A Quote by Rick Smolan

In 1978, 'Time' magazine sent me to do a story about children in Southeast Asia fathered by American GIs. What I saw was very upsetting, but the story they published was whitewashed.
Most Americans, I think, know very little about East Asia or Southeast Asia. American businesspeople who have been here, they are very knowledgeable about this area, but the average American? No.
I always wrote; my first story was published in the magazine The American Girl when I was 11.
I always wrote; my first story was published in the magazine The American Girl when I was 11
'Royal Beatings' was my first story, and it was published in 1977. But I sent all my early stories to 'The New Yorker' in the 1950s, and then I stopped sending for a long time and sent only to magazines in Canada. 'The New Yorker' sent me nice notes, though - penciled, informal messages. They never signed them. They weren't terribly encouraging.
Mr. Murphy is really, really amazing. I have admired him from the time that I saw the first season of 'American Horror Story.' I watched 'Glee,' but once I saw 'American Horror Story,' I was like: 'I'm working for him.'
To me, 'Kita y Fernanda' is very much an American story, and I know some people are going to think it's a Latina story, but it's about shifting people's paradigms and views of what it is to be American.
The story wrote quickly. I called it 'Where You're From,' and I sent it out, as I had numerous other stories over the years. Except this time I got a letter back saying that it would be published. Someone out there had liked the story. I was thirty-one years old.
Hateful material travels the globe. A few years ago, CNN, America's Der Sturmer, ran a story about Black parents being so low down that they abandoned their children and the children had to eat rats. I was at a University in Wisconsin at the time and the mother of a student from South Africa called to see whether the story was true. She had seen it all the way over there. The story was untrue. The children lied. CNN never corrected the story.
I wrote The Jesus Storybook Bible because I wanted children to know the Bible isn't mainly about you and what you're supposed to be doing. It's about God and what he has done. It's the story of how God loves his children and comes to rescue them. It's a Love Story. It's an Adventure Story. And at the center of the story is a baby - the child upon whom everything would depend. And every single story in the Bible whispers his name.
At 18, my first short story was published - I was paid a penny a word by a science fiction magazine. I continued to write, and five years later I published my first novel, 'Sweetwater.'
There's so much emphasis on the economic might of China, of Southeast Asia, Asian 'Super Tigers' and things like that. But nobody was really looking from the perspective of a family story, of these individuals.
I came across an old story of mine that I'd written a decade ago. The main joke of the story is that a mother is telling her children about how she met their father online. The majority of memories the mother has all have to do with really funny links he sent her, a music download that she loved, etc. - and because of these superficial details she fell in love with the father. Reading it today, it's hardly a dystopian story; it's simply a realistic story about how people actually meet.
Southeast Asia has a real grip on me. From the very first time I went there, it was a fulfillment of my childhood fantasies of the way travel should be.
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
I first emailed Tao Lin a story I wrote about the experience of losing my virginity sometime in April 2011. He didn't respond until it was later published on Thought Catalog, after which he sent me an email that said something very similar to, "I enjoyed reading this on Thought Catalog. Good job."
'The Master and Margarita' is deeply to do with the unconscious. It is a story about a man who writes a story in a time when he's not supposed to write that story: the story of Pontius Pilate.
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