A Quote by Leigh Bardugo

If you were to just slap together Six of Crows' and Shadow and Bone,' it really wouldn't work. — © Leigh Bardugo
If you were to just slap together Six of Crows' and Shadow and Bone,' it really wouldn't work.
I am keenly aware of how many people the Six of Crows stories' brought into the Grishaverse, and to me, the story of the Crows, of Kaz and his crew, provides a very different kind of story and point of view, than Shadow and Bone' and Alina's story.
You know with a bully you cannot let them slap you around, because they slap you around today, they slap you five or six times tomorrow. We are not going to be bullied.
The characters in Six of Crows' aren't kings or queens; they don't have grand destinies. They're just six kids desperate enough to attempt the impossible.
I don't like crows. In the poem "C," crows are predatory, killing other birds and so forth. But in my morning walks, there were always crows, particularly at certain times of the year. And they're very aggressive, very visible and loud. They're not at all likable, but they have to be dealt with. They are part of the picture, the art in the morning. You cannot deny their reality.
I have degenerative bone disease and I walk with a cane. And when I wrote Six of Crows,' I went out on tour, and I met a lot of readers who would say, 'Oh, I don't know why, but I pictured Kaz as being an old man at first.' And I thought, of course you did, because the only people we see with mobility aids in media and in culture are old.
All of my early images were really visual experiments to me. They were attempts to answer unasked questions like, what happens if you put images of six men and six women together, or if we combined a monkey's image with a human, would the result approximate an image of early man?
There's been so much hunger for dystopian in the YA world, I really wasn't sure how Shadow and Bone' would be received.
Maybe all crows were just creepy.
Swampy [ Marsh] and I live as far away from each other as we possibly can and still work together. But we just always felt like we were funnier when we were in the room together than we are when we're separate.
We were doing something called telemedicine, where we were using the ultrasound. One interesting application of this ultrasound is the possibility that you could possibly use it to measure critical bone areas during a long space mission and track if you're losing bone in these areas. On Earth, when they check you for bone loss, you get in this big machine. It's the size of a room and it's got a platform with an x-ray that scans your whole body and in critical areas and it takes a while and it just wouldn't be practical to have a machine like that in space.
When I did the zero draft for Six of Crows,' it was a very organic process.
I was told as a teenager I'd never box again. I had a really bad wrist injury; I couldn't even shadow box for six months. I went through surgery just to try and manage it.
With all those fledgling countries in Asia, who really want to stand with us but they live under the shadow of China and the smaller shadow of Russia. So I just think Trans-Pacific Partnership is really important both economically and geopolitically.
My husband and I oddly have worked together a couple of times. We did a 'Veronica Mars' episode together. We didn't work together, but we were both in 'Ghost World.' We had a theater company in L.A., for a bunch of years. So, we've worked together a fair amount, and it's always just great fun.
Antoine and Sahara Davenport were really able to help me learn about drag. We really fed off each other. Together, we just clicked. We were both part of 'RuPaul's Drag Race,' so we both got to go through this experience together.
Early on, my emotional work had to do with feeling unheard and invisible. My parents divorce at six, when I was six, really affected me. We moved around and I was with my mom and my sister. I have learned, by the way, there were amazing gifts that came out of that. For one, I'm living my childhood dream. I feel very fortunate.
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