Sara Zarr's Quotes

Everyone has an identity crisis when they are 16 or 17 years old.

I didn't 'decide' to write YA, per se. But every time I thought of a story, it featured characters 15, 16, 17.

I don't like to do too much psychological research because it might turn a character into a patchwork.

I have no desire to go back to San Francisco.

I remember being in high school and listening to Vivaldi's 'Winter' and being so overwhelmed with emotion.

I was a 'learn by doing' writer - I never took any formal writing classes. So it took a long time to figure things out and find my voice.

I'm not really a plot writer - I'm more interested in the characters and sort of small events that propel the story forward.

The one reader I'm trying to please as I write is me, and I'm pretty difficult to please.

Family or love or romance, whatever it is, is not restricted to perfect people. If it were, it wouldn't exist. All of that comes out in my work in some way.

I do have a little bit more confidence in - or at least familiarity with - my process. For example, when it feels like it's going badly or that I'm lost, I know I'll eventually find my way because I've been through it before. But writing itself is still hard.

I wanted to be free to write the way I wanted to write, and my impression of Christian publishing, at least in fiction, was that there wasn't room for what I wanted to write.

I wouldn't say I'm stuck in my adolescence, but I think, like a lot of people, I carry my teen years with me. I feel really in touch with those feelings, and how intense and complicated life seems in those years.

I'm always in a place that is sincere but conflicted about different things that come with being a Christian and being an active, churchgoing Christian.

It's hard to say when my interest in writing began, or how. My mother read to my sister and me every night, and we always loved playing make-believe games. I had a well-primed imagination. I didn't start thinking about writing as a serious pursuit, a career I could have, until after college.

My books have been translated into various languages and sold in other countries, but I never have any contact with the foreign publishers and am so disconnected from that process that it seems almost imaginary. With 'How to Save a Life', I worked closely with Usborne editors and have been involved in the publicity.

My books usually end where they began. I try to bring characters back to a point that is familiar but different because of the growth that they have gone through.

My parents met in music school and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing. There was a lot of Mozart and the Beatles.

One of my favorite authors is Robert Cormier. He was a devout Catholic and a very nice man, which might not be the impression you get from reading his books.

There were about ten years of trying, failing, trying again, suffering rejection, etc. My first published book, 'Story of a Girl', was the fourth book I wrote.

When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.