Best 19526 quotes in «book quotes» category

As a kid I was fascinated with sports, and I loved sports more than anything else. The first books I read were about sports, like books about Baseball Joe, as one baseball hero was called.

As a kid, I spent every summer bent over a stack of books, obsessively writing detailed reports on each one.

As a kid, I was a big reader. Books and theater were the way I understood the world, and also the way I organized my sense of morality, of how to live a good life. I would read all night. My mom would come into my room and tell me I had to go to sleep, so I would hide books under my bed. At first I had a tough time getting through novels, so I read plays, because a play is generally shorter and has all those tools for getting people hooked early on.

As a literary device, sugar and pastry carried so many nuances - the sweetness of the past, the danger of overeating and addiction, the political and environmental devastation of plantations - it was just what a book needed.

As an actor, you generally don’t get to choose what projects you are part of, so I’ve been very fortunate that The Book of Mormon was something I got to be part of. I don’t want to be lofty, but it was groundbreaking, in many ways, for musical theater, so that was really thrilling to be part of.

As an actress, you're living something through the duration of the play and its geography. I've always seen writing the same way. It's like somehow I'm moving through the terrain of the book as a performer.

As an adolescent I wrote comic books, because I read lots of them, and fantasy novels set in Malaysia and Central Africa.

As an author, you go into the school, it gets written about in the paper. It sucks that your book was banned, but you almost benefit from it. The bummer is all of the incredible educators. Nobody is writing about them. They are on the frontlines still, to this day, fighting to reinstate those programs.

As an actor, you're constantly searching for that great character. Also, being a history buff and learning about people in our past and amazing things that they've done, I came across a book about Howard Hughes and he was set up as basically, the most multi-dimensional character I could ever come across. Often, people have tried to define him in biographies, but no one seems to be able to categorize him.

As an advocate for kids for over twenty years, I have watched things change since I was in school. Thankfully, this book made me face what I intuitively knew was real but pretended wasn't: The youth of our culture have been deeply wounded by our collective neglect and adult-driven self-focus. Young people need adults to understand what they are going through and people to care about them without a personal agenda. This book was very helpful to me, and my attitude toward teens will never be the same.

As an author, I realise, you're on your own. You have to do everything you can to help The Book. If I make sure people know it's out there, they can make up their own minds whether they want to read it.

As an author, I don't really think too much about being a celebrity. It's not like being a movie star or a TV star. It's not as if people recognize me when I walk down the street. That hardly ever happens, and it's just as well. But it is great when people know my books, when I walk through an airport and see them in the bookstore, or when I see someone reading a book on a plane or on a train, and it's something I've written. That's a wonderful feeling.

As an old reporter, we have a few secrets, and the first thing is we try the phone book.

As a non-western artist, you have to ask yourself a question fairly early in your life: do I want to become a bridge maker, do I want my culture to be understood by the west? I have no intentions of doing such things. I'm fine being a little strange to a non-western audience. It doesn't bother me if my book doesn't change a generation of American readers.

As a pastor and as a dad, I want my son to know I tell the truth. He can read the book. He knows if I exaggerated or if I didn't. My son is forever gonna believe that I'm an honest person or I'm a liar by what I wrote in that book, because he can read.

As an author, one of the most important things I think you can do once you've written a novel is step back. When the book is out, it belongs to the readers and you can't stand there breathing over their shoulders.

As an audience member, I live vicariously through the characters I watch or read about. There's something very relatable about comic-book characters. They're never perfect. They're flawed people put in extraordinary circumstances.

As an author, you can't expect a movie to be an illustration of the book. If that's what you hope for, you shouldn't sell the rights.

As a poet or a novelist or a painter, you are pushing yourself all the time, always looking for a new way to approach something, challenging yourself and never, never trying to write the same book twice.

As a reader I feel included a lot in Julie Carr’s hard and beautiful book. I can pretty much hear its author speak—a whispering that enables us into its world . . . a masterfully sutured journey, painfully useful. Sarah—Of Fragments and Lines is a book I know I will return to. And urge it on my friends who have lives too and write in them.

As a reader, I want a book to kidnap me into its world. Its world must make my so-called real world seem flimsy. Its world must lure me to return. When I close the book, I should feel bereft.

As a reader, I notice political views regardless of whether or not the book is fiction. What annoys me is when said views do nothing to advance the narrative.

As a small kid, I came across things like these early Edward Gorey books in department-store bookstores. These were these really unusual objects to me. I didn't know how they fit into the comic world or into newspaper comics.

As a rule, the more bizarre a thing is, the less mysterious it proves to be.

As a publisher what you are trying to build is a long life for a book, to help it find its readers in many different ways, whether or not it made this list or got that review, etc. I'm sure some of that thinking has been useful to me as a writer as well.

As a reader, I do not like to have everything handed to me. Because after a while it gets formulaic and I'm thinking, "If this is so thought through, then why do I need to read it. It's done!" It becomes a beach book at a certain point.

As a rule I had a distaste for any reading beyond my school books.

As a storyteller, you also don't want to make people feel like they're left out, like other people who have read the book have an interior knowledge of this show, and the degree of difficulty in watching it is much higher.

As a technology, the book is like a hammer. That is to say, it is perfect: a tool ideally suited to its task. Hammers can be tweaked and varied but will never go obsolete. Even when builders pound nails by the thousand with pneumatic nail guns, every household needs a hammer. Likewise, the bicycle is alive and well. It was invented in a world without automobiles, and for speed and range it was quickly surpassed by motorcycles and all kinds of powered scooters. But there is nothing quaint about bicycles. They outsell cars.

As a writer, it's disheartening to write books that you pour your soul into and not have them distributed widely enough to find their audience.

As a strong supporter of our 2nd Amendment rights, I believe tougher enforcement of our nation's existing gun laws must be done before any more laws are enacted and put on the books.

As a writer and sometime activist who needs to promote my books and articles and occasionally rally people to one cause or another, I found Facebook fast and convenient. Though I never really used it to socialize, I figured it was OK to let other people do that, and I benefited from their behavior.

As a writer you know you don't have to deal with a lot of the crap that most people deal with, the political things. Every couple of years when your book comes out then you have to go into these fights with the publisher and the publicist and that's it.

As authentic as it is riveting and ultimately unforgettable. Your past will find you-and it can change your life. I think it's the most soulful book Patti Callahan has ever written.

As a writer reading, I came to realize the obvious: the subject of the dream is the dreamer.

As a writer, you always read in two minds: You read as a reader and you enjoy it, and you look at it as a writer, and you just admire the architecture and the construction.

As a writer, you live in such isolation. It's hard to imagine your book has a life beyond you.

As a young man, I was very interested in how people lived in earlier times; how they got from place to place, lighted their homes, cooked their meals and so on. So I went to the history books. Well, I could find out all about kings and presidents; but I could learn nothing of their everyday lives. So I decided that history is bunk.

A scholar is like a book written in a dead language. It is not every one that can read in it.

As a youngster I was a great dreamer, reading many books of adventure and walking lonely miles with my head in the clouds.

A scientist with a poet's command of language, Cristina Eisenberg writes with precision and passion . . . takes her reader on a breathtaking, sometimes heartbreaking tour of the planet from the Gulf of Maine to the Amazonian rain forests, the tropical coral reefs to old growth forests of the Northwest as well as rivers, lakes, and wetlands. I found the wealth of information not only accessible but riveting . . . Eisenberg's powerful, beautifully written book . . . has the potential to open many people's eyes, minds, and hearts.

A second book that makes you rethink the first book is the Holy Grail of a series.

A self-help book can't really address a problem unless it's individualized. It's not going to talk about a globalized problem.

A second person that's come to my life very recently, and I'm thankful for it, is Marshall Rosenberg, the founder of the Nonviolent Communication Organization. He has all these books about how we can use our language nonviolently to help create peace. He's using a lot of Buddhism too, but he's helping me to think about language.

A script is a very rough material in a way. Whatever questions you might have regarding the script, you might find the beginning of the answers in the book.

A self without a shelf remains cryptic; a home without books naked.

As far as ideas about book design: I have plenty. But I also try and let people do their jobs.

As far as I knew white women were never lonely, except in books. White men adored them, Black men desired them and Black women worked for them.

As far as Love Dare for Parents goes, you can download the book. You can buy it at bookstores...We're really excited about it and believe that it's going to make significant impact for parents.

As far as comic books are concerned, I was always a Marvel guy for the most part, although I did follow DC a little. I don't know, honestly I'd just like to play whatever role [that] not just the studio, but the fans think I fit the best into. Because I think, especially in worlds like that, you've really got to do right by the fan base and stay in tune with what they are looking for and what they desire. I would just want to do right by them.