Book Quotes - Page 736

My book had a universal theme. It's not a "racial" novel. It portrays an aspect of civilization, not necessarily Southern civilization.

History is written by winners, so most history books are about people who win.

To the acquisition of the rare quality of politeness, so much of the enlightened understanding is necessary that I cannot but consider every book in every science, which tends to make us wiser, and of course better men, as a treatise on a more enlarged system of politeness.

Nothing written in any book is a perfect reflection of truth.(...) No teachings and no bibles on earth are perfect. They can never be so, for this is an imperfect universe. The perfection isn't here, it is in the worlds beyond, and this is what we are trying to reach.

The ECK books are simply to show people how to go inside themselves, into the pureness of their heart, where they can get answers directly from the Inner Master about things of a spiritual nature, insights to help them in their life.

Reading well makes children more interesting both to themselves and others, a process in which they will develop a sense of being separate and distinct selves.

Sometimes even when the book is over I dont know whos good and whos bad. Its really more interesting, I think, to write about gray characters than it is to write about black and white.

The actual writing time is a lot shorter than the thinking time. I don't do too many notes. I keep it mostly in my head. I usually start writing a new book around January, and it's due October 1.

If I had, say, a tall, amateur male lead living on the campus of a rural college (Six Years), the next book might feature a short, cop who lives in the heart of Manhattan (Missing You).

Writing my first book, I think in hindsight I went into it saying, 'It's gonna sell.' I was earning enough to scrape by sometime around a book or two before 'Tell No One.' I moved up from $50,000 to $75,000, then $150,000 for each book. I had never thought I would be doing anything else. I had enough encouragement.

What I love about the thriller form is that it makes you write a story. You can't get lost in your own genius, which is a dangerous place for writers. You don't want to ever get complacent. If a book starts going too well, I usually know there's a problem. I need to struggle. I need that self-doubt. I need to think it's not the best thing ever.

I wrote seven Myron Bolitar novels in a row, and I never want to write a Myron book where he just solves a crime. Every one of them I want to be personal, and I want him to grow and change. The problem with that is, it makes the series limited, you can't write a series where a guy is always going through some kind of crisis.

I tried to take seriously the idea that if you tortured language you might arrive at some new truth. Later it became clear to me that I was retreading ground by fighting the literary battles of the 1950s and 1960s, and that I was actually a bit bored by some of the books I professed to love.

Some books I've kept because the binding is beautiful - I'm unlikely ever to read my grandmother's copy of 'The Life of Lord Nelson.' I'm addicted to secondhand bookshops.

I am transparent An open book; There's no choice in the matter But the breath from my mind Is living air, And the notes from my heart Are what I share. Words weren't made for cowards.

As with editing, I think my strength as a writer is structure. It's not a skill that's much discussed when we discuss fiction, or not as much as language or character development anyway, but it's the first thing I determine before I begin writing - not just books, but anything. I think I know how to pace a narrative well. I think I'm aware of repetition, that I try to create different kinds of sentences as often as I can. Those are all things I learned from magazine editing.

Many writers hate the shilling process, and I understand that. However, it's really the only thing about the publication process you can somewhat control. You can't affect reviews. But you can try to find your book an audience. One of the problems with the book publishing industry is that their publicity efforts tend to be spent on people who already read, and know how to discover, literary fiction.

Now, almost twenty years since my last job in book publishing, I know that there are far more socially inept people in book than in magazine publishing. At the time, however, I just didn't feel I was enough: smart enough, savvy enough, well read enough, educated enough, charming enough. Much of this was probably because I was very naive, and didn't really know how to behave in an office. This made me a terrible assistant, which in turn made me a terrible junior book editor.

It is always sort of unnerving to hear from people who've read my books. I'm not reading any of the reviews and most of my friends haven't read it - they bought it, which is all I frankly care about, but they haven't read it.

When you never leave the literary biosphere, you forget how few people actually read books, and that in turn makes you start overestimating both your ability to make money and your relative renown, which has dangerous consequences: the first means you may end up in debt; the second means you may end up a horrid bore.

When you want to be a writer, you think that actually getting published will make you feel somehow more real to yourself. But it doesn't. And nor should it. If publication is the pole around which your entire identity pivots, you're in big trouble. I'd also add that many wonderful books by brilliant authors get ignored or overlooked, and that poor sales aren't (necessarily) a measure of your abilities.

I brewed potions in a vain search for life everlasting, I read books, I sang songs of history, And today I've come home to Cold Mountain To pillow my head on the stream and wash my ears.

Detailed analytical indexing is generally the hallmark of good back-of-the-book indexes.

The indexing problem changes with each new book undertaken. To meet the needs of different classes of seekers and to suit various types of books, rules entirely satisfactory in one case must be varied in the next and perhaps ignored or even reversed for a third... Indexing is a highly complex intellectual process involving the use of language in a specific and somewhat artificial way, and that it is also to a considerable extent a matter of intuition, the workings of which cannot be reduced to fixed rules. It is 'knowing what but not knowing how'.

To put it one way, a collection of Shakespeare's plays is richer than a phone book that uses the same number of letters; to put it another, the essence of information lies in the relationships among bits, not their sheer number.