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I have a lot of teenage readers and readers in their early twenties. My writing style appeals to them. And if they look at my picture on the back of the book, they don't see someone who looks like their mother.
When you read a great book, you don't escape from life, you plunge deeper into it.
Reading and life are not separate but symbiotic. And for this serious task of imaginative discovery and self-discovery, there is and remains one perfect symbol: the printed book.
Adapting a book doesn't mean the book stops just because you've made a film out of it.
I'm inspired by nonmusical things a lot, whether it's a film or a book or whatever.
I'm, like, a real nerd, in that I will take a book that is three inches thick and disappear and not leave until it's done.
As for my writing process, there is one truth I have discovered after writing some twenty-plus books: Not every book is the same, but the middle of every book is where I really begin to question my choice of vocations. The beginning and end is usually fairly clear to me, but that middle just sucks the life right out of me.
It generally takes me about nine months from the point the book is conceived to the point my editor sends it off to be typeset.
In between that time, I've done book narrating, you know, books on tape for Dove Audio.
My Brilliant Career was beautifully directed, but I had a bit of trouble with myself in it. It was a silly script, based on a book this 16-year-old girl wrote.
My first book took five years to write and I made $1,000 on it. The second took three years and I made $3,000. All this time I was a housewife being supported by a husband. I was very lucky.
Starting after 60, I thought, 'I'm not going to be able to write a book of poems on the 70s. It's going to be all moans and groans and complaints, and what is there to laugh about?' But I found plenty to laugh about.
I always have trouble with titles for my books. I usually have no title until the editor has to present the book and calls me frantically, 'Judy, we need a title.'
When I started to write, it was the '70s, and throughout that decade, we didn't have any problems with book challenges or censorship.
When I'm writing a book, you can't think about your audience. You're going to be in big trouble if you think about it. You're got to write from deep inside.
I am a big defender of 'Harry Potter,' and I think any book that gets kids to read are books that we should cherish, we should be thankful for them.
If we have to sum up the Book of Revelation in one phrase, it would be, 'Jesus wins.'
I want to offer a word of encouragement to authors: You have to feel called to the message of your book enough that you want people to get that message. When you get to that place, your passion goes through the roof, and then the other stuff happens.
If a book I've committed myself to review turns out to be 'disappointing' I make an effort to present it objectively to the reader, including a good number of excerpts from the text, so that the reader might form his or her own opinion independent of my own.
The vehemence with which certain critics have chosen not simply to criticize what I've written, but to challenge my writing this story at all, speaks of what the book is about: fear of disapproval.
I think there's a possibility that comic book movies are getting a tiny bit better on the one hand because they're no longer made by executives, who are, you know, ninety-year-old bald tailors with cigars, going, 'The kids love this!'
I wrote 'Sophie's World' in three months, but I was only writing and sleeping. I work for 14 hours a day when I'm working on a book.
I have to say, creating memories is so important to me that I did a book about creating memories for your family.
I actually have, in all seriousness, in the back of my mind someday to write a book, the title of which would be 'Quit Now and Other Practical Advice for the Aspiring Actor.'
What do I want from a book? Something protean, something always on-the-move-or-make - shape-shifting, semantically-and-syntactically-shifting.
The big publishers want someone they can send on the Jewish book circuit, somebody the old ladies can see marrying their granddaughters.
When knowledge no longer becomes the commodity of the few, but in a sense becomes equalized by everyone having access, you lose some aspect of Jewish particularity, or at least a Jewish particularity that is fundamental to the construct of Jews as people of the book, which was always interesting.
My first job is to write a book that I believe is compelling and deserves the long sustained attention that any novel requires, and to worry about the commerce only late in the game.
Every time you hear someone read your book and liked your book, you're never sure whether that's going to follow with a similar remark from someone else. Perhaps I have low expectations, but whenever I hear someone say, 'I liked your book,' I don't know if it's going to happen again.
Sequencing - the careful striptease by which you reveal information to the reader - matters in an article, but it is absolutely essential to a book.
During the Middle Ages they understood that words accompanied by imagery are much more memorable. By making the margins of a book colorful and beautiful, illuminations help make the text unforgettable. It's unfortunate that we've lost the art of illumination.
The fact that books today are mostly a string of words makes it easier to forget the text. With the impact of the iPad and the future of the book being up for re-imagination, I wonder whether we'll rediscover the importance of making texts richer visually.
If you were a medieval scholar reading a book, you knew that there was a reasonable likelihood you'd never see that particular text again, and so a high premium was placed on remembering what you read. You couldn't just pull a book off the shelf to consult it for a quote or an idea.
The really cool thing about when you're playing a comic book character is that no one knows what he sounds like.
I have three brothers and they're all into computers. They're all intellects. My mother would pay me a quarter a page to read a book and I couldn't make 50 cents. I just couldn't do it.
For me, in the third book, when Peeta gets brainwashed by the Capitol, that's going to be fun to play. The rest of the time he's very much into Katniss, and for that to get turned around and to play it the other way, that's going to be very exciting.
They're still working on the script - they've got to get that nailed down and they want the first movie to come out obviously, not get too ahead of themselves. But yeah, it's looking good. I love the second book a lot as well, so kind of diving into that is awesome.
Spiderman was my favorite comic book character growing up. I'm a geek, so I love the fact Peter Parker is into science. And I gravitate towards short guys. I'm 5' 9" now, but in junior high, I got picked on because I was 4' 8".
I'm passionate about fantasy movies. I'm passionate about comic book movies. I'm passionate about superheroes. And movies about vengeance. And all of that - the stuff that I grew up reading.
So what did influence 'Bird Box?' Well, I've had a crush on Medusa since about 1985. Maybe the book is an ode to her.
I wrote my first book in fifth grade. It was about a dog that goes to outer space and is an ambassador for Earth.
When you're doing a show like 'The Book of Mormon,' you're completely spent by the time the show is over.
I always loved jokes. It's such a dumb, facile thing to say, but it's true. I remember being a kid and getting those joke books from the Scholastic Book Club and loving comedy from a very young age.
Why is it okay to write a work of literary fiction where horrible, explicit things happen, where you can't write a book of humor where silly, explicit things are happening?
No one I know of has ever had this experience-where you had to sit and wait and wait for a DNA test to come back just so you can write the last page of the book.
Take away the Book of Mormon and the revelations, and where is our religion? We have none.
I used my aviation contacts to open a travel agency. I used to book Caribbean flights.
My favorite comic book growing up was 'Thor.' It was one of my three, favorite comic books. Obviously, Marvel is such a huge name, but for me, to book a role in a Marvel movie, and for it to be 'Thor.' When my manager told me I booked 'Thor,' I literally didn't know what to say.
Life is a game with many rules but no referee. One learns how to play it more by watching it than by consulting any book, including the holy book. Small wonder, then, that so many play dirty, that so few win, that so many lose.
I don't suppose that I know more about life than anyone of my age, but it seems to me that, in the capacity of an interlocutor, a book is more reliable than a friend or a beloved.
The special skills necessary for being a storyteller are really very simple. I actually talked about them in a book of mine called 'Tell Me a Tale.' Those basic skills are to listen, to observe, to remember, and to share.
When I really want to learn about something, I write a book on it. Then the real research begins, as I begin to hear people's stories, and huge amounts of information begins to comes straight to my doorstep. Then I can write an even better book the next time!
As I detail in my new book: 'Hard Measures, How Aggressive CIA Actions After 9/11 Saved American Lives,' there are many myths surrounding the detention of a relatively small number of top terrorists at CIA-run 'black sites' from 2002 until they were sent to Guantanamo Bay in 2006.
In my book, I detail the critical information we obtained from al Qaeda terrorists after they became compliant following a short period of enhanced interrogation. I have no doubt that that interrogation was legal, necessary and saved lives.
And I say in the book, 'Hard Measures,' that actually they were pretty wimpy if you really - if the American people actually knew what these techniques where, they would say, what are you talking about?
There is something that falls short of perfection in every book, without exception, something influenced by the age, even something ridiculous; just like everyone, without exception, has weaknesses.
My goal is to write one book of fiction, and that's all I want to do. It takes so much time, and I don't really have enough time. But I admire writers so much.
I'm not Ben Askren or a lot of these fighters. I've never called a reporter like, hey, I want to be on your show, book me, you know?
I've seen 13, 14-year-olds opening CDs as though they're records from the 1920s, going 'Look at this - there's a little book!'... That makes me think the format has probably had its day.
The important thing about any book is that you have to have a good story and that it has to be exciting. Then it's nice to add other levels underneath that people can pick up on.
Adapting your own book is like performing open-heart surgery on your own child.
I still enjoy the tactile sensation of holding a book. But when I need to read fast for work, I use the Kindle App on my iPad.
For many, the recent disclosure of massive warrantless surveillance programs of all citizens by the Obama administration has brought back memories of George Orwell's '1984.' Another Orwell book seems more apt as the White House and its allies try to contain the scandal: 'Animal Farm.'
Some things work better as a book, some things work better as a story, some things works better as a film.
I'll read a book every now and then, but unlike most of my friends I don't always have one on the go.
When a book remembers, we remember. It reminds you that you have a body. So many of the things we may think of as burdensome are actually the things that make us more human.
I normally keep a series of draft in a catalogue type of book in which I scribble, sketch and draw ideas.
In the book, I write about children in first grade who were taught to read by reading want ads. They learned to write by writing job applications. Imagine what would happen if anyone tried to do that to children in a predominantly white suburban school.
I wrote the first book, and I thought people would say: 'Separate and unequal schools in the City of Boston? I didn't know that. Let's go out and fix it.'
I keep one simple rule that I only move in one direction - I write the book straight through from beginning to end. By following time's arrow, I keep myself sane.
My first book deal was actually for a textbook - 'Judo and You' - that I wrote while teaching at Temple University. A scout for Kendall-Hunt came looking for someone to write the book, and even though it wasn't a course I was teaching there, I agreed to write it.
Write the best book you can, the one that demands to be written, no matter what genre it is. Even a trend the trades tell you has gone stale can be revitalized by a superb piece of writing. It'll never be revitalized by someone jumping on a trend bandwagon.
I've always been a sci-fi/fantasy guy. My book reports in school, whenever you didn't have to do it on Shakespeare, I did it on, like, Piers Anthony and Raymond Feist.
Time spent researching varies from book to book. Some novels require months, even years of research, others very little. I try to do most of my research before I begin but inevitably questions emerge during the writing.
I like reading Ball Tongue lyrics and all that stuff. And they published a book, and I wouldn't give my lyrics, and it's all wrong in the book, and I giggle. It's funny.
'Anna Karenina.' I read it in college. I was so engrossed that I couldn't stop reading it and neglected all my other studies. I would go to the library even on nice warm weekends and just lock myself up. I think that was the first time that I felt transformed by a book.
When I read a book I liked, I would get a pen and one of my father's legal pads and rewrite it from memory as if I had thought of it myself. It was a clear sign that I wanted to be involved in writing, even if it was just pretend at that point.
It's nice to have something else going on when a book comes out so you're not just sitting by the phone, waiting for things to happen. You don't want to be the guy Googling himself all day.
It's just a matter of writing the kind of book I enjoy reading. Something better be happening at the beginning, and then on every page after, or I get irritated.
I wrote two plotted books, got some of the fundamentals of storytelling down, then... it's sort of like taking the training wheels off, trying to write a book that's fun in the same way without relying on quite such mechanical or external beats.
I was unwise enough to actually mention this in public a few times, and in fact to point out that there were two versions of the book now. One of them had somebody else's name on the cover, one had my name on the cover.
I was about 13, in some ways, when I wrote the first book. Approximately 18 when I wrote the second.
To me, cinema is cinema. Cinema is one big tree with many branches. The same as literature. In literature, you don't just say, 'Oh, I bought some literature.' No, you say, 'I bought a novel' by so-and-so, or a book of essays by so-and-so.
There's almost always a point in a book where something happens that triggers the rest of the plot.
Very often I'll find out at the end of a book what I put in at the beginning. A sort of process of elimination and discovery in one.
Do not let the Obama administration fool you with all their cunning Alinsky methods. And if you don't know what that method is, I implore you to get the book 'Rules for Radicals,' by Saul Alinsky. Mr. Obama is very well trained in these methods.
The premise of my book is that everyone is a bit ideological to some extent. Everyone comes from a ideological perspective.
Polar' is based on the first and a little bit on the second book and all the characters from those novels are in there. The story is based on the graphic novel, but when it came to the execution of the film I felt I couldn’t really make a movie without any dialogue.
Without sounding too pretentious, I was sort of a slave to the narrative. When the narrative cracks in, I have to go where it takes me. I had to go to the Bohemian Grove. It was the obvious end to the book.
I taught elementary school and painted apartments for ten years. Now I write full-time and never have to change a thing I write. Every book comes to me in a flash of inspiration and takes me about two seconds to finish. The longer books, like the 'Time Warp Trio' novels, take a little longer to write - more like four seconds.
I really enjoy researching, and for almost every piece, I research enough to write a book.
As I point out in the very first pages of 'Into the Wild,' I approached this book not as a normal, you know, unbiased journalist.
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