A Quote by Andrew Aydin
It's important to realize that the series actually grows with the reader. "March: Book One" is a great introduction for kids as young as eight or nine years old. But then they grow with the reader. Book Two is bigger, Book Three is even bigger. And they grow more violent and more confrontational.
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Every reader, as he reads, is actually the reader of himself. The writer's work is only a kind of optical instrument he provides the reader so he can discern what he might never have seen in himself without this book. The reader's recognition in himself of what the book says is the proof of the book's truth.
In my couple of books, including Going Clear, the book about Scientology, I thought it seemed appropriate at the end of the book to help the reader frame things. Because we've gone through the history, and there's likely conflictual feelings in the reader's mind. The reader may not agree with me, but I don't try to influence the reader's judgment. I know everybody who picks this book up already has a decided opinion. But my goal is to open the reader's mind a little bit to alternative narratives.
A book is one of the most patient of all man's inventions. Centuries mean nothing to a well-made book. It awaits its destined reader, come when he may, with eager hand and seeing eye. Then occurs one of the great examples of union, that of a man with a book, pleasurable, sometimes fruitful, potentially world-changing, simple; and in a library...witho ut cost to the reader.
With a 660-page book, you don't read every sentence aloud. I am terrified for the poor guy doing the audio book. But I do because I think we hear them aloud even if it's not an audio book. The other goofy thing I do is I examine the shape of the words but not the words themselves. Then I ask myself, "Does it look like what it is?" If it's a sequence where I want to grab the reader and not let the reader go then it needs to look dense. But at times I want the reader to focus on a certain word or a certain image and pause there.
Calling a book 'young adult' is only important in that it can help get a book to the right reader. After that, it's a useless abstraction and should be discarded.
The book is finished by the reader. A good novel should invite the reader in and let the reader participate in the creative experience and bring their own life experiences to it, interpret with their own individual life experiences. Every reader gets something different from a book and every reader, in a sense, completes it in a different way.
The first paragraph of my book must get me my reader. The last paragraph of a chapter must compel my reader to turn the page. The last paragraph of my book must ensure that my reader looks out for my next book.
It is our hope that when people read "March" - Book One, Book Two, and Book Three - that they will understand that another generation of people, especially young people, were deeply inspired by the work of Rosa Parks, Martin Luther King Jr. and many others.
Ranganathan's 5 Laws: Books are for use. Books are for all. Every book its reader, or every reader his book. Save the time of the reader. A library is a growing organism.
That underscored this idea that when we're reading a book or writing a book, you're in an act of co-creation. The reader and the writer are both trying to dress up and present their best selves and then there's that moment, when suddenly, as a reader, you're not exactly you anymore, and likewise, as a writer, you're not really you.
I've often said the reader knows every bit as much about Thorne as I do. When I created him for 'Sleepyhead,' I was determined he should be a character who would develop, book by book, change and grow as we all do, and who - crucially - would be unpredictable.
I happen to think that a book is of extraordinary value if it gives the reader nothing more than a smile or two. It's perfectly okay to take a book, read it, have a good time, giggle and laugh - and turn off the TV. I love that.
What can happen if a young reader picks up a book he/she isn't yet ready for? Questions, maybe. Usually, that child puts down the book and says, 'Boring.' Or, 'I'm not ready for this.' Kids are really good at knowing what they can handle.
I first heard the term "meta-novel" at a writer's conference in Tulsa, Oklahoma. The idea is that even though each book in a series stands alone, when read collectively they form one big ongoing novel about the main character. Each book represents its own arc: in book one of the series we meet the character and establish a meta-goal that will carry him through further books, in book two that meta-goal is tested, in book three - you get the picture.
Once in a very long time you come across a book that is far, far more than the ink, the glue and the paper, a book that seeps into your blood. With such a book the impact isn't necessarily obvious at first...but the more you read it and re-read it, and live with it, and travel with it, the more it speaks to you, and the more you realize that you cannot live without that book. It's then that the wisdom hidden inside, the seed, is passed on.
Few things linger longer or become more indwelling than that feeling of both completion and emptiness when a great book ends. That the book accompanies the reader forever from that day forward is part of literature's profligate generosity.
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