Book Quotes - Page 796

And I don't like books which are full of name dropping.

In terms of music, each novel is different but I usually find my way into an era through the music. In this novel the New People, I listened to a lot of 90s hip-hop, which was just so genius. Also, all the musical references in the book from the Peoples Temple one and only album to Luther Vandross.

I definitely feel like when I write a book it's not my job to police or guide the readers. The book and the characters don't belong to me anymore. If that makes sense.

I loved the theatre-my dad gave me many plays and books to read. The dramatic form just spoke to me.

I love watching the Bond movies obviously and I grew up reading the books as a kid. I've always loved them because of that.

If you love a book you tend not to follow its surface value, you follow the other things in it.

Over the years, my books have been given a lot more credence than they should. I don't think people should take them quite that seriously. They're not a theological treatise; they were never intended to be. I find myself in awkward situations sometimes because people think I'm some great authority on spiritual warfare, but I'm not. I never have been.

I don't think there are actually any theologians practicing angelology or studying angels anymore, but it's definitely in a lot of religious literature. It's still out there, and people are still interested. Even in the more secular way, books about angels are everywhere.

A book begins with an image or character or situation that I care about deeply.

I just write all the time! I'm always working. I usually work on several books at once.

I publish six books a year now, which is very exciting. But it keeps me into my typewriter at all times! Now that my children have grown up, I'm with my typewriter 20 hours a day.

Each book takes anywhere from two to three years to complete, from concept to outline to final edits. I work on as many as five at a time.

The old saying of work hard, play hard really works for me. For me it's all about focus. To get the Fire Starter Sessions digital book out it was about three months of intense focus. I let my friends know that I probably wouldn't be hanging out of returning their phone calls. It wasn't about doing the dishes, I ordered a lot of pizza, and I just completely put myself in the creative bubble.

I'm not sure running the press has changed how I write (though perhaps it has in ways I can't see), but it has certainly changed my relationship to how books get made.

As a publisher what you are trying to build is a long life for a book, to help it find its readers in many different ways, whether or not it made this list or got that review, etc. I'm sure some of that thinking has been useful to me as a writer as well.

It's so exciting when a book catches traction you didn't even expect (or completely did expect!), and so frustrating when a book never quite catches the traction you know it deserves. But either way it doesn't change the book, it doesn't change how much I love that book, or how thrilled I am to be publishing it.

I suppose also that watching marketing and publicity stuff play out from behind the scenes, making those plans and seeing each piece fall into place or not, each year, for each book, has made me a little more tranquil about the process for my own book than I might otherwise be.

I can be a fairly hands-on editor, and when I'm editing someone I feel intensely invested in that writer and her work. I love helping to shape a book, and I feel very privileged to get to do that with writers I'm excited about. I think doing that work for the past six years has changed me, and it better prepared me for the questions and suggestions.

Margaret Cavendish was one of the people who came up in the course. That was when I started thinking about her as a character for a book, but my idea was for a totally different book. It had all these characters in it; Samuel Pepys was one of the main characters. He famously wrote these extensive diaries through the period that are really funny and sort of saucy, actually.

So it was this multi-perspective, multi-character book, and it went through all of these different manifestations. I'm not sure there was a single moment where I thought to myself, Oh, I need to write about Margaret Cavendish. She just kept taking over the book I thought I was writing.

I would be researching seventeenth-century garden design or I would be doing something with Pepys, but I just kept using all of it to write about Margaret Cavendish. It took me a long time to realize that I just wanted to write a book about her. Years.

I sense people expect something to show for ten years. But I do feel like it is dense. Some of my own favorite books are slim, but there's a lot of weight and power in them.

I'm not entirely sure what a historical novel absolutely has to be, but you don't want a reader who loves a very traditional historical novel to go in with the expectation that this is going to deliver the same kind of reading experience. I think what's contemporary about my book has something to do with how condensed things are.

I was obsessed with the scientific instruments people were building and all the weird experiments they were doing. I did actually wind up working in some of that, but there were whole sections I'd written about these instruments that ultimately had to be abandoned when I realized that the book really was about Margaret Cavendish. I couldn't justify using all of them.

I loved reading historical novels when I was young, but I definitely don't think I wrote one. When I read my book through, when it was completely done and in printed galleys, I was surprised by how uninterested in the passage of time and history the book seemed to be. Even though you can feel it all there, that's just not what it's focused on.