A Quote by Becky Albertalli

My book, 'Simon vs. the Homo Sapiens Agenda,' is a gay love story. It's also a story about friendship. Quite honestly, it's also probably a 320-page product placement for Oreos.
The paradox of the human condition is expressed more in education than elsewhere in human culture, because learning to learn has been and continues to be Homo Sapiens' most formidable evolutionary task... It must also be clear that we will never quite learn how to learn, for since Homo Sapiens is self-changing, and since the more culture changes the faster it changes, man's methods and rate of learning will never quite keep pace with his need to learn.
Are we absolutely certain that Becky Albertalli didn't just steal the diary of a hilariously observant teenage boy? Simon vs. the Homo Sapiens Agenda is a pitch-perfect triumph of wit and wordplay that feels timelessly, effortlessly now.
Religion is a practical discipline and it's one that we have always done, ever since humanity appeared on the scene when Homo sapiens became Homo sapiens. Sapiens became a human being, our minds very naturally segue into transcendence.
Every story is a story about death. But perhaps, if we are lucky, our story about death is also a story about love.
What I love about the Bible is that it's a group of stories but it's all telling one main story. It's about Jesus Christ. The story is not about me. That takes a lot of the pressure off me, but it also puts the responsibility on me to point people to who the true story is about.
I also learned to tell a story. I think I learned from poetry how to time a story. Poetry's timing, beats and pauses. That white space on the page is as important as the black. The bottom of the page is blackout. It's performance.
I love outsider stories. And I also like a lot of genre fiction, too. So I wanted to write a literary book that flirted with thriller and fantasy and even science fiction. I wanted the coming-of-age story and the love story to be about "outsiderdom" - one of the themes I am most interested in.
A book, at the same time, also has to do with what I call a buzz in the head. It's a certain kind of music that I start hearing. It's the music of the language, but it's also the music of the story. I have to live with that music for a while before I can put any words on the page. I think that's because I have to get my body as much as my mind accustomed to the music of writing that particular book. It really is a mysterious feeling.
When I'm writing comics, I'm also visualizing how the story will look on the page - not even always art-wise, but panel-wise, like how a moment will be enhanced dramatically by simply turning a page and getting a reveal. It requires thinking about story in a way I never had to consider when I was writing prose.
You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.
We, Homo sapiens, destroyed the majority of the large mammalian species in North America and Australasia just over 10,000 years ago. We, Homo sapiens, now are destroying the other species that presently exist on this planet at a rate of about 15,000 to 20,000 per year.
Are the different species defined by paleontologists - Homo erectus, Homo neanderthalensis and ourselves, Homo sapiens - all part of the same gene pool or not?
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
Toy Story 3 is so besotted with brand names and product-placement that it stops being about the innocent pleasures of imagination -- the usefulness of toys -- and strictly celebrates consumerism.
If one loves stories, then one would naturally love the story of the story. Or the story behind the story, pick your preposition. It does seem to me to be a kind of animal impulse almost, a mammalian curiosity. For a reader to wonder about the autobiography in a fiction may be completely unavoidable and in fact may speak to the success of a particular narrative, though it may also speak to its failure.
The format of the book was the idea of my wonderful editor, Stephen Segal. Stephen and I had worked together before, on projects for the Interstitial Arts Foundation, and when he got the idea for an accordion-style book, he called and asked if I could write the story for it. I told him that I would love to try! And I knew it had to be a love story, because that's the sort of story you really want to hear from both perspectives. I mean, imagine if Pride and Prejudice were told from Darcy's perspective as well as Elizabeth's. It would be quite a different story!
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