Sabaa Tahir

Writer

56 Quotes

At age 10, or even 15, it would have meant the world to me to see a Pakistani girl portrayed positively, let alone as a comic book superhero.

When I was growing up, I didn't feel strong. I felt weak. I felt like a scared little kid. So I naturally turned to books to deal with that feeling, and I really turned to fantasy. That's really what influenced my decision to write a fantasy novel.

When I was a kid, I worked as a clerk at my parent's motel. From when I was eight or nine, I rented rooms, helped with laundry, folding tons of towels. And then I also worked at my dad's gas station more as a young adult and as an adult.

'Daughter of Smoke and Bone' is one of my all-time top YA fantasy trilogies, so I was a little nervous about reading 'Strange the Dreamer.' Of course, I shouldn't have been worried because Laini Taylor immediately grabbed me by the proverbial lapels and refused to let me go.

'The Sword of Shannara' is about two brothers who find themselves on an epic quest to save humanity. It borrows from 'Lord of the Rings' but is still original in its own right. I read it in three days, then reread it, then went out and found every single book Terry Brooks ever wrote, and read all those.

People could be really horrible, you know? They would threaten my parents.

I grew up raiding my brother's comic book stash. I tried to lose myself in fiction.

Great novels have great characterization no matter what. But multiple points of view let me examine characters from entirely different perspectives, allowing me to learn more about everyone in the process.

When you write your first book, you're writing in a vacuum; it doesn't matter how much time it takes. And then with the second book, you're on contract, and you have deadlines, and it's a little bit tougher. And also the expectations. You don't want to let your characters down.

I love my characters like family and cannot wait to share more of their story with readers.

In fantasy and science fiction, world-building is an essential part of the story. But as a reader, I don't just want descriptions of food, clothing, and places. I want to understand the world to its core, through the eyes of those who live in it.

My parents worked harder than anyone I have ever met. They had so many businesses. There was the motel, but throughout my childhood, they also had a drive-through dairy, a gas station, a clothing store, a computer reselling business.

When I went to college, it was so easy. And I worked two jobs while I was in school all the way through; I put myself through school. But working and studying was easy for me because I had worked so hard in high school, studying all the time. Taking only three classes and then working was an easy life in comparison.

I wanted to write something that reflected the violence and horror of the world, but I also wanted to reflect the way people fight to survive, even when society wants to crush them.

As a teenager, I felt so hemmed in and trapped, both by the place I lived and the expectations others had about school, college, and a future career.

You pour your soul into your book, but you never know how it will be received, and when people like your baby, it's a great feeling.

Anytime you own a small business, it's all you. There is nobody to fall back on.

Ani DiFranco - I love her.

As a kid living in an isolated desert town, the most diversity I saw in my media was Claudia Kishi, the Japanese American girl from 'The Baby-Sitters Club.'

If I refused to get married, my parents would be brokenhearted and confused. Like any child close to her parents, I could not watch them suffer.

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