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I think I write and publish as often as I do because I can't bear being without a book to work on... I don't feel I have this to say or that to say or this story to tell, but I know I want to be occupied with the writing process while I'm living.
Routinely, when I finish a book, I think 'What will I do? Where will I get an idea?' And a kind of low-level panic sets in.
I do the same kind of rewriting that I do in the shorts that I do in long books - and that is a lot. The book really comes to life in the rewriting.
I rarely, if ever, had another book in mind while I was writing the previous book. Each book starts from ashes, really.
It is more than a book, it is an institution which rules the Christian world.
The living Church of the redeemed is his book. He founded a religion of the living spirit, not of a written code, like the Mosaic law. Yet his words and deeds are recorded by as honest and reliable witnesses as ever put pen to paper.
I have come to understand and appreciate writers much more recently since I started working on a book last fall. Before that, I thought golf writers got up every morning, played a round of golf, had lunch, showed up for our last three holes and then went to dinner.
A great writer is a great writer... Tolstoy was not a woman, but 'Anna Karenina' is still a pretty good book.
At least for me, writing a book is continual exposure to blind spots. There were things I wanted to be true and wanted to believe, but it always got more complicated in the fiction.
One of the characteristics I cherish in my friends is their childlike gullibility, and several excited minutes were spent trying to actually find this book.
My father has a book where, ever since I started playing games... he wrote down the games that I played in. And then, when I did my website, we thought that was a really good idea, that people can keep track of my games.
I jump around in the plotting stage, where I basically just make a bulleted list of every damn thing that happens in the entire book.
I think each book sort of finds its own theme as it goes on. 'Warded Man' was fear. 'Desert Spear' was exploration of the other. 'Daylight War' was relationships. Some of this is intentional, and some of it evolves naturally. The series as a whole is obviously something I have given a lot of thought to, but each book is its own animal as well.
I was heavily influenced by J. R. R. Tolkien, George R. R. Martin, C. S. Friedman, Terry Brooks, Robert Jordan, R. A. Salvatore, and James Clavell to name a few, but of course every book I've ever read, whether I liked it or not, has had an influence... I think I am constantly evolving as a writer, but not to mimic anyone else or mainstream trends.
Book four is tentatively titled 'The Skull Throne ,' and book five is 'The Core .' It's kind of hard to talk much about them without giving away things from 'Daylight War,' however.
When, in the third book, we do learn the identity of the Blue Rose murderer, the information comes in a muted, nearly off-hand manner, and the man has died long before.
I suppose what's happened recently has confirmed suspicions I voiced in the book, and I think made clearer some of those things that I point out. For instance I have a section of the book where I talk about the possibility of torture.
When I was about 12 or 13, my father gave me 'The Little Prince.' He was making sure that I knew it was a special book. I'd seen the name of Antoine de Saint-Exupery, but to me it seemed a very French name, and I was not excited about him as a person.
I'm happy as a book publisher. I loved my 19 years being a C.E.O. I loved it to distraction, but I couldn't do it till I'm 80.
Venom first made his appearance some years ago in a Spider-Man book, and was a huge best-seller.
I'm a children's book writer, and my wife is a musician. We've raised a family on income from songs, performances and books.
I remember the cover of this one L'Amour book showed a guy on horseback, leading a pack horse across a creek in the snow. Something about that cover - all I wanted to do was drift the high lonesome on horseback.
The great thing about fiction is that everything you care about ends up going into the book.
I get asked to read new works a lot, in the hope that I will give a quotation and I will only give a 'puff' for a book I truly love.
I never was a big comic book fan. Obviously I'd heard them growing up from my friends who did read them, but I never was a big comic book reader.
I haven't yet written a book in a far-future utopia, where all bad things are eliminated, but it would be fun to do that one day and introduce some subversion.
At the very end of a book I can manage to work for longer stretches, but mostly, making stuff up for three hours, that's enough. I can't do any more. At the end of the day I might tinker with my morning's work and maybe write some again. But I think three hours is fine.
I'm someone who always wants to do everything differently. If I have a pattern, I'd rather I didn't have a pattern. I want every book to be unpredictable and new. Damn it!
There are people that you don't like because you're jealous of them until you meet them. And you haven't read their book because it's had so much attention. Then you meet them and discover they've been jealous of you, and you become friends.
There's a picture of the real Coach Gary Gaines in the book and he's sitting in the locker room after a game, and he just looks so much like Billy Bob, that we went to him.
Every book for me is a chapter in the long book which will finally be closed on the day of my death.
'London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.
In 'The Plato Papers' I wanted to get another perspective on the present moment by extrapolating into the distant future. So in that sense, there's a definite similarity of purpose between a book set in the future and a book set in the past.
For me reading a book is what I like doing, curled up in a corner in a comfortable chair.
There's a book called 'You're Not a Stranger Here' by Adam Haslett - short stories, a lot of them are about mental illness and gay people - that classic combination. But they're really well-written, really powerful. It's pretty good.
To me, a book is a book. A novel is a novel, and you have hundreds of possibilities, options, and they may all be fine. Charles Dickens or Ingeborg Bachmann, Claude Simon or later writers. The one and only condition is that it has to be good: it has to have quality, substance, atmosphere.
I admire American literature, both contemporary and classic - 'Moby-Dick' is just about the best book in the world - and I admire British literature for its insistence on dealing with social class. It may have been an influence.
When a translation is very good, it is fascinating to see how the book changes and yet stays the same. I think 'Out Stealing Horses' sounds more American for Americans than it does in Norway, and still, it is all there, everything that I wrote. It's amazing.
Me and Johnny Rotten have been talking about doing a movie of his book, No Irish, No Dogs, No Blacks. We have a script, so hopefully that's going to happen at some point in our careers.
I love the drive from York to Whitby over the moors - one of the great journeys, in my book.
I was still an avid reader of Mills & Boon romances - on publication day, I used to rush out of work to get to the local book store to grab my favourites before they all disappeared.
There are two questions that you ask yourself as a writer, and one of them is, 'But why?' The question that takes the book forward is, 'What if? What if x y or z happened? How would those characters react?'
I feel that if I'm writing a book, it has to be an honest book: it has to say what I believe to be the truth, so that's kind of warts and all.
It's really an interesting problem, trying to earn a living and serve art and serve kids. What I try to create are these visual layers so that readers feel the possibility exists that there might be something in the book they never saw before.
Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.
It's much better to write a book and stick to the research - that's history. In cinema, emotional truth and psychological truth is much more important.
The first Amy Silver book was commissioned, and they were not books that came completely from me. They weren't necessarily the sort of books I read, and although I enjoyed doing them very much, and they were great training, I never felt completely comfortable in that genre.
I didn't expect to be doing a whole bunch of Amber Browns. And because it was just one book, and the father had moved away, I didn't realize I was going to have to deal more with shared custody, divorce and all those issues.
When my father would yell at me, I told myself someday I'd use it in a book.
One of the things you will notice about the book of Mark is that if you read through it in one setting, you will be breathing hard at the end. Literally, Mark has set up this book in a way that it is almost like several snapshots of Jesus Christ.
I read The Bell Jar, and then I read her memoir and her diaries, and a third book, an outside opinion. Just the way she made the pillows so neat on the oven door. It just seems to be the opposite of, if you're going to take your life, in a horrible rage it happens.
It felt like the first thing, but when I first started out, I got a job adapting a book by Russell Banks called 'Rule Of The Bone.' I didn't do a very good job. I didn't really know what I was doing in general, let alone how to adapt a book.
So with 'There Will Be Blood,' I didn't even really feel like I was adapting a book. I was just desperate to find stuff to write.
In the account book of the Great War the page recording the Russian losses has been ripped out. The figures are unknown. Five millions, or eight? We ourselves know not.
You know you've read a good book when you turn the last page and feel a little as if you have lost a friend.
A travel book is about someone who goes somewhere, travels on the ground, sees something and spends quite a lot of time doing it, and has a hard time, and then comes back and writes about it. It's not about inventing.
Fiction writing, and the reading of it, and book buying, have always been the activities of a tiny minority of people, even in the most-literate societies.
Many aspects of the writing life have changed since I published my first book, in the 1960s. It is more corporate, more driven by profits and marketing, and generally less congenial - but my day is the same: get out of bed, procrastinate, sit down at my desk, try to write something.
I teach a course in screenwriting at Columbia, but I've never taken a course and I've never read a book about it!
A book is worth a few francs; we Germans can afford to destroy those. We all may not appreciate artistic merit, but cash value is another matter.
I'm totally obsessed with Dickens, and 'Great Expectations' was one of the first book's I read when I was still in school in Porthcawl.
I spent about five years stuck in a room between the ages of 16 and 20 while I wrote the first book, which came out when I was 21. I should have been out playing tennis.
As recently as 2014, I was a Paul Ryan supporter. I pounded signs and made phone calls on his behalf. I bought his book and gave it out to friends.
I read every book about Buster Keaton and Chaplin to see how they worked - it's all about dedication, tunnel vision, pursuit of perfection, getting the gag right.
For English assignments I was constantly coming up with these strange adventure stories... But I actually wanted to be an artist, or maybe work in the comic book industry.
It would be wrong to say I enjoy having rows, because that would be un-Christian. If people attack me, then I respond, or if they do very wicked things. Then they must be brought to book.
A large part of the appeal of this novel when I was lucky enough to stumble across the story idea for 'A Head Full of Ghosts' was that I'd finally be writing a horror novel. In a lot of ways, the book is both my criticism of and love letter to horror.
I always wanted to write a book that would have people talking, theorizing, arguing.
I'm harsh on myself. But let's be honest: I'm not as harsh as the online one-star critic who says, 'This book is boring and stupid and smells like poo.'
My first book deal was for two Mark Genevich novels. I hadn't planned on writing a second Genevich novel, but I was contracted to do so, and so there I was being introduced as a crime writer.
It's certainly a cliche to remark that a nonfiction book 'reads just like a novel,' but in the case of Jonathan Eig's 'The Birth of the Pill,' I have no other recourse, since his narrative is full of larger-than-life characters sharply limned and embarked on fascinating doings, their story told in sprightly visual fashion.
Quite often in comic book movies, very good actresses are relegated to being the girlfriend or the helper or the sidekick or something.
I grew up around books. When I first held the book and it was a substantive, tangible thing, and I thought of all the work that went into it, not just my work but everybody else's and the research and so forth, there's a sense of really have done something worthwhile.
You see, the interesting thing about books, as opposed, say, to films, is that it's always just one person encountering the book, it's not an audience, it's one to one.
I don't know if she should worry too much, I mean some of our greatest writers have had movies made of their books, lots of Hemingway novels were turned into movies, it doesn't hurt the book.
No book includes the entire world. It's limited. And so it doesn't seem like an aesthetic compromise to have to do that. There's so much other material to write about.
I dreamed of having a book of my own, of writing one that I could put on a shelf.
People say it's cathartic to write a book, but it turned out to be quite painful!
I don't want to write a book; I don't want to go on T.V., because I stink at it. The only thing I have always been comfortable with is being in magazines.
The book 'A Reliable Wife' is a slice of American history. It takes a part of American history and tells a story about the purchase of a wife by a Wisconsin businessman. The research of that would have been really interesting.
One thing I've learned now is that I should not say when a book is coming out until I'm sure I know.
I'm obsessive. That's the word for me. I obsess - perhaps to the point where it's moderately dysfunctional. I tend to put a book through about 100 revisions. If anything, that's an understatement. If there's another author out there who does this sort of revision, I would really like to meet him. Maybe we could form some sort of support group.
Tick is a cartoon character, I don't know if you're familiar with him. This is the third step in his evolution. Comic book to cartoon to, now, live-action.
Online is such a brilliant, brilliant way to connect with young readers - even if they just want to tweet, 'Hey, I read your book!' - that, absolutely, I connect with that. But I also treat writing as solitary and keep it to myself as long as I can.
The problem is too often they are boring, and boring in a meeting happens for the same reason as in a book or movie - when there is not enough compelling tension. Meetings should be intense.
My first book didn't even have a Canadian publisher. And that upset me, because I so wanted a readership up there.
I lead a normal life and I don't assume there is anything I can impart to people. The only reason to write a book would be to make money, and I don't want to do that. To write a book would be going against how I've lived.
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