When I was growing up, I dreamed about becoming a cowgirl, a detective, a spy, a great actress or a ballerina. Not a dentist, like my father, or a homemaker, like my mother--and certainly not a writer, although I always loved to read. I didn't know anything about writers. It never occurred to me they were regular people and that I could grow up to become one, even though I loved to make up stories inside my head.
I made up stories while I bounced a ball against the side of our house. I made up stories playing with paper dolls. And I made them up while I practiced the piano, by pretending to give piano lessons. I even kept a notebook with the names of my pretend students and how they were doing. I always had an active imagination. But I never wrote down any of my stories. And I never told anyone about them.
When I grew up, my need for story telling didn't go away. So when my own two children started pre-school I began to write and I've been writing ever since! My characters live inside my head for a long time before I actually start a book about them. Then, they become so real to me I talk about them at the dinner table as if they are real. Some people consider this weird. But my family understands.
Many of my books are set in New Jersey because that's where I was born and raised. I lived there until my kids finished elementary school. Then we moved to new Mexico, the setting for Tiger Eyes. I also spent two years in Connecticut, where Just as Long as We're Together and Here's to You, Rachel Robinson are set. And Fudge-a-mania grew out of a summer spent in Maine. I don't think I could set a book in a place without knowing it really well.
Now I live in New York City with my husband, George Cooper, who writes nonfiction. He thinks I'm lucky because I get to make things up. I think it would be fun to do research and discover stories, like George. Between us, we have three grown children and one incredible grandchild whose first word was book! That makes sense since we all love to read to him.
Your letters are such an important part of my life! I wish there were time to answer more personally. But finding the time to write has become a real problem--and there are still so many stories I want to tell! I hope you understand. I'm going to try and answer as many of your questions as possible below.
So for now, good-bye. And keep reading!
Are You There God? It's Me, Margaret
· Delacorte Books for Young Readers
· eBook · March 21, 2012 · $6.99 · 978-0-307-81774-7 (0-307-81774-1)
Also available as an unabridged audiobook download.
“Are You There God? It’s Me Margaret is very special.” —Amy Poehler quoted on Vulture.com
“Generations of teenage girls have grown up reading the tales of teenage angst told by beloved author Judy Blume.” —Mashable.com
Margaret Simon, almost twelve, has just moved from New York City to the suburbs, and she’s anxious to fit in with her new friends. When she’s asked to join a secret club she jumps at the chance. But when the girls start talking about boys, bras, and getting their first periods, Margaret starts to wonder if she’s normal. There are some things about growing up that are hard for her to talk about, even with her friends. Lucky for Margaret, she’s got someone else to confide in . . . someone who always listens.
“The first Judy Blume books I read. . . served as a kind of introduction to myself.” —John Green quoted in The New York Times
“Mention Judy Blume to almost any woman under a certain age and you're likely to get this reaction: Her face lights up, and she's transported back to her childhood self — curled up with a book she knows will speak directly to her anxieties about relationships, self-image and measuring up.” —NPR.org
“Fans, readers, booksellers — even other authors and celebrities — often dissolve into tears upon meeting [Judy Blume], confessing that books like “Forever ... ” and “Are You There, God? It’s Me, Margaret” got them through adolescence; taught them about sex, love and friendship; and provided their first glimpse of adulthood.” —The New York Times
“Blume wasn’t the first writer to legitimize and celebrate the interior life of young girls. . . . But Blume’s work feels significantly more influential than that of her predecessors and peers.” —The New Yorker
“These stories belong to young women. Real young women.” —Diablo Cody, Entertainment Weekly