nudge you to save. Instead, use technology to do it for you. Speak to friends or family members for ideas on a suitable banking app for you. In the UK there’s gohenry and Starling Kite among others, but do your research and find the best solution for you.
Earn your own money – for lots of us, the first money we receive is from loved ones, either as gifts for special occasions like birthdays or Christmas or pocket money from our parents. But there’s nothing better than money you have earned yourself. If you are old enough and it fits in with your schedule, discuss with your parents whether they would be happy for you to get a Saturday job. Alternatively, ask whether they need any support with their work that they would be happy to train you in and pay you for. It is a great way to demonstrate your maturity and responsibility to your parents and get paid too!
How did you develop your own illustration style?
Andrea: My illustration style has evolved a lot over the past 2 years, but the subject, colours and shapes remain the same overall. My style is a combination of what comes naturally, and what I like. I naturally prefer drawing characters, using bright and pop colours, with simple shapes and a minimalistic approach. But I’m also very influenced by what surrounds me, and by other artists I love, and that keeps shaping my art style. I also have a background in surrealistic oil painting, comic book drawing, and have studied graphic design, which all influence my style today.
What would you like to see innovate in the next 5 years within the financial world?
Davinia: Greater development in the fusion of finance and psychology to help people unpick their personal relationship with money, how this impacts their behaviour and what they can practically do to optimise their financial wellbeing.
Quick Fire Round
Cryptocurrencies or stocks?
Davinia: Stocks
Books or movies?
Davinia: Books
What’s your favourite money affirmation?
Davinia: “Cash is queen and so am I!”
About the author
Davinia is the award-winning founder of rainchq, established to help women take control of their financial futures. She has over 15 years of experience in the investment management and professional services industries. Davinia is a Trustee at Talawa Theatre Company, established over 30 years ago to improve Black representation in theatre. Cash is Queen is her latest book, a definitive guide to money for girls, breaking down the basics of how young women can learn to understand and manage their money.
About the Illustrator
Andrea Oerter is a reconverted graphic designer, now a part time freelance illustrator, born and based in Brussels. She has a very classic academic background, but has always liked to paint and draw on the side. Her childhood and lifestyle are her main inspirations for her art, and comic drawing influences her style, as this is how she initially learned to draw. So far, she has worked as an illustrator in the editorial, digital and advertising fields, for brands and projects linked to childhood, body positivity, motherhood and more.
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A glorious colour-illustrated anthology for 11+ celebrating joy, showcasing over 40 talented Black writers and artists from across the world. Curated by British Book Awards Illustrator of the Year, Dapo Adeola, with a foreword by the award-winning Patrice Lawrence. Joyful, Joyful is a book to sing about!
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Halloween Dance is your latest collaboration. What was the inspiration behind this story? What discussions did you have on how to bring the story to life with the illustrations?
F: It was based on a true event. I was attending a Halloween party at school. I didn’t go as Dracula, but I was practising dance moves to Bobby Brown’s “Don’t Be Cruel” as this was a popular song. (at the time) So I assumed they would play it at the dance, boy was I wrong, they played a Halloween-themed soundtrack from a movie I had never heard of, but like the story I just did all my moves to the song and ended up winning. In terms of the illustrations, the magic was all Michael. We had zero discussions about how the characters should look but he absolutely nailed it, and delivered way more than I expected.
M: All I needed in this case was Funmbi’s great story to work from. Everything was clear and entertaining because of the references to the group, Backstreet Boys. At some point I discovered Funmbi is a comedian, and it made total sense. The man is a great storyteller. After reading the story, I pulled up the music video for Everybody - one of Backstreet Boys' hit songs on YouTube and it instantly reminded me of my childhood.
When did you discover your love for art /comedy? What was that like?
F: It’s hard to say when I discovered the love for comedy, as it is not something I ever thought I'd end up doing. But once I started and had that first taste of an audience laughing from the thoughts and ideas I’d created, it was quite fulfilling.
M: Well, I’m fortunate enough to have started from a young age and also fortunate enough to have people in my family and at school tell me I should stick with drawing and making comic books. It is always something I could rely on through complicated times in my life. The older I get, the more I realise my ideas and what I like now most appeals to my inner kid!
What mediums do you create your work in?
M: Joyful, Joyful is actually the first children's book I’ve ever worked on. Most of my life, I’ve made comic books for adults and for the past couple of years, I’ve drawn illustrations for magazines and news websites. At university, I studied animation, but that's really, really complicated. Even though I make work for adults, all my influences and people I look up to are cartoonists and illustrators and artists for children and teenagers, really. I work a lot on the computer but I love using crayons and bright coloured paints. I make comics on inexpensive printer paper with felt-tip pens and brushes.
Who really makes you laugh?
F: Many people really make me laugh, but none other than probably Richard Pryor for stand up and Eddie Murphy Movies.
M: My family does, my parents, nan, brother, nan and girlfriend. They are like cartoon characters themselves, full of life, and are naturally hilarious people. I became an uncle two years ago and my niece is funny too. She would make a good picture book character.
Who were your favourite writers /illustrators growing up?
F: I would say Roald Dahl was probably my favourite writer growing up.
M: That's a big list! One book I still have is “Charlie, Queen of the Desert” written by Lenny Henry and illustrated by Chris Burke. It is about a little girl that goes to the beach in England and digs through to Australia.
Describe your creative space. And why is it special to you?
M: At the minute, I’m working from a table in our living room, surrounded by all our books, toys and art tools. I work in a comfy chair for computer work and when I make comics; I work on the sofa with a board on top of my legs. There's a cushion between the board and my knees, though! It’s special because I assumed I’d be happiest working far from home in a studio with a big drawing table, but I discovered working from our flat that it's much more comfortable like this. Funnily enough, it is how I worked as a kid, too.
Quick Fire Round
What is your most-used emoji?
M: 🤪
F: 🤣 - definitely.
What are your funniest childhood memories?
F: My funniest childhood memories are with me and my siblings. We all moved to Nigeria when we were kids and often in the evenings on a hot night we would all sit on the balcony and reminisce about all our favourite TV shows from the UK and sing songs from Top of the Pops.
M: It was not funny for me but I was always going too fast on my bike or scooter so there's lots of memories and video footage of me falling or crashing at speed. It was always downhill, too. At least my dad tells me it was funny…
About the writer
Funmbi Omotayo started doing stand-up comedy in 2004. Since then he has performed in different countries, made a few TV appearances from Australia to Adu Dhabi.
About the illustrator
Micheal Kennedy is a cartoonist and illustrator who lives in Birmingham, UK. He mostly spends his time working on cartoons, reading cartoons, and walking around the local park.
A glorious colour-illustrated anthology for 11+ celebrating joy, showcasing over 40 talented Black writers and artists from across the world. Curated by British Book Awards Illustrator of the Year, Dapo Adeola, with a foreword by the award-winning Patrice Lawrence. Joyful, Joyful is a book to sing about!
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Good Reception is your latest collaboration. What was the inspiration behind this story? What discussions did you have on how to bring the story to life with the illustrations?
S: I was a bridesmaid three times before I was twelve (apparently, that means I’m never getting married, but that’s cool) and I can still remember how fun they were for me. I loved being reunited with my cousins from around the country, getting dressed up and eating the finest foods. I loved those times and wanted to bring some of that to the page. First, I wrote the story, and then I saw the amazing illustrations by Olu. After looking, I definitely made tweaks to my words because the images were better!
O: Writing and illustrating children’s literature can be compartmentalised. So, I didn’t have any conversations with Sharna about her story. I had Art Directors (Helen and Jo) who I discussed the work with once I had proposed an initial set of illustrations. This may sound dull, but it was actually really exciting! It meant I could create images directly from the story. I was also really nervous to hear what Sharna thought about my interpretation.
When did you discover your love for art /writing? What was that like?
S: I always wanted to write! I knew for sure when I was about seven. My parents bought me a diary for Christmas and instead of getting me a fun, colourful journal, they got me an entrepreneur’s book with lots of empty pages. After writing about school dinners for about a week, I wrote my novel. Nero the Hero. It was not my best work–and it was inspired by what I was watching on television–but I loved it. That’s when I knew. It took various years before I was confident enough to write for others, though.
O: I have always liked pictures in books. I have dyslexia so I found learning to read quite difficult, but I loved going to the library and looking at pictures, having stories read to me and listening to them on tape. (Ask your big people what a tape cassette is, as it’s now ancient technology) I’d always doodled and made up stories but it was not until secondary school in Year 9 that I really discovered my love of ALL things ARTY.
The discovery that I was ‘arty’ was extraordinarily free. The Art Room was a space where I didn’t have to struggle. Where everything was up for interpretation and they gave me the power to make (and justify) my own choices. Where there was something new to learn and some new skill to perfect.
What advice do you have for children interested in writing and illustration?
S: If you are writing stories, poems and ideas, you are a writer, just like me.
My top tips are to:
O: My advice is to submerge yourself in life and every creative experience you can, read books, watch films, go to the theatre, visit galleries, listen to stories and not just modern things. Investigate what your oldies read, watched and listened to when they were young and then listen to that stuff too! Write and draw as much as you can every day. Practice all the time you never cease practising, even when you are a professional.
What mediums do you create your work in?
O: I work with pen and ink and linocut. I’m mainly a print marker. Using a flat cork surface or wood to crave my designs, also I draw and screen print with a letterpress. I enjoy experimenting with different materials.
Good Reception is your first collaboration. What was one of the best feedbacks you received for this book?
S: Best feedback was early from Dapo Adeola, the editor of the book. He loved Good Reception, and he said it made him think about new ways in which he wanted to write, too. That was flattering and kind.
O: The feedback has been AMAZING! Adults are happy to have this ‘coffee table’ style book to read and gift. Children are inspired and curious to see a book full of stories that reflect their own experience. It is a major landmark in British Children’s publishing. To have a book like this, full of talented and contemporary authors and illustrators, gathered together in this positive anthology. It has been a real privilege to be part of Children's literary history.
Who were your favourite authors/illustrators growing up?
S: I loved all kinds of books and stories when I was growing up. My favourite book was Ruth Thomas’ The Runaways. I also loved a strange medical encyclopaedia I read so often the hardback cover fell off.
O: Roald Dahl, I love his irreverence. How he wrote baddies, who were proper bad and life wasn’t always perfect. I also loved fantasy stories like The Hobbit (Tolkien) and Wizard of Earthsea (Ursula Le Guin). My favourite illustrators were Arthur Rackham and Brian Froud, because I loved the world of fairies and monsters. Also Maurice Sendak because he is just… brilliant!
Describe your creative space. And why is it special to you?
S: I live on a boat, and my office is at the front, in the pointy bit–officially called the bow. I painted the room dark blue, so it feels like night time, all the time, and I love that. Within the room there are toys, candles and a little bed for thinking. A friend designed this bed, so it’s special to me. Sometimes I write from my bed or sofa if I don’t want to sit up straight.
O: I’m fortunate because I have a studio at home, which is at the front of my boat. It’s full of art equipment, books and machines. It has a stove in one corner and a comfort armchair next to it which is for family members when they come to visit. The ceiling has 4 massive windows, so even on grey days, the natural light floods the space. This space is special to me because it is where all the thinking, mistakes and doing gets done.
Quick Fire Round
What is your most-used emoji?
S: The celebration one–the one that looks like a cone with streamers coming out of it. That, or the skull for when someone tells me a funny joke or I’m shocked.
What’s the first career you dreamed of having as a child?
S: A photojournalist OR someone who carried a briefcase somewhere.
O: Being an Author and Illustrator of Children’s Books.
What was something you have done that made you feel extreme happiness?
S: Adopting a stray Podenco puppy from Portugal named Miles. Also, my last book, The Good Turn, was on a billboard in central London. It was so exciting!
O: Dancing to music with my children.
About the writer
Sharna Jackson is an award-winning author and curator who specialises in developing socially-engaged initiatives for children across culture, publishing and entertainment. She was recently the Artistic Director at Site Gallery in Sheffield and was formerly the editor of the Tate Kids website. Sharna's debut novel, High-Rise Mystery received numerous awards and accolades including the Waterstones Book Prize for the Best Book for Younger Readers. Sharna lives on a ship in Rotterdam in the Netherlands.
About the illustrator
Olu Oke has been an illustrator and printmaker for over twenty years. She lives on a Dutch barge with her family and a fearless cat. When she was little, she would peel wallpaper off the walls around her house and secretly draw behind it.
The Conversations Series, creates a positive image for young girls to refer to, by having conversations with different business owners, entrepreneurs and creators. Seyi Akiwowo is the Founder of Glitch, a UK charity campaigning to make digital spaces safe for all to end online abuse. In 2014, Seyi was elected the youngest Black female Councillor in East London at age 23. In 2017, a video of Seyi addressing MEPs went viral. Overnight, she became a victim of horrific online abuse. She has since dedicated her time to campaigning for increased awareness of the problem of online abuse, influencing policies and championing digital citizenship. Seyi is a graduate from the London School of Economics and Jo Cox Women in Leadership Programme.
Seyi interview is featured in our Fashion Issue. Buy issue 9 here
How To Stay Safe Online is your first published book. A digital self-care toolkit. Can you tell us the journey of writing this book?
I was currently doing live training on online safety all round the world. Including countries like Ghana, Canada, Jordan and Uganda. Which gave me a better understanding that there is a real global issue with online abuse, especially towards women. There was no real platform for people to connect about their experiences and to get support and to challenge the status quo. Friends will also ask me quite a few times about my opinion or advice on the best way to face issues online. It felt like there was naturally a service provision forming. Over the last five years, I’ve delivered training to over 100,000 women and non binary people around the world, and been so fortunate to talk to large tech companies, including TikTok and Twitter. Having discussions on how to make their platforms better, including working with the UN and other government leaders around legislation.
From personal experiences navigating online and setting Glitch, there was plenty of advice, however it was just me providing all this advice and tips. In autumn 2019, an editorial director of Penguin contacted me, and heard me speak so passionately about this subject. She reached out and said, “Would I be keen to write a book?” Since then, it has been a real natural journey over the last 3 years of lived experiences, personal stories, public speaking, workshops and training. This book was the right way to share with people.
Can you tell us about Glitch!? What inspired you to launch this non-profit award-winning UK charity?
Glitch is a UK charity determined to make the online space safe for everyone and at Glitch we do this by encouraging people to be digital citizens, and for tech companies to do a lot more around online safety and prioritise expression of minoritized communities. The reason I initially established Glitch was because it felt the response to online abuse was to belittle it as a thing, or to victim blame. There wasn't a place, a platform of service, an organisation that anyone can go to be reminded of the abuse that their face isn't their fault and here are the steps to take to make them feel safer.
Glitch gradually grew into a campaign movement around tech companies having more responsibilities on what was happening on their platforms, while making a profit. Our advocacy work really expanded, including the research which we do. We are unique as we centre Black women in all of our work. If we centre Black women, then we are more likely to protect and support everybody else because Black women are the most disrespected group in the online space. Since our research was unique, we were ahead of the online trends and what system changes needed to be made. I’m really proud that 5 years in with a growing team, working on training and supporting our community on being safe online. We have and counting to work with great partners, including BT Sport and EE this year campaigning people to take online safety seriously.
Do you have 3 main tips on how young people can stay safe online
The first thing I would say is really think about your intentions and values, once those have been set from the beginning, who can hold yourself accountable to how you want to be on social media and how you want to navigate different conversation groups. You have a compass, which is your consciousness, but think about developing your own Jiminy Cricket! Jiminy Cricket was one of my favourite characters growing up. He is a character of Pinocchio and was Pinocchio’s guide. It’s so easy to lose your consciousness when you are online because we get so desensitised and bombarded by information and, and then outrage and anger and sadness. And so we kind of forget to be present.
First tip: Asking yourself some questions: Who's this account for? Why are you online? What are your guiding values and principles? How do you want to be? How can you make sure you are going to be proud of what you say and how you behave and conduct yourself in five years' time when you are about to start university or starting a new job. It is good to start future proofing yourself and holding yourself in a more value aligned container because it is so easy to get dragged into other people's bad behaviours.
Second tip: Have regular check ins and reflections. It's easy to get caught on what’s trending on social media, for example Black Lives Matter, COVID, etc. Everyone gets caught up in whatever the trending topic is for that moment, including the behaviours and not allowing ourselves to reflect and say “Do I really want to comment or take part in this trend?” Having that check in with yourself just helps you keep re-centering your body and mind's needs. Another great way to track your time online is having screen timers. You have control over how long you want to be on the platform at one time, monitoring your screen time and alerting you when it is time to take a break.
Third tip: Feeling confident that you can create your own timeline. I think we all give into peer pressure; it will be even harder for young people. There have been a few violent videos posted on social media over the last few months, which is not healthy for anyone to be viewing. Following these pages can be a really dangerous cycle to start. To create your own timeline, think of when your parents allow you to decorate however you want. You get full control of what posters you would like on your wall. It is the same for your social timeline. Then means you have full control over who you would like to see, unfollow, mute or make your account private. You are in control.
What would you like to see innovate in the next 5 years within
the digital world?
I would like to see us have a standard of which we hold tech companies to. They should not be the exception to the rule with other companies that have to be regulated. Discussing joy, love, fun and play on these platforms would be great. Currently, we discuss a fair amount of misinformation, heavy subjects which are important and often human rights are being violated and there is a lot of fear out there. I don’t want us to live in a fearful world of tech. I want us to have a healthy relationship with tech. Tech can connect people and communities, it can be a good income stream from minority communities that rarely get their career breaks offline, like there is so much potential with more young Black girls going studying STEM subjects and working within tech, including having an interest in gaming. I’d love to have a conversation around Black joy, creating safe spaces online for all of us to enjoy.
Quick Fire Round
Who inspires you?
The British singer Adele inspires me. I love her boundaries, her ethical discussions, and how she represents London.
Favourite movie?
Minions: The Rise of Gru
I love them. I love the whole Despicable Me franchise.
What are you currently reading?
Honey and Spice by Bolu Babalola
Laziness Does Not Exist: A Defence of the Exhausted, Exploited, and
Overworked by Devon Price
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Writer Spotlight Series creates a positive image for young girls to refer to by having conversations with different writers and illustrators. This month we have been doing Q&As with many writers, to get to know more about them and their work. Here, we are showcasing all the questions we have asked B.B. Alston, the author of Amari and the Night Brothers series.
You can find more book reviews in our current issue, available to buy here
Amari and the Great Game is the sequel to Amari and the Night Brothers. The main protagonist, Amari Peters, has become the nation's favourite. What do you hope young readers will discover in the sequel?
Amari has learned to believe in herself and learned to navigate. She becomes famous in the second book. She learns how the world perceives her and how to handle that. That’s the huge part of the book. I hope readers will find some humour within the story.
What do you like to do when you are not writing?
My wife and I enjoy going on long drives; We enjoy finding alternative routes. In South Carolina there are various landmarks to see. Recently we discovered a 100-year-old church.
If you could ask one successful author three questions about their writing process, or books, what would they be? Who would you ask?
A good question. You know, growing up, my favourite author was Roald Dahl. Charlie and the Chocolate Factory was my favourite book growing up. I felt like Charlie was like me, a child from modest means, never stopped him from having these big dreams. Also, being in a magical and real world sounds like a grand adventure. The kid in me really hopes there is a magical world out there. I would love to ask, “How did you come up with the characters?” What was his writing process? Does he write every day? Does he write when he is in a mood for it? What was the first thing he ever wrote? I am always interested in why someone started writing.
What is your favourite genre?
I love fantasy. Charlie and the Chocolate Factory was the first time I had an interest in reading. All I read is fantasy and science fiction. I enjoy reading stories where you have to use your imagination. Think about places that are not your own world and see how things are different, which sparks my sense of wonder. Brings back my childhood memories.
About the writer
B. B. Alston lives in Lexington, South Carolina. His debut novel, Amari and the Night Brothers, is a #1 Kids’ Indie Next pick and the winner of Barnes & Noble’s inaugural Children’s and YA Book Award, as well as a New York Times and indie bestseller. When not writing, he can be found eating too many sweets and exploring country roads to see where they lead.
]]>Our featured artist for our Film Issue is Sophie Bass. You can read all about her journey. Buy our latest issue here
The Black Curriculum - Places, Important sites in Black British History is your recent illustration project. How closely did you work with Lavinya Stennett? What was the experience like?
Working with DK and the creative team was a fun process. The creative process began by me working on several sketches for the potential book cover and with the help of the Art Directors and Graphic Designers, the final cover art was eventually approved. I particularly loved working on the book cover and creating the little icons and landmarks while learning about many black British history along the way.
Was there a memorable part of history you captured while illustrating the places?
I would have to say recreating the carnival dancers and speculators for the ‘History of Carnival’ spread. It was really nice to recreate a fun and thriving part of Black/ Caribbean culture and to see how carnival has positively affected British history.
What inspired you to be an illustrator?
I’ve always loved drawing and creating since I was young. At school I enjoyed DT, computing and art. Growing up, that manifested into expressing myself through illustration. I eventually studied Classics at University, which I did not enjoy, but one day I had a sort of epiphany and realised that the right path for me was illustration. From that day, I stayed up all night every night drawing and sketching and eventually I created a website, an Instagram account etc. and showcased and advertised my work on the internet.
How did you develop your own illustration style?
Practice, lots of practice! I would study other artists and their illustration styles, techniques and adopt what I liked the most about their work. Overtime, my art style has slowly changed and looks slightly different from 2 to 3 years ago, but I see this as personal growth which allows potential clients to see your diversity, which might lead to more opportunities.
Describe your illustrations in 3 words.
Colourful, emotive, textured.
Who are your favourite illustrators/designers?
There are countless artists I could mention, but two stand out for me; the works of Anna Cattish and Janice Sung. Janice’s use of texture and soft shading to capture a particular mood is mind blowing and Anna’s characters are so expressive, dynamic and full of life–just so, so inspiring.
What would be your dream project? And why?
At the moment, I don’t have a specific dream project, but I’d love the opportunity to create cool, dynamic fantasy characters for some kind of advertising campaign that would be epic!
The Black Curriculum Places: Important Sites in Black British History | DK
Available at bookshop.org
With the Writer Spotlight Series, we create a positive image for young girls to refer to, by having conversations with different writers and illustrators. This month we have been doing Q&As with many writers, to get to know more about them and their work. Here, we are showcasing all the questions we have asked Alison Marcotte and Diane Ewen, the author and illustrator of Seeking Best Friend.
Our latest Film Issue is out now - Buy Now
Seeking Best Friend is your latest collaboration. What was the inspiration behind this story and illustration?
A: I wrote this story when I was looking for roommates and reading several listings a day, and that ad format seeped into my mind. I liked the idea of someone looking for a BFF with funny requirements written in a droll way, like “doesn’t breathe fire.” I’ve also always loved cumulative stories, and so I wanted to try to write one!
D: I don’t really know what inspired me with these illustrations. But having said so, I feel the text is lovely and simple and so, was a good project. As for the hair of the opera singer, I had been experimenting with texture (watercolour base and Photoshop elements) around the time I started on this book, and I instantly knew that I wanted to use this on the opera singer who of course is a person of colour.
Could you tell us what's the best part of working together?
A: Since the text was so spare, I had to write a lot of art notes. I was worried that these art notes might feel constricting, but Diane thought of even more plot ideas within those limits (be sure to view the last spread with all the characters!). She’s such a talented storyteller! There’s also a lot going on in this story, and Diane could show this movement and growing mayhem without it feeling overwhelming. Diane is incredibly talented and I’m so honoured I got to work with her on my first children’s book.
D: The best part was when Alison reached out about publicising the book. Alison’s been so good at doing this and has included me in her talks with schools and visits. Alison asked me to make a little video for one of her sessions. It was the first request of this type and after many attempts to get it right; I sent it to Alison who could use it. It’s always hard to make the author/illustrator relationship work when you are so far apart in distance, but I thought this was a brilliant way of including me as the illustrator in her in-person visits. It’s been a great experience.
Why is friendship so important?
A: Friendship can be defined in so many ways. You can have friends you’ve had for years and friends you met just that day. And you don’t need to have only one best friend or any “best” friend.
Whether you’re just classmates who say hi in the hallway or close friends who have play dates every week, friendship is important because it makes us feel more connected and seen. Friends support each other, listen to each other when they need to talk, share experiences together, and make life more fun. And you might have certain friends you go to for different things. My friend Catherine makes me laugh so hard whenever we talk, and my friend Emily listens and gives great advice, and also is very funny.
D: Friendship is important. Life and the world can be so lonely if you don’t have friends /family who are also friends. Finding that special friend is important for children. To be included and be liked by someone other than your family is so important, especially when you are young.
What inspired you to be a writer?
A: I’ve loved writing and doodling since I was a kid. I’m so grateful for my teachers and parents, who encouraged me and gave me the confidence to pursue writing as a career.
What inspired you to be an illustrator?
D: I was inspired to become an illustrator from my love of children’s books and illustrators who create the lovely pictures inside them. I’ve always loved drawing and art and I think working as an illustrator is the perfect job for me. Picture book illustration is the perfect way to engage children. I used to borrow copious amounts of picture books from my library just to understand how they worked. This further encouraged me to want to make them. Lately, I’ve realised that I have an important part to play in making picture books more inclusive and more representative. I now have a renewed inspiration for my work.
How did you develop your own writing style?
A: I went to college for journalism, and so that taught me how to write concisely. I also had a radio journalism internship in Seattle at KNKX Public Radio (then KPLU), which influenced how I write picture books. When writing for radio, you need to write conversationally because the news stories are being read out loud. I remember in one story I wrote the word “many,” and my editor changed it to “plenty of,” because I probably wouldn’t say “many” in normal conversation. In picture book writing, the stories are read aloud, too, and so the language should be lyrical and fun to hear.
I’ve also developed my writing style by reading hundreds of picture books. Some of my favourite authors are Shinsuke Yoshitake, Vera Brosgol, Marianna Coppo, Marta Altes, Julia Sarcone-Roach, Kelly DiPucchio, Ame Dyckman, Mo Willems, Hyewon Yum, Margaret Chiu Greanias, Kyo Maclear, Alice McGinty, Matthew Cordell, Oliver Jeffers, and many, many more!
How did you develop your own illustration style?
D: My Illustration style is simple, eclectic, hopefully fun and vibrant. But I really don’t think I developed it as in I’m going to do it this way, it just developed in a natural organic way. Over the years, I’ve tried different methods and processes, but I always seem to produce the same feel and look to my illustrations.
Quick Fire Round
A favourite quote.
A: “Fall down seven times, stand up eight.”
D: “God grant me the Serenity to accept the things I cannot change, the Courage to change the things I can and the Wisdom to know the difference.”
What’s one of your favourite friendship memories?
A: My friend Kelly and I formed a band in elementary school (Our only audience was us! And maybe our parents.) We wrote a bunch of songs, recorded them on a cassette tape with my purple boombox and microphone, and designed the cassette tape cover. I still have the tape somewhere at home.
D: My sister is my best friend and I have too many memories to mention.
Where is your happy place?
A: Hiking on a warm summer day or in bed reading a good book!
D: My happy place is being on a beach in Jamaica looking out onto the azure sea, the breeze gently blowing and the sun shining and having no cares in that moment.
Seeking Best Friend By Alison Marcotte Illustrated by Diane Ewen
Available from bookshop.org
About the author
Alison Marcotte has been writing stories since she was a child. She’s passionate about writing stories that are authentic, funny, hopeful, and filled with heart. After going to University of Illinois at Urbana-Champaign for journalism, Alison jumped back into her love for picture book writing and joined SCBWI. Seeking Best Friend is her debut book.
About the Illustrator
Diane Ewen is British illustrator, born in Walsall, in the West Midlands. She has always been in love with art and graduated from the University of Wolverhampton with a B.A. Honours Degree in illustration. Diane has illustrated books like Hey You!, I Love You! and Coming To England.
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Our featured artist for our Film Issue is Sophie Bass. You can read all about her journey. Buy our latest issue here
You've illustrated a few children's books. What was different about the Daddy Do My Hair: Beth's Twists story?
This was my first ever solo picture book. Beth's Twists allowed me to place a darker-skinned main character in a wholesome story which was important to me. I've worked with a fantastic team of 19 illustrators in Hey You! By Dapo Adeola, 20 different Black British writers and illustrators in Happy Here by Sharna Jackson and my other few books have been for an older audience of children. In this book, I had more freedom in creating and Beth is such a bubbly and bright character my work was always going to suit the story. I hope she's super relatable to the average little girl.
When did you discover your love for art? What was that experience like?
As most illustrators say, I've been drawing for as long as I can remember and I always felt this was the only skill I was good at. I went to Coventry University and studied Illustration and Graphics, graduated and got an office job, but that wasn't where I wanted to stay. My very first introduction to children's books was my first title, A Black Woman Did That by Malaika Adero, and from there I was hooked. I still had my full-time job and worked after hours to pursue my dreams. I owe a lot of my progress to Pathways into Children's Book Publishing for showing me the industry in depth and through live projects and special thanks to my mentors, Dapo Adeola and Sarah Dyer. In the last two years I have worked on a few fantastic titles, Daddy Do My Hair: Beth's Twits by Tọlá Okogwu, Hey You! - by Dapo Adeola, My Big Mouth by Steven Camden, Happy Here - introduced by Sharna Jackson alongside 10 Black British authors and 10 Illustrators, The Black Curriculum Legacies: Black British Pioneers by Lania Narjee and more there are more projects to come.
What mediums do you create your work in?
Currently, my work is digital. I often use my XP-Pen 22 Pro, including Photoshop, to create my illustrations. Hopefully soon, I’ll be working on an iPad Pro and use the Procreate software. I might go back to using gouache paint or acrylic just like at university.
How would you describe your illustration style?
I would describe my illustration style as really bright and colourful, with a solid and bold outline. My characters are full of emotion and bounce off the page with their dynamic poses. I would eventually love to see my work animated.
Describe your creative space. And why is it special to you?
My creative space is my bedroom and my office. It's my space for now but it is special as it is where I'm comfortable where all my books that help inspire me through art block and, of course, where all my stuff is.
Who inspires you?
What inspires me are bold, bright colours, the things you see every day - stories that are playful or that have love and connection at the centre of them. If I'm ever stuck, I look at animated movie art books. My new favourite is Encanto. I have nerd out over character design a lot.
Quick Fire Round
Your favourite snack?
Mum' s Rum Cake for sure, if not that any cake, a fondant fancy
Any hidden talents?
Killing a cactus with too much love (water)
What book are you reading now?
I'm actually not reading for fun but I'm studying
Techniques, Tips and Tutorials for Effective Character Design By Stephen Silver
]]>Career Conversations Series, creates a positive image for young girls to refer to, by having conversations with different business owners, entrepreneurs and creators. Shanna was a Celebrity Personal Assistant for some of the most talent artist within the music space.
The Film Issue is Out Now
Job: Celebrity Personal Assistant
Company: Freelance
How did you first become a Celebrity Personal Assistant?
Earlier in my career, I was a contemporary hip-hop dancer. A few of my dance colleagues were dancing for a UK artist. Sometimes we meet up when she came to London, and we became very close. She started touring the UK to promote her latest album, and she would always invite me along. During the tour, I was always helping whether it was something small. I was still working at my day job and I would save my annual holiday if I needed to travel. For example, she was now touring in Australia and she wondered if I would like to come over to help. Once I arrived in Australia, I was helping her organise her day-day events. It was an enjoyable experience as I’ve never been to Australia before and I was helping a friend. A few years later, I got in contact with another UK artist, who was at the time pursuing her music career in the USA. I got to travel with her to New York for a week to help her during her promotional tour. After that week, I came back home, and I received a message from her saying, “How would you feel about being my personal assistant?”
It happened quickly. Within a month, I was back in New York. As soon as I arrived, I started work straight away. There was no dossier handed over to me with all the relevant information. I had to build those work relationships by meeting the management, getting to know the A&R, CEO of the record label. I was creating friendships, learning from other crew members. After that month, I really enjoyed it and took the offer to come back and continue with the role. I took a year's career break from my current role to pursue the personal assistant career.
What was your typical day as a Personal Assistant?
I’ve lived with two of my clients, which is slightly different when you're not living with them. The morning schedule will normally start with checking in with the client, checking my emails, and checking their day-day schedule. If we needed to travel that week, I would've checked the weather forecast so that the client would know what to pack for that trip. We never went into anything blind. We were always a few steps ahead. Working with the management team to ensure that all communication is solid between myself and the client.
What was the best part of your job?
The best part would be travelling. I’ve travelled to Australia, to many states in America including around Europe. It may not have been a holiday experience because I was working, however it’s been a lovely experience. One experience which is nice was spending the day at Beyonce’s family home in Houston, Texas. Beyonce’s father owns a studio within the original family’s house, which people could rent. It also had a restaurant connected to it, serving delicious soul food.
If you weren't a PA, what career would you have?
An Interior Designer.
What is the wackiest request clients have ever asked you to do?
I was with my client in Target, and she received a phone call from the media to do an interview. We left Target, still standing around the area, so that she can continue with her interview. There were two workers nearby moving around equipment. She asked me to go over to ask if they could be quiet, as she was on a call. I thought it was a ridiculous request, as they were currently working. I went over to the workers and said, “I’m going to pretend that I’m asking you to keep the noise down”. They looked at me like “what?”, but I just needed her to think that I was telling them something. I went back and said “Nothing they can do, they're working!”. I thought it was hilarious, as she was just starting in her music career and, unlike most music artists, wasn’t famous as yet.
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You founded Road Casting. Can you describe how you got started?
Originally I was an actress, I got into acting in my early 20s. I really enjoyed acting, however I was often playing the same roles, mostly of a foreign girl. I'm mixed race. People aren't always sure where to place me within roles. I guess I'm ethnically ambiguous, so the roles I would get were often based around a Brazilian babysitter or roles that involved foreign accents. I would find this slightly strange, but I had no power within the acting industry to view my thoughts. During this time, I had lots of time resting between acting roles, so during these times I worked in several jobs, including a casting studio. I never wanted to be a casting director, as I started freelancing within the casting world. I really enjoyed the women that I was working with and the flexibility of the job.
It was inspiring to see mothers running a business while parenting, something that I would of love for myself in the future. I had my son in 2010, during that time I was acting in the UK drama series Doctors, then I realised that being an actress was not flexible, the schedules and the highs and lows of acting was demanding, I would be away from my son too much. I went back to casting and assisted for a while, then I had the option to cast my own projects. The one thing I realised was that being mixed race within the acting world, it was hard to know where to place me. I felt really aligned with casting, hence the reason behind Road Casting.
Being in a mixed race family growing up in the UK, I didn’t see families like mine on TV or in the media. For me, that was the reason I’ve worked so hard within casting to get people on TV that represent what I see in my family, friends, and the community. To get a more authentic representation. Casting has been so great for me because I can have more conversations in many rooms and sit at many more tables. Actually, the work that I've done has continued to prove that to me, and that's why I keep wanting to do it. Receiving emails from young girls saying “I ever thought I would see myself on TV, thank you” That's really important for me. It's worth its weight in gold.
I was street cast for a Dove Campaign in 2005 and I remember that method being incredible when it actually happened to me. I learned more about street casting and scouting while I was working in casting. This is one thing that’s important to me. Years ago, a client would send over a brief and the process within a traditional acting agency or traditional school, there would be lots of the same people. For me to offer an authentic cast and offer some diversity, I had to go into communities, and I had to reach out to people. I really push for street casting because it’s so effective, I can bring people that might not have access to these opportunities, giving clients a need to show a representation of who they're selling the products to. We also scout online, through social media, websites.
What is your favourite part of your job?
Letting people know they got the job! People really work hard for the job, they do all the preparation and get into the mood. Unfortunately, we don’t have time to tell everyone if they got the job or not, as it gets very busy. I love discovering people that don't know about the industry. Years ago, I discovered the model Mariah Idrissi, who gained recognition as the first Muslim hijab-wearing model for the H&M campaign “Close the Loop”. I was on an outing with my son and I saw her in Westfield, London. She was wearing a really cool pair of Air Max. I approached her and said, “Do you mind if I take a photo of you?” A week later, I received a brief from the H&M group and I cast Mariah for the campaign. It’s wonderful to see all that she’s accomplished.
Can you share with us one of your favourite project(s) and why?
I would say the Macmillan Cancer Support campaign “Whatever it takes”, which has won many awards. It was a beautiful commercial. Everyone involved worked so hard, it’s also a very good example of a Road Casting job. There was a mixture of actors and street casts. We did a great job for France, for the phone brand Orange. It was a collaboration between Apple iPhone and Orange France. We street cast this young girl who was amazing. The theme was her having a commercial fantasy moment where the whole street turns into a big movie set, while her father is filming her on his new iPhone. This young girl has never been on set before or taking part in any commercials. She was very talented and brave to take on such a role. Really inspiring for kids to see, follow your dreams, and that interesting moments can happen in your life. Put yourself forward for things, be brave and it’s okay if it doesn't always work out.
We are working on a couple of new projects, however we’re working on an NDA (non-disclosure agreement), which means I’m not allowed to talk about them until they have released the project. For me personally, I've come to a point where I would like to develop my creative things again. I’m thrilled with Road Casting and I want to keep that going. I also want to explore my storytelling.
What is your favourite movie, ever?
My son and I are huge fans of Studio Ghibli movies. We really like Howl's Moving Castle, Ponyo and Totoro.
Last song you listened to?
Rock Star by N.E.R.D.
Do you have a favourite poem?
And Still I Rise by Maya Angelou
More about Road Casting
In 2013, Coralie founded Road Casting, specialising in street casting, focusing on celebrating underrepresented people in advertising and film. She was delighted to receive the Entrepreneur of Excellence Award at the 2017 UK National Diversity Awards, honouring the achievements of those committed to diversity, equality, and inclusion.
]]>We had a conversation with Xavier Leopold about his latest book, Art for the Heart: A Fill-in Journal for Wellness Through Art. Wonderful journal for young artist to express their feelings and the love for art. A full conversation with Xavier below, discussing his publishing journey and much more.
Art for the Heart: A Fill-in Journal for Wellness Through Art is your first illustrated book. Can you share the inspiration behind it?
I found that exploring my creativity and discovering that passion really helped me. It gave me so much relief in terms of how I felt mentally, and my wellbeing. Looking at the benefits of how it made me feel, I wanted to share this, and hopefully help somebody the same way it helped me. Producing a book, or a colouring activity book will help the next generation, understand what mental health is or what well being passively. Making things more approachable through creativity. I feel that my generation has only just tapped into what mental health or wellbeing is. It’s important for kids to understand and embrace the importance of this at a young age. The Welbeck publishing team approached me and said “Look we want to work with you”, I already had an idea to create a colouring book. They suggested creating a colouring activity journal. The progress to create the book was around nine months, a really long process but a precious journey.
When did you discover your love for art? What was that experience like?
I've always appreciated art. The mind of an artist has always fascinated me. I didn’t have the confidence to create art. My professional career is as a financial trader. I have worked in the city as a manager since I was eighteen years old. Which I’m currently doing now.
The lockdown period during 2020 allowed me to slow down, really get to speed with my thoughts. I’ve always doodled random post-it notes here and there. Many people would say those doodles are really great. My therapists used to say “you should do something with this, explore art therapy”. When the lockdown happened, some people were fortunate enough to live with people. However, I wasn’t living with someone. I felt my brain was an overload. I had some paints and canvas and I wanted to illustrate my thoughts and feelings on this canvas and then colour it in. During this time, I didn’t realise what I was doing. I thought to myself, this is my concept, which was “how time and experience can change your mental and physical state”. My friends saw my art and said that “it was great art” That's when it just sort of clicked. And I found something that was like a vessel for me. I felt like I had discovered my little superpower during that experience. That can help me with my emotions, relax and also with my anxiety, including telling my story. Fast forward six months after I discovered art, I had my inaugural solo exhibition. I was painting during the height of the pandemic and that was my outlet, which really sort of authenticated my expression. Instantly, I instantly despite the benefits.
What mediums do you create your work in?
Predominantly, I use acrylic anglo paints on canvas. I might explore other mediums like oil pastels or paints. Part of my signature style is using glow in the dark paint throughout my art. When I revealed to my family that I was going through a depression, my mum would remind me she could never tell because I was so radiant and gave off positive energy. As a child, stars fascinated me, especially seeing them in my room at night. I had ones that glowed at night on my wall, which comforted me and made me feel protected. My mum would say to me, “the star shines the brightest when it’s in the dark”. I apply analogy to my craft.
How would you describe your illustration style?
My artistic style stems from Cubism. I feel there is an element of abstract portraiture, featured within my work and illustrative too. Most people view my work as a cartoon, like some sort of utopian vibe. If someone saw these characters pop off the canvas and walked around, we can view it as a utopian sight. The style of my paintings is how I doodle, so subconsciously the style of cubism is featured in my abstract portraiture. I explored my style, I think it’s a reflection of coming from an Afro Caribbean home. My mum and aunties will typically have African style marks around the house. Looking at my work, I can see the similarities between the African masks that we typically had decorated around my home growing up.
Describe your creative space. And why is it special to you?
My creative space is my house. I feel working from home is my comfort zone. I’m able to paint whenever I feel like it. It’s beautiful to see that in 2020, I had a small part in my home that was filled with newspapers on the floor next to the radiator and paintings surrounded me on tiny canvases. Just over a year, I now have an easel in the corner of my living room with art stationery organised, like a mini studio. What’s hilarious is that my neighbours can’t work out what I do. One day I’ll be in a smart shirt, and a jumper, and other days I'll be in my painting overalls, carrying canvases. I really enjoy this way of working. It’s almost like my Batcave and I don’t have to commute that much.
Who inspires you?
Artistically, I would say Jean-Michel Basquiat, Picasso and Paul Gauguin. My mum and the women in my family. From a strength and majestic perspective, Black people inspire me. From a spiritual perspective, God inspires me through God's nature and just now, the world is designed and perfectly balanced. To me, that’s art.
Quick Fire Round
Your favourite snack?
Suya, with the onions, tomatoes and cucumbers.
Any hidden talents?
I can sleep anywhere. No matter the sound or movement around me, within two seconds, my eyes are closed.
Art for the Heart: A Fill-in Journal for Wellness Through Art | Welbeck | Available Here
About the author
Xavier Laurent Leopold is a self-taught contemporary artist, exploring abstract portraiture, cubism and illustrative styles. He grew up and still lives and works in London. Though Xavier always had a love for art, during the lockdown period in early 2020, he unearthed the artistic side. Leopold pieces draw inspiration from his lived experiences, relationships, ideology and worldview. Leopold’s art has been a source of personal therapy for him, and escapism for his audiences.
Leopold is passionate about giving back to his community with his philanthropic brand, Xavi Art Community. Through it, Xavier works with various organisations, including children’s mental health charity, Place2Be. He also raises awareness and funds for Black Minds Matter UK.
]]>The Conversations Series create a positive image for young girls to refer to by having conversations with different business owners, entrepreneurs and creators. Here, Momoko Abe (last name pronounced as “Ah-beh”), an award winning London-based author-illustrator from Japan. Momoko absolutely enjoys children books, her first illustrated book was Avocado Asks which won Spark Kingston & Richmond Children’s Book Awards in 2021.
Our featured artist for Issue 7 The Art Edition is Hélène Baum-Owoyele. You can read all about her creative journey. Buy our latest issue here
What techniques and resources did you use to illustrate the Little People, BIG People Yoko Ono story?
I usually use Photoshop to create my artwork. Before using Photoshop, I sketch with pencils and scan the sketches which are then imported into Photoshop. Where I’ll add colours and textures. I use a traditional matte medium for textures also with brushes, inks, chalks, or crayons. Painting rollers are fun to use and create different textures.
When did you discover your love for children's illustrations?
I became an illustrator in 2018. I really enjoy drawing, it makes me happy. I completed a course at Central St Martins, which was an introductory course into illustration. While I was taking the course, I didn’t really know what type of Illustrator I wanted to be. One day I was wandering around the bookshop, and came across the children's section. During my visit, I found a book called I Want My Hat Back by Jon Klassen. I was just shocked by the quality and the maturity of illustration of the book. Normally children's books are really bold and bright colours, and very cute looking. When I was growing up in Japan, there were beautiful children’s books, however most of them were commercial. I saw the book I Want My Hat Back as a proper art form, and that’s when I fell in love with children's illustrations.
What was your journey like on becoming an illustrator?
It’s been a journey. When I was a child, I wanted to be many things. I wanted to be a barker, florist, librarian and the list goes on. During my teenage ages I wanted to be a professional ballet dancer, but unfortunately, I wasn't good enough to become a professional dancer. I came to the UK to study filmmaking, as I love films. I realised that drawing makes me happy. From there, I started my illustration journey. I took part in workshops, read lots of books on how to create picture books. I did some networking to meet other artists and writers. I created dummy books and presented these to a few agents. Finally, I got my first book deal and illustrated the book Avocado Asks.
Describe your signature art style in 3 words.
Colourful, whimsical and nostalgic.
How do you find inspiration for the work?
I collect loads and loads of picture books. So my bookshelves are mostly picture books, rather than books for adults. I also get inspiration from newspapers, science magazines or films. Theatre productions like musicals and plays are inspiration too. I enjoy looking at store window displays and local graffiti street art.
If I am working on a specific project, I will do loads of research. For example, I needed to learn more about Yoko Ono's life before starting the project. I watched interviews, clips and documentaries about Yoko Ono. Google searched to find out a bit more. I find research helps because you never know what new information you can stumble on.
Does your experience in the film industry have some creative effect on your illustrators?
Definitely yes! Film making and picture books have a lot in common. While working in the film industry, I was teaching myself to illustrate. Film is all about telling a story visually. There are different visual aspects within the film. From the colours, costumes, composition and props tell a story. Within picture books, you are limited to 32 pages to tell a story with words, so you need to make a good use of visual elements to tell the story like in films.
Quick Fire Round
Movies or books?
I would say books. Books ignite your imaginations more than films.
Favourite season?
Autumn. I love the warm colours, nature and the soft daylight during autumn..
What would be your dream project?
It would be a book for children about cats and baking or cats and ballet. Those are my favourite things. If I could combine those things, that would be my dream project.
Little People, BIG Dreams : Yoko Ono | Frances Lincoln
Available from bookshop.org
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Our featured artist for Issue 7 The Art Edition is Hélène Baum-Owoyele. You can read all about her creative journey. Buy our latest issue here
You’ve illustrated a few children's books. What was different about the Little People, BIG People Nelson Mandela story?
This was the first non-fiction book that I've worked on, which is a big difference. Nelson Mandela, he's such an important figure. It was really important to get the visuals correct and accurate. I was glad to be part of a very cool series of books. I love the many biographies of important current and historical figures, including artists and scientists. The illustrations are all amazing.
How important are illustrations in children's books?
I hope that they're very important. As a child, I knew that. I loved illustrated books, because I was interested in art. Art can help spark the imagination, makes you think about the world.
What medium(s) do you use?
I mostly work digitally, always start with pencil and paper sketching. I scan my sketches, and use Photoshop to move things and paint. For fun and practice, I work with watercolours or create collages within my sketchbook. Most artists enjoy using Procreate on their iPad, because it’s easier.
You started your creative career as a Graphic Designer. How did you get into illustration?
I grew up always drawing and doing traditional art. Another is that the design positions that I had also included some illustrations. So I could just sort of do more and more illustration until I went into freelancing. I mainly do graphic design. There's a lot of overlap between the two.
Who are your favourite illustrators/designers?
I have a couple of books that were a favourite of mine when I was a kid. One is by Shel Silverstein called A Light in the Attic. A collection of poems that had small line drawings for each poem. I would often copy the drawings when I was younger. Another favourite book of mine as a kid was called Swimmy picture book written and illustrated by Leo Lionni. It's about a tiny fish who stands out because he is a different colour from all of his school. The illustrations look abstracted and textured. In the Night Kitchen by Maurice Sendak, I really loved that when I was a kid, one of my favourites of mine. It’s a very imaginative story.
Another book which is quite current is Coqui in the City, written and illustrated by Nomar Perez. An autobiographical story of a small boy who moves from Puerto Rico to the US.
Quick Fire Round
What’s currently on your playlist?
I listen to all kinds of music. I love to just put shuffle on and just let it go to all different you know, hip hop, reggae. You know, indie rock music.
Books or movies?
Books
Little People, BIG Dreams : Nelson Mandela | Frances Lincoln
Available from bookshop.org
Career Conversations Series, creates a positive image for young girls to refer to, by having conversations with different business owners, entrepreneurs and creators. Khutina Giffiths is a talented designer her work is engaging, simple & joyful. Khutina currently works at The Elephant Room as Head of Design.
The Art Edition is Out Now
Job: Head Of Design
Company: The Elephant Room
Studied: Postgraduate, Design for Visual Communications
What is your typical day as Head of Design?
I rarely have a typical day, at the moment I work from home so that’s a constant. Otherwise, it depends where I am in the process of a brief. I could spend my day gathering mood board references to guide campaign art direction or building compositions, typographic and editorial layouts for campaign identities to social assets, whatever’s required to bring the creative concepts to life. There is often a strong message behind our work. Much of my role is building the look of the conception and relevant touchpoints while maintaining that message. This type of visual storytelling needs to be built and refined from conception to output. We have a wide range of clients and don’t stay in any one industry. It could mentor programmes one day and fashion brands the next, immersing myself in the world of whatever brand I’m working with.
When did you discover your love for design?
As early as I can remember, I was very aware of visuals and aesthetics. I scribbled in my mum’s books and dressed up in her clothing. I choose my outfits by colours and patterns. By my teens I remember being fascinated by the design of the Heinz Baked Bean tin and wondering who decided it should be green and that shade of green and who decided on the shapes and lettering. Art, design and aesthetics have always been a part of who I am.
Where do you find inspiration?
Absolutely everywhere! I have a magpie personality collecting brochures, taking pictures, reading books, visiting exhibitions and just being surrounded by nature. My main source is Pinterest. I use it as a digital equivalent of a scrapbook pretty much every day, so most of my boards are secret and quite unorganised.
If you weren't a designer, what career would you have?
I would probably work within the fashion industry. It was my first love, maybe a writer or film director.
In three words, how would you describe your style of work?
Engaging, simple & joyful
What artists have had the biggest influence on your process and style?
In no particular order, Gordon Parks, Rene Margrite, Jean-Michel Basquiat, Marina Willer, Jessica Walsh, Paul Rand and Paul Cezanne. They all have such expressive, joyful work that has layers of meaning.
Jean-Michel Basquiat (1960-1988)
Jean-Michel Basquiat was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement. The Neo-expressionism movement is a style of late modernist or early postmodern sculpture and painting. Basquiat's style of work was mainly graffiti street art, an intuitive approach to Abstract Expressionist painting. Basquiat's mother instilled a love for art in his life since he was young by taking him to local art museums.
She encouraged Basquiat’s artistic talent by enrolling him as a junior member of the Brooklyn Museum of Art. Jean-Michel, signature recurring motif (the three peak crowns), recognises the majesty of his heroes: groundbreaking athletes, musicians and writers. He often depicts himself wearing the same crown in his self-portraits.
Welcome Brynne. Tell us a bit about yourself.
There’s one key aspect to me; I love using my creativity in every single thing I do, from writing books, poetry, and music to singing, cooking, and making handmade jewellery.
I even use the creative process as an educator; At Schoolcraft College, I’m a
full-time English Instructor. Over 11 years, I’ve been writing and publishing for as long as I’ve been teaching. Being creative is what I love. That's really important for creativity. After all, the more you use, the more you have!
Black Girl Rising is a magical and powerful picture book, a love letter to and for Black girls. What inspired you to write this book?
Thank you! This book is so special to me. As a Black girl, I face the beauty, the challenges, the glory, and grace of that every single day and have for as long as I can remember. I wanted to write something that could capture that. I’ve always tried to embrace all aspects of who I am, and this book, in particular, addresses the human experience (which is universal) through the lens of Blackness and Black girlhood. That’s where the inspiration for this book and the voice of this book come from. I think it’s imperative to address notions of identity where we can draw our inspiration from. There are people outside of us that inspire us who can model strength and resilience, but ultimately, the most powerful resource we have to tackle anything we face comes from within us. We already have it. We all have that magic. This is what I want all young people everywhere to know.
This book is unique because we can read it in various ways. I’m hoping that readers will sit with it long enough to experience that. In one interpretation, there are two voices in this book — the one that tells you can’t and the one that tells you it's possible. Whichever one you listen to is the one that gets louder, so I hope young readers will let their voices boom the loudest in terms of who they decide they are and what they are capable of. Our lives and the future are what we make of it. This is what I want them to know.
What aspects of your creative writing process do you enjoy most? Which are most challenging?
There’s something delicious about crafting something quietly. It’s secret, and it’s special. I get to cherish it, and shape it before it takes on enough life of its own to leap into the hands of others. I relish that private time with the work — the time in which I get to know a story that’s only ever existed in my mind. Writing is what you do in a cocoon; the butterfly hatches only when the book is ready to be birthed.
The most challenging aspect is probably the editing process — which I also love, but it challenges me because it requires me to realise that whatever I’m making with my publishers will take on a life of its own. It’s always a little different from where I first started, but it’s always better at the end of this phase of the creative writing process. I find myself filled with gratitude at the end because it takes a village to bring a book to fruition.
Who are your favourite female writers?
This is an unfair question — I have so many! I’ve included some of them in Black Girl Rising but to mention a few: Maya Angelou, Nikki Giovanni, Toni Morrison, Zora Neale Hurston, Lucille Clifton, Gwendolyn Brooks, Jacqueline Woodson, Alice Walker, Rita Dove, Claudia Rankine, Mari Evans, Carole Boston Weatherford, Nikki Grimes — I mean, there are truly too many to name here. So many of these women are the reason that I picked up a pen in the first place because when I read their work, they gave me this feeling I can’t describe. The whole reason I started writing was because I wanted to give other people “that feeling”.
What are you currently reading?
I’m currently reading The Dark Fantastic by Ebony Elizabeth Thomas, which explores race, culture, and imagination in fiction and fantasy.
What’s one of your favourite memories?
Hiking the Great Wall of China is one of my standout memories. I was 14, and I was there with a group of students from my home state, Michigan. We hiked three towers, and we received signed certificates commemorating that feat. It was the first surreal experience I’d ever had, and it made me realise just how big the world really is.
I wish the COVID-19 pandemic never happened.
I wish I could stop time because all too often; I feel like I don’t have enough of it. Wondering how much more I’d create if I could!
I wish I could teleport anywhere, past or present. That way, I could see my parents as kids.
What is your favourite place in the world?
It’s a tie between Venice, Italy and my grandmother’s kitchen.
Black Girl Rising | Chronicle Books | Available here
About the author
Brynne Barnes has colored the world with her pen writing stories, poetry, and music since earning her BS from the University of Michigan and MA from Eastern Michigan University. She has taught at several colleges and universities. Her picture books include the award-winning Colors of Me and Books Do Not Have Wings. She lives in Southfield, Michigan.
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Congratulations on your new book Together We Ride. What was the inspiration behind the story?
Thank you for the congratulations, Sadé and Davina. I’d also like to congratulate the illustrator of Together We Ride, Kaylani Juanita, and the entire Chronicle team, especially my editor, Elizabeth Lazowski. This book was inspired by all the children I saw riding bikes when taking my daily “mental health walks” with my husband during the COVID shutdown of spring 2020. In particular, there was a five-year-old girl who had just learned how to ride a bike. When I commented about how much her bike riding skills had progressed over the weeks, her mother told me that all the time they were spending at home provided the opportunity for her to learn. Learning to ride a bike without training wheels is such an exciting milestone for children that I wrote a story about that experience.
What is the key message in the book?
I believe the prominent message in Together We Ride is: With perseverance and resilience, we can achieve goals. In addition, having a supportive parent (or adult or friend) by your side, offering encouragement and cheering you on, can fuel your success.
What inspired you to write?
I’ve always loved writing. What inspired me to write books for children are my years in the classroom of not being able to find enough diverse literature for my students. In recent years, my quest for diverse children’s literature has become even more personal. I have two nieces, a cousin and godsons aged between 7 to 13. I write with these children in mind. In fact, they have provided inspiration for some of my stories. As I write, I think about the stories I read to these children and those that I wish were in the world. I feel I have a responsibility to write stories I want all children to read.
What is your favourite part of the publishing journey?
Sharing my books with children and inspiring other writers is my favourite part of the publishing journey. The friendships and connections I’ve cultivated within the writing community which include writers, agents, editors, publishers, libraries, bookstores, and schools make it all worth it. It’s encouraging to know we’re all on this ride together.
What is the last book you read? What are you reading next?
The last book I read is an adult book, All Her Little Secrets, by Wanda M. Morris. I’m currently reading an ARC of a middle grade book, A Comb of Wishes by Lisa Stringfellow, which releases in February. Both books are by debut authors, and I highly recommend them.
Quick Fire Round
Describe yourself in one word.
Determined
Summer or Winter?
Autumn
Together We Ride | Chronicle Books | Available here
About the author
Valerie Bolling has been an educator for twenty-seven years. Valerie serves as the co-chair of the NESCBWI Equity and Inclusion Team and is a member of SCBWI, the Authors Guild, and NCTE. She lives in Stamford, CT.
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Welcome Lavinya. Can you tell us a little about you and your background?
My name is Lavinia Stennett. I'm the founder and CEO of The Black Curriculum. I really enjoy the arts and music. Transforming words into rhythms are ways I think connect with who I am at the core of a Jamaican background. That has always been a part of me, for as long as I can remember. Just self expression within your world and environment comes naturally. I absorb a lot of the places that I'm in. So, for example, my main purpose of attending university was for African Studies. However, I wanted to absorb, being that person who listens to students' concerns, I wanted to be a change marker. Naturally, this led me to activism work with university. Before The Black Curriculum, I was running societies; I led a campaign that wanted bursaries for ninety-two students in university. I’m really passionate about education and everyone having the choice to have access to it.
What inspired you to start The Black Curriculum? What is the primary mission of TBC?
The motivation came from not being able to see that there was Black history being taught constantly at a school level. In primary and secondary level, in a way that was truthful and empowering for young people. From my experience studying African Studies, there were many conversations in class that felt very inspiring. I’ll go home and do some further research. However, this was great, but it was only for me and I had to pay for my education.
History is such a fundamental part of just learning and how you see the world, so I felt like every person needs this and so I think that was the real rationale behind it.
The motivation came when I went to New Zealand for a year and three months to study the Māori Law. Colonial and Māori history is not only taught, but talked about in the society, it had a lot more recognition. The UK needed something that platforms our history in the same way.
In 2020, we kicked off our Teach Black History 365 campaign. That was a moment because the world woke up to the importance of teaching Black history in Black identity. We launched a 22 day campaign. The response we received wasn’t great. However, back in 2019, we sat down with the head of curriculum policy in the Department of Education, who were really supportive, but the ministers could only make the final discussions. That really spurred us to make sure the campaign targeted the ministers in June 2020.The political landscape has changed, and we've got a new education secretary, we've just been keeping in touch with loads of MPs making sure that at a local level, they're really fulfilling their commitment in writing to make sure that their constituencies and schools in their brough are learning and teaching Black history.
TBC recently launched the Springboard Programme sessions. What can people expect from these tailored sessions?
Springboard is a programme that really identifies music and Black History to increase not only self expression, creativity but also more intimate peer learning. This helps us get towards our goal of empowering all students to have a sense of identity. Over time, through music and self expression, we have young people build up that confidence. Sessions normally happen on the weekends. We’ll visit local communities across five cities: London, Bristol, Birmingham, Liverpool, Manchester. The sessions are teaching Black history and music.
Are there any further plans for TBC in the future?
We’ll be launching our online space, which will give people opportunities to interact with Black history in a broader way.
TBC commits to Teach Black History 365, what are the commitments?
I wouldn't say our commitments are stringent. It involves a level of honesty in how practitioners engage. We have been seeing some schools and parents buying a couple of books and engaging in a few lessons, but somehow the follow up is lacking. Teach Black History 365 is a personal call to think about how Black history is engaged with. The phase, to be honest, while teaching Black history. Without an honest reflection, we cannot have an accurate curriculum that reflects our history.
Can you recommend some books that represent Black British History?
Quick Fire round
Your proudest achievement?
I would say the bursary campaigns. Just being part of the localised change in my community. In university I led a campaign which gave financial help to students who needed it. That would be my proudest moment.
The last book you read?
The Bible
Summer or Winter?
Definitely summer
Best part of the day?
Golden hour! Daytime shortly before sunset.
More about The Black Curriculum
The Black Curriculum (TBC) has a great learning hub, which includes many subjects. Our favourite are the animated videos, discussing history related subjects. Visit here for more details: theblackcurriculum.com
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