A Quote by Jean Hanff Korelitz

My first three novels were all the subjects of intensely exciting flurries of calls from producers and even stars' production companies, and once someone actually hired a screenwriter to adapt one of my books - but it all came to nothing, so I tried not to get too excited when a Hollywood suitor came calling for 'Admission,' my fourth novel.
I didn't come in as a writer that found producers, I came in under producers. So I've always respected the actual production process and producers in general.
It was most exciting when people first came up on the stage and then when they came back for the encore. We wanted to make a show that kept on developing, that was interesting, so we tried to do that with our live shows.
Once I wanted to get into films, I took my time about it because when I first got to Bombay, I gave my photos and CDs to all the production houses. But the roles that came my way were the 'typical white girl dancing in the background' kind of roles, which I was not too interested in, or it was advertisements.
A screenwriter heard me read from my novel 'The Wishbones' when it was still in progress and mentioned me to some producers in Hollywood. They called, and I told them I had a novel in my drawer about a high school election that goes haywire. They asked to take a look, and my life changed pretty dramatically as a result.
To see what books were available for my older students, I made many trips to the library. If a book looked interesting, I checked it out. I once went home with 30 books! It was then that I realized that kids' novels had the shape of real books, and I began to get ideas for young adult novels and juvenile books.
'The Fourth Hand' was a novel that came from twenty years of screenwriting concurrently with whatever novel I'm writing.
Financing for 'Shotgun Stories' was initiated with money from close friends and family. This is where the money to go into production came from. After production, a company called 'Upload Films' came on board and provided post-production funds and services. In both instances, people were taking a gamble on us.
While the documentary community is way ahead of Hollywood, it is still nowhere near where it needs to be. Filmmakers of color rarely get hired by the powerful production companies, and they are not getting supported enough by broadcasters and funders to tell their own stories.
Stupidly, in our industry, producers pay precious money to sign stars whom they might not even use in the film. Producers believe stars make hits; actually it is the script that makes a film successful.
We had a bond creatively that came out of 'Lady Marmalade.' It was our link. And people don't know this, but P!nk and I actually met when we were both 16 years old in Philadelphia. I was recording my first album, and we were working with the same producers, so I originally knew her as Alecia.
You can't have a novel without real, believable people, and once you get into either too theoretical a novel or too philosophical a novel, you get into the dangers that the French novel has discovered in the past 50 or 60 years. And you get into a sort of aridity. No, you have to have real, identifiable people to whom the reader reacts in a way as if they were real people.
I tried to get Adam Sandler hired on a movie called "Brain Donors" and the producers wouldn't hire him. And a few years later, he was doing "Happy Gilmore" and he remembered I had fought for him, so he hired me.
One of the things that's exciting for me about this novel is that, to me, Brookland and The Testament of Yves Gundron were both, in certain regards, crypto-steampunk. They're both books that are interested in an alternate technological past that in fact didn't historically come to pass. If you were to ask me what my novels were about, I would say, well, these are novels about technology and how we relate to technology and what technology means.
Right after 'The Wackness' came out, it was a really exciting time, and then it was a bit disappointing when it came out. Even though not that many people saw it, I was still getting offered some movies. I was thinking that people would just stop calling me since it didn't do very well at the box office.
The sound of the freezing of snow over the land seemed to roar deep into the earth. There was no moon. The stars, almost too many of them to be true, came forward so brightly that it was as if they were falling with the swiftness of the void. As the stars came nearer, the sky retreated deeper and deeper into the night color. The layers of the Border Range, indistinguishable one from another, cast their heaviness at the skirt of the starry sky in a blackness grave and somber enough to communicate their mass. The whole of the night scene came together in a clear, tranquil harmony.
I've had over a dozen and a half novels published since late 1994 when my first novel, 'Brother to Dragons, Companion to Owls' came out.
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