Julius and Macy like to play heroes. Julius pretends he’s the defender of the forest, while Macy has a quieter strength. When their snack disappears one night, they decide to track down the only one who could have taken it―the Night Goblin. They both have to be brave in their own ways, and they ultimately discover that the real thief isn’t anything like they imagined.
With its endearing characters, this gently told tale reminds us that we each have courage within us and that kindness can make all the difference.
INTERVIEW WITH ANNELOUISE MAHONEY
GoodReadsWithRonna: Congratulations on your author-illustrator debut, Annelouise! Does it feel surreal right now after all your hard work to hold Julius and Macy: A Very Brave Night in your hands? How long has it been since you first began this creative journey in general and specifically for this picture book?
Annelouise Mahoney:Hi Ronna. Thank you so much for having me over today. Yes! Surreal is the perfect word for how it feels. Surreal and grateful! It’s been a long journey into picture books. It took about 10 years of serious focus to break into children’s books and of those 10 years, it took 5 years for the making of Julius and Macy.
GRWR: I adore bravery stories since I was not the bravest of kids, nor were my children. Tell us how you decided on this topic for your picture book.
AM: I adore bravery stories too! I didn’t set out with a definite topic for this book at the beginning. It was more finding the characters that resonated with me and asking questions as I drew them over and over again. So the characters came first. The more I drew Julius and Macy the clearer their story became.
GRWR: Burning question. Are you more Julius or more Macy?
AM: That’s a fun question! Honestly, I think I’m a little bit of both. I love to go after something I’m passionate about but feel bravest with someone by my side. I feel the younger me is more adventurous like Julius, but the older me is more cautious like Macy.
GRWR: Please walk us through your approach to writing and illustrating. Did you conceive the text first and then illustrate it, vice versa, or did everything happen simultaneously?
AM: I’ve learned to stick to the illustrations first. Not full illustrations, but loose sketches of ideas, and build from there. I gather all the loose sketches into a folder and begin placing them into a small thumbnail template. The template is an 8×11 piece of paper where I can see the story in one place. When I can see the story, and feel the visual narrative is working, then it’s time to add the words. This part of the process takes a long time for me. It’s a lot of experimenting to get the words right. If I start with the text too soon, I usually end up straying from my story.
GRWR:Can we talk about your gorgeous artwork and how you create it?
AM: In the beginning when I’m moving away from the very loose thumbnail sketch and planning out the compositions for each spread, I use Post-it notes to redraw certain elements, or add to what I already have. This part of the process takes a long time for me. It’s figuring out compositions and looking for how to express a feeling. I’m also looking for areas that may be repetitive and looking for the most interesting way to show the story. There is a lot of experimenting happening at this stage. The Post-it notes help me to not get attached to any single idea as I can just take it off or move it around without having to redraw the whole spread.
When I think what’s happening on the page is working, I scan the sketches into the computer and make the images bigger in photoshop. I’m looking for more specific information I can give to each spread, making sure the compositions work within the trim size and add the text to make sure everything reads well in the space.
This dummy stage will then repeat as I go through revisions with my agent and then my editor until the story is fleshed out and polished.
Once the story is polished, I begin all over again with small thumbnails but this time I’m focusing only on color. For Julius and Macy: A Very Brave Night, I made a color guide to help me navigate the color choice for each spread before going into final art. I found this part extremely helpful because I was painting in watercolor and I had to know how I was going to approach each painting.
I then repeated the process of scanning in the tiny thumbnails in Photoshop and making them much bigger to fit into the book template. I was interested to see where I need to focus on adding details and how the images read in the true size of the book. It’s checking and double-checking that the text will fit and I’m getting the color transitions right. Once the loose wash looks right and I can see where I’m going, I took large sheets of Arches 140lb cold press watercolor paper and cut them down a little larger than print size.
I painted each page in watercolor, with lots and lots of wash layers. I would work on a few spreads at a time so there was time for the paint to dry, and time to look away from a work in progress. There is an uncomfortable moment in each illustration where it looks ugly and messy and doesn’t feel like it will work before it does. When the painting was dry and complete, I scanned each painting into the computer and used photoshop and my Wacom tablet to set each painting into the picture book template provided by my publisher, Two Lions.
GRWR: Now that you have one book under your belt, are you busy with promoting it, or are you also making time for more artistic pursuits?
AM: Promotion does take a lot of time, and I’m enjoying this moment very much. But yes, I’m working on two other book dummies at the moment and I’m hoping to get them submission-ready soon.
GRWR: Do you have a routine you like to stick to when working on a project?
AM: I really need to be flexible as a working mom and often bring my book dummies, Post-it notes and pencils with me wherever I go. As far as a routine, I definitely wake up early each day before the demands of my family take over, and I work at night when there is another wave of calm. Those precious hours are protected for when I really need to concentrate.
GRWR: Is there a spread in Julius and Macy that really resonates with the child in you and the mother in you?
AM:Oh wow, what a beautiful question. The spread of the book with panels of Julius and Macy walking into and through the dark cave resonates with me as a mother. When my daughters were very young they would slip into pretend play very easily. They craved adventure and enjoyed little scary moments where they were challenged to be brave. The Los Angeles zoo has a man-made cave meant for little ones to explore. We’d visit it often and my girls would become more and more brave to venture through it, their imaginations on fire as they explored every corner.
As an author, I find writing a children’s book a bit like walking in the dark. There are times when I don’t know where I’m going, I can’t see the story, I can easily spook myself, but there is the need to keep going even if the unknown feels scary. As a child, I craved adventure stories and had a very active imagination. I think I’d be excited to walk into a cave, as long as I had a friend beside me and it wasn’t completely dark.
GRWR: What would you love for children to take away from reading your book?
AM: I would love children to explore what bravery means to them and see the many ways they’ve been brave in their own life. I’d like children to know that there is a unique form of bravery to reach out to someone, especially when you notice someone struggling to belong, as well as the bravery and trust to reach back.
GRWR: Has anyone in particular been influential in your kidlit career?
AM:I had a brave moment myself, and enrolled in a class taught by Marla Frazee at Art Center College of Design. She lit the way for me when I was really struggling to understand the craft of writing for children. She taught in a way I could understand by breaking things down to get to the heart of the story, finding the emotion in the art, trusting what your sketches are trying to tell you. Most importantly, when writing as an illustrator, stick to the sketching first. I’m still learning and growing, but those lessons influence how I write and how I create a book.
GRWR: What important lesson or invaluable piece of advice have you learned along the way in your children’s publishing experience that you’d like to share today?
AM: I believe that if you want to write for children, be passionate about it. Really put in the time and love to learn the craft. Be passionate about what you are working on. Publishing takes time and you want the love for your story to carry you through the rejections, revisions, and care that will ultimately polish your book better than you could ever do alone.
GRWR: What can we expect next?
AM: I hope to make many more books! That’s really all I want to do. Whether I have the honor of working with another author to create a book together or have the opportunity to publish more of my own stories. It’s the greatest privilege to make books for kids.
GRWR: Is there anything I haven’t asked that you’d like to mention?
AM: I’d like to mention to your readers that I have activity pages that correspond to my book available for download on my website. www.WoodlandAbbey.com
Also, I’m a member of a wonderful group of children’s book authors, The Picture Book Scribblers. We are all available for school visits paired by theme or individually. You can find us here https://picturebookscribbl.wixsite.com/home
Thank you so much, Ronna. It’s been an absolute pleasure to chat with you today!
GRWR: What a wonderfully frank and informative interview. Thank you, Annelouise, and best of luck with Julius and Macy: A Very Brave Night. e e
Annelouise Mahoney has worked in animation for DreamWorks, DIC Animation, Sony, and Saban Entertainment. She has also worked as a coloristfor Marvel and Image Comics on such series as Uncanny X-Men, Generation X, and others. This is her first picture book, and it was inspired by the depths of her daughters’ friendships and the many ways they are brave, especially with someone on their side. She loves to explore the forest, can’t resist a cave, and has a lot of love for all those named Julius in her life. Annelouise lives in Southern California with her family. Learn more about her atwww.woodlandabbey.com. e Order your copy ofJulius and Macy: A Very Brave Night: Mahoney today.
1. Enter our Twitter giveaway @goodreadsronna for a chance to win a signed copy of Julius and Macy: A Very Brave Night together with aspecial Giveaway Prize Package from Annelouise that includes an 8×11 print of cover, a sticker sheet, and a round sticker. Eligible for U.S. only. One winner will be selected at random and announced at 6 pm PDT on Friday, April 9.
WIN! WIN! WIN! WIN!
2. Additionally, five lucky winners will each receive three fabulous books celebrating the art of making and keeping friends, including Julius and Macy: A Very Brave Night, courtesy of Two Lions. Details and entry form can be found here (US addresses).
Click here to read another recent author-illustrator interview.
It’s Day One of theCHICK CHAT BLOG TOURas well as its book birthday! Peep! Peep! GRWR is so happy to participate and celebrate the hatching. Please enjoy the following interview with Chick Chat author-illustratorJanie Bynum and her insights on this fun new read-aloud picture book for children.
CHICK CHAT SUMMARY:
Friendship comes in all shapes and sizes.
Peep, peep, peep! Baby Chick has a lot to say!
Everyone in Chick’s family is too busy to chat with her. But when chatty baby Chick adopts a large egg—she finally finds a friend who is a good listener. When her egg goes missing, Chick is heartbroken, until she finds that it has hatched into a brand-new friend!
INTERVIEW WITH CHICK CHAT AUTHOR-ILLUSTRATOR JANIE BYNUM
GoodReadsWithRonna:Hi Janie! Welcome to the blog. I’ve got lots of questions for you today. In your author bio on the book’s copyright page, you mention how talkative you were as a child. Can you expand on this and how it influenced creating your main character Baby Chick?
Janie Bynum: Being an inquisitive, talkative, and determined child, I’m sure I tested the patience of my family—and quite a few teachers. Baby Chick and I share all of those personality traits—as well as being a fairly self-reliant youngest sibling. As I wrote and revised Baby Chick’s story, this very talkative youngest sibling emerged. So I ended up writing from a perspective (with a voice, as it were) that I understood as a kid.
In early versions of the manuscript, Baby Chick actually spoke instead of only peeping. But, I ultimately chose to have her peep in such a way that sounds like she knows exactly what she’s saying (and she does). This way kids can interpret what she may be saying—either inferred by the illustrations or by whatever words they imagine for her.
GRWR:Which came first, the Baby Chick character design or the story?
JB:The Baby Chick character art came first.
GRWR:It was funny how everyone in Baby Chick’s family is unaffected (to the point of almost ignoring her while they’re otherwise occupied) by her nonstop peeping while she carries on joyfully by herself. Is there something to be learned from her sheer self-contentedness?
JB:Possibly … by enjoying our own company, not being entirely dependent on others to “make” our happiness for us. Baby Chick is creative and makes her own fun; and, in doing so, she discovers something to nurture, which ultimately hatches into a friend who listens.
GRWR:I was absolutely convinced Baby Chick had found a rock not a big egg. Was this deliberate?
JB: No. The giant Galapagos tortoise’s egg—which I used for reference—looks very much like a round stone. Only at first, when she hasn’t fully unearthed the object, does Baby Chick not know that it’s an egg. But once she uncovers it, she realizes it’s some sort of egg—maybe not a chicken egg because it’s so round. But Baby Chick either doesn’t notice the difference or doesn’t care. It’s an egg without anyone to tend it, so she decides to be its guardian.
GRWR:I’m curious why you decided to make the baby turtle a quiet character rather than one “with a lot to say” like Baby Chick?
JB:I could’ve made the baby turtle/tortoise even more talkative than Baby Chick, which would’ve been funny. But I wanted Baby Chick to be rewarded (for all her nurturing and protection of the egg) with a friend who likes to listen. It’s also a sort of celebration of the yin/yang relationship, how seemingly opposites are actually complementary (in this case extrovert/introvert).
GRWR:Do you see Chick Chat as primarily a friendship story or did you feel there were other themes you wanted the book to explore?
JB: The friendship theme is wrapped around a story about self-sufficiency; and, as you noted earlier, self-contentedness. So, it really has two main themes.
GRWR:What medium do you work in when creating your artwork?
JB: I used a combination of digital media and traditional watercolor, which is the way I generally work. For Chick Chat art, I worked on my iPad (in an app called Procreate) and in Photoshop on my Mac computer with large monitor. I used traditional watercolor for some areas, and added real paper and paint textures (with Photoshop layers) to give more depth to some of the digital color.
GRWR:As someone who began telling stories first visually, do you usually create your dummy with thumbnails and then add the prose later?
JB: I usually have a character in mind first that I must draw so that I can get to know them. A seed of a story germinates as I’m drawing. As I start writing the story, I sometimes create a simplified mind map to look at arc, action, and direction possibilities. Then I write some more. And I revise. And then I revise the text some more.
When I feel like I have a fairly finished manuscript, I start thumbnails. Inevitably, the text changes as I work on thumbnails and rough sketches. So, as I create the rough dummy, I work back and forth between words and pictures until I feel confident that the story (both visual and written) is ready to submit to my agent.
GRWR:I enjoyed a lot of the little unexpected details you included in the illustrations like Baby Chick’s grasshopper friend (or cricket), and the punny titles of the books Sister is reading. Did you do this in all the books you illustrate even if you didn’t write them?
JB: Thank you. Since I write/illustrate for a fairly young audience, I try to add details that older readers (especially adults) will enjoy. While I don’t include a small observer character (who sometimes participates) in all of the books I illustrate and/or write, I have done so in a few. In Otis, which I wrote, a red bird appears in many of the pictures; and, in Porcupining, written by Lisa Wheeler, a grasshopper observes and sometimes participates.
GRWR:What do you do to spark your creativity? Is your process to work daily, inspired or not?
JB: In addition to creating children’s books, I work as a creative director and graphic designer (outside of children’s publishing), so creative problem-solving is part of my day every day. But, one of the things I do as a creativity spark—at least several times per week—is just draw for no reason at all, with nothing in mind until pencil meets paper (or stylus meets iPad). Many times character ideas come from these sessions.
GRWR:How long did it take to complete Chick Chat from the idea stage to the final book we can order from bookstores today?
JB: Roughly two years: story and book dummy, spring 2019; art delivered January 2020; published book January 2021.
GRWR:Who are some of your current kidlit illustrator faves and why?
JB: I have soooo many favorites, and for so many different reasons.
I love the color and stylized work of Felicita Sala. I adore the haunting stylized art of illustrators like Isabelle Arsenault and the cheery whimsy of Louise Gay. Carter Goodrich’s dogs are divinely humorous, and he possesses quite a deft hand with paint. With Sophie Blackall’s art, I’m inspired by her use of color, texture, and pattern. Her work is retro and contemporary, both at the same time.
Oliver Jeffers’ composition on the page (including an amazing sense of negative space) and his sensitive use of color and line inspires me. Matthew Cordell’s spontaneous linework and non-complicated watercolor embodies a spontaneous loose feel that I aspire to in my own work.
I like Ryan T. Higgins’s ink line coupled with his graphic use of shape and color (and, of course, his humor); the gorgeously strange art of Mateo Dineen; and the Matisse’esque art of Olivier Tallec.
GRWR:What’s in the works for your next book?
JB:A very creative beetle is the hero of my current work-in-progress. Also, I’m considering creating something for Gary the Worm to star in. (To find out who Gary is, visit my Instagram @janiebynum.)
GRWR:Is there anything else you’d like to add that perhaps I haven’t addressed?
JB:I’d like to let educators (including parents and grands) know that they can find Chick Chat activities at my website (janiebynum.com) and atnorthsouth.com/resources. And last, but not least, thank you for including me in your blog!
GRWR:It’s been such a pleasure being the first stop on your blog tour and getting to know you and Chick Chat better. Thanks for your terrific answers!
Janie Bynum grew up in Texas and graduated with a BFA in graphic design with an emphasis on illustration. As an author/illustrator, she has created many lovable characters and stories for younger children. Her work has been recognized as a Junior Library Guild Selection. She loves to travel and experience other cultures, drawing inspiration from the people, landscape, and cuisine. Known to her friends as a bit of a nomad, Janie lives in a nearly-100-year-old storybook house in southwest Michigan—for now.
I’m thrilled to have Alexis back on GRWR to talk about her latest picture book biography and the quirky visionary she chose to write about.
Melvil Dewey’s love of organization and words drove him to develop andimplement his Dewey Decimal system, leaving a significant and lasting impact in libraries across the country.
When Melvil Dewey realized every library organized their books differently, he wondered if he could invent a system all libraries could use to organize them efficiently. A rat-a-tat speaker, Melvil was a persistent (and noisy) advocate for free public libraries. And while he made enemies along the way as he pushed for changes–like his battle to establish the first library school with women as students, through it all he was EFFICIENT, INVENTIVE, and often ANNOYING as he made big changes in the world of public libraries–changes still found in the libraries of today!
Buy the book from your local independent bookseller.
Good Reads With Ronna: It’s like the history of Melvil Dewey has been hiding in plain sight all these years. I never gave much thought to his decimal system of book organization for libraries, and definitely never figured it out. What sparked your curiosity into the man and his contributions?
Alexis O’Neill: I hadn’t given him much thought either, Ronna, until a librarian friend sent me a funny video she used to help teach kids the Dewey Decimal System. That made me realize I didn’t know a thing about the inventor of this seemingly ubiquitous system.
GRWR: Apart from what Melvil Dewey is most famous for, what other ideas did you discover during your research phase that he championed which have impacted our lives?
AON: Dewey really championed education for all. He was concerned about rural Americans as well as the waves of new immigrants having easier access to information. He also was a proponent of the Simplified Spelling movement, a precursor to today’s texting – getting rid of vowels and extra letters in words that hindered or were unnecessary to pronunciation – like “tho” for “though.” He chopped “Melville” down to “Melvil” but when there was an outcry, was convinced not to change “Dewey” to “Dui.”
GRWR: Let’s talk about Dewey’s dream of a librarian school at Columbia College where he was the chief librarian. Trustees did “not want women on their campus.” So how did he succeed?
AON: He got around them by following the spirit of the law and not the letter of the law. When Columbia College Trustees refused to have women on campus, Dewey bent rules to his needs: he opened his School of Library Economy in a storeroom over the chapel across the street. The entering class had seventeen women and three men.
GRWR: Dewey is referred to in the jacket flap as “EFFICIENT, INVENTIVE, and often annoying.“ Can you describe some of his quirky character traits?
AON: Even if Dewey had no fatal flaws (and he indeed had them), I still don’t think I’d be able to stand being in the same room with him for very long. He talked incessantly and rapidly. While the average American speaks at about 100-130 words per minute, one of Dewey’s students clocked him at a rate of 180 words per minute. When he tried to convince others about one of his ideas, he was like a dog on a bone. From a very young age and throughout his life, he obsessively kept lists of things such as his height, weight, assets, and more. And he fixated on the number 10, thus decimals. He wrote, “I am so loyal to decimals as our great labor saver that I even like to sleep decimally” (in other words, 10 hours a night.)
GRWR: Melvil approached every endeavor and encounter in his life at 100 mph. The train visuals speeding through the pages of your story perfectly convey this energy. Do you think he moved at this pace because he had so much to accomplish in his lifetime that was predicted to be short after he inhaled smoke during a fire in his youth?
AON: Dewey grew up in a deeply religious, restrictive household. He was always concerned with wastefulness and a desire “to leave the world a better place than when I found it.” But when he was recuperating from a fire at his school as a teen, this desire became an obsession as did his preoccupation with efficiency.
GRWR: There are a lot of words printed in bold throughout the book. You also ask young readers several questions throughout it as well. Can you explain why?
AON: I wanted readers to come along with the book’s narrator on a breathless ride in “real-time” as Dewey’s driving energy rushes through the years. I used present tense, direct questions, and bolded words to make the narrative voice break the fourth wall and emphasize the surprise the narrator feels while making observations about Dewey.
GRWR: What made Dewey fall out of favor in the public’s eye?
AON: A couple of decades into his career, Dewey was exposed as a racist, anti-Semite, and serial sexual harasser. He had created the Lake Placid Club that specifically excluded people of color, Jews, and other religious groups. And there had been justified complaints for years in the American Library Association, a group he helped found, about Dewey’s serial harassment of women. For his actions, he was censured by the NYS Board of Regents for his discriminatory practices, forced to resign from his positions as State Librarian and director of the library school, and ostracized by the ALA.
GRWR: How do you reconcile Dewey’s love of books and reading driving his initial motivation to help immigrants and those who cannot afford books with his bigoted views of Jews and others?
AON: I really can’t reconcile or explain this.
GRWR: Is it hard to write about someone whose personal views you may not necessarily like or agree with?
AON: Dewey’s goal was to make the world a better place. So the question is, did his classification system make the world a better place? I believe it did. It expanded educational opportunities for the general public by making access to information more efficient. There are countless examples of artists, scientists, and others whose negative personal behaviors are hard to reconcile with their contributions, but their contributions have made significant, positive differences in so many lives.
GRWR: You used to write fiction and of late have switched to nonfiction kidlit, primarily biographies. What about writing fact-based stories appeals to you? And what do you think kids like about them?
AON: I still write fiction, but I love American history! Early in my writing career, I wrote many articles for Cobblestone Magazine, and doing the research was a kick. Like me, I think kids are excited to know when something is real. Some facts–especially in history or science–just take my breath away.
GRWR: Where do you turn to for story inspiration?
AON: Footnotes in books, articles, videos – lots of things spark ideas for stories. I never know where the next spark comes from or if it will flame into a book.
GRWR: If you’re able to divulge this info, what is on your radar for your next picture book?
AON: Right now, I have a couple of fiction picture books circulating, and I’m working on a middle-grade nonfiction project. After so many years of writing “tight,” doing long-form work is challenging. I keep wanting to cut words!
Thanks for this opportunity, Ronna!
GRWR:What a treat it’s been to have you back here to share your insights about Melvil Dewey, Alexis. I will never look at those numbers in the library the same way again!
Alexis O’Neill is the author of several picture books including The Recess Queen, the winner of several children’s choice awards, and The Kite That Bridged Two Nations, a California Young Reader Medal Nominee. Her new picture book biographies are Jacob Riis’s Camera; Bringing Light to Tenement Children and The Efficient, Inventive (Often Annoying) Melvil Dewey. Alexis received the California Reading Association’s award for making significant and outstanding contributions to reading throughout California and is an instructor for the UCLA Extension Writers’ Program.