KATHE KOJA

The stage is not only a world apart, it is a myriad of worlds, and in those worlds a man can have anything he fancies, if only he believes in what he sees.

I'm just going to jump and say:hey Mom, Dad, I'm gay, What's for dessert?

'Alice in Wonderland' has been done a million times; why do it again? Nerve's answer is that Alice is Everyman and Everywoman, going through the stages of life.

If there is any God in this world, He lives in a theatre.

You see, that hunger inside us, that ambition, or whatever you may choose to call it, is a compass really, a compass of true desire. And if you will be happy, you must follow that desire, no matter which way the needle points.

My writing process hasn't changed - it's is the same whether I'm working on a Y.A. novel or, as now, a new novel for adults. A lot of reading, a lot of research if the subject warrants it, a lot of sticky notes and scraps of paper - and get to work.

'Under the Poppy' is the love story of Istvan and Rupert, lovers and friends from childhood, who've been parted by jealousy - and a secret betrayal by Istvan's sister, Decca, who also loves Rupert, with whom she runs the brothel called Under the Poppy, where the floozies cater to every taste from saucy to peculiar.

Even an empty road leads somewhere, right?

Darkness might seem to obscure what's happening, but I find it's always pretty revelatory: it brings out the awe in us, the fear in us, the excitement of exploring the hidden or unknown. It seems to conceal, but it really shines a light on what we want, what we need, and what we'll do to get it. Especially when we think no one can see us.

I have one rule when adapting any text: nothing gets added; all the words are the original author's own. But in the ordering and recreation of the story, I can do as I please, and to me, the heart and the point of 'Dracula' is appetite.

People react differently to puppets than they do to human performers: they become more playful, more open.

Y.A. wasn't really a specific genre when I was fifteen, but if it was, I would probably have shunned it; I was a huge snob.

'Alice in Wonderland' has been done a million times; why do it again? Nerve's answer is that Alice is Everyman and Everywoman, going through the stages of life.

Darkness might seem to obscure what's happening, but I find it's always pretty revelatory: it brings out the awe in us, the fear in us, the excitement of exploring the hidden or unknown. It seems to conceal, but it really shines a light on what we want, what we need, and what we'll do to get it. Especially when we think no one can see us.

I don't think kids have a problem reading books meant for adults; the problem is on the other side of the fence, a misconception of what one kind of literature is 'supposed' to be, perceived to be, as opposed to another: if it's for kids, it can't be any good; it's got to have been dumbed down and/or sweetened up.

I have one rule when adapting any text: nothing gets added; all the words are the original author's own. But in the ordering and recreation of the story, I can do as I please, and to me, the heart and the point of 'Dracula' is appetite.

I never consciously choose what I'm going to work on next; I don't have an agenda beyond that attraction. Fortunately, my wonderful agent, Christopher Schelling, knows how I think and points me toward things I might like, which is how I started writing Y.A.

My writing process hasn't changed - it's is the same whether I'm working on a Y.A. novel or, as now, a new novel for adults. A lot of reading, a lot of research if the subject warrants it, a lot of sticky notes and scraps of paper - and get to work.

'Under the Poppy' is the love story of Istvan and Rupert, lovers and friends from childhood, who've been parted by jealousy - and a secret betrayal by Istvan's sister, Decca, who also loves Rupert, with whom she runs the brothel called Under the Poppy, where the floozies cater to every taste from saucy to peculiar.

I'm just going to jump and say:hey Mom, Dad, I'm gay, What's for dessert?

You see, that hunger inside us, that ambition, or whatever you may choose to call it, is a compass really, a compass of true desire. And if you will be happy, you must follow that desire, no matter which way the needle points.

The stage is not only a world apart, it is a myriad of worlds, and in those worlds a man can have anything he fancies, if only he believes in what he sees.

To work and work and never mind why; if you kept looking for the why behind everything you might never work again, you might never bother to breathe again.

Even an empty road leads somewhere, right?

If there is any God in this world, He lives in a theatre.