Adventure books are my personal favorites. 'The Endurance,' a story about Ernest Shackleton's legendary Antarctica expedition, or 'Into Thin Air,' Jon Krakauer's personal account of the 1996 disaster on Mt Everest, are two notables.
I've got a long list of books I wish I'd never written-and I've kept them all out of print for the past 20 years.
I do, in fact, have a book club. I meet with a couple of guys once a month of a lunchtime discussion of some interesting text, usually, but not always, philosophical.
I do feel that Paula Deen should not have lost her job, and I've said this on the air. The marketplace should have decided. The marketplace decided something different. Her books are No. 1.
Through the gaps in the books, Ryan could see someone in the next aisle over, moving slowly. Someone in black. Someone whistling. Ryan recognized the tune. It was the theme music to .
I've written something like 17 novels, which isn't bad, I suppose, but my father wrote 120 books, my mother 40. In comparison, I'm lazy.
I've been writing since I was very young, even before I was a teenager. As far as I'm concerned, I am a writer - whether my writing's spoken or written in a blog, paper, book or printed on the side of a submarine.
Art is bad when ‘you see the intent and get put off.’ (Goethe) In Tolstoy one is unaware of the intent, and sees only the thing itself. from the book, On Retranslating A Russian Classic Anna Karenina by Leo Tolstoy
As an audience member, I live vicariously through the characters I watch or read about. There's something very relatable about comic-book characters. They're never perfect. They're flawed people put in extraordinary circumstances.
We hide so well. This is the bottom line: how hidden is male subjectivity? Name five books where male subjectivity is produced in an honest way.
The book has many different characteristics: some are extremely old-fashioned storytelling traits, but there are also a fair number of postmodern traits, and the self-consciousness is one.
It wasn't conscious, but I guess that one book is the reaction to the other. The first is so imprisoned in a male point-of-view, and the second is a point-of-view that can go anywhere it wants.
'Wild at Heart' created a set of expectations maybe, partly, on my part, certainly on my publisher's part, but also in the world out there, that my next books would be as remarkable.
No one ever had a better father than I did. Father was a disciplinarian, and Mother was a very loving woman who taught us out of the scriptures. The Book of Mormon was her favorite.
One of the things I've learned as a filmmaker is to have some aspect of the movie be something that I admire greatly, whether that's an actor I'm working with, the subject matter, or a book.
The point of what I do is that it doesn't really matter what a book or a story is as long it moves you, informs you, challenges you, entertains you, or changes you.
I use my fiction to explore my own unconscious issues. I usually don't even know what's going on with me until I'm writing. That doesn't mean my books are autobiographical.
I don't think anyone wants a reader to be completely lost - certainly not to the point of giving up - but there's something to be said for a book that isn't instantly disposable, that rewards a second reading.
I think there's going to be something that happens now, where books move in two directions, one toward digitized formats and one toward remembering what's nice about the physicality of them.
When a book remembers, we remember. It reminds you that you have a body. So many of the things we may think of as burdensome are actually the things that make us more human.
My first job is to write a book that I believe is compelling and deserves the long sustained attention that any novel requires, and to worry about the commerce only late in the game.
