What I had to do was learn how to tell stories with my pictures. At first I didn't even know what that meant because I thought I was already doing it. After all these years of drawing stories and trying to teach it, I think it boils down to a pretty simple rule: it takes time to get to know the characters in a book and the world they inhabit. My first sketches are always horrible. Stereotypical. Contrived. Generic. I have to put in the time in order to deepen them and have it all mean something.

Picture books are an emotional medium. They need to make us feel something.

When I personally feel like I belong to the world, it is because I am with people I love in places I love. So I decided that would be my solution. I set All the World in a place I love - the central coast region of Southern California - and populated it with people and things that I love. I stopped worrying that I wasn't representing every place, every person, every possible experience. And I hoped that through this personal expression of mine, others would find their own personal meanings as well.

I do believe this to be the over-arching philosophy behind most of the books I've fallen in love with over the years. The more personal and heartfelt the story is for the author and/or illustrator of the book, the more universal the emotion that can be gleaned from it.

Every word, every character in a picture book must count.

What I had to do was learn how to tell stories with my pictures. At first I didn't even know what that meant because I thought I was already doing it. After all these years of drawing stories and trying to teach it, I think it boils down to a pretty simple rule: it takes time to get to know the characters in a book and the world they inhabit. My first sketches are always horrible. Stereotypical. Contrived. Generic. I have to put in the time in order to deepen them and have it all mean something.