“I'm signed to release the third book in the series. When they invited me to do the Noelle book I had started on an autobiography, sort of, because I still get a lot of questions about that. I done so much music in my life, and writing is a beautiful outlet to continue to grow.”

Reuters (November 17, 2006)
2007, 2008

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Gloria Estefan195

Cuban-American singer-songwriter, actress and divorciada 1957

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“For years I used to bore my wife over lunch with stories about funny incidents. The words 'My book,' as in 'I'll put that in it one day,' became a sort of running joke. Eventually she said, 'Look, I don't want to offend you, but you've been saying that for 25 years. If you were going to write a book, you'd have done it. You're never going to do it now. Old vets of 50 don't write books.' So I purchased a lot of paper right then and started to write.”

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“I had always thought about a lullaby album. But when Noelle came along, my little Colombian bulldog, she really gave me a plethora of ideas. I remembered when I was little in Texas and I was the only Hispanic in my class. Because the first book was about feelings, how Noelle's weaknesses turned into her strengths. That you have to keep your identity.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

Reuters (November 17, 2006)
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“The world of the favela today is much more cruel than when I was growing up there or even as I show it in my book…If I were to write about the way things are today, I would start the book with a pile of rubber tires, gasoline and someone being burned alive.”

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On how the favela has changed since his time in “THE SATURDAY PROFILE; Out of the Slums of Rio, an Author Finds Fame” https://www.nytimes.com/2003/04/26/world/the-saturday-profile-out-of-the-slums-of-rio-an-author-finds-fame.html in The New York Times (2003 Apr 26)

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On The Rules of Attraction <br class="br"> http://www.amazon.com/gp/feature.html?docId=571852

“Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule. … To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses.”

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Context: I've long thought about how life is influenced by death, how it influences what you believe in and what you look for. Yes, I think I was pushed in a way to write this book by certain spirits — the yin people — in my life. They've always been there, I wouldn't say to help, but to kick me in the ass to write.... Yin people is the term Kwan uses, because "ghosts" is politically incorrect. People have such terrible assumptions about ghosts — you know, phantoms that haunt you, that make you scared, that turn the house upside down. Yin people are not in our living presence but are around, and kind of guide you to insights. Like in Las Vegas when the bells go off, telling you you've hit the jackpot. Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule.... To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses.

“I had a lot of growing pains adjusting to the comic book writing format. The whole writing process just didn’t make sense to me. I had to somehow construct each panel just by describing it? But how many panels to a page? How much dialogue should be in each panel? How much time should pass between each panel? All these sorts of things were mind-boggling to me. By the end of writing the script, I sort of figured out some of my mistakes.”

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“Back at the Philadelphia Worldcon (which seems a million years ago), I announced the famous five-year gap: I was going to skip five years forward in the story, to allow some of the younger characters to grow older and the dragons to grow larger, and for various other reasons. I started out writing on that basis in 2001, and it worked very well for some of my myriad characters but not at all for others, because you can't just have nothing happen for five years. If things do happen you have to write flashbacks, a lot of internal retrospection, and that's not a good way to present it. I struggled with that essentially wrong direction for about a year before finally throwing it out, realizing there had to be another interim book. That became A Feast for Crows, where the action is pretty much continuous from the preceding book. Even so, that only accounts for one year. Why the four after that? I don't know, except that this was a very tough book to write -- and it remains so, because I've only finished half. Going in, I thought I could do something about the length of the second book in the series, A Clash of Kings, roughly 1,200 pages in manuscript. But I passed that and there was a lot more to write. Then I passed the length of the third book, A Storm of Swords, which was something like 1,500 pages in manuscript and gave my publishers all around the world lots of production problems. I didn't really want to make any cuts because I had this huge story to tell. We started thinking about dividing it in two and doing it as A Feast for Crows, Parts One and Two, but the more I thought about that the more I really did not like it. Part One would have had no resolution whatsoever for 18 viewpoint characters and their 18 stories. Of course this is all part of a huge megaseries so there is not a complete resolution yet in any of the volumes, but I try to give a certain sense of completion at the end of each volume -- that a movement of the symphony has wrapped up, so to speak.”

George Raymond Richard Martin (1948) American writer, screenwriter and television producer

Interview with Locus magazine (November 2005)

“I'm signed to release the third book in the series. When they invited me to do the Noelle book I had started on an autobiography, sort of, because I still get a lot of questions about that. I done so much music in my life, and writing is a beautiful outlet to continue to grow.”

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