Mary Ann Ordinario on Writing, Culture, and the Universal Power of Children’s Stories

 

Mary Ann Ordinario continues to enrich Philippine children’s literature with stories rooted in the culture and traditions of Mindanao. Over the years, she has authored 58 children’s books, many of which have earned recognition from both national and international award-giving bodies.

Her debut work, The Crying Trees, won the Grand Prize at the 2016 Samsung KidsTime Authors Award in Singapore. This was followed by other acclaimed titles: Malong, the Magic Cloth, which received the Best ASEAN Fiction Children’s Book Illustration Award at the first International Children’s Content Rights Fair (ICCRF) in Thailand; The Pencil Who Would Not Write, awarded First Prize at the Los Angeles International Indie Children’s Book Cover Award (2021); and Bulul, honored as Best Reads at the National Children’s Book Awards (2020/2021).

Her stories have reached a global audience, with translations in Nihongo, Bahasa Melayu, Mandarin, Thai, Russian, Korean, Nepali, Azerbaijani, Bahasa Indonesia, and other languages. Beyond writing, she is the founder of the ABC Educational Development Centre in Kidapawan City. She currently serves on the governing board of the National Book Development Board (NBDB) Philippines.

Before establishing herself as an author, Mary Ann worked as a broadcaster, scriptwriter, and Research Head at DXND–Notre Dame Broadcasting Corporation in Central Mindanao. She holds a Bachelor of Arts in Mass Communications from the Philippine Women’s University and pursued further training in Early Childhood Education at the University of the Philippines, Diliman.

In an online interview, she reflected on her writing journey, the themes that inspire her stories, and their universal appeal across cultures and generations.

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Yadu Karu (YK): What inspired you to start writing children’s books, and how has your journey as an author evolved over the years?

Mary Ann Ordinario (MAO): In the year 2000, there were no children’s books coming from Mindanao. There were no publishers, and stories about our culture were rare. At that time, I had built a school for children, and I was teaching them.

One day, out of the blue, one of my students said: “Teacher Ann, I’m tired of fairy tales like Cinderella, Beauty and the Beast, Sleeping Beauty… Can we have another story, Teacher? Something about our place, Mindanao?”

Imagine a five-year-old child saying those words to me. He was right. That moment planted the seed for my very first story, The Crying Trees. It tells the story of rubber trees weeping sap like tears as people cut them down, alongside the durian, a famous (and famously smelly) fruit found in Asian countries.

The first exposure of my books happened at the International Singapore Book Fair, where international publishers noticed them and wanted to buy the publishing rights. The Crying Trees went on to win the Samsung KidsTime Authors Award Grand Prize at the Asian Festival of Children’s Content in Singapore. The book was a huge success not only in the Philippines but also in other Asian countries.

That experience made me realize that Mindanao is truly rich with tales, colors, and wisdom that deserve to be heard.

YK: How do you choose the themes or lessons you want to share in your stories for children?

MAO: For me, it always starts with a question: What does this child need today? In an increasingly complex world, children face challenges that previous generations never did—social media pressures, environmental anxiety, and exposure to news they cannot fully understand.

I aim to write stories that provide guidance without preaching. For instance, a story about sharing and kindness can be set in a magical world of talking animals, making the lesson accessible and memorable. A story about grief can be told through metaphors, like a tree losing its leaves, allowing a child to process emotions safely.

YK: Do you draw inspiration from your own childhood or from experiences as a parent or teacher?

MAO: I compose stories based on my observations and experiences. I strive to remain receptive to the events and developments happening around me, often drawing inspiration from my personal experiences and daily interactions with others.

YK: Several of your books have been translated into different languages. How does it feel to know that children from other countries are reading your stories?

MAO: I feel deep gratitude to God. It’s magical to see my stories travel across cultures. I’m happy that they create a sense of connection with children all over the world. I’m thankful that I was able to write stories that carry important messages to help children in their way of thinking and understanding.

YK: What challenges or surprises have you encountered when your works are translated?

MAO: One challenge is the price of publishing rights. There is a standard buying price in the international market, and you have to compete with that.

YK: Have you ever collaborated with translators to ensure your message or tone stays true to the original version?

MAO: Yes. My approval is needed for the book layout and presentation before it is published or printed in another country. Sometimes words must be deleted, or certain art elements—like animals or colors—removed because they are not acceptable in that culture.

YK: How do you make sure your stories remain relatable to Filipino children while also appealing to readers abroad?

MAO: By reflecting local values using local settings, people, folklore, myths, and beliefs, while ensuring the values in the story remain universal. Themes like love, friendship, hope, and courage resonate everywhere.

YK: What do you think makes a children’s story timeless or universal, regardless of language or culture?

MAO: There should be truth in the story you write. Take Winnie the Pooh, for example. It’s about enduring friendship and love—values that endure everywhere, regardless of country, culture, or beliefs.

YK: How do you hope your stories influence children, both in the Philippines and overseas?

MAO: I hope they help shape children’s values and morals. Through my stories, children should learn right from wrong and absorb important values like kindness, courage, and empathy. That is what the world needs now more than ever.

YK: Among your books, which one is closest to your heart, and why?

MAO: The Crying Trees. It was my first book and my first international award. Over time, I realized the story felt deeply familiar—resembling the story of Jesus Christ. The Great Grandfather Tree, with his boundless love and selflessness, sacrificed his life to save all the trees in the forest. His act of giving is a reminder of Christ’s ultimate sacrifice for humanity, a symbol of compassion and everlasting life.

YK: What advice would you give aspiring Filipino writers who want their stories to reach an international audience?

MAO: Choose a universal theme. Promote your book on global digital platforms—just keep posting. And when you write, be sensitive to settings, characters, or names that might offend other countries.

YK: Are there new stories or projects you’re currently working on that readers can look forward to?

MAO: Yes, I have six upcoming books. One is a government project to be released in March 2026, about natural disasters. I also have a series of four books on different topics that guide children toward becoming better adults.