John Green Quotes

My website inspired me to create my book club and provides me with a creative outlet where I can write about things that interest me. It's a platform where I can present ideas or new ventures and get feedback straight from the people who mean the most to me.

I have this group of friends that I'll send my scripts to before I send them to a large audience.

In the case of, like, Childish Gambino, he is someone who is a writer by trade, so he is very meticulous about how he writes his ideas. I don't do this with a lot of artist, but he would give me a treatment that he wants to do, and I'll go off that; then I'll give him feedback and pitch him my ideas.

I've been writing the show with Nigel Coan, the director of 'Luxury Comedy', and Tom Meeten. Three's good. With two, you can lock horns a bit. On your own, you're not sure whether what you've made is any good. I don't know how people write novels. I would go mad.

I think that's the thing I love about making content online - you get instant response.

My two bits here are that writing is a solitary job but there are times when one needs to discuss the work, and see what's working and what's not.

I don't begin a novel until I have written, not just the last sentence, but usually, as a result thereof, many of the surrounding final paragraphs, so that in addition to knowing what happens, I know what the voice is.

You never learn how to write a novel. You just learn how to write the novel that you're writing.

I've found that writing novels is an all-absorbing experience - both physical and mental - and I have to do it every day in order to keep the rhythm, to keep myself focused on what I'm doing.

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 The novel [The Kite Runner] came about as an expansion of that original, unpublished short story.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've been told by people who write historical novels that you just sort of write the emotional truth first, the story at the core, and then you go back and research it at the end.

If you try to nail anything down, in the novel, either it kills the novel, or the novel gets up and walks away with the nail.

Starting a novel is opening a door on a misty landscape; you can still see very little but you can smell the earth and feel the wind blowing.

The whole process of writing a novel is having this great, beautiful idea and then spoiling it.

I've always relied on producing more material than I need. With each of my published novels I've written around four times the amount of material that's ended up in the book.

I never plan. I never know what the next page is going to be..... But that's the fun of writing a novel or a story, because I don't know what's going to happen next.

Writing a novel resembles a journey with only the sketchiest of maps.

No writer, I believe, should attempt a novel before he is thirty, and not then unless he has been hopelessly and helplessly involved in life. For the writer who goes out to find material for a novel, as a fishermen goes out to sea to fish, will certainly not write a good novel. Life has to be lived thoughtlessly, unconsciously, at full tilt and for no purpose except its own sake before it becomes, eventually, good material for a novel.

Writing a book is the most terrifying thing that I've ever done. It's so much harder than writing for television because it is a completely different skill set.

If I'm writing a novel, I'll probably get up in the morning, do email, perhaps blog, deal with emergencies, and then be off novel-writing around 1.00pm and stop around 6.00pm. And I'll be writing in longhand, a safe distance from my computer. If I'm not writing a novel, there is no schedule, and scripts and introductions and whatnot can find themselves being written at any time and on anything.

Though The Kite Runner was my first completed novel, I had been writing on and off for most of my life, primarily short stories, and primarily for myself.

If you want to be a psychological novelist and write about human beings, the best thing you can do is keep a pair of cats.

It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.

I make up stories that take place in real space with real people. If I could convert this into a technique for experimental novels, I might really be onto something.

When you write a novel, you make other people see your imaginary friends.