Quotes About Readers

Irish readers, British readers, American readers: is it odd that I haven't a clue about how differently they react? Or better say, I cannot find the words to describe my hunch about them.

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.

Digression is my passion. I love telling the main stories, but in some ways, what I love most is using those narratives as a way of stringing together the interesting stories that people have kind of forgotten, and that are kind of surprising. The problem is, how do you pare stories away so that the book doesn't become a distracting jumble of material, and readers lose focus? In my experience, there's really only one way to do that. I pack it all in with the rough draft, then count on myself and my trusted readers to tell me what's good and what's not good.

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.

I do open endings on purpose. I expect a lot from my readers. I want them to do much of the work, because I believe that the story is built by the reader, not by the writer. I like having an open ending to a standalone fantasy, because it allows a continuing story to be written in the hearts of the readers.

There are infimal readers, readers who want to read the same book over and over, but will never read the same book twice.

Critics are biased, and so are readers. (Indeed, a critic is a bundle of biases held loosely together by a sense of taste.) But intelligent readers soon discover how to allow for the windage of their own and a critic's prejudices.

Books are just dead words on paper and it is the readers who bring the stories alive. Previously, writers wrote a book and sent it out into the world. A couple of months after publication letters from readers might arrive. And, leaving aside the professional reviews, it is really the reader's opinions that the writer needs. They vote for a book - and a writer - with their hard earned cash every time they go into a bookstore (or online - that's my age showing!) and buy a book.

The only thing I hope for is that, regardless of what the outward world is for different people, different nations, I hope their internal world is similar. And if I, hopefully, have managed to somehow describe my inner world in this book, all I count on is that it will have some resonance among the American readers, or, at the very least, the American readers will treat this book as a kind of a guidebook for my inner world, strange as it may appear.

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 don't consciously try to take my readers on a journey as I don't really think about my readers when I'm writing. I just try to write what I feel passionately about, to tell a story down onto the page.

I like art that trusts its audience, that's written for readers who like to work hard. I like art that knows its readers are up to the challenge of interacting with difficult material.

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.

Thank your readers and the critics who praise you, and then ignore them. Write for the most intelligent, wittiest, wisest audience in the universe: Write to please yourself.

I have been a reader of Science Fiction and Fantasy for a long time, since I was 11 or 12 I think, so I understand it and I'm not at all surprised that readers of the genre might enjoy my books.

To grow, to become spiritually alive, and vibrant, you really have to struggle. Without struggle, you do not move at all...I would appreciate it if readers who come to my work would try very, very, very hard not to think narrowly as we are taught to think in America.

The funniest novel you've never read. . . . Afternoon Men is a revelation to sophisticated readers of every stripe, but especially to a certain kind of artist manqu on the brink of discovering that life is a more difficult business than he ever had reason to expect. . . . The subject matter is 'relatable,' as my students like to say. Better still, though, is what you can learn about the craft of writing from this marvelous book. . . . Indeed, if you're looking for a funny, nonportentous Hemingway, then the early Powell is your man.

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

Books belong to their readers.

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.

It's no use telling us that something was 'mysterious' or 'loathsome' or 'awe-inspiring' or 'voluptuous.' By direct description, by metaphor and simile, by secretly evoking powerful associations, by offering the right stimuli to our nerves (in the right degree and the right order), and by the very beat and vowel-melody and length and brevity of your sentences, you must bring it about that we, we readers, not you, exclaim, 'how mysterious!' or 'loathsome' or whatever it is. Let me taste for myself, and you'll have no need to tell me how I should react.

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.

If You don't give readers what they want, they'll be mad at you. If you give them what they do want, they'll be even more mad at you.

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.

I like to listen to music that fits with what I'm writing. For each book, I've assembled a playlist, so readers can get a sense of what I was listening to while I was writing.

At the beginning of their careers many writers have a need to overwrite. They choose carefully turned-out phrases; they want to impress their readers with their large vocabularies. By the excesses of their language, these young men and women try to hide their sense of inexperience. With maturity the writer becomes more secure in his ideas. He finds his real tone and develops a simple and effective style.

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.

I have a lot of respect for readers because I'm a reader. That's how I got into writing.

What I try to do for my readers is to pass on some of the things that I found out about being thirteen after doing it for forty years.

I try to write about real women, real people - in other words flawed characters. I find flawed characters much more interesting than perfect ones and enjoy the challenge of making readers root for them in spite of their unsympathetic path and destructive choices. Life is about the gray areas. Things are seldom black and white, even when we wish they were and think they should be, and I like exploring this nuanced terrain.

When I started, there was more of a cultural assumption that many readers would find gay characters irrelevant or repugnant.

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

I always want readers to lose themselves completely in a story and feel something, whatever the book invites them to feel. That experience is the best takeaway any book can offer.

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 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.

Is it really the right of the media to dictate to the president whom he will allow in his press conferences? That's tetchier. And then there is the added issue of whether it would be a service to their readers, and the country at large, for, say, the Washington Post to take itself out of the room -- meaning they don't have the ability to ask important questions the president is obliged to answer? I think that would be a mistake.

It wasn't until I started to do 'Poison River' that the readership started falling. 'Poison River' started out very slowly and simply, but then it got really dense and complicated. I don't know, I think the readers just got fed up or burned out. They started dropping off.

I remember my fourth grade teacher reading 'Charlotte's Web' and 'Stuart Little' to us - both, of course, by E. B. White. His stories were genuinely funny, thought provoking and full of irony and charm. He didn't condescend to his readers, which was why I liked his books, and why I wasn't a big reader of other children's' books.

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

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.

In a highly competitive newspaper market, every editor needs to appeal to female readers to boost their circulation.

I have realised just how important it is to readers to feel that fictional stories are based on reality.

No one reads to hear someone complain about the weather or how poorly their children are behaving. You have to give the readers a reason to turn the page. As a writer you have to invite someone to turn the page. And that is a skill you have to refine. That is why you have to read. You have to read to learn what it is that makes people turn the page.

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.

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.

Okay, if this is what falling in love feels like, someone please kill me now. (Not literally, overzealous readers.) But it was all too much - too much emotion, too much happiness, too much longing, perhaps too much ice cream.

To me, the print business model is so simple, where readers pay a dollar for all the content within, and that supports the enterprise. The web model is just so much more complicated, and involves this third party of advertisers, and all these other sources of revenue that are sort of provisional, but haven't been proven yet.

Though now we think of fairy tales as stories intended for very young children, this is a relatively modern idea. In the oral tradition, magical stories were enjoyed by listeners young and old alike, while literary fairy tales (including most of the tales that are best known today) were published primarily for adult readers until the 19th century.