I have many excellent writing friends, and sometimes I get to illustrate their stories but very occasionally I get to sneak into the process before then — in this case at the story notes stage 4 years ago.
(I think the hovering crocodile was something to do with Peter M Ball).
Walk into a fairy tale world that’s not quite what you might expect.
Lara’s life of lonely drudgery changes when she gains an unlikely friend and learns that acts of kindness can bring their own rewards. High-born Niamh knows the kennel boy is her soulmate, but when she seeks help from the Otherworld, her future takes a surprising turn. Bella runs away from home on a stormy night and finds shelter in a strange old house, where she meets a shy kitchen hand, his autocratic mother, and a mouse. Young soldier Katrin makes her weary way homeward after a terrible defeat. A chance encounter with an old woman plunges Katrin into an adventure involving dogs, treasure and a lost tinder box.
These four tales celebrate courage and kindness. They are about being to true to yourself and recognising the good in others.
Mother Thorn is for readers aged 12+. Adults who love fairy tales should also enjoy this book.
Which brings us to Inktober. I’m repeating my approach to it last year, using three main boundaries:
Prompt: I use the main/official prompts (there are many others), because that’s simple, and because where they don’t fit my personal tastes/interests (i.e. “radio”) it makes me work harder to come up with something that pleases me. I like using and fighting against external prompts and timeframes, and having to incorporate something that’s not entirely from inside my own head — that was the appeal and lesson of Illustration Friday way back when (and that tag is a deep dive).
Technique: Ink, obviously, but I further limited it to silhouette brush work because I want to get better at brush work and silhouettes seemed simpler (why I, of all people, would think that, but here we are), and incorporated imitation-gold leaf (because it’s pretty and I have a lot to learn).
Second prompt: I’m using tweets from Fairy Tale Fragments (@fairytaletext) on Twitter. This pulls everything into my preferred fairy-tale area, but involves some mental acrobatics to incorporate e.g. “radio” into that sort of setting.
Note: It’s tricky getting good photos of the foil, and impossible to scan usefully, but it’s got a lovely buttery-gold gleam under lights.
It’s always exciting to send off something I’ve drawn (or, indeed, written) and have it come back as a made and shining object. Books are great, of course, but for quick gratification it is quite fun to be ordering stationery again. (Various other examples are under the stationery tag.)
The postcards I put together for Angela Slatter have been printed, and signed by her, and sent off to accompany limited editions of The Tallow-Wife when it is published (which I will be sure to tell you all about!).
I put together address labels for her at the same time (not shown), and also in another order of Flyaway-related things had some stickers printed, with the US cover art and the roughly circular test-image I cut out when I was designing it.
It is now out in the world! This is what it looks like — I really like the details of the hanging clusters of peas (funnily, I’ve since had a run of pea-plant illustrations, so all the sketches working this out have more than paid off!).
Olivia Brown of the University of Queensland’s School of Communication & Arts interviewed me about my writing (including but not limited to Flyaway), illustration, and research, and wrote this lovely long article (with lots of pictures):