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.

There's a double standard between writers and readers. Readers can be unfaithful to writers anytime they like, but writers must never ever be unfaithful to the readers.

Such men alone are my readers, my proper readers, my preordained readers. Of what account are the rest? The rest are simply... humanity. One must be superior to humanity in power, in loftiness of soul- in contempt.

I believe in books that do not go to a ready-made public. I'm looking for readers I would like to make. To win them, to create readers rather than to give something that readers are expecting. That would bore me to death.

The fact of the matter is I always have a really high sense of responsibility to the reader, whether it's a few readers that I get or a lot of readers, which I was lucky enough to get with 'Olive.' I feel responsible to them, to deliver something as truthful and straight as I can.

People are reading more and writing more because of the internet. So the virtual world is a way for me to listen to my readers and interact with my readers. It is a way that they can voice their opinion.

You can get away with breaking all of the other rules at least once in a while, but you can't get away with breaking this one. Readers will accept almost anything from you if you don't make them feel they have wasted their time and money. Remember, you can bore readers in a lot of different ways. It doesn't necessarily take a dearth of action; too much action can get you the same result. Everything in writing, like in life, requires balance.

The most reward experience is having another writer come up to you and say that they started writing because they read my books. That is how writing as a profession continues: readers becomes writers who inspire new readers.

Along the way, about certain things, you realize, "I don't know anything about this." You think, "Is this going to sound ridiculous?" So I pestered more than a hundred different people over the course of the book. And when I finished the book I gave it to six or seven trusted readers, who are always the same, but I also gave it to a brother of mine who's a doctor and I asked him to read it, and he was very helpful. It's good to have a group of trusted readers. As my kids have grown up, they've joined this group.

I respond very well to rules. If there are certain parameters it's much easier to do something really good. Especially when readers know what those are. They know what to expect and then you have to wrong-foot them. That is the trick of crime fiction. And readers come to crime and graphic novels wanting to be entertained, or disgusted.

I try to put my heart out there to everybody. They don't have to be Christian. For example, I have lots of Jewish readers. I love my Jewish readers.

My readers - and I get 400 emails for a day, my readers normally they say, well, you understand me, and I answer, you do understand me also. We are in the same level.

I do believe that characters in novels belong to their writers and their readers pretty equally. I've learned a lot of things about the characters I write from people who read about them. Readers expand them in ways I don't think of and take them to places I can't go.

My relationship with my readers is somewhat theatrical. One of the main things I try to do in my work is delight my readers.

The rules of grammar exist in large part to permit readers and writers to operate from a shared set of expectations.

Some readers read a book as if it were an instruction manual, expecting to understand everything first time, but of course when you write, you put into every sentence an overflow of meaning, and you create in every sentence as many resonances and double meanings and ambiguities as you can possibly pack in there, so that people can read it again and get something new each time.

A large part of academic community is unthinkingly self-involved, producing reams of sterile writing - often consuming unbelievable amounts of public funds - and serving as an instruction manual for how to chase away readers and ignore historical insights.

While I hear from readers all the time that they love learning new things, I never want to do an "info-dump." Boring! I try to include enticing details and skip all the rest.

For those of us who take literature very seriously, picking up a work of fiction is the start of an adventure comparable in anticipatory excitement to what I imagine is felt by an athlete warming up for a competition, a mountain climber preparing for the ascent: it is the beginning of a process whose outcome is unknown, one that promises the thrill and elation of success but may as easily end in bitter disappointment. Committed readers realize at a certain point that literature is where we have learned a good part of the little we know about living.

I report when science clashes with the Bible story and when it reinforces it. Then I let the readers chew on it. As followers of Jesus and students of the Bible, what we're looking for is the truth. We find it by grappling with the facts. And when the truth remains a mystery that our facts can't solve, we live with it. We hold loosely to our waffling knowledge and tightly to Jesus.

I would give them (aspiring writers) the oldest advice in the craft: Read and write. Read a lot. Read new authors and established ones, read people whose work is in the same vein as yours and those whose genre is totally different. You've heard of chain-smokers. Writers, especially beginners, need to be chain-readers. And lastly, write every day. Write about things that get under your skin and keep you up at night.

I like to think I'm generally accessible, but I give readers the benefit of the doubt of being reasonably culturally-literate.

The number one reason I write is to come to schools and see my readers. I would do it for free.

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

Not even the visionary or mystical experience ever lasts very long. It is for art to capture that experience, to offer it to, in the case of literature, its readers; to be, for a secular, materialist culture, some sort of replacement for what the love of god offers in the world of faith.

Books are like sapphires; they must be polished - polished! or else you insult your readers.

A book with the genuine power to stir and comfort its readers.

I know how to write stories that are accessible to younger readers, and sophisticated enough for older ones. I'm not a big fan of the all ages label, but I keep a wider audience in mind.

The little dog-eared books in the meeting-house proved poor reading ... So many of them were about unnaturally good children who never did wrong, and unnaturally bad children who never did right. At the end there was always the word MORAL, in big capital letters, as if the readers were supposed to be too blind to find it for themselves, and it had to be put directly across the path for them to stumble over.

One key to the distinction between mystery and suspense writing involves the relative positions of hero and reader. In the ideal mystery novel, the readers is two steps behind the detective.... The ideal suspense reader, on the other hand, is two steps ahead of the hero.

Eve Byron has a permanent place on my must-buy list. Her characters are three-dimensional men and women who live on in readers' hearts long after they've turned the last page. ONLY IN MY DREAMS is pure Eve Byron, which means it's a pure delight. I fell in love with Lorelei and Dane, two of the most delightful characters I've encountered in a very long time. Byron's magical touch never falters. ONLY IN MY DREAMS is a surefire hit!

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.

There is a neurologist, a woman over at Harvard who wanted me to come talk to them, and in France I have a lot of readers in the sciences. I can't tell you why.

I would not waste five years of my life in order to send to the Israeli readers a simple message such as, "Let us change a policy or stop the settlements," Or, "Let us strive for peace." This is not what it is about.

here are the top three global resources getting scarcer in the twenty-first century: ozone layer, rain forest, people eager to read the fiction of others. That's right, folks. For the first time in I believe written history, there are far more fiction writers on earth than fiction readers.

The headline is the 'ticket on the meat.' Use it to flag down readers who are prospects for the kind of product you are advertising.

Inspirational and will challenge readers to get involved in the lives of others to make a difference. Thank you for sharing your wonderful insight and encouragement.

For readers worldwide, the attraction of romance novels seems to be that they provide hope, strength, and the assurance that happy endings are possible. Romance makes the promise that no matter how bleak things sometimes look, in the end everything will turn out right and true love will triumph -- and in an uncertain world, that's very comforting.

So people that read the New York Times are not gonna have the slightest idea what really happened here. So not only are the Drive-Bys themselves a little dense and not curious and uninformed, so are all of their viewers and readers.

News is like the tilefish which appears in great schools off the Atlantic Coast some years and then vanishes, no one knows whither or for how long. Newspapers might employ these periods searching for the breeding grounds of news, but they prefer to fill up with stories about Kurdled Kurds or Calvin Coolidge, until the banks close or a Hitler marches, when they are as surprised as their readers.

There have always been readers throughout history who have been drawn to villains.

I think you tell the story that has to be told. You tell the story that's the truth. You tell the story that readers will be interested in and should know about.

If the would-be writer studies people in their everyday lives and discovers how to make his characters in their quieter moods interesting to his readers, he will have learned far more than he can ever learn from the constant presentation of crises.

I've been thinking so much about writing as a gift to readers - and how newness of subject (place or topic or person) is one of the biggest gifts at our disposal.

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.

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.

As far as which writers embody this form of gentle power - Tobias Wolff, for sure. His persona and his writing both share an easy, capacious confidence that says he has faith in his readers.

The reality of a serious writer is a reality of many voices, some of them belonging to the writer, some of them belonging to the world of readers at large.