I don't know how the editors are going to take it or how it may be received. But to some extent I'm hoping that with the next book, when people pick it up and read it, it will scare the pants off of them.
Personally, I don't trust people who go out of their way to state they never read or watch horror and insist there's something wrong with those of us who do.
The real truths of life are never entirely new to you or to anybody because there is a level deep down within you where you already know all the things, all those spiritual truths that you read or hear, and then recognize them. I say 'recognize' because you're not... it's not new.
I would be far more critical than any reviewer could be of my own work. So I simply don't read them.
I grew up reading Updike. I remember being alarmed to find that he had published short stories by the time he was 22. I think 'Pigeon Feathers' was the first collection of stories I read. Only much later did I discover his non-fiction reviewing and art criticism.
It's crazy enough to be the person crawling through the bushes in Northern Ireland with a telescopic lens taking pictures - there are crazy people out there. But the idea that people want to go to sites and find out those spoilers... it's like if there was a website called Last Pages of Great Books, would you read that?
When you read any great mystery, recorded in holy Writ, you are to prostrate your Reason to Divine Revelation.
Some of the things you read you get an immediate reaction to so I've stopped reading things now. I do worry about my family though. Some people do try some nasty things to get at them and try and get a reaction from them.
They put it on the page because it sounded good or it looked good or they read it in a book somewhere that this is how you structure a script or something, and they just don't get it. It's surprising.
You might have a favorite book or film, but you can only watch or read it so many times before you have to let it sit and then go back and realize it's your favorite still. At some point everything gets a little stale and you have to step away from it.
If you ask 20 different readers why they read, they will all be right.
That's the thing: once it's in their hands, it's not my book anymore, it's theirs. I have no idea what happens when they start to digest it. So when someone writes me to explain how they read it, what it was like, what they enjoyed, there's a thrill. Writers who don't make their email addresses public are missing out on something wonderful.
I don't read music or anything, so when I produce, I go basically by ear.
My parents both work in publishing, and I was a bright, academic kind of kid, and I read a lot of books, and when you read a lot, I guess the muscle that gets exercised is where you can hear the voices in your head. You can turn words into pictures and into sounds and into colours and smells.
When I first discovered for myself the Celtic Twilight and read the earlier poems of Yeats and others, all was entirely incomprehensible to me. I groped through a mist of blurred meanings, stumbled through lines in which every accent seemed to be in the wrong place.
I went to work in 1962, and by '64 I was writing all the time, every night and every weekend. It didn't occur to me that, having read nothing and knowing nothing, I was in no position to write a book.
My claim is simply that the literary approach is one necessary way to read and interpret the Bible, an approach that has been unjustifiably neglected. Despite that neglect, the literary approach builds at every turn on what biblical scholars have done to recover the original, intended meaning of the biblical text.
I can't remember who told me but I was advised early on not to Google myself or read things about myself... I don't read a lot but get the gist of what's been said from friends and family. It's good to avoid it if you want to be normal person.
I read Tolkien when I was 11. I read 'The Hobbit' and the trilogy on a road trip with my family. I identified with the nonhumans in those books, and it never occurred to me why that was.
In real life, it is the hare who wins. Every time. Look around you. And in any case it is my contention that Aesop was writing for the tortoise market. Hares have no time to read. They are too busy winning the game.
When my mother read 'The Joy Luck Club', she was always complaining to me how she had to tell her friends that, no, she was not the mother or any of the mothers in the book.
Serial tasking is hard because switching tasks is hard, even when the tasks are easy and similar. In some experiments, bilingual speakers are asked to read out numbers, first in one language and then midway in another language. They often stumble at the switch, taking many tries before they hit their stride again.
I really love learning about animals. I pull from a deck of spirit animal cards. You pull one, and it's about 50 or 60 different animals, and then that day you read whichever animal you pull. And it kind of gives you insight.
And I always read the English translation and always have conversations with my translator, for example about the names. I always have to approve it.
I think Syria is often covered by phone. You have to talk to activists. You have to try to read the tea leaves. You have to talk to government officials. It's remote-control reporting in a way.
Always read something that will make you look good if you die in the middle of it.
I read mails throughout the day but answer mails more in the morning and evening.
'The Good Soldier' is an odd and maybe even unique book. That it is a masterpiece, almost a perfect novel, comes as a repeated surprise even to readers who have read it before.
Script for an actor is like a bible. You carry it with you, you read it over and over, you go to your passages.
Ever since I could first write I have been doing so. When I was taught how to write and read at school, I made up my mind that this was what I love to do best and this was the world I was going to occupy.
I had no idea that 'Less Than Zero' was going to be read by anyone outside of Los Angeles, and it's - believe me, as the writer of the book I'm somewhat amused and intrigued by the idea that 25 years later it's still out and people are still reading it.
Say I lived until 80 and read a book a month seriously, that means I was looking at 480 books left in my life. If I had only 480 left, I wanted to stop sifting through material I didn't have confidence in and turn my attention to those that I know merited my reading.
I talk all the time about how much I read growing up and how much I love Stephen King and how he impacted my work from a genre perspective, but Pat Conroy wrote some of the most magnificent stories about characters who had to deal with dysfunctional families and try to find a place of honor in their own world and the pain of loss.
I look at the Samurai because they were the artists of their time. What I think struck me when I read Bushido is compassion. 'If there's no one there to help, go out and find someone to help.' That hit me, because I try to lead my life like that.
Before I was reading science fiction, I read Hemingway. Farewell to Arms was my first adult novel that said not everything ends well. It was one of those times where reading has meant a great deal to me, in terms of my development - an insight came from that book.
In the business world, I did fairly well, but wasn't happy. A bout of sciatica put me flat on my back. All I could do was read, listen to my mother's stories about the Sandovals, and daydream: a return to self. My writing career had begun.
