Chris Riddell

I'm not a painter by any stretch of the imagination; I'm a dyed-in-the-wool traditional illustrator, and I begin with black and white. If I need colour, I add it over the top. There's a calligraphic element to it... it's about the texture of lines on the page.

Fans write to us via our publisher and more than ever via the Internet, blogs and fan sites, and good writers should be actively seeking out that interaction. Gone are the days when writers are dead or hidden away in dusty attics; nowadays, you've got to get out there.

There are loads of fan sites for the 'Edge,' including deviant art, song lyrics using 'Edge' language, multiple entries on Wikipedia, there are even some 'Who Wants To Be A Millionaire?' games all about the 'Edge.'

I want to put the joy of creativity, of drawing every day, of having a go and being surprised at what one can achieve with just a pencil and an idea at the heart of my term as laureate. I want to make sure people have fun whilst addressing fundamental issues I care about passionately.

School librarians play such an enormous role in bringing children to books they are going to enjoy. It's a magic alchemy when that works.

I think stories can grow out of the visual. It can be an engine for literacy.

I'm interested in illustration in all its forms. Not only in books for children but in posters, prints and performance as a way of drawing people into books and stories.

I would like to say to children, 'Don't stop drawing. Don't tell yourself you can't draw.' Everyone can draw. If you make a mark on a page, you can draw.

I'm calling myself 'The Doodler,' and with the simple addition of a small burglar's mask, I achieve utter anonymity.

A drop in younger children visiting libraries is of great concern. As children's laureate, I am passionate about the role of libraries, both in schools and in the wider community. They are unique places where children can begin their journey as readers, as well as being creative hubs.

The computer is a tool, just like pencil or charcoal, allowing illustrators to manipulate images from their sketchbooks.

I don't feel uncomfortable in forbidding institutions, and work with, say, prisons or psychiatric institutions could be one of the things that evolve out of the Laureateship.

Wherever there are words, let there be pictures.

My sketchbook is not sacrosanct, and my children would draw on one page while I drew on the other. It was something we shared.

Go out and find a copy of 'The Shrinking Of Treehorn' and its sequel, 'Treehorn's Treasure.' Written by Florence Parry Heide and illustrated by the great Edward Gorey, master of the gothic and the macabre, these books are small masterpieces.

Anyone can look through my sketchbooks as long as they don't have a background in psychiatric medicine.

I want to bring drawing back to the basics, make it about the pleasure that it can afford and remove the notion that it's some kind of precious or difficult activity. It's another way of telling a story.

I want to show how much fun you can have drawing... parents and children can draw together as a wonderful shared activity.

Lose your inhibitions about drawing and just do it.

Do you have hands? Excellent. That's a good start. Can you hold a pencil? Great. If you have a sketchbook, open it and start by making a line, a mark, wherever. Doodle.

No politician would ever comment on a cartoon unless it was to show what a great sense of humour they have, that they can laugh at themselves.

The 'Chronicles of Narnia' have been favourites of mine since my childhood when I misread 'Aslan' as 'Alsatian' and was struck by the genius of naming a lion after a dog!

Roald Dahl worked with other illustrators, but it was only when he teamed up with Quentin Blake that the chemistry began to fizz. Quentin Blake is Britain's greatest living illustrator and has that special talent all the great illustrators have, of unobtrusive brilliance.

When I left art school and went in search of work, visiting publishers and showing them my drawings and illustrations, I was met with a polite and sometimes enthusiastic response but no commissions.

In the digital future, texts will be annotated visually, animated and illustrated like never before. The austere 'prayer book' paper that permitted the space for Shepard's illustrations to Pepys' diaries is now being recreated in the digital era.