Molly Ringwald Quotes
When I was turning 40, I felt that there were no books out there that hit the spot in terms of what I wanted to read.
Quotes to Explore
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I developed a mania for Fitzgerald - by the time I'd graduated from high school I'd read everything he'd written. I started with 'The Great Gatsby' and moved on to 'Tender Is the Night,' which just swept me away. Then I read 'This Side of Paradise,' his novel about Princeton - I literally slept with that book under my pillow for two years.
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The first thing my writing ever earned me wasn't an advance on a book; it wasn't a fee for an article or anything like that. It was, in fact, a residency at Hedgebrook Farm.
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A real book is not one that we read, but one that reads us.
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I read the Steve Jobs book, and that kind of changed everything. I've been, like, an Apple geek my whole life and have always seen him as a hero. But reading the book, and learning about how he built the company, and maintaining that corporate culture and all that, I think that influenced me a lot.
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I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, 'A picture book is the essence of an experience.'
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Writing my first book, I think in hindsight I went into it saying, 'It's gonna sell.' I was earning enough to scrape by sometime around a book or two before 'Tell No One.' I moved up from $50,000 to $75,000, then $150,000 for each book. I had never thought I would be doing anything else. I had enough encouragement.
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I know from an editor's point of view or a publisher's point of view it's easier to slot me into a particular niche. But I know that I'd be bored unless I wrote a book that in some senses was a challenge.
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The issue of doing an adaptation of a book is the theater of the mind, and so you always face that.
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For me, any book I'm writing is also a chance to get in and research and read and learn things that I maybe only knew a little bit about before.
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The reason I call my book 'Irreverent' is because there were a lot of pictures that were very irreverent. Maybe I could call my book 'Forgiving' because maybe I made a lot of errors, too.
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When I read a book I seem to read it with my eyes only, but now and then I come across a passage, perhaps only a phrase, which has a meaning for me, and it becomes part of me.
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'Out' was my real breakthrough, the novel that became a hit in Japan and sold a lot of books, so it was sort of an obvious choice for being the first book to be translated into English.
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He who loveth a book will never want a faithful friend, a wholesome counsellor, a cheerful companion, or an effectual comforter.
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That wasn't a bad price for a first book. My agent upped it as much as possible. I was 27 and had nothing behind me. I was working like a fool to earn a living and pay for my apartment.
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The idea is not enough. And the most annoying thing for me as a writer is that people will come up to me and say, 'Hey, I've got a great idea for a book. I'm not a writer, but I've got a great story.'
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We don't have to think up a title till we get the doggone book written.
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When I came to America, I told my dad I wanted to be an actress.
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I was a book editor for nine years. I'm familiar with the opposite experience, bracing myself for the likelihood that no one would want to publish my book.
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That's one of the ways language evolved, by some very obscure form becoming common usage. And I must say that I'm very intrigued by use of language and slang, and criminal underground terms.
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I felt that it's best just to be as transparent as possible.
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The stories are there first, and they come from my experiences wandering around in the world. They will resonate into bigger things, forces sweeping the planet, themes and archetypes, but I'm not smart enough to have lucid integration of all that in my head as I'm writing.
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When I was turning 40, I felt that there were no books out there that hit the spot in terms of what I wanted to read.
