CBI Conference 2010 | Niamh Sharkey
Anthony Browne fell victim to the volcanic ash cloud. This could have been a disaster. And while I was looking forward to hearing him talk the substitue was as good, if not better. With Sarah Webb on hand to direct questions – Niamh talks through her work processes and publications so far.
How did you find it moving from illustrator to author/illustrator?
All my books were retellings of stories – and I was interesting in picture books for younger readers. And after the bisto I met other authors/illustrators including PJ Lynch who encouraged me to try other publishers.
I went to London and with my agent met with publishers – inc Walker – who ask me how I was going to move to writing. I produced a notebook and was sent upstairs to work on ideas.
The ravenous Beast is like the 3 year old reader – and the book is very close to my heart because it was my first.
How did the second life of Ravenous Beast come about?
It has had so many reincarnations – they made the book in DVD and an iPhone App!
In 2005 you did Santasaurus – and it has become a Christmas legend…
I had 3 notebooks full of dinos and another with Christmas and Walker Books reckoned there could be something in it.
Hugglewugs has been one of your most successful – where did the monster idea come from?
The initial idea came from the way I use my notebooks – the story isn’t a narrative – and kids know how to use the book but adults dont always get it.
Walker called it “the TV tie in book and now all we need is the tv!”
I really wanted to do a book on happy monsters – and I wanted Henry to tell the story. To show you what his day was like. The hugglewug name came from a snuggle hug – it’s what we call it at home. I did a google search and when there were 0 results I decided to go for it.
Cinderella is a really special book – I really wanted to do something for older kids (I was supposed to do a book with Michael Rosen on Grimm fairytales based on a newly discovered manuscript but the translations in the end were too scary!) And Walker asked me to revisit retellings – I said I would if it could be one of the big ones.
Mavis and Marge started as a muriel for my daughters school based on the solar system and there was lots of stuff on TV about freerange food and chickens. It was Wallace and Grommit made me switch from a dog to a cow – I didn’t want to draw comparisons.
*** Q&A ***
How much attention do you give to the endpapers?
It’s part of the book and think about it a lot.
You got interested in drawing around 10 years of age – do you have any of your drawings from childhood – is there anyhing left? Is there any correlation with your work now?
I have my portfolio from my teens and it is similar – with little bits of writing and pictures.
How long does each book take you?
About a year – a few months with the idea and 7 – 8 months painting and then a year later to publish.
Do you use photoshop?
I do have a computer – my hub teaches graphic design – and I can do the basics. I talked about colouring on the PC but I have to learn how to do it properly. Helen Oxenbury had a book coloured for her that took 250 working hours.
Are the books published as co- editions?
Some of the books they try to sell at a very early stage – Hugglewug hasn’t and I think Walker are holding onto it.
What do you think about how art is taught in Ireland?
It’s dependent on the teacher. Alot of the times the schools don’t have great art materials. It makes a big difference if you have good quality paints instead of just markers.

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This years
Saturday saw the coming and going of the Irish Children’s Literature and Culture Symposium in UCD. And what a day!? There were interesting panels, lectures and speakers up the ying-yang!



