James Patterson
“I’m willing to show good taste, if I can, in somebody else’s living room, but our reading life is too short for a writer to be in any way polite. Since his words enter into another’s brain in silence and intimacy, he should be as honest and explicit as we are with ourselves.”
John Updike
“The books we enjoy as children stay with us forever — they have a special impact. Paragraph after paragraph and page after page, the author must deliver his or her best work.”
Sid Fleischman
“Poetry calls us to pause. There is so much we overlook, while the abundance around us continues to shimmer, on its own.”
Naomi Shihab Nye
“It is perfectly legitimate to write novels which are essentially prose poems, but in the end, I think, a novel is like a car, and if you buy a car and grow flowers in it, you’re forgetting that the car is designed to take you somewhere else.”
Robert Harris
“The law has nothing to do with justice, and injustice can’t be left unchallenged. So I decided to be a writer. Writing can’t change the world overnight, but writing may have an enormous effect over time, over the long haul.”
Leslie Marmon Silko
“There is a romantic notion to writing a novel, especially when you are starting it. You are embarking on this incredibly exciting journey, and you’re going to write your first novel, you’re going to write a book. Until you’re about 50 pages into it, and that romance wears off, and then you’re left with a very stark reality of having to write the rest of this thing. […] A lot of 50-page unfinished novels are sitting in a lot of drawers across this country. Well, what it takes at that point is discipline … You have to be more stubborn than the manuscript, and you have to punch in and punch out every day, regardless of whether it’s going well, regardless of whether it’s going badly. […] It’s largely an act of perseverance […] The story really wants to defeat you, and you just have to be more mulish than the story.”
Khaled Hosseini
He said journalists should use four literary devices in their work — “to make the reader feel present in the scene described and even inside the skin of a particular character.” They are: 1) constructing scenes; 2) dialogue — lots of it; 3) carefully noting social status details, “everything from dress and furniture to the infinite status clues of speech”; and 4) point of view, “in the Henry Jamesian sense of putting the reader inside the mind of someone other than the writer.”
Tom Wolfe