A.Davaasuren, a well-known Mongolian children’s book author, has won the first prize in the children’s literature category of the Golden Feather 2024 awards with her book “My, Your, Our Home”. She has already captured the hearts of many readers with her works, including “The One with Cloud Hair”, “Red Heart”, “This is Ulaanbaatar”, “Me, You and Us”, “My, Your, Our Home”, and “Aa-Chuu”.
Congratulations on winning the first prize in the children’s literature category of the Golden Feather 2024 awards for your book “My, Your, Our Home”. I’ve heard that you used to write poetry as a child. Has that inspired you to become a children’s book author?
Thank you. Writing poetry was, for me, a form of meditation—an intimate way to express my inner thoughts and emotions. Looking back, I realize that this practice naturally shaped my journey into children’s literature. Writing for children requires a deep sense of introspection—the ability to ask myself, “What do I truly want to convey? What is the most heartfelt story I can tell?” Over time, I’ve come to understand that finding the right story is about feeling for it, rather than just thinking about it.
A major turning point in my journey as a children’s book writer was my experience with Jangar, the children’s book division of Monsudar Publishing. Their early publications, such as “Where the Monsters Live” and “The Very Hungry Caterpillar”, opened my eyes to the power of children’s literature.
What is the main message you wanted to convey through your recent book?
The inspiration for this book comes from my own life. I’ve experienced different living environments—I grew up in a traditional Mongolian ger, lived in a ger district, and later in an apartment. When I was younger, I felt ashamed of living in a ger district. I would wash my hair every morning before going to school to avoid carrying the smell of smoke with me. There was a time when I naively believed that living in a ger was outdated, even backward. But as I grew older, I came to appreciate how these different living conditions had shaped me, given me diverse experiences, and helped me grow.
Eventually, I realized that a home is not just defined by its physical structure, furniture, or modern amenities—it is the space that holds one's sense of belonging. There’s an old Mongolian saying: “No matter how disheveled, my mother is still my mother; no matter how worn, my home is still my home”.
It pains me to see how society today is divided—people from ger districts and apartment dwellers, urban and rural residents, looking down on each other, competing to prove superiority. This division inspired me to write a book that tells the stories of children growing up in different environments across Mongolia, each shaped by their unique cultural and social backgrounds.
In the book, the four main characters come from different backgrounds, each sharing their perspectives on home, family, and daily life. As the story unfolds, they eventually come together. At the heart of the book is a poem that reflects its core message:
“Where is a home
What is it made of
It doesn’t matter how big or small,
Or what furniture is inside,
What truly makes a home special
Are the people we love,
The bed where we sleep together,
The toys we cherish,
And the warmth we share.”
Through this book, children can explore different lifestyles, cultural traditions, and ways of living. Moreover, they are introduced to various Mongolian dialects and unique expressions related to everyday life. I believe this exposure enriches their vocabulary and helps them understand language and culture more deeply.
Many parents who have read the book to their children have shared wonderful feedback. Some have told me, “Our family learned more about the Tsaatan (reindeer herders), and this summer, we are planning a trip to Khuvsgul Province so our children can see firsthand what they read about in the book.” This kind of response is truly rewarding.
Before this book, you wrote “Me, You, and Us” which explores why people look different from one another, correct?
Yes, exactly. That book introduces the idea that, just as people have different appearances, they also have different skills and interests. Three months later, I followed up with “My, Your, Our Home,” which focuses on the diversity of family structures, daily life, and cultural traditions.
There are very few picture books in Mongolia that explore these topics, and I feel that discussions around them with children are also quite limited. Through my books, I hope to create more opportunities for children and their families to engage in meaningful conversations about identity, belonging, and cultural diversity.
Could you share how you approach writing a book and what steps you follow in the process?
First and foremost, I try to capture the theme or idea that lingers in my mind and resonates with my emotions. Once I have grasped the essence of my subject, I contemplate how best to articulate and structure it. Sometimes, while taking a walk, the opening lines or key moments of a story start forming naturally in my thoughts, and I immediately jot them down before they slip away. At the same time, I immerse myself in various picture books, nourishing my creativity and imagination. This is a crucial part of my process. After that, I delve into research, gathering relevant information that supports my theme. While I don’t follow a rigid, predetermined sequence, my general approach unfolds along these lines.
How does your son react to your books?
My son is five years old, and I never tell him that I wrote the books I read to him. He has no idea they are mine. Instead, I introduce them as any new book, saying, “I brought a new book today. Let me read it to you.” After reading, I simply place it on his bookshelf and let him discover it on his own. For instance, he became deeply fond of “Me, You, and Us”, choosing it from the shelf every night for several months. With “Aa Chuu”, he learned to wash his nose and throat without any fuss, as the book helped him understand why it was important. It was a book that had an immediate, practical impact on us. As for “My, Your, Our Home”, he doesn’t refer to it by its title but instead asks, “Where’s that book about Gunjid and Amgalan?”—naming the main characters. This makes me feel like he has befriended the characters, which is a heartwarming thought.
What are the benefits of reading to children from an early age?
Reading to young children significantly enhances their vocabulary, cognitive skills, and foundational learning abilities. For example, a study conducted in the United States involving over 10,000 teenagers found that children who were exposed to books in a fun and engaging way from a young age performed better in cognitive assessments during adolescence. Reading also has a profound psychological impact, fostering emotional well-being. The effects of reading may not be immediately visible, but they shape a child’s future in meaningful ways. However, I don’t want parents to focus solely on making their child smart or academically outstanding. Instead, I hope they read to their children as an expression of love, a way to create shared memories, and an opportunity for meaningful conversations.
How do you develop the characters in your books?
Illustrations play a crucial role in children’s books, and I am deeply grateful to the illustrators who bring my stories to life. They have full creative freedom to determine the book’s visual style, color palette, and imagery. However, while writing, I already visualize the characters and scenes in my mind. I sometimes sketch rough drafts of these images and share them with the illustrator. This collaborative process helps us develop a deeper mutual understanding of the story’s visual narrative.
What is the most rewarding feedback you have received from your young readers?
The greatest reward is receiving heartfelt reactions from children. For instance, a young girl read “The One with Cloud Hair” when she was four, had her parents read it to her, and even sent me a drawing inspired by it. A few years later, when she learned to read on her own, she redrew the illustration and sent it to me again.
Another touching moment was when a little boy in kindergarten listened to “Red Heart” at a library. He was so moved that he went home and recounted the entire story to his older brother, who later came to the library asking for “that book where the heart keeps changing colors”. A second-grade class once read “Me, You, and Us” together and sent me letters and messages sharing their thoughts. These moments, where children and their families express how much my stories mean to them, are the greatest rewards I could ask for.
Some parents believe that children should only be read once they can fully understand a story. What are your thoughts on this? Is there a recommended age to start reading to children?
Ideally, parents should start reading to their child while they are still in the womb, as it has been shown to have a positive impact on both the mother and the baby. If that stage is missed, reading can begin as early as four to five months when a baby’s vision stabilizes. At this stage, simply showing them illustrations and reading aloud helps build familiarity. The earlier you start, the better. Studies have confirmed this, so I urge parents not to assume that “a baby won’t understand anyway.” Even if they can’t speak yet, they are absorbing, processing, and responding to the stories they hear. I personally witnessed this with my son, which filled me with joy and amazement.
When choosing books for themselves, adults often gravitate toward bestsellers. But children simply pick what they like. What should parents consider when selecting books for their children?
Relying solely on bestsellers or only following a child’s preference isn’t ideal. Parents should guide their children while considering their age, interests, and reading level. If a child doesn’t seem interested in a book, don’t dismiss it immediately—introduce it gradually and explore it together. Sometimes, a child isn’t quite ready to engage with a particular book, and that’s okay. Each child is different. To nurture their love for reading, parents should provide a variety of high-quality books with engaging visuals, well-crafted writing, and vibrant illustrations.
Also, take them to book readings and storytelling events. Over time, both parents and children will develop their own preferences and styles in choosing books.
There has been growing concern over violations of children’s rights in recent years. What is your perspective on this issue?
As a society, we seem indifferent and negligent when it comes to children’s issues. Schools and kindergartens are overcrowded and insufficient. Equal access to quality education remains limited. There are hardly any safe playgrounds or proper pedestrian areas for children. Even Children’s Day, which should be dedicated to advocating for their rights, has been diluted into a generic “Mother and Child” celebration filled with flowers and chocolates. Instead of addressing children’s rights, we distract ourselves with festivities. This deeply concerns me.
What do you find most challenging about writing children’s books?
The best way to describe this challenge is through a quote by Eric Carle, the renowned author and illustrator of “The Very Hungry Caterpillar”. He once said, “When writing a story, an author may have a 35-word idea and expand it into 35,000 words. But when creating a picture book, you have a 35,000-word idea and must condense it into just 35 words.” This might sound exaggerated, but it perfectly illustrates the challenge of crafting a children’s book. The hardest part is conveying a story in a concise yet engaging way, without excessive explanations, while ensuring it remains distinctive and memorable.
