A Quote by George Pelecanos

I want to be read. When you write a TV show like 'The Wire,' you've got three to four million readers watching your work. Even Grisham doesn't sell that many books. — © George Pelecanos
I want to be read. When you write a TV show like 'The Wire,' you've got three to four million readers watching your work. Even Grisham doesn't sell that many books.
I can write any kind of novel I want, any time, and sell it, but there's not that many people watching it. Even a low-rated TV show is a couple million more people than read my books. You want to be read, in essence. If you're a television writer, you're a writer and you want people to read your stuff. You're still reaching a bigger audience, that way. That's a philosophical way to look at it.
I'm not saying don't do the work you got, but instead of this two hours of watching TV at the hotel lobby or this three hours of sitting under the pier and reading comic books or worrying about what you're doing ... what value do you have? Can you read? There are people out there who can't read - go read to them.
I stopped watching TV because of 'The Wire.' Like, 'The Wire' ruined everything for me because I don't even want to watch anything else now.
No one forces me, or any other writer, to sell a film option on the books. If you don't want to run the risk that the filmmakers may adapt your work in a way you don't like, then you don't sell the option. You know when you sell it that they will have to make some changes, just because film and TV are different media than books.
I used to practice cello while watching TV and films. I watched several complete TV series this way, including 'Lost' and 'The Wire.' As a kid, I'd read books while playing.
One night I couldn't sleep. It was like 2:00 in the morning. I was thinking, 'What can I do?' I'm watching TV. I'm like, 'Let me do something else.' I'm not going to fall asleep for a few hours. What are my hobbies? There was the masturbation option. I skipped that because just knowing my kids are down the hall I felt psychotic. So, I went with watching more TV. I couldn't come up with anything. I was going, 'God, read a book.' Then I was like this, 'Where do I keep the books?' I've got nothing to do but watch TV.
I read everywhere. It's like a bodily function. I don't need quiet. I write and read with the TV on. I follow the TV show while I read. TV doesn't require a lot of brainpower.
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.
I still don't think I've ever read a Nancy Drew book; I probably read three or four 'Hardy Boys' books when I was 10, 11, 12, and I didn't love them at the time. Even then, they felt dated to me, like the word chum - 'my chum and I.' However, the 'Encyclopedia Brown' books, I read all of them.
The Sookie Stackhouse novels were selling well before the TV show, but the TV show led to a lot more exposure and readers. And a lot went on to read my other work. It was a wonderful thing for my bank account.
Any person that you would want to watch your movie or see your show or read your book, there's a million other things that they could be watching or reading or doing.
There were many books in my parents' home. I'm from a family of five children and we were all readers. And so by the time I left home, I had already read many books, and I was very interested in reading more. That was when I started to have the desire to write. But it wasn't like a divine apparition with angels and seraphins on high. Not for me, at least.
You can make a feature that makes millions but only so many people see it. With a hit TV show, every week you'll have 16 million - 20 million people watching you.
When you first sit down to write the first song, until you've maybe got three or four under your belt, it's always, to me, like a mountain to climb. You look at that one blank piece of paper and you think, `God, how many songs do I have to write here?' It always feels like pressure.
I don't want to write things that people don't want to read. I would have no pleasure in producing something that sold 600 copies but that was considered very wonderful. I would prefer to sell 20,000 copies because the readers loved it. When I write books I don't actually think about the market in that way. I just tell myself the story. I don't think I'm talking to a 10-year-old boy or a six-year-old girl. I just write on the level the story seems to call for.
Why do I write historical fiction? Johnny Tremain, The Witch of Blackbird Pond, Island of the Blue Dolphins-that's why. I'll never forget how it felt to read those books. I want to write books with the same power to transport readers into another time and place.
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