A Christmas story based on a European folktale? Yes please!

Olivia Armstrong is a professional storyteller with a repertoire of folktales, folklore, myths, and legends. She has curated and hosted performances for major organizations including Westminster Abbey, the National Gallery, the British Library, Hampton Court Palace, and Windsor Castle. Originally from Northern Ireland, Olivia currently lives and tells stories in London. The Birds of Christmas is her debut picture book. You can learn more about her at her website or follow her on Twitter.

Mira Miroslavova has created art for many picture books and novels, including a cover for National Book Award Finalist The Ogress and the Orphans (Algonquin) and The Secret Fairy Club with Raahat Kaduji (Magic Cat). Her style was influenced by a mixture of classic fairy tales, beautiful forests and old movies. Raised near Sofia, Bulgaria, Miroslavova currently lives in Manchester, England. You can learn more about her at her website or follow her on Instagram.

THE BIRDS OF CHRISTMAS is a picture book all about the birds perspective on the birth of Jesus. Each bird has something special to offer the new baby, but does the little robin also have something to offer? It’s a sweet story that feels timeless with the gorgeous illustrations that accompany the text.

Please note: I received a copy of this book from the publisher to review, but the opinions, as always, are my own.

Welcome Olivia and Mira!

Me: You both have successful creative careers, but just in case someone isn’t familiar with your work, can you talk about your creative journeys? How did you get started and how did that lead you to the work you’re doing now with books for kids?

Olivia: I have always made up stories ever since I was a child and grew up in a storytelling and creative house in Northern Ireland. My dad wrote songs and comedy sketches and my mum read fortunes. I studied drama at university and then accidentally discovered that being a performance storyteller could be a real career. I began to perform in museums, galleries, and heritage sites telling and retelling folktales, myths, legends, and original stories, and this led to me making a recording for the BBC of the story that became The Birds of Christmas.

Mira: My creative journey probably started right after I learned how to walk. I think it was hand-in-hand with that since my earliest childhood memories were of me drawing on the pages of the novels my parents used to read (and we had a lot of books at home growing up). They have always been an integral part of our upbringing. By the age 8, I had begun creating comic book stories by binding paper together with tape and stealing the Pink Panther as a character for my stories. I loved books, I loved stories, and I always knew I had to do something art related.

I used to draw non-stop at school in my notebooks. But I was always very self-conscious of my artwork, so I never took any lessons (which was very counterintuitive, I know). I became a self-taught illustrator. I studied textiles at college and finance later on, but it never sparked anything in me. So I focused my efforts on drawing, something I am forever grateful to my parents and brother for. They really believed in me and helped me and supported me as much as they could.

I took my first art job at 17, after applying anywhere I could. It was at a magazine, and it was a pro-bono job (for the exposure). I was really eager to begin working in the field even though my art reeked of being self-taught. As I said, I always liked stories and always knew that illustrating was the only medium that combined art and storytelling the way I liked it. It didn’t obey any particular style and it didn’t obey the need for perfect artistic skills. They sure are a plus but not a must. It gave me hope that I could do what I liked, that it was perfect for me. It took me many years to realise that it matters to have the skill. And I am still learning now to be better with every book. 

Me: Olivia, I love that you’ve combined the concept of birds celebrating the Nativity, and an origin folktale. What gave you the idea to combine those things together for this book?

Olivia: The story is based on a European folktale, which I believe originated in France, and part of a long tradition of taking sacred events and humanising them or connecting them to a natural landscape in order to make them more relatable. At a time when many folks were not literate, hearing stories such as this was a way of making the scriptures more empathetic and familiar. I love birds and nature and am fascinated by the “Rosencrantz and Guildenstern” concept of events being retold from the point of view of minor characters and witnesses. I love the gentleness and strength of the birds and their innocent hope. Origin tales are wonderful as the reveal provides that gasp of surprise and satisfaction!

Me: Yes! I love that. And Mira, I adore the way you’ve portrayed the birds in this book. Each of them has such personality. I can even see you leaning into folktale style art. Can you talk about the medium you used to create these illustrations? Are you a traditional or digital illustrator (or a blend of both)? 

Mira: Thank you so much for your lovely and encouraging words! I am a blend of both. I drew the book traditionally. It was a bit of a challenge as I was very pregnant at that time, and standing above a paper for so long could be a bit tiring at times. But thanks to that book, I actually became faster with pencils and started to develop a better pace. It was a pleasure and a lesson in many ways. These birds gave me so much, and I hope I gave a lot to them too.

But yes, they are drawn by hand with graphite pencils on Bristol paper. I scanned them at home and coloured them digitally—this gives us freedom to correct the colours anytime we need, but the pencils give out the rich texture. I love traditional media. 

Me:  This story is also a delightful nature origin story (no spoilers) as well as a reimagining of a story many may feel like they already know by heart. Why did each of you become involved in this project? Why did you want to share this story with young readers?

Olivia: It was all a happy accident! I recorded the story for BBC Radio, and it was broadcast on Christmas Day. An editor heard the recording, got in touch, and asked me to turn it into a book. It all began with the spoken word. I want to share the story for the message that we each have a unique gift that makes us who we are and also to share the power and beauty of the natural world.

Mira: As you so beautifully said, it is a familiar story told in a delightful nature way. That is why I was so excited to work on it, because it was a chance to introduce these two concepts together in a contemporary style. It sounds very complicated, but what I mean is that it’s a beautiful classic story told in such a touching way. When I read the manuscript, I had a “gasp” moment (no spoilers!). I was excited to work on it, to introduce it to children and give it a visual life. I was really honoured to be chosen to do so. I think many greater artists would have loved working on this story. I became fond of our bird (all of the birds). I always will be. 

Me: The text and illustrations work so wonderfully together here in this story. How many revisions did each of you have to make to get this story to the final product?

Olivia: It was relatively quick—maybe two or three revisions of the story itself.

Mira: Really happy that these are so well received. Thank you!

The team has always been very kind with the revisions (ha ha ha), but I really did a number of them behind the curtains because I was not sure what I wanted and I never felt it was good enough. So it took me some time and some back and forth. If I had the chance, I would probably re-draw everything again. But that is just who I am. I try not to overthink, but I think it’s actually a good trait that makes us grow as artists. If we constantly acknowledge we haven’t reached that point of satisfaction. 

Me: Olivia, I was surprised to see the rooster crowing in Latin with no translation. Mira I love what you did to highlight that line. Olivia, why include Latin without explaining it to young readers? Mira, why highlight only this text as part of the illustration? 

Olivia: I actually wanted to leave this out as I thought it was too esoteric! But the publishers liked how unusual it was and how special it made the rooster. But I never think it hurts to have a bit of homework for an adult to do to find the translation for the child reader! It involves them more and they can even guess what the rooster might be saying before they find out.

Mira: Ha ha ha, yes, I loved that moment! I chose this particular moment for many reasons. First, because of the grandiose of the moment and how important it is in the book. And second, because I wanted the children to actually visualise how a rooster would crow in Latin! I think that really deserves to stick! Ha ha ha! A really cool moment. Thanks to Olivia for creating it! 

Me: Do either of you have any advice for new writers and/or illustrators?

Olivia: Always tell your stories or else they will be lost. Keep going, and your story will find a way to be heard.

Mira: Be like the little bird on the cover. Believe in something and do your best. Fight for it with your whole heart, and your efforts won’t go unnoticed. 

That is excellent advice. Thank you Olivia and Mira for stopping by my blog today.

But wait, dear readers! There’s more! There’s a giveaway of this lovely book (US and Canadian contestants only). You can enter the giveaway here. Good luck!