A Quote by Jerry Spinelli

My first four books were not published because nobody wanted them. They were adult books, not kids' books. — © Jerry Spinelli
My first four books were not published because nobody wanted them. They were adult books, not kids' books.
When I first learned about Abrams and saw the types of books they were making, I knew I wanted my books to be published by them. Abrams books are special-when you hold one in your hands, you have the feeling that this book needed to be made. I once heard an artist say that books are fetish objects-I think Abrams gets that, because their books demand to be treasured. So who better to give comics art its proper due? I feel privileged to have found a home with Abrams.
When you talk to people about the books that have meant a lot to them, it's usually books they read when they were younger because the books have this wonder in everyday things that isn't bogged down by excessively grown-up concerns or the need to be subtle or coy... when you read these books as an adult, it tends to bring back the sense of newness and discovery that I tend not to get from adult fiction.
My mother used to take my brother and me to get any books we wanted, but they were second hand books published in the '30s and '40s. I liked scary books.
If you look at the beginning of children's entertainment in literature, the first books that were written for kids were cautionary tales. They were books that were there to teach kids about growing up and how to live life.
It was also a room full of books and made of books. There was no actual furniture; this is to say, the desk and chairs were shaped out of books. It looked as though many of them were frequently referred to, because they lay open with other books used as bookmarks.
To see what books were available for my older students, I made many trips to the library. If a book looked interesting, I checked it out. I once went home with 30 books! It was then that I realized that kids' novels had the shape of real books, and I began to get ideas for young adult novels and juvenile books.
The current publishing scene is extremely good for the big, popular books. They sell them brilliantly, market them and all that. It is not good for the little books. And really valuable books have been allowed to go out of print. In the old days, the publishers knew that these difficult books, the books that appeal only to a minority, were very productive in the long run. Because they're probably the books that will be read in the next generation.
The books in Mo and Meggie's house were stacked under tables, on chairs, in the corners of the rooms. There where books in the kitchen and books in the lavatory. Books on the TV set and in the closet, small piles of books, tall piles of books, books thick and thin, books old and new. They welcomed Meggie down to breakfast with invitingly opened pages; they kept boredom at bay when the weather was bad. And sometimes you fall over them.
Books did not need to be beautiful back in the Fifties, because nothing else was beautiful back then. Books were simply there: you read them because they were diverting or illuminating or in some way useful but not because the books themselves were aesthetically appealing.
With my adult books, for the first six weeks or so, it's about 60 percent ebooks in terms of sales. The kids' books, it's like 5 percent. Which means that the parents, the ones that aren't going into stores now, they're no longer buying books for their kids, which is not great.
I'd finished the first two [books] and they were going to to be published, and [editor] said, "We need you to write a summary that will drive people to these books." And it took forever. I couldn't think of a thing to say. I looked at the back of other children's books that were full of giddy praise and corny rhetorical questions, you know, "Will she have a better time at summer camp than she thinks?" "How will she escape from the troll's dungeon?" All these terrible, terrible summaries of books, and I just couldn't.
I've published over 100 books - and that is divided about 50/50 adult and young adult. Lately, I have been writing more YA, which is such a great genre to write it. I don't have a favourite (I usually say it's the last book I've written), but certain books do stick in the mind. My very first YA novel, The Children of Lir, will always be special to me, and, of course The Alchemyst because it was a series I'd wanted to write for ages.
By the time I got to college I had stopped reading books because I wanted to "be cool" and started reading books simply because I wanted to read them. I discovered heroes like Roth, King, Dahl, Shirley Jackson, Patricia Highsmith, TC Boyle, Douglas Adams, Neil Gaiman, David Sedaris. These people weren't trying to "rebel against the literary establishment." They were trying to write great, high-quality books that were as entertaining and moving as possible.
Aside from the posters, wherever there was room, there were books. Stacks and stacks of books. Books crammed into mismatched shelves and towers of books up to the ceiling. I liked my books.
As a child, I felt that books were holy objects, to be caressed, rapturously sniffed, and devotedly provided for. I gave my life to them. I still do. I continue to do what I did as a child; dream of books, make books and collect books.
It's quite interesting, looking back at the first one [film about Harry Potter], nobody knew whether or not it was going to be successful as a film. The books were of course already very successful, but that's happened before, where the books were successful and the films weren't at all. But it turned out that they were.
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