A Quote by Henry Wadsworth Longfellow
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.
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When I go to buy a book, I always ask if it is right for me at this time, something I need right now. I think a lot of people go out and buy books because they love to read. They read it really fast and then move on to the next book. I don't do that.
I began writing books after speaking for several years and I realize that when you have a written book people think that you're smarter than you really are if I can joke. But it's interesting. People will buy your book and hire you without reading the book just because you have a book and you have a book on a subject that they think is of interest to themselves or e to their company.
I think that most people go to bookshops and have no idea what they want to buy. Somehow the books sit there, almost magically willing people to pick them up. The right person for the right book. Its as though they know whose life they need to be a part of, how they can make a difference, how they can teach a lesson, put a smile on a face at just the right time.
I'm in the middle of a 25-city book tour, and I like watching what people buy in bookstores. I see people buy books that I strongly suspect they will never read, and as an author, I must tell you, I don't mind this one bit. We buy books aspirationally.
Just keep writing, and try to finish that novel. Remember, all authors started exactly where you are right now; the only difference between a published author and a non-published one is that the published author never stopped writing.
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.
Frequently, an author gets "orphaned" at a publisher. What this means is that an editor buys their book, then ends up getting fired, promoted, or transferred to a different job somewhere else. It sucks for the author because suddenly the person who liked your book enough to buy it isn't around to help you edit and promote it.
[If a book were] very innocent, and one which might be confided to the reason of any man; not likely to be much read if let alone, but if persecuted, it will be generally read. Every man in the United States will think it a duty to buy a copy, in vindication of his right to buy and to read what he pleases.
One of the things I love most about second person is that it reminds the reader that they are reading a text. It doesn't allow them to drift into the story and not notice that they are reading a book - a book that has an author.
The so-called paradoxes of an author, to which a reader takes exception, often exist not in the author's book at all, but rather in the reader's head.
Whether the author intended a symbolic resonance to exist in her book is irrelevant. All that matters is whether it's there. Because the book does not exist for the benefit of the author, the book exists for the benefit of YOU. If we as readers can have a bigger and richer experience with the world as a result of reading a symbol and that symbol wasn't intended by the author, WE STILL WIN.
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.
I've got lots of favourite authors, but I would say Nicci French because I look more forward to reading her next new book than any other author.
A tactic used by authors of virtually every single book I've ever read that propounds a conspiracy theory is to attack an agency as being part of a conspiracy in the Kennedy assassination, but when this same agency comes up with something favorable to the author's position, the author will cite that same agency as credible support for his argument.
No one really knows the value of book tours. Whether or not they're good ideas, or if they improve book sales. I happen to think the author is the last person you'd want to talk to about a book. They hate it by that point; they've already moved on to a new lover. Besides, the author never knows what the book is about anyway.
Reading a book should be a conversation between you and the author. Presumably he knows more about the subject than you do; if not, you probably should not be bothering with his book. But understanding is a two-way operation; the learner has to question himself and question the teacher, once he understands what the teacher is saying. Marking a book is literally an expression of your differences or your agreements with the author. It is the highest respect you can pay him.
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