Quotes About Readers

Narratives have the same power, I think. Some readers of my novels ask me, "Why do you understand me?". That's a huge pleasure of mine because it means that readers and I can make our narratives relative.

Readers, after all, are making the world with you. You give them the materials, but it's the readers who build that world in their own minds.

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.

When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.

One of my pet theories is that readers have built-in BS detectors that enable them to recognize insincerity in writers. David [Halberstam] was sincerity to the core. He believed in what he wrote, and that conviction conveyed itself to readers.

Listen, people like Brian Bendis did great things for comic readers, great things for comic readers.

I live in the same house I’ve lived in for 25 years. I haven’t gone off and bought mansions, you know, even though my subject is living… living in a mansion wouldn’t do for my readers. I have to keep my credibility alive with my readers, so we’re in the same place. I just make that place nicer and nicer. And… and that’s a secret. And people don’t know that. People think, oh, she lives in this fabulous place, it’s the same old place. It started out like a farm, it got to be a farmette, then it got to be an estatelet. I built a wall, it helped a lot. But it’s the same place, the same grounded nature.

I figure I write for people who are intelligent enough to do some labor. Lazy readers are not my ideal readers.

Then basically what was happening was that it was the middle '80s, and Rolling Stone realized that a lot of their readers had voted for [Ronald] Reagan, and they were going, "Gosh! We need a Republican! Does anybody know a Republican? Wait a minute! I think P.J.'s a Republican!"

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.

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.

I cannot pretend I am without fear. But my predominant feeling is one of gratitude. I have loved and been loved; I have been given much and I have given something in return; I have read and traveled and thought and written. I have had an intercourse with the world, the special intercourse of writers and 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.

The decision to write in prose instead of poetry is made more by the readers than by writers. Almost no one is interested in reading narrative in verse.

Those were the days in this country where H. G. Wells, Bernard Shaw and Conan Doyle could have influence, and thats gone, thats true. But I dont think we have less influence in the hearts and minds of readers. I think, if anything, we have just as much, if not more.

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.

An author describing the methods of intensive farming, or the excesses of sport hunting, or even the harsher uses of animals in science writes with confidence that most readers will share his sense of concern and indignation. Sounding the call to action-convincing people that change is not only necessary, but actually possible-is more problematic. In protecting animals from cruelty, it is always just one step from the mainstream to the fringe. To condemn the wrong is obvious, to suggest its abolition radical.

Only that, nothing more - a tiny beam of light to show some hidden aspect of reality, to help decipher and understand it and thus to initiate, if possible, a change in the conscience of some readers.

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.

It's disingenous for me to say that I wasn't trying to write a moral novel. By its very nature as a novel about the Iraq War, Fobbit steps into the political conversation. There's no way to avoid that. I can appreciate that readers are probably going to line up on one side of the novel or the other. I hope they go to those polar extremes, actually.

One way to determine if a view is inadequate is to check its consequences in particular cases, sometimes extreme ones, but if someone always decided what the result should be in any case by applying the given view itself, this would preclude discovering it did not correctly fit the case. Readers who hold they would plug in to the machine should notice whether their first impulse was not to do so, followed later by the thought that since only experiences could matter, the machine would be all right after all.

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.

Why, after all, should readers never be harrowed? Surely there is enough happiness in life without having to go to books for it.

I believe that the mainstream publishers, DC and Marvel, need to catch up as well. Out of the fifty-odd books that are published each month, just a handful are written by women, and even less of those are written by women of color. It's not right, and it's not good for the companies in the long-term. It's also not good for fans, for readers.

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.

Through my fiction, I make mainstream readers see the new Americans as complex human beings, not as just The Other.

I cannot, will not, withhold from my young readers the harsh realities of human hunger and suffering and loss, but neither will I neglect to plant that stubborn seed of hope that has enabled our race to outlast wars and famines and the destruction of death.

Eva Stachniak has given readers a thrilling glimpse into the scandals and secrets at the heart of the Russian Imperial court. With deft prose and exquisite detail, Stachniak has resurrected one of the most compelling ages in history. Turn off the phones and lock the doors—you will not put it down.

In the end, time is the best ally of poets. It clarifies their works and makes them accessible to an ever widening circle of readers.

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.

Ive been told by readers that they love how my heroes fall in love fast, first, and with conviction.

My parents were very well read. They were both New Englanders, not highly educated, but they had a sophisticated... they were both very humanistic, and they were sophisticated readers.

A great writer created a world of his own and his readers are proud to live in it. A lesser writer may entice them in for a moment, but soon he will watch them filing out.

I'm very intrigued by e-books, the topic du jour in the industry today. As a number one bestselling Kindle author, I love the way e-books make an author's backlist accessible to new readers. Of course, price point remains a source of concern. Personally, I don't have any of the answers, but I'm intrigued by the questions.

Digital books and other texts are increasingly coming under the control of distributors and other gatekeepers rather than readers and libraries.

Writers themselves benefit from all helpful information about their task and methods. Readers, in turn, can have both their understanding and appreciation of literature enhanced by information about the writer's work.

I usually write for the individual reader -though I would like to have many such readers. There are some poets who write for people assembled in big rooms, so they can live through something collectively. I prefer my reader to take my poem and have a one-on-one relationship with it.

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.

Even now I try to make each page compelling for the readers to get absorbed in the book.

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.

"The Lucky One" is at its heart a romance novel, elevated however by Nicholas Sparks' persuasive storytelling. Readers don't read his books because they're true, but because they ought to be true.

I want 'Vogue' to be pacy, sharp, and sexy - I'm not interested in the super-rich or infinitely leisured. I want our readers to be energetic executive women, with money of their own and a wide range of interests. There is a new kind of woman out there. She's interested in business and money.

I always hope that readers, of my books, will take away whatever is most meaningful to them wherever they are at right now. It might be the message of love. Or what it means to really live. Or the role that emotion does - or does not play - in our lives. But I think ultimately, the thing I took away was the idea of surrender to God.

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.

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

Part of the creative process for me is an invitation for readers to follow their imagination.