A Quote by Barbara Kingsolver

Being a novelist and being a mother have exactly coincided in my life: the call from my agent saying that I had a contract for my first novel - that was on my answering phone message when I got back from the hospital with my first child.
When I had my first child, I went back to Ireland to live with my mother. So, a typical day there was me being a mother, with my mum showing me how to do things.
When I got my very first phone call that I'd hit the 'New York Times' list, I had a small rush of 'I've made it!' But the next morning, it occurred to me I didn't know what it was, so I called my agent and asked what being a 'New York Times' bestselling author really meant. He informed me that I was now a thousand pound gorilla.
I fired a bunch of people and kind of went back to my roots. I fired my agent - I had this big, fancy agent and a big fancy manager and a big fancy lawyer - and I went back to my first agent and said, "I want to go back to just being an actor."
I received a phone call; my agent got a phone call from Ryan Murphy saying he wanted to talk to me... And he basically outlined 'American Horror Story' for me and said that there's a character named Larry the Burn Guy, and I'd like you to play it.
I got an agent when I needed one, when I had a contract negotiation for the first time. I was doing the Second City E.T.C., and I got invited to audition for the last season, it turns out, of 'In Living Color.'
It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].
Maybe I would have become an actor. I was a very outgoing kid, but being in the hospital - being outside of social action for so long - turned me into an observer. Actually, right after I got out of the hospital, I did start writing a novel, but the book was so transparently about me that I stopped.
Tereza's mother never stopped reminding her that being a mother meant sacrificing everything. Her words had the ring of truth, backed as they were by the experience of a woman who had lost everything because of her child. Tereza would listen and believe that being a mother was the highest value in life and that being a mother was a great sacrifice. If a mother was Sacrifice personified, then a daughter was Guilt, with no possibility of redress.
Only a great genius like the Victorian novelist Elizabeth Gaskell can be mother, wife and novelist without solitude. I couldn't write until my youngest child went to school, and then I began - the first morning - and I've never stopped.
I come from a blue-collar family. My father worked at the American Can Company as a mechanic. He broke his back and was disabled, and the first memory I have of him is in the hospital. My mother was a working mother - she had two jobs. Everybody in the house had to help out.
I first tried a novel when I was 14. First finished one when I was 16. First started working on stuff that had a chance of being salable in my early 20s, then didn't write much fiction at all because I was in grad school.
I couldn't have been a novelist without being a mother. It gives you a unique witness point of the growth of a personality. It was a kind of biological component for me that had to come first. My children gave this other window on the world.
The first thing I do in the morning is pick up my cell phone and call my mother to check that she's ok, and the first thing I do in the evening is call my mother to see how she's doing, and my son to see how his day went.
I mean normally you have your agent call the other agent and all the agents talk and then finally you get a phone call and you hear some misrepresentation of what someone else had to say.
I remember being interviewed about my first novel, 'The Colour of Memory.' They kept using the expression 'your first novel,' and I said, 'No, I object to that phrase, because this is it for me.'
Sage advice? If you're drunk, stay away from the phone. You can't get the answering machine message back.
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