Celine Kiernan

“A female character can: Like babies, Be devoted to her lover, Cry, Be gentle, Be scared, Be uncertain, Take advice, and still be a YA heroine”

“A YA heroine does not have to pick up a weapon nor wear men's clothing to be equal to her male counterparts.”

“It is possible for YA heroines to go an entire book without discussing their love lives.”

“‎YA heroines can choose to have sex & they can choose not to without either decision becoming the focus of their story.”

“YA heroines can have romances that are subplots: can have goals other than getting/keeping a man: can put their lovers second. JUST LIKE YAheroes DO!”

“(on teaching writing) So many writers come to class with one question dominant in their mind, 'How do I make a living from this?' It's a fair enough question and one I always try to answer well - but it saddens me that it so often overshadows the more relevant questions of 'why am I writing' and 'what am I saying' and 'how do I keep it honest.”

“On the ghosts in Moorehawke & Into The Grey/Taken Away:The ghosts ...are symbolic of those unresolved moments in history that linger, and affect the next generation. Sometimes this happens without that generation ever really knowing the truth of what has come before. This is so true of war, I think, where we are often only left the stories that the previous generation wanted us to hear... How much harder would the truth be to deny were it lingering about as an actual manifestation of the past?”

“Write what is important to you, regardless of fashion or marketability or anything like that – all those things are so far out of your control that you may as well not think about them. Of course, this may mean you’ll never be published but that’s a risk we all take every single time we set hands to keyboard or pen to paper. For me, if I can sit back at the end of a project and say, ‘yes, I stayed honest, I said what I wanted to say, and I made it sing to the best of my ability’, then I’m happy enough. Of course, if anyone wants to buy the damned thing off me when I’m done, that’s jam I won’t refuse.”

“On the Hunger Games Fan Race fail and the portrayal of POC in fantasy literature:It is as if the POC in the text are walking around with a great big red sign over them for some editors and it reads I AM NOT A REAL CHARACTER. I AM A PROBLEM YOU MUST DEAL WITH. The white characters are permitted to saunter about with their physical descriptions hanging out all over the place, but best not make mention of dark skin or woolly/curly hair or dark eyes (Unless, of course, that character is white. None of my white-skinned dark-eyed characters had any problem being described as such. And I’m pretty sure that Sól’s curly hair never gave anyone a single pause for thought.) As I said, I understand the desire not to define a POC simply by their physical attributes, and I understand cutting physical descriptions if no other character is described physically – but pussyfooting about in this manner with POC is doing nothing but white wash the characters themselves. It’s already much too hard to get readers to latch onto the fact that some characters may not be caucasian, why must we dance about their physical description as if it were some kind of shameful dirty little secret. You know what it reminds me of? It reminds me of the way homosexuality used to only ever be hinted at in texts. It was up to the reader to ‘read between the lines’ or ‘its there if you look for it’ and all that total bullshit which used to be the norm.”

“Do you have an audience in mind when writing? (March 2010 Bookgeeks interview)In terms of story, the only audience I have in mind is me. I’m very much aware that I can’t please everyone when it comes to story, so I might as well try to please myself. But in terms of communication with the reader, I am very aware of the audience. Readers can’t hear my tone of voice or watch my expressions; a sheet of white paper and a series of little black marks is all they have – and via that sheet of paper and series of little black marks I need to convey an entire universe, I need to make characters who breath. I can’t do that without bearing the audience in mind.”

“(CBI lecture, Dublin, 2008. Speaking on the challenges presented by The Moorehawke Trilogy to the YA reader)You can't choose any of these characters and say, 'Yes! I'm completely on your side. You are the good guy! You are the one I agree with.' Because at some stage along the way every single one of these characters will let you down. They may not want to. They may have no choice. But they will let you down.”

“Interview on The Skiffy and Fanty Show 2010. In response to query that young adults may not be open to the nuances/realism in Moorehawke:‘(In fact)young adult readers seem to (be very inclined)to reading the (Moorehawke) books thematically. Some (not all) adult reviewers ... tend to be very plot oriented. Because the books are a slow release of information and very character driven ... (they) don’t reward impatient reading ... but young adults seem to be very patient readers. They’re very analytical as well. I get very analytical responses from my young adult readers.”