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Trevor by Jim Averbeck, Illustrated by Amy Hevron
Trevor is a lonely yellow canary looking for a friend.
He stretches his wings the width of his boring cage and notices the tree outside stretching its branch. And on the end of that branch? Another canary! But he’s so shy and quiet.
Trevor knows just how to make him feel comfortable.
Reading Trevor I found myself really moved. Goosebumps, people. Goosebumps. I reached out to my friend Jim, the author, to find out more about this remarkably resonant combination of his words, Amy's pictures, and every reader's emotions.
Here's our interview:
Lee: One thing I found very moving was that Trevor has the power to open his cage all along, and when he decides to leave his cage he just pecks and the gate pops open. Reading that, as a Gay man, it felt like a powerful coming out metaphor. Was it?
Jim: That’s very insightful, Lee. I teach a class at Storyteller Academy on writing picture books. One of the things I emphasize above all others is making sure your work has an emotional core. I suggest that there are two components to this core. One is a connection to the emotional world of children. The other is a connection to your own adult feelings. You connect to the child’s world because the story is about and for them. You connect to your adult feelings because they are more immediately memorable and accessible to you and can infuse the story with the authenticity and drive you want it to have. It’s like childhood emotion is the engine and adult emotion is the fuel.
That’s what happened in the case of TREVOR. I set out to write a story about a lonely canary who makes overtures of friendship to a lemon he believes is another bird. I connected it to the child’s world by thinking of Trevor as that socially isolated child on the playground who takes a chance at making a friend. When I went to connect to my adult emotions to fuel the story, I realized the most analogous and recent experience I had to this little bird’s was when I was in the Peace Corps in Cameroon and knew it was time I "came out". I was thousands of miles from my home and my support network, among people I hadn’t known for long, in an environment that was foreign to me. I was desperate to find someone to talk to about what I was feeling. Fortunately, I found many new friends with willing ears and open hearts. So as I developed the story of Trevor, I realized that my experience of coming out was metaphorically showing up in the story.
When I discussed the emotional underpinning of the story with the book's editor, Neal Porter, I think he was genuinely moved by it and saw the connection immediately. I think the resulting editorial direction made a book that is deeper and more poignant for it. We wondered if the underlying experience that fueled the story should be brought more to the forefront. It was an interesting question because, in the end, the gay experience is both unique and universal. We opted to focus on the universal emotions - loneliness, friendship, trust - but I gave a nod to the unique experience in the wording of the dedication.
Lee: That duality, of a child’s and adult’s emotions, brings up another lovely piece of the story: how even the child reader knows that Trevor’s first, very quiet friend isn’t another canary, but actually a lemon. I imagine it’s one of the things children having the story read to them love best, especially as Trevor is so sweet about it. Their duet, where “"the lemon sang the silences.” is such a lovingly told, charming, and poignant note. Tell us about the decision to have children know more than Trevor.
Jim: I do a lot of school visits and in one of them I teach how to write a suspenseful scene. I put an emphasis on dramatic irony, where the reader knows something that the characters in the scene do not. So I guess it is just one of the tools in my writing toolkit. I never really made an active decision to have the reader know that Trevor’s friend is a lemon when Trevor does not. All the comedy in the story stems from that fact though. I guess the tragedy does too, since the relationship is doomed from the start. I think maybe the one-sided nature of the relationship is what some people identify with and find so moving. We’ve all been there.
Lee: You've packed a lot of emotion into a modest word count. Can you tell us about your writing/revision process for this picture book text?
Jim: At Christmas time, my critique group The Revisionaries, sets aside all the work we have been doing during the year and does something we call “The Assignment.” Basically we take a short, vague phrase and use it as a story prompt. We have two weeks to write the story. TREVOR was the result of this tradition. If this sounds familiar it’s because I’ve had a lot of luck selling stories created during The Assignment. I think this is the fourth one. In the case of TREVOR, the prompt was “sour fruit.” Part of my method for The Assignment is a process I call Inquiry and Synthesis, where I ask questions and look for connections in the answers. In this way I connected lemons to canaries and had the idea for a canary mistaking a lemon for another canary. The story came out pretty much the same as the published story. However, the first draft had a girl character, Trevor’s owner. When the lemon fell from the nest, Trevor followed. The text read “but the lemon had found a new friend.” That new friend was the girl. So the first draft had an element of betrayal to it. The last scene was Trevor flying away with new friends and the girl opening a lemonade stand. Punishment for the lemon's betrayal, I guess. Fortunately I found the true heart of the story and the lemon now enjoys a finer fate.
Lee: You’ve also created picture books where you’ve done both the words and the illustrations. Are there insights from the illustration side of the creative process that you bring to the table on a project like this where you’re the writer and not the illustrator?
Jim: Probably the biggest insight I apply when someone else is illustrating is “the illustrator brings enormous skills to the visual side of the storytelling, so trust them and give them plenty of space to tell their own story.” I try to just stay out of the illustrator’s way. That said, if there are visual aspects that are essential to the story, I am sure to discuss them with the editor. Working with Amy Hevron (the illustrator) and Neal Porter (the editor) was a dream, in this case. There was one essential aspect of the story that I did talk to Neal about: that Trevor was a canary! It isn’t obvious from the text and the initial art sample was a beautiful cobalt budgie that Amy had created at Neal’s request. The blue bird and yellow lemon were such a beautiful combination that I offered to change the text, which contained onomatopoeic canary song, to align with the blue parakeet in the sample art. Neal suddenly understood that Trevor was a canary and took that back to Amy. Turns out Amy is sort of a bird fan and had thought, based on the birdsong in the text, that Trevor was a canary. So she was happy to create a new, yellow character.
Lee: What advice do you have for other writers who are working on their picture book manuscripts?
Jim: Spend most of your time developing the character’s emotional story, rather than on language or rhyme or, god forbid, “teaching a lesson.” Emotion is what will make people love your book.
Lee: Thanks so much for sharing about this beautiful picture book, Jim! And congratulations.
Jim: Thanks Lee. I am very grateful for this opportunity to talk about an aspect of TREVOR that is likely to be overlooked, but that was so important to me as I wrote it.
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