A Quote by Leigh Steinberg

As I write in my book, there is a misnomer that destroying another person's position is an effective and practical way to negotiate. — © Leigh Steinberg
As I write in my book, there is a misnomer that destroying another person's position is an effective and practical way to negotiate.
Like many writers, I started by writing short stories. I needed to learn how to write and stories are the most practical way to do this, and less soul-destroying than working your way through a lengthy novel and then discovering it's rubbish.
I write in a very peculiar way. I think about a book for 25 or 30 years in a kind of inchoate way, and at one point or another, I realize the book is ready to be written. I usually have a character, a first line, and general idea of what the book is going to be about.
The definition of a writing career, is write a book, write another book, write another book
I've never been that person who thought that because I've written one novel, I should write another and another. It's only when there was another novel to write that I was going to write another.
The only way to write a book, I’m fond of telling people, is to actually write a book. That’s how you write a book.
The way I feel about every book is this: you don't finish it, you abandon it. All of my books have in some sense failed, otherwise I wouldn't write another one. If I wrote the perfect book, I wouldn't have to write again, and I wouldn't want to. That's not true for everyone, but it's true for me. I could walk away then. But so far I haven't managed to do it.
When you pick up a book, everyone knows it's imaginary. You don't have to pretend it's not a book. We don't have to pretend that people don't write books. That omniscient third-person narration isn't the only way to do it. Once you're writing in the first person, then the narrator is a writer.
When you write a book, people legitimise it by actually reading the book and so it's almost okay to write another one.
The most effective way of destroying art is the canonization of one given form. And one philosophy.
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'm a Reagan conservative. Reagan did negotiate with the Soviets. But you have to negotiate from a position of strength.
The biggest idea that I have learned - I basically went in to write a book about Adam and Eve, ended up writing a book about love. And what did I learn? Love is a story you tell with another person.
I always knew from the beginning that this was the only way to write Then We Came To The End - that it had to be in first - person plural if it was going to illustrate how the individual becomes part of the collective. I had no interest in writing the book in a more conventional voice. It goes back to that fascination I had with telling a story in multiple ways. It was the only choice I gave myself, really - I said "This is it, pal. If you can't tell a story this way, you're going to have to abandon the book. Write it this way or give up."
The way I was brought up, there was a little bit of prodding to do something more practical, and I wasted a lot of time trying to be a practical person.
I have always thought, the secret purpose of the book tour is to make the writer hate the book he's written. And, as a result, drive him to write another book.
I've been very lucky. There were times when I was afraid I would never sell another book, but I never doubted I'd write another book.
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