Patrick Ness
Patrick Ness
Patrick Nessis an American author, journalist and lecturer who moved to London at age of 28 and now holds dual citizenship. He is best known for his books for young adults, including the Chaos Walking trilogy and A Monster Calls...
NationalityAmerican
ProfessionYoung Adult Author
Date of Birth17 October 1971
CountryUnited States of America
avoid bring course describing people stuff
I try to avoid describing one interpretation of my books. Of course I have an opinion. I have things I want to say, but I don't ever want to limit anybody, to have them say, 'Oh, he said this, so that's what it's about.' I'm happy people bring their own stuff to it.
buy people whenever
Whenever I have tried to write for other people, that's when my writing has failed, when nobody wanted to read it or buy it. But it's only when I've been able to write a story that makes me excited, only then have other people wanted to read it.
war survivor accepting
No one escapes from a war. No one. Not even the survivors. You accept things that would appall you at any other time because life has temporarily lost all meaning.
fighting men life-is
The only crime, the only crime is to take a life. There is nothing else.' 'And that's why you don't fight,'I say. She turns to me sharply. 'To preserve life is to fight everything that man stands for.
connect online readers solitary
Online is such a brilliant, brilliant way to connect with young readers - even if they just want to tweet, 'Hey, I read your book!' - that, absolutely, I connect with that. But I also treat writing as solitary and keep it to myself as long as I can.
boy complex drape framework great love plot stuff tend ya
Plot is a framework on which to drape other things. So once that's working, I can just let it go and do all the stuff that I love - 'Trojan horse' it. There are so many great YA heroines, and that's fantastic, but what about the emotionally complex boy out there? That's who I tend to write about.
allow anyone hugely inspiring
Limitations can be hugely creative and hugely inspiring - so long as they are the ones you choose for yourself. I will not allow anyone to take anything off my palette, but if I do, then within that, I can be creative.
rewrite
I write 1,000-1,500 words. The next day, I rewrite it and add 1,000-1,500 words to the end of it.
either expectation sit sneak
If I sit down to write a young-adult novel, then I'm going to write either to the punch-pulling expectation of what I can't do, or I'm going to go the other way and think about what can I sneak in to be 'down with the kids' - which would be excruciating.
best helps hold onto stick
I'm a long distance runner, and I get my best ideas when I'm out running. It also helps that I can't write it down immediately - if you hold onto an idea, other things will stick on it.
anywhere behind forcing information mobile phone somebody talking
I live in England, so I take a lot of trains, and you can't really go anywhere without somebody talking on their mobile phone behind you, forcing you to listen to their conversation. With the Internet, with texting, with networking sites, there's already information everywhere.
ali burning david foster peter smith writers
I like writers who seem to write because they have to. You get the feeling of this burning desire to tell a story. I find it in Peter Carey, Nicola Barker, Ali Smith and David Foster Wallace.
bit books boy boys equally funny girls thick tired wrong
I got tired of books where the boy is a bit thick and the girl's very clever. Why does it have to such an opposition? Why can't they be like the girls and boys that I know personally, who are equally funny and equally cross? Who get things equally wrong and are equally brave? And make the same mistakes?
attention exactly nobody pay purposely push
I don't purposely push the boundaries... I think if you pay attention to a story, it will have exactly as much 'difficult material' as it needs, and nobody will complain about it because you've earnt it.