Quotes of All Topics . Occasions . Authors
When I was young, I was reading anything and anything I could lay my hands on. I was a veracious-to-the-point-of-insane reader.
I'm not sure the risks I take are any different from what other writers take, since we all serve at the pleasure of the reader.
Most readers, then and now, have at some time experienced the humiliation of being told that their occupation is reprehensible.
Ultimately, in my mind, that's what I'm trying to do with my fiction; I'm trying to transport my reader into a different world.
There is a contract between the reader and the writer. The readers give me their hard-earned cash, and I have to entertain them.
You can't clobber any reader while he's looking. You divert his attention, then you clobber him and he never knows what hit him.
I grew up reading not-serious literature, like comic books and pulp novels, so my instinct is to amuse the reader and entertain.
Poetry is the revelation of a feeling that the poet believes to be interior and personal which the reader recognizes as his own.
I'm like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.
I have a couple of dozen books on my reader: ideal for a long trip or an afternoon waiting at the medical clinic. It's flexible.
If something's not working, it's wonderful to have a reader you can trust to say, 'Actually, you've gone off the deep end here'.
Every reader re-creates a novel - in their own imagination, anyway. It's only entirely the writer's when nobody else has read it.
I think there's no excuse for the American poetry reader not knowing a good deal about what is going on in the rest of the world.
It's funny, because readers think they want the characters to be blissfully happy, but it makes it kind of boring for the reader.
The bottom line always remains the same: What is the basic humanity of the character? How do I make them resonate with the reader?
I've worked with many large and small publishers, and nearly all of them love the value that Instapaper provides to their readers.
For me, it makes sense to address shocking experiences through poems because of the way poems also have that effect on the reader.
It is the test of a novel writer's art that he conceal his snake-in-the-grass; but the reader may be sure that it is always there.
Good writing is supposed to evoke sensation in the reader - not the fact that it is raining, but the feeling of being rained upon.
Anyone who tries to write a memoir needs to keep in mind that what's interesting to you isn't necessarily interesting to a reader.
Humor writing requires a rhythm and timing, as well as some kind of connection to the reader, and I think that's how I tap into it.
Traditionally, the science fiction reader has been the 16- to 24-year-old male, especially the male with an interest in technology.
At the end of the day, it's about the reader's attachment to and belief in the magical elements that make or break magical realism.
I used to be a rabid reader, but now it's scripts or nothing - network television is quite relentless, and you can't drop the ball.
If the book is a mystery to its author as she's writing, inevitably it's going to be a mystery to the reader as he or she reads it.
Weaknesses have a certain function in a poem... some strategy in order to pave the reader's way to the impact of this or that line.
The suspense of a novel is not only in the reader, but in the novelist, who is intensely curious about what will happen to the hero.
If I can be more efficient, I'm actually being more respectful to the reader, which then implies a greater intimacy with the reader.
I never really thought I had an extensive vocabulary like that, and I'm not an avid reader. I didn't read a lot growing up - at all.
The reader knows the writer better than he knows himself; but the writer's physical presence is light from a star that has moved on.
The best writing is not about the writer, the best writing is absolutely not about the writer, it's about us, it's about the reader.
Oftentimes I deliberately put ambiguity into my books so that... the reader is left with an echo of: 'How much of this was from me?'
The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.
Readers will always insist on adventures, and though you can have grief without adventures, you cannot have adventures without grief.
I have always been an obsessive reader - I remember going back and forth to the local library with stacks of books taller than I was.
I really like it when you can step outside of what's come before and find a surprise for the reader and find a surprise for yourself.
Let the reader find that he cannot afford to omit any line of your writing because you you have omitted every word that he can spare.
Trust your reader. Not everything needs to be explained. If you really know something, and breathe life into it, they'll know it too.
Readers don't grow in trees. But they are grown-in places where they are fertilized with lots of print, and above all, read to daily.
I'm not really a good reader. What I mean is, I think I'm not one of those people who can read a story and analyze it just like that.
I was a big reader as a kid, but it was 'Charlotte's Web' that showed me you could feel as if you were actually living inside a book.
I don't know whether a poem has be there to help to develop something. I think it's there for itself, for what the reader finds in it.
Certainly not every reader has liked every one of my books, but I think that's a good thing because it means I'm not repeating myself.
I would want the British reader to feel that religion in America isn't an absurd thing - a sign of a pin head athwart a gigantic body.
I'm a sporadic reader. I have moments when I can't stop... then I kind of forget that I can read. But then I go, 'Oh God, yeah, books!'
I'm a reader. I found out that, whether you're a studio head or a director, you must read your own material. You can't rely on readers.
You are often asked to explain your work, as if the reader isn't able to work it out. And people always try and label you by your work.
A novel is a conversation starter, and if the author isn't there for the after-party, both the writer and the reader are missing a lot.
You always hope you'll surprise somebody with the work. If you write something human and appealing, the perfect reader could be anyone.
My focus is on the reader and that the poet's job is not to inspire himself or herself. The poet's job is to inspire some future reader.