A Quote by Nikki Giovanni
Poets can tell the truth as they see it. It’s the author’s story, the author’s voice.
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It is always a tense moment for an author to see how someone hasillustrated his or her story, because the author has lived for so long with these characters, sometimes for years.
Tokyo Heist is a fast-paced, exotic reading adventure, a story where The da Vinci Code meets the wildly popular manga genre! Author Diana Renn infuses protagonist Violet with plenty of chikara (power) and Renn's fresh, spot-on author's voice is irresistible. I couldn't put it down!
an Autobiography is the truest of all books; for while it inevitably consists mainly of extinctions of the truth, shirkings of the truth, partial revealments of the truth, with hardly an instance of plain straight truth, the remorseless truth is there, between the lines, where the author-cat is raking dust upon it which hides from the disinterested spectator neither it nor its smell... the result being that the reader knows the author in spite of his wily diligences.
I believe that in a good collaboration, the authors bring their strengths to the story; one author's strength cancels the other author's weakness, and back and forth it goes.
It is a greater joy to see the author's author, than himself.
I have never admitted the right of an elderly author to alter the work of a young author, even when the young author happens to be his former self.
Nobody is the author or producer of his own life story ... somebody began it and is its subject in the twofold sense, namely, its actor and sufferer ... but nobody is the author.
I've been astonished how often, when I convince a writer to tell a story more straightforwardly and to tell it more simply and directly, it turns out that this author is great and the story is wonderful.
I didn't understand in the beginning that the editor didn't want me to know the author. I'd make an effort to meet the author, but it would end up being a disaster because then I had the author telling me what I should be doing.
Hollywood, to hear some writers tell it, is the place where they take an author's steak tartare and make cheeseburger out of it. Upon seeing the film, they say, the author promptly cuts his throat, bleeding to death in a pool of money.
That's the most terrible thing about being an author - standing there at your mother's funeral, but you don't switch the author off. So your own innermost thoughts are grist for the mill. Who was it said - one of the famous lady novelists - 'unhappy is the family that contains an author'?
My view, as one who taught it, is that the whole purpose of a literary education should be to tell people that these things exist. I don't think any teacher should try to 'teach an author,' but rather simply describe what the author has written. And this is what I tried to do.
Who does not know history's first law to be that an author must not dare to tell anything but the truth? And its second that he must make bold to tell the whole truth? That there must be no suggestion of partiality anywhere in his writings? Nor of malice?
When it comes to memoir, we want to catch the author in a lie. When we read fiction, we want to catch the author telling the truth.
I have found that a story leaves a deeper impression when it is impossible to tell which side the author is on.
I see the author as the person who has written; the writer, the one involved in the process of writing. And they're not necessarily friends. The writer is the one I want to reinforce; the author would just feed on the reviews - so I'm in favour of starving him.
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