Can We Fix Our World Through Children's Stories? An Interview with Author Julie Lavender Le Doux

You can watch the full interview on YouTube.

MA: Hey everyone! I’m thrilled to introduce Julie Lavender Le Doux to discuss The Amazing’s Series: Constance and the Battle For Wonder. Julie, can you share a bit about yourself and what inspired this children’s book series?

JL: This journey began when my husband and I decided to homeschool, and then we moved out of California to New England. We saw certain influences affecting education, culture, media, and community in California. We also had a very strategic view of parenting and education, and we asked ourselves: How can we preserve and inspire the souls of our kids in the midst of deepening technocracy and institutional tyranny?

So, we started home educating our kids with the aim of helping them grow into strong, brave, and independent thinkers. We now have three children we homeschooled through high school, who are all successful adults. Funnily enough, my oldest son just walked in—he says he’s proof of concept! It’s interesting that this out-of-the-mainstream family experience wound up sparking the story of a very flawed but rather amazing family that deals with some of the most daunting and dark issues of their time—and ours! Their story involves navigating through some of the most painful things any family can face.

MA: That’s a powerful backstory. Could you tell us how the concept of Constance and the Battle for Wonder developed and what inspired the storyline?

JL: Sure. Constance Faultsom and her family are the only people in the entire town of Graystone Heights who can see color. Everyone else is colorblind because they conform to something called “The Prescribed Order.” The Elders of The Order are threatened by anyone who can see color because people who can see color are not far from the supernatural realm of Wonder—a realm of creativity and empowerment that challenges The Prescribed Order Operation—The POO! That’s why Constance and her family are a grave threat to the shadowy Elders of The Order, who are desperate to control the Faultsoms and attempt to do so by targeting their daughter, Constance.

It all begins when Constance begs her parents to let her attend the local school, aka “The Grown-Up Factory,” hoping it might hold something exciting beyond her family’s world. Her parents give her a chance, unaware that dark forces hide behind the school's façade, aiming to control the family that won’t conform. I think many can relate to the cost of standing apart and the pressures our children face today, so that theme really came alive in the book.

MA: There's so much to unpack there, and I love what you're doing. It sounds like even before 2020, which was a wake-up call for many, you sensed these darker forces, especially around your children. Was there a specific moment when you realized this, and what led you to think this way?

JL: I've always had a “true north” faith that has made me aware of “being in the world but not of it,” so I’ve been constantly watching and paying attention. But a significant moment in our family’s journey of awareness occurred when Michael Eisner became head of Disney, and I saw how the company changed. Living in Southern California, Disneyland was everywhere; kids were immersed in Disney culture, merchandise, and movies. I could see how the brand was darkening. I remembered how deeply Disney impacted my own imagination as a child—capturing a precious place in my soul. I understood the “sacred space” of early childhood awe and wonder and how carefully that must be guarded. Realizing this and discerning what was happening with Disney’s programming, I couldn’t allow them to hold sway over my children’s imaginations in the same way they had over mine.

We became that “weird” family that stopped consuming most of popular media. We were determined to preserve their souls and imaginations as we all learned to be more discerning in our choices about the media and cultural influences we were being offered.

MA: And how did these themes make their way into your books? It seems like there’s more than just a story here—it’s about countering specific narratives.

JL: As the years went by, I watched how media, governmental and cultural influences, and education systems pressured people into conformity. The Amazing’s Series delves into this pressure as I write about kids facing media propaganda, school dynamics, and manipulation of science. In Book Three, I address themes of medical coercion, and in Book Four, the impact of forced choices. In Book Five, I’m exploring the idea of world control, where narratives of fear and terror lead to claims of global crisis that set the stage for a Great Re-Ordering of the planet by The Elders of The Order.

But my books don’t deliver this message in a doom-filled or predictable way. They are wacky and witty as well as truth-filled and uplifting. Kids are incredibly smart and constantly bombarded by stories, many of which are pure drivel. Since 2020, in particular, they’ve been sold an abusive narrative filled with fear and shame. I want to address this because the most determinative thing for any child’s future is the story they believe about themselves and the world they live in. My mission is to give kids compelling imaginative experiences that tackle real-world issues in a way that's fun and inspiring, unexpected, and empowering—not fearful and dark.

MA: My mom has always called Disneyland “contrived fun,” like manufactured joy, and I’m not a fan either. It sounds like you saw Disney instructing kids on what to imagine, limiting their creativity. Instead of kids having their own ideas and making up their own stories, Disney was pushing specific archetypes and worlds onto them. Was that what you were seeing all those years?

JL: It was actually more sinister than that. About 20 years ago, I noticed Disney increasing its focus on what we now call “wokeness” and a bent toward the occult. It wasn’t just stories about the witchcraft being evil and being overcome by good; the trend was making the witchcraft a “cool” and desirable practice.

Then Harry Potter became popular. It’s interesting—when you challenge or criticize Disney or Harry Potter, people can get very upset. I believe it’s because narrative experiences go into people’s souls to meet a very deep need, but I respectfully submit that this doesn’t always happen with true goodness. Quality storytelling should teach good versus evil and demonstrate why the occult isn’t where true supernatural and spiritual fulfillment is found.

Children’s innate capacity for wonder is precious, and I could see that Disney and other major media companies were headed somewhere unsafe. Now these same media companies are putting out a lot of derivative material, bad writing, and pressuring creatives to convey a specific message. Essentially, you can’t get far in Hollywood unless you reinforce the “Central Narrative.” That’s why these companies don’t back truly independent writers and artists such as myself. I refuse to write what conforms to expected narratives. Your mother’s concern is real as well; media merchandising is reshaping how we imagine and even feel. I hope this answers your question.

MA: That’s exactly right, and it's fascinating what you said about the "Central Narrative." I agree that it’s showing up in all these different ways. So, in your view, what is the central narrative they’re trying to push?

JL: The central narrative is, essentially, "You will think what we tell you to think.” “We will define what humans as a group or conglomerate should accept or believe in.”  When one crisis  loses effectiveness on a population, there is often a quick pivot to sell us another one. You can see it in the news cycles. It’s obvious what media groups are turning our attention to and what they want us not to talk about. For example, suddenly in 2022, when a new global agenda needed to be advanced, everywhere you went, there was a Ukrainian flag, and even grocery stores were asking if you wanted to donate to Ukraine when you went to buy milk. You couldn’t escape the constant programming and virtue signaling about supporting Ukraine in the war.

It works like this: all dominant media, entertainers, major NGOs, and governing bodies start to beat the same drum with the same set of messages about the next big issue they need us to invest in and care about. It always involves some aspect of fear and trauma to get people emotionally hooked. And there is increasing censorship of anyone who opposes the central narrative. Once you see this, you can’t unsee it. I'll even ask my kids, “Do you see the next one coming?” This central narrative programming demands that we trust in whatever the mainstream talking heads on the screen tells us and then offers affirmation to people who get on the bandwagon and echo what is being promoted.  This has a powerful effect on the human brain. The government has long known how to manipulate people en masse using media and social pressure—something I delve into in my books.

The central narrative may shift, but it’s consistently an erosion or outright takedown of all that’s traditional, sacred, and involves individual liberty in our nation, ourselves, and our spirituality. The modus operandi is to keep the public in a state of fear and division so we’ll “conform to The Order.” But in my books, the Faultsom family learns to encounter true Wonder, and this gives them the ability and strength to stand against the tide and offer solutions-driven outcomes.

MA: When you talk about "occult forces," for those who might not understand, what do you mean?

JL: Going back through history, we see that fairy tales for hundreds of years refer to witches, witchcraft, spells, charms, and hexes. But these things weren’t typically glorified or promoted as something people should pursue. Stories acknowledged the power there but didn’t present it as desirable.

Today, however, the occult—Satanism, witchcraft—is often portrayed in a way that pulls children in, almost inviting them to “try it.” Kids are enticed with books that introduce them to casting spells or communicating with spirit guides and other spiritual entities, in ways that glamorize these practices, which is concerning. In another part of my life, I work with people who have been deeply damaged by involvement in occult practices and are seeking freedom. So I know, firsthand, that these practices are not just for fun and are not harmless but can have grave consequences.

MA: So, are you saying children’s imaginations can be deeply influenced by these forces, even subtly?

JL: Yes. Children’s imaginations are incredibly powerful, and certain influences can worm their way into a child’s soul without parents even realizing it. I remember with my young son, I put up a Disney villain poster, not knowing it was actually a source of torment for him; it went much deeper than I realized.

I hear similar stories from parents who have brought their kids to me for help. This is why I write books that tell the truth about tough subjects like this as well as dealing with propaganda, medical abuse, and pressures to conform. I want to present real issues but not in a predictable or terrifying way. My books are for kids aged 10–14, though, with parental involvement and conversation, I’ve had younger readers enjoy them too. There’s a lot in these stories for kids to understand. I want them to wrangle with big concepts without leaving them feeling depressed or scared. The Amazing’s Series books are designed to prompt valuable conversations between parents and kids while entertaining and enriching readers.

MA: It seems there’s a battle for our children’s minds. Looking back at figures like Stalin and Hitler, why is it so important for them to influence children early on, especially through conduits like Disney, Hollywood, and even schoolbooks?

JL: First impressions run deep. In my work helping people overcome darkness, I often find it was something that happened when they were very young that left the deepest impact. For instance, one small memory from when I was five—a teacher correcting me very harshly for something minor—created a lasting impression that grew to affect me as an adult. This is true for all of us. These early moments are powerful in shaping a child's mind and heart and have a big impact on their brain development. Influencers, both good and bad, have always understood the power of impacting children early on.

MA: So these formative experiences can set a lasting foundation? How does that shape the stories you write for children?

JL: My books are built on the premise that our lives are full of glorious meaning and purpose. In the story, there’s a supernatural realm called Wonder, and this realm is accessible even in the midst of difficult, confusing, or chaotic situations. I want kids to know and feel that they’re not alone and that they are not just accidents but are individually valued and part of an amazing purpose. This empowers them to face challenges head-on, not only in their lives but also in their relationships.

Those first marvelous moments of awe that kids experience—like seeing light sparkle on a lake, first tasting chocolate, or being fascinated by something in creation—can deepen as they grow. As children mature, so does their capacity for true wonder. It’s important to meet them along their journey with rich, layered literary experiences that reinforce hope, dignity, and courage. This is what I aim to do in my stories, giving kids a sense of their value and offer them deepening wonder that lasts.

MA: Thank you, Julie. This has been an inspiring conversation. For anyone who wants to get these books and follow your work, how can they connect with you?

JL: The best way to connect is to go to thequestforwonder.com. There, you can get a FREE copy of my first book—just cover the shipping and handling. The book is high quality and includes 20 full-color illustrations, which you don’t often see in books for this age group.

MA: Wonderful. Thanks again for all you’re doing!

JL: Thank you, Michael. It’s been a joy to share.