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Between the Lines |
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Interview with Marla Frazee
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Roller Coaster
Marla Frazee
Clickity, clackity.
Clickity, clackity.
The roller coaster car is going up, up, up to the highest spot. And at least one of the people in the car has never ridden on a roller coaster before . . . ever. Wheeeeeeee! Get ready to experience the thrill of riding a coaster for the very first time in this vibrant new adventure from acclaimed picture book creator Marla Frazee. |
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Biography |
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| Marla Frazee has illustrated many well-loved picture books, including Everywhere Babies by Susan Meyers and Harriet, You'll Drive Me Wild! by Mem Fox. She lives with her family in Pasadena, California. |
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Interview |
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Q: When did you develop a love for roller coasters, and which of the roller coasters you've visited made the biggest impression on you?
A: I suppose I've always liked roller coasters a little bit. But my three sons love roller coasters a lot. Our family was on a driving vacation one summer, trapped together in the car for over a week, and my boys talked about roller coasters the entire time we were together. My husband and I gritted our teeth through the millionth retelling of their various coaster experiences. The boasting went on and on—which boy was bravest, which coaster was scariest, which drop was highest. At the very end of the trip, it finally occurred to me that there might be a book in all of this roller coaster talk. Perhaps someone who hadn't been trapped in a car for a week and bombarded with the restless energy of three boys would have come up with the idea much sooner than I did. As for which coaster made the biggest impression—it was the Giant Dipper Belmont Shores, San Diego. I like old wooden roller coasters the best. I love their rickety nature. I love their history.
Q: Besides Roller Coaster, you've illustrated books for several other children's authors. How does creating illustrations for your own book differ from creating them for others?
A: Actually, once the text was written and I had something fairly solid to illustrate, the process of illustrating wasn't all that different. Writing the text, on the other hand, was a bit like strapping myself into the seat of the roller coaster car. It was kind of scary. Actually, I feel that way every time I begin a new book, whether I am writing it or not. There is an unsettling period time when I have lots of vague ideas and aspirations for the pending project, but I haven't yet figured out how to get those ideas down on paper. It is what makes this job so compelling.
Q: When looking at the illustrations in Roller Coaster, it's interesting to see that the buff, manly men on the roller coaster are the most frightened during the ride. Are you trying to emphasize a portion of the story or is there an entirely different story behind these pictures?
A: I wanted this book to be about fear, and our brave attempts to conquer it. That is really what a roller coaster—and life—is all about. Roller coasters are used metaphorically all the time, and with good reason. In my book, the main character is a young girl who has never ridden on a roller coaster before. But I also wanted to emphasize that it is okay to decide not to ride, too. When I was a child, I would not have gone on the ride because I was a fearful, worried kid. I was also self-conscious, so I would have felt shame about not being brave enough. My big brother often ridiculed my attempts to do things by calling me names. "Idiot" was his special favorite. In my work, I am trying to address the concerns of the picture book aged child—and, of course, in doing so I am re-addressing the concerns of my own childhood. I suppose the plot of Roller Coaster is a way of setting things right, because from my grown-up perspective I know that I was braver than I felt, and my brother was kinder than he acted. In my book, the little girl has a big brother who is helpful, kind, and encouraging. She is brave enough to go through with the ride, and actually ends up loving it. The older, cooler guys—the ones who may make a habit of calling other people "idiot"—are actually unable to handle the ride after all. Hmmm . . . how satisfying.
Q: The people of Roller Coaster are a varied bunch—all sizes, shapes and all showing different facial expressions. What process do you use when drawing human figures and faces? Do you use models? Pictures? Memory?
A: Getting to know the characters in my books is probably the most important part of what I do. It is helpful if I am inspired by the people around me. Sometimes, the characters are based on family members, friends, and acquaintances. It is usually a particular personality trait or quirk that initially inspires me. Then, I continue to develop the character through repeated drawing, and lots of thinking. For me, my characters always began by looking very stereotypical and generic—and as I develop them, they become more specific. It is through the visual details that a character reveals themselves to the viewer. Discovering those telling details can be a long process. I draw from memory at first. After I've brought the characters to a certain point, I may find supporting research to help me. Sometimes I need a specific hat, or a pair of shoes, or a particular nose. I have searched through photographs, used actual props, and enlisted models at various times. If a gesture or pose is giving me trouble, I will ask someone to pose for me. But whenever possible, I draw my figures from memory because I think it gives them a sense of energy that just can't be achieved from copying photographs.
Q: Tell us a little about the roller coaster research you conducted before finishing this book. Did you learn anything surprising about roller coasters?
A: I rode on quite a few, including the smooth, steel-tracked monstrosities at Six Flags Magic Mountain, and I experienced the Giant Dipper, in San Diego, from every seat in the car. I developed a horrible headache that day. Allyn Johnston, my editor, came along to offer her encouragement, although I don't remember her actually riding it. When my husband and middle son were visiting family in Wisconsin, they rode many wooden coasters and took a lot of pictures for me of the brake mechanisms, the tracks, and the various styles of cars. I poured over books; my favorite was one roller coaster aficionado's ode to Riverview, a long-ago demolished amusement park in Chicago. I also met with Orrin Shively, a theme park ride designer for Disney, and a fellow instructor at Art Center College of Design, who helped me understand the physics of roller coasters. He generously looked over my sketches and offered suggestions. The most surprising thing I learned about roller coasters is the depth of love and lore that are bestowed upon them by their many admirers.
Q: What do you think is the psychological motivation for getting into a tiny rail car and allowing a stranger on the ground to throw a switch that propels you toward the sky and then intentionally plummets you back toward the earth?
A: I believe it is a paradox. We want to be in control of our destiny, and so we willingly abandon control, in order to conquer the unknown. Once we have accomplished this, we stride forward into our lives, believing that if we could have done that, we can do anything. This is crazy, of course. But then so are roller coasters. And so is life.
Q: How did your own children react when first taken to a roller coaster? Did they help you write the story by sharing their thoughts and experiences?
A: Of all three of my boys, it was the youngest who never showed a bit of fear regarding roller coasters. He was ready for anything from the time he was a toddler. It was excruciating for him to have to wait until he was tall enough for the big thrill rides. Last summer, he wore his thickest-soled shoes and a hat, in order to qualify for the rides at Magic Mountain. My middle son was twelve years old before he would subject himself to any looping ride. A roller coaster loop is a real rite of passage, so I made sure to include a loop in the book. My oldest son made me ride the Goliath at Magic Mountain with my arms up in the air the whole time. He is a teenager, so I did it to prove I wasn't as uncool as he thinks I am. All three of the boys built numerous roller coasters around the house out of Darda race car tracks and Kapla blocks. I think they would have done this whether I was working on the book or not. But it was inspiring for me to see that even over time, their roller coaster enthusiasm had not dimmed. I drew my boys in the book, along with my husband. They are on the first spread, standing in the line. My youngest son, James, is the one holding the huge inflatable yellow hammer. His brothers, Graham and Reed, are there too. And my husband, who is a photographer, is the guy with the camera. I am sitting on the opposite page, reading under the umbrella. Our dog, Rocket, is also part of the book. I named the ride after him.
Q: At what point in your life did you decide that becoming a children's book illustrator was the right career for you?
A: I have always loved books and I've always drawn pictures. Those two passions of mine came together when I first saw Where The Wild Things Are and Blueberries for Sal. I was mesmerized by Max's bedroom turning into a forest, and completely charmed by the endearing characterization of Little Sal. In Second Grade, I decided that I would become a children's book illustrator. When I was in Third Grade, my best friend wrote a story, and since she knew of my career aspirations, she asked me to illustrate it. The book we made won an award at the state fair. Our elementary school placed a copy on the shelf of the school library. I felt that I had finally arrived! It was a long haul from that initial Third Grade success to the point of becoming a published children's book illustrator. I've worked hard. I feel incredibly lucky to be able to do what I love to do, and to work on behalf of a discerning, appreciative, and generous group of people—children.
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