Thousands of books are published every year in India, and it's becoming more difficult to stand out and get people to buy the books. The only way to get people notice the book is to create a buzz much before it's released.
I have always heard that uber-successful people who write books about how to become uber-successful all have one thing in common: They all meditate every day. I consider yoga my meditation.
I wish I had had my books when I was a kid, I do.
My studio, nicknamed 'Funny Farm,' is in a hidden location. It's very private. Not only do I create my photography there, but it is also where I write my books and create music.
I used to write my books at night when I was a freelancer with no children. I used to really work in huge spurts - I could turn around a revision in two weeks, I used to be able to write 10,000 words a day. It's like, 'Wow, what happened to that?' That's just gone.
I do the same kind of rewriting that I do in the shorts that I do in long books - and that is a lot. The book really comes to life in the rewriting.
As frightening as this may sound, what you see in the books is the way I see the world. And so far I haven't seen anything, either in Florida or elsewhere, to dissuade me from it.
All my books were easy to write - doesn't it show?
I didn't start working on children's books until I got a job at a book warehouse on the children's floor. When I started reading some of the books, I was so impressed.
I will always find something that I want to try and become better at. I always love to spend more time with my friends, more time with my family, my extended family. I always want to read more books.
I always wanted to go to the Chavez school but I could never afford it when I was growing up so a lot of my learning came from magic books and watching other magicians. I was also very lucky that I had a couple of really good magic teachers.
The best books arise from some ultimate question in the author.
It's almost like these games are the modern day comic books, especially when you play Alone in the Dark. There's a real story that goes along with it and a movie seemed like the right kind of transition to make.
I've always felt, in all my books, that there's a deep decency in the American people and a native intelligence - providing they have the facts, providing they have the information.
I grew up not reading fiction; I watched movies and read comic books, and one of the ways I taught myself to think about narrative was through film.
I don't think I ever consciously separated 'school' books from any others; I just read anything that came across my path.
I was a very sickly kid. While I was in the hospital at age 7, my Dad brought me a stack of comic books to keep me occupied. I was hooked.
Many of you might already recognize me as the guy in the question-mark suits appearing in the late night TV commercials and on the cover of educational books and CDs.
All my books deal with the effect of intent upon action, how our understanding of good and evil depends heavily on context.
I'm one of those freaky people that actually reads books.
We are as liable to be corrupted by books, as by companions.
I don't think any good book is based on factual experience. Bad books are about things the writer already knew before he wrote them.
A lot of the books that I grew up reading were pretty brutal, like the 'Redwall' books.
I find that balancing my life with my work with the kids at St. Jude, working on books, working on my career as an actor and taking time out for my husband and family help to cushion a lot of the blows.
Schools and parents can team up to find books that kids will really get excited about - that will make them say, 'That was a great experience. Now I know why people get excited about reading.'
I've always been a pretty hard worker. That's how I've written over a hundred books.
There's no literary merit in my books.
I teach 18- to 21-year-olds - the 'Harry Potter' generation. They grew up as voracious readers, reading books in this exploding genre. But at some point, I would love for them to give Umberto Eco or A.S. Byatt a try. I hope 'A Discovery of Witches' will serve as a kind of stepping-stone.
The future? Like unwritten books and unborn children, you don't talk about it.
I've written many nonfiction books, but that's a special gift.
If you want to write serious books, you must be ready to break the forms.
The press should not get special privileges - if they drive recklessly or put people in danger, they should be subject to every reckless driving and endangerment law on the books - but they should also not be singled out for special punishment.
The way that Dickens structured his books has a form that we most readily recognize now from, say, the great T.V. series, like 'The Wire' or 'The Sopranos.' There's one central plot line, but then from that spin off all kinds of subplots.
Some books claim I have already clocked up a century of Grands Prix, but let me put the record straight. Australia will be my 100th start, and I aim to mark the milestone with a cracking performance. It could even be celebrated with a victory.
I take refuge in my books.
There's books that are about places we will never go, and then there's books that inspire us to go.
