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Viewing: Blog Posts Tagged with: Interviews, Most Recent at Top [Help]
Results 1 - 25 of 2,778
1. How Making Online Shorts Landed Steve Cutts A ‘Simpsons’ Couch Gag Opening

Steve Cutts may not be a household name, but his viral films got him the gig of a lifetime.

The post How Making Online Shorts Landed Steve Cutts A ‘Simpsons’ Couch Gag Opening appeared first on Cartoon Brew.

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2. Audrey Vernick on The Kid from Diamond Street

vernick_kid from diamond streetIn our January/February 2016 issue, reviewer Dean Schneider talked with author Audrey Vernick about her clear love of America’s favorite pastime. Read the full review of The Kid from Diamond Street: The Extraordinary Story of Baseball Legend Edith Houghton here.

Dean Schneider: You’ve written a few books about baseball. Have you always been a fan? Or did you become one after you started writing about the sport?

Audrey Vernick: One of my favorite things about being a grownup is no one can make me write about explorers. I write about baseball because I truly love it and have for decades. While I am a devoted fan of a team I’ll not mention by name in a Boston-based publication, I also love the game’s rich, textured history and the individual stories folded within it.

From the January/February 2016 issue of The Horn Book Magazine.

The post Audrey Vernick on The Kid from Diamond Street appeared first on The Horn Book.

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3. Bloom — And a Visit with David Small

“Once upon a time, in a beautiful glass kingdom,there lived an unusual fairy named Bloom. …”(Click to enlarge and see spread in its entirety)   Over at BookPage, I’ve got a review here of Doreen Cronin’s Bloom, illustrated by David Small (Caitlyn Dlouhy/Atheneum, February 2016). As a follow-up to that, David is sharing today some […]

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4. One Writer’s Process: Gigi Amateau

Surrounded by deer, foxes, raccoons, and a host of other forest creatures who inhabit the woods near her house, Gigi Amateau lives on a tributary of the James River called Rattlesnake Creek and finds inspiration for many of her stories by looking out the window or taking a walk down to the river. “I cannot imagine living or writing without access to the river,” says Amateau, the author of

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5. Interview: Tony Bradman

MWD interview - Tony BradmanI am delighted to welcome author Tony Bradman to MWD to celebrate the launch of the 30th Anniversary edition of his much-loved picture book Through My Window. We will be talking about it here as well as a … Continue reading ...

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6. More Exclusive Cast Interviews from ‘A Celebration of Harry Potter’!

Huffington Post and Hollywood Life have recently published two cast interviews with Matt Lewis, Rupert Grint, Evanna Lynch and Katie Leung following A Celebration of Harry Potter.

Rupert Grint thinks Hermione and Ron would be separated (if not divorced), none of them would overlook a role in Star Wars, and Rupert thinks Cursed Child made a huge mistake.

First up is Huff Post, and their representative really got the cast talking, giving a great introduction about the importance of breaking out of viewing these great actors as their characters:

“What I enjoy as I sit down to speak with the group is how much these adults are unlike their characters (except for maybe Lynch, who is still delightfully Luna Lovegood-esque). It seems obvious, but we’ve such a tendency to want to lock actors into their iconic roles. It is challenge breaking out of that, especially when you’re remembered as being a cute, or awkward, or weird, or chubby kid on screen. Yet each has grown up, and gone on to other acting gigs and new pursuits.”

This interview gave a broad sweep of the actor’s opinions on Fantastic Beasts, their characters, further roles in big franchises and more!

On giving advice to Fantastic Beasts and Cursed Child cast members: 

Matt Lewis: I don’t know how much advice I could ever give anyone. The people who have been cast, as far as I’m aware of, are very, very experienced. They don’t need any advice from me. But I guess just enjoy it. It has been a hell of an experience for me, and everything associated with it: the people, the fans, the environment. It was a good gig to be on! Just enjoy it because there’s nothing else like it, literally in the world. It is unique.

Rupert Grint: I think it’s going to be a very different film, I think. I don’t know much about it, but as Matthew said, just enjoy it. Go with the flow.

Evanna Lynch: I’d say trust David Yates, as well. He always knows better on the film. Sometimes I would go, “Oh, I’m doing terrible, I’m messing up.” He would come along and suggest something tiny, and it would change everything. He is very clever. And he is the one who has transitioned from one to the other. He has the whole picture.

On involving themselves in any large-scale productions again:

Q: This was very much your childhood, and your job growing up. If you had the opportunity now to enter another franchise that would consume multiple years – like Lord of the Rings or Star Wars – would you be reluctant to join that production?


Lynch: No. I loved it. I love the family feel, and the idea you can get deeper into your character over a year. I have been on films that were just three or five weeks, and sometimes I’ve been like, damn, I’d only just started to get into it. It was nice to have something you could develop it, and learn and grow alongside your character. And I just loved the family thing. I got very comfortable there.

Lewis: Hey, if Star Wars come knocking on the door tomorrow, I’m not going to go, “Um no, guys, I’m sorry, I don’t want to do four films, it’s fine.” No, of course not. I’d think about it, and I love Star Wars, etc. But there would definitely be a bit of trepidation in joining a big franchise again for that amount of time. Just simply because I’m really enjoying the diversity of the roles I’ve been given recently. Playing a character is great, but I love the process of finding someone, finding a character, creating and drawing it up. And trying to figure out what makes that person tick. When you do something for however many years, it can start to become – I don’t want to say mundane because it was never boring on the films. But you kind of lose that spark a little bit you get in that first day of school, or on a new job. It is exciting. And I’ve gotten that so often in the last couple years, I’d be reluctant to give that up.

Leung: I kind of agree with Matt. If it goes on for any longer than a certain period of time, you do get really comfortable and feel very safe. Having done all the projects after Potter, it has been a few weeks, a few months for a project. You do really get to know a character, and it is wonderful knowing that, once you stop filming or being on stage and being that character, it essentially dies. So I quite like that. Of course, it depends who the character is you’re going to be playing. But yeah, if it’s Star Wars …

Lewis: Star Wars is welcomed.

Grint: I don’t know. I don’t think it’s put me off. There’s pros and cons. Harry Potter could be at times quite suffocating. It did take up our whole lives. So yeah, I suppose there would be tiny bit of reluctance. Now that I’m out of it, I can see beyond it and it’s nice to have a real life, and do things you want. There’s a lot of freedom in that. But yeah, I think it all depends on the material.

Who knows – maybe a role as another Resistance pilot, or as a key character to unveiling Rey’s mysterious past will come up. Make it happen, Disney!

The Huff Post representative also asked where they’d like to think their Potter characters will be in the future.

As we know, Ron and Hermione were married with two children (Rose and Hugo) at Nineteen Years Later, all of whom attended the 427th Quidditch World Cup in 2014. Ron and Hermione’s relationship seems to be going well – that is, unless you take Rupert Grint’s word for it:

Grint: [laughs] I would expect Ron has probably divorced Hermione already. I don’t think that relationship would have done very well.

Lynch: What?!

Like living in his own, low-rent bachelor pad?

Grint: Yeah. Exactly. He’s living on his own, in a little one-bedroom apartment. He hasn’t got a job.

Lynch: Don’t say divorced. Say they’ve split up. They can reconcile.

Grint: Yeah, they’re briefly separated.

Ron is on Tinder doing horribly…

Grint: Yeah!

Lewis: Living in a one-bedroom studio apartment all alone, doing nothing. He lives in Kings Cross, right in that area.

Evanna took a more career-related view for Luna, and we can definitely see this happening:

Lynch: I think Luna would have an adventure documentary series. She becomes a naturalist, and I think she’d travel the world and have a show. I could be a wildlife narrator.

Like a David Attenborough of the wizard world?

Lynch: Yeah, and she would prove all her creatures exist. Everyone is so dubious of her, and I’d like her to show they’re real.

Anybody else want this to become a mini-series?!

Katie Leung had aspirations for her character – we love her no-nonsense view of Cho:

Katie Leung: I reckon Cho would probably have become a really successful entrepreneur, and really cold and ruthless.

Lynch: Oh my god! [laughs]

[Interviewer] I like this. 

Leung: Yeah, she’s cried all the tears she could cry, and now she’s become real cold and heartless.

Lewis: This is dark! I love this!

[Interviewer] What kind of entrepreneur? She runs a tech company? Or a developer who tears down bachelor pads like Ron’s?

Leung: Yeah, yeah, that! Exactly.

Lynch: Oh…

Matthew Lewis bases his on information he received from J.K. Rowling herself, and even works Rupert’s view of Ron into his vision:

Lewis: Oh god. Neville works at the school, right? So he’s a professor, just enjoying that. Maybe he’s trying to get Ron a job, man. And he keeps throwing it back in his face, like, “I don’t need your help, Neville; Jesus, just leave it.” And I’m like, “Come on, it’s fine, we’ll sort it out, just trying to get you back into the fold.” Yeah, him and Hermione don’t see eye to eye because I’ve taken Ron’s side in the relationship, obviously. They’ve got everyone split off, friends wise. I don’t know who you guys chose? Did you choose Hermione?

Lynch: Ron!

Leung: No, Ron.

Lewis: Are you Ron as well? Jeez, Hermione is thin on the ground with friends!

Leung: Well, I’ll go with Hermione, then.

Lynch: I think Ron would need more help. Hermione would handle herself better.

Grint: Yeah, he’s in a bad way.

[Interviewer] But Ron could have a job as a replacement for Mr. Filch

Grint: Yeah!

Lewis: Yeah, I’ll get you in as the caretaker of the school, man. We’ll sort it out. Don’t worry about it.

Grint: Just get me out there. Just get me out of the house.

Lynch: And we’ll get you back together.

Read the full interview here!

Hollywood Life‘s interview focussed on J.K. Rowling’s newest endeavour: Cursed Child. Rupert Grint thinks they’ve made a huge mistake!:

“Um yeah, I think they made a huge mistake in not casting me,” 

He reportedly said, but of course he was joking – we’re all sure Paul Thornley is going to do an amazing job!

 “No, no. I think it’s going to amazing, that it’s going on, and I can’t wait to see it.”

In a similar vein to his interview with MTV, Matthew Lewis spoke about feeling like his role as Neville was complete:

“I feel like the story arch that Jo wrote and that we tried our best to put on screen was a complete one,”

“I took that journey and finished it the way I wanted to. He will always hold a fun place in my heart, but I don’t feel like there is more that I can do with Neville. I’m happy to leave him.”

Evanna Lynch, however, has something to say about not being cast!:

“I don’t feel that way at all …  As happy as I am that they are exploring the universe and that there are new stories in the universe, I’m so angry I’m not a part of it…100% I’d go back and do more.”

Read the full Hollywood Life interview here

So there you have it – Evanna will soon be portraying a Resistance Pilot, the Wizarding World’s very own David Attenborough, and a West End star (kidding, unfortunately). 

You can read more about cast interviews from A Celebration of Harry Potter here and here!

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7. My Chat with Rachel Isadora

“I love telling stories, and I would say that writing and illustrating for children is not really different from writing or illustrating for adults. The plots might be more complicated, but the messages and connections with the reader are the same. That is why children and adults share joy when experiencing a book together.” * […]

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8. StoryMakers | Mike Curato’s Little Elliot Books

STORYMAKERS Mike Curato Featured Image

Mike Curato’s Little Elliot books are fast becoming a favorite of children and parents alike. The author and illustrator has created a little polka-dotted elephant with a big heart. The Little Elliot series — Little Elliot, Big CityLittle Elliot, Big Family; and Little Elliot, Big Fun — is heavily influenced by the zeitgeist of the1930s and conveys wonderful messages about family and friendship.

Mike Curato and MerryMakers president Clair Frederick joined StoryMakers host Rocco Staino to talk about the series of Little Elliot books and the huggably soft plush products created by the toy maker. Little Elliot is one of the newest members of the MerryMakers family.

We’re giving away three (3) signed copies of Mike Curato’s Little Elliot, Big City; Little Elliot, Big Family; and a MerryMakers plush toy. Enter now!

a Rafflecopter giveaway

All entrants must reside in the United States and be at least 13 years old.

Watch Mike Curato read Little Elliot, Big City on “Read Out Loud,” then download the activity kit!

Read Out Loud Little Elliot Books


Little Elliot Books: Little Elliot, Big City CoverLittle Elliot, Big City
Written and illustrated by Mike Curato
Published by Henry Holt and Co. Books for Young Readers

Amid the hustle and bustle of the big city, the big crowds and bigger buildings, Little Elliot leads a quiet life. In spite of the challenges he faces, Elliot finds many wonderful things to enjoy like cupcakes And when his problems seem insurmountable, Elliot discovers something even sweeter a friend.

Little Elliot, Big FamilyLittle Elliot Books: Little Elliot, Big Family Cover
Written and illustrated by Mike Curato
Published by Henry Holt and Co. Books for Young Readers

When Mouse heads off to a family reunion, Little Elliot decides go for a walk. As he explores each busy street, he sees families in all shapes and sizes. In a city of millions, Little Elliot feels very much alone-until he finds he has a family of his own.

Little Elliot Books: Little Elliot, Big Fun

Little Elliot, Big Fun
Written and illustrated by Mike Curato
Published by Henry Holt and Co. Books for Young Readers
Available August 2016

In this third story of Little Elliot and Mouse, the friends head off in search of adventure . . . and lots of fun. Little Elliot, the polka-dotted elephant, and his friend Mouse go to the amusement park to see the sights and ride the rides water chutes, roller coasters, carousels, and more. But Elliot isn’t having much fun the rides are too wet, too fast, too dizzy, and just plain too scary until Mouse figures out a way to help him overcome his fears. Together, Mouse and Little Elliot can do anything.

Worm Loves WormWorm Loves Worm Cover Written by J. J. Austrian with illustrations by Mike Curato
Published by Balzer + Bray

Perfect for fans of And Tango Makes Three and The Sissy Duckling, this irresistible picture book is a celebration of love in all its splendid forms from debut author J. J. Austrian and the acclaimed author-illustrator of Little Elliot, Big City, Mike Curato. You are cordially invited to celebrate the wedding of a worm . . . and a worm. When a worm meets a special worm and they fall in love, you know what happens next: They get married but their friends want to know who will wear the dress? And who will wear the tux? The answer is: It doesn’t matter. Because Worm loves Worm.


Via mikecurato.com

Mike loves drawing and writing almost as much as he loves cupcakes and ice cream (and that’s a LOT!). He is the author and illustrator of everyone’s favorite polka-dotted elephant, Little Elliot. His debut title, Little Elliot, Big City, released in 2014 to critical acclaim, has won several awards, and is being translated into ten languages. The follow up book, Little Elliot, Big Family, was just released in October, 2015, and has received several starred reviews. At least two more Little Elliot books are forthcoming. Meanwhile, Mike had the pleasure of illustrating Worm Loves Worm by J.J. Austrian, which is available January 5, 2016. He is also working on several other projects, including his first graphic novel. Mike lives and works in Brooklyn, NY.

Website (Mike Curato) | Website (Little Elliot) | Facebook | Goodreads | Instagram | Twitter

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Executive Producer: Julie Gribble | Producer: Kassia Graham | Director of Photography: Joshua Ng

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9. MATT CHATS: IDW Editor Bobby Curnow on the Balance Between Licenses and Original Concepts

TET REG COVER ISSUE01IDW is mainly known for its publication of licensed work, such as Teenage Mutant Ninja Turtles, Transformers and My Little Pony. But the publisher has been transitioning lately with a renewed focus on creator-owned comics, first by acquiring Top Shelf and now by starting the Comics Experience imprint, home to some great titles like Tet and Gutter Magic. Editor Bobby Curnow is […]

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10. StoryMakers | Angela Dominguez

STORYMAKERS Angela Dominguez Featured Image

Maria Had a Little Llama/Maria Tenia Una Llamita and Knit Together author and illustrator Angela Dominguez creates heart-warming tales about family and togetherness. Angela Dominguez is a two-time recipient of the American Library Association’s Pura Belpre Honor (2014 and 2016).

It’s kind of a love letter to my mom.
— Angela Dominguez on “Knit Together”

Angela’s picture books are rooted in the themes of family, tradition, and friendship. Several of her books including Maria Had A Little Llama/Maria Tenia Una Llamita; Let’s Go, Hugo; and Knit Together pull from relationships with family members and artifacts from her childhood. A wind-up toy inspired French bird Hugo. Angela’s memories of wanting to be a skilled knitter like her mother led her to write a book to remind children they can be talented in their own way. An aunt’s interest in indigenous cultures informed the writing of a version of Mary Had a Little Lamb with a Peruvian twist.

Angela’s books aren’t only an option for children growing up bilingual; they are excellent for those who want to expose young readers to the Spanish language and Latino culture.

Aspiring illustrators will enjoy hearing about Angela’s process and seeing what a book looks like from start to finish.

We’re giving away three (3) sets of books from Angela Dominguez. Each set includes signed copies of Maria Had a Little Llama and Knit Together. Enter now!

a Rafflecopter giveaway

All entrants must reside in the United States and be at least 13 years old.


Knit TogetherKnit Together Cover
Written and illustrated by Angela Dominguez
Published by Dial Books for Young Readers

From an award-winning illustrator comes a sweet story of mothers and daughters, drawing and knitting, and learning to embrace your talents just right for Mother’s Day. Drawing is fun, but knitting is better because you can wear it Knitting isn t easy, though, and can be a little frustrating. Maybe the best thing to do is combine talents. A trip to the beach offers plenty of inspiration. Soon mom and daughter are collaborating on a piece of art they can share together: a special drawing made into a knitted beach blanket. For every mom and daughter, this is an arts-and-crafts ode creative passion and working together.

Santiago StaysSantiago Stays Cover
Written and illustrated by Angela Dominguez
Published by Harry N. Abrams

Dominguez presents a humorous and endearing portrait of a stubborn French bulldog and a determined little boy.

Maria Had A Little Llama/Maria Tenia Una LlamitaMaria Had A Little Llama/Maria Tenia Una Llamita Cover
Written and illustrated by Angela Dominguez
Published by Henry Holt & Company

Everyone knows about Mary and her little lamb. But do you know Maria? With gorgeous, Peruvian-inspired illustrations and English and Spanish retellings, Angela Dominguez gives a fresh new twist to the classic rhyme. Maria and her mischievous little llama will steal your heart.

Let's Go, Hugo! CoverLet’s Go, Hugo!
Written and illustrated by Angela Dominguez
Published by Dial Books for Young Readers

Hugo is a dapper little bird who adores the Eiffel Tower — or at least his view of it from down here. Hugo, you see, has never left the ground. So when he meets another bird, the determined Lulu, who invites him to fly with her to the top of the tower, Hugo stalls, persuading Lulu to see, on foot, every inch of the park in which he lives instead. Will a nighttime flying lesson from Bernard the Owl, some sweet and sensible encouragement from Lulu, and some extra pluck from Hugo himself finally give this bird the courage he needs to spread his wings and fly?

Marta! Big & SmallMarta Big and Small Cover (August 23, 2016)
Written by Jennifer Arena, illustrated by Angela Dominguez
Published by Roaring Brook Press

Marta is “una nina,” an ordinary girl . . . with some extraordinary animal friends. As Marta explores the jungle, she knows she’s bigger than a bug, smaller than an elephant, and faster than a turtle. But then she meets the snake, who thinks Marta is “sabrosa” tasty, very tasty But Marta is “ingeniosa,” a very clever girl, and she outsmarts the snake with hilarious results. With simple Spanish and a glossary at the end, this fun read-aloud picture book teaches little ones to identify opposites and animals and learn new words.


How Do You Say/ Como Se Dice Cover How Do You Say? Como Se Dice? (November 8, 2016)
Written and illustrated by Angela Dominguez
Published by Henry Holt & Company

Hello “Hola.” Some people speak Spanish. Some people speak English. Although we may not speak the same language, some things, like friendship, are universal. Follow two young giraffes as they meet, celebrate, and become friends. This bilingual tale will have readers eager to meet new friends and “amigos.”

Sing Don't Cry CoverSing Don’t Cry
Written and illustrated by Angela Dominguez
Published by Henry Holt & Company

Pura Belpre Honor winner, Angela Dominguez, based this musically driven story on her beloved grandfather. Her abuelo always encouraged her to stay positive and carry on.


Via AngelaDominguezStudio.com
Angela was born in Mexico City, grew up in the great state of Texas, and lived in San Francisco. She’s the author and illustrator of picture books such as Let’s Go, Hugo!, Santiago Stays, Knit Together, and Maria Had A Little Llama, which received the American Library Association Pura Belpré Illustration Honor. When she is not in her studio, Angela teaches at the Academy of Art University, which honored her with their Distinguished Alumni Award in 2013. She also enjoys presenting at different schools and libraries to all sorts of ages. Angela is a proud member of SCBWI, PEN America, and is represented by Wernick and Pratt Literary Agency.


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Executive Producer: Julie Gribble
Producer: Kassia Graham

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11. MATT CHATS: Shaun Simon on Collaboration with Gerard Way, Brilliant Artists and in a Whole New Medium

101_8865  Becky Cloonan and Shaun SimonA collaboration with rockstar and comics writer extraordinare Gerard Way on Killjoys guaranteed that I’d read something written by Shaun Simon, but the stellar quality of his work is what keeps bringing me back. Neverboy, illustrated by Tyler Jenkins and published by Dark Horse, really wowed me. Simon’s follow-up to that is Art Ops, a […]

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12. Setting Sail with Steve Light

  If I think of children’s book illustrators working today and style—that is, their manner of expression as determined by their use of line, color, shape, texture, etc.—I think author-illustrator Steve Light has one of the most distinctive styles, a you-can-spot-it-from-outer-space kind of style. In particular, his line is terrifically distinctive, and he’s visited 7-Imp […]

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13. Antoinette Portis on The Red Hat

AntoinettePortisIn our January/February 2016 issue, reviewer Sarah Ellis asked illustrator Antoinette Portis about that pesky (playful?) wind in The Red Hat. Read the full review of The Red Hat here.

Sarah Ellis: The “bad guy” here is the wind, but in your swirly, spiral line the wind comes across as more playful than malevolent. Was it hard to figure out how to make a 3-D character out of a no-D antagonist?

Antoinette Portis: Instead of personifying the wind as one of the puffy-cheeked Greek gods you see on antique maps or as an evil villain, I imagined it as an externalization of Billy’s resistance to venturing out into the world. When he’s impelled to risk forging a relationship, all his fears don’t suddenly evaporate. They manifest themselves as the wind, trying to drive him back to the safety and isolation of his tower.

From the January/February 2016 issue of The Horn Book Magazine.

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14. Guest Post - Lori Ostlund Interviews Genanne Walsh

It probably won't be frequent around here that I'll post up things entirely done by guests, but I'm a big Lori Ostlund fan, a fan of Black Lawrence Press, and when Caitlin Hamilton, my absolute favorite publicist of all-time (there are many others I love but she was the FIRST to believe the EWN was worthy of galleys and introductions to her authors), asks me if I'd be interested in an interview---and I enjoy it as much as I did this one---they just might pop up here:


Genanne Walsh is the author of the debut novel Twister (December 2015), which won the Big Moose Prize for the Novel, awarded by Black Lawrence Press. Twister is set in a small Midwestern town during the height of the Iraq war, and at its core is the grief being experienced by Rose, who is figuring out how to hold onto her farm in the wake of her son’s death in the war. However, in the way of most small towns, no event, certainly not grief, happens in a vacuum, and as the novel unfolds, we are introduced to other members of the community who, in some way, have their own stake in this loss.

Walsh - TwisterParticularly impressive is Genanne’s structure. The novel is divided into three parts: the pre-twister hours, in which we are introduced to the perspective of each character in this small town during the lead up to the twister; the past, in which we learn the back stories about the tensions among them; and the post-twister ending, in which we see both the devastation of the twister and the potential for reconnection.
I met Genanne in 2008 through a mutual friend. Over the course of seven years, I have learned a great deal about how she views the world, about her sense of humor, her intelligence and compassion. While we are both writers, we don’t discuss writing much, so it was a pleasure for me to sit down with Twister and learn about Genanne as a writer, and an even greater pleasure to have the opportunity to ask her questions about Twister and how it came to be.


LO: We’ve known each other for several years, and though we talk about writing on occasion, we don’t talk much about process, so I recall being both surprised and intrigued not long ago when you told me that you never draw upon your own life in writing fiction. As someone who draws heavily on my past and present, I would like to begin at the beginning: how did Twister come about?

GW: Well, perhaps I should backpedal that declarative. I don’t tend to write autobiographical fiction that draws a lot of facts from my life. Though I do think fiction comes from a personal place and worries over personal obsessions—so in that respect it’s from my life. Twister started with an image: a woman haphazardly pruning roses in her yard. The voice that came through her head felt very alive to me, very compelling, but also chaotic and troubled. Rose, the central character, was in distress; there was something elemental that she couldn't face.

Rose first appeared on the page in 2002, during the excruciating build up to the U.S. invasion of Iraq. Looking back, it was a way to grapple with what was happening, and with what was to come. I knew very early in drafting those first pages that her son, Lance, had died in the war. And I think there was something important about her being at the midpoint, the heart of the continent.

People who prefer fact-based fiction might find this suspicious, but Rose just appeared in her yard, in twister country—my mythic version of twister country. Though the book’s setting isn’t “real,” and I’ve never lived in the Midwest myself, I lived there in a sense while I was writing it.

LO: Let’s talk a bit more about setting. As a Midwesterner, I know a good bit about the way that Midwesterners talk and think, and I was struck repeatedly by the way that you captured emotional restraint in your dialogue. For me, much of the tension in the book came from knowing a character’s story or feelings, and then watching the careful restraint with which the character spoke to others, how much got left out. It felt incredibly accurate to me. Can you talk about how you developed such a feel for Midwestern communication? Are there books or films that influenced you?

GW: I’m happy to hear that you think that! I didn’t study how Midwesterners talk and think, though I love the idea of going at it almost anthropologically. For me, that restraint—communication and its misfires and limitations and repressions—came out of the characters and their situation. As I wrote Twister, it became in some ways an exploration of how big events can be both galvanizing to a community, bringing people together, and also extremely isolating.

It comes out of point of view, really. Subjectivity—which I find so mystifying and maddening. The fact that two people can experience the same event and have vastly different interpretations; or know the same person and have wildly dissimilar impressions and feelings about that person. We are stuck in our own singular heads, like it or lump it—the fact that we can live together and build community at all sometimes feels miraculous to me. And needless to say, I don’t think this condition is just a Midwestern thing.

I’m not sure if I have Midwest influences per se, but I think everyone should read William Maxwell’s So Long, See You Tomorrow (a perfect novel, to my mind) and Sherwood Anderson’s Winesburg, Ohio. Willa Cather, Toni Morrison, and Marilynne Robinson are writers who will, I hope, be studied and read forever.

LO: Given what you say above, about the way that big events both galvanize a community and isolate the members Ostlund - After the Paradeof it, I understand even better your three-part structure: the before and after of the twister, with the backstory of these characters and their community sandwiched in the middle. Can you talk a little more about the structure: did you know all along that you wanted to structure it in three parts, or did the structure reveal itself later?

GW: That structure was thrilling to me, when I found it. Because it gave the baggy thing I had constructed a shape, even a purpose. It definitely didn’t arrive at the outset. The opening Rose chapter was a stand-alone story for a long time. I just loved her voice and wasn’t ready to let her go, so I kept turning back to her world and the people around her. I wanted to understand more about Rose and the nature of her loss—was this elemental crisis she was facing her own doing, or was she a helpless cog in the machine? Would she come through it? What could other people reveal about the things she couldn’t face or didn’t see?

When I started to write sections from other points of view, they roamed all over the map in terms of time and space. I had the Sylvie chapter (Lance’s high school sweetheart) in first person; and where and when the characters were in relation to the storm and to Rose varied widely from one voice to another. All very engaging to me personally, but also a complete mess.

I was in a writing group at the time and in that group was a man who didn’t like my work very much. As writers, I think it’s important to seek out readers who get us—who have simpatico styles and sensibilities, or who understand what we are trying to do on a gut level. But it’s also not a bad idea to find a few people who may not be swept away by your prose stylings or your take on the world. There is a real limit to how much they’ll be able to help you. I mean, seek out critics in moderation, protect your creative spirit and don’t be a masochist—but don’t entirely shy away from contrarians. This fellow leaned over one night after we’d discussed my pages and said, “What’s the point here, other than pretty sentences?”

That stung, of course. You can unpack plenty of sexist condescension in the “pretty” adjective alone—and believe me, I did. But at times this sort of jab can be creatively useful. After running through a color wheel of emotions, I decided I could use his question, at least part of it; it was a question that needed posing. A question that maybe even the work itself was posing: what was the point? What was the story trying to be?

Not long after that I was sitting at my desk one morning and the three-part structure came to me. The gathering and build-up; the storm’s eye that can see things beyond the limits of each individual character and move back and forth in time; and the aftermath, when they pick up whatever pieces are left and move on. A structure that was shaped like a storm, in a sense. A storm that came out of Rose’s perspective but could hold the other perspectives as well.

Though the book did not come quickly or easily after that by any means, the structure gave me a way to work into the action and questions. I don’t think the contrarian’s question to me was the catalyst for finding the structure, exactly, but it galvanized the process. It moved me further down the road. To be clear, it moved me toward what I knew the work was trying to be—it didn’t change the way I write sentences.

LO: I’d like to go back to what you said about seeking out critics. I know that you did an MFA at Warren Wilson. Can you talk about this experience a little bit, maybe starting with your main reasons for wanting to do an MFA and whether you came away from the experience with different ideas about the value of doing an MFA.

GW: I’ve read a little bit about the debates, to MFA or not. I think good writers can learn anywhere, mostly from reading, and a writing program definitely isn’t a guarantee of anything. It’s a problem of access for some people, too. Even with fellowships and scholarships, it’s an investment. Not everyone feels comfortable in school. But for me, I wanted to start to take myself seriously as a writer, and that was the way I chose to do it. I'd wanted to write for more years than I’d actually written—and getting an MFA was a way to make it real to myself, to commit to myself as an artist.

Some of my most necessary readers—people I trust to understand what I’m trying to do and tell me constructively what they think is and isn’t working in a draft—are people I know because of Warren Wilson. You can meet great readers and comrades outside of academia—absolutely!—but you really need to expose yourself to communities of writers so you can find them. And then never let them go.

LO: So where do you go from here? Are you already working on the next project? Can you also discuss the biggest lesson that you (writer Genanne or human being Genanne) learned from Twister that you will take with you into the next project.

GW: I’m working on a project that I think will probably be a novel. I am a superstitious person and believe you can talk the mystery away, so I generally don’t chat about what I’m working on. Have you noticed that writers fall into two distinct camps? Tight-lipped people like me, and the people who are happy to share lots of details about a work-in-progress. There’s no correct approach. I think it’s like being right- or left-handed.

That said, I’ll say that it’s set in San Francisco. I’ve lived here longer than I’ve lived anywhere, more than half of my life. But this is a first. Writing about the city in depth has always felt sort of like writing about a lover; I experience it too intimately to see it quite clearly. But there are issues in San Francisco now that I find fascinating and worrisome and they’ve worked their way in. Boom and bust cycles, issues of transience, income stratification, and the ways city dwellers coexist—with each other and with the natural world—in evolving and sometimes fractious ways.

What lesson have I learned? Some days I have no idea. Other days, I think it must be related to my process. That I really have to write toward understanding who a character is or what a story wants to be. I am never going to be one of those people who outlines or works it all out in my head in advance. Lots of smart people have said that you must learn how to write the next book as you write it—the last one won’t help you. Gnashing my teeth, I concur.

LO: You have the best dogs. How did this come about? Are they aware that you are a writer?

GW: They ARE the best! I have no sense of moderation when it comes to dogs. I just love them. Walking with them is my favorite part of the day. [My wife] Lauren and I have a theory that if you live your life to make your dog happy, you will have a really good life—lots of nature walks and trips to the beach, you get to know your neighbors at the dog park, and many lessons in living in the moment.

Bugsy, our 12-year-old charmer, was at my side for 99.9% of the writing of Twister. So he doesn’t merely know I’m a writer, he is my Muse. A few friends joked (or maybe they were serious?) that they were surprised the book isn’t dedicated to him.

As you know, we’ve recently adopted a new dog named Maggie. She has a traumatic history and some quirky phobias, but she’s coming along really well and is so clearly trying to live in harmony with us, her new pack. We’re taking Maggie to a basic training class at the SPCA. It had been years since we had a new pup and we wanted to brush up on communication techniques. The teacher has a great attitude about progress. Think about it: you’re trying to convey what you want to another species. Dogs study us so closely, but we are still alien brains making weird, confounding demands like “stay” and “leave it.” Why in the world would they want to do that?

So the SPCA approach is: patience. If you are working on “down,” for example, and she just isn’t getting it, don’t say “No!” or even “unh-unh.” Keep your voice and physical cues very relaxed and say, “Try again.” Then you try again. And maybe you need to take a break and go back tomorrow because today just isn’t the day she’ll get it. Frustration and impatience will never bring you closer to your goal. Even when she gets it, it’s never a given or a static thing. You’re never done—you have to keep trying, keep practicing. That’s what I want to keep in mind, in living with dogs and in writing.

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15. PubCrawl Podcast: Interview with Beth Revis

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This week JJ talks with New York Times bestselling author Beth Revis about her publishing journey, revision, how she learned to revise and critique, and what she’s reading and enjoying!

Subscribe to us on iTunes, or use this feed to subscribe through your podcast service of choice! If you like us, please leave a rating or review, as it helps other listeners find the podcast. Thanks in advance!

Beth SquareBETH REVIS is the New York Times bestselling author of the Across the Universe trilogy, as well as The Body Electric, Paper Hearts, and the forthcoming A World Without You. She lives in the Appalachian mountains with her boys: one husband, one son, and two very large dogs. You can find out more on FacebookTwitter, or online. If you never want to miss a thing and also get exclusive insider opportunities, sign up for her newsletter here.

Show Notes

  • Our previous podcast episode about revision, as well as all the articles we’ve ever written about Revision on PubCrawl!
  • The podcast episode where we discuss the vagaries of The New York Times bestselling lists
  • Learn to revise by editing! Beth learned to revise by practice, and by critique other people’s work. JJ learned to revise by editing other people’s manuscripts.
  • Creation vs. Discovery writers, or rethinking the Plotter vs. Pantser dynamic by JJ

Beth’s method of revision

  • Approach your booze of choice.
  • Make up a list of all the changes that need to be made.
  • Take out all the compliments.
  • Work chronologically through the manuscript.
  • Beth uses the split screen function on Scrivener, with the old version on top and new on bottom.
  • Go through the list of changes and work page by page.

What We’re Working On

Just to let you guys know, both JJ and Kelly will be doing an AMA at the /r/YAwriters subreddit on MONDAY, JANUARY 25TH. Come and ask us questions about publishing, revision, and whatever else might cross your mind!

What We’re Reading

Off Menu Recommendations

  • Jessica Jones (TV show)
  • Daredevil (TV show)
  • Bojack Horseman (TV show)
  • We Bare Bears (TV show)
  • Steven Universe (TV show)
  • Adventure Time (TV show)

Paper Hearts: Some Writing Advice

Paper HeartsYour enemy is the blank page. When it comes to writing, there’s no wrong way to get words on paper. But it’s not always easy to make the ink flow. Paper Hearts: Some Writing Advice won’t make writing any simpler, but it may help spark your imagination and get your hands back on the keyboard.

Practical Advice Meets Real Experience

With information that takes you from common mistakes in grammar to detailed charts on story structure, Paper Hearts describes:

  • How to Develop Character, Plot, and World
  • What Common Advice You Should Ignore
  • What Advice Actually Helps
  • How to Develop a Novel
  • The Basics of Grammar, Style, and Tone
  • Four Practical Methods of Charting Story Structure
  • How to Get Critiques and Revise Your Novel
  • How to Deal with Failure
  • And much more!

Enter for a giveaway of PAPER HEARTS: Some Writing Advice! Beth has generously donated a signed copy!

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That’s all for this week! Next week we return to our regularly scheduled PubCrawl podcast posts and discuss X MEETS Y, or THE HIGH CONCEPT IDEA.


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16. Seven Questions Over Breakfast with Debbie Ridpath Ohi

  If I had to create at, say, knife-point a list of the Funniest Picture Books of the Last Decade (that sounds violent, but I’m not a fan myself of creating such superlatives-lists), I’d put Michael Ian Black’s I’m Bored, illustrated by my guest Debbie Ridpath Ohi (her illustrated self-portrait is above), on that list. […]

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17. Rupert Grint’s Interviews with IGN and Entertainment Weekly: ‘Moonwalkers’, ‘Fantastic Beasts’, and ‘A Celebration of Harry Potter’

Last Friday, IGN published an interview with Rupert Grint covering everything from his latest appearance in Moonwalkers to his attendance of A Celebration of Harry Potter next week. Entertainment Weekly published an interview on the same day, and extracts from both can be read below.

During the interviews, Grint spoke about working with Fantastic Beasts actor Ron Perlman – hopefully we can expect to hear more about Ron Perlman on the set of Rowling’s newest screenplay!:

IGN: You and Ron Perlman together is an interesting pairing. He seems like such an intense guy in his onscreen presence. What’s he like to work with?

Grint: I remember first meeting him. He’s such an imposing guy. He’s huge. He’s Hellboy! So I was kind of quite scared. He’s really sweet and hilarious and has so many stories. He’s hilarious and fascinating to be around and he’s really funny as well. You don’t really associate him with comedy but he was cracking us up, especially in that scene where he’s tripping acid. I remember it took us a few takes to get that right.

Much alike his recent interview with IMDb, Grint spoke about the differences of working on a huge budget film like Potter, to working on a smaller film like Moonwalkers:

IGN: Having worked on movies with big special effects sequences, was it fun to do a film where you’re purposefully trying to portray a goofy side to it, with these guys trying to pull this stuff off, bouncing around on wires, out of control?

Grint: Yeah, that was one of my favorite scenes, I think, was messing around with wires in an astronaut suit. We were surprised how easy it is to recreate the moon. It really did look very realistic. It was a very different experience from Harry Potter, but in a way I find it a lot more fun. it’s quite exciting. The story for this whole film is very spontaneous and had this crazy energy where you never knew what was going to happen next or what was around the corner so it was very exciting to work with.

He was also asked about his opinions on Fantastic Beasts and Cursed Child, and no longer being a part of the cinematic (and theatrical) process of building the Wizarding World:

IGN: The first teaser for Fantastic Beasts and Where to Find them was recently released. Is it interesting for you now, having been a part of Potter for so long, to sit back and observe and just be a spectator?

Grint: It wasn’t a thing I had thought a lot about until now, when things kind of started to move. It’s a weird feeling but also it’s great. It’s an amazing testament to J.K. Rowling that it’s kind of living on even more. It’s exciting. I’m really looking forward to seeing it and it’s going to be really different. It’s a different perspective and a different side to the magical world. I’m looking forward to it. It’s an amazing cast. Ron’s in it – Ron Perlman! It’s very surreal but I’m looking forward to it.

IGN: I imagine it’s also pretty surreal for you that the Harry Potter play is happening. Again, it’s a testament to what Rowling has created, and there will probably be a lot of people that portray these characters down the line, but is it strange for you that someone else is playing Ron Weasley for the first time?

Grint: Yeah. It’s kind of weird. It will be very strange to watch. I’m looking forward to it. it’s very fresh and it feels like a new thing. It didn’t feel like that long ago we were filming the last film. it’s great that it’s living on. It’s all really exciting.


He also says he’s excited to be attending A Celebration of Harry Potter next week, and that he’s still astounded by the loyalty of Potterheads:

IGN: You’re appearing at and event at the Wizarding World in a couple of weeks in Orlando, and obviously see the fandom has not gone away. I’m guessing there were moments in the middle of it where it was a bit overwhelming. Now, in some ways, are you able to appreciate it a bit more?

Grint: Completely, yeah. When we were filming it, you don’t get a huge sense of that because you’re in that moment and it’s a laborious kind of routine. You get lost in that. Since we’ve finished, it’s really amazing to see how loyal [fans are] and people haven’t really forgotten about it, which is amazing. It makes you feel very proud to be a part of it. It’s great. I’m looking forward to Orlando. It’s great to see everyone still really excited and enthusiastic about it.


Rupert also spoke about the ‘unusual’ type of film Moonwalkers presented itself as, saying that he was surprised by the end result:

IGN: This is a fun, unusual concept. How did they first describe Moonwalkers to you and what was your reaction?

Rupert Grint: It kind of blew me away. It was just ridiculous. I had known about this conspiracy theory before because I’m into all manners of conspiracy and this just seemed like so much fun. I can really see it. I met the director [Antoine Bardou-Jacquet] and he’s crazy himself, very French, and he just had this vision. It was great fun. I was working with two amazing actors, Robert Sheehan, who I’d worked with before, and Ron Perlman, who was great. It was this crazy kind of two months in Belgium. It was good fun.

IGN: The film opens and it’s quirky comedy, but then it gets pretty intense on the action side. Is that appealing to you when a movie can take a quick veer like that?

Grint: I didn’t realize it was that violent until I saw the finished product. At no point was I concerned with how graphic some of the violence is, so it was quite a shock when I saw that. But yeah it just adds to the craziness and stupidity of it. it’s a lot of fun. It’s an hour and a half of mayhem.

During Entertainment Weekly’s interview, Rupert also discussed conspiracy theories, and how Moonwalkers make him feel differently about their plausibility:

“It felt really free and spontaneous,” Grint says. “We had the freedom to do what we wanted. You get that sense watching it that it was fun to make.”

Grint says he’s always been interested in conspiracy theories. Despite Moonwalkers’ obvious farcical aspect, he says it did make him think twice about the real life moon landing. The film, in fact, remains slightly vague about whether the actual moon landing was successful or not.

“The conspiracy was something I’ve always read a lot about, but I kind of dismissed it,” Grint says. “Filming this, it gave me a few second thoughts. Our fake moon was easy to make, and a lot of the film is pretty ambiguous either way. That’s quite a human instinct as well, coming to your own conclusions that not everything you’re told is real.”

Entertainment Weekly also discussed Rupert’s views on the extensions to the Wizarding World universe in their interview, and apparently it makes him ‘feel kind of old’ – we’re with him on that front – Deathly Hallows was finished by Rowling nine years ago last week, and this year marks the 15th anniversary of The Philosopher’s Stone!:

“It feels very strange not to be involved in that world anymore,” Grint says. “It’s nice to see it from a different angle. I think both projects are both kind of reinventing it. They kind of feel like their own things, which is really cool. It’s really amazing to see it move on and still be relevant to people.”

Grint, for one, is happy to see the franchise continue to stay relevant even after he has moved on.

“It makes you feel kind of old,” Grint says. “I never would’ve dreamed this. You thought people would just forget about it. I meet new people every day and see that new generations are discovering it. It makes you proud to have had a part in it. I’m really looking forward to the play, and the cast of Fantastic Beasts is amazing. It’s gonna be great.”

Read more from IGN’s interview here, and Entertainment Weekly’s article here. Make sure you see Moonwalkersnow out on Netflix, and watch out for more updates from A Celebration of Harry Potter!

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18. Interview: Richard Williams Talks About His Oscar and BAFTA-Nominated Short ‘Prologue’

"Prologue," he says, "is the only thing so far in my career that I've ever been really been pleased with."

The post Interview: Richard Williams Talks About His Oscar and BAFTA-Nominated Short ‘Prologue’ appeared first on Cartoon Brew.

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19. The Art of Animating Horror: An Interview with Robert Morgan

One of the most original voices in contemporary stop motion talks about his work with us.

The post The Art of Animating Horror: An Interview with Robert Morgan appeared first on Cartoon Brew.

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20. ‘We Left the Door Ajar, and Christopher Nolan Slipped In:’ An Interview With The Brothers Quay

Cartoon Brew speaks with the Brothers Quay about Christopher Nolan's documentary, their exhaustive Blu-ray collection, and the challenges of finding funding for new projects.

The post ‘We Left the Door Ajar, and Christopher Nolan Slipped In:’ An Interview With The Brothers Quay appeared first on Cartoon Brew.

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21. Five questions for Barbara McClintock

Barbara McClintockEach of author/illustrator Barbara McClintock’s picture books provides a glimpse into a jewel-box of a world, from bustling early-twentieth-century Paris (Adèle & Simon; Farrar, 4–7 years) to a cozy 1970s mouse-house (Where’s Mommy?, written by Beverly Donofrio; Schwartz & Wade, 4–7 years). Her latest, Emma and Julia Love Ballet (Scholastic, 4–7 years), does the same for the vibrant world of ballet, giving readers a look at the daily routines of two dancers: one a student just starting out, the other a professional in her prime. A dancer myself, I jumped at the chance to talk to Barbara about how she translates movement to the page.

1. How did you decide on this day-in-the-life, compare-and-contrast format for showcasing a dancer’s reality?

BM: I blame two of my favorite books for putting the idea in my head: The Borrowers by Mary Norton and The Philharmonic Gets Dressed by Karla Kuskin, illustrated by Marc Simont. The parallel world of The Borrowers fascinated me as a child. And I fell in love — hard! — with the behind-the-scenes showering, sock-pulling-on, hair-combing, and beard-trimming preparations of orchestral musicians before their evening performance in The Philharmonic Gets Dressed.

My older sister Kathleen lived, breathed, ate, and slept ballet when she was little, and I’d wanted to make a book honoring her for a long time. She took me to my first professional dance performance, which proved to have a profound influence on my creative life. Her passion for dance inspired me to believe in myself as an artist.

2. Many of your books are set in bygone eras, with richly evoked historical settings full of texture and detail. How does your process differ when you’re portraying a contemporary setting rather than recreating a historical one?

BM: I tend to use slightly bolder, brushlike line work, little or no crosshatching, and brighter colors when working with a contemporary setting. Modern surfaces are shinier, glossier, brighter, harder. Metal and glass predominate. I find it’s easier to depict those hard, shiny surfaces with gradated watercolor washes. Textural ink crosshatching seems appropriate for older stone, wood, and plaster surfaces.

Modern forms call for fluid lines, less encumbered by lots of line work. There’s detail in contemporary buildings and clothing, but forms are more nuanced, freer, with open patterns and simplified shapes compared to historical structures and fashion.

Shapes of contemporary things that move — cars, airplanes, trains — are smooth and somewhat egg-shaped, reflecting aerodynamic design considerations. Carriages, carts, and buggies are boxy, with lots of angles, which makes for different compositional elements in pictures.

mcclintock_emma and julia love ballet23. The format of Emma and Julia Love Ballet is almost graphic novel–like, with the illustrations changing sizes and shapes to accelerate the pacing. How do you know what size illustration to use when?

BM: The size and shape of the illustrations is all about creating a sense of time, movement, emotion, and place.

Vignettes isolate characters to form a sense of intimacy between the reader and the character, like a spotlighted actor on stage. There can be a powerful emotional component to vignettes. Toward the end of the book as Emma prepares to go to the ballet performance, we see her in her fancy coat, with no background, nothing else in the image. Her facial expression alone tells us this is an important time for her. Anything else in the scene would impede the immediacy of her excitement.

Vignettes can also signify rapid movement and the passage of time. Several small vignettes on a page require only short amounts of time to look at. This visual device works well to depict Emma and Julia stretching, jumping, and spinning. Viewing several small images in quick succession can be like looking at a flip-book that gives the impression of fast, fluid motion.

Broad, dramatic scenes create a sense of mood and establish place; and fuller, detailed pictures slow the reader down at significant moments by creating an environment that invites investigation. That lingering pause can give majesty to a scene or narrative concept.

At the very end of the book, I wanted to go back to a vignette approach. We see Emma and Julia connected by their shared love of ballet. I wanted Emma and Julia to dominate and fill up the entire page with no external stuff to clutter up their emotional connection. This is their story, and they tell us absolutely and directly how they feel about ballet and each other.

4. You observed the Connecticut Concert Ballet as models for the illustrations, and took some ballet classes yourself for research. How did your perspective — or your illustrations — change after these experiences?

BM: I have a much better idea of just how hard a plié in fifth position is on your inner thighs!

Watching people in motion is a much different experience than simply studying photographs. Semi-realistic drawing has so much to do with gesture, and the best way to understand how an arm or leg really moves through space is to observe someone in the act of moving. As I draw the sweep of an arm, I get inside that motion. I’m not entirely sure how to express this, but I feel the movement in my head as a physical motion and visualize where that arm is going, then translate that motion as well as I can in a two-dimensional way on paper.

Ballet has its own regimented structure of movement. I just dipped into the surface of knowledge of ballet training, but hopefully enough to give some authenticity to the way the dancers in my book move.

Barbara loves ballet

Barbara in the ballet studio

5. The book is dedicated in part to the wonderful Judith Jamison, dancer and Artistic Director Emerita of Alvin Ailey American Dance Theater. Is there a particular role of Ms. Jamison’s that resonates most with you?

BM: In the early 1970s my sister took me to see the Alvin Ailey American Dance Theater in Minneapolis. Judith Jamison was the featured soloist. This was the first professional dance performance I’d ever seen. I had no idea what to expect, and was almost afraid to go. Any hesitation vanished the moment Judith stepped on stage. She dominated space and time, creating vivid shapes and patterns.

Judith performed Cry, a sixteen-minute solo homage to black women, choreographed by Alvin Ailey for his mother with Judith in mind. Judith expressed grief, depression, loss, redemption, and joy as eloquently as any novelist. I loved dance from that evening on.

Judith’s presence, authority, and grace inspired me in my work. I admired her, and looked up to Judith as a role model — a woman who was in command of her talent and a force almost bigger than life.

From the January 2016 issue of Notes from the Horn Book.

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22. StoryMakers | Wolfie the Bunny & My Cousin Momo

STORYMAKERS Ame Dyckman and Zachariah OHora

Ame Dyckman entertained the idea of a wolf and bunny book for quite some time before the inspiration for  Wolfie the Bunny finally hit. What started out as the voice of a tiny character in her head turned into a book about the families we choose.

I didn’t specifically set out to write an adoption story. Family is family no matter what. — Ame Dyckman on Wolfie the Bunny.

Ame is joined by author and illustrator Zachariah OHora who brings out Dot’s spunk and Wolfie’s warm heart in visual form. Their team is the perfect balance of cool and calm mixed quirky exuberance. Together, they talk about kid lit they’re working on that will be published soon and in the near future. The next book on which they’ve collaborated, Horrible Bear, will be released in the spring of 2016. Zachariah’s most recently published book, My Cousin Momo, is about a flying squirrel who’s a bit on the shy side.


We’re giving away three (3) sets of books from Ame and Zachariah. Each set includes signed copies of Wolfie the Bunny and My Cousin Momo. Enter now!

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All entrants must reside in the United States and be at least 13 years old.


Wolfie the BunnyWolfie the Bunny Cover by Ame Dyckman, illustrated by Zachariah OHora
Published by Little, Brown Books for Young Readers/Hachette Book Group

Families of all kinds will delight in this sweet tale of new babies, sibling rivalry, bravery, unconditional love…and veggies! The Bunny family has adopted a wolf son, and daughter Dot is the only one who realizes Wolfie can–and might–eat them all up! Dot tries to get through to her parents, but they are too smitten to listen. A new brother takes getting used to, and when (in a twist of fate) it’s Wolfie who’s threatened, can Dot save the day?

My Cousin Momo Cover

My Cousin Momo by Zachariah OHora
Published by Dial Books for Young Readers/Penguin Group (USA)

Zachariah OHora’s distinctive retro art and kid-friendly humor take the stage in this story about accepting and celebrating differences. Momo is coming to visit, and his cousins are SO excited But even though Momo is a flying squirrel, he won’t fly for his cousin’s friends. Plus, his games are weird. He can’t even play hide and seek right But when Momo’s cousins give his strange ways a chance, they realize that doing things differently can be fun…almost as much fun as making a new friend.

Horrible Bear CoverHorrible Bear by Ame Dyckman, illustrated by Zachariah OHora
Published by Little, Brown Books for Young Readers

Bear didn’t mean to break a little girl’s kite, but she’s upset anyway–upset enough to shout “HORRIBLE BEAR!” Bear is indignant. He doesn’t think he’s horrible! Then Bear gets a truly Horrible Bear idea. What will he do next? As Bear prepares to live up to his formerly undeserved reputation, the girl makes a mistake of her own, and realizes that maybe–just maybe–Bear isn’t as horrible as she had thought.

Via amedyckman.com
As a kid Amy had her nose in a book. (And usually Band-Aids on her knees from running into stuff). As a grown-up, Ame has tried lots to fun jobs ranging from teacher to costumed character, but being a children’s book author is her very favorite job of all. (She still gets to go to schools and read to kids, and now she only has to dress like a duck when she wants to.) Are live in New Jersey with her family, pets, book collection, and a big box of Band-Aids.

Via zohora.com
Zachariah OHora is an award winning illustrator and children’s book author. His work has been recognized by the Society of Illustrators, Communication Arts, American Illustration, and Print. His work has been collected by Alice Waters, Stephan Jenkins of Third Eye Blind and late night talk show host Jon Stewart.

His debut children’s book Stop Snoring, Bernard! won the 2011 Founders Award at the Society of Illustrators, a Merit Award from the New York Bookbinders Guild and was chosen as the PA One Book for 2012. The PA One Book program is a state and private funded program that seeks to encourage literacy in the state of Pennsylvania by giving books to every library, Headstart program and low income schools. The program distributed 100,000 copies of Stop Snoring, Bernard! and hosted the author on a six week tour of the states schools and libraries.

He illustrated The Pet Project written by Lisa Wheeler (Atheneum Books April 2013) and his next book No Fits, Nilson! (Dial Books June 2013). His latest book, My Cousin Momo (Dial Books 2014) about a Japanese flying squirrel visiting his North American non-flying cousins. His illustration work has appeared on posters, album covers and in numerous magazines and newspapers. Clients include The New York Times, The Atlantic, Bloomberg BusinessWeek, Oxford American, Wax Poetics and NPR.

Zachariah was raised in New Hampshire, and lived in San Francisco, Berlin, and New York. He now lives and works in Narberth, PA with his wife Lydia Ricci and two sons Oskar and Teddy. Like the main character in Stop Snoring, Bernard! he is known to snore, sometimes loudly.



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StoryMakers - Ame Dyckman and Zachariah OHora

The post StoryMakers | Wolfie the Bunny & My Cousin Momo appeared first on KidLit.TV.

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23. Rupert Grint’s Live IMDb Twitter Q&A and Sketch on The Tracey Ullman’s show

Rupert Grint recently appeared in a comedy sketch with Tracey Ullman portraying Dame Judi Dench on The Tracey Ullman’s show. 

The sketch features a ‘Dame Judi’ and Grint on set, where Ullman’s Dame Judi Dench wrecks havoc upon Rupert’s iPad. You can watch the sketch below:

Rupert also made a rare social media appearance yesterday, when Alchemy and IMDb announced that he would be answering questions from the public through IMDb’s Twitter Account:

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The first questions related to his role as Jonny in Moonwalkers, out on Netflix on January 15th:

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There had to be questions about his role as Ron Weasley, of course!

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Then a fan had a question about his fan club, which Rupert answered with the good news:

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Others asked about Rupert’s past roles, future aspirations and his thoughts on acting:


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Other questions were about his t-shirts, superstitions and favourite book and pizza toppings:

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Catch the full interview on IMDb’s Twitter here, and be sure to watch Moonwalkers on Netflix from January 15th!

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24. Interview: Padma Venkatramen

NWD interview with author Padma VenkatramanAuthor Padma Venkatraman‘s most recent novel A Time to Dance was an Honour Winner in the 2015 South Asia Book Award and was chosen for inclusion in IBBY’s 2015 Selection of Outstanding Books for Young … Continue reading ...

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25. Kirsten Lepore Lends Stop-Motion Skill to Tonight’s ‘Adventure Time’

Lepore spoke with Cartoon Brew about the tactile wonder of stop-motion, gender and merit in animation, and why guest-directing 'Adventure Time' is a resume-stuffer that's hard to beat.

The post Kirsten Lepore Lends Stop-Motion Skill to Tonight’s ‘Adventure Time’ appeared first on Cartoon Brew.

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