A Quote by Stacy Schiff

Insofar as there is an anxiety of influence for a biographer, it may be that each new book is undertaken in reaction to the previous book. — © Stacy Schiff
Insofar as there is an anxiety of influence for a biographer, it may be that each new book is undertaken in reaction to the previous book.
I rarely, if ever, had another book in mind while I was writing the previous book. Each book starts from ashes, really.
All morning I struggled with the sensation of stray wisps of one world seeping through the cracks of another. Do you know the feeling when you start reading a new book before the membrane of the last one has had time to close behind you? You leave the previous book with ideas and themes -- characters even -- caught in the fibers of your clothes, and when you open the new book, they are still with you.
Long before I was a writer, when I was just a haphazard reader and a dreamer of stories, I learnt about an influential book by Harold Bloom. 'The Anxiety of Influence', published in 1973 when I was five years old, is taken up with the terrifying influence of poets on each other.
When I write a new draft, I don't like to feel I'm tied to any previous version. That's why I don't use a computer to write. The text looks, on the screen, too much like a book. It's not a book - it's a bad first draft of something that could one day be a book.
We’re all in the end-of-our-life book club, whether we acknowledge it or not; each book we read may well be the last, each conversation the final one.
You will want a book which contains not man's thoughts, but God's - not a book that may amuse you, but a book that can save you - not even a book that can instruct you, but a book on which you can venture an eternity - not only a book which can give relief to your spirit, but redemption to your soul - a book which contains salvation, and conveys it to you, one which shall at once be the Saviour's book and the sinner's.
I often have the impression that the book I've just finished isn't satisfied: that it rejects me because I haven't successfully completed it. Because there is no going back, I'm forced to begin a new book so I can finally complete the previous one.
Originality is also very important to a writer. And all of the writers I've mentioned, of course, are original, but it's important to me that every book that I do be really a completely fresh and new look at the world. And of course, that makes it frightening to start a new book because you can't really depend upon what you've done with previous books.
Religion obviously played a role in this book and the previous book, too.
Now, to describe the process of the Wrapped Reichstag, which went from 1971 to '95, there is an entire book about that, because each one of our projects has its own book. The book is not an art book, meaning it's not written by an art historian.
The Book of the Heart provides a fresh perspective on the influence of the book as artifact on our language and culture. Reading this book broadens our appreciation of the relationship between things and ideas.
With each new book, the march of our national history takes a step forward. When one is present at a book launch, one is bearing witness to the birth of a new body of ideas, to the coming into being of another testimony of history.
With each book you write you should lose the admirers you gained with the previous one.
Sometime during your life—in fact, very soon—you may find yourself reading a book, and you may notice that a book’s first sentence can often tell you what sort of story your book contains.
It's always a better choice to write a new book than it is to keep pounding your head against the submissions wall with a book that's just not happening. The next book you write could be the book, the one that isn't a fight to get representation for at all.
Every book I've written has been a different attempt to understand something, and the success or failure of the previous one is irrelevant. I write the book I want.
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