Best 19526 quotes in «book quotes» category

It drives me crazy to do readings of my books, because if I read anything I've written in the past, I'd like to almost rewrite everything. If I could, I'd completely rewrite Fargo Rock City, and every sentence would be just slightly different. In all likelihood, most of them wouldn't be any better. Some of them would just be changed back to whatever form they used to be, before I second-guessed myself the first time.

I teach something called The Law of Probabilities, which says the more things you try, the more likely one of them will work. The more books you read, the more likely one of them will have an answer to a question that could solve the major problems of your life.. make you wealthier, solve a health problem, whatever it might be.

I tell beginning readers to read a lot and write a lot. If you want to write a book, find a subject that's really worth the time and effort you'll put in.

I teach a course in screenwriting at Columbia, but I've never taken a course and I've never read a book about it!

I teach myself archaeology, I teach myself Spanish, and that's because it can be fun, it can be useful. So I keep studying. I read books because I still want to study. I don't want to stop.

I teethed on books of heroes such as Winston Churchill, Abraham Lincoln and King David.

I tell my students, if you're interested in marine biology or llama farming, follow that string. Yes, it will probably take you a longer time to write that book, but it's not a race. That's another great thing about being a writer: you don't age out.

I tended to write the book in these bursts of two or three months at a time. So I would know, or at least feel securely, that for the next few months I was at least going to have a few hours a day.

I tend to overuse the word "project" only because "book" is terrifying while I'm still in the middle of something. A project can fail. I don't want a book to fail.

I tend to look at the world more from Voltaire's perspective. Incidentally, if you haven't read Candide lately, it's a fabulous book. It's riotously, laugh-out-loud funny in a way that no Shakespeare comedy will ever be.

I tended to be a solitary young girl, and I still am. I would like to find a quiet corner and color in my coloring book. When I think back, I made that corner mine, not really caring about the rest of the house.

I tended to give a book a chance and another chance and another, sometimes seeing it all the way to the end, still hoping for for it turn out different. Maybe I was confused about what you owed a book. What you owed people, for that matter, real or fictional.

I tend to come up with people more than situations - most of my books start with a character.

I tend to pull nuggets out of many books - rather than having a handful of books that serve as guiding lights.

It eventually appeared to be me, cinematically. When I was writing it I was actually an author, you know, writing a book. ... But there certainly is a difference in energy between a younger man and an older man.

I tend not to think about audience when I'm writing. Many people who read "The Giver" now have their own kids who are reading it. Even from the beginning, the book attracted an audience beyond a child audience.

It feels like we're in a Harry Potter book talking about He-Who-Must-Not-Be-Named.

It gave me no chance. He (Nolan Ryan) just blew it (strikeout #5,000) by me. But its an honor. I'll have another paragraph in all the baseball books. I'm already in the books three or four times.

It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming of themselves like grass.

It felt good to be surrounded by books, by all this solid knowledge, by these objects that could be ripped page by page but couldn't be torn if the pages all held together.

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.

It had already occurred to him that books were stuff, and that life was stupid.

It had been only through books-at best, no more than vicarious cultural transfusions-that I had managaed to keep myself alive in a negatively vital way. Whenever my environment had failed to support or nourish me, I had clutched at books.

It had come about ex­act­ly in the way things hap­pened in books.

It had that comfortably sprung, lived-in look that library books with a lively circulation always get; bent page corners, a dab of mustard on page 331, a whiff of some reader's spilled after-dinner whiskey on page 468. Only library books speak with such wordless eloquence of the power good stories hold over us, how good stories abide, unchanged and mutely wise, while we poor humans grow older and slower.

It happens to us once or twice in a lifetime to be drunk with some book which probably has some extraordinary relative power to intoxicate us and none other; and having exhausted that cup of enchantment we go groping in libraries all our years afterwards in the hope of being in Paradise again.

It has always been my experience that, whatever groupings I choose for my books, the space in which I plan to lodge them necessarily reshapes my choice and, more important, in no time proves too small for them and forces me to change my arrangement. In a library, no empty shelf remains empty for long. Like Nature, libraries abhor a vacuum, and the problem of space is inherent in the very nature of any collection of books.

It has always been a happy thought to me that the creek runs on all night, new every minute, whether I wish it or know it or care, as a closed book on a shelf continues to whisper to itself its own inexhaustible tale.

It has always been a favorite idea of mine, that there is so much of the human in every man, that the life of any one individual, however obscure, if really and vividly perceived in all its aspirations, struggles, failures, and successes, would command the interest of all others.

It has always been a happy thought to me that the creek runs on all night, new every minute, whether I wish it or know it or care, as a closed book on a shelf continues to whisper to itself its own inexhaustible tale. So many things have been shown so to me on these banks, so much light has illumined me by reflection here where the water comes down, that I can hardly believe that this grace never flags, that the pouring from ever-renewable sources is endless, impartial, and free.

It has become harder and harder to find books on a monthly basis that I feel absolutely compelled to share, .. I will continue featuring books on the 'Oprah Winfrey Show' when I feel they merit my heartfelt recommendation.

It has been my experience that folks who have no vices have very few virtues.

It has always been very difficult for writers to survive commercially in India because the market was so small. But that's not true at all any more. It's one of the world's fastest growing and most vibrant markets for books, especially in English.

It has always pleased me to read while eating if I have no companion; it gives me the society I lack. I devour alternately a page and a mouthful; it is as though my book were dining with me.

It has historically been a comfort for the bourgeois and that you can read the most extreme books and not change. You can read A Christmas Carol and not change in any way.

It has long been a source of wonder to me why the leading criminological writers--men like Edmund Lester Pearson, H. B. Irving, Filson Young, Canon Brookes, William Bolitho, and Harold Eaton--have not devoted more space to the Greene tragedy; for here, surely, is one of the outstanding murder mysteries of modern times--a case practically unique in the annals of latter-day crime.

I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.

I think a book that is over 400 pages should be split in two. I don't know that there's anything that interesting that can go on for 700 pages. I think that is a little bit indulgent.

It has long been a tradition among novel writers that a book must end by everybody getting just what they wanted, or if the conventional happy ending was impossible, then it must be a tragedy in which one or both should die. In real life very few of us get what we want, our tragedies don't kill us, but we go on living them year after year, carrying them with us like a scar on an old wound.

It has long been my boast that I can read or eat anything. But unfortunately, although I eat like a Hoover, I read so slowly that I am always on the smart book three years after everyone else has finished.

I think a book should be judged 10 years later, after reading and re-reading it.

I think about stories and their logic and wonder if there can be any such thing as simply "there is a book.

I think a good book is a good book forever. I don't think they get less good because times change.

I think a good business book has one coherent idea that is richly played out.

I think all kids feel that their lives are tough, and that they've, been given an unfair shake for one reason or another. So I think there's a lot of kids who relate to my story. They also relate to the fact that I got out of it. And I tell them that my refuge from all that was books - the library was my safe place. And the art room was my safe place because there I knew what I was doing.

I think [Albert] Camus felt very solitary. You can see it in all his books.

I think almost every writer in the world would hope that books would be always talked about with respect and civility and depth and seriousness.

I think a lot about race and the burdens of representation. There's an idea that because I'm writing a book set around the time of the Great Migration, and happen to be black, I'm trying to write a definitive account of the Great Migration, the so-called "black experience." That's not what I'm doing, and it can be frustrating.

I think a lot of awesome stuff is coming out with smaller presses. Small presses don't have to have huge board meetings to talk about how to market their books or what to publish - they can take more chances. They can help new authors grow in a healthier, often more artistic way.

I think a lot of us who are in books now were nervous children.