Dana Stabenow Quotes

Author tours used to have a sense of excitement and pleasure, a sense of occasion. I remember stores having a table with wine and food. It was just a real evening.

I love signing the books; it's so exciting to see my readers in person.

I've never been on a paperback tour before, you know, because usually you go on tour when a hardcover comes out.

I would love to be in public one day and see someone reading my book. I think that would be so ridiculously cool.

Seeing people who are actually reading your book and listening to the wide variety of reactions they have to it, is really special.

All the marketing and advertising sells the book as what it is and hopes that the book will be displayed so that your readers can find it.

When my first novel was published, I went in great excitement round bookshops in central London to see if they had stocked it.

We need to write books that publicists and marketers and booksellers and book club leaders and librarians and readers can get excited about. That have something about them that makes them stand out. That makes them shine.

I love to walk into Borders or Barnes & Noble and see my books there. It's fabulous.

I meet people at book signings. My record now, for signing, is ten and a half hours in one sitting.

Here's an idea: Spend two or three hours a day at least five days a week in front of a bookstore wearing a sandwich board with your bookcover on it while you chase and chat with anyone you can corral and who is willing to talk to you.

Publicity doesn't work for books. It really doesn't. All it does is get your name in front of a reader who might then glance at your book. Or not.

I feel luck plays a vey crucial role in determining the success of the book. Marketing a book is also very important. You need to try all tricks in the trade.

Having big audiences when you're on a book tour is like Valhalla if you're a person who used to sell Girl Scout cookies on the side. Because you want to give the reading that will sell the most books.

Calling a book 'young adult' is only important in that it can help get a book to the right reader. After that, it's a useless abstraction and should be discarded.

The simple fact is, the more people who buy your books, the more are likely to read you. That's what I'd like to see happen.

Every single day, authors read at bookstores and libraries - and coffeeshops and bars - all over the country. And these readings are amazing: you get to hear the book in the author's own voice, ask questions, and meet the writer. For free.

If I'm on the road for Random House, I'm presenting a book with the hope people will buy it.

The most important thing about writing a book is having book parties.

It's interesting when you're doing signing sessions with other writers and you look at the queues at each table and you can see definite human types gathering there.... My queue is always full of, you know, wild-eyed sleazebags and people who stare at me very intensely, as if I have some particular message for them. As if I must know that they've been reading me, that this dyad or symbiosis of reader and writer has been so intense that I must somehow know about it.

I do believe in that thing about the reading audience being very important to the formation of the novel at its birth.

Chicago is my biggest base for U.S. readership. If I ask my readers where should I come, Chicago always has the most votes.

Often I go to book festivals and they just turn authors into celebrities.'

I took six months to rehearse how I'd ask Shah Rukh Khan if he would launch my debut novel. I thought of 100 ways to ask him. Finally, three weeks before the book hit the stands I went to pop the question and forgot everything I rehearsed.

The book tour is a strange institution. You are wheeled about to explain your book and even to justify it.