Quotes About 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.

I think there are readers out there and I don't think the book is dead. And more importantly I don't think readers have to choose between literary and commercial fiction.

The readers are the ones who let us live our dreams. I try to write books which are really compelling - that you'd take on vacation and rather than going out, you'd read in your hotel room because you had to find out what happened. Hopefully that's what readers are responding to.

Critics have a problem with sentimentality. Readers do not. I write for readers.

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.

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

All readers are good readers, when they have the right book.

The most enjoyable part in writing a series is being able to visit a world I have created and revisit old friends. The challenges are making the book fresh and new for readers who have started from the beginning while still adding old information for new readers.

Chats are so new to newspapers, historically. But they're so incredibly valuable because editors/reporters/columnists get to find out what's on the minds of our readers, what you think we should be writing about, what ticks you off, what makes you happy. Sometimes it can confirm what you think readers are interested in; sometimes it can turn you around 180 degrees.

The Librarian considered matters for a while. So…a dwarf and a troll. He preferred both species to humans. For one thing, neither of them were great readers. The Librarian was, of course, very much in favor of reading in general, but readers in particular got on his nerves. There was something, well, sacrilegious about the way they kept taking books off the shelves and wearing out the words by reading them. He liked people who loved and respected books, and the best way to do that, in the Librarian’s opinion, was to leave them on the shelves where Nature intended them to be.

Readers, on the other hand, have at least 7.5 books going all the time. Actually, the number of books a reader takes on is usually directly related to the number of bathrooms he has in his home and office. I am working on a survey that will show that, over a lifetime, readers are in bathrooms seven years and three months longer than nonreaders.

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.

For me it's more important that I outline all the facets of a controversial issue and let the reader make up his or her mind. I don't care if readers change their minds, but I would like readers to ask themselves why their opinion is what it is.

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

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.

Respect and love your readers. Write for the reader.

[When] Johnny Mnemonic was coming out and I realized that all the kids that worked in 7-11 knew more - or thought they knew more - about feature film production than I did. And that was from reading Premiere, that was from this change that came from magazines that treat their readers as players. Magazines that purport to sell you the inside experience.

There are many readers of the book, who don't know anything about the authors and the artists. There is more than one author. It doesn't matter, if you can't make the reader dive into the story and surround him with that environment and those characters. That's an experience that lasts longer than figuring out who did what. I think that's what makes our working relationship better, it helps us to make a book that feels unique and not like different voices.

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

Some of my youthful readers are developing wonderful imaginations. This pleases me.

I believe my readers are crazy about their parents and want to be just like them when they grow up

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

I call our world Flatland, not because we call it so, but to make its nature clearer to you, my happy readers, who are privileged to live in Space.

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

Young people are looking for meaning and happiness to accompany their first paycheque. Inspire Your Career provides career advice designed to help you find more than just material success. Through its empowering and practical lessons, readers will find inspiration as they embark on their careers.

A book is always a dialogue with other readers and other books.

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.

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.

Reading Tomato Red-the first Daniel Woodrell novel I came upon-was a transformative experience. It expanded my sense of the possibilities not only of crime fiction, but of fiction itself-of language, of storytelling. Time and again, his work just dazzles and humbles me. God bless Busted Flush for these glorious reissues. It's a service to readers everywhere, and a great gift.

Mack Bolan is a classic American hero. Readers like him and I feel very good about that.

As a writer, its important to stay true to your story without giving a hoot about publishers, critics and readers. You should do your karma as an author the way you want to, and rest is up to God.

A Century of Wisdom is universal and will enrich readers for generations to come.

Readers of novels are a strange folk, upon whose probable or even possible tastes no wise book-maker would ever venture to bet.

How can I expect readers to know who I am if I do not tell them about my family, my friends, the relationships in my life? Who am I if not where I fit in the world, where I fit in the lives of the people dear to me?

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

Readers will share in the environs of the author and her characters, be taken into the hardship of a pitiless place and emerge on the other side — wiser, warier and weathered like the landscape.

I have always admired the work of Phil Farmer and was glad for the chance to work with him. Readers today may be too young to remember his classics like The Lovers.

I think that when a poem can move readers across generations and across its specific class or race then it becomes truly classic.

Special-interest publications should realize that if they are attracting enough advertising and readers to make a profit, the interest is not so special.

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.

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.

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.

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.

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

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.

My readers think that I write for the day because my writings are based on the day. So I shall have to wait until my writings are obsolete. Then they may acquire timeliness.