Quotes About Readers

I often hear people say that they read to escape reality, but I believe that what they’re really doing is reading to find reason for hope, to find strength. While a bad book leaves readers with a sense of hopelessness and despair, a good novel, through stories of values realized, of wrongs righted, can bring to readers a connection to the wonder of life. A good novel shows how life can and ought to be lived. It not only entertains but energizes and uplifts readers.

It is possible to argue that the really influential book is not that which converts ten millions of casual readers, but rather that which converts the very few who, at any given moment, succeed in seizing power. Marx and Sorel have been influential in the modern world, not so much because they were best-sellers (Sorel in particular was not at all a widely read author), but because among their few readers were two men, called respectively Lenin and Mussolini.

I've had people say very dismissive things about my books, but I also feel like I probably have more readers because I'm a woman. I mean, more readers are women and more people who buy books are women, so I don't feel like it's a total disadvantage to be a female writer.

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.

Sales were lukewarm. Back home there was no freedom, but there were readers. Here there was freedom enough, but readers were missing.

For centuries poets, some poets, have tried to give a voice to the animals, and readers, some readers, have felt empathy and sorrow. If animals did have voices, and they could speak with the tongues of angels-at the very least with the tongues of angels-they would be unable to save themselves from us. What good would language do? Their mysterious otherness has not saved them, nor have their beautiful songs and coats and skins and shells and eyes.

I don't consciously try to take my readers on a journey as I don't really think about my readers when I'm writing. I just try to write what I feel passionately about, to tell a story down onto the page.

I would be happier if people who went through MFA programs also were already, by then, deeply committed readers of poetry because we need readers of poetry as much as writers of poetry.

I reach readers rather unintentionally, I think, and those readers likely connect with the slant, the off-kilter, the part of the road you can barely see from the well-traveled road. So, when I'm writing, I'm not thinking about audience at all. Instead, I'm trying to see behind those shrubs, down that hidden path. We're the weirdos of the world and there are so many weirdos.

Readers have no doubt noticed how seldom builders live in houses of their own construction. You will find a town or village expanding in all directions with their masterpieces of modernity in the way of houses and bungalows; but the builder himself you will usually find living nearer the heart of things, snugly and comfortably housed in some more substantial, if less convenient, building of less recent date.

My publisher feels that my readers are loyal to the voice of my stories, the characters I'm creating.

Trade book publishing is by nature a cottage industry, decentralized, improvisational, personal; best performed by small groups of like-minded people, devoted to their craft, jealous of their autonomy, sensitive to the needs of writers and to the diverse interests of readers. If money were their primary goal, these people would probably have chosen other careers.

This is that which I think great readers are apt to be mistaken in; those who have read of everything, are thought to understand everything too; but it is not always so. Reading furnishes the mind only with materials of knowledge; it is thinking that makes what we read ours. We are of the ruminating kind , and it is not enough to cram ourselves with a great load of collections:;; unless we chew them over again, they will not give us strength and nourishment.

If You don't give readers what they want, they'll be mad at you. If you give them what they do want, they'll be even more mad at you.

Mary Jo Putney is a gifted writer with an intuitive understanding of what makes romances work. I loved Silk and Shadows, couldn't put it down, and don't think readers will, either.

As a writer I am proud that if you took my last four books, and they didn't have my name on them, I don't think readers would know they were by the same author.

I'm probably the most loquacious author when it comes to my dedications. The reason is there is some symbolism there. I've been writing these books, bringing these stories to my readers who I love so much, and I have a greater love for my family.

I really believe that readers are smart and sophisticated enough to realize that the author is not the narrator of his novels.

Some time all kinds of letters will be published to the ineffable delight of endless readers.

I do have to earn a living, so I'm conscious of probable reactions from readers, but the most important one is still the awareness that if I'm not enjoying a story, the reader won't either.

The shimmering, lucid tones and silver melancholy of I'll Be Right There give readers a South Korea peopled with citizens fighting for honor and intellectual freedom, and longing for love and solace. Kyung-Sook Shin's characters have unforgettable voices-it's no wonder she has so many fans.

So long as readers keep reading and my publishers keep publishing, I plan to keep on writing. I'd have to be an idiot to be burnt-out in this job.

The best advice that an accomplished writer could give a beginning writer is probably, "Find your slide and then grease it." Almost every writer that wants a rewarding career, in terms of money and status and number of readers, finally finds a certain genre or certain style that he or she sticks with until reaching a critical mass of readership. And I've violated this from the get-go.

Wherever my story takes me, however dark and difficult the theme, there is always some hope and redemption, not because readers like happy endings, but because I am an optimist at heart. I know the sun will rise in the morning, that there is a light at the end of every tunnel.

I reach my readers regardless of what the critics have written

Don't use metaphors in fantasy; your readers will take them literally. Or they may take them figuratively - but if so, they'll also take your magics and transformations figuratively. Either way, you're in trouble.

The great thing about fiction is that I don't have to settle on an answer to any troubling question, or even a solution. I hope that my stories serve as explorations and help show readers how and why real-life women don't always make the "correct" decisions in the face of economic and sexual troubles. We all screw up, but the women I write about don't have back-up plans or money in the back or resources to fix what they have broken.

In terms of the secrets that imbue and underlie Fall on Your Knees, they were as much of a mystery to me as I was creating the story as they are to the readers.

Okay, if this is what falling in love feels like, someone please kill me now. (Not literally, overzealous readers.) But it was all too much - too much emotion, too much happiness, too much longing, perhaps too much ice cream.

Writing, at its best and truest, can offer solace and salvation for both readers and writers.

I have observed that vulgar readers almost always lose their veneration for the writings of the genius with whom they have had personal intercourse.

Only a generation of readers will span a generation of writers.

The writer has to make pleasure for the reader - which, I think, is done by taking one's character's seriously and taking one's readers seriously -don't condescend or try to be tricky. Be a friend to your reader - I'd say that's a pretty good first step.

No other serial publications carry a number on them that is of any weight to their readership. The number is there to serve a function, but it has no intrinsic value in and of itself. It's comfort food and nostalgia at best. On this, we follow what you and your fellow readers do more than what you say. We hear complaints about renumbering every time we do it, but every time we do it it results in higher sales, which is the whole ballgame - so if it were your time and your effort, what would you do?

To me, the print business model is so simple, where readers pay a dollar for all the content within, and that supports the enterprise. The web model is just so much more complicated, and involves this third party of advertisers, and all these other sources of revenue that are sort of provisional, but haven't been proven yet.

Why should I give my Readers bad lines of my own when good ones of other People's are so plenty?

Unfortunately what is little recognized is that the most worthwhile scientific books are those in which the author clearly indicates what he does not know; for an author most hurts his readers by concealing difficulties.

As sculptors chip away the stone in order to find the statue, writers chip away extraneous verbiage so readers can see the shape of an idea clearly. My gift is to see through the confusion, to bring order and simplicity to a story.

It is easier to talk than to listen. Pay attention to your clients, your users, your readers, and your friends. Your design will get better as you listen to other people.

George Moore leads his readers to the latrine and locks them in.

In my opinion, trying to guess what readers want is the wrong approach. You have to tell your story as best you can and as true to yourself as possible. You have to be honest and fair and vulnerable and foolish and brave, and not care what anyone thinks of it.

Talking Taboo is a groundbreaking book. This chorus of bold female voices is presenting the church with an opportunity to engage real but all too frequently avoided or unseen issues impacting countless Christian women today. Their candid essays cover a wide spectrum of perspectives. Readers will resonate with some and be shocked by others. Talking Taboo took courage to write. Reading taboo takes courage too. So buckle up and brace yourself for an eye-opening but vitally important read!

All of my books have an element of a man who is in love with somebody and needs them desperately, not just for procreation but for being able to fully unbosom himself. He only feels comfortable discussing things with women. Which is funny, because 80 percent of readers are women!

The best headlines are those that appeal to the reader's self-interest, that is, headlines based on reader benefits. They offer readers something they want - and get from you.

My stories are known for featuring fun, fearless Cosmopolitan-type heroines as well as delicious, dangerous heroes synonymous with Harlequin. Afterburn and Aftershock will be no exception. I'm excited to share these sizzling new romances with readers and to do so hand in hand with Harlequin and Cosmopolitan, beloved brands known for giving women exactly what they want.

My most important piece of advice to all you would-be writers: when you write, try to leave out all the parts readers skip.

Anyone who writes down to children is simply wasting his time. You have to write up, not down. Children are demanding. They are the most attentive, curious, eager, observant, sensitive, quick, and generally congenial readers on earth.... Children are game for anything. I throw them hard words and they backhand them across the net.

If the Resurrection had not occurred, why would the apostle Paul give such a list of supposed eyewitnesses? He would immediately lose all credibility with his Corinthian readers by lying so blatantly.