A Quote by Hope Larson
I know how to write stories that are accessible to younger readers, and sophisticated enough for older ones. I'm not a big fan of the all ages label, but I keep a wider audience in mind.
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Home Label was a part of me that wanted to reach out to a wider audience, a wider clientele. People who like design, who aspire for better design but they're too intimidated by the metros, all the big designers and the big label.
I try to write stories that will attract younger readers and make them feel part of a wider readership. I do not feel able to write books that are about, or even for, teenagers; and I am inclined to be suspicious of books which 'target' them.
I keep saying, the older I get, the younger my audience gets. Because 'Wicked' and 'Rent' and 'Glee,' each one was a young audience, so it's a great thing to have, so then you know that as they get older and have kids, they'll maybe still buy tickets to my shows when I'm 80 and in Vegas!
As you know, all women at all ages do not feel their ages anymore. The young girl feels older, and the older woman feels younger.
With the 'Old Kingdom' trilogy, at least half the readers were older adults rather than younger adults. I wrote them for myself with no particular audience in mind.
In my younger days, I was trying to write sophisticated prose and fantastic stories.
I kind of just write what I like to write. I'm thankful that readers of different ages seem to connect to my stories. I don't consciously think about age demographics when I'm working on my comics.
I know how it is to grind, I know how it is to get up at 4 in the morning and do things, I know how it is for a label not to support you, I know how it is to be put on a shelf at a label but still keep my career alive.
I'm a big greens fan. I'm a big vegetable fan. I'm a big whole grains fan. And I exercise a lot. That's how I keep this petite dancer's figure.
We can't tell particularly smart stories if we want to keep our audience big enough to pay for these big spectacle films that we want to do.
I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.
I don't have an audience in mind when I write. I'm writing mainly for myself. After a long devotion to playwriting I have a good inner ear. I know pretty well how a thing is going to sound on the stage, and how it will play. I write to satisfy this inner ear and its perceptions. That's the audience I write for.
All women at all ages do not feel their ages anymore. The young girl feels older, and the older woman feels younger.
I know the difference between someone coming up to you on the street and saying, 'Hey, you're that dude, right. Yes, that's what I thought,' and somebody coming up and saying, 'Big fan of the show. Big fan of that character.' And that's nice. You're out there telling stories, you're hoping to find an audience, and it's very appreciated.
In terms of the production company, my brother and I are very drawn toward projects that do feel slightly outside the box. And at the same time are accessible enough that they could draw a slightly wider audience.
Novelisation doesn't imply the truth. Readers are sophisticated enough to know that.
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