A Quote by Margaret Drabble

If I knew what the meanings of my books were, I wouldn't have bothered to write them. — © Margaret Drabble
If I knew what the meanings of my books were, I wouldn't have bothered to write them.
What really annoys me are the ones who write to say, I am doing your book for my final examinations and could you please tell me what the meaning of it is. I find it just so staggering--that you're supposed to explain the meaning of your book to some total stranger! If I knew what the meanings of my books were, I wouldn't have bothered to write them.
The novels I planned to write were never going to be funny books about Jews. They were going to be country house books. Only later on could I write what I knew I was best at writing about.
The current publishing scene is extremely good for the big, popular books. They sell them brilliantly, market them and all that. It is not good for the little books. And really valuable books have been allowed to go out of print. In the old days, the publishers knew that these difficult books, the books that appeal only to a minority, were very productive in the long run. Because they're probably the books that will be read in the next generation.
I remember one letter from a girl in a midwestern town who read one of my books and thought she had discovered it- that no one had ever read it or knew about it. Then one day in her local library she found cards for one or two of my other books. They were full of names- the books were borrowed all the time. She resented this a bit and then walked around the town looking in everybody's face and wondering if they were the ones who were reading my books. That is someone I write for.
I'd wanted to be a writer since I was knee-high. Once I knew that books were written by people and didn't just happen, it was obviously that I would write them, too.
Write comic books if you love comic books so much that you want to write them. Don't write them like movies. Comics can do a lot of things that movies can't do, and vice versa.
When I first learned about Abrams and saw the types of books they were making, I knew I wanted my books to be published by them. Abrams books are special-when you hold one in your hands, you have the feeling that this book needed to be made. I once heard an artist say that books are fetish objects-I think Abrams gets that, because their books demand to be treasured. So who better to give comics art its proper due? I feel privileged to have found a home with Abrams.
Books are savaged and careers destroyed by surly snots who write anonymous reviews and publishers can't be bothered to protest this institutionalized corruption.
If you look at the best-seller list, it is mostly thrillers. Very few books attempt to create an image of the life we live. I knew there were writers who wore tweed coats and lived in Connecticut and somehow made a living, and that's what I aimed to do. I've tried to write as well as I can with books that say something to any reader.
When I left the Senate in 1979, there were several publishers who had approached me about writing an autobiography, and I knew that politicians write books for many reasons, but at that time, I just thought I wasn't ready and my story wasn't over, and I knew I had a new life ahead of me.
I knew so many people were coming up to me because they knew who I was, not because they were fans of my music. That bothered me because I don't want to be a celebrity; I want to be an artist.
Long human words (the longer the better) were easy, unmistakable, and rarely changed their meanings . . . but short words were slippery, unpredictable, changing their meanings without any pattern.
I try to write stories that will attract younger readers and make them feel part of a wider readership. I do not feel able to write books that are about, or even for, teenagers; and I am inclined to be suspicious of books which 'target' them.
It was also a room full of books and made of books. There was no actual furniture; this is to say, the desk and chairs were shaped out of books. It looked as though many of them were frequently referred to, because they lay open with other books used as bookmarks.
My first four books were not published because nobody wanted them. They were adult books, not kids' books.
In terms of the economics, yes obviously the rise of e-books and how people choose to read books has a big effect on the economics of the game. But whether people are buying them on paper or downloading them there's still some poor wretch in a room who is trying to write a poem, write a story, write a novel. And so my job doesn't change. It's just how people receive it and economic conditions on the ground change, but that doesn't affect what I write.
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