Good morning, Mother, sphere? Good morning, Mother, Comonic sphere of
the Fund. Welcome to our podcast. Good morning, Mother, in which
you already know that we want to accompany you with themes, challenges, projects,
people that help us to face the upbringing, childhood, education, motherhood,
fatherhood always in a better way and in which, moreover, have a
very special place books, children and youth books, books of upbringing, education,
all the books in general we like and, of course, we very
much like the authors, the authors. We always have room to talk to
them, whenever we can, because then, there are agendas and there are
agendas, as is the case today. You' re going to forgive me,
but I' m a little affected because I have with me virtually,
because I have a spectacular establishment. I am very excited in this interview to
be able to greet people with whom we have already spoken here, in this
podcast, to whom I read, to whom I admire and that I know
that you from the other side, because you will also produce with your ears
you, you and your creatures, because you have. I don' t
know how many millions of fans, of readers, of readers adding them all,
and that we still lack an author at this point, impressive the plant
I have today, so I' m going to say hello. I don
' t even know what order to start, but I' m going to
do it in order of image. Begoña now Roberta Santiago Fernando López, Welcome
Hi Gran. Thank you very much, thank you very much, thank you
very much. For inviting us what emotion? Thank you for making us a
hole in your agendas if you already speak to any of you, always because
you are very prolific authors and authors and you are always with very complicated agendas,
because on top of that you gather everyone, or almost everyone at least,
because this is a miracle. And why has this happened, because evidently,
you have new book Love and Hate that have published sm you do not
have doing very bad. From my point of view, it may not be
that I have a copy by hand I well, a copy of this Love
and Heite, which is now we will develop a little more what it is,
which consists of this which, suddenly, one day to me came to
email and I said what happened Roberto Santiago, Begoña, Oro, Nando López
and Belengo p and that has still been able to join us to the conversation
technical questions, sure, but that we hope to be able to talk to
her. These four super- author authors, authors of children' s and
young people' s literature, have also joined together and have given us the
first congratulations for being able to find the four to write together. Thank you
so much. Not where we' re going. That makes us see it
' s called someone Begoña to see if it' s Belen or Pek who
isn' t. I was waiting, too. No, no, because
it makes us so much fun to be able to get together to talk about
Amory Heate and everything you want. Of course, the first good thing.
I will include in the notes of the program the presentations of each one of
you, because if I have to detail exactly all your books, all your
creatures for children, for younger, for adults, all your creations, because
it is that we would leave the space for this podcast to present you well
enough, but all those who do not follow know you already and that is
why you allow me to give you the space totally to talk about the work.
If it' s all right with you, I' m well known
and your work presents you all, but how does this love and haete come
up that just came out, which is like a magic thing. I think
it' s miraculous, because yes, I' ll start if I want
Mory Hate. Of course to see this in literature is unusual. I always
say it in music that, besides, this is a very musical novel,
very musical. In music it is more common for them to come together in
singers to do songs together or to do concerts together. It' s unusual
in literature. We haven' t invented it from there It' s not
like we' ve invented anything, but it' s a little weirder.
This then arises in various ways. First, because we met the four authors,
we knew each other before, because embarking on a co- writing adventure
with someone you don' t know about at all, I think none of
us would have done it, then we all knew each other, we all
read each other. I think we' re all going. I, of
course, admire and love Begoña anando and Bethlehem a lot. And that'
s good, because in this case, I threw the first stone, but
for a reason, because I have summered my whole life in Vendor and when
I saw that the Comertor Fest started, that I inherited the mythical festival,
from the song of Venders, and I saw also anando on social networks comment
on the first edition that I loved, because I said listen and this madness,
why not do something literary with this and join us. And well,
I threw that first stone and it was berta to mark the editor of sm
who organized us, who brought us together and who created us a wonderful vehicle
to be able among the four to create this love and hei. You went
a week there Avendor, not two weeks. You' ve got two weeks.
Okay because I say if you have written the book Tell Me, how
has the writing process been and how have you been distributed? Because the novel
talks with the voices of four characters mainly, although there are some more,
but four characters tell me, how you have distributed to the characters, because
I have been reading the whole novel, thinking who has written such. I
love that not so much and it has come to a conclusion. Yeah,
I' m not giving it up. I love the game everyone who thinks
about it, because it' s true that I' ve played a lot
of that to see who was behind it so cool. Well, I can
actually leave. The first one said with the characters on top, because we
didn' t organize ourselves unless well it would have depended on me, this
would never have been. I need you to organize me and I think that
in general it happens a little to all of us and then we organized Berta
our editor and less bad, and then he gave us the duties, he
imposed us the shifts, he gave us the dates and created the obligation to
fulfill them, because if not then, before coming to the comer Fest of
the previous edition, not this year we met, we met first and we
decided that each one would create a different character. And then we thought.
And well, at that meeting we were already dancing, too, because I
want to be a mom, I want to be an artist, I want
to be an artist, I want to be a public. Well, we
already had a first set in common there and then everyone, in their little
house, thought who wanted to be in this novel. Knowing is not the
only thing that we knew was going to happen at Apendorfest and that we had
to go to Comeror Fest to live it, to feel it, to inform
us and really if on that trip, I believe that this book could not
have existed either, but everyone left thinking. I' m going to look
at this festival from the eyes of my character giving yes, it' s
not that he' s kidding me he' s summed it up phenomenal.
It was exactly like that. I don' t really like the fact that
we went with the character put on and it' s true to be able
to look at it from many angles, also because each of the four had
the idea of looking at it from that place, also so that the good
novel was as rich as possible, because in the end we see it from
characters who, like erico as ras are going to live the festival, characters
who are very protagonists in the festival, like Alegra or characters who are part
of the festival, but they don' t have that leading role as nil
no and that also made it especially beautiful, because in the end, then
in the writing process and something that I have enjoyed very much the four of
us and that we had a lot of fun is that the things that we
had invent were mixed with that we had lived with. And there are a
lot of details of the novel that when you read it and relay it you
say clearly this was this moment that happened that we were here in the square
or we were at the hotel, we were talking about it. There are
many winks to that beautiful week that we share and indeed, there were two.
They were the first week we went to write the novel and the second
week we didn' t introduce it. The whole process has been a very
beautiful circle. And then something that' s good, because we' ve
also done and that I think also makes the novel special and different, is
that it' s true that everyone went with a character, but of course,
in writing, the process was very open. I wrote, rewritten,
changed, corrected and then, in the end, well, because here it
is a very, very collective novel, in four voices, of four characters,
but everyone written from everything and everyone has written about everything. There are
even characters, because of course, in theory there were four voices, in
reality there are many more, there are podcasts and, suddenly, because we
have Selene' s voice or we have the voice of characters who were not
in that quartet and were being born and that everyone was incorporating and adding and
the orchestra was growing. So the truth is, it' s been a
trip, because I think not every delivery every week. I think we had
a week if I remember correctly or at least it happened so quickly that what
we already looked forward to the delivery of the previous person, because it was
to see what Roberto wrote, to see what to say all the len to
see what begoña stocco, because you didn' t know at what point the
book came to you, and that had a part to distribute reading and not
just writing, I mean, it was like creating while you were being surprised.
The truth is, it' s been a process. I believe that
only, sincerely of those we have lived, at least in my case I
have not seen anything like it. The cast of characters as it has been.
You' re not going to tell or you' re going to leave
it in the mystery. Well, like you said, I' m all
good and, as you explained, very good begoña. Everyone chose a character
that well, why I have no idea myself I don' t know why
I made up the character I made up. Honestly, I think it was
an impulse and I guess the urge to count from somewhere. Well, I
don' t think there' s a problem with telling it. I mean,
I, for example, made myself up, it' s not that
it doesn' t matter. I made up the character of Erick, who
is the one who starts the story, who, well, touched me or
assigned me to see the story start. And well, it seemed interesting to
me that he was a kid who goes as a spectator and goes somehow to
see as a fan his great idol to Selene in this case, that he
is none of the quartet and that then, because he passes the perispecial that
happens to him about the process. It' s very interesting what I was
saying, wishing that everyone would write from the point of view of the character
I had chosen. But then we all rewritten what the others had written.
And then there' s one very important thing that' s clear. Here
we are four totally different authors, each one has his way of writing and
here we go blind, that is, it was an absolute faith. I
believe in history and above all in others, in fellow travelers, that is,
we do not know what is going to happen, because we had no
idea. We hadn' t worked out a plan, a plot, a
ladder. We weren' t discovering the story as we wrote it if it
caused it. Well, I think a lot of vertigo to us and I
hope that to the readers what provokes them above all, because it is what
happened to us, the desire to know what is going to happen in the
next chapter. And nothing if you want to count. Well, Belen,
who' s not here, chose the character of Rash He' s already
narrowing down the miste, which is this other spectator. Let' s say
that Erick iras, as Fernando said, because they are the two who go
as spectators, as fan in quotation marks, although rare is not fan of
anything at all. And, well, I don' t know if you
guys want to. The Ministry' s narrowed down. Evidently, Begoña and
I are betting on the world. Mom, I want to be an artist.
So I went to the dance, which is something I was excited about
and I really wanted. My character was Neill and Begoña, who reveals yours,
because you will imagine mine is happy and look. I recovered for this
interview. This is the little book that I took to the first meeting we
had, where you gave us that anando compass that you made us. And
of course I signed up here. But and I already signed up here candidate,
because I already thought singer, but look, I realize. I mean,
I read it today because I chose to be a good singer. She
' s been studying piano since she was little. Her mother is a music
teacher and she lives the music in a very intense way. It' s
her only channel of true expression of what she is, because she' s
so much more than you can see. But when he sings when he acts,
when he composes, it' s all he can be. And actually,
I chose this to put poetry here so I could write poetry that then
we all wrote poetry because we all wrote songs and we all did this work.
I mean, it was a little what I was saying about why we
also have other characters that aren' t these four, but I know any
One Smith, the mother of pleading with other people. Selene that it was
a bit like saxophone pasamel that has slugs I don' t care why you
know because we all wanted to play the instrument that the other had had a
moment ago in hand and that has been very churro this so and then the
surprise that Roberto said before also, that I think it is double, because,
on the one hand, you never know what will happen, because we
didn' t know about us, I mean really yes, that it is
a novel where the turns are powerful, because it is written from four imaginations
that go in four directions and at the same time find a common place,
that I think that it has been very magical. But there' s also
a formal surprise, because you don' t know what you' re going
to find, who' s going to talk, how he' s going
to talk, so are the shifts. Yesterday he directed us in a way
that avoid monotony and then in our own shifts, because suddenly you said,
because we were something, the character and now I write something else. No.
And now an interview, or a jury appears, or the thought of
a secondary character appears, that is, it' s a novel that I
think is very surprising and traps a lot because you never know what' s
behind it, from the form and from the content, that that doesn'
t usually happen. And here it does happen when we passed that saxophone,
in my case with Nila, what happened to me and if I checked that
notebook that I also have it out there, but it' s kept with
all the notebooks of every book that I thought of as a dancer, because
I really wanted to. The dance seems to me a character like very lumen
of positive and to me, for example, it changed a lot the journey
that we made has come that for me it was fundamental, for everyone,
because we learned a lot, because it led me to a topic that I
did not expect to treat so much that it is the sexualization that there is
of the body in these festivals that complex struggle. Well, there' s
a series of themes, a little darker than I honestly hadn' t seen
until once there I said opens up another life. And the trip also enriched
us a lot, because suddenly, what was a seita became something much more
interesting than to talk about And it' s other, quite powerful ones that
appear in the novel. Each person is not the first trip. He changed
everything, lit up the whole novel. It is impossible to have written this
novel without those days we spent there, which treated us very well. On
the other hand, we opened the festival, we saw rehearsals, of course,
we were in the finals, of course, we were in the penile
disco well, we tried to live a little bit of the festival from within
and that of course, that lit up all year, because it has been
a year of work of the novel. From that point of view of being
in there, I really talked about issues. I find it very interesting how
the themes have been emerging, as history has been emerging alone as it was
passing from hand to hand all these topics that are appearing very important entity,
precisely from the audience to which you address in this strip fourteen, seventeen,
sixteen, which is fair. That' s where identity is being defined,
who I am looking for, drugs, success, social media, how you
' ve been tackling it, and if there' s ever been anything you
' ve said, that' s where I' m not going or getting
in. I think we' ve been very free in that sense, just
like with history. We haven' t agreed. Let' s talk about
this. No. I believe that the one that history itself has led us
to speak effectively about issues good for me, as I am very maniac,
there are things. The title, for example, I think it marks a
lot of Lovey Heid. The title was released by Begoña. The title is
released by Begoña. He gave me a soponcio because I said clearly that we
' re going to talk about that too, about how this kind of festivals
and this kind of networks the important thing. How Yes, love is very
present, but the hete does not tell you and how. That marks absolutely
everything. And I think that theme, which from the title is already present,
conveys everything and then effectively, is that it is a clear age,
it is a border age that are always the most interesting ages of the border
ages, where you finish forming your identity as a person, where you change,
change, where everything goes wrong and suddenly the other way around, when
you fall in love, you fall in love more than anything in the world.
In short, it is an age from the literal point of view,
it is wonderful, of course, both the characters and the readers to whom
they address themselves by adding something to it that totally according to what Roberto says
And then that something that I believe joined us also to the four and I
don' t know how you see it too gona me, is that I
don' t think it is called authors who write from a topic, that
is, that we write since we want to tell, that the book excited,
that the book Atrape, that is, what you want is for the
story to come to you, because then the topics will come to you.
I mean, there' s no pedagogical proposal behind Amory Hate, but because
I think that in our books, if there' s some kind of message,
it' s born of history, that is, we don' t
underestimate the reader even when we write for children that there' s begoña and
Roberto has a lot more travel or for teenagers than I think it' s
key for these stories to reach them on all topics. Just like we talked
a lot about the argument, that is, our meal conversations were really fun
because we were fighting the argument and it was and where it goes and what
happens and who has the gun and where do we throw the gun? And
now that we do with a life gun it was and it wasn' t
about the issues. It was, so let' s talk about friendship and
not about it. That comes from history naturally, because, indeed, at
those ages, if our characters are seventeen eighteen years old, as they are
not going to worry about friendship, identity, who I am, what I
do with my life as a relationship with my parents, what weighed my mother,
or how great my mother, or that in the end, I think
that in that we have sought an enormous naturality. And then, on the
part of our editor, Berta and de sm I think we have been given
an absolute margin of freedom. At no time have we been asked not to
deal with certain issues. The other way around this novel gets into a lot
of puddles on purpose, because it' s also a novel that wants to
talk about a reality and you can' t talk about that reality without counting
its shadows. I don' t know how you see it begoña, but
we also came out of some puddles, memories guys. Yeah, sure,
yeah, yeah. I was remembering now it is true that we have had
total freedom, but I believe that another thing that I want to believe characterizes
us is that we have quite a sense of responsibility. I mean, just
like we don' t love teaching and we run away from it, but
we do know that what the things we tell come and we are responsible for
them and what a head can do for our readers, our readers, and
I remember you remind us at the beginning of a bathroom scene. Happened in
one way and we said we can' t approach this so quickly, because
to tell this we would have to develop it differently and tell the best.
And let' s do it another way. But it' s true that
we don' t have one issue either, one topic we' re going
to talk about this, this, this and the other. And what I
was saying is true that it is history that brings us to the issues.
In my case, I am a writer much more of characters than of stories.
Then it' s the characters who bring me to the subjects. I
mean, I was clear, for example, that from my character, that
she' s a girl who' s suddenly seen herself in a successful situation
at a very early age, I had to talk about loneliness, because there,
besides, that imbalance between who you are when you' re surrounded by
people and who it is when you get to your room, even if your
cell phone is burning with notifications, then I loved it. A few more
things. I liked this project is that, being a writer who is guided
by the characters and that I have always felt eye, I am not good
at the subject of making stories. I mean, here I freaked out with
my colleagues because it was like but what I' m so given. But
I mean, and I feel like I' ve learned a lot and now
I write better stories. Thank you, thanks to Nando, to Roberto Abelén,
because of course it was also that, you had a little responsibility.
Well, first, let your first readers be these people. It' s
a wonderful pressure and as they' ve played you before, because they'
ve left the chapter when they' ve passed it to you in a moment
you say, but you' re telling me, that is, now what
I' m going to do, because you have to say, then try
to come back. That' s why I think we' ve created a
story like a very fast- paced one, because we too have this obligation
not to do a damn thing, but yes, not to challenge ourselves.
And yes and then the themes were emerging from the story and we were rising
from the characters. And it' s true that I think it' s
a story with many twists, very fast, but we' ve gone a
lot deeper, a lot deeper on many big issues. Yeah, so it
looks like you' re looking at the deck and you' re saying aventuritas,
but I think we' ve gotten into some interesting depths. Totally.
I am thinking about the issue of mothers, for example, the different types
of mothers. How each motherhood is described and what the theme of fundamental,
fundamental friendship means to each of them, which I, as a reader,
also wanted to see the authors there. I don' t mean, I
mean, these are already linked to each other. And then one very important
thing is the environment and this theme that you have chosen this excuse for the
festival. You were not afraid to put it with the coming Orfest, knowing
how you know and above all in nando that you live it precisely that love
and heite that produces that burning passion that is lived and how it could affect
that from the readers, that how they were going to take this novel,
because I believe that that was one of the motivations or the encouraging ones.
Not that mcdoum the excuse became a character. We have not said in any
interview that the coming to the rest is a character more and more than he
talks about how those passions are not exacerbated at that festival. It' s
good for any teenage mass phenomenon. Right now, in this edition, for
example, of operation triumph that coincided with the promotion of our novel. Well,
I remember that the program' s management had to issue a statement asking
that, please, the fandoms of the different singers that we talk about people
as young as they are not characters will not insult the rest and stop the
toxicity and families intervened. That is, we are in a moment where,
well, we have networks that can be used in many ways, viral phenomena
that arrive with a great draught and that adolescence touch you by a brutal intensity
and if in the adult world, this week has also happened with adult audience,
with Therack Race, again we have to ask people to please do not
insult the winner, that is, we are in a moment where the herd
ate to love. So I think that, in my case, at least
will be an incentive of and when Roberto launched the proposal, to say that
it is wonderful to talk about this, because we are going to tell a
story that, besides, already has a framework that in itself is an interesting
topic and is an important reflection And how we manage all that and how difficult
it is to take you to those moments of loneliness that said begogne that is,
in the background it is a novel. The other day I read it
also before a meeting with young people and because now many ask you in those
meetings, even if you go to talk about another book. Sure, there
' s a novel about the Fest Comer and you want to know about it.
And I realized that one topic that we' ve talked a lot about
is mental health. That is, all the characters talk about how their mental
health is, what has influenced it sometimes class factors, as happens in a
thousand, factors of some social or school violence that have suffered, as we
discover little by little in eric factors of self- demand, how they can
be in ras or in joy. I mean, it' s a novel
in which I think that the framework that it does is to empower us to
talk even more about these topics that do matter to us, but again,
from history it' s the character and I usually say that to the enormous
humility, always of the brilliant begogne. I pray, then, that we
have all learned a lot and I think it is something very nice that happens
in the book and whoever reads it carefully will notice it. It is that
we have spread in the four voices it is very noticeable how the characters are
contagion of friendship and the authors are contagion of friendship and of the way of
writing. I mean, we' ve learned a lot. I' m
very clear about that, too. I mean, no, we' re
not the same before we come. This is so, it' s an
incentive. I agree. By toasting a hundred percent fes comer get into that
puddle that is already from the start. It is a responsibility to say well,
because we are not going to deal with that apparent frivolity, but quite
the opposite. Let' s go in, let' s scratch that there,
down there and let' s live this adventure and this friendship, but
let' s also live all the toxic part that it has. Let'
s show her. And I think that' s what makes the novel,
because if, as Begoña says, it has a lot more depth and goes
further. I think we all share Begoña in that, that all that we
love most about writing stories are the characters, always not that it is the
creation of characters and that from there the story comes out. And then that
almost inevitably leads you to deal with certain issues and there is already the skill
and talent of each one. Or for the reader to ask himself questions,
I believe that after reading Morihei from the reader with a minimal interest that will
give him the reading. So many questions are asked, and I loved what
I said about mothers, which is clear we are here no mother waits and
that it is a subject that I am always passionate about. Evidently, the
family is what marks us all to begin with, for good and for bad,
and the mothers have a presence, at first more invisible, but then
it is being much more visible in some case, especially and that it goes
to fabric, it does not go to fabric. Just as that pressure for
good or bad marks a great deal, no longer a child, but a
teenager or a young man, because if our characters are seventeen, eighteen years
old, some already the adult. Anyway, but there' s the mother
figure there contributing or watching. According to everyone, luck is made because this
afternoon I' m going on a trip, I' m going to see
my mother and she just made me die. Hate ah already similar out there.
But, well, I' ll tell you as a teenage mother,
I' ll tell you what' s interesting. It' s interesting,
you have to read, you have to think and I don' t want
good of the four authors, just say that there are two authors who are
Begoña and Lein who of course are also mothers of teenagers or young people.
Let' s say and that we have had our children well, at least
I have my son, he' s been reading a day like us,
it' s that he told you how he loved it. That is to
say, as I see it when the next one comes, yes, in
Spain help, we should not ask to help as author of Berta' s
sons, which also one of them, especially in ia we did very well.
Every time I said to you, I really dare to have my son
and total was like ah ok we go well. It' s just that,
besides, you' re very up- to- date, if I
don' t know if it' s also, apart from that well,
I understand that you' re very aware, very much in contact with your
audience and with that audience you' re writing, but that you can see
that effort to be there in that world that you' re addressing. And
I don' t want to fire you without talking about music, because I
think he' s one more protagonist of this book. How did you choose,
how did you take him, did you get carried away? That was
an improvised mix. Well, again, it' s been pretty improvised,
but of course, a novel that happens at a music festival, because music
had to be the protagonist. I think they are very bold all because we
not only bring known songs to the novel, but we have written song.
We' ve all written songs that appear in the novel. There are many
songs in this so much novel. The music is very present and I want
to believe. I want to believe that the novel itself has a musicality and
a sonority, as you should always have a good novel, but in this
case more if you can make it yes, at least it sounds to me.
It rings a bell. It' s a novel that sounds. And
if there' s going to be a second part in Eurovision, this is
to defend a clear contrast to how it travels flavor, go your way is
the first novel. But well, you know if it sounds like they'
re not who we read, too. In fact, okay, so I
drop it there is that it' s next. Who knows. Who knows.
Imagine When we were last in Vendor, we said it there. Imagine,
imagine why not Spain wins Eurovision this year. Bets say no. But
it doesn' t matter. Imagine what the Eurovision Festival brings to Spain.
Imagine they' re bringing him to Comenor. Well, sure, we'
d have to be here that someone who gives them the invitation from here and
put on music our novel songs. We also have here a candidacy for the
Coming One. Faith that then comes to urovision. I mean, this can
be very interactive. There' s music and a lot of things we have
to leave open. Okay, yeah, a list of Spotify composers who cheer
up on the songs. We left it there. We left it there,
but we want more. That' s mostly congratulations to the four of us,
because it' s really a very original experience, very funny, you
read it right away. I think it also goes, against such a media
background, it will bring a lot of readers, of readers also that it
is always good not to enrich and increase the number of readers, already immense.
Friends. So congratulations to the four or the three in this case,
because Bethlehem has not been able to join. But a thousand thanks for your
time here with love Anheite, let' s all four of us. So
then we take out the posita. There it is. Thank you so much,
Begoña, Roberto Onando. Thank you and I' m sure I'
ll talk to you another time. I' m convinced a hug for everyone.
Thank you so much, Monica, thank you very much. And since
we didn' t want to leave without including the fourth voice of this love
and Hete, we waited a little bit. We have resorted to the magic
of podcasting and have Bethlehem do Fegui with us. Good morning, Bethlehem,
how are you? Good morning, very well, very happy to be here
already. We couldn' t have you with your partners, but not two
of us. I said a lot to chat with you that you are also
the only one of the four with whom we hadn' t had the luxury
to talk here on good morning, mothers, so wait so I especially wanted
to chat with you and meet you and tell us about your participation in this
original work, so fun and that already your fellow co- authors told us
about the adventure that you had been writing this book. Tell us a little
bit Belem what the first thing happened to you, how this project comes to
you. Yeah, well, I got it right. I went to see
it is in a beautiful play by Roberto Santiago and at the exit there was
like a small cocktail. That' s good for the premiere and there editor
Berta proposed it to me. I knew they couldn' t imagine what it
was going to be, but the company was already so good and the project
so interesting that I said yes and nothing. I was thinking that whenever they
ask us about this, we always talk about how well we really have had
it and about the friendship that has arisen between us, but that to me
as what is being put more inside me is also the characters, not that
it is like this feeling that your character is better, because other people have
written dialogues of that character, they have put him to do things that you
did not expect and the other way around that you could be part of a
little bit of another character, that it was precious that I had created it
to another person. And that' s all of a sudden I' m
going to walk and I' m going to say but if these are privileges,
that this isn' t, this hasn' t happened to me in
life, not like characters, and it' s also what I think people
who read it can find, not like suddenly there' s going to be
characters that are actually more like people, because people also do a lot of
people, they don' t just make us one. In addition, I
find this very interesting because in the eyes of the reader we are always clear
who has written what we are reading and we are influenced by the author and
in this case, at least I, before talking to you, did not
know what I would have written. Everyone then also has something interesting, clear
and really yes without knowing it, because not only because there have been many
corrections and where we have each touched chapters of others, we have not touched
our own, but because, especially to the extent that suddenly an author or
an author puts your character to do something that you had not even crossed your
head and you, then you continue with the idea that the other person has
introduced, with that action, you are no longer writing it, even if
you are writing it, because you are continuing an adventure that another person has
begun. So it' s really true that it' s written to eight
humans. It' s not every chapter, every person, but and that
does seem to me to be a nice one from the outside, not seeing
as there are four lives there working together, and that' s what comes
to you, that you can' t imagine. This is what he wants
to convey to me. I don' t know who' s not all
intertwined. Of course, it seems to me that it is a new experience
and different to perhaps other more conventional readings, so to call it and that
it has its special incentive beyond the fact that you are four that already congress
there are reading audiences each will arrive each for each author, each author.
And besides, and this is what I wanted to ask you, about the
subject matter, about that context as concrete as it is the Fan Fest,
that maybe, I don' t know you in your case how you caught
it and knew it, if you didn' t know it, if you
were Eurofan or TeV already out of generation, because in my case the truth
that caught me quite far away, I mean it was the first thing I
told Berta they didn' t know very well this, I mean, I
would have to go and told me, of course, that he and I
was even more impressed. And I didn' t know him. It hardly
happened that in this edition if I had enough links through my children, because
one of the singers to Lice Wonder, because I had been in the same
school as my oldest son and well, and then they got together many coincidences
that made me stay even closer to that edition. But it was like a
dive to get you into a world that you know how it is. And
besides, well, I think that' s also good that there were looks
of people who were from authors who were really close to the festival for different
reasons. Roberto for Vendor, I swim for Europan maybe, then I sing
for the music. But it is also good that there is a loss of
extraterrestrial, because also so is the life that suddenly someone lands in a space
that is not their own and they let themselves become able look at this question
is not told to your companions, but what it feels like that you have
contributed your belengo pegi to all this shared script that you have made memoremia really,
honestly I could not answer you, because it is that already from the
beginning they asked us how it will be our character and each one we said
so, it will be more or less. So a few minimal traits to
make it clear who started writing and who still had that data. But all
of a sudden there was my character saying and doing things that seemed great to
me and that I knew I wouldn' t have been able to imagine them.
Not then do I think I don' t know what we' ve
got, it' s just that it' s been a symbiosis or,
whatever it' s called, very beautiful. It gives me a thing to
say, but it does. Not then I don' t know, I
don' t think I' ve contributed anything unique, but we' ve
all been intertwined. That may have to be asked the rest of the truth
and asked among the four what the others have contributed. I find it an
interesting exercise because in the end, with styles, in the end styles so
particular each, but at the same time sharing a common audience. Well,
then, it' s curious to see what is there about You, what
is there about others and more, in your cases, what this book has
meant to you, this step in your career, your professional career. Well,
then, on the one hand, a gift, because let' s
say I' m the veteran of the group and that by age and that
at this age I can keep doing new things and get into those environments.
Well, it' s actually one of the reasons I write. No,
because you' re always there. When you write, you' re always
looking. No, you can' t be even more shy or less shy,
more introspective, whatever. You need to open up outside to attend to
the reality that you then use in your books. Then it' s like
I can go on like this and then it' s gone. What else
did you ask me? Yes, I have meant to you basically yes,
yes, such an original and so different work. What does it mean,
you who are accustomed to normal or at most, to collaborate with illustrators or
two other people, but both a team as complete as a sort of superhero
avengers yes, yes, of course, I know the other thing. This
is clear, because, for example, in my novels there is action in
another way. No, and here I saw a lot of passion because things
happened and that stimulated me because it was like saying good. And what happens
when things happen that aren' t imaginable, but that can happen or the
other way around, don' t see, I don' t know,
for me even even small shapes of the style, you don' t know,
it' s like suddenly you open up your field of work. And
because not only do you see that there are other ways of writing, that
you only see how much you read, but those ways are entering into your
writing. And somehow we also needed the book Good that for that we had
the berdad figure, which has been magnificent, but we also had to make
ourselves. We could go out for little ones, because we were aware of
the unity of history and that' s adapting. I think it' s
a really good way to know how you end up being a better writer when
you get rid of your own ego in some way, and the Book This
has helped us all and everyone to that and I can imagine it because besides,
you all add up to an intentional amount of publications and that suddenly the
four of the most read authors and the most read authors in children' s
and young people' s audiences put their names together. It has to be
an exercise to see how these tremendous egos are integrated, not because you have
them, but because in the end you are accustomed to having your style and
that is the one that people demand from you clearly and that to describe in
general is a very lonely task. So, that' s what I have
more film experience. But I' ve done some script too. And so
when you do a script it' s very strange the first time you suddenly
see that you fill is a tool and that twisting it isn' t throwing
or I don' t know what, but you' re already thinking because
you say well, it' s a script. I give them this and
even if I don' t want them to do such a thing, but
they need it to work and because the film is everyone' s, but
in a black it' s the opposite. As a matter of fact,
I' ve done so many. I always go back to the book as
with the great happiness and well here no one will touch me anything and then
suddenly. But of course, when someone touches you it' s not like
in the cinema they suddenly take a scene from you, because there' s
no money to rent. I don' t know where it is and it
makes you angry, but it' s not like you' re being touched
by people who respect and look at a lot. So it' s like
saying good how well I mean, I can keep learning and that' s
really nice. We also talked to Begoña, for example, in the case
because she is also a mother like you your children have read told me that
precisely yours or your son do not know exactly, but that they had been
participants in the review reading. What a feedback you' ve had for him.
Yeah, well, nothing. I' ve had a lot of fun
because the older one was quite Europan, especially what his friend was doing,
we' re pretty happy. I don' t know his name. And
then, because he was very interested and if he told me, he gave
me ideas and we had a great time. And then the little girl said
that she was being sabotaged, that is, she was being painted by her
life because of course I was taking things that she had told me even four
years ago of unhappy loves or whatever it was and introduced them in some way,
evidently always filtered by the character. But she certainly said such a thing
I don' t know what you have to give me right. Nothing.
We' ve had a lot of laughs. Of course I didn' t
think when I read you how much when you want to address a young audience
so different from your generation, how much writing for them involves making concessions on
how you want to talk in style or on choosing expressions that you choose because
you know they' re coming or because you like them you know how much
you move there on that line. I' m doing this to you because
I know you' re gonna like it, but I' m not.
I think that in general, we don' t do that, because what
you do when at least I do the work that I do mental, so
to say, yes, that' s trying to put me in the or
it' s something very difficult, which is trying to imagine what someone doesn
' t know, not clear and there you do have to adapt, because
they don' t have to know things. I don' t mean cultured
things like I don' t know what, but it' s a good
thing it' s opening up in your head and opening up your life.
So if you haven' t lived a lot of things, there are things
you don' t have to know, and that' s a job that
mostly cost me a lot the first time I wrote for this audience. But
then once I was doing it, I mean it' s kind of something
you' re having, and that' s it, but the other thing
isn' t, because besides, I think it all goes away very quickly,
so suddenly and you use an expression and tomorrow it' s super old
one, as they would say now and past until old one doesn' t
understand. Then you don' t do it there. You do it like
when you write, because it has to do with the character' s tone.
He' s talking to you, but just like you build his way
of being, at least it' s my way. I think it'
s everyone' s that we' re not there like we' re looking.
I don' t know how to bend down to talk to a little
boy I mean, you talk to him from who you are, knowing that
there are things he doesn' t know and that you need to explain them.
To conclude, projects that with your colleagues did not give us time,
because of course, with the three and you are always writing, that you
have preparation, because you are always here things. It' s fantastic.
Yeah, yeah, yeah, yeah. That' s no, because now
I' m with a novel that I' m already going to be advanced,
but then with the usual work of going from one side to the other,
from one institute to the other and I just published a book essays and
I don' t know, I don' t know what will become of
me in the future. So you know how not. No, no or
many long- term plans, but the truth would burn illusion that we were
capable. I don' t know how to see this in pictures, not
this book. I don' t know. I have nothing concrete now,
but it does seem to me that it would be a good culmination, for
yes and indeed, we were saying that. He also needs a soundtrack,
he needs to get those songs out. If that music comes out, we
need to hear it. Seeing it would be a wonder and beyond if we
put ourselves, because who knows how to travel to Eurovision. There are no
limits here. There are no limits, and the story there are the protagonists
invite to it, so here we ask you later, since it is what
they have to be very well, because Bethlehem, thank you so much for
your time to approach you this little while to be able to complete and listen
to the four that made me very excited and nothing that there is much luck,
that we continue to see more of love Anheit, that it goes great
and that there are more things, then to buy everything that you say.
And well, thanks to you for your show and all friends. Now with
this interview we close this episode dedicated to Moranheit. We leave you the sights
of all the authors that clear, with all the works that each one has
we could be a complete program. So, we leave the videos of the
authors and the authors in our program notes and all the information about the book
about Amorandhead published by sm that you can already make with him in all your
bookstores, especially those of neighborhood so that you can enjoy the adventures of these
four protagonists of Eric cheers Mil and Ras and enjoy as much as their authors
have enjoyed, that that would be a small part already, because they have
had a great time and that is what we are going to stay. Thank
you, a very strong hug and I' m sure we' ll speak
again a very big hug. Thank you, Grace,