Quotes of All Topics . Occasions . Authors
When I need a word and do not find it in French, I select it from other tongues, and the reader has either to understand or translate me. Such is my fate.
One thing we never did with 'Bad Company' was talk down to our reader. And we certainly don't do that with the new story, 'Bad Company, First Casualties.'
No book that is written for an external purpose is going to be a passionately felt book for the writer or the reader. I don't see the point in doing that.
Instead of taking the reader by the hand and running him down the hill, I want to lead him into a house of many rooms, and leave him alone in each of them.
People who have had a stroke and are recovering from it love being read to... especially by someone who is a good reader - it does help them to get better.
My personal theory is that younger audiences disdain books - not because those readers are dumber than past readers, but because today's reader is smarter.
I don't think of myself as a fast reader. I just read a lot. When someone else might think, 'I might do the dishes,' I don't. But then the dishes multiply.
When you're writing, you think: How does intimacy happen in the work? You don't know who your reader is, woman, man, child, black person, Asian, who knows?
The way a book is read, which is to say, the qualities a reader brings to a book can have as much to do with its worth as anything the author puts into it.
While the spoken word can travel faster, you can't take it home in your hand. Only the written word can be absorbed wholly at the convenience of the reader.
The reader has to be creative when he's reading. He has to try to make the thing alive. A good reader has to do a certain amount of work when he is reading.
I think it's good not to make demands on the reader too early. But as the poem goes on, I want the journey of the poem to lead into some interesting places.
All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what's cool.
A savage review is much more entertaining for the reader than an admiring one; the little misanthrope in each of us relishes the rubbishing of someone else.
Socrates affirmed that only that which the reader already knows can be sparked by a reading, and that the knowledge cannot be acquired through dead letters.
Reader was by far the most popular feed reader out there, and its user base had been in a steep decline for two years before Google decided to shut it down.
I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.
But I was, and still am, an avid reader and so when I first started I chose to photograph many of the great writers in this country to try and earn a living.
I'm not the best actor I can be, so I'm just working on it. I'm not the quickest reader in the world but when I get an acting book I can read it in two days.
The idea that certain things in life - and in the universe - don't yield up their secrets is something that requires a slightly more mature reader to accept.
You want to feel that your reader does identify with the characters so that there's a real entry into the story - that some quality speaks to the individual.
On a daily basis there are some huge ones that are, sure, from time to time, but it is helping the reader sort through all this sort of gray stuff out there.
Almost anything is too much. I am trying in my poems to have the reader be the experiencer. I do not want to be there. It is not even a walk we take together.
Never change the URL of your blog. I've done it once, and I lost much of my readership. It took several months to build up the same reader patterns and trust.
I always tell my students to complicate your characters: never make it easy for the reader. Nobody is ever one thing. That's what makes characters compelling.
As a reader, I notice political views regardless of whether or not the book is fiction. What annoys me is when said views do nothing to advance the narrative.
What I'm interested in doing in a story is bringing certain different languages, people, events together and then letting the reader make what he wants of it.
I think it's very easy to disgust the reader with violence on the page - that's incredibly easy - but it's far harder to make a reader care about a character.
'The Crimson Petal and the White' is a book, and it will win or lose the trust of each reader when they begin reading its pages. That relationship will go on.
The most annoying and full-of-crap thing a writer says is, 'I write only for myself, I don't care if anyone reads it.' A writer without a reader doesn't exist.
Perhaps first and foremost is the challenge of taking what I find as a reader and making it into a poem that, primarily, has to be a plausible poem in English.
I like using animals because they help suspend my reader's disbelief. We have certain ideas about dentists. We don't have many ideas about rhinoceros dentists.
Some manufacturers illustrate their advertisements with abstract paintings. I would only do this if I wished to conceal from the reader what I was advertising.
I am a novelist. I traffic in subtleties, and my goal in writing a novel is to leave the reader not knowing what to think. A good novel shouldn't have a point.
Whatever solidarity I have established with other writers individually, it is usually organized around books. We connected as readers, as it were, not writers.
You should never ask, 'What would the readers like now?' Instead, you should ask, 'What would I like if I was a reader?' And then you must trust your own mind.
I think Walking Dead is one of the friendliest new reader type books in that every time a new trade is shipped out, a new issue is shipped out at the same time.
I mean, the wonderful thing about writing a book is that you're getting a finished product at the end of the day. You're communicating directly with the reader.
I have an RSS reader, Feeddler. I mostly subscribe to board game blogs - they have reviews of new games and discussions about trends. It's straight-up dork talk.
I want the reader to feel something is astonishing - not the 'what happens' but the way everything happens. These long short story fictions do that best, for me.
One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.
Probably, subliminally, I think of the reader as a kind of collaborator. I don't want to say something for the reader that the reader could have said for himself.
I'm very aware of the presence of a reader, and that probably is a reaction against a lot of poems that I do read which seem oblivious to my presence as a reader.
A reader can never tell if it's a real thimble or an imaginary thimble, because by the time you're reading it, they're the same. It's a thimble. It's in the book.
I am becoming increasingly difficult to please as a reader, but I adore being surprised by a really wonderful book, written by someone I've never heard of before.
My breakthrough as a reader was when I discovered the European adventure story writers - Alexander Dumas, Robert Louis Stevenson, Sir Walter Scott, to name a few.
Editing is simply the application of the common sense of any good reader. That's why, to be an editor, you have to be a reader. It's the number one qualification.
I want you, as a reader, to experience what I experience, to let that other world, that imaginary world that I have created, tell you things about the real world.
The relationship between reader and writer is reciprocal in a way. We co-create each other. We are constantly emerging out of the relationship we have with others.
I'm very happy for whatever plaudits might come the way of my work, but I never ever sit down to write x with y in view - whether it's a reader, a prize or a sale.