Quotes About Readers

Readers are made by readers - it is so obvious it is almost banal to say it.

I like to hear from my readers, and I like to feel like I'm part of a bigger community of readers and writers.

I am persuaded that foolish writers and foolish readers are created for each other; and that fortune provides readers as she does mates for ugly women.

It seems like every ten years there's a book that says that poetry used to be popular, and now it's not, but we really have no way of knowing, in terms of relative size of audience and other things, exactly who readers were.

I myself discovered many authors through school reading lists and through school anthologies. The positives are: young readers can find the world opening up to them through books they study. The negatives may include bad experiences kids have - if they don't like the book or the teacher, or the way the book is taught.

Lionel whispered because he was under the impression that it was out of respect for books, not consideration for readers.

The novel as a form is usually seen to be moral if its readers consider freedom, individuality, democracy, privacy, social connection, tolerance and hope to be morally good, but it is not considered moral if the highest values of a society are adherence to rules and traditional mores, the maintenance of hierarchical relationships, and absolute ideas of right and wrong. Any society based on the latter will find novels inherently immoral and subversive.

One thing you really have to watch as a writer is getting on a soapbox or pulpit about anything. You don't want to alienate readers.

I think the diversity of authors and readers is expanding, which is wonderful, because it means the type of story being told is also expanding.

Writing is a vessel...with readers the ocean and authors as its sails.

I always point people to the article '1,000 True Fans' by Kevin Kelly. If you choose your thousand ideal customers or readers properly and find the single author blog that targets that audience, you never have to do any more marketing. You're done. That is a lesson that very few product developers and marketers have learned, and it's unfortunate.

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.

We talk about a free press. These people hide, they make a lot of money off the media. They hide behind the slogans of free press, and then they can come out with crap like that. It's just garbage. It's insulting to the readers.

Readers have actually changed the way I've done things, changed the course of my career even, about four or five times. Just from reader feedback.

I know that some readers think (The High King) should have ended differently. I cried for three days afterwards.

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.

When you're writing a book that is going to be a narrative with characters and events, you're walking very close to fiction, since you're using some of the methods of fiction writing. You're lying, but some of the details may well come from your general recollection rather than from the particular scene. In the end it comes down to the readers. If they believe you, you're OK. A memoirist is really like any other con man; if he's convincing, he's home. If he isn't, it doesn't really matter whether it happened, he hasn't succeeded in making it feel convincing.

There are so many things hinted at that will be fun to reveal in depth. For years, fans have made it abundantly and enthusiastically clear that they want the same thing, so now seems like the perfect time to give readers the story of how the Maze began.

I think that some books are more successful than others to certain readers. People who read my books for the humor, they're going to love one book. People who read my books for the mystery, they might not like that book quite as much.

I have often wondered how anyone who does not read, by which I mean daily, having some book going all the time, can make it through life. Indeed if I were required to make a sharp division in the very nature of people, I would be tempted to make it there: readers and nonreaders of books... It is astonishing how the presence or absence of this habit so consistently characterizes an individual in other respects; it is as though it were a kind of barometer of temperament, of personality, even of character. Aside from that, for me it constituted something like sanity insurance.

I don't read memoirs. But if you write a memoir, I would think you'd want people to know, "O.K., look, I've taken some liberties here." It's just a matter of being open with your readers.

A democracy survives when its citizens have access to trustworthy and impartial sources of information, when it can discern lies from truth. Take this away and a democracy dies. The fusion of news and entertainment, the rise of a class of celebrity journalists on television who define reporting by their access to the famous and the powerful, the retreat by many readers into the ideological ghettos of the Internet and the ruthless drive by corporations to destroy the traditional news business are leaving us deaf, dumb and blind.

As populations crowd toward the ocean's edge and the sea encroaches menacingly toward the land, John R. Gillis looks at the history of the world from a fresh perspective and enables readers to see it in a new light. That he has managed to do so in a single conceptual work is nothing short of astounding.

I love doing readings. I could really give a crap about reviews. It's kind of about the readers.

As a columnist, I realize that whatever amount of corruption I expose, half my readers will block it out, although they may get a frisson of joy in the process.

Don't worry about how pretty (the story) sounds, how lilting it is, and the imagery, and the metaphor, all that. Most readers don't care. It's the people in your book that matter.

Speaking as an outsider is the most authentic voice for a poet. Poets who have one hundred thousand or one million readers [as many South Korean poets do] might not be a real, authentic poet.

A book is a book, but a movie is a movie. The more faithful you are, the more you'll come up with Harry Potter #1 and #2, which are like filmed books on tape. They're so petrified of turning off the readers that they make no concessions to the fact that they're trying to make a piece of cinema.

The first class of readers may be compared to an hour-glass, their reading being as the sand; it runs in and runs out, and leaves not a vestige behind. A second class resembles a sponge, which imbibes everything, and returns it in nearly the same state, only a little dirtier. A third class is like a jelly-bag, which allows all that is pure to pass away, and retains only the refuse and dregs. The fourth class may be compared to the slave of Golconda, who, casting aside all that is worthless, preserves only the pure gems.

Readers are what it's all about, aren't they? If not, why am I writing?

I feel like I owe it to the readers to try to pull back the veil and give them the honest version of what's going on. But it's not more fun. If Obama, as he does sometimes already, gets a little snippy with me about something I've written, you're thinking, 'Oh God, the president of the United States is already annoyed with me.'

It should come as no surprise to readers of the MAPS Bulletin that psychedelic plants are used as a sacrament by many native cultures all over the world. It may not be so obvious that these same plants are often incorporated into the coming-of-age ceremonies of these various societies.

The kids who speak well, are articulate and intelligent, are all readers.

He who does not expect a million readers should not write a line.

Gary Shteyngart has written a memoir for the ages. I spat laughter on the first page and closed the last with wet eyes. Un-put-down-able in the day and a half I spent reading it, Little Failure is a window into immigrant agony and ambition, Jewish angst, and anybody's desperate need for a tribe. Readers who've fallen for Shteyngart's antics on the page will relish the trademark humor. But here it's laden and leavened with a deep, consequential, psychological journey. Brave and unflinching, Little Failure is his best book to date

I really do enjoy getting out to meet my readers. Writing is such a solitary business, it's gratifying to thank folks in person and really connect as human beings and not just words on a screen.

While the cast of characters stays the same, I always try to add in new information so readers get to know the people they care about better with each story.

Every writer prefers good reviews over bad ones, and every writer wants to have lots of readers. But if it doesn't happen, that's fine too. Perhaps I won't throw a party then; I'll simply go home and keep writing.

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.

In terms of whether I use humor to allow me or my readers to come up for air, I don't think I put that much thought into it. I hate to say it, but I first have to entertain myself before I can think about the reader. I know that's kind of weird and selfish, but I write because it's fun, not because I need to put bread on the table.

There is an aesthetic crisis in writing, which is this: how do we write emotionally of scenes involving computers? How do we make concrete, or at least reconstructable in the minds of our readers, the terrible, true passions that cross telephony lines? Right now my field must tackle describing a world where falling in love, going to war and filling out tax forms looks the same; it looks like typing.

For me, the favourite chapters have always been the last chapters in the books. I knew exactly how each book would end - and how the first chapter of the following book would begin. I knew I wanted to leave the readers with answers - and a bunch of new questions!

I can't begin to predict how news will be delivered to readers in, say, 100 years. But I do know one thing that hasn't changed: Whatever the delivery system, whether it's a magazine, book or blog, people like vivid writing, strong stories and credible people. So while the venue is changing rapidly, human nature isn't, which I find soothing.

One can't write for all readers. A poet cannot write for people who don't like poetry.

Finally, I owe a debt to all the writers who've worked in the Star Wars universe to date - and to the millions of readers who've supported their works. The stories we love may not always fit neatly into a single timeline, but they will always matter.

Why do I write historical fiction? Johnny Tremain, The Witch of Blackbird Pond, Island of the Blue Dolphins-that's why. I'll never forget how it felt to read those books. I want to write books with the same power to transport readers into another time and place.

To even envision a post-racist society is contingent upon understanding the offensive, dense, and wildly contradictory nature of our racist past and present. Racechanges should be encouragement enough for readers to begin that task.

Most readers of historical fiction are content to just get caught up in a good story, and that is what I want to do as an author. I am not concerned with people knowing exactly what I made up and what is real.