The Owl and the Shepherd Boy follows a young boy who is left to care for the family’s goats up on a mountain when a storm destroys their home. He must now find a way down the mountain alone. What was the inspiration for your story?

My Survival Stories Series, including The Owl and the Shepherd Boy, were written in response to the devastating 2015 earthquake that struck Nepal. This tragic event brought immense challenges for the nation, resulting in emotional and material losses. The rebuilding and repairing efforts continued for years.

By writing my survival stories, I aimed to provide hope and inspiration to readers facing these difficult circumstances – or better understand and help those who struggle.

Various shepherd topics are close to my heart because I still remember many childhood experiences my father told me about. It’s not easy for a little boy to be responsible for guarding the neighbor’s cattle in the pasture all alone.

I also like to write about the power of nature and how it constantly surprises us. Often it’s about pleasant surprises, but sometimes the destructive forces of nature make us feel small and helpless.

In every situation, people should understand their place as a part of nature and not as its master. The surrounding environment deserves all our respect and care. We should learn this from childhood.

What were some goals you set for yourself as a writer in this book?

I want to answer this question by describing the experience mainly from the point of view of writing stories on complex topics.

I also write about things many avoid in children’s books – such as poverty, fears, illness, and social crises. I consider it important that I can describe children’s experiences of how it feels to live in the middle of these situations.

As a writer, it would certainly be easier for me to avoid such demanding topics, but I think they are perhaps the most important ones. Writing about them requires the courage to stand beside the children and support them – at least with words – even when it is the most difficult.

In these more problematic stories, depending on the case, I also use various fantasy elements. They can help us to look at the situation a little “above” the everyday perspective. The main thing is that the result is understandable and comforting for the child. When the book cover closes, the readers should be left with the feeling that they have survived together with the main character.

What were some educational aspects that were important for you to include in this children’s book?

By telling the story of this shepherd boy, I wanted to emphasize the power of natural forces, which I already referred to earlier.

Another essential theme in this book is related to social differences between countries and regions. The young protagonist lives in a culture where children’s responsibility for work is more significant than in countries where livelihoods are more secure. In such an environment, children must take responsibility early on, often much too early. They carry tasks that are heavy, scary, or otherwise oversized.

Of course, there are various kinds of societies in which to live. For those children whose lives include safe schooling, play, and adequate food, it is good to realize that not everyone is equally lucky. Understanding this makes them more sympathetic toward others and increases their desire to support and help.

Also, I wanted to encourage children with this story. When they read about the difficulties and fears of the shepherd boy, they realize that it is possible to survive even in such a situation. It is important not to stop trying – which is pretty universal and encouraging advice.

What story are you currently in the middle of writing?

For the past few weeks, I have been writing two unique stories connected to India. They were “donated” to me by a friend, originally from India, who shared some of his own experiences with lots of human wisdom. Writing such stories has been a challenging and gratifying task.

Of course, the most important thing is to do justice to the actual events in the background of the books. I try to pass on the materials I receive from events, people, the environment, and culture. I’m melting these elements into my story version.

When the original ingredients and foreshadows of stories are light and fun, it’s easier to write without fear of hurting anyone’s feelings. But the events I heard also have such characteristics that they raise deep emotions in my mind as a writer, even sadness.

I want to emphasize that these two stories are products of the imagination detached from their models, but I still feel responsible. I also try to write the stories to fit a believable cultural and geographical setting.

I believe this credibility requires that I, as the author, have my own background knowledge and check the details, too. What bread are people buying at the market in the place in my mind? Which fruit trees can bloom in the garden? When is the rainy season, and how long is it? Finding suitable names is particularly interesting, as they have their cultural meanings. I hope I hit the right ones!

Overall, I took some time to ponder how to deliver my friend’s experiences and the wisdom in them to the little ones, too. – But as a children’s author, you always find a way.

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