What inspired you to write THIS LITTLE PIGGY: AN OWNER’S MANUAL?

There were a lot of different inspirations for this book as it evolved. The idea first sparked when I found the word “hogwash” funny. I was just minding my own business, doodling on the couch when I heard someone on whatever show my family was watching say “hogwash,” and I got images in my head of kids trying to bathe a pig. The first version of my story was pretty much a long-running (and probably annoying) joke of having to bathe and immediately re-bathe, over and over, a pig named Snowflake. I had originally intended to title my project HOGWASH, but I found a couple of other children’s books with that title. Still, I finished creating the story, and my agent and I submitted it as THE ULTIMATE PIG CARE HANDBOOK. Eventually, it became THIS LITTLE PIGGY: AN OWNER’S MANUAL. 

In your story, Brother and Sister's mother is quite obsessive about her garden, and is not at all keen on them getting a pet pig. Any similar childhood experiences?
 
My own mother was equally obsessive and overly-fond of her garden, so much so that I used to tell her I hated her flowers and didn’t want to have to look at them. She (jokingly, I think) threatened to ground me once if I didn’t come look at her garden, so she partly inspired the mom-character in the book. (Incidentally, she still makes me look at her garden when I visit her, but I don’t mind so much anymore.) 

I also desperately wanted a pet when I was a kid and embarked on a many-years-long campaign of pestering my dad to let me get a puppy. When I turned 15, I changed tactics and my friend Rozz and I conspired. She got me a kitten for my birthday and I begged and made sad faces until my dad gave in and said I could keep him. 

In your illustrations, you chose to depict a blended family. Any particular reason why? 

I wanted to depict a blended family where two single adults with children come together. Brother and Sister are step-siblings, with the emphasis on siblings. There is also a dad in This Little Piggy’s family, he just didn’t make it into the final version, as Mom is the one they ultimately have to convince.

Why did you decide to tell the story using a comic-book style for a format, and was this type of book fun to create?

I think stories aimed at kids who are emerging or struggling readers work really well in a hybrid chapter book/graphic novel format. Speech bubbles help to break up the text into smaller blocks so it’s not as daunting to read. The pictures help them to decode the words and also provide a lot of humor and interest to hold their attention. Aladdin Pix books are part chapter book, part graphic novel, and part picture book. 

Besides, comic books are just cool and even cooler to create. 

As both the writer and the illustrator of this book, please share your process. 

For this story, I wrote the words first, then sketched the illustrations, but I made art notes for myself while writing. More recently, on a new project, I’ve simultaneously written the text and drew rough thumbnail sketches, and that’s been a really fun and productive way for me to work. 

Did you do a lot of research about pigs for this project?

I researched pigs because I wanted to include a few fun facts in the text, but the drawings of Snowflake came from my head with no visual reference. I meant for him to look like a child’s drawing. I also wanted the original version to appear like it was a how-to manual written by kids for other kids. I had painted lined paper, added the characters with a stick-figure feel to them, and doodled all over the pages. But that ended up being a bit busy.

I still drew the kids and Snowflake to be reminiscent of stick figures. And as the narrator of the book, I talk directly to the kids as if advising them on how to care for their pet pig. (Unfortunately, I don't always give them the best advice.)

What did you love about working with Karen and Laura, your editor and art director, throughout this project?

Karen and Laura are oodles of fun to work with! We had a few conference calls with all three of us to go over the art and text together as the book was developing, and my cheeks hurt from laughing so much. Plus, they are both brilliantly creative and come up with fantastic ideas. I couldn’t be happier with the outcome. 

When revising as per the suggestions of your agent, editor, and art director, what were some of the challenges? But why are you glad you made those changes? 

Adriann is a gifted editorial agent and is always super insightful and sharp. She suggested I cut short the running gag of the never-ending bath, and impose more of a narrative. So I went back to the drawing board, and included other kinds of pig care into the plot. The story ended with the kids doing a great job caring for him, and then presenting Snowflake to mom. (Only the house, garden, and yard are pretty much destroyed.) So Adriann's suggestions allowed me to further explore the family-pet relationship of the kids and Snowflake.

The biggest change I made came from Karen, my editor's, suggestion. After she acquired the project, she wanted me to turn the original story, a picture book, into a chapter book. So I had to start almost from scratch to expand the story. I really love the new version and I’ve recently discovered that a lot of my unpublished picture books really need to be chapter books, too. 

On the design end, Laura, my art director, asked me to redesign sister's look. Originally, Sister was wearing a purple dress with a strawberry on it. Her hair was similar, wavy and flowed horizontally, but it wasn’t pulled back from her face. She also wore big, red-rimmed glasses. Laura thought she looked a bit too granny-ish. She asked me to re-draw Sister wearing shorts like her brother. I  mulled over her suggestion, and opted to dress Sister in clam-diggers, as they were one of my favorite things to wear when I was a kid. I removed Sister's glasses and tied up her hair, and I think she’s absolutely adorable now.

When you received your box of author copies, what did you love about the final product? 

As of this writing, I haven't received my author copies yet, but my lovely and thoughtful editor, Karen Nagel, surprised me with two advance final copies, tied in a pretty red ribbon. I was thrilled! I think Aladdin makes beautiful books. I was giddy over the finishing details: spot gloss on the front and back paper-over-board cover, beautiful red end pages, and high quality interior pages. It’s a chapter book but it’s picture book quality. It will endure many readings and after-reading hugs. (Or am I the only one who hugs their books?) 

What kind of fun activities do you have in store for your book launch and school visits?

I live in a small town in Canada, so I haven’t really planned anything....yet. I did recently visit a school where I gave four presentations. I read from THIS LITTLE PIGGY and we did a few fun activities, including making our own Pet Wish-List, like brother does in the book. I’m pretty shy and get some serious stage fright, so I find in-person and even online visits a bit scary, but I am trying to be more outgoing and social these days. The kids are just too much fun.

What do you hope kids who read this book will carry away with them?

That being yourself is what matters most.

Brother and Sister want to adopt Snowflake as a member of the family. They think Mom will accept Snowflake only if he is well-groomed, eats his veggies, stays out of the compost, and wins a prize at the fair. Snowflake isn’t the perfect pig the kids thought they needed him to be, but they love him anyway, and are determined to keep him. But they have to convince mom. In the end, Snowflake is just being himself (chasing after some pesky crows eating Mom’s garden). He manages to win over Mom. She thinks, like Brother and Sister, that he is SOME pig. 

Oh, and I also hope kids will agree with Snowflake that eating jelly doughnuts is awesome (just not stale ones from the compost)!

What did you and Libby enjoy about creating the book trailer for RACE CAR DREAMS?  

We had such fun bringing Sharon’s words and Dave Mottram’s art together in the video to complement the awesome book they created.

On a personal note, this project was special because it was the first collaboration for my daughter, Libby, and I. We each have a different skill set, so it was amazing for us to be able to bring them both together.

How did you snag the assignment to create the book-trailer for RACE CAR DREAMS? 

I've been creating author websites for about seven years now (Sharon is a client), and Libby has been editing personal videos since middle school.

When Sharon asked if I created book trailers, I said, “I don't, but I know someone who is great with video…my daughter.”

We were thrilled that Sharon was open to having us take on the project.  

And we are excited that we have already been hired to create another trailer for Lisa Wheeler’s upcoming release The Christmas Boot that is illustrated by the very talented Jerry Pinkney!

What was your creative process in creating the book trailer?

Sharon supplied me a PDF of Race Car Dreams to use to create her webpage. I was able to pull artwork from this to create the trailer.

Sharon also gave us a script of sorts to work from. This included the text that appears in the video.

To create the animations it was necessary to pull images from the book that supported the script. Photoshop was used to isolate parts of images that would later ‘move’ in the video. In some cases this would leave a void in the art. I would then need to use Photoshop-manipulation to fill in the void.

The next steps were all Libby’s. She used Final Cut Pro to turn all these bits and pieces into the final video. Music and sound were merged with the images, and transitions were added.

Though the trailer is only 50 seconds long, how long did it take you to create it? Were there any bumps in the road?

Because this was our first collaboration there was a bit of a learning curve and just like writing there were revisions that needed to be made.

I would say it took us a couple of weeks to find our footing.  

Funny that you mention bumps in the road. We literally had one of those. In the scene where the race car speeds down the road, the road is not a straight line. This curve threw us a curve! Making the car move smoothly along the path was tricky and was one of the elements that took us the longest.

The music for the book trailer perfectly suits the tone of Sharon's sweet bedtime story. How did you choose it?

The music that is selected for videos needs to be in the public domain, so Libby started there. She then narrowed her search to terms like; kid friendly music, music for children. She sampled songs until she found the perfect fit.

After reading the text for RACE CAR DREAMS, what did you think of the manuscript and what illustrative vision did you have for it?

The rhyme and rhythm of Sharon Chriscoe’s text immediately brought out the essence of a classic nighttime read. We were all captivated by the little race car character and how the story follows him from the end of his race day through his nightly routine and on into dreamland. When searching for an illustrator, we knew it would be important to find someone who could bring the character to life in a way that felt human, and we also wanted someone who could capture the dreamy, magical light of the nighttime atmosphere.
 
How did Dave's portfolio come to your attention and why did you think his work would marry well with Sharon's manuscript?

Finding Dave is an example of how I tend to fall down rabbit holes when looking for picture book illustrators. I really like the search and discovery process. I came across his work on Dribbble, which is a social media site for illustrators and designers. Although at the time he didn’t have examples of anthropomorphized machinery in his portfolio, he had everything we were looking for that we could pick out in various pieces of his: amazing machinery, cute character designs (with irresistible eyes!), and a dreamy nightscape. We had faith that with art direction he would be able to bring all of those things together in one book—and he did!
 
Explain what factors came to play when you were deciding how to juxtapose Sharon's text with Dave's illustrations?

Working with Sharon’s editor at the time, Marlo Scrimizzi, we figured out most text placement in the early stages of development and kept fluid during rough sketches. With rhyming text there are some limitations to layout because certain lines need to stay together. But I like to create opportunities for the text to really mingle with the art, like on the aerial view of the winding road, and I’m fortunate that the team liked it. That particular spread changed a lot from thumbnail to final sketch. Initially Dave interpreted it as two separate pages--one just a regular view of Race Car coming towards the wash and one of Race Car going through the wash. In order to establish a better transition, and vary the perspective so we could see more of the world Race Car lived in, I suggested that he show a birds-eye view of where he was going from and to. Dave took that direction and delivered it better than we ever could have imagined. I added the text on the curve of the road to help keep the motion moving forward.
 
What about Dave's work ethic made the process of creating this book easier to accomplish?

Dave is a real pro and dynamite with character development, bringing out emotional variety and personality to all of them. (Fun fact: it was his idea to have Race Car have “2” painted on his side. Brilliant!) Going into this project we knew the challenge was going to be working more on backgrounds and scenery, though, since this was one of his first picture books. He ended up doing a great job building up scenes. He was a great collaborator, an efficient problem-solver, and flexible to art direction, which helped us bring out the best in the book as a whole.
 
Can you tell us, where are you in the planning process for RACE CAR DREAMS's companion, BULLDOZER DREAMS? 

BULLDOZER DREAMS has kicked into gear. We are anxiously awaiting the sketches from the incredibly talented John Joven. The book will feel similar in style to RACE CAR DREAMS, but John definitely has his own voice and has added his own artistic twist and flare to the project that has helped distinguish them.

PUBLISHER'S BLURB:​
​After a day at the track of zipping and zooming, a race car is tired and ready for bed. He washes his rims, fills his tummy with oil, and chooses a book that is all about speed. All toasty and warm, he drifts off to sleep, he shifts into gear . . . and dreams of the race!

RACE CAR DREAMS is a delightful, bedtime tale written by Sharon Chriscoe, illustrated by Dave Mottram and published by Running Press Kids (September 2016).

When you "inherited" RACE CAR DREAMS from Marlo Scrimizzi, what was your first impression of Sharon's bedtime tale?

I simply fell in love with the book at first sight! I remember that my first week in the office, an advance copy was placed on my desk and I couldn’t stop smiling at the story and the illustrations. The premise of Sharon’s book is so simple yet so delightful and Dave’s artwork really helps her text come to life.
 
At what point in the publication process did you take over the steering wheel for RACE CAR DREAMS?

I really came in at the very tail end—Marlo handled everything from the acquisition to the editing to working with Teresa on the art direction. The book was already at the printer once I arrived, but I did see an advance copy my first week at RP Kids and was able to send a copy to Sharon that week as well. Since then, Sharon and I have been working on another book with a similar storyline, and RACE CAR DREAMS clearly paved the way for our upcoming book and has helped me make a lot of my editorial suggestions for that text.
 
In your opinion, why should an author like Sharon not worry to much when her editor changes?

It can be a scary and apprehensive time with your editor leaves the company you are publishing with, and I know that many authors panic a little bit, hoping that their new editor will understand their vision as much as their acquiring editor did. But even though individual editors have their own style of working, we all essentially perform the same functions and follow similar guidelines in how we take a book from acquisition and manuscript to finished product. Incoming editors want to make sure that existing authors feel valued and that their work will be in good hands. In Sharon’s case here, RACE CAR DREAMS was essentially finished, but she did have another book lined up with RP Kids, so I wanted to make sure we connected early on to build our own relationship so we could begin the creative and editorial process. Changes in editors simply requires patience and understanding on both sides—from the author and from the new editor. I hope Sharon felt that the transition was a smooth one.
 
Once you got caught up to speed, how excited were you to see RACE CAR DREAMS achieve the finish line of going to press?

I wish I could even take credit in seeing RACE CAR DREAMS off to press, but it was already there when I arrived! But it has been exciting to see the early reception we are getting for the book (from our sales team and customers) and to watch Sharon gear up for her publicity campaign with our team.
 
Tell us how the spark for BULLDOZER DREAMS, a companion book for RACE CAR DREAMS, came about?

My publisher and I were discussing the follow-up to RACE CAR DREAMS one day in her office and were trying to brainstorm different types of machinery or vehicles that we could use for a second story. Sharon had come up with one great idea but we felt it maybe wasn’t quite strong enough for the second book. So the publisher and I were thinking about what sorts of vehicles young kids are fascinated with and we instantly went to construction vehicles. And the bulldozer just sort of formed out of that (complete with his orange cone lovey!). I shared the idea with Sharon who took it and developed a funny and playful script, which is now in the process of being illustrated by John Joven.

What do you love about Dave Mottram's illustrative style, especially the way he illustrates machinery? 

Dave Mottram combines both excellent draftsmanship with a strong ability to create anthropomorphic vehicles. He also uses very intentional, warm palettes that are very appealing to readers.

Do tell, how did the art director/book designer from Running Press come to contact you about Dave illustrating RACE CAR DREAMS? 

In this case, the AD had seen Dave’s work and realizing he’d be a good fit for this text, sent it directly to him. He then forwarded me the text, and I talked with Dave about the project and then negotiated the contract for him with Running Press.

Even though RACE CAR DREAMS was Dave's first picture-book, why were you confident he could do it?

That’s a good question, as I had not seen any full scenes of his work, so it was a step of faith of sorts, but I really could sense that he was capable of it, and once he started to deliver sketches and artwork, it was absolutely apparent that he’s fully capable of creating scenes and carrying a character through a range of emotions and various scenes and perspectives. He’s really quite gifted.

What do you think of the finished, published project, RACE CAR DREAMS?

I love how the little race car has such personality and energy and evokes such a range of emotion. I am absolutely thrilled with the overall quality of the artwork and the storytelling that Dave achieved.

Now that Dave has illustrated RACE CAR DREAMS, what's next on the boiler?

Actually, Dave had created an adorable tug boat piece of art for his portfolio, and that image caught the eye of an editor at Simon & Schuster who had a little tug text that he has just illustrated. And, given the amazing collaboration Running Press had with Dave, he was just sent  another “vehicle” book he is about to sign up, so watch out for it!

Anne Moore Armstrong joined the Bright Literary Agency in 2014 from a publishing background of over twenty years as a children's book designer at Little Brown and Candlewick Press where she gave art direction to countless illustrators as she designed picture books, young fiction and YA novels. Now as a Bright USA agent, Anne develops the careers of outstanding children's illustrators and supports publishing clients with a wide array of artistic styles. Best known books she's been instrumental in getting published are Jon Klassen's NY Times Best Illustrated Book, HOUSE HELP UP BY TREES (published by Candlewick Press) and THE BEAR AND THE PIANO, written and illustrated by the recent Waterstone Picture Book Award winner, David Litchfield, whom she represents. Anne can be found online Tweeting @childbookart.

Describe your creative process for RACE CAR DREAMS.

Once I read the manuscript, I started sketching out all the different possible expressions and views of our little car.
I try to do as many versions of the character as I can. I ended up doing quite a few and then we narrowed it down to the race car we were happy with. The other thing I had to really think about was the world race car lived in. Were there people? What other objects needed to be brought to life? Since we had this car with personality we needed to make characters out of the gas pumps, garage tools and things like that. Also, the little race car follows a road throughout his day. So I needed to make sure I had these important landmarks thought through. For example, the race track was a key part of his day. The creative process for this project involved sketching and mapping out all of these things. 

What inspired your color palette for this project?

I was inspired by race car colors of the 1960’s and 70’s. In particular the color of the car. The blue/green color worked for us in keeping away from the red cars and trucks that are commonly used. Also, I was inspired by the colors you see when driving home at dusk or night. Traffic lights on a dark blue night scene. 

Did you have an especially fun time envisioning a certain scene in the book?

Yes, the last scene when Race Car is dreaming of finishing first. Up until that point in the story, everything was grounded. It was fun to paint a dreamy, loose scene of the car winning it all. 

What was it like working with art director/book designer, Teresa Bonaddio, on this project?

The art director was really great to work with. I was chosen for this job based on all the little tractor paintings I had done. So, the direction was to follow that type of colorful, textured work. I enjoyed it because it forced me to step out of my comfort zone. I needed to paint more scenes and environments, which I should do more of.

How do you feel about the finished project of RACE CAR DREAMS? What do you think of the book trailer?
​
I was happy with it. I thought the book trailer was great. The overhead scene of the car driving was one of my favorites.

What drew you to Sharon Chriscoe's manuscript, RACE CAR DREAMS?

The first thing I noticed was that I couldn’t WAIT to read it out loud to my office. Multiple times. While exclaiming “Oh my gosh this is so cute” on each reading. It is! It’s so darn cute! I LOVE the idea of this animate car having a bath (car wash), book (all about speed! Cheetahs!), and dreams, just like we do. Cars are just plain fun. Sharon got the meter and rhyme beautifully, which is incredibly difficult (and amazingly rare in my inbox). I couldn’t stop thinking about it, talking about it—that’s how I know I really love something. 

What do you love about working with Sharon as a client?

Sharon, first of all, is a big ball of sunshine. Every time I hear her voice (which is a lot! I do plenty of work over the phone), I just feel great. She is so pleasant, upbeat, hardworking, and creative. I love that I can chat with her about ideas and she’ll not only be open to them, she’ll take them and run with them. 

Why did you decide to send the manuscript to Running Press editor, Marlo Scrimizzi?

I met Marlo in Philadelphia when I was there to visit my aunt, who lives nearby. Over an incredibly cool lunch (there was kale involved, but in a great way!) I grew to really appreciate Marlo’s vision for picture books, her warmth and intelligence. She’d encouraged me to send anything I was excited about, and Sharon’s work definitely applied! 

What did you think when you found out Dave Mottram would be the book's illustrator, and how do you feel about the final art?

I was so excited! We saw all these gorgeous sketches on his site, and I just knew he’d make Race Car into a car with real life and expression, which was my top priority. That said, he exceeded all of my expectations. I LOVE the way the wrench is almost like a teddy bear for Race Car, and how the moon smiles down on them. It’s beautiful. It’s the kind of book I’d think about framing for wall art. I just love the idea of looking at it all the time. 

Tell us about BULLDOZER DREAMS, the companion book for RACE CAR DREAMS to be published by Running Press in 2017, and its editor, Julie Matysik.

I was sad, of course, to hear Marlo was leaving Running Press Kids soon after RACE CAR DREAMS had gone to press—though she is, I’m sure, doing wonderful things in her new role. (She’s just that kind of person; she’ll be brilliant wherever she is.) That said, when I heard it was Julie taking over, I actually sent an email with (direct quote) I’M SO GLAD IT’S YOU. I may have actually used all caps. I’d corresponded with her in the past and always appreciated her intelligence and enthusiasm.

I believe it was Julie who came up with the idea for BULLDOZER DREAMS. We loved the image of a bulldozer making a playground (what’s more fun than a playground?) and getting tired having a long day making all of this fun happen. 

How did you turn RACE CAR DREAMS into a reality--from idea to completed manuscript?

A couple years ago while I was reading the super-talented Jane Yolen’s HOW DO DINOSAURS SAY GOODNIGHT? for around the tenth time, I found myself wanting my very own unique twist on a bedtime story. After much brainstorming, and some trial and error, it hit me . . . full throttle! A race car! Kids love race cars and I had never read about a race car getting ready for bed. I spent the next few weeks in my mobile office drafting those first words. 

Yep. That’s right, my office is not only mobile but it’s the passenger seat of a bread truck in which I work alongside my super supportive husband on our bread route. 

It took almost another year of tweaking the story, revision after revision, draft after draft (nearly 50 in total!) before Race Car became a book that was submission worthy. And I am so thankful to my wonderful critique partners and the SCBWI Blueboard members that encouraged me and helped me to get him all polished and shined.    

How did this manuscript help you snag your agent and what's it been like working with her?

I first submitted to my amazing agent, Jessica Sinsheimer through a referral. Once I hit Send on RACE CAR DREAMS, it all happened very fast. Jessica read it and immediately asked to see more of my work, which I excitedly sent along right away. At race track speed in the world of publishing, Jessica emailed me within three days asking for a phone call.

Our call took place a few days later and Jessica and I had an immediate connection. She was so wonderful and fun to talk with, and she really loved RACE CAR DREAMS! I knew right then that she was the agent for me.

Working with Jessica this past year and a half has been fabulous! She’s a very hands-on agent who cares about her clients, gives fantastic editorial advice, and has encouraged me as a writer to grow, try new ideas, and even stretch into new genres. Not only have I gained a wonderful agent, I have also gained a terrific friend. 

What was it like working with your editor at Running Press? 

Working with Marlo Scrimizzi on RACE CAR DREAMS was a blast! She’s such a lovely person! Her vision for RACE CAR DREAMS was wonderful and her editorial suggestions were brilliant. Within no time, we had RACE CAR at his top speed and ready to hand off to the illustrator. 

I was sad to hear she was leaving, but happy for her in her new role at the same time. Marlo was wonderful in reassuring me that the new editor was fantastic and that Race Car and myself would be in great hands. And I did get to say goodbye to her over the phone, which was really nice. 

What went through your mind when your editor changed, but how did it all work out?

One word--PANIC! A million thoughts rushed through my head. What if the new editor didn’t like me? What if she didn’t like my writing? Thankfully, I had my agent, my family, and my friends to calm me and tell me that everything was going to be okay. 

And guess what! It was! My new editor, Julie Matysik, has been a delight to work with. She is smart and fun and all sorts of awesome! She vroomed right up to the starting line and loved RACE CAR as much as all of us! And she wasted no time in getting book two underway. In fact, she was a key person in deciding what book two would be about. Julie and my publisher had a fun discussion about what types of vehicles would make for a great book two. They sent me a couple of titles and BULLDOZER DREAMS was one of them. When I read that title, my instant thoughts were “A Bulldozer! YES! I want to do that!” Now BULLDOZER DREAMS is with the illustrator—I can hardly wait to see the proofs! 

I consider myself to be a very lucky author in having the privilege to work with both of these amazingly talented, great editors.

When you first saw the illustrations for RACE CAR DREAMS, how did it make you feel? 

Awestruck, to say the least. Seeing the vivid expressions of Race Car, his library inside a tree, his toy wrench, the warm shades of blue and purple, and the adorable teal color with the bold orange striping and number two of Race Car was nothing short of outstanding illustrating. He is just the most adorable little car I’ve ever seen. I couldn’t be happier!

Tell us about your little toy car that will be used for future RACE CAR DREAMS book events.

Thank you so much for asking about him! Last year when Running Press Kids bought RACE CAR DREAMS, I mentioned to my husband about getting a wooden cut out of a car and painting it to look like Race Car for photo opts for book events. Well . . . my husband loved the idea but he actually thought we should take it up a few octane notches. He suggested that we find a real battery operated car and have it painted to look like Race Car. And that’s exactly what we did!
 
We found a vintage 1970’s Beetle. It was in need of a little work and at first he didn’t even run. Thank goodness, my husband is quite handy when it comes to working on pretty much anything because the little car actually needing rewiring and new pedals installed. Once he finally was fully operational with his engine, headlights, and a horn! it was time to get him off to the paint shop. We can’t wait to share him with the kids at the events and hope that they love him as much as we do. You can see pictures of his transformation on my blog.