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I'm a very tactile learner, so I need analog index cards, moving them all about, trying out various sequences for the book's architecture.
For the book to succeed, it has to have equal parts ugliness and beauty, counterpoints adding up to emotional complexity. To me, there's a dignity in letting your art be emotionally complex.
It's always a challenge to discover the most effective first sentence, and the most effective final sentence, in a chapter for instance, and in the book as a whole.
I rarely write in my own voice except in book reviews and memoirs; otherwise, I am writing in mediated voices, modulated in terms of the characters whom the voices express.
Early publication can be a dubious blessing: we all know writers who would give anything not to have published their first book, and go about trying to buy up all existing copies.
The books I read I do enjoy, very much; otherwise I wouldn't read them. Most of them are for review, for the New York Review of Books, and substantial.
I'm sure most parents read to their children to explain what certain things mean. So books are a good way to convey a message to anybody. Everybody reads.
My first book took five years to write and I made $1,000 on it. The second took three years and I made $3,000. All this time I was a housewife being supported by a husband. I was very lucky.
In this age of censorship, I mourn the loss of books that will never be written, I mourn the voices that will be silenced-writers' voices, teachers' voices, students' voices-and all because of fear.
It didn't happen in the 70s. So I had a whole decade when I was writing these books and maybe there was a little bit here or there but there was no big effort to ban books.
I was shy, but I stood up in front of the class and I gave my report.I was reporting on books that I didn't want to read. I was inventing books that I didn't want to read.
I'm a more skilled writer now, but after 23 books it's harder to be fresh and that's really important to me. I don't want to write the same thing over and over again.
I never read a horse book in my life. But I thought that's what my friends were reading and that's what I should be reading. And this was "Dobbin Does This" and "Dobbin Does That."
I've never really thought in terms of taboos. I think that books can really help parents and kids talk together about difficult subjects. I've always felt that way.
I knew about the music. I got that part but I wanted to know the business, I wanted to know about royalties, how people got paid, producers and stuff like that so I read all those books like twice.
I coauthored my first nonfiction book by the time I was 25. I have been involved in nonfiction documentaries, newspapers, TV and internet since that time.
Reading and life are not separate but symbiotic. And for this serious task of imaginative discovery and self-discovery, there is and remains one perfect symbol: the printed book.
Are there books about us or something?” This makes Pressia angry - the idea that this world is a subject of study, a story, instead of filled with real people, trying to survive.