A Quote by Judy Blume
[ Adult novels] was the world of grownups. There was nothing about teenagers.
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I feel like most horror films are made for teenagers about teenagers. I've done a couple of those horror films. There's nothing wrong with that but the older I get the more I starve for more adult material.
It's actually not very hard to re-set between the adult novels and the ones for younger readers. The narrative voices are very similar, the smartass attitude, the environmental battles. Kids love books that are irreverent and challenge authority, when authority is arbitrary, greedy or foolish. They also love it when you make fun of grownups, and I've spent my whole life as a writer doing that.
In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.
It’s the ability to bring events and characters to a resolution that draws me to writing, especially writing for children. I don’t want to ever be didactic, but if there’s something I do want to say, it’s that you can bring things around. You can make a change. Adult novels are about letting go. Children’s novels are about getting a grip.
Like teenagers, we appear to have gone from knowing nothing about the world to knowing too much all but overnight.
Why not write a book which is as sophisticated as a book for an adult, but is about the concerns that teenagers actually have?
We thought we were running away from the grownups, and now we are the grownups.
I always looked forward to being an adult, because I thought the adult world was, well—adult. That adults weren’t cliquey or nasty, that the whole notion of being cool, or in, or popular would case to be the arbiter of all things social, but I was beginning to realize that the adult world was as nonsensically brutal and socially perilous as the kingdom of childhood.
The catharsis that finalizes Dostoevsky's novels might be - of course inadequately and somewhat rationalistically - expressed in this way: nothing conclusive has yet taken place in the world, the ultimate word of the world and about the world has not yet been spoken, the world is open and free, everything is still in the future and will always be in the future
As a kid, I really did want to hang out with the grownups, so it was hanging out with the hippest grownups in the world. This was the nicest bunch of people I've worked with in show business, with the exception of the people around 'A Mighty Wind.' It really was a wonderful eight years.
All middle-class novels are about the trials of three, all upper-class novels about mass fornication, all revolutionary novels about a bad man turned good by a tractor.
There is nothing funny about Halloween. This sarcastic festival reflects, rather, an infernal demand for revenge by children on the adult world.
I had never heard of 'young adult novels,' which I guess are about teenage gangs and the new boy in town or something.
Fantasy novels give this illusion that the stakes are as high as they feel when you're a teenager. But I think for teenagers they actually are that high. I think you really are dealing in a world of tremendous cruelty and intensity, and YA gives truth to that.
French novels generally treat of the relations of women to the world and to lovers, after marriage; consequently there is a great deal in French novels about adultery, about improper relations between the sexes, about many things which the English public would not allow.
The mind of a little child is fascinating, for it looks on old things with new eyes-but at about twelve this changes. The adolescent offers nothing, can do nothing, say nothing that the adult cannot do better.
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