Quotes About Readers

I think the press has an interest in communicating to its viewers or readers, and their viewers or readers drive profit for those news organizations, so I think those news organizations have a certain bias toward their own readers. Yeah, I think they are a special interest. Of course they are.

Most readers look at the photograph first. If you put it in the middle of the page, the reader will start by looking in the middle. Then her eye must go up to read the headline; this doesn't work, because people have a habit of scanning downwards. However, suppose a few readers do read the headline after seeing the photograph below it. After that, you require them to jump down past the photograph which they have already seen. Not bloody likely.

I think smart aggregation is a service to readers. And we do it, too ... . Whether it's a politics page and you want Dan Balz to tell you what is he reading, what does he think are the smartest articles today on the elections or the primaries. So, I think aggregation is great ... . So I'm all for aggregation. And the more eyeballs we can get to our content, the better. We do want readers to be educated and to understand the difference between, what is a source that you can trust as opposed to just rumors out there. And the difference between just repurposing content and not crediting it.

Historically different groups find different things in each comics, as with *X-Men*. Gay readers find parallels to living a closeted lifestyle or choosing to come out and be openly gay. Black readers find a relevance to their lives growing up in America as a black guy. Picked-on brainy kids find a metaphor for being an outsider. It's a simple enough, and direct enough metaphor that it has different shades for different people. And so each reader to some degree gets out of it what they bring to it. That's one of the things I think that makes *X-Men* such a strong property.

In his exciting debut novel, Jerel Law transports readers to a place where supernatural forces of good and evil collide. Young readers will be entertained and inspired by Spirit Fighter. I heartily recommend it.

Certain readers will read my book not because they are interested in Iraq, but because they read crime fiction. I did want to get beyond just speaking to other Middle East scholars, so I'm happy about that. But this was, nonetheless, a novel I wish I got to read in Arabic and translate.

A book is maybe about 350 pages, and the prose allows for readers to get a glimpse into the internal lives of the characters. A screenplay is 120 pages, and it's all dialogue and action. The pacing of films is different, the structure is often different, and the internal lives of the characters must come across through the acting. Movies are just a different experience than reading - so it just depends on what an individual prefers.

Hyesims poems: transformative as walking high granite mountains by moonlight, with fragrant herbs underfoot and a thermos of clear tea in the backpack. Their bedrock is thusness, their images beauty is pellucid and new, their view without limit. The shelf of essential Zen poets for American readers grows larger with this immediately indispensable collection.

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.

I would like my readers to close the cover at the end and say, 'Wow, I never thought of it like that before'.

What's impossible not to notice, though - it's all around us - is the diminution of American prose: How pedestrian it has become. Pick up any short story and listen to its voice, the tedious easy vernacular that mistakes transcription for realism. This would display an understandable pragmatism if it were a pandering to common-denominator readers; but it is, in fact, a kind of hifalultin literary ideology, the less-is-more Hemingway legacy put through an up-to-the-minute industrial blender.

I think about the collaboration between writers and readers, but I also think about the collaboration between all the writers in a generation or in a country or across time contributing to this massive project of documenting and reimagining our world.

Publishing should be a collaboration between authors and their smartest readers - and at some point the distinction should become meaningless.

If he can give his readers no reason why they should read his book, except that the events happened to him, it is not a valid book.

It's not at all uncommon for a writer to get a ton of publicity for one book and then not get as much for the next one. I don't worry about that because I try to worry about the one single part of the job I can control: the writing of the book. If I do that well, I feel, good tidings generally will follow and readers will stick with me.

Books can truly change our lives: the lives of those who read them, the lives of those who write them. Readers and writers alike discover things they never knew about the world and about themselves.

Students will read if we give them the books, the time, and the enthusiastic encouragement to do so. If we make them wait for the one unit a year in which they are allowed to choose their own books and become readers, they may never read at all. To keep our students reading, we have to let them.

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.

One of the most frequent responses I get from non-Christian readers is: 'I'm not sure I agree with all this, but I must say this is the first book I've read by a Christian that didn't treat me like I was an idiot.'

You're looking for ways always as the writer to bring readers into intimacy, you with them with you. Photos can sometimes do the opposite, create distance and perspective, but these somehow didn't. They somehow bring the reader closer.

Some readers tell me, 'We always treated our maid like she was a member of the family.' You know, that's interesting, but I wonder what your maid's perspective was on that.

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 was interested by the idea that artists working in a totalitarian dictatorship or tsarist autocracy are secretly and slightly shamefully envied by artists who work in freedom. They have the gratification of intense interest: the authorities want to put them in jail, while there are younger readers for whom what they write is pure oxygen.

I reach my readers regardless of what the critics have written

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.

It is more difficult to keep the attention of hearers than of readers.

The Sookie Stackhouse novels were selling well before the TV show, but the TV show led to a lot more exposure and readers. And a lot went on to read my other work. It was a wonderful thing for my bank account.

Readers don't grow in trees. But they are grown-in places where they are fertilized with lots of print, and above all, read to daily.

The easiest way for readers to connect with characters and feel sympathy is to make the character entertaining, sympathetic and likeable.

I think [testing] has had a profoundly problematic impact on student learning. It must seem to students that their worth as individuals is equivalent to their test score. The stress the high stakes culture has on teachers is also highly negative and must surely impact students in a negative way. It also de-professionalizes teachers because it encourages them to be script readers, followers of rigid schedules, and to disregard the needs of the people they teach in favor of the scripts and schedules.

It seems priggish or pollyannaish to deny that my intention in writing the work was to titillate the nastier propensities of my readers. My own healthy inheritance of original sin comes out in the book and I enjoyed raping and ripping by proxy. It is the novelist’s innate cowardice that makes him depute to imaginary personalities the sins that he is too cautious to commit for himself.

Make sure your main characters are likeable. They can be flawed, but your readers need to be able to root for them.

It is excellent discipline for an author to feel that he must say all that he has to say in the fewest possible words, or his readers is sure to skip them.

What readers ask nowadays in a book is that it should improve, instruct, and elevate. This book wouldn't elevate a cow.

One of my goals is to allow readers to see my characters and the world they inhabit as vividly as possible.

On a personal note: I have contracted an outstanding case of breast cancer, from which I intend to recover. I don't need get-well cards, but I would like the beloved women readers to do something for me: Go. Get. The. Damn. Mammogram. Done.

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

With a novel, you have the reader with you a lot longer, and you owe him a lot more. Obviously you have to have a plot - I say "obviously," although I think a lot of fiction doesn't, and nothing seems to happen. But to me, there should be something that happens, and it should be at least vaguely plausible. And because the readers are going to be with these characters for a long time, you have to get to know them and like them and want to know what happens to them.

Most people don't have the money to spend on advertising to create awareness among readers, nor do they have the contacts at newspapers or magazines to get their books reviewed.

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.

The early development of speed reading can be traced to the beginning of the (20th) century, when the publication explosion swamped readers with more than they could possibly handle at normal reading rates.

I suspect that any worthwhile exploration of these deep questions about living requires going beyond abstract discussions to the vivid presentation of possibilities. If readers are to be prompted to serious examination of their lives, anatomy isn't enough. We have to be stimulated to imagine, in some detail, what it would be like to live in particular ways.

For me,the greater part of writing is daydreaming, dreaming the dream of my story until it hatches out-the writing down of it I always find hard.But I love finishing it,then holding the book in my hand and sharing my dream with my readers.

A lot of readers ask me, "Do you ever get emotional while writing the book?" or "Did you cry when you killed this character?" And the truth is, no, I didn't. That's not really the way I approach it. I don't get emotional while writing, but then there are plenty of other authors who do.

It's not the writer who determines how good she is anyway. Writers don't determine that. It's readers who determine that.

Whatever solidarity I have established with other writers individually, it is usually organized around books. We connected as readers, as it were, not writers.

Especially with a magazine like Lampoon, which was very dependent on newsstand sales. Our readers didn't usually occupy the same address long enough to get a subscription, because they were in college, or they were hippies. So it was very up-and-down, and we had to calculate how many to print, which was always sort of a headache from a business point of view.

The nicest notes I've received from readers are those that tell me I've gotten them back into reading for entertainment. For me, there is no greater compliment.