Shané Oosthuizen

And I did it on the cover too, because I thought if it was on a page, people could rip it out and be like, well, it was never yours.

It was like, no, the cover.

Wow, you had no trust.

Yeah.

You should sort of return to them, I guess.

I think it's really special as well, that kind of – especially these sorts of books because, I mean, some of them are kind of technically written for kids but ostensibly also adults.

And I think it's a bit of like that experience of watching a Disney movie as an adult versus reading it, obviously on a much deeper level, but versus watching it as a child.

Like you're kind of reading it through your child's eyes and just taking that kind of excitement from it.

But then growing up you are – it is – it's strange like growing up with the story but the story technically stays the same but it means so much and it means –

all these different things to you as you're experiencing it again through new eyes with your new experiences.

It's so special.

I think it's like, especially because I feel like most of us probably came into the industry because we were readers and we wanted to work around books.

Like I think when I found out that Christopher Perlini was 19 when he wrote Eragon, I was like, what?

This is a job.

I could do that.

That's not that far away.

10 years, I could do it.

And then obviously that led to me wanting to kind of be involved in stories in some way, even though I didn't write a book.

But I do get to work on them, which is exciting.

But I think similarly as well, just the way those like little like fortuitous moments that happen because Murtaugh, which was like the next in that kind of series, which also was about a decade after the final book in the series that came out as well.