A Quote by Jan Brett
A book is something that young readers can experience on their own time. They decide when to turn the page. They'll put their arm right on the page so you can't turn it because they're not ready to go to the next page yet. They just want to look at it again, or they want to read the book over and over because they really enjoy setting the pace themselves.
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Sometimes a book I'm reading is so terrific that when I finish, I simply turn back to page one and start all over again to see what I've missed, to experience it again, more deeply, or because I don't want to let it go.
Here's what I want from a book, what I demand, what I pray for when I take up a novel and begin to read the first sentence: I want everything and nothing less, the full measure of a writer's heart. I want a novel so poetic that I do not have to turn to the standby anthologies of poetry to satisfy that itch for music, for perfection and economy of phrasing, for exactness of tone. Then, too, I want a book so filled with story and character that I read page after page without thinking of food or drink because a writer has possessed me, crazed with an unappeasable thirst to know what happens next.
No one reads to hear someone complain about the weather or how poorly their children are behaving. You have to give the readers a reason to turn the page. As a writer you have to invite someone to turn the page. And that is a skill you have to refine. That is why you have to read. You have to read to learn what it is that makes people turn the page.
When I'm deciding to read a book, I never open to the first chapter, because that's been revised and worked over 88 times. I'll just turn to the middle of the book, to the middle of a chapter, and just read a random page and I'll know right away whether this is the real deal or not.
When you're reading a newspaper and you're seeing ads on the page, it's not kind of invasive. Like, it's on the page next to the article. You can look at it or not. You can turn the page when you're ready. On the internet, the ads - many of the ads - just are so controlling. They insist that you see them.
I've always thought that if my death was imminent, I would read. When I can't focus on a book, I tend to keep reading the same page. My guess is, I would've read, like the first page of Nicholas Nickleby over and over again.
The point of page one is to make people turn to page two and if at the end of the book people think that the book was good value for money, you have achieved something, because if you haven't achieved those things you're not going to achieve the other thing.
They put the thing down your throat so you don't swallow your tongue, and they put electrodes on your head. That's what was recommended in Rockland State Hospital to discourage homosexual feelings. The effect is that you lose your memory and become a vegetable. You can't read a book because you get to page 17 and have to go right back to page one again.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
You need to give the reader a reason to turn the page. In a diary, you are just yourself. You aren't trying to entertain. You aren't trying to get anyone to turn the page. I have over one hundred and fifty six volumes of my diary and I guarantee you that if you read them, you'd stop and never come back.
There's a fantastic, thousand-page book by David Thomson about [David O. Selznick]. Again, it's not the best argument or the best advertisement for his story, because most people aren't going to read a thousand-page book. But I feel like the rise and fall and the work [Mayer] produced - not just the movies, but the memos, the volume of writing - he's just so passionate, and that's really exciting.
The only things I read are gossip columns. If I read three pages of a book, I'm out like a light. When I pick up the book again, I've forgotten what I've read and have to start over again. By page three, even if I've just awakened from a nine -hour nap, I fall asleep again. So if anyone gives me a book, it had better have lots of pictures.
A book should be a garden that fits in the hands. Word-petals of color. Stems of strength. roots of truth. Turn a page and turn the seasons. Read the sentence and enjoy the roses.
It's always been my philosophy: Turn the page. If something falls through, turn the page. It's over with, get used to it, get on with it. Very simple. It's always worked for me.
When a novel has 200,000 words, then it is possible for the reader to experience 200,000 delights, and to turn back to the first page of the book and experience them all over again, perhaps more intensely.
When we want a book exactly like the one we just finished reading, what we really want is to recreate that pleasurable experience--the headlong rush to the last page, the falling into a character's life, the deeper understanding we've gotten of a place or a time, or the feeling of reading words that are put together in a way that causes us to look at the world differently. We need to start thinking about what it is about a book that draws us in, rather than what the book is about.
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