Cheryl Strayed Quotes

Rex Stout's narrative and dialogue could not be improved, and he passes the supreme test of being rereadable. I don't know how many times I have reread the Wolfe stories, but plenty. I know exactly what is coming and how it is all going to end, but it doesn't matter. That's writing.

I love books where you can't get out of bed. You want to consume them in one sitting, devour them. Those are my favorites, where you've almost abandoned your life for them. That doesn't happen every time, but those are the best.

I am influenced by books which don't have their eye on the endgame, but which try to be entertaining on each and every page.

My wife read Narc as well and was really into it.

If you read the first page of one of my novels, I can guarantee that you will read the last one. This isn't just social commentary. This is also about writing good page-turners. I want people to keep reading.

'Dirtiest Secret' is Dallas Sykes' story. And it is a stand-alone trilogy that readers can come to completely fresh.

At every turn, Molly Antopol's gorgeous debut story collection, 'The UnAmericans,' is firing on multiple cylinders.

I actually don't know much about Jaclyn Moriarty's process or where her stories come from or who inspired her characters. I just know that reading her books feels like sitting with friends. Her characters feel alive.

'MotherFatherSon' was just an extraordinary read and I wanted to be a part of it.

My favourite authors are John Grisham and Jeffrey Archer. Grisham rapidly established himself and now completely owns the legal space of fiction writing, something I want to do in financial space. I like Archer because he keeps his readers engaged: every chapter is a page turner, and he keeps his writing simple.

That underscored this idea that when we're reading a book or writing a book, you're in an act of co-creation. The reader and the writer are both trying to dress up and present their best selves and then there's that moment, when suddenly, as a reader, you're not exactly you anymore, and likewise, as a writer, you're not really you.

I wouldn't care to speculate about what it is in Westlake's psyche that makes him so good at writing about Parker, much less what it is that makes me like the Parker novels so much. Suffice it to say that Stark/Westlake is the cleanest of all noir novelists, a styleless stylist who gets to the point with stupendous economy, hustling you down the path of plot so briskly that you have to read his books a second time to appreciate the elegance and sober wit with which they are written.

I read books when I was a kid, lots of books. Books always seemed like magic to me. They took you to the most amazing places. When I got older, I realized that I couldn't find books that took me to all of the places I wanted to go. To go to those places, I had to write some books myself.

When you pick up a script and you can't stop reading it because it's a real page-turner, that's a good sign.

I've just surfaced from spending several days in a state of rapture: I was reading a book... I felt alive and engaged and positively brilliant, bursting with ideas, brimming with memories of other books I've loved.

When I read scripts and when I read books, it's more of an emotional response and I was really drawn to these characters.

In anything fit to be called by the name of reading, the process itself should be absorbing and voluptuous; we should gloat over a book, be rapt clean out of ourselves.

THE THREE is really wonderful. A mix of Michael Crichton and Shirley Jackson, hard to put down and vastly entertaining.

Too many writers think that all you need to do is write well-but that's only part of what a good book is. Above all, a good book tells a good story. Focus on the story first. Ask yourself, 'Will other people find this story so interesting that they will tell others about it?' Remember: A bestselling book usually follows a simple rule, 'It's a wonderful story, wonderfully told'; not, 'It's a wonderfully told story.'

This is much more than your typical thriller. Tim Johnston has written a book that makes Gone Girl seem gimmicky . . . Johnston is an excellent writer. You want to set this one down so you can take a breath, and keep reading--all at the same time.

I am drawn to any story that makes me want to read from one sentence to the next. I have no other criterion.

If you get the characters right you've done sometimes nearly half the work. I sometimes find I get the characters right then the characters will often help me write the book - not what they look like that's not very important - what people look like is not about their character. You have to describe the shape they leave in the world, how they react to things, what effect they have on people and you do that by telling their story.

Words are alive--when I've found a story that I love, I read it again and again, like playing a favorite song over and over. Reading isn't passive--I enter the story with the characters, breathe their air, feel their frustrations, scream at them to stop when they're about to do something stupid, cry with them, laugh with them. Reading for me, is spending time with a friend. A book is a friend. You can never have too many.

What I love about the thriller form is that it makes you write a story. You can't get lost in your own genius, which is a dangerous place for writers. You don't want to ever get complacent. If a book starts going too well, I usually know there's a problem. I need to struggle. I need that self-doubt. I need to think it's not the best thing ever.

Good fiction challenges us as much as it entertains and these days, we could do with both of these things.