Author-Illustrator Q+A

 

 

 

AN INTERVIEW WITH

ABI CUSHMAN

AUTHOR/ILLUSTRATOR OF

ANIMALS GO VROOM!

(Viking Children’s Books; $17.99, Ages 2 to 5)

 

 

 

 

SHORT SUMMARY:

Animals Go Vroom!

Written and illustrated by Abi Cushman

With a nod to Richard Scarry, this inventive picture book surprises readers with every turn of the page!

Hiss! Screech! Roar! It’s a noisy day in Bumperville! But are the sounds what you think they are? That Honk! must surely be a goose. But turn the page and it’s the taxi that a goose is driving! Using cleverly placed die-cuts, this inventive book hints at what is making the sound, but with each turn of the page, it’s an eye-opening surprise and part of an unfolding story that is part guessing game and part giggle-inducing caper. Abi Cushman is the master of surprise and silliness in this absolutely delightful picture book.

 

INTERVIEW:

Colleen Paeff: Happy book birthday and congratulations on the release of your second picture book, Animals Go Vroom! Kids are going to love all the unexpected surprises in this book. The way you use die-cuts is so clever. Were they a key element of the story from the start or did they evolve over time?

Abi Cushman: Thank you, Colleen! I am so thrilled to be here. And congratulations to YOU on your wonderful upcoming debut picture book, The Great Stink: How Joseph Bazalgette Solved London’s Poop Pollution Problem. It is so wonderfully told, and the illustrations by Nancy Carpenter are fantastic.

CP: Thank you! I love Nancy’s illustrations, too!

AC: To answer your question, yes! I always envisioned die-cuts in the book. My initial thought was about how animal sounds and vehicle sounds sometimes overlap. And so I wanted the book to be a guessing game where readers had to guess who or what was making the sound.

 

 

 

Die-cut windows are a wonderful device for guessing game type books because they give a little peek at the next spread, and then the page turn offers the reveal. 

 

 

 

 

CP: I love the way even the background characters in Animals Go Vroom! have their own stories that play out over the course of the book. That must have been so much fun to illustrate! Can you tell me about coming up with those stories?

AC: Some of the background characters are inspired by family members. The sloth using the walker is based off of my grandmother who would cover great distances at the mall using her walker. She had a cap she’d wear whenever she’d go out. The two bunnies in the background of the bus scene are a tribute to my two house rabbits, Cosette and Coco. 

 

 

 

And then I chose other background characters based on the sounds they make. The artist sea lion shouts out, “Art? Art?” and the baby crow points out the car by calling out, “Cah! Cah!”. The baby crow is actually also based on my son who would do the same thing every time he saw a car when he was younger. 

 

CP: How fun! I can’t believe I didn’t pick up on those sounds! And for more fun, outside of the book, I noticed that you have an Animals Go Vroom! memory game on your website. (It took me 46 seconds and 13 moves to solve it.) How did you come up with that idea and did you create it yourself? If so, how did you develop such impressive skills?!

AC: I have been a web designer/developer for over 15 years, so that coding experience definitely has benefits. Although I don’t specialize in making online games, I was able to find some open source code for a memory game, and then I tweaked it to work on my website and to use the images I created for all the cards. I actually had intended to make a memory game for my first book, Soaked!, but I didn’t have enough time. But Animals Go Vroom! actually worked even better for this sort of game because there is a large cast of characters to choose from.

 

CP: It definitely seems perfect for a game like that. You dedicated this book to your mom “who really loves snakes.” Is that true? Did you have pet snakes in the house when you were growing up?

AC: I showed this illustration:

 

 

to my brother over a family Zoom so he could see how I made his headphone-wearing daughter into a character in the book, and my mom blurted out, “Oh no! Gross!” And we were all kind of laughing because although we all know she does NOT care for snakes or worms, we thought a cartoony-looking snake drawing might be ok. 

I didn’t set out to make a book that largely featured snakes, but that’s where the story took me since they make that wonderful hissing sound. I thought, “How can I make it so that my mom HAS to read this book with a bunch of snakes?” And so I dedicated it to her, and she did say recently that the illustration of the kid snake on the dedication was okay. :) 

 

 

And so to answer your second question, NO. There was absolutely no chance of us having pet snakes when I was growing up.

 

CP: Hahaha! I love that your family shows up in so many different ways in this book. Did you base any other characters on people you know? 

AC: Oh yes. I mentioned earlier that the baby crow is my car-loving son, and the kid snake is based on my niece who wore headphones the entire time we were on a family vacation one time. The mama snake is me. Actually the bear in Soaked! is also me. I guess I follow that advice, “Write what you know.” since I apparently just put myself in all my books.

 

CP: For StoryStorm 2020 you advised people to keep an ugly sketchbook and said the practice freed you up to do the drawings that inspired your debut picture book Soaked! (Viking Children’s Books, 2020). Is there any correlation between the vengeful sketchbook chipmunk at the end of that post and the chipmunk car salesman in Animals Go Vroom? And did any other ugly sketchbook characters make it into this second book? 

AC: Hahaha maybe this is the vengeful chipmunk’s origin story. A car salesmunk who becomes disillusioned with life after getting bonked in the head with a flat tire just hours after making his first sale. 

 

But yes, the whole concept of the book came about from this Ugly Sketchbook character: a sea lion flying a jet going RAWRR! 

 

 

This specific character didn’t end up in the final book, but another sea lion made it into the story as an artist just trying to share their beautiful art with everyone.

 

 

CP: I loved the sea lion’s paintings! And I loved the otter taxi passenger, too. I happen to know that he is a published author. I read his research project “Funny AND Female” and noticed that he didn’t ask YOU to talk about being a funny woman in kidlit. (He’s got some nerve!) So, talk to me about being funny. Where do you find inspiration for your humor? Do you have any tried and true tricks to bring humor to a scene? 

AC: I find inspiration everywhere- TV, movies, books, my family. Unexpected random or absurd things are often very funny. So I like playing around with creating a pattern and then disrupting it with something ridiculous. Being specific helps create that absurd moment. For example, in Soaked!, I create a pattern in the first spread. “Not that badger. Not that bunny.” and then I disrupt it with something specific and out-of-place. “Not that hula-hooping moose.” 

 

 

When I was thinking about a passenger for the taxi in Animals Go Vroom!, it was tough because really, it could be ANYONE in the backseat. So I made it fun by thinking of someone who would look glorious with a monocle (an otter, of course), and then I thought it would be pretty ridiculous if in every scene he was eating a different meal and was totally oblivious to the traffic jam. I started with tea because that would be a great contrast to the goose who was having a fit about being stuck behind the bus. And then the next spread, the otter is eating a filet of fish on a plate with a fork and knife. How did he get this fancy meal? Where did he get the utensils? In the next scene, he has an ice cream cone. Did he have the ice cream in the taxi the entire time? Why didn’t it melt? Does he have a freezer in there? I like creating scenes where the reader does a double-take and thinks, “Wait a minute- WHAT?? What’s going on there?” It’s a treat for the curious kid who takes a closer look at the pictures and sees that secondary storyline happening in the background. 

 

 

CP: You teach a couple of classes at Storyteller Academy. What do you enjoy most about teaching other picture book creators?

AC: Most people enrolled at Storyteller Academy have committed to making a real go at improving their craft. So it is incredibly satisfying to see them put in the work every week and make huge gains in their stories. I really believe that if you put in the work- which is to read and analyze current picture books, think about a compelling concept or character, and then just keep plugging away, that you can become a published author. But a lot of people give up. So it is wonderful to see the dedication from Storyteller Academy students. And I can’t wait to see the manuscripts I’ve critiqued become published books in a couple of years.  

 

CP: That’s definitely something to look forward to. Speaking of craft, what are three tools of the illustrator’s craft that you wouldn’t want to be without?

AC: 1. My Bic mechanical pencil. I use a mechanical pencil to draw all the characters in my                     books. I like that the pencil always stays sharp.

2. My Wacom Cintiq tablet. I color all my illustrations digitally using Photoshop and my tablet. I like to apply the color this way because it is easy to correct mistakes, experiment with color, and keep the color palette consistent across spreads. I can also zoom in to apply details.
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3. Google image search. Even though my books feature anthropomorphic animals, I still use a lot of reference photos. When thinking about a mouse riding a unicycle, I’ll look at photos of mice to imagine what one would look like sitting upright on a seat. How would its leg look while pedaling? Then I’ll look at photos of unicycles. How can I modify this unicycle if the rider had short (mouse) legs? And now what would it look like if that mouse was not only riding a unicycle but also holding a large cupcake? I have to use my imagination, but I still try to base parts of it on real-life so the illustration looks plausible.

 

 

CP: That’s fascinating. So, when you’re working on a story, do the pictures usually come first or is it the words? Do you find one is easier than the other?

AC: I usually think of a very general concept first. For Soaked!, I thought about how when you’re stuck in the rain, it actually becomes pleasant after you become thoroughly soaked. The idea of changing your perspective despite the situation staying the same was intriguing to me. Then for a couple months after that, I kept drawing a bedraggled soggy bear looking very disgruntled in the rain. But the whole thing flew together once I thought of the voice of Bear, the main character. The voice drove the story and the words came pouring out.

For Animals Go Vroom!, I again thought of the concept first: sounds that both animals and vehicles make. After brainstorming sounds and animals, I started to see a chain of events forming, so I made a book dummy to see how it would all work with the die-cuts. I started with a small dummy and gradually increased the size with each revision. From there, I was able to draw in a lot more details as it got closer to its final size, and secondary storylines started forming through the illustrations.

When I’m working on a story, I often see images in my head, and I’ll quickly jot them down as very ugly doodles. I’ll also write down little snippets of text. So in terms of what’s easier for me, I think it’s easy for me to picture little moments in a story. But what is hard is actually rendering those imagined scenes and characters properly in the final art. It’s tough to match the idealized images in my head. Plus, doing the final art is so labor-intensive, and there’s also a deadline. But that being said, it is AMAZING when the art director shows you a PDF of the book with the text properly typeset over the full-color art. It makes all those long hours worth it.

 

CP: I bet! What’s next for you?

AC: I have an unannounced picture book in the works that I’m very excited about. It’s an informational picture book that I would have LOVED as a kid. It’s a book where hopefully kids will be laughing and learning at the same time. 

CP: That sounds wonderful, Abi. Thanks for taking the time to chat with me. And congratulations, again, on your terrific new book!

All artwork and photos courtesy of Abi Cushman.

 

BRIEF BIO: 

Abi Cushman is the author-illustrator of Soaked! (Viking, 2020) and Animals Go Vroom! (Viking, 2021). She has also worked as a web designer for over 15 years, creating websites for libraries, towns, and local businesses. She runs two popular websites of her own: My House Rabbit, a pet rabbit care resource, and Animal Fact Guide, which was named a Great Website for Kids by the American Library Association. In her spare time, Abi enjoys running, playing tennis, and eating nachos. (Yes, at the same time.) She lives on the Connecticut shoreline with her husband and two kids.

 

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TO PURCHASE ABI’S BOOK CLICK HERE. 

LINKS:

Website: abicushman.com

Newsletter: http://eepurl.com/dCUjeH

Twitter: @AbiCushman

Instagram: @abi.cushman

Facebook: @AbiCushmanArt

 

FOR MORE ON ABI CUSHMAN:

Animals Go Vroom Origin Story at SLJ’s Fuse 8

Author/Illustrator Spotlight at KidLit411

Picture Book Look Podcast – A Conversation with Abi Cushman, Editor Tracy Gates, and Art Director Jim Hoover

 

ABOUT INTERVIEWER COLLEEN PAEFF:

Colleen Paeff is the author of The Great Stink: How Joseph Bazalgette Solved London’s Poop Pollution Problem, illustrated by Nancy Carpenter (available August 31, 2021, from Margaret K. McElderry Books) and Rainbow Truck, co-authored with Hina Abidi and illustrated by Saffa Khan (available in the spring of 2023 from Chronicle Books). Click here for more info.

 

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