Book Quotes - Page 674

I'm not sure that all books aren't that way. I think that might apply to any book I was writing. The book was kind of the product of this enormous infatuation I had, not only with the office and office politics, but with perspective, and trying to tell a story from as wide a range of perspectives as you possibly can. I tried to capture it all with the first-person plural, but once I settled on that, I used it to tell the story from as many angles as I could. I guess, to put it romantically, it was about a love affair with the craft of perspective.

Once I had the voice, I knew I wasn't going to fall off the bicycle. I tap right back into it. It really was like learning how to ride a bike - you never forget, and I was able to carry it along with some ease. I never encountered any stumping problems that left me not knowing what to do, so I was mostly able to hold my ground. Of course, I should mention that it took me a long time to actually acquire the voice; there were a lot of frustrated attempts along the way, revisions to long sections and versions of the book that I abandoned.

I always knew from the beginning that this was the only way to write Then We Came To The End - that it had to be in first - person plural if it was going to illustrate how the individual becomes part of the collective. I had no interest in writing the book in a more conventional voice. It goes back to that fascination I had with telling a story in multiple ways. It was the only choice I gave myself, really - I said "This is it, pal. If you can't tell a story this way, you're going to have to abandon the book. Write it this way or give up."

My first job is to write a book that I believe is compelling and deserves the long sustained attention that any novel requires, and to worry about the commerce only late in the game.

I think one of the ways you avoid being angry is to avoid being angry at the people in power. They might do crappy things, and piss you off, and make bad decisions, but they shouldn't be hated simply because they're in power. And I thought it was important to humanize them if the book was going to be even-handed to all the different ways you encounter people at work.

There's something touching about a kid who's reading a book that's printed on actual paper. I think that anything that kids start reading, within reason, can lead to other discoveries.

I think that the mark of a great book is that it will meet you wherever you're at and you'll feel and experience something new and different each time you read it.

I know not everyone starts out reading high literature. If you read enough you might be drawn to some other things, so maybe those vampire books are what they call 'gateway books.' I just coined that term. I don't know if there's a thing called 'gateway books.

I think that actually the rhythmic nature of picture books and of young reader story books is a way to help kids fall in love with language and what you can do with it and how it sounds in your range. It sort of has a musicality but on the other hand they get the story and the ideas and the context of it. I think it's a way to get kids into it and I also think that when kids are around people who love books it rubs off on them.

You can't click through a book, you can't hyperlink and jump out of it. It requires a little bit more of a regular engagement.

I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole

I keep my TV writing and my book writing almost wholly separate. The audiences feel so different.

Fahrenheit 451 is one of those books that is about how amazing books are and how amazing the people who write books are. Writers love writing books like this, and for some reason, we let them get away with it.

If you want to do this - either write for TV, or write books - the first thing you have to do is write a lot. And I mean a ridiculous amount.

I'm a thirty-something gay man with a dodgy heart. I sell books for a living. Who wants to read about that?

You can read all the books you want, watch all the movies and get all of the advice, but until you're actually in directing, in the hot seat, that's when you find out what you're made of. Also, you just learn so much from doing.

The Hunger Games' for me is I love the books so much and the character and the story were incredible. That's kind of the game plan is just do really interesting stories with interesting characters.

At times when you're adapting a book into a movie, you have to take certain creative liberties to bridge the gap between the two forms of media.

I'm so excited. I love Peeta so much. I think that over the course of the next couple of books, he has so many interesting places to go to, character-wise. I'm ready to dive full-force into it. When I saw the movie actually, it got me energized. 'Let's go get some cameras! Let's go shoot the second one right now!'

My main source of reading is scripts, which doesn't leave a whole lot of room for books.

Every time I read anything, whether it be a book, a script, or anything, I automatically imagine myself as the boy in the plot. I don't know why. Seriously, anything. If I'm reading a magazine article or whatever, I picture myself as the kid people are talking about. It's really weird. I don't know why I do that.

The way I look at it, movies are a different medium for storytelling than books.

Anytime you take a book and make it into a movie, you're going to have people who have their version of it in their minds and whatnot. You can't please everybody.

It's funny because The Book of Mormon is The Book of Mormon now. When I was doing it at the very beginning, and I was a part of it for four years and always believed in it, I never really knew if it was going to be more than a convention for South Park fans.

Coming off of 'Book of Mormon,' I had a lot of opportunities. I didn't want to do TV, actually. I really wanted to get paid nothing and keep doing theater at all costs.