Quotes of All Topics . Occasions . Authors
Shirley Jackson enjoyed notoriety and commercial success within her lifetime, and yet it still hardly seems like enough for a writer so singular. When I meet readers and other writers of my generation, I find that mentioning her is like uttering a holy name.
I first read the 'Raj Quartet' in the early 1970s, when Paul Scott's decision to set his novels in the dying days of the British Raj in India seemed an eccentric choice, almost as though he did not want readers. The British were tired of their imperial past.
Some people become passionate readers and fans of science fiction during childhood or adolescence. I picked up on SF somewhat later than that; my escape reading of choice during my youth was historical novels, and one of my favorite writers was Mary Renault.
While historians may go on attempting grand, sweeping and defining narratives, they work in a time when readers know that another narrative always lies in wait, and that the more intelligent an historian is, the more tentative and self-scrutinizing the tone.
Early on, after gay liberation, there was an almost Stalinist pressure from gay critics and even gay readers to write about positive role models. We were never supposed to write negative things about gays, or else we were seen as collaborating with the enemy.
With the advancement in e-reading technology, I was curious if it were possible for readers to be able to hear the actual songs while reading the book. I contacted Amazon and discussed the idea with their Kindle team, and they were very enthusiastic about it.
I have always argued that newspapers should not have any civic purpose beyond telling readers what is happening... A reporter who doesn't quickly tell readers what they most want to know - the score - won't last long. Better he should teach political science.
Few writers in history have ever been 'politically correct' (a notion that rapidly changes in any case), and there's no reason to imagine that gay writers will ever suit their readers, especially since that readership is splintered into ghettos within ghettos.
I remember how a man once got in touch with me to tell me that he was so engrossed in my book that he had to take a day off from work just so that he could finish reading it. Such kind of responses from my readers is extremely endearing, and it keeps me going.
I've read quite a few readers' reviews of my book on Amazon, saying, 'Ah, he criticises the free market, he advocates central planning.' I don't do that for a minute! But this is our black and white, dichotomous way of thinking - which has really been harmful.
While I'm critical to the Bush presidency, it's been enormously beneficial for Salon because we're seen as kind of an aggressive watchdog on the Bush White House. Particularly since Florida, our readership hit a whole new level, and we held onto those readers.
Newspapers with declining circulations can complain all they want about their readers and even say they have no taste. But you will still go out of business over time. A newspaper is not a public trust - it has a business model that either works or it doesn't.
History buffs expect historical background in historical fiction. Mystery readers expect forensics and police procedure in crime fiction. Westerns - gasp - describe the West. Techno-thriller readers expect to learn something about technology from their fiction.
I still have a lot of military contacts, and friends and readers who've served or are serving, and they react really strongly to G.I. Joe. I've lost count of the number who've said, 'Oh, I just loved it as a kid. I had all the figures; it really made me think.'
I get letters from readers who say that they have always hated reading, but somebody suggested one of my books, they actually finished the book and enjoyed it, and they're going on to read another book. I'm thrilled that they have figured out that reading is fun.
Don't send out a newsletter just to send out a newsletter. One newsletter a year that is really interesting is more beneficial than 12 that are boring. If you write two or three boring newsletters in a row, your readers will start to think you write boring books.
Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you're connecting with them on a personal level.
You do not know, and the readers cannot tell you, what they might like until they have it. It is one of those things that particularly if you want to be the next wave, well the next wave is not already on the bestseller lists. The next wave is in somebody's head.
'The Observer's Very Short List' is another example of how the Observer Media Group offers its readers the most cutting-edge information, available in a variety of platforms and written by an editorial staff known for its distinctive and discerning style and wit.
Misconceptions about Young Adult fiction aren't new to fans of the genre. From being dismissed as mindless fluff for 'Twilight'-obsessed tweens, to constant warnings that the genre is dying, kerfuffles between the media and readers occur with alarming regularity.
I didn't want to be a writer, but I became one. And now I have many readers, in many countries. I think that's a miracle. So I think I have to be humble regarding this ability. I'm proud of it and I enjoy it, and it is strange to say it this way, but I respect it.
Understanding how the media actually works is critical. Because editors depend on ignorance and media illiteracy to ply their trade. The fact that many readers expect fact checking, editorial oversight, and ethics actually makes it easier for the media to be lazy.
One of the interesting things about YA books - I don't know about Percy Jackson, but I do know about 'Twilight' and 'Maximum Ride': There are a lot of adult readers. In fact, we released 'Maximum Ride' both as a paperback for kids and as a mass release for adults.
Ten years ago, you wrote a book and you never expected to find out anything about the author. Now with social media, everyone wants that connection. I think our readers want to be invited into our lives and brought on the journey and be part of this whole process.
I realize that, to many readers, Hard Fantasy may seem to be a contradiction in terms. Fantasy, according to most generally recognized definitions, differs from both 'real world' fiction and 'science fiction' in that magic or magical creatures are active elements.
By coincidence and not design, 'Everstar' is written and drawn by an all-female creative team, and it makes me smile to think that there may be young female readers out there, future writers and artists, who get to see that comics doesn't have to be a 'boys' club.'
I think when you've had success, publishers and reviewers and readers are willing to let you try something new if you've already proven yourself. They're excited about what you're doing, you have people interested in it, and actually waiting for it. It's empowering.
To read Transtromer - the best times are at night, in silence, and alone - is to surrender to the far-fetched. It is to climb out of bed and listen to what the house is saying, and to how the wind outside responds. Each of his readers reads him as a personal secret.
For a professional writer in the Soviet Union, it works this way. First, you have to have something to say - that's the main thing. Second, it's a matter of who publishes you. If your book has real stuff in it, readers will ferret it out, even in a Siberian journal.
I like collecting comics, I like buying comics, I like looking at comics, but I also read comics on digital readers, so any way people read comics is fine with me. Digital is just helping people who might not necessarily have access to comics help them; that's great.
Whether it's viewers of the show or readers of my columns and books, I'm consistently impressed with their wit, humor and insight. That goes for about 95 percent of the audience. The other five percent are why the 'Delete' option and restraining orders were invented.
There are many challenges I face while working on a book. Working within deadlines and schedules is certainly one of the bigger ones for me. I want to create the best possible book I can for my readers with words and pictures - and that takes time to get it just right.
The government's view is that the best time to announce bad news, news that it doesn't want the public to dwell on is late on a Friday, when it will wind up in the Saturday papers, which if you were readers, then the week day editions. A holiday weekend is even better.
Reading and writing, like everything else, improve with practice. And, of course, if there are no young readers and writers, there will shortly be no older ones. Literacy will be dead, and democracy - which many believe goes hand in hand with it - will be dead as well.
I think there's a joy to be had in taking readers where they just don't want to go. If you are writing a properly realist novel, then don't blink. Why not see something for what it is and render it truthfully? I find it a good way of going about writing - not to blink.
While editors and newspaper owners currently fret over shrinking readership and lost profits, they do the one thing that insures cutting their own throats; they keep reducing space for the one feature that attracts new young readers in the first place; the comic strips.
If chick-lit really is taking a commercial battering, I'd suggest it's because the marketing has been done to death. Covering everything in girlie pink and putting chocolate in the title may once have been a clever Pavlovian device but now makes readers feel a bit sick.
A writer is someone who tells you one thing so someday he can tell his readers another thing: what he was thinking but declined to say, or what he would have thought had he been wiser. A writer turns his life into material, and if you're in his life, he uses yours, too.
Writing 'Book 1: The Maze of Bones' didn't feel much different than writing one of my other novels, but I thought it was very innovative to offer the website and trading card components as well for those readers who wanted to go more in depth with the Cahill experience.
Rowling is a luminous storyteller. I love her sense of humor and the intricate wizarding world she built around Hogwarts. I think all writers aspire to be like her, to capture readers like she does. But I didn't think about 'Harry Potter' when I wrote 'The Bone Season.'
It's interesting with my blog, because it feels to me less like a blog and more like a forum, because my readers are so funny and leave hysterical comments. And I'm not being humble when I say that very often, the comments are so much better than the post originally was.
When I was growing up, the Spanish-speaking world was Balkanized. We were isolated. We didn't know what was happening in cultural terms in Ecuador, Colombia and Chile. Nowadays, this has changed a lot - fortunately for writers and readers. There is much more integration.
I wrote my first full book when I was fourteen, and that was 'Obernewtyn.' It was also the first book I had published. It was accepted by the first publisher I sent it to, and it was short listed for Children's Book of the Year in the older readers category in Australia.
It wasn't until I started to do 'Poison River' that the readership started falling. 'Poison River' started out very slowly and simply, but then it got really dense and complicated. I don't know, I think the readers just got fed up or burned out. They started dropping off.
Thanks to social media like Facebook, Twitter and Goodreads, I can easily reach out to so many people. Being a writer gives me the added bonus of a targeted audience: readers, who enjoy targeted 'prizes' for participation in fundraisers - books and other neat promo items.
What would you have if you didn't have a murder in a mystery? You'd have something for the lower-level readers. When you get up into the upper levels, there's nothing that will engage you or compel you or get your emotions churning like a murder. It's the ultimate stakes.
I try to make the readers feel they've lived the events of the book. Just as you grieve if a friend is killed, you should grieve if a fictional character is killed. You should care. If somebody dies and you just go get more popcorn, it's a superficial experience isn't it?
The hardest part is not to repeat yourself. I don't really believe my core obsessions are going to change, but you need to look for ways to express them that are different. The main reason for doing that is not to bore yourself, and obviously, I don't want to bore readers.
A lot of locked-room mysteries take time for you to pay attention and see the setup. They aren't thrillers, and they don't move along. The modern mystery story is really faster-paced, and I think modern readers tend to prefer seeing something happening on every other page.
That the Op-Ed page is very important in readers' and the nation's perception of the Times, the perception of its editorial positions, and of its implicit editorial positions as expressed by the publisher's choice of people who are given the freedom to write opinion columns.