Quotes of All Topics . Occasions . Authors
Both my parents were big readers. My dad liked more macho adventure books like Shogun or spy novels. My mother reads murder mysteries. In fact, so does her mother, my grandma.
I never want to dumb it down. If there's any simplification, it's just a simplification to make sure that the reader understands the point that the character is trying to make.
I shall omit former particulars, and begin with informing the Reader, that, in 1792, I was strangely visited, by day and night, concerning what was coming upon the whole earth.
The idea of a poem as a message in a bottle means that it's sent out towards some future reader, and the reader who opens that bottle becomes the addressee of the literary text.
I think if a book has the power to move a reader, it also has the power to offend a reader. And you want your books to have power, so you just have to take what comes with that.
Best to say that once a poem is finished I trust it to make its way, and I trust readers will find their way to it and through it, if the thing has got itself rightly expressed.
We must meet children as equals in that area of our nature where we are their equals...The child as reader is neither to be patronized nor idolized: we talk to him as man to man.
My parents were very supportive and always encouraged us. My father was a gentle, nice man. My mother was quite a colorful character and a keen reader who encouraged me to write.
Libraries have had a long history of dealing with authoritarian organizations demanding reader records - who's read what - and this has led to people being rounded up and killed.
The reader need not be told that John Bull never leaves home without encumbering himself with the greatest possible load of luggage. Our companions were no exception to the rule.
The longer you work in this business [movie], the more you start to be able to see the carpentry. You can see where things are going, and it's harder to surprise you, as a reader
A book cannot apologize for what people may think it should be. It has to be authoritative. That's what I want as a reader - I want to be confident that the book will do its job.
I grew up as an avid reader. I would go to the library and check out 40 books a week. Some of them were smarty books; most of them were 'Sweet Valley High' and young teen romance.
What's the function of poetry? It's to express general truths, to connect with the reader and make him think: 'Wow, I've experienced that, but you've expressed it so much better.'
Poetry, I think, intensifies the reader's experience. If it's a humorous facet of the story, poetry makes it more exuberant. If it's a sad facet, poetry can make it more poignant.
Books are something social - a writer speaking to a reader - so I think making the reading of a book the center of a social event, the meeting of a book club, is a brilliant idea.
I read the 'Deadpool' series back in the '90s. I'm not, like, a huge comic book reader, per say, though. I'll check out 'Archie' when I'm in the grocery line, but that's about it.
The novelist teaches the reader to comprehend the world as a question. There is wisdom and tolerance in that attitude. In a world built on sacrosanct certainties the novel is dead.
If readers understand that they do not understand what they are reading then they must possess an understanding which is superior to the meaning which caused that misunderstanding.
I love almost everything about my work except conferences. I am too shy in front of an audience. But I love signings and having eye contact with a reader who already knows my soul.
I always feel that I am writing for somebody who is bright but impatient. Someone who doesn't have unlimited time. That is my sense of the reader. So I have got to get to the point.
I surrendered to a world of my imagination, reenacting all those wonderful tales my father would read aloud to me. I became a very active reader, especially history and Shakespeare.
When I write fiction, I never try to deliver a message; I just want to tell a story. But I admit that I want the story to be memorable and the characters to touch the reader's heart.
I was still an avid reader of Mills & Boon romances - on publication day, I used to rush out of work to get to the local book store to grab my favourites before they all disappeared.
But we talk about issues, we talk about people, we talk about personalities. George is a very good reader of people, and he's very perceptive about people, and you know, that's fine.
When I was a kid, I loved having a book in my hand. I still do. I wasn't a fast reader, but I was a steady reader. I read all of The Bobbsey Twins, Nancy Drew, and Cherry Ames books.
Before writers are writers they are readers, living in books, through books, in the lives of others that are also the heads of others, in that act that is so intimate and yet so alone.
I was always an avid reader of books. My vocabulary, my English are all thanks to that reading habit. Reading keeps me grounded. I came from a very middle class family - poor, in fact.
A single overstatement, wherever or however it occurs, diminishes the whole, and a carefree superlative has the power to destroy, for the reader, the object of the writer's enthusiasm.
The theater of the mind is impossible to compete with, and I like the idea that with a few suggestions, each reader forms in his or her own mind what a character or a place looks like.
I believe that poems are a score for performance by the reader, and that you become the speaking voice. You don't read or overhear the voice in the poem - you are the voice in the poem.
I'm a big, big reader of pretty much everything that Chuck Colson has written. And I consulted with him when I was making some decisions about running for the Senate in the first place.
The unsaid is a powerful tool. It invites the reader into the narrative, filling in gaps, interpreting silences and half-finished sentences, and seeing the hidden fear in someone's eye.
For every reader and writer of steampunk fiction, there are probably hundreds or thousands of other activists who gleefully embrace some non-written manifestation of the steampunk ethos.
In my work you often get an abrupt shift in time, a jolt. But the emotional logic will take the reader on. I hope. I trust. After all, our memories do not work with any sequential logic.
In my books and in romance as a genre, there is a positive, uplifting feeling that leaves the reader with a sense of encouragement and hope for a brighter future - or a brighter present.
We really set out in all our books to say something. Every one is an effort to bring the reader over and show them our theory as to why what we're talking about needs to be talked about.
I am always reading, always, and tons of things at once. I wouldn't say I'm a voracious reader, though. I never finish books that fast, because I'm always reading so many things at once.
It's good not only to realize that you can't please all of the people all of the time, but that you don't want to. There's a certain type of reader that you don't ever want to write for.
Mourning Ruby is not a flat landscape: it is more like a box with pictures painted on every face. And each face is also a door which opens, I hope, to take the reader deep into the book.
Great literature should do some good to the reader: must quicken his perception though dull, and sharpen his discrimination though blunt, and mellow the rawness of his personal opinions.
I think that each of us inhabits a private world that others cannot see. The only difference between the writer and the reader is that the writer is able to dramatise that private world.
I want readers turning pages until three o'clock in the morning. I want the themes of books to stick around for a reader. I'm always trying to find a way to balance characters and theme.
The act of writing... is the act of trying to understand why my opinion is what it is. And ultimately, I think that's the same experience the reader has when they pick up one of my books.
I think people read travel books either because they intend to take that trip, or because they would never take that trip. In a sense, as a writer you are doing the travel for the reader.
I get intrigued by a first lin and I write to find out why it means something to me. You make discoveries just the way the reader does, so you're simultaneously the writer and the reader.
The thing that makes vivid writing is when the reader is in the body of the story, the body of the character. Things smell like something; there's weather, there's texture, there's light.
It has always been something I could do, and it may seem odd that in my case I seem to create an interesting narrative and frustrate the reader's opportunities to follow it at every step.
I hesitated before buying a Kindle. I wasn't worried that the digital reader would ruin literature as we know it. Rather, my concern centered on using an electronic device in the bathtub.
I have the Sony Reader; I have the Kindle as well. I don't really use either of them, to be honest. I'd rather sit down with a cup of coffee and a newspaper than read all my digital books.