Most of the people who write to me are really clever, really engaged. They just want to say that they have read my book and liked it.
It's just a matter of writing the kind of book I enjoy reading. Something better be happening at the beginning, and then on every page after, or I get irritated.
If a man writes a book, let him set down only what he knows. I have guesses enough of my own.
The books I read, if they intrude on my writing, do so as weather will pass through and touch a landscape - affecting it, yes, but only now and then leaving a permanent mark.
Books provide context and allow you to think about things over time. Film is like writing haiku; there is an immense amount of pleasure in paring down and paring down. But it isn't the same.
What is the luck of the draw that me - me - who finally writes a book, it comes out in the - in the - in the time, in the center of the first pandemic, H1N1? And I'm going out on signings, and I'm going out to the public. This is the one time when I ...
I called the doctor, during writing the book, the psychiatrist who treated me at that time, Dr. Jackson. And I said, Dr. Jackson, whole pieces are missing. I don't understand what happened to me.
I don't see how you can write well if you're not reading well at the same time. I think the only risk is reading too many books of one 'type' in a row.
I keep one simple rule that I only move in one direction - I write the book straight through from beginning to end. By following time's arrow, I keep myself sane.
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.
Black people were very angry with me for writing the book. A lot of people didn't believe me, or didn't want to believe me, and that used to really bother me. It was a very painful and difficult time.
The biggest influence on my books was the fact that I had worked in a newspaper for so long. In a daily paper, you learn to write very quickly; there is no time to sit and brood about what you are going to say.
I remain convinced that the most valuable use of time for a newly published author is to write a second book that's even better than the first, and a third that's better than the second, and on and on.
Vanessa Bell: Your aunt is a very lucky woman Angelica. She has two lives. The life she is living, and the book she is writing.
We go to school to learn to work hard for money. I write books and create products that teach people how to have money work hard for them.
I first had the idea of writing a popular book about the universe in 1982. My intention was partly to earn money to pay my daughter's school fees.
Well I've been writing books. So that, by its nature, is kind of a solitary occupation. And from time to time I have research help, but mostly I've done those completely on my own.
The new year stands before us, like a chapter in a book, waiting to be written. We can help write that story by setting goals.
I have the power to write these books where I invent characters that I really like, and it gets to come out the way they want it to come out, and I get to make it happen.
In general, I write for ages 12 and up - although I've received emails from readers between the ages of seven and seventy. My books are science fiction.
You never know what's going to happen. My mother was an English teacher. If someone had told her that I was going to write a book, she would never have believed that. So you can never say never.
