Michael Scott Quotes

I've always been drawn to writing historical characters. The best stories are the ones you find in history.

In fact, I think every book I've written has been inspired by a real event.

Oh, I think every author is inspired by all of the books that she reads.

Other writers definitely influence my writing. What encourages me and inspires me is when I read a good book. It makes me want to be a better writer.

I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.

For most of us, fanfiction is a non-issue. Even for midlist writers. We will never be popular enough for people to play in our worlds with any frequency. The problem for us is getting people to read and care about our books that much in the first place.

Part of the beauty of a long-format story is that the characters become as much yours as they are mine, and you dream of them in a different way than I do.

What are you reading?" Owen asks. "Charlotte's Web," Liz says. "It's really sad. One of the main characters just died." "You ought to read the book from end to beginning," Owen jokes. "That way, no one dies, and it's always a happy ending.

The less you offer, the more readers are forced to bring the world to life with their own visual imaginings. I personally hate an illustration of a character on a jacket of a book. I never want to have someone show me what the character really looks like - or what some artist has decided the character really looks like - because it always looks wrong to me. I realize that I prefer to kind of meet the text halfway and offer a lot of visual collaborations from my own imaginative response to the sentences.

Well, Bradbury's a genius. Fahrenheit 451 is one of my favorite books of all time, and The Illustrated Man as a collection of short stories ranks up there. When you read it you realize how influential it is on so many other stories and people.

For me, reading books and writing them are tied together. The words of other writers teach me and refresh me and inspire me.

What I always try to do in all my books is to make the stories such that if you don't agree with me politically or you're not interested in the thematics, the story will still keep you turning the pages.

The plot is very important because writers have to play fair with their readers, but no one would care about the plot if the character work wasn't there. So, basically every book I work on starts with me thinking not just about the bad thing that's going to happen, but how that bad thing is going to ripple through the community, the family of the victim, and the lives of the investigators. I am keenly aware when I'm working that the crimes I am writing about have happened to real people. I take that very seriously.

The usual run of children's books left me cold, and at the age of six I decided to write a book of my own. I managed the first line, 'I am a swallow.' Then I looked up and asked, 'How do you spell telephone wires?

I think the characters are supposed to be an open book, blank canvas.

To hold the reader's attention, you have to bring the person who's reading the book inside the experience of the time: What was it like to have been alive then? What were these people like as human beings?

My dad read The Hobbit to me originally when I was young. So, it was the first imaginary landscape I ever had in my head from the written word. It gave me a passion for reading, thanks to my dad's performance of the book.

The best books come from someplace deep inside.... Become emotionally involved. If you don't care about your characters, your readers won't either.

The book that made me want to be a writer in the first place was Gone with the Wind - I read it and wanted to create a whole world out of words, too.

For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.

Angela Carter's fiction blew me away and really instilled a passion for writing, bolstered by Vladimir Nabokov. But in general, I can't point to any one thing. I just always loved books and writing.

One night a friend lent me a book of short stories by Franz Kafka. I went back to the pension where I was staying and began to read The Metamorphosis. The first line almost knocked me off the bed. I was so surprised. The first line reads, “As Gregor Samsa awoke that morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect. . . .” When I read the line I thought to myself that I didn’t know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago. So I immediately started writing short stories.

I learned to write by reading the kind of books I wished I'd written.

Here's what I want from a book, what I demand, what I pray for when I take up a novel and begin to read the first sentence: I want everything and nothing less, the full measure of a writer's heart. I want a novel so poetic that I do not have to turn to the standby anthologies of poetry to satisfy that itch for music, for perfection and economy of phrasing, for exactness of tone. Then, too, I want a book so filled with story and character that I read page after page without thinking of food or drink because a writer has possessed me, crazed with an unappeasable thirst to know what happens next.

...book-buyers aren't attracted, by and large, by the literary merits of a novel: book-buyers want a good story...something that will first fascinate them, then pull them in and keep them turning the pages.