Creating Universal and Diverse Characters

Richy K. Chandler author of You Make Your Parents Super Happy! and When Are You Going to Get a Proper Job? talks through the challenges that come with creating diverse characters in stories, and why it is so important to do.

When I was working on You Make Your Parents Super Happy! (my recent picture book for children whose parents have separated but still both want to be part of their child’s life), I was conscious of keeping the gender and race of all characters ambiguous. While the book deals with a very specific situation, I hope that the universality of the characters’ appearance means that as many children and families as possible can see themselves as the beings found within the pages. This could be two dads, a mum and a dad, two mums and a multitude of relationships also representing the full range of cultures and ethnic back grounds that exist.diverse charactersSimilarly, with Lucy the Octopus, my webcomic that looks at the effects of bullying and bigotry (hopefully in a humorous and super cute way), I wanted to make the lead character as universally relatable as possible. The strip touches on racism, homophobia and not fitting into gender stereotypes but it’s never made clear exactly why Lucy, the heroine, is so unliked. Lots of readers have told me that they see part of themselves in Lucy, and not always for the same reasons. I’m usually both happy that the character is relatable and saddened for the readers to have gone through similar horrible experiences. 
diverse characters
As a writer who has no desire to create comics starring myself (hats off to those brave enough to make candid, graphic autobiographies), there are other good reasons for making characters more universal.  With Lucy the Octopus, I wanted to talk about experiences of feeling picked on and ostracised in my own school years, but I’d rather avoid the spotlight being on myself. Making Lucy a girl and an octopus certainly did that job and frees me up to wildly exaggerate my own experiences within her fantastical world. For example, my own family were not terrible to me like Lucy’s are (except that year I got Scrabble for my birthday instead of the Crossbows and Catapults game I’d wished for, but I’m a survivor and made it through that bleak day). Continue reading

Winston Wallaby Can’t Stop Bouncing

Winston Wallaby Can’t Stop Bouncing is a fun, illustrated storybook that will help children aged 5-10 with Attention Deficit Hyperactivity Disorder (ADHD), Sensory Processing Disorder (SPD) and/ or Autism Spectrum Conditions (ASC/ASD) to recognise their sensory needs and to develop tools to support them. To learn more about the book, who better to ask than its authors, K.I. Al-Ghani and Joy Beaney? Chatting to them, we learned a lot about hyperactivity in children, what to look out for and what can help. There’s even a downloadable activity sheet for teachers. Read on to find out more.adhd

What motivated you to write Winston Wallaby Can’t Stop Bouncing and who is the book for?

Joy and I have worked together in special education for many years. We noticed that there were not many books available that could explain hyper-activity to children in a story format.  We decided to collaborate on this project using Joy’s expertise in Sensory Processing Difficulties, my skills as a story teller and Haitham’s ability to bring it all to life, through his illustrations.
We think the book has something for everyone: It is a story all children can enjoy. A story in which, we hope, children with hyperactivity will be able see themselves in Winston.  They will learn that it is not their fault and instead of being the problem, they could learn to be part of the solution. Parents and educators will have tools and strategies they can use that can help the child to manage their hyperactivity and, if successful, perhaps avoid the need for medication.

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The making of Robin and the White Rabbit

Emma Lindström

Illustrator Emma Lindström talks us through how Robin and the White Rabbit came to be, and shares her process for creating the striking water colour and photo imagery that adorn the book.

Under a tree in the schoolyard, a lone child is sitting. They sit there looking at the others… all the while turning further and further away. The feelings are piling up around the child, but no one’s there to help the child reach through the wall of feelings that separates them from the other children. The child is told that they must play with the other children, that they should be involved in the world around them. But how do you do that? The only thing the child knows right now is that it is fairly safe to sit under the tree… But what if a white rabbit would show up? A soft and kind rabbit who you can hug and play with…

Hello, my name is Emma Lindström. I am a preschool teacher with several years of experience supporting children with special needs, now specialising in visual aid.

In the summer of 2015, I sat at a café with my new-found friend Åse. We met only a few days earlier, by chance at a picnic. Åse talked about her experiences with people in need of visual communication, and soon we started to discuss the importance of understanding the need for people to communicate in ways other than spoken language. I related to my experiences as a support teacher in preschool and Åse talked about the various projects she participated in and her experiences from Konstfack College of Arts. After a while we considered what it would be like to create a picture book that highlights visual communication. Continue reading