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When I need to decompress, I grab a glass of wine, some popcorn, and a great book.
I take time with each person and try to remember them, especially if they're a repeater from another event. I know a lot of authors just sign a book and keep their heads down, but I'm not like that.
It may be important to write a book that doesn't come up to what I would like to have rather than to write no book at all.
There are writers who say they have no social responsibility except to write a good book, but that doesn't satisfy me.
I wanted to do a weird book and reestablish my independent, small-press roots.
I believe there's a platonic ideal for every book that is written, like there's the perfect version of the book somewhere in the ether, and my job is to find what that book is through my editing.
You think you're writing the most important book, you think you're writing the most stupid book, and you never really know before it's done that it's going to be done.
My second book, Follow Me Down had some success, got good critical notices, went into a second printing and things like that, but Shiloh was by far the most successful of those first five novels.
I had to actually purchase a book to learn the API and write the client. It was pretty frustrating trying to learn the API and develop a product quickly.
With literature, sometimes a book is presented in the media as being say, a Muslim story or an African story, when essentially it's a universal story which we can all relate to it, no matter what race or social background we come from.
Like all of my previous work - which I also hope is a bit hard to categorise - 'The Oopsatoreum' is an illustrated book, so a combination of words and pictures that tell a kind of story.
I think 'The Road' is a good example of a book everyone should read, but I wouldn't recommend it to young kids.
My friend Markus Zusak wrote a story from the point of view of death, 'The Book Thief.' I thought that's a great idea, where your omniscient narrator is death. I'm glad he had that idea because I wouldn't have been able to work so well with it.
Many poets write books. They'll tell you: Well, I've got my next book, but there are two poems I need to write, one about x, one about y. This is a wonder to me.
'The Magus,' usually described as a book for the young, is about learning that the world is a mysterious and limitless place, beyond our control, and all the more exciting - and daunting - because of it.
I don't remember titles of books or authors from when I was young. I remember the title of only one book, which was 'The Timber Toes.' I remember it was a family of little wooden people who lived in the woods, and for some reason that stayed with me.
I cannot just write a frivolous book, a la-di-da book. Everything isn't la-di-da. There is something that's going to pull you up short. I want to reassure young readers. I want to comfort them, to not fear the unexpected.
When students ask me today, 'What do you think we should learn from this book?' I tell them, 'Whatever you got out of it.'
A good book ought to bring out lots of different responses from those that read it - none of them pre-planned, and all of them very personal. Whatever they take away from the reading of the book is valuable.
In my new book, 'Birth,' my goal is to share the path I have traveled in the spiritual sphere and in the business and philanthropic sphere in order to reveal the essential connection between the two.
There's this book that I love called 'Eleanor & Park.' It's an incredible story about these two misfit kids who fall in love. I've loved that book for years and I'd be so thrilled if I got to be in an adaptation of that.
Sometimes you go into an audition and you'll do what you think the character is, and then if they agree, then it's awesome and you'll book it maybe, and you'll live happily ever after. But sometimes they don't agree.
Any book that you're writing about your life, there are tough chapters that you've gotten through, you've survived them, and kind of closed them up.
On YouTube, you know, if you say something, you know, that triggers somebody, it becomes a whole controversy, a whole thing - and all the comments and everybody's upset, whereas a book, there's no comment section. There's no - there's nowhere for the audience to, you know, get mad at you for saying something.
I went to public school my whole life, graduated high school with my class. Growing up, I'd go to an audition, my friends would go to soccer practice and we'd all reconvene and hang out in our neighborhood. When I would book something, I would never tell my friends. Acting was just fun. I was a kid, I wasn't jaded.
I have written a book called 'In the Wonderland of Numbers.' It's about a young girl, Neha, who is very poor in mathematics, but in a series of illusory experiences, she becomes a great mathematician.
I'm a big, bombastic novelist and thrill-ride guy. I'm never going to win the National Book Award.
What makes a good book and what makes a good movie are totally different things.
'Pride and Prejudice' - perhaps more than any other Jane Austen book - is engrained in our literary consciousness.
It's absurd to think of 'Pride and Prejudice,' this classic, beloved book, beset with a zombie uprising. The goal is to make you suspend your disbelief enough to allow you to get lost in the story and believe what you're reading for a while.
I think that the economics of book publishing favor hits with long book runs. You make all your money on the last bunch of books, not the first.
If you're going to buy a real book, a paper book, there better be a good reason. Perhaps scarcity is one of those reasons.
When I was starting out, when I put aside my career as an economist. I looked at every book, went to every show, did my first stories, developed my first films. A fabulous time.
Which is a wonderful irony, I have property there. I go back every chance I get. One of the main reasons I actually wrote the book, agreed to write it having never wanted to do that in my life, very intimidating by the way to write a book.
When I was first writing 'Feed' - which was the first book I published as Mira - I talked about it very openly on my blog, on Twitter, that I was writing this book, and it wasn't until after it was sold that I said 'Mira Grant' wrote this book. And the reason there was really purely marketing-based.
When I was getting ready for the release of 'Deadline,' when it was coming out soon, I decided that the appropriate way to get people excited about the book would be to write a novella in 30 pieces and publish a piece on my blog every day for a month... during a convention, a week-and-a-half-long trip to New York, and a doll traders' expo.
I was that kid with the glasses and the hungry expression who haunted every library book sale and used bookstore in town: the one who always has a book in one hand and is reaching for the next book with the other. There's one in every town.
I'm always depressed when a book ends, because those are my friends for however long the book takes to write. Since I spend so many hours with these fictional people, I sometimes see them more than my real friends. And then they're gone, and we'll never be together like that again.
I have an aunt who believed strongly that teaching kids that Shakespeare is 'hard' is wrong, so she handed me 'Hamlet' when I was in kindergarten to see what would happen. What happened was I did a book report on 'Hamlet' and caused quite a lot of trouble!
A lot of people have read the Mira Grant books who are not urban fantasy readers, and they would never have picked up a book with an urban fantasist's name on the cover, but then they go on to read my urban fantasy and like it.
To have been able to write the books I wanted to write, on demanding subjects like war and the history of psychiatry, and for them to have sold in the numbers they have - and then go around saying: 'Actually, I'd also like to have won the Costa Book of the Year?' That would be ridiculous.
There's nothing definite yet. Of course, any time you have a book, there's going to be book signings and stuff. We'll do bookstores that handle both audio and video. And some of the stores want to have the CDs available at the same time. So that part looks real good.
Lord of the Rings was something I always wanted to do. I read the book when I was about 25, and I was always hoping if it was ever made into a feature film that I would be involved in some way. And then I finally got it, and I was over the moon. It was fantastic news.
I found a great book called 'Slang Through the Ages' by Jonathon Green. It's basically a thesaurus of historical slang, and had lots of great old uses.
The Batman that I loved growing up, the thing that Frank Miller did in 'The Dark Knight Returns,' is that he's so vulnerable and mortal in his 50s. That book was the first time I saw Batman as being really layered, human, and suffering, and worried that he wouldn't achieve what he wanted to achieve. Seeing him being obsessed and pathological.
The secret to 'Year One' is that it's a Jim Gordon story. It's a great Bruce Wayne story, don't get me wrong, but Jim Gordon is the focus of that book. To me, that's the stronger emotional arc. It's not that the Bruce Wayne stuff isn't masterful, because it is, but it's Jim's book.
There's a book that's critical to understanding anxiety, a 17th-century book, 'The Anatomy of Melancholy,' by Robert Burton. I wanted to write something like that.
Metal guys are huge nerds. A good percentage of them are either horror or sci-fi or comic book or fantasy nerds.
I'm very lucky that I started out as a reader of the comic book and a viewer of the show. And I try to remain that, and make 'The Walking Dead' that I love watching. Luckily, I have the source material that I love, and I want to serve that as well.
One was a book I read by Mahatma Gandhi. In it was a passage where he said that religion, the pursuing of the inner journey, should not be separated from the pursuing of the outer and social journey, because we are not isolated beings.
If I'm at a book signing, and someone decides to take me to task, it can make for quite a sticky moment.
Promoting education is an effort that is close to my heart. Illiteracy contributes to poverty; encouraging children to pick up a book is fundamental.
Novels are nothing but evolution, but there does come a point when that stops, and the story is sealed within the pages of the book. That doesn't happen with a play. Even performances are different every night.
Yes, Charles Yu names his main character after himself. That main character, in fact, is both time-machine repairman and author of a book called 'How to Live Safely in a Science Fictional Universe.'
I think in some ways, you end up with more interesting storytelling with series, because if you've written yourself into a corner with something in book 1, you have to be cleverer to get out of it.
The Thames Torso murders almost fell into my lap. After deciding to use a real historical crime as the focus for the book, I went to Google and searched for unsolved murders in Victorian London, and they basically popped out at me about halfway down the first results page.
I'm a girl, so I've experienced dismissal because I was a girl or because I write about girls: my book with a guy protagonist is treated as more literary and worthy than my other books with girl protagonists.
Perusing colorful storylines on the backs of book jackets, I realized that none of them could possibly be as dramatic as my life to date. Then sadly, I also realized I could never find the ending of my story from the safety of an armchair.
For the most part, my characters don't talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me and them, but they stay out of the book writing itself.
I want to wake up one morning and know how to write page one, or page 10, or page 250. But I never seem to know how to do it. Every book is different and takes a different structure, style, process, etc. And relearning how to write is where the insanity comes from.
'A Rogue by Any Other Name' is the first book in the 'Rules of Scoundrels' series, centered on a legendary pre-Victorian casino and her four scandalous aristocratic owners.
I gave myself two months to book a job. One month later I was cast on 'Modern Family.'
Maybe other writers have perfect first drafts, but I am not one of them. I always try to get the book as tight as I can, but you reach a point as the author where you have lost all perspective.
I don't live in New York or California. I'm in the grocery store, at the park with my kids, and I'm a normal person. I'm feeding my chickens and agonizing about my next book!
If I had to pick, I'd say my favorite book is 'A Prayer For Owen Meany', by John Irving.
Each time, I think I'm never going to write another book. It never gets easier.
I am a big outliner. For my adult book, 'The Visibles,' I did not outline, and it took me two years to write because I just didn't outline, and I had no path.
How lucky am I? Quite often I speak at book festivals, and people ask me how I got published. There's people who have been working on a book for as long as ten years, and I feel like such a cow.
If I hadn't been able to get my first book published, I am not sure what I would have done.
Writers have it easy. If you write a bestseller or have your book made into a movie, you'll never have to work again, or so the myth goes.
Living in Edinburgh, I consider myself particularly lucky - we have the biggest book festival in the world, a plethora of fascinating libraries and museums, and some of the greatest architecture in Europe.
There were about ten years of trying, failing, trying again, suffering rejection, etc. My first published book, 'Story of a Girl', was the fourth book I wrote.
When a young reader tells you that they'd never finished a book outside of school until they read yours, or that they really needed to hear something that one of your characters says or thinks... that's just rewarding and humbling.
Cancer is too real, and too awful, and I can't make it good or magical. I couldn't even read a book where a character had cancer, for a while... But now I've reached a point where I don't think about cancer nonstop anymore, and sometimes I worry about that - I'm going to forget what I went through; I'm going to forget how horrible it was.
You work hard on a book and throw it out there and then it's beyond your control.
I don't like outlining, because books are organic things. Sometimes a book doesn't want to be written in a certain way.
No agent wants to see a book until he or she has decided whether to pursue the relationship.
The best source for finding an agent is called Literary Agents of North America. It's a complete list of agents, not only by name and address, but by type of book they represent and by what their submission criteria are.
Books don't exist unless you read them. And it's a two way process - you write the book as you read it and you fill in the gaps. You discover it and you put the marks together and without you doing it they're just marks.
I'm lucky enough to work with, I think, the greatest writer there's ever been, Shakespeare. Whose collected works would always be under my pillow if I was only ever allowed one book to keep, and who never bores me.
For each book, there's a back story of where the idea came from. Sometimes it's derived from a current event or topic of discussion, such as 'Deadline.'
'Slow Heat in Heaven' was my 'breakout' or 'crossover' book, and I loved the freedom I felt writing it.
Rarely does a complete idea come to me. I basically start with just a small scene or a snatch of dialogue and force myself to write and to keep writing. Sometimes it becomes a book.
I always try to incorporate something in every book that I've never used before. Hopefully, spontaneity will keep readers reading.
A number of things in 'Dhalgren' are just meant to function as mysteries. They're mysteries when the book begins, and they're mysteries when the book ends.
'Dhalgren' is the kind of book in which you can look for pretty much anything you want. I tried to put as much into it as I could at the time.
I write about myself with the same pencil and in the same exercise book as about him. It is no longer I, but another whose life is just beginning.
Anytime you're sitting there writing a book about yourself, it's a pretty self-fulfilling prophecy, I guess.
As for my own music, I've never written a book about it. I'm not pedagogical... When I write an abstract piano sonata or a concerto, I write what I feel. I'm not a self-conscious composer.
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