Jacqueline Woodson Quotes
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I think there is such a richness to the South and a lushness and a way of life.
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I feel like once I say out loud, to the public, what I'm working on, it's never going to be an actual book. So until it's close to done, I keep pretty quiet about my next stuff!
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The idea of feeling isolated is scary to me - to walk through the world alone would be heartbreaking.
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I don't believe there are 'struggling' readers, 'advanced' readers, or 'non' readers.
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The epistolary form is one of the hardest to write. It's so hard to show something that's bigger in a letter. Plus, you have to have the balance of how many letters are going to work to tell the story and how few are going to make it fall apart.
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The Great Migration can get forgotten if we don't pay attention or bear witness to it. It's part of my personal history and the history of millions of African Americans who left those oppressive conditions for better lives in the North. It's important to put that on the page.
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In the family, writing wasn't anything anyone understood - being a writer in the real world? How could it be? We didn't have those mirrors.
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'Another Brooklyn' came to me in this kind of dreamlike series of vignettes.
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My family is big, complicated, and beautiful - and keeps me smiling and whole. It's so important to have family, whether it's biological family, good friends, foster families, or a group of aunties who are raising you. The idea of feeling isolated is scary to me - to walk through the world alone would be heartbreaking.
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Told a lot of stories as a child. Not 'Once upon a time' stories but, basically, outright lies. I loved lying and getting away with it!
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What I write comes from a place of deep love, and a deep understanding of all kinds of otherness.
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In young adult novels and children's books, you stay in moment. The story goes through a school year or a weekend. You never get a sense of a future self because the young person has not lived that yet.
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To me, elegy suggests that there is hope, and in some respects you've moved past the loss and are able to deal with it and to write about it.
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The conscious imprinting that happens between, say, 10 and 16 is huge. I think it's so important for me as a writer to stay open to the memories of that period because they were so formative.
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To be poet laureate is to try to spread the love and the accessibility of poetry to young people.
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We, as adults, are the gatekeepers, and we have to check our own fears at the door because we want our children to be smarter than we are. We want them to be more fully human than we are.
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I deeply believe in many Christian values: love people; do the right thing; know that there's good in everyone, that God's looking out for all of us.
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People want to know and understand each other across lines of race, class, gender, sexuality, ability.
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I think there is much more queer visibility than there was when I was a kid. There is marriage, more trans visibility, and many more celebrities who are open about the sexuality. This was so not the case when I was a kid.
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I love how much love there is in the world of young adult and children's literature.
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I don't want my kids to have to walk through a world where they have to constantly explain who they are and who their family is.
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In writing 'Another Brooklyn,' I had to imagine what happens when friendships dissolve.
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I feel like I am walking in some amazing footsteps of writers who have come before me, like S.E. Hinton, Walter Dean Myers, Christopher Paul Curtis, Richard Peck and Kate DiCamillo, who I love.
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In all my childhood, I never heard my grandparents say that anything shocked or surprised them. They knew what their country was capable of.