Write a book you'd like to read. If you wouldn't read it, why would anybody else? Don't write for a perceived audience or market. It may well have vanished by the time your book's ready.
Man ceased to be an ape, vanquished the ape, on the day the first book was written.
One of the reasons that DC, Marvel, and other comic book companies have always asked me to do covers and variant covers is because they know that when they tell me 'icon,' I jump over their words, and I give them an iconic cover - but while I'm doing it, there is going to be an idea there.
Indeed, every book on my shelves is a key to a little vault of memories.
I can understand the allure of a venerable Big Six imprint, of a shot at the New York Times list, of a publisher-sponsored book tour, of seeing your hardbacks in bookstores and your paperbacks in supermarkets.
I've written so many verses and keep on writing so many more that I became afraid that if I didn't write them into one big book, I might forget some of them.
I like Victorian children's novels extremely a lot. If I would say I collect anything, that's what I'll hunt for now and again at old book stores.
I admire Virginia Woolf so much that I wonder why I don't like her more. She makes the inner things real, she does illumine, and she makes relationships realities as well as people. But I remember the intensity, the thrill, with which I read 'Passage to India.' How I would have hated anyone who took the book away from me.
My earlier books, 'The Oath,' 'This Present Darkness' were pretty straight adventure. 'The Visitation' is like a deeper book, more thought-provoking. It probes at character more.
You're never too old, too wacky, too wild, to pick up a book and read to a child.
I eat 'The Walking Dead' like its made of brains. Can't even watch the show, I love the book so much.
I really love poetry. I'm a big E.E. Cummings fan and a big Walt Whitman fan, and I have a big book of poetry.
I was a war correspondent in Korea. I did a book on it: 'This is War.'
I did an adaptation for a movie called 'The Devil in the White City' by Erik Larson for Warner Brothers. I love that book.
I feel that if I'm writing a book, it has to be an honest book: it has to say what I believe to be the truth, so that's kind of warts and all.
The challenge with 'Watchmen' is making sure that the ideas that were in the book got into the movie. That was my biggest stretch. I wanted people to watch the movie and get it. It's one of those things where, over time, it has happened more.
People unacquainted with graphic novels, including journalists, tend to think of 'Watchmen' as a book by Alan Moore that happens to have some illustrations. And that does a disservice to the entire form.
The first thing I did when I sold my book was buy a new wedding ring for my wife and asked her to marry me all over again.
I wanted to define the vocabulary of a wedding both visually and intellectually. The book is about more than weddings or wedding dresses. It's a metaphor for women's lives, their creativity.
The issue I highlight in the book is welfare reform.
