Even though I have this solid career in picture books, I've not only been thinking about kids - because I don't think that much about children; I'm not a child educator; I'm just a former child.

What I try to do in my picture books is to be all-inclusive, but not exclusive, to not exclude the kid and not exclude the parents from the experience. And it's not a very easy task; you can't find stories that work that way too much of the time.

Art - I had never thought of that as a career because it was like something I did so naturally, and it was fluid, and it is. And even though I still admire literature as the superior art form, I have to admit that art, for me, that's it; that's what I'm good at, and that's what I should be concentrating on.

I don't like my parents; I never will. I didn't cry at either of their funerals. I haven't missed them for five seconds. I didn't - you know, our characters were so at odds with one another right from the beginning. But I do understand them now as human beings, with the understanding of an adult.

I think drawing is really the basis of all art, even sculpture, film. The greatest filmmakers have always been able to at least roughly sketch out their ideas in storyboards. And black and white in particular is a good place to start.

The whole basis of working in black and white and grays became the basis of my understanding of color, because it's all about tone, it's all about light and dark. If you don't get that, then your color work is going to be a mess. So that's the beginning of the toolkit: drawing and black and white media.

I don't know if I ever would have developed into a good actor, but that got completely scotched when I lost my vocal cord at 14 in the operation. But writing always - writing plays, writing, writing, writing, that was what I wanted to do.