A Quote by Chris Raschka
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 have this theory that the more important and intimate the emotion, the fewer words are required to express it. For instance in dating: 'Will you go out with me?' Six words. 'I really care for you.' Five words. 'You matter to me' Four words. 'I love you.' Three words. 'Marry me.' Two words. Well, what's left? What's the one most important and intimate word you can ever say to somebody?
'Goodbye...'
I don't think there is any scientific evidence about the question of whether we think only in language or not. But introspection indicates pretty clearly that we don't think in language necessarily. We also think in visual images, we think in terms of situations and events, and so on, and many times we can't even express in words what the content of our thinking is. And even if we are able to express it in words, it is a common experience to say something and then to recognize that it is not what we meant, that it is something else.
The process for writing a picture book is completely different from the process of writing a chapter book or novel. For one thing, most of my picture books rhyme. Also, when I write a picture book I'm always thinking about the role the pictures will play in the telling of the story. It can take me several months to write a picture book, but it takes me several years to write a novel.
What work do I have to do then?" said Will, but went on at once, "No, on second thought, don't tell me. I shall decide what I do. If you say my work is fighting, or healing, or exploring, or whatever you might say, I'll always be thinking about it. And if I do end up doing that, I'll be resentful because it'll feel as if I didn't have a choice, and if I don't do it, I'll feel guilty because I should. Whatever I do, I will choose it, no one else.
There are two words that, when spoken, have the most unfathomable power to completely change your life. Two words which, when they pass your lips, will be the cause of bringing absolute joy and happiness to you. Two words that will create miracles in your life. Two words that will wipe out negativity. Two words that will bring you abundance in all things. Two words which, when uttered and sincerely felt, will summon all the forces and vibrations in the Universe to move all things for you. The only thing standing between you, happiness, and the life of your dreams is two words THANK YOU!
Now I'm in nonfiction. To me any given story has its appropriate form. There might be some story I get involved with that's begging to be a graphic novel, so that will have to be that way. There's always that matching of the content and the form, and that means everything to me. I spend years thinking about what that match is going to be before I can really make it work.
I love the book. I love the feel of a book in my hands, the compactness of it, the shape, the size. I love the feel of paper. The sound it makes when I turn a page. I love the beauty of print on paper, the patterns, the shapes, the fonts. I am astonished by the versatility and practicality of The Book. It is so simple. It is so fit for its purpose. It may give me mere content, but no e-reader will ever give me that sort of added pleasure.
To me, form is not something that you can plan beforehand, especially for a documentary. You can't write it or sketch it. It requires a confrontation with reality, with history, with ethics and morals. After identifying good content, you have to find the right form to express that content.
To be honest, I'm not even thinking about America. If I was to start thinking about the enormity of 'Downton' and the size of the project, then I wouldn't be able to be very truthful to the work. I would start to watch myself too much. I'm not even thinking about it. Who knows what will happen.
I'm thinking of writing a book on national health care. It will be 2,000 pages, and you'll have two hours to read it.
The only thing I can hope the viewer will get from the work is something about the structure of the work. It would be asking too much, I think, for them to get my exact intention. But if - through the construct of language, the way things are juxtaposed - there is some sort of disruption of the way you would normally go about reaching photographic images... if that is happening, that's fine.
We compliment weight loss, monitor our appetites, and shrink ourselves to fit some kind of standard. I wish we could all be the size we actually are. One size doesn't fit all because there are as many sizes as there are women. Let's look closer at the size of our hearts, the width of our souls, and the length of our spirits.
I haven't come across any recent new ideas in film that strike me as being particularly important and that have to do with form. I think that a preoccupation with originality of form is more or less a fruitless thing. A truly original person with a truly original mind will not be able to function in the old form and will simply do something different. Others had much better think of the form as being some sort of classical tradition and try to work within it.
The burning of a book is a sad, sad sight, for even though a book is nothing but ink and paper, it feels as if the ideas contained in the book are disappearing as the pages turn to ashes and the cover and binding--which is the term for the stitching and glue that holds the pages together--blacken and curl as the flames do their wicked work. When someone is burning a book, they are showing utter contempt for all of the thinking that produced its ideas, all of the labor that went into its words and sentences, and all of the trouble that befell the author . . .
I think I write or publish as much as I do because I can bear being without a book to work on. But routinely when I finish a book, I think, "What will I do? Where will I get an idea?" And a kind of low-level panic sets in. And then eventually something happens. I don't know. If I knew how it happened I would repeat the process, but I don't know - something just occurs to me.
I think, always, with a new book, I get nervous. I think mostly it is because work is really important to me, and a book doing well is important because it buys you another one. Not because of the money but if you keep doing interesting work, work that people like, they will want you to do more, and offers that are interesting come in.
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