Sandra Brown Quotes

This was life in the '30s. This is the way it was with children in the South. I tried to make it general, the kind of things that might happen to any child.

'We Were the Mulvaneys' is perhaps the novel closest to my heart. I think of it as a valentine to a passing way of American life, and to my own particular child - and girlhood in upstate New York. Everyone in the novel is enormously close to me, including Marianne's cat, Muffin, who was in fact my own cat.

I was born during the Depression in a little community just outside Waco, and I grew up listening to Franklin Roosevelt on the radio.

There is a lot of my childhood in 'The Sandcastle Girls.'

I suppose 'This Little Life' and 'Brick Lane' both have things in common in that they have a female protagonist very much at the centre of the story, and they're subjectively told.

I do like Pat Conroy, and 'The Great Santini' is an iconic book.

I talk all the time about how much I read growing up and how much I love Stephen King and how he impacted my work from a genre perspective, but Pat Conroy wrote some of the most magnificent stories about characters who had to deal with dysfunctional families and try to find a place of honor in their own world and the pain of loss.

Iloved Ashley Hope Perez's heartbreaking Out of Darkness set in late the 1930s in a small town Texas. It should win all the YA awards.

A middle child, I was born in the depths of the Great Depression. My dad and mom were factory workers, struggling to make ends meet.

I'm aware of what kids like because I'm constantly in touch with them. Also, they say that a lot of people who write for children can remember their own childhoods vividly and I can remember my childhood very vividly.

I feel like the kind of people I write about are the kind of people I grew up with, the families that I know in my community. Most everyone is working-class, and there are some intact families, but a lot of families aren't.

I did not throw out my education lightly, but what I was being taught was of no use in explaining what I saw around me. It was the Great Depression.

I wrote 'Are You There God? It's Me, Margaret' right out of my own experiences and my own feelings when I was in sixth grade.

When I'm singing, it's a mixture of my innocence in the projects, my mom and dad. It's all the good and the bad, the laughs and the frowns that I went through and seen other people go through. Then you be trying to write it. Whatever's coming out, you try and make it all cool.

I was a huge fan of J. Courtney Sullivan's novel 'Maine,' and like that novel, 'Saint' is a family saga set in Boston. Irish Catholic family secrets - is there anything better?

If you make a film about childhood, you've got to pick a moment - you know, 'The 400 Blows.'

In many of my plays, there was a kind of autobiographical character in the form of a son or young man.

When I was young, I loved a series of books by an author called Maud Hart Lovelace and the series, which is still around, I'm happy to say, is - they're the 'Betsy-Tacy' books.

I can distinctly remember being the only boy in my class whose parents had separated.

At night, I read. I read for two hours. I just finished a marvelous book by Louise Erdrich, 'The Round House.' But mostly I read 20th-century history and biography. I lived then. I was either a child or at school or at work.

'Dhadak' has its own individuality and a story that deserves to be told to a larger audience.

I can pinpoint the exact moment when I first began to think about what profession I should go into. It was 1978. I was seven and had just been handed over by the women of my family to the earnest and self-important gatherings of the men. I was no longer the responsibility of my aunts and older female cousins. I was now a man. This was a tragedy.

Everyone in the '80s grew up, and for a lot of the film executives, that's what they know and love.

My first recollection of performing was shortly after my parents split up, so the logical conclusion to draw is that that affected me.

My narrative style centers around intimate, highly subjective depictions of personal experience and internal landscapes. In 'March,' everything fell into place as soon as I began identifying strongly with John Lewis as a young boy and saw how we shared the same kind of gravity and intensity as youngsters.