Bethany Christou
About Author
Bethany Christou is a children's illustrator and author based in the little village of Meesdon in the Hertfordshire countryside.
She is a recent graduate from the Cambridge School of Art . Her picture book Slow Samson was highly commended for the Macmillan Picture Book Prize in 2016, as well as being shortlisted for New Designer of the Year.
Find out more about Bethany by following her on social media @bjchristou or visiting her website bethanychristou.com.
Author link
Interview
NERVOUS NIGEL
TEMPLAR PUBLISHING
JUNE 2020
NERVOUS NIGEL is a gorgeous picture book with a valuable message for children - and the adults in their lives.
Nigel, a young crocodile, has been born into a family of champion swimmers and divers. While Nigel loves swimming, competitions make him nervous - very nervous - but his family doesn't seem to be able to hear what he is trying to tell them...
We asked author and illustrator BETHANY CHRISTOU to tell us more about NERVOUS NIGEL:
Q: How did you start creating picture books? Did any illustrators, or picture books, help inspire you in your career?
A: I started to think seriously about becoming a picture book illustrator/author towards the end of my second year at university (Cambridge School of Art). We had a project where we had to make a book. I decided to create a picture book retelling of a fairy-tale. It was only my first attempt, so it wasn't amazing, but I found I really enjoyed working in that format. In my third year I wrote and illustrated 'Slow Samson', which went on to be published with Templar.
In the same building where I was studying BA Illustration there was an MA Children's Book Illustration course. I followed a lot of the MA students on social media and was constantly inspired by their work. A lot of my favourite illustrators have come out of that course! I had no plans of doing the MA, but I remember feeling motivated to get to the same level as those illustrators who I admired.
Q: What's the starting point for a picture book idea for you?
A: I think it differs from story to story. With my first picture book, the idea of a sloth always being late to parties came to my mind quite suddenly (I remember running to my notebook to write down a messy first draft!).
With 'Nervous Nigel', it started with a couple of illustrations I'd done of an anxious-looking crocodile. At that point I didn't know exactly what he was nervous about, but I knew he had a story to tell.
I think generally idea generation always starts with daydreaming and wondering 'What if...?'.
Q: And what inspired you to explore children's anxieties in Nervous Nigel?
A: I've had some bad experiences with anxiety and bottling up my emotions, so perhaps it comes from that. Sometimes it feels like the hardest thing to do is to be honest about what you really want or don't want. But actually, when you open up and ask for help, the weight on your shoulders is lifted and things can become easier when you're supported.
Q: Do you empathise with Nigel's fear of racing from your own childhood? What would you like your young readers - and their grown-ups! - to take from the story?
A: I definitely empathise with Nigel. While I wasn't forced to enter a swimming competition (Sorry, Nigel!), I found there was so much pressure at school to get the top grades - and that felt a lot like competing.
I think it's so important for grown-ups to support and appreciate their child for the individual that they are, and celebrate their uniqueness.
I'd like children to know that it's okay to ask for help, and that it's okay to not be great at everything. You're amazing just as you are!
Q: How hard is it to develop a storyline and character in a picture book, which has so few words?
A: What's great about picture books is that while the word count can be limited, it's only really half of the story. The other half is told without words through the illustrations. I also use a lot of speech bubbles (my brilliant editor's idea!), which allows me to add more humour and depth to the character interactions.
With Nervous Nigel I was given a lot of time to develop the idea for the story on my own before pitching it to my editor. When I visited the Templar office, my editor was really great at asking me important questions to think about, to get to the heart of the story and my character. The answers to those questions helped me focus the story more.
The picture book making process involved a lot of back and forth between me and my editor and designer until we all felt that the book was as good as it could be.
Q: Nigel could have been any animal, so why did you decide to make him a crocodile, especially as they aren't the 'cute and cuddly' animal we often see in picture books?
A: It was important that Nigel was an animal that you wouldn't typically think of as sensitive or introverted. When you imagine a crocodile character, you probably think: fast swimmer, confident, maybe even a bit fearsome.
The rest of Nigel's family absolutely fits that description. They're all champion swimmers who enjoy the thrill of competitions. Nigel, on the other hand, is different, and it was important to emphasise that.
Q: How did you decide what your characters would look like? Nigel is very expressive - how did you bring that through in the illustrations?
A: I drew Nigel over and over again in my sketchbook to get an idea of what he was like. Anxiety is a very physical thing, and it can affect your body language. For me, my hands get very restless and I fidget. So I imagined that Nigel would hold onto his tail for comfort and maybe twist it when he's feeling particularly anxious.
Q: How do you create your illustrations and page layouts?
A: It starts with a rough sketch, and then I paint all the components of that scene separately (foliage, objects, facial expressions and even a character's limbs!). I enjoy working with gouache paint and coloured pencils as I love the texture they have.
By painting everything separately on paper, I can then scan them into my computer and have a huge amount of flexibility moving every detail into place in Photoshop.
Q: Do you work mainly in your studio, or do you find you're doodling ideas wherever you are?
A: I work on a small desk in my bedroom (I live with my parents and youngest sister). It's a bit of a cramped space, as my computer takes up most of it, but luckily I never paint larger than A4 size.
I've often found ideas come to me when in the kitchen or having a walk. I'll often scramble to find a bit of paper to jot the idea on before I forget it. I have a folder I put all of these ideas in.
Q: How does your 'working day' go, and what are you working on at the moment?
A: I don't really have a set schedule as each day can look very different. I love making lists, so I'll usually start by making a list of things I want to achieve that day. If I don't manage to cross off all of the bullet points then I move the remaining ones onto the next day's list.
I'm currently at the very early stages of writing and sketching some new picture book ideas. I can't share more than that I'm afraid!
Q: What are your favourite escapes from the studio - during lockdown, and once it's over!
A: I'm lucky to live in the countryside where I can go on some lovely scenic walks. Recently we tried walking a different route and stumbled on a small farm of goats and chickens!
Other walks have involved spotting bats, owls and rabbits. Since lockdown, I've had an even greater appreciation for where we live. When things get a bit much, it helps to escape into nature.
Nervous Nigel
