For (Levi) Grossman, no books feel more like home than C. S. Lewis’s Chronicles of Narnia, which provide the template for what he likes to read—and how he wants to write.
I want an infinitely blank book and the rest of time... ...why didn't I learn to treat everything like it was the last time, my greatest regret is how much I believed in the future.
Twenty years on, the books are still fun to write and I've still got lots of stories I want to tell, mainly about social injustice and people chewed up by the system.
When I wrote 'Marley & Me,' I had a clear audience in mind. And it did not include children. I wrote my book for adults and assumed only adults, and possibly teenagers, would be drawn to it.
In the end, what makes a book valuable is not the paper it’s printed on, but the thousands of hours of work by dozens of people who are dedicated to creating the best possible reading experience for you.
If you see most people neglect the Bible, and many that can read never look into it, let it not harden you and make you think lightly of it, and that it is a book of no worth.
I just wanted to compile these stories about growing up with my father and I wanted people to be able to enjoy them individually, but also the entire book as a whole.
We need leaders, we need political leaders and we need business leaders, and my hope for this book is that it helps create that next generation of business leaders that will lead us into the future.
We're sort of putting a slightly different spin on Steve Rogers. He's a guy that wants to serve his country, but he's not a flag-waver. We're reinterpreting, sort of, what the comic book version of Steve Rogers was.
You buy any book on color theory today, and it's just complete poppycock. Everybody comes out of school painting pink, purple and green. The whole damn cartoon industry has pink purple and green on their mind.
From 'The Sandman' and 'Black Orchid' to 'Whatever Happened to the Caped Crusader?,' Neil Gaiman has provided some of the most memorable stories of the comic book industry.
Bob Harras' personal and creative integrity is respected and renowned throughout the comic book industry. As an editor, he provides invaluable insight into storytelling and character.
I think there's a responsibility of the publisher, of the company, to make sure the staple books that have been around for decades come out in a timely manner.
As lifelong fans of comic books, Dan Didio and myself, we definitely have our own takes on what make for successful comics and the kind of comics that we want to publish.
I just noticed recently that in one book after another I seem to find an excuse to find some character who, to put it idiotically simply, is allowed to talk crazy.
Flaps: [feeling Mowgli's legs] Blimey! He's got legs like a stork, he has. Buzzie: Like a stork, yeah. But he ain't got no feathers, he ain't.
Winifred: Dear, haven't you forgotten something? Colonel Hathi: Nonsense, Winifred, old girl. An elephant never forgets. Winifred: Well, you just forgot our *son*!
Bagheera: Now, while you create a disturbance, I'll rescue Mowgli. Got that? Baloo: [dancing away] I'm gone, man. Solid gone. Bagheera: Not yet, Baloo!
[Baloo's monkey disguise in the ancient ruins has failed, exposing him] Monkey: It's Baloo the bear! Second Monkey: Yeah, that's him! How'd that square get in there?
That's the thing about a book: You're in the public life for a little bit, and then you sort of go away for a little while - several years, in my case - and then you come out again, hopefully.
Lots of people can write a good first page but to sustain it, that's my litmus test. If I flip to the middle of the book and there's a piece of dialogue that's just outstanding, or a description, then I'll flip back to the first page and start it.
