OUT NOW!
Paperback
Available now!
Praise for the novel
" this book manages to provide so many things - an opportunity to feel a bond with the characters, a sense of being in Paris itself, a bit of French history, some humour yet also some cinematic intensity, plus to learn French language skills if wished by the reader. Lots of layers wrapped up in a fabulous story "
Ask the author & Illustrator
To celebrate the release of "Pierre and the Last Gargoyle of Paris" we have posed your questions to our author, Ian Fišermanis, and illustrator Christina Wells. You can find out more about them both on their respective pages, but for now, here are the results of their interviews.
Ian Fišermanis, author of Pierre and the Last Gargoyle of Paris
1. Where did the idea for Pierre and the Last Gargoyle of Paris actually begin?
Well this is a two part answer really, I had wanted to devote time to write a new book around 2020, when COVID was limiting our interaction with other human beings, and in a way, that theme resonates in the book. But in regards to the story, a dream was the starting point for this particular adventure.
2. Why did you choose a gargoyle as the creature at the heart of the story? What was it about gargoyles that fascinated you?
I have always been fascinated by graveyards, churches and cathedrals. They have always seemed contradictory places to me full of both peace, calm and serenity whilst also drenched in mythology, control and angst. I don’t think I chose a gargoyle, I think it chose me, they are very misunderstood in popular culture and the chance to give them more of a voice was intriguing.
3. The story could have been set anywhere, so why did you choose Paris?
Paris is my mistress, and that I am unashamed to say out loud. She has always been a fascination, a source of inspiration and a centre of popular culture. Setting the book in the most visited city in the world also meant accessibility to the reader, as even if you have never been, everybody can recognise its unique style and landmarks.
4. Pierre isn't the obvious sort of fearless, confident young hero we often see in children's adventures. What made you want to write a boy who is rather unsure of himself?
The short answer to that is that Pierre is me, or certainly me at times in my life. I am a confident, outgoing, out spoken person at times, but I wasn’t always. Travel back in time and you will find a slightly lost soul, unable to communicate, afraid of his own shadow, and those people can be heroes too.
5. Underneath all the adventure and fantasy, what do you think Pierre's story is really about?
The bones of this tale are based in grief. Loosing my father in 2020 made me look at grief in many different ways. Loss is such a strong and powerful feeling because of the amazing bonds we have with other things. I had also lost two beloved pets within months of his passing, so spent a huge amount of time wrestling with grief in a time that you could not extend a hand to another human being due to COVID. It was a strange sensation that lead to the book, which is a study of loss and connection.
6. Notre-Dame plays such an important part in the story. Did you think of the cathedral as a setting, or almost as another character?
In the first few pages I had written, the cathedral was purely the setting that you would find a gargoyle in, but as soon as I started to write chapter two, where the details of the world famous fire are described, I felt it would be wrong to do anything else but give the cathedral a voice and she became one of the most vivid characters in the book. Strangely, it was the one section that should I need to make a cut in the editing process, I could have, but it has gone on to be one of the most praised parts of the book.
7. Of all the characters in the book, who is your favourite — and is it the same character you think readers will love most?
Like all parents, and releasing a book is the same as parenting, I don’t have a favourite of the people I created, at least, that’s what I say publicly (again, like most parents).
8. There are so many real places, historical details and events in the book. How much research did you have to do, to make Paris feel authentic?
MONTHS! Yep, every detail in the book was meticulously researched and recorded through hundreds of hours of video footage, weeks of historical research and then endless re-writes to set the tone correctly for the voices in the book. There are times when the book reveals important stories in the history of France, and I wanted the reader to feel they were actually walking the streets with these characters, so I spent a lot of time there researching.
9. When you were writing the book, did you actually walk the streets and visit the places Pierre visits?
I have lost count of how many research trips I went on over the space of four years, but it makes me very happy when I tell people that Pierre’s house is a real house, the Cafe really exists, that the events of the Notre-Dame fire happen exactly as they did on the night. I walked the streets for miles and miles, and I can proudly say I actually wrote a major section of the book sitting with my laptop besides the Notre-Dame.
10. Was there a character who you originally intended to be quite different, but who seemed to develop a personality of their own while you were writing?
No, not really, most people came out as they were intended. There were a couple of characters who were added to the story, that were needed and then seemed to have a life of their own I did not originally intend, and one character who was removed completely from the story after I had almost written 70% of the book.
11. You've obviously put an enormous amount of yourself into this book. Why was this the story you felt you needed to tell?
I think I am often misunderstood as a loud, cocky, arrogant person, and I understand that as it’s often what I want to present to the world, but in reality, like many people, that is the tip of a very large iceberg of who I am. I wanted people to read a book about a boy who didn’t think he would be anything, but maybe by the end, has options. Also, I really wanted more of a discussion to take place in our society about grief, especially but not exclusively for young adults.
12. What other projects do you have in the pipeline?
Well, I am working on multiple projects at the moment, all in various states of completion. I have a horror novel in the works, entitled "The Green Eyed Man" that will be set in rural Northamptonshire where I grew up. I also have a series of books I would like to write, and have started, they begin with the first novel "Dracula and I" which will be set in the 1990's and tells the tale of Danny, an unemployed teenager in John Majors Britain, who has lots of family matters to deal with, especially the fact his estranged father turns out to be the most famous vampire of all. I love Sci-fi and really want to write something in the genre, but next, it's a collection of poetry that I am releasing in October this year, entitled "The Summer Is Almost Over - A collection of poetic musings from middle age".
5. What was it like illustrating someone else's story?
Fun, but also daunting in a way. I'm quite a literal artist I think, drawing what is in front of me rather than having abstract ideas. So amalgamating my quite literal representation of an idea, with Ian’s extra layer of character development and including important scenes, created a learning curve. I was sketching and developing ideas a little on the wing, but sticking to the original synopsis information. I trusted I could do it. I trusted Ian to only say yes to what he really felt he wanted. And because of that, illustrating someone else's story was a joy!
6. How long does it usually take you to create an illustration?
Good question! I've no idea. I would sketch, come back to it, add another idea, pen up, then try something else. An individual sketch might take just thirty minutes or two hours, depending on how much I tweaked it or drew it again in a different way. And that's one sketch of several for one character perhaps, before then inking it up for the final version.
7. What was the biggest challenge of illustrating this particular story?
To be honest, the challenges were never big. I think because I was developing illustrations almost alongside the final edit of the story, and without knowing the whole story, I was working to a brief that made sense to me, rather than having the whole story to illustrate which would have presented different challenges. This has been a new experience, so I guess next time I'll have to see if I approach it the same.
8. Did anything in the story surprise you visually?
Yes. It was darker, more intense, and more emotional than perhaps I'd have imaged when creating timeless, gentle illustrations. That said we had agreed the illustrations were to add a something gentle, a break in the text, and something to support the story, not tell it. I can't wait to hear more readers comments about them, and what they mean to them.
Christina Wells, illustrator of Pierre and the Last Gargoyle of Paris
1. How did you become an illustrator?
For the longest time, I have picked up my pencils and pens to create with. From drawing the flowers in my garden, to making greeting cards for friends and family, I have enjoyed experimenting and sharing my art with others. Now I get to share it much further afield in a book! This particular project came about when Ian saw some recent drawings of mine, and instantly knew that was the style he was looking for.
2. How did you decide what the characters icons should look like?
Well, I didn't know the whole story when I created them. Ian told me a little about the themes of the book, but not what was going to happen with any of the characters specifically. I knew elements of them, or very particular parts of their story and was given a paragraph on each character. From these, I sketched out ideas, made tweaks, and together we decided which ones to pen up before making the final choice. Some were ‘yes, that's the one’ on first attempts, others took a little reworking until I felt happy, and Ian felt they were exactly right. My ideas for each character and his visual goal (knowing the whole story) came together wonderfully.
3. Which illustration took the longest to create?
The rose window of Notre Dame took the longest of each illustration to draw and ink up. But in terms of which took the longest from ideas to final design, I'd say Mademoiselle Hambage’s “Pen and Pearls” because originally the options included a dog, tiara, or necklace for example, and later the pen as a nod to her research/education background. I love the final design for her character. But also, Suchard’s circus tent also started off with a few different ideas including money, a car, and a circus sign. Fun fact, I actually started sketching for this character after a day with my sister doing circus skills in a show tent.
4. Is there a particular illustration that you're especially proud of?
Yes. Katarina’s mannequin. I just love it. To me it is elegant and unassuming with a bit of whimsy. I loved drawing it. It is clean in design, representing almost a blank slate. I did not know much of Katarina’s story when drawing this, but without giving anything away I feel this fits well.
9. If you could change one thing about one of your illustrations now, what would you change?
Hmm, Pierre’s satchel. I'm not sure why. I kept wanting to re do it. Maybe because it seemed to be such an important character I put pressure on myself. I like it now though, it’s grown on me.
10. Which illustration do you think best captures the atmosphere of the story?
What a great question! Hmm, the rose window, because it has a darkness to it's beauty. Or perhaps the gargoyle because it shows both peace and strength. I'd love to know what the readers think on this one.
11. Did you expect the project to become what it has become?
Yes and no. Yes, I knew it would become something worthwhile because the authors enthusiasm for the story and determination for the project were evident.
But no, I had absolutely no idea the journey this would be, from a fabulous collaboration and project for me that I'm so happy to have been invited into, to seeing this fantastic story come to life and be in gorgeous print. The creation of a small team, or “Marghul family”, who have added to this wonderful book has created connection (one of the themes of the book) and that’s even before the book is out. It's just been brilliant!
12. What's it like seeing the illustrations actually printed in a real book?
I'm very happy. I think they look lovely and I'm really proud to see my work in this book. It's different to seeing my work elsewhere. I am happy with all the versions of the book from Ebook to Paperback, but especially excited by the look of the hardback, which really showcases my work.
And the bonus question that everyone keeps asking.....
13. Are there any plans for you two to work together again, is Pierre's journey over with this book and if not, can you tell us your plans?
Christina Wells
Yes definitely! Yes, please! Is there going to be one???? I’m as in the dark as anyone!
Ian Fišermanis
It's the million dollar question that everyone keeps asking. So let me answer it......
Is this the end of Pierre's adventure? Yes, in the sense this is a whole book and needs nothing to finish it. There is no cliff-hanger ending, no unanswered questions left, it is an entire story in it's self. But as the story ends Pierre is eleven years old, and boys grow up... so I can exclusively reveal that there is a second book already in the works which will be a new story about Pierre. It is set for a 2027 summer release and it already has a title, which I will keep to myself for now!
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Thank you to everyone for their support and I hope you all enjoy Pierre's adventures.