A Quote by Susan Wallace

Everyone should write a book, if only to see
 how much work goes into even the slight volume I send you. — © Susan Wallace
Everyone should write a book, if only to see how much work goes into even the slight volume I send you.
With a poetry book I can send 100 copies out to reviewers and other people, and even do it in advance and get their response. It's difficult with iPad: how do you send it out for free, and how do you even disseminate it before it goes into their store?
I think, for me, there's The Book I Should Write and The Book I Wanted to Write - and they weren't the same book. The Book I Should Write should be realistic, since I studied English Lit. It should be cultural. It should reflect where I am today. The Book I Wanted to Write would probably include flying women, magic, and all of that.
I should write a book. I've always wanted to write a book. I should write a book about kids who see dead people.
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.
One of the things about the arts that is so important is that in the arts you discover the only way to learn how to do it is by doing it. You can't write by reading a book about it. The only way to learn how to write a book is to sit down and try to write a book
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.
For many years I wanted to be a rock star but of course that didn't work out. I did however write on napkins and pieces of paper sentences and occurrences. I decided maybe I should write a book because I had been writing so much. I'm actually writing a book based on The Room that will hopefully be published soon.
She smiled at him. “How did you know just what I’d want to see?” “How could I not?” he said. “When I think of you, and you are not there, I see you in my mind’s eye always with a book in your hand.” He looked away from her as he said it, but not before she caught the slight flush on his cheekbones. He was so pale, he could never hide even the least blush, she thought — and was surprised how affectionate the thought was.
Send us people with initiative, who can carry themselves and others too; such as need to be carried hamper the work and weaken those who should be spending their strength on the heathen. Weaklings should be nursed at home! If any have jealousy, prides, or talebearing traits lurking about them, do not send them, nor any who are prone to criticize. Send only Pauls and Timothys; men who are full of zeal, holiness and power. All others are hindrances. If you send us ten such men the work will be done.
I can use movie as a language. Not only could it send a good message, I could let people know about my thinking and how I see the world, how I see the colour, how I see the music, how I see everything.
The angels laugh at old Karl. They laugh at him because he tries to grasp the truth about God in a book of Dogmatics. They laugh at the fact that volume follows volume, and each is thicker than the previous ones. As they laugh, they say to one another, ‘Look! Here he comes now with his little pushcart full of volumes of the Dogmatics!’—and they laugh about the persons who write so much about Karl Barth instead of writing about the things he is trying to write about. Truly, the angels laugh.
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."
I know exactly what I want to write. I do not write until I do. Usually I write it all down only once. And that goes relatively quickly, since it really depends only on how fast I type.
I usually tape about 99 percent of my auditions at my house. I have a camera and record myself, and my mom reads the other lines off-camera. Then I send it to my agent and manager, and they send it to the casting director, and we see how it goes from there.
If only one in 1,000 people that I talk to goes on to write a good book, that's one more good book that I've helped along... and maybe it will be a book I love myself five or 10 years down the line.
I wouldn't say I'm the anchor, I'm the one person who sees everyone at work - I don't get to see a lot of people outside of work too much because I'm there all the time. Everyone asks me "how you doing, have you slept?" so I know I'm working long hours.
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