A Quote by Justine Larbalestier

I give people 'If You Came Softly' when they demand proof that novels for teens can be as good as the best novels for adults. — © Justine Larbalestier
I give people 'If You Came Softly' when they demand proof that novels for teens can be as good as the best novels for adults.
I give people If You Came Softly when they demand proof that novels for teens can be as good as the best novels for adults.
I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
My 'Rot & Ruin' series is a post-apocalyptic adventure for teens. My 'Joe Ledger' novels are science-based action thrillers for adults. My 'Dead of Night' stories are zombie tales for adults; my 'Pine Deep Trilogy' is classic horror for adults, and I've written nonfiction books on topics ranging from martial arts to folklore.
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.
Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.
Good novels are not written by orthodoxy-sniffers, nor by people who are conscience-stricken about their own unorthodoxy. Good novels are written by people who are not frightened.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
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.
Be sceptical, ask questions, demand proof. Demand evidence. Don't take anything for granted. But here's the thing: When you get proof, you need to accept the proof. And we're not that good at doing that.
Good novels are not written, they are rewritten. Great novels are diamonds mined from layered rewrites.
I'm not writing novels, the screenplays are my novels, so I'm gonna write it the best that I can. If the movie never gets made, it'd almost be okay because I did it. It's there on the page.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
I grew up on genre - on Westerns, spy thrillers, sci-fi, fantasy novels, horror novels. Especially horror novels.
Good novels are not written by orthodoxy-sniffers, nor by people who are conscience-stricken about their own orthodoxy. Good novels are written by people who are not frightened.
All things in my novels are real for me. Some western critics said that Garcia Marquez's novels are magic realism. However, I believe that Marquez must have experienced everything in his novels.
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