A Quote by Groucho Marx

Anyone buying this book is going to be out a tidy sum if he is sucked in by the title. I wish I could write a real sexy book that would be barred from the mails. Apparently nothing whets a reader's appetite for literature more than the news that the author has been thrown into a federal pokey for disturbing the libido of millions of Americans.
Nothing detains the reader's attention more powerfully than deep involutions of distress, or sudden vicissitudes of fortune; and these might be abundantly afforded by memoirs of the sons of literature. They are entangled by contracts which they know not how to fulfill, and obliged to write on subjects which they do not understand. Every publication is a new period of time, from which some increase or declension of fame is to be reckoned. The gradations of a hero's life are from battle to battle, and of an author's from book to book.
Titles are very hard. Sometimes a title comes before I start to write the book, but often I finish the book and I still don't have a title. I have to go through the book again and then sometimes I hope a title jumps out at me from what I've written.
When I choose the title [for my book], which was my favorite title, I felt sure there was going to be a dozen books maybe with that name already because it's so obvious to me that that's the message. I was surprised it hasn't been the title of a single book. Well, there is a Shel Silverstein children's book called Falling Upwards. But no one has chosen Falling Upward as a title and I'm very happy it's right on the cover.
As a digital creator, there's been so much pressure to write a book because so many of my peers have done it. I've been very adamant about saying, "No! I don't want to release a book just for the sake of writing a book. I'm going to write a book when I feel like I have something to say in a book."
Early on my career, I figured out that I just have to write the book I have to write at that moment. Whatever else is going on in the culture is just not that important. If you could get the culture to write your book, that would be great. But the culture can't write your book.
You have to surrender to your mediocrity, and just write. Because it's hard, really hard, to write even a crappy book. But it's better to write a book that kind of sucks rather than no book at all, as you wait around to magically become Faulkner. No one is going to write your book for you and you can't write anybody's book but your own.
I had thought up the title, 'The Good Luck of Right Now,' several years ago. I had no idea what it meant or what the book would be about but I thought, 'Someday I'm going to write a book with that title.'
It's always a better choice to write a new book than it is to keep pounding your head against the submissions wall with a book that's just not happening. The next book you write could be the book, the one that isn't a fight to get representation for at all.
Millions of Americans were duped by the federal government and the Federal Reserve into buying homes they could not afford and failed to count the cost. When the financial crisis of 2008 hit, they could not keep up the monthly mortgage payments and defaulted.
'Simon' was always a word-of-mouth book. When it came out in 2015, I don't know that anybody thought that 'Simon' could be mainstream. Publisher Harper Collins loved it in-house, but it wasn't a lead title. Nobody is more surprised than me that it's a film. It's the little book that could.
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.
There are many readers of the book, who don't know anything about the authors and the artists. There is more than one author. It doesn't matter, if you can't make the reader dive into the story and surround him with that environment and those characters. That's an experience that lasts longer than figuring out who did what. I think that's what makes our working relationship better, it helps us to make a book that feels unique and not like different voices.
I wrote a book. It sucked. I wrote nine more books. They sucked, too. Meanwhile, I read every single thing I could find on publishing and writing, went to conferences, joined professional organizations, hooked up with fellow writers in critique groups, and didn't give up. Then I wrote one more book.
Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.
Authors have a greater right than any copyright, though it is generally unacknowledged or disregarded. They have a right to the reader's civility. There are favorable hours for reading a book, as for writing it, and to these the author has a claim. Yet many people think that when they buy a book they buy with it the right to abuse the author.
In the futile attempts we all make to tidy up our lives and our surroundings, nothing is more difficult than throwing out a book.
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