A Quote by Caroline Gordon
A first book often has enough material in it for half a dozen.
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Did Ethan Smith's View of the Hebrews furnish structural material for Joseph Smith's Book of Mormon? It has been pointed out in these pages that there are many things in the former book that might well have suggested many major things in the other.Not a few things merely, one or two, or half dozen, but many; and it is this fact of many things of similarity and the cumulative force of them that makes them so serious a menace to Joseph Smith's story of the Book of Mormon's origin
Well, I think that the most exciting stage of any tour is getting the tour together. Because when new material works, there is no other feeling like that. It's just brilliant. And for the first half of the tour, you're still often finding the extra stuff in that material. You're exploring it every night.
When I wrote the first Betsy book, 'Undead and Unwed,' I had no idea, none, that it would be a career-defining, genre-defining book, the first of over a dozen in the series, the first of over 70 published books, the first on my road to the best-seller list, the first on my road to being published in 15 countries.
My first novel was turned down by half a dozen publishers. And even after having published five or six books, I wasn't making enough money to live on, and was beginning to think I'd have to give up the dream of being a full-time writer.
An ordinary life used to look something like this: born into a growing family, you help rear your siblings, have the first of your own half-dozen or even dozen children soon after you're grown, and die before your youngest has left home.
Our first single, 'Ticket To Ride', was a kind of half-hit, half flop: in some places it was number one, in others it was ash-tray material.
A half dozen pictures would just about be enough for the life of an artist, for my life.
I often visited a particular plant four or five miles distant, half a dozen times within a fortnight, that I might know exactly when it opened.
In the arts, people are always waiting for someone or some movement to "fulfill her/its/his promise." Then, half-a-dozen or a dozen years on, others begin to realize that, really, something extraordinary was actually happening.
How could I make a little book, when I have seen enough to make a dozen large books?
When it was suggested that I write a memoir I said, 'I'm not old enough. I'm not distinguished enough.' But I went home and sat down to write, and the material for the book just came flooding into my hands.
When a book, any sort of book, reaches a certain intensity of artistic performance, it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball.
Our culture constantly inundates us with new information, and yet our brains capture so little of it. I can spend half a dozen hours reading a book and then have only a foggy notion of what it was about.
I've had over a dozen and a half novels published since late 1994 when my first novel, 'Brother to Dragons, Companion to Owls' came out.
I look at life like a big book and sometimes you get half way through it and go 'Even though I've been enjoying it, I've had enough. Give us another book.'
There is a fine line in the Third World between half a dozen customs officials waiting for you to offer them a bribe and half a dozen customs officials waiting for you to offer them a bribe
so they can throw you in jail.
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