Daniel Handler Quotes About Children
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I think there are probably just as many adults who would miss the humor of my books, if not more, as there are children.
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Desperate times call for desperate measures" is an aphorism which here means "sometimes you need to change your facial expression in order to create a workable disguise." The quoting of an aphorism, such as "It takes a village to raise a child," "No news is good news," and "Love conquers all," rarely indicates that something helpful is about to happen, which is why we provide our volunteers with a disguise kit in addition to helpful phrases of advice.
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It has been said that the hardest job in the world is raising a child, but the people who says this have probably never worked at a comb factory or captured pirates on the high seas.
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A long time ago, there was no such thing as school, and children spent their days learning a trade, a phrase which here means "standing around doing tedious tasks under the instruction of a bossy adult." In time, however, people realized that the children could be allowed to sit, and the first school was invented.
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The children of this world and the adults of this world are in entirely separate boats and only drift near each other when we need a ride from someone or when someone needs us to wash our hands.
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Scolding must be very, very fun, otherwise children would be allowed to do it. It is not because children don’t have what it takes to scold. You need only three things, really. You need time, to think up scolding things to say. You need effort, to put these scolding things in a good order, so that the scolding can be more and more insulting to the person being scolded. And you need chutzpah, which is a word for the sort of show-offy courage it takes to stand in front of someone and give them a good scolding, particularly if they are exhausted and sore and not in the mood to hear it.
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Klaus sighed, and opened a book, and as at so many other times when the middle Baudelaire child did not want to think about his circumstances, he began to read.
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We are a nation of children letting horrible things happen, and flunking Calc.
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I have this fantasy that the second movie would begin with a brief statement by all of the young actors who had played the children in the first movie, explaining how it had ruined their lives, so we would catch up with Emily Browning drinking heavily in the back of a burlesque bar, and maybe Liam Aiken would be living underneath a bridge, and then instead of the twins who played Sunny, we would just try to find the oldest woman in the world, and get an interview with her sitting in a trailer park.
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I'd written my first novel for adults, which was called Basic Eight and was set in a high school, and we were having a devil of a time selling it. It ended up in the hands of an editor of a children's publishing house, for which it was entirely inappropriate. She said, "Well, we can't publish this, but I think you should write something for children," which I thought was a really terrible idea.
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Occasionally there are parents who say, "I brought my child so he or she could learn what the career of a writer is like, and you did this long theatrical performance instead, and I'm very disappointed."
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The story of the Baudelaires takes place in a very real world, where some people are laughed at just because they have something wrong with them, and where children can find themselves all alone in the world, struggling to understand the mystery that surrounds them.
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In America now there is this phenomenon called helicopter parenting, where you're hovering over your child for the whole time. Parents there view their job as being to make sure their kid never has a moment of unhappiness. Of course, as a parent myself, I can understand the urge, but I don't know whether it would be healthy or possible.
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I was not a particularly brave child, I think, because I had a narrative mind, because my mind automatically went to any terrible thing that could happen.
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I can't imagine why you would want to take your child to see what the career of a writer is like, because it mostly consists of sitting in a room typing, or going to the library and looking something up. Those are not exciting things to watch.
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I first told the idea to an editor I had met who, after reading one of my novels for adults that was set in a high school, had an idea that I might write something for children.
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Like a lot of people whose children were small in the 2000s, I read [Daniel Handler] books out loud and I loved them.
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I'd finished the first two [books] and they were going to to be published, and [editor] said, "We need you to write a summary that will drive people to these books." And it took forever. I couldn't think of a thing to say. I looked at the back of other children's books that were full of giddy praise and corny rhetorical questions, you know, "Will she have a better time at summer camp than she thinks?" "How will she escape from the troll's dungeon?" All these terrible, terrible summaries of books, and I just couldn't.
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Money is like a child—rarely unaccompanied. When it disappears, look to those who were supposed to be keeping an eye on it while you were at the grocery store. You might also look for someone who has a lot of extra children sitting around, with long, suspicious explanations for how they got there.
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I'm always loath to make generalizations about what is for children and what isn't. Certainly children's literature as a genre has some restrictions, so certain things will never pop up in a Snicket book. But I didn't know anything about writing for children when I started - this is the theme of naïveté creeping up on us once more - and I sort of still don't, and I'm happy that adults are reading them as well as children.
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Count Olaf certainly does sound evil. Imagine forcing children to stand near a stove!
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It seemed to me that every adult did something terrible sooner or later. And every child, I thought, sooner or later becomes an adult.
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