What would you do if you had the chance to live forever? Would you take it? Natalie Babbitt has had readers pondering this question since the release of her beloved novel TUCK EVERLASTING in 1975. I was lucky enough to meet Natalie Babbitt more than 15 years ago and have her sign my copy. Now I’m lucky to be interviewing K. Woodman-Maynard, who recently adapted this classic. I caught up with KWM to learn more:
Me: Congratulations on your touching graphic novel adaptation of Natalie Babbitt’s classic TUCK EVERLASTING (Farrar Straus Giroux, Sept. 2025)! It’s faithful to the original but also brings new life to the story that I’m sure will enchant fans and new readers alike. What inspired you to create this book?
KWM: My publisher reached out to me after seeing my graphic novel adaptation of The Great Gatsby (Candlewick Press). However, I wouldn’t adapt a book that I didn’t love and where I didn’t feel like I could genuinely add something to it. Tuck Everlasting has always spoken to me very deeply. The elements that make the book so powerful—the way Natalie Babbitt writes about nature, the symbolism, the characters, and the deceptively simple central question—are all things that translate especially well visually. I felt the story could be experienced in a new way through art without losing what makes it so beloved.
Me: What were some of the challenges in adapting such a beloved novel?
KWM: The biggest challenge was condensing the text while staying true to the original. I take adaptations very seriously and try to be as faithful as possible, though that doesn’t always mean being literal. Sometimes pacing or structure needs to shift slightly to work in a graphic novel. My main goal was always to preserve the emotional core of the book and let the art do as much of the storytelling as possible. But it’s always a bit painful to cut out text that I love since the original author’s words so much.
Me: Your art for the book is stunning. Can you talk about your process? I’m particularly interested in how you came up with the evocative shifting color schemes.
KWM: I work in a lot of iterations, starting very loosely and gradually refining the work, and switching back and forth between digital and traditional mediums. I create the line art digitally in Clip Studio Paint, then print it on watercolor paper and paint everything by hand. After that, I scan the pages back in and add lettering and panel borders digitally. It’s not the most streamlined process, but I enjoy it.
Color is a big storytelling tool for me. I limit the palette for each scene and focus more on emotional accuracy than realism. The colors shift depending on mood, and certain characters—like the Man in the Yellow Suit—required specific colors to appear whenever they were present. I also wanted nature to be especially vibrant, which is how nature feels to me, so I use more saturated colors there.
Me: How did you get into creating graphic novels for young readers?
KWM: I’ve always been drawn to visual storytelling, even as a little kid I would draw stories and comics. I student animation in college and then discovered graphic novels which combine everything I love about art and writing in a way that just works with how my brain works. Creating for young readers feels especially meaningful because kids are incredibly thoughtful readers and the graphic novel format allows for a lot of nuance without over explaining. I also found so much comfort from books as a kid (and as an adult) and I hope my books do the same for others.
Me: Any idea what you would do if you came across such a spring yourself?
KWM: I’d like to think I’d walk away. What the book makes clear is that living forever isn’t the same as living well, and that feels even truer to me now than it did when I first read it as a kid. I think I’d have a harder time denying the spring to a loved one was dying if it meant the spring could save them. I often wonder how Winnie handled that responsibility living her life right next to the spring.
Me: Can you share what you’re working on next?
KWM: I’m starting the script process of an original middle graphic novel that I’m very excited about. I also work as a graphic novel coach—helping comic creators find clarity and build momentum to tell stories that matter to them.
Me: Thank you so much for chatting, K. Wishing your book much success!
To learn more, please go to K. Woodman-Maynard.
K. Woodman-Maynard
Natalie Babbitt. Photo by Jesse Zellner
