Last Friday, I shared the newest addition to the Flora series, FLORA AND THE PEACOCKS. Today I am excited to share with you my interview with the talented author/illustrator Molly Idle.
What aspects of childhood do you like to capture in your art and writing?
I think, captured in the books I make, are my feelings from childhood. Love and belonging, anxiety, anger, wonder… those feelings are what I try to connect with when I work.
Who are your creative influences – in books, art, or any other media?
Oh, so many! Visually, I am hugely influenced by classic films. If it’s a 1940s musical, filmed in Technicolor- I’ve seen it, and most likely, love it! Lovely lines are what draw me to certain artists. I never tire of watching Disney’s early animated films, and the work of the Nine Old Men, like Frank Thomas, Ollie Johnson, and Marc Davis.
And I could stare at drawings by Daumier and Degas forever.
What advice would you give to beginning authors and illustrators?
To authors, I would say: Read and write every day. To illustrators, I would say: Draw every day. Nothing will do so much good for you as consistent practice will.
Since you are an author and an illustrator, what comes first for you when creating a book?
It’s different for every book. Sometimes, an image pops into my head, and I start working from there. Other times, a name, or phrase comes to mind, and that becomes my starting point for a story. Beyond that initial “lightbulb” moment though, there’s a back and forth in the way I work between imagery and writing (if there are words in the book). Sometimes, a picture tells me what needs to be said, or more importantly, what doesn’t need to be said. And other times, it’s the text that directs my visual compositions.
The FLORA books were groundbreaking in their storytelling structure. I love how the flaps help move the story along. How did the use of flaps in that manner come about?
Prior to making picture books, I used to work in animation. When I started playing with the idea of creating a wordless picture book about friendship, told through dance, I knew it was a story that was all about movement. And I wondered if there was a way that I could bring the illusion of movement created in an animated scene, into a book. Making moveable flaps that acted as animated “key frames” was the answer!
What challenges did you face in creating a book with flaps?
The first challenge finding a publisher that was up for trying something new. Fortunately , Chronicle Books took a look at my original dummy of the book, saw what I was trying to do, and took a chance on it, and me! Not for nothing is their corporate motto “See things differently.” Once they has acquired the book, I worked in tandem with my editor, art director, and designer to figure out how the flaps would work in printing and production, and what they would cost. We also had to figure out a way to make the flaps as durable as possible!
I love how the flaps do different things in each of the books. In FLAMINGO – the flaps were showing the next scene. In PENGUIN – the flaps were showing movement along the ice. In PEACOCK – the rise and fall of the plume flaps were showing an intensified emotion of happy or sad. What things did you do to keep pushing the creative boundaries?
The stories themselves present challenges that keep me pushing my creative boundaries. Each story needs to be told in the way that best suits it. In Flamingo, the flaps needed to be such that they would allow the reader to change the characters interactions with one another. In Penguin, the characters were skating, and I needed to find a way to move them physically closer and farther apart as they skated through the book, in the same way that their relationship moved closer together, and father apart, emotionally. Hence the horizontal flaps. But in Peacocks, the story was about the push and pull of attention within a trio of friends. I wanted the reader to be an active part of that push and pull between the characters. The best way I could think of to do that, was to make the flaps part of the characters themselves. Making the tails of the Peacocks into the flaps was the ideal means of doing just that.
Your FLORA books have a beautiful movement and choreography to them. What were your influences?
The answer to this question takes us back to my love of old musicals. I could watch Gene Kelly and Donald O’Connor, or Fred Astaire and Ginger Rogers, dance all day!
Here is a clip from Singing In The Rain that makes me smile every time…
Any future tales in-store for Flora?
Yes! Coming out in 2017 are two new Flora board books: Flora and the Chicks, and Flora and the Ostrich!
Board books, cool! What aspects of friendship you are exploring? Will the books have your signature flaps?
As to the board books…
Flora and the Chicks is a counting book, and Flora and the Ostrich is a book of opposites.
Some rapid fire questions.
What would you be doing if you weren’t an author/illustrator?
I might go back to making movies… or maybe I’d try my hand at something completely different, like gardening.
Favorite pick me up snack/drink?
What book is on your bedside table?
20,000 Leagues Under the Sea, by Jules Verne
Thank you Molly for stopping by today and sharing a bit about yourself. Wishing you many future successes.