One of my favorite authors, Garbrielle Zevin, she did a book called 'Elsewhere,' that is one of my favorites, and I think they're making that into a movie too. I really want to be in that one just because the story is so beautiful.
He wondered what percentage of the world's art was actually kept in bank vaults and the like. Like unread books and unplayed music, did it matter that art went unseen?
When I give away a book for free, it gets my name out there. That has lifelong value for me that goes way beyond the few dollars I could maybe charge.
There's also something of an illusion in that, you can perhaps record a TV thing one month and complete a book the next and then be in a play. Then, if they all come out at once, it looks as if you're actually juggling a million things.
I don't write for publishers, certainly not for critics, and not for readers, But I am delighted that so many people have found my books enjoyable and want to continue to read them.
'The Blade Itself' was my first book. Probably I should've tried a few short stories first, but for some reason I decided to begin with Everest.
Sometimes when I'm really enjoying a book, I'll read a sentence or paragraph and just think - how can someone's head be wired in such a way that they'd come up with that?
I would have liked to see where we would have the authority to arrest illegal aliens just by being here illegally and book them into our jails, but that's not going to happen.
I write about it in the book and, you know, explain that. But that was the technicality that actually got my sentence reduced - that Alan Dershowitz used to have my sentence - it came down eventually to eight years.
When a young writer comes up to me with an ambitious idea for a 20-book series, I usually tell him to maybe try something smaller to start off with.
When I'm writing a book, you can't think about your audience. You're going to be in big trouble if you think about it. You're got to write from deep inside.
When writers die they become books, which is, after all, not too bad an incarnation." [As attributed by Alastair Reid in , The New Yorker, June 24, 1996; as well as in , The New Yorker, July 7, 1986]
I would prefer to have one comfortable room well stocked with books to all you could give me in the way of decoration which the highest art could supply.
When you're reading a book, you're always looking for the natural place to stop. With a movie, you can't really have that sense of it coming momentarily to a halt; there's pressure to keep the momentum up.
I like it when you have something happening by coincidence. Just something in a book is enough. But I prefer a fragment of an image so you are far more free to bring in elements of your own.
A lot of people write books not at the end of their career. Why you gotta wait until then? When you're momentum's going, that's when people really want to get to know about you.
I think people get satisfaction from living for a cause that's greater than themselves. They want to leave an imprint. By writing books, I'm trying to do that in a modest way.
A novel is like a gland pill - it nips off the cream of my hysterics and gets them running on track in a book where they belong instead of rioting all over my person.
The addictive pleasure of abandoning yourself to a book, of losing consciousness of your worries, your body, and your surroundings, to become a ghost haunting other worlds has influenced me in many ways.
The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
The books I loved in childhood - the first loves - I've read so often that I've internalized them in some really essential way: they are more inside me now than out.
