Certainly working with teens keeps me up to date with language and with certain kinds of thinking. I often feel like I have to go back to that 17-year-old Chris Crutcher, and that forms the core voice. I can draw on teens from 1964 to 2001 to find a part of the voice I need.
I don't think I'll ever lose the feeling that I had when I read 'To Kill a Mockingbird' - Harper Lee was going back into her childhood. I grew up in a real small town - Lee's was in the South, mine the Northwest - but small towns have a lot in common. There was such a revelation in knowing that a story could be told like that.
And I think if you're going to be with somebody, you owe it to them to show yourself.
So you didn’t tell me it was a messed-up idea to keep this all a secret because. . .” “Because experience is the only teacher,” Hey-Soos says. “Even if I could have told you, it would have been a lecture. Why do you think kids don’t listen to their parents, or people don’t leave churches and do what the preacher tells them? There’s only one thing that’s universal.” “What’s that?” “The truth.
If you think your life sucks, it probably does. Do something about it.
I think the value in books like mine, and a great number by other talented writers, is in the ability to bring dark subjects into the open where they are not so dark, where they can be talked about and considered by teens and adults alike.
I can't think of a subject that is taboo for me, unless it's one I simply don't know anything about.
It's a scary thing; moving on. Part of me wishes life were more predictable and part of me is excited that it's not. I think it's impossible to tell the good things from the bad things while they're happening.
If you were to look at each atom as a universe unto itself, think of the number of universes within each of us.
I think when you’re dying you start looking for important things in the corners. You can’t let anything that seems even semi-important pass, because it passes forever. Things take on meaning.