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An empty book is like an infant's soul, in which anything may be written. It is capable of all things, but containeth nothing. I have a mind to fill this with profitable wonders.
It's important, I think, for a writer of fiction to maintain an awareness of the pace and shape of the book as he's writing it. That is, he should be making an object, not chattering.
I reread Mesrine's book every year because the way the story is told is fascinating. Today, we don't have gangsters like Mesrine - he had humor.
I am mortified to be told that, in the United States of America, the sale of a book can become a subject of inquiry, and of criminal inquiry too.
The book is there for inspiration and as a foundation, the fundamentals on which to build.
My address book of dealers and private collectors, smugglers and fixers, agents, runners and the peculiar assortment of art hangers-on was longer than anyone else's in the field.
Publishing is a business. It's about squeezing every last dollar out of every available source, and the most vulnerable source is the author. No clearer proof of that exists than the 'standard' book contract.
In 1996, Muhammad Ali and I co-authored a short book about bigotry and prejudice that was keyed to religious and racial divisions. To spread the message, we visited schools in a half dozen cities across the country, talking with students about the need for tolerance and understanding.
My personal relationship with Ali began in 1988, when we met in New York to explore the possibility of my writing the book that ultimately became 'Muhammad Ali: His Life and Times.'
I basically did all the library research for this book on Google, and it not only saved me enormous amounts of time but actually gave me a much richer offering of research in a shorter time.
I deliberately wrote a poem in my last book where I was suggesting that there are other passions as great as or more important than the passion of sex.
We learned in the university to consider Wordsworth and Keats as Romantics. They were only a generation apart, but Wordsworth didn't even read Keats's book when he gave him a copy.
The distinctions of what makes a book one genre or another can sometimes be a bit muddy, but generally it's a matter of projecting who the audience will be, which is a judgment that's based on the subject matter. 'Mainstream' is the cleanest label for a book that draws readers of both sexes and from a wide age-range.
Predictability is boring! I want a book to take me someplace I haven't been before, show me sights I haven't seen, make me ponder questions I may not have pondered before.
When that book came out, it was like Columbus telling about America at the court of Ferdinand and Isabella.
In comic books, every character exists in this comic book world, and the wrestlers were the same thing. They were responsible for creating that world and putting it out there - having the confidence to go forward and do that and behave in a certain way.
Even if I never sold another book, I'd keep writing, because the stories are here, in my head. Stories that just need to be told. I love watching a plot unfold, and feeling the surprise when the unexpected happens.
My cottage is on Lake Huron and it's always nice to have the chance to get away and hear the waves crashing while reading a good book.
What interested me in doing 'Dragonball' was that it's a huge comic book series that has built a great fan base, and it's a great action movie!
In the case of The Loved One, I was hired to collaborate on an updated version of the book.
The only book worth writing is the book that threatens to kill you.
I attacked Dawkins's book on God because I think he is theologically illiterate.
Imagine someone holding forth on biology whose only knowledge of the subject is 'The Book of British Birds,' and you have a rough idea of what it feels like to read Richard Dawkins on theology.
My book collection is primarily in America, since that's where I've lived most of my life.
There are plenty of bad editors who try to impose their own vision on a book.
Even after Sword was published, I was still only thinking about the next book, Elfstones.
On the other hand, I still approach each book with the same basic plan in mind - to put some people under severe stress and see how they hold up.
With this book, I truly hope to reach everyone that I don't bump into on the street and share my story.
When I know I'm going to work on a cover, I practically run to the computer! After working with words for so long, it's lovely to do something that's creative yet also the professional equivalent of scribbling in your own coloring book.
I've learned from numerous sources that e-mail marketing is still far more effective in driving book sales than social media. That's why we all get those e-mail blasts from Amazon every morning.
If not for my mom, I wouldn't be a writer today. When I was a little girl, I rarely saw her without a book in her hand.
We decided we wanted the site to provide readers with fresh new stories to enjoy between major book releases by their favorite authors while allowing those same authors to flex their creative muscles.
I wasn't at all sure I could make that sort of leap into that sort of comic book reality.
I think Maus I is better than Maus II. The standard here is whether or not it's as good as a great book of prose literature and by that standard, no, it's not that great.
More than four thousand programs produced and consumed. Some of them were pretty good, a great many of them were forgettable; but a handful may even be worth a book.
A lot of writers that I know have told me that the first book you write, you write about your childhood, whether you want to or not. It calls you back.
I like to sit down every day and not know where the book is going. I have no idea where the book is going to go or how it's going to end as I'm writing it.
I was a top-notch cartoon model for Hanna Barbera, and they made me into a cartoon series called 'Devlin,' which ran for seven years, and I was on lunch pails and coloring books and all of that. It's really interesting being a coloring book when you're young - most kids colored in coloring books, but I made money off coloring books.
I've always thought that a good book should be either the entry point inward, to learn about yourself, or a door outward, to open you up to new worlds.
If I'm extremely bored and I don't have a book with me and I'm being an obnoxious teenager, I'll read 'BuzzFeed' on my phone. But even that just leaves me feeling icky because I think for some reason my comfort zone is to just not really be in the loop about stuff like awards shows or things like that.
I have been writing poetry since 1975. My first poetry book was published in 1986.
Sometimes I get to see a movie that's adapted from a book that I haven't heard about or that I love the movie so much that I will, of course, read the book.
The opening lines of a book are so important. You really need to somehow charm your reader. If you can't get her attention in the first pages, you may have lost her. There has to be an ambience.
My first book was poetry, but I didn't write it first. I wrote it third. So my first two books were prose.
If I don't like someone and I start reading their stuff, it seems like my brain will just automatically start criticizing everything that's there. It's really hard to read a book without having all this outside information telling you what to think about it.
I'm no longer religious, but the Bible fascinates me. Hardly anyone reads it anymore, but it's got everything: it's a book of poetry, it's a book of principle, it's a book of stories, and of myths and of epic tales, a book of histories and a book of fictions, of riddles, fables, parables and allegories.
Because I never attended elementary schools of any kind, I missed most of the books that were popular with other kids my age. There was an exception, however, which was 'Harry Potter.' My grandmother gave me the first book when I was about 13, and I read it, then read all the rest.
I was reading 'The Mystic Eye' by Sadhguru of Isha Yoga Centre. I couldn't keep the book down and finished it in two-and-half hours.
I thought I could never write a proper book; I'd never done it before. But I thought I could write a sequence. Then I had a chapter. The next thing I knew I was turning acting down.
It's OK to screw up. For me, this was the big revelation when I was writing my first book, 'In the Woods': I could get it wrong as many times as I needed to.
I read one book where the characters never said anything; instead, they spent all their time grunting and bleating and hissing and cooing and growling and chirping and... It was like a menagerie in there. After a while, I wasn't even taking in the rest of the book, because that was all I could see: the dialogue tags.
For me, any book I'm writing is also a chance to get in and research and read and learn things that I maybe only knew a little bit about before.
I don't care if the audience is 600 Saul Bellows; I'm going to knock them dead with a comedy routine. I'm out there as a missionary for literature because, if people laugh and enjoy themselves, they might actually do something as bizarre as reading the book.
What happened was very sad. Mr. Lacey told the staff that he was disappointed and appalled that the front of the book was all commentary and that he wanted hard news.
I see the world as voices, as colors, as it were. From book to book, I change, the subjects change, but the narrative thread remains the same.
I remain convinced that the most valuable use of time for a newly published author is to write a second book that's even better than the first, and a third that's better than the second, and on and on.
I'm a fan of meeting readers face to face, at reader events, where we're able to sit down and take some time to talk. Too often, at regular book signings, I meet readers who have traveled six or eight hours to see me, and I'm unable to spend more than a few short minutes chatting with them as I sign books.
It's amazing to see things that are suggested in the book fully developed and so brilliantly realized through the artistry of the designers.
I've just had the opportunity to see the finished film of 'The Hunger Games.' I'm really happy with how it turned out. I feel like the book and the film are individual yet complementary pieces that enhance one another.
Any time you read a book and get attached to the characters, to me it's always a shock when it goes from page to screen and it's not exactly what was in my head or what I was imagining it should be.
I shouldn't have been diagnosed as swiftly as I had been. I shouldn't have recovered as fully as I did. I shouldn't have been able to write a book that did as well as it did, and that book should never have been made into a movie. Yet, here I am.
I never imagined while going through this horrifying illness that I would write a book or that it could ever be a movie.
Tell the story that's in your heart, and don't hold back. Write a book the reader will want to melt into.
I have seen and really liked the varied movie adaptations of the book, but 'Little Women' has a sprawling, richly tangled story that needs time and space to weave its magic.
In my book 'The Winter Sea,' set north of Aberdeen, I couldn't just ignore the fact some people there - especially the people in the past - would speak the Doric.
As the writer of a pseudonymous book, I gave up my own accumulated history as a novelist and became what I had been as a child: unnamed, unidentified, unacknowledged. Invisible. In a very real sense, what I hope for in the process of imagining a book is to disappear.
I think the market is always going to be around. The goal is not to say, let's get rid of the market, because the market does render a huge number of services, and I don't want to have a fight about the price of something every time I buy a book or a bottle of water.
I admire Virginia Woolf so much that I wonder why I don't like her more. She makes the inner things real, she does illumine, and she makes relationships realities as well as people. But I remember the intensity, the thrill, with which I read 'Passage to India.' How I would have hated anyone who took the book away from me.
In one sense I feel that my book is a one-woman argument against determinism.
I always try to avoid looking at the section where my books would be shelved, but I do know that my most reliable neighbor to the right is Kate Chopin's 'The Awakening', which is dispiriting. That's a book I don't want to re-read.
I've never written a book with an outline or a predetermined theme. It's only in retrospect that themes or subjects become identifiable. That's the fun of it: discovering what's next. I'm often surprised by plot developments I would not have dreamed of starting out, but that, in the course of the writing, come to seem inevitable.
To be a good researcher is to be a good detective, and I enjoy ferreting out tidbits of information. For a diary book like 'A Coal Miner's Bride,' newspapers come in handy for small everyday details such as weather reports.
I freely admit that I took great license in writing 'The Dark Queen,' more so than my other historical romance novels. This is largely because I viewed the book as a fantasy novel as much as an historical. I do feel that writers should strive for as much accuracy as possible but, in the end, remember that we are writing fiction.
I think we sometimes forget that we have so many other places to create change. My dad taught me this, but the political is one spot to make change. But so is writing a book.
I'm spectacularly disorganised. I wrote my latest book in seven different notebooks scattered throughout my house.
I like to write and that's why I write. I don't think about how much the book will sell.
Having reached the halfway mark in the alphabet, my prime focus is on writing each new book as well as I can.
I don't want to write formula. I don't want to crank these books out like sausages. Every book is different, which takes a hell of a lot of ingenuity on my part.
I never read a single book as a child. I did not read as a child. I worked on the farm. I had books in the classroom, but that was it. I never read a single book outside of the classroom.
I didn't look at the previous 'A Wrinkle in Time' movie. I wrote ideas down from the book, but I didn't really want to copy that Meg. We're the same, but we're different at the same time. I wanted to make myself Meg. I didn't want to use somebody else or use a reference.
I was shocked that I even got the opportunity to audition for 'A Wrinkle in Time.' Meg Murry is a Caucasian girl in the book.
In ordinary detective novels you never see the consequences of what happens in a story in the next book. That you do in mine.
I don't think any movie or any book or any work of art can solve the stalemate in the Middle East today. But it's certainly worth a try.
The connections I draw between human nature and political systems in my new book, for example, were prefigured in the debates during the Enlightenment and during the framing of the American Constitution.
Right after the keynote in which Steve Jobs introduced the iPod Shuffle, I went backstage with one question in mind: What makes an iPod an iPod? By then - January 11, 2005 - I had staked my own claim to iPod expertise, having written a 'Newsweek' cover story about Apple's transformational music player, and I was writing a book on it.
I've always been a rule-follower. Even when I was a kid, I tried to do everything by the book.
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