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Pacing is not the sort of thing you can plan out beforehand, but you're always aware of it as you w
Pacing is not the sort of thing you can plan out beforehand, but you're always aware of it as you w
Pacing is not the sort of thing you can plan out beforehand, but you're always aware of it as you w
Pacing is not the sort of thing you can plan out beforehand, but you're always aware of it as you w
Pacing is not the sort of thing you can plan out beforehand, but you're always aware of it as you w
Pacing is not the sort of thing you can plan out beforehand, but you're always aware of it as you w
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Jean Hanff Korelitz:
I'm not in a position to tell anyone anything about how to live his or her life, but I think it's wJean Hanff Korelitz:
I started thinking about what I've always been interested in: how people can't see things that areJean Hanff Korelitz:
People need a narrative, and if there isn't one on offer, they make one up.Jean Hanff Korelitz:
Serious writers pretend they don't care about film adaptations of their work, but it's a colossal lJean Hanff Korelitz:
My first three novels were all the subjects of intensely exciting flurries of calls from producersJean Hanff Korelitz:
The first time I went to Helene Hanff's apartment at 305 East 72nd Street, it was 1977, and I was aJean Hanff Korelitz:
I made it to London aged six, an event I recorded in my diary with coloured markers to convey my seJean Hanff Korelitz:
You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, whJean Hanff Korelitz:
I was 11 years old and horse-obsessed. New York City was an unfortunate place for a girl like me toJean Hanff Korelitz:
Did I become a theater person right then, sitting in the Imperial Theater, waiting for the high pic