A Quote by Kristin Cast

I was really the first-line editor of the 'House of Night' series. I didn't write that much of the story, and I didn't know what was happening until my mom finished the book and sent it to me because I wanted to read it with fresh eyes as a general reader would.
I read John Irving's novel 'The World According To Garp' when I was about 14 or 15. It was the first grown-up book that I had read. It is the story of a young man who grows up to be a novelist. I finished it, and I wanted to write a book that made the reader feel the way I felt at the end of that, which was sort of both bereft and elated.
It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
I used to be an editor and I was editing young adult series. I didn't really like the books that I was reading, so I decided that I would write a book about something I'd want to read if I was 16. It turned into a Cinderella story... I developed a proposal and the characters of 'Gossip Girl' for my job.
Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.
One night a friend lent me a book of short stories by Franz Kafka. I went back to the pension where I was staying and began to read The Metamorphosis. The first line almost knocked me off the bed. I was so surprised. The first line reads, “As Gregor Samsa awoke that morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect. . . .” When I read the line I thought to myself that I didn’t know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago. So I immediately started writing short stories.
Parker wasn't supposed to be a series. He was supposed to be one book, and if he was only going to be in one book, I didn't worry about it. And then an editor at Pocket Books said "Write more books about him." So I didn't go back at that point and give him a first name. If I'd known he would've been a series, I would've done two things differently. First, I would've given him a first name because that means for 27 books, I've had to find some other way to say, "Parker parked the car."
It had to be a book that held my attention and kept me wanting to read it; when my husband finished 'The Road', I started it straight away and didn't put it down until I finished - it was such an achievement and relief to know that I could read, comprehend and, most importantly, enjoy a book!
'Brown Girl Dreaming' was a book I had a lot of doubts about - mainly, would this story be meaningful to anyone besides me? My editor, Nancy Paulsen, kept assuring me, but there were moments when I was in a really sad place with the story for so many reasons. It wasn't an easy book to write - emotionally, physically, or creatively.
What I would really like to do is live in a university town and be an intellectual bum. I just want to write, read, whatever. I'm very eclectic. I read every night until my eyes burn.
My own disposition is to trust the reader. Of course, there's a line between trusting the reader and expecting her to read your mind. That's where a friend or an editor comes in. A great editor will tell you straight when you've drifted into the latter territory.
Iwas not a reader at all, not until I discovered 'The Hobbit.' That changed my life. It gave me the courage to read. It led me to the 'Lord of the Rings' series. And once I'd read that, I knew I could read anything because I had just read thousands of pages.
You cannot pretend to read a book. Your eyes will give you away. So will your breathing. A person entranced by a book simply forgets to breathe. The house can catch alight and a reader deep in a book will not look up until the wallpaper is in flames.
As an editor, I read Charlotte Rogan's amazing debut novel, 'The Lifeboat,' when it was still in manuscript. I read it in one night, and I really wanted my company to publish it, but we lost it to another house. It's such a wonderful combination of beautiful writing and suspenseful storytelling.
I myself, as I'm writing, don't know who did it. The readers and I are on the same ground. When I start to write a story, I don't know the conclusion at all and I don't know what's going to happen next. If there is a murder case as the first thing, I don't know who the killer is. I write the book because I would like to find out. If I know who the killer is, there's no purpose to writing the story.
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!
It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.
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