Neal Shusterman Quotes

I did not know at first that it would be a series; I discovered after the first novel that I had more to say about it, so I did another. And another, and then the readers demanded yet more.

I never thought about doing a sequel when I was actually writing 'The Magicians.' I only ever considered it a standalone.

I know authors shouldn't play favorites with books, but 'Release Me' really is right up there for me. The characters truly came alive on the page and drove the story as much as I did from behind the scenes. It was a pleasure to write, and I'm so thrilled that it's the first of a trilogy because I get to spend more time with the characters.

Building upon the world we created with 'Avatar' has been a rare and incredibly rewarding experience. In writing the new films, I've come to realize that 'Avatar's world, story and characters have become even richer than I anticipated, and it became apparent that two films would not be enough to capture everything I wanted to put on screen.

I had an erroneous idea that writing a duology would be simpler than writing a trilogy because I would get to cut out the middle book. It turns out it was actually harder because 'Wildcard' became this combination of having to write a book two and three at the same time.

It wasn't long after I began writing Star Wars that I realized the story was more than a single film could hold. As the saga of the Skywalkers and Jedi Knights unfolded, I began to see it as a tale that could take at least nine films to tell - three trilogies - and I realized, in making my way through the back story and after story, that I was really setting out to make the middle story.

We worked on The Perfect Storm, and I'll never forget, Wolfgang Petersen would talk about a moment. Like a non-speaking moment, where we'd all be sitting around eating dinner, and it would probably last maybe four seconds on screen. But he would sit there and talk about it for about 10 minutes. He knew what piece of the puzzle that scene would be, and if it were six seconds, it would be too long. If it were three seconds, it wouldn't be enough. I'm always turned on with people's enthusiasm like that.

It's insane to be a writer and not be a reader. When I'm writing I'm more likely to be reading four or five books at once, just in bits and pieces rather than subjecting myself to a really brilliant book and thinking, "Well what's the point of me writing anything?" I'm more likely to read a book through when I take a break from writing.

I'm not the first person to have said this - no writer ever feels that the execution of a book lives up to the idea for that book. The execution always falls short.

I've written books that have taken me fifteen years, from first sentence to last, and some that only take three or four months.

What was fun for me with this book [Lincoln in the Bardo] was to start out with the principle that went, "We're going to fight every day to make this not a novel; make it too short to be a novel." And then with that principle in place, the book sort of starts to say, "Okay, but I really need this. I really need some historical nuggets." And you're like, "All right, but keep it under control."

Narrative and characters have always interested me. I never tried to alienate an audience. Of course, gradually, I wanted a bigger and bigger space to draw people in, so it's very organic [growth].

I figure 1000 words a day, or four pages, and sometimes I'll write more, but I'll try not to. Because I think you don't want to exhaust what it is you're writing about, so the next day you would have to gear up for a brand new scene.

A friend came to visit James Joyce one day and found the great man sprawled across his writing desk in a posture of utter despair. James, what’s wrong?' the friend asked. 'Is it the work?' Joyce indicated assent without even raising his head to look at his friend. Of course it was the work; isn’t it always? How many words did you get today?' the friend pursued. Joyce (still in despair, still sprawled facedown on his desk): 'Seven.' Seven? But James… that’s good, at least for you.' Yes,' Joyce said, finally looking up. 'I suppose it is… but I don’t know what order they go in!

I don't read other writers because I'm writing all the time. It's too disturbing to read a writer with a good style when you're in the middle of putting your work together.

But, later, coming back and reading what I have produced, I am unable to detect the difference between what came easily and when I had to sit down and say, "Well, now it's writing time and now I'll write.

It's hell writing and it's hell not writing. The only tolerable state is having just written.

I enjoy the hell out of writing but don't like what follows: promotion and publicity, which I always strive to keep to a minimum, sometimes to my publisher's dismay.

I have no idea who the characters are, later, their personalities take over anything I might want to do. I end up writing not from my own will, but from theirs-they come alive as I write and make me do things that I couldn't have planned.

The preoccupation of the novelist: how to capture the living moments, was answered by the diary. You write while you are alive. You do not preserve them in alcohol until the moment you are ready to write about them.

In March of 2001, I revisited the short story, and found that thought it did not work well as a short story, it might work much better as a longer one. The novel [The Kite Runner] came about as an expansion of that original, unpublished short story.

I'm really trying to focus on the storytelling, more so than ever before I think, partly because it makes for easier pages.

The critical opinions of a writer should always be taken with a large grain of salt. For the most part, they are manifestations of his debate with himself as to what he should do next and what he should avoid.

Two questions form the foundation of all novels: "What if?" and "What next?" (A third question, "What now?", is one the author asks himself every 10 minutes or so; but it's more a cry than a question.) Every novel begins with the speculative question, What if "X" happened? That's how you start.

I didn't make the same song twice, but I definitely made the sequel to it, because everyone would come up to me in the streets saying, "Yo Khaled, make another 'I'm So Hood.' We love that record so much.