Janet Evanovich Quotes
As writers, we all have an agenda, but if you recognize that agenda in a book, then you've failed.
Quotes to Explore
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The first thing my writing ever earned me wasn't an advance on a book; it wasn't a fee for an article or anything like that. It was, in fact, a residency at Hedgebrook Farm.
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Yes, there is a terrible moral in 'Dorian Gray' - a moral which the prurient will not be able to find in it, but it will be revealed to all whose minds are healthy. Is this an artistic error? I fear it is. It is the only error in the book.
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The books that help you most are those which make you think that most. The hardest way of learning is that of easy reading; but a great book that comes from a great thinker is a ship of thought, deep freighted with truth and beauty.
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The problem with writing a monthly book is that you're going through your work like a man running for a bus, red-faced and out of breath. There isn't time for reflection or critical self-examination.
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On the streets, hanging out with the fellows, there are things you learn that no book can teach you.
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Every well-written book is a light for me. When you write, you use other writers and their books as guides in the wilderness.
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Learning another language is not only learning different words for the same things, but learning another way to think about things.
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You have to understand that while I pre-plot the meta story of a given book, I often have no idea of what will happen on the next page, let alone the next chapter. That's what makes it fun for me; I write the books the same way many people read them.
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It's easier to release an ebook than a print book.
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I've always been fascinated by the brain. I wrote a lot about brain-tech in my first non-fiction book, 'More Than Human.' So when I decided to write science fiction, that was the technology I gravitated towards.
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Let us remember: One book, one pen, one child, and one teacher can change the world.
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I want a platform that, like a book or a magazine, I can carry into the bath or leave at the beach.
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'Perfect' is about a set-up that looks perfect from the outside - beautiful country house, beautiful wife and mother, everything where it should be - and the deep fissures that, in fact, lie beneath that. 'Perfect' was partly a response to the shock of my first book, 'The Unlikely Pilgrimage Of Harold Fry,' being a success.
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I think that whenever a book is not a challenge, I'm telling the wrong story.
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I don't burn any calories trying to be masculine; I just happen to be from that world.
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For me, any book I'm writing is also a chance to get in and research and read and learn things that I maybe only knew a little bit about before.
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Just personally, I've been attached to 'On the Road' since 2007 and it was the greatest thing in my life when I got cast in it. I couldn't believe it. When I was 17 and read the book, I looked it up on IMDb and it said that Francis Ford Coppola was going to direct it.
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I don't like my birthday. I don't like things that are directed towards me. It took me a long time to get over people asking me to write my name in the book.
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We couldn't predict what would happen with 'Roots.' You knew there were powerful moments that were going to affect people. We were making the film while the book was being completed. We were fortunate because the hardcover book was out and on the best-seller list. The heat was still on.
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I just see myself as an athlete and a competitor, someone who just works really hard at trying to get better at golf.
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Just because someone is your family member doesn't mean they're a good person.
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I always like to talk about how important space is. Art is in the spaces. Anybody can sing a note; it takes an artist to sing the spaces. Anybody can paint a brushstroke; it takes an artist to know when not to put the brushstroke.
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As writers, we all have an agenda, but if you recognize that agenda in a book, then you've failed.
