Richelle Mead Quotes

I don't feel quite normal if I haven't written for a while. I doubt I will ever again write anything as popular as the "Harry" books, but I can live with that thought quite easily. By the time I stop writing about Harry, I will have lived with him for 13 years, and I know it's going to feel like a bereavement. So I'll probably take some time off to grieve, and then on with the next book!

A writer turns his life into material, and if you’re in his life, he uses yours, too.

My wife and I both made a list of 5 people we could sleep with...she read hers out and there were no surprises...1 George Clooney...2 Brad Pitt etc...I thought 'Ive got the better deal here'...1 Your sister

It's just the garbage in/garbage out trick. If you're not taking any fiction in, good or bad, then how can you be spitting any back out (good or bad)? I can't even imagine trying to write without reading. Really, I can hardly write a novel at all if I'm not reading just book after book.

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.

The anger is useful too because when things about the world upset you, that is really a fertile feeling to channel into fiction and to put out into books.

I'm trying..." How could I put it? "I'm trying to get far enough down the line so that I can remember." I stopped, then continued: "so that I can remember without the pain killing me" And the days were stacking up. And weeks. And months. It was now almost the middle of June and he'd died in February, but I still felt like I'd just woken from a horrible dream, that I was suspended in that stunned, paralyzed state between sleep and reality where I was grasping for, but couldn't get a handle on normality.

Wildlife was the only thing we've written together with Paul Dano. It's based on a book by this author Richard Ford, who just published a memoir about his family that's really wonderful. Paul fell in love with his book, and we optioned it ourselves, and he took a first pass at writing it. He asked me for notes, and then our note session devolved into an argument really quickly.

Another thing I need to do, when I'm near the end of the book, is sleep in the same room with it...Somehow the book doesn't leave you when you're asleep right next to it.

They remain dead, the people I try to resuscitate by straining to hear what they say. But the illusion is not pointless, or not quite, even if the reader knows all this better than I do. One thing a book tries to do, beneath the disguise of words and causes and clothes and grief, is show the skeleton and the skeleton dust to come. The author too, like those of whom he speaks, is dead.

I feel like one can have all of that as a writer; you're writing, you're reading, you're talking to interesting and intelligent people. Your life is structured around whatever book you're writing, and so is your reading and so are many of your conversations.

The way to write a book is to actually write a book. A pen is useful, typing is also good. Keep putting words on the page.

I read my own books sometimes to cheer me when it is hard to write, and then I remember that it was always difficult, and how nearly impossible it was sometimes.

I can't single out one of my books or characters as a favorite. In the same way that I don't have a favorite kidney, my books are organically all part of myself. I might even say that put all together, the books are one ongoing, developing story - which, not coincidentally, happens to be my own lifestory.

The morning I got up to begin this book I coughed. Something was coming out of my throat: it was strangling me. I broke the thread which held it and yanked it out. I went back to bed and said: I have just spat out my heart.

To those who ask if I have read their book, I reply: I have not yet read Homer.

Most books germinate within you for a long time before they are ready to come out. I wrote several drafts of the novel over many years and when I finally got to the last one, it didn't take much time.

There is an energy, a romance in writing the first novel that can never be duplicated again. I was entirely absorbed in that world as I wrote the book [The Kite Runner] and to see the final page of that manuscript whir out of the printer was a very special feeling indeed.

The creative writer is usually captive to his next book.

I don't talk about my books while I'm writing them: not even my husband knows what a novel's about until it's done.

A writer never has a vacation. For a writer, life consists of either writing or thinking about writing.

My work is very dear to me, and certainly I have had all the emotional highs and lows that go with trying to get it to an audience. But I do have some kind of detachment that seems somewhat unusual in my trade. I'm a writer who writes every day. I don't have a period of months where I can't get anything done and I wander around tearing my hair out. When I come back from a book tour, for instance, I might have one day where I sleep late and then check my e-mail, and then go for a walk, and then the next day I'm really itching to get back at writing a story.

You--Roarke." Eyes watering, she reached for more tissue. "Jesus, Eve. Jesus Christ, you never sleep with anybody. And you're telling me you slept with Roarke?" "That's not precisely accurate. We didn't sleep.

Pay attention to your passions. They are the key to starting and finishing the book you are meant to write. I don't believe in talent. I believe in passion.

I always think about the books I'm doing in pretty much the same way. I'm simply trying to write that particular novel as well as that particular novel can be written. I want to listen to what it is telling me, trying to figure out what it wants to do as much as what I want to do with it. There's a negotiation that's constant and ongoing between me and the material I'm working with, because I'm trying to listen to it.