The Dream House follows a family who starts to build their dream home when things start going wrong, and soon their dream home is a nightmare. What was the inspiration for your story?

The spark for this story, The Dream House, came from a deeply personal and meaningful connection. I have an acquaintance with roots in India who now lives on the other side of the world. He has long been a reader of my children’s books, and we often have deep conversations about the stories and characters I create. He has always appreciated how my books tackle real emotions through a child’s eyes.

During one of our discussions, he shared two “true stories” from his life that he felt might hold the seeds of new picture books. These anecdotes were vivid and rich in authentic human detail. They stayed with me for a long time, circling in my mind as I thought about how to give them narrative shape. In fact, both of those “story seeds” eventually blossomed into published books: one became The Old Rose Villa, and the other became The Dream House.

While the core idea—the struggle of building a home—is rooted in real experiences, I let my imagination lead. As a storyteller, I didn’t want to write a literal biography. Instead, I transformed the experience into a “fable-like” version of reality, using the freedom of fiction to lean into fantasy and exaggeration where the story needed it. In a children’s book, you can amplify the “nightmare” aspects of the house—the cracks, the leaks, and the sheer absurdity of the situation—to create a stronger emotional impact. By stepping away from the literal facts, I was able to focus on universal feelings: the excitement of a new beginning, the frustration of being misled, and the ultimate joy of finding a solution.

What were some ideas that were important for you to share in this book?

At the heart of this story is a father’s deep desire to reconnect with his roots by building a dream vacation home in the mountains where he grew up. He feels significant pressure and a longing to show his family how magnificent his home region is. However, this noble intention becomes tangled in a whirlwind of excessive enthusiasm and unrealistic expectations. I wanted to explore how our passions can sometimes blind us; the father is so eager to see the dream realized that he overlooks the warning signs about the builder. This is a very human trait—the way our hopes can outpace our common sense in a chaotic mix of excitement and pressure.

When I write, I usually start with a situation that forces characters to reveal who they really are. In The Dream House, one of the most important themes was exploring trust. We often teach children to follow their dreams, but we don’t always talk about how dreams often require help from others. When that help is dishonest, it creates a particular kind of hurt. I also wanted to highlight that the most stable foundation isn’t concrete or steel; it’s the relationships and the community around you.

The villagers’ role is crucial—they embody an honest strength that stands in stark contrast to the builder’s flashy promises. A key motivation was the idea that help often comes from unexpected, humble places. Ultimately, the story suggests that a “dream house” isn’t defined by its architectural grandeur but by the peace and authenticity within its walls. The story teaches us that being honest and keeping things simple is what truly makes a home beautiful.

The art in this book is fantastic. What was the art collaboration process like with the illustrator Akanksha Priya?

For this project, I put a great deal of effort into finding an illustrator with the right cultural connection. It was very important to me that the artist be from India, so the environment, houses, and people would be depicted with authentic detail. Since the book’s inspiration came from a friend’s history, I felt a responsibility to ensure the book’s visual world honored those roots with a genuine spirit.

I was fortunate to find Akanksha Priya, a versatile artist who is also deeply involved in traditional handicrafts. Her approach was truly unique. She created the original illustrations by hand and incorporated mixed media elements, such as fabric scraps, to add a rough, tactile “local color” to the pages. This gave the art a wonderful texture that digital illustration simply couldn’t replicate.

I found this artistic choice incredibly successful. It brought a sense of the real world into the “fable.” Last summer, we displayed the original physical illustrations on the walls of the Wickwick Summer Shop in Finland. It was wonderful to see visitors’ reactions; the art sparked so much admiration because people could see the intricate details and the physical materials she used. Our collaboration was grounded in a shared goal of authenticity. I provided the narrative framework, but Akanksha brought the village to life with her artistic craftsmanship, ensuring the story remains beautifully rooted in the landscape that inspired it.

What is the next book that you are working on, and when will it be available?

I am always working on multiple projects simultaneously. My process is a constant flow: some stories are being written, others are being edited, some are in the illustration phase, and others are in the final layout stage. There is always interesting work to do in the world of books!

I recently presented several works, including The Hermit’s Hut, A Stargazer, The Fox and the Garbage War, and Thomas and the Magic Violin, to partners at the Bologna Children’s Book Fair. Now, my focus has shifted to new stories that address pressing contemporary issues. I am working on an important book about water—an essential condition for life. Water is the foundation of agriculture; it enables cities to function and provides energy. However, when water management fails, it can lead to serious disputes in real life. Even worse, neighboring areas, towns, and nations may start fighting over ownership of water supplies. I am exploring this vital theme through a fable, translating complex global issues into a story for children.

In addition, I have written three novels for young children, scheduled for publication later this autumn. My goal is to present them at the upcoming Frankfurt Book Fair. Before then, there is still much to do: we have to finalize the layouts and develop compelling cover art—designs that hint at the grand adventures within. It is an exciting time at Wickwick Books, and I am motivated by the chance to create more stories that help children think, feel, and see their own challenges in a new light.

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