There will be scenes in a movie where people are walking through the park, or through a forest, and you're seeing the flickering leaves around them, and they're walking, but you're also hearing their words. It's an interaction between where they are and what they're saying that's both visual and verbal.
I don't think about it that much, but sometimes I am surprised by that. I sometimes wonder why I didn't turn out to be the kind of picture-book writer who has stuffed animals that go with their books. That would be okay with me.
I think we're conditioned by watching movies.
It really does feel, partly because of graphic novels kids read, like there's a lot of freedom with how you can use both images and words, because we think in both of those ways.
By the time I finished the book [All Alone in the Universe], Robin Roy was saying, "More pictures!"
I remember when I was working on All Alone in the Universe, and Robin Roy was my editor. When I first sent it to her, she said kids this age don't want pictures in their books.
I don't feel like it's something I invented myself, rather something I absorbed and continue to do.
I'm heavily influenced by Edward Ardizzone, how he has people talking in little speech bubbles. I love those. And also Edward Gorey. Those are two of my favorite people.
I'm German, after all.
The morning time is also a time when I look at what I did yesterday. That's often a jumping-off point for today.
In the bedroom time I have generated thoughts, and then in the studio I take those thoughts and try to shape them into something.
I [drinking coffee] for about an hour, I get dressed and go down in my studio, and that's a different kind of working.
It's one of my favorite times of day. I'll have an array of notes, things that I want to think about. Something will start to take shape, and I'll play around with it. It's not usually an intense time. It's sort of a playful time. But it's when some really good thoughts arise.
I creep over to my chair and sit there with my notebook and my thermos of coffee. It's my best time for thinking, because I haven't started thinking about anything else yet, and the thoughts can kind of go in and out of my head.
I had a general outline of subjects. The way I start my days is my husband brings me a thermos of coffee up to the bedroom.
I knew what infinity was. Being a previous art student, I knew about some art concepts.
Some of it just involved thinking about, for example, the different kinds of science, what chemistry is.
It's really daunting when you have just spent a lot of time on something to think about tossing it out. But once you've started something better that's working right, then it's pretty easy to let the first one go.
I do love that discovery of when you're trying to figure out how to make something work, and it happens in a way that you didn't predict.
I know if I did that [career as painter] all the time I would get tired of it.
I love when I'm trying to do something I don't know how to do, and it kind of figures itself out along the way. And that means messing up a lot. That means throwing away a lot of drawings.
If I could make a career out of drawing little girls hiding in corners, I would do really well.
I made a drawing for a book I'm working . It's a little drawing of a girl who's ashamed and upset and hides in the corner of the closet. It's the kind of drawing that I feel like I'm really good at.
I love that when you're writing your mind is sort of figuring things out on its own, without you directing it.
I generally have an idea where I want to go, but I don't know how I'm going to get there.
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