A Quote by Jacqueline Woodson

Every time you revisit a book, you get something else out of it. — © Jacqueline Woodson
Every time you revisit a book, you get something else out of it.
It seems that every time I stick my neck out, I get my foot into something else.
I have to get three pages done every day, and there's usually a point about 150 pages in where everything falls apart, where all the plans are for naught. The book has become something else, and I have a nervous breakdown, and then I submit to what the book has become, and I keep going, and that's a terrible and then a great time.
I think that every day is a learning experience. I mean, every time I go to a school I learn something else from a teacher or learn something else from a student, I learn something else from a parent. There's so much to know when you talk about education.
Writing a book is like an unknown abyss, every time. Every book is different. Contrary to what unpublished writers think, it's horrible to have a book out.
I might revisit - I like the idea of doing something else with [Hunt for the Wilderpeople characters]. But also I get bored of doing the same thing again. I just get bored.
Every time you finish something ... you figure you've finally learned to write, right? Then you start something else and it turns out you haven't. You have learned how to write that story, or that book, but you haven't learned how to write the next one.
I think you get so wrapped up in the book you're currently writing, it's hard to think about anything else. But I know as soon as I'm done with this book, I'll move on to something else.
I try to write every day. I don't beat myself up about word counts, or how many hours are ticking by on the clock before I'm allowed to go and do something else. I just try to keep a hand in and work every single day, even if there are other demands or I'm on a book tour or have the flu or something, because then I keep my unconscious engaged with the book. Then I'm always a little bit writing, no matter what else I'm doing.
I doubt if I shall ever have time to read the book again -- there are too many new ones coming out all the time which I want to read. Yet an old book has something for me which no new book can ever have -- for at every reading the memories and atmosphere of other readings come back and I am reading old years as well as an old book.
I know what it's like to start something and have it suddenly grow out of control. And you want to get rid of it, because it's hurting you and everyone else around you, but every time you try to do that, it consumes you again.
Every time we pick up a book from a sense of duty and we find that we're struggling to get through it, we reinforce the notion that reading is something we should do, but telly is something that we want to do.
By the time I get through writing a score, I know the book better than the book writer does, because I've examined every word, and questioned the book writer on every word.
Usually, I don't revisit a scene once shot. However, in 'Gentleman,' every morning on the sets, I had to revisit the last four scenes and then shoot for the next set of scenes.
A book coming out into the world can be a harsh, harsh time. And your feelings are on the line. Everything that publication is about is really not what your writing is about. Your writing is coming out of something else, and publication and being in the public are something else. And those of us who have published, in whatever way we're published, are very fortunate.
What if there was a library which held every book? Not every book on sale, or every important book, or even every book in English, but simply every book - a key part of our planet's cultural legacy.
Read, every day, something no one else is reading. Think, every day, something no one else is thinking. Do, every day, something no one else would be silly enough to do. It is bad for the mind to continually be part of unanimity.
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