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I am particularly wary of authors who put themselves on the cover of their own book.
One of the advantages of the book's having been out there for more than a quarter century is that there's been time for people to report back on what it's done for them.
When I do a project, I like the idea that someone is going to experience the book, someone is going to experience the film, someone else is going to experience a framed photo on a wall, but they are all going to get to the same root thing as long as all of those mediums are exploring it from the same place.
During every book, I have a nervous breakdown. Usually it's about two thirds of the way through the book - I'm just comatose on the couch for at least a week, and I eventually break through it and have an answer about how to fix the thing.
I think it would be bad to a truly successful celebrity person, because I know these novelists where people get a cult following, and they have some strange personal attachment to them because it's so personal to read a book.
To say 'A High Wind in Jamaica' is a novel about children who are abducted by pirates is to make it seem like a children's book. But that's completely wrong; its theme is actually how heartless children are.
The higher a book's sales ranks, the better chances it has of being noticed by Amazon's internal recommendations engine.
Young adult author Richelle Mead holds the distinction to perhaps be the only author ever to have a book banned... before it was even written.
Writing 'The Noonday Demon' turned me into a professional depressive, which is a weird thing to be. A class at the university I attended assigns the book and invited me to be a guest lecturer.
I'm also a huge cinephile, and I have witnessed that to honor the book literally word-for-word never makes a good movie.
The plot of my 'Phantom' is pretty much mine. It's based on the Gaston Leroux book - I've taken a lot of liberties with it.
It never occurred to me that 'Phantom of the Opera' was the sort of subject that I'd want to do, because I just thought it was something that would be a bit jokey. 'Til I read the book.
I'm all about entertaining and keeping a reader on the edge of their seat, so to me, the social issues have to be meaningful and give the book what's really 'at stake,' but ultimately it's not about them - it's always a personal story of everyday people thrust into life-threatening situations and having to perform heroic acts.
A good-humored wife who appreciates most, if not all, of my humor - her price is far above rubies, as the book of Proverbs doesn't quite say.
The highest praise is when a kid says, 'This book feels so real; this could have happened at my school.'
I read books all the time. I'm just half looking for something to do; I mostly just read for pleasure. Occasionally I stumble across something that could be a movie, but I don't put a book down just because I don't see a movie in it, either.
I think a conceptual idea comes to me first - something I've been mulling over a lot right before I feel like writing a book - and then the characters start to develop around it.
Irvine, being a planned community, is really good shorthand, especially in a movie or book, for understanding suburban pressures.
I mean, you still can't jump offstage and go read a book. But I'm getting better at it. It is something you can manage. You can still give everything you have to the audience onstage, and have something for yourself.
In school I was painfully shy. But as soon as I had to get up in front of the class and give a book report, it was alarming - I'd suddenly be very articulate.
When I'm sniffing around new territory, I often choose, rather randomly, one general book and then follow its bibliography and notes to other, more specialized works and to the primary source material.
When I am talking about politics, it is not about reading a book, theories on policies, but awareness on what is our right as a citizen of a democratic country.
Too few people in my old field of financial services were ever brought to book for their part in the 2008 crash.
I'm supposed to say, Bill O'Reilly, that's immoral - click - and then walk back in and book his A block the next day and have a fine day and everything be kosher? I don't think so.
We worked with David Thibodeau, who wrote a book about Waco, on which the series is based. He's one of the nine survivors.
Writers have to be careful not to confuse personal attention with the attention that's going towards the book.
The more I like a book, the more slowly I read. this spontaneous talking back to a book is one of the things that makes reading so valuable.
For a professional writer in the Soviet Union, it works this way. First, you have to have something to say - that's the main thing. Second, it's a matter of who publishes you. If your book has real stuff in it, readers will ferret it out, even in a Siberian journal.
I'm concerned about a lot of serious border issues. This book is about the border reality and the struggles of the undocumented worker.
There is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.
Right after college, after growing up in the United States, I moved to India, broadly telling the story of how an old and stagnant country was suddenly waking up. And I came home, back to America, in 2009 after telling that story and writing a book about that.
If your life were a book and you were the author, how would you want your story to go? That's the question that changed my life forever.
I sit down and draw from my lyric book. I sit down and start looking through it and see if there is anything that strikes me that I've written.
I read a book a day when I was a kid. My family was not literary; we did not have any books in the house.
My favorite anything is always relative to the context of present time, place and mood. When I finish a book and want to immediately find another by the same author and no other, that author is elevated to my favorite.
I would never require anyone to read any book. That seems antithetical to why we read - which is to choose a book for our personal reasons. I always shudder when I'm told my books are on required reading lists.
I've always bought CDs and even when I was young and at primary school I had a massive collection of CDs. I just like the excitement of opening it, reading the book, learning all the words and things like that. Hopefully I'll always be like that.
Growing up in San Antonio, I was the dork at the Friday night football games with my head buried in a book - Jack Kerouac or Oscar Wilde, years before I really understood them.
You can't write a book about Hillary Clinton and not anticipate some blowback, so I always knew it was going to be something.
I'm one of those lucky guys making a living out of something I really enjoy doing. That's a blessing. But you never know. What if my subsequent book series flops? I don't come from a wealthy background, so I'd be left with no choice. I'd have to go back into banking!
I consider myself lucky that Sonu Nigam, Bikram Ghosh and Taufiq Quereshi came forward to create an original soundtrack to promote my book, something that hasn't been tried here before!
India is a musical country, so it would appear obvious to use our collective passion for music to promote a book.
Songs of different moods are like keys, which help me enter the world of my book's characters.
When the book is over, I think of innovative marketing ways to reach to a larger audience. I think wine and cheese book launch parties are a waste.
I am not in the least eloquent or fluent with languages. My writing on social media is quite pedestrian. But even if it was near any acceptability, I would not be in a position to pen a script or a book.
In 1997, Alain de Botton published his book 'How Proust Can Change Your Life.' I was charmed by it. I remember using it in a course on cultural criticism for a graduate class that had a mix of theorists and creative writers.
While I began writing 'Rules of Civility' in 2006, the genesis of the book dates back to the early 1990s, when I happened upon a copy of 'Many Are Called,' the collection of portraits that Walker Evans took on the New York City subways in the late 1930s with a hidden camera.
In my college years, I would retreat to our summer house for two weeks in June to read a novel a day. How exciting it was, after pouring my coffee and making myself comfortable on the porch, to open the next book on the roster, read the first sentences, and find myself on the platform of a train station.
As a traveler, I should probably count myself fortunate to be living in the jet age, and as an author, I know I am lucky to have a book tour at all.
I make extensive outlines before I write a book. I usually know what will happen. I know the characters, and I know what they are about.
I published 'Rules of Civility' while I was still working. It became a best seller. I was working on this book, and then I decided to retire.
That is a good book which is opened with expectation, and closed with delight and profit.
One of the strangest results of having your name on a book jacket is the proliferation of people who know one narrow aspect of your life and are suddenly surprised to learn there's more.
I have swung on a flying trapeze, explored a glacier, and been hit in the face by a shark's tail while scuba diving. I like to throw myself fully into projects and adventures, which is probably how I managed to publish a book in the first place.
Luckily I haven't fallen into the trap, which has claimed so many writers, of living from day to day thinking 'Ah, I'll write a book about that.'
I wanted to create a heroine that was flawed. I wanted her to be a real person. She's selfish, she's childish, she's immature and because I'm doing a three-book arc I really played that up in the first book. I wanted the reader to be annoyed with her at times.
One of the reasons it is considered such a privilege to sit on a Man Booker jury is because it is famously rigorous. The judging is not a gig for lightweights. Not only are all five judges expected to have read all 155 books from beginning to end, but they have to be able to talk fluently about every book at length.
It isn't enough for a book to be transporting or entertaining; it must also come from a place of knowledge and an understanding of aesthetics. Even where a longlisted book wears its craftsmanship lightly, the power of the writing shines through.
I usually plan to read a book for a half-hour before bed, but then I end up staying awake until 3 A.M. to finish it. Fortunately, my dog doesn't mind when I keep the bedside lamp on.
I have a screened in porch, and it's nice to curl up with a book outside when it's raining, especially an old battered classic like 'Pride & Prejudice & Zombies.'
To be quite honest, the joyful relief of the publication of my book was short-lived.
I always carry a book with me to read on the bus, and I tend to arrive everywhere early.
My first book is really about heat. That book, for me, was an exploration of heat as ingredient. Why we don't talk about heat as an ingredient, I don't quite understand, because it is the common ingredient to all cooking processes.
I don't think that books are wondrous, magical things that come from nowhere. It's important that a book has clues about where and how it was written.
Writing is so fun precisely because if you take out the right adjective, the readers can decide what kind of book is in their hands. Suspension of disbelief should not be mandatory in contemporary writing.
'Flaubert's Parrot' is an amphibious book in which what appears to be a personal essay about Flaubertian writing is gradually, delicately transformed into an extremely sad novel in which the differences between character, author, and narrator are less clear than they appear at first glance.
You know, I've never been a comic book person, just because that's not my gig and I don't have a television.
It is customary for the writer to sneer that Hollywood has traduced their book. Well, I adore my film.
I wrote each book in thirty-five days flat - just to get the darned thing finished.
'The Practical Heart' was published one week before the World Trade towers collapsed. Book reviewing and all else in our culture stopped dead-still for half a year. I went on the book tour anyway. But I felt like the apostle Paul going unto the catacombs where scared believers hid and prayed.
Writing books that people want to read is helpful - my most successful book is my only police procedural, a very popular subgenre of the very popular crime fiction genre.
Brand loyalty starts in the cradle and ends in the grave, as I wrote in my first book, 'Branded: The Buying and Selling of Teenagers.'
I used to teach at the Columbia journalism school, and I would tell my students that every book has to have a sentence that motivates it.
Writing this book feels like a completely different activity from writing my comic strip because it's about real life. I feel like I'm using a part of my brain that's been dormant until now.
'Britain's Royal Families' became my first published book, in 1989, from The Bodley Head, and the rest of the story is - dare I say it? - history!
I started writing as a child. But I didn't think of myself actually writing until I was in college. And I had gone to Africa as a sophomore or something - no, maybe junior - and wrote a book of poems. And that was my beginning. I published that book.
I just feel that 'The Color Purple,' which was my 10th book, was a true gift from my ancestors.
I used to do calligraphy, and I'm afraid that has lapsed, but I've always been interested in book printing.
Every time I finish a book, I forget everything I learned writing it - the information just disappears out of my head.
I did go there later, but I hadn't been there before I wrote the book. Sometimes I feel like the imagined can feel more real than the real?
I never plot out my novels in terms of the tone of the book. Hopefully, once a story is begun it reveals itself.
What a sense of superiority it gives one to escape reading some book which everyone else is reading.
Some readers sort of suspect that you have another book that you didn't publish that has even more information in it. I think that readers sort of want to be taught something. They have this idea that there's a takeaway from a novel rather than just the being there, which I think is the great, great pleasure of reading.
'Lives' is one of those books I should really have written when I was younger. It is the classic childhood, adolescence, breakthrough-into-maturity book. Every beginning writer has that material - and after that, you're not sure what you can do.
I'm always trying. Between every book, I think, 'Well now, it's time to get down to the serious stuff.'
I’ve wanted to write a book on embryology, that extraordinary journey where you start off as a single cell and end up with a human body, for a general audience for years.
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