Somewhere in this process, I begin reading and showing my book to my audience. When I say my audience, I mean a single imaginary child who is a blend of myself as a young person, the students in my wife's classroom of first- through third-graders, and the students from two classrooms I visit regularly in the Bronx, New York.
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Whatever I'm thinking about has got to fit into thirty-two pages, the standard picture book size. So that's something. But the structure and the form for me are almost the most important, because these will express as much as words and images will the content of the work.
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I wasn't always minimal. In the early days, I was laying it on as thickly as I could, trying very hard to get it right. But I found that the harder I tried, the more tired whatever it was I was working on looked. And then I grew tired of it as well.
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The Caldecott Award has allowed me to keep doing what I'm doing for some time longer, for which I am ever grateful.
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I never quite know if what I do will be understood.
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Any teacher in the arts and sciences has to maintain a sense of childlikeness to be truly inventive.
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With any book, I try to find where the manner of the making of the book is appropriate to the matter of the subject.
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Can you really learn to knit from a diagram? Try it. Do you want to learn to ski or surf by yourself? You could drown or run into a tree.
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There has to be the right pacing of images to tell the story. I'm always stunned at how little you can put in.