F. Scott Fitzgerald Quotes
You really ought to read more books - you know, those things that look like blocks but come apart on one side.
Quotes to Explore
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If only one in 1,000 people that I talk to goes on to write a good book, that's one more good book that I've helped along... and maybe it will be a book I love myself five or 10 years down the line.
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Imagination in the child is powerful. Reading and laughter and love are essential in our lives.
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I'm a Virgo and I'm more - I don't want to say 'negative' - but I'm the girl who thinks no one's coming to my birthday party, no one's buying my clothes, no one's reading my book, no one's watching my show - that's just how I think.
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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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We need to think about how we teach working-class children about not just hard skills, like reading and mathematics, but also soft skills, like conflict resolution and financial management.
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One half who graduate from college never read another book.
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For me, the whole process involves envisioning this book in my head as I'm working.
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I don't really read 'business books,' and I didn't think 'The Paradox of Choice' was a business book. I'm very surprised and gratified that the business world thought it was one.
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I read a lot of comic books and any kind of thing I could find. One day, a teacher found me. She grabbed my comic book and tore it up. I was really upset, but then she brought in a pile of books from her own library. That was the best thing that ever happened to me.
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My family always encouraged my drawing ability. Kids in school who teased me about my reading would get out of their seats and stand behind my desk as I worked and go, 'Wow, you can really draw.' Later, I earned a degree in Fine Art and got a Ph.D. in Art History.
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Reading a piece of poetry with no beat in front of 20 people is way more challenging than rocking for 10,000 people.
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I know from an editor's point of view or a publisher's point of view it's easier to slot me into a particular niche. But I know that I'd be bored unless I wrote a book that in some senses was a challenge.
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I like to believe, as a writer, that anybody who isn't a reader yet has just not found the right book.
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When you're first reading the script and thinking about playing the part, it's slightly daunting. It's easy to question, 'Is an audience going to like me? And is that my job?'
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I sort of love reading the scripts and going, 'Oh wow, what a great idea. I never would have thought of that.'
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I bought the rights to this book, 'The Ploughmen,' by a Montana writer named Kim Zupan, and I've written the screenplay, and I really feel pretty strong about it. It's really hauntingly beautiful. It's got some suspense and great drama, but it's a real character thing.
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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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Education... has produced a vast population able to read but unable to distinguish what is worth reading.
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Art is a gift: you create and then you give away. How readers receive that gift is their business. If they hate it, that’s their response to it. Others respond by liking it. Either way, that is their interaction with the book, which is no longer mine.
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Everybody believes in innovation until they see it. Then they think, 'Oh, no; that'll never work. It's too different.'
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You look at passers-by in Rome and think, 'Do they know what they have here?' You can say the same about Philadelphia. Do people know what went on here?
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You really ought to read more books - you know, those things that look like blocks but come apart on one side.
