A Quote by Rachel Field
One of the pleasantest things about book writing is that sometimes it brings one in touch with old friends.
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People have told me 'Betty, Facebook is a great way to keep in touch with old friends...' .. At my age, if I wanted to keep in touch with old friends, I'd need a Ouija board
The pleasantest of all diversions is to sit alone under the lamp, a book spread out before you, and to make friends with people of a distant past you have never known.
The inclusiveness of the Drama League luncheon is one of the most exciting things about it. I get to see old friends and meet new friends. Of course I can't tell who anybody is if they're under the age of 75. So my old friends become my new friends.
When I'm writing, I'm thinking, "Well, this might be a book that I'll always be happy with, and certainly readers will be happy with." But another part of me knows that when I'm past the stage of writing, the book is gonna have good things about it, bad things about it - probably more bad than good. I just know that. That's who I am.
I always have strong feelings when I'm writing a book. Sometimes when I'm writing a book, I even cry when I'm writing. Once I read a quotation that I thought was very true for me, which is: "No tears in the writer, no tears in the reader."
The present hour is always wealthiest when it is poorer than the future ones, as that is the pleasantest site which affords the pleasantest prospect.
It's awkward, because sometimes you find new friends that are cooler than your old friends, and then your old friends desperately try to cling on to you even though you sort of hate them by now.
There's something special about writing by hand, writing with a fountain pen, and there's something special about writing into a book, to take a blank book and turn it into an actual book.
Writing a book about yourself is like therapy, and you go 'Oh My God, that's the reason that happened.' Writing about it, you're forced to really examine things.
At the time I was writing 'Weedflower,' my friend Naomi Hirahara was writing a book about Japanese-American flower farmers. She knew quite a few elderly farmers and put me in touch with four or five of them who had been in camps during WWII. Some, like my father, were reluctant to talk about their experiences.
My personal telephone book is a book of the dead now. I'm so old. Almost all of my friends have died, and I don't have the guts to take their names out of the book.
The most enjoyable part in writing a series is being able to visit a world I have created and revisit old friends. The challenges are making the book fresh and new for readers who have started from the beginning while still adding old information for new readers.
There are certain things that I'll hear about and that I think will make a great book and I put it in a file. Sometimes it's a situation that interests me, and I don't even realize what I'm trying to say about it until I get closer to it. Sometimes the book after that I've written 125 pages of, and I can tell you what the book is after that. I just sort of have a linear progression, but more than anything, the topics land in your lap. I don't feel that I go out searching for them.
The process of writing a book is infinitely more important than the book that is completed as a result of the writing, let alone the success or failure that book may have after it is written . . . the book is merely a symbol of the writing. In writing the book, I am living. I am growing. I am tapping myself. I am changing. The process is the product.
It's not hard for me to be honest with my fans because that's what I set out to do from the beginning - I've based my entire career off of just trying to do that for them - but I always kind of forget that my real life friends can hear my music and they can watch my interviews if they want and that's when I get kind of like- "oh..." - I don't necessarily sit down and talk to my friends about all the things that I write my music about, because it's easier for me to write music than to sit and talk to my friends about it sometimes- it's almost like writing in a diary.
My books are based on the "what if" principle. "What if you became invisible?" or "What if you did change into your mother for one day?" I then take it from there. Each book takes several months in the long process of writing, rewriting, writing, rewriting, and each has its own set of problems. The one thing I dislike about the writing process is the sometimes-loneliness of it all. Readers only get to see the glamour part of a bound book, not some of the agonizing moments one has while constructing it.
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