I remember being in the public library and my jaw just aching as I looked around at all those books I wanted to read. There just wasn't time enough to read everything I wanted to read.
I don't want to turn 50 and say, 'Gosh, I wish I'd lived in that part of the world for a time. I wish I'd read that book by Faulkner.' I want time to delve back into Thoreau and Kafka.
We did not have a television while I was growing up, and so I read voraciously. My earliest memory of being utterly transfixed by a book was Madeleine L'Engle's 'A Wrinkle in Time.'
You get a painting idea, and you go do that. You get a cinema idea, and you go in to do that. The difference is, even though the paintings might take some time to make, with cinema you are booked for a year and a half, minimum.
I want my books to last, to stand the test of time, and to do that I focus on the forces that shape the subject - the cultural and sociological geography - to capture them in a way that will explain them no matter what they are doing.
Court TV. I can't stop watching it. I am absolutely obsessed! If I'm not reading a book or spending time with my husband, my friends or my dog, I am watching Court TV.
Preacher is a book that somehow allows me time by its settling on it's characters, that sort of modern gothic western feel. You're not likely to see the boat veering too far from that.
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 coauthored my first nonfiction book by the time I was 25. I have been involved in nonfiction documentaries, newspapers, TV and internet since that time.
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.
For me, in the third book, when Peeta gets brainwashed by the Capitol, that's going to be fun to play. The rest of the time he's very much into Katniss, and for that to get turned around and to play it the other way, that's going to be very exciting.
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.
There's probably one more story about Bosnia that I'd like to do, because I spent a fair amount of time on the Serb side of the lines, which isn't apparent in the other books.
There are six 'Time Warp Trio' books that would take a page each to fully praise. And I just thought up twelve more while I was typing this sentence.
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.
If you are a responsible scientist, you are going to present your new results in a paper, and maybe if, over time, things are established, and it's prime time for the public to hear about it, then you include it in a book.
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.
It took me a long time to come out as someone who doesn't like film. It's a bit like when people say they don't like books: you get that sharp intake of breath.
