A Quote by Sara Zarr
I didn't 'decide' to write YA, per se. But every time I thought of a story, it featured characters 15, 16, 17.
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It's when children are 15, 16 or 17 that they decide whether they want to be a doctor, an engineer, a politician or go to the Mars or moon. That is the time they start having a dream, and that's the time you can work on them. You can help them shape their dreams.
Though it may not seem like it, I never try to write about a place, per se; it's always, first and last, about story. Story is everything. Story and a bit of attitude.
I always thought it'd be fun to write something, but it never was an ambition of mine, per se.
When I wrote my first story, all the characters were teenagers because I think 16, 17 is a great age.
I don't really decide what the core of the story is before I write. I write to figure out what the story is. And I think the characters end up talking to you and telling you what they want to be doing and what is important to them. So in some ways, your job is to listen as much as it is to write.
I was entirely wrapped up in the idea of becoming an actor. I learned how to write on the job, basically out of necessity. I always thought it'd be fun to write something, but it never was an ambition of mine, per se. I just thought, "Well, maybe I'll do it one day just for the hell of it and see if it works."
We proclaim human intelligence to be morally valuable per se because we are human. If we were birds, we would proclaim the ability to fly as morally valuable per se. If we were fish, we would proclaim the ability to live underwater as morally valuable per se. But apart from our obviously self-interested proclamations, there is nothing morally valuable per se about human intelligence.
When I was 15, 16, 17 years old, I spent five hours a day juggling, and I probably spent six hours a day seriously listening to music. And if I were 16 now, I would put that time into playing video games.
I never wanted to do a regular sitcom, because I'd be incredibly bored doing the same character week in, week out. But the beauty of 'The Simpsons' is that it's 15, 16, 17 characters. It's the variety that keeps it interesting. And hey, they're all my children.
I didn't act in college, per se, because I didn't want an acting degree. I don't know what you do with that degree. When I was 16, I saw 'Usual Suspects,' and I wanted to be a director as well. So I thought I should go to school for directing and producing, something I knew nothing about.
I play characters. I don't think I really have a persona per se. I don't play the same guy every time. I show up, you don't know what I'm gonna do. I like it that way. I've intentionally tried to do it that way. I think that's what's interesting.
I don't have any special approach for playing dark characters. That's because I never looked at them as dark characters per se. For me, they were real people.
Characters are so important to a story that they actually decide where the story is going. When I write, I know my characters. I know how things are going to end, and I know some important incidents along the way.
I don't sit down to write a song, per se.
From the age of eight until 15 or 16, every time I was out bowling leg spin I was thinking about my dad and when you've done that it stays with you. There are lots of things he did which enabled me to be the player that I was. It wasn't me that wanted to be a cricketer. He made me 90 per cent of the player I was and the person I was.
Being in unfamiliar places has no effect on my writing, except that it often means I'm caught up in the logistics of travel, the places and people on the spot, etc., etc., which can mean that I don't have the time to write. But I try, wherever I am, to take a couple of hours in the early evening to go off and write. Because I never write from personal experience, per se, where I am makes no difference except for this element of available time.
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