I'm not in a position to tell anyone anything about how to live his or her life, but I think it's worth noting that no one can lie to us as effectively as we can lie to ourselves. We know exactly what to say! And I do think that women, even extremely smart women, can be very, very vulnerable to men.

Jean Hanff Korelitz

I was 11 years old and horse-obsessed. New York City was an unfortunate place for a girl like me to be growing up.

Jean Hanff Korelitz

The Thames could be thought of as England's longest archaeological site, and no fewer than 90,000 objects recovered from its foreshore are in the collection of the Museum of London, whose 30-year relationship with London mudlarks is both committed and highly regulated.

Jean Hanff Korelitz

To me, respect for human life begins with making it more difficult to obtain an inanimate object that is designed to snuff it out.

Jean Hanff Korelitz

I say that glorious prose is a fine and laudable thing, but without an enthralling story, it's just so much verbal tapioca. Simply put, the best books have both, and the best writers disparage neither.

Jean Hanff Korelitz

Like many people, I have a fascination with lies and the people who tell them. I wouldn't say I've never told a lie, but I don't think I've ever told one without both assuming I would be found out and feeling absolutely rotten about it.

Jean Hanff Korelitz

As a writer, I have this compulsion to take characters who appear formidable and bombard them with adversity until they crumble. What's interesting is watching them rise again, and seeing how they've changed and grown, if indeed they have.

Jean Hanff Korelitz

Pacing is not the sort of thing you can plan out beforehand, but you're always aware of it as you write, because you need to make constant decisions.

Jean Hanff Korelitz

I started thinking about what I've always been interested in: how people can't see things that are right in front of them. All you have to do is read the papers to see endless examples of smart people who can't see the nose on their faces.

Jean 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 lie: We all care.

Jean Hanff Korelitz

My first three novels were all the subjects of intensely exciting flurries of calls from producers and even stars' production companies, and once someone actually hired a screenwriter to adapt one of my books - but it all came to nothing, so I tried not to get too excited when a Hollywood suitor came calling for 'Admission,' my fourth novel.

Jean Hanff Korelitz

I made it to London aged six, an event I recorded in my diary with coloured markers to convey my sense of occasion. And in 1983, after graduating from college, I returned to spend two years at Cambridge University.

Jean 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, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.

Jean Hanff Korelitz

Did I become a theater person right then, sitting in the Imperial Theater, waiting for the high piccolo note at the start of 'Pippin'? Maybe.

Jean Hanff Korelitz

Every so often in life, you encounter a brilliant idea. Usually, at least in my case, it's somebody else's idea.

Jean Hanff Korelitz

Personally, I would love to see every gun on the planet disappear.

Jean Hanff Korelitz

Naturally, no march on Washington would be complete without its counter-demonstration.

Jean Hanff Korelitz

A mutt is a dog. He is the stuff of dogginess, a creature allied to species, not breed, and untrammeled by human hand or preference.

Jean Hanff Korelitz

My dog is vicious to the uninvited guest, lavishly affectionate to the invited one, and so freakishly acute that he has mastered the English language.

Jean Hanff Korelitz

Jean Hanff Korelitz Quotes

I was 11 years old and horse-obsessed. New York City was an unfortunate place for a girl like me to be growing up.

The Thames could be thought of as England's longest archaeological site, and no fewer than 90,000 objects recovered from its foreshore are in the collection of the Museum of London, whose 30-year relationship with London mudlarks is both committed and highly regulated.

To me, respect for human life begins with making it more difficult to obtain an inanimate object that is designed to snuff it out.

I say that glorious prose is a fine and laudable thing, but without an enthralling story, it's just so much verbal tapioca. Simply put, the best books have both, and the best writers disparage neither.

Like many people, I have a fascination with lies and the people who tell them. I wouldn't say I've never told a lie, but I don't think I've ever told one without both assuming I would be found out and feeling absolutely rotten about it.

As a writer, I have this compulsion to take characters who appear formidable and bombard them with adversity until they crumble. What's interesting is watching them rise again, and seeing how they've changed and grown, if indeed they have.

Pacing is not the sort of thing you can plan out beforehand, but you're always aware of it as you write, because you need to make constant decisions.

I started thinking about what I've always been interested in: how people can't see things that are right in front of them. All you have to do is read the papers to see endless examples of smart people who can't see the nose on their faces.

People need a narrative, and if there isn't one on offer, they make one up.

Serious writers pretend they don't care about film adaptations of their work, but it's a colossal lie: We all care.

I made it to London aged six, an event I recorded in my diary with coloured markers to convey my sense of occasion. And in 1983, after graduating from college, I returned to spend two years at Cambridge University.

You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.

Did I become a theater person right then, sitting in the Imperial Theater, waiting for the high piccolo note at the start of 'Pippin'? Maybe.

Every so often in life, you encounter a brilliant idea. Usually, at least in my case, it's somebody else's idea.

Personally, I would love to see every gun on the planet disappear.

Naturally, no march on Washington would be complete without its counter-demonstration.

A mutt is a dog. He is the stuff of dogginess, a creature allied to species, not breed, and untrammeled by human hand or preference.

My dog is vicious to the uninvited guest, lavishly affectionate to the invited one, and so freakishly acute that he has mastered the English language.