By now, you will have all seen Commander Chris Hadfield’s version of Bowie’s Space Oddity, recorded and filmed on the International Space Station. It is truly amazing. More than two hundred miles above the Earth, a man floated in a tin can, played his guitar and sent a song down here to those of us still on the planet.
My mind is still blown, not just by the amazing imagery, but the whole idea of this happening and what it means.
Go on, watch it again…
This world is changing so much. Things we take as normal could be gone in a couple of generations and things we can’t even imagine could be part of everyday life. Don’t believe me? Okay, yes, I too am disappointed we don’t yet have flying cars and robot butlers. But just consider the effect of 3D printers. Right now, for several grand, you can get a device that prints objects. Actual objects. Sure, they’re expensive and are limited in what they can do but what about in ten years? What if they’re in all our homes and capable of making much more than a pretty plastic model? Already the implications are becoming apparent with plans for 3D-printed guns hitting the Internet. More positively, we can print our own tools. Our own toys. Our own parts for almost anything.
What will that mean for industry? What value will manufacturing have? And if manufacturing has no value and plans are shared freely, what value has creation? Innovation? How will our economic models that served us well during industrial times stand up to change of that magnitude?
I don’t have all the answers. I am just using that one single device to illustrate the potential for society-altering change. Those of my age, of course, have seen such huge changes already. We are the generation who knows what it is like to live before the Internet and after it. I watch Mad Men and notice the lack of computers on the desks and I have to remind myself how we possibly got any work done without computers.
It is all changing.
So in a world where all is changing, what do we teach our children? What do I teach my girls? How about these ‘ creativity, adaptability, problem solving. All good. Empathy, the will to do good. Great, I can see already we’re going to need each other as our planet changes. A love of learning, a search for knowledge, understanding, focus. Absolutely. Change can be influenced, steered, and a greater understanding of our world, our universe and just who we are can help us direct that change towards the positive, helping to make our lives better. Inspiration and aspiration, the belief that we can do amazing things and are capable of things thought previously impossible regardless of gender, race or social standing. Yes, yes, yes.
Commander Hadfield played a guitar in space and I think he has awed a whole generation. He entertained us. But he has done so much more ‘ he has inspired us. The International Space Station is just the beginning of an amazing journey.
We can all play our part. I won’t get to space any time soon but I can inspire children to learn, to enjoy the wonders of our planetary neighbours. That’s why I created Planet Cosmo. It is entertainment first and foremost. Kids have to love the show, they have to laugh and smile and have to want to watch it. And they do. I have lovely mails from parents on how much their children enjoy it but those mails tell me the effect goes beyond the entertainment. My little show inspires – a love of learning, a new interest in space. I’m no Chris Hadfield but the reaction to the show tells me that our team at Geronimo Productions performed our space mission well. Our hard work paid off. And I have been so fortunate to work with such a dedicated team.
As I prepare to leave Geronimo at the end of this month, something that will be one of the biggest changes in my own life, I reflect back on what we have achieved and I can smile. But I’m also looking to the future, at what awesome gifts we can give the next generation to entertain them and inspire them, to enrich their lives both as children and adults.
It’s an adventure. Almost like packing my guitar and blasting off into space.
Well, not quite. But exciting nonetheless.
Thank you Commander Hadfield for entertaining us and inspiring us. And reminding me of two of the most important goals when creating content for children.
There are huge challenges writing scripts for young children and I think many of them come from the simple reality of what we are doing – working with just words. Words can very quickly become abstract, lose meaning. As I went through in an earlier post, descriptions can fall away until you have just talking heads in a void and they all sound like the writer.
I think a good test of character is whether you would know who is speaking if the names were removed. Do the characters think and act differently? Do they speak differently?
We engage different parts of our brain when dealing with spoken word than we do when reading and writing. So just because something looks okay on the page doesn’t mean it’s going to sound okay when recorded. I write my stories out loud, saying each sentence over and over in different ways until it sounds right. I have done that since the very first Fluffy Gardens story and do it to this day. I’m not the only one. Ken Levine and David Isaacs (of Cheers/M.A.S.H. fame) dictate their scripts, working them out verbally as someone else types them out.
But saying them out loud in your voice may not be enough.
Writing in character voices is key to making those characters sound different, to get their personalities to come through in the dialogue. Because their voices will greatly affect the choice of words you settle on. If you’re just writing in your voice, you will pick words you will use. If you try words you would never use, they’ll sound awkward and weird. Put on a the voice as you write and you’ll very quickly find yourself putting sentences together differently.
For example, I recently rewatched an episode of Planet Cosmo and found myself laughing at Lifter’s choice of words – “Are you sure, sweetie? I can rustle up quite a breeze!” I thought, oh that’s good, I would never use the phrase “rustle up”. Then I had to remind myself that I wrote those words. But in a way, I guess Lifter said them. I just listened and wrote them down.
So it’s really important to write in character voices.
But I would take this a stage further and say that those of us reading scripts (script editors, producers, directors etc.) should try to read in character voices. You might not yet know exactly how they should sound but give it a go based on what you know of the characters. It will make those lines read very differently. For example, Cranky in Punky (written by the wonderful Andrew Brenner) has lines that can look very harsh and not age-appropriate on the page. But Cranky’s voice (Paul Tylak) gives her a comic quality that completely disarms the lines and makes them work beautifully. They become very funny. Similarly when I wrote Dad in Planet Cosmo, some of his lines looked rude, selfish and sometimes even mean. But say them in Dad’s voice and they become light and funny, losing their weight. How those words sound out loud in a character voice is what counts – that’s what children will hear.
It is always a challenge to make characters work and a greater challenge to make them work well. Working with the character voices is a way of helping their inner personalities and differences come out, and a great way of getting those words on (and off) the page.
On Monday, I attended the launch of RTÉjr, Ireland’s new dedicated children’s channel. Broadcasting twelve hours a day, the channel brings content directly to Irish children, expanding what was once a block on RTÉ2 into a full channel sitting along with all the other children’s channels on Sky, UPC and Saorview. Now I should point out that I have five shows currently airing on the channel so it’s likely I would say some pleasant things about it – I have been referring to the channel as my ‘showreel’, after all. But there is more to RTÉjr than just being a place to catch some of my shows.
RTÉjr is a big positive step for all Irish children. An important step. Here is why -
It is a dedicated children’s channel focusing on children aged seven and under. I have previously expressed my appreciation for dedicated children’s channels on this site. I feel they give parents more control, lessen the risk of inappropriate content and they simply make it easier to pick and choose what our children watch.
It is a channel focusing on delivering specifically to Irish children. Local content is so important to children. Each country has its own culture, its own ways of looking at the world. That unique point of view should be represented in the shows kids watch. Anyone in children’s content will know just how difficult that is to achieve ‘ most shows need to be sold all over the world to stand a chance of breaking even so how can they be culturally specific? Well, that’s why local content in any country needs support.
RTÉjr has, yes, content bought in from abroad but it also currently carries a large amount of content created here in Ireland for Irish children. For example, one of my own shows now airing on the channel, Ballybraddan, is about Irish children playing hurling, an Irish sport. That show just couldn’t be made anywhere else. And it is wonderful now to see it sitting in the schedule, seeing it among the NickJrs, the Disney Juniors and all the other juniors. And RTÉ’s own produced content (of which I am not involved with) has jumped in quality recently and the level of talent has risen. So it is not just content tailored for Irish children, it is better content for Irish children.
The biggest part of this whole channel for me as a parent?
RTÉjr carries no advertising. None.
It was so encouraging to hear RTÉ’s Director General, Noel Curran, focus on that point at the channel’s launch on Monday, calling the lack of advertising a strong statement and positive for parents, while expressing his and RTÉ’s commitment to children and the new channel.
So what we have now with RTÉjr is an ad-free channel, focused on children aged seven and under, delivering some uniquely Irish content that children just can’t get anywhere else.
As a creator, a producer of content, RTÉjr offers a home for existing content and makes it much more accessible for our audience. With the channel sitting in the Kids section, it is now far more likely that children and parents will see our shows, take a chance on them over some of the more international content. It also creates a need for new content. The challenge laid down by the channel and the commitment is to keep it relevant, keep it current. Oh there will be budgetary constraints (there always are), but this channel will need content as it evolves. And with such a strong start, I am looking forward to seeing the channel grow.
The launch event was tons of fun. I got to meet Reuben and Bó Donie (who, as a children’s presenter, I was very impressed with ‘ this guy could be the Irish Justin Fletcher) and almost got to pet a hedgehog before his minder told me he gets a bit bitey. And my girls have been testing out the channel for the last couple of days and have been enjoying it immensely. So congratulations to Sheila DeCourcy, RTÉ’s Cross-Divisional Head of Children’s Content, and all her team on a great launch, a strong schedule, and for giving something really positive to Irish children.
If you’re in Ireland, you can find RTÉjr on Saorview (Channel 7), UPC (Channel 600) and Sky (Channel 624). For my own shows, you’ll find Fluffy Gardens at 1.15pm and 4.55pm, Planet Cosmo at 9.05am and 1.40pm, Roobarb & Custard Too at 11.05am, Punky at 8.40am and Ballybraddan at 6.15pm. But be sure to check out some of the other excellent Irish content on there too ‘ Beo Show, Garth and Bev, Why Guy and more.
My path to writing stories for children has been a very visual one ‘ animation, storyboarding, directing. Along the way, I have seen some wonderful scripts and have been very fortunate to work with some excellent writers. But I have also seen many submitted scripts that would be almost impossible to produce, some that make little sense and I have heard numerous complaints from animators about writers who just don’t think visually. Many on the animation side, for example, preach the value of forming the story through storyboards rather than words on a script.
Even with my visual background, when I moved into writing I embraced the words. The language. I love language and the flow and the rhythm that words can bring and I have done since long before I got into television. I don’t believe the value and power of words should ever be underestimated, even in preschool entertainment.
But early in my career, I was writing a script and something went wrong. Something was missing. I didn’t quite know what it was. It was while working out another basic story problem, remembering that a character could use a wrench left in an earlier description, that I realised what had happened.
That wrench had been there all along. But I didn’t see it. I didn’t see anything. I had lost the picture. I was now dealing in just words. Oh there were descriptions but I was no longer really seeing anything. It was a whole lot of spoken dialogue in darkness. The actions seemed abstract, lost in the darkness, and even the characters were nothing more than mouths to deliver dialogue.
I was not writing visually.
I have since seen that same thing happen in the scripts of others and even in books and what I have found is this – the more words we write, the more risk there is of losing the picture. You can have great dialogue and really play with those words and that’s great but you have to have a complete visual picture. More than that, you have an opportunity to create something wonderful with those visuals, an opportunity that should not be wasted. Think of some of the defining imagery in movies ‘ the long spacecraft Discovery in 2001, getting the yellow bus moving in Little Miss Sunshine, pushing into the wind in Babel. Imagery so iconic, it often feels the rest of the movie is built around it. It is no surprise so many of those moments end up on the posters.
Does it happen in preschool? Sometimes. It does now when I write it.
Almost all of the series 2 Fluffy Gardens episodes are based on a single core image – a huge field of flowers, cycling over a hill framed by a rainbow, a little boat sinking in a vast ocean. The same is true for Planet Cosmo. If you know the episodes, you’ll recognise some of the scenes in the sketches above, done before the stories were ever written. And it has value to young children as each episode becomes special, a completely unique event even in a format as structured as Planet Cosmo – the episode with the tiny pieces of ice floating in space, the episode with the raging red storm, the episode with the room full of glowing stars. Iconic visual moments unique to those episodes.
So how do you stay visual while writing, dealing with just words?
Well, my advice is: don’t deal with just words. Sketch and doodle as the story forms. Try to define some of those key moments in advance. Keep those drawings close. No matter how good or bad they are (nobody ever has to see those drawings), they will help you keep your visual picture. There are other ways too. You could trawl Google Images for locations similar to those you’re writing about. Print them out and place little cutout characters on them. For one feature script (keeping in mind that the more we write, the more the risk of losing visuals increases and a feature requires much more writing), I actually made myself a little playset, customising figures to match the characters in the story and building a basic set from cereal boxes.
You don’t have to go that far. But do whatever it takes to keep hold of those visual images and create those iconic moments. That way, you’re taking the best of both worlds – staying visual like those who create their stories through storyboards while embracing your passion for words and language.
Be wary of getting lost in the darkness. Stay visual.
Many broadcasters and parents are pretty savvy when it comes to violence on children’s television, some areas of Europe in particular being very strongly against it.
And it’s fantastic to see so much positive preschool content on children’s television out there at the moment ‘ there are many shows that I’m very happy for my girls to watch and quite a few I enjoy myself (for research purposes obviously).
But there’s much more to it than violence.
Everything in a child’s environment contributes to their newly-forming world view, a sense of self and our perception of others. Television and other media exposure is a big part of that. That is something parents and anyone involved in children’s entertainment need to be very aware of. When children are learning at such an accelerated rate, everything they are exposed to teaches them something. All content is educational, whether intentional or not, and we are not always going to agree on what should be taught. So it’s important that parents know what their children are watching or playing and important for us as content creators to give children and parents the absolute best to choose from, always trying to keep in mind just what contribution our content is making to the lives of our audience.
What type of adult will watching Planet Cosmo contribute towards? Or Fluffy Gardens? Or Batman? Mickey Mouse Clubhouse? Bratz?
If we can offer children and parents a positive experience, enriching content, messages that build up a child’s sense of self and confidence, all while making children laugh and smile, we’re doing something wonderful. We’re giving gifts through our content that could turn today’s children into tomorrow’s happier adults. Isn’t that something worth striving for?
We really aren’t ever just entertaining, we’re contributing to a whole world view.
One little extra on today’s post…
I’d like to thank everyone who has got in touch about Planet Cosmo (which is airing here in Ireland on RTE right now). The reaction has been absolutely fantastic. Children are singing along to the songs, dancing, shouting out at the television screen and, best of all, laughing. More than that, all the feedback I have been getting tells me that this show works – children are learning about the planets and they’re asking more and more questions. I couldn’t possibly be happier about that. So thank you so much to everyone who is watching the show and especially to those of you who spread the word. You’re all awesome!
Early development on Planet Cosmo was quite intense and, before long, I had a very clear idea about most of the core elements in the show. I had a massive amount of research, an episode structure in place, a whole bunch of stories and I knew my characters and how they worked together.
When I got to that stage, I could have put it all together to make a book about Planet Cosmo that would rival a meaty Stephen King novel, only with a better ending.
But I figured, nobody will read all that.
Most people just want an introduction, the basics. Truth be told, for all the effort that went into the writing, I’d say many buyers had decided whether they were going to take Fluffy Gardens or not based on one look at the show design. I knew the same would be true to some extent for Planet Cosmo. I felt pretty good about the show though because, unlike Fluffy Gardens and a bunch of shows out there, Planet Cosmo had an easy pitch ‘ it brings astronomy to children. That’s it. You either want that or you don’t.
So I created a little three-page introduction in lieu of my Stephen King novel. The core pitch and plenty of pictures. I knew people would at least read that.
My first meeting…
“Hmmm… it looks a little thin.”
Are you serious? Thin?!
The following weekend, I pulled all my notes together and put it all down in a document. Well, almost all of it (I like to hold the odd surprise back so I have something exciting to reveal later). While my document didn’t quite rival The Tommyknockers, it was still a meaty 50+ pages and a script on top.
I gave it to my producer. He flicked through it and said -
Imagine a child in a hallway full of vending machines.
Each vending machine has a big colourful picture of a topic ‘ Pirates, Planets, Dinosaurs, Reading, Geography, Princesses, Building and so on. A child gets briefly curious about a topic, let’s say Pirates, and runs to the Pirate vending machine and presses the button. Out pops an exciting Pirate adventure story.
Now the child may love that story and press the button again, hoping to get another Pirate adventure. Or they may decide they want to see what this whole Geography thing is all about. Either way, their interest was nurtured, rewarded, and given a chance to grow.
But what if, when they press that Pirate button, nothing happens?
They press it again. Nothing.
What do they do? They move on. They’re clearly wasting their time and there are many more vending machines to try. The chances of them bothering to try that particular vending machine again are slim to none. If a child has an interest and that interest is not fed very quickly, they will move on.
One problem we face right now is that not all of those vending machines work for all children. A girl might try the Building vending machine and get nothing. But if she even walks passed the Princess vending machine, it unloads sparkles and unicorns all over the place. That’s an interest that is fed instantly, one that is constantly rewarded. So of course lots of girls are going to be into Princesses. We don’t need to push them in that direction. We simply reward that interest while not rewarding others.
It’s not just Princesses of course, I use that as an example because it is one many of us are familiar with. Boys have their own limited vending machines to deal with too.
During the week, Harrods took a beating on Twitter for having two books side by side in their reading room. One was a book clearly for girls on how to look gorgeous. The other was a book for boys on how to be smart. Neither of these books were forcing anyone down a particular path. They don’t have to. Just as we don’t have to force a plant to grow or not grow. Water one plant and not the other and the result is obvious.
Just as if there is only one working vending machine in that hallway – that’s the one the kids will come back to.
So to give children a genuine chance to explore their interests, we need to fill all our vending machines with goodies. We need to make sure they work and are well maintained. And we need to make sure they are attractive to both boys and girls without limiting either gender.
For me, I have spent the last few years filling a little space/science vending machine called Planet Cosmo. And originally, I set out to do that because my girls had an interest in space and I wanted to feed that interest. I saw so many children too who had an interest in space but their parents didn’t always know enough about the subject to feed that interest quickly, just as I imagine there have been many brief moments of interest in a particular subject that passed by my girls because I didn’t know enough to feed that initial curiosity.
So if you are creating, developing, producing content for children, be it television, books, apps, anything, how about picking a vending machine and filling it? Let’s spread those interests, give each one a chance and try to restore some balance for both boys and girls. Perhaps pay special attention to those interests that may one day make our children into better adults, with all the opportunities they deserve, not one single child excluded. Let’s get those machines working for everyone.
Nurture. Inspire. All while entertaining.
My vending machine, Planet Cosmo, starts on RTE2 here in Ireland on Monday, the 18th of February, with other countries to follow. And just wait until you see the goodies we packed into it!
We did it. Last week the final tapes for Planet Cosmo left the building, the completed series. Mission complete. Wow, what a journey.
It began early 2010 with just a wish and a doodle. That’s one of the very first images of Cosmo below, drawn with my finger on an iPod Touch using the old Brushes app. I didn’t know back then that it would be a cartoon show.
But I had more than just that doodle – I had an aim. A mission. I wanted to introduce the planets to children. Whole other worlds, real worlds, some of which can be seen by children just looking up at the sky at night. How amazing is that?
First, however, I had to entertain. I had to give children reasons to watch the show regardless of any prior interest in space. This would be a show for any and every child, boys and girls alike. And so slowly ideas became concepts, then characters, methods, structures and stories. Eventually, I knew I had it ‘ a show that delivered what I felt children both wanted and needed (not always the same thing!).
Humour. Lots of humour.
Curiosity. I love to spark questions.
And finally, the core of the show’s direct educational goal ‘ focused facts about our Solar System. Real amazing things that kids can share. If kids aren’t interested in that? No problem, the show has fun, humour, songs and adventure! It exists as entertainment and can sit on any preschool schedule, even without an educational remit. But soon, children may find themselves asking more questions, realising that beyond the fictional stories there are real planets out there (and we directly state what’s real in each episode). They may find that interest in space grows. And the more we feed that interest, the more likely it is that it will continue to grow. Wouldn’t that be something?
So here is the result of that long development. Planet Cosmo:
I knew production would be hard work. We were aiming high and our resources were limited. That just means you either find places to cut corners or everyone pushes that bit harder. Guess which one I went for? Yes, we pushed. We pushed hard.
Two things happened: Firstly, we had some problems early on. Secondly, the quality was pushed even higher (mainly due to some of our excellent animators exceeding our expectations ‘ you guys rock!). So now we were dealing with even higher standards and were playing catch-up as we dealt with our early production difficulties. There were times our deadlines seemed impossible. Everyone on the show stepped up and put in their all. Some found their limit and the cracks began to appear. Others could have kept on going, showing a level of support I will always appreciate and never forget.
Amazing on such a tough production to have people who are an absolute joy to work with.
And a very special mention for Simon Crane. Simon and I have worked together for years. He’s a good friend and an exceptionally talented animator and director in his own right (Simon is directing Geronimo Productions’ Punky) and he was my directing animator on Planet Cosmo. Simon’s level of enthusiasm and support kept me going, gave me energy when I needed it. This show probably just wouldn’t have happened without him. Thank you, Simon.
Everyone did great work. You should check out the credits when Planet Cosmo launches because one of the things I am most proud of is that we were able to make this show with so few people. You’ll find a tiny crew list at the end of our show. No hidden credits, no outside studio. That was it. Just us right here in Dublin. And you’ll even find quite a few names repeated in different jobs ‘ multitasking was an essential on this show! And even with such a small crew, the show is exactly what we wanted. I could never, ever use our lack of resources as an excuse for anything on this show. Planet Cosmo is actually a better show than the one I set out to make.
How often does one get to say that?
There are two other people I will mention here though. One is my script editor, Hilary Baverstock. These episodes only worked because the scripts were right to begin with. Without good scripts, we would have been working hard to make a show that looks pretty and does little else. So, as script editor, Hilary’s influence was felt throughout the entire production. And the other person is the producer of Geronimo Productions, Gerard O’Rourke. Gerard showed faith in this project from the second I showed it to him and he pulled the financing together to make it happen. The importance of that part is obvious but the immense work that goes into it is often never seen by those either making or watching the show. And Gerard now takes on phase three of what it is to make a show ‘ going out there to sell it. Find him at Kidscreen in New York and ask him to show you some full episodes!
So there you have it. We have completed Planet Cosmo. Fifteen episodes of animated fun and adventure, bringing the planets to children. The show launches on RTE2 in Ireland on the 18th of February and international broadcasts will follow. Find the show on Twitter at @PlanetCosmoTV for clips and images. I hope you all love the show.
As many of you will have seen, it was announced last week that Monster Animation & Design has changed its name to Geronimo Productions. Monster Animation, started by owner and producer Gerard O’Rourke, has been going for 17 years and I joined very early in its history, taking the position of Creative Director of the company more than ten years ago. From there, we took Monster Animation from advertising into broadcast television, starting with us producing Roobarb & Custard Too and then creating Fluffy Gardens and moving us through Ballybraddan, Punky and now our new show and my latest creation, Planet Cosmo. All the while, I have been overseeing the creative vision of the company, building the studio methods and systems and creating, moulding, nurturing and producing shows.
We have come a long way together.
The name change is something Gerard and I have discussed for many years (mostly because of international confusion with another Irish Monster) and, with a brand new show launching, the time finally seemed right to make the switch. So this week, we’re working hard as Geronimo Productions to finish Planet Cosmo and you’ll be hearing a lot about that very soon. The studio at Geronimo is gearing up for more Punky (I’m serving as script editor at the moment with Andrew Brenner writing) and everything is moving forward with a new name and a new identity.
Will it bring exciting things? I think it will. It’s going to be a big and rather interesting year for all of us.
2013 is going to be an exciting year for me. Many of us at Monster Animation have been working hard over this little holiday season to get the last few episodes of our new show finished and 2013 is the year it gets released to the world.
For me, Planet Cosmo is more than a new cartoon show. This is the culmination of everything I have worked on and worked for since I began making children’s shows. It is the result of years of practical experience, years of research and so many intentions, goals and dreams. A preschool show full of laughs, smiles, songs and fun that introduces children, boys and girls, to whole other worlds, each one amazing in its own way. And not just fantasy ‘ these worlds are real. A show to entertain and inform. And hopefully inspire.
All in just fifteen episodes. That’s almost three and a half hours, a Peter Jackson feature, so not that insubstantial.
I always count myself lucky that I get to form a show from nothing, a blank page, and take it all the way to the finished picture across every part of the process. Yes, it’s a heavy work load but it comes with so many advantages. A unified vision for one thing but also each step always has the other steps in mind. I don’t write without picturing how we in the studio actually make it happen on screen, for example. I don’t think a show of this type could be made on the budget we have without that. Our resources were tight and we aimed high.
Thanks to the amazing people we have working on the show right now, we reached even higher.
So, yes, I’m excited about letting Planet Cosmo out into the world in 2013 and, once we finish the show, I will be putting my faith in Monster Animation’s producer, Gerard O’Rourke, who should be shouting about about it from the rooftops, getting it to the right broadcasters and having it seen by as many young children as possible. Because I know from our testing already that children are going to love this animated series and it’s really good for them. So if you see him, or indeed me, at an event, ask to see some Planet Cosmo. And if you’re a parent, keep an eye out for it.
So what of the rest of the year? Well, we at Monster will be making series 2 of Punky, written by Andrew Brenner and directed by my very good friend and colleague, Simon Crane. I have an awesome little collaboration between a fantastic electro artist and my daughter, Daisy, to work on (more on that when Cosmo is finished). And I will of course be busy working to create the best, most fun and good children’s content that can possibly be made. And, on my little blog here, I will continue to write every Monday. So if you have any questions or topics you would like me to cover, feel free to let me know.
I hope that 2013 brings you exciting things, progress, fun, new projects, and all things good for children everywhere. Have a fantastic year and, as always, thank you for stopping by my little corner of the web.