I was kind of a weird homie; I was a weird kid. Nobody in my family loved books. I'm the only one.
I moved into the garage at my mom's house, she wouldn't let me into the house, and the garage didn't have any running water. It did have electricity though, but it didn't have any running water, no bathroom. But, you know, it was great for me because I had my books there.
Teachers and librarians can be the most effective advocates for diversifying children's and young adult books. When I speak to publishers, they're going to expect me to say that I would love to see more books by Native American authors and African-American authors and Arab-American authors. But when a teacher or librarian says this to publishers, it can have a profound effect.
I will never know what it's like to have only one language in my head. I have the pleasure of being able to move back and forth between Spanish and English, and I incorporate both languages in my books.
When I was little, I loved books that gave me lots of detail so that I felt like I could be transported to this other place, or, in the case of an illustration, I felt like I could walk into the page.
The books take a year just to do the drawing. I will travel to a country to do the research and get ideas. Sometimes I don't travel to do research, but mostly I do. It takes a long time, but do I ever get tired of it? Not really. The characters kind of grow and evolve.
A book is something that young readers can experience on their own time. They decide when to turn the page. They'll put their arm right on the page so you can't turn it because they're not ready to go to the next page yet. They just want to look at it again, or they want to read the book over and over because they really enjoy setting the pace themselves.
I always feel like my book is a success when I see a child reading it, and they have their pointer finger out, and they kind of keep their place as they look all around the page. I've always been impressed by how children are so observant.
A children's book is the perfect place where young readers can understand the world because they can take a deep breath and look at it and imagine and contemplate while they're looking at.
When I was little I used to wish I could talk to the illustrators because I wanted to discuss something about the books. With so many of the other art forms that children experience, such as movies and television, they don't get to control the pace.
I create books for six-year-olds. I don't know why that time of my life was so important to me, but no matter what I draw, it always looks like it comes from a children's book. I can't resist. I'll set out to paint a serious picture then think, "Well, maybe there would be a little bunny in that corner."
I like to pretend that each book is my first one and last one, because it takes a tremendous amount of energy to do a book.
People may think that because I have illustrated and written all these books it must be easy for me, but it's not really easy for me. The drawing part is easy - I love doing it. But continuing to move forward is hard.
I do a lot of research and yes, do know quite a few police officers, friends of mine and my husbands. However, most of my books are researched based on Canadian laws or the laws of each country (ie: Mexico and USA) and I do my best to make them accurate.
When I was ten, my mother told me to write down my feelings. I eventually started writing a book. I wish I'd kept the handwritten text. I recall some of the story, but it was a start into the world of writing.
After I published my first book, my sister, known as Kali Willows, began writing. She fell as in love with it as I did. She has a number of short stories.
I have my favorite authors, but in reality, my mother did. Though she's never written a book, she paved the way for me to.
Confusing the author and the character seems to be a popular and rather unsophisticated reaction to books.
My philosophy on writing books is that if you learn only one new thing, or even get a new take on something you already know, it's worth it.
I try to make images that have the immediate presence we take for granted in objects - a chair, a shoe, a book, a Judd - and compose them like sentences.
You ever buy a book and not read it? You feel almost guilty having it up on a bookshelf. People are like, "Hey, how's that book?" "I haven't read it." "Oh, did you just buy it?" "I've had it since high school." "Well, can I borrow it?" "No."
You never want to be the worst bowler of the group-because then everyone treats you like you have cancer. "You can do it! We're praying for you." The advice starts. "Use a heavier ball." "Keep your arm straight." "You should get a vasectomy." If you're really bad at bowling like me, they'll ask if want the bumpers up. Not that bowling is that complex anyway. "You want the bumpers? We can get rid of the pins. Why don't you take this coloring book and sit in the corner?"
It's not about you, it's about the next person. The single best use of a business book is to help someone else. Sharing what you read, handing the book to a person who needs it... pushing those around you to get in sync and to take action-that's the main reason it's a book, not a video or a seminar. A book is a souvenir and a container and a motivator and an easily leveraged tool. Hoarding books makes them worth less, not more.
What they don't realize is that I'm not in the business to make clothes. I'm not in the business to make more money for myself, for Christ's sake. This is the reason Patagonia exists - to put into action the recommendations I read about in books to avoid environmental collapse. That's the reason I'm in business - to try to clean up our own act, and try to influence other companies to do the right thing, and try to influence our customers to do the right thing. So we're not going to change.
A big book is a hard thing to manage - I find the computer makes it easier to keep it in order, and to keep the old drafts (which I sometimes go back to) without drowning in paper.
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