A Quote by Robin McKinley

I don't differentiate in the way that the genre creators want differentiation to be made. I feel that I have never written children's or YA stories particularly.
The only thing that makes a book YA is that it is about teenagers, and it is written in a very conventional, non-artsy, non-pretentious way. YA is not the place for the oblique or the cryptic. If it is in any way experimental in form, it is not YA.
I liked myths. They weren't adult stories and they weren't children stories. They were better than that. They just were. Adult stories never made sense, and they were slow to start. They made me feel like there were secrets, Masonic, mythic secrets, to adulthood. Why didn't adults want to read about Narnia, about secret islands and smugglers and dangerous fairies?
Wine is a chemical symphony. and The Aesthetic differentiation of Chesapeake Bay oysters and Olympia oysters occurs only after we can really differentiate them. This differentiation cannot occur until we are thoroughly familiar with both. The same is true with wines.
I've published over 100 books - and that is divided about 50/50 adult and young adult. Lately, I have been writing more YA, which is such a great genre to write it. I don't have a favourite (I usually say it's the last book I've written), but certain books do stick in the mind. My very first YA novel, The Children of Lir, will always be special to me, and, of course The Alchemyst because it was a series I'd wanted to write for ages.
I'd want to read the stories that I'd written, I'd want to show the drawings that I made. That was just purely natural. So I knew I wanted to go into the arts in some way and that I'd want to show that work in some way.
In every company, differentiation is never more important than it is in times of trouble, and that's the time when everyone tends to go to the well and equalize rather than differentiate.
My favourite genre lies inside myself, and as I follow my favourite stories, characters and images, it sums up to a certain genre. So at times even I have to try to guess which genre a film will be after I've made it.
I've tried to show in my most recent book, the 'Irresistible Fairytale', that in order to talk about any genre, particularly what we call simple genre - a myth, a legend, an anecdote, a tall tale, and so on - we really have to understand something about the origin of stories all together.
There was nothing particularly intimate about the way they sat, but something about the scene made Gansey feel strange, like he’d heard an unpleasant statement and later forgotten everything about the words but the way they had made him feel.
I remember all the way back in high school thinking about writing books. And, in fact, I've written a lot of stories. I've got dozens of stories I've written that no one's ever seen.
When I see ya baby girl, I miss feelin on ya. I miss everything that's real about ya and that's everything about ya, that's just how I feel about ya
You need to understand the market, know how you can differentiate yourself in it, and grasp the price and the functional differentiation competitive points that are going to allow you to be disruptive.
I write my own stories. I like telling stories to little children. I think the good thing about stories is they carry you to another place which you've never been. And you feel like you're just enveloped by the book and the characters.
I still have a YA-genre-series type of a book in me that I really want to tell.
A lot of what I've written that's made its way onto my records I've written in Kansas, which is interesting because I've never written about Kansas. But I go have these experiences. and I'll be back at my parents house, and it's like I'm in a safe incubator.
The beauty of the horror genre is that you can smuggle in these harder stories, and the genre comes with certain demands, but mostly you need to find the catharsis in whatever story you're telling. What may be seen as a deterrent for audiences in one genre suddenly becomes a virtue in another genre.
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