Book Quotes - Page 665

It's been said that the men in my books have been absent, or weak, or creepy.

Probably not needing to be published would give me more time to think about a book.

I've been writing since I'm five years old. I've been writing books since high school - junior high, high school. I write every single day. I never thought I'd be published.

Peter Watts has taken the core myths of the First Contact story and shaken them to pieces. The result is a shocking and mesmerizing performance, a tour-de-force of provocative and often alarming ideas. It is a rare novel that has the potential to set science fiction on an entirely new course. Blindsight is such a book.

The Web is the new book though, innit?

If you'd have told me five years ago that I'd have done all this - two books, some television and everything - I'd panic, I'd be scared.

I am stretching out this volume, since those German dogs estimate the value of books by their cubic contents.

Really important books to me are the classics. I try very hard to read them well - you know, especially once I got serious about writing.

If you attach no importance to weight problems, if not being able to wear new, trendy small-sized clothes does not cause you any regret, this book is not for you.

There's a fantastic, thousand-page book by David Thomson about [David O. Selznick]. Again, it's not the best argument or the best advertisement for his story, because most people aren't going to read a thousand-page book. But I feel like the rise and fall and the work [Mayer] produced - not just the movies, but the memos, the volume of writing - he's just so passionate, and that's really exciting.

Long Gone is the type of book that should come with a warning. It’s a compulsively readable, highly addictive story. The ending will leave you breathless.

Ultimately, I'm in control of what's going on in the books, so I can back off, if it's scaring me too much.

The plot is very important because writers have to play fair with their readers, but no one would care about the plot if the character work wasn't there. So, basically every book I work on starts with me thinking not just about the bad thing that's going to happen, but how that bad thing is going to ripple through the community, the family of the victim, and the lives of the investigators. I am keenly aware when I'm working that the crimes I am writing about have happened to real people. I take that very seriously.

Every woman should have a daughter to tell her stories to. Otherwise, the lessons learned are as useless as spare buttons from a discarded shirt. And all that is left is a fading name and the shape of a nose or the color of hair. The men who write the history books will tell you the stories of battles and conquests. But the women will tell you the stories of people's hearts.

I'm a gastronome first and foremost. I have several bookshelves in my home full of cookbooks, foodie magazines and food writer books and I am always on the hunt for a great recipe or local foodie haunt to try.

My books deliberately provide no answers or messages. Im drilled in the habit of objectivity and also aware that the steady drip of fiction has more power than facts to shape opinion, so I handle it with caution.

I was a book editor for nine years. I'm familiar with the opposite experience, bracing myself for the likelihood that no one would want to publish my book.

I just hope that readers and publishers continue to appreciate good writing and good storytelling in all their various forms. And I hope that people continue to read books, even though we have so many other options for entertainment.

I feel like writing a book there's always a version in your head that's an amazing version, but then you write the version that you can write.

It's really hard to get a book published, even a good book, but the better the book is the better chance it has of eventually catching someone's attention.

So much of the way books get classified has to do with marketing decisions. I think it's more useful to think of literary books and sci-fi/fantasy books as existing on a continuum.

Madness, as I understood it from books, meant a person who was open to the high white whine of everything.

Much of the way books get classified has to do with marketing decisions. I think it's more useful to think of literary books and sci-fi/fantasy books as existing on a continuum. To oppose them, to suggest that one category excludes the other, always feels bogus to me. The great Leonard Michaels line is "I wanted proximity to darkness, strangeness"? That's what I'd say I want from a book, regardless of where it falls on the fantastical spectrum - that suspense connected to a particular human character, rather than just some mechanized plot.

Finding the book was like kissing a lightning bolt.

V'lane: Are you busy tomorrow MacKayla ? Barrons: She's working on old texts with me. V'lane: Ah. Old texts. A banner day at the bookstore. Barrons: We're translating Kama Sutra...with interactive aids.