In 1982, when they released the first book in the ‘Uma Aventura’ series—set in ‘Cidade’—Ana Maria Magalhães and Isabel Alçada had no idea that over 40 years later, they would still be telling stories about the twins Teresa and Luísa, along with Pedro, Chico, and João. And, of course, the dogs Caracol and Faial would not be forgotten.
‘Uma Aventura na Curva do Rio’ is the latest work by the duo, with whom our editorial team had the pleasure of speaking.
Topics discussed included the writing process, the importance of reading in children’s and young people’s lives, and the challenges of adolescence in an increasingly digital world.
‘Uma Aventura na Curva do Rio’ is the title of the new book. Who came up with the idea of setting it near a river bend?
Ana Maria Magalhães: It was my idea. We were unsure about the setting last year, but with so many rivers in Portugal, we thought, “Let’s choose a beautiful spot near a river bend,” which is plentiful here. When we settled on Golegã because of the horse fair, we looked at the rivers, finding the Tejo there and rediscovering the Almonda, a river I had forgotten about.
Isabel Alçada: On the back of our books, the title of the next one is always announced. When the publisher designs the cover, they want the upcoming book’s title ready. We look for suggestive titles and adapt to what we end up with [laughs].
Isabel shows the back of the book where the title of the upcoming adventure reads: ‘In Search of a Ghost Ship.’
Isabel: A friend of mine called and said, “I know you already have the next book completely planned out” [laughs loudly]. The ghost ship idea came to us because we thought it was amusing…
Ana: A ghost ship evokes a vivid image. I mentioned it at school, and the kids were stunned. “But don’t you like it?” They said, “You always set adventures in real places, but a ghost ship isn’t real.” So, we revised the concept, hence ‘In Search of the Ghost Ship.’ It will be in real locations while searching for something imaginary.
Have you ever chosen a title, only to find a better fit for the story later?
Isabel: No…
Ana: For example, if the next book is set in Lisbon, we can do anything. If the title is vague, like ‘A Secret Adventure,’ “secret” can mean anything and occur anywhere. We keep the options open to avoid constraints.
Isabel: We always visit the locations of our stories to gather images and information. The adventures are autobiographical, drawing from our experiences in those places.
After 68 books, is inspiration still readily available, or do you face moments of creative drought?
Ana: So far, inspiration hasn’t been lacking. For our adventure in Madeira, I’d never noticed the Desertas Islands before. We took a trip, and I told Isabel those islands had to be part of the story; we just didn’t know how yet.
We’ve tried to accelerate the pace of these books, but interestingly, many kids still enjoy the ones we wrote 40 years agoEverything moves so quickly today. Have you adapted your stories to keep pace?
Ana: We’ve tried to give these books a faster pace, but many kids continue to enjoy the older ones. For instance, ‘Uma Aventura na Cidade,’ where there are no mobile phones or computers. I usually recommend starting with more recent books, but apparently, many are fond of the classics.
We have agreements and disagreements every day! But even disagreements can be invigoratingHow is the writing process between the two of you? Have disagreements arisen?
Isabel: We have agreements and disagreements every day! [says, unable to stifle laughter] But even disagreements can be invigorating. Our approach differs. Whatever Ana says has its basis. Perhaps because we are teachers, we believe that when a child says something, there must be a reason for it.
Ana: Phrase things differently—what reasons do they have to say this?
Isabel: Exactly! A teacher can’t outright dismiss anything. Our dynamic thrives on this. If we truly dislike something, we abandon it and pursue another idea.
Ana: Once we were preparing a story, and I proposed kidnapping a child. Isabel had just become a grandmother…
Isabel: Absolutely not, that’s horrific! [laughs] We never write distressing stories; I’m amazed at how people can create terrible tales, constructing such narratives internally.
Realizing many began to enjoy reading because of our books is incredibly moving. It brings us immense joy knowing readers visit locations from our booksYou’ve ventured into social media. Were you expecting such a reaction on TikTok and Instagram?
Isabel: Initially, our books included postcards, and we sometimes received dozens weekly.
Ana: I once received 45 postcards in a day! Yet, I never imagined… When my granddaughter insisted we join social media, I thought some might watch. But seeing many people developed a love for reading through our books is profoundly moving. It’s heartening to know they visit the book locations. The public response has been an incredible surprise.
Isabel: I was very surprised… Admittedly, we needed Ana’s granddaughter to explain how to see audience reactions. We’re constantly working or focused on family. Social media requires significant time, which is not my preference. Though digital is intriguing, I dislike being tethered without knowing its direction.
When we appeared as a writing duo, many formed duos that didn’t work. We had four years of shared ideas. Without knowing, we created a mental understanding that eased our joint writingHow did you first meet?
Ana: It’s a delightful story. I started at a rural school and later moved to Lisbon, to a school in Olivais. Isabel appeared at the door, looking as if she knew nobody. We started talking and discovered we were both Portuguese and History interns. I asked, “What do we do now? Go to the administration?” She replied, “Let’s get a coffee!”
It could’ve amounted to nothing, but when we were tasked to work as a group, we completed our internship collaboratively, continuing as educators. This shared experience was pivotal, as when we emerged as a writing duo, many tried forming similar partnerships, often unsuccessfully. We had four years of shared ideas. Unbeknownst to us, we nurtured a mental camaraderie for seamless collaborative writing.
In a way, you two dismantled your egos.
Isabel: We have a joint ego and an individual one.
Ana: In writing, the book’s brilliance is what matters. If one of us finds herself invited to a sensational TV show, the other isn’t bothered, for it’s the book that shines.
Isabel: We never fail to mention each other in public appearances, never!
Ana: Our first TV appearance was amusing as we thought it’d always be straightforward. Some remarked, “You looked brilliant, Isabel not so much.” While others told Isabel, “You were great, Ana not so much.” It’ll always be like this.
Isabel: Those disinclined towards us will always find fault, often keeping it to themselves, which makes no difference.
We strive to simplify our books, editing for accessibility, clarity, and a coherent structure to convey content that young readers can grasp readilyOnce your books gained popularity, did colleagues rejoice or dismiss the accomplishments?
Isabel: Upon launching our books, we’d already written stories we shared with students. Fellow teachers, some very experienced, solicited our stories for their classes, which was encouraging.
Our peers are polite in the sense that if they dislike something, they mask it—either by silence or subtle comments. It’s regrettable when criticism stems from envy and serves as a gratuitous affront. If anyone resents our success, we avoid contention, distancing ourselves.
Ana: Some did attempt to belittle our work, labeling it as “easy.”
Isabel: Indeed, some said they were “essays.” But if it’s so easy, let them try as well. We invest considerable effort in simplifying our books, editing for accessibility, coherence, clarity, and logical structure—aimed at conveying content comprehensible to younger readers.
Ana: At times, our enthusiasm leads to books too verbose for children, rendering many chapters discarded. What captivates us in a place often holds little allure for a child or pre-teen.
When you sought to publish the series, three publishers rejected, and only the fourth accepted. This highlights how perceptions of a book can widely vary.
Isabel: It was different times… There were fewer publishers, less economic feasibility to take risks, across sectors. There was limited interest in Portuguese authors and lower investment in children’s literature. Ironically, one editor, unable to publish our book, advised us to try Caminho.
Ana: “There’s a small, newly established publisher with few authors; perhaps they’re interested,” said the editor. I wasn’t very hopeful, yet they accepted.
Is rejection easy to handle?
Isabel: We were young and very persistent. I often tell people: “If you’re disinclined, say so,” as silence wastes time, which I despise.
Ana: Authors feel disheartened by rejection, but persistence is necessary. We knew success was possible, though not to such an extent…
Sometimes people say, “If I don’t read high-quality literature, it’s not worthwhile.” That’s untrue! Let children start with comics if they like themHow do you perceive the relationship between children and literature today compared to when you started writing?
Isabel: Once, more children were reading, with schools promoting this fervently—a very positive influence. Later, we saw diversification, with many kids preferring short, illustrated books, affected by social media and digital usage.
This trend is worrying, as developing into a well-rounded reader involves progressively tackling larger, more complex books. We hoped for a predictable journey, complicated now with digital in everyday life.
A decline in interest towards reading, influenced by digital mediums, could be catastrophic for individual cognitive development.
Ana: But it’s a journey, not about claiming certain books or genres aren’t worth reading. Sometimes people say, “If I don’t read high-quality literature, it’s not worthwhile.” That’s untrue! Let children start with comics if they like them.
Isabel: It begins even before children can read, structured during the literacy learning phase. Listening first, then reading alone, aloud, and finally in silence. This trajectory is crucial.
Ana: Suggesting reading as a chore is absurd! I heard a university lecturer insist, “They must read this book in secondary school.” But I countered: “If it’s imposed, they might read nothing further.” Fine. Let them choose whether to read it. Otherwise, they’ll just skim it.
The series [‘Adolescence’] is well-made but misleads viewers into underestimating the severity of a teenager’s pathologyIsabel, you mentioned the digital’s influence on reading. As Netflix’s ‘Adolescence’ emerges, parents are more alert. Literature plays a critical role, potentially guiding youth.
Isabel: Literature empowers critical thinking and analysis. Such analysis cultivates personal opinions and interpretation. Despite being well-crafted, the series misguides by implying the teen’s issue lacks gravity. It portrays a structured, value-driven family, questioning why he diverges—a signal of a severe pathology, seen in his psychologist interactions. The internet can negatively affect but doesn’t solely push someone to extremes. Underlying factors contribute.
Ana: Nowadays, finding non-violent movies or series is challenging…
Isabel: Sure, if a teenager isolates, parents or guardians should encourage socializing, but this should start in childhood. It’s a long-term endeavor.
