Noelle Stevenson Quotes

Nothing I had written before 'Mary Poppins' had anything to do with children, and I have always assumed, when I thought about it at all, that she had come out of the same wall of nothingness as the poetry, myth and legend that had absorbed me all my writing life.

Cartoonists' dirty secret is that we tend to come up with stories that involve things that are really fun to draw.

My name is Jarrett Krosoczka, and I write and illustrate books for children for a living. So I use my imagination as my full-time job.

Maurice Sendak is the daddy of them all when it comes to picture books - the words, the rhythm, the psychology, the design.

The idea of a flip book still really appeals to me. That idea of fiction and non-fiction.

I'm a happy camper when I'm doing both: writing and art every day, along with a dose of reading and adventures into what else is being done by other artists/writers and poets. Like breathing. I've written poems or fictions to go with a painting. The source for the inspiration of the art often eludes me.

I'm a writer who just happens to draw.

The great thing about making picture books is that you can make absolutely anything you want happen. It's a bit like making a film, but you don't need lots of money for actors and costumes - you just need pens, paper, and your imagination.

I love making books for children. Big kids, little kids, old kids and new.

When I realized that people actually wrote comics, that it was a job people could do, I thought, 'Gee, these things are only 17 pages long! I could probably finish one of those and find out whether I suck before I've spent five years of my life on it.' In stumbling into comics that way, I discovered that I loved the form.

I just really love the cartoon form. I love the plasticity of it.

I love being an illustrator because I get to read really great stories, work with amazing people, travel and see places I never would've seen. And I get to draw all the time.

When I started writing and illustrating, I knew little of classic children's literature. My stories came from real life, from my concerns about what was happening in the world.

A lot of illustrators have one central character and then they develop it, and all their books are based around it. But that was not my wish. I wanted to introduce children to the whole creative side of many aspects of life.

If I ever have children of my own, they will read 'Matilda.' They will watch the movie. And you can bet they will see 'Matilda: The Musical.'

I try to pull my inspirations from everyday life. If I came across a situation that is like, 'Oh, that's going to be scary, that's going to be frightening,' that's when I get inspired, and I put that into my films.

To me, this is one of the great things about writing kids' books: the illustrations.

I have to write. I have to be an artist.

I grew up loving cartoons, comics, magic, and writing.

I am a lifelong Moebius geek. The European approach is perfect, the art is beautiful, and the storytelling is fantastic.

When I got into the second half of 'Dragon Ball,' I had already become more interested in thinking up the story then in drawing the pictures. Then I started to not place much emphasis on the pictures.

We need people who are open to doing something with theme, something with a cartoonish twist.

Brenda Starr is how I learned to draw. I copied her. I admired her. She had a career.

All you do is to look / At a page in this book / Because that's where we always will be. / No book ever ends / When it's full of your friends / The Giraffe and the Pelly and me.

Books and movies inspire me, but I do my best to keep my stories as original as possible.