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My shorthand answer is that I try to write the kind of book that I would like to read. If I can make it clear and interesting and compelling to me, then I hope maybe it will be for the reader.
My next book is also set in the eighteenth century. It's about the Revolution, with the focus on the year 1776. It's about Washington and the army and the war. It's the nadir, the low point of the United States of America.
I'm very aware how many distractions the reader has in life today, how many good reasons there are to put the book down.
Every book is a new journey. I never felt I was an expert on a subject as I embarked on a project.
I do, in fact, have a book club. I meet with a couple of guys once a month of a lunchtime discussion of some interesting text, usually, but not always, philosophical.
The beginning of Book Three is the last one that I drew, where V's conducting the 1812 overture.
I went back to the notion of story, which is always a good thing to have if you're trying to get people to pay attention to a book and pick up information along the way.
What prevailed was that it was a family story, so it didn't matter what the color. It was also the perfect subject matter for a miniseries: A best-selling book, a generational story, a social problem - they all made 'Roots' what a miniseries should be.
We couldn't predict what would happen with 'Roots.' You knew there were powerful moments that were going to affect people. We were making the film while the book was being completed. We were fortunate because the hardcover book was out and on the best-seller list. The heat was still on.
I said from the start I had to be trustful of the Millennium universe. It was not going to be a Stieg Larsson book, but my interpretation of his iconic characters and universe.
There is no money in the world that would compensate me for writing a lousy book.
The Christian Bible is a symbolic book, not a literal one. The one Christians know as Jesus was actually a symbol for the sun. Ancient sun worshippers believed the sun died at the end of the winter solstice and then three days later it would be reborn at the start of its cycle - December 25.
For a wide-ranging look at literary matters, the 'Book Review Podcast' from the 'New York Times' is still one of the best. Presented by Pamela Paul, each episode has an interview with an author - recent guests have included Neil Gaiman and Sana Krasikov - plus a roundup of the uppers, downers and hanging-arounders on the U.S. bestsellers chart.
What I thought we ought to try to do in a book like this is to focus closely on Lincoln, himself, to see what he knew, how he knew it, how he came to make the decisions that he did, and how he implemented them.
Even though I may not intend it when I set out to write the book, these places just emerge as major players in what I'm doing, almost as if they are insisting on it.
I was aware that there is an expectation that writers inevitably falter at this stage, that they fail to live up to the promise of their first successful book, that the next book never pleases the way the prior one did. It simply increased my sense of being challenged.
When it comes time to sit down and write the next book, you're deathly afraid that you're not up to the task. That was certainly the case with me after Snow Falling on Cedars.
With the marketing pressures driving the book world today, it's much easier to get the author of a memoir on a television show than a serious novelist.
I wish a book could reach as many people as film, but we have to be realistic about it.
I would say what you have to do as a screenwriter is strip the book back to find the skeleton. When you've found the skeleton - that's what you trust - you reclothe.
I was a war correspondent in Korea. I did a book on it: 'This is War.'
Most of Broadway is based on a movie or a book. You don't see many original musicals.
'Detroit' started based on a book called 'The Singularity is Near' by Ray Kurzweil, which is about this idea that one day there could be machines that are more intelligent than we are.
I remember finding a Houdini book at the library and seeing an image of him chained on the side of a building. He looked so intense and scary, and I couldn't get that image out of my head. That started building up my love of magic.
When I begin a book, I inevitably discover many things along the way, about the characters, their past histories and the political intrigues that surround them. This discovery process is vital, and I would not prejudice it by deciding too much in advance.
In the book, America had already been weakened by bio terror plagues before waves of selfish violence took down the rest. But the real enemy was the kind of male human being who nurses fantasies of violent glory at the expense of his fellow citizens.
It's very important to understand that the 'Talk' piece was not an excerpt, it was an adaptation, which means I compressed different parts of the book and made a new piece.
The book of the Psalms, which is the primary devotional literature of the whole Bible, is full of complaints.
I can't speak in too much detail about a book or story I'm working on because I find that it takes the energy out of my writing. When I begin to work, it's like a soda bottle that's been jostled before it's opened. There's a lot of pent up energy in there. I have to let it out slowly, carefully, so that I can turn it into a written work.
What that book does for me is give me the tools in the same way that I had the tools when I learned the regular scales or the alphabet. If you give me the tools, the syntax, and the grammar, it still doesn't tell me how to write Ulysses.
Some people take 10 years to write a book and some can do one in under a year.
People have given me classified information, but always with the disclaimer 'This can never end up in a book.' And it never does.
Simon Critchley's 'The Book of Dead Philosophers' - it's a quick thumbnail sketches of philosophers through the ages.
Every year, the Giller jury is different. You write the best book you can and throw it out there.
As a writer, you write the book, you give it to your editor, it's copy edited, it's published, it's thrown out there, and then there's a response.
Inviting children as gospel learners to act and not merely be acted upon builds on reading and talking about the Book of Mormon and bearing testimony spontaneously in the home.
Even before he had one book published, Jack was one of those people you could feel was very special.
It was pure guesswork on my part back in 1979 as to whether I would have the stamina to write, pencil, ink, letter, tone, and fill the back of a monthly comic book for 26 years.
It's important to begin a biography or any book or story with something to draw the reader in.
My first biography was 'Our Golda: The Life of Golda Meir.' To research that book, I bought a 1905 set of encyclopedias. Those books told me what each of the places Golda Meir lived in were like when she lived there.
I will say I highly recommend, if you want to write a book also, have a child in the midst of that process because it will really force you to organize your time.
Granted, a long book can be as daunting as a hard one. I nearly reached for 'Game of Thrones' until I saw the bookshelf sagging under the burden of those other volumes.
In my book, 'Let Patients Help,' one chapter is titled 'Let patients vote on what's worth the cost.' That's sensible, right? In other industries, consumer preference is a key determinant in prices.
Tim O'Brien's book about Vietnam, 'The Things They Carried', has won every award, is studied in college and is considered to be definitive. But it's fiction.
I worked at magazines for over 10 years before I even thought of writing a book.
I publish my own books, so there isn't a certain editor I owe the book to at a publishing house.
It was just an idea I had, that it could be cool to have a book covered in fake fur.
When I was on the bestseller list with the first book, everyone who knows me knows that every week it continued to be on the list was a very dark week for me. Everyone knows that all I wanted was to be off that list.
People unacquainted with graphic novels, including journalists, tend to think of 'Watchmen' as a book by Alan Moore that happens to have some illustrations. And that does a disservice to the entire form.
I came to think that nobody from England could draw American comic books, because they were clearly all done by this sort of Mafia, all these guys with Italian and Irish names who had the whole thing sewn up. It was actually seeing a comic book drawn by Barry Smith, who was about my age, and English.
At 13 years old, I realized I could start my own band. I could write my own song, I could record my own record. I could start my own label. I could release my own record. I could book my own shows. I could write and publish my own fanzine. I could silk-screen my own T-shirt. I could do this all myself.
Anyone who has an imagination can write a book - it's cheap to do - but movies are big money.
Baldwin gave expression to the longings of blacks in exalted prose. He was embraced, in the tradition of Negro Firsterism, even by those who never sat down with a book, as our preeminent literary spokesman, whether he liked it or not. Neither athlete nor entertainer, but nevertheless a star.
I was a slow and lazy reader as a kid. 'The Prince and the Pauper' was the only non-school book I would read, over and over, between television, records and radio, until I picked up my aunt's copy of 'In Cold Blood' and she didn't ask for it back.
Some black people who have not heard me interviewed or read my book jump to conclusions and prejudge me... I've been called Uncle Tom. I've been called an Oreo.
Usually, as a fiction writer, you get e-mails saying, 'I liked your book,' or 'I didn't like it.' You don't get something saying, 'I'm really glad this is in the world.'
My first book is about twins who are attached: two people who are joined and can't escape each other.
I think I wanted to write a book about the relationship between the victim and perpetrator in which the victim agrees to remain silent.
If you love a book you tend not to follow its surface value, you follow the other things in it.
I tell people life is like a book being written by heavenly hands that we can't see.
'Harry Potter' is the first book that ever got me into reading. I had to read it in year 7, for school, and then I kept reading all of them.
A book begins with an image or character or situation that I care about deeply.
We need to take a leaf out of nature's book. Any species that clones itself will eventually be attacked by a parasite, leading to an inevitable population crash.
I have a book in the pipeline of short stories. You want to hear an agent scream, say 'I'm thinking about doing a collection of short stories set in the Ozarks.'
I had bill collectors chasing me. We were skipping from town to town, not leaving forwarding addresses. The agent couldn't find me when he sold my book. He finally found me.
It's called 'The Outlaw Album,' not 'The Ozarks Album.' These are stories that delve into different kinds of outlawry, from criminal acts to interior, or psychological, outlawry. The book is not meant to be a tapestry of the Ozarks.
I don't think I can write a book as nihilistic as some of my early ones. They're so bleak. I don't think I would enjoy that as much anymore. You really become fixated on ways out.
It's not a case of: 'Read this book and then you'll think differently. I've written this book, and I don't think differently.
No matter what poker book you read or poker show you watch, the topic of position will invariably be discussed and its importance stressed.
The book is a dialogue between The Dalai Lama and a group of scientists about how we can better handle our destructive emotions and how to overcome them.
One of the things is, in the writing process, if you do it enough, you have a sense of where you are. I didn't have that with the first book as I was writing it. Now, as I write books, I have a sense of where I am. Unfortunately, the sense of where I am is usually behind.
I'm always interested to see what films are made of books. I kind of don't participate as a filmgoer in any kind of debate about what's better, the book or the movie. So I think it's interesting when people want to do it.
'The Long Goodbye' is one book I like to read over and over again, and it was an enormous inspiration for 'All The Wrong Questions'.
When you start writing a picture book, you have to write a manuscript that has enough language to prompt the illustrator to get his or her gears running, but then you end up having to cut it out because you don't want any of the language to be redundant to the pictures that are being drawn.
The 'EU in a Nutshell' is a miscellany of facts and anecdotes about the system which rules us. It's a book you can delve into in pursuit of a particular fact, or crack open for entertainment at virtually any page.
The anti-apartheid prisoners on the island, like so many in every age and nation, found that Shakespeare had a peculiar ability to gentle their condition. They used to gather clandestinely to read the plays; on one occasion, the book was passed around for each man to mark his favourite lines.
A best-seller was a book which somehow sold well because it was selling well.
A wonderful thing about a book, in contrast to a computer screen, is that you can take it to bed with you.
For me, the whole process involves envisioning this book in my head as I'm working.
Even if I only had 10 readers, I'd rather do the book for them than for a million readers online.
I think I'm gonna attach myself to the sinking ship that is book publishing.
I don't have a lot of skills, but one thing I can do is, I can compartmentalize. I can make that a little world that I can go back to, so I can be a waitress, or I can be a teacher, and then go and work on my book.
The first thing my writing ever earned me wasn't an advance on a book; it wasn't a fee for an article or anything like that. It was, in fact, a residency at Hedgebrook Farm.
Unless you are Stephen King, a book signing is attended by maybe 40 or 50 people.
Back in the day, I used to read 'Archie,' but I haven't been a comic book aficionado.
With each book you write you have to learn how to write that book - so every time, you have to start all over again.
In motorsports we work in the grey areas a lot. You're trying to find where the holes are in the rule book.
I've always written about social concerns. My first book was about Spanish Harlem.
For any book, it's distilling all of the moments in the book that are either fan favorites or pivotal that you have to have in there, and how you tie that all up into a two hour movie is not the easiest job.
Los Angeles is a city of few hard targets. Its iconic buildings are private spaces, mostly residential, visible by invitation only or in the pages of a Taschen book. Its central industry is as mirage-like as the projection of light on a screen.
I could write a book describing what differentiates the high performance person from all the rest! Hell, I could write volumes!
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