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 really know what the Great American Novel is. I like the idea that there could be one now, and I wouldn't object if someone thought it was mine, but I don't claim to have written that - I just wrote my book.
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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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Writing is exhilarating, but reading reviews is not. I've been really devastated by 'good' reviews because they misunderstand the project of the book. It can be strangely galvanising to get a 'bad' one.
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The Syllogism consists of propositions, propositions consist of words, words are symbols of notions. Therefore if the notions themselves (which is the root of the matter) are confused and over-hastily abstracted from the facts, there can be no firmness in the superstructure. Our only hope therefore lies in a true induction.
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I grew up being terrified of my parents, particularly my father figures.
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What I think we need to do to engage the American people in a conversation about entitlement reform is to have a bipartisan group of people who come together and put every solution on the table, every alternative on the table. And then we ought to engage in a long conversation with the American people so they understand the choices.
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I would love to write a script where the main character is a woman. I know I can direct a film where the main character is a woman. I cannot write that film.
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As writers, we all have an agenda, but if you recognize that agenda in a book, then you've failed.
