A Quote by Sara Sheridan
I wrote 'I'm Me' because I was asked to write a children's book.
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I was incredibly determined - I wrote short stories, I wrote the beginnings of novels. I wrote a little children's book and sent it to the editor-in-chief of the children's division of Simon and Schuster and she asked me to write a little children's book for a series she was doing.
I was asked in an interview once: You're writing another book with a female lead? Aren't you afraid you're going to be pigeonholed? And I thought, I write a team superhero book, an uplifting solo hero book, I write a horror-western, and I write a ghost story. What am I gonna be pigeonholed as? Has a man in the history of men ever been asked if he was going to be pigeonholed because he wrote two consecutive books with male leads?
I wrote the Dickens book because I loved Dickens, not because I felt a kinship with him, but after writing the book it seemed to me that there was at least one similarity between us and that was that Dickens loved to write and wrote with the ease and conviction of breathing. Me, too.
People ask me if I ever thought of writing a children's book. I say, 'If I had a serious brain injury I might well write a children's book', but otherwise the idea of being conscious of who you're directing the story to is anathema to me, because, in my view, fiction is freedom and any restraints on that are intolerable.
I was extraordinarily lucky. I wrote a book because I wanted to see if I could write a mystery. Someone nagged me into sending it to a contest, which it won, after which I was offered a two-book contract, thus requiring the writing of a second book.
Robert Mapplethorpe asked me to write our story the day before he died. I had never written a book of nonfiction, and so it took me almost two decades to write that book.
I wrote a children's book because children have the most open minds. They are the people who really want to learn.
'Dear Mr. Henshaw' came about because two different boys from different parts of the country asked me to write a book about a boy whose parents were divorced, and so I wrote 'Dear Mr. Henshaw,' and it won the Newbery, and I was - it's been very popular.
On the return flight from my mother in Florida , I sat next to a businessman who asked me what I did for a living. I said, "I write," and it seemed totally ridiculous in the face of what had just happened. I mean, I couldn't think of anything more pointless than telling stories. He asked, "What do you write?" I said, "I write children books."
You have to surrender to your mediocrity, and just write. Because it's hard, really hard, to write even a crappy book. But it's better to write a book that kind of sucks rather than no book at all, as you wait around to magically become Faulkner. No one is going to write your book for you and you can't write anybody's book but your own.
[A] couple I had known - who were old friends - asked me what I was going to work on next. I told them I wanted to write a near future book about AIDS concentration camps. They were vehement in their response: they thought it was a terrible idea. Their words both shocked and saddened me. "Do you really want to write a book about homosexuals?" they asked me. "Won't people who read your work be influenced toward sin?" I notice that I don't hear from them much lately.
I didn't write professionally at first. It took me nine years to get anything published. At the beginning I mostly wrote picture books, which were rejected by every children's book publisher in America. The first book of mine to be accepted for publication was ELLA ENCHANTED, and not one but two publishers wanted it. That day, April 17, 1996, was one of the happiest in my life.
The way I feel about every book is this: you don't finish it, you abandon it. All of my books have in some sense failed, otherwise I wouldn't write another one. If I wrote the perfect book, I wouldn't have to write again, and I wouldn't want to. That's not true for everyone, but it's true for me. I could walk away then. But so far I haven't managed to do it.
... the man took my passport and asked me the purpose of my visit, I wrote in my daybook, 'To mourn,' and then, 'To try to live,' he gave me a look and asked if I would consider that business or pleasure, I wrote, 'Neither.' 'For how long do you plan to mourn and try to live?' I wrote, 'For the rest of my life.
You can't write a children's book that takes more than five or six minutes to read, because it will drive the parents batty. It has to be compact. Nobody thinks about the parents when they write these stupid books. I could write longer children's books, but it would actually be bad if I did.
When I wrote 'Marley & Me,' I had a clear audience in mind. And it did not include children. I wrote my book for adults and assumed only adults, and possibly teenagers, would be drawn to it.
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