Quotes of All Topics . Occasions . Authors
I think what is important for things to be funny is if you the listener, or the reader, get a chance to supply the humor of it yourself.
The language has got to be fully alive - I can't bear dull, flaccid writing myself and I don't see why any reader should put up with it.
I want the reader to be in the shoes of everyday people who are facing incredible dangers and wonder if they would make the same choices.
I can give advice to anyone interested in writing in one word: Read! I think it's much more important to be a reader than to be a writer!
When I write a book, I write a book for myself; the reaction is up to the reader. It's not my business whether people like or dislike it.
As a reader, I'm often put off by authors and story-lines without families or children and all of the angst and joy they bring with them.
In fiction, the reader will make jumps with you. If you can make the reader make that leap with you, it's a thrilling moment for everyone.
I've never been a fast reader. I'm fickle; I don't finish books I start; I put a book aside for five, ten years and then take it up again.
Before the day my grandmother shared her treasured letters with me, I honestly wasn't much of a fiction reader, let alone creative writer.
But in all things whether we shall make only a due use of the liberties we have asked, is left entirely to the judicious reader to decide.
I loved history in my school days, and I have always been a voracious reader. But in India, you end up doing MBA, engineering or medicine.
Well, for people who want to write best sellers, the best advice I can give is to say that the novel has to engage the reader emotionally.
To be willing to sort of die in order to move the reader, somehow. Even now I'm scared about how sappy this'll look in print, saying this.
My job as an author is to tell the story in the best way possible, to make it flow seamlessly and get the reader to keep turning the page.
Going back to my own past as a reader, I was a big, big reader of romances, particularly as a teenager, the age that my books are aimed at.
Writing a novel is an intense and lonely business, but you have the reward at the end of a very direct dialogue between you and the reader.
The one thing you have to do if you write a book is put yourself in someone else's shoes. The reader's shoes. You've got to entertain them.
I create doubt in the reader's mind. That is what literature is for: to provoke, to raise doubts, to talk about things that are not obvious.
I remember that feeling when I was a young reader: finding books that were set in Sydney with Australian characters was incredibly exciting.
Millions of dollars' worth of advertising shows such little respect for the reader's intelligence that it amounts almost to outright insult.
Humour is a fine line to walk in poetry, as in fiction. I just think it's harder to write. It's harder to keep the respect of the reader too.
A reader is not supposed to be aware that someone's written the story. He's supposed to be completely immersed, submerged in the environment.
The difficulty of literature is not to write, but to write what you mean; not to affect your reader, but to affect him precisely as you wish.
A book is a journey: It's a thing you agree to go on with somebody, and I think every reader's experience of a book is going to be different.
We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life 'outside' the story changes the story.
Sometimes the reader will decide something else than the author's intent; this is certainly true of attempts to empirically decipher reality.
We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story.
Most fiction series are written so that the reader can come in at any point and not feel lost, but if you can start at the beginning, why not?
Once in a while, when I first started to write pieces, I would try to write to a reader other than myself. I always failed. I would freeze up.
Horror and supernatural novels give you a lot of what you look for in a crime novel, just with a twist that was very fresh for me as a reader.
More than working toward the book's climax, I work toward the denouement. As a reader and a writer, that's where I find the real satisfaction.
I'm a very slow reader - I read maybe three or four books a year - so I listen to podcasts and the occasional audiobook, and I watch TED talks.
The first book you write because of the way it makes you feel. The second one you can't help but wonder how it's going to make the reader feel.
The gift of a writer as good as Dickens is not to explain everything; that way, the reader has, in terms of their imagination, somewhere to go.
I digress a lot - it's how I experience the world. I would like to write in a way that will convey that to the reader, but also I need clarity.
I like to blur the line between fact and fiction, but not to condescend to the reader by enmeshing her/him into some sort of a postmodern coop.
I hope that readers will tear through my books because they can't stop themselves - and then, maybe, read them again and find new things there.
A very wise author once said that a writer writes for himself, and then publishes for money. I write for myself and publish just for the reader.
I often think I can see it in myself and in other young writers, this desperate desire to please coupled with a kind of hostility to the reader.
I'm an equal opportunity reader - although I don't much read plays. And since I was raised a Presbyterian, pretty much all pleasures are guilty.
...it seems to us that the readers who want fiction to be like life are considerably outnumbered by those who would like life to be like fiction.
I want my words to open a portal through which the reader may leave the self, migrate to some other human sky and return 'disposed' to otherness.
There are secrets at the heart of every story; there is something that must be uncovered or discovered, both by the reader and by the characters.
Whatever I do is done out of sheer joy; I drop my fruits like a ripe tree. What the general reader or the critic makes of them is not my concern.
The transaction between writer and reader is human civilization's most dazzling feat, yet it's such a part of our lives that it's, well, prosaic.
No one ever became, or can become truly eloquent without being a reader of the Bible, and an admirer of the purity and sublimity of its language.
I think humor is a very serious thing. I use it as a way of weakening the reader's defenses so that I can more easily take him to something more.
I never was a big comic book fan. Obviously I'd heard them growing up from my friends who did read them, but I never was a big comic book reader.
I was a very keen reader of science fiction, and during the time I was going to libraries, it was good, written by people who knew their science.
Quite casually I wander into my plot, poke around with my characters for a while, then amble off, leaving no moral proved and no reader improved.