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Literature speaks with everyone individually - it is personal property that stays inside our heads. And nothing speaks to us as forcefully as a book, which expects nothing in return other than that we think and feel.
In 1960 I published a book that attempted to direct attention to the possibility of a thermonuclear war, to ways of reducing the likelihood of such a war, and to methods for coping with the consequences should war occur despite our efforts to avoid it.
To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be that have tried it.
But my estimates, for instance, based upon book information, were simply ridiculous, fanciful images of African attractions were soon dissipated, anticipated pleasures vanished, and all crude ideas began to resolve themselves into shape.
My first book, 'To Engineer Is Human,' was prompted by nonengineer friends asking me why so many technological accidents and failures were occurring. If engineers knew what they were doing, why did bridges and buildings fall down? It was a question that I had often asked myself, and I had no easy answer.
I am being frank about myself in this book. I tell of my first mistake on page 850.
A book may be compared to your neighbour: if it be good it cannot last too long; if bad, you cannot get rid of it too early.
Every missionary who is proclaiming the name and gospel of Jesus Christ will be blessed by daily feasting from the Book of Mormon.
We have organized lobbyists in favor of Israel. You can't open your mouth. I can call the president of the United States anything in the book, but if you say one thing about Israel, and you're off limits.
That's one of the things I hope that the book can do, is to restore some dignity to Joe Cinque.
Now, I - for several years while I was researching this book, I felt quite obsessed by thoughts about sentencing, punishment, how judges arrive at their decisions.
I think some people wished I'd kept myself out of the book. But I kind of insist on it because I want the reader to share my engagement with the material, if you like, not pretend that I'm doing it completely intellectually.
Maybe this is pathetic, but I still dread producing a book that doesn't earn back its advance. I hate obligations that are financially foggy.
Literature is my Utopia. Here I am not disenfranchised. No barrier of the senses shuts me out from the sweet, gracious discourses of my book friends. They talk to me without embarrassment or awkwardness.
I remember that I used to get lots of books from the library, and 'Little Women' was one of them. And I used to just cross out the parts of it that really upset me because it's such a sad book in so many ways. I'd cross out the parts that upset me, and I would rewrite new endings.
I was a real mess at school. I got a bit of a reputation for being the weird girl: the girl who'd go silent randomly and just kind of write down replies to people's questions in a book.
I don't despise 'Don Quixote,' but it is a book I don't... get. I'll have to come back it. Maybe there'll be a gateway story that opens it up for me; that happened for me with 'Paradise Lost' and the 'His Dark Materials' trilogy.
I fell asleep reading a dull book and dreamed I kept on reading, so I awoke from sheer boredom.
Mourning Ruby is not a flat landscape: it is more like a box with pictures painted on every face. And each face is also a door which opens, I hope, to take the reader deep into the book.
Too often, teachers assume that they are introducing a book or concept to students for the first time. In fact, many units are repeated over the course of a student's K-12 experience.
I can always track my career by the children - I started writing right after the 14-year-old was born, and sold my first book just in time to pay for the birth of the 12-year-old.
The Book of Mormon is in absolute harmony from start to finish with other sacred scriptures. There is not a doctrine taught in it that does not harmonize with the teachings of Jesus Christ.
In playing the part of Mammy, I tried to make her a living, breathing character, the way she appeared to me in the book.
I thought I had a great opportunity when I started doing my comic book in 1972. I thought there was so much territory to work in.
I'm doing research for a large comic book on the Beat Generation guys - Allen Ginsberg and Jack Kerouac and those guys.
I've probably had my day in the sun. I think I've influenced a lot of comic book writers.
My work looks like a comic book in form, but it's not a typical comic book in content. I write autobiographical stuff.
When I was a kid, back in the '40s, I was a voracious comic book reader. And at that time, there was a lot of patriotism in the comics. They were called things like 'All-American Comics' or 'Star-Spangled Comics' or things like that. I decided to do a logo that was a parody of those comics, with 'American' as the first word.
Even a pretty traditional comic book writer can make valuable contributions to the Internet.
I feel like we have so much to add to this book called the American Dream, and I want to add our chapter to it. I want to talk about what it means to be brown American and this concept of what I feel is the New Brown America.
My life has been pretty unconventional. The publishers saw a story in it, and yes, my life has been put in a book.
I am 55 years old now. It takes three years to write one book. I don't know how many books I will be able to write before I die. It is like a countdown. So with each book I am praying - please let me live until I am finished.
The interesting thing is, when you play a real-life character or someone based in a book, you always come up against people's preconceptions of what they have in their heads.
You know you're getting old when all the names in your black book have M. D. after them.
The book to read is not the one which thinks for you, but the one which makes you think. No book in the world equals the Bible for that.
It is all fiction, only autobiographical in the sense it is about a small town. None of the incidents in the book ever happened to me as a child. I didn't have an eventful childhood.
It was something I never expected to - I never expected the book would sell in the first place. I was hoping for a quick and merciful death at the hands of the reviewers.
I think of life as a good book. The further you get into it, the more it begins to make sense.
The very quick and high sales of the book caught us off guard, but fortunately we got the second edition from the printers at the end of last week and the shops should now be stocked again.
We didn't sleep last week - we literally didn't sleep - because we've been so busy with the book.
We really tried hard not to make it a cricket book, it appeals to a much wider community.
The actual writing time is a lot shorter than the thinking time. I don't do too many notes. I keep it mostly in my head. I usually start writing a new book around January, and it's due October 1.
Writing my first book, I think in hindsight I went into it saying, 'It's gonna sell.' I was earning enough to scrape by sometime around a book or two before 'Tell No One.' I moved up from $50,000 to $75,000, then $150,000 for each book. I had never thought I would be doing anything else. I had enough encouragement.
I'm not a fan of self-help books - how can something be 'self-help' if the book itself is purportedly helping you?
What I want to do is tell stories about normal people in the American suburbs. I don't write the book where it's a conspiracy reaching the prime minister; I don't write the book with the big serial killer who lops off heads. My setting is a very placid pool of suburbia, family life. And within that I can make pretty big splashes.
I wrote seven Myron Bolitar novels in a row, and I never want to write a Myron book where he just solves a crime. Every one of them I want to be personal, and I want him to grow and change. The problem with that is, it makes the series limited, you can't write a series where a guy is always going through some kind of crisis.
The book I always say that influenced me, subconsciously, because at the time I didn't know I wanted to be a writer, was William Goldman's 'Marathon Man.' That was the first adult thriller that I loved. I read it when I was 15 or so, when my father gave it to me.
There comes a point in nearly every book event I've done when a little feminist revolt stirs inside the crowd.
I'm writing a book called 'The Indisputable Existence of Santa Claus' about the maths of Christmas: how to set up a secret Santa so it's totally fair; how to decorate your tree mathematically; how to win at Monopoly.
A wise man, when he writes a book, sets forth his arguments fully and clearly; an enlightened ruler, when he makes his laws, sees to it that every contingency is provided for in detail.
In Iceland, book lives matter in every sense of that phrase: The shelf-life of the book, the lives in the book, the life of the writer, and the life of the reader.
The book that made a lasting impression was the one my mother gave each of us when she decided we were ready for our first 'adult novel,' Lucy Maud Montgomery's 'The Blue Castle.'
The holy book is implanted in the hearts and minds of all the Muslims. Humiliation of the holy book represents the humiliation of our people.
My first audition for 'The Magicians' came up in conversation with a close friend who, right then, handed me the first book.
We did a play of 'Frog and Toad' at my elementary school. And I'm not sure if this is part of the book or it was something that we made up on our own, but I auditioned to play the black hole, which somehow makes sense to me.
I was a late bloomer. I was 38 when my first book was out and 43 when my first crime novel was out. I had a story that could only be told as a crime story. I think the genre is good; it deals with the fundamental questions of life and death. The problem is there are too many bad crime stories.
I'm the farthest thing from a bibliophile. I purge my collection regularly: If I haven't read a book in a couple of years, I try to give it to someone who will.
I haven't even graduated from high school yet - and I've realised in the last four years, with all the travelling I've done and all of the movies I've made, that the world is my classroom. I've experienced things I don't know you can necessarily get from reading a history book.
I remember in third grade, I asked my mom, 'How does an engine work?' So my mom bought me a book.
Once, in London, the BBC asked me what was my favorite English book. I said Alice in Wonderland.
In general, the main themes emerge early for each book, even before the storyline and characters, as I research the time and place I want to draw upon. Having said that, every single book so far has offered me surprises en route, and these include motifs that come forward as I am writing.
After a while, you start to realize that you should write a book you would want to read. I try to write a book I would enjoy.
The poems were the only thing I wrote that was not for everyone else. Then my editors at Penguin, who were also friends and had seen several of them, aggressively urged me to do a book. Editors can be aggressive, especially after drinks. That's how 'Beyond This Dark House' appeared.
I don't plan ahead; each book finds me. History itself, the resonance of the past with the present, is the common denominator in all of them.
Judge the goodness of a book by the energy of the punches it has given you. I believe the greatest characteristic of genius, is, above all, force.
I first came out against Castro in June 1968, fifteen months after my book had been published, and you cannot imagine how quickly a void was created around me.
When I am working on an epic-length book, the writing process is fairly long. It takes from four to five years to get through all the drafts. The book is done when I am exhausted.
I can only write a book like 'The Tin Drum' or 'From the Diary of a Snail' at a special period of my life. The books came about because of how I felt and thought at the time.
I have seen and drawn dying, poisoned worlds. I published a book of drawings called 'Death of Wood' about one such world, on the border between the Federal Republic of Germany and what was then still the German Democratic Republic.
From the moment I picked your book up until I laid it down, I was convulsed with laughter. Someday I intend reading it.
I must say I find television very educational. The minute somebody turns it on, I go to the library and read a good book.
I find television very educating. Every time somebody turns on the set, I go into the other room and read a book.
My ideal reader is somebody who trips over a copy of my book on the sidewalk; then they pick it up and read as they walk. Somebody who comes in knowing nothing, caring nothing, but responds to the story.
'Shantaram' is the second in the series of a quartet of novels that I have planned about my life but is the first to be written. The third book is a sequel to 'Shantaram,' the first a prequel.
When I began 'Wicked', I really thought of it entirely as a one-off, as the English say. There was no intention that there should ever be a follow up, because the subtitle was 'The Life and Times of the Wicked Witch of the West'. She was dead and gone, as the book says, at the end.
When I write a book, I write very cleanly from page one to the last page. I hardly ever write out of sequence.
I never write a book unless I can't help it. Something has to bother me, like a mosquito, until I have to do something to relieve the itch.
I saw an early cut of 'The Disaster Artist,' and I thought it was inspiring in a lot of ways, and it made me realize it had been so long since I had tried to make a film or to try to - you know, the book was obviously my first kind of big creative pursuit I had control over.
'The Disaster Artist' book is the peak of my career in many ways, but there's something so rewarding about creating something from scratch.
I learned with 'The Disaster Artist,' when I was writing the book, the audience will follow you if you really try to do something different. The biggest thing is, you want to be genuine and try to surprise your audience with kind of a new direction.
More than working toward the book's climax, I work toward the denouement. As a reader and a writer, that's where I find the real satisfaction.
It was actually a very nice little book done by a gift book company. They illustrated it with pictures from 1920s football, before there were face guards.
As we all saw in grade school, once you learn how to read a book, somebody is going to want to write one - that's how authors are made. Once we know how to read our own genetic code, someone is going to want to rewrite that 'text,' tinker with traits - play God, some would say.
My own personal geek culture years were when I was much younger. I collected comic books up until a certain age. I wanted to be a comic book artist when I was younger.
'Alpha' is a very fast-moving book. It doesn't lend itself to laborious introspection and the navel-gazing that some stories can fall prey to.
I think you can't repeat beats. If you're doing something in one book, you can't do the exact same thing in another book.
The CIA's always-useful World Fact book says that a staggering 6.3 million Colombians have been internally displaced (IDP) since 1985, with 'about 300,000 new IDPs each year since 2000,' the year Bill Clinton enacted Plan Colombia. Added up, that's 2.4 million people during Clinton's eight-year presidency.
A new book by 'New York Times' reporter Charlie Savage, 'Power Wars,' suggests that there has been little substantive difference between George W. Bush's administration and Obama's when it comes to national-security policies or the legal justifications used to pursue regime change in the Greater Middle East.
The fact is, unlike a lot of writers, I credit the people who help me. A lot of writers out there have a ton of researchers and they don't get credited in the book.
I've never tried to pass myself off as anything more than a comedian who wrote a dating book.
As far as characters are concerned, Alan Partridge makes me wet myself. I'm currently reading the book and have started talking like him as an unfortunate consequence.
Australian SF book publishing has undergone a boom recently, and sometimes it's easier for new writers to sell a book to a local publisher first, which then makes a US edition more likely.
Unlike novel characters, comic book characters last an eternity. When a character is changed beyond recognition, there's no longer the merchandising aspect.
I did an adaptation for a movie called 'The Devil in the White City' by Erik Larson for Warner Brothers. I love that book.
When anything goes digital, let alone something as immaterial as a book, there is a tendency to see it as just in the air to be taken, and to lose the sense that somebody once made it.
All novelists must form their personal pacts in some way with the slowness of their craft. There are some who demand of themselves a 'rate of production,' for whom it's a matter of pride to complete, say, a book every year.
There's a book called 'Where The Wild Things Are,' by American writer Maurice Sendak... it really is the most sublime book. It's a picture book, but it works at so many levels, and it's fantastic.
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