The O’Brien Press were delighted to win a Sockie last night for the Best Blog of an SME! Congratulations and a huge thank you to all of our authors who write inspirational pieces for our blog and to the OBP team for their creativity and energy!
The O’Brien Press were delighted to win a Sockie last night for the Best Blog of an SME! Congratulations and a huge thank you to all of our authors who write inspirational pieces for our blog and to the OBP team for their creativity and energy!
The greatest fort I’ve ever seen was one I didn’t help to build. It was built by the big kids. And it was probably a crime.
Nicknamed ‘The Tunnel’, it was a huge crater dug in the middle of a field; the crater was covered by aluminium sheeting, which was covered by soil, which was covered by branches, leaves and grass. It was entirely underground and it was awesome.
I wasn’t allowed into the Tunnel. None of the small kids were. We had to watch enviously, hidden in the hedgerows, while the big kids crawled in and out through a narrow trapdoor on one side. I’d forgotten about that bit – it had a freakin’ trapdoor.
The forts me and my friends made (or acquired) were much less impressive, but I remember the kick we got out of naming a secret camp and vowing to stash a bin bag full of sweets there (to be bought with months of saved pocket money … if we could just get around to actually saving it). That seemed to be the main function of a secret fort – somewhere to stash the loot. A limitless supply of chocolate, crisps and penny sweets was the dream. For the sake of our local shopkeeper, it’s a good thing that never came true. Spending 30p could easily take twenty minutes or more of careful consideration at the sweet counter. Choosing a bagful would have taken weeks.
There were secret forts and camps dotted all over the fields that stretched beyond the housing estate where I lived, and they were made all the more exciting and dangerous by the legend of Farmer Hearty. Continue reading “Erika McGann on Forts, Childhood Rebellion, and the Legend of Farmer Hearty”
Gerard Siggins chats about his love for rugby and his passion for books ahead of the publication of the fifth book in the Rugby Spirit series – Rugby Runner!
I never really intended to write for young readers. I had enough problems making older ones engage with my weekly column on that esoteric (for Ireland) sport of cricket. But a series of coincidences and chance meetings led me to write the Rugby Spirit series, the fifth of which has just been published.
I grew up – and still live – beside Lansdowne Road, a magical site soaked in the sweat of 100,000 sportsmen and women where the dramas and delights of sport have been played out for nearly a century and a half. As boys, we used it as a playground – in those pre-security guard days we had free run of the stadium and even got to kick and run on the holy turf of the main pitch.
I grew up and became a sports journalist, and found myself returning to Lansdowne Road for big games. Every visit was special, and always brought back memories of my own and of the deeds of the past.
When it was decided to level the grand-stands and bring it back as a shiny, kidney-bowl shaped stadium, I resolved to capture those deeds in a book. With colleague Paul Howard, (later replaced by Malachy Clerkin when Paul, by then busy with Ross O’Carroll-Kelly, “couldn’t be orsed”), we put together a series of tales under the title Lansdowne Road, the Stadium, the Matches, the Greatest Days (O’Brien Press 2010). Continue reading “Gerard Siggins on Rugby and Writing”
This month we catch up with Nicola Colton. She tells the story behind the creation of her critically acclaimed picture book, A Dublin Fairytale:
A Dublin Fairytale began as a daydream on the bus; I imagined archetypal fairytale characters inhabiting famous landmarks and places in Dublin. The idea’s first application came in the form of a ‘promotional pack’ comprised of five postcards featuring characters like a troll at the ‘Ha’penny Bridge’ and a dragon at the ‘Spire’. I also created an illustrated map of the city, featuring famous landmarks like Trinity College, which became ‘Trinity College of Sorcery’ and different characters like mermaids inhabiting the River Liffey. I sent the promotional pack off to prospective clients and Emma, the art director from The O’Brien Press, saw potential in the idea as a picture book.
I began to look at bringing the characters together to form a story. I wanted the narrative to follow a fairytale-type structure and also allow the reader to explore Dublin. I worked out a route for Fiona, the main character, to take and began the story from there. Helen, my editor, was very helpful and encouraging during this process. I was really excited to feature Dublin in a picture book and to illustrate places that were familiar to me and to bring them to life in a magical way. I didn’t grow up in Dublin, but I lived there for eleven years and it’s a second home to me. I always found it to be a very vibrant city and no matter how long I’d lived there, there was always something new to discover. I wanted that sense of discovery and enchantment that I felt about Dublin to come through in the book.
Shortly after I signed the contract to write and illustrate the book I moved to Bristol. I began work on the book in a new city; which was strange at first. In hindsight I think it was a good thing as I was really missing Dublin and I put a lot of extra love into the illustrations as it was a way for me to revisit the city. Being away from Dublin meant it now held a sense of nostalgia for me and I reflected this in the muted and dreamy colour tones I used throughout the artwork in A Dublin Fairytale.
I’ve always loved fairytales and Red Riding Hood was a particular favourite as my granny
gave me a storytelling doll based on it when I was six. My granny died shortly after; so reading fairytales always made me feel close to her. It was nice to feature a Red Riding Hood-type character in the book – the main character Fiona, who sets off on the fourth page in her favourite red raincoat. As Fiona is on a journey through the city to her granny’s house via the Witches’ Market on Moore Street. it was also a way for me to visit my granny again through the story. Creating this book was an opportunity to combine my love of fairytales with a city that I love.
I felt a responsibility to reflect Dublin and its beautiful buildings and landmarks to the best of my ability so I wanted the artwork in the book to be very detailed and carefully executed. I spent a long time working on the ‘Trinity College’ spread, in particular, as it such an impressive and iconic building and I wanted to get the details right. I enjoyed adding my own fairytale tweaks like turning the statues of Edmund Burke and Oliver Goldsmith into a wizard and witch to reflect the sorcery theme. I also liked adding lots of things happening in the background like a ‘spell cloud’ billowing from one of the chimneys and some sorcery students chatting in the background.
I spent a long time on the Witches’ Market spread as well as I wanted to add lots of little details for children to pore over. I loved Halloween as a kid (I still do!) and one of my favourite things around that time was to draw witches with lots of potions and bottles of curious things in the background. My dad used to collect old apothecary glass bottles and they always held a fascination for me and looked like something a practitioner of magic would use. I really enjoyed designing bottles and coming up with silly ingredients and labels for the spread. As Moore Street is full of colourful characters and is Dublin’s oldest food market it seemed like the perfect setting for a Witches’ Market.
The spread where Fiona is walking through St Stephen’s Green Forest and mistakes the giant’s legs for trees is based on the perspective I had as a three- to five-year-old. I was very shy back then and remember hiding behind my dad’s legs any time I was introduced to a grown up I didn’t know. I remember thinking they were like trees and feeling very small, but safe behind them.
It’s been really exciting and surreal to see the book published and out on the shelves in bookshops. When I received my first copies in the post I was very impressed with the printing; the uncoated offset paper really works with the soft colour palette and textures I chose.
I was also excited that it’s a hardback book, which makes it that little bit extra special.
The O’Brien Press team did a fantastic job on the production and design. The book launch in Dubray Books was fantastic and little touches like cookies featuring characters from the book (baked by The Cake Café) really made the event. Geraldine and Ruth in the Marketing Department did an amazing job organizing the launch.
Another highlight was being asked to paint a scene from the book in Dublin’s iconic Hodges Figgis bookshop window. It was a wonderful experience and also afforded me the opportunity to meet people who bought the book and to hear their feedback. I was pleasantly surprised that about half the people buying the book that day were tourists. It really made me happy that people from outside of Dublin and Ireland are interested in the book too.
The most important thing for me, though, has been the response from children. I’m really thrilled when parents tell me that the book is now part of their bedtime routine and when I hear about children’s favourite characters or parts of the book. I created the book with young children in mind so it’s wonderful to hear when it resonates with them.
Her website is www.nicolacolton.com.
Author and award-winning illustrator Matt Griffin talks about the inspiration behind his debut novel, A Cage of Roots.
The process of writing A Cage of Roots began with a walk. This is something I do whenever I’m faced with a big illustration project or anything that requires a high degree of creativity. I need the air, the motion, the colours, and most of all I need to start the walk with a blank slate. For the first kilometre or so, I probably resemble an extra from The Walking Dead. So effective is my ability to turn off any distractions, such as thinking, that I am often in danger of forgetting that thinking is the reason I went for a walk in the first place. And so it was that I shuffled zombie-like along the paths of Lees Road Park in Ennis with a mission to create my own dark version of ancient Ireland.
As ever, when I pick up the pace, my brain follows suit and the cogs grind into action. I start to see things. Not like a movie, as such – more like the visions you have when you’re reading a book and you forget that you are actually reading. Random scenes flash before my eyes, and as I walk, they coalesce into a narrative. It may sound cheesy, but the story presents itself to me and I just watch. Then I rewind and replay, not just to refine it but to make sure I don’t forget. It’s probably quite a frightening sight for my fellow walkers. I’m sure joggers go off-piste into the undergrowth to avoid me. But in those moments I am completely and utterly lost in the story, and nothing less than a nuclear explosion would distract me. It is a happy time.
Emma Byrne, the brilliant Art Director at The O’Brien Press, was the first person to suggest that I might try writing a story of my own. She could tell from my illustration work at the time that I had a penchant for both Irish myth and the darker side of fairy tales. I had written in a journalistic capacity in my twenties, but I hadn’t written fiction since school. I did, however, keep stacks of notebooks filled with concepts for stories. I never had a shortage of ideas – but this was a real chance to show that I could bring a book from concept to finish. It was a challenge I gratefully accepted, suffered panic at the hands of, and eventually relished in. I went for my walk, dreamt up the bones of the story, and got to work.
It needed some refining.
As a first-time writer, I needed guidance. I could put nice words in the right order, but building a story, with arcs and strands and consequences, was next-level. It took hard work and the wisdom of people who know better. I had learned a lot from a friend of mine, the director/animator/puppeteer Damian Farrell, with whom I had worked on a feature film concept. But I was still wet behind the ears. Thankfully, once again, The O’Brien Press had faith, and my editor, Susan Houlden, helped me develop from a potential writer to (I hope!) a writer. Without that guidance I couldn’t have done it; it’s that simple.
Being an illustrator first, it was imperative that I have art in my book. These kind of books don’t often have illustrations, it was argued, but my dream from early childhood was to make my own world in words and then to be allowed to show glimpses of it with drawings. (As an impossibly cute young scamp, I obsessed over Tolkien’s artwork in The Hobbit as much as the story.) As it happened, I heaped incredible pressure on myself to produce my best work, and as your best work is always ahead of you (lesson there, folks!), I am already dissatisfied with it. That is my lot as an artist, though – I am never happy with my work for longer than a day.
I was also allowed to design the cover, and I would probably be dissatisfied with that too if it wasn’t for the embossing. That saves it. (Thanks, Emma!)
So now it’s on to the next story in Ayla’s adventure. I’m already knee-deep in it, having walked and dreamt on a clear day halfway up Mullaghmore in the Burren. This time, the drawings will be my best work ever. For a day at least.
Matt Griffin was born in Dublin in 1979 and grew up in Kells, Co. Meath. After a brief attempt at third level education he spent eight years in London working in the media, before moving home to Ireland in 2008 to pursue his dream of becoming a fulltime illustrator. Since then he has garnered a reputation as one of the most eclectic graphic artists in contemporary illustration, collecting awards and accolades for his work in publishing, advertising and, in particular, the field of poster art. His passion for visual design was always married to one for writing. He lives in Ennis, Co. Clare, with his wife Orla and daughters Holly & Chloe.
Earlier this month, Today FM posted on their Facebook page an original copy of Under the Hawthorn Tree, which got a phenomenal response (over 25k likes in a couple of hours!). Michael O’Brien, The O’Brien Press Publisher, talks about how the bestselling book and its iconic cover came to be.
Looking back on 1989, when I introduced artist Donald Teskey to Marita Conlon-McKenna, she was virtually unknown and he was in the early stages of his career as a painter.
Marita had submitted Under the Hawthorn Tree, a brutal yet brilliant story based around the Irish Famine, the question raised was, would parents want their children reading about starvation and death in 1840s Ireland. This made the illustrating of the novel critical, to set the right tone when capturing the tragedy which caused one million deaths and one million to leave Ireland’s shores. It needed an illustrator who could capture the drama and action of the three children fleeing across Ireland to save their lives, yet in a style that would encourage them to read and enjoy the book, rather than be scared by the hardship depicted by Marita.
My first experience of Donald Teskey was through the café his wife Kim Bloom ran in Terenure; on the walls she displayed wonderful drawings by him showing the urban life of Dublin at the time – gritty yet beautiful. I was greatly impressed! This was before Donald’s exhibitions in the early nineties, which launched his stellar career as a landscape painter. When Kim introduced me to Donald and I saw his portfolio, I was blown away and I asked him to illustrate some O’Brien Press children’s books, including Under the Hawthorn Tree.
Recently, I asked Donald about illustrating Marita’s books, and he said he was influenced by Louis Le Brocquy’s Táin illustrations. He said: ‘I wished to give the reader an inkling of what was going to happen – to capture the humanity of the story.’
Since those days, Donald Teskey’s reputation and work has spread internationally to major centres of art: Paris, London and New York. He elected a member of the Royal Hibernian Academy and is represented in major collections including the Arts Council, Irish Museum of Modern Art, AIB, Limerick City Gallery of Art, KPMG, Butler Gallery, The Ulster Bank, OPW and The Ballinglen Arts Foundation.
O’Brien Press is printing a limited edition of Under the Hawthorn Tree with the original cover. Check it out here.
Erika McGann catches up with us about what it was like to write her first novella, The Fairytale Trap, for World Book Day 2015, as part of her award-winning magical series.
I had an inkling of an idea for a fourth novel when the possibility came up to write a short book especially for World Book Day. I didn’t know yet if a fourth novel was wanted, or if I wanted to write it, but when I was asked to do a novella for WBD in March it seemed the sensible thing to follow it with a new book in September.
So I sat down to write the novella – about 10,000 words – thinking it would take no time at all. But I had a problem with the story almost right away. I liked it, and the more I jotted down notes and possible twists in the plot, the more I thought that this story would do better as a novel. Having my school in Dunbridge engulfed by a real-life fairytale had loads of scope for subplots, character development, funny scenes and scary moments; but I couldn’t do that in 10,000 words. So I switched storylines. The fairytale plot became the fourth novel, and the fourth novel plot became the WBD novella.
So I sat down to write the novella, thinking it would be dead easy. Until I hit a problem with the story. I liked it. A 1930s-style carnival arriving unexpectedly in the dead of night – withered and fading tents, a creaking ferris wheel, a sinister ringmaster, a bearded ballerina, a haunted music box and a wicked hex – had lots of room to take the storyline wherever I felt like taking it. And the more notes and ideas I scrawled in my notebook, the more I realised I couldn’t fit it all into 10,000 words.
So I switched storylines. Again. The fairytale went back to being the novella, the carnival the novel. I won’t bore you with the details but suffice to say I switched again, more than once. I remember sitting outside in the sunshine, the cursor on my laptop flashing impatiently, worried that whichever story I picked to be the shorter, I’d regret it.
In the end, I realised I had to be sensible about it. The carnival was on Dunbridge Green, so the carnival story would feature the town, the school and probably the girls’ homes. The fairytale story trapped the girls in school – although it would take on the appearance of a medieval village, the school grounds would be the only setting. The carnival had to feature an array of new and strange characters. The fairytale plot would include references to Red Riding Hood – the granny, the wolf, Red Riding Hood herself – but it had to be limited in terms of new characters. In the carnival story the girls’ magic lessons would continue, meaning the introduction of new spells and skills. In the fairytale story their powers would be bound, and they would have to escape their predicament without the help of their usual repertoire of magic tricks.
It was obvious the fairytale story lent itself better to a novella.
So I sat down to write this short book, presuming that any challenges were now overcome. I hit the first problem a couple of chapters in. There was a clear opening for a lovely little subplot, so I began writing it and, after a few hundred words, realised it was eating into my word count. So, pained, I deleted the subplot. The next issue arose barely a chapter later, when a new character caught my fancy and I decided to expand on him. Until he started chomping through my word count. I deleted him too.
I determined that writing a short book is constrictive and terrible, and no-one should ever do it ever. Like a sulky teenager I slaved away on this cruel project, adding nothing extra, allowing no superfluous words, sticking only to the main storyline. Embracing my inner angsty teenager, I decided I was a literary martyr.
About halfway through, I began to enjoy my martyrdom. Without distractions and subplots, I had to rocket through the story, my characters leaping from one scene to the next like action heroes. What had been frustrating became a bit like a rollercoaster ride – I moved so quickly through the plot that I was tired but content every time I closed my laptop.
My writing got neater too. Keeping the number of words to a minimum meant my descriptions had to be clear and to the point, no waffling on and getting caught up in the moment when describing a pencil. I abandoned those naughty little adverbs that you know you don’t need, and cut out incidental characters that added nothing to the story.
I’ve since determined that completing a novella is binding and difficult, and everyone should try it. It is excellent practice, and guaranteed to show you where you’re liable to veer off the point and get a little sloppy. In short, it was a great writing experience.
The book was humbling, and took some getting used to, but The Fairytale Trap was a joy to write. And I hope that makes it a joy to read.
Erika McGann was the winner of the Waverton Good Read Children’s Prize 2014 for The Demon Notebook, the first in her magical series about Grace and her four friends.
This month we catch up with the bestselling children’s author on all her latest projects.
1) You’re the author of the ‘Alice & Megan’ series and the ‘Eva’ series (among other books). After a break from writing about Alice & Megan (during which you wrote four books about Eva and her friends), you returned to the world of Alice & Megan this year with Viva Alice. How did it feel to return to these characters after a break, and what inspired you to do so?
Alice and Megan were my first child characters, so they will always be special to me. I know this sounds sad, but I returned to them because I missed them. I felt as if their lives were suspended, while they waited for me to return. Writing about them again was like spending time with old friends.
2) Though each of your books stand alone and can be read independently of each other, the characters grow and develop from book to book, and there are threads that run through the whole series. One of them is Megan’s relationship with ‘mean girl’ Melissa. Tell us a bit about how that relationship develops in this book.
In Alice Next Door, I created Melissa to show how vulnerable Megan was when Alice moved away. As time went on though, I found myself wondering about Melissa and her motivation. Does she have any good points? Why is she so mean to Megan? In Viva Alice, I tried to answer both of these questions.
3) Viva Alice is your eighth novel about Alice & Megan. Has the experience of writing them changed over the years? From meeting readers, do you think the interest and preoccupations of your readers have changed in this time?
The writing experience hasn’t changed in any big ways. I think young people still enjoy reading about school, family and friendship. The only changes are minor ones – especially anything related to technology, which has changed greatly over the years.
4) The ‘Alice & Megan’ series has always had a very distinctive ‘look’. With the release of Viva Alice, the whole series has been repackaged with new covers by Nicola Colton. Do you have a favourite cover from the new-look series?
5) I know writers can’t choose favourites from their books – but do you have any favourite characters from your two series? Who are your favourite major and minor characters from each series and why?
This is a cruel question, and I’m not sure how to answer it. I definitely can’t choose a favourite major character, as that would be like choosing between my children. Some minor characters I particularly like are Maggie from the Eva series and Kellie from the Alice series.
6 Have you ever created a character who started out with a minor role, but ended up taking on a life of their own and playing a bigger part in the series than you’d planned?
Domino is probably the best example of this. She strayed into Megan’s life when she was very sad and upset, and she never left. In Alice to the Rescue, she is a huge part of the story.
8) What are you working on at the moment? Any new books planned?
At the moment I am working on a new Eva book, which hasn’t got a title yet. As always, Eva works hard to help people who are in trouble. This time, with Ella’s help, she has to sort things out for Ella’s granny, and a Nigerian girl called Aretta.
Judi Curtin is the best-selling author of the ‘Alice and Megan’ series. She is also the author of the smash-hit Eva series: Eva’s Journey, Eva’s Holiday, Leave it to Eva and Eva and the Hidden Diary. With Roisin Meaney she has written See If I Care. Judi has also written three novels, Sorry, Walter, From Claire to Here and Almost Perfect.