Book Quotes - Page 766

I've never read a script that I've loved equally and differently to the book.

For me, when I read a book, I'm very much about detail.

I read three books a week.

I got in the habit of giving away a book as soon as I've finished it because I lived in a housing co-op at Cambridge and had no space to keep books.

I've always been religiously inclined, but it doesn't come up in most of my books.

If you have written something that the film people want, like a book, it does give you a way in.

I always wince a little bit when I send me to each of my new books. I wince at submitting myself to my father's judgment. But, of course, he's such a fond father that he always writes back, saying it's the greatest thing ever written.

The paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.

With my first book, I was hired to write a draft of the script. I was so young and less confident. They put me through seven or eight drafts and it was just getting worse and worse, and then the film was never made.

I think sometimes the way to preserve the magic of a book is to throw it away - meaning, not to cling to the way a book does its magic but to find a cinematic equivalent.

I was highly aware, in writing [the book] ROOM, that there are unsavoury aspects to our interest in such cases, and I thought it was rather honester to include discussion of media representation in the novel itself than to cling to the high moral ground by merely avoiding scenes of voyeurism, for instance.

I was anticipating that some readers might misread [the book] ROOM itself as a hymn to homeschooling.

Actually,the nightmarish thought occurred to me that with electronic delivery of books becoming a norm, soon writers may be expected to provide several versions of their book, ranging from the Easy to the Complex, and buyers will choose what they're in the mood for with the click of a button! I do hope not.

The Collector [John Fowles book] does such a good job of capturing the mindset of a capturer, and also that's become a banal trope of every second crime novel: the weirdo, fetishistic watcher/stalker/kidnapper/kidnapper of women or children.

I must say, in the case of "Room," both the book and the film, I don't think being a lesbian author held me back at all.

I think I read Susan Brownmiller's classic book called "Femininity" when I was about 16. So yeah, it's been part of my mindset since a very early age. To me, what's crucial is to tell women's stories but also to tell them in a way that is fearless.

For all the books in his possession, he still failed to read the stories written plain as day in the faces of the people around him.

Feminism is still one of those taboo words, so hardly anybody talks about it. People usually go gender-neutral and say the book and film [Room] are about "the triumph of the human spirit.

I found motherhood a crash course in existentialism (what is my purpose in life, am I mistress or slave of my destiny, when the hell do I get some sleep?) and [the book] ROOM was the result.

If you look at books that describe the 16 personality types, you can see how different they are from each other.

I grew up without a television. It meant that I read lots of books and entertained myself.

I'm a pretty open book.

I would love it if my book was considered chick-lit or a beach read. That would be great. People would buy my book.

I think that genre distinctions basically boil down to marketing categories, which are outdated. Any time people have an argument about them, they're arguing about something that doesn't exist in any meaningful way that has to do with style or substance or actual content of books.

To some extent the shorter the writing assignment is, the harder it is to accomplish, and a blurb is 200 words max. Blurbs are meaningless, and actual people who are buying the books don't care about them at all.