Quotes of All Topics . Occasions . Authors
I think that you have to keep the reader front and centre if you're going to write something that people are going to love and be entertained by.
Authors frequently say things they are unaware of; only after they have gotten the reactions of their readers do they discover what they have said
The things I keep going back to, rereading, maybe they say more about me as a reader than about the books. Love in the Time of Cholera, Pale Fire.
I have one main reader, Miriam Gomez, my wife. She reads everything I write - I have not finished writing something and she is already reading it.
In a manner of speaking, the poem is its own knower, neither poet nor reader knowing anything that the poem says apart from the words of the poem.
I've always wanted to write an early reader. When I wrote my first novel, my goal was to make it an early reader, but it grew beyond the category.
Readers have actually changed the way I've done things, changed the course of my career even, about four or five times. Just from reader feedback.
I was really influenced by Joan Didion and Pauline Kael; they were both at the height of their influence when I was coming into my own as a reader.
I believe the most important thing you can do in any kind of novel is to make your reader want to go on with it and want to know what happens next.
If you're going to spend two or three years immersed in a subject, you better be deeply interested in it, or it won't be interesting to the reader.
Instapaper wouldn't be of as much value if it weren't for these mobile and e-reader devices. They give you a separate physical context for reading.
For the speedy reader paragraphs become a country the eye flies over looking for landmarks, reference points, airports, restrooms, passages of sex.
I think 'accessible' just means that the reader can walk into the poem without difficulty. The poem is not, as someone put it, deflective of entry.
The social dimension of the art world is fascinating to me, but I also want to entertain the reader, so I will let a character say something funny.
What is possible and what is not possible is not objectively known but is, rather, a subjective belief on the part of the author and of the reader.
When you're a war correspondent, the reader is for you because the reader is saying, 'Gee, I wouldn't want to be doing that.' They're on your side.
I call our world Flatland, not because we call it so, but to make its nature clearer to you, my happy readers, who are privileged to live in Space.
I'm a reader for lots of reasons. On the whole, I tend to hang out with readers, and I'm scared they wouldn't want to hang out with me if I stopped.
Sequencing - the careful striptease by which you reveal information to the reader - matters in an article, but it is absolutely essential to a book.
A story invites both writer and reader into a kind of superficial ease: we want to slide along, pleasingly entertained, lost in the fictional dream.
The good, the admirable reader identifies himself not with the boy or the girl in the book, but with the mind that conceived and composed that book.
I don't confess in my work because to me, that implies that you're dumping all your guilt and sins on the page and asking the reader to forgive you.
I've always been a little bit more of a novel reader than a short story reader. I think the first books that made me want to be a writer were novels.
I'm an ecumenical reader, grew up with all sorts of fiction, teach writing, went to the Iowa Writers' Workshop, so my tastes and interests are broad.
A writer's ambition should be to trade a hundred contemporary readers for ten readers in ten years' time and for one reader in a hundred years' time.
I've never chased the dollar, I've always chased the reader's heart. I love having more readers. The more people who read it, the more thrilled I am.
I love the characters not knowing everything and the reader knowing more than them. There's more mischief in that and more room for seriousness, too.
Children know when they are being sold a sanitised version of the world, and I think that's a betrayal of the relationship between author and reader.
Journalism's ultimate purpose is to inform the reader, to bring him each day a letter from home and never to permit the serving of special interests.
At 'GQ,' there was never a temptation to pander or preach to the choir because I had no concept of who the reader was or what that reader might want.
Characters die all the time. At times, they die amongst a reader's tears, and at others, amongst the applause, and some, still, in quiet satisfaction.
For success, the author must make the reader care about the destiny of the principals, and sustain this anxiety, or suspense, for about 100,000 words.
All we need to do, reader or writer, from first line to final page, is be as open as a book, and be alive to the life in language - on all its levels.
I don't have a great eye for detail. I leave blanks in all of my stories. I leave out all detail, which leaves the reader to fill in something better.
The 'Reader's Digest' used to run a feature called 'It Pays to Increase Your Word Power.' The new wisdom - post-Trump and Brexit - is that it doesn't.
I came up with new leads for game stories by being observant and clever, by using the many gifts of the English language to intrigue and hook a reader.
I quickly learned that reading is cumulative and proceeds by geometrical progression: each new reading builds upon whatever the reader has read before.
Normally, I have a lot of alpha readers on my books. These are people that, once I finish a novel, I let them look at it and give me a reader response.
I was never much of a reader. I'm a slow reader, which is unusual, because I'm so into language and I love words so much. But it's hard for me to read.
The relationship between reader and characters is very difficult. It is even more peculiar than the relationship between the writer and his characters.
A novelist can never be his own reader, except when he is ridding his manuscript of syntax errors, repetitions, or the occasional superfluous paragraph.
I've always loved J.R.R. Tolkein and recently, Christine Feehan and J.K.Rowling. There are many as I'm an avid reader, but those three come to the fore.
Almost all novels are improved by cutting from the top. On their first pages, authors parade those favourite effects which disgust the impartial reader.
I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
I notice that students, particularly for gay students, it's too easy to write about my last trick or something. It's not very interesting to the reader.
What any writer hopes for is that the reader will stick with you to the end of the contract and that there is a level of submission on the reader's part.
It is easy to force a reader or viewer to interact. The trick is in making them want to interact, and in letting the story unfold hand-in-hand with that.
It’s as much a writer’s concern, who is responsible to his readers for all the books written before him as well as those which will be written after him.
I must confess that I'm not a great reader. At the moment I'm reading my son's 'Stig of the Dump' by Clive King and I've got a plant catalogue on the go.
In Necessary Marriage, I tried to repeat entire phrases without the reader noticing. My work doesn't have the rigor of music, but I hope it alludes to it.