Sarah Dessen Quotes

I've never shown anybody a draft of anything.

One of the things that I love about writing novels is that it really doesn't matter what next step you take as long as you're pursuing some intuition or instinct. Of course, then, intuitions or instincts don't make for great novels, but they often make for good first drafts.

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.

When I sit down to write, which is the essential moment in my life, I am completely alone. Whenever I write a book, I accumulate a lot of documentation. That background material is the most intimate part of my private life. It's a little embarrassing - like being seen in your underwear It's like the way magicians never tell others how they make a dove come out of a hat.

a novelist's chief desire is to be as unconscious as possible. He has to induce in himself a state of perpetual lethargy. He wants life to proceed with the utmost quiet and regularity. He wants to see the same faces, to read the same books, to do the same things day after day, month after month, while he is writing, so that nothing may break the illusion in which he is living - so that nothing may disturb or disquiet the mysterious nosings about, feelings around, darts, dashes, and sudden discoveries of that very shy and illusive spirit, the imagination.

Writing a book is a bit like going on location for a movie. You're absent from your life, your family, and your friends. You're psychologically gone, so you might as well be physically gone.

I don't start a novel until I have lived with the story for awhile to the point of actually writing an outline and after a number of books I've learned that the more time I spend on the outline the easier the book is to write. And if I cheat on the outline I get in trouble with the book.

Along the (writing) way accidents happen, detours get taken... But these are not "divine" accidents; I don't believe in those. I believe you have constructive accidents en route through a novel only because you have mapped a clear way. If you have confidence that you have a clear direction to take, you always have confidence to explore other ways; if they prove to be mere digressions, you'll recognize that and make the necessary revisions. The more you know about a book, the freer you can be to fool around. The less you know, the tighter you get.

I finish the book so I can see how it's going to end. I write that first sentence, and if it's the right first sentence, it leads to the right second sentence and three years later you have a 500-page manuscript, but it really is like going on a trip, going on a journey. It's a voyage.

Writing, and especially writing a novel, where you get to sit in a room by yourself with either a pen and a paper or a computer for a couple of years, is a very solitary occupation. You can read sales figures - a hundred thousand books sold, half a million books sold - but they are just numbers.

I don't have a cellphone or a computer. I deliberately circumscribe my mental life within the periods that I write about, and the power of Perfidia is that it's the result of complete immersion. I was there for the two years that it took me to write that book.

At the time I begin writing a novel, the last thing I want to do is follow a plot outline. To know too much at the start takes the pleasure out of discovering what the book is about.

Writing a book is hard. It turns out, writing a second book is twice as hard.

I certainly don't sit down and plan a book out before I write it. There's a phrase I use called "The Valley Full of Clouds." Writing a novel is as if you are going off on a journey across a valley. The valley is full of mist, but you can see the top of a tree here and the top of another tree over there. And with any luck you can see the other side of the valley. But you cannot see down into the mist. Nevertheless, you head for the first tree.

I got into my usual obsessive writing frenzy, using all the material I'd worked on for so long and crafting it into a little novel [Bridget Jones's Baby: The Diaries].

When it’s too good, you do it over again. Too good is too easy. If it’s too easy you have to worry. If you’re not lying awake at night worrying about it, the reader isn’t going to, either. I always know that when I get a good night’s sleep, the next day I’m not going to get any work done. Writing a novel is like working on foreign policy. There are problems to be solved. It’s not all inspirational.

I don't read novels whilst I'm writing one; I just haven't got a wide enough brain to concentrate on incoming and outgoing in the same time zone.

I thought when I started writing that I'd have a book out in four or five years, and as it became apparent that that wasn't going to happen, I became increasingly frustrated and unsure of myself.

Writing every book is like a purge; at the end of it one is empty ... like a dry shell on the beach, waiting for the tide to come in again.

I never spent less than two years on the text of one of my picture books, even though each of them is approximately 380 words long. Only when the text is finished ... do I begin the pictures.

The truth is that when you're writing a novel you're really living in it; you're living in the house, and you're living in the town.

You think you're writing one historical novel and it turns into three, and I'm quite used to a short story turning into a novel - that's happened through my whole career.

Last night I thought about all the kerosene I've used in the past ten years. And I thought about books. And for the first time I realized that a man was behind each one of the books. A man had to think them up. A man had to take a long time to put them down on paper. And I'd never even thought that thought before...It took some man a lifetime maybe to put some of his thoughts down, looking around at the world and life, and then I come along in two minutes and boom! it's all over.

When I write a novel, I have what I think of as an icon that helps get me into the world of the book.

Most books about writing are filled with bullshit. Fiction writers, present company included, don’t understand very much about what they do—not why it works when it’s good, not why it doesn’t when it’s bad.