Quotes of All Topics . Occasions . Authors
I mean, my dad's a television producer, and I knew I could get a job as an assistant or a reader with one of his friends, but it wasn't exactly what I wanted to do.
I was eccentric, even as a kid. I was an early reader, an early talker. I was very curious in a way that maybe the other kids weren't. I was a little more outgoing.
I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.
I'm a professional non-fiction reader, that's what I do. But in my 20s we had our own vampire and witch moment, courtesy of Anne Rice, whose books I read and loved.
I'm a voracious reader, and I like to explore all sorts of writing without prejudice and without paying any attention to labels, conventions or silly critical fads.
I've always been an avid reader. If I don't have a book in the car, I'll stop and pick one up just to have something to read. I don't even remember learning to read.
Reading is a majority skill but a minority art. Yet nothing can replace the exact, complicated, subtle communion between absent author and entranced, present reader.
Any writer who gives a reader a pleasurable experience is doing every other writer a favor because it will make the reader want to read other books. I am all for it.
I like moral judgment to emerge from the reader. We are being sold a very simplistic morality by our leaders at a time when nuance and understanding are at a premium.
Truth is often a multiplicity of perspectives, and sometimes the more viewpoints and versions of events there are, the closer the reader gets to an overarching truth.
I picked up reading late because I grew up dyslexic. When I went to college, a friend who was a big reader got me started on a number of writers, including Hemingway.
Novels are my favorite to write and read. I do like writing personal essays, too. I'm not really a short story writer, nor do I tend to gravitate to them as a reader.
The most exhilarating for the writer and the reader, are gift-things-poems which arrive on their own energy, poems that in William Shakespeare's term "slip" from you.
Poetry should surprise by a fine excess and not by singularity, it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance.
Every story makes a promise to the reader. Actually, two promises, one emotional and one intellectual, since the function of stories is to make us both feel and think.
A good writer can set a thriller anywhere and make it convincing: the trick is to evoke the setting in such a way that it highlights the crime or unsettles the reader.
It's a grave mistake in publishing, whether you're talking about Internet or print publication, to try to play to a limited repertoire of established reader interests.
The very best way I can make any reader believe in the nuts and bolts of an art form... is to know the mechanics, to make the characters grounded in convincing detail.
There were people who read and there were the others. Whether you were the a reader or a non-reader was soon apparent. There was no greater distinction between people.
Before the reader turns his back upon the Grand Basin once for all, I should like to put a name upon the glacier it contains - since it is the fashion to name glaciers.
When you're writing stuff that's already clotted with neologisms and trying to get across fairly abstruse concepts, you're already putting a heavy burden on the reader.
I feel that these stories are being written to articulate certain confusions and disappointments, and I do mean to shake up the reader, and I do hope they're on target.
To be misunderstood can be the writer's punishment for having disturbed the reader's peace. The greater the disturbance, the greater the possibility of misunderstanding.
I try as hard as I know how to keep my reader relating on a broad level so I don't lead her someplace where she thinks that's the only thing that could cause insecurity.
I don't know if anything I write will endure, but I do try to write it as a narrative that will not only challenge but also entice the reader into the lives of children.
I contend that in the kind of nonfiction I write, and that other people also pursue, anything is permissible provided the reader knows what you're taking liberties with.
Verbs allow you to communicate a story in a much more converged or involuntary way for a reader. The verbs allow you to come in under the radar, below people's defenses.
I think that 'Mary Poppins' needs a subtle reader, in many respects, to grasp all its implications, and I understand that these cannot be translated in terms of the film.
If you are a reader of 'Harper's Bazaar,' to me, you are a woman who loves fashion, but not just fashion; you love fashion, you love travel, you love art, you love music.
Naturally, the reader has access only to the events I show and the way I show them, but as has been said, there's generally a good deal of ambiguity in that presentation.
The worst headline is one that contains a factual error. Bad headlines are ones that are bland, and don't tell the reader anything specific, like 'Democrats at it Again.'
What I do believe is that there is always a relationship between writing and reading, a constant interplay between the writer on the one hand and the reader on the other.
I'd like the reader to decide if he is willing to pay minute sums for content. I'd like the economics of web to be controlled between authors and readers, not advertiser.
Ah yes, the paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.
Writing poetry makes you intensely conscious of how words sound, both aloud and inside the head of the reader. You learn the weight of words and how they sound to the ear.
The one thing a lifetime in the newspaper business teaches you is pace - you spend all your time trying to make sure that the reader's going to finish what you're writing.
Say all you have to say in the fewest possible words, or your reader will be sure to skip them; and in the plainest possible words or he will certainly misunderstand them.
Authors can only soft sell the environment. Create a wonderful story around the environment involving the characters that leaves a lasting impression on the reader's mind.
No one in my family was a reader of literary fiction. So, I didn't have encouragement, but I didn't have discouragement, because I don't think anybody knew what that meant.
I do want to write about Jane Whitefield again, but only when I have a good enough idea - something I've figured out about her that's news and that's worth a reader's time.
The headline is the most important element of an ad. It must offer a promise to the reader of a believable benefit. And it must be phrased in a way to give it memory value.
The appeal of the spectrally macabre is generally narrow because it demands from the reader a certain degree of imagination and a capacity for detachment from everyday life.
Toni Morrison has a habit, perhaps traceable to the pernicious influence of William Faulkner, of plunging into the narrative before the reader has a clue to what is going on.
When you write a novel, you never have to be in the service of the reader. My only concern with my books is that the world that's created be as logical and whole as possible.
My normal life is, I love to travel and I travel as often as I can. I don't stay in one place too long. But I'm an avid reader; I guess you could say I'm a bit of a bookworm.
Rather than a teaching tool, I think a novel is more of a witnessing entity. A witnessing entity? What is that? I just want the reader to step in and experience it as a story.
Words aren't very good at describing complicated, strange visual things. You can try, and the reader will have some sort of image in their mind, but words aren't good at that.
I've been a Marvel reader since I was just a kid, and I've dreamed of being a Marvel writer for almost as long, so being tapped to officially join the team is truly something.
I think there have always been male writers, female writers. As a reader, I never picked up a book and said, 'Oh, I can't read this - it's about a male,' and set it back down.
My normal life is I love to travel, and I travel as often as I can. I don't stay in one place too long. But I'm an avid reader, I guess you could say: I'm a bit of a bookworm.